by Jane Lambert

VIDEO VOYAGEUR: 3 Q’S WITH MASSEY

“Box of Rain” has always been a song that carries an emotional weight, deeply intertwined with themes of love, loss, and the healing power of music.

Originally written by Grateful Dead bassist Phil Lesh as a poignant farewell to his father, it has since become one of the band’s most cherished and resonant tracks.

When Phil Lesh passed away in October of 2024, MASSEY found himself reflecting on the profound connection he has with this song. In collaboration with Vince Herman of Leftover Salmon, he has created a new, rock-infused version of “Box of Rain” that pays tribute to Lesh’s legacy while breathing new life into the timeless classic.

Released today, this re-imagined rendition is much more than a cover. This is a wonderful tribute to one of MASSEY’s all-time favorite songs and a celebration of the enduring spirit of the Grateful Dead.

Working alongside an exceptional group of musicians including Charlie Wooton, Daniel Groover, Peter Oravetz, Michael Lemmler, and Doug Belote, MASSEY brought his vision to life at Dockside Studio, with the track being elevated by the mastery of JoeBaby Michaels and Abbey Road Studios.

But the journey didn’t end with the recording. The release is accompanied by a vibrant music video that allows listeners to experience “Box of Rain” in a new visual context. Directed by Jim Mimna, the video complements the song’s messages of connection and healing while also inviting a new generation of fans to discover the beauty in this timeless piece.

In this interview, MASSEY opens up about the inspiration behind reinterpreting “Box of Rain”, the collaborative process with Vince Herman and the emotional journey of revisiting a song so deeply connected to both personal and wider themes:

1. Tell us the story of this song, why did you choose to visualize this song specifically in this way?

This is a cover of the Grateful Dead song Box of Rain. It is one of the few Dead songs written by bass player Phil Lesh, who passed away a couple months ago, just as we were preparing to record all the tracks for the upcoming MASSEY debut album: Reason For Being. JoeBaby Michaels, the founder and head of my label, Bent River Records, who is also my producer, had instructed that it would be a good idea to include a cover.

When Phil passed I immediately thought of Box of Rain. It is just about my very favorite Grateful Dead song. It has always struck me in a deeply profound and emotional way. And with Phil’s passing, I thought it was very appropriate. We did agree it should be a more edgy rock version, one of my natural styles, which I feel we accomplished, while still totally respecting and paying homage to the original, and Phil.

It’s important to note that this is a duet with Vince Herman, a founding member of Leftover Salmon. A long time friend of JoeBaby’s, they had never worked together, and they agreed this would be a perfect, heartfelt song for them, and me, to collaborate. Vince is one of the nicest, sweetest, rockstars you’ll ever meet. And I believe our work together on this song shines the light.

2. What inspired this video (visuals, storyline, etc.)?

The song was written by Phil as his dad was dying. I believe it’s a metaphor of love, loss, and the personal peace and healing that’s available to all of us. It’s very beautiful. And I was always emotionally affected by it, as with much of the music I deeply love, from the actual music first, even more than the words.

3. What was the process of making this video?

The video is so excellently done by our videographer Jim Mimna. He combined the studio footage of me and Vince, as well as the amazing players in our band: Charlie Wooton on bass, Peter Oravetz on lead guitar, Daniel Groover on guitar, Michael Lemmler on keys, and Doug Belote on drums; Paired with very effusive illustrated images that, like the song lyrics, suggest deep emotional meaning but allow for interpretation by the viewer.

01.29.25

by Jane Lambert

Video Voyageur: 3Qs with Dayside & Guffchild

“Daddy’s Girl,” the latest single from Montreal-based artists Dayside & Guffchild, combines smooth pop-inspired melodies, yacht rock production, and fellow Montreal-based hip hop artist Mosez Jones‘ rhythmic rapping. Its sound is vibrant and groovy, yet beneath the upbeat and funky surface lies a dark, introspective narrative that polarizes the listener.

The song seamlessly blends elements of alternative R&B with rich instrumentation and layered production, a hallmark of the duo’s genre-bending style. “Daddy’s Girl” highlights the duo’s ability to craft tracks that are simultaneously catchy, introspective, and timeless, creating a fresh sound for alternative R&B lovers.

1. Tell us the story of this song, why did you choose to visualize this song specifically?

Dayside: Daddy’s Girl was born during one of our weekly 4PM sessions—our music collective featuring me, Guffchild, Pope Silk, and Gioco. Inspired by Pharrell’s VIRGINIA, I pitched the idea of making a “feel-good” yacht rock track with a twist: pairing upbeat sounds with a sad story. Guffchild and I built the beat, Gioco crafted lyrical gems, and Pope Silk freestyled the hook with the line, “That’s when the story gets ugly.” We recorded it all that night.

A week later, Mosez Jones loved the demo so much he wrote his verse while driving to the studio. His part completed the song perfectly, and after sharing it with friends, we knew it needed a video. Guffchild’s friend, Danik Gollain-Bartolini, loved the track and pitched a concept that captured our vision. His team brought the story to life, and Daddy’s Girl is now a testament to collaboration and creativity. We’re proud to share it with the world.

2. What was the inspiration behind this video (visuals, storyline, etc.)?
When we asked Danik Gollain about the inspiration behind the video, he explained:
“The idea was to reflect the story told in the song’s lyrics but with a unique twist. Instead of focusing on a downward spiral into the world of street work, I wanted to create a story of empowerment—a breakthrough rather than a breakdown. Revenge became a central theme, adding a layer of resilience that contrasts with the upbeat tone of the song’s rhythm.

Visually, I approached this as a comeback story with a narrative-driven look. The dark, high-contrast visuals were key to emphasizing the emotional weight of the story while creating a striking juxtaposition with the song’s light and happy vibe. This interplay between visuals and lyrics was designed to give the story depth, making it both engaging and impactful.”3. What was the process of making this video?

When we asked Danik about the process, he shared:
“Creating this video was a mix of challenges and creative fulfillment. Balancing certain clichés while avoiding an overly straightforward approach was tricky, but the song itself was the foundation. I listened to it on repeat during brainstorming sessions, and the lyrics gave me a clear narrative to build on.

The process involved drafting multiple short scripts, treatments, and storyboards, ensuring every shot was meticulously planned to match the vision. With a tight budget and timeline, we had to focus heavily on pre-production to make it work. This groundwork was essential in staying true to the story and delivering something that felt authentic and emotionally resonant.”

01.23.25

by Jane Lambert

“Clear Blue Waters” Sets the Tone for Brooks J Martin’s Most Revealing Album Yet

There’s something quietly powerful about Brooks John Martin’s new single “Clear Blue Waters“. It doesn’t beg for attention or push too hard. It just is, like the tide rolling in.

Brooks John Martin has always had a way of making music that feels lived-in. Songs that sound like they’ve been with you forever. This one is no different.

There is an openness to it and a sense of movement. You can feel the road stretching ahead, and you can feel the ocean right there beside you. It makes sense, then, that the video to accompany the song was filmed along the Pacific Coast Highway.

That winding stretch of California coastline where land meets sea, where the road feels endless, is the perfect companion to a song about clarity, renewal and the pull of something familiar. But with the devastation of the recent wildfires, those images carry more weight. Beauty and loss, destruction and rebirth. This is all wrapped up in the song’s quiet insistence that we keep moving forward.

Brooks doesn’t overcomplicate things. The lyrics are simple but that’s what makes them carry more emotional weight: “I come from clear, blue waters. Come back to the clear blue water with me.” There is no forced nostalgia here, no pretense.

And then there is Brooks’s voice. It’s not flashy or trying to prove something, but on the contrary is like someone who has been through enough to know what really matters. The arrangement mirrors that same restraint – lush but not overdone, layered but never heavy.

“Clear Blue Waters” is the kind of song that sticks with you and makes you want to get in the car, roll down the windows and just go.

About Brooks J Martin

Brooks J Martin is a singer-songwriter from Cedar Falls, Iowa, and is known for his introspective folk music, evocative lyricism, and lush, cinematic arrangements.

Over the years he has recorded under various monikers including Toast, The Blue Danes, and Frank Hansen. But his latest self-titled release marks a turning point – an unfiltered, deeply personal artistic statement.

Taking inspiration from legends like Woody Guthrie, Neil Young, and Leonard Cohen, Martin writes songs that favor mood over strict narrative, allowing listeners to find their own meaning within his impressionistic storytelling.

Stream Clear Blue Waters now on Spotify, Apple Music, and YouTube Music.

Watch the video on YouTube for a stunning drive down the Pacific Coast.

01.22.25

by Jane Lambert

Sound Strider’s “Progress” Is a Furious Post-Industrial Reckoning

Few artists arrive with a debut single as unapologetically incendiary as Sound Strider’s “Progress”

A brutal takedown of late-stage capitalism wrapped in industrial beats and scathing lyricism, the track is really a manifesto. The lead single from his upcoming album entitled “Mechanical Animist“, “Progress” channels the existential dread of the 2020s into a relentless, dystopian groove that feels both timely and timeless.

Listen in here:

The track wastes no time setting its tone, opening with a mechanical, almost sarcastic list of capitalist rituals: “investment, testing, impressing the boss”, before plunging into a caustic critique of a system that equates expansion with erosion.

Over pounding percussion and hypnotic synth layers, Sound Strider methodically deconstructs the corporate machine, exposing the greed, environmental devastation, and dehumanization lurking beneath its polished surface. His lyricism is both surgical and seething as it dissects the absurdity of modern economic and political structures with the precision of a manifesto.

As the track progresses, its intensity only deepens. Mirroring the spiraling anxiety of an era where profit margins outweigh human well-being.

By the time Sound Strider reaches the track’s climax, a relentless chant of “F** progress,”* it’s clear that this is a cry against the hollow promises of unchecked technological advancement and a society that prioritizes perpetual growth over collective survival.

Vocally, Sound Strider oscillates between spoken-word venom and punk-adjacent fervor. His delivery reminiscent of the fiery urgency of Zack de la Rocha or the poetic rebellion of Saul Williams.

There are moments where his cadence feels almost hypnotic, as it drwas listeners into a trance-like meditation on their own complicity in the systems he critiques. Then, without warning, his voice explodes into raw frustration as it rips through the track with an immediacy that feels as much like a live protest as it does a studio recording.

“Progress” is a high-voltage blend of industrial, trip-hop, and experimental electronica, evoking echoes of Nine Inch Nails, Death Grips, and early Massive Attack. Production is razor-sharp, with each layer meticulously designed to create an atmosphere of tension and unease.

In an era where protest music often gets diluted for mass appeal, “Progress” refuses to compromise. It is raw, relentless, and absolutely essential listening.

Connect with Sound Strider:

Website / Facebook / Instagram / Spotify / Soundcloud

01.20.25

by Jane Lambert

Video Voyageur: 3Qs with Stonehocker

Stonehocker‘s latest single, “In Need,” explores the raw, emotional journey of realizing one’s need for a higher power. The song is an introspective reflection on the lows that come with struggling against the challenges of life and the self-awareness that emerges from surrender. A blend of motivational alternative rock with a light, meditative tone, “In Need” is a powerful reminder of the peace and hope that comes when we let go of the need for control.

The track is the third and final release before Stonehocker‘s highly anticipated upcoming album. It embodies the themes that run throughout the record: acknowledging one’s struggles, finding a greater purpose, and surrendering to the process. “In Need” builds on Stonehocker‘s deeply personal songwriting, drawing from his own battles and ultimate surrender to a higher power.

Tell us the story of this song, why did you choose to visualize this song specifically?

“In Need” is a song about recognizing the need for a change in your life. I was just recovering from the lowest point I’d ever hit, so I was still being quite hard on myself. That’s why the verses are all very self degrading. I’d been attending self-help or recovery groups but they hadn’t provided the help I’d needed. I hit a point where I was done with myself and ready to say “whatever you say I’ll do”. I’d been reading the bible daily for a little while when I wrote this song, long enough to see it was helping me. The song “In Need” is capturing that moment of clarity, the moment of conviction.

When I was choosing the singles I specifically wanted to use some of the songs with a more positive message in them. The album talks about my extreme lows, so some of the songs don’t offer any positivity or solutions. I didn’t want a really negative theme as I promoted the new album. “In Need” and “Take Everything” are both songs with a good message. The plan was always to have a video for each single and I actually find it fun trying to visualize them

What was the inspiration behind this video (visuals, storyline, etc.)?

The story in the video is fictional, about a musician and his small team doing a road trip to a show. I say fictional because the actor playing the manager is actually the drummer on the album; they’re both friends helping out with my crazy production ideas. Either way, the point of the video is that despite those people trying to help the artist they eventually let him down as a result of their own personal issues. The sly, little hidden easter egg is the photo inside the van, attached to the wall behind the assistant. It’s a photo of Jesus, suggesting Jesus is all the artist can rely on.

I call it an easter egg because it’s the same photo (albeit a little larger) that I’m holding in my previous video for “I Am Divided”. In that video I sing about how “I’m looking for someone” while holding this picture of Jesus, but I never actually focus any shots on the photo because the song doesn’t talk about finding that someone.

What was the process of making this video?

The whole process starts with me brainstorming and then creating a story board. I always like to give Greg Miller the credit for any good-looking shots because he has a great eye for a great shot; which is precisely why I get him to be the cameraman! Greg Miller is not only the cameraman, but also the owner of the classic Ford van we used; so a big thank you to him! Greg and I actually did the first day of filming with just the two of us driving around town. We used his drone for some shots while I drove. All the other shots (in all my videos) are filmed on my Samsung phone using a DJI gimbal, then I edit them all using a program called VideoPad by NCH software.

The second day of shooting was the hard one to coordinate because it involved more people. I was trying to decide whether to shoot the video with the van actually driving or try to setup in a garage and fake it (driving would require another person too). Alas, the van developed a coolant leak so we were forced to shoot the interior shots inside the garage. Greg had one foot on the wall while holding the camera so he could shake the van and make it look like we’re driving! For the final shots where it was just me playing guitar you may have noticed the lighting constantly changing, this is Jeff swinging our lighting around behind Greg while he films! The story board helps everyone see the final vision, although it is hard being the director while also acting in it.

The videos all come together thanks to people helping me out. I keep learning new little tricks and gaining more experience with each video I make, much like how I’ve learned about writing music. I’m glad people are enjoying them!

01.15.25

by Jane Lambert

VIDEO VOYAGEUR: 3 Q’S WITH BEN KILLEN

Ben Killen’s debut solo track “Singing River Blues” is an evocative blend of acoustic blues and Americana, rooted in personal loss and the timeless emotions found in music.

The song, written during a turbulent time in 2012, channels grief, hope, and connection, drawing on Killen’s own experiences with profound family losses. The deeply personal lyrics and haunting steel guitar create a narrative that resonates universally, offering a tribute to the legacies of loved ones while bringing in the influence of blues pioneer W.C. Handy.

Bringing this emotional masterpiece to life visually was a new frontier for Killen, who took on the roles of director, producer, editor, and star in the music video for “Singing River Blues.”

The project became an ambitious labor of love, combining intimate moments of Killen lip-syncing his studio performance with carefully curated stock footage and choreography provided by strategic partners, including the lloolk agency and BDKMG. The result is a dynamic and deeply symbolic visual journey that enhances the song’s narrative layers.

The steamboat featured prominently in the video, for example, is not just an image – it is a metaphor for the enduring currents of musical heritage that flow through generations, tying together contemporary artistry back to the roots of the blues.

Killen’s own on-screen presence, filmed in his Brooklyn apartment in front of a glass IKEA wardrobe assembled with his mother, adds a raw moment, underscoring the deeply personal nature of the project.

Creating the video was not without its challenges. Working within a limited budget and using a crop-frame DSLR, Killen pushed the boundaries of what was possible, spending countless hours perfecting the edit and overcoming technical hurdles, including rendering the final product in full 4K resolution. The process, which required his Mac Mini to run for 13 days straight, truly shows his determination and creative resourcefulness.

Yet, it was also a learning experience that opened doors to future possibilities.

“I think I did literally every piece,” Killen reflects with a mix of humor and pride. “It was a lot of work, but I learned so much, and now I know what’s possible.” The finished video, polished and professional, stands as a milestone in Killen’s artistic journey. It is stunning blend of visual storytelling and musical expression that honors the legacy of the blues while carving out a unique space for his voice.

In this behind-the-scenes exploration, Killen shares the story of how the music video for “Singing River Blues” came to life. From its symbolic depth to the creative triumphs and challenges faced along the way.

Watch the video to “Singing River Blues” here:

1. Tell us the story of this song, why did you choose to visualize this song specifically in this way?

The song, the words at least, came about quickly. It was just a simple moment sitting on the couch in my East Harlem ‘El Barrio’ apartment, that place had a really beautiful skylight, and plenty of windows. But it was a bright afternoon in the days shortly after I had returned to NYC from home, Dad’s funeral, all the whirlwind as I call it. Mom just sent me a simple text, nothing too extraordinary but just mentioning that she wasn’t feeling all that good that day. Of course, the dutiful son that I am I sent out my sweetest emojis and most heartfelt sentiments but even that didn’t seem near enough in such a weighty moment.

So that’s when the song’s first line written came into being: “Operator call me, Mother’s on the phone. Got to get my message out to her that she’s not alone.” It’s not the first line of the song, as many have stated, but it was the first one written. I chose to visualize the song in this way because, TBH this is me working on a shoestring budget, but still wanting to produce an end product that is on par with that of my musical heroes, perhaps a bit earlier in their careers, if not now.

Of course the archival footage of my amazing dancers it not mine exclusively. Somebody else probably already has and well they should also use them in their own music video (I could even produce a “BTS” how-to tutorial, if there’s sufficient interest, but that’s another story for another video!) But I honestly was pretty happy with the results of the (admittedly uncharted) 1080 to 4K footage upscaling workflow I ended up using. If I’m honest, I think the process could be of benefit to other artists like me.

2. What was the inspiration behind this new video (visuals, storyline, etc.)?

I wanted the visuals to be as dynamic and engaging as possible. Also, I took great pains to ensure everything was cut in-time with the music. Not every cut is beat sync’d but the majority of them are. In my opinion, this is the best way to cut a music video that feels cohesive with the song. I mean, unless its a really slow ballad or something, I don’t think it would matter as much, but for a song like mine, where the beat is foundational, elemental.

I’d imagine it’s a bit generous to say my video has a true ‘storyline’ but more than anything, I wanted the visuals to reflect the words, content and meaning of the song, so every effort was made to choose footage specifically with that in mind, but also we were lucky to have access to the lloolk agency’s vast media resources enough to select footage that I feel confident is both of excellent quality but also correlates strongly to the meaning of the song and the lyrics. In prior interviews I had mentioned all the “Easter eggs” in the video, but I suppose there are more of those sonically in the music, than the video, but the video remains true to the music.

3. What was the process of making the video?

I guess I touched on this a little bit already, but I started with a bunch of really excellent quality stock footage, the scenes of the dancers and party scenes, but also a lot of the abstract shots, drone footage, and coverage for the heavier autobiographical “dozen” stuff, loss of loved ones, processing of loss, etc. I couldn’t have imagined the project without that excellent quality footage to start with, but the problem was, as excellent quality as it all was, it was only 1080, and of course nowadays 4K is basically the standard, so I knew I wanted to upscale, so not to get too far down into the weeds of the technicalities, but thankfully I’d discovered Topaz’s amazing Gigapixel video upscaling suite (or whatever they call it) and, despite the fact that it took my poor little Mac mini two weeks (13 days rendering, 24 hrs straight) but the eventual output was stellar!

Each of my clips lost a little length (primary in the “handles”) but knowing I already had to re-cut everything to get my cuts beat-sync’d, as I knew they had to be, I already knew everything was getting chopped up anyway, so I just worked around it. Some of the shots might seem unnecessarily short, I’m thinking the amazing shots we found of the horn sections and trumpet players, but ultimately, I’m really happy with the end result.

The irony is, in the end, I think the upscaled footage actually looks a little better than my talking-head style footage of me “singing” (lip sync’ing to my own studio vocals) which was actually shot natively in 4K. I used mid-level Mac hardware and DaVinci Resolve to cut everything together.

Follow Ben Killen on his Website