Love at first sight. It’s the kind of magic we read about, dream about and sometimes, if we are lucky, experience for ourselves.
For Siren frontman Rob Phillips, that moment wasn’t just a fleeting feeling. It was the spark that ignited their latest single, “Arrow”.
A blend of melodic rock, progressive influences, and Middle America roots, “Arrow” captures the intensity of an instant connection. The kind that defies logic and begs the question: Could this be the one?
With a music video directed by Isaac Deitz (Manchester Orchestra, Grouplove, Switchfoot), the visual storytelling mirrors Phillips’s own love story about two people unknowingly crossing paths until fate finally brings them together.
The video’s unique paper airplane concept ties their connection together making for an unforgettable ending.
We got the chance to sit down with Rob Phillips and find out more about the inspiration behind “Arrow”, the personal love story that shaped it, and what it was like bringing that moment to life through music and film.
From the real-life first meeting with his wife, this is a song and story filled with emotion, fate and rock and roll magic.
Tell us the story of this song, why did you choose to visualize this song specifically in this way?
“Arrow” is first and foremost a love story. I wrote the song about meeting my wife to be. I think that it is ironic that we both lived and worked in the same town only a few steps away from each other and never met. A friend of mine recommended this high end restaurant that had a rock band playing that night so I walked down there to see the band.
When I arrived, I was greeted by the hostess for seating and there was this beautiful woman with brown eyes. She gave me a smile and that was our beginning. We both felt the same instant attraction.
It was like finding a needle in a haystack. We are very blessed to have found love. The video shows the couple passing each other every day and never meeting until the end.
What was the inspiration behind this new video (visuals, storyline, etc.)?
We used the lyrics in the song for the storyline. Isaac Dietz is the Video Producer and he had a vision for the song. He approached me with the paper airplane concept and I thought it was a great idea. We were able to tie in the couples chance meeting with the message in the paper airplane when they meet on the bridge and embrace. A nice bow on the top at the end.
What was the process of making the video?
Isaac filmed the actors in Georgia and the band was not involved with that process.
The band’s performance was filmed in Florida at a local bar called JD’s in Coral Springs. My wife’s father was there for the filming and he is 100 years old and a WW2 Veteran.
It was such an honor to have him there with us. Everyone wanted to get pictures of him. He is a true rock star and as a family we will always cherish these moments.
From the roar of the football pitch to the soul-stirring acoustics of Abbey Road, Gavin Holligan’s journey has been anything but ordinary.
Once a rising star in the world of professional football, he made the bold leap into music, carving out a career that has seen him work with legends like Stevie Wonder, Gloria Gaynor, and Duffy.
But beyond the session gigs and high-profile collaborations, Gavin’s true creativity lies in his ability to create deeply personal, timeless music. Songs that stir you on a deep leve.
His latest release “Just Passing Through“is no exception. Inspired by the fear of losing a close friend to cancer, the song captures the raw emotion of grief, love and the fleeting nature of life.
Recorded live at the now iconic Abbey Road Studios, this track strips everything back to its very essence – pure, unfiltered storytelling through music. In this interview, Gavin shares the deeply personal journey behind the song, the magic of recording, and what it means to create something timeless.
1. Tell us the story of this song, why did you choose to visualize this song specifically inthis way?
The song was inspired by the pending thought of losing a close friend and colleague who was diagnosed with cancer a few years ago. Fortunately he has made a full recovery, but the whole experience hit me deeply, and made me consider that we are all facing the inevitability of our departure from this life, or at some point likely to lose someone that we love and appreciate dearly.
Less than a year after writing the song, I was invited by a record label to record a couple of my original songs, live at Abbey Road, and I thought it would be the right time to express this piece, and do it in the most honest and meaningful way, especially after having lost a good friend and colleague of mine, (a separate incident to my other friend, also to a brutal bout of cancer).
My next challenge became figuring out who would be able to assist me musically, but I was fortunate to have the good pleasure of being accompanied by some of the best musicians I know! I and the core musical line up, met for a meet and greet – the day before to play through the song and feel our way through the structure, and make sure we were all on ‘the same page’. And then we did one final run through in the morning of the shoot – before the trip to Abbey road, where we met the String players for a final top and tail on set.
2. What was the inspiration behind this new video (visuals, storyline, etc.)?
So much of my time is spent carefully crafting music/records (for myself and others), with the use of software, samples, and machines! . Whilst this is an amazing and enjoyable process (for the most part) there is something magical about capturing a live take of a song, in one take, with humans in the room. The video is literally a documentation of that exact moment, when we all found a way to connect with the song, and each other, and do it seamlessly! It was all about maintaining the integrity of the sentiment of the arrangement and the lyrics, by bringing a level of simplicity and honesty to the performance, which I believe can be very hard to do, but I feel that we did thankfully!
3. What was the process of making the video?
There was an enormous amount of pressure, as we only had around 45 mins to get in and set up, do a quick sound check, and execute the song! Most of the magic of the video is in witnessing the beauty of the music/arrangement, the lyrics, and of course, the honesty caught on camera. There was literally no way of preparing for that moment, other than being ‘fully present’, and of course knowing how to deliver in your chosen craft (performers and crew).
There was a camera team set up and an audio team already assembled to capture the moment, and we literally had time enough to record 3 takes of the track.
We then decided on which take was the best take, and I believe it was take three that we chose as the best take!
Even the camera edit was done live, so all in all, a very efficient process and an incredible outcome considering all the variables!
I am really pleased the world can enjoy this art in such an authentic way.
“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.
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.
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.
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