VIDEO VOYAGEUR: 3 Q’s WITH ALEX THOMEN

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In a world where social media amplifies every trend and grifting scheme, Alex Thomen stands out as a songwriter unafraid to mix sharp cultural critique with wit, musicianship and a touch of irony.

The Nashville based composer, producer and multi-instrumentalist began his musical journey playing piano before earning his Bachelor of Music in Composition at Kansas State University and a Masters in Commercial Music Composition and Arranging at Belmont University. Over the years, he has scored commissions, produced cinematic trailer music, and released a solo piano album all while building a reputation as a studio minded artist with a keen eye for contemporary life.

His latest single “Where Did They Go Wrong?” which is accompanied by a striking music video, showcases that narrative precision and sly humor brilliantly.

In this exclusive interview, Thomen talks about the song’s ironic roots, his decision to “perform” it via video rather than on stage, and the full circle collaboration with longtime friend and director Chase Bartholomew.

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

“Where Did They Go Wrong?” explores themes that have become increasingly prevalent in the social media age. In essence, it’s an “anti-grifting” song, but it’s disguised in irony instead of strict, polemic writing. During the writing phase, I approached the lyrics, composition, and pacing as if it were to be performed for a live audience. There’s a minute and a half of setup before the first “punchline” hits – that kind of misdirection is characteristic of live comedy. The problem is I consider myself a studio musician more than a live performer, and I enjoy producing studio recordings of my songs.

My solution, therefore, was to make a music video that essentially captures the visuals of a live, in-studio performance. Those moments where the lyrical delivery is communicating something ironic, facial expressions and body language help drive that point. Irony is best communicated with the eyes – I believe this is why jellyfish are famously unfunny.

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

Each topic addressed in the song (manosphere movement, MLMs, alternative medicine) warrants its own in-depth conversation, because the reasons for each one’s existence is culturally complex. My goal was to critique these different trends/movements, pointing out some of the flaws in their ideology. While making it rhyme. While it’s inspired by real conversations and real people, all of the specific characters in the song are made up. I did not have a boyhood friend named Danny.

The lyrics are a self-aware, reductive type of argument – a thorough rebuttal of these beliefs would require more words that I can fit in a song. But I did my best to make it as thought-provoking as possible while keeping it entertaining. Plus, I got to put in lots of words that I’ve never heard in a rock song before. What the song lacks in brevity it makes up for in affectation. 

3. What was the process of making the video?

The video was shot at Colorado Sound Studios in Denver, Colorado. It was directed/produced/edited by Chase Bartholomew. He’s one of my best friends from high school (he is also not a self-proclaimed alpha male, not involved in an MLM, and not a practitioner of alternative medicine). In fact, we used to spend our weekends scripting and filming videos – either for school projects or just for fun (we would do this while other guys were getting invited to parties). He ended up studying film and is now a professional videographer. It was kind of a full-circle moment to collaborate again on a creative project. We have also improved in our video-making skills since high school.

I gave him creative control over the video – I’d give thoughts/suggestions here and there, but he’s the expert when it comes to the visual component so I wanted to let him run with his ideas. I think his vision for framing/editing/coloring helps amplify the message of the story. There’s a whole science of how different colors can evoke certain emotions. Chase is a bit of a perfectionist, so he focused on how small details could change the final shot. He focused a lot of his energy on subtle lighting changes to best capture the performance. For Chase, it was a long video shoot with tons of lighting changes. For me, it was a relaxing day sitting at the piano.

Keep up to date with Alex Thomen on his Website

Kenzy Kyx Spins Heartbreak Into Pop Gold on Her Debut EP “Glitter”

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There’s a giddy rush to Kenzy Kyx’s debut EP Glitter that is much like a friend pulling you onto the dance floor before you even finish your drink.

Across four tracks she takes the bruises of her twenties – bad love, self-doubt, tiny wins – and spins them into fizzy and defiant pop. It’s pop, but pop with teeth and personality, full of sly jokes and big choruses.

Listen here:

Kenzy’s voice is the glue. It has that grainy warmth that recalls Stevie Nicks in her prime, but she flips it over sleek modern beats that nod to Sabrina Carpenter and Gwen Stefani.

You can hear the path she’s taken. Scribbling lyrics as a kid, falling for poetry in high school, a formative trip to Nashville that convinced her to jump in with both feet. She writes and composes everything herself, which gives these songs a diary entry honesty even when the production is sparkling.

The opener, “Take It Easy” has an easy breezy flow with shimmering vocal harmonies and sets the tone for the EP.

The title track “Glitter” elevates the collection with its shimmering, euphoric soundscape. Layered synths, groovy bass lines and bold melodies create a playful yet empowering anthem about transformation and embracing change. It’s a song that encourages listeners to dance, shine and revel in the beauty of stepping into their own power, blending current pop hooks with subtle nods to timeless disco.

Then there’s Kenzy’s bold cover of No Doubt’s “Don’t Speak.” Rather than a straight copy, Kenzy reimagines the 90’s classic in her own voice – slower, moodier, but still melodic – giving the track a depth that contrasts beautifully with the EP’s brighter moments. Honoring Gwen Stefani’s original while making it fit her sonic world, it reflects the EP’s recurring theme of letting go and moving forward.

Lead single “I’m So Glad” is the obvious standout. It’s a glittery breakup anthem built for shouting in your car with the windows down. But the other songs on Glitter carry the same playful defiance, mixing hooks with a sly wink that makes you feel like you’re in on the joke.

There’s vulnerability here too, but Kenzy has that skill for turning messy feelings into something you actually want to move to.

Glitter stands out and is not a cautious first step by any means. Kenzy Kyx is not just trying to mimic anyone else’s lane. She is building her own, one glitter coated hook at a time, and inviting listeners to come along for the ride.

Connect with Kenzy Kyx:

Website / Instagram / Spotify / Apple Music / YouTube

PREMIERE: Scot “Little” Bihlman Unleashes “A Loaded Gun and a Wedding Ring”

Emmy Award-winning musician, songwriter, and actor Scot “Little” Bihlman steps into new territory with the release of “A Loaded Gun and a Wedding Ring,” the latest single from his forthcoming album Heavy Head. Out today via V13 Media Group’s label V13 Music, the track is a searing testament to Bihlman’s ability to weave story, grit, and soul into something that cuts right to the bone.

The single wastes no time setting its tone. A sly slide guitar enters first, curling through the mix like a whisper and a warning. Its lean, deliberate presence creates space for what’s to come—a storm brewing beneath the surface. There’s a swagger here, a simmering confidence in the delivery that evokes both danger and inevitability. Bihlman’s sound pulls equally from blues grit, country soul, and garage rock punch, creating a raw yet refined aesthetic that feels tailor-made for late-night highways and unflinching reckonings.

What makes “A Loaded Gun and a Wedding Ring” compelling isn’t just the instrumentation but the precision with which the story unfolds. Each riff, each pause, each crack of the drum is weighted with meaning, echoing the tale of betrayal and the pursuit of justice. Bihlman’s voice—gravelly, assured, and deeply human—takes the role of witness and judge, guiding the listener through a narrative that’s part confession, part declaration of independence. It’s not a song that races; it moves in deliberate strides, building tension in the spaces between the notes, holding the listener suspended until the final chord resolves.

Thematically, the track resonates with the undercurrent of Bihlman’s forthcoming album, Heavy Head. The record promises to be a meditation on the weight we carry—love, loss, betrayal, redemption—and the ways music can turn those burdens into something transcendent. Where “A Loaded Gun and a Wedding Ring” captures a moment of reckoning, other tracks are set to explore different dimensions of resilience and truth.

Bihlman’s ability to channel storytelling through his music is no accident. Raised between industrial Indiana and the Northern Michigan woods, he carries with him a duality of environments—the hard edges of the city and the raw quiet of nature—that surfaces in his sound. His style, which he calls “motorcycle poetry for truth-seekers,” reflects the restless search for meaning that fuels both his music and his life. Over the course of his career, Bihlman has performed everywhere from juke joints to the White House, leaving his mark alongside a staggering list of collaborators: Jelly Roll, John Fogerty, Pink, Trey Anastasio (Phish), dUg Pinnick (Kings X), and more. He’s also shared the stage with legends like Kid Rock, ZZ Top, Ted Nugent, BB King, and Ray Charles, proving his versatility across genres and audiences.

Beyond live performance, his music has carved its way into popular culture, with more than 30 television placements in shows like Sons of Anarchy, Burn Notice, and All My Children. This multifaceted presence speaks to his ability to craft songs that resonate across mediums—songs that aren’t bound to a single stage but thrive wherever emotion and storytelling are needed.

With Heavy Head on the horizon, Bihlman is preparing not just an album but an immersive artistic chapter. Produced by Miles Fulwider, the record will roll out in a waterfall release beginning August 2025, arriving in tandem with new drops from Bihlman’s vintage-Americana apparel line, Hillbilly Royalty. The pairing underscores his vision of music not just as sound but as lifestyle, culture, and identity.

“A Loaded Gun and a Wedding Ring” is a glimpse of what’s coming—a track that burns slow but leaves a lasting mark. It’s the kind of song that reminds us music can be more than entertainment; it can be a mirror, a witness, a reckoning. For Bihlman, it’s another step forward in a career built on truth, grit, and the unshakable belief that stories matter.

VIDEO VOYAGEUR: 3 Q’s WITH ANIMALS IN DENIAL

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With its emotion and frenetic energy, “Shallow” stands as one of Animals in Denial’s most striking and personal songs.

Written by Christian Ines during a tumultuous and destructive relationship, the track captures the chaos of love that is built on lies, obsession and abandonment.

Now paired with a haunting new video directed by Jon Paul Anderson, “Shallow” plunges viewers directly into Ines’s headspace – a first person descent into a relationship unraveling in real time.

We sat down with Christian to talk about the story behind the song, the inspiration for the visuals and how a chance discovery on YouTube led to a creative partnership that brought his vision vividly to life.

Watch the Official Music Video to “Shallow” here:

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

Well I wrote the song when I was going through a horrible relationship. It was full of drama and part way through I started to realize that this was just some sort of game and that the feelings she claimed to have for me, were completely shallow. It was one of those songs I knew I wanted to have a visual component ie video for, but I was a bit stuck at how to do it. 

I wanted it to convey the vibe of where my head was at, and to make a person watching feel like they were  a fly on the wall in my head. So the choice to visualize this way was really me finding the right video maker with the right eye and sense of frenetic clarity. The director/maker Jon Paul Anderson, and I hit it off and he completely understood the vision and really fleshed it out more and really nailed it. I couldn’t have asked for a better person to take the lead on the project. 

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

As far as the inspiration for the new video, it was always a song I wanted to have a video for, as it’s really meant to look like you’re inside of my head while I’m going through a relationship that’s really just a train wreck in disguise. I wanted it to feel frenetic yet clear, as during that time and relationship hot and cold can’t even begin to describe it. One minute you’re feeling like you and this person can withstand the weight of the world, and others you don’t even know if she likes you. I wanted it to also convey a feeling of loneliness or more like abandonment as that’s what I was feeling when I wrote the song. 

So the video takes a first person view, to try to make you feel like you’re me and going through the motions of something even though you know in your gut something isn’t quite right. Me and the director went back and forth over email and then he went to work filming and editing and what he turned in needed no revisions. I loved it when I saw it and thought he completely nailed it. I hope you like it.

3. What was the process of making the video?

The process for the video wasn’t mine, but it was basically me and the director going back and forth over email.  I started looking for cool music videos on YouTube and found a really talented YouTuber  named Jon Paul Anderson. He did a video for a nine inch nails song, called “Vessel”  that I was blown away by. I reached out to the guy and we hit it off chatting and so I then told him I had a song I really thought his approach would be perfect for if he was interested. He said to send him the track and I’ll let you know. He came back super enthusiastic, and asked if I had any ideas, I replied with what I was thinking about being a fly on the wall inside of my head. 

He followed up with me quickly, that he had some footage that he thought would be perfect he also had some ideas for some stuff he could shoot to add. The end result was something I was beyond proud of. 

    Leaving Without Regrets in Reeya Banerjee’s Brand New Album “This Place”

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    On her brand new album This Place, Reeya Banerjee proves that home isn’t always a fixed location. Home can be a feeling, a memory or even a song. The record is equal parts intimate reflection and widescreen arena rock.

    The album opens with an immediacy that pulls the listener into Banerjee’s world. Her vocals are warm, commanding and human, serving as the album’s compass and guiding us through songs of transition, loss, resilience and love that holds steady through change.

    Standout tracks like “Snow” shimmers with atmosphere, while “Misery of Place” rides a darker, restless energy that nods to Banerjee’s rock instincts. “For The First Time” finds strength in its vulnerability, and the closing track “Upstate Rust” is nothing short of an anthem – its soaring choruses and full band firepower leave the listener uplifted and changed. Each track carries its own weight, but together they form a cohesive narrative about moving forwards while carrying the places and people that have shaped you.

    The album fuses indie rock grit with dreamlike textures, bringing in influences that range from R.E.M. to Florence + The Machine without ever losing Banerjee’s distinctive voice. Her longtime collaborators in The Merseyside Darby breathe life into the musical arrangements, their chemistry palpable in every layered harmony and guitar lines.

    What makes This Place so striking is not just its richness and emotional generosity. Banerjee doesn’t shy away from complexity. She embraces it, creating a body of work that feels both grounded and expansive. This is the kind of album that grows with each listen, offering new corners to explore and moments to hold close.

    This Place is a record about movement, memory and the enduring beauty of connection. It’s like a map of the heart.

    Keep up to date with Reeya Banerjee on her Website

    Stream music on Spotify and Apple Music

    Poems’s “Half-Life” – Wrestling with Anxiety in Sound Form

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    Emerging from the vibrant San Diego indie scene, Poems have created an EP that captures the complex experience of young adulthood, exploring self-discovery, vulnerability and the quiet battles we face with our own minds.

    From the first notes of “Placebo”, lightly fuzzy guitars and nuanced, commanding vocals pull listeners into a world of reflection and emotional honesty. Half-Life conveys a lived experienced, and a sense of wrestling with internal tension and the fragile beauty of confronting one’s own anxieties.

    Listen in here:

    “NFS (Naked For Science)” builds on this foundation, exploring the interplay between identity, medication and personal vulnerability. Sparse and carefully chosen lyrics leave room for reflection, while the vocals have a cool detached energy reminiscent of early 2000’s UK indie rock.

    “Afterparty” is a track that ties the narrative together with more depth. It portrays the inner dialogue of someone navigating anxiety and self expectation, set against shimmering and pulsing guitar lines that underscores the tension inherent in the song. Produced by Billy Foster (Fontaines D.C., Wet Leg), mixed by John Catlin (Inhaler), and mastered by John Greenham (Billie Eilish), Half-Life gives the band’s vulnerability a lot of space to breathe while retaining a crisp and professional sound.

    Poems turn personal struggle into music that resonates beyond just their experiences. Each track is a careful balance of tension, reflection and hope, proving that indie rock can be both introspective and captivating.

    This is a band growing into its identity, unafraid to explore the messy, complicated terrain of the mind.

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    About Poems

    Poems began releasing music in 2021 and expanded in 2022 with two new members, solidifying their sound as a full indie rock outfit.

    The band has performed at venues across California, including Belly Up Tavern in Solana Beach, The Music Box in San Diego, and Brick and Mortar in San Francisco, opening for acts such as The Never Ending Fall.

    Their first EP West Coast was released in 2024, followed by Half-Life in 2025. Poems explore themes of anxiety, identity, and coming of age themes blending UK-inspired indie rock textures with personal storytelling.

    Connect with Poems:

    Website / Instagram / Spotify / Apple Music