by Jane Lambert

Zoey Tess Opens the Door to Revolution on “Knocking at Your Front Door”

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There’s an unmistakable sense of reckoning in Zoey Tess’s new single, “Knocking at Your Front Door.” Tess doesn’t hide behind any metaphors or soften any blows. Instead, she steps forwards, steady and to say what too many are afraid to.

The song opens with Zoey’s voice front and center. “I had a dream the world was burning, no one cared, the earth kept turning” is a lyric that lands like a hard truth that nobody wants to hear.

Recorded at the legendary Clubhouse Studio in Rhinebeck, New York, the song captures a kind of analog immediacy that sounds live. Produced by Spencer Hattendorf and engineered by Paul Antonell, “Knocking at Your Front Door” brings together a sharp and intuitive band with Teddy Kumpel on guitar, Reed Sutherland on bass, and Nate Mondschein on drums. All of them work together to serve the emotions of this song.

After the initial sessions, Grammy winning engineer Mario J. McNulty (David Bowie, Prince) handled the mix, giving it a clean and open feel that allows each lyric and texture to breathe. Dave McNair’s mastering gives it that final polish. This is protest music, after all. It’s supposed to make you a little uncomfortable.

What makes “Knocking at Your Front Door” so effective isn’t just its political bite, but its clarity. Tess reckons with the present moment. With the noise, the hypocrisy, fatigue and the flickr of hope that refuses to go out.

It’s the first single from her upcoming debut album, There’s Gonna Be a Reckoning, which was written earlier this year amid a growing sense of civic and spiritual unease.

The album, according to Tess, was born “from a need to speak out against rising authoritarianism, religious hypocrisy, and deep inequality.”

By the final verse, Tess sounds more like a mirror than a messenger and reflects back the chaos we have all grown a little to accustomed to. The revolution she is calling for is not just political, but it is moral, emotional and deeply human.

About Zoey Tess

Zoey Tess is an American singer songwriter, producer, and musician whose work bridges the confessional edge of 90’s era singer songwriters with the fearless spirit of 60’s folk protest music.

Born in Coral Springs, Florida and raised in Newtown, Connecticut, Tess began studying piano and violin at a young age before attending the Interlochen Center for the Arts in Michigan and later Berklee College of Music.

Leaving Berklee after a year to pursue her own artistic path, Tess worked under the mentorship of producer Vic Steffens (Whitney Houston, The Blues Brothers) and performed with the jazz fusion group Artful Soul. Her 2020 single “Late Night Thoughts” highlights her R&B and soul influences, but her forthcoming debut album, There’s Gonna Be a Reckoning marks a bold creative leap into folk rock territory.

The album, which was recorded at The Clubhouse Studio in Rhinebeck, New York, features production by Spencer Hattendorf, collaborations with Dave Eggar (Coldplay) and mastering by Chris Gehringer and Dave McNair. Taking inspiration from Bob Dylan, Townes Van Zandt, Fiona Apple and PJ Harvey, Tess has a sound that is fiercely contemporary and one that refuses to look away from the world as it is.

Keep up with Zoey Tess on her Website

10.13.25

by Jane Lambert

Sixteen Years Sober – Ray Ray Star Turns Survival into Song with “One Step Away”

There’s nothing manufactured about Ray Ray Star’s new single “One Step Away.” This is the kind of song that bleeds truth – a cathartic, guitar driven confession from an artist who’s had experience of every lyric.

Released to coincide with the Canadian Convention of Narcotics Anonymous, “One Step Away” is more than a song about addiction however. It is a deeply personal portrait of endurance, of redemption and the fragile hope that comes with choosing to stay sober one day at a time.

Written over five years ago, “One Step Away” emerged from one of the darkest chapters in Ray Ray’s life. “I was barely holding on,” he recalls, “fighting like hell just to make it through another day.” The song sat unfinished until recently, when a speaking appearance at an NA convention reignited something in him – the realization that his story might serve others who are still in the fight.

That was the spark became the foundation for finishing the song, a raw and honest anthem for those on the path to recovery:

The track itself is a powerful slice of modern rock with soaring guitars and a dynamic production that echoes the push and pull between despair and determination, while Ray Ray’s voice carries an honesty that refuses to let you look away. There is no studio gloss to soften the message.

For Ray Ray Star, “One Step Away” is the culmination of a long, complex journey. A guitarist, record producer, executive producer and entertainer, he’s spent decades moving fluidly between onstage performance and behind the scenes production. His resume includes international tours and co-producing NBC’s Real Music Live, but it’s in his personal transformation that reveals his musicianship. Sixteen years clean and sober, Ray Ray channels that experience into both his music and his psychic work, forging a creative path that blends spiritual insight with true rock ’n’ roll energy.

The title of the song is a direct nod to the first step of Narcotics Anonymous, a concept that speaks volumes. At its heart, “One Step Away” is about the moment when everything could go either way. The choice to give in or to keep fighting. Ray Ray doesn’t romanticize recovery, he honors its difficulty. The song’s strength lies in the willingness to admit that even after sixteen years, the battle still exists, but so does the victory.

This is a track for anyone who has struggle with addiction, but also with the weight of being human. Ray Ray Star takes his scars and turns them into something defiant, something redemptive and ultimately, something beautiful.

Find out more about Ray Ray Star on his Website

Stream music on Spotify and Apple Music

09.26.25

by Jane Lambert

Revvnant’s Brand New Album “Death Drive” – A Dark, Genre Defying Journey Through Human Nature

Revvnant’s brand new album Death Drive is a record forged from emotional intensity, political awareness and something of an unflinching reflection on the state of the world.

Across its eight full songs and one experimental interlude, the album explores despair and rage as well as moments of fragile hope, pulling the listener into its atmospheric vortex.

Listen here:

The tracks themselves are as diverse as they are visceral with each one carrying a specific narrative. The opener “Death Cult” lashes out at Christian Nationalism with ferocious energy, while “Horror” functions as a call to action against the rise of American fascism.

“Rise” is a meditation on climate despair, pairing mournful piano with swirling Mellotron, Moog synths and hypnotic drum programming. “Alien World” reflects on the disorientation of the Covid pandemic, whereas “Neukölln” captures the tension between depression and wanderlusting euphoria. Songs like “Rusted Hearts” and “Damascus” witness urban poverty, addiction and cycles of extreme violence across the globe, meanwhile the closing track “Into the Grey” channels the awe and terror of mountains into a sprawling and immersive sonic landscape.

The production on this album is a careful balance between an expansive sound and something more inwardly intense. Schutzman recorded and produced the majority of the album in his home studio, layering piano, synthesizers, drum programming and vocals with a meticulous ear.

Guest musicians include guitarists, bassists, drummers and backing vocalists who all add a depth and texture that enhances the album without overshadowing its overall core vision. All vocals were recorded and the album mixed by J. Robbins at Magpie Cage Studio in Baltimore, and mastered by Paul Logus at PLX Mastering.

What makes Death Drive particularly compelling is its texture and the way it combines different influences. From the brooding and dark atmospherics of industrial and doom, the hypnotic pulse of trip hop, and the melodic sensibilities of dream pop all converge. There is an overall tension throughout between glimmers of beauty and hope, with chaos and doom, hope with despair, all mirroring the human impulses it explores.

Schutzman explains:

“The underlying theme of this album is in the title – Human nature’s fundamental drive toward self destruction, as exemplified by our current world.

David Lynch once said he didn’t like making films with only one genre. I’m the same way with my music. I love for a band like Radiohead is equally important to the inspiration I take from Black Sabbath. The power of Paul Simon’s songwriting has shaped me as much as that of Trent Reznor.

I let all of my influences bleed together, consciously and unconsciously, until they stew into something I hope resembles like originality. The sound can make ‘industry’ people scratch their heads, but I don’t care. It’s who I am musically, and can’t do anything to hide it.”

For listeners willing to engage, Death Drive is an immersive and truly thought provoking journey. It’s music that demands attention, reflection and shows Revvnant’s commitment to intensity and artistic integrity.

About Revvnant

Revvnant is the creation of Elias Schutzman, formerly the drummer for The Flying Eyes and Black Lung. Moving beyond percussion, Schutzman embraced analog synthesizers, drum machines, Mellotron, fuzz pedals and lead vocals to create a project that draws inspiration from trip hop, dream pop, industrial and doom.

Although this is primarily his solo vision, Revvnant often expands into a collaborative collective, featuring contributors on guitar, bass, drums, keys and backing vocals. The project’s first show was a sold out support slot for Orville Peck in 2019, followed by appearances at festivals such as Freak Valley Festival, sharing stages with Black Mountain, High On Fire, and Red Fang.

Find out more about Revvnant on here

Stream music on Spotify and Apple Music

09.25.25

by Jane Lambert

Lakaff Finds New Heights With “may.Be” and “Jambles”

There’s a reason Washington D.C.’s Lakaff keeps calling his sound “heart music.” This is not a gimmick but a mission. A singer songwriter, multi instrumentalist and producer who started ou on French horn and euphonium before teaching himself bass, guitar and production, Lakaff has been steadily building a catalogue of songs since 2023 that blur the lines between indie rock, hip hop, and electronic music. His latest two singles “may.Be” and “Jambles” show just how far that vision has come.

Released earlier this year, “may.Be” is Lakaff’s first Dolby Atmos release and the kind of track that makes you want to sit between the speakers.

It’s built on a sleek electro groove, layering artful drums, shimmering guitar and silky flute and sax lines from Grammy winning guest Johnny Butler.

Emmy winning engineer Cheryl Ottenritter handled the Atmos mastering. This is a song that defines Lakaff’s “heart music.”

Where “may.Be” is expansive and collaborative, “Jambles” is more stripped back and personal. Lakaff channels the wiry guitar energy of early Strokes records, then threads it through the trap style percussion he admired from artists like Future.

Instead of leaning on a drum machine for thetrap meets guitar vibe, he tracked live, kit oriented sounds, giving the song a punchy and human edge beneath its clattering hi-hats and pulsing bassline. Lyrically, it’s a collage of daily life fragments gathered over time, dotted with sly nods to Oasis, “Sk8er Boi,” and other personal touchstones.

Together the two songs function as a kind of diptych. “may.Be” reveals Lakaff the collaborator, reaching outward with a lush and immersive production.

“Jambles” shows Lakaff the diarist, boiling down his influences into something lean and immediate. Both singles are recognisably his. They are playful, soulful and just a little bit restless, constantly looking for new ways to join the organic with the synthetic.

If these tracks are any indication, Lakaff’s “heart music” is becoming something of a signature sound. With more Atmos mastered singles already in the pipeline and live shows on the horizon, both “may.Be” and “Jambles” show an artist whose sound is emerging and coming into focus – immersive, genre blurring and designed to resonate well.

About Lakaff

Lakaff is a Washington D.C. based singer-songwriter, multi-instrumentalist and producer. Raised on school band brass instruments (French horn, then euphonium), he discovered rock in middle school and taught himself bass while playing along to Aerosmith records, and soon added guitar, vocals, and production to his skill set.

Since 2023 he has steadily released tracks that mix indie rock guitars, trap inspired percussion, dexterous bass lines, horns and other unexpected textures, taking cues from artists as varied as Oasis, Disclosure, Shania Twain, The Prodigy, Kasabian, and 50 Cent.

His singles feature artwork by visual artist Masato Okano, known for designs for Metallica and Murphy’s Law, and collaborations with Grammy winning saxophonist Johnny Butler and Emmy winning audio engineer Cheryl Ottenritter.

With more Atmos mastered singles planned and live performances on the horizon, Lakaff is carving out a distinctive place in today’s music landscape – quirky, playful, and soulful.

Stream music on Spotify and Apple Music

09.19.25

by Jane Lambert

VIDEO VOYAGEUR: 3 Q’s WITH MASSEY

When MASSEY unleashed his blistering new single “BOOKIN’” it immediately felt like more than just another funk-rock cut.

Co-written with longtime friend and guitarist Charlie Lerant, “BOOKIN'” explodes with blues rock riffs as it tells the story of two lovers racing toward each other and towards tragedy. It’s full throttle passion and heartbreak set to music, a rush of guitars, horns and syncopated rhythms that makes you feel the chase in your bones.

But MASSEY’s vision didn’t stop at the audio. To bring “BOOKIN’” to life visually, he turned to fine artist Lionel Thomas, a painter he has admired for years and who created the artwork for his upcoming debut album Reason for Being.

Thomas’s decision to hand draw each frame of the “BOOKIN’” video in manga style animation is virtually unheard of today. The result is an action drama that mirrors the intensity of the track – a woman on a train, a man in a car, villains, storms, battles and, at the heart of it all, a love story barreling toward a cliff.

We caught up with MASSEY to talk about how “BOOKIN’” was born, and how Lionel Thomas transformed one of MASSEY’s most intense songs into a rare, hand drawn visual experience.

Watch the Official Music Video:

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

As the lyric writer and singer, as soon as my collaborator on this one, the amazing guitar player Charlie Lerant played each lick, hook and attack of the guitar part he wrote, I knew what this song was about: full-throttle, possessed passion, two people drawn like high powered magnets yet forced to chase, forced to race, towards inevitable catastrophe.

And the first word that came immediately to mind, for the title, and the chorus hook: BOOKIN’!

The general story or arc of the song came to me quickly from there, and the lyrics rolled from the story board I built in my mind.

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

Well, the video was the complete work of the visionary fine artist Lionel Thomas.

His paintings are one of a kind. I have been a fan, patron, and owner of his work for more than 5 years. We brought him on to paint the commissioned cover of the soon-to-be-released MASSEY debut album, Reason For Being, dropping in a few weeks on October 24th.

And we were so blown away by the album cover he painted, that we commissioned Lionel, once again, to create what is pretty much unheard of in this moment: a hand drawn manga anime music video for the entire 2 minutes and 44 seconds of BOOKIN’!

I knew he would do the most fabulous job, and gave him free reign to conceptualize, storyboard and present the story he felt matched the energy. So, as Lionel explained to me, he quickly started seeing the story, with story-board outlines in his mind’s eye: – an over-the-top action film, ala Mission Impossible. There’s a train, a heroine, a villain and a hero racing down the highway to catch them.

The heroine fights, the hero races …

They ultimately embrace …

Yet it doesn’t end well …

3. What was the process of making the video?

As it was described to me by Lionel, his conceptualizing of the video was similar to how, as soon as I heard the music from my songwriting partner, Charle Lerant, I felt what the song was about, and then wrote the lyrics.

Lionel told me, after a couple listens to the song, he knew the story he wanted to tell. He saw a Mission-Impossible like action adventure plot line, with a woman as the hero, done in a Japanese manga animation style.

From that vision, he drew more and more detailed storyboards. He presented a draft of a segment, to be sure we liked his progress. Yet we wanted more story development.

After drawing it out more, we worked to be sure the action was syncing with the drama of the music and attack of the song. The result was better than we could have imagined! A masterpiece final product, with classic cinematic-style credits, too! We are out of our mind in love with Lionel’s work, merging the drama of the song with a visual extravaganza, matching and enhancing that drama.

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Keep up with MASSEY on his Website

Stream music on Spotify and Apple Music now!

09.18.25

by Jane Lambert

VIDEO VOYAGEUR: 3 Q’s WITH ALEX THOMEN

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