How Sam Kiszka of Greta Van Fleet Captures Hearts Through the Bass and Keys

Photo by Rebecca Potzner

To the world, he’s the little brother and the youngest member of Greta Van Fleet. To myself and countless others, he’s one of the most breath taking, astonishing, ethereal musicians there’s ever been. Incorporating heavy bass lines along with elegant and exhilarating keyboard sounds, Sam Kiszka has introduced the percussion section of GVF to an entire generation.

As a self-taught musician, Sam Kiszka found himself at twelve years old fiddling around with his father’s Fernandez P Bass, being introduced to blues and jazz players such as Jack Bruce and Buddy Guy. Surrounded by music his entire life between his dad juggling multiple bands throughout Michigan, his mother playing piano and singing, and his older brothers Jake and Josh Kiszka playing out in the garage, there was no way Sam could escape the musician lifestyle. “I started playing bass because my mother pressured me into playing in the garage with my brothers.” Once Sam became more serious about playing bass, Jake began teaching him easy riffs, although he tuned the bass wrong. “Instead of EDAG, it was tuned DGBE. Before it was tuned properly, I couldn’t create the sounds I wanted.” 

Growing up in Michigan and having a father who ensured his sons knew where popular rock came from, Sam grew up with Motown and always loved the unique bass tones in Motown music. “Motown was how I came to understand bass and how it incorporates into music.” Marlon Young (producer for GVF’s debut EP From The Fires) gifted Sam a Fender P Bass with a Made In Mexico jazz neck that’s become his number one, tried and true, and as he’s stated, “me in materialistic form.” It’s the mint green P Bass you’ll always see with Sam… With the exception of when “My Way, Soon” is performed, which is a Fender custom sized “Sam Kiszka Bass”, specifically designed with a P Bass head and jazz neck, with a black and red finish. 

However Sam is more than just a bass player… He’s also a keyboardist and a storyteller that creates sonic sounds on his Hammond B3 and Mellotron. He explains how he came up with the infamous riff for “Heat Above” by wanting to create a sound to match a vision of white aesthetic and a version of the great beyond. “Like a snowy day in Michigan, where it snows 2-3 feet and the sun’s shining and it’s like a white cover. That’s the sound for the visual I wanted to create for Heat Above.” With the ethereal tones and gospel-esque sound the opening track to GVF’s sophomore album The Battle At Garden’s Gate provides, Sam can instantly pull you in for a transonic journey. Furthering into The Battle At Garden’s Gate, Sam grasps listeners with “The Barbarians” through a mystical journey of deep keyboard tones that create a sonic landscape through its magical melodies. 

However, Sam Kiszka shines brightest during the intro to the band’s debut album, Anthem Of The Peaceful Army. “Age Of Man” introduces you to the universe of Greta Van Fleet with its ecstatic mellotron and soothing melodies to pull you in for a phantasmagorical exploration. To match the sensual sounds of Sam’s melodies are such exhilarating lyrics - “And as we came into the clear/To find ourselves where we are here/Who is the wiser to help us steer/And will we know when the end is near?”. 

Throughout Greta Van Fleet’s mystic journey so far, Sam Kiszka continues to capture hearts around the world and he can’t wait to capture yours soon enough.

Best GVF Bass Songs:

• When The Curtain Falls

• Edge Of Darkness

• Watching Over

• Brave New World

• Caravel

• My Way, Soon

Best GVF Piano Songs:

• Age Of Man

• Heat Above

• Light My Love

• The Barbarians

• Flower Power

• Stardust Chords

INTERVIEW: Victor Kovacs of Telling Secrets

With a brand new single “Fragile” dropped on Halloween, I sat down with frontman Viktor Kovacs of Telling Secrets, where we discussed the new track, previous music released, how he left home from England to live the LA rockstar dream, his thoughts on the modern day music journalism, and more.

Be sure to give them a follow and to hit that heart button on their newest single now on all streaming platforms.

NuSoul Bares His Soul in a Monumental Hip-Hip Defined Portraiture, Formidable

It’s one-forty ante meridiem in the SouthEast region of Beaumont, Texas, and NuSoul the Poet — the mantle of a young, black lyrical genius; hip-hop’s most studious and innovative artist of this generation has just finished a confidential phone conversation with a close female confidant. He has a lot going on at the moment, musically, with being the frontman of Far Cry, a cover group of cigar & champagne musicians rocking the stage, and the March 25th release of his first record, this year’s full length debut studio album, Formidable. 

In essence of a Diane Arbus self-portrait capture of James Brown, the Godfather of soul, an untiring explorer through the art for the Poet. Be on the lookout, time is a fleeting thief. You don’t want to miss the chance of capturing a moment into the persevering presence of hip-hop personified. NuSoul, the Poet. 

You know what’s foreshadowing? Flipping through shared memories of the 29-year-old, Poet when he was going through the realms of childhood, at age seven, singing in his Sunday service. But seeing a captured photograph of himself with decorative phonograph records hanging from the wall in the background of the church, there was a growing realization that music was the way forward. A forwarded need in the Godsend future to create music.

 “I was seven years old,” said NuSoul, “I participated in a talent show at my school. I was performing ‘P.Y.T.’ by Michael Jackson. I was hooked. The way the crowd responded, the way they all had a good time. It was what I knew I was born to do. It’s a gift, and who are we, as God’s children, to deny the gifts given to us.”

Inherently at heart, prestige from the Most High has been pursuing NuSoul, the Poet since the time of boyhood. A personal reflection on whether or not God experiences pleasure out of purposely planting the scattered puzzle pieces of our purpose along the way in the wilderness as entertainment towards His gameplay. The kid who was once overlooked and bullied in school, rose to the occasion upon being deeply absorbed in thought at how the real world works when he felt like it was against him. He has now resolved to evolve his issues to become one of hip-hops most promising debuts from an up-and-coming prodigal lyricist and gifted literary genius. His lyrics, as described on Formidable, is hip hop; it’s pain, it’s joy, it’s bold, it’s vulnerable, it’s r&b and prolific storytelling. It perfectly encompasses the artistry of NuSoul, the Poet.

Formidable, which was heavily influenced by the King of Pop, Michael Jackson’s Dangerous album cover art, fulfilled the passage of its definition revolving around the awe-inspiring Poet, NuSoul. “Inspiring fear or respect through being impressively large, powerful, intense, or capable.” When getting into the writing process of creating this freshman record, NuSoul immersed himself in playing Bad by Michael Jackson, Sign O’ the Times by Prince, Damn by Kendrick Lamar, 2014 Forest Hills Drive by J Cole, Maxwell’s Urban Hang Suite, and Brown Sugar by D’ Angelo. In juxtapose of other monumental hip-hop albums that lived up to its title and are now deemed certified etched classics. Classics such as Paid in Full, the Chronic, Illmatic, and the Marshall Mathers LP. Formidable is a fearless, forward march in the right direction; a powerfully written statement pieced together with zero skips, nary a wack track. It’s a fine debut from a hungry, hard working underground emcee whose authoritative voice (in the style of the D.O.C.) commanded attention from first to the last ninth-track tape.

“I’m here,” said a confident and humbled NuSoul, “I spent years fighting for recognition, and so this was the “warning shot.” He continues, “This is where it all starts. I feel that this album is the one that everybody is gonna point to years from now, saying “that’s where it started for him.

Introducing track one, ‘Intro (Love Yourself),’ NuSoul opens up the beginning of the album with Kendrick Lamar speaking on the importance of love from Konbini, a cutting-edge media news company that showcases pop culture. In defiance of the sturm and drang spate on how the world crumbles in extreme self-loathing of oneself, love begins and ends with the knowledge of knowing who we truly are as an individual. This unapologetic, amour-propre record showcases the importance of being a lover of love. Lover of self, lover of a woman, and a lover of God. 

A speech by Malcolm X: ‘Democracy is Hypocrisy’ is heard as the song, Intro (Love Yourself) proceeds to conclude. There’s a question being dodged by the racially (white) privileged and powerful to evade the deep rooted issue. Questions like, does America have a serious problem, and why? George Floyd comes to mind. Raised fist, yet tears in eyes. 

“America has several problems,” said NuSoul, “and right now one of its biggest problems is self-inflicted. The politics change, but the people don’t. All the marching, all the speeches, all the movements in the world won’t be enough to move America if America does not want to move.” In a world full of people who are nefarious and mean spirited, NuSoul, the Poet doesn’t want to just exist, but live, truly live to be the change.

Uplift to beast mode, ‘Put Me On,’ sampled by Bernie Mac’s “I ain’t scared of you motherfuckers” from his first Def Comedy Jam Stand Up, is a strong reflection of an empowered, renaissance black man, looking outside the industry, stouthearted and giving us a rap resistance of self-awareness and dignity. Referencing His idol, (the hardest working man in show business) James Brown, with “I don’t want nobody to give me nothing (open up the door, I’ll get it myself).” NuSoul puts it on his Savior that he’s biblically (formidably) armed to the teeth with rifled jottings to compete and hold his own on the grand stage with animal ambition lyricists of such God-given caliber in the mainstream like Nas, Kendrick Lamar, J Cole, Joyner Lucas, and Joey Bada$$. 

“This was me making that statement,” said NuSoul, “kinda talking to the industry and these local rappers, then imploring these major labels to just open the door for me. Don’t give me nothing. Let me get it myself. I just need the doors to be open.”

On whom he thinks is the greatest of all time in the history of hip-hop? The God, Rakim immediately comes to mind each and every time. When writing ‘G.O.A.T.’ (a term helped popularize by LL Cool J), NuSoul felt like he was raining a forecast of his prophecy, musically. He wants to be weighed up as one of the greatest to ever illuminate the stage and grace the microphone. There are still many poetic passages of his discography that need to be written, recorded and etched beneath the Mount Rushmore of Hip Hop for himself to earn official permission of the god emcees; the iconic and most respected title in the music industry, g.o.a.t.

In terms of being biblical and speaking in a language that the world can understand, ‘Exhale’ gently weeps in a soft spoken flow, the Nazareth betrayal and Iscariot neglect of society. NuSoul, the Poet, reflects “I roll a spliff and take a drag/put it in the air. Then I connect with the ancestors from yesteryear. So many questions/so many issues I'm facing here. Can’t help but think if my brain would finally be silent there.” 

The Edenic way of the earth, which once was birthed for eternity has now been shortened for God’s forsake; hence a fallen humanity’s payment to paying bills until the day we’ve all sphacelate and returned to dust. His human psyche was in a hopeless place, mentally, during the writing of Exhale, a jilted reflection as he describes his fallen friend and brother, Clifford Earl Jones Jr., age 24, who was fatally shot and killed on July 11th, 2020 in Beaumont, Texas. Paying homage to his brother, Earl, NuSoul then dedicates in verse, rapping “I watch the smoke swirl and daydream ‘bout my brother Earl. How I been missing his presence out in this cold world.”

Life is passing quickly as a vapor, don’t bottle and wait in your pride until the end to find holy matrimony when all vanishes away. ‘Vulnerable,’ as the title song suggests, is choosing not to hide your emotions from the one you love. NuSoul laments on Vulnerable, the perspective of a man who wants to love a woman, but fears the love he wants to give. “I know this thing/it ain’t simple/I just got you on my mental. I see your scars/your wounds/and all of the remnants of shit that you been through.” He continues in his soul baring verse, “I recognize all the symptoms/I still got pain in my system. I know it’s a narrative seldomly spoken/but even some brothers are victims” Seemingly exhausted in exploring the highs and lows of romanticism, NuSoul, the Poet as a truehearted paladin attempts to express his undying love to his girl. An expression that all he wanted was for her to freely express her thoughts, feelings, desires, and opinions. The courage, although they've both been jilted, to be themselves and reveal what they genuinely want out of their relationship.

He continues in an openness remark to let go and let God, to get the throbbing heartache of a relationship wound off his chest. “Men are oftentimes looked at as the reason a relationship falls apart, but I’ve been on the opposite end of that more than I care to think about. I know how it feels. The verse was simply reassurance.”

In the eye of the beholder, namely the electric eyed art crowd in a museum ‘oohing and aahing’ at a placid, gold plated debut studio album heavily inspired by Michael Jackson’s Dangerous, is Formidable. Eye-catching, graceful and conspicuous, a shining example of what you can do when you examine more carefully as an artist. Though quite familiar to the portrait discographies of Kendrick Lamar and J Cole, NuSoul bared his soul to paint this album to embrace its own eclecticism and stand out against other masterful works in the gallery of hip hop. What is creativity without the misadventure of growing pains that provides a stirring route to the next level? 

NuSoul pushed himself and broke through the concrete of limitations on every non skippable track to create poeticism, something different than what he hadn't done before on his previous releases. If you ever wanted to learn about NuSoul, the Poet and Christian Bessard the “man,” just lend an ear to this album. It’ll answer all of your questions. You’ll see. It’s a pro black experience along the extraordinary lines of his gold blooded broach; “My predicament got me feeling myself. I’m belligerent. No coincidence/I was meant for this. I’m magnificent. I’m the GOAT.”

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Review + Interview: The Last Bandoleros Explore Traditional Sounds with New Companion Record Tex Flex Folklórico

The Last Bandoleros are already back with a new record less than six months after the release of their sophomore record from earlier this year. It’s called Tex Flex Folklórico, and it just hit streaming platforms today! I sat down with Jerry, Diego, and Emilio over Zoom again to catch up on what’s new. We talked about how Tex Flex Folklórico came about, the creative process behind it, and what’s coming up next for them!

Tex Flex Folklórico functions as a companion and prequel record to Tex Flex, released earlier this year. Almost entirely in Spanish, the focus of Folklórico is on the more traditional aspect of the band’s roots. Inspired by and recorded primarily on the road, the record feels like a reintroduction of sorts to the band, like a prequel film telling their story. Having existed as a band for about 8 years now, it’s so exciting as a long-time fan to have this release now, as the band has grown and changed so drastically since their conception, and get this more in-depth look at their roots. 

For those who’ve been listening to Tex Flex nonstop since its release in June, Tex Flex Folklórico could not possibly open in a more fun and almost jarring (but in a positive way!) fashion with “Vamos a Bailar,” an all-Spanish version of the opening track of Tex Flex, “Every Time We Dance.” The brand-new Bandos energy from Tex Flex is still present, yet the listener is immediately aware that this record is something different than Tex Flex. The now-Spanish lyrics to the already familiar track welcome in the more traditional roots focus while still keeping the energy high – a perfect introduction.

TLB have done nothing but surprise me this year, and their inclusion of the Los Lobos track “Cancion de Mariachi” from the movie Desperado was no exception. Something TLB have always excelled at is making cover songs their own, and I feel very strongly that if you didn’t know this track was a cover, you wouldn’t be able to tell. The most rhythmic track on the record, it’s a fun listen, and one that will absolutely be (and already has been!) a big hit with live crowds. 

Slowing things down, and probably my favorite track on the record, is “Sin Ti.” Arguably the most beautiful harmonies on the entire record, they’re tight, crisp, and confident. A light, floaty sort of track, this is one I very much hope to hear live soon, as TLB not only excel at studio sounds, but they’re a phenomenal live band, and I can only imagine how beautiful these harmonies will be filling up a room in person. 

Keeping it light, “Siempre Mi Anamorare” is a Spanish version of “Fall in Love Again” from Tex Flex. From English to Spanish, the tight harmonies remain intact and the song is as beautiful as ever. This track stood out to me on Tex Flex – it’s such a sweet love song. Even to an exclusively English speaker like me, the overall theme of love is evident in the sonics and the delivery of Diego Navaira’s vocals. It transcends language, which you’ll find upon listening to this entire record is a deep-seeded theme. 

Perhaps the most in-tune with the “traditional” theme of Folklórico from a sonic standpoint is “Malagueña,” a traditional Spanish instrumental. Something long-time Bandos fans have long known is how TLB are not only three phenomenal vocalists, they are also remarkable instrumentalists. As a long-time fan myself, it’s nice to see this as a focus of this record. With the traditional element as such a major theme, musicianship matters more than ever before, and they’ve checked every box. This is a brilliant piece of guitar work, and I find it to be a stand out of Folklórico. 

Drifting more into the “Tex Flex” of it all, “Maldita” is back again, but in Spanish this time. Its placement in the middle of the record struck me; it functions as a reminder that tradition can give rise to new, wonderful sounds, and that should be welcomed and encouraged. It is the ultimate bridge between TLB’s traditional Spanish and modern hip hop/RnB influences; it is truly the thesis of the Tex Flex universe. 

Also finding its way back again to this record is “Mi Amor,” an all-Spanish love song. It’s a perfect transition from the hip-hop-meets-traditional party back down into the classic bolero sound that has long characterized the band since the “I Don’t Want to Know” days. What makes “Mi Amor” stand out from the other Spanish language tracks from the original Tex Flex is how it was written originally in Spanish. While the tracks translated from English to Spanish have a beautiful flow (the Spanish language has a beautiful rhythm) and work well in both languages, “Mi Amor” stands on its own, exclusively in Spanish. It’s a gorgeous track, haunting and beautiful, something else TLB have always excelled at, and I’m glad it found its place on Folklórico. 

Something special for long-time fans and the band alike is the inclusion of an Emilio Navaira cover, “Naciste Para Mi.” Bandoleros Diego and Emilio Navaira IV are the sons of late Tejano legend Emilio Navaira III, and their inclusion of this cover is a beautiful use of their talents in tribute to him. There couldn’t have been a better record to include this on. Even before reading a translation of the lyrics, the track itself and TLB’s rendition take such a sweet thematic control of sound that the “love song” message comes through. It too, like so many tracks on Folklórico, transcends language. 

Fully solidifying the idea of Tex Flex Folklórico being a companion album to Tex Flex, we find “Sin Un Amor” back for another round. Its presence in their repertoire from the first time they played it live as an extended intro to “I Don’t Want to Know” to now has fully solidified it as a TLB staple, and one of the best examples of their vocal prowess as a trio. They truly excel at boleros, and it’s all due to their musicianship, brilliant and tight vocals, and their ability to function not as three individuals who are part of a band, but as one musical unit. “Sin Un Amor” will always be one of my favorites. 

Like Tex Flex, Folklórico ends with a strikingly unexpected but quite pleasant cover, this time of The Beatles’ “And I Love Her.” TLB fans know how much of an influence The Beatles have long been on the band and their harmonic sound, and their Beatles covers online have always been a big hit. To finally have a studio version of a Beatles classic is such a treat, and the way they handled this cover made it worth the wait. Its placement on the album is brilliant, and it solidifies another theme that is deeply embedded in this record: each track further progresses a timeline of influence that has made TLB the band that they are, and The Beatles represent one of their most modern influences. What better way to wrap up this album of Bandoleros traditions?

With Tex Flex Folklórico, the plot thickens on this current Bandoleros era. Even I’m not really sure where they’re going, but wherever it may be, I think we’re going to continue to get a ton of good music for the ride. Hop on the train and crank Folklórico up to 11 – it’s gonna be a hell of a ride!

Review: The Intrusion Releases Debut Single, “Gemstone Eyes”

From St. Louis Missouri, I introduce you to The Intrusion! Their debut single “Gemstone eyes” was released today and it’s a really cool and awesome song. This four-piece band is led by lead singer Max Michael along with his band mates Simon Wacker on bass, Logan Tyler on guitar and Preston Schepers on drums. They formed in 2021 and since have been playing at small venues around the St. Louis area.

“Gemstone Eyes” has a lot of blues infusion. Max Michaels has a huge range and very smooth earthy sounding voice which is perfect for the blues. The blues is the main root to rock n roll and that’s very prevalent in this song. “Gemstone eyes” is about being so infatuated with a woman that you can’t even function. “One look in your eyes girl I can barely walk”. Sometimes when you love a woman its dangerous and it hurts so good. 

“Can you see what I see with your dreadful love for me”. The guitar solo reminds me of some of Hannah Wicklund’s music, its grungy but it still has that 70s vibe to it. My favorite part is the ending when Max hits his high notes with “Gemstone Eyes”. This strong debut single sets the bar really high with strong story telling and an awesome guitar solo.         

Album Review: Maya Hawke Releases Sophomore Album, Moss

2022 has been the year for the cast of “Stranger Things.” Especially for those who are releasing music. 

First, we got Joe Keery - who uses the moniker, Djo, as his stage name for his music - releasing his album, Decide, on September 16th. However, today, we’re going to be talking about a different “Stranger Things” cast member who released their album a week after Joe. 

Maya Hawke.

On September 23rd, Maya Hawke released her much anticipated sophomore album, Moss - the follow up to her debut album, Blush. The latter of which was released back in 2020.

Blush itself was a remarkably beautiful debut album, so let’s dive into Moss and see how it adds up.

Maya has strong songwriting abilities. It’s very easy to notice when listening to her music and hearing the stories she details in her songs. It was easy to learn that when listening to Blush, too. However, listening to Moss, it’s evident she has grown as a songwriter.

Once she released her first single for the album, “Therese”, I knew the album would be very promising. That single really showed off her songwriting abilities and her vocals in such a manner that was so unbelievably beautiful. It only made the listener want more of what she had to offer.

The starting song, “Backup Plan” sets the tone for the album. It’s acoustics and tone sets the storybook of what Maya has in store for us.

And man, does she tell such beautiful stories in her music. One specific lyric in “Luna Moth” will give you chills when you listen to it. “I don't need anyone to hurt me, I can do that myself.” That line itself will send a chill down your spine.

As the album progresses, we hear elements of folk-rock and indie-folk and Maya’s vocal performance is nothing short of stunning. Her tone is melodic, soothing, and comforting to listen to.  

There are also elements that are a nod to Taylor Swift’s folklore and Phoebe Bridgers’ Punisher. Maya herself did say that she was inspired by folklore so it only makes sense.

Some of Maya’s most standout moments on this album include “Bloomed into Blue”, “Sweet Tooth”, “Hiatus”, “Luna Moth” and the album’s closing track, “Mermaid Bar.” Those albums are definitely strong vocally and lyrically, and they display the talent Maya has.

Moss is a stunning album and such an incredible follow-up to Blush - in fact, I think it may be my favorite album of the year. This album only proves that Maya has such an impeccable talent and I wholeheartedly believe that we will keep hearing more music from her in the years to come.

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Review: The Arcs Get Dreamily Cosmic with New Track “Keep On Dreamin’”

The Arcs are back in a big way with their new dreamily cosmic track, Keep On Dreamin’,” their first new release since 2016’s “Lake Superior.” After teasing fans with cryptic social media posts for the past week, The Arcs dropped their new track in conjunction with a long-awaited sophomore album announcement, Electrophonic Chronic, coming in January 2023.  

“Keep on Dreamin’” is mellow magic at its finest, hypnotic and dreamy in all the same ways that made The Arcs so addictive back when they debuted in 2015. Sonically, I find it evokes images of galaxies and spaceships – the verses and choruses feel like floating through space, with the rest of the song driven by drums, like a rocket ship racing from one end of the universe to the other. 

Long time Arcs fans probably already recognized the new track from Arcs shows past; it was a live show fan favorite but no studio version ever emerged. Electrophonic Chronic is a collection of songs created while The Arcs were on the road playing these shows, and in many ways functions as a tribute to member Richard Swift, who passed in 2018, and played on these shelved (until now!) tracks. 

“This new record is all about honoring Swift. It’s a way for us to say goodbye to [him], by revisiting him playing and laughing, singing. It was heavy at times, but I think it was really helpful to do it.” – Dan Auerbach

The sounds Arcs fans have always loved are present on “Keep On Dreamin’,” yet it feels like a completely new and exciting thing. Perhaps that’s a product of time passed, or maybe of Dan Auerbach & Leon Michels’ respective production prowess. Regardless, the result is something that has fans from all over chomping at the bit for more Arcs magic. 

Even nearly seven years later, The Arcs are proving themselves to be what those of us who love them already know, timeless, a forever kind of band. “Keep On Dreamin’” is fresh and psychedelic, and if it serves as even just a small taste of what’s to come, it’ll certainly be “electrophonic,” to say the least. 

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INTERVIEW: James Hart of 18 Visions at 1720 Los Angeles

Welcome to a special pre-show interview with OC’s very own legend, James Hart of 18 Visions. I caught up with James on the very last date of this special 20 Year Anniversary Vanity Tour at 1720 in Los Angeles, California. We discussed 18 Visions spanning over 20 years and his time with the band, their new remaster of Vanity on all streaming platforms, his view on the scene now and more. They are wrapped for touring now but be sure to give them a follow for the latest updates. Stream their new remaster of Vanity, on all streaming platforms now.

South of Eden Cover Van Halen's 'Drop Dead Legs'

It’s been two years since the devastating loss of guitar virtuoso, Eddie Van Halen. In his remembrance, earlier this year South of Eden covered Van Halen’s "Drop Dead Legs", off of their album, 1984.

If you know me, you know I LOVE Van Halen. So, when it comes to covers I approach them with hesitation. Will it do them justice? However, when South of Eden first announced they would be releasing a VH cover, I had absolutely no doubt in my mind that it would make Van Halen (and I) proud. Catch any one of their live shows and you’ve heard South of Eden cover classics that they hit every single time. This time is no different.

“‘Drop Dead Legs’ is one of many VH songs where the riff, lyrics, and groove come together to form a sound signature to those 4 dudes jamming in a room. Although we have played ‘Unchained’, ‘Running With the Devil’, ‘Beautiful Girls’ and more of their other tunes live, ‘Drop Dead Legs’ felt like the best choice to encapsulate everything we love about Van Halen! RIP to a legend,”  shared lead singer, Ehab Omran.

Last year, we caught up with the band before a show and talked about the loss of Van Halen. (Listen here.) It was evident how much Eddie Van Halen meant to the band, especially guitarist Justin Young. That inspiration truly shined through in this rework.

The cover is only available on the band’s Youtube and Facebook pages, so check it out there and give it a share!

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The Living Street Delivers Iconic Friendship Anthem in "The Least That I Could Do"

Friendship anthems - We all enjoy them. There's always that one song that makes you think of a BFF that makes you enjoy everything in life; someone that you enjoy doing EVERYTHING with. Those kind of songs remind you why friendships are so important.

Which is why I'm here to talk about one of my favorite BFFs, The Living Street's newest single, 'The Least That I Could Do'.’ Released on August 17th, Edward's birthday, Nick wrote the song as a friendship anthem for Edward.

I first heard this song live back in April when I was in Amarillo to see The Living Street perform. It goes without saying that it's not hard to love the music that The Living Street makes because hearing that song live? I loved it instantly and since that night, I have had the song stuck in my head. Thank god the song has been released because I was relying on a thirty-second clip I took of them performing it.

‘The Least That I Could Do’ is a song that truly displays why forever lasting friendships are so important to all of us. Listening to it will put a huge smile on your face while you think about your BFF and everything that you have been through with them. It shows just how incredible the friendship between Edward and Nick is.

The folk acoustics are truly mesmerizing and incredibly soothing.  It's nothing short of amazing and it shows the power they have in their music and their dynamic as a duo, as well as the musical chemistry between the two. It's so incredibly easy to feel mesmerized by the music itself.  There's also something about the acoustics itself that is almost reminiscent of ‘Canyon Moon’ by Harry Styles. I don't know how to explain it but that song was one of the first things I thought of when listening.

In conclusion, this song serves as an incredible friendship anthem. I want to take this time to praise Nick for the amazing songwriting. This is one of the best friendship anthems I have ever heard and this song is an incredible theme for any best friend duo out there.

Name a better BFF duo than The Living Street. I'll wait.

Review: The Velveteers Delve Deeper Into Nightmare Daydream Journey with “See Me”

The Velveteers surprise-dropped their newest single, “See Me,” on Friday, a track recorded during their Nightmare Daydream sessions at Dan Auerbach’s Easy Eye Sound in Nashville, TN that didn’t end up making the final cut. 

Something Velveteers fans love most about the band is how high energy and hard-hitting their debut album, Nightmare Daydream, is, but their slower, more ballad-like songs are where The Velveteers fully solidify their place as one of modern rock’s best bands. “See Me” is the perfect example of that; their sonic range is undeniable. 

“See Me” is beautifully rich; it surrounds the listener and plunges them into The Velveteers’ sonic universe. It’s the perfect balance of sounds, heavy but gentle, dark but bright, haunting but hopeful – The Velveteers cover every base and the result is an incredibly satisfying 3-minutes of rock magic. Singer and guitarist Demi Demitro delivers a clean-toned simple vocal that’s sweet and pleasant to the ear. Its simplicity is perfect for the track – it doesn’t distract the listener from the overall idea of the song, yet lends itself brilliantly to the overall message. If there exist any underrated rock vocalists right now, she’s one of them. 

The Velveteers themselves describe the track as being about coming into the light from the dark, wanting to be seen for who you truly are. The track begins with a gentle plea, soft and almost confused – why don’t you see me as I am? As the track progresses, this plea grows stronger, demanding to be heard and obeyed, until it reaches its peak, the point having been made. One final plea is made, softer, and with a change in chord progression, melody, and lyrics that change the meaning from desperation to hopefulness. It’s a beautiful progression in theme that yields such sweet results. 

As a hardcore Velveteers fan myself, maybe I’m a bit biased, but at this point I’m fully convinced that everything The Velveteers touch is golden, and their work with Easy Eye Sound is some of their best yet. If you don’t believe me, go give “See Me” a spin and see for yourself. 

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INTERVIEW: Liberty Deep Down Talks Influences, Dream Collabs, New Music + More!

It’s safe to say, we’ve been sitting on this interview for a little too long. Back in the Summer, Evie caught up with Columbus Pop-Rock band, Liberty Deep Down to get to know the band a bit better just after their premiere of ‘Typical’. They talk about their influences, opening up for Bon Jovi, their dream collabs, and so much more. Check it out above and check out their new release, ‘Out of Time’. on Spotify below!

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INTERVIEW: Dorothy Talks Tour, Is Rock Dead, Writing the Album, + More

With the release of her album Gifts From The Holy Ghost, Dorothy has come into her own and hit the road running. Before her show at Temple Live on October 2nd, I caught up with the power-house front woman to talk about tour, the new album, makeup tutorials, and more. Check out our full conversation above.

Dorothy takes over Fort Smith THIS WEEKEND with Dirty Honey and Mac Saturn. Don’t miss it and get your tickets HERE.

Listen to Dorothy on Rock My Soul HERE.

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INTERVIEW: Upon A Burning Body at Chain Reaction

"It’s been a little over 3 years! Since I sat down with the Texas BMF’s, Upon A Burning Body.

Doing their first headlining US tour since 2019, I caught up with them at OC’s iconic venue Chain Reaction.

We sat back stage and discussed their newest album release “Fury” and some of their favorites on it, their tour earlier this year with Carnifax, the current tour, and a bunch more

They are still on tour now and hitting all over the US, be sure to catch them in your nearest city and stream their latest album on all platforms now."

Review: Bleu & Carly Paige channel their inner Jeff Lynne with new duet “Holding On To You”

If I didn’t know better I’d think the latest release from songwriters Bleu and Carly Paige was actually written by the maestro himself, Jeff Lynne, of Electric Light Orchestra fame. If you’re an ELO fan, you’ll hear what I’m talking about immediately, and you’ll probably fall in love with the track just as quickly. 

“Holding On To You” evokes the gentle spacey vibes I’ve come to associate with the more recent releases from Jeff Lynne’s ELO, specifically “When I Was a Boy” comes to mind. With a heavy focus on harmonies, the interplay between Bleu and Carly Paige’s voices, and brilliant chord progressions, Bleu and Paige have created a track that fits right into ELO’s cosmic sonic universe. 

In fact, it’s so reminiscent of ELO’s soft, intergalactic ballad sound that if you listen closely enough, you can even hear the elements from the Beatles’ work that inspired that classic ELO sound. It’s a modern track that feels fresh and new, but rooted in the long-standing influence that both The Beatles and ELO have on modern music. 

To top the whole thing off, Bleu and Paige both demonstrate their vocal prowess on this track. The interplay between the pair’s vocals is mesmerizing and results in an incredibly dreamy sound that ultimately is what makes this track so addictive. 

As a diehard ELO fan, I find myself spinning this track on repeat; I can’t get enough of it. Take it from me, if you listen once, you won’t be able to stop, and that’s not really a bad thing, is it?

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