Disco Inferno, My Tribute to The Trammps


"Vibe No Kill Me" is a moody, poetic song that explores the tension between fleeting romance and emotional depth in a nightlife setting. With vivid imagery and rhythmic lyricism, it tells the story of a connection formed in the haze of a club — intense, mysterious, and ephemeral. The chorus, repeating the phrase “Vibe no kill me,” captures the desire to stay immersed in the moment, even when love feels risky or unreciprocated. It’s a blend of vulnerability, allure, and the bittersweet beauty of temporary connections.

Vibe No Kill Me

Disarray

Glass Jaw, Gold Voice is Willa’s origin story told in bruises, ballads, and battle cries. Across ten genre-blending tracks, she turns vulnerability into voltage—singing through heartbreak, betrayal, and survival with a voice that’s equal parts velvet and venom. The album is a cinematic journey through dimly lit clubs, rooftop confessions, and emotional warzones, where every lyric feels lived-in and every beat hits like a memory.
Willa doesn’t ask for sympathy—she demands recognition. Her verses are bar-heavy and sung with precision, weaving trap snares with orchestral swells, gospel echoes with industrial grit. From the defiant anthem “Velvet Glock” to the haunting closer “She Sang It First,” this album isn’t just a debut—it’s a declaration.
She’s not here to be saved. She’s here to be heard.


Willa

She Sang It First

Therapy by Willa is a raw, genre-blending sonic journey through self-reflection, digital chaos, and unapologetic self-worth. Across seven tracks, Willa delivers a bold mix of vulnerability and swagger, pairing sharp lyricism with hypnotic production.

The title track “Therapy” opens the album with emotional clarity, setting the tone for a project that’s as introspective as it is defiant.
“Glass Tongue” cuts deep with poetic venom, exploring the fragility of truth and the weight of words.
On “No Cosign,” Willa asserts independence with a gritty, minimalist beat that underscores the message: success doesn’t need validation.
“Swipe Witch (Let’s Start A TikTok Challenge)” is a playful, high-energy detour—part satire, part anthem for the algorithm age.
“Clout Chaser” takes aim at performative culture with biting commentary and infectious hooks.
“Forever Lit” is a euphoric, late-night banger that celebrates resilience and self-love in the face of chaos.
The closer, “No Time To Bullshit,” is a no-nonsense finale that leaves no room for distractions—just truth, rhythm, and resolve.
With Therapy, Willa doesn’t just make music—she makes a statement. This is a soundtrack for anyone navigating the noise, finding their voice, and refusing to play by the rules.



Therapy

Willa’s Off With Her Head isn’t a project. It’s a purge. A five-track execution of silence, legacy, and the illusion of power. Every song is a blade. Every verse is a reckoning. This isn’t an artist asking to be crowned—it’s one dragging the throne through blood and velvet.

This EP is built for headphones at 2AM, for stages that don’t flinch, for listeners who want more than performance. It’s for anyone who’s ever been crowned in silence and chose to scream instead.

Chosen Ain’t Safe

Gold Bleeds Too

Rooms I Never Left

Silk Don’t Save You

The Lake (extrait)

J'étudie la pratique de l'orgue Jazz à l'âge de 14 ans à Paris avec Armand Motta (pianiste de Barbara , Brassens) et j'ai mon premier synthé en 1976. Des études musicales en section T1 Musique au Lycée de Sèvres, avec dans la classe : Louis Winsberg du groupe Sixun et  Ludovic de Preissac. Je fais à l'époque partie de différents groupes pop/rock/funk et fais des rencontres musicales enrichissantes à l'aube des années 80 au Studio Vitamines à Gentilly et au Studio Witas à Chaville. En 1988, je découvre la MAO et je m'enferme alors avec synthés et ordis pendant pas mal de temps pour explorer tout ça et commencer à composer sérieusement. Passionné par le Jazz, l'énergie du Funk, j'aime la fusion des styles (electro/acid jazz/drum & bass/musiques du Monde). Quelque temps en 2006 au sein de Atif and Soul People et de Notsos sur Versailles. Mes claviers préferés sont l'orgue Hammond, le Fender Rhodes, le Wurlitzer et bien sur les synthés analogiques au gros son bien funky. Les rencontres qui m'on marqué : Rhoda Scott en 1974 au Club St Germain, Bertrand Richard (p.) qui m'a montré mes premiers accords de Blues, Philippe Khalifa (gt.), Stephan Gibu (dr. & bs.) des groupes de funk/gospel "Ray Sidney Firm Soundation" et "Soul Activation", Loïc Bordas (sax & bs.), Bernard Le Bellego, Emmanuel Barrache (gt. harmo.) des groupes "Quai Ouest" et "Chicago Line Blues Gang" , Patrice Barreau (dr.), les musiciens de 'Atif and Soul People' et de 'Notsos'...

Différents métiers : webmaster, infographiste, vendeur de pianos/orgues (Hammond, Gem, Viscount, Oberheim, Promotion d'artiste... 

Influences :

George Duke, Bill Evans, Chick Corea, Wendy & Lisa, Prince, Sheila E., Joe Sample, Rodney Franklyn, Bob James, Ricky Peterson, Michel Petrucciani, Bill O'Connell, Horace Silver, Jean-Yves Thibaudet, Pierre-Alain Goualch, Ludovic De Preissac, Soulive, Isaac Hayes, Roy Ayers, Donny Hathaway, Till Brönner, Candy Dulfer, Maceo Parker, Don Braden, Sophie Alour, Meshell Ndegeocello, Marcus Miller, Rhonda Smith, Herbie Hancock, George Benson, Larry Carlton, Earl Klugh, Michael Sembello, Al Jarreau, Gino Vannelli, Steely Dan, Toto, Level 42, Weather Report, Barbara Denerlein, Lonnie Liston Smith, Joey DeFrancesco, Jimmy Smith, Take 6, Kurt Elling, Viktoria Tolstoy, Dee Dee Bridgewater, Robin McKelle, Eliane Elias, Bebel Gilberto, Gabriela Anders, Tania Maria, Ray Barretto, Natali René, Ani DiFranco, Randy Crawford, Rachelle Ferrell, Maxwell, Jill Scott, Angie Stone, The Brand New Heavies, Sarah McLachlan, Coldplay, The Beauty Room, Michel Colombier, The Cinematic Orchestra, [re:jazz], Ananda Project, Gaelle Adison, Everything But The Girl, Massive Attack, Morcheeba, Laurent De Wilde... 
Une admiration sans borne pour : George Duke, Prince et H.E.R.

Actuellement j'écoute :
https://soundcloud.com/you/likes

The Lake (extrait)

daroon5

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