Navigating the music industry as an independent artist can be a tricky beast; one which often juxtaposes artistic integrity against success.
Zhaklina is here to let you know that you have a choice to stand up for yourself and your art. With that, we introduce you to her new single, “M.D.B.M. (Money Don’t Buy Me).”
Co-written and produced by Nashville-based producer Pimp Fried Rice, “M.D.B.M.” breaks down conventional opinions on what success is. The self-worth anthem “challenges any industry trying to buy you into being someone you’re not, with Zhaklina delivering vocals as powerful as its message on top of a spacious, moody alt-pop soundscape, reminiscent of contemporaries like CHINCHILLA and DEZI.
Take a stand for artistic integrity. Check out “M.D.B.M.” below!
What a powerful realization, to understand that we can’t always rescue the ones we love.
The Steel Wheels examine the limited power mere mortals possess on “Hero,” their new single from the forthcoming album, Sideways (Feb. 9). The single was inspired by frontman Trent Wagler trying to help one of his children through a mental health crisis, and the ensuing realization that we can’t always be the hero in everyone’s story.
“‘Hero’ was written to describe the way we all cast ourselves in the leading role of our story, while also touching on some of the particular pitfalls of a white, straight, cis-gendered man trying to ‘help’ or ‘fix’ situations where I just need to be in a supporting role,” shares Wagler. “I wrote this song in the midst of trying to help my child in a serious mental health crisis, needing to be OK with it being their story, and really taking a back seat to try to listen and understand exactly what they were needing in the moment, rather than what I needed to tell them about the situation they were in.”
“Hero” is accompanied by a music video featuring the band in a contemplative dance routine opposite Wagler’s daughter and several of her friends, all of whom are enrolled in Virginia Commonwealth University’s dance and choreography program. At first, the two “troupes” perform separately, as if to illustrate the disconnect between the “fixer” and individual in crisis. In the end, however, the two sides come together, demonstrating the shared understanding that comes from listening to the needs of another.
Will 2024 be the year that you learn to love yourself?
Make it so! We have an anthem of self-acceptance for you, hot off the presses from Laura Mustard. The Nashville-based pop-folk songwriter released “Good Enough” to acknowledge her struggles with self-love, as she has worked to reconcile the space between the pressure artists feel to be performative on social media, while having grown up with medical issues that made her resent her reflection.
“It’s been said that ‘in a culture that profits off of our insecurities, loving yourself is a rebellious act.’ I think anyone with insecurities in our culture probably struggles with feeling ‘enough,'” Mustard said. “This was the first song I wrote after I moved to Nashville, and it was exciting to feel this new confidence that came along with finally moving to my dream city for music. I tried to pair that confidence with being really intentional about my thoughts. I’m not perfect; I still have days when the ‘vicious whisper’ gets the best of me, but this song definitely helps and is a good reminder.”
Produced by Wilson Harwood of Elevated Music Studio, “Good Enough” serves as a bright pre-cursor to Mustard’s forthcoming EP, Dirty Minds & Wild Hearts, a six-song collection which details her journey of dating with a chronic illness throughout her chaotic twenties.
”This song was a party to make! We started with upbeat piano chords, and layered in groovy organ and bouncy guitar, reminiscent of a jam band,” Mustard recalls. “Then, the amazing Amelia Ransom came in and added a fiddle solo that sashays all over the final chorus, putting the joy of true self-acceptance into a sound that matches perfectly with the lyrics. It’s honestly one of my favorite moments on the EP, and I’m so glad a song which celebrates ourselves being enough as we are ends in such an enthusiastic way!”
The silver lining behind that uncertainty is that you have the choice on where to go from here. Nashville-based troubadour and producer Cooper Carr delivers that empowering message on his debut single, “Blank Page.”
“This song is for the ones who aren’t quite sure what’s next. The ones who change the subject when asked about the future, because you’re afraid what you really hope and dream for is impossible,” Carr said. “The ones who are looking around at other’s seemingly quick success and wondering what the secret formula is. The ones who feel paralyzed by heartbreak. It can be so terrifying to look at the future and just see a blank page — but, it also means there’s endless possibility and opportunity out there.”
Currently, two versions of “Blank Page” are out in the world. The original version is a rollicking, acoustic-based tune that carries us toward our dreams as diligently as the steadfast march of time. The acoustic version is more pensive; the slower-tempo version features an emotive piano and string arrangement, which adds a new level thoughtfulness and depth. Meanwhile, Carr’s distinct tenor rings out to comfort us along the journey.
No matter your flavor, the message of “Blank Page” is clear: time is going to pass by, regardless of the actions we take. In that case, we might as well commit to living a life of purpose.
While we were off finding ourselves this summer, Marcus Grimaldi was across the pond, releasing a sensual offering of timeless R&B.
That offering — titled “Forbidden Love” — combines silky vocals, crisp harmonies, and a slow-churning jazz instrumental to provide an honest exploration of sexual and social boundaries.
“(‘Forbidden Love’ is) a love story that explores the boundaries between love on all levels, not being accepted socially or at home, and making up a fantasy to make your world seem OK,” Grimaldi said.
The London native teamed up with producer Joon Lee to bring the single to life. Lee’s shining moment arrives in the last minute, as multi-layered vocals and a sultry sax solo help build “Forbidden Love” to an enthralling apex.
If you want more, Grimaldi has promised us new music in 2024, in the form of a full EP with one new original and a handful of select covers. For now, give yourself a taste of “Forbidden Love” below!
The end of a relationship brings questions and memories, as you recall all of the times communication got in the way of growing together, rather than apart.
Paul Nestler captures that feeling on “That Dance We Do,” on top of an ethereal pop rock soundscape whose shimmering layers bring about a sense of wonder.
“I wrote this song after a particularly hard breakup for me. It’s about the times you would be together and didn’t know which person would make the first move – that dance you both do, almost a game of chicken of ‘who’s going first,’” Nestler said. “The song also describes the feeling afterward of questioning whether it was even a good relationship to be a part of; was it really two people ready for a relationship, or was there more work to do?”
Clocking in at just over 3-and-a-half minutes, “That Dance We Do” combines timeless pop rock sensibility with glistening modern pop synth tones (a la The 1975 or The Midnight). The creative process was a slow simmer; one which took place over more than a year, and continued as Nestler entered the studio.
“For almost all of that time, it was just a first verse and some scattered lines as a chorus Only soon before recording did I really sit down and start to hash out where the song would go. Even during the recording process, I changed lines in the second verse,” Nestler said. “I sat on it for song long because I still kept thinking about the person who brought those lines out of me and the situation we were in.”
He continued, “The visual of the first line, ‘Cotton candy skies…’ kept popping up in my mind. It was working title for the longest time, until I settled on a line in the chorus that better encapsulated the spirit of the song.”
Nestler plans to release more music during the first half of 2024, and suggests that “That Dance We Do” could be a sign of things to come.
“As I record, I’m slowly starting to fine tune and home in on where I’m going as an artist,” he noted. “It takes time and there’s quite a long way to go, but this song in particular is something I’m proud to have placed in ‘sonic world’ where I see my music could grow.”
This time, lead vocal duties are left entirely to The Sugar Cubes — the vocal quartet of Angela Wright, Allyson Rogers, Gracie Calvaneso, and Chelcie Jette. Meanwhile, lead songsmith Adam Lawrence lends support on guitar, drums, and the tune’s famously siiiick bass line.
“As joyous as the Christmas season can be, it can be just as exhausting. In modern life, the year feels like little more than 11 straight months of hustling with a faint promise of some time to relax when December rolls around… until you remember all the parties, family gatherings, and gift exchanges that are set to take place, and all that unfinished business you were trying to get to throughout the year might just have to wait a bit longer,” Lawrence said in an Instagram post. “Even with that hanging around in the back of your mind, the Christmas season still comes with plenty of magic, so you never know what might happen. That’s why I chose to cover ‘Christmas Wrapping’ as The Mad Sugars’ first Christmas release. It’s a song that best captures both the stress and the joy of Christmas in the modern world and it’s as relevant as ever.”
Rounding out the lineup are Sam Ferrara (saxophone), Emmanuel Echem (trumpet), and Curtis Erdek on keyboards and percussion.
Check it out as you head out to your holiday parties… or, as you decide to stay home, and skip the bells and whistles this year. It’s up to you!
From Nairobi to Nashville (and plenty of places in between), alt-rockers Lone Tree have a knack for delivering relatable concepts on top of an eclectic sound; one which runs an international gamut of musical perspectives.
Their latest single, “Holding On,” hits the mark yet again. On top of these infectious grooves, funk-influenced guitar shredding, and a potent melody resides a message of two young lovers yearning to make things work — despite the relational challenges they’ve yet to overcome.
“‘Holding On’ is about two broken hearts attempting to repair the love they once had. That love is still very much there, but it’s been damaged by both people in different ways,” said guitarist Patrick Sanders. “Although they’re hurt, their love is eternal, and they will always keep holding on to what they have.”
The band’s palpable chemistry is on full display on this track. It’s no surprise, then, that “Holding On” came to fruition in the studio very quickly.
“‘Holding On’ one of those few songs whose melody, rhythm, and message came together very naturally,” Sanders said. “Largely autobiographical, most of the song was written on the same day. In fact, within the same hour.”
If you’ve ever fought for love, you’ll relate. Check out “Holding On” below!
We’re no strangers to featuring Soheill here at Underground Music Collective. Several of his cuts have made previous editions of our UMC20 playlist, and we even reviewed his 2020 single, “Can’t Stop Thinking,” riiiight over here.
Through the years, Soheill’s sound and affinity for sonic experimentation have evolved. This fall, he took a turn toward the darkness by unveiling his new darkwave project, Leather Baby.
The project’s debut single, “Weapons,” take us on a steadfast march through the perils of the world. A methodical, yet persistent drumbeat underscores ominous, heavy synths which seem to loom larger as time ticks away.
However, underneath many layers of darkness, “Weapons” offers a message of hope. Listen closely to the lyrics, and you will uncover the story of a love and commitment so strong, that it can weather any storm.
Nobody among us lives a flawless existence. For that reason, Court Taylor wants us to put all of the gossip to bed.
On “You, The Devil, and Me,” the Georgia-born country singer uses her timeless voice to take a stand for everyday people trying to live their lives — even among the whispers of the peanut gallery.
“This song is speaking out against small town gossip. So many times, the rumor mill starts to turn, and people pass judgment on the situations of others around them,” Taylor said. “At the end of the day, everyone is just trying to survive, and provide themselves and their families with the best lives possible.”
The song borrows its title from the Southern phrase, “keep that between you, the Devil, and me.” According to Taylor, the phrase is commonly used “when you’re talking about someone or a situation that is usually none of your business.” From there, Taylor and her co-writers — Kipper Lee Linville, Michael Saleta, and Mike Meiners — built the song around relatable, hypothetical small-town scenarios.
“Everyone has that person they know who maybe had poor relationships, ended up with children, and had to give up their dreams to support them,” Taylor said. “Everyone knows someone who had a promising future, but then got caught up in drugs.”
Which side are you on, as the rumor mill turns? Reflect on that, as you check out “You, The Devil, and Me” below!
