Chanel Beads continues to expand its experimental approach to songwriting on its latest record, with producer and songwriter Shane Lavers using unconventional sampling techniques, layered sound design and restrained lyricism to explore themes of uncertainty, grief and emotional resilience.

One of the clearest examples of that creative direction appears on the track Outside Your Life, where an unexpected sample of a man sobbing enters approximately three-quarters into the song. Rather than functioning as a traditional instrumental climax, the sample replaces what might conventionally be a guitar solo, adding an emotional texture that both reflects and questions the song’s lyrical catharsis.

Explaining the artistic decision, Lavers said he has long been interested in replacing conventional melodic passages with sounds carrying symbolic meaning. “There could be a guitar solo here or there could be something that functions like a guitar solo, but it has some kind of semiotic weight to it,” he said. He described the crying sample as an attempt to allow pure sound, rather than melody, to communicate emotion, saying the idea emerged from imagining the precise moment where tears might naturally occur within a composition.

The approach reflects a broader philosophy that runs throughout Chanel Beads’ work, where environmental sounds, found recordings and unconventional textures are treated as compositional elements rather than decorative effects. Instead of directing listeners toward a single emotional interpretation, the band leaves space for ambiguity while using sound itself to carry narrative weight.

That openness is also reflected in Lavers’ manner of discussing his work. During conversation, he frequently pauses before answering questions, carefully considering the language he uses to describe both the music and his creative process. His explanations often remain deliberately open-ended rather than definitive, suggesting an artistic practice that embraces uncertainty rather than seeking fixed interpretations.

Although Lavers speaks plainly, he avoids reducing complex emotions to simple explanations. He generally refrains from assigning straightforward causes to his feelings or offering extensive autobiographical detail, preferring instead to allow the music to communicate experiences that are difficult to articulate directly. The result is songwriting that centers emotional observation rather than personal confession.

The record’s most direct engagement with personal loss comes through Tyler Richard, a song named after Lavers’ late brother, who died at the age of 19 from accidental carbon monoxide poisoning. The track examines recurring dreams involving a deceased loved one, portraying those encounters not as comforting reunions but as emotionally painful experiences that continually reopen grief.

As the composition progresses, an evolving synthesizer arrangement is gradually overtaken by samples of intense screams, creating a dramatic shift in the song’s sonic landscape. Rather than offering emotional resolution, the arrangement mirrors the instability and persistence of grief, leaving listeners uncertain whether the music is moving toward acceptance or returning to anguish.

The absence of a clear emotional conclusion reflects the broader themes running through the album. Instead of presenting grief as a process with a defined endpoint, the song acknowledges the continuing complexity of loss while demonstrating the role music can play in confronting experiences that resist straightforward expression.

Despite its engagement with difficult emotional territory, the record does not remain exclusively focused on despair. Several songs explore uncertainty through relationships marked by trust, affection and shared resilience, presenting ambiguity as something that can also create possibility rather than only anxiety.

One of the album’s defining moments arrives with Silver Cup, the only track featuring Maya McGrory as lead vocalist. Her performance introduces a different emotional perspective, with lyrics that frame vulnerability as an act of connection rather than weakness. Singing over bright guitar arrangements, McGrory delivers lines including, “There is a language to your soul / I give it all I know it’s hard to believe it,” offering one of the record’s most direct expressions of emotional openness.

The contrast between McGrory’s vocal performance and the album’s darker compositions broadens the emotional range of the record. While earlier songs dwell on unresolved grief and uncertainty, Silver Cup presents intimacy as something capable of existing alongside doubt rather than eliminating it.

Lavers described his collaboration with McGrory as extending beyond music into a relationship built on mutual support. Reflecting on their creative partnership, he said the two have developed what he called “spiritual and psychic armor,” explaining that their collaboration allows each of them to strengthen and restore the other during periods of personal and artistic uncertainty.

According to Lavers, that reciprocal relationship has become one of the defining aspects of Chanel Beads’ creative identity. Rather than treating songwriting as an individual pursuit, he views the collaborative process as one that reinforces emotional resilience while enabling both musicians to approach difficult subject matter with greater confidence.

Across the record, Chanel Beads consistently blurs traditional distinctions between instrumentation, environmental sound and emotional symbolism. Samples are employed not merely as production techniques but as narrative devices, while conventional musical structures frequently give way to sonic gestures intended to communicate psychological states that words alone may struggle to express.

That experimental approach does not abandon melody or songwriting but instead expands the vocabulary available to the band. Crying, screaming and found sounds become expressive elements positioned alongside guitars, synthesizers and vocals, allowing compositions to move between abstraction and emotional specificity without settling permanently in either space.

The result is a body of work that prioritizes atmosphere and interpretation over definitive statements. By combining unconventional sampling, restrained personal disclosure and collaborative songwriting, Chanel Beads presents an album that explores grief, hope and uncertainty through sound as much as through language, with each composition inviting listeners to engage with emotions that remain intentionally unresolved.

As dubstep approaches roughly 25 years since its emergence in the United Kingdom, key figures behind the influential DMZ collective say the genre’s development was driven as much by community values and cultural identity as by musical innovation.

The reflections come from participants in an oral history project documenting the origins of dubstep, a style that emerged during the early 2000s as parts of Britain’s electronic music landscape underwent significant change.

According to artists and DJs involved in the scene, the genre developed amid perceptions that established forms such as jungle, drum and bass, and UK garage were entering new phases of commercial or creative transition.

DMZ, founded by south London producers and DJs Mala, Coki and Loefah alongside MC Sgt Pokes, became one of the most influential institutions in dubstep through both its record label and club nights. The collective promoted a philosophy centered on soundsystem culture, low-frequency bass, musical experimentation and an inclusive atmosphere that contrasted with aspects of contemporary nightlife culture.

Joe Nice, a DJ widely regarded as one of dubstep’s earliest advocates in the United States, said the genre represented a significant shift in the way audiences experienced rhythm and movement on the dancefloor.According to Nice, house music typically operates between 120 and 130 beats per minute, while drum and bass commonly reaches around 170 beats per minute or higher.

Dubstep, he said, occupied a distinctive space around 140 beats per minute but often felt slower due to its rhythmic structure and use of space.He described the experience as creating a sense of motion without urgency, allowing listeners greater freedom in how they physically responded to the music.

That characteristic, he said, distinguished dubstep from many other forms of dance music and required audiences to adapt their expectations of rhythm and movement.The genre’s early development was marked by stylistic diversity despite a shared musical framework. Producers associated with the movement often pursued distinct approaches while remaining connected through common sonic principles.

Artists cited in the oral history pointed to significant differences between the work of producers such as D1, Mala, Loefah and Coki. While individual tracks varied in mood and structure, participants said they were united by an emphasis on bass, space and atmosphere. This flexibility allowed producers to explore different creative directions without losing a sense of collective identity.

Mala said the philosophy behind Digital Mystikz, the production partnership he formed with Coki, extended beyond music. He said the phrase “meditate on bassweight,” associated with the project, reflected an effort to create a space where social divisions and hierarchy were minimized.

According to Mala, DMZ sought to avoid the status-driven culture often associated with parts of the nightclub industry. Rather than prioritizing headline performers, the collective viewed each participant in an event as contributing equally to the overall musical experience.He said the objective was to create a progression across an entire night rather than focus attention on individual artists.

Audience participation was encouraged, with attendees often engaging directly with DJs and music selections during performances.Mala said the events maintained a notably peaceful atmosphere despite taking place in Brixton, an area with a long and complex nightlife history.

He described the absence of significant violence at DMZ events as a defining characteristic of the collective’s success.Coki said the minimal nature of early dubstep created space for atmospheric textures and carefully selected vocal elements. He described the music as immersive and meditative, emphasizing bass frequencies and sparse percussion rather than the more aggressive structures found elsewhere in dance music.

According to Coki, the resulting sound encouraged a different type of engagement from audiences. Instead of focusing on high-energy party dynamics, listeners were drawn into slower, more reflective environments shaped by rhythm and atmosphere.Loefah said concerns about violence in nightlife settings also influenced the collective’s outlook.

He noted that incidents involving shootings and stabbings were occurring in some club environments during that period, prompting efforts within dubstep circles to establish a safer alternative.He said the track “Anti War Dub,” one of the genre’s most recognized recordings, reflected that perspective. Rather than promoting celebration or escapism alone, the music sought to respond to broader social conditions and create an environment where audiences felt secure.

Mala said his personal motivations during the period were closely connected to questions of identity, ambition and self-discovery. He described music production as a means of exploring his place within society and challenging conventional expectations surrounding success and adulthood.According to Mala, those experiences helped shape the distinctive sound associated with his work.

He also reflected on feelings of guilt regarding the freedom he enjoyed as a musician compared with the physically demanding occupations performed by previous generations of his family.He recalled that his father, who worked throughout his life as a painter and decorator, eventually expressed pride in his son’s path.

Mala said a remark from his father stating that he would choose to live the same life if given another opportunity remained among the most meaningful comments he had received.Coki said themes explored through tracks such as “Anti War Dub” resonated because they reflected forms of conflict experienced in everyday life.

While interpretations varied among listeners, he said the music addressed emotional and social pressures that extended beyond physical violence.He explained that the vocal component of the track originated through a connection to Spen G, a Jamaican acquaintance of his cousin.

The lyrics were initially written for a different musical project before eventually being incorporated into the composition developed by Mala.According to Coki, hearing the completed version for the first time revealed the emotional impact the track could have on audiences.

He said many listeners connected with its themes because conflict and instability remained recurring features of contemporary life.More than two decades after dubstep first emerged from small networks of producers, DJs and soundsystem enthusiasts, DMZ remains widely associated with the values that shaped the genre’s formative years.

Participants in the oral history describe a movement built not only around innovative bass music but also around inclusivity, experimentation and a deliberate effort to create a safer and more communal space within electronic music culture.

Organized by MDLBEAST, the festival focuses on sustainable growth, talent development, and long-term economic and social value within the music industry.

Ramadan Alharatani, CEO of MDLBEAST, emphasized that Soundstorm is more than entertainment; it serves as a platform for job creation, attracting global talent, and providing local artists with large-scale performance opportunities.

The festival integrates training, production, and creative development programs that extend beyond the weekend, ensuring year-round support for emerging artists and professionals.

Soundstorm 2025 has improved accessibility and sustainability, with better transportation, navigation, energy management, and recycling systems to enhance the audience experience.

Inclusion remains a priority, with designated spaces and experiences that welcome diverse communities, encouraging participation from all types of audiences.

Talent development is central to the festival, with initiatives like XP Music Futures providing mentorship, professional training, and performance opportunities for young artists.

Regional and international label partnerships support experimentation in music technology, sound design, and creative production, helping Saudi talent compete globally.

The festival layout has been redesigned to highlight live music zones, hip-hop stages, regional talent areas, and emerging artist platforms, creating a more immersive experience for attendees.

Main stages feature international performers, while dedicated spaces allow local and regional talent to showcase their creativity to wider audiences.

MDLBEAST’s vision focuses on sustainable, meaningful growth in the Saudi music sector, aiming to expand live events, venues, and festival offerings while strengthening global presence.

The organization continues to invest in long-term programs that support music education, artist development, and cultural experiences for the Kingdom and the region.

Nada Alhelabi, general manager of MDLBEAST Foundation and founder of XP Music Futures, highlighted the importance of professional pathways for emerging talent in music and creative industries.

The foundation provides workshops, mentoring, and hands-on training in sound engineering, event production, artist management, and creative business, equipping young professionals with essential skills.

The music industry in Saudi Arabia is rapidly evolving, with more venues, festivals, and studios generating demand for skilled professionals in multiple career paths beyond performing.

XP Music Futures connects talent, executives, startups, and educators, offering networking, industry insights, and opportunities for collaboration across the creative economy.

Key programs such as Hunna support female talent and leadership, while XPERFORM helps emerging artists grow audiences and secure performance opportunities, broadening exposure for local creatives.

A new partnership with Shahid, the region’s leading streaming platform, broadcasts XPERFORM content, giving Saudi artists wider visibility and connecting their work to a global audience.

Sound Futures fosters innovation in music-tech startups, enabling entrepreneurs to test and launch ideas that contribute to the growth of a sustainable and competitive music ecosystem.

Through these initiatives, Soundstorm 2025 and MDLBEAST are creating a vibrant cultural landscape, nurturing talent, and positioning Saudi Arabia as a hub for creative excellence.

By combining local creativity with international expertise, Soundstorm is shaping the future of the Kingdom’s music industry, generating long-term value for artists, professionals, and audiences alike.

The festival exemplifies how strategic investment in talent development, global partnerships, and cultural programming can transform Saudi Arabia into a leading regional and international music destination.