A Spirited and Warm New Single from Micah Sheveloff
- loladedwayne25
- 1 day ago
- 7 min read
A beautiful new single from Micah Sheveloff brings out a blend of classic rock, Americana, singer-songwriter, hints of folk, and a warm pop overcoat. The track breeds such a welcoming tonality with natural instrumentation that has a unique way of wrapping itself around you and keeping you right where it wants to.
This is a wonderfully woven soundscape from an artist who absolutely puts pieces of himself into his music.
The track is called "Making Magic", and to me, it is a spirited single that speaks volumes for the artist simply because he sheds a lot of light at the end of the tunnel and it's the kind of song that can lift you a bit which come in my opinion, is something a lot of us need right now.
The whole thing has that warm tone, and he does an amazing job of weaving together the arrangements so that everything feels natural and forward-moving with its flow.
The song has an important message. It's about holding on to those hopes; to those dreams. Sometimes things may feel hard. There are struggles in everyone's lives, but you hold on to those dreams or hopes to get you through.
Sometimes, those hopes come true. That's what the song is about.
It's empowering if you look at it this way.
Now, other people who listen to the track may take it a little differently than I did, but for me, the sentiment was loud and clear, and it did indeed lift my spirits a bit.
This is a song that I needed even when I didn't realize I needed it.
It helped me remember that there's that light at the end of the tunnel and to keep going for it no matter what.
The guitars are outstanding here. The tones of them and the way that they're spread across the track feel almost ethereal in a sense. They sort of float, but still give that contemporary pop and rock tone and aesthetic throughout the song.
I feel like the way the guitars are performed and sound in general, and this dream-like effect to the song itself.
The percussion is very light, almost like a jazz song, and they still give the track the feeling of being alive and breathing along with the brilliant arrangement.
As a song unfolds further, you get all kinds of great background vocals that come in and out, weaving these gorgeous melodies that sort of float through the song's ether and add a spaciousness to everything.
The track does have a vast undertone. It feels a bit cinematic. I think this is because of the sentiment and how it does have a bit of emotional backbone to it, but also the way the music has that vastness in its underbelly.
You can tell there was a lot of attention to detail when it comes to the tones, soundscape, and arrangements, but it never loses the heart or personality that it began with, and this is the important part.
As I mentioned before, Micah seems to release music that gives little pieces of himself. He's not afraid to release those inner thoughts or shed some light so that other people can feel something.
This was a song that will stay with me, and I feel like it's a track a lot of people will enjoy simply because it delivers such a robust message, and that message comes across gracefully.
Don't just take my word for it, though; listen to this track. There are a lot of these great layers, and, as I said earlier, spaciousness to soak in.
After listening to this track, I realized I wanted to have a chat with Micah to find out where it actually did come from and what might be coming up next for the artist. Here's what happened.
RAG: Let's talk about Making Magic! This track has such a vast undertone and smooth flow! I love the chorus! Where did this track come from?
The original creative motivation for Making Magic was something I heard on the news, which I avoid like the plague, about one group of people incarcerating another group of people in cages. I thought to myself, man—there are many challenges that surround us, and we all seek to be at peace with the solutions, but throwing other human beings into cages just doesn’t feel like any sort of decency. And I thought to myself yet again—even if there are people, fellow human beings, moms, dads, brothers, sisters, who rightfully need to be deported, there must be a way to approach it, so they are able to maintain their dignity and be treated humanely. The verse lyrics of Making Magic remind us that we are all people. The choruses are both a plea and a suggestion—can we try another way?
RAG: Some great approaches on this release! Who are some of your biggest musical influences?
That’s very kind, thank you. I have an odd mix of influences—my parents were both classical musicians, so my early years were serious piano lessons mixed with an advanced choir. So, let’s start with Stravinsky. Then I found rock and roll. Sadly, Brian Wilson passed as I was recording this song, and he was one of the songwriters who carried me to another place. There’s another singer/songwriter named David Baerwald who uses the lower register of his voice to tell stories, to bring his ingenious lyrics to life. That was a huge revelation for me and the verses in Making Magic are my best effort to adopt that style.
RAG: How did this start for you as an artist?
I was playing the ukulele at three years old and then the grade school kids always wanted me to play TV show themes on the classroom piano. Fast forward to today: The singer/songwriter thing is my groove. I’m a blend of my classical foundation with a passionate love for harmonies and the unearthly power of song. I’m at the piano a lot.
RAG: Are you guys performing live right now? Any touring in support of this release?
Never say never, but at the moment I’m not touring. I have a few things going on, not the least of which is a bunch of mystery health stuff possibly associated with autoimmune that would challenge me to be at my best every night. I have friends on the road; I know the energy that it requires and I’m not there. But I can write and record with vigor and put my music into the ether and be an artist. It’s so important to me…like breathing.
RAG: Did you record this in a home studio setup, or did you go to a big studio for this?
A5:The answer is sort of both, and what I mean by that is…I work with an engineer/producer named Jason Pennock who is brilliant and has clients from around the world. It would sort of be cheating to call it a “home studio” just because of his skill level and experience, but that is exactly what it is. I bring an 88-key controller so I can play with a proper piano feel. But the beauty of this scenario for me is on a few levels: I very much appreciate the collaborative nature of having Jason in the room. It also keeps overall recording costs down compared to using a big studio. When I need to be in a studio, we go. And I bring in session players, such as guitarist Jesse Sliger who played acoustic, 12-string electric and 6-string electric parts on Making Magic. But the way my brain works, I am okay using modern recording technology to record musicians working. I want the listener to hear the players and singers—the songs! I do not want the listener to feel like they are bathing in technology. Not my thing.
RAG: Now that this is out, what's next for you?
I’m working on a song called Tranquility right now that’s pretty dark and pissed off. I spend a lot of time in pre-production before I record, and I’m not yet on a timetable with this one. I am grateful we live in an era where my songs can reach people in so many amazing places, even without touring.
RAG: Who's in your headphones right now?
Ah, for me its big speakers, not headphones. I am about to sit down and compare the original 1975 pressing on vinyl of David Bowie’s Young Americans with a modern remaster, also on vinyl. Just a little project I am into. Bowie’s pianist, Mike Garson, is legendary and an inspiration. We shall see! But typically, when I am writing new music, the song lives in my head and I can’t take in any external stimulus.
RAG: Was writing and recording this record a big undertaking? How long did it take to finish this?
Writing and recording is all joy and love with me, but at the end of the day, of course I feel fatigued. But “the force” runs deep within me and there’s nothing I would rather do. I’ve been at it a long time and I am a disciplined sort, so I’m always prepared when I walk into the studio. I probably average about 15-20 hours in Pro Tools per song after considerable writing and arranging time. And I mix by listening on my reference system and making notes. Then the track is mastered (I am using Dave Kutch at Mastering Palace currently) before it sails away on the boundless vast oceans of streaming.
RAG: Before we go, what would you like to express to fans of the music?
There really is no way to express the gratitude an artist feels when someone takes time, pauses their life to immerse themselves in the art of song. I am releasing a lyric video for Making Magic on Facebook (https://www.facebook.com/MicahSheveloff) and YouTube
(https://www.youtube.com/playlist?list=PLKRNVZdlb_lr1ErTbifpVM3oGIbBoltB5) and of course the song will be on all streaming platforms. And if I can’t hit the road, maybe I’ll stream some live performances from my home here in Saint Petersburg, Florida.