Few artists arrive with a debut single as unapologetically incendiary as Sound Strider’s “Progress”
A brutal takedown of late-stage capitalism wrapped in industrial beats and scathing lyricism, the track is really a manifesto. The lead single from his upcoming album entitled “Mechanical Animist“, “Progress” channels the existential dread of the 2020s into a relentless, dystopian groove that feels both timely and timeless.
Listen in here:
The track wastes no time setting its tone, opening with a mechanical, almost sarcastic list of capitalist rituals: “investment, testing, impressing the boss”, before plunging into a caustic critique of a system that equates expansion with erosion.
Over pounding percussion and hypnotic synth layers, Sound Strider methodically deconstructs the corporate machine, exposing the greed, environmental devastation, and dehumanization lurking beneath its polished surface. His lyricism is both surgical and seething as it dissects the absurdity of modern economic and political structures with the precision of a manifesto.
As the track progresses, its intensity only deepens. Mirroring the spiraling anxiety of an era where profit margins outweigh human well-being.
By the time Sound Strider reaches the track’s climax, a relentless chant of “F** progress,”* it’s clear that this is a cry against the hollow promises of unchecked technological advancement and a society that prioritizes perpetual growth over collective survival.
Vocally, Sound Strider oscillates between spoken-word venom and punk-adjacent fervor. His delivery reminiscent of the fiery urgency of Zack de la Rocha or the poetic rebellion of Saul Williams.
There are moments where his cadence feels almost hypnotic, as it drwas listeners into a trance-like meditation on their own complicity in the systems he critiques. Then, without warning, his voice explodes into raw frustration as it rips through the track with an immediacy that feels as much like a live protest as it does a studio recording.
“Progress” is a high-voltage blend of industrial, trip-hop, and experimental electronica, evoking echoes of Nine Inch Nails, Death Grips, and early Massive Attack. Production is razor-sharp, with each layer meticulously designed to create an atmosphere of tension and unease.
In an era where protest music often gets diluted for mass appeal, “Progress” refuses to compromise. It is raw, relentless, and absolutely essential listening.
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.
Animals in Denial’s new single “Operator” is an exploration into heartbreak, wrapped up in a gritty industrial-electronic sound.
The story behind “Operator” is as compelling as the song itself. The beat has been living in the artist Christian Imes’s head since they were 14, back when they were cruising the streets of Canton, NC, and obsessing over The Matrix.
At the time, they didn’t even have a synth – just a guitar and a lot of ideas. Years later, using a lite copy of Ableton Live and some old-school drum samples, the track finally started to take shape. It came together fast at first with the initial demo finished in just 30 minutes, but the final version was elevated thanks to a collaboration with industrial icon Steven Seibold (Hate Dept, Pigface).
Seibold’s fingerprints are all over the production. From tweaking the vocal delivery on the third verse to suggesting subtle backing harmonies in the chorus, he brought a fresh perspective to the track.
Listen here:
The pair even recorded the vocals in Seibold’s home studio, which was a full-circle moment for the artist, who’s been a longtime fan of Seibold’s work. The result is sleek and dynamic, with just the right amount of edge.
Musically, “Operator” is a study in restraint. An earlier version included guitar parts, but the final mix strips them away to let the synths and beats carry the weight. That choice gives the track a sharp, metallic vibe that feels perfectly in line with its themes of emotional distance and digital disconnect. The song pulses with a hypnotic rhythm, pulling you in as layers of sound build and shift. It’s dark, atmospheric, and relentlessly captivating.
But the heart of “Operator” are the lyrics, which draw from a relationship that left its mark. The “operator” in the song is a nod to late-night phone calls and AIM chats with an ex who once felt like a lifeline, but who eventually became a source of pain. It’s brutally honest and deeply relatable especially for anyone who’s navigated the murky waters of young love.
Whether drawn to its cyberpunk aesthetic, its honest lyrics, or its sheer force, this is definitely a song that grabs your attention.
Keep up to date with all things Animal In Denial on the Website.
“Hell’s Kitchen at Christmas Time” is a vivid and vibrant musical journey that celebrates the spirit of a New York neighborhood steeped in history and transformation.
Co-written by Sarah Pillow and Marc Wagnon, the track marries Pillow’s evocative, rich and genre defying vocals with Wagnon’s rhythms and textures, creating a holiday song that perfectly captures the magic of Hell’s Kitchen during this busy season.
Listen in here:
Sarah Pillow’s voice is the star of the song here. She offers a stunning blend of jazz sophistication, classical finesse and rich warmth. Her vocal delivery feels more like a conversation and draws the listener into her world that she paints with her words.
Pillow’s decades long connection to Hell’s Kitchen, where she has lived for nearly 30 years, imbues this song with an authentic edge. Her nuanced performance speaks of a deep love for the neighbourhood with each lyric having a personal touch.
Marc Wagnon’s arrangement brings this love letter to life with a rich, layered instrumental palette: the vibraphone glistens like freshly fallen snow, while his percussion adds a dynamic pulse that reflects the neighborhood’s ever-moving rhythm.
The brass section featuring Summer Camargo (trumpet), Coby Petricone-Berg (alto sax), and Cole Palensky (tenor sax) really infuses the song with warmth and vibrancy, echoing the bustling energy of Manhattan’s streets.
Eliane Amherd’s guitar provides a melodic anchor and balances the richness of the brass with a steady, grounding groove, while Jonathan Price’s bass ties it all together with depth.
The song’s lyrics are as much about Hell’s Kitchen as they are about the essence of the holidays. They capture the duality of the neighborhood: the electric buzz of midtown Manhattan softened by the quieter charm of brownstones adorned with festive lights and local cafes humming with life. It’s a place where the pulse of New York City merges with the heart of a close-knit community.
Lines like “in it all, but off to the side” speak to the unique identity of Hell’s Kitchen – a neighborhood that is part of the city’s relentless energy that retains its own quiet magic.
But where “Hell’s Kitchen at Christmas Time” transcends the typical holiday song is by offering a deeper narrative. It’s not just about twinkling lights or festive cheer – it’s about the people, the stories, and the ambience that make a neighborhood feel like home. The song reflects on the enduring spirit of Hell’s Kitchen, a place that has weathered decades of change while holding onto its identity.
You can almost see the snow-dusted streets, hear the muffled conversations in cozy cafés, and feel the unique warmth of a neighborhood that welcomes everyone.
“Hell’s Kitchen at Christmas Time” is a celebration of place, and a reminder of what makes the holidays special: community, tradition, and the ability to find wonder even in the most familiar corners.
About Sarah Pillow
Sarah Pillow is a vocalist celebrated for her extraordinary versatility, blending jazz, classical, and early music influences into a style uniquely her own.
A graduate of Oberlin College’s prestigious music program, Sarah began her career as a jazz singer and quickly expanded her repertoire, performing as a solo artist and collaborating with renowned ensembles across the United States and Canada. Her projects include a jazz quartet, the crossover ensemble Nuove Musiche, and the early music group Galileo’s Daughters.
Her distinctive voice – rich and vivid, praised by The Washington Post as “genuinely genre-busting” – has graced the stages of legendary venues like the Lincoln Center and Carnegie Hall. Whether delivering an operatic aria or interpreting a jazz standard, she captivates audiences with her emotional depth and technical brilliance.
For nearly 30 years, Sarah has called Hell’s Kitchen home. This iconic New York City neighborhood is steeped in history and creativity and has been a profound source of inspiration for her work. From its roots as a gritty, working-class enclave to its evolution into a vibrant cultural hub, Hell’s Kitchen embodies the energy that Sarah channels into her music.
Sarah Pillow continues to redefine what it means to be an artist. Her work is a celebration of connection – between past and present, tradition and innovation, and the universal language of music.
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