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.
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.
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.
Andrew Stonehome’s brand new single release “Then You Fly” is a deeply personal and beautiful journey into the artist’s heart.
As a letter to his inner child, the song captures the fragility and strength that comes with confronting buried vulnerabilities. From the opening notes through to the soaring gospel choir finale, this track is certainly a moment of reckoning and redemption.
Listen to “Then You Fly” here:
The refrain, “I’m coming home,” is as much a mantra as it is a melody. Sung with understated yet powerful emotion, it invites the listener to reflect on their own moments of self-discovery. The gospel-inspired finale, featuring 50 individually recorded vocal parts, creates a wonderful euphoric crescendo that feels almost like a spiritual release.
About the song, Stonehome says:
“Every word in this song is a reflection of my heart and has a direct connection to what I’m experiencing in my life at this moment. This song is the one that I feel more connected to personally than any other song I’ve written. If people asked me to give one example of music that I’ve created, this is the song that I would share.
Writing this song was part of an emotional journey for me, forcing me to confront and express some of my deepest fears and challenges in their rawest form. The process of facing these personal struggles has been the driving force behind the creation, recording, and release of this song. When I recorded the vocals, the line “I’m coming home” instinctively felt like the perfect refrain to repeat at the end of the song. At the time, I couldn’t fully explain why those words resonated so deeply, but later, it all clicked.
I was listening to someone speak about self-compassion, and they described the act of finding peace with ourselves—of embracing our vulnerable, inner child—as “coming home.” In that moment, it all fell into place. Suddenly, the refrain became more than just a line in a song; it encapsulated the essence of everything the track was about.“
Production-wise, Then You Fly is both polished and organic. The drums, recorded at Vinegar Hill Studios in Brooklyn with Reed Black engineering, provide a really steady heartbeat while the other parts – crafted in Stonehome’s century-old home studio – brings warmth and intimacy. Every layer feels intentional, every note purposeful.
Stonehome’s acoustic version strips away the lush instrumentation, laying bare the raw emotion of the song. Featuring an evocative string arrangement by Pablo Hopenhayn and eSession Strings, the acoustic rendition is nothing short of breathtaking. The strings also add a cinematic quality, enhancing the song’s poignant narrative without overshadowing its simplicity.
Then You Fly solidifies Andrew Stonehome as an artist unafraid to wear his heart on his sleeve. It’s a song that tells its story, but also creates a space for listeners to feel seen and understood.
About Andrew Stonehome
Andrew Stonehome (Norwegian name “Stenehjem”) is a songwriter, singer, and multi-instrumentalist whose roots in North Dakota and current base in Beaverton, Oregon, inspire his music.
A few years ago, Andrew realized he was on a path that felt unhealthy and unfulfilling. Determined to change, he embarked on a journey of self-discovery by identifying his core values and reigniting his passion for music, which he had suppressed while adapting to adult life.
This creative rebirth has become the foundation of his music, reflecting his personal growth and dedication to authenticity.
Blending retro, catchy pop/rock with a variety of influences, Andrew’s sound captures the nostalgia of classic eras while staying fresh and relatable.
A true multi-instrumentalist, Andrew plays guitar, drums, bass, and piano, and often records and produces his music in his 104-year-old home. This historic setting lends a unique warmth and authenticity to his creations, reflecting his deep background in recording and production.
He made his mark in 2021 with his debut full-length album, which earned a spot on International Pop Overthrow’s Best Albums of 2021 (#13 out of 175).
He has also been featured on the Sweet, Sweet Music Blog and The Great American Folk Show, gaining recognition songwriting and storytelling.
Stephen Jaymes returns with a brand new single out called “Stranded.”
In this single Jaymes turns the everyday experience of feeling stuck into a song for real reflection. As he is known for his poeticism and folk punk sensibilities, Jaymes once again delivers a song that captures the universal tension of being ready to move forward but held in place.
Listen in here:
The song opens with a delicate glockenspiel. As layers of acoustic and electric instrumentation build, a driving rhythm emerges, which mirrors the restless energy that inspires the song. J
Jaymes’s unmistakable voice anchors the track, as he captures a sense of vulnerability and determination. The vocal delivery makes the listener feel as though they are sharing a collective moment of realization.
But it’s the lyrics that are so striking; “Stranded” is packed with clever observations and truths with Jaymes able to turn stagnation into something touching as he explores the act of waiting not as wasted time but as an opportunity to find meaning.
While the mood feels overall light hearted on the surface, there is a lingering depth and a reminder of the strange beauty in life’s pauses. The track doesn’t offer easy solutions of empty optimism, yet it does acknowledge the frustration while urging the listener to embrace the rhythm of running in place.
“Stranded” feels more like a conversation, a shared laugh, and a comforting hand on the shoulder. A reminder perhaps that the act of staying still can be its own kind of progress.
Modern Mystery 
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