MUSIC
Interview: Lorenzo Gabanizza Shares Insights on His Musical Journey
After Lorenzo Gabanizza’s uniquely written EP “Someone waiting at their door” was released, we caught up with an insightful interview with such a talented artist to explore his eidetic experience and what he had to say about his incredible musical journey so far. Read below to learn some interesting details about Lorenzo Gabanizza
Thank you for joining us today – Congratulations on the release of your EP “Someone waiting at their door”! How are you feeling about sharing this EP with the world?
Excited? And also grateful to all those people who have allowed the realization of this Ep. In particular, the musicians and staff who have collaborated, my dear friend and editor John Toso, the great fiddler Ian Cameron and the engineer Don Tyler, who has worked with Bob Dylan, one of my myths of all time. And Well, a great deal of people involved as Lydia Walis, Jennifer Dimer, Xenia, Stefano Bedini, Luca Legrenzi, and many others.
What led you to pursue a career in country music?
It’s not like I’ve pursued a career in country music. I don’t have a specific genre because I prefer to use my whole “chromatic scale”. I had the luck of having two parents loving music and having a terrific vinyl collection ranging from classical to hard rock. So, for me, at 5, it was normal to listen to Chopin, Mahalia Jackson, Elvis Presley, Jethro Tull, Led Zeppelin. Therefore, when I write music, I draw on all my baggage (including literary knowledge). In fact, I believe that music should not have limits, just as the artist at work should not be limited by preconceptions. I find labels limiting, disappointing. And harmful to the artist. If you browse my discography, you will realize that there is no genre linearity and this is due to the fact that I believe as I have already said, that an artist should use all the scale of his knowledge and emotions.
What’s your first memory of the guitar and what’s the first song you ever learned to play?
The first time I played the guitar I was 11 if I’m not mistaken. I started playing guitar because I wanted to be independent. I was already playing keyboard and drums, but the guitar seemed to me the most suitable instrument to for my compositions – and also the least noisy as my neighbors were not so happy with my drums exercising… There was no first song. I remember that I spent the first few days making my fingers bleed to learn the basic chords of a bouquet of songs, and then, writing in a notebook all the chords of the songs I preferred: Yellow river, Eloise, Candida, Roly Poly, Can’t help falling in love, I am I said, New Morning etc.
What’s the motivation behind your upcoming album “All the words we never said” and when can we expect it?
The meaning of this album is very clear from the title. There are words, meanings, feelings, truths we never tell, for various reasons. This album, therefore, chooses transparency and touches on burning and social topics such as George Floyd’s death, prejudice, violence, racism, but also feelings, depths never described before by myself; after all, freeing oneself from shields and preconceptions, for an artist, is, in my opinion, the true achievement of artistic maturity.
If you are asked to collaborate with a renowned musician, whose name will you write down?
Well, I have no problem collaborating with other artists, but it’s not my priority. I am always positive with this kind of things I mean. If I must mention someone, the most of them are dead, like John Lennon, Elvis Presley, Johnny Cash, Chester Bennington. The alive squad is composed by Jeff Christie, Barry Ryan Mike Shinoda, Bob Dylan, Neil Diamond, Kate Bush, David Gates, Johnny Rivers, John Carter…All people who surely don’t need my input.
What is one message you would give to your fans?
Never give up on your dreams. Keep your feet on the ground but your soul high flying.
Are you working independently or with any production house or recording label?
At the moment I am working with an independent label. The album will be released under Nashville label AOK Records and Productions, under the production and management of Adam and Angel Knight. I will get amazing musicians in studio, so I am very excited to start working on this and I hope you people are eager to hear the final product as much as I am.
Thank you for speaking with us! For our final question, is there anything else you would like to add?
Follow me on my channels, listen my music on spotify, apple or any other platform and if you like what you hear, give me one like. It’s never said enough, especially in times like these, that the artist’s salary is the consensus of his audience. In the end, the magic of this profession is precisely this: by writing a song, we give to the audience a part of our heart and that piece of the heart becomes part of them and keeps beating when it touches their sensitivity. Success does not belong to the artist, but to his audience because without an audience, we are nothing; we are, as a Zen proverb said, like a man trying to clap with one hand.
Catch Up With Lorenzo Gabanizza on:
Katika wimbo wao mpya wenye mchangamsho “Play Your Clarinet!”, Into the Blood wanaunganisha midundo ya kielektroniki inayoshika kwa urahisi na mgeuko wa kusisimua: solo la klaneti lenye mionjo ya jazz kutoka kwa Peter Fuglsang. Uchezaji wake unaongeza mguso wa uchezaji wa moja kwa moja unaokamilisha msingi wa kidijitali wa wimbo huu, na kuunda tukio la kipekee kabisa la kusikiliza.
Wimbo huu utazinduliwa kimataifa tarehe 22 Novemba katika lugha 11 tofauti—ikiwemo Kiswahili, Kifaransa, Kiingereza na Kichina n.k.—pamoja na toleo lisilo na sauti za kuimba.
Jiunge nasi katika safari ya kimataifa
Acha “Play Your Clarinet!” ikupeleke kuvuka mipaka, sauti na tamaduni. Wimbo mmoja. Lugha kumi na moja. Utasikika kwenye majukwaa yote makubwa ya kusikiliza muziki mtandaoni, na video za maneno ya wimbo zitapatikana kwenye YouTube. Jifunge mkanda na ufurahie safari!
Orodha ya video za “Play Your Clarinet!” – video za maneno ya wimbo katika lugha zote 11 kwenye YouTube:
https://www.youtube.com/playlist?list=PLuQcCz0vhEKyPigEcJ1-Du7YhrzZdLrex
“Destination 11” – video ya muziki:
https://www.youtube.com/watch?v=r8l72BtPBd8
Kuhusu Into the Blood
Duo la Into the Blood—Jens Brygmann (sauti za kuimba na ngoma za kidijitali) na Carsten Bo Andersen (kinanda na sintesa)—imekuwa ikifanya kazi tangu mwaka 2016. Muziki wao umekuwa ukipigwa kwenye vituo mbalimbali vya redio duniani, vikiwemo vya Uingereza, Australia na Ufaransa.
Toleo la asili la “Play Your Clarinet!” pia linapatikana kwenye rekodi ya vinili ya inchi 12 kama sehemu ya mradi wao mkubwa wa Destination 11, unaojumuisha video ya muziki ya dakika 11. Video hiyo imewahi kuonyeshwa katika matamasha mbalimbali ya kimataifa ya filamu fupi, na hadi sasa tayari imeshinda tuzo mbili nchini India, kufikia hatua ya fainali kwenye East Village New York Film Festival na Las Vegas International Film & Screenwriting Festival, nusu fainali kwenye Seattle Film Festival na robo fainali kwenye Synergy Film Festival huko Los Angeles.
Mradi wa Destination 11 umefadhiliwa na White City Consulting na Custom Coaching.
Upakuzi kupitia Dropbox – Hapa unaweza kupakua nyenzo za promosheni:
https://www.dropbox.com/scl/fo/sai0udu4imfwdmktxf5cj/ADqWOKnmQZjDm3PsXL3yzvs?rlkey=75i1ctld2guy8tcp6snp112j9&st=jtgfu546&dl=0
Salamu za muziki kutoka
Into the Blood
Jens Brygmann & Carsten Bo Andersen 📧 [email protected]
Into the Blood – mitandao ya kijamii:
https://linktr.ee/intotheblood
MUSIC
Van Hechter’s “Boy Problems” Is a Deep and Danceable Bilingual Anthem for Anyone Tired of Lukewarm Love
Montreal-based pop sensation and LGBTQ activist Van Hechter is back with “Boy Problems,” a stunning new single. The track merges his signature upbeat charm with rare emotional depth. Hechter, known for hits like “Disco Brother,” “Hot Damn,” and “Love Elastic,” reveals a new side to his magnetic electro-pop personality, offering a message that is both radiant and raw.
At 4 minutes and 24 seconds, “BoyProblems” is a bilingual (French & English) eruption of glitter, melancholy, and empowerment. It’s built on irresistible synths, glossy production, and pulsing basslines. The song invites listeners into a world where heartbreak beats in rhythm with liberation. The melodies feel euphoric on the surface, yet are stained with a haunting vulnerability, proving that dancing and deep feeling can exist together.
At its core, the song is a manifesto about refusing to settle for half-love. Van delivers lyrics that make you sway, smile, and suddenly pause; the truth stings. If love isn’t loud, real, and fully given, he’d rather walk away. It’s a reminder wrapped in rhythm: loving yourself means refusing the small version of what you deserve.
Filled with Hechter’s signature humor, glamour, and optimism, “Boy Problems” is a club anthem and a soul-stirrer all at once. The bilingual lyrics expand its emotional reach. The track feels at home anywhere, from Parisian dance floors and New York rooftops to headphones on a bus or speakers at Pride.
This is a jam that makes you feel like you’re flying, free from pretense. It’s definitively dance-pop and unmistakably Van Hechter, though the smile has a real heartbeat underneath. Listeners will hear that signature flair; he’s still cheeky, stylish, and unapologetically queer. His artistry is simply sharpened with new emotional honesty. This is a growth moment, delivered with a wink and a synth hook.
“Boy Problems” is a significant step beyond a simple catchy single. It’s a toast to self-worth. A glittering rebellion against lukewarm love. A reminder that the dance floor can be a place to heal. This sonic centerpiece belongs on your playlist, and on your friends’ too.
Catch Up With Van Hechter on:
MUSIC
TR Craze brings his South Sudanese story to the gritty drill anthem “Tule Tule” with Jamaican-UK rapper Caine Marko
Sometimes a song shows up like that friend who kicks open the door without knocking, grinning and saying, “get your shoes, we’re leaving.” “Tule Tule,” the new single from South Sudanese artist TR Craze featuring Jamaican-UK rapper Caine Marko, moves exactly like that. The track is bold and charged, carrying the weight of lived experience while stomping over a dark, menacing drill beat that feels built for the streets as much as the club.
TR Craze’s backstory reads like a movie script Hollywood studios would fight over. He was born in South Sudan, shaped by the trauma of civil war, and pushed into the harsh realities of refugee life. He literally survived the treacherous routes through Libya and across the Mediterranean Sea to reach Europe. This man distills survival into rhythm. On “Tule Tule,” you can feel that heart, that urgency, and that fire in his delivery, channelled into a raw, assertive drill performance that cuts through even if you don’t understand a single word of the opening verse. At its core, “Tule Tule” is a raw, assertive drill track that isn’t afraid to bare its teeth.
The word “Tule” comes from Nuer. It refers to youth games and the electric thrill of chasing something, whether that’s victory, joy, or destiny. TR Craze uses that spirit like a drumbeat beneath his voice. The choruses hit with a communal, call-and-response warmth but here that playfulness is flipped into a gritty, chant-like hook – “Tule Tule” – that feels like the rallying cry of a crew on the move. Even without translating the lyrics, the tone tells you everything. This is about motion, pursuit, celebration, and refusing to stay stuck in the past, all wrapped in an unapologetic, high-adrenaline atmosphere. Lyrically, the track leans into street life, dominance and crew loyalty, matching the tension in the beat.
Behind them, producer Kyxxx builds a dark, tense soundscape, stitching drill drums with Brazilian bounce and Bhangra-flavoured rhythmic elements that keep the track constantly on edge. The result is a gritty, energetic and unapologetic atmosphere that pulls you straight into their world.
Then Caine Marko slides in for the second verse, and the whole energy pivots into a sharp, swagger-heavy bounce. His flow is clean but gritty, confident and confrontational, shifting between braggadocio and sly charm.
“She knows I’m a wolf and I run the pack,” he starts, classic alpha talk, but delivered with a laid-back grin. “She come first like running track,” he continues, flipping between affection and athletic metaphors like a man who’s too used to moving fast.
Then he opens up the verse more: “Doing dirt and getting with a bitty, I only pretty… then back to the city. Got me some liquor then it got me some weed.” It’s lifestyle rap, but the reckless, unapologetic kind. It’s the messy, outside-at-night, live-in-the-moment vibe that balances TR Craze’s more grounded narrative. When he ends with “you going to hang with the gang,” the energy snaps into a group-hyped finale, a reminder that music like this isn’t meant to be consumed alone, underlining the crew-first loyalty at the heart of the record.
“Tule Tule” works because it blends worlds without softening its raw, street-hardened edge. It merges East African emotion, Caribbean-UK swagger, drill and hip-hop grit, Brazilian and Bhangra textures in Kyxxx’s production, diaspora storytelling, and a spirit of joy that refuses to be dimmed by pain.
Let “Tule Tule” run while you’re walking, cooking, texting, or plotting big dreams – or getting ready to step out with your crew.
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