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Parties are a very public experience. You’re surrounded by people. It’s loud. You’re meant to be happy. When Alé writes about the experience of a party, it’s much more personal. 

In his upcoming EP titled The Party the singer, songwriter, and producer takes us through a real scenario he experienced over the course of just two nights. “I ran into an ex-girlfriend at a party, and I was thrown off by the fact that I was experiencing so many emotions seeing her, but I was in public.” It’s the idea of needing to show that you’re doing well, that you’re good and happy and positive, when you really need closure from that past experience. It was a challenging experience for Alé, managing “the emotional dynamic of trying to put on a brave face in the group of people you want to impress, while running into someone who you used to know. The hardest thing to do is fake the feeling.” It’s a blur of two moments in someone’s life. “It’s not like a party, it’s the party.” 

In speaking to Alé about this experience, he summarizes by stating “overall, it’s just about being a kid in the city and taking influences from its madness. The cultural speed of the city makes it so I’m highly stimulated all the time.” Traditionally known as a phenomenal guitar player, Alé chose to base the majority of the EP on synthesis song design, with only one track based on guitar. He sees this as his own “act of rebellion” in  his musical journey, fully producing and mixing each track. 

“I’m in a scene of people who are messing with the rules of sound within music. It’s a wave we’re all riding.” 

For Alé, he wouldn’t want to put music out any other way. Knowing that he gets to choose every song and moment related to the song makes him feel that the tracks mirror himself artistically. He says, “a lot of the lyrical content is straight out of the actual story, so it’s about me getting closure for myself. This EP is a tale of being a teenager in love in a city where everything is so mad.” 

The theme of “The Party”  matches perfectly with Alé’s sound. In establishing this, “it always comes back to playing blues guitar.” He adds components of rock and roll, r&b, and soul that stuck with him throughout his experiences at the Conservatory and Little Kids Rock program, mixed with the aesthetic influence of hyperpop. Combining the classic pop 2000s song with his musical background and sprinkling in the sound design of hyperpop has led to his unique sound in “The Party.” Ultimately, Alé has resonated with the idea of pushing the boundaries of music sonically: “I really dig that on a scene level. I’m in a scene of people who are messing with the rules of sound within music. It’s a wave we’re all riding.” 

To promote his first EP release on November 12th, Alé performed at the Elsewhere space in New York City the day prior. Though far from his first performance, he notes that this show is special for several reasons. Alé says, “I’ve always gatekeeped my music, but this week I celebrate it.” 

Alé’s background has not only influenced his music but the way he performs live as well. As a kid, he began playing guitar at age 7. Throughout his adolescence, Alé continued to perfect his craft at the Little Kids Rock program, where he was introduced to jazz guitar. At 15, he had the opportunity to share the stage with enigmatic artists such as Green Day, Joan Jett, Alice Cooper, and Paul Shaffer. As a student at the Conservatory, “I always felt a bit nervous to share my singing and songwriting, because I’d always been the just the guitar player,” It wasn’t until he was accepted into the Clive Davis Institute of Recorded Music at NYU Tisch program, where he’s met artists who understand his musical persona, did he begin to feel comfortable enough to release and share his true sound. Ultimately, “this Thursday performance is special because I celebrate the transition from being a musician for other people to an artist for myself.” 

For any artist, the goal is to keep writing new, influential music. For Alé, his goal is to write music and lyrics that wake people up to their feelings. By writing lyrics that are directed to you, the listener, he’s excited to think about where the future of his sound lies, and how he can develop a stronger sense of relatability. Alé said to me: “when you listen to music that you love, you feel like you can conquer the world.” It’s this mindset that makes me so sure of his future and so thrilled to listen to what’s to come.  

The post New York-based, Independent Artist Alé Debuts “The Party” appeared first on The Greater Good.

An album that feels like an unchaperoned walk through dark and empty streets on a holiday back home, Lonesome Reunion is Cassidy Waring’s tormented debut.

Picture: families cozied up in warm houses, with bellies full and throats sore from a healthy balance of laughter and bickering as you carry on with your solitary stroll. Canadian folk singer-songwriter, Cassidy Waring‘s Lonesome Reunion is comparable to holding a snow globe. As an omnipotent outsider, you peer into a world so perfect, it’s almost fictitious. Knowing that life imitates art somehow makes beholding this tiny treasure more isolating, to know there are little towns with little houses and little families as happy as the replica you hold in your hands and yet, still so far removed from you.

Everything you lose, needs to lose you.

Waring, “Everything You Lose”

A poignant, personal display of loss of innocence, Lonesome Reunion is somewhat of a study on the complexities of family and grief. Recorded and mastered by producer Jonathon Anderson, Lonesome Reunion features deep, folk-rooted instrumentals and sweeping, catchy melodies. Waring’s debut came to fruition after she sat for hours on end watching old VHS tapes of her family. The album’s intro, “Everybody’s Good,” features audio from one of these tapes. In the intro, we hear intimate, playful banter between Waring’s grandfather– to whom she affectionately refers as “Grandug”– and then-3-year-old Waring. “The tapes have become fascinating to watch because they are such a contrast to my painful memories as a teenager,” Waring stated in an email to The Greater Good.

The tapes, to Waring, are an ode to the glory of innocence and blissful ignorance only possessed in early childhood. “Part of me is comforted by them, they have served as proof that I have never been wrong about the amount of love and warmth that surrounded me as a kid and that we really were as happy and healthy as everyone remembers. It’s also confusing and devastating to watch these videos knowing what will happen for us in the future,” Waring stated. “When I was seventeen my mom died from her addiction and the toxic environment she was in,” the artist shared with me. “She and I were still very close when she passed. The main statement from anyone in and around my family is usually ‘But they were so happy, what happened?’”

On the outside, Waring’s family could have lived in that aforementioned snow globe: “We were one of those families that went on bike rides together every week and talked about our feelings at the dinner table. It’s something I am still trying to understand, what pulled both my parents into addiction when I was about twelve. Very quickly, our house became a dangerous place to be, physically and mentally. I’ve just been trying to understand both of my parents and their relationship in a deeper way, after the fact.”

Waring released a music video for the fourth track on the album in September. In it, we see the songwriter through several days of sitting in front of an old CRT TV, captivated by family pictures in motion. “Leaving” is a wistful track about managing grief, with guitars sounding similar to what you may find yourself doing after listening this song (crying). I’d wager it nearly impossible not to feel a catch in your throat as Waring sings, “If I believed in ghosts, would you haunt me just to talk?”

Led by melancholy piano keys, “Everything You Lose” is another painfully intimate look into the stages of grief. The song was written after Waring experienced a series of losses including the ending of a romantic relationship and the break-up of her last band, all while still grappling with the loss of family years later. “I lost the sympathy cards from my mother’s funeral,” Waring sings.

When asked about this line, Waring said she was with her boyfriend at the time when she lost them: “Someone broke into his car in the mall parking lot and stole everything, including my big stack of unopened sympathy cards everyone gave me– I wasn’t ready to open them yet. What are the chances! After that verse poured out, so did the rest of the song.” Waring sings, “Everything you lose, needs to lose you.” Perhaps that sentiment works in reverse and everything that finds you, needs to find you.

The post Can You Always Go Home? Canadian Folk Singer-Songwriter Cassidy Ware Debuts Lonesome Reunion appeared first on The Greater Good.

An album that feels like an unchaperoned walk through dark and empty streets on a holiday back home, Lonesome Reunion is Cassidy Waring’s tormented debut.

Picture: families cozied up in warm houses, with bellies full and throats sore from a healthy balance of laughter and bickering as you carry on with your solitary stroll. Canadian folk singer-songwriter, Cassidy Waring‘s Lonesome Reunion is comparable to holding a snow globe. As an omnipotent outsider, you peer into a world so perfect, it’s almost fictitious. Knowing that life imitates art somehow makes beholding this tiny treasure more isolating, to know there are little towns with little houses and little families as happy as the replica you hold in your hands and yet, still so far removed from you.

Everything you lose, needs to lose you.

Waring, “Everything You Lose”

A poignant, personal display of loss of innocence, Lonesome Reunion is somewhat of a study on the complexities of family and grief. Recorded and mastered by producer Jonathon Anderson, Lonesome Reunion features deep, folk-rooted instrumentals and sweeping, catchy melodies. Waring’s debut came to fruition after she sat for hours on end watching old VHS tapes of her family. The album’s intro, “Everybody’s Good,” features audio from one of these tapes. In the intro, we hear intimate, playful banter between Waring’s grandfather– to whom she affectionately refers as “Grandug”– and then-3-year-old Waring. “The tapes have become fascinating to watch because they are such a contrast to my painful memories as a teenager,” Waring stated in an email to The Greater Good.

The tapes, to Waring, are an ode to the glory of innocence and blissful ignorance only possessed in early childhood. “Part of me is comforted by them, they have served as proof that I have never been wrong about the amount of love and warmth that surrounded me as a kid and that we really were as happy and healthy as everyone remembers. It’s also confusing and devastating to watch these videos knowing what will happen for us in the future,” Waring stated. “When I was seventeen my mom died and her cause of death was chronic ethanol abuse,” the artist shared with me. “She and I were still very close when she passed. The main statement from anyone in and around my family is usually ‘But they were so happy, what happened?’”

On the outside, Waring’s family could have lived in that aforementioned snow globe: “We were one of those families that went on bike rides together every week and talked about our feelings at the dinner table. It’s something I am still trying to understand, what pulled both my parents into addiction when I was about twelve. Very quickly, our house became a dangerous place to be, physically and mentally. I’ve just been trying to understand both of my parents and their relationship in a deeper way, after the fact.”

Waring released a music video for the fourth track on the album in September. In it, we see the songwriter through several days of sitting in front of an old CRT TV, captivated by family pictures in motion. “Leaving” is a wistful track about managing grief, with guitars sounding similar to what you may find yourself doing after listening this song (crying). I’d wager it nearly impossible not to feel a catch in your throat as Waring sings, “If I believed in ghosts, would you haunt me just to talk?”

Led by melancholy piano keys, “Everything You Lose” is another painfully intimate look into the stages of grief. The song was written after Waring experienced a series of losses including the ending of a romantic relationship and the break-up of her last band, all while still grappling with the loss of family years later. “I lost the sympathy cards from my mother’s funeral,” Waring sings.

When asked about this line, Waring said she was with her boyfriend at the time when she lost them: “Someone broke into his car in the mall parking lot and stole everything, including my big stack of unopened sympathy cards everyone gave me– I wasn’t ready to open them yet. What are the chances! After that verse poured out, so did the rest of the song.” Waring sings, “Everything you lose, needs to lose you.” Perhaps that sentiment works in reverse and everything that finds you, needs to find you.

The post Can You Always Go Home? Canadian Folk Singer-Songwriter Cassidy Waring Debuts Lonesome Reunion appeared first on The Greater Good.

“Palta” de Comandante Castro, un EP de conflictos cotidianos

El EP contó con la colaboración de Arigato en las voces e inspiraciones y Ariel en la mezcla y master.

La palabra “palta” (o aguacate en otros países latinos) va mas allá del simple nombre de una fruta. En Perú, por ejemplo, hace referencia a algo que nos avergüenza, o nos quita honor, este sentimiento viene muy bien acompañado de sucesos infortunios que pasan cotidianamente en la sociedad, siendo esto cosas que nos “paltean”, y en esto se basa el concepto del nuevo EP de Comandante Castro, un combo de historias de amor, el día a día y cuestionamientos sobre la precariedad social.

Entre problemas de la vida y capas de mucho verde encontramos el nuevo rumbo de Ivan Castro, pues este nuevo EP se aleja un poco de la trova y el folk que antes compartía, ahora, este muta y se desenvuelve llegando a sonar como hip hop, pop, rock y más, haciendo de “Palta” un viaje de sonidos e historias sobre la vida y sus más interesantes dramas.

“‘Palta’ es un EP que en -poco más de- 15 minutos pasea por distintos géneros, estados de ánimo y temas del mundo que nos toca vivir hoy. Un mundo jodid* y peleado en muchos aspectos, pero donde, más que nunca, el amor y la amistad son los fundamentos de la vida”, comenta Iván Castro sobre su álbum.

Comandante Castro empezó como un proyecto acústico, el cual ha ido evolucionando hasta ser un espacio en donde Iván crea y explora emociones, sentimientos e inspiraciones.

El nombre del proyecto nace como alter ego del artista, quién previamente formó parte de Iván Castro y Radiopostales. Este, en referencia al Sgt. Pepper de The Beatles, y también como homenaje a su padre, el cual fue policía, pero no llegó a ser comandante. A diferencia de la postura rígida de un comandante, Iván se presenta como una hoja en blanco; libre y sin ataduras.

Este artículo es un contenido de NoEsFm

Descubre el “Curare” de tu vida junto a la artista peruana Fabiana Brenner

“Curare” nos abre las puertas al mundo sonoro de Fabiana Brenner, un mensaje que evoluciona canción tras canción.

El término “Curare” ha sido usado antiguamente para hacer referencia a un veneno que se extrae de algunas plantas, sin embargo, en la actualidad es empleado en dosis muy pequeñas para la relajación muscular, llegando a ser un elemento que ya no puede matarte, muy por el contrario, te cura. Este concepto es el que atrapa la joven artista peruana Fabiana Brenner para presentar su nuevo EP de nombre “Curare”.

Luego de lanzar recientemente su single “Infierno“, la cantautora Fabiana Brenner cierra el año con este nuevo disco, el cual cuenta con cinco piezas que nos hablan de situaciones caóticas, las cuales, a pesar de herirnos, terminan siendo necesarias para entender la vida, todo esto entre ritmos urbanos, pop y hip hop. Cabe agregar que “Loca” y “Pa lante” son las novedades más frescas de este EP.

“‘Pa lante’ la escribí hace unos dos años, estaba muy deprimida y había mucha negatividad dentro de mí, es una canción de reconciliación con uno mismo y con las heridas que arrastramos del pasado. Es bonito porque tiene cierta tristeza y melancolía, pero al mismo tiempo reconoce esos sentimientos y no lo juzga así que se convierten en un combustible para seguir adelante a pesar de todo, creo que eso es motivador”, comenta la joven artista.

Fabiana Brenner se ha caracterizado por el increíble manejo que tiene con los diferentes géneros musicales, y en este EP lo demuestra nuevamente. Aquí encontramos sonidos en su mayoría frescos y melódicos, ritmos pop, hip hop y hasta elementos urbanos e indie folk, encajando en cada uno de ellos de manera perfecta.

Este artículo es un contenido de NoEsFm