Interview With Dizasterpiece | Limerence Magazine

The Rhyme Times-Featured Interview: Dizasterpiece


LM: Who is Dizasterpiece? What does the name mean to you?

Dizasterpiece: “Dizasterpiece is the name I came up with to kind of represent myself. All my life I have had really drastic mood swings. I can have a very nice, vibrant side, and also a chaotic, distorted side. It’s kind of a blend of masterpiece and disaster that way. In my music, I can have a really chill vibe or an ugly, rugged, unpleasant one. Like, in my first album. During then I was going through a lot of changes and friends were coming and going. Trying to find out who I really am and how I really want to be. Stuff like that. It’s just full of good and bad feelings with ups and downs that inspired me. It kind of fueled me and adjusted my sound for my first release.”

LM: As a musician, you have been all over the place. Why Hip-Hop?

Dizasterpiece: “I always liked hip-hop, but I never actually thought I’d be an MC. I started with drums when I was 5, and then guitar when I was 8, and then eventually singing. I was in and out of punk and hardcore/metalcore bands in high school. When I was 17 though, I realized I could rap; but I never took it nearly as seriously as the bands I was trying to get somewhere with.”

LM: Is it easier making music without a band?

Dizasterpiece: “After Hey Lovey Dovey, I couldn’t really rely on anyone anymore. All of my band mates were always letting me down. This was the time that I got really heavy into hip-hop; rap got me excited. I would see videos of all these people using samplers on the internet. I thought I’d be able to be learn how to be good at working one creatively. Once I had my sampler, I eventually got my hands on a second one, and then wanted to form a hip-hip group with at least 3 other MCs. I wanted to DJ the beats live with samplers, and then occasionally loop them and rap. After everyone in my experiences flaked out on me, people around me were saying that my beats and my rhymes were good enough that I should go solo.”

“Castor’s Hollow, a friend’s band in PA, asked me to open for them at a metalcore show inside of an art gallery early on in Winter 2013. It was my first solo Dizasterpiece show. I was rapping over beats that were made already with different verses that weren’t actually set songs yet. The show actually got such a positive reaction, I wanted to really break out into the hip-hop scene. The singer of that band, Caleb, was actually the one who drew the artwork for my album. He was a fan of Hey Lovey Dovey, and some of my other projects back in the Myspace days. We wound up being friends on Facebook, and one day he sent this sketch that he drew of me; we hadn’t even met yet.”

“He turned out to be one of the most talented artists I have ever met. A few months after the sketch, he finished the entire artwork on a canvas. Around that time, I was making some of my first real moves with Dizasterpiece, and realized the whole theme of art created by Caleb fit perfectly as a visual representation of the music I was making. Shortly after that, and I traveled to PA and met him for the first time. We then became best friends along with his band members. By the time Summer 2013 was coming around, and I was in the works of recording, pressing, and releasing my first album. I gave Caleb the password for my account, and he finished the rest of the album artwork personally and free of charge.”

“Two days after the album came out, I went on a mini-tour with him and his band for the weekend. There, I sold some of my first copies. After I had the confidence, I knew right then and there that this was the best project so far. I love being in front of people doing what I do.” 1

LM: Let’s talk influences. Any majors?

Dizasterpiece: “I guess I would have to say my favorite bands of all time are: Glassjaw, Deftones, Poison The Well, American Nightmare, Converge, Nirvana, Senses Fail, The Tony Danza Tapdance Extravaganza, and Heavy Heavy Low Low (which is by the way the most underrated band of all time). When I started getting into music, the first band I really gravitated to was Smashing Pumpkins. I was 5 years old. It was easily accessible through mainstream media at that time. I remember hearing my dad listening to them on “K-Rock” in the car and I saying: “I like this band, a lot”. I would always wait for their songs to come back on the radio. From there, I got into Alice and Chains, Metallica, and Nirvana.”

“I got into the heavy stuff right away. Something about it was so unique. It’s actually ironic, because later on, when I was 8, it was MTV’s “TRL” that got me further into the roots of where I am today. In the same day, and so young, I was exposed to: Korn, Blink 182, Eminem, Limp Bizkit, and Tupac‘s “Changes” right away. It was a time where the people could vote for what they wanted to hear, rather than being so controlled and force fed. They had played good hip-hop too, like Wu-Tang Clan, LL Cool J, and A Tribe Called Quest, but that was mostly in the early to mid 90′s. “Yo! MTV Raps” was before I was old enough to get heavily hooked into MTV. When I did, I was just a little kid. Too bad those days of MTV are long dead.”

“I got into more and more punk as I got older. Around 6th and 7th grade, I started listening to NoFX and Anti-Flag a lot. Also, Bad Religion and Pennywise. I remember this was a time where my taste in music kind of…diversified. I got really, really into hardcore and metal, but also really into hip-hop like Nas and Snoop Dogg. In elementary school, older Limp Bizkit was my favorite. I liked them not only because they were originally really aggressive, but because the vocalist didn’t just scream, he also rapped. I figured because he rapped, maybe I’d like hip-hop. They were also the first band that I saw that had a live DJ (who I later found out was in House of Pain). Through Limp Bizkit, and MTV as well, the first rapper I was ever fully exposed to was Eminem.”

“By the time I was a young Eminem fan, I branched off to look for other hip-hop. Through Eminem, came Dr Dre. Through Dre, came Snoop. Through Snoop and Dre came Tupac. Then I found Xzibit. As I got a little older, I realized that these were all west-coast hip-hop acts, and that I should look into east-coast acts (which is currently my favorite style). At this time I was in high school and I was taking my first attempt at rapping; but it wasn’t serious. I was always in bands. At that time, my favorite hip-hop album was “Illmatic” by Nas. I guess you could say I have a lot of influences.”

LM: Clearly you have a strong message. What does your music have to say to your fans?

Dizasterpiece: “I guess it’s just to look outside the box, have fun, be an individual, don’t be too serious, but be firm. You can be serious, but it’s not good to always be so serious. Most importantly: Don’t be a sheep.”

LM: Who are some of your favorite rappers:

Dizasterpiece: “Off the top of my head, I’d have to say: Nas, Jeru the Damaja, Biggie (only his 1st album, recordings released before it, and other tracks he was featured in at the time) , RA the Rugged Man, Eminem (but only the first two albums), Method Man, Redman, Mos Def, Del the Funky Homosapien, and Common‘s old stuff. My favorite hip hop groups, or affiliations, are: Wu-Tang Clan, A Tribe Called Quest, Gangstarr, De La Soul, Deltron 3030, Funk Doobiest, Da Grassroots, Mobb Deep, Eric B. and Rakim, and Pete Rock and CL Smooth. Fortunately, I still cant even believe this, but I got to open for two of my favorites on that list. In November, 2013, I got to open for Pete Rock and CL Smooth in New Jersey. Then, in February 2014, I got to open for RA the Rugged Man at that same venue in Jersey.”

“I just opened up for Cage at that venue a few days ago, who is, by the way, this sick underground MC that more people should know and care about. The people who do know him all love him. The show was sick and tons of my people from all over came out. I gained some new fans and sold a lot of merch. Hot boxed my car afterward and went to a diner nearby with a tons of my friends, and poured maple syrup on my chicken quesadillas. While we are on the subject of cage, I found out that he has a song featuring Daryl Palumbo, the lead singer of Glassjaw, which is my favorite band of all time. As far as new artists go, I don’t really pay attention to new hip-hop that comes out, unless it’s live at a show and it’s dope, or I just discover it somehow.”

“What I do pay attention to is Odd Future, but their songs are usually hit or miss with me. I love “Oldie”, and don’t care for some of the others. I have Earl Sweatshirt’s “Doris”. Half of it is sweet and the other half I would skip over. I like them enough to consider myself a fan though, and would go see them live. My brother and friends of mine have seen them, and say the pits are out of control. What I mostly pay attention to in hip-hop is Joey Bada$$, and most of his people in Pro Era. I say to a lot of people I meet who have never heard of him that he is the king of hip hop, and that he (along with his people) is reviving the passion, roots, and sound of early New York hip-hop. When I tell people that, they usually just shrug it off because they’ve never heard of him…and that just means they’re stupid.” 3

LM: What’s wrong with hip-hop today?

Dizasterpiece: Hip-hop is complicated. It started in the Bronx as just people having fun and busting rhymes on the street. I would have to say the biggest problem hip-hop has ever faced is industry. Once people started making money from it, it changed forever. Actually, it was always a little corrupt ever since the people in the music business realized it was profitable. Rappers began to notice it and it showed in the music. Like, A Tribe Called Quest‘s “The Business”, from ’91 and Common‘s “I Used to Love H.E.R” from ’94. I actually consider 1994 the best year for hip-hop. If the industry was corrupting rap so much then, you can imagine how much it’s changed from 20 years of industry sucking it dry and milking gimmicks.

“Once the most influential rappers on both east and west coasts were assassinated (Biggie and ‘Pac), Bad Boy Records was running shit. Puffy, or whatever his name is (I don’t know what he goes by now) pushed that whole glamour glitz and fashion epidemic which remains dominant today. You wouldn’t see a video without seeing “Crystal”, expensive clothes, and money being thrown around. Some good rappers became way too down with all that and turned wack. There was a clear divide, and then the beats started lacking and started turning into pussy shit.”

“In the 2000’s it became all about materialism: Less and less about lyricism, less and less meaning, and more and more about pollution to society. It keps happening ’till the point when the radio and anything public involving hip-hop is dominated by Lil Wayne, Rick Ross, and Drake. Shit that comes out nowadays: 89 percent of it doesn’t even rhyme, and you cant understand because there is a new selling trend of mumbling; so I’ll go read the lyrics and find they are diarrhea in my asshole. Especially with the radio playing all their shit all the time. I think even Nas tried to fuck with the glamour stuff for a minute in videos when he was trying to keep up with Jay-Z during that whole beef. He didn’t stick with the materialism bullshit for long.”

“I call it “spoon fed diarrhea”; people are so quick to sell their souls for money. Everyone thinks it’s cool because they see other people thinking it’s cool; so the people listen to it and then think they are cool.In this day and age, in order to hear good music, you have to go looking for it instead of turning on your radio or television. People don’t even know that! The average person cant name at least 3 dope underground MCs off the top of their heads.”

LM: What happens to your art if you become a success?

Dizasterpiece: “I mean, this is how I see it. Money could come at me, sure, but being rich isn’t the goal. The goal is music. Always music. It has to be real. It has to be passionate. The true goal is honestly. Just to be able to make a living off what I love doing, and inspiring others with my words and sound. I just want to tour all the time, live in a van, get out in a different place playing in front of different people everyday, share my music, passion, and soul with them, go to sleep, and do it all again the next day; everyday.”


For more information, follow Dizasterpiece at:

twitter: @imdizasterpiece


The Rhyme Times: Dizasterpiece-Jersey’s New Hip-Hop Savior

1012791_348842165219362_1613668946_n “I’m from another dimension” boasts Dizasterpiece, New Jersey’s freshest force of prodigal underground hip-hop. The lyric taken from the third track of The Abominable Showman, Diz’s recently self-produced debut album, explains much more than anyone would ever let on. While boldly emerging into a flooded and over-imposed mixtape era, Diz represents everything we used to know and love about rap.

Dizasterpiece, aka (wishes to remain anonymous), has a unique super-power. That power is the ability to bend music to his will. It is rare, and perhaps almost non-existent, to see talented MCs evolve from other tribes of music these days. The Abominable Showman is a 10-track album that transcends genre on an almost incomprehensible level. To be clearer, Diz has “the touch” when it comes to sampling. That and his immersive, skeptic-charged writing are the two ingredients that make the album a perfect snack full of crunchy beats. Though Diz’s 90’s throwback production vividly time-travels listeners back to the glory days of Wu-Tang Clan and A Tribe Called Quest, he was not always the hip-hop paragon he seems to be becoming.

Before embracing the art of the pen and sampler pad, the artist now-called Dizasterpiece was something else entirely. Preceding rap as his chosen genre of expression, and at the core of his experience, Diz is a veteran punk/hardcore/metal musician. Formerly the front man for experimental grindcore band Hey Lovey Dovey (among others), his major influences pre-rap include Glassjaw, Poison the Well, Deftones, American Nightmare, and Senses Fail. Despite his love for the genre he grew up with, Diz found he was constantly being let down by bandmates. As a closet-rapper since high school, Diz would contemplate complex rhymes behind closed doors, writing his first rap at 17.

Starting with MC classic giants like Nas and Snoop Dogg, he would slowly become more and more immersed in his hidden talent for rap expression. Eventually, he set aside his straying band hopes for a more personal, complicated form of expression; one he had been withholding all along. The Abominable Showman is clearly influenced by the defining style of the early-to-mid 90′s hip hop scene. Diz pays homage to these classic giants in his tracks. In “Open the Blinds”, he even references A Tribe Called Quest song: “Can I Kick It?” In his iconic- styled drum and bass riddled rhymes, Dizasterpiece lashes out against what modern culture and social trendsetting has twisted popular music into. Melding his passion and naturally developed hip-hop skills with his punk/hardcore rooted background, The Abominable Showman is a record that captures a refreshing, reforming attitude on the genre.

Everything about this album contributes to its overall success. Even the order of tracks on the record has meaning. “Intro” casually sets the stage for what listeners should expect, that is, before dropping definition bombs like the following tracks “Dizasterpiece” and “The Abominable Showman”. After taking 3 raps to mesmerize the listener into a clear vision of what he is, Diz describes his detailed transition into hip-hop in the track: “From MPE to MPC.” As a subtle yet logical intermission, “Sampler Pad Freestyle” is a perfect break in the chaos of artistic definition. After the intermission, Dizasterpiece leaves nothing to be desired in the record’s still-determined second half. Returning to the lyrical beats after the short pad freestyle, Diz unleashes “Open the Blinds”. This is arguably the best track on the album, as it utilizes everything from smart, provoking rhymes and consistent beat production, to guitar and thrashing metal breakdowns.

The entire second half of the album, in fact, is completely packed with emotion and emergence. “1-800-LITHIUM” and “Beyond Us” tell intimate stories of understanding and personal evolution. These verses are complicated and full of meta-understanding, and yet, they come off as extremely relational and listen-friendly. The Abominable Showman experience comes to an end with “Open Mic Night”: A track with arguably the most progressive production of all. The rap naturally acts as a frustrating and hypnotic cliffhanger, leaving listeners desperate for more as the replay button stays locked on repeat. With the end of this track comes the conclusion to a powerfully produced and artistically flooded debut album. That is, until Diz returns for seconds, and hopefully thirds.

Take a listen to his “Beat Fresstyle 2014 ” below!

For more information on Dizasterpiece, visit:





Behind the Industry: Meet Founder of Infectious Mag, Angela Mastrogiacomo


Over the past five years, Infectious Magazine has been featuring many popular indie acts and Warped Tour bands on its site, making a household name for itself. Now including pop acts into the mix, Infectious Magazine will be attracting more loyal readers. Many readers know the magazine and the brand (the cool and hip logo explains it all!), but who’s the person behind the growing, yet successful magazine?

Meet  Angela Mastrogiacomo, the young entrepreneur who makes her dreams come true. Not only is she the founder of Infectious, but she’s gotten into public relations with her new company Muddy Paw. When she’s not overseeing her editorial staff and interviewing her favorite bands for the magazine, she’s helping newer bands get recognition through her thriving company Muddy Paw.

I got a chance to chat with Angela about founding her two companies at the age of 25, her highlights and lessons working in PR and the publishing field as well as her artists on Muddy Paw and developing a strong team for Infectious Magazine.

How did Infectious Magazine come about? What inspired you?

Angela: I started Infectious about five years ago. I’m 25 now. I remember that I was really inspired and I wanted to start something. I was sitting on my bed in my parents’ house and just going back and forth about names. I don’t know how I thought of infectious as the name. I guess I was trying to think of how I felt when I saw the band, The Coming Weak for the first time. Then our logo was finished, which is a needle going through a tape cassette. I really wanted to incorporate a needle because of the infectious thing, but I couldn’t find a way to do it without it seeming drug related. (Laughs).

I’m completely self-taught and that is what keeps me motivated. I have to be that way or else it wasn’t going to happen. In the beginning, it was just finding that inspiration and having that dream. Now it’s very similar, but it’s also pushed by the fact that I’ve seen so much that I have done and that’s really cool. So this little dream that I had has changed into these opportunities that I’ve never expected to happen.

What’s the key to having a strong team? How did you manage to keep a solid team?

Angela: It definitely took me a while to learn how to have a team. Having a team was something I was afraid of because I was scared to let anyone else in because this was sort of like my “baby.” Somebody kept telling me that I couldn’t possibly grow at a rapid pace without some help. I couldn’t do everything myself all the time. I started with a small team of 2 to 3 people that helped out with content and social media stuff. From there I got more comfortable and now we have like a team of 20 people helping out. I really could not do it without them. One person can only do so much. It’s just the matter of finding those same passionate people. As long as everyone is having fun and learning, you’ll go somewhere and when that stops, you are in trouble.

For those people new to Infectious Magazine, what can that expect to read and who type of bands can they find?

Angela: We cover a lot of national artists as well as unsigned artists. We cover a lot in the pop/punk/rock scene. Basically I call them Warped Tour bands. (Laughs). We cover a lot of bands you expect to see on Warped Tour or tours like that.We just started doing pop, so the more radio-friendly names have been popping up. This is just to add to the mix of things.

It’s really important for me to keep introducing new and unsigned artists as well. We don’t cover news, but we do guest blogs and playlists. It’s a better way to introduce readers to newer bands. Like if there were a news story on an unsigned band, people wouldn’t be interested enough. If the article or music shows their personality and the readers find interesting, then it’s a win-win situation. People really enjoy reading our guest blog posts, which covers people’s journeys and advice. Those posts will really help both bands and readers.

What are some of your highlights of 2014 thus far?

Angela: Let’s start with the good first. (Laughs). There were a couple of bands that I really wanted to interview and I never thought it would happen. One of those bands were Anberlin; they have been my favorite band for a long time. They were one of the first five bands I interviewed after starting Infectious.  I just wrapped up my fourth interview with them, so I feel so so lucky to be able to interview them so many times.

There are some things that I should have done differently. The first thing is asking for help sooner. I was being so stubborn, trying to do everything on her own. The second thing is networking. I realized how important networking is. I really thought people was exaggerating when they talked about how important it was, but they’re not, they actually mean it (laughs). It’s always going to be 100% of who you know. So i wish I would have realized that sooner. I recommend for people whether they are bands or people working in this industry, they should be networking all the time.

How has social media help you with your magazine and branding?

Angela: Social media was tough for me to get a hold of, especially with Twitter. I just didn’t understand how it worked. I don’t really get it, but I do it because it is really important. It’s so helpful. It’s cool to see the interaction on there with bands favoriting our tweets or retweeting them. For a branding standpoint, social media is not going anywhere. It’s constantly changing and evolving, so you have to stay on top of it. Twitter is the new networking, so you should use it to your advantage.

Let’s talk about Muddy Paw and the creation of the public relation company?

Angela: I wanted a new way to promote the bands that I love.  I wanted to run my own company and it wasn’t going happen with Infectious. I’ve always been on the receiving end for press releases. I feel like I have a good understanding on what does work and what doesn’t. It was bit easier this time because I’m a little older and wiser. I did some test runs with friends’ bands and I was pretty good at it.  This is something I am going to do and focus on full time.  We are a growing company with afforadbale rates.  If bands are looking for PR, come check us out. We’re open to all types of music and work with all budgets.

Who are some of the artists on Muddy Paw?

Angela: I’m working with a couple of bands now. One band, Only On Weeknds, are kind of alternative rock. Another band is Aziza & The Cure. They are really interesting. It’s sounds weird, but it’s kind of an indie mix with classical music. Pretty cool. We have more artists that are coming up. Summer will be busy.

For more information on Infectious Magazine, visit:




Check out Muddy Paw here:


Breeze Embalm Releases New Joint “TiminG”


Breeze Embalm’s “TiminG” has not only a sick beat, but also a good message behind it. From verse to verse Breeze keeps the message real and straightforward. Time is very influential and is possibly one of the most influential aspects of our lives. When time is thought about, it is usually in numbers, but time is much more than that. Time is powerful, can be wasted, and should be appreciated.

Breeze believes that time is powerful because in the right amount of time, money, knowledge, and even success can be gained and achieved. Breeze believes that time can be wasted if you don’t attempt to make anything positive out of our life. Why just go through the motions of life, when life can be lived to the fullest?

Breeze also believes that time should be appreciated because once time is gone, it can’t be taken back. Nobody wants to be sitting around feeling sorry for themselves about time they have wasted. “Life is short and the only loss is hours lost,” is a line from “TiminG” and that verse emphasizes the idea that everyone should live life to the fullest and not waste time. Breeze repeatedly says that he will “take my time with that” and by “that” in that verse, he could possibly be talking about how he will take his time and enjoy life as he gets to where he needs to be in life. Everything takes time, Breeze Embalm wants to make sure that nobody takes time for granted. It’s a great song to listen to and it is quite uplifting!




We Were Astronauts Give Special Tribute to “Doree”

Indie/pop band We Were Astronauts has released their official music video for “Doreé,” a painfully reminiscent number off their late album Outside Boston. It tells of the eternal nostalgia a man experiences in regards to his high school sweetheart.

While many of today’s videos tend to steer from the heart and meaning of the song, director and producer Chris Cucinotto chose to keep things simple in his interpretation of the Boston-based group’s homage to the aforementioned lost love known as Doreé. Viewers are taken on a small town journey as they watch a conflicted man recall the simpler moments that make up his past – a conversation in a hallway, a giggle fest in a thrift store, a slow dance under strung lights. The past and present are easily differentiated with the help of an antique filter similar to the quality of an old movie in both appearance and effect it has on the audience.

Despite the somewhat subdued lines delivered by lead singer Antonio Cassanta and the bits of poignant footage that may just activate your forgotten tear ducts, both the song and video maintain a certain level of light heartedness given the use of major chords, flowing piano, upbeat rhythm and hummable melody. As We Were Astronauts strums and drums away, every relatable lyric is captured in the wistful scenes that unfold before your eyes and leave you with the urge to pick up the phone and dial the digits of the one that got away.

From sweet start to fairytale finish, We Were Astronauts has left their mark on the hearts of many with their video for “Doreé.” The band is currently in the midst of completing Artificial Light, their new album set to be released in September.

For more information about We Were Astronauts:




Track Review: Rohan Da Great Wants to “Rule the World”

Hailing from Brooklyn, renaissance man Rohan Da Great, a CEO and artist of L.A.R. , or Leaders of the Artistic Revolution, has been working the scene for some time now, but has finally dropped his much-hyped single “Rule the World”, off his upcoming solo EP The Real. Has it been worth the wait? We’ve got the inside dish for you.


Surviving The Storm with La La Lush

R94A4192La La Lush is a New York band comprised of lead singer Leea Borst, bassist Joe Farrell, guitarist Steve Scarola, keyboardist Stephen Federowicz, and drummer Cashel Barnett. Equipped with musically-diverse backgrounds, these talented group of individuals formed La La Lush while attending Fordham University in the Bronx. Today, they seek to create a more specific sound and to establish their identity. The latest EP features four inclusive tracks titled “O.W.L,” “Clap,” “Fighting For Control,” and “The Haunting.” The pause between each track of the EP clears the listener’s palette because there is always a new sound to look forward to. That is, when the listener stops hitting ‘repeat [song].’ Currently, La La Lush describes the band’s genre as “pop-rock with a tinge of alternative.”

The first track off the EP is called “O.W.L” and this song is about being alive. The concept of living in the moment is expressed early in the song with rhythm that is strong and gradual. In the intro of the official video, the band steps in slow-motion while the lead singer echoes, “We are the ones.” Borst’s clear, definite melody closes the gap between heart and screen. In the second verse, Borst pleads, “Don’t let the wind chimes be swallowed by the thunder,” then opens her range to proudly declare, “We are the ones who loved. We are the ones who did it anyway.” Here, the chorus serves as both a reminder and celebration of life’s choices.

The open setting of the official video truly highlights the amount of creative space that La La Lush takes advantage of. Each of the band members displays so much individual personality and recognition of what they do throughout their entire performance. The instrumentals are collective and progressive with a confident sense of direction that allows the listener to feel comfortable sharing his or her emotions with the band. Give yourself a chance. Listen to “O.W.L” below, and check out the band’s channel here.

For more information on La La Lush, visit:

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A Million Pieces Hopes You’ll Stay

a-million-piecesA Million Pieces is an American pop-rock band from Los Angeles, California. The band members cite some of their influences as Queen, Genesis, Fleetwood Mac, and One Republic. Founded in 2009, the group consists of frontman Graham Fenton for lead vocals, Peter Vanderloos on guitar, Brad Crowell on bass, and Lucas Gordon on drums. During the recording and writing process of the Supernatural EP, each band member lived in a different state. The EP was recorded in Texas, mixed in Los Angeles, and mastered in Nashville. The band says, “It was a lot of travel time.” Yet, on track, A Million Pieces worked together successfully to release their new single, “Stay With Me,” to the public.

“Stay With Me” reflects one of the band member’s personal experiences about a long-ago relationship that still haunts him today. He feels tortured that they are no longer together (“a fire burns inside”). The guy wants the girl to “come around” and open her eyes to the possibility of reconcilement but is unsure if that is the right decision for either of them. Despite the conflicted feelings that arise in this song, the band’s youthful sound and light lyrics assure the best among the worst. Attributing to Fenton’s Broadway roots, the lead singer’s rich and distinctive vocals carry the melody as the back-up vocals harmonize in response. The vocal precision and range of this group is incredible.

Although the instrumentals are balanced in the track, the digital effects ultimately enhance the pop quality and tone. Under strict observation, the song’s structure has a very familiar arrangement, in terms of verse, chorus, and instrumentals. Though keeping in mind, A Million Pieces hopes to “surprise” listeners with a complete album, potentially in the fall, loaded with new music to keep fans on their toes. Listen to their single, “Stay With Me” on SoundCloud. Stay tuned!

For more information on A Million Pieces, visit:




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