by Jane Lambert

Reeya Banerjee Looks Back with Latest Single “For the First Time”

Reeya Banerjee’s latest single For the First Time is a quietly stunning ballad that peels back the layers of love, memory and selfhood with grace and vulnerability.

As the second release from her upcoming album called This Place, the track stands apart as the emotional anchor of the record – a moment of stillness and clarity that reflects on a transformative chapter in the artist’s life.

The song unravels like a letter written years after the fact, soaked in the bittersweet glow of hindsight. At its center, For the First Time is a love song – not only to a partner, but to the version of oneself that emerges in the right place at the right time.

That place, in Banerjee’s case, is the Hudson Valley’s Mohonk Mountain House. It’s a historic and slightly surreal resort tucked high into the Shawangunk Ridge. It’s not just the setting, but a kind of co-star in the story, embodying both the eccentricity and emotional grounding that shaped her early adulthood.

Banerjee’s vocals are tender and unadorned, and she sings each line with clarity. With a warmth in her tone that balances out the melancholy of memories and the comfort of knowing just how far she’s come.

For the First Time is co-written and produced by Luke Folger, and it is an outlier on This Place. It’s a ballad amid more uptempo tracks, and yet it feels like the heart of the album. Folger’s instrumentation is rich in texture – shimmering guitar lines, subtle background harmonies and open, airy production that evokes starlit nights in the Catskills.

Lyrically, this song is packed with subtle emotion. It evokes the quiet revelations that define young adulthood: learning to love someone while still figuring out how to love yourself, finding home in a place you never expected, discovering a new version of your voice in the midst of gravel paths and gossip filled dining halls. It’s a coming-of-age story told not in big moments, but in the slow accumulation of small, meaningful ones.

In many ways, For the First Time feels like the spiritual successor to “Need You There,” a fan favorite from Banerjee’s debut The Way Up. But where that track reached upward with longing, this one looks inwards with a calm recognition. It hums softly in the background of thoughts, reminding you of the place and people who shaped you and the person you were brave enough to become.

Find out more about Reeya Banerjee on her Website

Stream music on Spotify and YouTube Music

05.30.25

by Jane Lambert

“King Jaymes” Is the Folk Punk Manifesto We Didn’t Know We Needed

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There’s something quietly revolutionary about King Jaymes, the debut album from folk punk singer-songwriter Stephen Jaymes.

It doesn’t arrive in a blaze of hype or with the polished pagenatry of a major label rollout. But instead, it feels more like a notebook that someone has carried across a war zone, frayed and tear stained but full of truths that nobody else dared to say out loud.

Across ten tracks, many of them already familiar to fans of Jaymes’ trickle release of singles over the past two years, King Jaymes assembles a world that feels simultaneously mythic and also intimate. The songs are not just here to impress, but they resemble almost journal entries, roadside sermons and voice memos from a man documenting the collapse and his own quiet resurrection.

What is most striking about the album is not just the songwriting, although this is excellent and has always been Jaymes strong point. But it is the depth of self-examination and transformation on display here. There is a sense that Stephen Jaymes has survived these songs more than just written them.

Opening with one of Jaymes’s most personal songs, “Saving Daylight”, we are immediately thrown in to a noirish soundscape of piano and muted guitar lines.

The new mix of previously released “Chief Inspector” is more spacious and less raw than the original single, revealing the intricacies of Zsolt Virág’s production work. It’s a tone-setter that invites deep listening.

Elsewhere, songs like “The Evidence Against Her” maintain their haunting intensity. They feel more fully realized here, nestled among companion tracks and dressed in album wide cohesion. Jaymes’s voice is soft and cracked a times, then suddenly forceful in other moments and becomes the compass that guides us through shifting emotional terrain.

While the early singles gave listeners a glimpse into Jaymes’s artistic evolution, it is the album’s final track, “When I Was Young” that truly delivers the emotional knockout.

This previously unreleased track is a lament disguised as a lullaby. It deals with aging, not in the abstract sense but in the deeply personal way of someone who’s felt the world pull away from them. The line between resilience and resignation is walked so carefully that it becomes a kind of dance. This track alone justifies the format of an album.

Beyond the music itself, the King Jaymes era represents a conceptual shift for Stephen Jaymes as an artist and public thinker. His VISION2025 initiative and the accompanying Particles blog present a worldview rooted in hope, dignity, and practical utopia not just art for art’s sake, but art as taking action.

Meanwhile, King Jaymes may be Stephen Jaymes’s debut album, but it plays like a legacy statement. It’s a defiant and deeply human record that builds a world you want to live in, even if that world hurts.

Keep up with Stephen Jaymes on his Website

Stream music on Spotify and Apple Music

05.29.25

by Jane Lambert

Pete Calandra’s Latest Album “Night Mist” is a Tonic for the Modern Mind

Pete Calandra’s latest release Night Mist is an album that doesn’t shout to be heard. It simply waits, patiently to be felt.

This eleven track collection is steeped in quietude, unfolding with the elegance of falling dusk and the emotional gravity of late-night introspection.

As both a skilled pianist and prolific composer across Broadway, film and television, Calandra brings a rare blend of technical finesse and emotional restraint to this work. It’s one that feels like a much needed breather in an overstimulated world.

Listen here:

The pieces on Night Mist are deceptively simple. On the surface, they present as minimal piano compositions touched by ambient textures and occasional soft orchestrations. But underneath that lies an exquisite sense of pacing and purpose. Tracks like “Whispers of the Dawn” and “The Heart of Mount Seleya” operate like emotional landscapes: sparse yet vivid, introspective yet expansive. And it is Calandra’s restraint, the space between notes, that becomes its own kind of melody.

What makes this album resonate so strongly is its consistency in tone without ever becoming over repetitive.

Each track brings a new shade of the same emotional spectrum. “Peaceful Valley” introduces cinematic string beds that evoke a pastoral calm, while “Autumn Nights” leans into the warmth of a felted piano to conjure a deeply intimate sense of place.

The ambient title track, “Night Mist” blends light electronics with improvisational phrasing, perfectly capturing the album’s thesis — serenity in the unknown.

Though best known to some for his work behind the scenes, including more than 100 film scores and music for global events like the FIFA World Cup and Kennedy Center Honors, Pete Calandra’s voice as a solo artist has become increasingly distinct over the last decade.

Night Mist builds on the aesthetic developed in ambient-forward albums like First Light and Carpe Noctem, but it lands with much more maturity and emotional clarity.

In an era defined by speed, distraction and technology burnout, Night Mist feels like a defiant gesture — an insistence on presence, on listening slowly, on valuing space.

It’s not just a collection of music, but also a gentle journey inward.

Connect with Peter Calandra via:

Website / YouTube / Spotify / Soundcloud

05.27.25

by Jane Lambert

VIDEO VOYAGEUR: 3Q’s WITH STIGMA

Emerging from the heart of Germany’s modern rock scene, Stigma are not here to chase trends.

With their debut album Second Chance on the horizon, the band is carving out a sound that is both emotionally raw and powerfully cinematic in sound.

Their latest single, “Faraway,” serves as a stunning entry point. It’s a brooding, confessional track steeped in guilt, isolation and that quiet ache of waiting for redemption.

But what sets Stigma apart isn’t just the intensity of their music. It is the honesty behind it. For their first official video, the band turned the camera inward and cpatured not a scripted narrative, but the real-time journey of recording “Faraway” in a remote mountain studio.

We sat down with the band to talk about the origins of “Faraway,” the making of the video, and what fans can expect from Second Chance. What followed was a candid, heartfelt conversation about facing the past, embracing vulnerability, and holding out hope for what’s still to come:

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

Faraway is about guilt, isolation, and the hope for redemption – someone exiled, trapped by both physical walls and inner regrets, holding on to the distant dream of being forgiven. It’s not about escape, but about waiting to be freed. That emotional weight runs through every line of the song.

We wanted to show that tension honestly. The video shifts between two sides: the intense, emotional live performance while recording the track, and the quiet, raw moments behind the scenes. No drama, no acting – just what really happened.

That contrast brings authenticity. It’s not a concept video – it’s a feeling. A haunting pull toward something just out of reach – but with the quiet certainty that the day will come.

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

We approached the video like a short documentary – no actors, no script, just what actually happened. The storyline behind the scenes follows our real journey: arriving at the studio in the mountains, stepping out of the car, setting up gear, getting feedback from our producer, tuning, laughing, working. It’s that quiet buildup before the storm – a glimpse into the atmosphere that shaped the song.

Visually, the contrast was key. We alternated these raw, candid moments with close-up shots of us performing Faraway in the studio – not for the camera, but for real.

That mix gives the video its pulse. It’s less about acting out a plot and more about letting the setting, the process, and the people tell the story. The goal was simple: to make you feel the song, not just hear it.

3. What was the process of making the video?

I brought in Mattia Mariotti – a skilled video producer and guitarist for Philipp Burger (Frei.Wild) – to film our time in the studio. I asked him to capture everything without restriction. No script, no posing – just real moments. I trusted his eye and gave him full freedom to document whatever unfolded.

After several days of shooting, he told me, “There’s a lot of material here.” That’s when I had the idea to turn it into our first official video. What made it click was the natural rhythm of the footage – the way the calm, intimate behind-the-scenes shots contrasted with the explosive, emotional performance scenes. It mirrored exactly what Faraway does musically: restrained, confessional verses that build into a powerful, wide-open chorus.

That structure became the backbone of the edit. The camera follows the same emotional arc as the song itself – from inner conflict to a burst of longing and release.

That’s how the video found its form: through truth, not planning.

Follow Stigma on their Website

05.25.25

by Jane Lambert

Zabus Navigates the Abyss of Modern Existence with “Floodplain Canticles”

Washington’s avant-garde post-punk ensemble Zabus has unveiled their latest album Floodplain Canticles, released on January 10, 2025, via Saccharine Underground. This record marks a significant evolution in the band’s journey, presenting an intricate fusion of bleak soundscapes, radical honesty, and chaotic psychedelia that pushes artistic boundaries while confronting the existential realities of our time.

Building on the groundwork laid by their previous release Automatic Writhing, Floodplain Canticles delves deeper into themes of isolation, spiritual evolution, and the tenuous balance between despair and hope. The album offers an expansive, immersive listening experience that challenges audiences to confront uncomfortable truths about the future and the human condition. Zabus creates a sonic environment that is simultaneously unsettling and meditative, encouraging reflection on the consequences of societal and personal choices as we collectively shape the world around us.

Musically, Floodplain Canticles evokes the dark, hypnotic atmospheres reminiscent of the Velvet Underground’s seminal work but reinterprets these influences through a contemporary experimental lens. The band’s sound is characterized by layered textures, hypnotic rhythms, and a tension between chaos and control, creating a hypnotic trance that pulls listeners into a deep exploration of subconscious fears and hopes. The album’s production is meticulous, balancing raw emotional intensity with nuanced musicality, and positioning Zabus as a formidable force within the modern avant-garde and post-punk landscape.

The album’s thematic complexity reflects founder Jeremy Moore’s profound personal and artistic evolution. Moore, a multi-instrumentalist and curator of the Saccharine Underground label and artist collective, has long been committed to exploring dark ambient, experimental, and psychedelic music through various projects. Zabus is the culmination of his artistic vision, combining talents from his previous bands to craft a unique sonic identity grounded in dark existentialism yet open to musical exploration.

The ensemble on Floodplain Canticles includes Moore on vocals, guitars, six-string bass, and synthesis, Johnny Wielding on drums, four-string bass, and percussion, Alex Zorn contributing guitars and synthesis, and Akane Shimizu providing strings and additional programming. This collaboration enhances the album’s depth and diversity, allowing the group to navigate complex emotional and sonic territories with cohesion and innovation.

Lyrically, Floodplain Canticles is a meditation on the fragile intersection of reality and illusion. The songs interrogate the allure and danger of escapism, especially in an age dominated by virtual realities and social media illusions that distort true human connection and spiritual growth. Moore’s reflections on grief, death, and perseverance imbue the album with a philosophical weight that is rarely found in contemporary music. The band embraces death and mourning as universal experiences capable of uniting rather than dividing, presenting a message that rejects nihilism in favor of resilience and transcendence.

This record follows a series of conceptually linked releases, each deepening Zabus’s exploration of human fragility and transformation. From the raw improvisational experimentation of Topography of Iconoclasm to the more structured yet still challenging The Future of Death and the spiritually probing Automatic Writhing, Floodplain Canticles continues the narrative arc while refining the group’s sound and vision. Recorded at SV Studios in Washington D.C. and engineered by Andy Baldwin, the album benefits from high-quality production that enhances the immersive quality of the music.

The visual presentation, designed by Jeremy Moore and Ava Agosti, complements the album’s themes with artwork that reflects its somber yet hopeful tone. This cohesive artistic approach reinforces Zabus’s commitment to creating not just music, but a total experience that engages the senses and the intellect.

In sum, Floodplain Canticles is a compelling and necessary work that offers a profound artistic response to the uncertainties and challenges of contemporary life. Zabus delivers a deeply affecting album that demands attentive and thoughtful listening. It is an essential release for those interested in avant-garde music that confronts existential themes with creativity, courage, and emotional honesty.

05.25.25

by Jane Lambert

Taz Taylor Band Delivers a Soulful Rock Revival with “Lonely I Ride” and Upcoming Album “The Other Side of Midnight”

San Diego’s Taz Taylor Band returns with a compelling and soulful infusion of heartfelt honesty on their latest single “Lonely I Ride,” the lead release from their eagerly awaited eighth studio album, The Other Side of Midnight. This new collection promises ten tracks of melodic hard rock and AOR that resonate with the classic spirit of legendary acts such as Michael Schenker Group, Rainbow, Van Halen, and Journey. The band’s signature style, built on emotionally charged vocals and intricate guitar work, remains intact but with a fresh and invigorating dimension.

“Lonely I Ride” emerges as a poignant meditation on themes of isolation and resilience, elevating the familiar power rock ballad formula with a driving groove and raw emotional intensity. Central to this evolution is the extraordinary vocal presence of Laura K. Vreeland, whose voice lends a distinctive, haunting quality that complements and expands the band’s sonic palette. Her delivery is sincere and commanding, providing a perfect foil to Taz Taylor’s fluid and expressive guitar performance, which carries both technical finesse and palpable feeling. The interplay between these two forces injects new vitality into the band’s sound and sets a compelling tone for the full album, scheduled for release on May 14th.

Taz Taylor, a British-American guitarist renowned for his mastery and versatility, has long been the driving force behind the Taz Taylor Band. His previous albums have featured collaborations with formidable vocalists such as Graham Bonnet, Mark Boals, and Doogie White. However, the introduction of Laura K. Vreeland as a permanent member marks a significant shift for the group. This collaboration not only brings a fresh vocal dynamic but also underscores the band’s evolution from a project with guest vocalists to a cohesive, fully integrated band.

Taylor reflects on this transition, explaining that after the challenges of finding a male vocalist capable of delivering the demanding material from their last album, Nocturnal, the band turned to Laura. Her powerful voice and stage presence quickly made her an indispensable part of the ensemble. “By the time this album is released, we will have been playing together for nearly three years, and the musical chemistry is incredible,” Taylor shares. This long-term collaboration is evident in the tightness and emotional depth captured in the new recordings.

Laura K. Vreeland speaks candidly about joining the band, expressing both humility and excitement. She recalls feeling honored yet somewhat daunted by the prospect of following in the footsteps of the exceptional guest vocalists on Nocturnal. Yet Taylor’s confidence in her abilities helped her embrace the role wholeheartedly. “Fast forward, I am fronting an incredible, original rock band and having the time of my life,” Vreeland says. Over the past two and a half years, the band has toured extensively, opening for major acts at iconic Southern California venues, further honing their live presence and deepening their musical bond.

The Taz Taylor Band’s The Other Side of Midnight promises to be a milestone in their career, marrying classic hard rock elements with contemporary energy and heartfelt storytelling. Each track is meticulously crafted, blending melodic hooks, driving rhythms, and powerful lyrical themes that will resonate with longtime rock enthusiasts and new listeners alike. With “Lonely I Ride” as a harbinger, the band reaffirms their position as purveyors of authentic rock music that honors tradition while embracing evolution.

For fans of melodic hard rock and AOR, the album represents not only a continuation but an expansion of the band’s artistic vision. The combination of Taz Taylor’s virtuosic guitar work and Laura K. Vreeland’s compelling vocal delivery makes this record one of the most anticipated rock releases of the year. Out now, The Other Side of Midnight is poised to make a significant impact on the rock music landscape.