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

09.15.25

by Jane Lambert

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

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

09.13.25

by Jane Lambert

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.

08.26.25

by Jane Lambert

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

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

08.26.25

by Jane Lambert

Moments Of Hit Hard with their Latest Single “Threshold”

With “Threshold,” Portland’s Moments Of come out boldly. It’s their first official single, but it doesn’t feel like a band still figuring out their footing. It sounds like a group that knows exactly what they want to say.

“Threshold” lives in that uneasy space between comfort and collapse, the realization that what once felt safe is now slowly suffocating.

Listen in here:

Ben Wilson’s vocal delivery is heavy with that tension while Jackson Howard and Adam Howarth’s guitars twist and collide in a way that mirrors the push and pull of the lyrics. The verses feel like they are holding something back as they coil tighter and tighter until the chorus cracks everything open.

That’s where the rhythm section really shines. Dan Dunham’s drums thunder underneath, and Kyle Gravel’s bass keeps the whole thing locked to a pulse that is impossible to ignore.

What is striking is how alive the song is. Producer Adam Cichocki lets the edges show and resists the urge to sand everything down. It’s raw but not messy, polished but not sterile – the kind of recording that makes you feel like you are in the room with the band.

There is a late ’90’s / early 2000’s DNA running through it, but it avoids coming off as just another nostalgia trip. Instead “Threshold” feels like a bridge between that era and now.

As far as debuts go, this one is bold. It throws the door open wide and dares you to follow. It’s hard not to wonder just how big Moments Of are about to get.

About Moments Of

Moments Of are an alt emo five piece from Portland, Maine who balance melody and grit with a skill for writing songs that hit straight at the heart.

What began as frontman Jackson Howard’s solo project quickly grew into a full band with the addition of co-vocalist Ben Wilson, guitarist Adam Howarth, bassist Kyle Gravel and drummer Dan Dunham.

Together they have built a sound that pulls from late ’90s and early 2000s emo and pop-punk while pushing it into sharper and more modern territory.

Their debut single “Threshold” marks a definite turning point. It’s unapologetically honest and sets the stage for their forthcoming album At Least You Found a Way to Disappear.

Keep up with Moments Of on their Website

08.25.25

by Jane Lambert

VIDEO VOYAGEUR: 3 Q’s WITH POEMS

Every band has a song that feels like a turning point, and for San Diego indie group Poems, that moment arrived with “Afterparty”.

Equal parts anxious confession and electrified catharsis, the track has quickly become their live closer and a fan favorite. Now, with a brand new video directed by rising LA filmmaker Christopher Shaibi, the song has taken on a vivid new life, one that mirrors the tension of dressing up for the night, only to feel like an outsider the second you walk through the door.

Poems are a band unafraid to dig into vulnerability, pulling from their own struggles with identity, prescription medication and the heavy fog of anxiety that often lingers around young adulthood. Yet their music never wallows.

Instead, it channels those insecurities into commanding vocals, raw emotion and the kind of guitar driven textures that recall early 2000’s indie icons while carving out something distinctly their own.

We sat down with the band to talk about the making of the Afterparty video, the influences that shaped its story and how this release signals where Poems are heading next.

Watch the Official Music Video for “Afterparty” here:

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

Afterparty was born from memories of the past, being an adolescent wallflower at every party attended. It’s about that feeling of wanting to break out of your shell and be that person you want to be, but crippling anxiety taking hold of you in every moment.
We chose to visualize the song this way to really showcase what it’s like being in that constant state of living in your own head. Imagine dressing your absolute best for the party, only to arrive feeling like you have to pretend to be someone just to get through the night.

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

We definitely pulled some inspiration from some of our favorite music videos. Over the years, we really loved staying up to date with Interpol and The 1975’s style of storytelling through visuals. We didn’t want to divulge too much of the storyline through the visuals alone, but leave a more broad landscape of what they song is trying to convey.

3. What was the process of making the video?

We were able to get in contact with a really awesome video creator by the name of Christopher Shaibi in LA. He has worked with some heavy hitters in the industry as he is really starting to make a name for himself, so we couldn’t pass up the opportunity to work with him.

We rented out a studio in LA for the day and dug in. We were able to give Chris a rough outline of how we wanted to final product to look, and he far exceeded our expectations! It was so fun to see our song vision come to life!

Keep up to date with Poems on the Website