Latest Entries »

Sally Morgan

Sally Morgan

Sally Morgan wrote the book on contemporary vocal technique – literally. Sing Like You Speak™: Simply and Naturally. SLYS™ is specifically designed to restore the effortless vocal production that is natural to the human instrument making your singing powerful, joyful and free. Sally has been successfully training singers for more than 30 years.

Sally has helped her clients heal vocal damage, expand vocal range, land a Broadway show, record their own music and tour internationally without vocal fatigue or strain.

Students sometimes come into their lesson with me and say, “I got it! I know the ONE thing I have to do to ‘fix’ my voice! If I do this (drop the jaw or breathe into my lower back or open the throat etc.) Then I’ll never have to worry about my voice again!”

When I ask for the student to enlighten me about this ONE magical thing that will fix her voice, the answer is usually a good partial solution to their singing challenges. I caution students against this instant gratification thinking.

Usually a week or 2 later the same student is complaining that the ‘fix’ doesn’t work any more. Then s/he gets so discouraged because If there was ONE fix for everyone’s voice Then singing would be easy.

The reality of the vocal instrument is that no ONE thing is going to ‘fix’ it for all time. The voice is alive and constantly changing and continuously responding to signals from the brain and the environment. The vocal production involves the respiratory, auditory, and neurological systems. It involves muscles from above the hard palate to the thighs. How can ONE thing possibly be the entire solution to good singing?

Do not be discouraged by this. Actually the complexity of the human voice is why it’s so captivating. As singers we have so many choices of expression through music.

If you want just one thing to do that will Then change your singing forever, begin with your inhale. Think of you inhale as opening your vocal instrument from the tip of your nose to the top of your ears to your tailbone, keeping in mind that your jaw must be loose to get an open inhale.

I’ve spent my entire career exploring my inhale. I find it fascinating and constantly rewarding to continue finding yet another small adjustment that opens my voice even more.

A true professional never ‘finished’ with her vocal training. There’s always something new to learn that will take your singing to a whole new level.

Grab on to the fascinating study of your singing voice. You’ll always be happy you did.

breathe,
Sally

Contact Sally Morgan


Photo Credit: Cultura/Steve Prezant

By Amy Zimmerman

Originally Posted 26 August 2015 at http://www.thedailybeast.com/articles/2015/08/26/women-s-music-industry-horror-stories-abuse-sexism-and-erasure.html

Women’s Music Industry Horror Stories: Abuse, Sexism, and Erasure

Women took to Twitter to share their tales of music biz struggles. Their heartbreaking stories paint a disturbing portrait of an industry rife with misogyny.

On Monday, Pitchfork Senior Editor Jessica Hopper asked the Twitterverse: “Gals/other marginalized folks: what was your 1st brush (in music industry, journalism, scene) w/ idea that you didn’t ‘count’?” What followed were hundreds of responses, mostly detailing the tragic timeline of any chick who dares to like music, thus infringing on the safe spaces of country bros and alt-rock dudes. Hopper’s retweets tell a pretty predictable story: girl develops interest in a music scene, girl is endlessly scrutinized and told that her fandom is illegitimate/invalid, girl is mistaken for a groupie or a girlfriend, girl is harassed/groped/assaulted at shows.

Various tropes are repeated over and over again, like a riff you’ve heard too many times before: an aspiring bassist being told by a music teacher that bass is for boys, or a teenager being asked by her dubious male classmates to recite a band’s entire discography in order to prove her fan cred. The narrative gets even more disturbing and specific when you start charting the testimonials of women who pursued careers as musicians, sound engineers, executives, and journalists. The recurring message is that, for women, the music industry is a Banksy-designed Choose Your Own Adventure book, with each career path containing its own lady-specific land mines.

Rampant misogyny is the music industry’s worst kept secret. Recently, legendary rapper—and the richest musician on the planet—Dr. Dre finally apologized for a lifetime of physical and emotional abuse against women. The apology stemmed from outrage over Straight Outta Compton, the N.W.A biopic, which topped the box office without addressing Dre’s problematic past. In her essay “Here’s What’s Missing From Straight Outta Compton: Me and the Other Women Dr. Dre Beat Up,” rapper and television personality Dee Barnes described the night in 1991 when Dre “straddled me and beat me mercilessly on the floor of the women’s restroom.” Dre later told Rolling Stone, “It ain’t no big thing—I just threw her through a door.” He pleaded no contest to Barnes’s assault charges and settled with her out of court for an undisclosed sum.

Dre’s history of violence against women was similarly uncontested. Everyone knew that Dr. Dre beat up women—they just didn’t really care. Michel’le, an R&B singer and Dr. Dre’s former girlfriend, explained, “I’ve been talking about my abuse for many, many years, but it has not gotten any ears until now,” before detailing how her relationship with one of hip-hop’s greats left her with “black eyes, a cracked rib and scars.” Singer Tairrie B is Dre’s third known music industry victim—the rapper punched her twice in the face at a Grammys after party in 1990. Straight Outta Compton director (and Barnes’s ex-cameraman) F. Gary Gray explained away the exclusion of these incidents by insisting that “we had to make sure we served the narrative… it wasn’t about side stories.”

The injustices that women face in the music industry range from micro (“no, I’m not dating someone in the band, and no, I don’t want to date you”) to debilitating (assault and/or constant fear of violence).

After decades of having his assault history dismissed as extraneous, Dr. Dre’s short New York Times apology feels like an insultingly small price to pay for his barely blemished legacy. Dre is currently enjoying the success of his new album Compton; the sale of his unfortunately named music company, Beats by Dr. Dre, made him the self-proclaimed “first billionaire in hip-hop.” Meanwhile, Dee Barnes was “blacklisted” from the industry by hip-hop insiders who didn’t want to jeopardize their relationships with the all-powerful D-R-E.

Straight Outta Compton doesn’t just erase Dre’s female victims—it also denies the influence of his female contemporaries. Female artists like J.J. Fad, Jewell, The Lady of Rage, Michel’le, and Tairrie B are notably absent from the biopic. Apparently, any woman who isn’t a half-naked groupie or a video girl is chopping block fodder in F. Gary Gray’s interpretation of the hip-hop world. While the history of women in hip-hop runs parallel to the story that Straight Outta Compton tells, it’s effectively silenced. When N.W.A’s swagger is so amplified, and Dr. Dre’s apology so well-executed as to appear almost sincere, it’s easy to ignore the female artists and victims who have spent decades screaming to be heard. Imagine an industry where the presence of women is not only discouraged, but also flat-out denied—that’s the vision that earned F. Gary Gray a $24.2 million opening day.

In her essay, Barnes writes that, “Accurately articulating the frustrations of young black men being constantly harassed by the cops is at Straight Outta Compton’s activistic core. There is a direct connection between the oppression of black men and the violence perpetrated by black men against black women. It is a cycle of victimization and reenactment of violence that is rooted in racism and perpetuated by patriarchy.” That being said, labeling hip-hop culture (i.e. black men) as the main source of music industry misogyny is a gross misreading of the cycle that Barnes is describing. No, black men are not inherently more violent—no, movie theaters, you do not have to request increased security in preparation for black fans at Straight Outta Compton showings.

Obviously, hip-hop is a handy scapegoat for #AllLivesMatter advocates and their similarly addled forebears. Making America great again all too often seems to involve chastising rappers for violent videos, while ignoring the deeply dysfunctional music cultures flourishing just left of the dial. What Hopper’s Twitter disruption does so well is highlight how misogyny plagues the music industry at large. As any college-aged girl will tell you, a penchant for alternative scenes and liberal politics can often mask some abhorrently outdated ideas about gender. A Bikini Kill T-shirt does not a male feminist make. The initial betrayal comes when a female outsider leaves mainstream scenes on a quest for a more niche set of sounds and sites—only to find that even in the big wide alternative world, women are still ostracized as other and less than.

Sally Morgan

Sally Morgan

Sally Morgan wrote the book on contemporary vocal technique – literally. Sing Like You Speak™: Simply and Naturally. SLYS™ is specifically designed to restore the effortless vocal production that is natural to the human instrument making your singing powerful, joyful and free. Sally has been successfully training singers for more than 30 years.

Sally has helped her clients heal vocal damage, expand vocal range, land a Broadway show, record their own music and tour internationally without vocal fatigue or strain.


Steps on Broadway Presents:
Grover Dale / Donna McKechnie / Randy Skinner

Steps on Broadway is one of the two top dance schools in New York City. Many, many successful performers have been trained at this professional school. I am honored to be on staff as their Voice Teacher, training dancers to sing like you speak.

Steps wowed us all with a panel of 3 amazing musical theater performers, Grover Dale, Donna McKechnie and Randy Skinner, who shared their love for the craft and the wisdom of their years in the biz. I want to pass on one juicy tidbit from each of the three to you.

Randy Skinner has had a diversified career as a dancer, singer, actor, choreographer, director and teacher. His word to the wise was: diversify. Be open to any opportunity that comes along. Always be learning and growing and take the jobs that are offered even if you’re not sure you will ‘like’ the job. You just never know…

Take singing lessons, take acting lessons, take dance lessons. Never stop taking classes if you want to work on the Broadway stage. That was Donna McKechnie advice. She told several wonderful stories about jobs she never would have landed if her craft had not been honed with all those classes.

And what can I say about Grover Dale except that he’s a force of nature. In his late 70’s and he had more energy than the rest of the room combined! His gem of wisdom was this: when you walk into an audition or a dance class or even a party, let your energy fill the room. Fill the room! It’s fascinating. Try it.

Being a successful performer is not about talent. There was not one mention of talent from this illustrious panel. Success requires constant learning and practice – taking your raw talent and developing craft. That’s how you stay in the biz until you choose to hang up your tap shoes. All the best to you.

breathe,
Sally Morgan

Contact Sally Morgan


Buzz_002

What’s The Buzz ?


Aoede_DYBIM

“Percy Jackson meets Into The Woods!”
“From concept to reality to a strong production quality-this works, and is a winner, and I “Do believe in magic”!”
“… an enticing, well written musical theater production that captivates audiences through a fantasy world, creativity and an unbelievable amount of talent that is involved with this project. 5 star rating!”

“Do You Believe In Magic?” (DYBIM) is a brilliant, inventive alternative Rock Opera Musical for tweens & all “kids at heart” who resonate with the fantasy genre (think Into The Woods, Once Upon A Time & Harry Potter). Creator Lisa Sniderman does not disappoint! This musical masterpiece takes listeners on a spellbinding journey to the cursed kingdom of Wonderhaven where a muse (Aoede) has a secret & enchanted books & witches break into song! Audiences will embrace the colorful characters, the compelling story, the infectious songs, danceable duets, narration & full musical score.

DYBIM? (along with What Are Dreams Made Of? (WADMO 2013) & Is Love A Fairy Tale? (2012)) was produced, engineered & orchestrated by Aoede’s chief collaborator, Scrote (who has worked with Jackson Browne, Van Dyke Parks, Daniel Johnston & The Stripminers). Stellar musicians featured include: Craig Eastman, Peter Adams, Mike Klooster, Tim Young, Isaiah Gage, David Sands, Blair Sinta, Scrote & Aoede/Lisa Sniderman. In addition to the return of narrator Kevin Ponthier (who narrated both WADMO & Is Love A Fairy Tale?) & the spirited David Yow as Luk, the collection includes San Francisco Bay Area musical theater actors, who lend their dynamic voices to the characters. Tracks were recorded in Berkeley, San Francisco & Los Angeles, California. The project was mastered by Rainer Gembalcyzk.

“I create fantasy musicals and am drawn to young adult stories, adolescent struggles and Greek mythology. My musical stories reflect them, inspiring, entertaining and connecting with young adult audiences, who are underserved musically; encouraging creativity and imaginative play. I wanted to continue Aoede’s adventures in Wonderhaven and have always been fascinated with magic. In this story, the magical Kingdom of Wonderhaven is under a malicious memory curse and rapidly losing it’s magic. Aoede, the Muse of Song, believes she has no use or magic; yet she is plagued with a big secret and is the only one who can save magic and the Kingdom. It is more than mere fantasy; it is about belief in yourself.”

View here: http://www.doyoubelieveinmagic.info/
Available for purchase here: https://itunes.apple.com/us/album/do-you-believe-in-magic/id1030885180
For more info about Aoede: http://www.aoedemuse.com http://whataredreamsmadeof.com
Contact Aoede/Lisa Sniderman: info@doyoubelieveinmagic.info
For digital distribution inquiries, please contact Jerome Forney at IDCDigital, at jerome@independentdistro.com
For more information contact: Danie Cortese @ DCE International
Direct: danie@daniecorteseent.com
website: www.daniecorteseent.com


Sarah Jospitre, Editor, HorizonVU Music Blog

Sarah has an ever increasing pool knowledge of the fast-changing music industry landscape. She has earned a Masters in Music Business at New York University (NYU) and she has worked for hip-hop music mogul Sean “P. Diddy” Combs’ Bad Boy Worldwide Entertainment, EMI Music Publishing, CBS Radio and most recently, Russell Simmons’ celebrity blog, GlobalGrind. As Editor, Sarah brings not only her knowledge, but her passion for music journalism and discovering emerging talent.

22 August 2015

Ransom Pier “I Must Say,” If They Can’t Take a Joke (EP)

Whether they’re labeled as folk, rock, blues or a subgenre keyboardist Dan Crowley calls “old country folk rock,” the newly formed Ransom Pier has no plans of enshrouding their sound into a conventionally stale (music) box.

The three-piece band formed this past February after lead vocalist and guitarist Hayley Harrington spent a year collaborating and recording with Crowley at The Motel Room Studios in Long Island City―the same site where the band’s debut EP was recorded. Mix in equally talented bassist/vocalist William Carrigan and it can now be declared that the roots rock revival in the NYC music scene is in full force with no apparent end.

Ransom Pier (L-R: Dan Crowley, Hayley Harrington & William Carrigan).    Source: RansomPierBand.com

Ransom Pier (L-R: Dan Crowley, Hayley Harrington & William Carrigan). Source: RansomPierBand.com

Having been compared to the likes of roots rock band Alabama Shakes, Lake Street Dive and blues/folk rock trio The Lone Bellow, it is more than safe to say that Ransom Pier are placed in good company. However, the roots rock group is already working towards showcasing the varying degrees and depths of their music. Carrigan states, “I’m pretty confident that we’ll eventually show we’re capable of far more than being a standard folk rock band, though, so hopefully that answer is more nuanced in a year.”

Ransom Pier, whose influences include The Band and The Beatles―largely due to each group’s remarkable ability to tell exceptional stories by using every member’s voice―have released the track “I Must Say” off their debut EP, If They Can’t Take a Joke. Harrington’s raspy, sultry vocals are reminiscent of blues/folk rock singer-songwriter Bonnie Raitt. The way in which Ransom Pier’s female lead effortlessly drags syllables showcases an enticing juxtaposition of soothingly vulnerable tones one minute that then quickly transform―within the same verse―into a masculine soulful quality characterized by unforgettable bluesy, gruff vocals similar to blues rock singer-songwriter Susan Tedeschi.

Hayley Harrington Source: RansomPierBand.com

Hayley Harrington Source: RansomPierBand.com

In finding an innovative path to maneuvering roots rock in 2015, Crowley declares, “We’ve got our own way of achieving this folk rock thing. It’s not groundbreaking, but how I see our uniqueness: We’re taking a rather traditional approach but using some of the conventional instruments to play unconventional parts. For example, we’re fixated on the pedal steel introducing dissonance rather than the typical sweet or satisfying harmonic bed. Also, we’ve set out to have the electric piano and clav play percussive guitar-like parts. We’ve included the harmonica and there’s a bunch of vocals―there’s texture!”

Ransom Pier Source: RansomPierBand.com

Ransom Pier Source: RansomPierBand.com

The foundation and ever-present backbone of “I Must Say” are the richly textured, ‘twangy’ guitars, bass and electric piano that strengthen the old country feel of “I Must Say.” Such instrumentation propels the track and the roots rock genre into present-day as they create a modernly, nonchalant rebellious mood from the song’s opening to its simplistically bold finale. Reinforcing this and the song’s ultimately significant blues factor is the powerful harmonies present in the pre-chorus (“What a lovely imagination I have/I Must say, yeah”).

Hear Ransom Pier’s “I Must Say” and the entire EP, If They Can’t Take a Joke, on Spotify and the band’s SoundCloud page.

MORE RANSOM PIER:
*LIVE MUSIC ALERT: To see Ransom Pier live in musical action, check them out on September 26 at The Bitter End. Click here for more info!

*Check out Ransom Pier’s “I Must Say” Official Lyric Video on YouTube!

*For all things Ransom Pier, head over to the band’s official website, Facebook and YouTube page.

Sarah Jospire receives comments and suggestions at sarah@horizonvumusic.com


Buzz_002

What’s The Buzz ?


Sweet SoubretteBrooklyn parlor rock outfit Kotorino and sultry indie ensemble Sweet Soubrette will share an evening of lush arrangements and intense, harmony-fueled art rock at the exquisite nightclub venue Joe’s Pub on Wednesday, September 2, at 7pm.

Sweet Soubrette features lyrically intricate songs inspired by works of literature, troubled romance, and life’s mysteries, led by edgy, wry front woman Ellia Bisker and her ukulele, backed by lush arrangements of strings and horns.

The brooding, carnivalesque ensemble Kotorino, headed by Jeff Morris, shares a similar sonic palette of horns, strings, bass, drums, guitar and ukulele — but with a uniquely evocative, impressionistic songwriting approach and a gypsy jazz-inspired aesthetic.

Since 2012, Morris and Bisker have been performing as the tragicomic, noir-inspired duo Charming Disaster. This show is a rare chance to see their individual personas writ large as two separate ensembles, united by their theatrical approach to musical performance.

*When: *Wednesday, September 2, 7pm (doors 6pm)

*Where: *Joe’s Pub at The Public

*Address: *425 Lafayette St, New York, NY 10003

*Venue phone: *(212) 539-8778

*Venue website: *http://joespub.publictheater.org

*Ticket price: *$15

*Purchase tickets:*

http://www.publictheater.org/reserve/index.aspx?performanceNumber=28937

Links:

www.kotorino.com

www.sweetsoubrette.com


Sally Morgan

Sally Morgan

Sally Morgan wrote the book on contemporary vocal technique – literally. Sing Like You Speak™: Simply and Naturally. SLYS™ is specifically designed to restore the effortless vocal production that is natural to the human instrument making your singing powerful, joyful and free. Sally has been successfully training singers for more than 30 years.

Sally has helped her clients heal vocal damage, expand vocal range, land a Broadway show, record their own music and tour internationally without vocal fatigue or strain.

Singing is natural. Your body is already the perfect musical instrument. However, your instrument may have developed some bad habits. That does not mean that your voice is bad just that you have some bad habits that cover the natural beauty of your singing.

To uncover the natural awesomeness of your singing voice and to ensure vocal health, you must embed good habits of vocal production. Open to inhale and release to exhale (while singing).

Sally Morgan

This voice lesson video is one of the lessons from my online singing lesson website SingLikeYouSpeak.com. From this video voice lesson you will learn a simple yet very powerful tool to help you find that clear, healthy path through your instrument. Click here to see the voice lesson.

Enjoy! Comment below about your experience with the ‘hand jive.’

breathe,
Sally Morgan

Contact Sally Morgan


Women Of Substance

Women of Substance Radio has been on the air for 4 years. We broadcast 24/7 on the Live365 Network and iTunes Radio garnering fans from all over the world. WOSRadio plays the BEST female artists, both label and Indie, in all genres. We hand-pick all of our music starting with icons of the past like Carole King, Joni Mitchell, Carly Simon, Fleetwood Mac, Heart, Tracy Chapman, Mariah Carey, No Doubt, Tori Amos, Sarah McLachlan, Jewel, Michelle Branch, Kelly Clarkson, Sara Bareilles, Colbie Caillat, Adele, Carrie Underwood, Amy Winehouse, Feist, Christina Perri and so many more. Women of Substance take submissions from Indies and our review board selects only the best quality artists and songs that can stand up next to the forementioned superstars. Indie artists we have chosen early in their career have gone on to be Top 24 on American Idol, win second place on the Bravo show Platinum Hit, and one artist is currently a chosen contestant on NBC’s The Voice.



Women Of Substance Radio Top 20 Tracks

Tivoli Skye

Tivoli Skye


Tivoli is a 2013 Indie Music Channel Award winner and she has been honored for her courage in “standing up for what is right” and forming her own awareness/advocacy event with local government officials, organizations, and musicians called “Stand up & stand out! – Positive Role Models against bullying, abuse and for suicide prevention/Awareness”.

1. Tivoli Skye – Better
2. Tivoli Skye – Break Me
3. Tivoli Skye – Promise
4. Joanna Rutzky – Sorry
5. Nikki Nash – Room For Me
6. Denise Dimin – Daylight (feat. Rachel Williams)
7. Hollywood & Mars – Dark Places (feat. Eduarda Xen)
8. Renee Rojanaro – You Love The Bottle
9. Gabrielle Graves – Move On
10. Emily Grove – Hate Mondays
11. Renee Rojanaro – Wedding Day Eve
12. Len Guerzon feat. Cyndi Guerzon – Just With Your Eyes (You Might Miss Love)
13. Susan O’Neill – Two Wrongs
14. Lakota – Heaven’s Own
15. Hollywood & Mars (feat. Allie Feder) – Run Away
16. Fields of Light – Fallin’ Out Of Love
17. Rocklin – Deep
18. Margeaux Jordan – Let Love In
19. Katrin Johansson – Lonely Together
20. Emma Klein – Chocolate-Covered Glasses


Sally Morgan

Sally Morgan

Sally Morgan wrote the book on contemporary vocal technique – literally. Sing Like You Speak™: Simply and Naturally. SLYS™ is specifically designed to restore the effortless vocal production that is natural to the human instrument making your singing powerful, joyful and free. Sally has been successfully training singers for more than 30 years.

Sally has helped her clients heal vocal damage, expand vocal range, land a Broadway show, record their own music and tour internationally without vocal fatigue or strain.

Your voice in fact, is constantly vibrating and alive. It’s a real high when you can let your singing go.1285755480FOplQ7

Before I developed Sing Like You Speak I always had the feeling that my real voice was trapped inside of me – frozen. I knew it was there but I could not figure out how to release the best part of my singing.

Now with Sing Like You Speak technique my voice is free and powerful and released. I see this same vocal freedom in my students. It’s very exciting!

Sally Morgan

Click here to watch the singing lesson video.

Click here to begin to learn how to sing like you speak with a lesson my online singer training website, SingLikeYouSpeak.com. The vocal technique you will learn about in this video lesson will help you let it go!

I look forward to your comments and questions and to hear you sing.

Visit me at SingLikeYouSpeak.com

breathe,
Sally

Contact Sally Morgan


4 August 2015

Sarah Jospitre, Editor, HorizonVU Music Blog

Sarah has an ever increasing pool knowledge of the fast-changing music industry landscape. She has earned a Masters in Music Business at New York University (NYU) and she has worked for hip-hop music mogul Sean “P. Diddy” Combs’ Bad Boy Worldwide Entertainment, EMI Music Publishing, CBS Radio and most recently, Russell Simmons’ celebrity blog, GlobalGrind. As Editor, Sarah brings not only her knowledge, but her passion for music journalism and discovering emerging talent.

Credit: KarolinaRose.com

Credit: KarolinaRose.com

She defines her sound simply as “soul retro pop.” Yet nothing is simplistic when it comes to Karolina Rose and her music. The multilingual singer-songwriter is rapidly making her way up in the ecclectic NYC music scene, recently taking part in this year’s New Music Seminar festival, and demonstrating a hustle like no other with nonstop performances throughout the countless venues in New York City. Her drive is only the beginning; world, meet Karolina Rose.

SJ: Your Twitter profile is impressive, listing your many talents as tango dancer and even a linguist. Very diverse. Are these possibly alternative career goals or is music your sole focus?

KR:Thank you for your kind words! It’s true I’ve had a variety of passions and pursuits in my life, but music is my first love when it comes to career focus. I combine my passion for languages, culture and dance in my music by default through my experiences.

Credit: KarolinaRose.com

Credit: KarolinaRose.com

SJ: Right, you’ve definitely shared your passion for languages; singing in English, French, Polish and Spanish. Which do you mostly prefer to sing in? Is there a language you feel conveys a certain emotion (i.e. sadness, anger, etc.) better than the others?

KR: I mainly sing in English, French and Polish. These are the languages I am fluent in. English to me is more flexible and more of a universal feeling and expression. But you nailed it that each language definitely brings about a certain feeling. It also depends on the song, but there is a part of me that assumes the character of what the culture means to me. In French, I typically feel compelled to express a very strong romantic, wistful quality and emotion. The Polish songs typically have more “umph” and dynamics. As I am 100% Polish by ethnicity, born in Philadelphia, there’s also a wave of national pride going through me when I sing in Polish.

SJ: For the potential music fans who have yet to hear and become familiar with a signature Karolina Rose track, what is it you feel distinguishes your music from what’s already out there?

KR: My music comes from my perspective on various ideas and experiences. I’m constantly writing about life and all that it entails. I think my cultural background, life experiences and dreams in an urban city all tie into my signature perspective. My music often comes from a place of idealistic concepts or adjectives like romance, dreamy, unrealistic, quixotic, starry-eyed, fanciful—that’s Karolina Rose music.

Credit: KarolinaRose.com

Credit: KarolinaRose.com


SJ: You’ve expressed that music is your main focus and choice of career. So, what
are your goals/plans for the rest of 2015? Can we expect any new music from you within the coming months?

KR: I’m planning on more studio recording later this year. But I’m really looking forward to doing more live performances over the summer and experimenting with a few more instruments in my live shows. Connection is also such an important aspect to me which is why this summer I’ve been working with Musicians On Call to spread the healing power of music to patients in hospitals across New York. Ultimately, I hope to continue connecting with fans online and off.

SJ: Wow, that’s really amazing! You are definitely making a difference in the world of music. So, with the end of 2015 soon approaching, what will 2016 look like for Karolina Rose?

KR: Thank you so much! That means a lot. Well, my plan for 2016 is to release some new music, collaborate with other artists and focus on live shows and performances. I just hope to reach the people that may relate to or feel my music and make it a positive experience for them.

*Artist Look-Out: Check out Karolina Rose perform at the BronxNoise Music Festival on August 8th. Purchase tickets here. For more info, check out the Facebook Event page.

Information for all of Karolina Rose’s shows can be tracked via Bands In Town on Facebook and her official website.

Stay up to date on all things Karolina Rose:
Facebook: https://www.facebook.com/karolinarosemusic
Twitter: @karolinar0se
Instagram: @polkalubispiewac
Youtube & Soundcloud: Karolina Rose

Sarah Jospire receives comments and suggestions at sarah@horizonvumusic.com


Powered by WordPress. Theme: Motion by 85ideas.
google-site-verification: google0eca8f6b62d9ec8d.html