This is a musically nutritious album. It’s incredibly harmonically adventurous, and it’s daring in its approach. It’s not a jazz album to be heard in a somber jazz bar; this is, like the name implies, an album like the “Open Plains” – it’s to be experienced with attentiveness and an open heart because it tells such rich stories with a virtuosic sense of melody and harmony. This album is living proof that one can still tell new stories with traditional musical textures, that it’s not necessary to design new sounds to tell new stories. Music in its infinite depth has infinite stories to be told, and one only needs to be truly connected spiritually to it and to the musicians engaged in the same conversation to tell the stories of our lives as they unfold. This spiritual connection to music and the power of improvisation has long been embraced by great jazz musicians, and Runa Viggen continues that trend here.

Starting with “Bury Me Standing” – this tune could be taught in a masterclass about dynamic range in composition. The way the rhythm section accompanies the piano in such a beautifully intuitive yet surprising manner is a beauty to behold. The way it evolves across the tune and the power with which the musicians return to the main head melody is breathtaking and has such intensity and vigor that perfectly complement the harmonic choices of the tune.

“The Tears of My Mother” is not a tune for the faint of heart; it will most likely make you shed some very dramatic tears, but with that being said, I still highly recommend listening to this outdoors, with the blowing of the tears away from your face – that’s at least how I imagine this song is meant to be listened to and that’s how I listened to it though it wasn’t planned. Runa Viggen has such a soft touch on the piano for this song, it’s like the piano was strung with her own heart strings. It’s so sorrowful and mournful, yet reminiscent of simpler times and sweet motherly love. There are so many personal details in here that it feels like every time I listen to the song, it says something new. It’s a truly magical performance, and I feel lucky that it has been recorded and that I get to experience it.

“Rayan” captures the attention immediately with its more playful sense of rhythm. It’s more on the side of jazz-fusion, though with none of the electric elements that are so strongly associated with that genre. The melodies here are more contemporary, with very modern melodic choices. There is so much music here, and it rides that line between carefully crafted moments and others of chemistry-driven improvised sections. The bass solo here deserves a special shoutout for adding to the melodic content tastefully with no unnecessary flash.

“Open Plains” is the kind of album that asks something of you, and pays you back generously if you meet it halfway. Viggen said she wanted to compose without genre constraints, to breathe freely – and that freedom is audible from the first track to the last. With ambár, she announced herself, and with this record, she’s made good on the promise. It’ll be worth watching where she goes from here.

In Camera Obscura, this unity is palpable. The trempette strides into the mix with a crisp brilliance that effortlessly slices through the heavy, almost metallic guitar riffs, as if declaring itself the compass of the entire record. Glittering chimes fracture around the edges, giving the music a cinematic depth, and the electric guitar solo arrives not as a contrast but as an extension of the same emotional space. When the trempette returns with a virtuosic solo, it feels like a statement of intent: technical command, yes, but also a sharp sense of narrative direction. The band sets the tone here, proving that even in dense textures, clarity can reign.

That clarity continues in BVFP, though the mood shifts entirely. A drum-forward opening tumbles unexpectedly into a breezy, beach-tinged groove, effortlessly light yet rhythmically grounded. The trempette floats through the melody with ease, reshaping it through different scale degrees as if turning a familiar phrase inside out. What’s striking is how the groove relaxes without losing precision; the band plays with freedom, but the identity remains intact, cohesive, unshaken.

Their re-imagining of Coltrane’s Naima reveals their emotional intelligence. The track widens the atmosphere, taking the original’s suspended hush and blending it with the album’s textures: chimes, understated drums, guitar bends that ripple like softened glass. It shifts the piece from solitary contemplation to a shared, collective breath. The trempette solo is tender but confident, elevating the emotional warmth of the composition and giving the ending a luminous glow that dissolves into fading chimes. It is homage and reinvention at once: respectful, yet unmistakably theirs.

Then comes Man in the Box, where the album bares its teeth. Here the trempette becomes something entirely different: edgy, defiant, almost insurgent, pushing back against the heavy rock instrumentation that surrounds it. The reinterpretation holds onto the tension of the original, not through mimicry but through psychological fidelity. The rhythmic tightness gives the track a coiled power, and the trempette’s refusal to “stay in the box” becomes the narrative conflict. It’s a musical struggle rendered with such focus that even the intensity feels controlled rather than chaotic.

Cactus offers a complete shift in scenery while maintaining the band’s unmistakable cohesion. The opening snare flicks like the sting of cactus thorns, mirrored by the trempette’s staccato – tenuto phrasing. There is Americana warmth here, a dusty glow under the subtle textures, yet the track never dulls its edges. The trempette plays with mischievous sharpness, emerging like a playful antagonist before the ending slips away unexpectedly, as though the cactus simply pulled back into itself.

In Lullaby for Zoey, the band leans into spaciousness: soft, dreamlike expanses where wide rhythms drift like slow-moving clouds. The trempette shapes emotion through delicate dynamics rather than virtuosic leaps, giving the piece an intimate glow. It rises toward the end, figuratively and literally, as if offering a final, gentle ascent before letting the dream settle.

Kasbah Knights jolts the album awake again: fiery, overdriven, charged with hints of Middle Eastern color. The trempette and guitar converse like two seasoned warriors sparring with mutual respect. Their interplay builds momentum and tension until a sudden moment of quiet enters: light percussion, a subdued breath before the final burst. The track feels like a cinematic chase, an adventure rendered with precision and narrative flair.

Their take on Riders on the Storm keeps the mysteries of the original but strips away excess. Clean, simple guitar lines drift under a quiet rhythmic pulse, allowing the trempette to glide through the melody with gentle restraint. Nothing is overworked; the band trusts the atmosphere enough to leave space, letting the calm breathe.

When In a Silent Way begins, a serene wave of sound unfurls: vast, sustained, meditative. The shift into the more upbeat passage feels like motion after stillness, brightening the sonic horizon before returning once more to introspective calm. The piece honors Miles Davis while interpreting the concept through the band’s own language: wide, luminous, and grounded in their distinct palette.

Finally, Tall Shoes Mary closes the album with its only lyrical moment. Americana warmth blends with rock guitar textures and jazz-tinged trempette lines, while the vocals, supported by soft, beautifully layered backing paint scenes of wandering cities, near-misses, fog, infidelity, unburned bridges, countless lifetimes, want, timing, and longing without collapse. The lyrics drift between clarity and fragmentation, like memories revisited in flashes, and the song wraps the album in storytelling that feels lived-in, tender, and real.

Across these ten tracks, the through-line is unmistakable: a sonic identity crafted with confidence, depth, and unmistakable mastery. No matter how far the album travels: across genres, reinterpretations, moods, or emotional terrains, it always returns to itself. And that is the brilliance of Baron von FrankenPaul: a sound so coherent, so intentional, that transformation becomes a form of continuity. This is not just fusion. It is authorship. It is a musical voice speaking ten different dialects with the same unmistakable tongue..

The 2025 line-up was a dream come true for rock and metal fans. Well-known bands from both Morocco and abroad hit the stage, delivering powerful sets that really connected with the crowd. The metal bands had everyone headbanging with their heavy riffs and killer solos like GOROD, KATATONIA, PAGAN ULVER, and the best gift of this fest is the TRIBUTE TO DEATH, while the reggae/gnaoua fusion acts brought a chill, dance-friendly energy that got people moving and celebrating like TASUTA N-IMAL, ZAR ELECTRIK, BOHEMIAN BETYARS, SAAD TIOULY, QUEEN OMEGA, SOUKAINA FAHSI, BOMBINO, ISAM ELIAS, and many others.

One highlight was a popular Moroccan metal band that has been making waves in the underground scene. Their performance mixed traditional Moroccan sounds with heavy metal perfectly, showing off the rich cultural blend of the region. The reggae fusion artists also added a fresh vibe by mixing reggae beats with rock sounds, creating something totally unique that everyone loved.

Tremplin L’Boulevard has been an important event for emerging talents in Morocco’s urban music scene since 1999. The competition recently announced its winners for the 23rd edition. After a tough audition process with 340 artists and groups, the juries revealed the following laureates.

• Rap & Hip-Hop

• Fusion / Other Styles 

• Rock / Metal

Award package

• Intensive training program at the Boultek Centre (September 22–27).
• Professional recording session at Hiba Studio.
• Grants: 10,000 MAD for the 1st prize; 5,000 MAD for the 2nd prize (Moroccan dirhams).

FYI…

Tremplin L’Boulevard continues to highlight the next generation of Moroccan urban music across various genres. It reinforces its role as a Launchpad for artists seeking national and regional recognition.

After the competition between the bands competing for the festival awards (Rock/Metal), the audience enjoyed the festival with international Rock and Metal bands like: MOROCCAN TRIBUTE TO DEATH, PAGAN ULVER, GOROD, and KATATONIA.

MOROCCAN TRIBUTE TO DEATH Returns at L’BOULEVARD Festival 2025 Casablanca, Morocco 2025 After a historic night in 2017 where twenty musicians united at Boultek to pay homage to Death and the legendary Chuck Schuldiner, the Moroccan Tribute to Death returns this year with a renewed force.

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The performance promises to be a blazing celebration of Schuldiner’s music, blending technical precision, raw energy, and deep reverence for the band that helped define an entire genre. In 2025, a razor-sharp four-piece lineup; Achraf El Mellouki on guitar (Suicide Machine), Wassim Ahenjir on vocals and guitar (Thrillogy), Mehdi Salmane on bass (We come for War), and Samir Houaoura on drums (ex-Mean Street, Analgesia), drawn from the heart of Morocco’s metal scene, will take the stage at L’BOULEVARD fest to deliver an uncompromising tribute to one of death metal’s most influential pioneers. Death’s music transcends generations. Since its beginnings, L’BOULEVARD Festival has stood as a landmark festival for alternative and underground culture in Morocco, providing a platform for heavy music to thrive.

Bringing it back to the L’BOULEVARD stage is both an honour and a reminder that this legacy will never fade, says the organising team. This year, tribute is set to reaffirm the strength and resilience of the Moroccan metal community on an international stage.

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PAGAN ULVER, a genuine Moroccan black metal band known for their dark and atmospheric sound, gave a captivating performance at the L’Boulevard 2025 festival. The band’s intense and powerful music connected with the audience, creating an immersive and unforgettable experience. Their stage presence and musicianship were impressive, making them a standout act in the festival lineup. Overall, PAGAN ULVER‘s performance at L’Boulevard 2025 was a highlight of the event and left a lasting impression on everyone who attended.

GOROD is a French technical death metal band formed in 1997. Known for their complex musicianship, the band has gained a strong following in the metal community. Their performance at L’Boulevard Fest 2025 in Casablanca, Morocco, displayed their technical skill and intense energy on stage. Fans of extreme metal were treated to a memorable and thrilling experience.

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Over the years, KATATONIA has changed from their early death/doom metal sound to a more progressive and atmospheric style, adding elements of alternative rock and dark metal. They have released several acclaimed albums and built a strong fan base worldwide. Their performance at L’Boulevard Fest 2025 in Casablanca, Morocco, displayed their skill in delivering a captivating live show with powerful music and emotive vocals. Katatonia remains a respected and influential band in the heavy metal scene.

Highlights

• L’Boulevard Festival 2025 presented a spectacular program of a diverse variety of rock, metal, and reggae fusion bands.
• 🌍 The event held in Casablanca became a dynamic cultural centre surrounded by arts and Moroccan cuisine.
• 🤘A top-notch Moroccan metal band combined traditional music with metal to show their cultural fusion.
• 🎶 Fusion artists energised the festival with their refreshing and danceable tunes.
• 🎤 Workshops and discussions centred on music production and cultural expression, creating a sense of community.
• 🎉 The festival was a melting pot of people with different backgrounds, but who all shared the same love for music and culture.
• 🌅 L’Boulevard Fest 2025 has been an unforgettable experience and will be missed till the day its spectacular future events show up again.

Key Insights

• 🎸Musical Diversity as a Core Strength: The festival’s proficiency in blending rock, metal, and reggae fusion without visible seams is a testament to the evolving and welcoming nature of the Moroccan music scene. Such diversity not only helps to attract a broader spectrum of listeners but also fosters a hybrid-music scene closer to the cultural fabric. Moreover, the presence of both domestic and international performers doubles the effect of this phenomenon and puts L’Boulevard Fest at the forefront of the global and Moroccan music cultures’ intersection.
• 🌍 Venue as a Cultural Nexus: A festival that is vibrant with eye-catching arts and the spicy flavours of Morocco has gone far to delight the senses of the festival goers, which, as a result, makes the festival a multi-sensorial experience besides being just music consumption. It is indeed a more immersive way of connecting with Moroccan culture, and as a result, the festival will not only be an event or a concert but also a cultural fiesta. Having such a setting is a great way of engaging the audience and allowing them to be part of the culture.
• 🤘 Musical Melting Pot: By mixing traditional Moroccan music with heavy metal, the Moroccan metal band is embracing the idea of blending different cultures in the world of music. This combination not only keeps the local roots alive but also opens up new creative possibilities within the genre, leading to new works that can be appreciated by fans of different backgrounds and styles both locally and globally. Hence, it is the perfect example of culture being successfully revitalised through the use of music.
• 🎶 Festival Dynamics Amplified by Reggae Fusion: The addition of reggae fusion performances to the festival completes its soundscape perfectly since the calming attitude of reggae music that can get the attendees into dancing and celebrating ventilates the heaviness of metal and rock, which in turn makes the festival dynamic that it at the very least caters to different tastes and moods. The festival is therefore able to maximise overall attendee satisfaction and engagement, besides also being a perfect display of reggae as an adaptable genre that is capable of going with any other style.
• 🎤 Community Building Through Education: The usage of workshops and discussions concentrating on music production and songwriting is reflective of the festival’s goal of encouraging new talent and cultivating an educational environment. The local music scene can be supported by this model, which is essential, as it gives artists the needed skills and knowledge, as well as support from the music community. We see L’Boulevard not solely as a stage for concerts but also as a talent development incubator.
• 🎉 Audience Diversity and Inclusion: One of the advantages the festival has is that it manages to have such a diverse range of fans to show that it is not just a cultural event from one side but a unifying one in the community. Fans from diverse backgrounds sharing their love for music create a common ground, and while doing so, L’Boulevard is promoting both social cohesion and cultural exchange at the same time. Moreover, this inclusivity is very important as it represents one of the key aspects which help festivals to amp up their sociocultural impact beyond the entertainment aspect.
• 🌅 Sustainable Legacy and Future Outlook: The 2025 edition, with its unforgettable performances and lively atmosphere, will remain in people’s minds for a long time; hence, L’Boulevard is a major cultural event with sustainable appeal. The 2025 edition is the one that will leave a lasting impression on people’s minds forever, and through this, the festival is becoming a major cultural event with sustainable appeal. First of all, the kind of achievement that has been the reason behind this huge success is promising, and by that, we can expect an increase in the number of the festival’s editions as well as the innovation in the way that the festival and the music scene will be developed not only in Morocco but also in the global music festival circuit. The above development is indeed very valuable as Morocco’s cultural scene benefits greatly from such an onward and upward movement.

L’Boulevard Festival 2025 was a smashing hit, sealing with it indelible memories and awakening sensibilities for the Moroccan music landscape in its diverse representation of music. With the unique mixture of both rock, metal and reggae and fun, one could easily come to realise that the festival was both entertainment and unification of mankind through music. As the sun nestled beneath the horizon of Casablanca, and the sound of guitars and drums momentarily lingered in the space, one could hear them teasing future and subsequent festivals, bigger and better than before. If you love rock sticks, but also if you love reggae, and equally if you are a complete tourist, L’Boulevard Festival is a place to capture the essence of Moroccan music culture!

L’Boulevard Festival 2025 in Casablanca reaffirmed its status as a pivotal event in Morocco’s music scene by delivering a vibrant and diverse musical experience. The festival’s venue, located in the heart of Casablanca, was transformed into an energetic and colourful space filled with art installations and Moroccan culinary delights, creating a festive atmosphere that welcomed a broad audience. The lineup featured a dynamic mix of rock, metal, and reggae fusion bands from both local and international acts, highlighting powerful performances that captivated attendees. A notable highlight was a Moroccan metal band that skillfully blended traditional Moroccan sounds with heavy metal, while reggae fusion artists added a unique and danceable twist to the festival’s soundscape. Beyond music, L’Boulevard fostered community engagement through workshops and discussions on music production and cultural expression, emphasising its role as a cultural hub. The 2025 edition was a resounding success, uniting diverse audiences through music and culture, and setting high expectations for future editions of the festival.

Thank you, L’Boulevard Festival!

See you next year!

• Egypt

Ally Salem — Early-profiled Egyptian solo guitarist (featured in interviews and local festival coverage). Known as one of Egypt’s better-known female guitarists in the country’s underground scene. Also, she joined the stage wit many local bands such as Andromida, Invaders, and many others.

Cherine Amr — Singer-songwriter and guitarist who founded the alternative/metal project Massive Scar Era. One of the more visible Egyptian women in heavy/alternative scenes, blending Egyptian scales and metal/post-rock.

• South Africa

Alice Phoebe Lou — Indie/folk singer-songwriter who plays guitar as core to her songwriting and international career.

Msaki (Asanda Mvana) — Award-winning composer, singer and multi-instrumentalist who plays guitar; a key voice in contemporary South African songwriting and performance.

Zahara (Bulelwa Mkutukana) — Afro-soul star whose breakthrough album Loliwe was guitar-led; known for writing and performing with acoustic guitar.

• Tanzania

Grace Matata — Afro-soul singer-songwriter who performs and composes with guitar; active on the East African scene.

Carola Kinasha — Veteran Tanzanian musician, activist and guitarist — a pioneer in Afro-fusion and music education activism.

• Kenya/West Africa

Ivy Alexander — Prominent Nairobi-based guitarist, member of all-female ensembles and the Flower Project; active in guitar education and a visible presence on IG and regional features.

Suzanna Owiyo — Kenyan singer-songwriter who also plays guitar and draws on traditional influences — recognized in pan-African coverage for her guitar-centric songs.

• Ghana

Wiyaala (Noella Wiyaala) — Singer-songwriter who plays guitar and channels rock/reggae/afro-pop energy; noted for powerful stage presence and guitar-led performances.

Yaa Yaa (Bertha Kankam) — Singer-songwriter and multi-instrumentalist who frequently performs with guitar in neo-soul / highlife-influenced material.

• Nigeria

Serifatu Oladunni Oduguwa (Queen Oladunni Decency) — Historic figure: a pioneering female guitarist in Nigeria (Jùjú tradition) — often cited as one of the first prominent female guitarists in the country’s modern music history.

Asikey — Contemporary Nigerian singer-songwriter who plays guitar and blends alternative rock/soul; one of the notable modern Nigerian women who write and perform with guitar.

Helen Ibe — Emerging Nigerian guitarist profiled in player/interview videos; part of a new wave of Nigerian guitarists.

• Niger

Fatou Seidi Ghali (Les Filles de Illighadad) — Founder and lead guitarist of the Tuareg group Les Filles de Illighadad from Niger. Widely reported as the first professional female Tuareg guitarist; celebrated for bringing electric Tuareg guitar and female leadership from the Sahara to international stages.

• Mali

From Mali, Fatoumata Diawara — Singer-songwriter and guitarist who blends Wassoulou tradition with modern sounds; has been described as a pioneering female electric-guitar player from Mali and a major international ambassador for Malian music.

• Zimbabwe

Berita (Gugulethu Khumalo) — Zimbabwean-born, South Africa-based singer-songwriter and guitarist; multi-award winner and founder of Women of Music Business (WOMB).

As dedicated instrumentalists, the core members of The Wrong Sides work tirelessly on their craft; their play-through videos have become well-known tutorials for aspiring metal guitarists and it’s obvious that their work, being both progressive and metal fusion, it part sound science and part art. That said, it’s not only experimentation that drives the trio. The Wrong Sides is also high-concept in its composition.

Each of these tracks provided a way for us to explore the sonic landscape of this lineup. Joan Torres joined the band for “Sour Sea” and laid down a killer groove and melodic fretless bass solo. Afterwards, he contributed to the repertoire with his arrangement inspired by the original soundtrack to the classic video game, ‘Maximum Carnage’. We titled this track “Chasing the Wrong Insanity” because it felt like a perfect homage to the original tracks as well as them being on “the wrong side.” Most recently, we put together “Elephant Spaceship”. This track started with a simpler idea by Israel, which evolved as Jose’s grooves and Joan’s melodic fretless phrases filled in the rest of the picture to make up a galactic somewhat freeform prog metal jam.

From the way the band put together their tracks, it’s clear that composition is important, to them, and this reflects to the fans as well. As well known for their live performances as for their studio work, The Wrong Sides are heavy in all the right places and experimental at the perfect times as well. Each track has its own journey, concept and experimentation. The lyricless “Sour Sea,” for example, is fully progressive, almost to the point of being ambient, whilst “CHASING THƎ WЯONG INSANITY” is a true fusion track with everything from thrash to grunge to death metal on it. “Elephant Spaceship” delivers what it says on the tin, with a psychedelic tinge, death metal drums, a progressive groove and loads of thrash guitar. From these three tracks, it would be impossible to predict what the rest of the next album will sound like, and it’s likely the band want it that way. Given their discography, however, fans can comfortably expect expert artistry, virtuosity and just the right amount of experimentation from The Wrong Sides.

Independent Music Promotions Inc.

The 11-track album is so energetic and can easily attract any listener with its blend of R&B, soul, and rock elements. Their vibrant new collection with a carefree attitude by a seasoned band comfortable in their musical style, experimenting freely while maintaining an optimistic and bright mood.

I loved how the music can take you on a journey through and travel back in a time capsule, and delivers an impressive upbeat mood that you miss nowadays, especially in the world of AI and autotune! There’s no special preference really for any track as I loved how they can keep it so tight and the band’s professional chemistry can easily be noticed while listening. Frankly, I loved how they were so determined as they got COVID during the early stages of the recording sessions, still, they were keen to continue and nothing stopped them; “This is our fifth full-length album. We all gave each other COVID during one of the first sessions, but managed to recover from that to finish the album in a leisurely twelve months.” – Idiot Grins.

Idiot Grins took creative risks with collaborations like “State of Health” with the Byrd Sisters, producing hits like “Get Busy Dying” and “Take it Back”. Their bold reinterpretation of the Louvin Brothers’ album “Satan is Real” in “Thoughts & Prayers” marked a significant departure in their music.

Since I am really impressed by their output, creativity, and professionalism, I believe that Idiot Grins is going to be soon one of the iconic names in the music industry, also, they can give a lesson for newcomers to depend more on the creative side of an artist instead of using computers! Cheers to Idiot Grin‘s creativity and professionalism!

The San Diego-based band has released a new set of 10 songs that clocks less than 40 minutes.

“When the Battle Is Over” is the first song on the album. It can only be described as this energetic and uplifting piece. Combining male and female vocals creates a balance of dynamics and sounds, adding a fun, conversation-like storytelling structure.

“I Wish It Would Rain” is the fourth song. It is a more mellow song that shows the dreamy and tender side. The vocals are accompanied at times by an armonica, at other times by a keyboard.

“Higher and Higher” is the closing song of the whole album. Starting out with a fade-in sound of music, then vocals, then chorus, going indeed higher and higher, telling the story of how good, healthy love can lift someone the singer higher and higher.

A beautiful, elegant way to end and straighten things out in this beautiful journey of love.

The whole album could easily be the official soundtrack of any multi-award 60s-70s rom-com film. There is a song for everyone on this album: for the cheerful, for the nostalgic souls, for the passionate… every piece has a story and a lesson to share, a different composition that adds its own character to the whole compilation.

Whether in the shower, in the car, commuting, studying, or working, this album is a safe guarantee to inspire you to blast the music off your speakers and sing your lungs out.

Curated by the multiple Grammy Award-winning producer Chris Goldsmith, Let’s Straighten It Out! was recorded in only five jam-packed days. “Mostly-live” versions of carefully curated love-themed songs that made a mark when they were initially released and still feel relevant today.

The presence of the nine-artists-formed band is as elegant, beautiful, and diverse as their instrumentation composition and music style.

Due to be released on April 3rd, the song is the follow-up to his debut EP “Live from a Dark Room”, released last year.

Compared to previous work, “Garrison Lane” has a fuller, more rounded sound influenced by the songwriting of Nick Cave and Leonard Cohen.

The overall composition of the song beautifully wraps the story of heartbreak and instead transports us to fully experience the bitterness through the soothing sound of Prince of Sweden’s guitar and his rich voice.

The electric guitar kicks off and closes the song, accompanied by slow tempo drums and other guitars.

The lyrics slowly disclose the story speaking from a first-person perspective, describing the events during a day at Garrison Lane.

The vocals are wonderful. Prince of Sweden’s voice could be giving the worst of news, but if he does it the same way he sings his music, you wouldn’t even notice what is happening. Even though it has a thick tone, the way he sings out the words provide a very breathy ambience to the song.

Overall, this low-key artist is coming in with loud steps and is someone to watch out for and follow up. He has a distinct style that stands out, and we are looking forward to more of his music.

Interestingly, the London-based singer and songwriter learned to play the guitar from his neighbour living on a farm across from his house.

For more, visit Prince of Sweden’s website, find his music on Spotify, Soundcloud or Youtube, and follow him up on Instagram and Facebook.

In collaboration with Italian-born Melbourne-based DJ, music producer and sound engineer Leo Guardo, and musician and composer Adam from Cali Satellites, work together with the Australian composer Brontë Horder to create a mainly acoustic, spacey escape.

This iconic group has already collaborated on previous work, and you can tell by the result of ‘Only The Good Ones’. The vocals are dreamy, soft and subtle, with a clear and tuned intonation of the words, accompanying the sound of the music perfectly.

The beat of the music is very cheerful, rhythmic, and flowy, and works perfectly to fit any mood and situation. The combination of electric and aural sounds, along with the vocals and the lyrics, make this a timeless compilation of songs.

Brontë Horder is an Australian composer and vocalist. She has written and produced both score and bespoke songs for film, TV and documentary projects. Her song Day By Day for the short film Fourteen received a nomination for Best Original Song Composed For The Screen at the 2019 APRA-AGSC Screen Music Awards. She co-wrote and performed the title song “Take Me Home” for the Foxtel documentary Bear: Koala Hero. Brontë wrote and produced the song “Everybody Wants To Be Me” for Chloe Morello’s YouTube series Not So Famous.

She also works as a session vocalist, contributing vocals to projects including ad promos for Survivor Australia, Celebrity Name Game and
the ABC.

After winning Sony Music Australia’s songwriting competition Breaking Ground in 2013, Brontë released music as a solo artist. Her music video for The Eleventh Hour premiered on MTV Australia and her single Switch It Off received nomination nods at the Indie Music Channel Awards for Best Pop Song, Best Pop Recording, and Best Female Pop Artist.

• The logo, the name and the motto are very unique. What is the story behind Vajra, and is the term Vajra related to the Arabic meaning?

Vajra is a Hindu and Tibetan Buddhist ritual object that translates into the thunderbolt or diamond. It is: that which breaks through anything. It is the ultimate truth of the universe manifested in a symbol that we can understand. I came to know the term from my Hindu and Buddhist studies and selected the name after I had a dream about the concept. I had no idea what the Arabic meaning was until now. I’m gonna talk to some of my Arabic speaking friends and ask them why they didn’t tell me that earlier! Lol.

As for the logo, the design came to me in that space between waking life and sleeping life. I had closed my eyes, and I saw it. I always keep a pad and paper by my bedside table so I sketched it with my eyes still closed (because I didn’t want to wake up). In the morning, I was pleasantly surprised.

• I’d like to mention that I admire your website and social platforms arrangement. Do you handle such stuff by yourselves or do acquire a team for that?

Thank you so much. Both Dave and I do all of that ourselves.

• “The Mirror” is your high ranked single so far, and you did a great video concept for it. Tell us the story behind this song and how you were seeking for a change from your other work.

Thank you. Generally, we were looking to go in a heavier direction musically. I had just broken up with my boyfriend, and I was depressed. So, I came upstate to get some space to process what had just happen and to be in nature. I find that it is best to channel that energy into my art, so I started writing. I brainstormed like 10 pages of what was on my mind and then I left it. Later, I revisited what I had written and morphed it into lyrics.

The song started out as a conversation with him. I basically wrote what I felt I didn’t say or what wasn’t heard or understood. The song is about living a lie. It’s about confronting our demons so we can be comfortable with who we are and so we can live as honestly as possible in our own skins. In order to do that, we have to look at ourselves in the mirror. We have to sit in an uncomfortable space and shine a light on those dark, ugly spaces that we don’t want to look at. Once we see them, we can take steps to heal them. Like knots, we can find the best way to unravel them and let them go.
A lot of this process involves a separation from the social norms or social assumptions we are taught. Meditation, art, being in nature, travel, and new experiences all help to facilitate that separation. After separation, we can observe. We observe a deeper sense of self and we learn to see what experiences keep us the most truthful to that deeper sense of self.
In thinking and writing about my ex (and telling him to look in the mirror), I learned that I was also learning to look at myself in the mirror. So when I say, “I know you hate to look at me cause I’m your mirror, and you don’t like what you see,” he became my mirror. The song then morphed into an infinity mirror where I was his mirror and he became my mirror, and the mirror mirrors the mirror, ad infinitum.
That’s what so awesome about the writing process. As artists, the more we can dissolve and get out of our own way, something greater than what we consciously conceive of has the chance to manifest in the material space. We basically become conduits for the great knowledge to enter the material realm.

• To me, your music is like an alternative fusion with some old school heavy metal influences, but I noticed that you don’t want label yourself as metal or rock band. Let’s say; you don’t want to be categorized? Why is that?

I think the labels are limiting. The labels are a box with clearly defined lines, and I like to color outside the lines. With music, sometimes words and descriptions don’t capture what is really there. Things are blurry. Lines disappear. There is movement in every thing. No thing is fixed.

• You recently mentioned that you want to tour in the MENA region, like; Egypt, United Arab Emirates and Morocco. However, many bands are worried to do such more recently. Tell us about your plans for such or is it something related to your lyrical themes?

Yes, I would love for us to tour over there. The music, people, culture, dance and history in your part of the world has always captured my attention (and I love the food). I’ve been to Morocco before, and I absolutely loved it. I would especially love to go to Egypt and visit some of the historical sites. We have to plan a trip over there-we just need the right opportunity, and we will come!

• I was very shocked with what happened to you in Las Vegas! Tell us about that incident and what about that woman?

Yeah, we were shocked as well! When we got to Vegas, the air was thick with residue trauma from the recent shootings. I looked up at the sky and I made a promise to the energies that we would do our best to channel the connection to love and healing energies. I said to one of the opening acts that we were gonna conjure souls. When we went on stage and lit the incense to begin the show (and I learned about this after the show), a woman in the audience apparently said that we were all demons on stage. She then proceeded to come on stage when we started playing. She lied down on the floor near Shu and rolled around. She then approached Dave and was kind of dancing. We all thought she was a stage hand or a member from one of the other bands. And I actually was annoyed. She then approached me kind of dancing and said something like “this is the devil’s music”. I knew then that she was someone from the audience. She then put one of her hands on my throat. I kept singing and thought that that was odd behavior but I wasn’t scared. She then put her other hand on my throat and started to squeeze tighter. That’s when I had had enough, and I bent over and yanked her off of me. I kept singing through it all. Immediately thereafter, four security guards came on stage and pulled her off of the stage and out of the Club. She appeared to be on something. Paramedics then came to take her away after she collapsed on the sidewalk. It all happened so fast, and I am glad we weren’t hurt. If she had a weapon, I might not be here.

• Oh, glad that you are okay, well, you just finished your Shadows North American tour. What are the band preparations for a tour and how did it go?

There is so much involved in prepping for a tour. I am usually slammed, and I went into this tour with 4-5 hours sleep a night for the entire month before it started. There is booking, correspondence,publicity, advancing, artwork, tour posters, merch, t-shirt art, radio dates, social networking, van repairs, costumes and tour themes, etc. But, once we head out, everything is mostly done and I can focus on performance.
Aside from the strangling incident in Las Vegas, and the SWAT Team incident in Tucson, the tour was awesome! I love being on the road. We got to commune every show night with our fans, made a bunch of new fans, visited some cool places, played in some awesome venues and ate delicious local foods.

• It’s rare when I find a band that have EP series, tell your fans more about the concept of Trilogy Series especially the forthcoming CD Irkalla.

The Trilogy Series is a series of three related EPs. Each EP will consist of three songs and three interludes. Each piece of music will be released on an auspicious day that is a derivative of three (in terms of numerology). Also, each piece of music will have a video component. After the release of the third EP, we will combine all of the music and all of the videos into one movie to be released thereafter. The first EP is called ‘Irkalla’, which is the Sumerian word for the Underworld. ‘Irkalla’ will be released in Spring 2018 and the second EP (title TBA) will be released in Fall 2018.

• We would like to thank you for this interview and certainly we cannot wait for your upcoming releases.

Thank you so very much for listening and supporting us. I deeply appreciate that.

• FYI – The term ‘Vajra’ in Arabic means a whore, prostitute or a woman who practice adultery.