In their new affection-infused single “One in a Million”, NYC pop trio Running Lights remind listeners to savour the moments in life that we hold dear. The trio wants to stress the importance of cherishing your loved ones, especially in light of the social isolation that has come with the pandemic. If you don’t actively nurture your relationships with love and devotion, it’s easy to lose sight of them. “‘One in a Million’ is a leap of faith. It’s about letting moments that feel like they’re meant to happen, happen,” explains vocalist/guitarist Mike Squillante. The infectious track uses a dance beat and a zealous electro-pop sound to perfectly encapsulate the energy of a romantic late night on the town. It fuses together the tenderness and the intoxicating thrill of love, using romantic piano and adoring lyrics but also zestful beats and electric synths. The words paint an endearing picture of a couple exploring the city in their own bubble of bliss, lost in love-driven oblivion.
Running Lights is made up of siblings Mike and Nick Squillante and their childhood friend Stephen Ranellone. Hard work is their mantra, a deep-rooted concept coming from their Italian working-class upbringing and the perfect pairing to their passion for music. The trio has a plethora of experience in the music industry; Mike has toured as a guitarist and keyboardist for major label acts such as Melanie Martinez and Gnash, Nick utilizes his skills as an engineer at NYC’s Electric Lady Studios, working with legendary artists such as Frank Ocean, Bon Jovi, and Mumford & Sons, and Stephen is the touring drummer with the indie artist Pronoun. Running Lights is the dynamic culmination of each of the members’ unique skills and experience, and “One in a Million” is a testament to their talent and determination.
Xelli Island, the dream pop project of vocalist, songwriter, and shapeshifter Lianna Vanicelli, has released the first single off the upcoming debut EP of Vanicelli’s solo career, which she describes as her life’s work. After fronting various bands starting at age 14, Xelli began to grow tired of the conflicts that arise within a group dynamic, but today she has found strength and a clear creative direction as a solo artist. Growing up in Detroit as the daughter of a gravedigger, Xelli gained a profound appreciation for strong work ethic, survival, and gratitude. As she began to develop her own musical sound at a young age, she took her down to earth perspective from establishing a creative life in Detroit and her whimsical experiences visiting loved ones in the Philippine islands and used them to find her niche in writing music from a place of charming yet humble wisdom.
“02 20 20” was written during a unique peak of momentum in the eccentric artist’s life. She was adjusting to a new routine and constantly thinking of all the little steps that needed to be taken to get things done. When working with close friends and collaborators on this project, she applied this mindset, and together they have created an uplifting and productive support system that produces music that takes an honest look at both the inner and outer world that Xelli moves through. The track has a great beat that navigates through densely layered and lush synths that sound out of this world. These extraterrestrial synths are the perfect complement to Xelli’s sweet and otherworldly voice which animates the dream-pop sound. Her lyrics read straight from the heart, perfectly detailing the beauty and the struggle that is life in today’s society– something to look forward to on her EP as well.
Xelli Island is one to keep your eye on, it will be interesting to see how Vanicelli channels her breadth of experience and renewed creative energy into her solo career, and how she will reach new heights with her future endeavours. Stream “02 20 20” today, and stay tuned for her not-to-be-missed debut EP, coming soon.
Singer-songwriter Elizabeth Young may only be 16 years old, but her wisdom and natural accessibility goes far beyond her years and translate beautifully into her music. Young has a remarkable ability to transform the life of a teenage girl into a universal experience. This sophisticated vocalist has spent years developing her musicality and playing local live shows outside of Washington D.C. where she grew up, but at last she’s ready to show the world her talent with her debut EP in September of 2020.
We had the honor of speaking to Elizabeth briefly leading up to this release.
Your new single, “I Won’t Fall,” is about anxiety. Could you give us some more insight into what inspired the song, and what you hope that people listening to it take away from it?
I Won’t Fall talks about how I can stand up to the difficulties of anxiety. Sometimes my anxiety can try to get the best of me and it can be hard to fight it, but I have learned that I can overcome, persevere, and not fall into the trap of my anxiety. My producer Chris Keup and I thought of factors in my life that help support me such as my family. My friends and family can help serve as a shield during inner battles with worries or anxiety. I Won’t Fall portrays an important message that means so much to me and I hope has an impact on others to help them feel stronger when fighting against inner worries or anxiety. With this song, I want to encourage others to stand tall and not to fear of being knocked down by their anxiety or have it stop them.
What is the Washington, DC music scene like? Do you have a favorite venue in that area that you loved to play or see shows at and why?
In Washington DC, I’ve been to the Kennedy Center several times where I have seen Lea Michele sing and other productions. I have played at multiple venues around my town one of which is the open mic night at The Old Brogue. I love playing at the Old Brogue because my family and I have been going there since I was little so it is a very comforting place. Since COVID-19, I haven’t been able to play at local restaurants which is sad!
You have a lovely voice, with a strong command over both soft and belted vocals. Did you have vocal lessons growing up? How did you cultivate your voice into what it is today?
I first found a love for singing when I auditioned for the musicals at my elementary and middle schools. I discovered how much I loved singing and I began taking voice lessons to grow and learn more about singing. I brought my guitar that my parents gave me to my voice teacher on a spree, and from there I learned how to sing songs with my guitar. I would practice all the time on my own, helping me to improve my guitar skills. I started performing at small live events and quickly discovered how much I loved performing and I wanted to get better at my music. I began to turn my interest away from musicals and found what I loved the most- singing songs with my guitar and creating music. From there I began jotting down some lyrics to some chords on my guitar. I began taking vocal lessons with Katie Talbot from Nashville over Skype where she helped me safely improve my voice. I also love to sing all around the house which can sometimes bug my family! I linked up with the amazing Chris Keup where we wrote songs together and created the EP.
Your upcoming EP deals with topics ranging from narcissism to toxic relationships. How does it feel to be sharing such intimate parts of yourself with the world? Do you feel nervous about revealing yourself or is it freeing?
It is difficult to open up and share yourself to the world. It’s important to me for my songs to be authentic and real therefore making me a little nervous to feel vulnerable. However, it is freeing to express myself and exciting for others to hear my thoughts through music and I hope people like them and can relate to them.
Was this your first time recording in a studio? How was that experience for you? Was it time-consuming and a lot of hard work? Did everything go smoothly? Give those of us on the outside a look into the studio life.
It was the first time I ever professionally recorded in a studio so everything was very new and exciting for me. I was so eager to learn how a song was created from an artist’s point of view. I discovered so many new things and working in the studio opened up a new world for me and I want to keep learning and improving. Chris is a talented producer and was very easy to work with especially for a developing artist like me. Working in the studio was hard work but very fun! I went down to Chris’s studio in Louisa VA on school days, after soccer tournaments, and on weekends to create the EP. The vibes in Chris’s studio made me feel creative and like a real professional! We spent hours each day recording, correcting, and adding to perfect the EP. Before my experience in the studio, I thought it would be quick and easy to record the vocals, but it took lots of time and hardwork to put them together. Creating the songs did go smoothly and I can’t wait to keep working in the studio in the future.
“I Won’t Fall” is a deeply moving song with personal lyrics that make the listener feel like they know you. What is your go-to method of writing songs? Do you have any advice for any budding songwriters out there?
Songwriting is all about authenticity and how the lyrics flow to the beat of the music. I love bringing out thoughts or worries on my mind into the songs to make them more relatable and personal. I really want to discover how to become my own artist and find my unique style to put into my music. I want to keep learning and growing! My go-to method is to take a regular idea on my mind or a topic that may be bothering me and string lyrics together. I use my guitar to find chords that fit my lyrics and the feel of the song.
What is your favorite song or album to listen to when you’ve had a hard week and you want to unwind and why?
The way I escape through music is to visit playlists I make on my phone. My playlist is made up of country and pop music. I really enjoy almost any music and I have a lot of variety in my playlists. Olivia O’Brien is an artist I love to listen to because I love the way she writes the lyrics in her songs. Taylor Swift is a classic artist but I love listening to her songs because I know most of the lyrics so it helps me to unwind by singing along.
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Pulling from the blues, R&B, and powerhouse female artists she grew up surrounded by outside Washington, D.C., as well as female artists and songwriters like Bonnie Raitt, Alicia Keys, and Taylor Swift, this EP deals with wide-reaching topics in a cathartic and carefree way. Young’s forthcoming single off the EP, “I Won’t Fall”, is a tender anthem about anxiety. It’s filled with rich guitar chords that embrace silence with warmth. Young’s skilled vocals earnestly sing on top of a strong, slow beat that feeds into the anthemic sound. Her sailing melody line on the words “I won’t fall” sweep you off your feet and lift you up, instilling a sense of hope within you. Young’s resolve and softness recall the feminine power that her female influences channel, and hint at what you can look for in the rest of her soon-to-come EP.
In the meantime, check out her latest single, “Ricochet” here.
The eclectic Whoa Dakota’s new single “Walk Right By” is an enlightened look both at the past and the future. Blending together disco with a modern R&B sound, this bop emboldens you to believe that you don’t need anyone besides yourself to reach your full potential. The lyrics are inspired by her experiences with pushy, manipulative business people in the industry who antagonize those around them. “Walk Right By” aims to empower those who listen to it to trust in themselves. The single has a classically funky bassline, infectious danceability, and nostalgic synths that sound like something out of an arcade. It’s far from sounding like an imitation of late 70’s disco music, however. There’s this compelling groovy but chill vibe in the verses that fit in well with the sound of modern R&B music, and atmospheric layers of synths that remind listeners of ambient indie-pop. Whoa Dakota’s stellar vocals are really something else. She effortlessly handles the sultry, smooth vocals in the verses, and the powerful belting in the enthralling chorus that is a perfect sonic representation of self-liberation.
It’s no surprise that this mesmerizing artist has such an innovative grasp on her music as a 2017 Tiny Desk Concert favorite and the “Best Pop Artist” in the Nashville Scene’s Best of Nashville 2018 awards. You can (and should) also check out her “Spill The Tea with Whoa Dakota” podcast featuring Lilly Hiatt, Airpark, Laura Reed, and more, and her twitch streams every Friday at 6 pm CST.
New Jersey-based singer-songwriter Eric Harrison teamed up with Nashville veteran Rachel Potter for “Down Down Down”. The track is a true Americana duet, with flares of country and guitar rock. Harrison and Potter’s voices compliment each other over the sweet sound of the guitar. The country version features a traditional Telecaster, lap steel, and the mandolin, while the electric version has a Neil Young-style melodic guitar grime and a robust B3. Two versions of the song will be released, one being country and the other is an electric version. Equally filled with hope and worry, “Down Down Down” is a lyrical journey through and through. Harrison shares:
I tried to capture the rawness of loss and the desire to protect the people you love, but as hard as it is to watch the people you love get hurt, sometimes you need to hang back and let them figure it out. I view the song as kind of a reminder to check my savior complex and remember that hurt can turn to wisdom.
The Americana singer is also set to release his fourth album, Gratitude, later in the year. The album is filled with 10 life-affirming tracks that will shine bright in his discography. Gratitude was recorded at Salem’s studio in Woodstock, New York with the help of guitarist and producer Kevin Salem. He continues to push further, making music that is meant to be enjoyed outside on a summer night. “Down Down Down” (feat. Rachel Potter) is a part of the new era in Harrison’s artistic journey. Check it out now.
Aime Simone is no stranger to misery. He fell victim to intense bullying as a child, the trauma of which led to early symptoms of PTSD and anorexia as a teenager. There were attempts to heal at clinics where he spent his time writing poetry, but there also was a tragic sucide attempt. During a stay at a clinic in 2012, Aime got permission to attend a Pete Doherty show since he was such a big fan of his and an avid songwriter. He took his poetry filled journal along, hoping to give it to Pete. Halfway through the show he still had no idea how he was going to get the journal to Pete, so he resorted to throwing it onstage, and accidentally hit Pete in the face. Pete began to read excerpts to the sold out crowd, and when Aime screamed for Pete’s guitar in exchange, he instead was pulled onstage and given the guitar to play. What resulted was Aime’s first-ever performance in front of a crowd, and after it ended in applause, Aime was invited to go backstage and began working with the Libertines frontman in intense songwriting sessions.
Today, Simone is a Berlin-based, Parisian singer and producer who is still mentored by Doherty. He produces alt-pop music that pulls from post-punk, hip-hop, soul, and 60s pop. The culmination of Simone’s incredible backstory and all his hard work with Doherty comes in the form of his debut album Say Yes, Say No, which was released on July 31st. The album was entirely self-written, produced, and mixed by Simone himself, and plays like his open journal, as earnest and honest as the one that he hurled on stage back in 2012. It’s inspired by Berlin’s iconic techno scene as well as his past life in other European cities.
The music of Say Yes, Say No is somewhat sparse and intimate, made up primarily of vocals, guitar, and a beat. The vocals are blurred by reverb, yet clear enough to hear every word. Its simplicity allows for sentimentality to be the focal point of the work. Although each song deals with emotions, the album doesn’t have a one-track mind. You find moving melancholy in “Don’t Be Sad”, danceable beats in the lead single “What’s Up With The World?”, and even tender love in “Shining Light.” With Say Yes, Say No, you find uplifting movements interwoven through the melancholia, an approach influenced by Simone’s unusual and complex being.
The first three tracks embody this brooding, yet moving trait well. To start us off, “Everything’s Changing” deals with his own mortality and the fear of death and the unknown, but he faces these inevitabilities with acceptance rather than letting them overwhelm him. It was inspired by the thoughts that occupied Simone’s mind when he became a young father. The intimate acoustic guitar, soft, yet emotive vocals, and chill beat behind the soaring line “I’ve got to let go of what I’ve always known,” amplifies the embrace of his feelings, especially in the bridge where Simone and the guitar become more spritely and when harmonies join the vocals in the chorus. “In This Dark Time” was recorded in reaction to the effects of the pandemic. It’s got a bit of a groove, but is pensive in tone, asking “could you take my pain?” a line that recurs throughout, right up to the very last line where the music drops out from behind it, the words stark against the silence. “Don’t Be Sad” progresses the album into a spooky realm, with its slow pace, ghostly harmonies, and morose guitar.
By the time we get to “Strange Inside” we’re enveloped by this eerie aura. The bassline, and minor 2nd interval that the guitar strums alternate between giving the track an ominous sound. The guitar is left bouncing at the end, finishing off the track without a resolution. “Strange Inside” was also influenced by the pandemic, specifically about how it can make one feel blocked, removed from human connection in the face of quarantine and isolation. The video features a performance filmed during lockdown in Berlin, providing a visual representation of the mental and physical barriers that the pandemic has created for many people. “Imaginary Lovers” is tenser, more anguished, with the lines “tell me what to do” and “barely holding on for tomorrow” showing a desperation that we haven’t seen on the record so far. But this desperation with the phantom-like background vocals whispering “imaginary lovers” in your ears throughout the track and the unrelenting off-beat attacks become somewhat unsettling, continuing the subtly haunted sound in “Don’t Be Sad” and “Strange Inside.”
With “Vienna”, the unearthly nature of the last three tracks transforms from eerie to dreamy. The guitar exists both as evanescent chords floating in the background and a solo part that seems to have a mind of its own. Simone sings “I need you baby,” letting some love trickle into Say Yes, Say No, a sentiment that is reinforced in “Hold Me Alive” with lines like “You hold me close, you hold me alive.” This track uses electronic chords that phase in and out to paint an emotional background for Simone’s delicate falsetto. When the guitar joins the chords at the end, it makes for a warm ending that embraces you with love. Even more, “Shining Light” marks the peak of adoration, put into words when Simone sings “All I need is the way that you love me.” A hint of groove comes from the muted guitar riff and calmly snapped beat, and the chord progression is the perfect complement to the tender words.
While Say Yes, Say No as a whole is touched with sorrow, it humbly offers some inspiring words to start to resolve that sorrow. “What’s Up With The World” and “Humankind” are the best examples of this encouragement. “What’s Up With The World”, beyond its rather pertinent title, is a message of hope: “I can defy my fate, I choose love, I will not give up.” The rhythms of this track give the listener a chance to clear their head and dance, comforted and invigorated by the lyrics. “Humankind” brings things down again, but it’s the perfect ending to this album because it’s about Simone’s restored faith in humanity– and himself. It shows just how far this sensitive, inventive artist has come, making it the most uplifting track of all. Say Yes, Say No is a brave and beautiful story of struggle and perseverance. Don’t miss your chance to experience it for yourself.
It’s all about moving on and letting go of the past for Kamber in her acoustic single, “West”. Recorded at Gnome Studios in Nashville, the indie artist finds closure over a heartbreak. Instead of dwelling on the past, there is a hopeful outlook for the future in the lyrics. Kamber is classically trained in piano and voice and is a band called Raviner, while pursuing solo work and teaching students in the studio. Her sound is influenced by an array of artists including Tori Amos, Chris Cornell and more.
The level of vulnerability is at an extreme high, taking listeners through her process of coping with a loss in her life. The struggle gets easier as time goes on and as the song progresses, as most heartbreaks do. The biggest example of focusing on herself is with the lyrics:
All this time I held the key / open door in front of me / I never thought that you and I would bleed / well it’s the first time I know that I can breathe
The Nashville-based indie singer is not afraid to lay it all on the line here and tell her truth. From being worn out and broken to wishing this person all the best, this person is moving West while Kamber is moving on.
“Let There Be Love” is the latest release for international, multi-platinum pop artist Ananya Birla. With over 300 million global streams since joining the scene in 2016, Ananya is a major force in the industry. She has opened for big names such as Coldplay and Wiz Khalifa and continues to scale the charts with her releases. Ananya is listed as a Forbes Woman to Watch, as she continues to build a great foundation for her career.
The track “Let There Be Love” was recorded in Los Angeles during lockdown with Grammy-winning producer Aaron Pearce. It is an upbeat electro-pop anthem promoting the fact that beautiful things can come from dark times. The lyrics “Strong for your father / cry for your mother / love one another / pray for your brother / feel for your sister / why can’t we come together / let there be love” is her promoting this consistent message of unity. Ananya promotes joy and love through connections through her lyrics which coincides with her personal philanthropic work. She is an advocate for female empowerment and mental health and has worked with many organizations in the related fields. “Let There Be Love” is featured on Sirius XM Hits 1, making her the first Indian artist to feature on one of the largest pop radio shows in the United States.
Avant-pop temptress Alex Lilly’s single “Terrible Person” is a pulsating, mysterious gem that plays with subtlety both in the music and lyrics. The track is as elusive as Lilly herself, having been a part of several groups throughout her career, including the Buddhist punk band Zero Dezire, the harmonic quartet the Living Sisters, and touring with names like Lorde, Beck, and the bird and the bee. She characterizes her music as “sexy psychological thrillers,” drawing the description from her honeyed, suspicious tunes. “Terrible Person” starts out as one might expect, with Lilly singing “that would make you a really really terrible person. and make me the dumb one for having loved you,” implying a sense of clarity and empowerment. But the intricacies of the situation are revealed in a later verse when she sings “or wait am i just a really really terrible person just like you so i deserve you, come back,” showing that it’s never as simple as the earlier line may suggest. Behind her words is a muted beat that seems like it’s accelerating, and a perpetually rising melody which works together to create an understated feeling of urgency. Her voice rings out like a siren, compelling her listeners with off-kilter melody lines and interesting vocal inflections. Her last words are overtaken with distortion and the music embodies a bit of harshness to drive the message home.
Explains Lilly of the track:
If you’re like me, then you dwell on your breakup and wonder who was actually the guilty party in the relationship which is what ‘Terrible Person’ is about. You break up and then you look back and toss the blame around until you get exhausted. I came home one night drunk and angry, thinking about how my ex had screwed me over. But then I realized that I sucked too and I couldn’t decide who sucked more so I wrote these lyrics to help me decide. This was the last song we recorded. In fact I had to do it from my home studio and Barbara (Gruska) produced it from hers. The quarantine had just started. Barb was in constant contact with a family member who could not afford to get sick. I sent her my vocals and that arpeggiated track. And she did her magic.
