"And I am drunk, going mad from it all
The alcohol in my body won’t let me fall
But your thorns, wow, they burned my hands
You left me bleeding, staring up at the sky"

What's the story?

Twenty-five years ago I met Maureen Nehedar at the music academy in Jerusalem. She was studying classical opera, and I was studying jazz guitar. But even then she was digging into the music of her origins. Jewish-Persian music, and we had an instant chemistry.

We started a band, toured and made albums together.

Then life pulled us in different directions for two decades. She went on to build a remarkable career as a singer and scholar of that music. And now we're back in the same room.

Mastom is a classic Persian folk song we used to play together back then, the lyrics above are a free translation of Maureen's words. This time we wanted to do something different with it: strip it back to a beat and some piano, build it up around her voice, and let an old song breathe in a minimal, beat driven space.

The essence is untouched but everything around it is new.

I'm really proud of how it came out, and I'd love for you to hear it.

Listen to Mastom on Youtube

If you enjoyed this release please save it to your Spotify, it really does help spread it to more people.

Built around that performance, the track gradually unfolds with Gerstein’s understated beat production and subtle guitar lines, drawing inspiration from jazz traditions and the atmospheric sound world of artists like Hermanos Gutiérrez. 

Lior Soltz

Spirala moves through shifting dynamics and turns, creating a calm, reflective mood that hints at the direction of future collaborations between the two musicians.

Credits 

Yuvi Gerstein – Production, Guitar, Mix, Master 

Lior Soltz – Piano & Production

Listen to Soltz's EP

Listen to Cells album by Yuvi Gerstein:

     
That surprised me a bit, since they're so personal to me, but come to think of it, if you put out emotional songs with meaning and intent, it's obvious anyone who listens is going to take it to their own world. It makes sense, and it happened to me with many albums by artists I love, such as Beck, M. Ward, James Blake and others.

I was also pleased to get a deep analysis of the album lyrics by a cool website called Analyze my lyrics. It is a very well written piece, here’s just a bit of it:

Yuvi Gerstein's Cells is a record that has the feel of a diary of shards, unsent letters, voices half-whispered, and loss transformed into language. Throughout its lyrical terrain, Gerstein transforms private loss, relationship fragility, and the stilled power of remembering into mutually linked reflections at once intimate and transcendent. Although each song possesses a texture distinct from the others, the album's power comes in the way that its words interweave to compose a larger meditation on survival, both emotional and bodily, amidst impermanence.

Central to the album is the title track, Cells, which underpins the lyrical threads with its confrontational presentation of disease and death. The repeated line "so slowly cells of trouble multiply" isn't merely a biological observation, it becomes a refrain that addresses the slow but unstoppable nature of grief itself.

Gerstein eschews histrionic pronouncements about heroism, singing instead of acceptance, of being in a lounge room with "walls of orange green" while one gets frail. This lyrically direct approach finds its echo across the album, dictating how he treats both private suffering and relational disillusion, without melodrama, yet with sharp insight.

You read the entire piece on their website

Another interview about the album release was at Pigeon Opinion, which is an interesting blog, which also offers some controversial opinions from the interviewed artists. I contributed my own as well:

Yuvi Gerstein, what's your Hot Take - your most controversial music opinion?

“As a musician, If your goal is just to relive the past, you’re cheating yourself out of discovery.”

Here’s some of what they wrote about the album:

"Cells" by Yuvi Gerstein is a testament to his diverse influences, drawing inspiration from iconic artists such as The Gorillaz, Radiohead, Otis Redding, and more. Each track in the album is a reflection of Gerstein's personal experiences, from the poignant title song "Cells," inspired by the loss of his mother in 2013, to introspective pieces like "Don't ask much," "Feel lighter," and "In Lines" that delve into themes of relationships and disappointment. This album represents a culmination of Gerstein's musical journey, encapsulating his unique sound and profound storytelling, making it a must-listen for music enthusiasts seeking authentic and resonant compositions.

Read the entire piece here.

I will start performing the songs from the album soon, and the first event will take place at my workplace, Simply,  where I will introduce my favorite songs and discuss them with some of my fans.

Humbled, excited, anxious, this is what it feels like to release my debut album, finally with nothing but my original songs, music production and hard work. It gathers 11 new songs, some instrumental and some with lyrics I wrote myself and sing most of them as well. 

The album was released on Sep. 12, 2025 and is available on all platforms, including a nice looking Youtube video with all the animations created by Eric Lerner, as well as the lyrics.

I'm glad to see some coverage of the release, a review from Analyze my lyrics calling the album a diary of shards is here. Another review was published on End Sessions (Spanish). 

I'm thankful to the wonderful musicians and vocalists who took part in this album. It feels unreal to be able to stand behind my music and make a statement with my own mark. It's something I fantasized about, but held back at realizing for some reason. I'll leave the reasons aside, because now it's out and you can judge for yourself if it resonates with you or not. I'll continue with my "Behind so song" series here on my blog (first one about Thinking makes you anxious is here), and you can also find me on Substack if you prefer. 

She was dealing with cancer for about eight years prior to that year. There were ups and downs, but at that period it was quite certain, things were not going to get much better.

She was given an oxygen machine to use at home, to allow her to breathe better.

I was living in London at the time, and when I came for a visit, I was surprised to see this bulky machine which made a loud gasping sound, an unnatural noise that caught my ear.  I recorded samples of that machine and later started playing around with it. It was a dark time, and I was looking for a way to express the pain I was feeling.

In the movie Fight Club (1999), Brad Pitt’s character Tyler Durden explains to Edward Norton that the oxygen masks on airplanes aren’t really for safety in a crash. He says:

“Oxygen gets you high. In a catastrophic emergency, you’re taking giant, panicked breaths. Suddenly you become euphoric, docile, you accept your fate.”

I hung on this idea and imagined the instructions of the oxygen machine are actually meant to keep patients calm, euphoric, submissive, and help them accept their fate. It was a sad concept. I made a connection in my mind between the corporate world and lives of helpless sick individuals. I went on google translate and inserted some phrases that the instructions might say: “Breath naturally”, “Please read instructions before use”, “Thinking makes you anxious”. Meaning that thinking too much would make you anxious, as you realize there’s no good trajectory to your situation and the inevitable end is near. 

For the music I started creating a beat from that oxy machine sounds. It was quite rough. The first version was heavy and not very pleasant to listen to. The frequencies of that machine take over the others and leave little room for the music to happen.

Here's the first demo of the song in 2013:

I also wrote that downward melody on guitar, which eventually became the staple of the song, with the sensitive and wonderful playing of Noam Haimovitz on strings (Yes, he plays all the quartet strings himself)

After I published that first rough version on my soundcloud back in 2013, I kind of forgot about it.

My mom passed away on September 9th that same year. As I mentioned, it was a dark time for me and a lot to deal with.

It took me many years, probably too many to come back to this song and pick up where I left off.

I started by cleaning up the oxygen machine samples and recorded two great musicians as the rhythm section for this song. Shahar Haziza on drums and Beno Hendler on Bass. They were the perfect match for this song and really nailed the feeling I was trying to convey.

Once the song was taking more shape, I went through some recordings of conversations I had to with my mom. The one that caught me was a skype call from when I was in London. She was always trying to stay optimistic, and in that call, she said how she’s trying to hold on and stay alive until I get home at least. She didn’t say that last part, but that’s what I felt she was saying. I used that conversation as part of the song towards the end. The conversation was in Hebrew, look for it around 02:30.

Finally the song was ready, I finished mixing it myself and I had it mastered by the wonderful Asaf Shay.

When it came out, I promoted it via social ads and was surprised to see that it got the most responses in none other than Turkey. I got most of the plays and saves for this song there. My guess is that the melody and the groove are reminiscent of Turkish music and that resonated with listeners over there. I was thrilled of course.

That's the story of one of my favorite songs from the album “Cells”. I hope this helped you understand the background better and that you enjoy this song. And if you have a mother, go and give her a call, or a hug. She's worth it.

Before I go, there's a special treat for those who like to own the audio, you can download it free from this link.

Or stream it directly:

Thinking Makes you Anxious Lyrics:

Please read instructions

Before use

Breath naturally

Breath naturally

Do not think too much

Now

Isn't this just super?

Thinking makes you anxious

Do not worry

Please read instructions

Before use

Breath naturally

Do not think too much

Please read instructions

Before use

Breath naturally

Now, isn't this just super?

Super

SUPER?

“I'm trying to hold on”

“No, it's ok, I manage”

“OK sweetie”

“I'm trying to hold on”

“So goodbye honey”

Song credits:

Written and composed - Yuvi Gerstein

Drums - Shahar Haziza

Bass - Beno Hendler

Strings - Noam Haimovitz

Mix - Yuvi Gerstein

Mastering - Asaf Shay

Publisher - Yuvi Gerstein Music

Why Cells Matters

Cells is the culmination of a decade’s worth of writing, reflecting moments both intimate and vast. It’s an album that stitches together the threads of a personal evolution—songs born in solitude, stories shaped over years, all now standing together in one place.

What’s Inside the Album

• 11 tracks in total:
  • 9 songs you've already heard over the past year—shared single by single, piece by piece.
  • 2 brand-new songs, still waiting for their first breath in public ears.
• A tapestry of styles: singer-songwriter intimacy, Middle Eastern moods, soulful blues. It’s a journey of sound, rooted in honesty and curiosity.
• Collaborations that elevated the project: Roy Young, Priscilla Andersohn, Ongy Zisling, Shahar Haziza, Beno Hendler, Noam Haimovitz—and many more colleagues who brought this to life with their artistry.

Why It Took a Decade

Some songs take shape in a moment. Others grow slowly, tucked away until they’re ready. Cells falls into that latter category—songs that needed time, space, and emotional clarity before they could exist in the world. Today, that moment has come.

Join Me in the First Listen

I’d be honored if you’d pre-save Cells now—so when it launches on September 12, 2025, it lands directly in your Spotify library:
Pre-save Cells now ›

That small click makes a world of difference—for my music, and for our shared journey to begin.

I've been following their project for the past few years, and when I was offered to collaborate on this track, "Pinto," I immediately said yes.

Kermesse is a Buenos Aires-based electronic music project led by producer Gonzalo Urtizberea, known as Gurtz. Since its inception in 2015, Kermesse has been recognized for blending live instrumentation, including guitars and vocals, with electronic beats to create colorful downtempo grooves. Their music reflects a fusion of South American roots with global influences, resulting in a distinctive sound that resonates both on and off the dancefloor.

My own musical style blends Middle Eastern influences with downtempo grooves, featuring rich guitar textures woven together with electronic production. Over the years, I’ve explored fusing live guitar playing with layered synths, organic percussion, and subtle electronic elements. This approach naturally fits with Kermesse’s sound, where acoustic and electronic worlds meet, and creates a unique space for collaboration that feels both fresh and rooted in tradition.

I love the production quality, the attention to detail, and the infectious grooves. When they sent me this track with the guitar part, I was drawn to its groove and was ready to rock.

Now, after a long wait, the track is finally out, and it's even better than I thought it would be. They crafted it carefully and made sure every little detail is right on the spot. There's even a little guitar solo in the middle of it, which I enjoyed playing. The track is already making its way to playlists on Spotify and getting great reviews so far.

Here's to many more collaborations.

Listen on Spotify:
Listen to Pinto on Spotify

Today this song is being released, and the singer who performs it is a perfect fit: his name is Roy Young, a soul singer from England who has been living in Israel for almost 40 years, yet still sounds like Otis Redding or Louis Armstrong.

To complete the picture, I sent the song to a gospel choir from Nigeria (thanks Fiverr), who added their flavor to the track and brought everything to the finish line.

Thanks to everyone who contributed their talent to this song, first and foremost the amazing Roy Young who agreed to take part and came to an unforgettable recording day. Thanks to Shachar Haziza on drums, Benno Hendler on bass, Asaf Shay for the sensitive mastering, and of course Eric Lerner, the legendary designer whose wonderful talent makes AI look like a cheap imitation.

The full studio album 'Cells', will be released summer 2025. Follow on Spotify to get it first.

Florentin is a place where things clash in the best way. Run-down buildings stand next to new glass towers. Street art, galleries, studios, and music spill out onto the sidewalks. On any block, you’ll likely meet a musician or an artist—or both. That’s where I’ve built my creative home.

In the interview, I talk about how it all started: playing guitar and trying to become the best guitarist I could be. That changed when I got deep into production. I wanted to understand how to produce a full band, how to shape sound from the ground up. From there, things evolved fast.

I toured with my band—a funk/hip-hop project called Coolooloosh—and played shows across the U.S. and Europe. I soaked up influences, not just from the music I heard, but from the people, the scenes, the cities.

The music that comes out of Florentin—and Israel more broadly—isn’t one thing. It’s small, tight-knit, and full of edge. Everyone is trying to do their own thing, not fit into a mold. You’ll hear jazz, rock, Middle Eastern grooves, electronic music. Some of it leans into tradition. Some of it breaks it completely.

I also shared a project that’s close to my heart—GRIDI. It’s a massive electronic instrument I built with a few friends. Imagine a giant grid where placing balls triggers sounds as a scanning light moves across. It’s visual, playful, and it teaches people—especially kids—how music is built. Melody, rhythm, harmony, arrangement. All in one physical space.

You can watch me build a beat and play “Billie Jean” on it in the video.

That day at The Slick, we spoke about more than music. We talked about the creative spirit in Florentin, how fast the city has changed, and what it means to build something in a place that used to be just sand and wind a hundred years ago.

Watch it here: The Interview at The Slick

“Cells” is the title single from my upcoming debut album Cells, and also the most personal song I’ve ever written. It’s stripped down to its essence—just piano, strings, and vocals—because that’s how it needed to be. There’s a certain rawness in this track, and for a long time, I wasn’t sure if I’d ever release it.

I wrote it in 2013, not long after my mother, Tsiona Gerstein, passed away. She had fought cancer for nearly nine years with strength, grace, and unimaginable resilience. We were incredibly close, and her passing left a deep void in my life. “Cells” came from that space—an attempt to understand, to grieve, and to somehow hold on through music.

The lyrics speak about the way cells silently multiply in the body. How something so small can quietly take over, until it’s too late. It was my way of grappling with what was happening to her body—trying to make sense of it all in the only language I know how: music.

For years, the song lived in my digital drawer, waiting for the right time. That time finally came, twelve years later, in 2025. The original piano recording was done in London, beautifully played by my dear friend Matshidiso Mojahane. Her sensitivity on the keys captured the emotional weight of the piece perfectly. I later wrote a string arrangement, which was performed with elegance and care by Noam Haimovitz.

I mixed it myself in my studio, and it was mastered by the brilliant Asaf Shay.

Releasing “Cells” now brings me a quiet kind of joy. It’s a song born from grief, but I hope it can offer comfort to anyone facing their own losses, or supporting someone they love through illness.

This one’s for my mum.

And for anyone who’s ever felt helpless, heartbroken, or human.