Aerosmith Releases 1971 Recording of 'Movin’ Out'

What was recorded on Joe Perry’s tape recorder by five guys living in Boston in 1971 has resurfaced 50 years later as part of a special release for Record Store Day 2021, “Aerosmith: The Road Starts Hear”. While the 7 song LP is a special release only for Record Store Day, Aerosmith did release “Movin’ Out”, which wasn’t released later until 1973, on their YouTube channel for the entire world to hear. 

“Movin’ Out” is a significant song for Aerosmith because this was the very first song Steven Tyler and Joe Perry, the Toxic Twins, wrote together. This song started everything for this band and now this could possibly be the first EVER Aerosmith recording. It only makes sense that this was the first, and possibly only song released from this very special recording. 

“All that is certain is that the tape captures a young, hungry rock band one year before being discovered and signing with Columbia Records and two years before their self-titled major label debut was released that helped catapult the band to one of the biggest rock acts of all time.” -Aerosmith.com 

This recording of “Movin’ Out” is so unique because it actually takes you back to the time when Aerosmith started out. When listening, you feel the energy of that young, hungry, and at the time, no-named rock band. It’s honestly something I’ve never experienced. 

As a young Aerosmith fan and someone who was raised in Boston where it all started, I feel like there was so much of their career that I missed out on, especially in their early days. Hearing this recording makes me feel like I was right there with them back in ‘71. Again, something I’ve never felt before when listening to any of their music, it’s a surreal feeling. This track gives you a glimpse of who Aerosmith was before they became the Bad Boys of Boston we all know and love today. 

What blows my mind most about this is how even though the band had been together for about a year at that point, it sounds as though they had been playing together for an entire lifetime. Sure you can tell right away that this is a young, 70s, garage rock band doing everything they can to make it big, but at the same you hear the chemistry that they have with each other. For a couple of young guys that were just starting out, they sound so professional and like a real rock band that's been playing together forever. They were destined to be together, and they were surely going to become one of the biggest bands in the world. 

“Aerosmith: The Road Starts Hear” is an extremely limited release. All details can be found on Aerosmith’s website.

Danica Dye Deepens on Her Soul Baring Single, ‘Other People’

It’s early evening in the Bluegrass state, and emerging singer/songwriter and pop-star Danica Dye is the 22-year-old pride of popular music. ‘Other People,’ is an intimate self-reveal of a young woman not confident or assured; uncertain and anxious. But most of all, a young woman who’s still growing through those exploits. She’s trying her best amidst a recent breakup with a dumped boyfriend in question whom she stated, “We should see other people.” “Afterwards,” she continued, “I was blocked on social media.”

In the great tradition of the songwriting process of writing, recording, mixing and uploading a hit single, Danica did all of that with ‘Other People’ in a matter of less than four hours. “I’m very proud of myself for doing it all on my own,” says an inspired Dye, “but I’m also literally terrified of what people will think of it. As an artist, I think doing it all personally shows my independence and strength.” A Taylor Swift-esque soul-crushing split about a sad, desperate, tear-jerking point-of-view experience with a significant other/others. It has an unfinished feel, yet a complete heartfelt work of lyrical prowess that heralds her legacy amongst the modern greats in terms of popularity.

Dye at the age between 11 or 12, way before she was opined as the new Taylor Swift, but in the best possible way, grew up wandering into her father’s musical mantuary — or rather, studio, while he was working on a heavy use of an aggressive hard rock song. The shared moment down memory lane when her father allowed her to lyrically pour out writings and record all the sadness, and all the joy through her mind was one of Danica’s favorites.

The illogic dependency on other people, to see the beauty in who you are, is unhealthy to Dye, who has a hard time loving the person in the mirror. ‘Other People’ is like reading aloud from a self-written diary, but shared through a pleasant-sounding, painful ballad. “Is it goodnight? Or is it goodbye? Baby if you love me/Don’t tell me that you tried/I’m falling apart when I thought I could fly/So much for my songs/So much for my mind.” It’s one of those I can’t take my own advice songs,

Danica Dye is an everyday person, ready to take the stage of the music industry and show the entire world that nothing can stop them. “If anything,” she says briefly to sum up, “I want to bring disabilities into mainstream media and prove that we’re not unable to do anything. There’s a huge difference between the words “unable” and “disabled,” and I want to differentiate them once and for all. It’ll be a tough challenge down this road, but music is a universal language — if there’s one language I am fluent in, it’s music. That’s me.” 

Emerging pop singer, yet this sorrowing pop banger immediately puts the songwriter’s writing ability up there with a list of the renowned greats who have made and left an infinite mark in music. It’s clear as day that Danica Dye is absolutely here to stay. And even better as it sounds like her very best is still yet to come, musically. “The words just kept tumbling around in my head, along with some advice from friends. I’m trying my hardest to love the person in the mirror.”

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Andrew Hagar Releases Steamy New Track, 'Red Light Appetite'

“Our souls are screamin.’”

When your jaw drops to the floor within seconds of hearing a song and your soul wants to scream, you know it’s GOOOOOD. That was my honest and unadulterated reaction upon first hearing Andrew Hagar’s brand new song, ‘Redlight Appetite’. Released just today, this song follows his 2020 release ‘Coldknife Karma’ and boasts strong growth as an independent artist. Andrew Hagar is back and fiery than EVER.

Passionate vocals and grab-you-by-the-throat guitar riffs, ‘Redlight Appetite’ is pure poetic lust. Like a burst of flames rolling in, this track breathes energy and ingenuity into the rock n roll revival.

“The song was inspired by my own struggles with the cycle of addiction… not being able to identify the difference between love and lust, using sex as an unhealthy coping mechanism, burying my trauma with drugs and alcohol. Basically all the hallmarks of an addict prior to an intense spiritual awakening,” Andrew told Consequence.

Hagar worked with long time friend, Trev Lukather (son of Toto’s Steve Lukather), to write and produce the song. Proving teamwork really does make the dream work.

Stay tuned for more releases from Hagar coming in 2022. Until then, get lost in incendiary sound of ‘Redlight Appetite’ below…

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BRKN LOVE are back at it with a crushing new single, “Dead Weight”

BRKN LOVE have accomplished another well crafted piece that emulates their signature guitar sound, driving riffs and deep rooted lyrics. The Toronto/New York City based rock band have proven that they are a force to be reckoned with. “Dead Weight” is a powerful stance on self-deprecation and feeling like you’re the ‘odd one out’ because of their opposing views of mental normalcy. 

Vocalist and Guitarist, Justin Benlolo has carefully crafted an anthem for those who feel like they’re in some form of mental asylum. This can be clearly represented in lyrics such as: “I’m going against the grain/I can’t help it I just love to hate/Black heart beating outta my chest/Head won’t stop like I'm possessed.” The lyrics show you what Benlolo was trying to expose to the world with precision. The song is clear proof that the band is ready to take everything to the next level. 

You can check out “Dead Weight” and watch the video below…

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Review: Avril Lavigne 'Bite Me'

Picture it - it’s 2004, Avril Lavigne was in her prime and releasing bop after bop. I mean, In My Skin? Superior album. We all fell in love with the angst that she brought to us through her songs and it’s probably safe to say that she is an emo queen. 

Now fast forward to 2021, she released a new single with Blink-182 drummer, Travis Barker, titled “Bite Me”. A collaboration between Avril Lavigne and Travis Barker? 2000’s pop-punk icons? This is bound to be one hell of a song that’s full of nostalgia. 

And full of nostalgia it is! This song screams; “2000’s pop-punk!” The second you hear Avril sing, “you should've known better, better to fuck with someone like me” - you know you’re in for a roller coaster ride back in time.

This song has almost the same vibe as Avril’s first single, “Complicated”. After first listening to it, I had to go back and listen to the hit single off of Let Go and I could feel the same vibe in both songs. It just comes to show you that even after almost 20 years, Avril can still rock out and STILL reigns queen of pop punk.

“Bite Me” is bound to make you feel like you’re back in 2004 rocking out to Avril in your bedroom. Get ready to start using your hairbrush as microphones again, folks. We can’t wait to hear what else Avril may have in store for all us. 

Now, do us a favor and stream “Bite Me”….

Green Day's International Superhits Turns 20

Twenty years ago, Green Day released their first greatest hits album, International Superhits!. 

The choice to release a hits album so early might seem strange to anyone looking retroactively at the careers of the Oakland based rockers, especially with their greatest chart success American Idiot still three years from being released at the time that International Superhits! hit the airwaves. 

International Superhits! was released during a career lull. Green Day was struggling to fill venues they had previously packed out, and Warning, their 2000 release, while having a unique sound, deviated from their earlier and edgier albums, had not enjoyed the same commercial success as Dookie and their other earlier albums. 

International Superhits! included many tracks that were at the time, highlights of the band’s career, but would now not be widely known by a listening audience such as “J.A.R.”, and “Stuck With Me”, as well as two singles exclusive to the album, “Maria”, and “Poprocks and Coke”.

The whole compilation album doesn’t just focus on the band’s chart toppers up to that point. The focus and feel of the record seems to aim to capture Green Day’s coming of age soft punk vibe. “Minority” being the classic ‘I won’t do what you want’ punk anthem, and “Redundant” showing the helpless and vulnerable side of the punk rockers. It’s sweet but it’s edgy, a trademark that’s become typical and familiar of all of frontman Billie Joe Armstrong’s lyrics, and honestly, it feels like a swan song. Listening through, you can almost feel that they thought this was it. This album was their youth, and they were saying goodbye. 

This album was my youth, too. International Superhits! was the first or second piece of music media that I actually owned (the other being Dookie on cassette), a gift from my mother. I was, I think, in second grade when it came into my possession. I wore that thing out. It was one of those albums I could listen to all the way down, over and over and over again. It’s the album that made me want to play guitar.  And yes, it was a greatest hits record. But it was the essence of Green Day up to that point. 

As the band followed up International Superhits! with Shenanigans, an album of b-sides and rarities, in 2002, speculation that the band was finished making new music began to swirl around the punk and rock communities. 

Then, their Phoenix flame and rebirth: American Idiot. 

Three short years after releasing their (first) greatest hits album, Green Day would completely reinvent their sound, and enjoy more success than they ever had previously. Released in the midst of a Bush era war torn America, American Idiot was a dissenting voice in a sea of pro-American patriotism in art and music. It was loud, it was angry, it was raw, and it was divisive. And it was wildly popular. 

Green Day continues to enjoy cultural relevance to date, with a new album (Father of All Motherfuckers), a supposed secret side project (see The Network), and a world tour with Weezer and Fall Out Boy they recently embarked on. Twenty years post their first hits album, Green Day continues to create hits, and International Superhits! remains a timeless and relevant punk rock classic. 

Interview with Wristmeetrazor at Chain Reaction

Wristmeetrazor were a band I discovered earlier this year through an email form alternative press highlighting their new single “Last Tango In Paris”, I usually do not pay much attention to their now spam email characteristics, but for once they proved me wrong and gave what I consider one of the best breakout bands this year.

Coming out with their sophomore album Replica Of A Strange Love back in June, they’re now doing a proper tour to showcase it. You can checkout my full album review HERE.

With only one California date and being a sold-out show at Orange County’s iconic Chain Reaction in Anaheim, CA, there was no way I would miss catching this hidden hardcore gem. From discussing their new album, favorite tracks to play, first day on tour, we dive into it all, and …….. even announcing their newest member of the band, Elaine, taking the reins in bass as frontman Justin Fornof exclusively handles vocals now.

They are on tour with Seeyouspacecowboy currently and doing a 7 week long tour, be sure to catch them in venue near you, and be ready to throw down in the mosh pit, as their breakdowns are heavy and vocals completely demonic.

Multi Ultra Release Riffy New Single 'Uptight'

Remember when the radio stations were all playing that upbeat, edgy, rock pop that produced such earworms as “3am” by Matchbox 20 and “Slide” by The Goo Goo Dolls? There was this era from the late 90s through the early 2000s that the airwaves were saturated with a sharp, saccharine edge. Songs like this dominate my winter playlists (anything to push back that nasty, sniffly, seasonal depression, right?) 

Multi-Ultra’s latest single, “Uptight” fits right into this category. 

“Uptight” is riffy right out of the gate, with a sweet infectious melody that is bright and high energy. Think Neon Trees or the Killers. It’s right in there. It rides the pop/rock line flawlessly, incorporating a retro flair that gives the single a warm, welcoming vibe. It’s like auditory comfort food for early 2000’s alt kids. 

Give ‘em some indie alt pop! Bitches love indie alt pop! (It’s me, I’m bitches.)

Maybe the song feels so natural and comfortable because it is.

This isn’t Muti-Ultra’s first rodeo.

The core of Multi-Ultra is Derrick Wesley and Nolan Brown, and the pair are no strangers to working together. Fan’s of the duo’s earlier project Sweet Fever should immediately recognize Wesley’s powerhouse pop vocals. The explosive kinetic energy is certainly something they’ve carried over from that project, and the aural lineage is easy to track in “Uptight”. Nolan and Derrick have been putting in the work together for a while now, and that devotion to the craft shines through in “Uptight.”

If your shoulders are tense, your coworkers suck, or you’re just having an outright “no bones day (or week or month or even year) “ dime out your stereo and throw on “Uptight”. It might just un-grumpify your day. 

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Review: Ruen Brothers Take Us Through the Decades with ULTRAMODERN

Last month, retro-modern genre-defying duo Ruen Brothers released their sophomore album, ULTRAMODERN, and “ultramodern” couldn’t be a more perfect way to title it. It reminds me of the 50s and its obsession with the future, and that’s exactly how it listens. Ruen Brothers have mastered modernizing the past, but this record accomplishes that in such a unique way from their previous releases. 

Each track is perfectly placed and every instrument and vocal track is expertly combined to create a remarkable production. It’s a cinematic experience, and that makes perfect sense; Ruen Brothers have been known to dabble in film scores. It is truly a phenomenal record from front to back, and I think it’s one of the best releases to come out of 2021. Go turn it on and follow along as I take you track-by-track. 

“The Storm in You”: 

This is a perfect album opener; it eases you in. It doesn’t immediately open the record guns-a-blazin – it starts off mellow and builds up to its big, cinematic moments, which I love. Sonically, the song itself resembles a storm - the chorus is heavy in all the best ways, mimicking the brunt of the storm. The verses carry on with that theme, verse one functioning as the build-up and verse two as the eye, with the outro as the aftermath. 

And of course Henry’s voice shines immediately, showing off just a taste of his range, I feel his lower register shines especially here. This track reels you in, grabbing your attention and fully immersing you into the world of ULTRAMODERN. 

“San Diego Nights”:

One thing about this song that I’ll never stop talking about is how it opens with the sound of rain, continuing the story from the previous track and making an already beautiful intro that much more so. I find this track to be incredibly addicting, laden with haunting chord progressions and chillingly beautiful harmonies (perhaps the two easiest ways for musicians to win my heart). This is definitely a competitor for my favorite song off the record – I can’t get this one off of repeat. 

“Up in California”: 

Ruen Brothers make what I would consider their surf rock debut with this one, it feels like the Beach Boys meets The Ventures meets The Rivieras, but sent to the 2020s; a 60s surf rock banger sent through a time machine if you will. It evokes those sweet, hot summer months, it’s fun, it’s undeniably catchy – how could you ask for more?

“Flying Cars”:

“Flying Cars” feels so different from anything Ruen Brothers have done before, and even a bit different from everything else on the record, but it still feels like it fits in. The verses remind me of that classic early 2010s pop/rock sound, but if they were being produced in the 50s. The concept of flying cars is so fitting with their vibe, and despite the modernity of this one sonically, it too feels like a classic Ruen Brothers throwback jam. I think this track surprised me the most, but in the best way – I find myself continuously going back to this one. 

“Cookies & Cream”:

I am fascinated by the placement of this track – it gives ULTRAMODERN a concept album feel. “Flying Cars” ends with the phrase “be with me,” and this track opens with that exact same line. That couldn’t have been coincidence, I’m convinced, and I can’t get over how clever that is. 

No track better explores the decade-defying range of Ruen Brothers than this one - I swear this track takes you through 3 different genres in a 3-minute package. I get 60s surf rock, 80s synth pop, and modern-day rock – a combination I never knew I needed. This is by far one of my favorite tracks Ruen Brothers have ever released. It’s too catchy for its own good. 

“Saving Me, Saving You”:

If you told me you’d never heard of Ruen Brothers, this is the track I’d play to introduce you to their sound. Henry’s vocals are at the forefront here with no room for mistake (don’t worry, he doesn’t make any), Rupert’s guitar work is phenomenal as always, and the overall sound of this track is hypnotizing. 

In terms of production, I think Ruen Brothers shine especially on this track. The overall sound is so crystal clear and everything is placed so brilliantly. Sonically, I’m obsessed with how all the pieces came together with this one. 

“Alone”: 

In the midst of a fast-paced rock ‘n’ roll record, we find a heartbreaking ballad that shifts the overall vibe of the record to give the listener a devastating cool down. Accompanied by a simple guitar for the majority of its 3 minutes, with a piano and percussion climax in its final 45 seconds, Henry’s vocals shine here more than on any other track – his lower register reminds me of Orville Peck on this track so much, and I love it, but his higher register is Henry Stansall in his purest form.  

The way he delivers every line feels so authentic and devastating – it’s like you’re living through this heartbreak yourself. It’s simple, but the song demands it, and the simplicity of the first two minutes only makes the big moment toward the end that much more impactful. 

“A Million Things”: 

To bring the mood back up after that heartbreaking ballad, “A Million Things” busts in strong, catchy, and addicting as anything. The bridge into Rupert’s solo back into the chorus is by far my favorite part of the song. One of my favorite things about Ruen Brothers is their unique use of chords – their songs are always interesting and addicting, and this song is no exception. And of course, Rupert can truly do no wrong with his guitar in hand. 

“Takin’ It Easy”: 

This might be the most fun track on the album; it has to be listened to loud – it’s the only way. There’s some spoken-word incorporated in the pre-chorus that reminds me of a robot – keeping in line with the “ultramodern” theme. I’d smoke this song if I could; it’s fast, it’s catchy, it’ll get stuck in your head for hours on end, and I promise you won’t be mad about it. 

“Takin’ It Easy (Ru Demo Take)”: 

To a listener without prior knowledge of the record, Ruen Brothers made what appears to be an interesting decision in their track listing with this one – it’s the same song again. But…it’s not, at the same time? This version of “Takin’ It Easy” feels so different from the final product version that it’s almost like listening to 2 different songs. With this demo track, we see how similar these two brothers sound, and we get a completely different taste of this catchy little track.

It’s fun to hear them back to back and pick up on all the little ways the song changed from demo to final product, and it’s so exciting getting to hear from Rupert – I can only hope his vocals will start making more of a front-and-center appearance on future Ruen Brothers releases. 

“Topanga Canyon”: 

What a way to end a record. A truly magical song. This is by far one of my top 5 favorite Ruen Brothers songs, and it just might be my favorite off of this record. There’s strings on it, what more can I say? There’s nothing more beautiful than a track with strings. The chorus has a haunting quality to it that resolves so beautifully, and there’s a twinkle sound that brings an element of sonic magic to the track. It makes me feel nostalgic for the real Topanga Canyon, and I’ve never been there. 

I said this record feels very cinematic, and this track here is one of the most cinematic on the record – I can imagine so many visual elements to go along with this, and I can only hope that one day this song finds its rightful place in a film. I think this one will be one of my all-time favorites for life, and I don’t think Ruen Brothers could have ended this record more perfectly than with this one. 

ULTRAMODERN is a sonic journey, and it’s one of my favorite releases to come out of 2021. If where retro meets modern is where you find yourself, this is a record you absolutely cannot miss. Go stream this thing and let Ruen Brothers take you on an adventure through music’s greatest decades. 

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On The Road: Breaking In A Sequence

Breaking In A Sequence are a hard rock band coming out of Orange County California, featuring original drummer of Korn, David Silveria.

For their first tour of 2021 and second tour ever, I hopped on the road with them to document what it’s like to be on tour and even play a few shows with them.

Welcome to On The Road: Breaking In A Sequence

INTERVIEW: Heartsick at 1720, Los Angeles

Back in July, frontman Alfonso from local Michigan metal core band, Heartsick, and I had an awesome pre-set interview at the first annual Upheaval Fest in Grand Rapids, Michigan. Now fresh on his first U.S. tour of 2021 supporting CombiChrist, we crossed paths again on their stop at 1720 in Los Angeles, California. We discussed being back on the road, handling Covid rules with each venue, some of their favorite stops so far, and more. Be sure to checkout their lates EP Cinco on app streaming platforms now.

INTERVIEW: Alexander Blackstar

Multi-expressionist artist Alexander Blackstar just dropped a new track and video, “Noir Presage.” His music and aesthetic are a legacy of American shock rockers like Alice Cooper, Marilyn Manson, Rob Zombie, Ozzy Osbourne, and Jim Morrison. As a descendant of several generations of painters, Blackstar attaches a lot of importance to the connection between words and visuals in his art. Read our exclusive interview inside the mind of Alexander Blackstar.

Firstly, huge congratulations on your newest single “Noir Presage “

Thank you for having me. I had a blast working on this single, I always try to do something different at each project; I've learned so much from making it.

Let’s discuss how you created this unique masterpiece, lyric wise how did you begin writing this?

Honestly, it came very naturally. I had the idea of using a raven's croak a few months ago before beginning the writing, I was waiting for things to get together. One day, on a piece of paper, I wrote the first words of the song "Today, I feel dead. I won't get off the bed. I see a raven by the window". Rain was pouring outside; everything was grey and so were my thoughts. I jumped on the occasion, musically, and continued to write the lyrics along with the music. I remember, the atmosphere was very obscure, darker than usual and therefore adequate to write this kind of track.

Is there an important significance to this song from your own personal life?

Like in each one of my songs, yes. I can't write if there isn't a certain proximity with my personal life or intimacy. Choosing this path in life confronts you to a lot of people that don't believe in you, especially at the beginning of your career; but I know my worth and the potential is high. They did everything to make me think that I'm worthless as an artist, because I wasn't suitable for their expectations, because I dare to take risks in order to grow and have a weight in the music industry without being approved by a label. This song is a response to them, after being silent for over one year; in order to go forward in my artistic evolution. I'm coming back to take my revenge, and it's gonna be deadly.

In the music video, you have multiple stages and sceneries is this a part of the meaning of the song as well?

Well, it could, but to speak my truth, I prefer visuals that are supporting and developing the general mood of a song. The meaning (or scenario) is always secondary to me, my first objective as an artist is to induce an emotional reaction to the public and it can't pass by the process of analyzing an intention. It needs to be frontal, primal; like when you're in the wild and you see a beautiful sunset. The colours are magnificent, you're seized by emotion but it has no particular meaning; or if there is one, it's the meaning of life itself. The sceneries are more here to visually express the metaphorical images that I had in mind when I wrote the song, in order to reinforce the emotional reaction that the spectator can have.

Your lyrics have a dark noir feeling to them, like an Edgar Allen Poe story, and it is said tormented artists create the best art, do you feel you need to tap into that when creating music.

Thank you for the reference. I believed this myth for a long time, that you need to be fucked up to create, but this thing will get you nowhere and will even be prejudicial to your art (and career) in the long term. Since the beginning, my approach has always been to write music to heal myself and to rebalance fate. Because even if I'm strong on the surface, I'm a damaged person and I don't need to add negative things to the ones that I already have. I want my story to end positively, not by a bullet in my head or by a needle in my arm.

While working on new music, how do your spark your creativity? Is it locking yourself away and focusing, listening to a certain artist for a theme, or does it just come to you?

Locking myself away to focus on writing is always a good start. I like to be isolated from everyone and everything I know, so I generally end up in another country or taking an AirBnb far away from my loved ones. Then I surround myself with books, movies, documentaries, all in taking the time to discover new things if I'm abroad. I can be uninspired and tortured for three weeks when a random thing sparks my creativity. You need to put yourself in the good conditions to create, but you can't control what the universe will bring ; it is what I learned, especially by making this record.

Who are some musical influences you feel that shows in your work?

I'm influenced by any kind of music, or art; but we'll find in this single my usual solo-rock singers’ inspirations like Alice Cooper, Marilyn Manson, Rob Zombie etc ... also a lot of Bauhaus merged with a dark pop vibe that has been inspired by what is on the top of the charts. I like my music to sound current, I'm not the conservative kind of person who says, "Rock and Roll was far better before”; I think we have a work of modernization to do in order to create what will be in the future "Neo-Rock". For that, we need to be competitive and to learn what makes hip-hop and pop such great products to sell. It passes by great visuals, styling, more modern sounds and of course innovations in terms of communication. 

In 2020, you released your first studio album, do you feel you benefited from the unfortunate lockdown, allowing new fans to discover you.

Yes indeed, Facing Hell came out just before the pandemic. Like in every situation, I took advantage of it and started to write the very first day of the lockdown. I won't say that it has automatically helped to discover new fans, they came naturally. But the mood wasn't focused on the Future at the time, and it wasn't a great period to think of what tomorrow brings. That's probably one of the reasons why I sing in the song "There's no Heaven for tomorrow". However, I feel we are now in a much better way of thinking and I'm persuaded that this crisis was necessary to turn the page of an old world that just didn't hold the line anymore. We're entering now into a new society made of innovations, and it inspires me more than ever.

Will there be a scheduled tour to celebrate your debut album with concerts returning?

I would love to go on tour! But I never do things by halves. When I'll prepare to hit the road, I will have a stronger community, hit songs and more balanced investments. It could take time, but it will happen. When I have objectives, I'm conquering them, and to go on tour is the main one.

For the rest of 2021, what should your fans expect to see from you, will there be another single release before the year is over?

I can tell you that a full album named Stellanera will be released on November 26th. Therefore, I can guarantee you and the fans there will be other surprises before the end of the year. So stay tuned.

Lastly, what do you want your fans to take away from in your music?

I just want to make them feel something, imagine new possibilities and dream. Because everything is possible when you have ambition and have the guts to take risks. I want to embody this new generation of alternative people who believe in music, art and exchanges in the same way that more experienced rockstars did for me. They made my life better; it is now time to pass the favour.

REVIEW: Moon City Masters Release the 'Real Thing'

And just like that - The Moon City Masters have released yet another fantastic bop. They seem to always know how to reel us in with their music. So HOW good is “Real Thing”? Let’s find out…

One thing for sure - The Moon City Masters always bring in fantastic harmonies and high quality production. “Real Thing” is certainly no exception. This song is very reminiscent of something you would hear in the 70’s. The vibe is cruising down a highway with this song playing on full blast, wind blowing in your hair and all.

This could also be a perfect dance song. Play this at a party and I guarantee you, everyone is going to be up on their feet dancing. ‘Real Thing’ is the ultimate dance song.

The Moon City Masters are the MASTERS of bringing in people with their music and the talent they put on display is nothing short of infectious. Let’s give a huge cheer for these amazing dudes and ‘Real Thing’!

Next month, catch Moon City Masters on a few tour dates with our friends, Joyous Wolf!

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VIDEO REVIEW: PAGING DOCTOR MOON'S 'LOST MY BODY'

On October 9th, Paging Doctor Moon released a brand new music video for their song, Lost My Body. Earlier this year, I had the opportunity to sit down with lead singer, Kirsten, to chat about Paging Doctor Moon's debut album. (Watch it here.) To say that I was ecstatic to find out about the music video is an understatement.

The music video was shot and directed by William Walker Films. Let me tell you, William Walker Films did not miss. They grasped the true essence of the song and cinematically brought it to life.

In the music video, you watch Kirsten followed by the "ghost" of the person she's trying to release. No matter where she went, the ghost followed her. It wasn't until the end of the music video, Kirsten was finally able to escape from the ghost of her past.

This hauntingly beautiful music video excels at capturing the inner turmoil that comes with holding onto something that no longer serves you. It captures the raw emotions and the cycles that we go through to break free.

"Throw your words
With the precision of a knife
Spill my blood
But the delivery was kind
Lose myself
Oh, just the way you like
Here I am, here I stand
Taking back my life."

As she exits out the front door, you can see the ghost of her past staring at her. The ghost is unable to reach her anymore as she's taken her power back. She has cut cords and removed herself from the binding that held her captive. As she proceeds to walk away, not once does she look back. She walks away with her head held high and with an inner knowing that she did the right thing.

This music video is powerful and captivating. Paging Doctor Moon truly knows how to tug on the heartstrings while reminding listeners that it's possible to start over and turn a new page. It's never too late to "take back your life."

SlipKid: The Musical Celebration of The Who

You may know him as the frontman of Extreme, or even as Van Halen’s third lead vocalist, but most don’t know that Gary Cherone, along with his older brother, Mark Cherone, have joined together and formed the band, SlipKid. Now, SlipKid is more than a cover band, it’s a musical journey that celebrates the music of The Who. On one very special Friday night, Gary, Mark, and the rest of the band, took the audience at Blue Ocean Music Hall in Salisbury, MA on this magical, musical journey.

Before our journey with SlipKip began, singer-songer, Charlie Farren, took the stage as the opener for the show. Personally, I was so excited about this because I love Charlie and I could not think of anyone better to open the show. Charlie is most known for his work with The Joe Perry Project, but later was in his own band, Farrenheit. During his set, he performed songs he’s recently written for a new project and also shared stories from his “long-legged” life.

The reason why I think Charlie was the perfect opener for this show is because he knows exactly how to make the audience have fun. Song after song, he never stops smiling and you can just tell that he’s having a blast on stage. His positive energy is so contagious, you can’t help but feel happy when watching him.  He is also very interactive with the audience and makes them part of his performance. A true performer right there. 

After Charlie’s set, the lights dimmed and you started to hear “Join Together” playing on speaker. It gets louder and louder building this huge anticipation and that was how SlipKid made their grand entrance. Before you knew it, they were on stage performing “I Can’t Explain”, a fabulous choice to kick off their set. From then on out, they did not stop and kept going song after song with no break in between. The only time they stopped was maybe about halfway through their set because they “rocked a little too hard” and knew the audience needed a break more than they did. It was true, I did need a break after everything I was witnessing. 

The whole night was filled with all of The Who’s greatest hits. The only songs they performed that weren’t really huge hits were “Tommy Can You Hear Me?” and “Long Live Rock”, which that song closed the show. Mark even sang lead on a few songs! About halfway through the set, SlipKid left the stage and the room went dark. Just like in the beginning of the show, The Who starts playing over the speakers, but this time it’s “I am the Sea” that is playing. Eventually as the song built up, the lighting was just going crazy and you just knew something magical was going to happen. SlipKid then came back for their second set and followed “I am the Sea” with “the Real Me”, just like how it plays on Quadrophenia. 

Gary Cherone in my opinion is one of the most underrated frontmen in music history. Not only can he sing any song known to man, but how he performs is so unique. The way he moves on stage, the way he interacts with the audience, the way he connects with the people in the front row, a lot of frontmen don’t have that but Gary has it down so perfectly to where he’s using up every inch of stage that is made available to him. From jumping off the drum kit to getting on his knees and holding hands with the people in the front row, it’s mesmerizing to watch him perform. 

Mark was even running around the stage and jumping off the drum kit, too. You could very easily tell that they were brothers and if you didn’t know that going into the show, it didn’t take you long to figure it out. They just had that sibling chemistry when they were performing and interacting with each other on stage. 

At the very end during the encore, something happened that I have NEVER seen happen at a show before. But before that, during the show I noticed that there just so happened to be an empty table right at the front of the stage. Didn’t think much of it other than it was a weird coincidence. So fast forward to the end, Gary was at the very edge of the stage singing away, like one does, and then he dropped to knees. Then all of a sudden he stops singing and just flops right onto that empty table. It did not stop there. He kept doing this over and over and was throwing himself over the table, chairs, and even the people. It was like he became possessed and I honestly couldn’t tell if he was doing this on purpose or if something serious was going on. But, of course he was fine and continued to sing literally right in the audience. Pretty epic. 

They truly celebrate the music of The Who.

SlipKid played over 20 songs and performed almost two hours of non-stop music. Now, this was a seated show but there were many well deserved standing ovations. The band was just incredible and was really fun to watch. SlipKid mostly plays in the New England area since that’s where these guys are from, but I would love to see them eventually become big enough to venture out all over the country. They’re a must see act, especially if you love The Who. If you can’t see The Who live, or even if you can, I would definitely check this show out if you get the chance. They truly celebrate the music of The Who.

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