After the intricate rhythms and sly wordplay of “Wrong Carolina,” Sourwood return with “When I’m Gone,” a bold departure in form and tone that underscores the power of simplicity. Built around a clean, classic verse-chorus-bridge structure, the song trades technical complexity for emotional clarity—cutting straight to the ache of one-sided closure.
“This song is simply about figuring out that it’s time to move on,” says frontman Lucas Last. “That you have to realize sometimes there’s no closure to be had—and that your experience was entirely one-sided.”
Written during a period of rapid, disorienting personal change, “When I’m Gone” confronts the quiet resignation that can follow emotional upheaval. “Circumstances beyond my control were pushing me into a new phase of life,” says Lucas. “I had to come to terms with the fact that you don’t always get closure on a chapter. Sometimes, things just… end.”
The title itself is never actually sung, but acts as the invisible hinge of a key lyric: Don’t think you’ll miss me. Lucas explains, “That line is delivered in such a matter-of-fact way, and the title feels like its unsaid other half. It’s the emotional subtext that frames the whole song.”
In contrast to Sourwood’s usual dynamic interplay and bluegrass flourishes, “When I’m Gone” is restrained and direct—showing a different kind of strength. “This one doesn’t have extended solos or odd time signatures,” Lucas notes. “It’s just a clear story with a straightforward message. We love complexity, but there’s a different kind of emotional power in something that feels raw and unvarnished.”
Ironically, that simplicity made it the hardest track to record. “We must’ve spent half a day on this one,” Lucas laughs. “It’s the least complex song in our catalogue, but that actually made it more difficult—because the performance had to carry the full weight of the song. We were constantly tempted to add more, but the power came from holding back.”
The track features a notable guest: Lucas’ wife, Aubrey Last, who contributes harmony vocals. “It’s not a duet, but she’s very much the other character in the song,” he says. “She lived through a lot of what inspired this track. She was right there with me when the ship was going down. So it felt only right to have her voice on it.”With “When I’m Gone,” Sourwood continues to expand their emotional and musical range—showing that the most stripped-back moments can hit just as hard as the most intricate.
Fresh off a string of high-profile shows and the release of their emotionally charged single “Threshold”, Portland, Maine’s Moments Of are proving they’re not just riding the emo revival wave. They are helping shape it.
With a sound that bridges early 2000’s emo and the grit of modern alternative rock, the band has quickly built a reputation for delivering high energy performances that stick with you.
In this exclusive interview, the band opens up about the creative process behind their “Threshold” Official Music Video – why they chose a performance driven concept over a narrative, how nostalgia for the late ’90s and early 2000’s shaped its aesthetic, and what it was like shooting under the intense glow (and heat) of vintage stage lighting:
1. Tell us the story of this song, why did you choose to visualize this song specifically in this way?
We really thought long and hard about the direction we wanted to take as a band for the Threshold music video. The talk of building a narrative story behind the video was had but we really thought that due to the energy of the song and our timeline to get it done by that a high energy performance video would be best for Threshold. We also wanted to bring high quality, and a high energy performance video back to the scene as a cornerstone for our new music and sound. And when people see us live, we bring that same energy, so we wanted people anywhere in the world to be able to get a sense of that from Threshold.
2. What was the inspiration behind this new video (visuals, storyline, etc.)?
For us a lot of the inspiration comes from the late 90’s early 2000’s videos not just music videos but entertainment and tv in general. The warm feeling and soft focus bring in those themes that you’d see on tv back then and also plays on many techniques how soap operas were shot. Giving off that heaven like feeling. The set being well lit and showing the gear, flight cases, rigging around gives it that feeling of watching a band at a theater or opera house where you would see rigging, cases, amps in the background.
3. What was the process of making the video?
The making of Threshold was done in a soundstage environment where we had full control of the space. The decision was made to use older tungsten film and stage lights to really play into the theme we wanted and to be immersed in the set. Warm, cozy, heavenly, euphoric even and the focus would just be the band well-lit and slamming hard. We shot the video setup to takedown in about 5-6 hours. Of course, we did many takes of the video individually and full band during that window to get the shots we needed. It was challenging at times dealing with old school stage and film lights as they admit a crazy amount of heat, so staying hydrated was key and avoiding knocking over or brushing up against lights and stands because everything was hot enough to cook food on. But we think it was the right move once we saw the finished video! Threshold is a raw and basic take on a well-lit and shot performance music video that will be timeless and invoke feelings from a simpler era in music.
Los Angeles-based project MOTO SOLO returns with a compelling new single, “History Crept On Me,” continuing its evolution into richly layered, synth-forward territory. The track was co-produced by Michael Shuman of Queens of the Stone Age, who brings an added depth to the release, further highlighting MOTO SOLO’s cinematic sound and dark melodic leanings.
The song’s emotional complexity is matched by its origin. Frontman and multi-instrumentalist Bobby Tamkin shares, “Lyrically, History Crept on Me speaks to the quiet chaos within—a moment when you’re lost or unraveling, and someone from your past returns, just when you need them most. You’re happily surprised and relieved when they appear. After creating the music video, I realized another meaning: that we sometimes slip into our deepest fears, not realizing that all we ever needed was the presence of a friend to help snap us out.”
Tamkin’s creative history spans decades and genres. Before launching MOTO SOLO, he cut his teeth in the experimental underground, most notably as a member of Hovercraft—a band formed during Seattle’s grunge explosion that found itself opening for Foo Fighters and playing with The Melvins. As a young drummer, Tamkin absorbed the raw energy of the era, often finding himself in living room jams with members of Soundgarden and Mudhoney.
Back in Los Angeles, Tamkin became a fixture in the psych-rock circuit, drumming for acts like The Warlocks and crossing paths with players from the Red Hot Chili Peppers and Beck’s touring crew. After years behind the kit, he took a step into songwriting and production, teaching himself piano and crafting what would become the sound of his former group Xu Xu Fang. That project garnered acclaim for its expansive, moody textures—earning premieres from Rolling Stone, nods from MOJO and The AV Club, and syncs in high-profile shows such as Gossip Girl and Bates Motel.
With MOTO SOLO, Tamkin fully claims center stage. “Xu Xu Fang was my band, but I never sang anything,” he says. “I’d write the music and lyrics, then hand the lyrics over to somebody else to sing. It was fun, but there was a disconnect. Felt like it was time to emerge from the curtain. It was the only musical challenge left.”
That leap began in earnest around 2023, when Tamkin began crafting songs with himself in mind as vocalist. He invited Shuman to contribute, initially just on bass, but their collaboration deepened—guitars, synths, arrangements, and co-production followed. With sessions later moving to 64 Sound in Highland Park and mixing helmed by GRAMMY winner Michael Harris, the sound of the project crystalized into something sonically rich and emotionally precise.
“History Crept On Me” follows recent singles like the Depeche Mode-inspired “There’s Another Way” and its Gui Boratto remix, along with the swirling “Celebration Sound.” While still anchored by driving synth lines and Tamkin’s resonant baritone, this new single adds a reflective and intimate tone that hints at what’s to come on the full-length album.
MOTO SOLO continues to push boundaries by blending post-punk atmospherics, synth-pop flair, and the depth of lived experience into something distinct—and “History Crept On Me” might be its most personal chapter yet.
After a string of visually striking and concept driven singles, Reeya Banerjee brings things home both literally and figuratively with the music video for “Upstate Rust,” the fourth and final release ahead of her upcoming album This Place set for release on August 22nd, 2025.
Filmed at Lorien Sound in Brooklyn, the video captures Banerjee and her band The Merseyside Darby in their natural habitat – laughing, sweating and absolutely living inside the music.
Unlike the stylized visuals of her previous singles, this video opts for raw honesty and full band energy, spotlighting the chemistry, connection and joy that fuel Banerjee’s live performances.
It’s a fitting choice for a track that closes the album with heart and clarity.
We sat down with Reeya to talk about the story behind the song, and the decision to film a stripped down performance.
1. Tell us the story of this song – why did you choose to visualize this song specifically in this way?
Upstate Rust is the closing track on my album This Place, and in many ways, it’s the emotional resolution.
It’s a song about leaving a place you’ve loved – not with regret, but with trust, love and a little bit of fear. It’s about grown-up decisions, emotional survival and believing that what you’ve built can last, even when the geography changes.
The three singles before this had quirky, stylized videos – animation, photo essays, rogue guerrilla no-permit filming in Grand Central.
With Upstate Rust, I wanted to do something totally different. I wanted to showcase my band, The Merseyside Darby, because this song feels like a full-band anthem. Even though they didn’t record it with me originally, they’ve learned it, owned it, and made it their own.
This video is a celebration of that live energy – of how much fun we have together in the room. It’s the first time we’re all on screen together, and it felt like the right way to bring this song to life.
2. What was the inspiration behind this new video (visuals, storyline, etc.)?
The inspiration was really simple: let’s just show the band being the band. Upstate Rust is a big, reverb-heavy, U2-flavored banger, and it’s also my favorite song on the record. We wanted to show what it actually feels like to play it together – no gimmicks, no heavy storyline, just real joy and connection.
We shot the video at Lorien Sound in Brooklyn, which is a studio run by my lead guitarist James Rubino and his business partners Austin Birdy and Jack Quigley. Our rehearsal space is the live room at the studio, and Jack also directed the video. We pumped the master track through the PA and performed it together thirteen times – close-ups of everyone, wide shots of the room, no lip-sync fakery, just full-out playing.
Jack’s footage captured our chemistry and the joy we feel making music together. Luke Folger, our drummer (also my creative partner, co-writer, and the producer and composer for the record) is a beast on drums and has a smile that could light up a room. He’s a full-on beam of sunshine.
There’s a moment where I’m singing along with Daria Klotz, my bass player, and we’re just in the moment together. I’ve known her for ten years – we’ve sung in harmony together in so many bar bands and performances and other contexts, and it was lovely to capture that shared history on camera.
Sam Levine is our rhythm guitarist and the newest member of the band. He’s incredibly talented and smart, and a bit shy – but by the end of the shoot, he was rocking out and singing along, and it was just so endearing to watch him come into his own.
My favorite part is in the final chorus where James and I are literally jumping up and down together. We’ve also known each other for ten years – he’s my ride-or-die best friend. It felt like having a dance party with my little brother. Neither of us are spring chickens – we both have bad knees – so it was probably a terrible idea, but we couldn’t resist. At one point, James’s hat flew off mid-jump and he kicked it toward Sam, who had to duck to avoid being beaned in the face. We could not stop laughing. I’m almost sad that moment didn’t make the final cut.
3. What was the process of making the video?
This was honestly one of the most fun and relaxed shoots I’ve ever done. We met at Lorien Sound, and Jack set up a click track for Luke so we could stay locked in with the master. Then we ran the song thirteen times – two close-up takes for each band member, and three full-room passes to capture the in-between moments and the group dynamic.
The goal wasn’t perfection – it was connection. We weren’t trying to make a slick, overly produced performance video – but that said, what Jack delivered is the most polished of the four videos I’ve made to support the singles from This Place.
We wanted to show what it actually feels like to rehearse this song: sweaty, joyful, slightly chaotic, and deeply connected.
Like a flower rising through the ashes of a burnt forest, Montreal’s Dylan De Braga‘s debut single, “Hold The Door,” blooms from devastation into something achingly beautiful. Written in the aftermath of a painful, heart-shattering breakup, the folk-infused track captures raw emotion with a tender, unguarded honesty.
Unable to even touch his guitar for nearly two months following the breakup, De Braga eventually found the courage to sit with his pain and within minutes of picking up his guitar again, “Hold The Door” emerged. “Without this song I wouldn’t be where I am, and I certainly wouldn’t be who I am,” says De Braga. “It will always hold a special place in my heart.”
Pairing confessional lyrics with a soaring, powerful vocal performance, “Hold The Door” transforms personal grief into a universal meditation on loss, healing, and resilience. The result is a song that feels both deeply intimate and widely relatable, inviting listeners to find their own reflections within its stirring lines.
1. Tell us the story of this performance, why did you choose to capture this song specifically? I chose to record hold the door specifically because of all the songs I’ve written, it has done more for me than all of the others combined. Before I wrote this song, I was lost, heart shattered and completely empty. I didn’t even touch an instrument or sing for a good 2 months. The first day back I picked up my guitar, and this song basically wrote itself out of thin air. Later I decoded the meaning and realized it was an homage to the very girl who broke me 2 months prior. Since writing the song my life has changed in so many magical ways and it has (no pun intended) opened doors for me that would have been locked without it. Doing an acoustic live demonstration of the song as it was written only felt fitting before releasing the real song.
2.What were you feeling inspired by the day of this performance? On the day of the performance I was thankfully able to tap into some of the raw energy and emotion that the song was written from. Even 2 years after the event in my life which led to Hold The Door, the pain and damage is still very easy to access through a time portal of music.
3.What was the process of making this video?Creating this video was a deeply immersive and emotional experience. I had the privilege of working with two incredibly gifted videographers who brought not only technical brilliance but also a profound sensitivity to the process. They transformed what began as a chaotic, nondescript studio into something that felt sacred, a space filled with warmth, intimacy, and a quiet kind of magic. That environment allowed me to connect with the emotional core of the song in a way I hadn’t anticipated. It felt less like performing and more like surrendering, letting the music and the visuals guide me to a place that was raw and honest. I truly believe that energy is captured in every frame of the final piece.
Following the soul-stirring release of “Crazyglue and Skeletons,” The Bapti$$, the boundary-pushing musical rebirth of multi-instrumentalist Joseph LaPlante, returns with “My Father’s Sins,” a raw, introspective new single taken from his just-announced debut album, Pop Cult(ure), out September 26th.
Anchored in aching guitar and a deep 808 heartbeat, “My Father’s Sins” is a confessional offering that digs deep into the scars of lineage, masculine silence, and the fight for spiritual freedom.
“I wholeheartedly believe in Generational Curses and contracts made with the Spirit World,” LaPlante reveals. “I took it on myself to break my family tree free of those shackles that have caused so much pain in my blood line.”
1. Tell us the story of this song, why did you choose to visualize this song specifically?
I come from a long line of hardened individuals who have grown to love the life of sin they inherited. That didn’t sit right with me, so I chose to use my Art to shed light on the topic and break generational curses with my music.
2.What was the inspiration behind this video (visuals, storyline, etc.)?
It tells a story that too many are familiar with, Lust, Addictions, Violence and the battle we have with ourselves between light and dark.
3.What was the process of making this video?
A lot of people are using AI but myself and Dark Shawn when we team up we want to do it a tasteful way. We have a good balance of old style film and AI generated story telling.
Modern Mystery 
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