Behind the name and the music is Canadian singer-songwriter Dany Horovitz, known for his ability to captivate audiences with memorable melodies and vivid storytelling. Dany’s newest project, Way About You, collects his singles to date, including the album’s title track “Way About You” – a vibrant, banjo-infused pop song showcasing his evolution as an artist.
Produced around an infectious riff reminiscent of Avicii’s “Wake Me Up,” “Way About You” hooks listeners from the start with its joyful banjo, catchy melody, and beautiful harmonies at the chorus. The song began as a casual “throwaway” piece but soon became a standout track thanks to the fresh ears of Dany’s producer, Calvin Hartwick. After a college engineering session where the track was played live, Calvin insisted it had to be recorded and brought in composer Matthew O’Halloran as a co-producer. Now, it’s one of Dany’s favorite songs.
Collaborators on “Way About You” include Sean Royle, a celebrated Toronto studio musician and arranger, and Eric Vanier, whose stellar drumming brought energy to the track. The banjo, played by Sean Royle, added a unique and irresistible layer that completed the song’s sound.
I consider myself a storyteller first and foremost, and in this song, I explore the mysterious “Way About You” through endless, cosmic metaphors. From the first note, this track puts a smile on my face, and I hope it does the same for listeners. – Dany Horovitz
“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.
“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.”
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.
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!
Modern Mystery 
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