Los Angeles’ Sam Weber (originally from British Columbia) is continuing his string of single releases leading up to the release of Clear and Plain, a meditative collection of intuitive songwriting out on August 23rd.
New single, “Void,” is a gently rollicking journey which muses on Weber’s time spent in New Mexico. Its stripped-backed instrumentation (glimmers of piano, guitar, and brushed drums) creates space for the great skies of this southern state to appear in our minds’ eye.
The laidback nature of music in “Void” juxtaposes a story within its lyrics which found Weber coming dangerously close to losing his life on the state’s highways.
[“Void”] was written around the time Mal and I went to Bosque Del Apache nature preserve outside of Socorro, NM so they could film and photograph the sandhill crane migration.
The same Socorro that’s known for the Lonnie Zamora Incident, one of the best documented
close encounters of the third kind. Driving north on the 25 highway, we were looking at emergency vehicles headed south in the opposite lane. I turned back to our lane and there was a car inside of 100 feet driving toward us on the wrong side of the road. I grabbed the wheel from Mal who was driving and ripped it into the passing lane, and we teetered on two wheels and almost rolled the car and died. I think some of that near mortal energy combined with all the alien energy made its way out of me in “Void.” –Sam Weber
Denise Marsa’s new album, PIVOTAL, marks a significant milestone in her prolific career as an award-winning singer-songwriter and keyboardist. This year, she released “Kiss Me in the Rain,” whose Until Dawn Remix reached #6 on the UK Music Week Commercial Club Charts, and “Rainbow” (Until Dawn Remix), celebrating love and inclusivity during Pride Month. PIVOTAL encapsulates Marsa’s years of dedication, showcasing her versatility with a diverse mix of genres. Known for her innovative blend of alt-indie pop, Marsa started her label, KeyMedia Group, in 1998, releasing her debut solo album “Self” to stellar reviews.
Marsa’s career began in NYC, performing in clubs and achieving early success with “Lucky Stars” and The Flirts’ “Helpless (You Took My Love).” She secured deals with Warner Bros UK and Warner Chappell US, later forming her band in Los Angeles and focusing on independent releases. Recently, Marsa signed with BMG Publishing US and debuted her one-woman show “The Pass,” winning the Best Concert Award at the 2021 United Solo Festival. Today we dive into her latest video for “Don’t Count Yourself Out Yet (Until Dawn Remix)” which Denise shares insight into below!
1. Tell us the story of this song, why did you choose to visualize this song specifically in this way?
I believe certain spirits of those who have passed on linger, impacting us with their words or actions. This song is about those past spirits meeting our current spirit. I used a strobe light in the music video to create a dreamy, magical effect, signifying life and afterlife. It represents not giving up and still being in the game, speaking to myself and others who might feel like giving up. The first line of the song is inspired by my late mom Flora: “As if you were here, I can hear you telling me, girl, you can do anything you set your mind to.” I dedicated the video to her, performing center stage in all black, focusing on my face and words to emphasize the message.
2. What was the inspiration behind this video (visuals, storyline, etc.)?
Inspired by classic films and often watching TCM, I aimed for a film noir vibe—contained, center stage, with stark lighting focusing on my face and lyrics. Wearing shades added a foreign film touch, like a 50s French movie star, fitting as I was named after French actress Denise Darcel. The counting part of the song was spontaneous and unrehearsed, reflecting the natural songwriting process.
3. What was the process of making this video?
I conceived the idea of shooting in two locations and called my frequent collaborator, photographer and videographer Bill Westmoreland, who lives nearby in the West Village. He liked my ideas, and we used his strobe light. We filmed me walking into my studio, presenting myself as tired and discouraged. Then, at his studio, we shot with the strobe light and dark setup, focusing on my face and singing. We did three takes, and I edited the video myself, mainly using the first take for its raw and real feel. The video includes images like me sitting on a block with my head down, a ship of ghosts representing those who have passed, and scenes of people on stairs symbolizing the ongoing struggle of life and dreams.
Johnny Polygon’s latest release, “Step 1,” is a profound and transformative hip-hop track marking a pivotal moment in his career. This powerful track delves into the most crucial step of his 12-step recovery process: admitting powerlessness over drugs and alcohol. With a career defined by his refusal to conform to industry norms, Johnny continues to push boundaries with his music, using his personal battles as fuel for his artistic expression.
“Step 1” captures the raw essence of Johnny’s journey towards sobriety. The song opens with a haunting melody that mirrors the introspection and vulnerability required to confront one’s addictions. Johnny’s lyrics are brutally honest, detailing his years spent indulging in vices and the eventual realization that his lifestyle was unsustainable. The line “the drugs didn’t get me high no more” poignantly encapsulates the moment when he hit rock bottom, a turning point that led him to seek help and embark on the path to recovery.
In Johnny’s words: “‘Step 1’ is about the most crucial step in my 12-step recovery process, admitting that I’m powerless against drugs and alcohol. I spent the majority of my life indulging my vices and taking advantage of my access to excess. Eventually, it all caught up with me, and the ‘drugs didn’t get me high no more.’”
Johnny Polygon’s journey is one of resilience and unwavering determination. Born in Ohio and raised in Oklahoma, Johnny’s musical roots are as diverse as his geographical upbringing. In 2004, he embarked on a life-changing journey to Los Angeles with just $297 in his pocket and a dream of becoming a rockstar. Over the next 15 years, he navigated the highs and lows of the music industry, living in New York and Los Angeles, and touring with legendary artists like Nas and Kid Cudi. His rockstar lifestyle, however, came with a heavy price.
In 2018, Johnny was diagnosed with heart disease, a diagnosis that exacerbated his struggles with mental health and substance abuse. This period was marked by near-death experiences and a desperate attempt to maintain control over his life. Initially, the idea of sobriety was met with denial and defensiveness, as Johnny feared losing the creative spark that defined his music. However, facing the brink of death forced him to reconsider, leading to his decision to enter rehab and commit to a life of sobriety.
Since his decision to get clean in 2023, Johnny has channeled his experiences into his music, documenting his recovery journey through powerful and evocative tracks. “Step 1” is the first release from his forthcoming conceptual album, which centers around themes of recovery, sobriety, and the ongoing battle with addiction. Recorded in his home studio, this album represents a significant milestone, marking his first project created and released during his first year of recovery.
Johnny Polygon’s refusal to compromise his unique sound has resonated with audiences worldwide. His music remains as innovative and authentic as ever, proving that his creative essence shines even brighter in the absence of substance dependency. His accolades include signing with DJ Green Lantern, featuring on Nas’ album with the song “Black President,” performing at the Presidential Inauguration and the Rock the Bells Concert, and collaborating with artists like Dead Prez and Kid Cudi. He has also toured independently across the US and Canada, been featured on NPR’s Heavy Rotation, voiced a kids show on National Geographic, and co-starred on an FX pilot. His Grammy nomination for work on Nas’ Untitled album is a testament to his enduring talent and influence in the music industry.
His music serves as an inspiration to anyone facing similar battles, offering hope and a reminder that it’s never too late to seek help and turn one’s life around. As Johnny continues to share his story through his music, he remains a beacon of authenticity and strength in an industry often characterized by excess and superficiality.
With a stellar rollout planned for his new album, Johnny Polygon is poised to make a significant impact with his honest and raw portrayal of addiction and recovery. “Step 1” is a bold and poignant introduction to this new chapter in his career, offering a glimpse into the profound transformation that has shaped his music and his life.
Vancouver experimental pop singer-songwriter Debra-Jean Creelman is releasing Ego Death, her brand new LP which is a musical odyssey of soul and jazz that transcends both time and space.
Penned and recorded amidst the final days of the COVID-19 lockdown period, this album emerged from a place of true collaborative spirit.
After coming up with the concept of horns to provide the main harmonic foundation in lieu of typical band instrumentation, Creelman sent a few song ideas to renowned experimental trumpeter JP Carter (Destroyer, Dan Mangan). Together with producers Jo Hirabayashi (Jo Passed) and Sean Cronin (Very Good), they created the foundational demos.
Ego Death features the focus track, “Heavy Blow,” an optimistic and buoyant song which includes R&B infused vocal arrangements.
I was obsessed with the Al Green song “So Glad You’re Mine,” the drum groove in particular. So I sent it to Ian Browne (Matthew Good / The Pierce Kingans), and asked him to make a loop that emulated it, for me to write over. I came up with the melody for the verse and chorus. Jo Hirabayashi came up with the rest of the parts. The bridge melody and chorus were all him too. Before I had finished writing all of the lyrics I asked Jasmin Parkin to sing co-lead. I had her in mind when I was finishing the lyrics, and I’m so happy she was able to bring her singular magic to this track. –Debra-Jean Creelman
Daryl Uhrin, originally from Windsor, Ontario, is making a remarkable comeback to the music scene with his latest work, Everybody’s Side Project. His musical journey began in the early 2000s, where he was the lead vocalist and keyboardist for Amid Morning Sky, and later became the lead singer, synth, and keyboard player for We Were Thane. His experiences in Windsor solidified his passion for music and performance. However, he took a 15-year hiatus from the music world to focus on his career in manufacturing.
Now residing in Saskatoon, Saskatchewan, Daryl is releasing a three-song EP on July 11th titled Searching for a Ray of Hope which embodies the essence of Everybody’s Side Project.
“I Hate Where We Started,” taken from the EP, reflects on the tumultuous beginning to a relationship of Daryl’s with a girl who pursued him without revealing that she had a boyfriend. The intense and driving pop punk tune blends spoken word and sung sections, featuring vulnerable lyrics which capture the messiness of true emotions, like “the heart on your sleeve is dripping all over.”
This was the easiest song I have ever written; the vibe and lyrics have been on the tip of my tongue for ages. It’s a true story that I have been waiting to tell all my friends. It serves as a long overdue release, helping me process past emotions and remind me of my growth. –Daryl Uhrin
Louis Armstrong was once asked what his favorite kind of music was, and his response was simple: “good music.” Petunia & the Vipers’ sound may not sit comfortably in one certain genre, but “good music” describes it well. “Traveling musicians and Bible Preachers may have a lot in common,” Petunia & The Vipers suggest.
Their dancy new single, “Bible Preacher,”was inspired by death and the afterlife, love and humanity; overarching themes heard in much of their music.
“Hank Williams on acid, Tom Waits meets Elvis at Woody Guthrie’s Hobo junction, Avant-Country night club scene music. One of the best bands in the world today, of any kind; hillbilly-flavoured-swing inflected-ragtime-goodtime-thunderously-rolling-one-of-a-kind-you-don’t-want-to-miss-this-sort-of-a-show; A new music that springboards off of music of the past and jumps into the present day, left with only echoes of the past; Something in between 1920’s and steam punk. It’s good for your mind…” These are just a few of the words uttered by folks around the globe trying to pin down a description of all that is Petunia & The Vipers.
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