Seethe is an alternative/nu metal artist hailing from Pittsburgh. Spawning from the isolation of Covid lockdowns in 2020, this project has taken on a life of its own. With a handful of albums and EPs and an expansive catalog of singles to his name, Seethe shows no signs of slowing down.
One of the first people to let me review his music when I started my own journey, I’m surprised it has taken us this long to do an interview! We discussed his musical beginnings, inspiration, dream collaborations, and much more – and I feel like we only scratched the surface! Check it out!
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Mostly Music: So let’s talk some background first. How did you get started making music?
Seethe: Music has always been there. It’s in the blood on both my mom’s side and my dad’s side. I grew up around anything from oldies, to bluegrass, to metal, rock, and hip hop. I was air guitaring and singing with a brush as a microphone before I was even potty trained!
MM: That vast array of exposure explains a lot. Lol. Your music definitely has quite a bit of variety.
Do you have any particular band/artist that was, like, The One that made you really wanna pursue this? Or a song? I know it’s not always that specific, but…
Seethe: There are many layers to that. First, I was a guitarist that dabbled in some piano and bass, then over time, transferred to lead vocals. Stevie Ray Vaughn and Jerry Cantrell made me wanna pick up and sling the ole six string. In my high school years, I was deep into acoustic pop rock with the likes of John Mayer, Secondhand Serenade, Dashboard Confessional, and Five Times August. When it came down to vocals (waaaaay early on), I hadn’t found my voice and was attempting very bad Creed/Breaking Benjamin vocals til I started actually singing and exploring my voice round 3, 2016. Phil Anselmo, Tim Williams, and Billy Keeton were very, very influential in where I was trying to go vocally as I began to explore my voice.
MM: Okay, with all that going on, how did you find your sound? I know your sound varies, but for a while, you leaned heavily into the trap metal end of things, so to speak. Was that a conscious decision, or was it more…you played around with ideas and found that that particular genre fit what you were going for?
I feel like I’m wording that badly…
Seethe: Covid honestly was really responsible for the creation of Seethe. I had begun to dabble in electronic music but never had the guts to release it. Anything I had released up to that point I had a band or a partner in crime, and I always had that comradery and support, but never enough guts to put something out solely by myself. At the start it was mainly just to make some music with an electronic edge like the “Queen of The Damned” soundtrack with the modern soundscape of the trap metal genre that had been blowing up in recent years. While a niche genre, it allowed me to develop and grow. After 4-ish years of producing and releasing trap metal tracks, I had decided it was time to start branching out and shifting my sound. That’s honestly the beauty of being a solo artist. Yes, there is more work, and it literally all falls on my shoulders, but I could/can do what I want, when I want.
MM: So, this may be a stupid question, but with the recent releases veering into a less electronic/trap-oriented direction, are you still working solo?
Seethe: Nope. If I had the equipment and better resources, I definitely would (Lord knows it would probably be cheaper if i did, given my rate of output). Fortunately, I have met many different and awesome producers along the way. Sometimes, we work together on a project from the ground up, or it’s a matter of me merely scavenging beats/instrumentals I find and lease or purchase. Some awesome producers I’ve worked with (but not limited to) – Slaughter, APXLLYXN, Exor, Gus Wallner, VIXLENCE, Last of a Dying Breed. Can’t forget Aura Abnormal, and Dead Prophet Alive.
MM: You have released four tracks so far this year. Congratulations on that, by the way. Can you give me a bit of background on the most recent single, “Oceans”?
Seethe: “Oceans” is one of the first songs in a while that wasn’t written introspectively. It’s more of an observation about the world as we see it now. All of the doom and gloom and tension that hangs in the air. REM said it best: “it’s the end of the world as we know it.”
In the recording side of things, this was a fun/challenging one to work on. Jacob Lizotte is an amazing producer/composer, and that forced me to really up my game vocally. The music not only goes hard in the paint, but it’s also very open and has a sort of ambient atmosphere to it, so I had plenty of room to paint the canvas with my craft.
MM: I wanna ask a question that’s kinda just for fun, but I love the answers I get. If you could collaborate with anyone, who would it be?
Seethe: Dream collabs would be Layne Staley, Phil Anselmo, Damien Starkey, Brock Lindow, and Chad Gray.
MM: A Chad Gray collab would be SO good!!! So what is your creative process? How do you piece songs together? (I’m interested in both the writing and recording aspects, but hands down, I grasp the writing part a lot more easily. I know nothing about recording.)
Seethe: The creative process varies. It’s honestly one of my favorite things about art. I am a multi-instrumentalist, but I unfortunately don’t have a means to record anything besides vocals. I have been fortunate enough to work alongside multiple producers and composers to build songs from the ground up. Sometimes, someone will hit me with a piece of music and want me to man vocals. Other times, it’s merely me scavenging on BeatStars or YouTube, looking for a beat that catches my ear. A lot of times, the songwriting for me is very spur of the moment or if something catches my ear. You never know when inspiration is gonna strike.
Or other times I will have a song written up and it’s a matter of finding or creating the music to bring it all together. There are times I will sit on a song or idea for months, or it comes out on the spot in minutes. Collabs are always fun as well. It’s a different energy when you have someone bring you on and you are putting your craft with someone else’s vision.
MM: We could probably keep talking for ages, but I’ve already used up a lot of your time. Thank you very much for this interview. I look forward to hearing what you come up with next and perhaps having another conversation about…well, everything!
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In the time since we wrapped up our chat, Seethe has announced the release of his fifth single for 2025, “Reprieve.” The track will hit streaming services on April 26th. You can pre-save it here!
But while you’re waiting, be sure to listen to the other songs he has dropped since January – “Mandela Effect,” “IDT (Falling in Wait),” “Depths,” and “Oceans.” These four offerings grant a glimpse into the wide creative range Seethe possesses and the varied stylistic choices he makes. If you enjoy what you hear, follow him on your favorite platforms so that you never miss any Seethe music news!
Collide the Gemini is a post-hardcore band hailing from El Paso, Texas. The trio consists of guitarist/vocalist Chris Reza, bassist Nate Sansom, and drummer Brian Carbajal. They have released one EP so far, 2022’s Dioscuri, but another EP is on the horizon!
I had the pleasure to chat with Chris about the band’s beginnings, their influences, the upcoming EP, and even his favorite sci-fi movies. (We also might have briefly touched on the topic of the Backstreet Boys…) Read on for more!
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Mostly Music: So I always start super basic out of the gate. How did Collide the Gemini form, and what’s the story behind the band name?
Chris Reza: Collide started out of the end of a previous band my drummer and I were in called The Roaring Twenties. Brian [drummer] and I wanted to continue pursuing music so we kept going, but we felt like the new songs and new lineup needed to be under a new name, so we decided to change it to Collide the Gemini.
The name came from my weird obsession with the word Gemini. The more I researched the story behind the Gemini and the twins, the more I felt it connected with our music. The name basically reflects what we try to do musically, colliding opposing sounds – light and dark, heavy and soft, simple and complex – and creating a balance between the two.
MM: That is one of the better stories behind a name I’ve heard, and it serves a purpose while being memorable.
So let’s go back a bit and talk about you. What inspired you to start creating music? Is that something you’ve always wanted to do, or did you have a defining moment that changed your trajectory?
CR: Well, I think art in general has always been something that I’ve wanted to do. Since I was a kid I’ve loved drawing, and growing up, I got into film and photography and graphic design. Music was just another creative outlet and one in which I could combine everything else. Even now I do a lot of our merch designs, music videos, and promos.
MM: Oh, so you’re a multi-talented creative person. I’m jealous. Lol. I want to be good – or…capable, I guess – at so many things, and I’m not. Writing is just about it.
Who would you say is your biggest musical influence?
CR: That’s a tough one. It changes all the time. I would say The Mars Volta. Mainly because they are hometown heroes of ours and also musical geniuses. But I would say we strive to sound more along the lines of a Dance Gavin Dance or Fall of Troy.
MM: On a related note, but also just for fun, is there anyone you listen to that might surprise people? (I refuse to call them “guilty pleasures,” because I don’t feel guilty about anything I listen to. Lol.)
CR: Haha, yeah, I totally agree with you! Like what you like, you know? I would say most people are surprised that I listen to hip hop. I’ve also been known to jam to some Olivia Rodrigo as well, haha!
MM: I still pull out some Backstreet Boys on occasion. (I’m old.) I went to see them in 2019 and my coworkers judged me. Lol. They were used to me listening to rock and metal. Anyway, let me get back on topic.
Y’all released “Take to the Skies” at the end of January. Can you tell me the story behind the song?
CR: Oh nice! Nah, the Backstreet Boys are awesome!
So “Take to the Skies” is a song that will be on our upcoming EP that will be out later this year. The EP is a concept record that I wrote. It’s loosely based on some of my favorite sci-fi films. “Take to the Skies” is told through the eyes of the protagonist’s wife, who must see him leave for this journey to save humanity in hopes he’ll return.
MM: And now you have caused me to debate whether to go ahead with music questions or dive into your taste in films. I can’t help it: that’s the stuff I love to know about my favorite musicians.Okay, I have to ask. Favorite sci-fi film(s)?
CR: Haha, no worries, I love talking about that stuff! For sure, the film that really inspired me to write this record was Interstellar. It’s a masterpiece! But Alien, Event Horizon, and The Thing are all in my top 5.
MM: I watched Event Horizon for the first time last year, which is odd considering what a horror buff I am. Haha. I loved it. My dad is a big sci-fi guy, but it’s all the really old films (he’s about to turn 70). I’ll have to check out Interstellar, though. I’ve never seen it.
CR: Oh, you have to watch it! It phenomenal.
MM: In regard to the EP, I like the idea of a concept album. Has your writing process been much different for this record? And (let me see if I can word this correctly) – do you think it’s been easier to write with a story to tell, or has it made the process more complex?
CR: The writing hasn’t changed much. We’ve had some kind of concept or story in mind while writing all of our previous material. I find that’s easier, at least for me, to write this way. Writing in the moment or from my personal experience can be a really good catalyst for songs, but I find that it’s sometimes hard to complete them. Whatever I felt about that topic at the time might change the next day, and I always find myself disinterested in continuing with the song. That being said, I have written about my own experiences. They’ve just been masked by a story, which makes it feel like I’m writing about someone else. If that makes sense, haha.
MM: I was thinking I could see both sides to working with a story. Like, it would be easier in a way because you have a set focus and a point to work towards, but at the same time, there might be difficulties because you’d be confined to working within certain parameters, i.e. your story. I guess that’s why I wanted to ask the question.
Piggybacking off your answer: do you think that masking your personal experiences behind a story makes them more relatable to your listeners? Maybe it’s easier for them to apply it to themselves when they don’t feel so much of the artist’s personal element? (Or maybe I’m overthinking it…)
CR: That’s a good question. I think listeners are going to relate it back to themselves regardless, whether it’s a song about a personal experience from the artist or one about space travel. At the end of the day if the song is hitting us at an emotional level that’s all that matters. We tend to find a way of connecting to it if we love it.
MM: I feel that on a spiritual level. I don’t understand how there are people out there who don’t “get” music. I always wonder if they just haven’t been fortunate enough to find that song or artist that grabs their soul and won’t let go. Lol. Not to be overly dramatic about it, but music means a lot to me.
What are Collide The Gemini’s plans for the rest of 2025? I know you said y’all are going to release the EP…
CR: Collide has a few things planned for 2025. We have our EP coming out this year titled A Spark in the Horizon. No set release date yet, but hopefully before the end of the year. We also have some plans to do some touring this year. We’re gonna do a small Texas run, hopefully this summer. Other than that, we will be dropping singles until we release the EP. So be on the look out for that!
MM: While I have you here, I’m gonna ask just a couple more questions. What’s your favorite thing about playing live?
CR: I would say connecting with fans, for sure. Seeing how our music affects them and sharing that experience. Also, as a fan of live music myself, seeing a band live and being in the moment with them is such a great experience.
MM: I think it would be so cool to experience it from both sides! Last but not least, do you have a dream tour lineup? Collide the Gemini with…?
CR: Oh God, I have too many to list, hahaha. I would love to do a tour with Hail the Sun. We’ve gotten to open up for them a few times and it’s always a good time. But maybe my dream lineup would be The Mars Volta headlining, maybe Coheed and Cambria supporting or something like that.
MM: Thank you so much for your time! And I look forward to all you guys have coming this year!
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Check out Collide the Gemini’s latest single, “Take to the Skies,” and be sure to follow their socials, as well as on your favorite streaming platforms so you don’t miss their upcoming releases or updates about the new EP!
Robbie Ekblom, Jr., is a Finnish/American guitarist who focuses on lead and has influences ranging across the metal and metalcore landscapes. Philadelphia-based Hall of Lost is a hard rock/alt-metal project put together by singer and guitarist Jeff McAllister.
And when the two acts come together, listeners are gifted with a track like “Darkness Befalls.”
I had the chance to chat with Jeff and Robbie about their collaboration – how the artists met, how the song came to fruition, and what the odds are of them making more music together in the future.
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Mostly Music: Okay, so tell me how this came together. I’ve talked to artists who have worked on a track from different places, but I’m not sure they’ve ever been from different countries!
Robbie: Long story short, we were able to get acquainted on Instagram and combined our appreciations for artists like Breaking Benjamin, Tool, Seether, and create our own track using our studio setups from across the Atlantic. That’s how our collaboration came to be. I think this story could motivate people who want to work together but don’t live near one another. You really can come out with some pretty cool stuff, and you can get pretty creative these days when it comes to recording.
MM: How did you and Hall of Lost handle writing “Darkness Befalls”?
Robbie: I had come up with an instrumental track for “Darkness Befalls,” and Hall of Lost contacted me on Instagram after hearing some of my other music and said that they’d be interested in doing a collaboration. So then Jeff and I started messaging each other and he said one of your tracks is something that I really wanna work on and beef it out with some lyrics and his own instrumental additions.
For the recording itself, we both have our own setups. I have a home studio, and he has his setup over there in the U.S. So we just combined sounds and sent one another the music files and kept adding bits and pieces until the final version was fully edited.
It’s been a first for me working with somebody as talented as Hall of Lost. Jeff is a phenomenal musician and really has an incredible appetite for creating music and creative arts in general.
MM: That’s a great segue into Jeff’s side of the story. Ha ha! Jeff, what was your inspiration for “Darkness Befalls”?
Jeff: Sure thing, Melia. This track was a fun one to work with because Robbie had all of the instrumental completed, and most importantly, he had a title for the song. So many songwriters attempt to write a tune without first having a title, and there’s nothing wrong with it…I’ve done it myself, but what you typically find is that if you have a solid title, that drives the whole process forward. Needless to say, with a title like “Darkness Befalls”, I had a lot to work with!
Those riffs Robbie plays on the song emote plenty of feelings, so the inspiration came pretty naturally. I wanted to capture a sense of an alter ego, an anger hidden inside, being taken to a place you don’t want to go. When the anger takes over, that’s when darkness befalls.
MM: This question may sound almost naive, but how different is it writing and recording a song remotely as opposed to physically being in a room (or the studio) with those you are creating with? I imagine it requires a change to your normal approach?
Robbie: From my perspective, being in a studio or in a recording space together has the advantage of being able to adapt or change things on the fly because you’re all together and can discuss recording, or certain segments of a song, lyrical changes, whatever it might be, in person immediately. Whereas doing it remotely like this has sort of a time lag between making the changes, especially given the distance between Jeff and myself. We have a 6 hour time difference. That means anything we want to discuss has a one day, or at least one night, lag. But what is really nice about this is, because we both have our own studios and equipment, and are familiar with our own recording infrastructures, it – at least, for my part – has been very comfortable, because I know exactly how to use my stuff. There hasn’t been a need for any gear changes or adjustments to any of the actual tech we’re using. I do imagine, depending on how much we continue to work with Jeff, it would be cool to get into a room and just jam out and make music in person.
Jeff: I think Robbie said it well. This really worked out very smoothly, and I think what it came down to mostly was faith. I had complete faith in the musical track Robbie laid down. In fact, upon hearing what he crafted, I knew I wanted to be a part of it. It was such a big sound. Conversely, he allowed me a lot of creative freedom with his baby, allowing me to suggest a few arrangement suggestions and modifications to fit the lyrical delivery. From there, I would run the lyrical ideas by him and send him some samples, and we would go back and forth on any edits needed, volume changes, etc., but all in all, those were minimal. The fact that Robbie doesn’t seem to sleep also helped.
It would be great to eventually get in a room together. We’ve become great friends throughout the process, so beyond the creative chemistry, I’m sure he and I would down some beers together and come away with another great track.
Robbie: 100% on the downing of some amber lager and making magic happen! That day will come eventually, guaranteed! Haha!
As for the sleep; I had to get myself into somewhat of a routine of maximizing the time to keep in touch and to discuss music with the time difference. Now I’m in this loop where I stay up late, but it doesn’t bother me much because I’m so excited about the music and our project.
MM: So y’all are definitely working together again in the future? Can we expect another collab anytime soon? Because I would be 100% behind that.
Jeff: I can go on record saying that is definitely going to happen, especially if you’re making a request, Melia.
We have something in the works right now, actually. Schedules have been a bit tight, but the process has started, so it won’t be long. We really appreciate the support.
I imagine that won’t even be the last of it. Robbie is a riff machine. He has probably pumped out 2 songs before eating his morning Cheerios today.
MM: If I’m making a request? Okay! Consider this my request. And y’all are very welcome! I’m excited to hear what’s next!!!
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Y’all be sure to check out “Darkness Befalls,” and then do a deep dive into both artists! I’ve shared links to their socials below.
Also, this is not my only conversation with Jeff and Robbie. I will be back with a second interview in which we discuss their respective musical journeys, and maybe some off-the-wall topics as well, so please keep your eyes open for that!
RedPrint is a rock band from The Netherlands formed in 2012. They started as a cover act, but in 2023, they released their first original EP, entitled The Plan.
I was given the opportunity to talk with them and find out all about the band’s origins, influences, writing process, and more!
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Mostly Music: First and foremost, thank you for your time!How did the band form, and what’s the story behind the name “RedPrint”?
RedPrint: I used to play bass in another band, but that band collapsed in 2012 so I asked the rhythm guitarist and the lead guitarist if they would join me to form a new band. We searched for a drummer, and the 2 guitarists knew a girl from a local bar that sang karaoke very good. So The Plan – original band name – was formed. We were to be a blues band, play Chicago and Texas blues. We got our first gig pretty soon and played what we knew. A second gig shortly after turned us into a cover band.
Fast forward to (I think) 2017, and our lead guitarist decided he could not combine his work with the band anymore. We then found Ronald. As we rehearsed with the new guitarist, we felt we could get back to gigs, and our singer decided she didn’t want to continue. The search for her replacement took much longer, but we finally found Selinde. Then, in 2020, Covid hit. We’d had a great year in 2019, playing a lot of gigs, and were ready to get ourselves in venues for real, but lockdowns and Covid rules had us down.
During this time, our rhytm guitarist and singer did a little project, and “Stop Running” was made. On a computer, Selinde did the vocals, and at home we all thought what we could do with it. Finally, our drummer sent a drum part, I came with a bassline, and Ronald had to do the solo. But because it was made on a computer, there originally was a synthesizer part, so our rhythm guitarist got himself a synthesizer and after the lockdowns (or in between a couple), we started working on “Immersion.” Soon after that, “Herd” came to be, and we realised we needed to rethink “Stop Running.” That track was slow and a bit boring compared to the other 2 songs. So we spiced it up a bit. You can still hear it is a softer kind of track now, but it fits.
Jump to August 2022. Three tracks ready and we wanted another so we could record it as an EP. The first three were heavily influenced by our guitarist/synthesizer player. But it all came together as a band. We all wrote our own parts based on the ideas that formed. But now we all had ideas. And in a rehearsal where he could not make it, we set up two new tracks. One was already in progress, and one was new. But the direction we took on it was something different from his views. After a couple of months, he decided our views were too different and after a decade he left the band.
Again, a major setback, three tracks done and two concepts in progress, but a band member down. How were we going to replace a band member who did synthesizer in two tracks and rhythm guitar in the other? So we decided not to replace him. The lead guitarist also does rhythm, and the synthesizer is replaced with violin. Luckily, Selinde can play violin very well. So one of the concepts became “Telephone,” and shortly after, we recorded it all. “Colour Me Insane” was just there. I came with a bassline, and this progressed very fast. We didn’t think it was complete, but it was also too good not to record.
After we released the EP, we changed our name because there are so many “The Plan” or similar band names on the streaming services. I took control of the socials and stumbled into the community. Vox + Stix and Paul Harwood shared our profile, and the rest is history.
About our band name: we knew it needed a change from The Plan. A whole lot came past, we even let chatgpt have a go. But it was our guitarist that said a blueprint is also a sort of plan. And our logo is red, so why not RedPrint? This was the first name in months where nobody objected. So, I guess it is the best out of all the bad names that came along.
MM: The band name is unique, and it makes y’all easy to find. That’s always good for fans and bloggers, etc.So, who are RedPrint’s major influences?
RedPrint: Of course, all four of us have our own influences, but I think the biggest are the covers we used to do. And they were a large pool of artists that you would normally not put together. We did covers from AC/DC and ZZ top to Tom Petty and Black Sabbath. We also covered The Animals and even Bill Withers and Bruno Mars. We even did a cover of “Addicted to You” from Avicii. We through in Duffy and Etta James, but we did change some of those tracks so they would fit the set we played at that time.
At this point, I guess none of those are to be heard in our music, or not all of them. We try not to put ourselves in any specific subgenre. We are a rock band, but for the rest, our motto is: We play what we like and hope you like what we play. The funny thing is, we got reviewed a couple of times, and they compared us to bands and artists we never covered or really listened to before we got compared to them.
MM: That is an eclectic mix! This question almost seems redundant, but is there anyone you listen to that might surprise people?
RedPrint: Personally, I listen to a whole lot of various music. Lately, it’s a lot of indie artists. However, I used to be into house music a lot when i was young and still enjoy it. But I have to admit most of what they call EDM these days does not get me anymore. Faithless is a personal favorite, but also artists like The Prodigy and The KLF. Later, I discovered the older rock bands, and that seems like an infinite pool of inspiration. But disco, funk, and even hip-hop are appreciated.
But that’s just me. I am sure if all four of us would input on this, it would be a long story. We have a lot of similar interests but also a lot of different interests in music.
MM: You’ve already given an overview of how your originals came to be, in a general sense. More specifically, what was the process when writing and recording The Plan?
RedPrint: The first three (“Stop Running,” “Immersion,” and “Herd”) are started with ideas from our old guitarist/synthesizer player. But we all did our part in those. Basic concepts and a complete track are different things. He would not come up with the different bass parts in “Immersion,” for example. Also, the drums and bass are composed in the verse of “Immersion,” more than any other of our songs. “Herd” had the same chords in the verse and chorus, and only the bass and drums play a different part, so it sounds different.
But “Telephone” started with a bassline, Selinde came up with a vocal line, and the chorus was worked out pretty fast. It took one rehearsal to set up a basic song.
Of course, it takes a lot longer to structure it and make it into an actual song. Our guitarist played a heavy riff one time, and I really liked it. So I practiced it at home and somehow got back into the verse of “Telephone.” But to go from the verse to that riff (what is now the instrumental part) took some creative thinking. “Colour me Insane” also started with a bassline as did “Runaway” (not yet released, but you can find it in a live show on YouTube), so I guess now we start with a bassline. But our most recent project came to be after an acoustic session, and the vocals dictate the rest of the music. So it is not set in stone. If one of us has an idea and we can work with it, we work with it. It always stands or falls with if Selinde can sing in that key and find the right vocal line.
MM: What is your favorite song from the EP? Or perhaps I should phrase that question this way – is there a song that resonates with you more than the others?
RedPrint: Hmm, hard to pick a favorite. And I guess we all have a different opinion about it. For me, it would be either “Colour Me Insane,” because it’s a banger, or “Immersion,” because of the ending and the amount of work that went into it to reach the end result. But I know Selinde has a soft spot for “Telephone.” So opinions could be different between band members.
MM: What are RedPrint’s plans for the remainder of 2024?
RedPrint: At this moment, we can provide a date for when we will hit the studio again. We will record at least two tracks and maybe will do a surprise along with it. But that is still open for debate. The date is August 17th. Of course, we will need time to have it mixed and mastered, but it will probably hit the streaming services this year. We did talk about releasing it to Bandcamp first, and maybe having the indie radio stations that support us and many others spin it before it is available for streaming. We won’t be releasing all the songs at once this time either, but one every once in a while.
And if we run into any gigs, we are sure to take them. That is what we like to do most. Play in front of an audience is just the best.
MM: Is that – the audience – your favorite thing about performing?
RedPrint: Good question. Yes, the interaction with the audience. When they respond to us in a positive way, we will somehow get better. If it is because we get more confident or maybe magic, I cannot tell. But we do give that extra effort, so if we get a good audience, they get a good performance. When we get a great audience, they get a great performance. Not that we wouldn’t give our best if we played an empty room or watch the backs of a crowd, but it does help when they are enthusiastic.
MM: I definitely get how a great crowd can give you that boost. I’ve always heard that it’s a mutual thing: you feed off the audience, and they feed off of you, so everyone has to give energy and enthusiasm.
For y’all, how is playing live and recording in the studio connected? Do you think about how the songs will translate in a live performance?
RedPrint: We rent a rehearsal room. At home would disturb the neighbours too much. But this is certainly connected. We do think about things we add and how this might resonate with the audience. But also, we try not to overthink it. We are a band that tries to give that organic feel. We don’t overcompose individual parts, but do think about how a song flows as a whole and how an audience might experience this. Even when recording, we try to keep it as real as possible and not over produce. We won’t Sergeant Pepper our music and want to sound as live as possible. All our tracks are recorded as they are with the exception of some parts where we dubbed the guitar to give it a little extra and some ad libs in “Stop Running.” That’s the only thing we can’t duplicate live, but those parts are picked up by our bass player that gives it a little extra drive.
MM: Well, I look forward to the new music, and I envy those who get to see y’all play. Good luck on all your future endeavors, and thanks again for talking with me!
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You can keep up with all of RedPrint’s goings-on by following their socials, and be sure to check out their debut EP, The Plan, on your streaming service of choice!
Revolution Rabbit Deluxe is a Welsh band that expertly blends a multitude of genres, ranging from power pop and Brit rock to alternative/indie and punk. This four-piece outfit has carried the late 70s/early 80s punk rock and new wave movements into modern times, laying bare their growth and musical maturation with each release. So far, Revolution Rabbit Deluxe has given us four albums – Swipe Left (2019), Myths and Fables (2020), The Great Divide (2022), and Control Freaks (2023).
I recently had the opportunity to chat with the band about their history, influences, writing process, and much more!
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Mostly Music: First and foremost, how did Revolution Rabbit Deluxe get its start? And what is the story behind the band’s name?
Ant: The band originally met at a social group based around music for people with mental health issues. We released our first four CDs before a lineup change as several members needed to drop out due to other commitments. Now the band comprises: Lee – drums; Max – lead guitar; Jim – bass; and Ant – vocals and guitar. Ant, the only original member, has Asperger’s, both a blessing and a curse.
The name Revolution Rabbit Deluxe came to me while I was driving. I’ve had a lifetime love of rabbits and was playing with words that conjured humorous images. Transposing a rabbit face over the famous Che Guevara poster made me laugh, so I knew Revolution Rabbit was the name for me. I added the deluxe part to set us apart in some way. The name has nothing to do with certain adult entertainment aids.
MM: Funnily enough, now I have the image of Che Guevara with a rabbit face. So thanks for that… Did you all come from similar musical backgrounds – shared influences and the like – or did y’all have to find a way to blend several different styles?
Max: As a kid, I grew up on a diet of 60s and 70s classic rock and pop, then got into alternative rock, punk, grunge, and metal as a teenager. Although I’ve been playing guitar for longer, most of my previous experience in bands was as the drummer, so I’m more interested in incorporating rhythmic expression and simple melodic lines in my guitar playing rather than overly complex solos. When I joined RRD, I learnt that Ant (Rev Rabbit) and I shared a love of stuff like Pixies, Sonic Youth, Nirvana and Smashing Pumpkins so those influences are probably the strongest ones in there.
Jim: I had an eclectic upbringing as far as musical influences are concerned- my parents were huge fans of Max Bygraves and similar vocal artists but my Norwegian grandmother turned me on to the 90’s black metal scene with groundbreaking bands such as Burzum, Emperor, Bathory and Darkthrone- she taught me to death growl like a monster. I also really like Bananrama.
Ant: I love guitar solo work that is rhythmic and lean. Lines that add to the song rather than show off the skill of the lead guitar. Max is exactly that, a welsh joey Santiago. Jim is a metal bass player with Scarsun, but he wanted to work on a different project, and so he fell right into place. His bass playing is not as frenetic as in his metal band but is solid and underpins the melodic changes. Lee, our drummer, is an exceptional talent. Able to play versatile styles and keep the beat driving forward.
MM: You guys released the album Control Freaksin October last year, which I got to review and enjoyed very much. Can you tell me about the writing and recording process for the album? Was it approached any differently from your previous works, and what was the frame of mind while piecing it together?
Ant: The writing process is usually the same. Riff, melody, vocals. But this time, I tried to write a few songs in reverse. With “Cult of Me Me Me,” I wrote the lyrics first, then the melody and then the riff. I found it an interesting process as the lyrics weren’t constrained by the metre of the melody. It was very freeing.
Max: Ant would send us mp3s of the tracks as they stood at the time so that we could add our parts in our own homes. The completed parts were sent back and slotted into the tracks and then mixed and mastered. It was kinda like working on a jigsaw puzzle.
Ant: The process was a little different to the past four albums. Instead of coming to the studio, we had the luxury of working on the songs at our own pace, allowing experimentation. The general vibe of the album was those aspects of our society which control us either consciously or subconsciously. The frame of mind was definitely anger tinged with frustration at the status quo. It was intended to be both reflective and inspiring to greater action. It resulted in an album of hard-hitting rockers and softer introverted pieces. Our biggest experiment was the orchestrally based Girl from Irpin based on the harrowing photo of a young girl who had been killed by a Russian rocket attack.
MM: “Girl From Irpin” was one of my favorite tracks on the album. It was definitely a standout. Do you have a favorite song on the album, or maybe just one you connect with a bit more than the others?
Ant: Thanks for the kind comment on “Girl from Irpin.” Two tracks were standouts from a writing perspective – “Fabian Control Freaks” and “G7 Countdown.” Both subjects close to my heart. The control of everything for our so-called betterment by people that have everything in their ownership and control. It’s easy for people sat on billions telling us what to do when most of us are close to the poverty line. It gets me so angry I could turn green, rip my shirt, and go on a rampage as the Incredible Sulk.
MM: I don’t think you’d be alone in that… While we’re playing the “favorites” game, do you have a favorite song to play live?
Lee: I like them all.
Ant: I like “Resolving in E,” nice simple riff based C and Em with a shouty chorus that usually gets people up.
MM: What is your favorite thing about live shows?
Ant: For me it’s the end of the show. I have terrible stage fright. But it’s good to hear the audience applause on a job well done.
MM: I admire you greatly for getting up there in spite of stage fright. I could never!!! For fun, what would be your dream lineup – that includes Revolution Rabbit Deluxe?
Ant: XTC to start for their energy, especially early days. Pixies to continue the mood. Then us (how dare I) followed by U2 when they rocked stadiums. Closer, the almighty McCartney opening on “Jet” and closing on “Hey Jude” after an hour of classics.
MM: Ah yes. Mr. McCartney. Gotta include him. Legend.So last but not least, what are the band’s plans for 2024?
Ant: We are in the process of recording the sixth album, Seethe, which should be out at the end of the year. We are playing in South Wales regularly. We plan on updating our website soon to include our new drummer and bassist plus a video to accompany the new single due out in September. Thank you for this, I hope you have enjoyed the process as much as we did.
MM: Thank all of you for your time!
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Be sure to follow Revolution Rabbit Deluxe on all their socials so that you can keep up with band updates and hear that new single as soon as it drops! And go listen to Control Freaks on your favorite streaming service!
Candamius is a progressive rock/metal band hailing from Peru. They have released two singles – “Patient Friend” and “Visitor” – and are busy crafting their debut album.
Having discovered Candamius via Instagram, thanks to “Visitor,” I soon began to talk with Arturo. We discussed the band’s formation, influences, writing process, what’s next for them, and more! Read on for the full interview.
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Mostly Music: Can you tell us about the origins of Candamius? How did you all come together as a band?
Arturo Jara: First of all, thank you for this interview. I am Arturo Jara, a founding member of Candamius, along with Deyvi Gutierrez Amar. We founded [the band] in 2018 in Ica, Perú. At first, we initially didn’t know what name to give the project. One day, Deyvi and I ran into each other at the university where we were studying. We hadn’t planned to meet that day, but we went to lunch and started talking about the strangest dreams we had ever had. I told him that I had a dream where a friend of mine came to my house and said to me, “You are Candamius.” As soon as he said that, he left, and I woke up. I immediately searched for information to see if this word existed, and indeed, it does. Candamius was a god of the Astures and Cantabrians, associated with the sky, storms, and thunder. Remembering this dream, I suggested this name for our project to Deyvi, and he agreed. Since then, that’s been our name.
MM: And for you personally, what was it that made you want to pursue music?
AJ: Well, I remember the first time I formed a band when I was in high school. It was a great sensation to be there on stage, playing my favorite songs to an audience. However, in terms of finding the band that inspired me to pursue music, it was definitely Nirvana. I remember that I literally copied Cobain’s vocal style when I was a teenager. I wanted to be him, not only in his vocal style but also in his movements on stage.
When I started songwriting at 15 years old, I was thinking, “How would Cobain write this riff?” and I began to write it. Over time, I felt that songwriting was something I really needed in my life. It allowed me to express my own ideas and feelings and create my stories with total liberty.
Despite Nirvana motivating me to pursue music, I feel that I always had this sense of seeing music as a lifestyle. Song after song, composition after composition, there is always something to express and share with others.
MM: Who are the biggest musical influenceson the band as a whole, and how have they shaped your sound and style?
AJ: Our influences are diverse and include Tool, Alice in Chains, Nirvana, Meshuggah, Lamb of God, and Celtic Frost, among others. These bands have shaped our sound and style in various ways. Tool influenced us in creating long pieces and meticulously thinking through every aspect of the composition. Alice in Chains inspired our focus on vocals, especially the harmonies. Nirvana’s influence is evident in my vocal style, which is rooted in grunge music—I grew up with their music, so it naturally finds its way into mine. Meshuggah influenced some of our instrumental parts, Lamb of God inspired the groove metal elements, and Celtic Frost contributed to the atmospheric aspects of our music.
MM: Are there any bands/artists you listen to that might surprise people?
AJ: Well, I like Dvořák, Penderecki, Prokofiev, Franz Liszt, and other representatives of classical music.
MM: Are you working on any new music or projects at the moment? What can fans expect from Candamius in the near future?
AJ: Yes, we are working on the album. We are putting all of our effort into releasing a good album, so that is our priority right now.
MM: On the subject of writing and recording, what is your process like? Do you typically start with lyrics, a melody, or a specific instrumental riff?
AJ: Generally, I start with an instrumental riff, then I create the melody, and finally the lyrics. Sometimes, the lyrics and melody come at the same time.
MM: From where (or whom) do you draw most of your inspiration?
AJ: A lot of my inspiration comes from literature. Authors like Dostoyevsky, Oscar Wilde, Victor Hugo, and Shakespeare have significantly influenced the songwriting process and the creation of the stories of Candamius.
MM: Let’s get specific. Y’all just released the single “Visitor” in April. What’s the story behind that track?
AJ: In terms of lyrics, the song is inspired by Poe’s poems, as well as the poem “Negro Sayón” by José María Eguren and ” Los Heraldos Negros” by the poet Cesar Vallejo. It also receives influence from Shakespeare concerning the concept of dawn. However, the song has two protagonists: one of them is Death, personified and taking human form, while the other is a woman struggling with suicidal thoughts and existential questions. At the beginning of the song, Death is introduced as a character. As the song progresses, there is an inevitable encounter with the woman, who reveals her struggles and internal demons through the lyrics. At a certain moment, the music intensifies, symbolizing Death’s chase of the woman to end her suffering. In the part where Death says, “You must invoke the almighty, he will give you the answers,” I mean to convey that often when we cannot find answers to things we do not understand, we tend to seek explanations from a higher entity. The music accompanies Death’s speech, symbolizing its approach to its prey. Eventually, Death succeeds in entering and delivers the following speech: “There´s no exceptions, you all have the same fate. I know the path that you´ll be going through, and I will be at the end.” Later, the music changes, announcing the final part of the song where the woman gives her last words, saying: “Waiting for the dawn, I shelter in the storm now, drifting on the tide, begging for the dawn. The dawn escapes from my arms. Dim lights, all I know.” The “dawn” symbolizes hope, renewal, and the possibility of a fresh start. The storm symbolizes sobbing and pain, and “drifting on the tide” evokes a sense of being carried along by external forces, lacking control or direction. Finally, she says, “Dim lights, all I know,” referring to the minimal hope she has left. Tired of battling in life, she stares toward Death in the final part of the song, and a crescendo ends the song, suggesting that this entire story might have been a dream or that she is now in the afterlife. The listener will make their own choice.
MM: Just for fun, what would be your dream tour lineup that includes Candamius?
AJ: Playing along with Tool and Alice in Chains.
MM: With it being 2024 and the age of social media, how do you engage with your fans and community, both online and offline? What role do your fans play in your music and career?
AJ: At the moment, we interact with our fans primarily through social media. Our fans play a crucial role in our music. Since we released “Patient Friend,” the support we have received has been amazing. I am incredibly grateful for them and have only words of gratitude.
MM: Is there anything you’d like to say to the fans, and my readers, here?
AJ: I want to tell them that the album is coming, and I hope that they enjoy it as much as the first two singles.
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Candamius is a band determined to put their best foot forward. They clearly work hard to only share their music once they are fully happy with it, and that mindset has produced two amazing singles. Check out both of those songs below and find Candamius on their socials, as well as your favorite streaming platform. Big things are on their horizon!
The Lürxx are a self-proclaimed “nature warrior rock” band that have traversed the scene from England to Hollywood. Having been together in some form or fashion since 1990, Xavi and Sabú are basically twins by this point, sharing their love of music and a common goal: to make the world a better place.
I had the chance to speak with the duo about their start, the many transformations the band has gone through, their inspirations, and much more!
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Mostly Music: First and foremost, how did the band come together?
Xavi: Basically, the two of us, Xavi and Sabú, have been in a band together since we were 13 years old! We met at school in 1990 and started our first band, The Collegemates, influenced by early Beatles and 50s rock ‘n’ roll.
When we were 15, we sought out “dirtier” music. The Rolling Stones led us to the blues, and The Collegemates turned into Bloody Blues, the band we performed our first ever gig with! We explored more of the 1960s London scene and discovered bands like The Who and Small Faces. Through the latter, we really got into mod in 1993.
Through the very underground mod scene that existed in the mid-90s, we then discovered power pop bands like the Chords and Purple Hearts. Parallelly, we also started listening to a lot of classic 1970s punk rock. Out of this melange of influences rose our third band, Speed, whose sound we described as “Maximum Rhythm ‘n’ ModPunkBlues” in an allusion to The Who’s iconic Marquee Club poster. With Speed, we released a single on an underground punk label based near London. We thought “London’s where it’s at!” and as soon as we turned 18, we dropped out of school and moved there! This move did not go well: The explosion of Brit Pop had actually led to quite a lot of interest in 60s-influenced music but we were a) loath to jump on a trend, and b) moving on musically.
We had dabbled in Guns ‘n’ Roses and Nirvana before, but now we seriously got into that heavier stuff. Speed turned into Black Lürxx (thanxx Nikki Sixx for the umlaut and the double-x!) Success did not come our way because NO ONE was interested in that kind of music in London in 1995… So we copied our heroes and moved out to Los Angeles…
MM: How did y’all land on “The Lürxx” as the name to stick with?
Xavi: We had this fascination with the German word “Lurch” (= newt). We thought it sounded hilarious and we used to do this weird dance while we were saying “Lurch” over and over again (the “Lurchtanz”) and it just cracked us up (yeah, admittedly we were not often sober during these times…). And we were HUGE fans of Nikki Sixx and the Crüe. And “Lürxx” is basically a merger of all that. Originally, we added the “Black” to make it more dark and mysterious. Our mascots were black newts, and we still do a lot of jokes around the newt-thing, like that we call our newsletter the newtsletter and stuff like that! We thought it was cool to have such a mysterious band name with a word that no one would be able to place. Remarkably few people ask us about it, though! Over the course of time we realized how much sense it makes for us to have a newt in the band name, with newts being amphibians, the connection of life in the water and life on land, and with all life coming out of the water… it fits really well with our whole anti-speciesist, “we’re all one” philosophy. But none of that was intended!
MM: So y’all unintentionally ended up with quite an appropriate name! I can’t imagine having the wherewithal to just…move to LA. What was that like?
Xavi: Weirdly, it didn’t feel scary to us. That might have just been because we were 18 and had the biggest fuck-you attitude ever and were drinking quite heavily, but even taking all that into account, it seems insane looking back at it, how unimpressed we were. We literally just went like “right, London sucks, all our heroes went to LA to make it, we should do that, too.” Then we sold almost all our stuff, spent two months living in our rehearsal room (January / February, no heating, no warm water…) to save money, borrowed some money, and bought plane tickets to LA.
We didn’t even tell our parents we were gonna go there, because we were like “We’re 18, we don’t have to tell you anything!” But we also didn’t hide it, so eventually our moms got hip to it. Safe to say they were NOT happy. But Sabú’s mom, who always supported us, actually agreed to drive us to the airport. We remember that on the ride to the airport, we listened to Mötley Crüe’s “Danger”… We knew close to nothing about what LA in 1996 was like. All our knowledge came from the rock biographies and interviews we had read, so our information was about 10 years off. We even thought that Hollywood was by the sea. It looked like it in the Doors movie. That’s how clueless we were!! We arrived with our guitars, a rucksack, and $1000. To make the money stretch as far as possible, we decided to not book ourselves into a motel; instead, we stayed on the streets for the first two weeks, sleeping on a building site on Sunset Strip. Since we were in the States on a tourist visa (which we threw away), we had no official papers, so we couldn’t buy a car or easily get an apartment. That was nothing we had thought about beforehand. Luckily, we eventually found a landlord who was corrupt enough to not care about papers as long as he got the rent in cash every month. Even though the first months in LA were super tough, we absolutely LOVED it! We were so pleased with ourselves – we were totally living the dream! In fall, we managed to set our life up a little better, found a drummer, recorded a demo, and then in February 1997, we had our first gig in Hollywood, at the Coconut Teaszer. Dreams do come true!
MM: That sounds so scary! But I admire the bravery and determination. How was that first show? And, taking that further, what do you love about playing live?
Sabú: At the time, we had this guy, Leon, live in our little shoe box of an apartment. He helped us pay some of the rent, ’cause he needed a place after his girlfriend kicked him out. He was originally from New York, and one of his past bands had opened for the New York Dolls. He was friends with Arthur Kane and we ended up having a very strange conversation with Arthur in his run-down little West Hollywood apartment, but anyways – Leon was at that show and critiqued us and he told us afterwards that we seemed a little nervous but that it had gone well. We were quite satisfied with the performance – we, of course, did not want to admit that it was our first time, we were always too cool for that, we didn’t wanna seem like beginners. That added a ton of extra, unnecessary stress, but we apparently felt we accomplished that that night. In hindsight, it was super dumb of us to always pretend to be more knowledgeable and experienced than we were, because we could have gotten much more support from people had we admitted that we needed it…
This is gonna sound a bit like we’re dicks, but honestly: [what we like about shows] is the attention! The cheers, the lights, being the centre of attention! And we like the dressing up, putting on the make-up, the full-on stage gear. Getting into this full-on persona is a feel-good moment, really good for self-love and mental health! We also like connecting to the audience and to pass on positive energy – we get that a lot after shows, that people come up to us and say that we made them feel better, and that’s really great!! One dude once told us “you radiate happiness!” and that was beautiful. It’s also fun to confront random people with our weird lyrics and to give them something to think about.
MM: Did you guys always have a similar vision as to what the band would be, or are there contrasting influences in there as well?
Xavi: The two of us are basically twins – we’ve been so close since we were 13 that we feel like we’re a two-headed monster: each has its own head and thoughts, but more or less we are always heading in the same direction. Our vision for the band, actually for all our bands, was always fully aligned. We never had artistic disagreements. Amazing, actually, come to think of it! Our taste in music outside of the band is not always entirely aligned (Sabú sometimes likes to listen to classical music, for example, and I don’t), but these different tastes just flow into the band harmoniously and merge into a thing that we are both 100% behind. It just leads to our songwriting being versatile.
MM: In regard to your songwriting, what is your process? Where do you draw most of your inspiration from? (I know y’all support a few causes, and I’m sure a lot of it comes from there, but I still like to get an artist’s answer.)
Xavi: We draw most of our inspiration from conversations we have about stuff. For example, we’ll see on IG that Nikki Sixx took pictures at a local rodeo and thought it was really cool. We get pissed off about that because it’s no fun for the stressed-out animals being exploited for entertainment there. I remember a story I saw on Facebook about a Mustang sanctuary. We get the idea to write a song about mustangs for people like Nikki, who maybe just never had the chance to reflect on what it means for these horses to lose their freedom. And then we write the song (this will be our next release!).
And a lot of really great ideas actually start out as jokes, just us goofing around and then all of a sudden we’re like “wait, this is actually awesome!”
Because we have been creating together for so long, we have this incredibly natural way of working together. It’s the twin-thing. We just kind of vibe together and bring out the best in each other. Generally, you can maybe say that I’m the guy for the big picture, and Sabú is the guy for the details. I will often bring in a chunk of something, a riff or a picking pattern or even something resembling a song already, and Sabú will listen and then dig in and say “can you try this here” or “can you take this melody up instead of down there” or “this run is nice but can you vary it when you repeat it” and then we take it from there. Also, I only ever write with my guitar in hand – I say the songs are in my guitar – whereas Sabú will also sing stuff into his phone and compose in his head. He says the songs are inside of him.
MM: Still on the songwriting topic, how did “You’re Badass” come into being? I really, really dug it, so I need the story behind it!
Sabú: We’re not a love song band. We’re a bug song and fish song and slug song band. A Lürxx love song is a weird thing. But in late 2022, things went a bit differently.
My mum accompanied me as I was exploring the rural outskirts of Hannover, Germany, with the idea of moving there, which didn’t happen. What put me off most was that I felt like I was zapped back into the nineties. Most restaurants didn’t have a vegan option, getting a coffee with dairy alternative was close to impossible, and every time it WAS possible, it was a huge topic. My mum struggled to understand what I was going on about. I felt I was being pushed in the “impatient and radical” corner when I just tried to continue with my normal habits.
Not long after the trip to Germany, we participated in a songwriting workshop offered by The Songwriting Academy, London. One thing that really annoyed us about this workshop was how focused on love songs everyone was. Can’t people write songs about other topics?! Somehow, though, the Germany trip and the songwriting workshop bonded in my brain and a morbid wish to write a rebel love song emerged. I couldn’t quite convince Xavi of the idea.
We were listening a lot to the first few Van Halen albums at that time. Inspired by Eddie’s awesome rhythm playing, Xavi one night came up with a massively driving rhythm guitar I absolutely adored! Some other night we were joking around while Xavi made dinner. At some point we burst out into a spontaneous Latino vocal jam, followed by an awesome boomy beat. We often do these kinds of things. We have a bit of a background with Latino music. We used to live in Catalonia.
Since I didn’t manage to get Xavi into gear about wanting to write a love song with me, I just started writing lyrics myself. Again inspired by Van Halen, I started out with some funny, joky “I’m hot for teacher” lines. And texted them to Xavi. That was it. He instantly loved them and helped me work them out further. I asked Xavi if he could imagine using his awesome rhythm guitar for the love song. He forgot about my question and some days later had the idea to use his awesome rhythm guitar for the love song. Yesssssss!!!! It fit just perfectly for the verses!
I felt that our Latino thingy would be a great musical counterpart to the verses we had. Xavi was a bit puzzled but trusted me and went into “el corazón me duele….!” I interrupted him. No, I do think we should change the lyrics…. And we exchanged “el corazón me duele todo el día y toda la noche!” to “you offer no excuses for your values and your convictions!” Then we had the idea to sing “you’re badass!” to the boomy beat that had spontaneously burst out after “el corazón.”
Now we had our song!!! By now, Xavi was totally into it, and he started experimenting with his vocal delivery. Again, we had just listened to a lot of early Van Halen, and Xavi was getting inspired by David Lee Roth and wanted to close the song with a cocky, flirty spoken part, so he started to just freestyle some funny pick-up lines. I was roaring with laughter when he first said: “hey, what you got underneath that placard you’re holdin’? Wanna go on a march together?”
“You’re Badass” is a milestone song for the Lürxx, because it’s the first song we’ve recorded in collaboration with [Sixx A.M. singer/record producer/mixer] James Michael. Before we started recording, James gave our home studio a little check through by listening to the sound quality we achieve. He gave us green light for all the electric instruments but sprang into action with an amazing gift for recording vocals and acoustic instruments: a microphone bursting with music history! We still can’t quite believe it, but he gifted us the microphone that was used for recording The Heroin Diaries soundtrack in 2007.
MM: That’s quite a journey you had to go on to end up with “You’re Badass.” But I love it! That’s a great story!
So while we’re on the subject of equipment, what do you guys typically use? I feel like most musicians have a brand – or particular instrument – that they swear by. I could be wrong.
Xavi: We both love Floyd Roses – all our guitars absolutely must have floating bridges!! The three guitars we currently have are a Schecter, a Steve Vai signature Ibanez, and a Jackson. We swap these amongst ourselves – like true twins, we share everything. Xavi plays a Taylor acoustic guitar, which he adores, and Sabú plays a selection of plastic recorders – sounds trashy, but they’re actually pretty good! His soprano recorder is actually Xavi’s ancient and apparently indestructible recorder from primary school!
Our recording mic for vocals is probably our most exciting piece of equipment: the mic James Michael gifted to us.
Generally, because we try to be as sustainable as possible, we try to buy all our equipment second hand.
MM: What are the band’s plans for 2024? Maybe a new album…? [I ask hopefully, haha]
Xavi: You’re in luck – we have quite a few releases planned for 2024!
At the moment, we are working on two songs with James Michael, “Mustang” and “The Streets Are Paved With Stars.”
“Mustang” – a song about mustangs having the right to roam free! – is earmarked for release in late June, and our autobiographical Hollywood-anthem “The Streets Are Paved With Stars” for late July. Also in summer, we will release these two songs together with “Weeds” and “Badass” on CD as an actual physical EP!
As we go into fall, we’ll be recording another bunch of songs with James – as long as he doesn’t lose interest, we’ll keep going – there is absolutely no shortage of songs! The next two songs after the summer EP will probably be the punky “We Got It All”, a song we mostly wrote when we were 16, and “Salmon (New Self),” which uses the picture of salmon migration as a metaphor for starting anew in the middle of life.
We’ll also parallelly work on an acoustic project with two producers we know in London. That acoustic project will be a three-song EP that takes the listener on a journey of self-discovery and bonding with nature.
So loads to look forward to!
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The Lürxx hit the ground running and haven’t stopped! With so much on the horizon, be sure to follow the band on their socials and your favorite streaming service to ensure you don’t miss anything.
In the meantime, you can check out the latest singles, “You’re Badass” and “We Are The Weeds.” For those who enjoy “You’re Badass” as much as I did, there is an e-book series available that takes a more in-depth look into the creation and meaning behind the track.
Alchemy Within is a musical project based out of Bel Air, Maryland. His work is described as alternative rock that harkens back to the early 2000s, but there are no boundaries for him and the other musicians who contribute to the songs.
Having just released the new EP The Story Thus Far in March, Alchemy Within has hit the ground running in 2024. I was lucky enough to be given the chance to chat with him about how he started, influences, guilty pleasures, what’s next for the project, and more!
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Mostly Music: How did you start this project? What was it that made you want to create music?
Alchemy Within: I originally started writing solely to maintain my own mental health. Therapy helps, but it wasn’t getting the job done on its own. When I first made Alchemy Within, I had every intention of it being a full band, but I got tired of waiting for people, so I started on my own. I play a little bit of keyboard, but most of the instrumental parts you hear are by cowriters.
MM: What is your songwriting process?
AW: The process usually starts with the lyrics. I’ll have 3 or 4 lines I really like, then build the rest of the song and melody around them.
MM: Do you have regular contributors, as far as your cowriters, or do the other musicians change each time?
AW: I like to have 1 main collaborator, and then if I have someone in mind or someone shows interest, I’ll have them join in, too. Like “Troubled Waters” and “Like A Bullet” have different drummers. I love hearing in the end product how different musician’s influences and stylistic choices blend with mine.
MM: Why call your project “Alchemy Within”?
AW: It’s probably not what you would expect. I was watching something on the History Channel or Travel Channel, something like that, and they were talking about alchemy. I was like, “Huh. That’s kind of like what music is, right?” I wanted the word Alchemy in there, but I didn’t know how to use it, so I used a band name generator. Lol. I typed in that I wanted the word “alchemy” in there, and Alchemy Within was one of the results.
MM: It’s NEVER what I expect! But the generator did you a solid, because that’s good! Who are your major influences, musically? And what is it about that band – or bands – (or artists) that inspires you?
AW: Thank you! My biggest influences are ANYTHING Chris Cornell, Blue October, and Maria Brink. I feel like Chris Cornell is pretty self-explanatory, he’s Chris Cornell. Blue October inspires me because they just kind of do whatever they want and it sounds great. Like one of their songs has an opera singer in it!? I never would’ve thought of that, but it works. Maria Brink is hands down my biggest influence. Especially her Blood and Black Widow eras. She faced SO much adversity and showed so much growth as an artist and a person that I immediately became a fan.
MM: It is inspiring to watch someone face adversity and come out stronger on the other side, especially when much of the judgment is…unwarranted, I guess you might say? Like, it wasn’t that she did shocking or offensive things to draw attention; she just existed in that scene and caught shit for it.
AW: Yeah, she definitely caught a lot of flak that was uncalled for. Those circle pits she would start herself were CRAZY.
MM: Is there anyone you listen to or draw inspiration from that might surprise people? What’s your “guilty pleasure”? (Not that you should be guilty over anything that makes you happy. Lol.)
AW: Usually, Maria Brink and Blue October are the ones that surprise people, but I think they’d also be surprised that I draw inspiration from Dorothy as well.
My guilty pleasures are usually one-offs by different artists, but I think it’s a tie between “Hurt” by Christina Aguilera and “Breakaway” by Avril Lavigne.
MM: I love Dorothy! Saw her (them) with Shinedown, and it made me so happy! Okay. One more of the digging-into-your-tastes type questions, then I’ll get back to the music. Lol. What would be your dream tour lineup that includes Alchemy Within? Be as realistic or unrealistic as you wanna be. I’ve had some fun answers to this one.
AW: Oh crap, that’s a tough one. Unless all of their publicly known personalities are a lie, I think touring with In This Moment and Black Veil Brides would be fun. Maria Brink’s bodyguard kind of scares me, though, not gonna lie. Haha. Myself and a few other people thought he was Jason Mamoa at first glance.
MM: I met BVB in 2018. The VIP was…very controlled, but I got to talk to Andy, Jake, Jinxx, and CC after the show. CC is just as animated as he seems. Lol. And Andy was actually very sweet. My favorite comment he made was “Don’t worry. I’ve been cried on before.” (It wasn’t about me.)
Okay. Back to the music. So I don’t wanna ask your “favorite” song you’ve written, but do you have a track that you connect with more than others?
AW: I think I connect with “Shady” the most because it’s not really about a specific event that’s come and gone, it’s about the ongoing process of self-improvement.
MM: So it’s ALWAYS relatable. You just released “Like a Bullet,” which is how we came to be here. Lol. Can you tell me the story behind that song? You mentioned it was one of your “fun” songs. What was the process when writing lyrics/composing for it?
AW: So the fun part is more the melody and overall sound than it is the lyrics. In a nutshell, it’s about trying to resolve trauma and navigating the consequences/damage. The process was pretty cut and dry. I wrote the chorus lyrics/melody, and my cowriter wrote the instrumentals, then we built off of that. I have no idea why I decided to make the song as high as it is. It only made things 10 times harder.
MM: I would say it paid off. I love the song. I think a lot of people don’t believe I listen to all the music I find, but I do. So, what are your plans for the rest of 2024 from a musical standpoint?
AW: Thank you! I’m just kind of rolling with the punches as far as 2024 goes. I’m branching out a bit and starting to work with different producers and musicians. The production aspect of my music might sound a liiiiiittle different from here on out, but it’ll still kick ass all the same. Hopefully, 2024 is the year I finally find some bandmates!
MM: And if you get a band together, you’ll book shows, right??? Because my little neck of the woods would just be so happy to see you!
Is there any message you want to give your fans (and my readers)?
AW: I will absolutely start booking shows and I’d love to come to your town! To fans and readers alike, I’m always working on something, so at any given point, there is always something new around the corner. Like I just recovered from having Covid and I was still working on music that whole time. It never stops.
MM: I think my last question would be, where all can my readers find your music? Are your songs available on every major platform, or…?
AW: The vast majority of streaming platforms, yeah. The only big one I’m not on is SoundCloud. My distributor doesn’t work with them, and I haven’t made a SoundCloud account yet.
MM: Thank you so much for your time! This has been a lot of fun. We’ll have to do it again soon!
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Listen to the latest Alchemy Within single, “Like a Bullet,” below and be sure to follow his socials so you never miss an update!!!
Serpent Rising is a new heavy metal/rock project hailing from eastern Pennsylvania, comprised of members from various local acts. So far, the band has shared three singles, and they have a fourth on the horizon.
I was lucky enough to be given the chance to talk to lyricist/frontman Bradon Marshall! We dove into the members’ musical histories, their shared influences, what’s coming next for Serpent Rising, and much more!
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Mostly Music: Tell me about how Serpent Rising formed, and what’s the story behind the name?
Bradon Marshall: So the band was formed by two members (Josh & Clint) of an old punk band called Cold Blood Creep after they disbanded due to issues with their singer. Then, they found Seth, the guitarist, after seeing him cover a Lamb of God song. Finally, they met me about 3 months ago, before I left the group Two Dollar Horse. I stepped down as lyricist and frontman for TDH, and am filling the same role for Serpent Rising.
As far as the name goes, we bounced around on a bunch of names prior to Serpent Rising, but none of them felt right. Once the name Serpent Rising was put on the whiteboard, we knew it was the one. It sounded cool, rolled off the tongue, and represented our heavier tone, from the words to the drop tuned instruments.
A simpler way we all look at it is, as Josh put it – before this band, we were all kinda lost in music. Once we were all together, it felt collectively like we rose above the water and started treading.
MM: Did you all have a mutual direction at the beginning, or were you working from different musical backgrounds/influences?
BM: We definitely have different musical backgrounds, I think each member is all over the place; but we totally have our favorites.
Clint, the drummer, is old school. He really likes Motorhead. Josh, the bassist, really loves Dream Theater. So clearly, there’s a beautiful disconnect between all of us, where we as a team can pull from different styles to create.
MM: Who are the band’s major shared influences?
BM: I think if you listen closely, you can hear the best of different rock/metal subgenres come into play. Some honorable influences are as follows: Stone Temple Pilots, Alice in Chains, Megadeth, Periphery, Korn, Sleep Token, Lamb of God, and Acid Bath.
MM: That list definitely runs the gamut of subgenres! So, what is your writing/recording process? How do y’all bring it all together?
BM: Our writing process is currently pretty streamlined and fit so that each member can add their defining piece of the puzzle separately. The main songwriters are Josh and Seth. We are all pretty comfortable with audio engineering from a studio standpoint.
They [Josh and Seth] are really good at creating hook-based riffs with emotional transitions. Basically, they create the whole instrumental portion of the song on their own, then they send it to me to add my lyricist touch. Once the song is pretty much 100%, we bring Clint up to speed.
MM: On that same topic, what is the story behind the latest single, “Asphyxiation”?
BM: Another great question! “Asphyxiation” has done really well; better than any of us expected for the start up of the project. The song has its highs and lows instrumentally as well as lyrically.
In our mind, it tells an abstract and sad love story paired with the words, which is why when Josh and I laid out the script for the music video, we wanted it to not be too on the nose.
I can’t speak for the band as a whole or anyone that pulls a meaning from the words, but personally, I have dealt with a lot of difficulty with love and put my faith in a lot of things and people that have burned me. Or it is as simple as just not being able to see eye to eye repeatedly, to the point where it creates a jaded “not where you belong” type of feeling when it comes to actually getting close to anyone. Almost suffocating, in a sense, hence the title.
MM: As a lyricist, from where do you draw most of your inspiration? And what made you start writing? Did you begin in a different medium (poetry, perhaps)?
BM: I think I draw most of my inspiration from things I’m too afraid to say not in front of a microphone, as funny as that sounds. It’s always personal for me, but I try and keep the words abstract. Someday, we could dissect the lyrics of a song to fully understand the meaning I put behind it.
I’ve been writing poetry for most of my life, and I have always looked at it as just poetry on top of music, but once I started playing instruments, I had a place to put the words & it opened up a whole world for me.
MM: Y’all have released 3 singles thus far. When can we expect an album or EP? Or does the band prefer to upload tracks to a streaming service and not actually put them into a collection like that? I know several bands are going that route with the decline of the demand for physical copies of records.
BM: As far as releases go, yes, there are currently 3 out of the 13 songs we have lined up for possible release. But I wouldn’t expect an album. It just doesn’t work like singles do. Albums are great, in our opinion, but there is a decline in desire for them and with us trying to also do music videos and cinema content for the majority of the songs, singles make it much easier to do so piece by piece!
Two of the three songs currently have music videos and an unreleased (as far as streaming services are concerned) track called “MUD” has only a video on YouTube.
MM: I am from the generation that set a lot of store by music videos, so I’m really enjoying this resurgence of artists who like to express their music visually as well. So, what are the band’s plans for 2024?
BM: As far as our plans for 2024, we’ve booked shows to fill out most of the year, and we’ll be focusing on recording songs to be released and content for music videos and things of that nature. Our plan is to be a little more than just a band that makes and releases music. We’re still planning out ideas for our next big music video adventure! Everything we do, we want to keep DIY. It seems to keep the creativity natural and we are cohesive together more than we’d be with an outside party.
A collaboration or two with another local artist/musician would be cool, though!
MM: What would be your dream collaboration?
BM: It would be really cool to work with an off-genre band to create a mixture of sounds that weave well together but not to be expected!
MM: Taking that a step further, what would be your dream tour lineup (that includes Serpent Rising, of course)?
BM: I always loved the idea of keeping it close to home. There are a ton of great bands locally. Just to name a few that I’d love to travel and share music with – The Stone Eye, Hannibal, People Food, Ben Grinder Group, Ephraim, Die Tired, The Spyders of HBG.
That’s just a few, there’s many more! The music is there, you just gotta look for it!
MM: I love when bands promote other locals! It helps me spread the word as well. Still on the topic of live shows, what’s your favorite thing about performing?
BM: I think collectively our favorite thing about performing so far since we’ve started is after a show we get to come off stage and talk to people who heard us for the first time, maybe have a drink with them, and just talk about the music and various other things. Short of the connection we get with them on stage, there’s nothing else comparable!
MM: Last but not least, is there any message you have for your listeners (and my readers)?
BM: If we could say something to those who listen and anyone who reads this, it would be to always try to create something each day, even if it’s just a little happiness, check out our new single “MUD,” releasing March 30th, and come say hi to us & have a beer or six at our up and coming shows!!!
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Serpent Rising is truly just getting started. If you are a fan of the heavier styles of music, I would highly recommend looking them up right now! Make sure you follow the band on their socials so you never miss any news in regard to upcoming releases or live shows. You can listen to their latest single, “Asphyxiation,” below, and don’t forget that “MUD” drops on March 30th!
Faceless Objects is a psychedelic/doom/stoner metal project from Austria that came together in 2020. Since then, the band has released ten singles, each with a coinciding video, which will make up their debut album, Confused, when it drops later in the year.
I discovered Faceless Objects last year, and after following them on Facebook (and adding bassist/vocalist Ella Baphomet on my personal profile), I knew I wanted to interview them. So we made it happen!
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MM: Thank you so much for your time! Let’s dive right in with a basic two-part question. How was Faceless Objects formed? And what’s the story behind the band name?
FO: Faceless Objects was formed in 2020 by Ella Baphomet and Mike Seed (on Mike’s birthday, to be exact). We both always wanted to do something new and different but never found the right people to start. We wanted to combine classic doom metal, stoner metal, and psychedelic sounds, and each song should be a journey on its own – accompanied by a video to make the story of the song visible.
The name Faceless Objects is describing how we as artists see other people. It is more about collecting biometric data than actually seeing the whole face like other people do.
From the beginning, it was only two people who ran everything – composing, playing/singing, recording, mixing & mastering, video shooting & cutting, as well as promotion. And it still is. The only exception is for our upcoming live gigs – playing four instruments at the same time is quite impossible – even for Mike. But finding the right people for our music was a bumpy road.
MM: Y’all have both been involved with previous projects?
FO: We both have our experiences with prior bands or projects of different kinds..but like our lyrics in “Reborn” say…“no turning back, the past is gone”…
MM: Are there any particular bands/artists that inspired y’all to go down this path, as far as creating for the doom/stoner/psychedelic subgenres?
FO: We have a lot of influences…different music styles, bands, artists..but can’t say that there is a particular one that made us go this path. Maybe a mixture of different artists and something that just always was inside of us waiting to surface. But if you want some names…Mike loves Pink Floyd and Rage Against The Machine, and Ella’s favourites are Judas Priest and Alice Cooper.
MM: I love Alice Cooper and Pink Floyd! And I can definitely see where the stoner/psychedelic inspiration comes from if y’all are listening to those artists. Lol.
FO: Nice, we like the same music 🙂
MM: We do. Y’all are from Austria, right? Is there a big metal scene there? (My familiarity with music from Austria is limited, but the few artists I have heard are industrial or electronic. Lol.)
FO: Yes, we are all from Austria, though from different areas. Me and Mike founded the project in 2020 and have been looking for musicians who wanted to share our goals and the love for the music.
The metal scene in Austria got a lot bigger than it was once. There are many bands now, mostly in the genres of death/thrash or speed metal. Not so much in the classic heavy metal or melodic metal genres. But there are still more rock bands than metal bands – and it is very difficult to reach people with original music. So there are a lot of cover bands as well.
MM: I saw a recent post about your upcoming album, Confused. Can you tell me a little more about it? What has been the writing and recording process for this album?
FO:Confused tells a story like a book, and each song is a chapter in that book (each song also has a music video on YouTube). We are telling our stories and experiences, but it was always very important to us to leave enough room for the listener to find themselves and their own meaning in our songs. We always have a journey within the song – it starts out in a certain way and then changes into something completely different, and many people told us how cool it is because you don’t really realize it when you listen to it. You just get taken with the story and the music.
Writing and recording was a step by step thing. We thought about what the next chapter would be about, wrote the song, and recorded it. After that, we made the story visible with a music video. So we did this song by song – and the order the songs were released is also the order the songs will appear on the album. The last song on the first album – “Crossing” – is kind of a cliffhanger. The song fades out..and the first song on album no. 2 will fade in at that exact point, making “Crossing” into “Crossing…Over The Bridge,” a song more than 9 minutes long, full of surprises and changes. The album will also include a previously unreleased bonus track called “Void.”
MM: I like the idea of a coinciding video to visually tell the story. I don’t think bands take time with music videos the way they used to, and I’m the generation that was all about videos. I understand it can be costly, so I’m not complaining.
FO: Absolutely true. Many bands don’t have the money for cool videos, others think it’s not worth the effort as no one watches videos anymore because it’s all about streaming music nowadays. But we still believe that a video helps putting the music on another level.
MM: So y’all have planned the way you want to do the release. I assume the album is going to drop this year? Any other plans for 2024?
FO: Our plans for this year are doing some live gigs with the new band and releasing the album in March/April. We are also working on new material – the first song of the second album is done and we’re gonna shoot the video for it soon.
MM: I like the concept of storytelling. Maybe it’s because I write short stories, but I just really enjoy the full experience of music and imagery.
I have a few more questions, kinda just for fun. What would be your dream tour lineup that features Faceless Objects?
FO: Dream lineup… Well, Judas Priest and Rage Against The Machine, lol. But seriously, we are looking forward to meeting cool and interesting new artists and bands..and if you find some you really connect with those would be the ones for a dream lineup.
MM: Are there any bands/artists you guys listen to that you think would surprise people? “Guilty pleasures,” so to speak.
FO: Guilty pleasures… I think to some it might be surprising that Ella likes Glenn Miller a lot and generally 1930/1940s music. Mike’s hidden treasure is Kraan, a former DDR jazz-rock band.
MM: That is one of the more surprising answers I’ve gotten to that question. 30/40s music. Most people throw out a pop or rap artist.
FO: Haha, yep! 30/40s might not be the first guess with a metalhead, but it’s so soothing and the melodies are so beautiful. They also take you on some kind of journey.
MM: I should probably wrap this up, but I’m curious – are you guys self-taught, or have you had any lessons?
FO: Well, Ella and Mike are self-taught. Mike has been playing guitar since he was a little kid and taught himself to play the other instruments over time. As for the rest of the band, Zoka had guitar lessons and also started playing as a young boy, Mexx had coaching and has his own drum school, and Martin is a classically trained pianist.
MM: Is there any message you would like to give your fans, both old and new?
FO: We thank all our fans for their support and love they continue to give us (and some have been with us from the very start). Receiving feedback like “this song really helped me,” “those lyrics just hit my current situation so well,” or just “I love your music and videos, there is so much to find in there.” But we also wanna say..believe in yourself and your dreams. Don’t let anyone decide what you can do or not. You can do what you allow yourself to do.
And thank you, Melia..for this wonderful opportunity to express ourselves and the really good picked questions. It’s been fun and a pleasure, and I hope we’ll do this again sometime!
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Faceless Objects will be releasing Confused in the spring of this year – and hopefully album #2 will quickly follow. In the meantime, you can immerse yourself in the story via the tracks on Spotify, or the visual side on YouTube. And be sure to follow the band’s socials for news and updates!!!!
Mostly Music 