Abeille – “Feels” – sensitivity and consummate craftsmanship

Abeille (meaning ‘honeybee’ in French) is an indie jazz-pop duo out of Nashville and Portland. This long distance project is made up of Emily Jewel and Samuel Terrazzino, who currently released their debut single “Feels”. “This song goes past the meaning of just two individuals finding each other,” explains the duo, continuing: “At the time this song was written we had just started playing music together again after a multi-year hiatus of minimal contact. This song was the turning point in our relationship from being just friends to something more.” They have since gone from being just friends, to a

DopeAMean – “Blue Faces” – There are plenty of highlights to be raved about!

DopeAMean born Josephis Wade, started rapping in 2004 with a rap group formerly known as Y.B.E. (Young Black Entrepreneurs). A decorated US Army Veteran, Wade was born in Columbus Georgia USA, to Lisa Denise Ceesay Pollard – a single mother. Raised in Metro-Atlanta, Ga and Auburn, Al, DopeAMean currently resides in Denver, and is the proud owner of the record label, Every-Thing Dope LLC. His latest project is 14 track album, “Blue Faces”. It’s enthralling on a sonic level, and the rapper keeps up lyrically, his flow more than malleable enough to fit with any groove put forward. It is

Frado180 – an instrumental artist and aspiring Hip hop producer from New York City, NY

Starting out as a passionate hip-hip DJ at the age of 15, Frado180 worked hard at the local gas station in order to own his first Turntable. And he never had to look back as a local group 2 in Room with hit single “Wiggle it” fame soon discovered his talent and helped him produce his first demo. At that moment his propulsive force of music truly began to take shape by its zig-zagging through genres, settling on moments of analogue clarity as well as digital refraction. Frado180 got his first real break when he landed a gig at a

Nachamuni – “Deep Down” a total floor filler with an infectious groove!

“Deep Down” is the new EDM single from electronic music producer Nachamuni, who is based in Vienna Austria. The track extends the reach of his signature sound. Most significantly, the Deep House track showcases a shift toward the high-minded, super-precise catchy pop production vibe of most modern electronic producers. The growling basslines have the potential to draw law enforcement officers to your doorstep, depending on the decibel level and kindness of your neighbors. Its structure dominates the landscape with both breathtaking impact and precision. The track refuses to recycle an old beat, gradually building from a melodic and soulful vocal

Alysha Releases Official Video for “David Attenborough”

A bit over a month ago, London born Alysha, a 17 year old teen with enormous talent as a singer and songwriter, would have probably not imagined for her career to catapult in such a sort of magical way. Every artist, before they begin their road to stardom and even throughout, always dream all they want to do to achieve their goals. We hear many stories of singers that were many times turned down by the industry, one that said industry sometimes gets a tough reality check, when they realize that the artist is now a superstar (on a different

Matthew Schultz x Gyptian Present ‘Turn Me Up’

Multi-Talented U.S. artist, Matthew Schultz unveils his latest crossover cut, ‘Turn Me Up’ – a fire collaboration with revered Reggae-Dancehall singer Gyptian. Matthew Schultz and Gyptian touch down with a standout reggae-influenced dance track featuring hypnotic synths & punchy percussion. Coupled with a languid, chilled out dance vibe and mesmeric rhythms – ‘Turn Me Up’ is the perfect song for radio, streaming & dance floors alike. Along with a remix from X-Change – the single is positioned for a whole host of love worldwide. Matthew Schultz is a multi-instrumentalist, producer, singer and performer who started out playing guitar in Chris

“1969” is the new Single and Video by THE FUZES

“1969” is a brand new single by the Swedish based band, The Fuzes. The track elaborates on historical events that took place in the USA that year. The song features Martin Dagger Granhage (Guitars, Bass, Lead Vocals) who is also the producer. Nathanaël Bartolo is on Drums. The Fuzes have 3 albums under their belts, which includes “Moving On”(2004), “In From The Shadows” (2005) and “Shake Your Body” (2006). Their latest work, is the group’s first recording in 12 years.  Visit The Fuzes website here: http://www.thefuzes.net/ Check out the past albums here: Apple: https://music.apple.com/us/album/shake-your-body/163988247 Deezer: https://www.deezer.com/sv/track/70066783 You Tube: https://youtu.be/IXaI6dyjtvI Check the band

Grammy Award-Winning Guitarist, Songwriter, and Best-Selling Author Chris Perez Releases New Hot Sauce Brand!

Chris Perez, husband to the late superstar, Selena, dubbed the ‘Queen of Tejano music,’ will release his custom “Perez Pepper Sauce” starting Saturday, November 16th. The small-batch sauce will be available online at CaJohns.com and at select locations where Perez will make personal appearances to offer on-site demonstrations to fans and customers. “My love for spicy food began as a young child when I accidentally ate a Mexican chili pepper,” recalls Chris. “I guess you could say that’s when I had my jalapeno popped,” laughs Perez. A scene from the 1997 biopic “Selena: The Movie” (portrayed by mega-star Jennifer Lopez) showcases Chris’s (played by actor Jon Seda)

Kambiz Mirzaei – “The Lost Ambient” – a dominating melodic mellowness behind a rising wave of dynamic, ascending energy.

The Toronto based composer, Kambiz Mirzaei, has navigated between two musical cultures: from authentic transcendental Middle Eastern melodies to North American flavored ambient, electronic and orchestral arrangements. His collaboration with Jamshid Andalibi in 1999 initiated an alternative approach to traditional use of the folk instrument, Ney, in modern compositions. If you’re looking for an instrumental record that explores cross-culture electronic and ambient themes cohesively, look no further than the album – “The Lost Ambient” by Kambiz Mirzaei. I am astounded that Mirzaei isn’t talked about more often, because there is so much innovation in his compositions and production that it’s

Axl & Arth – Rising Up with “Triumphant”

After a short hiatus the Stockholm based-producer duo are back with new mature sound, having teamed up with singer Dustin Paul for their collaboration Triumphant.  Axl & Arth have been releasing music consistently since their debut single in 2015 and going through their track list on Spotify you quickly get the idea that the duo likes to experiment with genres, mash them together and never corner themselves. “Well, we don’t want to be typecasted I suppose,” says Axl. “We like to just create whatever feels right at a given moment and what inspires us differs from one day to another.

Interview: Eclectic music maker – Austin Findley

Austin Findley is from the Midwest. Born on August 13th, 1997 to a family from the country, He was raised in small towns around Mid-Missouri. He started learning music theory at age 14, when he began playing with a program called LMMS. He says that his unique style is a result of listening to hours of music. He grew to love The Stone Roses, for their dance-able rhythm, trippy vocals, and psychedelic guitar sounds. David Bowie taught Austin the art of singing and changing with the seasons. Lou Reed & The Velvet Underground influenced his views on poetry, music, and art. Iggy Pop, Van Morrison, The Rolling Stones, & Led Zeppelin also added some depth to his music. But that was only the start, as he has since added a wealth of musical talent to his influences; going from jazz musicians to classical music, as well as rap artists such as Eminem, Nas, Kendrick Lamar and Madvillan. Check out Austin’s website, for more information and a list of his music, books and merchandise.

  1. When and how did you get started making music? And are you self-taught or did you have any formal training?

Austin Findley: I started making music in 2012. I was fourteen at the time and going to school at Lewis and Clark. In my free time, I would play on my computer; making simple melodies on the keyboard. When I decided that I would be a musician that was when I started making music. Seven years later, and I’m still a musician.

  1. Who were your first and strongest musical influences that you can remember?

Austin Findley: Eminem and Fall Out Boy. My current musical taste is a lot different than it was then. I went through a phase where I would listen to hours of music a day. I used a database called: besteveralbums.com. They rate albums based on a mathematical formula; not opinions.

  1. For most artists, originality is first preceded by a phase of learning and, often, emulating others. What was this like for you? How would you describe your own development as an artist and music maker, and the transition towards your own style?

Austin Findley: That’s true. I learned by doing and emulating the artists around me. My sound and genre changed within a span of three years. Before I was Austin Findley the Songwriter, I was Knackmintosh the Rapper. I felt that rapping and singing would contradict each other, so I began to rap less and sing more. Since Jazz and Classical numbers rarely feature vocals, I rarely sing. I still sing baritone. As I would listen to highly rated music, my style would change. The musical qualities are set in stone now. If a horde of masterpieces could grace my presence, I may change with the times. Right now, it’s mostly Hip-hop and Dream Pop.

  1. What do you feel are the key elements in your music that should resonate with listeners?

Austin Findley: Introspection. There are aspects of my music that people like and dislike. Since my art is done at home, there are imperfections. Those imperfections can be discussed and debated. Top 40 Radio never has quirks like the ones listed above; it’s produced with thousand dollar budgets.

  1. What do you think mainly separates you from the massive crowd of artists emerging right now on platforms all over the web?

Austin Findley:  Nothing. We are all trying to become bigger fish than we are. Since the public could only remember a small group of musicians, some artists are left undiscovered. 90% of musicians worldwide are unknown to the masses. It’s common knowledge that successful musicians aren’t more talented than unsuccessful musicians; they’re just paid more. In order for musicians to become more successful, they’d have to gain skills in marketing, branding, and advertising. Those aren’t skills associated with the craft. Since artists don’t tend to think like business people, it fails. Which is why delegation could help artists more than it hinders. A team of marketers, promoters, tutors, and session musicians would make anyone successful. They’d still have to work; but not as hard. Managers could help with business opportunities too.

  1. What is your process when composing, recording and producing your music? Do you outsource any of these tasks?

Austin Findley:  I currently do cover songs with some originals. Recording and producing is currently done at home; on my computer. If I were to record music the traditional way, I’d need thousands of dollars for recording, producing, and mastering my albums. After those costs are weighed, most of the budget would go towards marketing and branding. The amount of people working on an album would increase more than tenfold. The great thing about computers is it automates jobs that used to take longer to complete. For music, that helps tremendously. Unfortunately, that also makes it easier to dilute the market with shoddy products. Another reason why music today is almost never amazing. If you’re lucky, you might get two great albums a year. I’m outsourcing the marketing right now. If the marketing is able to reap profits, I’ll consider distributing the capital gains into a mix of marketing and improving products.

  1. How strict are you with genres and styles? Do you stick to a specific genre and style or do you tend to also explore diversities?

Austin Findley: I tend to focus on Classical and Jazz traditions when it comes to composition. Nobuo Utematsu’s style of music is a huge inspiration. After you factor in the indie rock influences, you get a unique blend of experimental. I tend to stick to a blend of styles to create a fusion genre.

  1. What key ingredients do you always try and infuse into your music, regardless of style or genre?

Austin Findley:  Complexity. It’s a thing that’s polarizing in the musical community. Simple songs can be great for ballads, but bad for instrumentals. Since John Coltrane is an influence of mine, my music reflects that. Introspection. I want my fans to dissect my music and discuss the nooks and crannies. There may be aspects they like or dislike. If there are things they don’t like, I’ll listen and alter my sound; customer service is important. If I hear quirks in the sound, I’ll leave the song with them, because it causes people to think about the song more. Abstract. Since my thoughts on musical theory is focused on different keys for parts of the song, the music tends to focus on a melody; which gets filled with chords and arpeggios. I layer those sounds together and loop those sounds to minutes. If I’m unsatisfied with the result, I’ll shelf the project and return to it after work.

  1. What has been the most difficult thing you’ve had to endure in your endeavors so far?

Austin Findley:  Financial obligations. Music is not my main breadwinner; clerical work is. That is how all of this is possible. The proceeds from my day job go towards the business I’m investing in. I always remind myself that the company I work for indirectly made those things possible by giving me the funds to do so. Without those resources, my albums wouldn’t be on Spotify, they’d be on Bandcamp and YouTube. Not the best place to be for a musician. In order to distribute music, you must pay tribute to a distributor. I have paid those dues and got distribution as a result. If I were to release albums free of charge, the distribution would be limited.

  1. What would you consider a successful, proud or significant point in your career so far?

Austin Findley:  Every album release is a success for me. I made a goal on releasing an album, and I released it. I consider that a notable achievement.

  1. What were some of the main challenges you encountered when starting out making music and how have they changed over time?

Austin Findley: Juggling work and dream work together. There are times they clash. Employers tend to dislike people with hobbies and goals besides burger flipper or floor sweeper. To make more time for my craft, I’ll sometimes bring my projects to work to complete them during work hours. Since workplaces look down on people trying to improve their station, they put clauses in contracts that state they can’t do business and work at the same time. That’s limiting for many people.

  1. What was your first hardware/software set-up like? And how has it evolved since then. What for you is currently the most important piece of hardware/software in your production process?

Austin Findley: I used a laptop and a built-in speaker. My audio tools have expanded into a microphone, desktop, and Midi input for microphone. The music is created on LMMS: Linux Multimedia Studio. It’s a DAW that allows the user to make music. Audacity is used to record vocals. Aria Maestosa, Anvil, and MuseScore are used for composition.

  1. Which aspects of being an independent music maker excites you most and which aspects discourages you most?

Austin Findley: Autonomy. I love the feeling of being able to work without someone forcing you to. I wouldn’t trade it in the world. It has its drawbacks. Even when you don’t want to work on music, you must. It’s in the job title after all. Almost every musician has a day job to fund the hobby. They tend to spend less time than is required for financial reasons. Starting a career in the music industry requires a set of skills most musicians don’t have. It also requires sacrifices in time and relationship quality. Music can be a rewarding path for some who face uncertain outlooks on jobs. When people have little-to-no access to quality employment, they tend to create their own. This job creation rarely creates enough wealth to live off of.

  1. Are you satisfied about the way the music business works in today’s digital age with platforms like Apple, Spotify, Beatport and Soundcloud, or do you have a different vision of the business?

Austin Findley:  There are problems with the current business model of streaming and live performances. For streaming to make a difference, you’d have to stream a million plays in order to make $4,000. That’s below the poverty line! That only factors in Spotify; that does not take the others into consideration. From the point listed above, a musician would need a huge following in order to make a decent living off music alone. The music teacher musician is real. Even if you factor in live performances, the ROI on live performances is uncertain. Google the profit margins and it’ll almost always be negative for unknown acts. For legacy bands like Rolling Stones and Metallica, concerts are amazing. For the average musician: they could be a financial nightmare. It’s common for bands to go into debt to fund tours. They also tend to skip on meals and hotels in favor of couch surfing and van sleeping. It’s not a glamorous lifestyle for anyone. The Rockstar lifestyle doesn’t exist for most musicians; so the ego has to be left at the door and preferably kicked.

  1. In general, do you consider Internet and all the social media websites as fundamental in building a career in music today, and what is your personal relationship with the new technology at hand?

Austin Findley: Social media isn’t as effective as it used to be. There is way too much competition for one person to deal with. Instead of being censored from access to knowledge, the average person is censored from too much knowledge; they don’t know what to look up. So, musicians are competing against established brands that people trust. It’s the devil you know, that’s better than the devil you don’t. In order to stand out from other musicians, a musician would have to make their product ten times better than the competition, have their art be a purple cow, and have a team of professionals that focus on the business aspect of music.

  1. If someone has never heard your music, which keywords would you personally use to describe your overall sound and style?

Austin Findley: David Bowie. The Doors. Yasunori Mitsuta. Nobuo Utematsu. John Coltrane. Miles Davis. Charles Mingus. Fishmans. Radiohead. Velvet Underground.

  1. Could you tell us something about your latest release?

Austin Findley:  Which one? I have two more albums slated for this year, and an album on New Years called: The Hits. The style from Neu Hälfte is similar to the ones I’m releasing months from now. The time horizon hasn’t changed the overall sound. So if you like Neu Hälfte, you’ll love Grass, Tree, and The Hits. Most of the songs on these albums are covers.

  1. Do you have any favorite track in one of your projects that has a specific backstory and/or message very dear to you?

Austin Findley: Scars of Time. It uses the layering I’ve referred to earlier to great effect. Jessy Dubai is about an actress. The song uses a Latin groove; which is incorporated into the music I create. Blame Os Mutantes and Chico Buarque for that.

  1. Do you only create and work in a studio environment, or do you also find time to perform live? And which of these two do you ultimately prefer and why?

Austin Findley:   I focus on a studio environment. I plan to branch out to live performances when I get the equipment and infrastructure to do so. I’m not sure what is required to perform live but I’ve heard it requires a PA System, musicians, security guards, and booth tables with merchandise. Those things cost thousands of dollars to obtain. Security guards aren’t that much for an hour of time; so I’m not worried about that. The most expensive item on the list would be other musicians; unless I DJ on equipment. It would be cheaper that way, but how would that look on a performing angle? A guy on a computer with headphones on? That wouldn’t make a great show, would it?

  1. What do you find most rewarding about what you do? And do you have a specific vision or goal that you would like to achieve in 2019?

Austin Findley: As a musician, I create music. Giving the world art is the greatest reward any artist can offer. For goals in 2019, I’ve achieved all the goals for this year that I’ve wanted. The type of goals that require an accent to four million fans on Spotify are long term goals, not yearly goals. It would take many years to get that many fans at once. How many years? Depends. It would not happen overnight. The dream of being discovered by playing at a bar and becoming a mega star is unrealistic. A more reasonable goal is to aim for sustainability. In good times and bad, you’ll still be in the music industry whether you have hit records or not.

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