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Erik Lunde’s “Steel Militia” Wrestles With The Painful Legacy of the Afghanistan War

Erik Lunde releases the single “Steel Militia” on August 27th in the shadow of America’s disquieting exit from Afghanistan, 20 years after the events of 9/11 led to “America’s Longest War.” As a self-described “Tolstoyan Christian Pacifist” who tries to live by the principles of non-violence laid out in the “Sermon On The Mount”, Lunde wrote the lyrics to “Steel Militia” from his despair over the tragic American military response to 9/11 after reading the devastating true story of the Wise Brothers in a Washington Post article entitled “One Family, Two Sacrifices”. The article told the story of the passions and motivations of two patriotic brothers from Arkansas who both enlisted and were killed in the war in Afghanistan. Written in the narrative storytelling vein of classic American folk songs like Bob Dylan’s “Masters Of War” and Pete Seeger’s “Waist Deep in The Big Muddy”, the song serves as a powerful, anti-war protest song that is dedicated to the memory and sacrifice of the over 2,300 American soldiers that tragically died in Afghanistan.

As the final American forces leave the country to meet the September 11th withdrawal deadline, “Steel Militia” wrestles with the extreme religious fundamentalism that led to 9/11 and sparked the wars in Afghanistan and Iraq. While the lyric critiques the dark ideological forces and politics that started the wars, it also empathizes with the passionate devotion to God and country that burns in the hearts of young soldiers who enlist to fight in foreign wars – pondering the sense of futility and hopelessness that some surviving veterans of Iraq and Afghanistan have experienced. As a songwriter dedicated to peace and reconciliation, Lunde wants it to be clear that the song is not an “anti-soldier” song – but is an anti-war song about the “wages of death” in wars that arise from extreme religious fundamentalism. Having performed “Steel Militia” at a Wounded Warriors retreat and seen the emotion that it provoked in Afghanistan veterans, Lunde hopes that by releasing this song into the world he can help raise awareness of the important work that the Wounded Warriors Foundation does for America’s soldiers. “This is why I support the important work of the Wounded Warriors Foundation – and hope to use this song to raise awareness of their work with our wounded veterans,” says Lunde.

Erik Lunde Soapstone Natural Area. Guitar.

“As a Christian pacifist who tries to live by the principles of non-violence, I wrote this song because I was deeply anguished by the events of 9/11, our subsequent invasion of Iraq, and the seemingly futile outcome of the occupation of Afghanistan.” – Erik Lunde

A folk-rock poet and Americana songsmith with a captivating voice, cinematic songs, and a dynamic stage presence, Colorado-based artist Erik Lunde “pens lyrics that are haunting and memorable poetry married with one of the widest arrays of melodies this area knows”. Having lived and wandered all over the United States, Canada, Mexico, and Europe, hopping from place to place like a character in a Jack Kerouac novel, searching for stories and songs and experiences, and chalking up about 40 different addresses across North America, Erik Lunde is a songwriter and musician whose songs and sound bears the geography, culture, and history of his midwestern origins. Influenced by a wide variety of genres including gospel hymns, bluegrass, traditional country, rock & roll, and artists like Elton John, Bob Dylan, Leonard Cohen, The Beatles, and David Bowie – Lunde has created his own genre-bending mashup that reflects that dichotomy. The founder and frontman of the Lunde Station band, a well-known staple on the Northern Colorado music scene from 2012 -2017, Lunde has re-emerged as a solo singer-songwriter, performing under his own name, searching for stories and songs and experiences, and chalking up about 40 different addresses across North America, he’s still chasing that same crazy dream with the stories and songs on this new record.

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Natalie is a journalism major with a focus on Entertainment and Music who aspires to become a Content Creator For Honk Magazine. Eventually, she wants to be the Publisher or Editor-in-Chief of a major Publishing House. She loves helping people find their voice and passion for writing and journalism, and she can always be found with coffee in hand, editing another article.

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Artist Spotlight

Janiq blooms boldly on ‘Flowers and Fantasies’

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Janiq releases her new single, “Flowers and Fantasies,” a lush Pop-R&B cut that intertwines her UK-Caribbean heritage with such magical precision. It breaks the glucose level for once but is devastating. From the second the track starts, a magnetic pull of attraction draws you in that initial brushing of tips of fingers, that hushed secret in the dark.

Built on open synths, slinky melodies, and a rhythm that’s as sultry as it is smooth, “Flowers and Fantasies” is a track built for moonlit moments and slow-burning tension, exuding a confidence that’s intimate but never overwhelming. In 70 minutes, Janiq has you doubting and fearing everything. She understands the power of suggestion, and here, she exercises that power with the deftness of a maestro.

She navigates the precarious terrain between yearning and giving in, capturing the particular kind of magic of being completely in your desires. This is about permission, letting go, and drawing on the fearless and freeing type of emotional vulnerability. The fantasy is the embrace of all that is real, raw, and blooming below and above the surface. But what makes Janiq different is how she turns her dual identity into sound. There are hints of Caribbean warmth in her vocal cadence, an unmistakable UK polish in the production, but never at any point does it feel forced. She’s carving her own space in the genre, and it sounds fucking good.

With “Flowers and Fantasies,” Janiq provides a lush, tender, and intoxicating experience. It’s the kind of music that remains after the song has ended, like the lingering smell of perfume on a pillow or the fading echo of a late-night confession.

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As Pop and R&B twist and turn deeper into their next eras, Janiq demonstrates that there is still plenty of space for softness and sensuality, with strength blossoming just below the surface. It may be her most recent release, but if this is the sound of what’s to come, we’re more than eager for the bouquet.

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Artist Spotlight

Wabi Sabi turns shadows into soundscapes with hauntingly beautiful “Nightmares”

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Wabi Sabi is here to turn discomfort into comfort with their new single, “Nightmares.” At first listen, the track seems like a musical, fragile but disturbing, dreamy yet earthly. But that’s where the magic comes in. True to the title’s spirit, “Nightmares” travels an emotional terrain of the unknown, where the surreal borderlands of fear and wonder creep in slow time.

The song begins like a soft fog moving into a sleepy town, which is exactly what it should be. Picking up on a strange but gentle vibe, anxiety hums softly beneath warm, smiling faces. Wabi Sabi shades us into a world where nothing is quite as it seems. The production is lusciously spare, giving room for everything to breathe. Ethereal synth layers curl like vapor over textured, throbbing percussion, and a fragile vocal delivery leaves the listener feeling simultaneously naked and soothed.

It’s within that contradiction that “Nightmares” flourishes. Wabi Sabi channels the angst of acclimating to something new, a place, a feeling, or perhaps, a version of self, but also roots this discomfort in something perfectly welcoming. The track acts as a lullaby for the emo-enough displaced, a safe space in a world that feels manic and chaotic. Instead of heading toward melodrama or overproduction, “Wabi Sabi” is inward-focused. Every note seems deliberate, like a footfall in strange terrain. The lyrics are poetic and enigmatic, and although they don’t stray too far from cliché, they allow for interpretation. You’re not merely listening to the story but at its center.

“Nightmares” are less about fear than the human condition in which we orient ourselves in the strange and foreign, how we cope when our inner worlds have turned upside down. It’s meditative, a slow exhalation in a noisy room. With this release, Wabi Sabi crafts a simple song and a feeling. Like the villagers, who smiled big and warm despite the strangeness surrounding them, “Nightmares” asks how we can find beauty, even in the shadows.

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