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AI Music Video Generator: A Practical Tool for Independent Creators

Eric Alper
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By Mitch Rice

Music videos used to require expensive cameras, editing software, actors, lighting setups, and enough patience to survive twelve rendering crashes at 3 AM. Humanity really built an art form around suffering through timelines and export errors. Now, independent creators are using AI tools to simplify the process and produce visual content faster.

An AI Music Video Generator helps artists turn songs into engaging videos using automation, visual templates, AI animation, lyric syncing, and scene generation. For musicians working without large budgets or production teams, these tools can reduce both cost and production time while still creating content suitable for platforms like YouTube, TikTok, Instagram Reels, and Spotify Canvas

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Why Independent Artists Are Using AI Music Video Tools

Independent musicians face a common problem: making good music is already difficult, but promoting it visually can be even harder. Audiences now expect artists to release visual content alongside every track. A simple audio upload is rarely enough to gain attention on social platforms.

AI-powered video tools help solve this by automating tasks such as:

  • Scene generation
  • Video editing
  • Beat synchronization
  • Lyric animation
  • Background effects
  • Visual transitions

Instead of spending weeks editing manually, creators can upload a song, choose a visual style, and generate a music video within minutes.

How an AI Music Video Generator Works

Most AI video platforms follow a similar process. Users upload audio, select visuals or prompts, and let the AI create scenes that match the mood, rhythm, or lyrics of the music.

Some platforms focus on animated visuals, while others create cinematic sequences, motion graphics, or AI avatars. A few even generate complete lyric videos automatically.

Common features include:

  • AI-generated backgrounds
  • Auto beat detection
  • Text-to-video prompts
  • Lip-sync animation
  • Visual effects presets
  • Social media export formats

For creators with limited editing experience, these tools reduce the technical barrier significantly. Which is useful because not everyone wants to spend six months learning software menus designed like aircraft control systems.

AI Tools Are Changing Music Promotion

Short-form video content has become essential for music discovery. Platforms like TikTok, YouTube Shorts, and Instagram prioritize engaging visuals, even for independent releases.

Artists now use AI-generated clips for:

  • Song teasers
  • Full music videos
  • Visualizers
  • Album promotions
  • Lyric videos
  • Behind-the-scenes style edits

In the middle of this shift, tools like Rotor Videos have gained attention among independent musicians because they combine automated editing with music-focused templates. Instead of treating videos like generic marketing content, they are designed specifically around songs and artist branding.

The important part is balance. AI should support creativity, not replace it entirely. The strongest music videos still come from artists with a clear visual identity and emotional direction.

Benefits of Using AI for Music Video Creation

Faster Production

Traditional editing workflows can take days or weeks. AI tools can reduce production time dramatically, allowing artists to publish content consistently.

Lower Costs

Hiring videographers, editors, and animators is expensive. AI platforms offer a more affordable alternative for creators with smaller budgets.

Accessibility

Many independent artists do not have advanced editing skills. AI video generators make visual content creation easier for beginners.

Content Variety

Creators can quickly produce multiple versions of a video for different platforms and audiences.

Limitations Creators Should Understand

AI-generated videos are improving rapidly, but they are not perfect.

Some tools still struggle with:

  • Precise storytelling
  • Emotional nuance
  • Complex scene control
  • Realistic character motion

Overusing automated visuals can also make content feel repetitive. Audiences notice when every video looks like glowing neon particles floating through space while a sad piano plays in the background. The internet has enough floating particles already.

The most effective approach is combining AI efficiency with human creativity. Artists who guide the visual direction carefully usually get stronger results than those relying entirely on automation.

The Future of AI Music Videos

AI video technology is evolving quickly. Future tools will likely offer more advanced customization, real-time editing, and improved synchronization with vocals and emotions.

For independent artists, this means fewer technical limitations and more opportunities to experiment creatively without massive budgets.

An AI Music Video Generator is not replacing musicians or visual artists. It is becoming another production tool, similar to digital audio workstations and online distribution platforms. Used thoughtfully, it allows creators to spend less time fighting software and more time focusing on music itself. A surprisingly rare victory in modern digital life.

Data and information are provided for informational purposes only, and are not intended for investment or other purposes.

Beyoncé, Taylor Swift, Weezer, The Go-Go’s and 21 More Recordings Enter the Library of Congress National Recording Registry

Eric Alper
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Beyoncé, Taylor Swift, Weezer, The Go-Go’s and 21 More Recordings Enter the Library of Congress National Recording Registry

The Library of Congress has announced its 2026 class of National Recording Registry inductees, and the 25 selections span 70 years of American sound. From a 1944 novelty record to Taylor Swift’s blockbuster 2014 album ‘1989’, this year’s class is one of the most wide-ranging in the registry’s history.

The class marks the first recordings by both Swift and Beyoncé to enter the registry. Swift’s ‘1989’ joins Beyoncé’s 2008 anthem “Single Ladies (Put a Ring on It)” as the newest additions chronologically. Weezer’s self-titled debut, known as ‘The Blue Album’, was among the most nominated recordings from the public, with fans submitting more than 3,000 nominations total this year.

Acting Librarian of Congress Robert R. Newlen made the final selections from a list compiled by the National Recording Preservation Board, describing the chosen recordings as “audio treasures worthy of preservation for all time.” NPRB chair Robbin Ahrold noted the class “beautifully captures the scope of the American experience” as the country approaches its 250th anniversary.

The Go-Go’s 1981 debut ‘Beauty and the Beat’ earned its place alongside a roster of genre-defining records. Belinda Carlisle called the induction a gift to music history. Bandmate Jane Wiedlin put it more directly: “There is literally no other all-female band that went No. 1 on the charts, play their own instruments and write their own songs. None.”

Chaka Khan reflected on the convergence that made her 1984 recording of “I Feel for You” something beyond a hit. “Prince’s genius, Stevie’s harmonica, Grandmaster Melle Mel’s rap, and whatever God put in me that day,” she said. “For the Library of Congress to say this recording belongs in the permanent collection of American sound heritage, that means it wasn’t just a hit, it was history.”

Vince Gill’s 1994 single “Go Rest High on That Mountain” also joins the registry, a song he wrote about the loss of his brother. “I’ve been writing songs for over 50 years, and if you asked me straight up what’s the one song you’d want to be remembered for, I would pick this one, hands down,” he said. The induction also marks a historic first: Johnny Cash’s ‘At Folsom Prison’ entered the registry in 2003, making this the first time a father and daughter have both been included.

The full class covers country, pop, jazz, Latin, folk, funk, R&B, classical crossover, video game composition, and a landmark sports broadcast. The sole non-musical selection is the 1971 radio broadcast of “The Fight of the Century” between Muhammad Ali and Joe Frazier at Madison Square Garden.

The National Recording Registry now holds 700 entries, representing roughly 0.01% of the Library’s 4 million collected recordings. Nominations for the 2027 class close October 1, 2026.

2026 National Recording Registry Inductees:

“Cocktails for Two” – Spike Jones and His City Slickers (1944)

“Mambo No. 5” – Pérez Prado (1950)

“Teardrops from My Eyes” – Ruth Brown (1950)

“Fly Me to the Moon (In Other Words)” – Kaye Ballard (1954)

“Put Your Head On My Shoulder” – Paul Anka (1959)

‘The Blues and the Abstract Truth’ – Oliver Nelson (1961)

‘Modern Sounds in Country and Western Music’ – Ray Charles (1962)

“Turn! Turn! Turn! (To Everything There Is a Season)” – The Byrds (1965)

“Amen, Brother” – The Winstons (1969)

“Feliz Navidad” – José Feliciano (1970)

“The Fight of the Century: Ali vs. Frazier” (March 8, 1971)

“Midnight Train to Georgia” – Gladys Knight and the Pips (1973)

‘Chicago’ Original Cast Album (1975)

“The Devil Went Down to Georgia” – The Charlie Daniels Band (1979)

‘Beauty and the Beat’ – The Go-Go’s (1981)

‘Texas Flood’ – Stevie Ray Vaughan and Double Trouble (1983)

“I Feel For You” – Chaka Khan (1984)

“Your Love” – Jamie Principle (1986) / Jamie Principle and Frankie Knuckles (1987)

‘Rumor Has It’ – Reba McEntire (1990)

‘The Wheel’ – Rosanne Cash (1993)

‘Doom’ Soundtrack – Bobby Prince, composer (1993)

“Go Rest High on That Mountain” – Vince Gill (1994)

‘Weezer (The Blue Album)’ – Weezer (1994)

“Single Ladies (Put a Ring on It)” – Beyoncé (2008)

‘1989’ – Taylor Swift (2014)

Foo Fighters Close the Loop on The Late Show With a Medley 31 Years in the Making

Eric Alper
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Foo Fighters Close the Loop on The Late Show With a Medley 31 Years in the Making

Some performances carry more history than a single night can hold. When Foo Fighters took the Late Show stage on May 4 for a web-exclusive medley of “This Is a Call” and “Everlong,” they weren’t just playing two songs. They were closing a 31-year chapter.

The medley bookends one of the most storied relationships between a band and a late-night host in television history. “This Is a Call” marked Foo Fighters’ first-ever national TV performance when they played it on Late Show with David Letterman on August 14, 1995. “Everlong” was the last song the band played on that same stage, during Letterman’s final episode on May 20, 2015.

Stephen Colbert introduced the set directly: “Performing a medley of the first song they played on this stage on The Late Show 31 years ago, ‘This Is a Call,’ and the last one on Letterman in 2015, ‘Everlong,’ ladies and gentleman, Foo Fighters.”

The connection between Grohl and Letterman runs deep. After debuting “Everlong” on the show in 1997, the band famously paused their international Sonic Highways tour to perform it again when Letterman returned from open-heart surgery in 2000. Letterman had credited the song with helping him through his five-week recovery. “When we found out he actually liked our music, that he actually was a fan, I was really blown away,” Grohl recalled. “It felt like something we had to do.”

Letterman ultimately introduced Foo Fighters on his final episode as “my favorite band, playing my favorite song.” That moment, and this new medley, sit together as one of the more genuinely moving throughlines in late-night history.

The timing carries extra weight. The Late Show with Stephen Colbert airs its final episode on May 21, making this Foo Fighters performance almost certainly their last on that stage, closing the full arc of the show’s run across both hosts.

The band is fresh off the April release of ‘Your Favorite Toy’, which also produced “Caught in the Echo” and “Window,” performed during the televised portion of their May 4 appearance. A North American stadium tour launches in August, with support from Queens of the Stone Age.

Nashville Punk Favorites Be Your Own Pet Hit the Road for Their Self-Titled Debut’s 20th Anniversary

Eric Alper
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Nashville Punk Favorites Be Your Own Pet Hit the Road for Their Self-Titled Debut’s 20th Anniversary

Be Your Own Pet are back, and they’re bringing the full debut with them. The Nashville punk favorites have announced a 14-date US tour celebrating the 20th anniversary of their self-titled debut album, running across three legs this summer and fall. Tickets for select dates go on sale Friday, May 15 at 10 AM local time.

The format is two sets per night, and the band is making it count. “We’re gonna do this a little different and play the first album in its entirety, the good, the bad, the lazy, and the ugly, and then a second set of all our favs from the other albums,” the band shared. Show-only merch described as “extra special and rare” will also be available exclusively at each date.

The run opens in July across the South and Southwest, hitting San Antonio, Austin, Dallas, Atlanta, and Nashville. September brings a West Coast leg through Seattle, Portland, San Francisco, Los Angeles, and San Diego. October closes things out on the East Coast with stops in Durham, Washington D.C., New York, and Philadelphia.

Be Your Own Pet first reunited in 2022 after 15 years away, a return that quickly gathered momentum and led to ‘Mommy’ in August 2023, their third album and first new music in over a decade. This tour adds another chapter to what has become a full-on comeback.

The self-titled debut remains a raw, urgent snapshot of a band operating on pure instinct, and hearing it performed front to back is the kind of live experience that doesn’t come around often.

2026 Tour Dates:

July 13 @ Paper Tiger, San Antonio, TX

July 14 @ 29th Street Ballroom, Austin, TX

July 15 @ AM/FM, Dallas, TX

July 17 @ The Masquerade Purgatory, Atlanta, GA

July 18 @ The Blue Room, Nashville, TN

September 16 @ Barboza, Seattle, WA

September 17 @ High Limit Room, Portland, OR

September 19 @ Rickshaw Stop, San Francisco, CA

September 20 @ Lodge Room, Los Angeles, CA

September 21 @ Casbah, San Diego, CA

October 22 @ Stanczyks, Durham, NC

October 23 @ DC9, Washington, D.C.

October 24 @ Elsewhere (Zone One), New York, NY

October 25 @ Johnny Brenda’s, Philadelphia, PA

Marshall and Jimi Hendrix Team Up for a Limited 60th Anniversary Collection Built for the Ages

Eric Alper
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Marshall and Jimi Hendrix Team Up for a Limited 60th Anniversary Collection Built for the Ages

Six decades of Marshall and Hendrix, and the connection still crackles. Marshall has launched the Marshall x Hendrix 60th Anniversary Collection, a limited-edition stack built to honour one of the most storied relationships in rock history. Pre-orders are open now, with shipping beginning June 1.

The centrepiece is the 1959 Handwired Head, a 100W head delivering the same high-gain distortion tones Hendrix used to rewrite the rules of electric guitar. Paired with the 1960 AHW Handwired Angled Cabinet, loaded with 4 Celestion G12H 30 12-inch speakers, the combination recreates Hendrix’s signature Marshall stack setup, tight low-end, punchy mids, and stunning highs.

Completing the collection is the JMH-1 Fuzz Face Distortion, a limited-edition Dunlop pedal offered exclusively with the stack. It carries the same oil-in-water design as the rest of the collection and delivers the snarling, snappy tones that defined Hendrix’s legendary Isle of Wight performance.

The design language across the collection is unmistakable. Psychedelic, celestial artwork draws from the themes central to Hendrix’s creative world: space, the cosmos, and the colour purple. It’s visually striking and entirely fitting for a collection of this scale.

To mark the launch, recording artist Zach Person performed through the anniversary collection at Washington Hall in Seattle, one of the few remaining venues where Hendrix himself played. The performance demonstrates exactly what this gear can do in the right hands.

The Marshall x Hendrix 60th Anniversary Collection is priced at £3,799.99 and available for pre-order now at marshall.com.

Sarah Harmer, Begonia and Terra Lightfoot Headline Northern Lights Festival Boréal’s Bold 2026 Lineup

Eric Alper
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Sarah Harmer, Begonia and Terra Lightfoot Headline Northern Lights Festival Boréal’s Bold 2026 Lineup

Northern Lights Festival Boréal turns 54 this summer, and it’s arriving at Bell Park in Sudbury, Ontario with one of the most ambitious lineups in the festival’s history. Running July 10–12, 2026, NLFB 2026 brings together Sarah Harmer, Begonia, and Terra Lightfoot as headliners, backed by a program that spans folk, roots, indie, hip hop, afrobeats, and global music, plus a classical crossover collaboration that nobody is going to see coming.

This is also the first lineup curated by incoming Artistic Director Kerri Stephens, and she wasted no time making a statement. “Every artist was carefully chosen to complement the lineup as a whole,” Stephens explains. “I can’t wait for attendees to rediscover old favourites and fall in love with new ones.”

Sarah Harmer opens Friday night, one of Canada’s most respected singer-songwriters, with decades of luminous folk and roots music behind her. Also on the Friday bill is a bold classical crossover concert pairing 2V+ with the Sudbury Symphony Orchestra, weaving 3 centuries of music into a single set.

Saturday belongs to Sarah Harmer and Dan Mangan, whose deeply human songwriting has long bridged folk, indie rock, and orchestral textures. Mangan’s presence here is exactly the kind of mid-card anchor that elevates an entire day’s programming.

Sunday closes the weekend with Begonia and Foxwarren. Fronted by Winnipeg vocalist Alexa Dirks, Begonia brings soaring, soul-infused indie pop built on fearless emotional honesty. She’s a JUNO Award winner and one of the most compelling live performers working in Canadian music today. Foxwarren, the celebrated collective led by Andy Shauf, rounds out the day with their signature blend of folk storytelling and experimental production.

Terra Lightfoot anchors Friday as a headliner, and her reputation as a commanding guitarist and powerhouse vocalist makes her a natural closer. Gritty blues-rock energy, sharp songwriting, magnetic stage presence: Lightfoot delivers every time.

Beyond the headliners, the full lineup stretches across genres and generations. Mattmac, Logan Staats, Okavango African Orchestra, Charlotte Cornfield, Petunia & The Vipers, Duane Andrews & The Hot Club of Conception Bay, Nikki D & The Sisters of Thunder, and more than a dozen additional artists fill out a schedule that genuinely rewards festival-goers who arrive early and stay late.

Full Festival Passes are on sale now at nlfbsudbury.ca. Full Pass $145, Youth $110. Kids 14 and under get in free with a ticket-bearing adult. Gates open at 5pm on July 10 and 11am on July 11 and 12. An accommodations package including 3 nights at the Best Western and 2 full festival passes is also available.

2026 Festival Dates:

Friday, July 10 @ Bell Park, Sudbury, ON

Saturday, July 11 @ Bell Park, Sudbury, ON

Sunday, July 12 @ Bell Park, Sudbury, ON

3x GRAMMY Winners Dan + Shay Get Personal on Their Sixth Studio Album ‘Young’

Eric Alper
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3x GRAMMY Winners Dan + Shay Get Personal on Their Sixth Studio Album ‘Young’

Dan + Shay have a new album coming, and they’re not holding anything back. The 3x GRAMMY Award-winning country hitmakers have announced ‘Young’, their sixth studio album, arriving August 21 and available for pre-order now. The title track is out tonight.

The duo made the announcement Thursday morning on TODAY, and the album arrives with immediate context. “Young is by far our most personal album yet, and we are beyond excited for our fans to hear it,” Dan Smyers and Shay Mooney shared. “Every song is inspired by a true story, and gives a real-time snapshot of exactly where we are in our lives.”

‘Young’ follows Smyers and Mooney through family, faith, and chasing dreams during one of the most active stretches of their 13-year career. Co-produced by Smyers alongside longtime collaborator Scott Hendricks, the album moves through the universal rhythms of life with the kind of directness that has defined their best work.

The lead single, “Say So,” is Top 30 and climbing at radio. The track addresses suicide prevention, a timely and important conversation, and its music video, conceptualized and directed by Smyers, gives viewers space to process and respond on their own terms. Dan + Shay perform “Say So” at the ACM Awards this Sunday, May 17, where they’re also nominated for Duo of the Year.

‘Young’ follows their critically acclaimed fifth studio album, ‘Bigger Houses’, which included the GRAMMY-nominated number one single “Bigger Houses” and added another chapter to one of the most decorated runs in modern country music.

The numbers behind this duo are staggering. More than 14 billion global streams. 139 worldwide career Multi-Platinum, Platinum, and Gold sales certifications. Eight American Music Awards for Favorite Country Duo, four ACM Awards for Duo of the Year, and 3 consecutive GRAMMY wins for Best Country Duo/Group Performance, a first in the category’s history.

“Say So” is a strong, emotionally grounded entry that shows exactly where Dan + Shay are as artists right now, confident, purposeful, and still swinging for something that matters.

Shrek Composers Harry Gregson-Williams and John Powell Get a 25th Anniversary Picture Disc

Eric Alper
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Shrek Composers Harry Gregson-Williams and John Powell Get a 25th Anniversary Picture Disc

Twenty-five years on, the score for Shrek still hits differently. Varèse Sarabande and Craft Recordings are marking the milestone with a brand-new collector’s edition picture disc of Harry Gregson-Williams and John Powell’s original score, arriving August 28 and available for pre-order now.

The wide-release vinyl features newly designed character artwork, with a hero image of the film’s protagonists on side A and Shrek and Fiona on side B. A Barnes & Noble-exclusive variant offers alternate film imagery. A newly reissued CD edition drops alongside the vinyl, and the score is streaming now across digital platforms.

The release arrives as Universal Pictures returns Shrek to theaters for a special 25th anniversary screening run beginning May 15. Local listings are available through Fandango and cinema websites.

When Shrek landed on May 18, 2001, it redefined what animated filmmaking could do. Irreverent, emotionally sharp, and musically inventive, it launched a franchise that became the first animated series to cumulatively surpass $3 billion at the global box office. The score was central to that achievement.

Powell described the balancing act of writing the music with characteristic honesty. “Making music for this film required us to walk a thin line between sentiment and subversion, truthful emotion and sticky sap, comedy and action, fruits and nuts,” he recalled. “But like Shrek and Donkey, we got to the other side and wondered what all the hollering had been about.”

Co-director Vicky Jenson put it plainly: “Harry and John created for us some of the most heartbreakingly beautiful themes as well as some of the most exciting passages I can remember hearing in any film.” Co-director Andrew Adamson added that the composers embraced the film’s eclectic nature and delivered something “at the same time beautiful and magical.”

Music supervisor Marylata E. Jacob spoke to the specific challenge of weaving a score around the film’s now-iconic song selections. “Our composers, Harry and John, having great wit, extraordinary talent and a keen sense of adventure, blended these songs with their original underscore to create a one-of-a-kind musical journey,” she said.

Gregson-Williams, reflecting on the franchise’s staying power, pointed to the heart of it: the relationship between Fiona and Shrek. “It’s always been irreverent,” he said. “You believe you’re in a classic fairy tale, then something happens to make you realize that it’s not the case at all.” That tension is exactly what makes the score endure.

Pre-order the Shrek 25th Anniversary Edition Picture Disc and CD at VareseSarabande.com.

LP Tracklist:

Side A:

  1. “Fairytale”
  2. “Ogre Hunters / Fairytale Deathcamp”
  3. “Donkey Meets Shrek”
  4. “Eating Alone”
  5. “Uninvited Guests”
  6. “March Of Farquaad”
  7. “The Perfect King”
  8. “Welcome To Duloc”
  9. “Tournament Speech”
  10. “What Kind Of Quest”
  11. “Dragon! / Fiona Awakens”
  12. “One Of A Kind Knight”
  13. “Saving Donkey’s Ass”
  14. “Escape From The Dragon”

Side B:

  1. “Helmet Hair”
  2. “Delivery Boy Shrek / Making Camp”
  3. “Friends Journey To Duloc”
  4. “Starry Night”
  5. “Singing Princess”
  6. “Better Out Than In / Sunflower / I’ll Tell Him”
  7. “Merry Men”
  8. “Fiona Kicks Ass”
  9. “Fiona’s Secret”
  10. “Why Wait To Be Wed / You Thought Wrong”
  11. “Ride The Dragon”
  12. “I Object”
  13. “Transformation / The End”

Concepción Huerta Turns Magnetic Tape Into Memory on New Album ‘No Queda Nada, Todo Resuena’

Eric Alper
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Concepción Huerta Turns Magnetic Tape Into Memory on New Album ‘No Queda Nada, Todo Resuena’

Concepción Huerta works where sound becomes physical. The Mexico City and Berlin-based artist has announced her new album ‘No Queda Nada, Todo Resuena’, arriving July 3 via Signal Noise, and shared the complete B-side, “Todo Resuena,” as a first listen. Listen here.

The album consists of 2 side-long tracks built around a Buchla 200 system, magnetic tape, and 4-track cassette processes. Huerta draws directly from British composer Daphne Oram’s writing, specifically the idea that recorded sound functions as a form of written memory. Each pass through tape alters information. Each bounce reveals something shifting and unstable.

“Electricity printed onto magnetic tape,” Huerta explains. “It’s like photographic memory: materiality, light, and frequencies impregnated in the material. Memory as a signal that occurred in time.” That framework shapes everything on this record.

The album emerged from a residency at Elektronmusicstudion in Stockholm, where Huerta accessed a room of rare antique gear while studying sonology in The Hague. She altered patches with voltage and feedback, pushing the equipment into producing drifts, ghosts, and galactic variations from oscillation. “Multitrack machines function here as extensions of the body and time,” she says. “They are not neutral tools, but surfaces of friction where the signal wears away, duplicates itself, deviates.”

“Todo Resuena” is kinetic, whirring, and unmistakably alive. It captures Huerta at her most focused, turning tape processes into something genuinely visceral and transporting.

For more than a decade, the Guanajuato-born photographer and sound artist has worked at the intersection of the physical and the auditory. Her collaborators include Estrelle del Sol of Mint Field, Jiyoung Wi, Daniela Huerta, Eve Matin, and cellist Mabe Fratti, across multiple projects.

Pitchfork called her work “narrative-driven ambient and experimental music executed with grace and care,” and Bandcamp praised her “refined ability to create vast, chasmic sonic landscapes.” ‘No Queda Nada, Todo Resuena’ is her first full-length for Signal Noise, and it carries that weight.

Huerta is currently mid-way through a European tour. The run wraps May 23 at Cafe OTO in London alongside Mexico-born, New York-based electronic producer and DJ Debit. The album is available for preorder now.

Tour Dates:

7 May @ NoGlucoase Festival, Bologna, Italy

9 May @ NUMU, Baden, Switzerland

11 May @ FILEC, Berlin, Germany

13 May @ Divadlo 29, Pardubice, Czech Republic

14 May @ Synth Library, Prague, Czech Republic

15 May @ Punctum, Prague, Czech Republic

20 May @ Silent Green w/ Huerta Ensamble, Berlin, Germany

21 May @ RCA, Porto, Portugal

22 May @ Cosmos, Lisbon, Portugal

23 May @ Cafe OTO, London, UK

Tracklist:

01 “No Queda Nada”

02 “Todo Resuena”

The Milk Carton Kids Built ‘Lost Cause Lover Fool’ From the Room Up

Eric Alper
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The Milk Carton Kids Built ‘Lost Cause Lover Fool’ From the Room Up

The Milk Carton Kids have always trusted the room. On their new album ‘Lost Cause Lover Fool’, that trust becomes the entire philosophy, and the result is a record that sounds like it was caught, not constructed.

The Los Angeles folk duo, Kenneth Pattengale and Joey Ryan, recorded the album using AEA N22 and N28 ribbon microphones alongside AEA TRP3 preamps, building a stereo image that places the listener directly inside the performance. Vocals and guitars were tracked live together, letting each element breathe and interact naturally within the space.

Recording engineer Jason Cupp drove that approach with precision. Rather than isolating sources and assembling them later, he focused on microphone placement, phase relationships, and how each element sat within the combined image. “There’s a real symbiotic relationship between the way things sound and the way the song gets performed,” Cupp explains. “They really inform each other.”

The process was iterative and deliberate. A song would be played through several times, with each pass allowing Cupp to refine placement and balance until the stereo picture felt complete and dimensional. The N22 covered electric guitar, mandolin, and kick drum. The N28 handled drums and guitar, contributing to an image that feels physically present.

Midway through sessions, aging vintage equipment began introducing noise and dropouts, pulling focus away from the music. Cupp suggested cutting the problem entirely. Pattengale reached out to AEA, and 12 channels of TRP3 preamps arrived the following morning. The old signal chain came out. The sessions moved forward.

“It was a really great and inspired choice of Jason’s, solving a problem but also making the record sound so much better,” Pattengale recalls.

Grammy-winning mastering engineer Kim Rosen noticed the difference at the finish line. After mastering, she sent a note to the band specifically highlighting the stereo image and how naturally the drums translated. For Pattengale and Ryan, that confirmation meant the spatial decisions made in the room had carried all the way through.

‘Lost Cause Lover Fool’ delivers exactly what the process promises: a warm, alive, fully realized sound that rewards close listening. The duo’s chemistry comes through in every exchange between guitar and voice, and the recording gives that chemistry room to resonate.

“It’s about finding the simple beauty in things and presenting them in a way that feels alive,” Pattengale says. That’s precisely what this album does.

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That Eric Alper

Eric Alper is a 6-time nominee for Publicist of the Year during Canadian Music Week and has overseen the publicity campaigns for over 183 JUNO Award-nominated albums (and 16 in 2025), 45 Grammy-nominated albums, including 47 JUNO Award, 58 Canadian Folk Music Award, 126 Maple Blues Award-winning albums and is also truly honoured to work with some of the biggest and most important artists of our time.

Contact me: eric@thatericalper.com

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