Bringin' it Backwards Adam & Tera Lisicky

We had the pleasure of interviewing Natalia Damini Zoom video!

Inspired by both modern pop icons and timeless vocalists, Natalia blends intoxicating melody with supersonic energy and charisma. “Attitude was written about seeing someone you like, but not having the courage to take the first step.” Full of windswept backup vocals, slick guitar riffs, and a fetching beat, “Attitude” is as bashful in sonics as the subject matter itself.

"The world needs to know about Natalia Damini" - Tito Jackson

The music video profiles Natalia as she performs amidst a backdrop of shimmering disco balls and chandeliers in sequined jacket. Tito Jackson emerges for his verse in a sports car with effortless, velvety vocals over the scenery of a futuristic, neon-lit hallway. Natalia serenades, “Attitude - baby that’s all you need. If you want it, you got it!” The single is a jubilant, vivacious pop anthem that calls upon Tito Jackson’s rich history through a whole new lens.

Natalia Damini was titled the Best Female R&B/ Pop Artist at the Underground Music Awards. Since then, her platform has expanded to upwards of 15 million views on YouTube and 1.2 million followers on Instagram. Her infectious pop single “Crazy” charted at #1 on the Billboard Emerging Artists Chart and she has had #28 Billboard Top 40 and #15 Billboard Next Big Sound entries. She has received acclaim from LA Weekly, Idolator, and All Access to name a few.

Singing sensation and electrifying performer Natalia Damini is releasing a new song titled “Attitude” featuring the one and only Tito Jackson from the legendary group The Jacksons. This single follows her last release entitled “Pacemaker,” which peaked at #45 on the Mediabase Top 50 Pop chart and has over 1 million streams on Spotify.

Equally important, her song “Crazy” hit #1 on the Billboard Emerging Artist Chart. Natalia has over 1.2 million followers on Instagram.

Cutting Edge is the adjective that describes the stunning songstress Natalia Damini. She adds class, intellect, and style to her genre. She crafts songs that capture the essence of the human spirit. She spins stories of love, lessons learned, conflict and resolution. Ms. Damini approaches every note with fearless class. Her voice is pure and authentic. Her energetic drive and outgoing personality enabled her to showcase her amazing stage presence at many different venues around the world. In October 2015 Natalia won Best Female R&B/Pop Artist at the prestigious Underground Music Awards.

Natalia Damini’s style is a unique blend of modern R&B, Pop, and Dance music that ranks her alongside contemporary stars like Ariana Grande, Doja Cat, Shakira, and Rihanna.

Natalia’s new single features Tito Jackson of the Jacksons (yes, brother of Michael and Janet). The Jackson Clan is the most famous musical family in the world.

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We had the pleasure of interviewing Can’t Swim Zoom video!

One of New Jersey’s prodigal sons once mused “who says you can’t go home?” – but CAN’T SWIM have never really left their Garden State surroundings.

Sure, they’ve certainly logged tens of thousands of miles over the past seven years, bringing their cathartic blend of rock, punk, and emo to audiences around the world on bills with A Day To Remember and Senses Fail and at festivals like 2000trees. But at their core, Can’t Swim are innately Jersey through and through: from the ghosts of Tri-State hardcore giants that oscillate through their high-octane sound to the very garages and studios where those songs take shape.

Now, the band plant their Garden State flag even deeper on their fourth LP, Thanks But No Thanks, an album that quite literally finds them going back to their roots.

After wrapping another slate of hard touring for 2021’s Change Of Plans, the group – vocalist Chris LoPorto, bassist Greg McDevitt, guitarist Danny Rico and drummer (and honorary Jersian) Blake Gamel – decamped to the Shore, insulating themselves in the comforts of home while working to hone in on the most elemental components of the Can’t Swim sound.

Joy has rarely been a word associated with Can’t Swim – awash in tempestuous lyricism and muscular energy since breaking into the underground with 2016’s Death Deserves A Name EP – but there’s a self-referential wryness to LoPorto’s lyrics on Thanks But No Thanks that winks its way through the album’s 10 songs, along with a finely tuned melodic edge that balances out the band’s more brooding nature.

With guitarist Rico overseeing production, mixing, and mastering (a position he held on 2017’s debut LP Fail You Again and 2018’s This Too Won’t Pass), first single “me vs. me vs. all y’all” is Can’t Swim’s most fully realized pop song to date, name-checking The Cure, The Lemonheads and Eddie Vedder, while the album-opening “Nowhere, Ohio” offers a playful tribute to the Alkaline Trio classic “Radio” in between stabs of downtuned guitars.

But don’t conflate fun with frivolity. The same emotional heft that’s made Can’t Swim a cult favorite in the scene – and earned them musical co-signs from the likes of Taking Back Sunday’s Adam Lazzara and Beartooth’s Caleb Shomo – is front and center on Thanks But No Thanks, from the sorrowful summer 2022 single “I heard they found you face down inside your living room,” mourning the death a close friend, to the classic punk rallying cry “ELIMINATE,” which tackles the gun violence epidemic with a strength-in-numbers call to arms.

In this way, the evolution of Can’t Swim as a band is really evident: What once were presented as insurmountable obstacles on previous albums are now framed as hard-but-necessary lessons that need confronting in to move forward and grow, calling upon new levels of resolve and strength to dull down life’s demons. Through it all, the band have been able to truly block out the noise and let their conscience resonate loudest of all.

Four records in, it feels like Can’t Swim are just now hitting their stride. They’ve stretched their wings over nearly a decade, dabbling in everything from frantic hardcore (2019’s Foreign Language EP) to ethereal indie (2020’s Someone Who Isn’t Me EP), yet have once again found their way back to their musical home.

The next few years will take them far away from their own beds as these songs reach audiences around the world – but that’s a sacrifice the band is willing to make because of how much these connections truly mean.

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We had the pleasure of interviewing Lucero Zoom video!

The search for one’s identity is a lifelong process that every individual must go through. Who someone is today, is not the person they were yesterday nor who they may be tomorrow. Despite those changes, there is a general idea of a defined sense of self. No matter what happens, it is that small yet solid and grounding definition of self that continues to drive us forward in our search for identity and whatever may come with it.

It would be difficult to find any artist who understands that better than the band Lucero.

Since forming in Memphis in the late 90’s, Lucero’s base musical hallmarks have remained similar to the band’s initial sound established with their first record The Attic Tapes. In the history of their expansive discography, Lucero has evolved and embraced everything from southern rock to Stax-inspired Memphis soul, whilst simultaneously maintaining their distinctive sonic foundations. Over 20 years later, dedicated fans of the group still flock to hear the band’s punchy driving rhythms, punk-rooted guitar licks, and lyrics that evoke the whiskey drenched sentimentality of Americana singer-songwriters. As expected of any band built to survive, Lucero has welcomed change over the course of their career, but it has always been on their terms.

The band’s twelfth album, Should’ve Learned by Now, began its life as hardly more than some rough demos and lingering guitar parts. These pieces that were left behind from the band’s previous albums, Among the Ghosts (2018) and When You Found Me (2021) were deemed too uptempo and capering for the prior records’ darker themes.

The band, comprised of all its original members (which in addition to Ben Nichols, includes Brian Venable on guitar, Roy Berry on drums, John C. Stubblefield on bass, and Rick Steff on keys) teamed up for a third time with producer and Grammy Award-winning engineer and mixer, Matt Ross-Spang. Lucero began the recording process in Sam Phillips Recording Service before transitioning and finishing the record in Ross-Spang’s newly opened Southern Grooves Productions in Memphis, TN. Ross-Spang appears to have settled in with the band’s more trademark sound whilst very much making his touch known to listeners.

From its original Ben Nichols-designed cover art to its credits, the album is a reflection of a band that knows itself. Should’ve Learned by Now bridges the gap musically between “old Lucero” and “new Lucero” in a manner which affixes the band’s position as the perfect intersection of punk initiative with hard-earned artistry. It’s an album that recognizes the past in its sound and content, but leaves the door wide open to the future and for the lessons still in store.

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We had the pleasure of interviewing We Are Scientists Zoom video!

American rock band We Are Scientists debuted in the early aughts with the angular post-punk edge of With Love and Squalor, later evolving to incorporate polished synths and expanded atmospherics on efforts like 2016's Helter Seltzer, 2018's Megaplex, and 2021's Huffy. Although modestly popular in America, they were a hit in the U.K., where the group's sound -- part post-punk revival and part indie rock with a touch of '80s synth pop -- drew parallels to contemporaries like Editors, Franz Ferdinand, Interpol, and the Killers.

Formed on the West Coast by three California-based college students, We Are Scientists officially took flight after frontman and guitar Keith Murray, bass player Chris Cain, and drummer Michael Tapper (who replaced founding drummer/vocalist Scott Lamb) relocated to Brooklyn and began building a small but devoted following. After releasing three EPs and one independent album -- Safety, Fun, and Learning (In That Order) -- the group signed with Virgin Records and released their major-label debut, With Love and Squalor, in early 2006. The effort peaked at ten on the Billboard Heatseekers chart and eventually was certified gold in the U.K.

In 2008, We Are Scientists -- reduced to a duo comprising Cain and Murray after Tapper parted ways with the group -- put out their second full-length album, Brain Thrust Mastery. Produced by Ariel Rechtshaid, the set included the singles "After Hours" and "Chick Lit." As before, the record found popularity in the U.K., where it debuted at number 11 on the albums chart.

In late 2012, the band entered the studio in New York with producer Chris Coady (Beach House, Gang Gang Dance, Blonde Redhead) to record sessions for their fourth record. Burrows relocated to the city from England while he worked with Murray and Cain to write and record tracks for the album. Titled TV en Français, it arrived in early 2014 on 100%/Dine Alone Records and featured appearances by Rose Elinor Dougall (Mark Ronson) and Tim Wheeler (Ash).

In 2016, We Are Scientists returned with their fifth studio album, Helter Seltzer, produced by Max Hart (of Katy Perry's band). The effort charted in the Top 50 of the U.K. and Scottish charts. Two years later, they delivered their sixth effort, the polished Megaplex, also produced by Hart. The album featured the singles "Heart Is a Weapon," "Not Another Word," and "Your Light Has Changed."

Following the 2020 launch of their own Dumpster Dive podcast, the group returned with the full-length Huffy in 2021. Although 2021’s Huffy returned to a guitar-driven sound, Lobes, the band’s eighth studio album, released early 2023, is their synthiest, electronic beatiest collection yet. So, really, who even is We Are Scientists?

Founding We Are Scientists members Keith Murray (guitar) and Chris Cain (bass) have played with guys like Adam, Michael, Andy, Danny, Chris, Matt, and Gary on drums, but for over five years now have had Keith Carne, who looks like he isn’t going anywhere.

The band’s previous singles “After Hours,” “Nobody Move, Nobody Get Hurt,” “The Great Escape,” “It’s a Hit” and “Chick Lit” all have charted in the US/UK and the band have appeared on US late night talk shows, The Late Show with David Letterman, Conan and Carson Daly and performed at Coachella, Sasquatch, and All Points West festivals. In the UK, the band played the Reading and Leeds main stage and Glastonbury Festivals among other world-wide touring.

The release of Lobes was celebrated with a very special hometown show at Brooklyn Made on January 20, 2023.

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We had the pleasure of interviewing Danelle Sandoval Zoom video!

Asian pop meets alt R&B singer/songwriter Danelle Sandoval, recognized for her breakout debut version of "Tuesday" with ILoveMakonnen ft. Drake, which received platinum awards worldwide, reaching the #1 spot in over 70 countries on iTunes and Shazam and amassing over 1 billion streams.

Danelle Sandoval's new musical chapter begins with her upcoming single "Cold" which is her most vulnerable to date. She confides, "I’ve always been curious about how relationships can just flip a switch and how intimacy can be so difficult for everyone, when most of us just wanna feel close to each other. I’ve definitely been on both sides of a relationship where I was either the one being cold or my partner was. This song represents the latter."

Danelle Sandoval is a Filipino-American artist based in Los Angeles, CA. After posting a YouTube cover of “Tuesday” by ILoveMakonnen ft. Drake, the song was remixed and went on to receive platinum awards worldwide while reaching the #1 spot in over 70 countries on iTunes and Shazam. The viral hit has amassed over 1 billion streams online. Following the global success of "Tuesday” Danelle has performed on national television in Germany, has written for other artists including Paris Hilton, and has focused on releasing original music. After releasing singles and an EP throughout the years, Live Nation’s Ones To Watch explained that Danelle “has established herself as a polished pop star, and her airy voice layered over hypnotic electro-pop production is something we simply can’t get enough of." Earmilk has also described that, “Danelle creates a beautiful chemistry of extraordinary storytelling and 90s infused R&B to depict an honest picture of the struggles she's had to face in today's society and how she's overcome adversity to become the boldest, truest version of herself.”

With more music to be released in 2023, Danelle has refined her sound to represent the places and genres that have inspired her and her creativity the most, from Toronto’s out-of-the-box production and NYC’s jazz influences to LA’s R&B/pop scene.

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We had the pleasure of interviewing Blusher Zoom video!

Blusher are here making sparkly, energetic pop to soundtrack your night out. This Melbourne-based trio made a huge splash in 2022 when they released “Softly Spoken,” a slice of euphoric indie-pop. It was the first song they ever made together and the success of the track took the trio by surprise. But 2023 is primed to be bigger and better for the group: Blusher are releasing their latest single “Dead End” and gearing up for an EP, live shows and soon, a global takeover.

In Blusher’s metaphorical teen rom-com of a band, all three members are the leads. They share vocals on many of their songs and swap instruments during the live shows. They all produce and write together, utilizing their individual experiences cutting their teeth as solo artists before forming the band.

“Our first day in the studio felt like an exciting combining of forces and we quickly realised how compatible we were as songwriters,” says member Lauren Coutts, who runs lead on the production of Blusher’s music. Before officially meeting, their shared pop tastes and sounds had made them each familiar with each other in the wider Melbourne music community. Jade and Lauren were first officially introduced during a Zoom writing camp in late 2021.

“Softly Spoken” would launch the wildest year of the girls’ lives after it was released in 2022. On the day they dropped it, they were at a songwriting camp on a beach together and partied through the night. The next day, Lauren had received a message from their now-managers Powerhouse Management’s Jamie-Rose Fowler and Charlotte Ried, who officially came on board soon after.

By September, they played their first show at BIGSOUND, an Australian music festival and industry conference. Blusher spent months in a “boot camp” of sorts with a movement coach who encouraged them to go out dancing together. The final result was a highly choreographed set that allowed them to show off their individual multitude of talents. Minutes after stepping off stage for the first time, the group signed with Atlantic Records.

Blusher spent the rest of 2022 in studio sessions working on their debut EP. “Dead End” and “Softly Spoken” tease a project focused on female friendship, inspired by the dance floor catharsis of heroes like Robyn, Kesha, the Black Eyed Peas, and MGMT. The songs track a night out, one full of break-ups and make-ups.

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