OUT NOW: Sean Thomas Gerard 'Stay In Your Light' [New Album]

After five years of growth as a musician and father, Sean Thomas Gerard is back with Stay In Your Light. Gerard, who records in a humble corner of his family's garage that doubles as a playroom for his two daughters, shares “I think about some day when I'm gone, my kids will be able to put on my records and feel like they can spend time with me again” about his music. The artist’s take on the indie-folk sound is refreshing and personal. Stay In Your Light is a comforting symphonic hug that aims to preserve the innocence of those Gerard holds dearest.

The family focused theme of Stay In Your Light is cohesive throughout, both sonically and lyrically. Gerard blends thoughtful lyrics with beautifully hazy instrumentation. The lead single, “Bright Side,” notably exemplifies these qualities with lines such as: “I knew then we were all, all in / I couldn't plan it better than this again.” The multilayered production of the song takes the listener on a sonic cruise. In an era starved for genuine warmth and intimacy, this record feels like a luminous embrace. Profoundly moving, endlessly replayable, and destined to become a cherished soundtrack for life's most tender moments.

The second and third singles from Stay In Your Light feature emotionally authentic arrangements melded with affectionate vocals. Gerard speaks to the love he has for his wife in “Worlds Collide” by saying: “And now I see it / You are a dreamer / We are both one of a kind / And we'll go singing in the street in the summertime” Seeing as how Gerard resides in Wilmington, North Carolina, it's only natural that some of his songs feature beach town-esque sounds. At its core, this album is a heartfelt reminder of what real love sounds like, the kind that makes you pull over just to steal a few more minutes together, and it'll leave you feeling a little less alone in the world.

Every sound on this album finds a home where they play in mass harmony, tucked in with great care by Gerard himself. This creates a seamless listening experience that immerses the universe in the artist’s vision. Stay In Your Light is an intimate glance into the artist’s psyche and his absolute affection for his daughters and family. Not a second of the listeners’ time is wasted throughout the half an hour of indie bliss.

Sean Thomas Gerard's Stay In Your Light is out now and available everywhere.

LISTEN TO FULL ALBUM | ORDER VINYL RECORD

An Interview With Wilmington, NC's Sean Thomas Gerard

[Repost from Blood Makes Noise; by Zack Fraser, March 4, 2026]

Zack Fraser sits down for a wide-ranging conversation with Sean about the intersection of music-making and family, his biggest influences, and the joys of a road trip soundtracked by good music.

Sean Thomas Gerard is a notable member of Wilmington, NC’s flourishing indie scene. The artist-turned-father is known for his ethereal and experimental full-length projects. Not only is he a singer-songwriter and multi-instrumentalist, but he is also capable of mixing and mastering his own work. A through and through “one-man band.” At the time of this article’s conception, we’re amidst the rollout of his third full-length project, Stay In Your Light, to be released on Fort Lowell Records on Friday, March 20th. Gerard is a family man at heart, and the upcoming record confirms that. Every strum of the guitar sounds like fatherly love perfectly distilled into dreamy indie pop. I was fortunate enough to pick his brain about fatherhood, his new album, and more:

You’ve seemingly developed the habit of a roughly four-year album cycle, with each of them containing eight tracks. What’s your thought process and logic behind the wait and track list length? The world needs more STG music!
Believe me, if I had the time and capacity to put out more music, I'd be releasing a song a month. The four-year album cycle speaks to how slow my process is. I have zero excuse for taking this long on an album pre-kids, but this album in particular took so long because it was a slow - chip away at it - process in between raising my two girls. I record in my garage, which about 3/4 of the space belongs to my kids and all my gear is jammed in the back corner. I have roughly an hour a day where I can work on music, i.e. naptime for the little one. So this album was basically recorded in hour-long sessions over the course of a couple years. If you've ever spent time recording your own music, you will know that you can literally spend an hour tweaking an EQ or messing with a new plug in, so it's a miracle I got this thing done at all! I have learned to become very efficient with my time when I sit down to record, so there were some days where I recorded all the vocals for a track, and then there were others where I spent an hour trying to get my laptop to recognize my DAW. The 8 track album seems like the perfect amount of time for someone to listen to a record from start to finish. I feel like it's really hard to keep someone's attention for too long these days, so 30 minutes seems like the sweet spot. I make records with the hope that someone listens to it as a whole piece of music. I spend a lot of time thinking about song order and flow. I'm happy if anyone listens to a song or two off the record, but my goal is to get folks to sit down and experience it as it was intended - start to finish.

To hear how involved your two daughters were in the creation of Stay In Your Light was very heartwarming. Could we please hear about some of your favorite moments with them during your sessions?
When I was tracking the album, I was doing that alone. The moments that will stay with me forever was when I started mixing the album. I spent about a month mixing and made a point to do some of that after dinner while the kids were playing in the garage. I'd be locked in and then turn around and they'd be drawing something but quietly singing along. Or I'd crank it up and we'd have a family dance party. It's hard to describe the feeling of watching your kids sing your songs, but it's absolutely the best feeling in the world for me. My new track "Bright Side" came out this morning. On the way to drop my daughter off at school, I put it on and they were both singing along in unison. After I dropped Jovie (older sis) off at school, Juniper (little sis) said "Can you play Daddy's song again"? We rode home, her singing, me driving and crying. Those moments are absolutely everything to me.

You included plenty of extras in your Finally Found A Paradise vinyl, which was nice to see. How much thought and work goes into your physical products?
I put a lot of thought into how an album is going to look. Be it on a shelf in a store, or in someone's record collection. I want the album cover to just look like something you want to listen to. I have bought records from stores because I liked the album cover without knowing the artist and have found some of my favorite bands that way. I made this album cover in my front yard. I bought flowers from the store (used some that my daughter found, too), arranged them in the yard, got on a ladder and took a picture. Much like the music itself, the album cover was a very hands-on process.

Knowing how hands-on you are with your craft makes your work even more impressive. Why did you choose the path of a musical vagabond and take so much responsibility upon yourself?
I really enjoy making records at home. I have recorded in studios a few times, and there's absolutely something to be said about recording an album in a week or two. To come out with a finished product so quickly is wonderful. But for me, I love allowing songs to evolve over time. That is the one thing that doesn't happen in a studio, at least for someone who doesn't have an unlimited budget... When you go into a studio, you're paying for studio time. You have to go in, for the most part, already knowing how the song is going to sound, what instrumentation needs to be tracked and there's a deadline. At home, I start with an acoustic guitar and a metronome. I have an idea of how I want the song to sound, but I really allow it to evolve by trying out different sounds and instrumentation. My songs almost never end up the way they sounded in my head when I originally wrote the song. I also learn so much by recording my own music. Every time I sit down at the computer, I learn something new. That process allows me to continue to evolve as a musician and a producer.

As I’m sure you’d agree, networking as a musician is necessary for one’s success. How has your relationship with Fort Lowell impacted your career as an artist?
Ah, networking. It's my least favorite part of putting out new music. I LOVE making music, but I make music mostly for myself and my family these days. I have no delusions of being some kind of a "star" or whatever. I really just want to make music that people want to listen to while they're making dinner with their family, or driving to work in the morning. I'd love to have my music in TV and film again, that would just be icing on the cake. I have been fairly slack about promoting my music over the years. I had a small team helping out when my band was touring, but I didn't put a ton of effort into the solo albums that followed. In walks Fort Lowell Records about 5 years ago. They were so enthusiastic about my music from the jump, it really inspired me to want to continue making records. They have allowed me the freedom to make the product I want to make without any interference or pressure. To have a label trust you completely with your art, that's a beautiful thing.

Everyone who loves music has essential albums, songs, or artists that they recommend to others. What are your essentials, and what importance do they hold to you?
Jackson Browne "For Everyman" - This album brings me to tears every single time. It takes me back to my childhood, it transports me to my first apartment when I was 19 and to the early days when I met my wife. I've listened to it when I was sad and I've blasted it in my car when in moments of pure happiness. It's been there throughout my entire life as the soundtrack to some of my best and worst memories. A record like that is like a best friend.

Paul McCartney "Ram" - This album is everything. It's the blueprint for a self-producer. It's an album made by two people deeply in love. Sonically, it has everything you'd need in a collection of songs. There's so much experimentation and yet almost every song sounds like a pop song that could hold its own if it were released today. It's my favorite album of all time. It too has also been the soundtrack to my life, but I specifically listen to it on days where everything is going right.

The bands who have more recently inspired me are: Wilco, Andy Shauf, Blake Mills and Benny Sings. Wilco was the band who originally inspired the sound of my band Onward, Soldiers. It took me down the americana road. It made me fall in love with pedal steel. It shaped how I wrote and arranged songs. Andy's music has really transformed the way I record. His production, keeping the rhythm sections tight and dead, allows the melodies and vocals to shine. Blake is the greatest living guitarist on earth, and he's also an unbelievably talented producer. Benny Sings album "Music" is on my Mount Rushmore, but everything he does, be it his music or the collaborations he does, his sound is simply the best and most fun.

Your music inspires a lot of mental imagery for me, as it’s very pure in its sonic identity. Where would the ideal place to listen to Stay In Your Light be, and why?

Man, that's the goal.

If I could pick anywhere to listen to this album, it would be on your favorite stretch of road, wherever that may be. Mine is the Blue Ridge Parkway, one of the most beautiful roads in the country. I have always tried to make road trip albums. I've spent a good portion of my life driving up and down the East Coast and throughout the country. I've always connected to music the most in the car. There are few greater feelings than driving on an open road with the windows down on a sunny day.

The other easy answer to that is in your kitchen making dinner. Cooking and music are inseparable for me. Cue this thing up and make your family some pasta!

Also, I just want to thank you so much for spending time with this album and for writing about it. It really means the world to me. 

Much love,

STG

Check out “Bright Side” ahead of the album's release:

LET'S DANCE every First + Third Saturday at The Underfront Co. in Wilmington NC

LET'S DANCE is a Vinyl DJ Night, hosted by Fort Lowell Records, held at The Underfront Co. in Downtown Wilmington NC on Front Street every First + Third Saturday of each month featuring a variety of music — Pop, Disco, Boogie, Indie, Hip-Hop, R&B, Electronic, etc. — including the latest hits and spanning the past five decades. Dancing starts at 8:00pm and goes all night. A $5.00 cover charge will be collected at the door upon entry paid via Cash, Credit Card, Venmo, or CashApp.

• Check out the LET'S DANCE Spotify Playlist below!
  
  

FACEBOOK EVENT PAGES:

• FIRST SATURDAY: March 7th
• THIRD SATURDAY: March 21st

Record Release Party for Sean Thomas Gerard at Bourgie Nights on Saturday, March 21

Sean Thomas Gerard + Tracy Shedd will both perform live in concert Saturday, March 21st at Bourgie Nights in Downtown Wilmington NC on Princess Street for the official Record Release Party celebrating Sean Thomas Gerard’s new album Stay In Your Light.  Click here for more information.

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OUT NOW: Sean Thomas Gerard "Best I Can" [Digital Single]

The third Digital Single — "Best I Can" — from Sean Thomas Gerard's new album Stay In Your Light is out today on all digital music platforms.  Stay In Your Light is do be released on March 20th.

LISTEN NOW | PRE-ORDER VINYL ALBUM

An Interview With Phoenix, AZ's BBgail

[Repost from Blood Make Noise; by Zack Fraser, February 16, 2026]

Zack Fraser sits down with Phoenix's own BBgail for a conversation about artistic vision, transparency as an artist and dream collaborations.

BBgail is a free-spirited electronic artist hailing from Phoenix, Arizona. Her sound hovers within the realms of ambient, synthwave, and downtempo, with a splash of techno and soul influence via her collaborations with Weston Smith. Smooth and richly layered vocals serve as the paint used to draw beautiful works on arpeggiated synth canvases. The songs she creates work wonderfully as Y2K-esque bops to add to dance playlists. They can also be viewed as time capsules that capture meaningful moments in her life, such as her trip to Europe. I got a chance to catch up with BBgail since her most recent shift to Fort Lowell Records, and here’s what I learned:

Can fans expect a longer project such as an EP or album this year? If so, do you have any details you could share with us?

It’s on my goal list to create an EP or album in 2026….I have severe adhd so I constantly struggle with wanting to release a song as soon as it feels finished, but there’s a beauty in waiting. I’m currently working on a handful of new songs that I plan to release as an EP….but I could also make it a whole album…I’m definitely conflicted! I feel like I’m still exploring my voice as an artist, so it can feel tricky to try and piece together songs that all feel a bit different. It can also be hard when you’re the only one holding yourself accountable, but something is definitely coming. My loose goal is to have something out within 6 months. I’ll most likely release a single or two on the way. 

Your music video for “if you let it” was a fun and authentic glance into your creative vision. If you were on top of the world and had every resource necessary, what would your dream video look like?

Oh man. I’d get so dramatic with it! I’d love to have a dance team, beautiful cinematography, a whole production crew on some beautiful mountain at sunset… I don’t even think I’d want to be in it. I’d like to create almost a short film for each song, capturing a glimpse of another world. If I had the means, I’d get really over the top with it. 

Weston Smith is a frequent collaborator of yours. How integral are they to your career?

Weston has been a wonderful collaborator and supporter of me over the last year. They’ve created a safe space for me to explore musically and that’s all you can ask for in a collaborator and friend. I absolutely love working with them to create a song I normally wouldn’t create on my own. We both have our own solo projects that we continue to work on, but they do feel like a constant in my creative process. Although we see ourselves as individual artists, they’re extremely important to me in my career, as community is what it’s all about! 

Has performing your work live affected how you now make new material?

Absolutely. As a solo artist, or performing with Weston, I want to make sure my live set is just as exciting as watching a full band. Maybe it can’t be exactly the same type of energy, but I can do my best to keep it moving. I try not to put too much pressure on myself to play live rather than sprinkle in a synth part here and there. I identify as a singer more than anything else, so showcasing my vocal performance skills is my top priority. In the new songs I’m working on that is something I’ve been more conscious of. 

In an age where mysteriousness is a very strong factor in artists’ success, you’ve fearlessly taken a left turn and chosen to lay your cards out on the table. What led you to take this approach?

I don’t know how to be anything other than blunt when it comes to how I’m feeling. With 5 planets in pisces (shoutout to my astrology nerds), it’s almost impossible to hide my emotions. Expressing myself through music and art is the only way I can work through my thoughts. I could try to be cool and mysterious, but I’d be dishonest with myself. The older I get, the more I want to be unapologetically myself, even if that means I’m showing anyone and everyone my open wounds.

Do you have a bucket list of dream collaborations? Whether that be with artists dead or alive, producers, brands, etc. If so, we’d love to see it.


My dream collaborators that first come to mind are Regina Spektor, Radiohead, and Sylvan Esso. These artists really got me through my high school years and still encourage me as an artist. Collaborating, or even meeting them would make me melt.  I’d also love to harmonize with Andrew Bird one day, as folk music was the first style of music I ever really wrote. You wouldn’t think that after listening to my current sound, but I appreciate all types of music.

What’s been your hardest challenge to overcome during your time in the music industry?

I definitely struggle with balancing day jobs and trying to pursue a career as an artist. I’m currently a barista and bartender on top of writing, producing, promoting, and performing my own music. I always wonder if I could just focus on music, what life could look like for me. I know I’m talented and driven, but I fear I’ll miss opportunities because I have to pay my bills on time just like everyone else. Even though artists are needed and wanted, they’re severely underpaid for the amount of work they put into their craft.

Check out the official video for “if you let it” below:

An Interview with Wilmington NC's Tercel

[Repost from Blood Makes Noise; by Zack Fraser, February 9, 2026]

Zack Fraser sits down for another interview with a promising Wilmington act, Tercel, who roll into 2026 with a new EP and even more music on the horizon!

Tercel is an indie rock band native to Wilmington, NC. Taylor Salvetti, the band’s drummer, aptly described their sound as “When talking to people, I always say wall-of-sound indie guitar rock with an alt-country influence.” The group also cites nature as a large influence on their work. Savannah Wood (bass/vocals), Robin Wood (guitar/vocals), and Chris Vinopal (pedal steel & six-string guitar/vocals) have struck a unique dichotomy with their music. Their live shows are high-energy and enjoyable, yet the meaning behind the music itself is deep and has a bigger message than meets the eye. To learn more about Tercel, I spoke with the group about their work and creative processes:

Back in August of last year, you made an Instagram post teasing an album. How is the record coming along and are there any details you could share with the fans?

The album is coming along nicely! We released a 5 song EP, recorded by Ian Millard, back in December. Now we are playing shows in support of that EP while writing new songs to, hopefully, get recorded in the next few months! 

What mistake(s) taught you the most as a group or led to the most artistic growth?

One “mistake” would be going into recording with a “fast” mentality. Record it fast! Then it will get mixed fast, mastered fast, and released fast! But instead now going into recording with a methodical and diligent attitude. Slowing down to get the best sound. 

Can you please walk me through the band’s creative process when making material?

Most songs start in the Wood’s (Robin and Savannah) living room. Robin messing around on guitar, Savannah finding a melody, then bringing it to the practice space. There, Taylor deciphers Robin’s weird time signatures, Chris pulls his cosmic guitar parts out of the ether, and sometimes words come straight from the living room or are found all together in that space. 

Which song was emotionally hardest for the band to agree on releasing, and why?

We didn’t necessarily struggle emotionally on a song release. We struggled more with which songs to release on the EP that came out in December, and which songs to hold for the full length album. When you record something you want to get it out! But it takes a lot of restraint to hold it and wait for the right moment, not immediate satisfaction but a slow burn. 

How intentional is Tercel with their work?

Very. Everything goes under the scalpel, everything is scrutinized, worked on, worked through, slowed down, sped up, and if it doesn’t cut it, it goes into “the vault”. Maybe to be worked on again, made anew, or maybe to rest forever. 

As mentioned on the Digital Drip episode, Robin talked about how current events and nature influence the group’s lyrics. What specific events in nature and the modern climate were you referring to?

We, as humans, are currently living in a mass extinction event. We, as a band, are living on a frontier of climate change on the NC coast. Technological obsession separating us from nature occupies a lot of our thoughts and conversations as a band and that all comes out lyrically.

I’d like to hear more about your experience with Jerry Kee. How were you able to connect with him, and was the experience everything you hoped it would be?

James at Fort Lowell was entirely responsible for connecting us with Jerry! The experience helped shape us as a band. Traveling to play a show, then recording two songs the next day showed us that we were able to handle that much fun and work in the same weekend! Jerry’s straightforward techniques and mastery of the board allowed us to start hearing our sound more clearly.

Check out a wonderful live performance by Tercel below:

An Interview with Wilmington NC's Blase

[Repost from Blood Makes Noise; by Zack Fraser, February 2, 2026]

Zack Fraser gets in touch with Blase, a North Carolina-based producer who released his latest album, Somewhere Out There last summer for some great insight into his creative process, inspirations, and what the future has in store.

Blase, who began to release music in 2019, is a gem within Wilmington, NC’s indie scene. He’s a multi-instrumentalist and producer who’s fresh off the release of his latest album Somewhere Out There. The luscious indie rock album was handmade by the man himself, aside from the mastering, which was done by Greg Obis. The Chicago-born artist has refined his craft over seven years, resulting in a more pensive and sonically rich sound. I was given the opportunity to dive deeper into Blase’s psyche and here’s what I found out:

How has your experience of living in Wilmington impacted your career as a musician?

Living in Wilmington has been going really well so far.  There's a great community of people and all have been very supportive.  I was able to meet Fort Lowell Records here and they've been really supportive. 

How has the act of releasing your music physically affected the vision for your products / aesthetic? 

Releasing the music physically has made it less abstract.  Having the work in physical form has helped bring the whole picture to life.   Overall it has grounded the project and clarified the identity of it.

What was the hardest challenge to overcome during the creation of Somewhere Out There? 

I think the hardest part of the project is always the last 10 percent.  This all comes to the final touches of mixing it and making it sound the way you want it to sound.

If one were a fly on the wall during a Blase recording session, what would they see?

They would see me in my space losing track of time.  I try to move on the faster side when writing something until I hear something that I like, whether that's a particular sound or a progression.  At that point you might see me slow down and dig a little further into that one thing.  When it comes to recording I'll try to keep it organized and write down what every song needs and start checking the boxes as I go.

How much work goes into the creation of your projects outside of the studio?

There's a lot of work that goes inside the project outside of the recording process.  Coming up with artwork, putting together all the physical ideas, making videos, and playing shows.  The recording process can seem like a small part of the whole picture.

What role did your partner play during the making of Somewhere Out There? 

My partner has always been such a support figure.  So many of our adventures together have created amazing memories that always turn into inspiration.  Somewhere Out There is filled with a lot of memories we had together seeing new places.  The project wouldn't have been what it is without her supportive presence.  She also has a great eye and took the cover art picture and helped with the overall design.

Do you find yourself with leftover material after you complete albums? If so, does anything ever come of them?

I sometimes have left over material after a project.  Most of the time it doesn't get released, but I do keep it around in case there is a song that might work on the next project.  That's rare, but sometimes it works out where an old song finds its way in fitting into a new project.  I believe "Finding Myself in You" was a song that was actually written at a time before the rest of the other songs were written.  I felt like it worked though and re-recorded it to fit the sound.

Check out “Finding Myself in You” below:

OUT NOW: Sean Thomas Gerard "Worlds Collide" [Digital Single]

After five years of growth as a musician and father, Sean Thomas Gerard is back with Stay In Your Light. Gerard, who records in a humble corner of his family's garage that doubles as a playroom for his two daughters, shares “I think about some day when I'm gone, my kids will be able to put on my records and feel like they can spend time with me again” about his music. The artist’s take on the indie-folk sound is refreshing and personal. Stay In Your Light is a comforting symphonic hug that aims to preserve the innocence of those Gerard holds dearest.

The second Digital Single from Stay In Your Light — "Worlds Collide" — by Sean Thomas Gerard is out today on all digital music platforms.

LISTEN NOW | PRE-ORDER VINYL ALBUM

Pre-Order Sean Thomas Gerard's new album 'Stay In Your Light' now

If you are a fan of any of these artist — Jeff Buckley, Calexico, Clairo, Hannah Cohen, Mac DeMarco, Dr. Dog, Drugdealer, Father John Misty, Fleet Foxes, Fleetwood Mac, John Grant, Richard Hawley, Iron & Wine, Damien Jurado, John Lennon, Cass McCombs, Kevin Morby, Michael Nau, Chuck Prophet, Tracy Shedd, Elliott Smith, Sufjan Stevens, Summer Set, Kurt Vile, M. Ward, Faye Webster, Paul Westerberg, or Wilco — you are going to want to check out...

*SEAN THOMAS GERARD*

Stay In Your Light is the name of Gerard's new studio album, and it is due out March 20th.  You can reserve your copy of the vinyl record by pre-ordering it now HERE.  Be sure to listen to Gerard's song "Bright Side" — the first Digital Single from Stay In Your Light — below:

LET'S DANCE on Valentine's Day at The Underfront Co. in Wilmington NC

Celebrate Valentine's Day at The Underfront Co. in Downtown Wilmington NC on Front Street — Saturday, February 14th — with a very special Valentine's Day Edition of Fort Lowell Records’ own LET’S DANCE Vinyl DJ Night / Dance Party featuring all of your favorite love songs within a variety of musical genres — Pop, Disco, Boogie, Indie, Hip-Hop, R&B, Electronic, etc. — including the latest hits and spanning the past five decades.  Dancing starts at 8:00pm and goes all night. Tickets are available to buy in advance; otherwise a $10.00 cover charge will be collected at the door upon entry paid via Cash, Credit Card, or Venmo.

FACEBOOK EVENT PAGE

LET'S DANCE every First + Third Saturday at The Underfront Co. in Wilmington NC

LET'S DANCE is a Vinyl DJ Night, hosted by Fort Lowell Records, held at The Underfront Co. in Downtown Wilmington NC on Front Street every First + Third Saturday of each month featuring a variety of music — Pop, Disco, Boogie, Indie, Hip-Hop, R&B, Electronic, etc. — including the latest hits and spanning the past five decades. Dancing starts at 8:00pm and goes all night. A $5.00 cover charge will be collected at the door upon entry paid via Cash, Credit Card, Venmo, or CashApp.

FACEBOOK EVENT PAGES:

• FIRST SATURDAY: February 7th
• THIRD SATURDAY: February 21st

REVIEW: Sean Thomas Gerard "Bright Side"

[Repost from If It's Too Loud; by Ken Sears, January 19, 2026]

For his upcoming album, Sean Thomas Gerard recorded in the corner of his garage which is also a playroom for his two daughters. Somehow, you can hear that vibe in his latest single, "Bright Side." The song just feels like home. It's a laid back indie folk/singer-songwriter track that is overflowing with warmth. The sing is on the mainstream side of its genres, but when you nail a sound like Gerard has, there's certainly nothing wrong with that. This is the type of song that is pleasant and enjoyable when you first start it, and then you end up liking it more and more as it goes. By the time it's over, you're going to want to listen again. By the third or fourth listen, "Bright Side" is going to end up one of your favorite songs of this young year.

Sean Thomas Gerard says of his music: “I think about some day when I'm gone, my kids will be able to put on my records and feel like they can spend time with me again."

You can listen to "Bright Side" below. Stay In Your Light is due out March 20 on Fort Lowell Records, and is available for pre-order through Bandcamp. For more on Sean Thomas Gerard, check out the artist on Facebook and Instagram.

Top 300 Albums of 2025 by The Big Takeover

[Repost from The Big Takeover; by Jack Rabid, January 16, 2026]

#103 Kicking Bird 11 Short Fictions

OUT NOW: Sean Thomas Gerard "Bright Side" [Digital Single]

After five years of growth as a musician and father, Sean Thomas Gerard is back with Stay In Your Light. Gerard, who records in a humble corner of his family's garage that doubles as a playroom for his two daughters, shares “I think about some day when I'm gone, my kids will be able to put on my records and feel like they can spend time with me again” about his music. The artist’s take on the indie-folk sound is refreshing and personal. Stay In Your Light is a comforting symphonic hug that aims to preserve the innocence of those Gerard holds dearest.

The first Digital Single from Stay In Your Light — "Bright Side" — by Sean Thomas Gerard is out today on all digital music platforms.

LISTEN NOW | PRE-ORDER VINYL ALBUM

Top 25 Songs of 2025 by Galaxy Comics

[Repost by Galaxy Comics; January 2, 2026]

#23 Blase "Under the Same Stars"

Meet the rapper who's helped keep hip-hop on Wilmington's music scene

[Repost from StarNews; by John Staton, January 2, 2026]

You'd never know it to see him on stage, when he's rhyming with verbal dexterity and making lyrical connections between subjects as disparate as old TV shows, hip-hop culture and a sports jersey some dude in the crowd is wearing. But one of Wilmington's best-known, longest serving and most prolific rappers is a big introvert.

Super introverted," Fuzz Jackson, aka Fuzz Jaxx, said recently at the house and studio off Oleander Drive he shares with his friend and roommate, Wilmington sound engineer Owen Dollar. "But I get such a high from being on stage. I gotta have it. I gotta have that feeling."

For more than a quarter-century, Jackson's strong, confident voice, pop-culture-literate rhymes and trademark, rapid-fire delivery have been part of Wilmington's musical landscape, both as a solo artist and as a lyricist and rapper with one of Wilmington's most beloved (albeit disbanded) all-time groups, the jazz/hip-hop combo Organix, which drew crowds throughout the 2000s.

Jackson still performs with McClain Sullivan, who sang with Organix, as part of the Fuzz and Mac duo, a neo-soul outfit that pairs Sullivan's golden voice with Jackson's raps.

Commercial and financial success might have eluded him thus far, something Jackson was quick to talk about and brought up during a recent interview. But he achieved artistic success long ago — not to mention the respect of his peers on the Wilmington scene, who regard him as an elder statesman of rap, a rapper's rapper if you will.

Fuzz is cool, a huge inspiration. He's like a big brother, someone to look up to," said Wilmington rapper Sheme of Gold, who recently guested with Jackson on the song "Quadruple-Double" from Wilmington hip-hop group The Third Element. "He was telling us about, like, his record deal and just all these things that he's been through. … I hear all this stuff and I'm just like a kid at story time, I'm sitting crisscross applesauce."

Sheme then added what's probably the most common accolade Jackson gets: "He's a great freestyler." (Freestyling is hip-hop's version of improv, when a rapper takes the mic and delivers fresh material off the top of his head.)

James Tritten of Wilmington's Fort Lowell Records — which released music by Jackson and the hip-hop producer CoolOutSessions in 2024 as part of "This Water Is Life, Vol. IV," an environmentally conscious album series in which Wilmington hip-hop artists share space with indie rockers — took his praise of Jackson a step further.

"Fuzz is the greatest legend ever," Tritten said. "I just hope more people get to understand how amazing he is."

Jackson's story starts in Georgia, where he grew up watching old TV shows and movies with his father and listening to such hip-hop legends as Big Daddy Kane, LL Cool J, Run-DMC and Kurtis Blow.

Georgia is where Jackson started rapping with Shaft, the hip-hop group that brought him to Wilmington in the mid-1990s to play the old Mid-Atlantic Sound, Surf and Skate festival, aka MASSS.

"We were almost signed, then found out the label was broke," Jackson said.

By the late '90s Shaft was no more and Jackson was in Wilmington full-time.

He's seen Wilmington's hip-hop and music scenes go through multiple eras, from rap battles at the long-since-closed bars Bessie's and Oasis to hip-hop nights at 16 Taps (where Bourgie Nights is now) to dozens (if not hundreds) of shows with Organix to the days of camaraderie at the old Soapbox music venue, where hip-hop acts, indie rockers and metal bands would sometimes share the same bill.

Jackson is one of the few Wilmington musicians to have bridged all these eras, and he's opened up for hip-hop legends including Talib Kweli, Lupe Fiasco and Killer Mike.

Since the pandemic Jackson has rocked the mic at Luna Caffe's Tiny Caffe series on Castle Street and with Sullivan at The Sandspur in Carolina Beach. He's got a show booked Jan. 9 at Tavern Law downtown with his old friend and collaborator DJ Battle.

Jackson has recorded a voluminous amount of material over the years, and one could spend hours exploring his Bandcamp page.

On his latest single, "Champions," an old song off Jackson's "Dusty Rhodes" mixtape remixed by CoolOutSessions, sports references bump up against pop culture as Jackson compares himself to "Kobe in the booth/ Watch me close this out" or calls himself the "Talented Mr. Ripley/ Believe it or not … Bet on black?/ You better bet on Jaxx."

His 2025 single "The City Loves Me," with P-Grant, takes a less braggadocious tone, with Jackson rapping about having "$1.40 in my pocket … The city shows love but it can be heartless."

"Welcome to Hip Hop" from "This Water Is Life, Vol. IV" drops a reference to Jack "Dr. Death" Kevorkian because Jackson's "losing patience … You could live a nightmare/ Trying to chase your dreams."

Jackson said he sees Fuzz Jaxx as his "alter ego," an introvert who becomes an extrovert on stage. "That's Fuzz Jackson," he said. "That's who that guy is."

He said he almost quit music during the pandemic but hearing beats a friend cooked up brought him back.

"I can't see myself doing anything else," Jackson said. "It's like a marriage I got into, and even though sometimes she treats me bad, I stuck around. I'm like the male version of Peg Bundy. I just take it and stick with it because I love it so much."

Fuzz Jaxx

10 Hidden Gems: The Hip Hop Albums Too Many People Overlooked In 2025 by HHGA

[Repost from Hip Hop Golden Age; January 6, 2026]

MindsOne Stages

Stages is a sharp, polished boom-bap record that keeps its focus on craftsmanship. MindsOne delivers intricate lyricism over a diverse lineup of producers, blending thoughtful storytelling with head-nodding beats. KON Sci and Tronic trade bars with precision, moving between introspection and sharp observations about life, ambition, and purpose.

The production lineup is stacked. Marco Polo, Da Beatminerz, Kev Brown, and others contribute beats that range from smooth and soulful to rugged and raw. Tracks like “Blind Fury” and “Off the Handle” hit with hard drums and murky basslines, while “Grateful Heart” and “Liberation / Obligation” bring warmth with jazzy samples and laid-back grooves. Scratches from DJ Iron, DJ Noumenon, and DJ Slim Deluxe give the  album an authentic, turntable-driven energy that ties it all together.

KON Sci and Tronic bring clarity to complex themes without overcomplicating their delivery, making the album engaging from start to finish. Stages is grounded in Hip Hop’s classic traditions while still feeling fresh, proving that sharp lyricism and top-tier production will always have a place.