Pete Calandra’s latest release Night Mist is an album that doesn’t shout to be heard. It simply waits, patiently to be felt.
This eleven track collection is steeped in quietude, unfolding with the elegance of falling dusk and the emotional gravity of late-night introspection.
As both a skilled pianist and prolific composer across Broadway, film and television, Calandra brings a rare blend of technical finesse and emotional restraint to this work. It’s one that feels like a much needed breather in an overstimulated world.
Listen here:
The pieces on Night Mist are deceptively simple. On the surface, they present as minimal piano compositions touched by ambient textures and occasional soft orchestrations. But underneath that lies an exquisite sense of pacing and purpose. Tracks like “Whispers of the Dawn” and “The Heart of Mount Seleya” operate like emotional landscapes: sparse yet vivid, introspective yet expansive. And it is Calandra’s restraint, the space between notes, that becomes its own kind of melody.
What makes this album resonate so strongly is its consistency in tone without ever becoming over repetitive.
Each track brings a new shade of the same emotional spectrum. “Peaceful Valley” introduces cinematic string beds that evoke a pastoral calm, while “Autumn Nights” leans into the warmth of a felted piano to conjure a deeply intimate sense of place.
The ambient title track, “Night Mist” blends light electronics with improvisational phrasing, perfectly capturing the album’s thesis — serenity in the unknown.
Though best known to some for his work behind the scenes, including more than 100 film scores and music for global events like the FIFA World Cup and Kennedy Center Honors, Pete Calandra’s voice as a solo artist has become increasingly distinct over the last decade.
Night Mist builds on the aesthetic developed in ambient-forward albums like First Light and Carpe Noctem, but it lands with much more maturity and emotional clarity.
In an era defined by speed, distraction and technology burnout, Night Mist feels like a defiant gesture — an insistence on presence, on listening slowly, on valuing space.
It’s not just a collection of music, but also a gentle journey inward.
Rooted in Southern soul and shaped by years of touring, collaborating and creating from the heart, Molly Thomas has carved a distinct path as a songwriter, musician and storyteller.
With a voice that carries both grit and grace, Molly’s music brings together an authentic honesty and depth – qualities that shine through in her latest single “Even The Strong” and self-made video.
Following a transformative season of healing and reflection, Thomas brings us a visual companion to a song that speaks to resilience, vulnerability and the quiet strength it takes to lean on others when life demands more than we can carry alone.
In this Exclusive Interview, we talk with Molly about the story behind the song, the creative process behind the video, and how a spontaneous trip to Spain – and a crash course in video editing – helped bring it all to life!
1. Tell us the story of this song, why did you choose to visualize this song specifically in this way?
This song is about the idea that even in strength, we all need someone to lean on. Old habits can creep back in, but finding grace, truth and sometimes a shoulder to lean on can help one rise above. I decided to visualize the song in black and white because I wasn’t sure how to allude to the overall feeling any other way. I found a way to add color and added it at the pinnacle moment of the song to heighten the level of visuals to match the song.
2. What was the inspiration behind this new video (visuals, storyline, etc.)?
The song was written in the summer of 2023, just before my car accident.
Ironically, the test of strength was thrown my way and the message of resilience and hope proved to be just what I needed to get through it. A little over a year after the car accident, my husband and I took a celebratory trip from time healing and we went to Spain.
We were both inspired and took lots of video footage in hope to create a video at some point. I wasn’t sure which song the footage would be for, but it presented itself when I started. This song is the first single, to be released May 16, 2025. The footage that we gathered seemed to tell the story I was looking for and so I just went for it.
3. What was the process of making the video?
The process was a bit tedious, considering I was/am fresh at learning Premiere Pro.
In fact, I just got it 3 days ago and have SO much to learn. I initially created the video in imovie. I sent it to my friend, who is a professional filmmaker, and she set me straight, in a loving manner. It took me 2 days to make it once I sat down and loaded all of the footage into my project. I guess because I have experience in imovie and also Pro-tools, the learning curve came a little bit easier.
Thanks to Youtube University (HA), all of my questions were answered as I went along. I’m sure I could have kept going with perfecting it, but decided to let it go, especially because there is a deadline. Also, the realization that I’m a musician just trying to get my song out to the world. I am not a professional videographer. It’s similar to producing and recording a song. At some point along the way, there comes a time when nothing more can be done with the tools at hand, and you have to let it fly.
In a world overwhelmed by environmental catastrophe, humanitarian crises and collective heartbreak, Madame Z emerges with a brand new single that’s as musically gripping as it is emotionally necessary.
Called “Save the World,” the single was released intentionally on Earth Day, 20th April, and it’s a powerful, aching anthem that channels personal grief into a global plea for unity, compassion and action.
Listen here:
It opens with a haunting and sparse arrangement that immediately places the listener in a contemplative space.
There’s a steady, pulsing undercurrent, like a a heartbeat, that anchors the track from the start, a subtle metaphor for the planet’s own fragile rhythm. Madame Z’s voice enters with clarity and conviction, rich with emotional texture. And it’s the vocals that elevate everything – a soulful delivery, blending vulnerability and strength into each line. This is not performative pain, but a lived experience transformed into melody.
Written during a time of profound personal overwhelm, the song grapples with the heavy realities of genocide, war, famine, ecological collapse and the slow poisoning of the earth’s most basic life sources: air, water and soil.
But rather than becoming mired in despair, Madame Z creates something rare. It’s a protest song that is simultaneously a mantra for survival. “Save the World” is steeped in sorrow, yes, but it is also a vessel for change.
The song strikes a good balance between introspection and uplift – its layered instrumentation with guitar, atmospheric keys and percussion has a tribal feel and builds gradually, creating a sense of momentum. By the time the chorus fully blooms, the listener is immersed.
But “Save the World” is not just a general statement. It is also intimate. Madame Z is able to make something deeply political feel personal. It’s as if you are listening in on a whispered conversation between her and the earth, or between her and her own soul.
For those who know Madame Z’s earlier work, particularly her debut album ”Down the Rabbit Hole”, this track continues her signature style – unflinching emotional honesty, poetic lyrics and a commitment to turning lived experience into a form of healing.
Her background as a fierce advocate for women’s stories, especially through deeply personal tracks like “Unwanted”, is present here as well reminding us that caring for the earth and caring for each other are deeply connected acts.
In an intense political and cultural moment filled, “Save the World” is a song that cuts through the noise.
In the quiet chaos of 3am when bars have emptied, streets glisten with after-rain shimmer and the city feels like it’s catching its breath, MASSEY drops a groove that captures the electricity of that fleeting in-between hour.
“3:00 AM FUNK” isn’t just a vibe. It’s a fully formed nocturnal world built from rhythm, introspection and soul.
Listen in here:
It all opens with a steady, low-slung pulse courtesy of Charlie Wooton’s bass and Doug Belote’s hypnotic drums. Together they work to create the heartbeat of the song, which is measured, magnetic and endlessly listenable. This is a groove that knows how to hold space without rushing forwards. It invites you in and makes you stay.
Guitarists Peter Oravetz and Daniel Groover add fire and texture — dueling one moment and swirling the next — creating a mood that shifts between a swagger and a dream. Their use of reversed guitar loops gives “3:00AM Funk” a psychedelic hint. The 504 Horns (Jason Parfait on saxes and Ian Smith on trumpet and trombone) burst into the mix with brass lines that flash like headlights. All bold, stylish and unmistakably alive.
But “3:00AM Funk” doesn’t just skim the surface of party scene; it digs deeper. MASSEY sings about late night wandering, social saturation and emotional absence. Of longing for something genuine in a world built on performance. And yet, the song is not cynical in any way. It does hold space for beauty too. For those fleeting moments of eye contact, laughter or vulnerability that pierces the surface.
The accompanying music video, which was shot on the vibrant pulsing streets of Denver, matches the song’s mood perfectly – part fever dream, part soul search:
With “3:00 AM Funk,” MASSEY gives the listener a soundtrack for dancing and for feeling. For when the party fades and the questions echo louder.
On her latest single “Someone to Call,” Austin-based singer songwriter Roxana Labatt delivers an achingly beautiful ballad that speaks directly to the heart of human loneliness.
Produced, mixed and mastered by Kfir Gov at Evil Snail Studios, the track pairs intimate, soaring vocals with polished modern pop production.
Drawing from a deeply personal place, “Someone to Call” captures the sharp ache of realizing you have no one to lean on during life’s most pivotal moments. When you look down at your emergency contacts, and realise nobody is there to call on except yourself.
Inspired in part by a moment in Taylor Swift’s Miss Americana documentary and a memory from her own life – waiting alone at a doctor’s office after a frightening diagnosis – Roxana transforms these painful experiences into a universal song for anyone who has ever felt isolated at a time they most needed connection.
The song opens with a gentle, melancholic atmosphere that allows Roxana’s voice to take center stage. The vocal performance is stunning. Rich with emotion but never overdone, carrying a natural weight that makes every lyric feel lived-in. As the track builds, layers of harmonies and instrumental textures swell around her voice, amplifying the emotional stakes without ever drowning the vulnerability that defines the core of the song.
With the lyrics, Roxana exhibits many of the same strengths that have earned her acclaim since her debut in 2020 – vivid storytelling, visceral emotion and a strong ability to articulate complex feelings with clarity. Every word in “Someone to Call” feels purposeful. And it is very much the product of Roxana’s background not just in music, but also in years of expository and creative writing.
“I was inspired to write a song about that feeling. I think it is often during our highest highs and our lowest lows that we feel that lack of someone to call most acutely (that’s the idea underlying the chorus lyric in my song “shouldn’t there be someone to call . . . to cheer me on whenever things got good, and when I thought they never would”). The themes reflected in “Someone To Call” – of feeling alienated/isolated from other people and of being in a lot of pain on the inside when things maybe look pretty great from the outside – recur in a lot of my songs.
As for the production of the track, I had for some time been wanting to produce songs with a more commercial pop sound, without losing the emphasis on lyrical content and dramatic musical moments that are characteristic of my songs. When I wrote this track, I immediately had the feeling that, out of all of the songs that I’d written up to that point, it was the one that had the most potential to achieve that goal. So, I hired a Producer in Austin who I had read had experience in that type of pop production (Kfir Gov at Evil Snails Studio) and we produced this track. Songs I especially looked to for inspiration in deciding how to approach the production of this track were P!nk’s “Turbulence” and “A Million Dreams” and Céline Dion’s “Ashes.”
And while the subject matter of the song is heavy, there is a thread of resilience that runs throughout. By confronting lonliness head on, Roxana ultimately offers listeners a quiet hope, a reminder that feeling isolated doesn’t mean you are truly alone. Also, that the ache for connection is something that binds us all.
“Someone to Call” does showcase a more modern pop sensibility for Roxana , while still staying true to her indie roots. The balance of programmed elements with live instrumentation, especially the clever interplay of rhythmic tectures, creates an expansive backdrop for the emotional narrative to unfold.
With this latest release, Roxana Labatt continues to establish herself as a distinctive voice in indie-pop storytelling. She is not afraid to dig deep, expose the raw places and remind us that even in our loneliest momentswe are seen and heard.
Her next chapter includes new music set for 2025, but for now, “Someone to Call” stands as one of her most moving releases to date.
Reeya Banerjee’s new single “Misery of Place” isn’t just a standout moment on her upcoming album “This Place”. This is the album’s emotional thesis, wrapped up in crunchy guitars, sharp lyrics and a healthy dose of self-aware swagger.
Inspired by a haunting question that first surfaced in her teenage years – “Are you experiencing misery of place, or profound, lifelong misery of self?” — the song digs into the complex relationship between geography and identity, asking how much of our discontent is rooted in where we are. And, how much in who we are.
To bring those layered themes to life visually, Banerjee teamed up with longtime friend and visual literacy expert Kelly Kingman-Joslyn, whose work translates complex ideas into striking hand-drawn images.
The result is a music video that’s anything but traditional. It is more of a moving sketchbook full of flickering memories, half-thoughts, bold colors and scribbled commentary. It’s part animation, part stream-of-consciousness and entirely unique.
In this exclusive interview, Banerjee explores the origins of Misery of Place, the question that’s haunted her for over 20 years, and the deeply personal (and creatively rich) process of making the video with Kingman-Joslyn.
1. Tell us the story of this song, Why did you choose to visualize this song specifically in this way?
“Misery of Place” is essentially the thesis statement of my upcoming record, “This Place” — a collection of songs exploring how the places we live leave emotional imprints on us.
The song was inspired by a question that’s been rattling around in my brain since high school — over 20 years ago(!): “Are you experiencing misery of place, or profound, lifelong misery of self?”
It came from a teacher, passed along through a friend, and at the time, I was furious. I was 17, and it felt cruel and unhelpful — like, what kind of teacher says something that brutal to a kid still figuring out who they are?
And yet… the question stuck. Through every move and transition in my life, I kept coming back to it. It shaped how I think about identity, belonging, and change — how much of what we feel is about where we are, and how much is about who we are.
This song wrestles with that tension — between geography (physical and existential) and self — and it does it with crunchy guitars, narrative lyrics that nod to Bruce Springsteen’s character-driven storytelling (with a smirk), and the sonic swagger of the 90s power pop I grew up on. It felt right to kick off the album cycle with this one, because it asks the question the rest of the record is trying to answer.
2. What was the inspiration behind this new video (visuals, storyline, etc.)?
I didn’t want a traditional narrative video for this song — the song itself is full of characters, but it’s also packed with doubt, cheek, and internal monologue. So I teamed up with my dear friend Kelly Kingman-Joslyn, a visual literacy expert whose job is literally to transform spoken ideas into powerful, hand-drawn visuals. She works with keynote speakers at corporate events, sketching huge live illustrations on whiteboards or easel pads to help visual learners absorb complex ideas — and she also creates animation videos for clients like Goldman Sachs.
That combination of clarity, creativity, and abstraction made her the perfect person to bring Misery of Place to life. I wanted the video to feel like flipping through someone’s subconscious — a swirl of memory, sarcasm, self-doubt, and scribbled footnotes.
Instead of telling a linear story, the video leans into abstraction: sketchbook textures, bursts of color, and hand-written text that echo the psychological layers of the song. It’s part inner monologue, part visual essay — and it adds a new dimension to the song’s central question.
3. What was the process of making the video?
The video was a true collaboration, but also an act of deep trust. I gave Kelly the track and a brain dump of what the song meant to me — a mix of stories, reflections, and the emotional weight behind the lyrics. Then I stepped back.
I trusted her completely to take all of that and filter it through her own artistic lens. Her ability to translate words and feeling into image is extraordinary, and I knew the best thing I could do was give her the space to do what she does best.
There was also something quietly full-circle about working with Kelly. She’s married to one of my closest friends — we met freshman year of college, and after graduation, we were roommates for nearly a decade. He moved out when he married her! So asking Kelly to make this video kind of felt like calling on family. That trust wasn’t just creative — it was personal.
Kelly is based in Beacon, NY — a small city in the Hudson Valley with an enormous artist community. It’s a place filled with visual artists, filmmakers, photographers, writers, and musicians, many of whom I’ve crossed paths with over the years. I lived there for a long time, and it was one of the most creatively rich chapters of my life. So in a way, this video wasn’t just a collaboration between two artists — it was a product of a larger creative ecosystem I was once part of.
A community-rooted project in every sense. We didn’t storyboard it traditionally. Instead, Kelly treated it like a live sketchbook in motion, responding to the song’s tone and energy in real time. What she created was a moving mural — quirky, emotional, and raw — that mirrors the rhythm and spirit of the song itself.
Keep up to date with Reeya Banerjee on her Website.
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