George Collins’ New Single Takes on Lost Opportunities

George Collins is no stranger to the music industry. Back in his younger years, before committing to the world of high finance, he played in local restaurants and bars in Charlottesville to pay his way through school. He even became a local staple. He also played in an eleven-piece Earth, Wind & Fire-esque band called Common Knowledge which included Carter Beauford and the late LeRoi Moore.  Beauford  and Moore later became founding members of The Dave Matthews Band. “While backstage with Carter and Dave during their most recent concert in Prague in 2019, I joked that I was in The Dave Matthews Band even before Dave Matthews,” Collins says with a good-natured laugh.  “They both burst out laughing, and Dave clicked his beer bottle to mine and said, ‘If anyone ever asks me about that, I will back you up one hundred percent!’” 

George is back and better than ever with his upcoming solo EP, It’s Been a Long Time. He just released the pop rock title song “It’s Been a Long Time.” It has a Tom Petty meets U2 in sound and energy with a hint of Fleetwood Mac. In “It’s Been a Long Time,” George showcases his songwriting with lyrics that spew emotion. It’s about a lost love and missed opportunities. It can be taken literally and metaphorically, the sign of a great songwriter.

He sings “Never knew love before, never met no one like you/And I’m always gonna wonder what might have been/World spinning circles now, but there’s one thing I know/It’s gonna be a long, long time till I love that way again.” It can connect with any listener and that’s what makes George Collins’ music so special.

His songs feature instantly hummable melodies; subtle but smart counterpoint; clever chord sequences; ace musicianship; and vocals that ooze soulful rock n’ roll longing.  As a lyricist, Collins is a poet, a sage, a storyteller, and an empath.  He covers the full-spectrum of emotions and the human experience, and he writes with cinematic detail, visceral vulnerability, and clever turns of phrase. 

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Dream Pop and Electro Pop Artist Chris Baluyut Premieres his New Single “Come Back to the World”

Chris Baluyut, the New York electro-pop and dream pop artist, grew up surrounded by a musical family. His father, uncle, and godmother are in Versus, and another of his uncles started the indie-rock/math-rock band +/- {Plus/Minus}. “They were hip,” he affirms. “My parents had me when they were young. I remember the three B’s, Björk, Beck, and Built to Spill being played all the time in my house growing up.” From elementary school through high school, family members would bring Chris to gigs all around NYC. At 14, inspired by the classic rock and indie rock playing in his house, Chris started playing guitar, and eventually played a show with Versus when he was still in high school. 

Today, Chris brings us the second release in his single series, “Come Back to the World.” The production here is both lush and lean, consisting of a gently unfolding melodic guitar motif, airy vocals, sparse rhythm guitars, electro ambience, and a hypnotic beat to tie it all together. All of these intentionally intertwining themes bring us a dark, yet hopeful resonance. 

“Come Back to the World” has an electro-pop sensibility to it while also pulling in elements of dream pop, lo-fi, and downtempo. It’s emotionally raw and reveals Chris’s vulnerability in his songwriting. The song drips with feelings of regret and guilt for not helping someone you love. But there’s an air of hope and thoughtfulness behind that facade, that one day, you will get another chance to be there for someone else.

Chris’s music has evolved from folk into an exploring and experimenting with atmospheric soundscapes that are grounded by rhythmic pulses. His carefully-curated aesthetic spans dream-pop, electro-pop, post-rock, and folktronica. His latest songs are more impressionistic, conjuring landscapes, and visual representations of emotions.

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We Love Being Struck by “Lightning” from The Impliers

Dan Hartman and Charles Ingram began making music together at age 15 united by a bold desire to explore the outer limits of alternately tuned guitars. The pair had an immediate intuitive connection, and hunkered down in a storage shed to home in on its avant-garde aesthetic. They emerged as Phantom Zell, a weird indie-punk band that specialized in curious guitar tunings and abstract and abrasive musicality. “We played punk shows, but we were the only band in the scene that broke the punk rules by not playing that typically fast and aggressive sound,” says Charles. By age 17, Dan and Charles’s songs were earning placements on compilations alongside diversely popular acts such as Of Montreal, Fugazi, Jawbreaker, Dillinger Escape Plan, and Converge. 

Eventually, the band drifted apart, the scene changed, and Dan and Charles began to also go their separate ways. Though not actively creating together, the guys set out on parallel artistic paths finding inspiration in the synergy with films and soundtracks. And there were other uncanny connections. Over the years, they were bonded by unique correlating circumstances, including near death experiences such as near fatal car accidents, dying in a house fire, being struck by lightning, and escaping armed robberies. 

“I had a 10-year relationship end, and, out of the blue, after a few years of not being in touch, Charles called me and said his marriage had ended at the same time,” Dan recalls. “At the time, I had completely stopped playing and creating music.”

The eerily similar life circumstances, the guys’ parallel creative paths, and the telepathic musicality they once shared made a powerful case to continue the musical dialogue. Inevitably, Dan envisioned a cohesive project and sent Charles that fateful text to start the impliers. 

They just released their 3rd single, “Lightning,” which features their iconic experimental music with atonal sensibilities and playful nature. Their vocals provide a Beach Boys harmonic quality to it while their music provides a David Bowie meets Pink Floyd sound.

“Lightning” is chaotic in nature, with an ever changing tempo and a melody that’s just out of grasp. The music shares a story of the chaotic mind. They share yet another story with this song as they both were diagnosed with Bipolar Disorder. The song is a beautiful reflection of that experience through their atonal music and gripping lyrics. “While ‘Lightning’ constantly shape-shifts in mood and genre, it has its roots in a part of a song Charles made in 2005,” shares Dan. “While writing the concept for our upcoming record ‘cocoon,’ the lyric from that old riff came to mind and surprisingly; the entire idea for the rest of the song came as if it was always there. In about an hour, the bones of the song were written and recorded (the verses recorded that day are in the final version). By sending recordings back and forth, we traded disarming forks in the creative road, sending the song down a meandering but distinct path and arriving at the final version in the following weeks.”

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John Greska’s “Mamma Maybe” is an Intricate Story Inspired through History

John Greska has been intrigued by music since the second grade when he, like so many others, started playing piano. Since then, music has been a constant, from playing in the school bands to experimenting with Musecore. The young artist has never stopped chasing his dream of being a singer/songwriter and his latest single, “Mamma Maybe,” proves he’s got what it takes.

“Mamma Maybe” is an alternative folk and folktronica song that goes through a story of a fictional mother and son. He was inspired by the recent events in world history, at least since World War two. He became interested in Japanese history when he started learning the language and he realized that he doesn’t know anything about their history outside of the American point of view during the war. He thought about the people that grew up during that time and thought about what they would think about the world as it is today.

He takes the theme of change and allows us to grasp it. He recognizes and acknowledges that change is the key to becoming better humans, so that we don’t repeat history. As time goes on, ideas evolve with it and that can sometimes be hard for people to accept.

“The writing process was surprisingly difficult,” shares John. “Taking out the fact that I was trying to write about something extremely intricate and not really song-like, the actual music was super tricky. There were certain parts that had to sound happy and certain parts that had to sound ominous and the ending was rewritten three times. The ending of the song was the hardest part to find, because how do you end a story like this?”

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Watch the video for “Mamma Maybe” here:

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‘Thoughts and Prayers’ is The Chad Sipes Stereo’s Most Powerful Album Yet

The Chad Sipes Stereo have dropped their new album “Thoughts and Prayers”, which has been described as “alternative rock with grunge hooks, tired hands and dirty looks.” 

Pittsburgh Pennsylvania based, this four man group have been together since 2010. This new album was written and recorded between 2019 and 2021, with significant delays in the recording dates and rehearsals largely due to the Covid pandemic. Availability of the band also factored in for their final 2022 release. 

The album is a collection of songs that has a definite grunge rock vibe, an album which lead singer Chad says will ¨resonate not only for thematic material, but for the impossibly catchy hooks. It is the album I´ve always wanted to make, and I´d really like for it to be heard.” 

The opening track “Every Single Kid” is a good example of the band´s grunge rock style, with ethereal backdrop sounds and synths. The songs “New Prescription” and “Therapy” have a more catchy melody and chorus, with a sound similar to R.E.M and Weezer. 

Songs like “Relapse” has a darker side and “Pill for That” shows their more fun side, with a brighter sound similar to Green Day. Overall, there is a mysterious element to this band. 

About the Album, The Chad Sipes Stereo say: 

“Thoughts and Prayers is about America’s relationship with pills. There is a storyline that weaves through the album, loosely focusing on one character. It was very important to me as I wrote this album that I didn’t come off as preachy or judgmental. My core message is, no matter who you are or what your background is, we are all going to end up on pills at some time in our life. But there is a hard truth. There are doctors, insurance companies, and CEOs out there that have so much skin in the game, and I wanted to address that side of it too.”

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Stay current with The Chad Sipes Audio on their website and social media channels, Facebook and Instagram. 

Stream music on Spotify and Soundcloud

Natalie Fideler and Her Trio Release the Bluesy Rock Single “Three Man Army”

Natalie Fideler is the front-person of her self-titled power trio currently based in Minneapolis, MN. Having performed in several different ensembles over the years, the release of her debut album “Steak & Eggs” marks the beginning of her solo career. Her band consists of herself as the songwriter on guitar, keyboards, and lead vocals, Hailey Jacobsen on bass, and Leigh Underwood on drums.

The trio just released their newest single, “Three Man Army,” the title track of their next album of the same name. While their previous single, “Judas,” had more of an alternative rock sound and contemplated the Christian Religion and what that means to Natalie, “Three Man Army” is more fun. The song has a funk and blues element to it and is carried by Natalie’s vocals which are beautiful and passionate, giving off a softer Demi Lovato or a Hayley Williams vibe. 

“Three Man Army” utilizes the trumpet, giving the melody a catchy sound that makes you want to get up and dance. The song is the first one Natalie had ever written, way back when she was 14 years old. It’s Natalie speaking to a dear friend she had just had a falling out with (and herself in a symbolic way) trying to figure out who she is and who she wants to be. She sings “There’s plenty of people out there just like me/messed up, broken, incomplete,” giving a sense of empowerment and inner conflict.

“I eventually retired the song when I was in college thinking it ‘sounded too young’ and I was sick of it,” shares Natalie. “But one day many years later, I was doing a pandemic livestream concert from my living room and my fiance/drummer Leigh heard me play the song for the first time. Once I had finished the tune she said to me (verbatim because the stream is archived), ‘Question. Is there a reason that we’re not playing that one full band?! What’s wrong with you?! It’s a great song, it’s funky. Why aren’t we doing it full band?!’ I thankfully decided to bring the song back.” 

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