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.
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!
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.
Some stories are written on familiar pages, but Gavin Holligan’s narrative unfolds across entirely different chapters. From the roar of Premier League stadiums to the intimate setting of a live music stage, Holligan has charted a course defined by bold choices and relentless creativity. His journey—from professional footballer to celebrated musician—is as inspiring as the music he now creates, weaving together threads of reinvention, resilience, and emotional resonance.
In the late 1990s, Holligan was living a dream that most young athletes only fantasize about. Signed to West Ham United, his football career was on a meteoric rise, debuting at Anfield Stadium against Liverpool FC. Yet, while fans saw a promising footballer, Holligan himself felt a pull toward a different calling. Even amid the chants of adoring fans, music had always been his sanctuary—a space where his true voice could emerge.
The transition from football to music wasn’t instantaneous, nor was it easy. Holligan spent years honing his craft as a background vocalist and keyboardist, performing with legends like Stevie Wonder, Jocelyn Brown, Gloria Gaynor, and Duffy. This period offered him invaluable experience, exposing him to the complexities of the music industry and the transformative power of live performance. However, as Holligan worked tirelessly in support of others, he began to feel a growing desire to step forward as a solo artist.
Determined to find his voice, Holligan created Brownhouse Studios, a space where he could experiment with sound, write freely, and develop his unique musical identity. In 2008, he released “Brighter Day,” a single that garnered the attention of BBC’s Introducing series. The song was more than a debut—it was a declaration of intent, signaling his arrival as a songwriter and performer with something meaningful to say.
This momentum continued with his EP, “Faith to Fly,” a body of work that blended his musical influences—ranging from soul and gospel to rock and funk. Tracks from the EP showcased Holligan’s talent for storytelling, offering listeners an authentic window into his experiences. His energetic guitar riffs, intricate vocal arrangements, and deeply personal lyrics set him apart from the cookie-cutter mold of many contemporary artists.
Holligan’s passion for collaboration and community soon found expression in Chemistry, a monthly showcase he founded to support emerging talent. The event became a cornerstone of the independent music scene, attracting both budding artists and established names like Katy B and Shola Ama. Through Chemistry, Holligan built a platform not only for others but also for himself, gaining recognition as both an artist and a mentor.
In 2023, Holligan returned with “Just Passing Through (Live Version),” a track that perfectly encapsulates his growth as a musician. Recorded in an intimate setting, the live version strips away the gloss of studio production, revealing the raw emotion at the heart of his artistry. The song’s themes—reflecting on life’s fleeting moments and cherishing its connections—resonate deeply, particularly in an age when authenticity is often overshadowed by artifice.
For Holligan, music is more than a career; it’s a vehicle for self-expression and connection. His performances are imbued with the same energy and determination that once propelled him across football fields, but now they’re directed toward creating moments of shared humanity with his audiences.
As he continues to write, perform, and inspire, Gavin Holligan’s story serves as a powerful reminder that life is rarely a straight line. It’s a journey of discovery, adaptation, and courage. Whether you first knew him as a footballer or are just discovering his music, one thing is clear: Holligan is far from just passing through. He’s here to stay, making his mark as an artist who refuses to be defined by a single chapter of his extraordinary life.
The title track of Tristan Armstrong’s forthcoming album (available early 2025 on Littleknown Records), “The Lonely Avenue,” is a cathartic release of rock-and-roll energy inspired by the dualities of urban life and a longing for home. Written during his early days in Toronto after moving from Vancouver Island, the song melds raucous rhythms with an undercurrent of melancholy, creating a dynamic sound that captures the bittersweet transition of leaving behind the familiar to chase a dream.
Rooted in rock, indie, and roots traditions, “The Lonely Avenue” showcases Armstrong’s signature guitar-driven aesthetic, blending a Queens of the Stone Age-inspired groove with vintage rock-and-roll swagger. Produced in part at Lincoln County Social Club with John Dinsmore and recorded in Armstrong’s Toronto basement studio, the track features lush mellotron strings and chugging guitars that evoke both grit and nostalgia.
I wanted this track to be a good time – a release of rock-and-roll abandon that’s cathartic for me and fun for listeners. “The Lonely Avenue” captures the energy of urban life and the yearning for something deeper. – Tristan Armstrong
Andrew Stonehome’s brand new single release “Then You Fly” is a deeply personal and beautiful journey into the artist’s heart.
As a letter to his inner child, the song captures the fragility and strength that comes with confronting buried vulnerabilities. From the opening notes through to the soaring gospel choir finale, this track is certainly a moment of reckoning and redemption.
Listen to “Then You Fly” here:
The refrain, “I’m coming home,” is as much a mantra as it is a melody. Sung with understated yet powerful emotion, it invites the listener to reflect on their own moments of self-discovery. The gospel-inspired finale, featuring 50 individually recorded vocal parts, creates a wonderful euphoric crescendo that feels almost like a spiritual release.
About the song, Stonehome says:
“Every word in this song is a reflection of my heart and has a direct connection to what I’m experiencing in my life at this moment. This song is the one that I feel more connected to personally than any other song I’ve written. If people asked me to give one example of music that I’ve created, this is the song that I would share.
Writing this song was part of an emotional journey for me, forcing me to confront and express some of my deepest fears and challenges in their rawest form. The process of facing these personal struggles has been the driving force behind the creation, recording, and release of this song. When I recorded the vocals, the line “I’m coming home” instinctively felt like the perfect refrain to repeat at the end of the song. At the time, I couldn’t fully explain why those words resonated so deeply, but later, it all clicked.
I was listening to someone speak about self-compassion, and they described the act of finding peace with ourselves—of embracing our vulnerable, inner child—as “coming home.” In that moment, it all fell into place. Suddenly, the refrain became more than just a line in a song; it encapsulated the essence of everything the track was about.“
Production-wise, Then You Fly is both polished and organic. The drums, recorded at Vinegar Hill Studios in Brooklyn with Reed Black engineering, provide a really steady heartbeat while the other parts – crafted in Stonehome’s century-old home studio – brings warmth and intimacy. Every layer feels intentional, every note purposeful.
Stonehome’s acoustic version strips away the lush instrumentation, laying bare the raw emotion of the song. Featuring an evocative string arrangement by Pablo Hopenhayn and eSession Strings, the acoustic rendition is nothing short of breathtaking. The strings also add a cinematic quality, enhancing the song’s poignant narrative without overshadowing its simplicity.
Then You Fly solidifies Andrew Stonehome as an artist unafraid to wear his heart on his sleeve. It’s a song that tells its story, but also creates a space for listeners to feel seen and understood.
About Andrew Stonehome
Andrew Stonehome (Norwegian name “Stenehjem”) is a songwriter, singer, and multi-instrumentalist whose roots in North Dakota and current base in Beaverton, Oregon, inspire his music.
A few years ago, Andrew realized he was on a path that felt unhealthy and unfulfilling. Determined to change, he embarked on a journey of self-discovery by identifying his core values and reigniting his passion for music, which he had suppressed while adapting to adult life.
This creative rebirth has become the foundation of his music, reflecting his personal growth and dedication to authenticity.
Blending retro, catchy pop/rock with a variety of influences, Andrew’s sound captures the nostalgia of classic eras while staying fresh and relatable.
A true multi-instrumentalist, Andrew plays guitar, drums, bass, and piano, and often records and produces his music in his 104-year-old home. This historic setting lends a unique warmth and authenticity to his creations, reflecting his deep background in recording and production.
He made his mark in 2021 with his debut full-length album, which earned a spot on International Pop Overthrow’s Best Albums of 2021 (#13 out of 175).
He has also been featured on the Sweet, Sweet Music Blog and The Great American Folk Show, gaining recognition songwriting and storytelling.
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