Interview Antony Welford

Discover the incredible journey of Antony Welford, a seasoned musician whose passion was reignited by iconic records. He shares insights into his self-sufficient music creation process and collaborations, and his vision for the future. Find out what keeps him motivated and the role of visuals in enhancing his music. Explore his upcoming projects and the defining moments in his career, as well as his advice for aspiring musicians.

1. Can you tell us more about your musical journey, starting from when you first picked up a guitar in 1985 to where you are today as a seasoned musician?

I was inspired to start playing the guitar by one record. Powerslave by Iron Maiden. I formed my first band soon after. We were signed by Neat records in Newcastle and released 3 singles and 1 album before burning out and breaking up in 1995. Life intervened and I let the music slide for many years, before the passion was reignited in 2015. Again, it was specific record(s) that did it. Ghost, Muse and Iron Maiden all released what I consider to be some of their best work in that year. Ghost was a particular inspiration to me, as I was extremely done with the screaming vocals and predictable riffs that dominated metal music for the previous 20 years.

2. What inspired your decision to become self-sufficient in writing, performing, recording, and releasing rock music in your home studio, especially during the pandemic?

I had been slowly getting back into the local live music circuit as a solo artist, but just when I was getting a set together, the world was closed. I had also discovered that hyperacusis was an issue for me in loud spaces and rehearsal rooms, which was limiting my options live. So, I decided to refocus on the studio, and just trying to make the best music I could, by myself. I like the challenge of having to learn new skills, like lead vocals or video production, that previously I would leave to someone else.

3. How do you balance your roles as a singer, songwriter, and multi-instrumentalist in your music creation process?

Songwriting happens very quickly for me. Once the idea is there, I can lay down a basic track in a couple of days. But then I tend to spend months on an iterative process of layering vocals, trying different vocal styles, mixing, leaving the song for a week, coming back to it with fresh ears, trying something else. I am aware that this is the opposite of the “write it, record it, release it and move on” that is recommended for most new artists, but again, I enjoy it, so I am going to do it my way. I am not in a hurry.

4. Could you share some insights into your creative process? How do you typically approach writing and composing new songs?

There are two main ways a song starts. It can be a melody in my head, or a riff on the guitar. The lyrics are always the last and most difficult part. I find that the music inspires the words, rather than the other way round. I can’t take a lyric and express it musically.

5. You mentioned current influences such as Iron Maiden, Ghost, Katatonia, and occasionally Oasis. How have these bands influenced your recent work, and what aspects do you draw from them?

I would say each of these have influenced me in specific ways. From Iron Maiden, I got the idea that a piece of music can have a “wow” factor. I’m not interested in whimsical songs that play nicely on the radio, I want music that makes the hair on the back of my neck stand up when I hear it. The guitar solos on Rhyme of the Ancient Mariner did that to me all those years ago. Ghost and Katatonia showed me that melodic vocals still had a place in modern metal, and rock / metal with melodic vocals and memorable hooks is a fair description of what I try to create. Oasis is something else. I was into them in the 90s, but I rediscovered a love for their early work a few years ago. Their releases up to and including the Masterplan are just a tidal wave of great songs, great singing and raw emotion.

6. Growing up in the northeast of England and now residing near London, how has your geographic background influenced your music, if at all?

The North East was very much a heavy metal mecca in the 80s. We had great rock clubs, a massive rock radio station, and all the biggest bands played there. So, it exposed me to rock and metal from an early age.

7. What instruments have you added to your repertoire more recently, and how have they enriched your musical expressions?

The main one is Bass Guitar. I really had no interest in it for the longest time, but now I enjoy composing bass lines probably more that guitar parts. Just one note can change the emotional impact of a whole song.

8. As someone with over two decades of experience in the music industry, what do you see as the most significant changes or trends in the industry over the years?

Clearly the advent of social media and music streaming has totally revolutionised the journey of new bands. When I started, “getting a record deal” was the goal for most bands, but now that Is probably the last thing on most new band’s minds. It is much more important to make great music and build a following, which in turn will allow bands to sell tickets and merchandise. I don’t know how many streams it would take to bring in as much revenue as selling a single t-shirt, but I bet it’s a lot.

9. What can you tell us about your short-term ambitions for your music career, particularly regarding your YouTube channel and collaboration with other artists online?

I really need to produce more output on my channel. As previously mentioned, I can spend months working on a single song. I would like to get to the point where I am producing, say, 10 songs a year. It feels doable, but I just haven’t built that kind of momentum yet.

10. Could you provide more details about the types of collaborations you're interested in and how other artists can get involved in your projects?

I would love to collaborate with great vocalists in particular. Most of my songs I feel could be better realised with a really strong vocal. So if you are a singer or lyricist and you are reading this, please get in touch!

11. Your long-term vision includes following the Ghost/Katatonia pattern of transitioning from a studio-based project to adding a live element when there's demand. What excites you about this evolution, and how do you plan to approach it?

Its difficult. I have tried to form bands locally, and also to join other that already exist, but none of these efforts have worked out so far for various reasons. TO be honest, I have put live performance on the back burner for now to try and really improve my output from the studio in terms of both quantity and quality.

12. How do you stay motivated and inspired to consistently produce new music, especially during challenging times like the pandemic?

As Bruce Lee said, there is no try, only do. If I had to make an effort to be motivated and inspired to make music, I wouldn’t bother and I would do something different that DID motivate and inspire me. I don’t need music in my life, but right now I want it, so I am doing it. Its as simple as that.

13. What role do accompanying visuals play in your music, and how do they complement or enhance the overall experience for your audience?

This comes from my initial experience of releasing music on Spotify. You release what you think is a great song, on the same day as 10000 other acts release what they think is a great song. It’s a drop in the ocean, and hard to distinguish over the racket of other people’s guitars. So I came up with the idea of producing visuals, from a starting point of knowing nothing whatsoever about it. It allows me to produce something that I think is more uniquely me than the music alone, and I found I really enjoy the process of putting the videos together. The advent of easy to use AI tools is the icing on the cake. Its like a collaboration with a visual artist of infinite patience.

14. Can you share any upcoming projects or releases that your fans can look forward to?

That would be good wouldn’t it? I am hoping to release another video this year. The song is called “Friendly Fire”. Please subscribe to my YouTube channel so you don’t miss it!

15. In your journey as a musician, what has been the most memorable or defining moment for you, and how did it shape your career?

Probably playing “The Phantom of the Opera” to a group of impressed friends when I was 18. I realise now it wasn’t a great rendition, but the look on their faces at my enthusiastic attempt told me I should keep at it, and here I am.

16. Finally, for aspiring musicians who are looking to embark on a similar journey, what advice would you give them to navigate the music industry successfully and achieve their creative goals?

Don’t do what I do sitting in front of a computer all day layering guitar tracks. Get out there and play! And wear ear plugs. My ears are broken.

(34) Antony Welford - YouTube

Antony Welford (@antonywelford) • Instagram photos and videos

https://www.facebook.com/akwmc/

Interview Paul Ribbins

In this interview with Paul Ribbins, we explore his musical journey from New Orleans to Texas post-Hurricane Katrina and its impact on his solo career. He shares his unique songwriting style, influenced by riffs from his past. We delve into his transition from right-handed to left-handed guitar playing, his self-learning process, and his musical influences, particularly Jimi Hendrix. We discover the origins of his odd-timing style and the challenges and benefits of being a DIY artist. Paul also sheds light on his love for the power trio format and how he balances his IT career with his musical passion. Finally, he reveals his future plans and upcoming releases.

1. Can you tell us more about your journey from New Orleans to Texas after Hurricane Katrina, and how this relocation impacted your musical path?

Hurricane Katrina literally ran me and my family out of New Orleans…and we landed in Dallas. And this is when I really became a solo artist, and started fully concentrating on getting my original material together for public consumption.

When I lived in New Orleans I had various power trios over the years, and we concentrated mainly on doing Hendrix and Stevie Ray Vaughn cover tunes…with an occasional original song of mine thrown into the mix.

2. Your songwriting style is unique in that it doesn't draw from personal experiences. Could you elaborate on your approach to writing songs and how you find inspiration for your lyrics?

At this point in time, rather than being a pure song writer, I mainly “string together” new songs from riffs and pieces of songs that I created many years ago; and that I had the good sense to record at the time. That is actually the case with the four songs on my ‘Disenchantment at a Distance’ EP. The genesis of each song on the EP goes back decades.

It’s true that my song lyrics never come from personal experiences. The lyrics just “happen” in the moment when I’m working on a song. But I don’t have any particular inspiration source for the lyrics I write.

3. You mentioned that you started playing guitar in 1973. What motivated you to pick up the guitar, and what were your earliest musical influences?

I was a late bloomer to music, and started playing guitar in 1973 at age 17. My primary inspiration to start playing guitar was the funk rock lead guitar soloing of Omar Mesa in “Fencewalk” by the funk rock group Mandrill, and Ernie Isley’s lead solos in “Summer Breeze” by the Isley Brothers. The guitar solos in those two songs hit me especially hard. Interestingly though, I have never even once attempted to play either “Fencewalk” or “Summer Breeze”. Go figure on that one!

 4. You initially started as a right-handed guitarist but switched to playing left-handed like Jimi Hendrix. What led to this switch, and how did it affect your guitar playing style?

In 1973 I started out playing guitar right-handed. I’m right-handed, so that was the natural way to go. But a couple months later I discovered Jimi Hendrix and his music. That was it! From that moment on I had to have that authentic Jimi Hendrix left-handed upside-down Fender Stratocaster look. So six months after I initially started playing guitar right-handed I bought a right-handed Fender Stratocaster, re-strung it left-handed, and then started playing guitar left-handed rather than right-handed. Fifty years later…and I still play left-handed.

I hadn’t really developed a particular playing style by the time I switched to playing guitar left-handed, so I can’t say that it was a style-affecting change for me. I will say, though, that it was harder for me to gain good control of my non-dominate hand (my left hand) as my picking/strumming hand.

5. During the first five years of your guitar-playing journey, you stayed in your own musical cocoon. Can you share more about your creative process during this time and how it shaped your music?

It’s true that for the first five years that I played guitar I always played alone in my room. I’m a naturally introverted guy; so it was natural for me to be cocooned with my music. Also, I was really insecure about my guitar playing and my music at that time, and I didn’t want anybody to hear it.

Even with my insecurities, I can say without a doubt that those first five years were a really creative time for me. All musicians are at their most creative when they are young. I wrote some of my most creative songs during that period. In fact, I wrote the title song of my EP, “Disenchantment at a Distance (in need of a good song)” in, I believe, late 1974.

6. You mentioned recording your early musical ideas and riffs on cassette tapes. Are there any specific songs or ideas from that time that you're particularly proud of and may release in the future?

I pulled all four songs that are on my ‘Disenchantment at a Distance’ EP from my “vault of songs”…which are my old cassette recordings of guitar riffs and bits of songs that I created decades ago. I transferred all these cassette recordings to digital form a few years ago.

My plan had been to release a full album of 8 or 9 songs, but I got impatient with my slow pace at completing songs for the album; so I released the 4-song EP instead.

7. How did your lack of formal training and mentorship influence your guitar-playing style and your ability to create your unique sound?

Well, I’d have to say that formal training and mentorship tend to “color” the playing style of musicians. Formal training will dictate how you should play your instrument, and in many cases, what you should play. A mentor will teach you how to play what he plays, and how to sound like he does.

Since I had neither formal training, nor a mentor, I played everything that flowed from within me in free-form style; and without any boundaries in style.

8. Jimi Hendrix has been a significant influence on your music. Could you describe the impact he had on your guitar playing and songwriting?

For me personally, there has never been a guitarist who has played more powerfully and passionately than Jimi Hendrix. I try to play guitar with a little bit of the power and passion that Jimi played with. Jimi also was a supremely talented song writer. Most times when I’m writing a song, I’m thinking, “now what would Jimi do here?”.

9. Odd-timing is a signature element of your music. How did your early years of playing without any musical boundaries contribute to this unique aspect of your sound?

The odd-timing aspect of my music was a natural occurrence; not anything that I planned. It all came about during those first five years of playing guitar when I was cocooned in my room. At that time I wasn’t learning songs off of records, I wasn’t jamming with other musicians, and I wasn’t using a metronome. I wasn’t even really aware of time signatures. During that whole five-year period I just played whatever came out of my head…completely free form and void of any strict musical timing.

But this was my most musically creative period as well; and so whenever I wrote a song during this five-year period, it invariably came out with odd-timing or weird timing changes.

10. You've never had guitar teachers or mentors. How do you approach self-learning, and what do you think are the benefits and limitations of this approach?

I believe the benefit of self-learning is that if you are self-taught it’s easier to define a playing style that’s your own. The drawback of self-learning is that it typically takes longer to become an accomplished player.

11. Learning from artists like Jimi Hendrix and Stevie Ray Vaughn introduced you to traditional musical timing. How did this experience change your approach to music, and how do you balance it with your affinity for odd-timing?

When I started learning the songs of Hendrix and SRV and other popular artists for purposes of playing in power trios I was forced to play in standard time signatures. This was good for me. It gave more structure to my guitar playing. It didn’t change my approach to music though. Odd-timing is in my blood.

12. Can you explain how your experience of learning from Jimi Hendrix and Stevie Ray Vaughn records helped you develop a powerful and meaningful guitar-playing style?

The biggest thing I got from learning Hendrix and SRV songs was that I learned how to project power in my guitar playing. I studied how those two guys attacked their guitars; how they made their riffs and solos have real meaning. I was a somewhat wimpy guitar player before I got into learning Hendrix and SRV songs!

13. You wear multiple hats on your albums, from songwriting to engineering. How do you manage these different roles, and what inspired you to take on so many aspects of music production?

The challenge of handling every aspect of an album from beginning to end by yourself, is that it doubles, maybe even triples, the amount of time it takes to finish the album. It’s definitely challenging, but I love it. I’ve always been a DIY kind of guy…so it’s a natural fit for me.

14. The rock-n-roll power trio is your preferred musical format. What draws you to this setup, and can you share any memorable experiences from your time with various power trios?

The rock ‘n roll power trio is definitely my thing. I like the idea of having just guitar, bass, and drums to fill up the musical spaces. Nothing hits me harder musically than a badass power trio rattling the walls with its sound & power. My most memorable power trio moments are the times when the bass player, and the drummer, and I were in lock step while we jammed on high-octane rock ‘n roll songs!

When you listen to the songs on my EP the only instrumentation you’ll hear is guitar, bass, and drums…recorded like a power trio in the studio. Straight up, no chaser…and no overdubs! This is the recording method that I’ve used on all my previous albums.

15. Despite your passion for music, you've worked as a Network Engineer in IT. How do you balance your musical pursuits with your professional career?

I’ve worked as an IT Network Engineer for the past sixteen years. My job pays the bills and keeps a roof over my head. I don’t really make money off my music so the job is absolutely necessary. I do my music in my spare time on nights and weekends.

16. Looking ahead, what are your future musical goals and aspirations, and what can your fans expect from you in the coming years?

I’ve already chosen five more “nuggets” from my vault of songs that I plan to develop into full songs; at which point, I plan to re-release ‘Disenchantment at a Distance’ as a full digital album, and also release it on vinyl. This will happen probably within the first quarter of 2024.

 Paul Bibbins – Radical rock 'n roll soundzz!!

(1) Facebook

Paul Bibbins - YouTube

https://paulbibbins.bandcamp.com/

 

Interview While They Bled

Discover the journey of While They Bled, a band formed in May 2021, as we explore their unique musical evolution, influences, and their mission to unite and uplift their community through the power of heavy metal.

1. Can you tell us about the origins of While They Bled and how the band came to be in May 2021?

Justin and I met around spring of 2021 at a friends bbq, we instantly began talking about music and similar bands we were interested in. Later that night we decided to plan a jam session together. A month later we finally got to sit down and jam in a room and we just took off from there. 

2. What inspired the name "While They Bled" for your band? Is there a story or meaning behind it?

The name While They Bled was either made up since late 2019 to 2020. I don’t remember if I made it up or heard it from a movie or a tv show. I have a list of names of potential song titles or lyrics I want to write about. So when it came down to naming the band I showed Justin the list of names I had and we both agreed on “While They Bled” it just popped to us

3. You describe your music as having heavy drums and fast riffs with a melodic yet powerful sound. Can you elaborate on your musical influences and how they have shaped your unique style?

With the style we are producing I really didn’t want us to stick to just one genre. Sure they’re allot of great sub genres but I didn’t want us to stick to just one genre and have the listener expect to hone true to said genre. 

We have a multitude of influences and we strive to perfect our sound and feel to the music. I didn’t want to have eyes set on a standard. Justin, Oscar and myself bring a unique perspective to the band and it’s something I’m really proud to be apart of.

4. What's the creative process like when Chris and Justin collaborate on writing and recording new music?

The creative process between us is very old school & new school. We will sit down riffing out between each other. Or one of us comes in With 70-80% of a song ready to tackle. Or we send each other videos/files of written material, lyrics, themes, etc. nothing is forced it’s all very natural and we always find away to bring the best out of each others writings.

5. "Torches" is your latest demo available on Bandcamp. Can you tell us more about the themes and inspirations behind this release?

Torches was a song I had written back in 2016, I brought it to the band with a different view. It was written about a theme of revenge and destroying your enemies. But that all changed when I learned of the passing of Trevor Strnad back in May of last year. A few days later I was inspired to change the lyrics of “Torches” to how I felt about his passing. 

I wrote about facing your demons, feeling doubtful, and eventually overcoming any obstacles in your life. Little did I know after rewriting these lyrics and recording them they would mean so much more to me.

6. How do you feel your music has evolved since you started in 2021, and what can listeners expect from your upcoming releases?

Our music has changed drastically, we wrote an unreleased song called “Become Wrath” I believe we wrote it the first time we ever jammed. And it’s a fun song but it’s very much a  black metal & thrash metal love child. Since then we’ve grown as musicians and grown to take our time with structuring a song. To trying other methods out to trying different approaches to writing. We’ve grown more to understand where we write and perform that our minds are to the point of one.

7. Can you share any insights into your songwriting process? Do you draw inspiration from personal experiences, or is it more thematic in nature?

Song writing and performing our songs has become my therapy. And I’ve been working on new music that I’m excited yet scared to release. Not fearful of rejection just fear of how I’ll feel after I release it. We’ve both have been writing from personal experiences rather it’s from trauma, phobias, idealism, depression, you name it we will write about it. Which I’m very excited to start writing with our newest member Oscar Barboza 

8. What's the live performance experience like for While They Bled, and do you have any memorable shows or performances you'd like to share with your fans?

Live shows are the ultimate high! It’s the best feeling ever. We’ve had a lot of memorable moments one of our top ones would have to be one from San Antonio earlier this year when I got the crowd to sing along to the melody during our song “Die Upon The Sword” it’s an instrumental of ours but the crowd loves it when we kick into it. Another memorable moment was a local show we had here in Uvalde when we had our homies in Chaotic Control And Dying Within join us on stage for a cover song From Metallicas Creeping Death. That was a fun one. We look forward to creating more memories.

9. Hailing from Uvalde, Texas, how has your hometown influenced your music and your journey as a band?

Uvalde is a small town in Texas, there’s not much to do. This town is full of love but also there’s hate and anger, it’s effected me and my family personally and there’s times when it feels suffocating. But there is also good here there’s people who love and care for another, and we’ve gotten a huge following from our local community and we’re very grateful for it. It’s given me the determination to put Uvalde on the map for heavy metal, to show there’s life and love of this genre here as well. There’s not a time I go to town and see someone with a Metallica shirt or a pantera shirt or even a modern band like Lorna shore walking around  the local stores. We just don’t have an outlet here for heavy music. And I plan on changing that, I want there to be a place where guys like us and the next generation of metal heads to have a safe place to enjoy our love of this music.

10. Could you give us a sneak peek into your upcoming projects and what fans can look forward to in terms of new music or collaborations?

We’re currently working on some new tunes, we unfortunately can’t share Anything just yet. But when the time is right we will share it! We currently are recording our singles and plan to release them out gradually over the next few months and while we do that we are writing and recording our first album. 

11. In the ever-changing landscape of the music industry, what strategies do you employ to connect with your audience and promote your music on streaming platforms?

Yea we plan on releasing our singles on steaming platforms soon. The way social media is, it’s like a double ended sword. You either get lift in the algorithm or you hit gold and develop a grand audience. I try my best to be vigilant on the socials and keep our fans up to date with what we are doing. We try our best to be an engaging band with our fans rather it be directed messages, comments, live streams, etc. we want them to know that we care and appreciate their support. We do usually do give aways when we host them, we have flyers that we send out to those who but merch, and we go old school and network with local acts around the area to help one another out.

12. Lastly, if you could describe While They Bled's mission or message in just a few words, what would that be?

Our mission is to unite our community and show everyone what we’re capable of. We love playing our music but we really love playing it with an audience that is having a hell of a time. To share our love of this aggressive music and play it in its purest form, to bring heavy metal to Uvalde Texas. We have a shirt design for while they bled and on the back it says “Uvalde Metal” I look forward towards the day too seeing everyone in our town wearing that shirt and putting our name on the map.

While They Bled | Instagram, Facebook, TikTok | Linktree

 

Interview Solar Flare Sunset

Solar Flare Sunset, a rock band with roots in rural Iowa and now Denver, shares insights into their journey, sound evolution, humor, and upcoming music endeavors. Get ready for catchy tunes, funny music videos, and a rocking good time!

1. Can you tell us a bit more about the origin of the band's name, Solar Flare Sunset, and how it reflects your music and style?

When we first got together, the original three (before we got Raul as our drummer) couldn’t decide on a band name. So, we had all three of us write down four or five band name ideas and bring them to the next practice. Then we would all choose the best two of everyone’s, then choose the best one out of that pool. Isaiah, our original rhythm guitarist had Solar Flare Sunset in his list, and I think a few other sun-related names. I don’t know that the name influences the music itself, but the spirit in which we decided on it is usually how we like to solve any issues. We try to be as democratic as possible whenever possible.

 

2. Solar Flare Sunset started as a four-piece in rural Iowa and later became a three-piece in Denver. How did this transition affect your sound and dynamics as a band?

We actually became a three piece in Iowa, which factored into why we moved to Denver. The original four was me (Ethan, vocals and lead guitar), Cole (bass, piano, backing vocals), Isaiah (rhythm guitar and backing vocals), and Raul (drums). Isaiah left the group to start a family, and the rest of us wanted a change of scenery. So, similar to how we decided on the name, I threw out three cities (Denver, Chicago, and Austin), and we all agreed on Denver. The first album with the four of us, there is a clear difference in the way the guitars sound, because a lot of the heavier riffs and things like that were from Isaiah, a song like Ashes or Hiding From Myself, for example. Whereas, Something Else is more me. Raul and I had began jamming that after a practice one day and it became the single. The next two albums kind of followed that trajectory as well. Raul and I would workout an idea I had or a riff, we would put a song together, and Cole would tighten it up and glue it all together. Cole left the band in 2021, and Raul left then band earlier this year after recording a few new songs, of which “Pull Me Down” is one.

 

3. Your music is described as hard-rock. What are some of your major musical influences that have shaped this genre for you?

We love 90’s rock, for sure. I think its fairly apparent that I love the Foo Fighters and Nirvana, those two sounds stick out pretty clearly in a lot of the songs and dynamics. But we also love Zeppelin and Sabbath, Tool kicks major ass. August, our new bassist, loves prog and the more technical high-IQ stuff. If you know what you’re listening for, you can pick out rhythms, riffs, and dynamic shifts from a whole range of bands. Guitar wise, I worship at the feet of David Gilmour and Mark Knopfler, and again, if you know what to listen for, you can hear exactly the licks and moves I’m knicking from them constantly.

 

4. Solar Flare Sunset has three full-length albums out. Can you share some insights into the evolution of your sound from the first to the most recent album?

Production has gotten better on each album as we’ve all grown and had more money to actually produce quality sounding recordings, for one. But also, we’ve progressed as musicians as well. I think the newer songs are more concise, and the shifts in keys/ tempos feel and sound a lot more natural as we get better at them. From a songwriting standpoint, I look at the first album as me (Ethan) really figuring out how to write a catchy chorus. It was also the first album I ever really sang on. The second album, The Eyes of Argus, was me really figuring out how to write a good verse. There were also less songs and more studio time, which led to a far better mic and more polished songs. The third album, Patchwork Fantasy, was the first one we did in Colorado. We had written these songs over the course of a year, and during COVID. It was far and away our best work to date. Lots of really good, catchy but also cool, songs. Which is really the goal: badass songs you can also sing along to. This EP is going to be Raul’s last effort with us, unfortunately. But we have a new drummer, Jordan, who we are writing songs with now too.

 

5. Your latest release is "Pull Me Down" from an upcoming EP and album. What can fans expect from this new material, and is there a theme or concept behind it?

The EP is going to be four songs, and is Raul’s last effort with the band. There isn’t really any concept behind it. All of the songs sound like us, but none of them sound the same. Even the new ones we are writing with Jordan, they’re kind of all over the place, in a good way. You can hear a lot of different influences and its good to see August really taking a creative leap now that he feels more established in the band.

 

6. How do you typically approach the songwriting process in the band? Is it a collaborative effort, or does each member have specific roles?

In an ideal world, everything would be perfectly equal, but that isn’t necessarily how it works. The usual process is I (Ethan), bring a riff, verse, and or chorus and we kind of jam it out, unless the song is already completed, which happens from time to time but not super often. I try not to actually write the entire thing out, because part of the fun is jamming out things and coming up with other cool, and maybe even better parts. August is great at modulating and changing keys, finding harmonies, which adds more depth to the sound.

But nearly as often, someone else will have a beat or riff that we jam around and build off of. We will record stuff on our phones and send it to each other during the week, and then figure it out when we practice.

The only really “established role” is that I write the lyrics. Sometimes I’ll pull lines from a book and build off of that. Take Hold, for example, the chorus was built around a quote from Abraham Lincoln I read in a book. He was talking about firing General George McClellan and he said he had tried long enough to try to bore with an auger too dull to take hold. I cleaned it up for my own purposes and that became the rallying point for the rest of the lyrics.

I have a notebook and a notes app, I jot down ideas and lines I think might work in a future song, and when the time comes to write lyrics, if something jumps out and fits, I go that direction and build off of it.

 

7. Living in Denver now, how has the local music scene and community influenced your music and band's development?

We haven’t been able to play all that much, to be honest. We all moved out to Denver in a staggered fashion, so we couldn’t really play for the first six months. When we were tight again and ready to gig, COVID shut everything down for a year. Then we started playing some shows and Cole left the band, and it took us seven months to finally find August. Just when things were starting to cook: bookings coming, shows, studio time… wham, Raul leaves us and it took us another six months to find Jordan. There are a lot of great musicians in this city, and a lot of really cool venues. Admittedly, I (Ethan) don’t go out to shows as often as I would like, because I’m also a stand-up comic, which uses up almost the entirety of the rest of my free time. But we’ve played with some really great local bands on the shows that we have been on, and my current roommate just moved out here from Iowa (we went to school together) and has started a band as well, and he is a GREAT songwriter, which in turn inspires me to write more and be better since he is right across the hallway. Things are looking up.

 

8. What's the story behind the lyrics of "Pull Me Down"? Are there personal experiences that inspired the song?

This song, as is the case with a lot of our songs, the more distance I get from when I actually wrote it, the more I see it as a conversation I am having with myself. I’ve had to deal with a lot of self-doubt/ loathing (comes with the creative territory) and not working as hard as I know I can and should, but also feeling entitled and, excuse the vastly overused phrase, “in my own ego” a lot. So, the song seems to me, as of right now which is 1:48 PM on October 23rd, 2023, a conversation with myself or even other people, to do what you have to do but don’t start smelling your own farts too much. It’s a song about balance.

 

9. Can you describe the atmosphere of your live performances, and what can fans expect when they attend one of your shows?

They’re fun. Expect a tour-de-force between the three of us. We like to think that we are pretty decent at our instruments, so if you like that kind of stuff, we got you. But the songs are catchy enough, and we may throw in a cover or two, that you can sing a long if so choose. Jumping around, sweating, I’ll talk some shit from time to time. Its really just a good time. Expect to leave with a smile, expect to laugh, and expect to be impressed.

 

10. As a band, what are some of the memorable highlights or challenges you've faced in your musical journey so far?

Raul and I did a show last winter. It was supposed to be with a bassist we were jamming with, but there happened to be a huge snowstorm that day. On our way home from work, he called and let us know that he couldn’t make it. But The Venue (that was literally the name of the place) was near my house, se we decided that we would just do the gig as a two-piece and have a good time. We load up all of our stuff, get to the gig and set up, and Raul had forgotten his cymbals. So, we played for 50 minutes, just a 3-piece drumset and a high hat. It was hilarious, and because of the snow, absolutely no one saw it.

 

11. Solar Flare Sunset has a unique sense of humor, as evident in your band description. How do you incorporate humor into your music and performances?

I do stand-up, so I’m capable of making a joke or two off the cuff when we are playing live. Making one another laugh while in the middle of a song is always fun, and the crowd can see that everyone on stage is having a good time, that kind of stuff is infectious. Our music videos as well are usually funny, because none of us can take music videos seriously. They’re a hilarious concept, and we think that trying to make a big statement in a video for a song that isn’t trying to make any sort of statement other than “this is how I’m feeling”, is the highest for of self-aggrandizement. And they’re a lot of work, so if we are going to do them and spend money and time filming, and then even more time editing them, they should at least be fun.

 

12. Are there any specific concepts or themes you like to explore in your music, and if so, why do they resonate with you?

I think I mostly address my own shortcomings in the lyrics of the songs. I’ve been getting more interested in the passage of time, which I think is just something every songwriter grapples with as they age. I’m not 20 anymore, I’m staring down the barrel of 30 in about a week (which is great, complaining about turning 30 is hack. I’d rather be 30 than 15), so that has me thinking a lot about all the things I’ve done that I love and regret. Time by Pink Floyd perhaps makes this whole concept moot because that song is so perfect, but something along those lines. I’m rambling now.

 

13. How do you balance the creative and business aspects of being a band, especially in today's music industry landscape?

We don’t. We suck at business, marketing, promoting, social media, networking. Pretty much everything needed to actually succeed in the music industry, we aren’t good at. We are good at the least important thing, which is making the music. But it is also the most fun thing, and because it is the most fun and the others tear your soul in half, especially if you suck at them, we continue to do it.

 

14. What's the best piece of advice you've received as a band, and how has it influenced your approach to music?

Do it and expect nothing. I don’t know if we were ever explicitly given that advice or not, or whether it is something that we’ve just come to understand, but it is the best ethos to work by I think. And it doesn’t mean to not try to make something happen, but the making of the something happening shouldn’t be the reason for doing it in the first place. If you do it because its fun, and what you make is good, with a little work and luck something is bound to happen.

 

15. If you could collaborate with any other artist or band, who would it be and why?

Would love to play with some guitar heroes of mine, maybe write a song with Dave Grohl or something. I don’t think any of us has really thought about collabs right now, we just want to play shows and have fun.

 

16. What can we expect in the near future from Solar Flare Sunset? Any upcoming shows, tours, or new music on the horizon?

The EP is going to be titled, “Spare Me All The Reasons” and will feature four brand new SFS tunes: Pull Me Down, Cathedral, Wooden Ladder, and Stubborn Colors.

This EP will pre-date the next album which may feature these four songs, plus a TON of new songs. We hope to record those early in the new year and have it out in the spring.

Show wise, we are currently booking in and around Denver, up to Cheyenne, down to Colorado Springs, and wherever we can play. Shooting music videos in the meantime, and trying to set up a monthly comedy/ music show called Jokes and Jams. Lots and lots of stuff on the horizon for SFS, follow us and stay tuned!

Facebook

Solar Flare Sunset (@solarflaresunset) • Instagram photos and videos

(107) Solar Flare Sunset - YouTube

Music | Solar Flare Sunset (bandcamp.com)

Interview Euchridian

Euchridian, a unique musical venture, fuses doom, traditional metal, and black metal influences. The band, comprising Matt, Guillaume, and Mika, draws from diverse backgrounds to create their distinct sound. Stay tuned for more music from this collaborative trio. To keep updated on Euchridian's future projects and endeavors, follow them on social media and music streaming platforms.

1. Can you tell us more about the origin of Euchridian? What inspired you to start this project?

After leaving Of Spire & Throne I initially struggled to find people who were interested in helping with my ideas so nothing happened for a while. The first real steps towards Euchridian were me jamming on bass with my friend on guitar in my garage on Saturday mornings. My friend isn't into metal but we'd work on riffs, drink beer and discuss music. Eventually these sessions stopped as my friend was struggling with the long arrangements but by that time the first half of The Rule Of Three was beginning to take shape, Sweetness was in an embryonic state and, believe it or not, we had also worked out a fairly out-there arrangement of an REM song.

2. Matt, you previously played bass for the doom band Of Spire & Throne. How did your experience in that band influence the direction of Euchridian's music?

OS&T was the first band I ever played in and I was already in my 30s at that point. I'm not much of a musician but when a vacancy arose I figured that playing bass in a band that played very slow might be within my grasp. I didn't listen to a lot of doom and wasn't really aware of the style that OS&T were doing but I got really into it - we recorded a few EPs and the debut album together and played many gigs and few small tours. It really opened my eyes to some new possibilities in terms of doom song structures but unfortunately as I was beginning to feel that I could contribute more to the songwriting, the style began to change. That's why I decided that it was time to do my own thing but I remain good friends with the band and am indebted to them for giving me a start - I even returned to lend some guest vocals to the second album.

3. What drew Guillaume to collaborate with Matt on Euchridian, and what is his role in the project?

After the jam sessions I continued to refine the songs I was working on and tried to put together a recording lineup with some local musicians but they were very busy with other bands and life in general so we only ever managed to schedule a couplke of practices. At this point my old OS&T bandmate Ali suggested I ask Guillaume who was a great friend of Of Spire & Throne who in his capacity as a guitarist had regularly played on the same bill as OS&T in various local bands and even contributed a solo to the debut album.
Guillaume runs Sonorous Studio and I effectively employed him to record, mix, master, etc plus play the guitar parts and program the drums while I would perform the bass and vocals. By this time lockdown had started so I was sending him guitar tabs and he would send back what he'd recorded so far. The arrangement worked very well and was far more collaborative than you might expect - for instance in the second half of the track Sweetness, Guillaume helped with the order of the riffs and wrote the two solos. As covid restrictions started to ease, I visited Sonorous to the vocals and around this time two decisions were made. Firstly, I would not play bass on the EP - Guillaume had not only recorded the bass for demo purposes but had improved some of the basslines along the way and I knew I couldn't outdo what he'd already done. Secondly, we both agreed that the songs deserved real drums.

4. Mika and Guillaume both play in the black metal band Barshasketh. How did their experiences in that genre affect their approach to Euchridian's music?

So Guillaume suggested we ask his bandmate Mika to record the drums for a number of reasons. Firstly, he's a very, very good drummer but also they're used to working together and Mika was also trying set himself up as a session drummer. I'm a huge fan of Barshasketh anyway so it seemed like a great idea.

To be honest I'm far more into black metal than doom and wanted to reflect this in the music. I think that Guillaume and Mika's playing styles helped accentuate that feel and give the EP a different edge alongside the more traditional doom elements.
Guillaume travelled to Finland to record Mika's parts and it was at this point that Mika suggested that he add backing vocals to fill out the sound - they're fairly low in the mix but I think they work very well as an eerie shadow to my own vocals. As for the drums themselves, they're insanely good - I'll never get bored of listening to the fills in teh second half of the track Sweetness and I think Mika had fun playing a bit slower for once!

5. Can you describe the sound and style of Euchridian's music for those who may not be familiar with your work?

Euchridian is the result of a mix of influences. Primarily driven by my experiences in Of Spire & Throne, I started to add things that felt natural to me which included epic/traditional metal and black metal. The end result is simply a combination of those things: there are trad doom riffs, thundering drums, soaring solos and guitar melodies and horrible vocals.

6. What does the name "Euchridian" signify or represent, and how does it relate to your music?

The band is named after Euchrid Eucrow, the protagonist from singer/songwriter Nick Cave’s debut novel And The Ass Saw The Angel (1989). I'm a huge fan of Cave’s work and felt that the feral, mute anti-hero from the book was in some way analogous with the anguished sound of the music. Of course it's also just nice to make a reference to a musical hero of mine.

7. How do you handle the geographical challenge of being a band split between Scotland and Finland? Does this distance influence your creative process?

It's not really an issue at the moment as there no current plans to play live but I think the way the EP was recorded was recorded was interesting because I handed my work to Guillaume to record and he subsequently made some adjustments and suggestions. Then once everything else had been recorded, Mika heard the tracks and had some different ideas about the drums. It's difficult to say if the same changes would have occurred if we'd been jamming the songs in a studio but either way I think it turned out really well with everyone making important contributions.

8. Euchridian is a three-piece project. Can you tell us about the roles and contributions of each member in the band's creative process?

Well Euchridian is primarily my project - I wrote the lyrics, the riffs, melodies and the overall structures of the songs. However there would be nothing to discuss here without the other guys' involvement.
Guillaume is very diligent and won't quit until he's completely satisfied with what he's done. As well as his recording/mixing duties and playing all the guitars and bass, he helped to finalise the song structures and generally brought everything together.
Meanwhile, Mika's ideas for the drums were different to anything that me or Guillaume could have imagined and his vocal contributions were the perfect finishing touch.
As a result, although I hired Guillaume and Mika to help me, I feel that their contributions made it a truly collaborative process and I don't think it's contradictory to say that Euchridian is a band.

9. What themes or concepts inspire your lyrics and songwriting in Euchridian?

The EP's title is Philia which is one of the four types of love according to the ancient Greeks. It roughly translates as friendship, affection or even brotherly love. It's a sarcastic title as the songs use the imagery of Cain and Abel to reference literal and then figurative fratricide respectively. A painting of Cain leading Abel to his death is used for the sleeve art.
Beyond this common reference, the songs cover quite different themes.
Sweetness was inspired by the infamous US killer Ed Gein albeit it's a more sympathetic view of a serial killer than you might expect from a metal song. It basically depicts him talking to his late mother who he worships/deifies and then as the song progresses he speaks directly to the listener to try to explain why he is like he is.
Meanwhile, The Rule Of Three was inspired by a story I heard about how having reduced the teams from three to two, lighthouse maintenance workers often drove each other to violence if they were trapped together for too long. The rule of three is also used in comedy to refer to a specific joke structure where the first two people do the same thing and the third person breaks the pattern for the punchline so that idea is rolled into the lyrics too.

10. How do you approach the songwriting and composition process within the band?

These two songs developed very gradually over a number of years so it's hard to remember where they originally came from. Sweetness includes ideas which I had for OS&T while The Rule Of Three started with me and my drinking buddy playing the opening riff on repeat until I worked out what should happen next.

11. Could you share some insight into your recording and production process? What role does Sonorous Studio play in shaping your sound?

I think I've covered a lot of this already but basically Sonorous (i.e. Guillaume) is a one man business who will help with pretty much anything he can if you want to make music. I've now worked on three quite different projects with him where he's taken care of all recording and production, done some programming, made helpful suggestions about the songs, written and recorded some amazing guitar solos and been very patient during my vocal sessions!

12. Euchridian's music has been described as a fusion of different styles. What genres and bands have influenced your sound the most?

So in terms of doom influences, my time in OS&T was very important in terms of writing tunes with more progressive structures rather than just verse-chorus-verse-chorus, etc. On top of that I already listened to a few fairly traditional doom bands like My Dying Bride but also some more out there stuff like Khanate (who definitely influenced my vocal delivery). However one of the biggest influences on the first section of Rule was the slow parts of Darkthrone's Panzerfaust album which has a really grim sound and again, some really horrible vocals.

Another element that crept into the sound was Omnio by In The Woods which has this amazingly epic, melancholy feel to it. I also wanted guitar solos - I grew up listening to bands like Iron Maiden and Metallica and think if they placed correctly they can really elevate a song. The riffing in the latter parts of each song is defintely inspired by a love of 80s thrash metal.

13. Can you tell us about any upcoming or recent releases, and what listeners can expect from them?

There are no definite plans for Euchridian for now but I'm working on several ideas for what will hopefully become a full length album. In the meantime, Guillaume and Mika have also helpedme with an EP of black thrash which I currently deciding what to do with. It's very different to Euchridian and Mika gets to play a bit faster!

14. Have you faced any unique challenges or obstacles while pursuing your musical vision with Euchridian?

The biggest problem for Euchridian was finding the right people for the job - once I started working with Guillaume things came together very quickly and I'll hopefully continue to work with him and Mika on this and other ideas.

15. What are your goals and aspirations for Euchridian in the coming years? Any specific projects or collaborations you're excited about?

As mentioned, there's no new Euchridian release on the horizon yet but there's plenty happening in the meantime.
I used the Euchridian EP as an opportunity to relaunch Tatterdemalion Records which was originally a name used by OS&T so that we could self-release our debut album on vinyl back in 2015. There's a cd of the Philia EP available via the bandcamp page and the aim is to use the label as a platform for demos and side projects by people in the Edinburgh scene and OS&T family tree.

16. Finally, for fans and potential new listeners, how can they stay updated on Euchridian's music and future endeavors?

Probably best to follow Tatterdemalion Records on facebook or bandcamp as the label will cover not just Euchridian but other related projects. People should also check out Guillaume and Mika's main band Barshasketh if you haven't already as well as their business pages.

https://www.facebook.com/sonorousstudio

https://www.facebook.com/people/MK-Nagh-Music/100090388328555

 

 

'Women' by Dirty Mitts

Dirty Mitts, a dynamic four-piece band, consists of Tommy (vocals), Matt (bass), Mo (guitar), and Mateusz (drums). This diverse ensemble hails from the UK, Poland, and Egypt and was formed in 2022, united by their profound love for blistering rock’n’roll. They’ve carved out a unique sound that blends bluesy undertones with vintage vibes and infectious energy, ensuring audiences are up and dancing.

Dirty Mitts' 'Women' take­s listeners on a captivating musical journey, se­amlessly merging classic rock vibes with conte­mporary energy. From its infectious Saturday night spirit to the­ profound message of women's e­quality conveyed by the powe­rful lyric 'give me women on e­qual pay,' this track strikes a chord. What sets 'Women' apart is its ability to transition e­ffortlessly from fleeting passion to an appre­ciative celebration of the­ diverse facets of womanhood. This e­volution is beautifully portrayed in the accompanying music vide­o, making 'Women' a must-listen for rock enthusiasts se­eking substance alongside impre­ssive sound.

Home - Dirty Mitts

D I R T Y M I T T S (@dirtymittsuk) • Instagram photos and videos

(100) Dirty Mitts - YouTube

dirtymitts | Instagram, Facebook, TikTok | Linktree

 

 

Interview At The Grove

We're excited to delve into the world of At The Grove, a one-man post-rock project. From his musical journey to the inspiration behind "Infinity," let's explore this captivating artist's creative process and the unique balance of his music.

1. Thank you for joining us today. To start, please introduce yourself and tell us a bit about At The Grove and how you got started with this one-man post-rock project.

After years of playing as a drummer in various bands, I started setting up my own studio in 2017. I had absolutely no knowledge of recording, mixing, or mastering. But I wanted to try to do everything on my own and gradually learn. Besides drums, I can play a bit of guitar, bass, and keys, but I don't trust my singing skills. So it made sense to make instrumental music. That's how the first album, "Inner Turmoil," was born, which was released in 2019. Well, I had so much fun with it that I kept going. The next album followed in 2021, along with several singles and a bunch of collaborations with other artists from the post-rock scene. And now, in September, I released my third album, "Infinity."

2. Your music has been compared to bands like Russian Circles and Long Distance Calling. How have these influences shaped your sound, and what other artists have inspired your work?

I think the new album can indeed be compared to the mentioned bands. It's very guitar-driven, a  rock album with heavy guitar riffs and catchy melodies. I generally enjoy rock music a lot. On my previous album, "...And All The Fear We Left Behind," you can find songs that were inspired by other bands as well. "We Will Oppose You" is clearly influenced by Tool. I'm a big Tool fan and especially love their drummer. "With Hopes So High" pays homage to Pink Floyd, and "Where The Penguins Go" is inspired by the fusion trio GoGo Penguin. However, on the new album, I tried to maintain a more consistent sound.

3. At The Grove's music is described as a blend of intricate drum rhythms, powerful riffs, and catchy guitar melodies. Could you share some insights into your creative process and how you develop these captivating compositions?

It really varies. On "Infinity," most songs started with a guitar idea. After that, the rhythm section quickly followed. I love odd time signatures, but I always try not to make the music sound too complicated. If a 7/4 time signature, for instance, doesn't sound confusing at all due to a catchy melody, that's precisely what I aim for. However, some songs are indeed based on a groove. This was more frequent on the previous album but less so this time around.

4. One distinctive feature of your music is the balance between driving, high-energy sections and atmospheric ambient elements. How do you find this equilibrium, and what does it aim to convey to your listeners?

Well, I think the first challenge with instrumental music is to keep it exciting and varied. This is much  easier to achieve with vocals, I believe. Furthermore, I find it essential to give the listener a breather. Incorporating atmospheric, calmer sections every so often provides precisely the variation and dynamics that keep the music alive.

5. In contrast to many post-rock representatives, your tracks are relatively short, averaging around 4 5 minutes. What's the reason behind keeping your compositions more concise, and how does this affect the listening experience?

How it influences the listening experience is something everyone needs to decide for themselves. I can only speak for myself. I'm not necessarily a fan of very long songs. I find 4 to 5 minutes perfect. Of course, some songs are also perfect at 6 or 7 minutes. I do have a few songs that are that long or even longer. It's not that I impose a rule on myself that a song should only be 4 minutes long. It just happens during the songwriting process. Eventually, I feel the song is finished, and then it has the length it has. I have to admit that I'm not always a fan of the endless repetitions that sometimes occur in post-rock. When the same riff is played for 2 or 3 minutes, I eventually find it boring. I try to

avoid that. But, as I said, it's just a matter of personal taste.

6. At The Grove is unique in that you handle all production steps, from composition to mixing and mastering, as a single individual. What challenges and advantages do you encounter in this solo approach to music creation?

Well, the challenges should be evident. I have to come up with the ideas, develop the songs, produce, record, play all the instruments, mix, master... In essence, I'm a whole band, the producer, the mixing engineer, and the mastering engineer all in one person. That's a lot of work and not that easy. But it's a lot of fun. The advantage is that I can work whenever I want. I'm not dependent on other people's schedules. And I don't have to make compromises; I can create exactly the music I envision. What's not quite as enjoyable for me is all the promotional work that comes after the album is finished. That's the first thing I would gladly hand off.

7. Can you tell us more about the name "At The Grove" and its significance to your music? How does the environment where you produce your music influence your creative process?  

That's actually a straightforward story. When I completed my first album in 2019, I needed a name to release this project under. I didn't want to choose just any name with no connection to it. The studio where I produce the music is located right by a truly idyllic grove. So, the name was practically right there, haha.

8. Your upcoming album, "Infinity," was released on September 22, 2023. Could you provide some insight into the album's themes and the journey you intend to take your listeners on with this release?

"Infinity" takes listeners on a profound journey, delving into the eternal quest for the meaning of life and the boundless unknown that lies beyond. "Infinity" contemplates the concept of death as a form of infinity, where our physical bodies gracefully decompose, becoming one with the cycle of new life, perpetuating the timeless dance of existence. Throughout the musical odyssey, "Infinity" explores these philosophical quandaries with unpredictable variance between heavy and atmospheric passages and ultimately concludes the genuine meaning of life resides within oneself. The album suggests that life's infinity is not solely dependent on the continuity of our physical being, but rather it extends through the memories we leave behind in others and through the transformation of our atoms into the creation of new life forms.

9. "Infinity" explores profound themes like the concept of infinity, the meaning of life, and the connection between death and transformation. How do you translate these philosophical concepts into instrumental music?

Although "Infinity" is an instrumental album, it tells the story by blending driving drums and heavy heavy guitars with catchy melodies, and immersive soundscapes in order to represent the inner turmoil, struggles, and uncertainty of the album's themes. The heavy riffs and complex drums represent the questions about the concept of infinity, the possibility of leading a fulfilling finite existence, and the connection between death and perpetual transformation. Throughout this musical odyssey, moments of respite appear, interwoven with piano melodies and ambient guitars, offering moments of introspection and clarity.

10. "Infinity" delves into the idea of death as a form of infinity and the concept that life's meaning extends beyond our physical existence. What message or emotions do you hope listeners take away from this exploration?

Well, first and foremost, I hope the album resonates with the listener. That it's enjoyable musically and prompts contemplation about life and its meaning. It's not a sad album, and the message is meant to be hopeful. But the meaning of life or the concept of what comes after death, or doesn't come, is something each person has to discover for themselves. However, I'm happy if the album can inspire some thought on these topics.

11. "Infinity" is being released by the Dutch label De Mist Records. How did this collaboration come about, and what role has the label played in the development of the album?

I've been good friends with the label owner, Niels de Roo, for several years. When I was ready to release the album, he offered to release it on De Mist Records. However, the music was already finished before this collaboration came about, so I had complete freedom with my ideas and vision. Thankfully, Niels designed the artwork for "Infinity." And what can I say, it turned out to be simply fantastic. It aligns perfectly with the album's theme.

12.Finally, where can fans and listeners connect with At The Grove, and what can they look forward to in the future from your one-man post-rock project?

You can find everything you need at www.at-the-grove.com: access to all streaming services, social media links, and the option to purchase my music digitally or on CD. Feel free to reach out to me personally on Instagram or Facebook. I'll be working on a few collaborations with musician friends later this year. I've also started generating initial ideas for the next At The Grove album, but it will likely take about 2 years to complete. To keep you engaged in the meantime, I'll certainly release one or two singles. Just follow me on your platform of choice, and you won't miss a thing.

At The Grove (@at.the.grove) • Instagram photos and videos

Facebook

Infinity | At The Grove (bandcamp.com)

At The Grove | Instagram, Facebook | Linktree