Now Hear This is a monthly A&R column that provides you with exciting new sounds we discovered through the innovative new music discovery platform Groover.
Each month, you can expect a varied bouillabaisse of songs from a vast spectrum of artists from all over the globe, regardless of genre or geography.
This month, SPIN has selected 15 artists who deserve your attention, including the post-punk revivalism of The Manor Born, the industrial acid jazz of Boni, New York City antifolk legend Block, the Detroit-powered punk rock of Criminal Hero, the sunny indie pop of Emma Rosenkranz, Kristii’s EDM-fueled R&B, the Connecticut coastal pop of Grace Doty, the American hard rock of Aranda, the scrappy garage rock of Jake Kulak and the Modern Vandals, the art pop creativity of Rosemary Walks, the rustic Vermont indie soul-folk of Fisher Cat, the German-language trap of Azalia, the jazz fusion masterclass of The Andy Rothstein Band, the Pacific Northwest charm of Dakota Thiem and the bilingual cosmopolitan soul of Taya Elle.
Who knows, your next favorite act could just be a read away.
The Manor Born
Sounds like: Early ‘00s post-punk revival revivalists in the spirit of Bloc Party and early Arctic Monkeys, albeit baked in the Southern Arizona sun.
Interview:
We answered the questions together, hope that’s alright. There’s three of us answering the questions, me (Clay), Jeff Eagan (bass), and Nick Kopf (drums). I sing and play guitar.
Describe your approach to music and how you would explain your sound to others.
Clay: For genre I just say indie rock and shrug my shoulders. If someone plays music or is interested in music then I’ll add post punk to the end of the sentence, too. Our approach right now is just hanging out and trying to write good songs. I usually come with a chord progression and then we jam and work it out. Right now we’re writing the movements of songs on whiteboards and then not remembering what we did when we read it again at the next practice.
Nick: My approach to making music is a combination of creating what I enjoy listening/playing first and foremost. Then slowly configuring that into a song structure that is segmented and flows well. After that I hope that it’s good enough for others to enjoy. But if I don’t like it initially then what’s the point?
Jeff: I like to see where the song is taking us, agenda-free. Sometimes the idea takes us somewhere upbeat, but not always. We aren’t trying to fit into a genre box necessarily. The songs pop when they aren’t forcing themselves to be something they’re not. Most of the time, that sound is post-punk with a heavy dose of 90’s Seattle mixed in.
How did you come up with the name of your act?
Clay: It’s a play on the term manner born. I didn’t want to continue making music under my own name anymore and thought the name sounded cool, which is the most important thing. It’s also a play on the fact that we’re all working class.
What are some artists and albums that have informed your creative direction?
Clay: In high school I got really into post punk revival stuff from the late 90s and early 2000s, like Bloc Party and Interpol. I really love ’80s stuff too, like The Church and The Clash.
Nick: Some artists/albums that have influenced me musically include Radiohead, Death cab for Cutie, Smashing pumpkins, Interpol, Foals, and Polyenso.
Jeff: I’m a big fan of Cursive (specifically The Ugly Organ) and Pedro the Lion. How that plays out creatively is sort of hard to pin down. I’m just trying to sync up with Nick (the drummer) to keep the song moving.
What’s the most exciting thing happening in music right now?
Clay: AI playlists. Streaming payouts. (Kidding)
Nick: I think the most exciting things always are experimental sound. You never know what’s good until you try it. It’s easy to get trapped in a box and stick with what you know. But real results come from the unknown.
Jeff: I like seeing people waking up to the fact that AI is a threat to reality. My kids are elder Gen Z (if that’s a thing), and they are not only playing music but anti-AI. That’s huge. Seeing so many young people grabbing tangible instruments and making music is super dope.
Where do you see the music world heading in the next five years?
Clay: I don’t know, hopefully somewhere good. The whole AI-ification of the world has me pretty down.
Nick: It seems for quite some time that music has become a lot more self produced and electronic influenced which I think is pretty cool and makes sense for our day and age. So many peeps wanna make their destiny happen on their own terms with their own equipment and sound production and I admire the grind and ambition.
Jeff: Musical revolution. Or musical apocalypse. Those are the options. We are trying to be a part of the revolution.
How is music helping you during these uncertain times?
Clay: I think when I was younger it helped me more because it felt like I had someone to talk to while I was listening to music I liked, even though I was alone. I had a weird childhood and spending hours in my room listening to music or going for long walks really helped me absorb great albums. As in current uncertain times, I honestly don’t know how I’m getting through. Everything is pretty wild right now. Playing music with my friends helps and I think we’re having a lot of fun doing that.
Nick: Music has always helped me in uncertainty since I was a wee lad. You’ll find yourself listening to the same songs for decades and now truly relating to the lyrics until a very specific life event occurs that shifts your perspective and makes you listen in a different way. I find it beautiful and interesting all at once, how it can always be there for you sonically and not poetically, until one day that shifts and you see it all in a different light.
Jeff: We are writing new music right now. The sheer joy, especially as an OG (I’m 44), of creating something where there was previously nothing, is ecstasy on drugs. And that’s pretty high. And I’ve never even taken E.
Boni
Sounds like: A nod to Nine Inch Nails’ The Fragile channeled through acid jazz and afrobeat influences.
Interview:
Describe your approach to music and how you would explain your sound to others.
I have two approaches; I either have something in my head and sit down to try and get it out like it sounds (the hard way), or I just sit down at an instrument and just jam. Usually something interesting will come out fairly quickly and I’ll roll with it. This is the more therapeutic approach. It’s just letting something come out through play. After that, a different type of work begins and it’s fun for other reasons (getting lost in details or desired outcomes, etc.). It’s all a ton of fun.
How did you come up with the name of your act?
It’s the second half of my last name and what some people call me.
What are some artists and albums that have informed your creative direction?
Bjork – Post, Massive Attack – Blue Lines, DJ Shadow – Endtroducing, Tricky – various albums. Thom Yorke – all of it. Incredible melodies, production and just always being one step ahead; Nick Cave’s later work; NIN – The Fragile. Aphex Twin, Nicolas Jaar, I don’t know, it’s endless. I’m a Phish head too. Sometimes I’m just trying to make a Phish jam in my grooves… sometimes.
What’s the most exciting thing happening in music right now?
The Sphere. And before that it was hologram 2Pac. And whatever Aphex Twin does next.
Where do you see the music world heading in the next five years?
AI ruining it and people wanting to see real artists perform on instruments.
How is music helping you during these uncertain times?
The best part of life is rock & roll. Always has been. I wanna do and see more of that. When I do that, you don’t think much.
Block
Sounds like: The cosmic return of an essential voice of New York City’s beloved antifolk movement with a sound reminiscent of classic Beck.
Interview:
Describe your approach to music and how you would explain your sound to others.
My musical approach? Let’s see, crawling around in the dark and feeling with my hands — I’m trying to make out where the hell I am. Sometimes an unexpected sound or instrument can help move things along. I’ve always liked to mix sonic textures, and rhythms during the recording process. But at the end of the day, for me, it’s all about the lyrics ultimately. The lyrics have to stand on their own.
How did you come up with the name of your act?
Back in the 90’s, I actually had this question put on the ballot as a referendum in the Manhattan District. As I recall, the vote could’ve gone either way, but a handful of write-ins put “Block” over the top. Monosyllabic names were somewhat the rage at the time. Looking back, it was probably a way to distance myself from traditional folk music.
What are some artists and albums that have most informed your creative direction?
Beastie Boys, Erik B. & Rakim, The Beach Boys’ Pet Sounds, The Beatles, of course — their work is the Holy Grail for me; endlessly fascinating and incredible. 20th century poets like William Carlos Williams and Allen Ginsburg. Oh my god, Lou Reed of course — I’d say he’s my biggest single influence/hero. I remember he came to see me play at Arlene’s Grocery and I was so nervous I couldn’t even look at him while I was playing! I’d have to live 100 lifetimes to read everything I want to read. All sorts of things work their way in I suppose, but not consciously.
What do you feel is the most exciting thing happening in music right now?
Allegra Krieger is fantastic and Charley Hickey caught my ear. The most exciting thing that’s happening in music now, in my opinion, is the exact opposite of what people are most scared of. I have absolutely no concern that great music will bubble up and get heard in spite of the AI social media morass. I think technology is just awesome. But I have my ways of implementing analog disruptors in my recording process. Really, anything that makes a sound is potentially an instrument. I voice memo sounds from the streets — rhythms and tones — music is everywhere!
Where do you see the music world heading in the next five years?
Boy is that a good question. And boy do I not have a good answer for it! Who knows, that’s the fun part. That said, great music and great art is always a reflection of the time in which it is created, automatically and technologically. So personally, I’m very optimistic about what’s to come. I love Homo Sapiens and the music they make.
How is music helping you during these uncertain times?
Dark times are nothing new in the arc of human history. For example, I’m grateful we don’t (yet) live in a time like the 1950s when artists were blacklisted for a decade — unable to record or perform their music! Trying to put things in perspective helps. At the end of the day a great song is enjoyed by people on all sides of the political spectrum. So in that sense, music is vital — it can bring people together. But I don’t try to do that overtly. I think that would be an artistic disaster if I tried to do anything more than write songs for my friends — and for myself. All the rest of it is out of my hands.
Criminal Hero
Sounds like: A refreshing blast of pure Detroit-powered punk rock from Canada in the spirit of The Stooges and the MC5.
Interview:
Describe your approach to music and how you would explain your sound to others.
I build everything around rhythm and forward motion. It’s rooted in rock, but the energy leans more toward punk in spirit than anything traditional. The goal is to make something that hits you physically first, then reveals more the deeper you go. It draws on classic structures but strips them down and rebuilds them with a modern feel. It’s not about heaviness or complexity, it’s about momentum and lift.
How did you come up with the name of your act?
Criminal Hero came out of that tension between perception and identity. The same person can be seen as a villain or praised as a hero depending on who’s looking. You see that everywhere now, in culture, politics, and music. The name lives in that grey area where something feels familiar and safe, but also a bit threatening. It’s something I’ve always been aware of, and it comes through in the music as a constant push and pull.
What are some artists and albums that have informed your creative direction?
I pull from a pretty wide stretch of rock history, from 70s hard rock, metal and punk, through 80s new wave and goth, into 90s grunge. I’ve never tried to tie it to one band or scene. What I connect with is movement, restraint, and identity, artists who know how to make something feel alive without overloading it. I’ve always been into the underdog records too, the ones that hit just as hard but didn’t get the big push. The closest snapshot is a playlist I keep called “Rock n Punk Bangers,” which is really just energy and attitude across eras.
What’s the most exciting thing happening in music right now?
The barriers are pretty much gone now. You can make something from nothing and get it straight to people, which wasn’t really possible before. You can also work with anyone anywhere, just sending tracks back and forth, which has changed everything. You don’t need a label or a big studio anymore, you can build it all at home and the tools are available. The challenge isn’t access anymore, it’s clarity. The artists that cut through are the ones who know exactly what they are and don’t water it down or chase trends.
Where do you see the music world heading in the next five years?
It’s going to split even further. On one side, you have highly optimized, algorithm driven music designed to scale. On the other hand, more intentional artists building smaller but more dedicated audiences. The middle is kind of fading away. A lot of listening is becoming more passive, people aren’t always thinking about who made the song as long as it fits the moment, and that’s where AI music will keep growing. But if you really care about who’s behind it and why it was made, you can feel the difference, and you’re drawn to the people behind it, not the machine.
How is music helping you during these uncertain times?
In a world that feels pretty uncertain, music is one of the few things that still feels real and grounding. It’s therapeutic and gives me something positive to focus on. It keeps me sane. It also ends up being a way of documenting where I’ve been, something that sticks around after I’m gone.
Emma Rosenkranz
Sounds like: Sunny, early ‘00s-leaning acoustic pop that sounds like it was pulled from a page in a personal journal.
Describe your approach to music and how you would explain your sound to others.
Music began as a private language. A way of holding what felt too complex, too shifting, to explain in real time.
My dad passed away when I was 11, and everything in my life changed. Things felt quieter, but also louder in a way I could not name. There was this constant awareness of absence, but also a kind of closeness to it. Music became the one place where both could exist at the same time. Where love and loss did not have to be separated or understood.
I think in a lot of ways it became an inheritance. Not something he physically left behind, but something more internal. A sensitivity. A way of noticing. A way of holding onto what is already slipping away. It felt like a thread between us. Something I could return to without needing to explain why.
My brain is usually very loud. There is a constant stream of thoughts, overlapping, unfinished, pulling in different directions. It does not really turn off. I have always struggled with that, especially at night. Insomnia has been a part of my life for as long as I can remember. Lying awake, replaying things, trying to make sense of feelings that do not fully settle.
But when I write, something shifts. There is this strange quiet that takes over. Not empty, but focused. Almost like everything that felt scattered starts to organize itself. Like pieces of a puzzle slowly finding where they belong. I do not go into it trying to say something specific. It is more about following a feeling until it becomes clear enough to put into words. And when it does, it feels very precise. Like it could not have been said any other way.
Over time, the process has stayed the same. I tend to write after I have lived something, not while I am in it. There is always a distance between experience and understanding, and my music exists in that space. I am less interested in capturing moments as they happen, and more interested in what remains after. What lingers. What shifts quietly. What you only begin to understand once it is already behind you.
How did you come up with the name of your act?
For a while, I wanted to simplify my artist name. Emma Rosenkranz is long, it is difficult, people misspell it. I thought about shortening it, making it easier, something that could move more quickly. But over time, I realized that my last name carries something I am not willing to lose. It is a connection to my dad. It is a piece of him that remains with me in a way that is constant, regardless of how life changes. There is something grounding in that. Even in the idea that one day I may get married and my name could shift in other parts of my life, this version of me stays intact. It becomes its own kind of permanence. Almost like a marker of where I come from. Keeping it felt less like a branding decision and more like a way of holding onto something that matters
What are some artists and albums that have informed your creative direction?
A lot of it goes back to what I grew up listening to. The Beatles and The Beach Boys were always around, and I think they shaped my understanding of music before I even realized it. There is something about the way they approached melody that feels almost architectural. The layering, the harmonies, the way a song can feel simple on the surface but reveal something much more intricate the longer you sit with it. With The Beach Boys especially, there is this emotional undercurrent that runs beneath even the brightest songs. The harmonies feel almost otherworldly at times, but they are still grounded in something deeply human. And with The Beatles, it is the evolution that stands out to me. The way they allowed themselves to change, to experiment, to grow out of one sound and into another without losing their identity. That permission to evolve has stayed with me.
Carole King was another early influence, but in a different way. Her writing feels so direct, so grounded, but never simplistic. As a lyricist, and especially as a woman, there is something incredibly powerful about the way she expresses emotion without overcomplicating it. There is no distance between what she feels and what she says. It feels lived in, honest, and unguarded. That kind of clarity is something I am always drawn to, and something I am constantly working toward in my own writing.
Joni Mitchell has affected me in a way that feels more personal over time. Especially with Both Sides Now, and the different versions she has recorded throughout her life. Hearing that song when she was younger, and then hearing it again later, her voice changed, her phrasing changed, the weight of the words shifted. It becomes a completely different experience. That idea has stayed with me. That a song is not fixed. That it can evolve as you do. The same lyrics can hold entirely different meanings depending on who you are when you return to them. It makes me think about music less as something you complete, and more as something you live alongside. Something that continues to reveal itself to you, even long after you have written it.
What’s the most exciting thing happening in music right now?
Honestly, I think it is the way music can exist anywhere right now, without needing permission. There is something about being in New York City, walking into a random bar, hearing someone you have never heard of before, holding a cheap beer, and realizing how much is happening all around you. It feels immediate and unfiltered. That same kind of intimacy exists online. Someone can record something in their bedroom, put it out into the world, and it can reach people in a way that feels just as direct. There is less separation between the process and the result.
I think what’s exciting is not just access, but the lack of polish in a certain sense. The willingness for things to feel raw, unfinished, human. It allows for more honesty, and more variation in what music can look and sound like. It feels like there is space right now for music to be exactly what it is, without needing to be overly explained or perfected first.
Where do you see the music world heading in the next five years?
At the end of the day, the people making music are just people. People who go to sleep, who wake up, who make their coffee a certain way, who cook eggs in the morning, who move through ordinary routines while holding everything they are feeling underneath.
I think listeners are becoming more aware of that, and more drawn to it. There is less interest in perfection, and more interest in something that feels lived in. Something that reflects an actual person, not just an image of one. Artists are building their own worlds, their own audiences, their own timelines. It is less about fitting into something predefined and more about creating something that feels true and letting people find their way into it.
How is music helping you during these uncertain times?
Music has always been tied to uncertainty for me. It was born out of it. After my dad passed, there were so many things I couldn’t understand. Music became a way of sitting with those unanswered questions without needing to resolve them. A way of giving shape to something that did not have clear edges. That has not really changed. In uncertain times, there is this instinct to try to find answers, to make things make sense as quickly as possible. But music does something different. It allows things to remain open. It does not rush you toward clarity. For me, it is a way of staying close to what I am feeling, even when I do not fully understand it yet. It creates a kind of quiet where things can settle in their own time.
It also reminds me that not everything needs to be figured out all at once. Some things unfold slowly. Some things only make sense in retrospect. Music holds that space. It lets the questions exist without forcing them into answers too soon. And in that way, it feels less like an escape, and more like a way of moving through uncertainty with a little more steadiness.
Kristii
Sounds like: An EDM-fueled variant of R&B pop bolstered by the innovative production of Scott Storch.
Interview:
Describe your approach to music and how you would explain your sound to others.
My approach comes from the duality of worlds I am in. I was a young soloist in the American School Choir in Vienna, trained in opera and theater, as my parents wanted. But following my medical struggles, I first started recording EDM music and now use the entire scope of my training to make a modern cinematic and emotional blend of R&B with pop.
I call my sound a “universal” vocal combination. It’s “classics meets a new age of emotional woke.” I use my big range (3.5 octaves) for heavy, rhythmic blues but also for technical, crafted and high-pitched emotions. I love dance and theater and create full performances, not just casual listening.
How did you come up with the name of your act?
The name “Kristii” is the real me. From singing in my high school choir in Vienna to opening for major artists — I have always been a performer. Using “Kristii” is about bringing all those experiences together. It represents my journey and blends my technical with the raw, friction I sing about today.
What are some artists and albums that have informed your creative direction?
My direction is a blend of sounds. I am deeply inspired by the vocal legends who taught me the power of a fierce woman’s voice — icons like Beyoncé, Whitney Houston and Barbra Streisand. They showed me how to blend great technique with chart topping sound. I also love the “atmospheric soul” of Moby’s Play album.
What’s the most exciting thing happening in music right now?
The most exciting thing is that music is becoming about the whole experience. As someone trained in dance and theater, I love that it’s not just about the song anymore. It’s about how the music integrates with choreography, visual stories, and fashion. Abundance of creative freedom is where my inner perfectionist feels most at home.
Where do you see the music world heading in the next five years?
I think we are moving toward a period of incredible creativity and new artistry. Given my classical background, I believe more highly trained, skilled performers will reshape Pop music. The divide between “classical/theater” and “pop” is disappearing. The future will be about artists who can deliver immense vocal skill and performance precision within a very modern, accessible genre framework. AI is already driving out autotune and one-note singers.
How is music helping you during these uncertain times?
Music is my structure and my lifeline. For me, music was always the air I breathed. I overcame my medical drama with music that surrounded my hospital bed for 4 months. When things feel hard or uncertain, the work of creating music — songwriting, singing and choreography — gives me focus. Creating music helps me get through those moments where I feel like I’m wearing a “mask.” It allows me to be “candid” and confident, and I hope it helps my fans feel strong, too.
Grace Doty
Sounds like: Dreamy coastal pop from Connecticut that owes as much to Tyler, the Creator as it does Vanessa Carlton.
Interview:
Describe your approach to music and how you would explain your sound to others.
My approach to music is very much song-first. I’ll get an idea, write it out acoustically, and then I’ll do my best to reverse-engineer the fully produced version that I hear in my head. I really let myself play until it feels right. Tyler, The Creator said, “Create like a child, edit like a scientist” and I live and die by that. My sound tends to be in the dreamy pop realm lately (I’m very inspired by y2k-era girl-pop at the moment) which you can really hear in my most recent song release, “Sunset Colors”… but there are some other elements, too. Like right now I’m working on a song with some bluegrass elements. It all depends on what the song needs.
How did you come up with the name of your act?
I tried, but I couldn’t come up with anything that felt better!
What are some artists and albums that have informed your creative direction?
Oh man, there are so many. Bad Suns’ Disappear Here is one of my favorite albums of all time. I listen to it cover-to-cover often, and I still learn something new with each listen. I’m really inspired by It Was All A Dream by the girl group DREAM. Lights inspires me endlessly, especially Little Machines (deluxe edition is a must) and Skin & Earth. Also Continuum by John Mayer — electric guitar is my weakness, you’ll hear it in pretty much all of my songs.
What’s the most exciting thing happening in music right now?
The resurgence of early 2000s sounds. The band After is making some of my favorite music in that lane right now. Not to brag, but I was totally one of their first 500 followers 🙂
Where do you see the music world heading in the next five years?
Oof… I’m trying to remain optimistic. My hope is that in the next five years, human art is valued even more than it is now. I’m bummed out by how AI has changed the way people make and perceive art, but ultimately I think there’s always going to be a strong group of people who really value human-made music and will fight for it. I know I will.
How is music helping you during these uncertain times?
I think times are always uncertain, but sometimes things feel more immediate than other times. Music has always been my way of processing what’s happening. I actually started writing my upcoming album project during the pandemic. I had a lot of time on my hands, and I realized there was something big in my past that I hadn’t fully processed. It just poured out of me. It really helped me to have that uninterrupted time for my brain to sift through all of it and just write. “Sunset Colors” is the first song from that project, and the first song I’ve released in almost a decade. I think I felt such a strong pull to start releasing music again because I see humanity heading in a weird sort of anti-human direction that I think we all saw coming eventually, but it’s totally here now. And I think it’s going to be more crucial than ever to preserve human stories — about humans, felt by humans, told by humans, made by humans. Maybe this project is my attempt to keep living in the past, a little bit.
Aranda
Sounds like: An exciting, melodic new strain of Y2K-era hard rock and metal that pulls inspiration from classic albums by the likes of Extreme and Living Colour for added flavor.
Interview:
Describe your approach to music and how you would explain your sound to others.
We have been doing this for a really long time. I think we are serial songwriters so we are always creating and trying to come up with new ideas. Some of them fit Aranda and some of them don’t. We have always been into so many genres and if you listen to our catalog, you will find that the core of our music is rock. If you dig deeper though, there are hints of funk, jazz, singer songwriter, and even a hint of country. We’ve always said if you don’t like one Aranda song, try listening to the next one because it will be different and you might like it!
How did you come up with the name of your act?
We went through a ton of really bad band names as teenagers! First we were called Image, then Bad Taste, then Free Will (after the Rush song) and then finally we landed on just calling it our last name which is…..you guessed it…Aranda! We thought if Van Halen and Bon Jovi could do it, why not us??
What are some artists and albums that have informed your creative direction?
Our early influences consisted of The Beatles (White Album and Abbey Road), Led Zeppelin (Physical Graffiti) , Stevie Wonder (Talking Book), Boston (self titled) and Jimi Hendrix (Axis: Bold As Love). Our Dad exposed us to a lot of classic rock and we really gravitated towards raw, awesome guitar hooks and tons of vocal harmony. As we got into our early teens, bands like Extreme (III Sides To Every Story) and Living Colour (Time’s Up) influenced how we shape some of our mindset today. Some of their records felt genreless in some ways and they could do and go anywhere they wanted to on the same album! If you listen to our albums, they have that same line of thinking.
What’s the most exciting thing happening in music right now?
I think rock is making a comeback. Not that it ever really left but I feel like there is a movement happening again and we’re for it!
Where do you see the music world heading in the next five years?
It has changed so much with the way people consume music. It’s even more wild with the emergence of AI with how people create it. I think ultimately, people still want real music and I feel like more and more people will come back to wanting to hear live music again!
How is music helping you during these uncertain times?
Music is the air we breathe. It feels like it can convey so many different emotions. It helps me listening to it and creating it because it is therapy in most situations I personally face. The world is in a really not so good place right now and music is the one universal language we all speak and can connect with. Sometimes it makes us sad. Sometimes it brings us joy. Sometimes it brings us connection through pain. One thing is for sure: It always makes us feel something.
Jake Kulak & The Modern Vandals
Sounds like: A scrappy blast of garage guitar pyrotechnics balanced out by catchy songwriting hooks, like Matthew Sweet backed by The Hives.
Interview:
Describe your approach to music and how you would explain your sound to others.
Our music is raw, unapologetic and intense. It’s introspection over a wall of sound and it doesn’t shy away from confrontation. I think audiences appreciate that honesty. We are first and foremost live performers. In order to connect with a live audience you need that energy and spontaneity to make the most of each moment on stage. That has translated into how we craft our sound and our approach to music. We’re tapping into the energy of the room and making each show a unique experience. My bandmates Jeremy Peck, Steve Isherwood and Olivia Di Maio are incredibly talented musicians. Our personal chemistry and intensity carries over into our studio recordings. Our producer and mixing engineer Dan Flores worked really closely with us to capture the depth and sound you would experience if you were standing in front of our amps at a live show.
How did you come up with the name of your act?
The band name was taken from the lyrics in our song “Caution Tape.” The line was “Modern Vandals in the heart of Rome.” At the time, that line was very much about the freedom and recklessness of youth, but as I’ve gotten older the meaning of Modern Vandalism has evolved. Destruction and rebellion are not always negative or naive, and subversion is actually necessary. As an indie act our very existence is subversive. The concept of vandalism and disruption is fundamental to the counter culture spirit of Rock and Roll. Rock has always been a rebellious art form and we are embracing that concept.
What are some artists and albums that have informed your creative direction?
I was really lucky to grow up in the 2000’s and experience an incredible revival for rock music. The White Stripes, The Strokes, Arctic Monkeys, Interpol and Queens of the Stone Age were all bands that influenced my artistic direction. One of my biggest influences is Jack White. Elephant by The White Stripes and Is This It by The Strokes had a huge impact on me in terms of songwriting and playing guitar. The band’s foundation is in blues music and we’ve been very influenced by blues artists like Muddy Waters, R.L. Burnside, Robert Johnson, Howlin’ Wolf and Honeyboy Edwards. “The Complete Recordings” by Robert Johnson is another really important album to me. Blues is embedded in the DNA of our band through improvisation and emotional connection.
What’s the most exciting thing happening in music right now?
I do think there is a resurgence in rock bands right now. Some of the most exciting ones are coming out of Ireland and the U.K. It’s exciting whenever I hear a blending of interesting sounds and inventive production with compelling songwriting. Two bands that come to mind are Wunderhorse and Fontaines D.C.
Where do you see the music world heading in the next five years?
AI is obviously a huge concern but I would like to think the novelty of that will wear off and people will continue to seek out real artists and the community that can only be built through live music. Art is created through the sharing of emotional experience and AI is fundamentally incapable of creating real art. I am hopeful that there will also be a backlash to the increasing corporatization of music and the arts. Music monopolies in the US have created barriers to entry that prioritize maximizing profits at the expense of forward thinking vision and development. Taking risks and pushing the envelope is how we creatively progress. With that in mind I hope that over the next 5 years we see more people supporting local music scenes and taking chances on new artists, ideas, and sounds.
How is music helping you during these uncertain times?
I once read a quote that said learning to write is learning to think. I’ve always loved writing lyrics as a means of further understanding and evaluating my own beliefs. We are all being told what to think and what to feel all the time. Controversy and anger are being weaponized and having an outlet like writing where you are forced to confront your own beliefs is very important. Music to me is the middle ground between self reflection and connection. We all have our own individual experiences, but I think our feelings and emotions have a universal element to them that is captured through songwriting. Being able to connect with each other through music and art is a very uniquely human experience. It gives me a lot of hope.
Fisher Cat
Sounds like: Rustic Vermont-rooted soul music for vocals, guitar and organ that sounds like a combination of Jeff Buckley and Mark Knopfler at his most minimal.
Interview:
Describe your approach to music and how you would explain your sound to others.
I play guitar at night when all my obligations for the day are through And the house is silent. What I do might be based on an idea I had during the day or it might be completely spontaneous. If I find a chord progression or an idea that I like, I will develop it. Most of the time, whatever that happens to be feels like it somehow fits in with my life and my environment at that moment. As far as characterizing what I play, I’ve had a hard time placing my music in a genre since I just play whatever kind of occurs to me so I’ve come up with the name “Maple Motown” to describe my genre. I honestly don’t see it catching on…
How did you come up with the name of your act?
I used the name Fisher cat because we have quite a few fisher cats living in this area and I think they’re incredible animals. I guess it’s more of a tribute to them than that I claim to somehow share qualities of theirs. They are pretty reclusive so maybe there’s that.
What are some artists and albums that have informed your creative direction?
I listen to so much music and I’m always discovering new music. I really can’t be sure which if any of them are audible in the music I play but just a few of the musicians I admire would include Thelonious Monk, Wes Montgomery, Julian Bream, A tribe called Quest, Bobby Womack, The Clash, Miles Davis, Bob Dylan, Michael Hedges, there are quite a few.
What’s the most exciting thing happening in music right now?
I like the fact that people are able to create and share music on streaming platforms relatively easily. It seems to be the modern day version of busking. I just hope one doesn’t wind up replacing the other.
Where do you see the music world heading in the next five years?
Honestly, I’m very isolated and couldn’t be any further removed from the music world as it stands today aside from hearing new artists on streaming platforms. I rarely get to even go to a city and hear anyone play so I’m pretty ill-prepared to comment about that.
How is music helping you during these uncertain times?
When I play during the day, Through my window, I’m able to see a creek in the woods, and I can see the sunlight reflecting off of it. It completely transports me, and in that moment, there’s nothing else. My hope is that it does the same for the listener, giving them the same feeling, even though they might not know where that feeling is coming from, and that it transports them in a similar way.
Helping other people experience wonder, or joy, or just entertainment through which they are able to gain some peace of mind and perhaps even be able to laugh and forget their worries long enough to appreciate their own lives and to be thankful for the people in their lives. Knowing that the music I play can help to do this for someone. Anyone, is how playing and sharing music helps me in difficult times.
Azalia
Sounds like: Cutting edge, trap-based hip-hop from Germany with a flow and rhythmic appeal that supersedes the language and gender barrier in a way that will appeal to fans of Doechii and Rico Nasty alike.
Interview:
Describe your approach to music and how you would explain your sound to others.
My approach is rooted in the contrast between raw energy and digital precision. I see music as a way to filter the noise of the modern world. I would describe my sound as ‘High-Definition Future Trap’. For me, it’s not just about rap; it’s about creating an atmosphere that feels like a high-end digital glitch, intentional, sharp, and uncompromisingly female. It’s basically my mindset turned into music.
How did you come up with the name of your act?
My real name is Alia and I really wanted to keep that part of me. My foster dad came up with the name. He is a writer and also wrote the lyrics for Offline Modus. He did some wordplay with the word Azalee which is a poisonous flower. He said my sound is just as toxic in the best way possible. The Z in the name was just perfect because it symbolizes my generation. So now I am basically a dangerous Gen Z plant 😝. It definitely fits the vibe.
What are some artists and albums that have informed your creative direction?
My musical heart is actually quite big and I love many different genres. I do not just listen to Rap. But when it comes to expressing certain feelings and facts Hip Hop is just the most powerful tool for me. In the German scene, I really respect artists like Nina Chuba, badmómzjay or Juju because they know how to mix technical flow with a strong vibe. They proved that you can be successful without losing your edge. And by the way a true music expert recently mentioned that my flow and performance remind him of artists like Doechii or Rico Nasty. I think that is a pretty good direction to be associated with. Do you happen to know who I am talking about? 😏
What’s the most exciting thing happening in music right now?
The most exciting thing for me is that all the old rules are basically gone. You do not have to fit into one single box anymore. Genres are melting into each other and the energy is more important than the label. I love how high end digital production and raw human emotions come together. It is also amazing to see how global music has become. You can be a girl from Germany rapping on a beat that sounds like it was made in Atlanta and the whole world can feel it instantly. This direct connection and the freedom to experiment with sounds like Glitch or Hyperpop in a Rap context is what keeps it fresh.
Where do you see the music world heading in the next five years?
I think the next five years will be a collision of high tech and real emotion. AI will change how we create, but it will also make personality more valuable than ever. Anyone can generate sound, but not everyone can create a feeling. I believe we will see artists building entire worlds around their music, not just songs. Digital spaces, visuals and sound will merge into one experience. You might be at home, but still feel like you are inside a live show. In the end, the artists who stand out will be the ones who feel real. Because technology can copy sound, but it can never replace identity.
How is music helping you during these uncertain times?
Music is my anchor and my safe space. In a world that feels so uncertain and loud it is the only thing that actually makes sense to me. When everything outside is chaotic I just go into the studio and turn into my own version of Offline Modus. It is like a filter that cleans all the stress and the noise. Writing lyrics helps me to process my thoughts and the heavy bass gives me the strength to keep going. Music is not just a job, it is my therapy and my way of staying grounded while everything else is spinning out of control.
The Andy Rothstein Band
Sounds like: Funky throwback to early-to-mid-80s guitar jazz era with the feel of a lost Larry Carlton album.
Interview:
Describe your approach to music and how you would explain your sound to others?
My approach is rooted in two things: melody and musical interplay. I strive to treat the guitar like a voice – even when a song has a gritty, rhythmic energy to it, I always prioritize the melody in everything I write. As for interplay, that is something very important to me. In an era where songs are often remote-tracked and assembled from parts, nothing beats the energy of musicians in the same room feeding off each other’s performance.
How did you come up with the name of your act? Or album?
“Circuit Breaker” felt like the right title for the new single because of the track’s high-energy and frenetic nature. It’s always a challenge to come up with titles for instrumental music, but this one was easy.
What are some artists and albums that have informed your creative direction?
The Crusaders are a clear influence on this new single, particularly the Larry Carlton era where the guitar work was both sophisticated and soulful. My overall musical identity is a bit of a melting pot of influences ranging from Led Zeppelin to John Coltrane and everything in between. As far as guitar influences, they include: Clapton, Beck, SRV, Andy Summers, Alex Lifeson, Pat Martino, Wes Montgomery, John Scofield, Mike Stern, George Benson, Tim Miller, and Larry Carlton.
What is the most exciting thing happening in music right now?
For me, it’s the sheer level of innovation coming from players who are redefining the instrument’s technical boundaries. Matteo Mancuso is easily one of the best of the new generation; his jazz-classical hybrid technique is just incredible. Then you have Mike Dawes, whose innovative fingerstyle approach is this amazing and unique combination of melodic, orchestral and percussive elements. I’m also still very inspired by Tim Miller. His technique is so precise yet so musical. His hybrid legato technique really resonated with me and inspired me to incorporate that more fluid approach into my own playing. Seeing these guys push the guitar into these new, impossible directions is what keeps me motivated to keep pushing my own boundaries.
Where do you see the music world heading in the next five years?
Honestly, I’m not sure anyone can answer that with certainty because we’ve already arrived at a place that would have seemed impossible twenty years ago. That said, I hope there’s a real backlash against AI generated music and a resounding resurgence in all genres of the human element, imperfections, warts and all.
How is music helping you during these uncertain times?
Writing and performing music is the ultimate de-stressor for me. It’s hard to say exactly why, but I think it’s because it commands a level of total, unwavering focus; it just doesn’t leave room for anything else to creep in.
Rosemary Walks
Sounds like: An art pop daydream where a Fugazi song can transform into a haunting transmission from the future.
Interview:
Describe your approach to music and how you would explain your sound to others.
My approach to music is deeply emotional. I tend to reach for my guitar or sit down at the piano as a way to process personal experiences and make sense of how I’m moving through the world. It’s a path toward understanding myself—shaping those moments artistically as they emerge.
The process is often stream-of-consciousness. That’s where I’ve found the raw seeds of my songs. I try to stay close to that initial spark as I develop a piece, even as it evolves. I’m not sure a song is ever truly finished — it’s more like a snapshot, a moment in time captured through sound.
Describing my music has always been a challenge. At its core, it begins as a raw singer-songwriter style, and then through collaboration, the full atmosphere reveals itself. I find that openness exciting—allowing the music to become what it wants to be rather than controlling it too tightly. I love working with the folks at National Freedom Studio; every project becomes something unexpected.
How did you come up with the name of your act?
I chose it to represent a stage in my evolution — both as an artist and as a human being. It reflects growth, transition, and becoming in every sense.
What are some artists and albums that have informed your creative direction?
The sheer amount of talent in the world is incredible. My influences are an amalgamation of everything that has moved me over time — artists like Captain Beefheart, Talking Heads, Feist, Björk, Aldous Harding, Animal Collective, Cat Power, PJ Harvey, Grizzly Bear, Can, Nirvana and The Beatles.
I wouldn’t say I sound like any of them directly, but they’ve all expanded my sense of what’s possible. Anyone creating music is doing something brave, and there are honestly too many artists to name.
What’s the most exciting thing happening in music right now?
The sheer volume of music being shared is astonishing. There’s an overwhelming abundance of creativity out there — it’s something to truly behold.
Where do you see the music world heading in the next five years?
I believe artists will begin reclaiming the industry. As AI-powered music becomes more prevalent, I think we’ll also see new platforms emerge that better support human creators. Artists deserve more than what the current systems offer.
How is music helping you during these uncertain times?
I spent many years as an environmental and political activist, often putting my music on the back burner because the urgency of organizing and teaching felt paramount. Inspiring people into action was one of the most important commitments of my life.
But at a certain point, I gave myself permission to be an artist. I’ve come to see art itself as an act of defiance — especially against a culture that often demands self-sacrifice in the name of productivity.
We need artists just as much as we need activists. We need inspiration, healing, and deeper connections — especially in love and relationships — so we can carry that into our communities. Music continually heals and inspires me, and I’ve realized that my voice has a place in that conversation, too.
Dakota Theim
Sounds like: A wooly, Pacific Northwest expansion of the Los Angeles pop sound with earthy elements of Elliott Smith to keep things local.
Interview:
Describe your approach to music and how you would explain your sound to others.
I’ve always embraced a DIY approach. When I write a song, I tend to hear how I want all the parts to be played in my head pretty much right away. This approach has made me a much better musician because it forces me to learn how to play the parts I hear in my head. I also record and mix all of my own music. I do have collaborators—my longest one being Ben Bilotti who is an amazing guitar player. I would describe my music to others as “rock” in the most simple terms, but if I were to elaborate I would say it’s pop/rock music with strong influences from the 60s and 70s.
How did you come up with the name of your act?
I was born with it. My parents named me Dakota because I have a lot of family ties to North Dakota. When I was born they had never heard of anyone named that, but it turned out there were like four other Dakotas in my high school graduating class.
What are some artists and albums that have informed your creative direction?
I grew up listening to The Bee Gees, The Beatles, Elton John, Marvin Gaye, The Stones, Queen, bands like that that my parents liked. All of those artists have had a huge impact on my life and music. Albums like Pet Sounds and Exile on Main Street have had a massive influence on me. Some of my favorite songs of all time are on those albums. Blood on the Tracks is another one of my all-time favorites. I grew up listening to a lot of Brazilian Jazz and Bossa Nova as well, so those influences occasionally shine through.
What’s the most exciting thing happening in music right now?
Someone recently showed me Tyler Ballgame, which I absolutely love. What a voice and great songwriter. I’m a big fan of Tobias Jesso Jr. and everything he is a part of. I like that Chappell Roan album that came out a few years ago. I like some of Yeat’s stuff too, which is cool cause he’s also from Portland. To be honest, I don’t keep up with a lot of new music, but occasionally people show me stuff that really blows me away.
Where do you see the music world heading in the next five years?
I think with AI coming into the conversation that people will grow to have a deeper appreciation for the songwriting craft. It’s a deeply human experience and my hope is that people will actually start to appreciate it more. Maybe I’m being optimistic but that’s all I can really hope for.
How is music helping you during these uncertain times?
Music has always been incredibly grounding for me. It’s the most sacred thing in my life. It brings me joy, peace and keeps me sane. Creating and listening to music brings me comfort and gives me purpose. It’s definitely what helps me keep going during times like these. Sometimes when I’m really having a tough time I will listen back to something I’ve loved since I was a kid and it will feel like “oh yeah, I’m home.” It’s an incredibly comforting experience.
Taya Elle
Sounds like: A seductive blend of English and Spanish vocals sung in a way that would make Sade shiver.
Interview:
Describe your approach to music and how you would explain your sound to others.
I approach music through storytelling. I don’t write based on trends or what people expect to hear, I write from the heart from real emotions, real moments.
I’m not trying to make everyone relate to me. I actually don’t believe music should be for everyone. The people who feel something when they hear my songs… they’re my people, they become part of my world.
For me, writing is a release. It’s how I let go of things I carry inside.
My sound sits somewhere between indie pop and R&B, but it’s also very intimate and emotional. I mix English and Spanish, and that contrast reflects how I feel internally, like I exist between different worlds.
I like music that feels like a thought you weren’t supposed to say out loud… but you did anyway.
How did you come up with the name of your act?
I chose my stage name from a very personal place. My real name is Tahel, isn’t very familiar to Americans and can be hard to remember, so I wanted something that still feels like me but is easier for people to connect with.
I sat with myself and ChatGPT explored different options, and “Taya Elle” just clicked. It still feels close to my real name, but it flows in a way that’s more accessible.
“Elle” also has a deeper meaning for me — in Hebrew, it means God. I’m a very spiritual person, and I truly believe God is guiding me through every step of my journey. Choosing this name felt like a reminder that I’m not doing this alone, and I’m doing my destiny.
What are some artists and albums that have informed your creative direction?
I’m really drawn to artists who make you feel something the second they open their mouth, not just technically, but emotionally.
Billie Eilish shaped a lot of how I think about intimacy in music, how something quiet can still feel powerful. Her album WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? especially made me think differently about space, minimalism, and emotion.
Ariana Grande influenced my vocals and emotional delivery, particularly on Sweetener, I love this album because I’m a feminist and I connect with its themes of female empowerment and support.
Sade has this timeless, effortless depth that I’m really inspired by her music feels calm but hits deep.
And Whitney Houston showed me what it means to fully feel a song the power, the soul, the honesty.
What’s the most exciting thing happening in music right now?
I think the most exciting thing right now is that there are no real rules anymore.
Artists don’t have to fit into one language, one genre, or one identity. You can be niche and still reach millions of people if what you’re doing feels real enough.
Also, the connection between artist and audience is more direct than ever, people don’t just listen, they feel like they’re part of your story. And that changes the kind of music you make… it becomes more honest, less performative and that’s the space I want to live in.
Where do you see the music world heading in the next five years?
I think the music world will keep evolving fast, and a lot of it will involve AI generated music.
For me, this makes the role of real artists even more important, we’re the ones who bring real emotion, vulnerability, and truth that AI can’t replicate. I don’t support AI replacing musicians; it’s already hard enough for artists to succeed, and now there’s even more competition from something that doesn’t feel or live the music.
But I believe the truth and human emotion will always win, and that’s where real music will shine.
How is music helping you during these uncertain times?
Music has always been my anchor, and right now it’s my safe place.
It helps me process everything I feel, release stress, and stay grounded when the world feels unpredictable.
Writing and performing my songs reminds me that even when things feel chaotic, I can create something that’s real and lasting, and that connection with others is healing, too.
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