by Jane Lambert

Stephen Jaymes and the Tantrum at the End of the World

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Stephen Jaymes has a knack for tapping into the creeping, existential dread of modern life and turning it into something you can sing along to.

His new single, “Baby Can’t Be Helped” is no exception – part folk-punk catharsis, part psychological diagnosis, and entirely too relevant for comfort. It’s the kind of song that makes you laugh a little at how doomed we all are before hitting you with the realization that, actually, we might not be.

At the heart of the track is Baby, the part of the human brain that just flat-out refuses to accept help, no matter how obvious, simple or necessary that help may be.

Baby clings to suffering with a white-knuckled grip, resenting the mere suggestion that things could improve. And in 2025, with the world teetering on the edge of what feels like irreversible collapse, it’s hard to shake the feeling that Baby isn’t just some rogue impulse in our own heads. It’s in charge of everything.

Jaymes, ever the sharp observer, delivers this message with a mix of deadpan humor and real frustration.

The song opens with a heavy and brooding guitar progression, played just softly enough to feel unsettling. When his vocals come in, he is almost talking at first, calm and measured, like a doctor trying to explain a difficult diagnosis. And then the chorus hits with its rolling, bluesy ascension.

And then there is the realiseation that, of course, Baby can’t be helped.

It’s an addictive cycle, both musically and thematically – building toward clarity, then crumbling under the weight of that same old resistance.

The structure of the song mirrors exactly what it’s describing – the fight to reason with a world that refuses to be reasoned with. It’s maddening, it’s darkly funny, and, it’s deeply relatable.

But there’s something else happening here, too. Jaymes isn’t just throwing his hands up in despair. This track is part of his larger message entitle “#VISION2025” – a call to recognize those forces keeping us locked in this endless tantrum, and to actually do something about it. It’s a reminder that before we can change the world, we have to confront that part of ourselves that refuses to change.

And the funny thing is that we all know Baby. We have seen it in people we love, in people we can’t stand, and in ourselces. Maybe if we start recognising when Baby is pulling the strings, we can finally start taking the rattle away.

Stay connected with Stephen Jaymes here:

Website // Facebook // Instagram // Spotify // Soundcloud // Apple Music // YouTube Music

02.19.25

by Jane Lambert

Eric Selby – Crafting Timeless Sounds with a Modern Edge in Latest EP “Starting to Sync In”

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Eric Selby’s latest EP, “Starting to Sync In“ is a masterclass in blending rootsy Americana with psychedelic folk and a splash of rock and soul.

Recorded between Virginia and Nashville, and mastered at Abbey Road Studios, this collection is full of music that is timeless and contemporary too.

Listen in here:

Opening with “Issues” Selby immediately sets the tone with a wry and self aware groove that channels ‘70s funk and white soul. The track’s playful yet introspective lyrics, born out of an offhand moment with his wife, capture the everyday struggles we all face but with a sense of humor that keeps things light. The chorus – instantly catchy and endlessly relatable – makes this an easy standout and opening track.

“Wine Stains” takes things in a more psychedelic direction. Drawing inspiration from the experimental textures of Revolver and Pet Sounds. With its swirling tablas, deep cello lines, and a dreamy vocal delivery the song feels like a lost relic from the golden age of studio experimentation.

The lyrics push back against over-intellectualizing life’s scars summed up perfectly in the chorus: “I don’t need a sommelier to tell me, it’s just wine stains.”

It’s a clever emotionally sound track that highlights Selby’s knack for balancing weighty themes with effortless melodies.

Then there’s “Because of You,” a heartfelt love song that leans into shimmering rock territory. A song about connection in an increasingly disconnected world, it offers the listener a real sense of warmth and hope. The lush instrumentation and earnest delivery make it one of the most poignant moments on the EP, a perfect closer that leaves listeners feeling uplifted.

Selby has always had a gift for crafting songs that feel lived – in yet utterly original. “Starting to Sync In” is an EP that shows not only his musicianship but the ability to create soundscapes that transcend genre.

He has already made a name for himself with award-winning albums, but with its sharp songwriting, rich production, and undeniable heart, this EP is a must-listen for anyone looking for music that moves both the feet and the soul.

About Eric Selby

Hailing from a small town in Maryland and now calling Virginia home, Eric Selby is a singer, songwriter, and multi-instrumentalist whose music defies easy categorization.

Blending elements of Americana, Psychedelic Folk, and roots-driven storytelling, his sound is both deeply personal and universally resonant. Nestled near the Blue Ridge and Appalachian Mountains, Eric draws inspiration from the natural beauty surrounding him, channeling it into songs rich with emotion, texture, and thought provoking lyrics.

His fourth solo release for Soul Stew Records, Starting To Sync In, shows his talent for blending genres. Recorded in Arlington, VA, with his band and in Nashville, TN, the EP features an all-star lineup, including Seth Rausch (drums – Keith Urban, Sheryl Crow, Little Big Town), Luis Espaillat (bass – The Guess Who, Trace Adkins, Jim Messina), and Justin Ostrander (guitar – Luke Bryan, Kenny Chesney, Steven Tyler). The final touch came from Andy Walter at London’s legendary Abbey Road Studios, whose mastering credits include The Beatles, David Bowie, and Radiohead, ensuring the EP’s sonic depth and cohesion.

Eric’s previous album, Dang Fool, landed in the Top 10 National Alternative Folk Albums of the Year (2024), according to Roots Music Report (RMR). His past releases, Do, Baby. and Where You Born At?, were also named among RMR’s Top Contemporary Folk Albums of the Year, further solidifying his reputation as a forward-thinking artist with an ear for both classic and contemporary influences.

Eric is a Soul Stew Records recording artist and a proud endorser of SonoTone Premium Guitar & Bass Strings, Canopus Drums, Soultone Cymbals, and other leading musical brands.

Whether behind the drums, at the mic, or producing, his commitment to authenticity and innovation remains unwavering.

For music, tour dates, and more, visit www.ericselby.com

02.14.25

by Jane Lambert

Dan Lowe’s Latest Single “Creatures of the Radio” Is a Rock & Roll Time Capsule

Dan Lowe’s latest single “Creatures of the Radio” is the kind of song that takes you somewhere.

It’s a highway at dusk, headlights stretching out ahead and the radio dial tuned to something that just gets you. It’s a love letter to the days when music crackled through the airwaves and felt like it was speaking directly to you. Because back then, it was.

From the opening bars, there’s an undeniable pull. The guitars shimmer with that unmistakable classic rock warmth, the rhythm section pushes forward with a steady drive, and then there’s that saxophone —rich, full-bodied, a little Springsteen, a little Seger, but entirely its own thing.

Patrick Lamb’s solo tells a story, cutting through like a late-night signal from some distant station.

Dan Lowe’s voice carries the weight of the song. It’s soulful, and with just the right amount of grit. The lyrics capture the magic of growing up with the radio as a constant companion, a lifeline to something bigger. And when the chorus hits it’s anthemic in the best way, built for rolling down windows and belting it out under the stars.

This song is really a reminder of why rock and roll sticks to your bones. And the way it came together makes it even more special.

Lowe recorded “Creatures of the Radio” as part of an “Artist in Residence” program, bringing in students from a digital audio program to be part of the process. That kind of organic, hands-on approach bleeds into the sound; there’s a live energy that makes it feel like it was meant to be heard loud, in a room full of people who just get it.

The timing couldn’t be better for Lowe. He just advanced in Tennessee Songwriters Week after a standout performance at Motif on Music Row, landing himself a spot at the Franklin Theatre showcase on March 1st. If he makes it through, he will perform at the legendary Bluebird Cafe in Nashville. A place where careers are made and stories are told.

“Creatures Of The Radio” is the first of a set of tracks planned to be released monthly during 2025 – capping it off with the release of the full album (also titled “Creatures Of The Radio”) to coincide with the final track release in December.

This is the follow-up to “No Running From The Storm (Songs Of Life, Love, And Loss)” – the previous release by Dan Lowe & The Skeletal Remains.

Lowe is certainly tapping in to the magic of music here, with much more to come.

Keep up to date with Dan Lowe and The Skeletal Remains here:

Website / Facebook / Spotify / Apple Music / YouTube Music

02.13.25

by Jane Lambert

VIDEO VOYAGEUR: 3 Q’S WITH SIREN

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.

02.11.25

by Jane Lambert

VIDEO VOYAGEUR: 3 Q’S WITH GAVIN HOLLIGAN

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 in this 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.

01.23.25

by Jane Lambert

“Clear Blue Waters” Sets the Tone for Brooks J Martin’s Most Revealing Album Yet

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.

Stream Clear Blue Waters now on Spotify, Apple Music, and YouTube Music.

Watch the video on YouTube for a stunning drive down the Pacific Coast.