Site Overlay

EverNoize – Fly Part I

EverNoize – Fly Part I

EverNoize – Fly Part I
EverNoize – Fly Part I



EverNoize – Fly Part I
SONG TITLE: Fly (Part I)
ALBUM TITLE: Fools of Us
RELEASE DATE: October 31, 2017
GENRE: Trip Rock/Alternative



Apple Music



Born and raised in Europe, EverNoize is not only a musician, poet or writer, but also a scientist, economist, and lawyer. Not careers that one pairs too often with an artist, thus making EverNoize even more unique than his peers. Inspired by the richness of his varied experiences, he works solo in the studio, from vocals to instrumentation and mixing.
His unique style at the crossroads of rock and electronic, trip-hop and rap influences, ensured the online success of his first album, Fools of Us, released on October 31, 2017, after a debut EP, No Limit, released earlier in 2017.
Jammerzine said of this accomplished artist, “EverNoize takes on a varied amount of emotions in his music including hope, a strength of will, elation – but also violence and frustration…”
EverNoize has been heard on various radios such as KSOI (IA, USA), Steel Waves (PA, USA), WDYN (NY, USA), Global Bass Radio (TX, USA), 420/Lifestyle Radio (Canada), Ardenn’Café Radio (France) or Independent Radio Trier (Germany).
Fans comments on Jango:
“This is just a cool song.”
“How could anyone not like this song? The music and the bridge is amazing.”
More Comments



Tell us how you develop your sound and style to make it different from other musicians.
I don’t specifically “try” to have my sound be different from that of other artists, I think. It just turns out to be so, some say, and I believe it’s because of the varied influences that fuel me. I’ve been a rock lover, all sub-genres since I was a kid, but I’ve also been an electronica music lover for just as long too. When I was 12, I was dreaming every single night of a red Fender Stratocaster that was eyeing me at the music shop around the corner and that I never got – but I got her little sister years later 😉 – and also dreaming of a specific Roland synth (which I actually got a couple of years later after having worked very hard for that). I think it’s this blend of influences that might be unique and makes me actually depart from any single one of them.
This might also reflect in the way I work around a given song when it’s still a basic idea: it could have started with a guitar riff and will have some rock roots, but I hear an electro vibe in it, and sooner or later it gets bent towards that color (I like this word better than just genre). Hold On is a good example of that, I think. Vice versa, take Fly. It all started with the bass (the multiple basses, actually, but I’ll come back to that) plus the beat, with a feeling very much coming from trip-hop (even hip hop/rap) influences. But at some point, I came across the idea of adding this very simple guitar riff that gets more complex and rhythmic over time (compare Part I and Part II for that). Well, that riff was actually a very bluesy thing I’d had within me for ages (I mean, more than 10 years!) and never knew what to do with it. Plus the organ part, much more rock than anything else. So in the end Fly is not an electro or hip hop sound. It’s something else, I guess. Oh, and everyone can instantly hear that there are two basses in Fly, responding to each other, one pulsing a regular beat and the other one “walking”, sort of. Well, the “walking” bass sound is itself not one bass, actually, it’s made of 5 different layered sounds playing unison, all of them trimmed down to a specific (for some of them, almost subliminal) element…


Tell us your opinion on the way new artists are coming up and the frequent release of songs.
I could say I’m old school in that respect because I’ve always been very fond of albums, rather than singles. Some singles are masterpieces, but an album works at least at two different levels at the same time: how each song thrives on its own, and how they all interact with each other. The funny thing is to see the parallel trends of more and more frequent releases of singles one by one on streaming platforms (rather than waiting for the whole album to be ready, with a major release every 3 years or so) and, at the same time, the renewed hype re: vinyl LP releases (the epitome of what a full album is, and no skipping or random!). In that respect, Fools of Us is definitely meant to be an album rather than a bunch of various tracks thrown together. All the songs that form it, although produced in isolation, were meant from their inception to respond to each other and provide a full, consistent, and richer musical landscape altogether than each of them taken individually…
Anyway, I think it’s great that many new artists are coming up at this time, and I like that sort of frenzy re: song releases (though I don’t abide by it personally). To me it’s simply the symptom that the music industry is much more alive and vibrant than some say, it’s renewing and that’s just great.


Tell us your experience as a musician.
I’m a self-made musician, so to say. I mean I hardly took any lessons (except regarding the guitar, for one year), and learned by myself. I founded a few bands when I was a kid and then a teenager / young adult, but nothing really serious, though I was already composing a lot. Later on, I formed a rock duo with a friend. This all was some time ago and, meanwhile, life was moving on with a wonderful wife and a family. While I sort of set music aside for some years to focus on writing novels and poetry, plus quite an intense day job as an economist and a lawyer, I never truly quitted on it and kept on composing instrumentals (mostly pure electronica stuff, at that time). But songs were piling up; too, in a bunch of unformed projects, melodies, guitar riffs, beats, lyrics, you name it. And, over time, gradually, some of it eventually became the core stuff of what would become my first album, Fools of Us. Don’t ask me how, I wouldn’t be able to tell in details, honestly, and blurred memories of this process would have me say it was some kind of magic, but I believe the truth is work, work and when you think you’re done even more work.
I work solo in the studio, and I write, compose, play, and sing everything myself. I love that. It’s not that I wouldn’t want to collaborate with others on projects; I’ve done this a lot in the past with my earlier bands, but solo is pure freedom. It’s risk and responsibility – thus danger, sort of – too. But it’s first and foremost freedom and sheer joy at the end of the day. And the danger of failing utterly is part of the process, it’s part of what fuels and inspires me.
I’ve trained myself to mix on my own, too, which was an excruciatingly painstaking learning process (and so much more work!). But it’s very rewarding to be in charge of the final product from start to end. And I should say that my original academic background as an engineer helped a lot on the technical side of things. What is fun with mixing is that it’s a very artistic process in its own right, once you’ve got the technical side right. Different from being a musician, but it’s definitely part of making music. I see the seamless continuity between composing, producing, arranging, performing, recording and mixing, at the end of the day. I love every single step of it.
When Fools of Us was ready, I first released five of its songs as an EP, No Limit, in April 2017. Then Fools of Us came out on October 31, 2017. Since then my fan base has grown to 3.9k followers on Facebook, 1.7k fans on the Jango web radio, 20 to 30k streams per month on platforms such as Deezer, and having been played on several different radios in the US, Canada, and in Europe. Not too bad for an indie newcomer, I believe. I’m very excited about what may come next.


Tell us your opinion on streaming and digital download of songs.
Well, I’ve quite a positive view on this, all in all.
Some negative notes, first, though. One is that you won’t make a living out of that alone as an indie artist unless you’ve got Ed Sheeran’s stream numbers or the like. Currently, the major revenue stream for an indie artist is usually live show tickets, merch or CD sales at shows, and the like. Not streams or download revenue. And downloads (which pay off way more than streams, by the way) are very quickly declining, too. The formula the Billboard guys use for computing chart rankings is telling: it requires 1,250 paid streams, and even 3,750 free streams, to equate just one album sale (or a paid download of a full album, which is essentially the same as an album sale). Another mild note is that it led to the random playlist dictatorship. If you’re a normal kid today, you listen to playlists (automated, curated, or your own). You no longer listen to an album from end to end, or it has become the exception to the rule. So it could kill part of the beauty of what albums are about. But artists are resisting, yeah! (Big smile). Now, jokes aside, I think it’s no big deal, frankly speaking. Nothing prevents artists from keeping putting together beautiful albums (I mean albums that altogether are more than just the sum of the tracks on them, because there’s a reason for the order, there’s a logic or a story to it, there’s some dialogue going on between tracks, whatever). And a huge majority of the artists, small and big names just the same, keep putting together albums (I mean, beautiful albums), just like before. They simply know that their tracks will each live a life on their own (but hasn’t it been the case of all singles since singles exist?), and they know that this beauty might be wasted on many (maybe?), but does it matter? Somewhere there’s one kid that will say, hey; let’s listen to this guy’s album and turn random off, just to see. Ain’t that something cool to do, ya know? And maybe that kid will see the hidden beauty. Bingo!
On the positive side, and this far outweighs the negative side in my view, without streaming and digital download platforms, I think you wouldn’t have indie artists coping without a label. You wouldn’t have guys like me. I wouldn’t exist, because I wouldn’t have an audience. These platforms are a direct link between the artist and his or her audience, no intermediaries needed, you can be in full control, in full ownership of your destiny, and directly reach people all around the world, everywhere, anywhere, anytime. Massively. The other day, a fan of mine wrote an email to me from Sweden to tell me he is disabled, lives in a chair in a hospital, but my music moved him and he wanted to thank me for that (I should have been thanking him instead! Which I did). Try and do that with hard CDs sold in mainstream retail, while being an indie guy. Try and do that with a bunch of shows in your hometown or its vicinity. And then come back and tell me. This digital era is just great.


Tell us your goals and plans.
I’m currently working on my next album, and I’m well aware it’s going to take quite a long time and hard work. But I told you earlier, I like that. My other goal is to keep expanding my reach. Nowadays, indie artists have a lot of means to do so, and the obvious way is social media. I’d like my music to gradually reach even more people, and I’m working a lot on that at the moment.


Tell us five current artists that are your favorite.
Anyway, five you say, so five it is. On my playlist at the moment, I have AWOLNATION, The Neighbourhood, Imagine Dragons, some tunes from Jay-Z’s 4:44, and there’s always be a slot for Radiohead and Massive Attack. Heck, that makes six, actually ;).


Tell us your best song up to date and share the link.
Funnily, it is Fly, the one selected for highlight here, in its shorter version designed for the radio, Fly (Part I). But what I have in mind is the almost 8-minute long full version, Fly (Full Length) that was released as part of the No Limit EP, early in 2017. Here’s the link.
Apple Music


The full version is, I believe, a very nice illustration of what I’m trying to achieve, it starts as what could seem like a pure trip-hop (or even hip hop maybe?) sound, taking its time to settle in, but evolves into something else when the chorus vocals come in, though it’s a rap tune as regards verses, and then it keeps evolving with a bluesy and then more and more rockish style rhythm guitar (though not as rock as on many of my other sounds) and rock organ as the song unfolds, before turning back to the last rap verse at the very end. So I think all in all I’m pretty happy with the way it progresses from its beginning to its ending. Be it in its shorter or longer versions, it’s received very positive feedback from my audience, too. Well, I should go ahead and plainly admit that I actually love that one. I think artists shouldn’t feel ashamed to admit they love some (or all maybe all) of their songs. After all, they went to release them, no? Why not admit it? Think of it as children (which is exactly what I feel they are as far as I’m concerned). Parents can never say whether their kids are truly good (just like artists can’t say that about their own stuff), they can’t be objective about it, but parents are entitled to be frustrated, confident, full of hope, of trust, of worry, of fear, you name it, about how their children… and who they become, but first and foremost full of unconditional love. You’re not necessarily happy about them, but love is always there.


Tell us your dream and hope for the future.
Well, I don’t think dreams change much over time. When I was a kid, I was dreaming of someday making as beautiful music as the very famous musicians I was and still am a fan of, just like as was dreaming of putting together as wonderful novels, as moving and groundbreaking poems, as my idols in these fields. This is how I function: some piece of art just thrills me, sometimes to an unbelievable extent, and I want to do the same. I mean, not the same stuff, copying is not my dope (I hope). I never covered any song, for instance, not even my everlasting favorite ones. But I want to sort of creating the same overwhelming thrill, the same feeling, trigger that in someone else, in my own way. This hasn’t changed, to be true. I still dream of just the same. I know I’m following my own winding road, but I still dream to be, one day, remotely as good as these great people are, or were for those no longer of this world. I still dream that someday, someone somewhere will hear my music and get tripping, just like listening to these guys gets me tripping.


Tell us what has changed in the music industry.
Like I said earlier, to me, the most radical change came with the ability for indie artists to directly reach their potential audience, all over the world, on a fairly massive scale. That was definitely not possible in the “old world”. With the joint emergence of digital platforms and social media, it’s now fully possible. Nowadays, with your laptop or phone, you can reach anyone anywhere with your music. Evolution in technology has also made it possible for indie artists to produce their music at the pro level on their own, provided they have the needed array of skills, for a fraction of the price such an investment was costing in the “old days”. Nowadays, with a laptop, some decent gear, and a decent room, you can record and mix a full album and get pro results on your own, provided you know how to do that. You may even master it with not-so-costly software tools, though this is yet an all very different set of skills altogether, and I’m not necessarily saying you should do this. But you can if you want. Or you can get decent mastering service remotely over the internet, there are several pretty good service providers for that, for a manageable price, say 500 to 1,000 bucks for an album. What I’m saying may sound outrageous to a lot of people, but you don’t necessarily need to pay big bucks for sessions in a big studio. You don’t necessarily need big names. You don’t necessarily need a major label and its financial power – or even any label, actually – to manage the production side of things. Not any longer. It only depends upon your own breadth of skills and the level of effort and really, really hard work you’re willing to put into it. But the absolute prerequisite is no longer connections or money. And the same is true on the promotional side. You can directly reach your audience (your final customers, should you see all this in a businessman’s view), and directly do by your own means and on your own terms what a label is doing for you in that field. It requires investing enough time to understand how to do that, even more, time to do it, yet again a lot of very, very hard work, but with a decent budget and enough strength of will and dedication, you can do it. You wouldn’t even have been given the chance in the past, say, 15 years ago. Facebook was founded in 2004, Spotify was launched in 2006, true pro-level “in-the-box” music production software that does not require hugely costly side hardware (such as what Pro Tools was used to needing) exist since the turn of the 21st century. This is all that changed the game, I think.


Tell us your opinion on television/radio stations playing the same songs from established artists and giving little chances to independent artists.
Well, I think I understand that. Whether or not we want it, these guys need to make money. Otherwise, they won’t be around anyway. So what’s the point if they don’t make money the way they know how to? And they make money with advertising, and nothing else. And in order to get advertising, they need to have listeners/spectators that keep listening to and watching them until the ads break, and hopefully through it. Every time they put an indie artist’s tune, more or less unknown, on their roster, they are taking a chance. A chance that their listeners/watchers don’t like it, and switch to the next channel. On the other hand, they don’t take such a chance with Ed Sheehan or Drake or U2 or Imagine Dragons or – you name it. They know these guys are loved by everyone (at least everyone who listens to or watches the genre these big names are into). Not so hard to do mathematics. This is why I really believe in the community or indie radios, and in blogs, webzines, etc. Guys like you, actually, who are willing to take that chance, who need to take that chance to reach an audience who won’t go to the mainstream channels, or who just want to get something different from what they get on mainstream channels of all kinds. I think we’re made for each other, we just grow together, and we help each other out. And in the end, over time, we can reach a pretty big audience altogether. Whether we will become mainstream then I don’t know, it’s up to us all to decide, but in the meantime, I think it’s great, actually.


Tell us the challenges independent artists are facing and how to tackle them.
I think there are at least two. One is obvious, it’s how to reach an audience, or, say, as big an audience as one would want to, or how to reach the full breadth of one’s potential audience. How to tackle it is what I’ve said earlier about the Internet, digital platforms, social media, plus webzines and indie/community radios and, first and foremost, hard, very hard work…You can add to that live shows. Getting gigs, gigs, and more gigs, because that’s the main revenue stream, and that’s also the way to build a closer audience, people who really love to come and see you, which may be rare (less and less rare over time hopefully), but precious too. I’m not best placed to discuss this specific piece, though, I don’t perform live, for specific personal reasons I may explain later on. I accept that, which leaves me with the digital and Internet world. I’m okay with that and I just try to make the best out of it. And I compensate by engaging my audience in as many possible ways as I can. I make a point to respond to each and every message I receive from fans (whatever the support, from my website to comments or messages on social media) as quickly as I can, I make a point to send a thank you message to any new fan who likes me on such web radios as Jango where there’s a messaging tool. I engage on social media. I use my blog for that too. These kinds of things. It’s not as cool as the direct eye, and almost touch, contact that live offers, but I hope it’s okay. I’m okay, at least.
The second challenge is a bit less obvious. It’s how to build a team around you. With all these big changes in the music industry, we traded space (shelf space in CD retail stores or slots on radio rosters), money, or even a stake on our souls (which we sort of got back from major labels, were I to be a bit controversial here), for time. All of what I’ve said earlier is about work, a lot of hard work, and dedication which means time. A LOT OF TIME. At some point, I think we need to build a team around us to help us in that respect, and that’s very tricky. I’m still working on it myself. I don’t have any miracle solution. All I can say at this point is that, though I believe in miracles, I don’t wait for them to happen.


Share your press release and reviews with us.
Artistpr Press Release
Global Bass Radio Review


Tell us your opinion on using social media to promote music online.
As I said earlier, I believe that digital tools (platforms, social media, webzines, and web radios), just like indie and community radios, are a great opportunity for indie artists. Among these, I should say that I’ve been using social media with some success to promote my music. It is a give and take. I believe in giving: I try to give as much as I can to my fans about such things as how I did this and that, what was the challenge, what inspires me, these kinds of things. I try and give them something from my inner world, invite them into this world. I do this with blog posts on my website, and I relay them on my Facebook page. That’s an example. So if you browse my Facebook page I hope you’ll see there are a lot of posts with such type of content, or links to this type of content, along with more obvious things like photographs of places I’m currently at (I travel a lot), beautiful things I love, whatever. Then promoting music on the same media is sort of continuity to that.


Tell us what still motivates you to go on with your music career.
I didn’t need to have a music career to make music all my life long… For this career to stop, I would still make music, for sure. A music career, in the pro sense of it, is still something fairly recent to me. Now, my love for making music fuels my will to go on with that career. This, and the fact that my fan base is growing. In not much more than a year, I went from nothing to something. It’s still small numbers, but they grow. I have active fans (I mean fans that take the time to listen to my stuff, and then pay the effort to write to me) in more than 20 countries so far, can you believe that? I wouldn’t myself have believed that a year ago. And it keeps growing. You know, when I was talking earlier about my dreams, creating the same feelings in other people as those I experience when listening to some great songs? This is it, this is the reward, this is what, as far as my music career is concerned, fuels me to keep going.


Tell us about you as a person.
I’m a musician, a writer, and a poet, and at the same time, I’m an engineer, an economist, and a business lawyer. And that’s the reason why I don’t disclose details that could help to identify who I am. As a lawyer, I’m a partner in a prominent firm in my country, and I defend clients in front of judges, against administrations. Very serious people. And I wouldn’t want my image as an artist (a jerk, a joker, these very serious people might say) to blur the image of a very serious guy I need to convey too. It’s not about me, it’s that it might hurt my clients’ interests and I don’t want this to happen. This is also one of the reasons I don’t perform live. I don’t want my facial details to be displayed in a visible, recognizable manner everywhere, and I don’t want to sing from behind a motorcycle helmet or something either. Now that Daft Punk have done it, there’d be no originality in this, hey? Now, you might ask what would happen if I were to become hugely big as a musician, and could drop my day job as a lawyer because music would pay even bigger bucks? But would I want that, I mean to drop my job as a lawyer? I truly conceive my music carrier from a pro perspective, but I love my job as a lawyer too! I love to be part of both worlds, to know what business is really about, and also to not give a …and see things as an artist too if you see what I mean. And I believe you’re not only one guy in life, you can truly explore the depth and breadth of many things, and be truly proficient in many things. How come a guy with just an engineering background becomes a lawyer and an economist too, and be successful at both, in the first place? Would one think becoming a partner in a major firm is easy in that field? But I did. Why should I drop being a lawyer to only be a musician, or drop music to merely be a lawyer? No way. Jack of all trades, master of none, they’ll say? Well, I don’t agree with that notion at all. That’s what many people would want you to believe in this life, to keep you in one nice, small box. To keep you shut there. I don’t accept that idea.


Elaborate on the story behind the song.
If you mean the story that Fly tells, I’d say it may be more images rather than a narration with a beginning, a middle part, and an end. You have buildings, you have filthy streets, you have violence and blood. And a girl who runs, and if she spreads her arms wide enough, she will fly. And I hope she does. That’s all I hope for her.
Now, if you mean the story of how this song came to exist, part of it is about the process involved in making it, but I’ll touch upon that later. I conceived Fly in its full, almost 8-minute long version, from start to end. The shorter version, Fly (Part I), that you have selected for highlight here, is the result of an edit when Fly was already a finished product, so to say, just like I did with Fly (Part II), and also a separate intro. This was part of the design of the Fools of Us album. The intro and Fly (Part I) form the first two tracks of it, and Fly (Part II), forms the last, ending one. At some point in building up Fools of Us, I realized that Fly was somewhat a summary of it, you have the essence of the whole of it in that tune. But I did not merely want the album to be named Fly too, that was too easy and, besides, I had already chosen its title, from the title of another track, for a reason I’ll explain later on. But it appeared to me that, as far as Fly was concerned, the rest of the album was some sort of extended time-lapse, a set of windows to other landscapes, a journey in between the two parts of this song. Claiming that Fly was made for this very purpose from its inception would be untrue, but once being born, it became apparent that this was its true place. On the other hand, the full-length version included in the No Limit EP restores its original spirit (and this is actually one of the major reasons why I released No Limit in the first place).
This track is one of those I got the most positive feedback about, from a lot of people of various kinds.


Tell us the process involved in making this song.
This song comes from an attempt to have two bass lines live together, on top of each other, in the same tune. In the beginning, I was playing with the old “kick & bass” trick, and then it came to me that I could as well try a “bass & bass” something. And stumbling upon that experiment started this whole, long (and enjoyable) trip. It ended up, when completed, as quite a mixing challenge, as these two different bass sounds were so massive – especially the one used for the “walking” line – that keeping their strength while avoiding their taking up the whole space in the song was far from easy. And I mean it; it took me ages to manage taming these two sounds together and having them sit in the mix. Apart from these aspects – which came up at the mixing stage, not at the production stage – this probably is the one that was the most straightforward (and most fun!) to produce altogether, of the whole Fools of Us album. Another possible subtitle could have been bliss, in this respect. The organ riff and related sound was a nice, partly unexpected discovery, lyrics flowed pretty much naturally. This track created visual images very early on, and it only took to capture them in a few words. The drum sections – yes, plural, there are more than one drum set playing in it, you don’t hear this in Part I, but if you pay attention you have that in the intro and in Fly (Part II) – so these drums found their place in a non-conflicting manner, I believe. The same goes with the introductory part and all the little sounds and riffs that are spread out across the whole length of the song. Upon its creation process, each of them suddenly appeared as sort of obvious elements of it that needed to be there – but not necessarily to be noticed – and, contrary to other songs, it was not too hard to find the right spot for each of them.
Fly is probably the only song of the Fools of Us album that I composed, wrote, and arranged from start to end in one single seamless process, not stopping at some point to leave it to rest and doing something else in the meantime. It came this way, flowing. A moment of bliss, I told you.


State your artist’s name and elaborate on it.
EverNoize – This name has been a part of me for ages, just as music has been ever-present to my ear (or in my mind), wherever I am, and whatever I do, even when no music is playing at all. You must know that feeling if you’re a musician: it’s always with you. Ever present, just like a background, silent noise, but it’s everything but noise, actually. It’s just you’re inner self, it’s a way to let you know it’s there, with you.
Now, the other part of the story is that as I’ve said earlier I chose my true name not to be attached to my work as an artist, for a number of reasons. One is to ensure that my life as an artist, where I freely express myself without boundaries or limits, doesn’t interfere with the image I need to convey as a business lawyer, where I need to be the (very) serious guy. A kind of Dr. Jeckyl & Mr. Hyde game. See what I mean? I actually love this, it’s a lot of fun to be part of both worlds. Another, very important reason to me is that by far I’d rather have my music be known for itself, rather than myself be famous. Let my music speak for itself, so to say.


State the title of the song and the meaning.
This song is named Fly (Part I). It’s a short version, more fit for radio, I believe. There’s a Fly (Part II), too, and a full-length version that includes them both as well as the whole of the intro. Flying is escaping. Escaping from the violence of our lives. Whoever we are, life is violent one way or another. Physically, emotionally, socially, you name it.  Life is beautiful, too. As seen from above, the world is beautiful. This is what I wish to the girl in this song, to everyone actually: seeing the beauty in life.


State the title of the album and the reason for choosing the title.
Fools of Us is not only the title of the album, it’s also the title of one of its tracks. This one is about resisting, keeping standing. Coping with the outer world where, if we don’t pay attention, we may just be fooling ourselves, or making fools of ourselves. It’s about not letting society making fools of us, too. But being ourselves instead, being responsible for who we really are, what we really want, and what we do. This is one of the main themes that flows across all the songs in the album. So I guess it sort of seemed natural to me that it should be the title of the whole album, too.



Leave a Reply

Your email address will not be published. Required fields are marked *

Copyright © 2021 Broadtube Music Channel. All Rights Reserved.
%d bloggers like this: