We Speak Music
ION’s “Homesick”: A Thrilling Journey Through Tribal Soundscapes and Modern Vibrancy
The alternative indie scene has been electrified by the latest release from emerging artist ION, whose new track “Homesick” is an audacious addition to his rapidly growing repertoire. Serving as the final single from his eagerly anticipated EP, “Like A Sickness,” this song delves deep into the intertwined themes of insanity and spiritual preservation, all while maintaining a sound that is as innovative as it is timeless.
A Revival of Ancient Sounds
What sets “Homesick” apart is its ambitious intent to revive the ancient purpose of sound. In a musical landscape dominated by synthesized beats and electronic overtones, ION dares to look back, drawing inspiration from the primal rhythms that have connected humanity for centuries. The track is built around pulsating tribal drums that throb with an almost hypnotic intensity, coupled with lush synths that infuse a modern vibrancy into the soundscape. The result is an anthem that feels ritualistic and uplifting, inviting listeners to embark on their own spiritual journeys.
ION’s music is not merely a passive listening experience; it is a call to reflect, to reconnect with the essence of our shared past. In “Homesick,” he honors indigenous traditions and emphasizes the power of community—a force that transcends time and space. The track’s tribal elements are more than stylistic choices; they are a celebration of heritage and a nod to the timeless power of music as a communal and spiritual experience.
Roots in the Highlands
ION’s deep connection to his roots is unmistakable. Raised in the picturesque Balkan highlands of Kosovo, he was immersed in the natural beauty and rich cultural traditions of the region from an early age. This upbringing has profoundly influenced his artistry, infusing his music with a sense of authenticity that resonates with listeners on a primal level.
This grounding in nature and tradition is evident throughout “Homesick,” where the organic and the electronic merge seamlessly. The track is a testament to ION’s ability to bridge the gap between the ancient and the modern, creating a sound that is at once familiar and refreshingly new.
Influences and Innovations
ION’s musical influences are as diverse as his sound, drawing inspiration from artists like Pantha Du Prince and Al Dobson Jr. These influences are apparent in his ability to create expansive soundscapes that blend the meditative with the danceable, the sacred with the secular. By incorporating elements of tribal house and alternative indie, ION has carved out a niche that is uniquely his own.
“Homesick” is not just a track; it’s an exploration of sound as a medium for spiritual expression. ION’s ability to infuse his music with both ancient and contemporary elements sets him apart in a crowded field, marking him as a significant new voice in the genre.
The Future Looks Bright
With growing press coverage from influential platforms like Clash and Earmilk, and a visually stunning music video that has garnered attention at global film festivals, ION is clearly an artist on the rise. His work is gaining traction not just for its sonic innovation but for its ability to evoke deep emotional and spiritual responses in listeners.
“Homesick” is more than just a song; it is a vibrant call to reconnect with our shared history, even as we forge a path toward a more enlightened future. ION’s unique blend of tribal sounds and modern vibrancy has not only added a thrilling new dimension to the alternative indie scene but has also solidified his place as an artist to watch in the coming years.
As anticipation builds for the release of “Like A Sickness,” fans and newcomers alike can expect more of the boundary-pushing artistry that ION has already begun to master.
We Speak Music
Anna Silverman Shines in Chekhov’s London Revival

The stage is set, the lights dim, and in just a few moments, a timeless classic unfolds. Chekhov in London is not just another adaptation of The Seagull – it is a daring, stripped-down reimagining guided by the singular vision of Victor Sobchak, a director with an uncompromising approach to theatre. This unique production, blending performance, documentary and personal reflection, challenges both actors and audiences to reconsider what it means to tell a story on stage.
At its heart, Chekhov in London follows three interwoven threads: a condensed performance of The Seagull, an intimate exploration of the rehearsal process, and revealing interviews with Victor and his cast. The loose structure allows room for spontaneity, ensuring that the final piece retains the raw energy of live performance. The result is an immersive theatrical experience that defies convention and highlights the director’s unorthodox methods.
It might be a short production , but within those few moments unfolds an intense scenario of The Seagull. The film fuses performance, documentary and behind-the-scenes insights, resulting in a fascinating work that feels at once theatrical and uncomfortably real.
At the center of this version is Anna Silverman in the role of Irina Arkadina. Unlike the more fragile, wide-eyed Nina, Arkadina is fierce, ego-driven and emotionally strong. Her character is a woman of status and pride but yet, beneath the surface, she is quite brittle. The film’s direction leans into that psychological tension, and Anna doesn’t shy away from it and in fact, she walks straight into the fire.
“I knew from the beginning this wasn’t going to be a conventional performance,” Anna reflects. “Victor didn’t want a polished, distant Arkadina – he wanted a woman trapped in her skin, in her legacy, in her relationships. There was no way to play her halfway.”
In this adaptation, Arkadina isn’t simply a supporting figure in her son’s tragedy – she becomes a central pillar of the emotional architecture. The scenes between her, Treplieff and Nina are structured to feel tight and unforgiving. From a visual perspective, the production chose to create a claustrophobic atmosphere, using close framings, low lighting and limited space. This wasn’t accidental – it was intentional.

“The idea was to strip away the distance – both physically and emotionally,” Anna says. “The camera is close. The pauses feel longer. There’s a tension that’s not just acted, it’s felt.”
For Anna, playing Arkadina came with its own set of challenges – not just technically, but emotionally.
“It was important for me to avoid turning her into a villain. She’s not cruel for the sake of it. She’s scared. She’s aging in a World that punishes women for being anything less than eternal. She’s trying to hold on to relevance, to love, to her past power and it’s slipping. I had to meet her there.”
Working with Victor Sobchak is not for the faint-hearted. Known for his intensity and no-nonsense expectations, he pushes actors into emotional terrain that feels almost unsafe—but never without purpose.
“There were moments I left rehearsal feeling completely stripped bare,” Anna admits. “Victor doesn’t settle for performance. He wants truth – even if it’s messy, even if it makes you uncomfortable. Especially if it makes you uncomfortable.”
This meant many scenes were approached with only minimal technical blocking and instead prioritised emotional improvisation. Anna’s performance, while deeply rehearsed, maintains a feeling of spontaneity – it is almost like we are watching her discover Arkadina for the first time, in real time.
Behind the performance was intense internal work. Anna immersed herself not only in Chekhov’s text, but in Stanislavski’s psychological approach, asking not just what Arkadina says – but why she can’t say anything else.
“You have to find where she lives inside you,” Anna says. “For me, it was about understanding what it means to be needed, but not nurtured. What it means to perform not only on stage, but in life.”
She also speaks of the moments when she doubted herself, at some points when Arkadina’s emotional contradictions left her feeling disconnected.
“It’s exhausting to play someone who won’t break, because it means you carry the weight of everything she’s holding in. As an actress, the real challenge was to show the cracks without letting her fully fall apart.”
The film makes the most of its minimalist structure – focusing entirely on the emotional triangle between Arkadina, Treplieff and Nina. There are no sweeping landscapes or dramatic scores. Instead, it’s the silence, the breath between lines, the glance not returned that builds the tension.
“That was Victor’s vision from the start,” Anna explains. “He wanted it to feel like there was no escape – emotionally or physically. Every word, every pause, becomes a battlefield.”

In the end, Anna doesn’t pretend the role left her untouched. Arkadina, she says, revealed more to her than she expected.
“I think the most painful part of playing Arkadina is how much I saw of myself in her fears. It’s easy to admire the beautiful parts of a character, but it’s when you recognise your own shadows in them – that’s when it becomes real.”
Chekhov in London may be brief in length, but it leaves a long emotional imprint. And Anna Silverman’s Arkadina is at its heart: proud and undeniably alive.
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Chekhov in London” is a rebellion, a love letter to theatre itself.
Featured photo credit: Tom Trevatt
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