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The Most Atmospheric Release of the Season? Stephanie Babirak Enchants with Her Album ‘Rotten Fruit’

Dear listeners of Interven releases. Today I want to tell you about an amazing harpist, singer, songwriter and composer from New York Stephanie Babirak and her new album ‘Rotten Fruit’. You know, there are such light and intriguing releases that are like watercolor on wet paper. Hazy, cinematic and very captivating. ‘Rotten Fruit’ by Stephanie Babirak is exactly like that. And, most likely, it is due to the classical harp, cinematic arrangements, atmospheric vocals of Stephanie Babirak and indie folk songwriting. All these seemingly distant genres intertwine into a single sound across 8 tracks. “Rotten Fruit” is her new album, and the title suggests the atmosphere of the release. The album was written and recorded with Stephanie Babirak’s friend and longtime collaborator, Peter Scoma, who sings and plays guitar on every track. Joshua Benash handled the mixing and production.

photo by Johnel Clemente

‘Rotten Fruit’ grew out of the track ‘Waterline’, but over time turned into a conceptual frame for the entire release. Stephanie Babirak turns to a biblical metaphor: a tree is known by its fruits. It seems that the idea is simple and clear, but try to apply it to yourself, and the simplicity quickly evaporates. It is precisely about the expectations of other people, promises to oneself and the attempt to accept oneself that the album ‘Rotten Fruit is about. The whole album is, in essence, an attempt to figure out: where does that very “bad” live? Is it innate? Or is it something that grows over time, you know, through family, environment, recurring patterns? And most importantly, how do you recognize it when you yourself are inside it?

Babirak explores these questions through different facets of her life, on one hand she is a person, on the other a partner, but there is another facet of Rotten Fruit, she is an artist. And in these reflections she offers to honestly look at what is there, even if it does not match what one would like to believe, no matter how melancholic it may sound. In ‘Rotten Fruit’ you will hear a subtle balance between classical harp and modern production. Babirak does this with a lightness that comes only when an artist truly understands both worlds. But most importantly, the harp is the main instrument, the vocals are the main guide. Everything else is built around the cinematic sound.

photo by Nicholas Lee Ruiz

You will hear that cinematic opening in the track ‘Apocalypse’. The central track that begins the story. The singer slowly tells the story, allows each word to float and supports it with a cozy harp. The mix with a pop sound is very captivating, so it is an excellent track for reflection under an aura of joy. The first part of the album is filled with a light atmosphere, and the track ‘Hey Cain’ is an example of this. The singer’s voice floats in echo, and the arrangement unfolds into a soft swaying sound.

You know, this track evokes a slight feeling of nostalgia. Perhaps it is due to the light retro vibe, giving a sense of safety and calm. Then the song ‘Waterline’ intensified this feeling. It is an almost mystical track, with a hazy atmosphere and a dreamlike aesthetic. The harp softly sounds over a light arrangement, and I would classify this track as a cinematic dream pop sound with a slight vibe of retro pop. A bright rhythm, a cozy sound, what could be better?

photo by David Zayas Jr

And better can only be the track ‘Lakeside’ with its hypnotic, unsettling motives. The harmonies are distorted, and the voices sound in unison. This is an example of how the singer can play with atmosphere and experimental genres and minor harmonies. This track sounds especially interesting within the concept of the album. A new point of view or a turning point that changes the familiar perception of the world. Perfect! The track ‘Utah’ is a soft mix of gentle folk and a swaying pop atmosphere. I admit this is my favorite track on the release, which adds the kind of coziness that only a lullaby for a tired mind can create. The final ‘Coda’ is a short instrumental track in which there is only the harp of Stephanie Babirak. I like this idea, it ends the album on a soft note, almost fairy-like and as if saying that the magic has not gone anywhere. It is inside each of us.

If you are looking for something incredibly beautiful, airy and light that will accompany you through your warmest evenings, then the album ‘Rotten Fruit’ by Stephanie Babirak is exactly what you have been looking for. Each of the tracks is beautiful on its own, and together they form a whole story. Be sure to add your favorite tracks to your playlists and subscribe to Stephanie Babirak so you do not miss even more of such wonderful music.

Hey! Thank you for releasing such light music. It was very fairy-like. I received incredible pleasure from listening and from the addition of pop energy and bright rhythms to the songs. This created a very captivating impulse. I will definitely show your album to everyone. Let them also enjoy such beautiful music. I love this, and I am your fan!

This review was made possible by SubmitHub. Views are writer’s own.

Why Everyone Is Falling in Love With Sofie Demi’s New Song ‘Deeper Sky’

Today I want to share my impression of the new song ‘Deeper Sky’ by Sofie Demi. An interesting track in the indie pop. It is a light track, and while listening to it you will experience an incredible rush of inspiration. During the listening, I caught myself feeling a sense of inner freedom. Sofie Demi’s vocals are simply flawless. Her voice is gentle and emotional.

I like the light synth breaks in the track. The soft keys create a cosmic and limitless sound, and the light rhythm enhances this feeling. However, all the power of the track lies in the singer’s cozy vocals and soft harmonies. You will be able to feel something truly amazing in the singer’s voice. I absolutely recommend that you listen to it and enjoy the amazing dynamics and flawless vocals of Sofie Demi.

Olivier Dion Captures the Fragility of Love on ‘Psychanalyse’

Olivier Dion melted my heart with his pop rap track ‘Psychanalyse’. The reason is the melody itself, the pleasant vocals, and the slow, dreamy rhythm. And, of course, the magical French. Olivier Dion describes himself as a songwriter who creates music by speaking about his own vulnerability and his simultaneous desire for renewal.

The single ‘Psychanalyse’ will give you minutes of peace and lightness. The soft arrangement with warm guitars and the musician’s pop vocals really catches your attention. I like the gentle singing of crickets in the melody, which adds texture and lightness. ‘Psychanalyse’ risks becoming your favorite track this summer. Give it a chance! I recommend it!

A Days Wait Captures Pure Nostalgia in the Dreamy New Single ‘First Time’

For me, the song ‘First Time’ by the Canadian artist A Days Wait is like a voiced dream… A calm, melancholic track in the Dream Pop genre is perceived as an audio imprint of personal experiences. Listening to ‘First Time’ by A Days Wait is endlessly enjoyable, whether in the company of a loved one or in complete solitude. The melody flows smoothly, the gentle vocals and impeccable airy arrangement caress the ears. The artist refused to use sharp accents or bold decisions. Here, in this single, the essence is entirely different.

To understand ‘First Time’, it is enough to allow it to sound and gradually fill the space around. The vocals of A Days Wait, the melody, and the rhythm, combining together, form a fragile world of memories, feelings and fleeting images. After ‘First Time’ ends, there remains a feeling as if, for a moment, an old photograph from the past had ended up in your hands: the details have already faded, but the emotions connected with it are still alive.

‘Buggin’ Out Pt. 2′ by Family Worship Center: A Soul-Stirring Indie-Pop Journey with a Vintage Touch

The track ‘Buggin’ Out Pt. 2′ is a very soulful track by Family Worship Center. It is filled with a distinctive atmosphere and immerses into the era of retro music of the indie pop genre. It is interesting that the new release is the second part of the single of the same name. It seems that it continues the first part. At the same time, the track is independent and carries a special meaning. While listening, a feeling of mystery and enigma arises. The track is unusual and deeply touching.

In ‘Buggin’ Out Pt. 2′ I liked the sound of the synthesizer the most. Such soft and gentle overflows enchant from the very first notes. For some reason, it seemed that it is the keyboards that make the track slightly vintage. The key sound is not sharp and not forceful. It is compliant, rhythmic, inspired. The wind instruments also contribute their part. The parts are smooth and rich at the same time. Sometimes the sound is quiet and melodic. In places, on the contrary, it is more intense. I recommend the track to all lovers of soulful and unusual music with a slight touch of retro.

Adam Jensen Turns Vulnerability Into Power on the Electrifying ‘Cellophane’

Adam Jensen is a classic musical hooligan who has gone through a difficult path from a bookmaker’s assistant to a songwriter in the Indie Rock genre. But all of this became the foundation for his development as a writer of deeply moving songs. One of them is ‘Cellophane,’ a rock track with an amazing rhythm and impeccable energy.

However, behind the song’s outward energy lies an intimate message. This intimacy in its sound has become something of a signature of Adam Jensen. ‘Cellophane’ is exactly the kind of case where rock music becomes a way to honestly tell a unique story. Listening to this track, you inevitably realize that there is a person behind it who truly has something to say.

“Some Dreams Never, Ever Leave You”: Stevie Palmer on football, family and the memories behind ‘Here We Go’

Few songwriters capture Scottish life with the warmth, humour and emotional honesty of Stevie Palmer. With ‘Here We Go’, he turns his attention to a subject that has accompanied him since childhood: football. The song arrives carrying decades of memories from watching Scotland at the World Cup to following Hibernian through heartbreak and triumph, from afternoons spent with his father to matchdays shared with his own children.

We spoke to Stevie about the stories behind the song, the football memories that have stayed with him, and the enduring belief that keeps Scottish fans coming back, year after year.

Stevie, hey — lovely to do this. “Here We Go” starts with you as a boy, going to Easter Road and Hampden Park with your dad. What’s the first memory that comes back to you when you think about those trips — the noise, the walk to the ground, something he said? 

Watching Scotland’s 1977, 2-1 win over England at Wembley on a portable black and white TV, plugged into the our family car’s batterie, as we took in a hang gliding event somewhere in the hills of the Scottish Borders.  No kidding, this is exactly how that particular day went, hang gliders overhead and crossbars crumbling at Webley Stadium under the weight of jubilant Scottish.  Life’s a funny thing!

Hibs v Rangers in the 1979 Scottish Cup Final with my dad and my home-made flag concocted from  an old Subbuteo pitch and a wooden stick.  We lost that particular battle 3-2 after extra time in the second replay, which I listened to on the radio while playing Subbuteo and kicking/flicking every ball along with my heroes in green and white.  It would be another thirty seven years before we finally lifted that trophy.

You grew up watching Scotland head to the 1978 World Cup, with Archie Gemmill’s goal against the Netherlands as the moment everyone remembers. What did that goal feel like to you as a kid — and has it changed at all in your memory over the years, the way these things sometimes do? 

Watching this momentous match against the Netherlands on TV with my family in the small West Lothian village of Uphall Station where we lived before moving to Auld Reekie, there was a daunting awareness that we had to win by three goals to progress beyond the group stage that year in Argentina.  Mr Gemmill’s piece of footballing genius put us 3-1 up and within a William Wallace Whisker of getting the job done.  Alas, it was not to be.  The goal itself, like the finest of single malts, only improves with the passing of the years, perhaps never to be surpassed, in many a Scotsman’s/Scotswomen’s mind at least.

You’ve said you dreamed of wearing the Scotland shirt and scoring the winning goal in a final. Most of us have a dream like that from childhood — one that never came true but never quite leaves either. Where does that dream live for you now, all these years later? 

Some dreams never, ever leave you.  They remain part of your soul and return every now and again in the wee small hours when your sound asleep,  in between nightmares of being chased down Sauchiehall Street by the entire the 1966 England World Cup squad singing ‘Footballs coming home’! 

You’ve now shared football with your own sons, the way your dad once shared it with you. Is it the same feeling watching the game with them as it was watching it with your father — or does it feel different sitting on the other side of that memory? 

The memories are countless, some wonderful and life affirming, others devastating but none the less character building.  I’m so grateful to have shared all these moments with my two boys, Joe and Lewis and my wife Wendy.  The grandest of all would undoubtably have to be Hibernian’s 2016 Scottish Cup triumph against Rangers, after a 114-year wait!  This was as close to an out of body experience as I have had to date, which could only have been made better if my dad had been there.  

Football songs can go one of two ways — pure celebration, or something more bittersweet, since Scotland’s relationship with the World Cup has had a lot of heartbreak in it too. Where does “Here We Go” sit for you on that spectrum? 

When writing ‘Here We Go’ I wanted very much to encapsulate the immensely strong emotions that this amazing game makes manifest in the hearts and minds of true fans everywhere but especially in our own magnificent wee nation of five million people and five billion dreams.  The hope, the despair, the ability to not take ourselves too seriously, while remaining absolutely serious about the task at hand.  This was the beautiful spirit I wanted to bring to life in song. 

You’ve spent your career writing the kind of songs that BBC Radio Scotland and Greentrax have backed for years — thoughtful, rooted, personal. Then you write a football anthem. Did it feel like a natural step for you, or a different muscle entirely? 

Songs about a national obsession that deeply affects the lives of a very large percentage of the  population belong, in my opinion, firmly within the wider, modern day folk tradition.  This brings with it a responsibility to try and add to that cannon a worthwhile effort that contributes to the great richness of the genre.  Whether this is achieved or not is ultimately decided upon by the folk who listen.

Scotland’s relationship with football is famous for being passionate but realistic — fans who believe and brace themselves at the same time. How did you try to capture that particular mix of hope and self-aware humour in the song? 

‘We’re maybe no’ Brazil but I’ll still believe we can fly, ‘till the day I die’!

You’ve been called one of Scotland’s finest songwriters by people who know the tradition inside out. When you sat down to write something as public and communal as a football anthem, did that feel different from writing your usual songs — like you were writing for a room full of people instead of just one listener? 

Every time I sit down to write a song, I have exactly the same goal.  That is, to try and move myself emotionally,  even to the point of tears whenever possible!  On the rare occasions that this is achieved, you know that you’re onto something.

If your dad could hear “Here We Go” today, what do you think he’d say about it? 

‘Well done son, you’ve written a good one there’.  

My dad was an Englishman who spent all of his adult life in Scotland, actually voting SNP in the later stages.  He was also a universal humanitarian with a soul as deep as the North Sea and someone who understood a thing or two about matters of the heart.  He would see the song in that context, a ‘matter of the heart’.

The song is called “Here We Go” — which always sounds like the start of something, not the end. When you imagine someone hearing this song in a pub or a stadium before a Scotland match, what do you hope they feel in that exact moment? 

Scotland’s deep and enduring relationship with football transcends cultural barriers, generational differences and at times, scientific logic!  When people listen to ‘Here We Go’ I would love for them to feel a coming together with everyone else that shares their hopes and dreams, no matter who they are.  I would love for them to believe, beyond all logic and reason that one day, some day, we just might …….!!

The Debut LP ‘The Musical Bruises of a Recovering Dreamer’ by Scooter Scudieri Is a Story You Need to Hear

Dear listeners of conceptual and interesting releases, I have something very intriguing and captivating for you! Scooter Scudieri, a 57-year-old house painter from West Virginia, who spent seven years recording music before dawn in a basement studio, has released his debut album, ‘The Musical Bruises of a Recovering Dreamer,’ and did so alongside a curious experiment: an AI-managed (not AI-generated!) promotional campaign built within ChatGPT. A bit of context before we get to the music itself. Scudieri is not new to the scene. He has toured with Jewel and Jason Mraz, opened for Dave Matthews, Joan Jett, Blind Melon, Widespread Panic, Dream Theater, and Nils Lofgren, performed on Mountain Stage, and received recognition from the Songwriters Hall of Fame in the Best of the New Writers category. At the same time, he has never signed with a label or a publishing deal, he has gone the entire way independently, right up to this release.

Alongside the album, a companion Substack under the same title has been running for over a year, a public archive of more than two dozen posts including Logic Pro screenshots, production notes, discussions about the boundaries of authorship, and recordings of “conversations” with a system he trained within ChatGPT to distinguish between “thinking with him” and “thinking for him.”

An important detail he emphasizes separately is that not a single note, vocal, or arrangement on the album was created by generative AI. Everything was made by hand in Logic Pro. The family element is present as well, with the covers and visual style of the singles created by his wife Kelly, and the official website and press archive put together by his daughter Sophia.

The album, ‘The Musical Bruises of a Recovering Dreamer,’ consists of 12 tracks and sounds like a greeting from the 70s and 80s. You know the kind, driving drums, guitars, piano, synthesizer textures, and memorable bass lines. Vocally, Scudieri can be conversational, theatrical, playful, or unexpectedly powerful. What’s interesting is that sometimes all of this happens within a single song. The layered backing vocals are also worth highlighting. He performs them all himself, from warm harmonies to falsetto bursts. I suggest listening right now to the tracks that stood out the most.

The opening track ‘Crushed’ immediately sets the tone for the entire sound. It is stylish, groovy, and energetic, while Scooter Scudieri ’s vocals hold all the attention thanks to a memorable timbre. I like the smooth blend of genres, light indie rock with hazy soft synth textures and warm guitars.

With the central track ‘She Is the Sun,’ the album’s sound brings in more experimental harmonies and brighter electronics. This track reveals the artist from a new angle, showing that even light retro funk sounds amazing in his hands. If you are looking for something more danceable with an experimental vibe, the track ‘Heavy,’ running 6 minutes and 8 seconds, is made for you. A steady rhythm with the artist’s calm, intimate vocals unexpectedly flows into faster sections, creating a vivid atmosphere. This is supported by stylish brass, and by the end of the track there is no room left for melancholy. The sense of lightness continues in the next track, ‘Kiss Me Goodnight,’ where the arrangement is filled with airy synth textures and a gentle ambient sound that creates a soft synthpop vibe. It is an ideal track for those seeking a sense of calm within a grooving sound.

I would like to highlight the track ‘Blessed Are the Joymakers (Court Jester Version),’ where the genres shift as soft keys transition into a danceable sound with brass, and then the artist’s vocals move toward a light synth-pop direction. It is a complex track that shows Scooter Scudieri can work with any sound and any genre.

The album closes with the gentle ‘Long Island Times,’ featuring light lyrics and a very romantic, ballad-like arrangement. The beautiful backing vocals emphasize this softness. It serves as a perfect lead-in to the final track, ‘To Live in This World.’ I like how this track completely changes the atmosphere. After something calm and cozy, ‘To Live in This World’ sounds fresh and bright, which strengthens the overall impression. The striking, radio-ready vocal in the chorus stands out with its energy and memorable hooks. The structure of the track feels hypnotic, and after listening to ‘To Live in This World,’ it makes you want to set off in search of adventure. Amazing!

Undoubtedly, the album ‘The Musical Bruises of a Recovering Dreamer’ turns out to be a portrait of forty years of making music, of setbacks, comebacks, persistence in spite of the “meat grinder” of the music business, and the exhaustion of a double life between painting houses and working in the studio at night. So be sure to put on ‘The Musical Bruises of a Recovering Dreamer,’ add your favorite tracks to your playlist, and follow the artist so you do not miss even more great music.

Hey Scooter Scudieri ! Thank you for releasing such wonderful music. When I listened to your album, I was overwhelmed with incredible emotions from the lyrics, the sound and the hooks. Each track is special in its own way, and together they sound like a real story. It is truly amazing. I will definitely share your album with everyone so they can listen and enjoy such great music as well. I love it and want more!

This review was made possible by SubmitHub. Views are writer’s own.

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