Jiants is a three piece indie/pop band from Toronto lead by the songwriting of ex-professional skateboarder Jesse Landen. Jiants performs a unique blend of nostalgic sounding lo-fi indie pop songs complete with great hooks and soaring leads. Once hailed by Paste Magazine as “a band to watch,” they have just finished their fourth album, Tall Tales, and it’s their best effort yet. The record was engineered and produced by Gavin Gardiner (The Wooden Sky) at All-Day Coconut Studios and is set to be released November 10th, 2023.

Their latest single, “Moon Lit,” is a dreamy yet driving track. Jesse explains:
“Moon Lit” is about walking up to the fact that you might just be chasing the nostalgia of imaginary summer love. It’s about catching yourself dreaming of lustful, humid, summer nights that keep you in a perpetual loop of hypothetical excitement for the unknowns just around the bend. But this time something feels different. There’s a slow unraveling reality that these kinds of nights are now filling you with emptiness and maybe don’t serve you as well as they used to.

1. Tell us the story of this song, why did you choose to visualize this song specifically?
The story behind this song is basically just chasing some kind of imaginary nostalgia of summer love. It was written about a series of events while dating over last summer. We pick it as a song to make a live video for because we thought it consistently sounded good when we played it as three. We asked Julie Title to sing her back ups from the studio recording and I think it added a lot.

2. What was the inspiration behind this video(visuals, storyline, etc.)?
The location of the video was a wood shop/record label called Tibet Street records.in Toronto.  I had previously seen a live show at this location and thought the room had a great feel for a video.

3. What was the process of making this video?
It’s a little tough making a good sounding live performance video and to be honest it was a little risky to sing with no real monitor or head phones to hear yourself.  But with the help of Andrew Collins and Mitch Fillion helping with the video and  having everything mixed at All day coconut studios by Gavin Gardiner I think it all worked out pretty well for the budget we had.

Among the latest to emerge from a Texas psych-rock tradition that goes back more than fifty years, Houston’s Cactus Flowers announce the November 17th release of their sophomore full-length Elation with leadoff single “Dead Moon Rising.” 

Once again, frontwoman/bandleader Jessica A.M. channels the power of a live volcano through her guitar rig, her tone pouring through your speakers like scorching lava. Meanwhile, her mystical lyrics convey a dreamlike, starry-eyed romanticism spiked with a bite of attitude. 

Raised by a mom who photographed bands for Rolling Stone during the magazine’s counter-culture heyday, Jessica was, believe it or not, a late bloomer when it came to playing rock music. Originally, her path seemed to point in the direction of her formal violin training. 

But once she discovered the electric guitar in college, the die was cast. And when she met drummer and musical soulmate Mark Carcamo, a chemical reaction catalyzed, giving rise to Cactus Flowers’s intoxicating cocktail of psychedelia, fuzz, doom and classic rock. 

“It took me like 7 or 8 years to craft my sound,” Jessica explains. But once it clicked, there was no turning back. 

Recorded by Grammy-winning producer Steve Christensen (Khruangbin, Steve Earle), Elation is a super-charged, almost monolithic realization of the band’s vision, which now includes bassist John Griffith (who produced the band’s debut full-length, 2019’s Incantations). 

Fittingly enough, the band wrote the bulk of Elation on numerous desert drives from Texas to the West Coast. Taken together, the songs take the listener on a fuzz-soaked musical journey of inner self discovery. 

Brooklyn-based artist Jason Vitelli, known for his lyrical singer-songwriter releases, embarks on a paradoxical journey with his latest project. “Ambient Corridors” represents a departure from his typical lyrical approach, instead offering a purely instrumental collection that harks back to his musical origins.

Jason’s musical journey began in 2003, where he honed his craft by creating music for student films, documentaries, and short films while collaborating with accomplished film composers. Many of the compositions featured in this project have been carefully selected from that earlier period, refined, and rejuvenated. As Jason explains, it’s a “return to form,” an opportunity to revisit and build upon work from years past.

Although his electronic palette from the early 2000s may appear more limited compared to modern software libraries, Jason’s imaginative prowess and compositional aptitude shine through in his orchestration, original sampling, and sound design. Across the 12 tracks of “Ambient Corridors,” acoustic instruments like cello, viola, piano, electric guitar, and a variety of woodwinds, along with Jason’s electronic manipulation of found objects, create an impressionistic auditory journey. He describes his fascination with the interplay between synthetic and real elements, emphasizing how the interaction between human and programmed performances can yield entirely new sonic landscapes.

The titles of his compositions often emerge as sensory experiences, blending the visual and auditory realms in a synesthetic fusion. For instance, “Chukchi Sea,” named after the Arctic ocean, evokes images of frozen landscapes, even though it wasn’t Jason’s initial intention when composing the piece. Similarly, “Lost and Found” draws inspiration from Baroque period music, with a structure resembling a Bach prelude and fugue. This piece tells a story of melodies coming together in harmony, akin to lost souls finally finding one another.

Among the tracks, “Exit Love Story” employs a moody, synthesized jazz trio, sharing its title with an indie film. Jason’s musical journey has included performances at historic New York listening rooms, gigs as a sideman for jazz ensembles, and even subway busking. His earlier releases, “No Photographs” and “Confluence,” set the stage for his third album, “Head Above Tide,” which received acclaim from the Nashville Music Guide as a “musical phenomena” that opened new possibilities within an ever-expanding musical universe.

“Ambient Corridors” serves as the first installment of what Jason envisions as a series of instrumental releases, offering a counterpoint to his singer-songwriter projects. He sees this new direction as a valuable means of conveying emotions and thoughts without the constraints of lyrics. Furthermore, instrumental music allows room for interpretation by the listener. As Jason reflects, “Songwriting often emerges from inner turmoil and psychological struggles, leading to a more linear narrative. This may leave less for the listener to interpret. In contrast, instrumentals provide a canvas for the mind to breathe and wander freely. Ultimately, this music is a reflection of who I am in the moment of creation, and who knows, I may evolve into someone entirely different by day’s end.”

Tell us the story of this song, why did you choose to visualize this song specifically in this way? – I wrote the piece originally as a “wild track” for possible use on an upcoming film project. During this time, my housemate and I owned a cat. She was such an important part of my life and in many ways, was an inspiration for the music on 1. Ambient Corridors. This tune in particular was inspired by her playfulness; the clarinet instrumentation conjures memories of the Cat Theme from Prokofiev’s Peter and the Wolf.

What was the inspiration behind this video (visuals, storyline, etc.)? After naming the tune “Snazzy Cats,” I wanted to bring some feline playfulness to the eye. There is no storyline here; this video functions more as a musical visualization.

What was the process of making this video? I created the sound wave overlay via Renderforest and obtained through their platform the stock footage and animations. I then imported the assets into Final Cut Pro and edited them together. I also brought in meowing and purring sounds from various sample libraries.

Emerging international pop star, Barbara Nadas, has released her new song “SOAR;” found on all streaming platforms today. Known for her previous songs “Overthink” and “Semmit nem ér(sz),” this new track takes a journey through her struggles and showcases her resilience like never before. “SOAR” is more than just a song; it’s an anthem of empowerment, an ode to rising above life’s challenges and reaching for the stars. With her signature blend of heartfelt lyrics and captivating melodies, Barbara Nadas invites listeners to join her on a soaring musical adventure, one that resonates deeply and inspires with every note.Listen in here: 

Watch it here:

Barbara Nadas’s journey as an artist has always been about connecting with her audience on a profound level, and “SOAR” continues in this tradition. It showcases her remarkable talent and unwavering commitment to delivering music that uplifts, motivates, and transcends boundaries. Nada’s talents as a musician are nothing short of extraordinary. Her ability to infuse raw emotion into her music, creating melodies that tug at the heartstrings, is a testament to her exceptional songwriting and vocal prowess. With each note she sings, Barbara Nadas captivates listeners, taking them on a musical journey filled with depth and authenticity. Her artistry transcends boundaries, and her dedication to delivering meaningful, soul-stirring music is commendable. Barbara Nadas is a shining star in the world of music, and her talent continues to inspire and uplift audiences worldwide.

“SOAR” is a heartfelt song that speaks to the universal themes of self-discovery and personal growth. In these lyrics, Barbara Nadas candidly shares the struggle to break free from the confines of one’s own thoughts, emphasizing the desire for self-acceptance and love. The song’s chorus serves as a powerful reminder that, despite life’s challenges, we have the strength to rise above and embrace our true selves.

Melbourne-based jazz singer/songwriter and the creator of Transformational Entertainment Connie Lansberg is not your run-of-the-mill jazz vocalist. With her beautiful single “Free,” she’s serving up a dish that’s equal parts elegant strength and refined power. It’s like she’s sipping tea with one hand and arm-wrestling your soul with the other.

This gentle ballad has been a decade in the making, fo

lks. Lansberg held onto it like a secret treasure, waiting for the stars to align. And align they did when she teamed up with jazz pianist Mark Fitzgibbon. The result? A delicate dynamism that’s as comforting as it is compelling.

“Free” is a track off Lansberg’s self-produced album “Alone with Bees,” and it’s a gem among gems. Recorded in a single take with Fitzgibbon on piano, Ben Hanlon on double bass, and Peter Hodges on drums, the song is a testament to Lansberg’s songwriting and producing prowess. It’s like she’s an energy healer using her voice as a scalpel, cutting through the noise and getting to the heart of the matter. Is this the future of jazz? Well, if it is, sign me up!

Lansberg’s vocals are a gentle force to be reckoned with. She’s got this fiercely graceful thing going on that makes you want to listen and reflect. Backed by Fitzgibbon’s delicate piano, the song explores the complexities of happiness, freedom, and the shackles of the past. It’s a musical journey that’s as introspective as it is liberating.

About the recording process Connie says: “Being in the studio with my three favorite musicians was such a joy. And then hearing them so completely respect the delicacy of this song, it just blew me away.”

Connie Lansberg’s “Free” is a masterclass in what I’d call “delicate dynamism.” It’s a song that’s both introspective and liberating, compelling listeners to confront their own past traumas. Lansberg’s evocative storytelling and unique sound—somewhere at the crossroads of jazz, classical, and country—make this track a must-listen.

So, if you’re in the mood for a tune that’s as thought-provoking as it is soul-stirring, give “Free” a spin. Trust me, you’ll be glad you did.

There you have it, jazz aficionados. Connie Lansberg’s “Free” is a gentle force in a world that could use a little more nuance.

Listen Here:

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Night Wilds is rolling out their debut album, All That Should Have Been, one single at a time. Comprising 17 meticulously crafted tracks, this isn’t just an album; it’s a full-fledged concept project. The narrative arc follows the harrowing journey of a young boy raised in a suffocating environment where the stakes are as high as they come: perform or perish.

All That Should Have Been is an album of healing. Much like Pink Floyd’s The Wall, along with modern epics by Tool, Radiohead, and even Rage Against The Machine, it blurs the line between entertainment and enlightenment. The record’s thrilling narrative is viscerally enhanced by the project’s strictly analog ethos. No corners were cut on All That Should Have Been—even the string arrangements are real—and the songs feature world-class musicians recorded on vintage recording gear at storied studios in the band’s Seattle hometown.

But this album goes beyond mere storytelling. It delves into the complex psychology of addiction, exploring how these destructive patterns take root and, eventually, begin to loosen their stranglehold on the soul. It’s a transformative tale that takes the listener from the depths of self-loathing to the heights of self-acceptance. Along the way, it tackles the thorny issue of religious upbringing, ultimately leading to the discovery of a more authentic spiritual path.

With their first full production video “New Jerusalem” we get a glimpse into just how harrowing it is.

1. Tell us the story of this song, why did you choose to visualize this song specifically in

this way?

The song is about the suffering that can be created in certain religious places where the image people protect is far more important than who they are and children and family become mirrors to reflect something vs humans. The song tells a story of a little boy in that world trying to find himself first by fitting in as children so often will do no matter what environment they are placed in. Yet, the violence which is hidden in this world can be seen in clues like the blood stains on his collar or the bruises on his wrist and that violence must go somewhere so it comes out in little places like a violent picture of two pirates killing each other and wherever it leaks out he is served more suffering as a reminder to seal the gap and never let it come out. This, of course, has severe consequences for the child who attempts to lock those parts of himself away in a cage in a very dark room where he is only a mirror for others to see what they wish to see in themselves in his face. His hope is to keep it all locked deep within but in the darkness, it festers and grows. This seems hopeless but at the very end of the video there is a ray of light that reaches through all the blackness and holds his heart, this is hope, and the story of God beyond man or religion and finding true connection after trauma.

2. What was the inspiration behind this video (visuals, storyline, etc.)?

I covered some of this in the first question, but the visuals I choose to set in the period of WW2, to tie to the overall story of the generational trauma that leads to these places and forms of systems. Both my grandparents were veterans of wars and my Jewish lineage also has been touched by historical trauma which makes its way down through the ages and settles where it does like a rock rolling downhill. The story then is set back in time to showcase a feeling of the war and the world as it was then but as a metaphor for the hidden war that the boy is trying to hide now. These images are seen in his excitement to see a young girl playing who he thinks is cute but then the image behind her turns suddenly dark and like a battlefield. He begins to see battle and war and the scars of it across everything now as his worldview is formed.

3. What was the process of making this video?

We shot this video in LA working with Zane Productions. I chose the cast carefully to find the exact right people to tell the story and then coached them on the back stories they have. We shot at a few locations and then I was heavily involved in the editing to tell a very specific story with a lot of nuance. That being said, Zane did a fantastic job with the setup and coaching to ensure we got every shot we needed. It was a thrilling experience and one I hope to repeat.

Watch The Video Here:

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