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Interview: Stephanie Jeannot Share Insights About Her Musical Journey

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Stephanie Jeannot joins us again to discuss her new single ‘Haitian’, her inspirations, and what we can expect from her in the future! Make sure to check out our interview below:

Welcome – Thanks for sharing your music with us! How has 2020 been for you?

2020 is an experience. It started off with me thinking that it was going to be one of the greatest years because of how it came in. But once the truth settled in about how the rest of 2020 was going to be, my entire view of it changed.

I lost many people to this awful disease including my drummer, Richie Johnson, who I adored. That was my boy and he is so missed. I also lost a friend, Linda Bekham who was an amazing promoter for jazz events who helped me to put on a really nice live jazz birthday event last year.  Both of the aforementioned died days apart and the more the days progressed towards the end of March, the more people I was losing.

I decided to use my emotions productively when my Instagram friend, John Mueller from Chicago, IL and I started doing Zoom songwriting sessions which lead to the idea of putting together a musical project and giving ourselves a deadline to finish it.

Every night after that, I wrote a song or two with piano, drums, lyrics, lead and background vocals. I would send them to John as a rough draft and ask him to add him bass lines.  There were a few songs where he also created the musical melody and I added piano, lyrics and vocals.  Between the end of April and May, I composed over 25 songs of which, 13 is featured on the album we released on October 10, 2020 entitled, “The Stephanie Jeannot & The John Mueller Project”

Interview: Stephanie Jeannot Share Insights About Her Musical JourneyCongratulations on your new album “The Stephanie Jeannot & John Mueller Project,” Which song was your favorite to put together?

Thank you so much. I feel like with nine months, the project was like giving birth. We conceived and gave birth to what we had been doing the entire year. I have a lot of favorites on this album for a few reasons.

One of my favorites on the album is “Intoxicated By Your Love” because I was coming from church one Sunday afternoon during the quarantine and while I was driving, the song lyrics started to come to me so much that I had to tell Serie to open up my Voice Memo so I could record my thoughts. “Intoxicated By Your Love” is some of the ideas I would put down in reimagining Aretha Franklin’s tune “Respect.” I also love it because was able to not only play all the piano parts but also come up with a really cool piano solo and also chart the notes I was playing. I also love it because John Mueller was right there with me, riding tight to the waves of sound that was present in the tune. We make a good team and I love that. I originally wanted to name it 95 Proof thinking back to a time when I was a lush and drank 95% alcohol with my friends at the dorms and we all got sick off that 190-proof bottle of Grain alcohol. I have been sober for 7 years now but the experience of having been someone who used to love to indulge so much that I had a trophy case of empty bottles, gave me the words to be able to write this song and created the vibe that it needed.

Another of my favorites is “Haitian” because I am able to more express myself in Haitian Kreyol which I have been trying to do forever. I laugh because I used a translation book to create the hook which is 95% in Kreyol. But to get the point across of what I was trying to do which to meld my Americanism with my Haitian, and I did it; both musically and lyrically.

I love the song “Brooklyn” because it was my first time being able to be free with my poetry and actually spit it out without stumbling. I started writing poetry before I started writing songs. This song was kind of cool because John writes this funky bass line, drum groove and guitar riff and sent it my way. At first, it was going to be a song entitled “I write in Brooklyn.” But when I heard John’s bassline, I realized that it was meant to be an anthem of some sort and changed the entire lyrical content already drafted to … “Ain’t no other place like, ‘Brooklyn,’” and that in itself brought the beauty and culture of the unique borough of Brooklyn to life.  But what give is even more of that lovability is Bruffdacrowdpleaser adding his wit and character to it. This is the first song that I ever wrote a piano solo for.

I love “You are the One” because it is the first jazz song I ever wrote and I love “Rise Up” because though it has political context in its lyrics, it is the first ballad that I have ever written and I love “Moving Forward” because it was a song written to celebrate my nephew and my students graduating and running towards the next chapters of their lives.

How would you describe your music to a first-time listener?

My music is something to take your time to listen to because there is a story in every song that every person could relate to. The first two tracks are relative to people who work a 9-5 for a living. There are a few songs that amplify the idea of agape love, equality in justice and unity for the world. I wrote my first jazz piece and ballad ever. My music is familiar yet different. There is a song on there for everybody.

What is your creative process when creating new music?

My writing process varies. Sometimes I am sitting somewhere, and a song comes to me that demands me to write it. Other times, I am practicing my piano playing and I play a series of chords that inspires a song, which forces me to open my Sonar Cakewalk DAW to start layering my ideas down.

With this particular album, John and I came up with a few prompted titles for future songs to be written and many of the songs were written around the title idea. I was doing a lot of reading at that time and if I saw an interesting phrase that fit the topic, I wrote it down for future use. I was also entering a few 2000 words or more prompted short story writing contests, which helped me a lot with the art of telling stories in musical format.

Once I come up with an idea, I write the song until the entire draft is completed which includes music, lyrics, lead and background vocals. I was up until about 3AM every night from the end of April through mid-May, just writing and coming up with song ideas.

“Haitian” is beautiful! Tells us what you love about your culture.

Thank you. I love the language a lot. I think it is really nice and I love having something such as a foreign language that differentiates me from the bunch. I love Haitian music because it is jazzy and funky all at the same time and the dances that people do to it because the movements to the Kompas sounds are so graceful and beautiful. I love the food because there ain’t no cuisine like Haitian cuisine.

I have been to Haiti and so I appreciate the atmosphere and the people. The waterfalls, the mountains, the Greenland; all worth seeing.

Interview: Stephanie Jeannot Share Insights About Her Musical Journey

What would you say has been the single most influential factor in your success?

My most influential factor in my life is not allowing anyone, anything or any circumstances to take away the joy I have for being a musician who writes songs and performs music. I realize at the end of the day that I could let life break me and make me not want to participate in the very thing that brings me joy, or I could just work with what I have, where I am and put forward what was in me meant to take flight.

Plus when you have people like your parents, good friends and John who was such a motivating factor in this entire songwriting/album writing experience, helped to push me to just give my all and not allow anything to stop me.

Thank you for speaking with us! Is there anything else you would like to add?

Thank you for providing the platform for me to just share my story. I totally appreciate this experience.

 

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Li63rty Embraces Vulnerability and Warm Afro Pop Rhythms With Roxy on Her Romantic New Single “Without Your Love”

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Li63rty Embraces Vulnerability and Warm Afro Pop Rhythms With Roxy on Her Romantic New Single “Without Your Love”

Li63rty has built her sound around golden-era hip-hop influences, sharp wordplay and soulful production, with lyrics that move between street life, love, loss, ambition, spirituality and personal growth. Her confident delivery is grounded in reflection, and she often draws on her own experiences to explore resilience and self-discovery. That sense of independence reaches beyond the studio. Through writing and entrepreneurship, she has made ownership and empowerment central to her creative outlook, encouraging listeners to push past limitations and live on their own terms.

On “Without Your Love,” however, she lets a different side of that personality come forward. Leaving behind the grit of Brooklyn drill and the hard edges of boom-bap, Li63rty settles into a warmer blend of Afro-pop and R&B. Singer Roxy joins her on the track, lending a soulful melodic hook that gives the song much of its emotional pull.

The production has an easy, sunlit warmth, though there is something quietly introspective about its mood. An infectious drum groove provides the foundation, while bright synth accents add movement and colour. The syncopated rhythm makes it easy to imagine the song playing at a party, but its unhurried pace is equally suited to a late-night drive.

This is Li63rty’s first official move into Afrobeat, and the shift feels comfortable rather than forced. The accompanying cinematic music video extends the song’s focus on devotion and loyalty, exploring the emptiness that can come with imagining life without the person you love.

Roxy handles the melodic centre with an airy, hypnotic vocal performance. Li63rty responds in a conversational flow, easing back from the aggression that often shapes her rap delivery. Her verses give the groove room to breathe, yet retain the Brooklyn confidence that defines her work. The contrast between Roxy’s smooth singing and Li63rty’s measured cadence helps the arrangement feel cohesive.

At its heart, “Without Your Love” is a direct expression of deep devotion and affection. The line “where would I be without your love.” captures the question running through the track. There is little posturing here. Li63rty sounds willing to admit just how much one person can mean to her, and that openness brings a welcome tenderness to the song.

The result is warm, romantic and uplifting, with a late-summer feel that suits its easygoing production. It can sit comfortably in the background while driving or relaxing, then come alive when the rhythm draws people onto the dance floor. For an artist usually associated with a harder hip-hop sound, “Without Your Love” offers an appealing change of pace and a convincing glimpse of her range.

“Without Your Love” is now streaming everywhere.

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Nelia Ross Embraces Raw Pop Rock Vulnerability on “Unknown Man” as She Enters a New Chapter for GRAMMY Consideration

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Nelia Ross Embraces Raw Pop Rock Vulnerability on “Unknown Man” as She Enters a New Chapter for GRAMMY Consideration

For longtime listeners, Nelia Ross has built a reputation as a versatile Italian international artist working at the meeting point of classical vocal technique, contemporary songwriting, and theatrical performance. A crossover operatic soprano, accomplished pianist, composer, and songwriter, Ross carries a powerful, expressive voice that lets her move between opera, pop, and rock while retaining the emotional weight of her classical background. Her international career, spanning Europe and the United States, has placed her on orchestral stages, alongside world renowned artists, and within the more intimate setting of her own original work.

She returns with another accomplished performance on “Unknown Man,” a raw, emotionally heavy pop-rock ballad that deliberately pulls away from the polished classical crossover sound often associated with Ross. In its place is something grittier and closer to the nerve. The song has been submitted for consideration at the 69th Annual GRAMMY Awards in the categories of “Song of the Year,” “Record of the Year,” “Rock Song,” “Rock Performance,” and “Arrangements, Instruments and Vocals.” At the center of it is a performance shaped by technical control, but driven by vulnerability.

“Unknown Man” represents a clear stylistic turn toward a rawer pop-rock space. Lyrically, Ross focuses on the longing to connect with a mysterious, distant figure who carries deep emotional significance. Vulnerability and intimacy sit at the heart of the song, along with the quiet courage involved in opening oneself to a fragile connection and hoping that something uncertain might become lasting.

The track steps away from electronic loops and heavy dance syncopation. Its foundation is organic and atmospheric, with electric guitar taking a prominent role alongside cello, bass, and drums. Backing vocals from various singers support Ross without crowding her emotionally charged lead. The pacing remains deliberate, with a mid-tempo pulse giving the song enough structure to move forward while leaving space for its emotion to gather naturally.

The arrangement expands and contracts with that feeling. Sparse, quieter passages gradually give way to larger full-band crescendos, creating a sense of scale without losing the song’s intimacy. Real instrumentation remains central. Sweeping, cinematic strings recall Ross’s classical roots, while electric guitar, piano, and cello give shape to the track’s climactic passages and add weight to its darker atmosphere.

As a trained dramatic soprano, Ross approaches the performance from a different angle than strict operatic theater. Her verses can feel tender, breathy, and close to the microphone, then open into soaring belts when the choruses arrive. That contrast shows the depth of her control, though the most affecting moments are often the less polished ones. The “aches” and textural cracks of the performance are allowed to remain audible, giving the vocal a lived-in quality instead of sanding everything down into pitch-perfect digital smoothness.

The result feels closer to a dramatic stage soliloquy than a pristine studio exercise. There is a high-stakes quality to the delivery, drawing from the emotional gravity of a live, un-ironic classic rock ballad. Ross leans fully into the song’s tension, and the performance gains its force from that willingness to sound exposed.

Conceptually, “Unknown Man” keeps returning to yearning, vulnerability, and the uneasy space between emotional safety and deeper intimacy. Its central conflict comes from opening one’s heart to someone distant and mysterious, then hoping that a brief spark can survive long enough to become something real.

Taken as a whole, “Unknown Man” is cinematic, haunting, and intensely passionate. Its dramatic sweep recalls the theatrical scale of a classic 90s power ballad, while its emotional framing carries the darker vulnerability of contemporary pop. The mood is melancholic, yet there is a sense of bravery in the hope running through it.

“Unknown Man” is not Ross’s only entry this season. She has also submitted two original songs, “Soul” and “Uniti se distanti”, for official GRAMMY consideration for Pop Solo Performance/Arrangements, and Instruments and Vocals respectively.

Stream “Unknown Man” here and let us know if you feel that it is GRAMMY worthy.

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Digital Guts Builds a Restless Genre Bending World From Anonymity, DIY Instinct, and Sonic Experimentation on “Digital Guts”

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Digital Guts Builds a Restless Genre Bending World From Anonymity, DIY Instinct, and Sonic Experimentation on “Digital Guts”

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Originally from Michigan and now based in Philadelphia, Digital Guts is an artist who embraces anonymity, keeping attention on the music rather than the person behind it. That sense of mystery fits naturally with a deeply DIY approach. The self-titled 7-track album “Digital Guts” is a fascinating, genre-bending project, connecting an underground electronic and emo aesthetic with experimental, sample-heavy instrumental structures. The result feels committed to sonic exploration, with arrangements that resist cookie-cutter formulas and a production style that shifts deliberately from one track to the next.

Opener “Angels Ball Out” sets the record in motion with a grand introduction. Its beat leans heavily on clever, layered sampling, creating a textured foundation that feels nostalgic while remaining distinctly underground. The rhythm settles into a smooth, loop-centered hip-hop bounce. It functions almost like an overture, especially once the album reaches its final track, “Bye Bye,” which cleverly returns to “Angels Ball Out” through a full-circle structural reverse play. Weightless, ethereal, and triumphant, the opener creates a cinematic entryway into the album’s universe.

The second track, “Goth Girl,” moves directly toward darker alternative subcultures, driven by a shadowy trap bounce and alluring vocals. A deeply calming, hypnotic instrumental backdrop balances the vocal loop, while the rhythm stays slow, deliberate, and swaying. Much of the vocal cadence circles around one lingering question, “What you see in me?” At a faster tempo, that repetition might become tedious. Here, it works beautifully, drawing a comparison to Rihanna’s “Pour It Out,” filtered through a more gothic atmosphere.

What comes through is deep longing, melancholia, and romantic fixation. The restrained beat strengthens the sense of emotional vulnerability and keeps the listener absorbed in the atmospheric space surrounding the voice.

Third track “Broken” marks a huge sonic pivot. The smooth sampling falls away as the production dives headfirst into aggressive electronic hip-hop, powered by high-energy UK drum and bass patterns. The rhythm is high-octane, frenetic, and relentless. Its chaotic cadence recalls early The Prodigy and the aggressive electronic-punk style associated with Wargasm UK.

The mood is erratic, anxious, and explosive. “Broken” captures the sensation of mental fracturing or inner chaos, pushing the album’s energy suddenly into overdrive.

Another standout from the album is “cryonme,” easily its most experimental and polarizing track. The production is intensely maximalist, with so many elements moving at once that the beat can feel intentionally at odds with the underlying tone. Its eccentric layering carries a distinct art-pop Gorillaz influence, while hyper-pulsating electronic details become one of the track’s defining characteristics.

The rhythm is disjointed and constantly shifting. “cryonme” is among the album’s more lyric-driven moments, asking the listener to follow the vocal cadence through a maze of competing instrumental sounds. The mood is melodramatic, eccentric, and overwhelming. It resembles emotional overload poured into a blender, producing a surreal and slightly chaotic listening experience.

“Dreams” is a synthetic masterpiece, hauntingly beautiful throughout and capable of leaving a desirable aftertaste long after its final notes fade.

This, ladies and gentlemen, is the story of Digital Guts’ “Digital Guts,” streaming now on popular digital platforms.

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