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