John Smyths A Lifetime In A Song With Now I’m Wiser
There’s a certain kind of wisdom that only comes with time. It’s not the kind you find in books or lectures, but the kind that’s etched into your soul by the miles you’ve travelled and the mistakes you’ve made.
It’s this hard-won wisdom that John Smyths, a man with a story to tell, has poured into his debut single, “Now I’m Wiser”
Born Johan Smits in the Netherlands in 1961, Smyths’ musical education was a tale of two worlds. On one hand, he was a disciple of the thunderous rock gods of the 70s and 80s – Kiss, Van Halen, Iron Maiden, and AC/DC.
On the other, he found himself drawn to the raw, honest storytelling of country legends like Hank Williams, Waylon Jennings, and Kenny Rogers.
This unlikely combination of influences has been simmering for decades, and with “Now I’m Wiser,” it has finally boiled over into a sound that’s both familiar and refreshingly new.
Now based in Germany, Smyths has spent years honing his craft, playing on stages across Europe and soaking up the stories of the people he’s met along the way.
You can hear it in his voice – a rich, lived-in baritone that carries the weight of experience without a hint of weariness. It’s a voice that’s seen its share of smoky bars and long, lonely highways, and it’s the perfect vehicle for the tale he has to tell.
“Now I’m Wiser” is a song that feels instantly classic. From the opening notes of the twangy guitar, you’re transported to a world of dusty roads and neon signs.
The arrangement is a masterclass in less-is-more, a rootsy, Nashville-laced sound that gives Smyths’ voice the space it needs to shine. The rhythm section is as solid as a rock, a steady heartbeat that drives the song forward without ever overpowering the story.
And what a story it is. The lyrics are a candid reflection on a life lived to the fullest, a confession of past missteps and a celebration of the lessons learned. There’s a raw honesty to Smyths’ words that’s impossible to fake.
He’s not afraid to admit his faults, but there’s no self-pity here. Instead, there’s a sense of acceptance, of a man who has made peace with his past and is looking forward to the future with a newfound sense of clarity.
The chorus is an earworm of the highest order, a simple yet profound statement that will have you humming along after just one listen.
It’s a testament to Smyths’ songwriting prowess that he can pack so much meaning into so few words.
This is a song that will resonate with anyone who’s ever looked back on their life and realized that the scars are just as important as the triumphs.
John Smyths A Lifetime In A Song With Now I’m Wiser
But don’t let the talk of wisdom and experience fool you – this is not a sombre, navel-gazing affair. There’s a fire in the belly of this song, a rock and roll spirit that’s impossible to ignore.
You can hear it in the swagger of the guitars, the punch of the drums, and the defiant energy in Smyths’ delivery. This is a song for rolling down the windows and singing at the top of your lungs, a celebration of life in all its messy, beautiful glory.
In a world of fleeting trends and disposable pop, John Smyths is a welcome reminder of the power of authentic, heartfelt music.
“Now I’m Wiser” is more than just a debut single; it’s the culmination of a lifetime of experience, a story that’s been waiting to be told. And now that it’s here, you owe it to yourself to listen.
Violet Love has offered up an EP titled “Destined to Fail,” and it arrives less like a prediction and more like a pre-existing condition, a medical chart for a soul that’s been diagnosed with itself. The DIY recording quality doesn’t feel lo-fi for aesthetics; it feels necessary, like these songs could only have been born in a sealed-off room where the air was getting thin. This is a closed-circuit conversation with generations of ghosts and the rattling of one’s own bones.
On “Apple,” the admission of having one’s lungs “carved out” doesn’t just evoke emptiness. For a fleeting moment, it conjured in my mind the unnerving precision of a 17th-century anatomical etching—all labeled parts and clinical detachment, a diagram where the spirit has already fled the machine. The pain here isn’t a fresh wound; it’s ancient, inherited, and cataloged. This inherited chill then bleeds into “Serpent,” a tight, coiling track of self-sabotage where the enemy isn’t some external force but an “infection” in the garden of the self.
Violet Love Carves Out Pain on “Destined to Fail”
By the final track, “Artist,” the exhaustion is palpable. After grappling with the pain passed down and the pain self-made, the burden shifts to the bleak responsibility of using it as paint. This isn’t presented as triumphant catharsis but as grim, lonely work. The resulting creation is “doused in red and green,” the visceral colors of a fresh wound and something sicker, something like envy or rot. This EP offers no cure, no convenient exit from the cycle it so bravely documents.
After declaring yourself both the disease and the artist, where on earth do you hang the painting?
Bailey Perrie's "A Piece of Me": Pin Pulled, Hearts Blown
With “A Piece of Me,” Western Australia’s Bailey Perrie offers up a pop rock grenade with the pin already pulled, cleverly disguised as a twisted love song. It thunders forward with a cinematic, arena-ready confidence that makes its raw, emotionally brutalist core all the more disarming. The effect is something like finding a tear-stained diary page taped to the side of a massive firework just before the fuse is lit.
There’s an almost botanical sense of danger in the track’s beginning. Perrie chronicles the dizzying, involuntary attraction, the hypnotic pull toward someone who “smells so sweet” and yet “seems so cold.” For a moment, my mind drifted entirely away from music. I was thinking about carnivorous pitcher plants I once saw in a hushed nature documentary, how their beautiful, intricate designs lure creatures in with intoxicating nectar right before the inevitable trap is sprung. That is precisely the scent of this song’s opening act—a gorgeous, fatalistic invitation to your own undoing. Then the floor simply gives way.
Bailey Perrie’s “A Piece of Me”: Pin Pulled, Hearts Blown
The wrestling metaphor—the agonizing thought that one “should’ve tapped out,” the utter helplessness of there being “no referee”—isn’t just a clever lyrical device; it’s a visceral, physical truth. It reframes a story of toxic love as a one-sided, unsanctioned beatdown. This isn’t poetic heartbreak; it feels like conquest. The shift from magical whirlwind to being pinned at your most vulnerable is a stunning, whiplash-inducing turn, capturing the sickening moment you finally see a predator clearly.
In the end, the anthem isn’t about victory, but about surveying the damage and acknowledging the part of you that was permanently annexed. A souvenir you never wanted. What, after all, do you build in the space a person has carved out of you by force?
The Pleasant Dread of Korda Korder's "You Still Turn Me Inside Out."
There’s a specific kind of pleasant dread in the opening moments of Korda Korder’s new single, “You Still Turn Me Inside Out,” like standing at the entrance of a cathedral you know is haunted by something benevolent. The East Sussex outfit calls this a gothic lament, and they aren’t wrong, but it’s a lamentation born from awe, not sorrow. Guitars fall like silver rain through a haze of synths that feel both celestial and deeply subterranean. It is an architecture of sound.
The track documents that peculiar, totalizing state of a connection so profound your own emotional geography gets redrawn. That lyric, “it’s like outside inside,” feels unnervingly accurate. For a moment, it brought to mind those old celestial navigation charts, the planispheres, where the vast, incomprehensible cosmos is flattened onto a piece of paper you can hold in your hands. This song does the reverse; it takes an internal feeling and explodes it into a swirling, private universe where time is a suggestion and sleep is unnecessary.
The Pleasant Dread of Korda Korder’s “You Still Turn Me Inside Out.”
This isn’t the turbulent churn of new love; it’s the quiet, world-altering gravity of a long-established one. The escalating chant of “higher and higher” is less a frantic cry and more a statement of fact, a slow, spiritual levitation. The song doesn’t so much tell a story as it holds a single, complex feeling up to the light, turning it over and over until every facet gleams with a strange, beautiful light.
What Korda Korder has crafted here is a confession masquerading as a dream. It’s an admission that another person can become the very mechanism through which you perceive reality. So what happens, I wonder, on the day after? What do you do with all that leftover sky?
"Love is Dead": Beth Sarah's Quiet Promise of Survival.
The opening minutes with Beth Sarah’s new single, “Love is Dead”, feel like watching a beautiful house of cards collapse in meticulously slow motion. It has all the architecture of a polished pop track, yet inside, a structural demolition is taking place. Sarah documents the aftermath of a heartbreak so profound it triggers an existential audit. The true devastation isn’t the loss of a person, but the dawning horror that the love story was a self-authored fiction, a love that was “always in my head.” This isn’t theatrical rage; it’s the quiet, gut-sinking shock of a major historical revision.
This particular ache reminds me of discovering a brilliant piece of Roman glass is actually a clever replica from the 1970s. The beauty is still there, but your relationship to it is irrevocably changed. You are forced to mourn the loss of its authenticity. Sarah’s song inhabits that same space of confounding revelation. The relationship was the forgery, and admitting it is both the deepest wound and the only way forward. The melody is the iridescent, convincing surface; the lyrics are the tell-tale maker’s mark on the bottom, exposing the whole thing.
“Love is Dead”: Beth Sarah’s Quiet Promise of Survival.
Through this wreckage, a stubborn pulse beats. The chant of “I will live on and on” isn’t a battle cry shouted from a mountain. It’s a promise muttered through gritted teeth while searching for the first aid kit. It is the sound of pure, unglamorous survival—the messy, necessary work of choosing to continue after realising the map you were following was drawn for a place that never existed.
Beth Sarah isn’t just picking up the pieces here; she’s inspecting them to see what was ever real in the first place. What, then, does one build with the salvaged materials of a beautiful lie?
Mad Morning have released a new single titled “Painkiller,” and it’s less a piece of music and more a prescription filled with ferocious velocity. This isn’t your gentle, over-the-counter remedy. This is the stuff you keep behind lock and key, a bitter pill of distorted guitar and adrenalized rhythm that vocalist and guitarist Rob Jarvis delivers with unflinching conviction. The song’s central idea—sound as a psychoactive substance—is worn without a hint of apology.
It’s a strange thing, isn’t it? This surrender. The groove, anchored by Kevin Hein’s punishing drumming, doesn’t suggest you listen; it commands you to metabolize it. It takes hold with the mechanical efficiency of those old automatons from the 18th century, a relentless series of clicks and gears designed for a single, overwhelming purpose. The experience is total, a controlled demolition of conscious thought where the only thing left is the primal pulse running through your veins.
Mad Morning’s “Painkiller”: Cure or Addiction?
While the energy is riotous, the motive feels deeply solitary. It’s an escape inward, a way of “killing those feelings to hide” by cranking the volume past the point of introspection. This isn’t the sound of a communal party; it’s the sound of one person building a fortress of noise to keep the world’s quiet anxieties at bay. Mad Morning have crafted a brutal and exhilarating high, a numbing agent that works by being far louder and more insistent than the pain it’s meant to silence.
So as the final chord crashes and the feedback fades, you’re left with a kind of purified exhaustion. The cure works, but is the addiction to the rhythm any healthier than the ache it masks?
Morsrot’s new single, “Primrose Path,” is less a gentle stroll and more a full-body collision with a garden wall. This Maltese-via-Berlin outfit has forged a sound so thick with intent it feels architectural. The riffs are not so much played as they are built, one groaning, distorted slab at a time, creating a structure that feels both imprisoning and fiercely protective. It is the sound of a very heavy door being forced open into a room you aren’t sure you want to enter.
Listening gives me the same sensation as the air just before a summer thunderstorm—that specific, metallic taste, the ozone tang of impending violence. The song’s narrator, caught with a mind “racing the wind and chasing me down,” seems to live perpetually in that charged atmosphere. There’s a startling self-awareness here, an acceptance of moral failing as an inescapable condition, and it’s this honesty that prevents the whole affair from simply being a tantrum. It’s a controlled demolition.
Entering The Storm: Morsrot’s “Primrose Path”
Which is precisely why the climax feels so jarringly potent. The final, frantic chant of “alive” is not a celebration; it’s a panicked verification of a pulse. This isn’t a triumphant cry. It’s the desperate gasp of someone who just broke the surface after being held underwater, a raw, ragged demand to be witnessed in all their broken, unapologetic glory. It’s survival articulated as a scream.
The track ends, but that chaotic energy remains, clinging to the air like static. Morsrot has offered up a portrait of a soul that is defiantly, agonizingly present. And it leaves you wondering: after being asked so forcefully to look, do you have the nerve to keep your eyes open?
THE BIG SIX: Dr. Cryme Shares An Interesting Music Catalogue Over the Years
Dr. Cryme, whose real name is Darlington Kwasi Agyekum, is known for his “Twipop” sound, which mixes rap, hiplife, and Afro-pop.
He has been one of Ghana’s most varied hitmakers since his breakout song, “Kill Me Shy.” He blends street anthems with radio-friendly melodies while staying true to his roots.
Dr Cryme has showed both constancy and innovation across six major projects, from his first album, Finally Finally, to the Unexpected series. A quick dive into his amazing projects over the years.
His first studio album, “Finally Finally” (2011), made him a household name in Ghanaian music. “Kill Me Shy,” his first big hit, is on the album and it won Hiplife Song of the Year at the Ghana Music Awards. The project shows how he mixes Twipop, Hiplife, and rap with catchy hooks and a lot of energy. It established the tone for his approach, which was lyrical, fun, and based on the rhythms of Ghanaian pop music.
“Showtime”, his second big studio album, came out in February 2018. There are 20 songs on it, including the hit “Koko Sakora” with Sarkodie, “Weak Point”, “Too Serious”, “Bonanza” with Captain Planet & Master Garzy, and “Mbaa Mu” with D-Black. This record shows how playful his lyrics are, how well he can work with artistes from different genres, and how much bigger his productions are getting. He sounds good switching between rap and sing-rap and making songs that are good for parties as well as songs that are more personal.
A lot of music blogs list this as an album, but “Unexpected 1” (2019) seems to be one of his later big projects. It kept up the pattern of mixing, but this time the production values were better because they were older. Tracks from this time, like those on EPs related to the “Unexpected” series, lean more toward Afro-pop, Twipop, and danceable rhythms, but the lyrics still talk about his rap background.
The Kwasi EP is an important project, even though it’s not a full “album.” Five songs are on it: “Wo Soa” (ft. Ypee & Amerado), “I Wanna Turn Up” (ft. Tammy), “Kropot”, “Too Known”, and “Atanfo” (ft. Flema T). It came out on April 2, 2021. It shows how versatile he is by combining tough hip-hop tracks with ones with catchier melodies and hooks. What’s also intriguing is how he works with known artistes and up-and-coming ones, like Tammy.
“Nika,” “Party,” “My Lover,” and “Honey Sugar” are the four songs on the Unexpected II EP (2023). Here, Dr. Cryme keeps trying Afro-pop/Twipop and softer melodies that might be better for radio, showing how flexible he is. It’s a more current example of how his music has grown up, with better production and themes.
Some don’t make it clear that “Unexpected III” (2024) is a full album, but its songs (like “Gogome”) and the way it’s packaged make it seem like it works like an album project in terms of keeping the themes going. Also, many of his songs in the past few years, like “Happy,” “Our Father,” and “Eva,” show how he is still changing. These pieces show that Dr. Cryme is still busy and moving his sound forward even when he’s not putting out full albums.
Dr. Cryme’s six albums show how he has grown as an artiste and how Ghanaian music has changed over the years. From his early work as a Twipop pioneer to his more recent explorations of Afro-pop and new sounds, he has always had a dynamic style that mixes the old and the new.
His catalog shows how versatile he is, how willing he is to work with others, and how he can change while still leaving a lasting mark on the business. Should we look forward to another album soon?
From Contronyms to Consciousness: The Story of ‘Now Own Won’
Some songs feel like they arrive unexpectedly, full of power and deep meaning, and that is exactly what “Divineisll did on “Now Own Won”. It began as part of a creative exercise from Atlanta-based writing teacher Theresa Davis, who asked her students to work with contronyms, which are words that can mean opposite things. From that simple idea, Divineisll created something much more meaningful, turning word games into a spiritual experience.
“Now Own Won” goes beyond being just a clever title. It carries an important message from Divineisll about taking control of your wins, living in the present moment, and finding calm during difficult times. The track has a peaceful, emotional sound with a thoughtful feeling, like taking a long, deep breath after going through a hard period.
Produced by Sullybeatz and shaped completely by Divineisll own creative ideas, the song connects poetry and music in a way that feels both personal and beyond the ordinary. While the song is deeply personal, it also reaches further, creating a connection with ancestors, unseen forces, and anyone searching for understanding during confusing moments.
“Now Own Won” represents more than just a new music release. It serves as a reminder from Divineisll to stop and take a break, to work on healing yourself, and to understand that the moment you have been waiting for might already be here, happening right now in the present.
“Congratulations on your new single “Now Own Won”! What inspired the creation of this track? The song was inspired by a Challenge from a writing Mentor named Theresa Davis from Atlanta,Georgia in America. She asked to hear what we could do with Contronyms in our writing. I battle the hard times and Dark intentions so i Made this out of a Portion of my Poem “Contronym Rapunzel; Let Out Some Flare” where I imagined Us rescuing “Meaning.”
The title is intriguing — can you share the meaning behind “Now Own Won” and how it connects to the song’s message? I use multiple Life Methods and Spiritual Teachings to create a Musical Track. “Now Own Won” as a Title tells You to Own The Wins Now that you have survived. Bathed in the intention of Speaking straight to the Soul’s Truth. Also used for the Hook as a Acronym; I used letters “N” “O” “W” after noticing i could make 3 words from it to expand and connect Contronym’s double meanings( a 2) to a number 3. I Mix life together and dismiss definition and meaning to rediscover or possibly create a New Energetic Healing Techniques to Speak to Subconscious Space.
How would you describe the sound and mood of this single compared to your previous releases? It’s refreshing with the slower more calming tone. I spoke much more controlled and got more clarity out of making it and how it turned out. The thing that will mostly stand out about my tracks is them being released for those moments and times ahead. September was rough so i introduced Calm.
What was your creative process like when writing and producing “Now Own Won”? I choose to pick from writings; recent or old, to shed light on discoveries I’ve gathered from the World and Astral plains connecting to Now. This was fairly newly written and then inspiring when i read it out loud during a Java Speaks Virtual Open Mic i attend on Zoom. The beat was the one selected as i freestyled verses withba test of sounds because I want to hear it match and it matched the first listen to this beat. I like to blend songs with and without hooks until i feel what’s needed.
I choose to pick from writings; recent or old, to shed light on discoveries
Were there any specific challenges or breakthroughs you experienced while bringing this song to life? Yes, i consciously realized what a Contronym was lol. I always excelled in writing courses yet i never quite payed attention to concepts like I’m beginning to do Now, perhaps my content has new levels to reach as i relearn after unlearning. More than ever I’m viewing the word “Now” as something like a finger snap to Wake up.
The track feels personal yet universal — what emotions or themes were you hoping to capture? I was hoping to capture the ears of not only The People but the Unseen Realms in connection to the Ancestors. My songs are all Spoke from,to,and through those same connections so i make mind to always be aware that im putting on a show for them as well; and the Show is called “Give Us Love Back!”. It’s the Times where people get to see those who undoubtedly shine brightest at night.
Did you collaborate with any producers or musicians on this project, and how did their input shapethe final sound?
I got the Beat from a producer named Sullybeatz and everything else was mixed and produced by me. I definitely enjoy their sound because it evolved my senses and gave me more of a presence to people on tiktok.
What do you hope listeners take away after hearing “Now Own Won”? I hope people get a new view of their Life when the guns couldn’t go “Pow” because Most High said so! and was only experienced when You wasn’t ready yet too reactive. The world system offered us middle lines when we were born to find The One line ourselves.
How does this single fit into your overall artistic vision or upcoming projects? It’s one of several i began in September, i decided to do a birthday release for the first time and wanted something i could soak in over and over. Every song to me is a new milestone of health so more songs will continue to surface each month.
Looking ahead, can fans expect “Now Own Won” to be part of a larger body of work, like an EP or album? Yes, i do plan to release a Album eventually. I write, perform and produce throughout each week after performing at a Job and All the Rest of Me is busy in Spirit lol so I’ll let Life decide. I have a few books to publish to complete the Material and I plan to grab all the effort at once when i finally plan to release one or get the help to do so. Until then I will continue to make song after song of healing divine knowledge behind the steps of many victories across lifetimes.
Dancing in the Stars Gets a Brilliant Remix With Sam Ostler
Carl Kendrick’s “Dancing In The Stars” was already a meaningful and emotional song, Sam Ostler’s but remix turns it into something completely different. The remix keeps the uplifting spirit of the original but adds fresh energy, creating a polished version that works perfectly on the dance floor while still holding onto the feelings that made the song special.
Kendrick’s production work is smooth and lively, with strong beats and clever musical breaks that make the song better without hiding what made Ostler’s performance great. The rhythm is catchy, the electronic layers build excitement, and the changes between sections flow naturally.
The rhythm is catchy, the electronic layers build excitement, and the changes between sections flow naturally.
This version feels designed for both radio play and club settings. What really makes the remix impressive is how it keeps Sam Ostler’s voice as the main focus. His full and confident singing holds the track together, making sure the emotion and warmth from the original stay present even when the speed picks up.
The final product is a remix that combines personal feeling with pure joy, showing off Ostler’s range as an artist while proving Kendrick’s skill as a producer. This is a song that can give you chills during a quiet listen and also energize a large crowd at a music festival. With “Dancing In The Stars – Remix,” Sam Ostler shows that good music can succeed in different styles while keeping what makes it meaningful.
Listen to “Dancing In The Stars (Carl Kendrick Remix)” below
The Uncomfortable Truth of Bill Barlow's "When He Speaks"
The new single by Bill Barlow, When He Speaks, is something you cannot afford to miss. It is not background music and it draws you to it, makes you listen and even after the song is over, it stays with you. The song belongs to the 18-track album of Tampa singer known as The Bill Barlow Project, and it can be regarded as a definite shift in his musical orientation. His other songs were more contemplative and soft, whereas this one strikes with great aggression and an uncomfortable nature that is absolutely ideal.
The beat is very powerful and the electronic music is well built and cumulative. However, the words are the most striking. It hurts when Barlow starts singing such lines as Check the rating when he speaks, fact checkers think his stats are grey, as it is so real and up-to-date. The song is not attacking anyone in particular, it is about how we as listeners and news consumers are misled by news.
The uniqueness of the work by Barlow is that he does not attempt to explain everything and answer everything easily. The song brings on the issues and allows you to feel uneasy about them. This conflict together with his good storytelling abilities has made When He Speaks one of his best and most impactful songs so far.
What was the inspiration behind your latest single, “When He Speaks”?
Bill Barlow: The media creates popular figures. We buy into that. I wanted to take a step back and look at this from a birds eye view.
How does “When He Speaks” differ from your previous work?
Bill Barlow: When He Speaks is a bolder, more up-tempo song that was intended to be in your face, much like the lyrics. As writer who loves to convey emotions, this tune wouldn’t convey what I was saying lyrically unless it was loud and a little unsettling.
Can you walk us through the creative process of writing and producing this song?
Bill Barlow: I am inspired by real life situations. I see something that inspires me, and I get out my phone and start putting thoughts and lyrics together. Once I develop the full story (song), I work on different melodies that compliment or even enhance the lyrics. Then I’m off to my home studio where I start putting it all together.
What message or feeling do you hope listeners take away from “When He Speaks”?
Bill Barlow: Even though When He Speaks is not about any one person specifically, all of us can identify with someone where the story fits. These kinds of speakers thrive on commentary, comments and social posts. The best way to rob them of their power is to ignore them completely. That is hard to do these days when we are encouraged to weigh in.
These kinds of speakers thrive on commentary, comments and social posts.
Did you face any challenges while making this single, and how did you overcome them?
Bill Barlow: Lyrically no. The words flowed easily on this one. Musically, I struggled a bit with the style. It had to be as much of the story as they lyrics and I found this one a little more difficult than many of my other work.
How do you feel your personal experiences influenced the lyrics and sound of the song?
Bill Barlow: I was watching television, and someone was about to come on to speak. There was this big build up and the reporter basically told us what we were about to hear.
Then we got the speech and finally another reporter told us what we heard and the real-time response. It’s a little absurd if you think about it, how much airtime is wasted every time this happens? It happens quite often in everything from new product releases, movies, politicians, even influencers.
What was it like working with any collaborators or producers on this track?
Bill Barlow: On this track I had to rely “collaborative muse” to get the right musical feeling. In most cases I know exactly what I want, and I can knock out tracks either alone or with my studio friends. Here I had to describe the mood and sit back and “audition” different vibes until we were all happy.
How do you see “When He Speaks” fitting into the overall direction of your music career?
Bill Barlow: This track along with many of the others on The Bill Barlow Project were my way of saying not to typecast me into a specific style. I write about emotions and to get that I need a broad scope of musical styles.
Are there any stories or meaningful moments connected to this song that you’d like to share?
Bill Barlow: Other than my inspiration, there is no specific public figure to address, no one event to point to, just that we as “consumers” of the media, allow ourselves to get caught up in the spin way more than we should.
What can your fans expect next after the release of “When He Speaks”?
Bill Barlow: I am planning a new album that should drop around the first of October. It’s called By Special Request. I have family, fans and friends that know songs that I haven’t released yet. I gave then the opportunity to select the track list. I put them together in a way that has an OG flow. Each track flows nicely into the next. It’s an album experience but each track stands on its own.
AratheJay, one of Ghana’s most innovative musical storytellers, is poised to make his biggest statement yet. The Ghanaian sensation has officially announced “The Odyssey“, the first full-length LP under his overarching artistic concept “Finding Nimo Series”. The 17-track project is set for release on October 24.
The “Finding Nimo Series” began with his 2022 EP “The Capsule”, which introduced him as one of Ghana’s most promising and ambitious young voices. Now, with “The Odyssey”, AratheJay expands the series, presenting a broader lens on his sound, creativity, and journey.
Fans have already seen a glimpse of what is to come. Four singles off the album are out, each highlighting a different side of his artistry. “Jesus Christ II,” featuring Black Sherif, has become one of his most notable tracks, racking up millions of streams and earning praise for its emotional depth. He also teamed up with Nigerian hitmaker Bella Shmurda for “Fire,” a record that seamlessly bridges Ghanaian and Nigerian sounds. “Alhaji Popping” and “Peace”—the latter released exclusively on Audiomack—showcase his ability to deliver catchy, standalone singles that still fit into a bigger story.
The title “The Odyssey” signals a continuation of AratheJay’s artistic voyage. It suggests a journey filled with twists, growth, and discovery —the perfect next chapter following the introduction offered by “The Capsule”. Across 17 tracks, the LP promises to delve deeper into personal narratives while exploring universal themes that resonate with a broader audience.
The timing of this announcement is crucial. Ghana’s music scene is breaking into global consciousness, and AratheJay’s remarkable rise positions him as an impressive storyteller. By transitioning from EP to a full-length LP under the “Finding Nimo Series” banner, AratheJay not only solidifies his commitment to storytelling but also reinforces his position among the new wave of artists shaping the sound while pointing to even bigger possibilities beyond the local scene.
With its significant track count and confirmed high-calibre collaborations, AratheJay’s “The Odyssey” is poised to be one of the most significant projects of the season. All eyes will be on October 24 to see how this ambitious musical voyage finally unfolds. You can pre-save here to not miss not
From Bali to the Dance Floor: The Story Behind Jayli’s New Single
Hey How Are You is a new single by Jayli. stores the taste of sunshine in the bottle in music. This house music leaves you wanting to listen again as it achieves the perfect balance between high energy and easy-going elegance on the first listen. It is an upbeat track equipped with jangling synthesizers, seductive bass sounds, and the glow of the golden hour, which makes it the ideal soundtrack to afternoon drives or evening parties.
The most striking feature about this release is the personal approach that has been incorporated in it. Jayli took the sounds of the clock and the Bali jungle to make the recordings, and then mixing organic sounds (live saxophone and guitar) with these Bali sounds she created something truly alive. In addition to being a track of dancing, “Hey How Are You?” is about human relationship and the importance of simple words with great emotional meanings. This release also shows Jayli returning to the elements that have shaped her and introduced a warmth, sincere emotion and intelligent artistry back to electronic dance music without losing the infectious energy that characterizes it.
What inspired the creation of your album “Hey How Are You?” and what themes does it explore? It’s actually a single, not an album – but the inspiration came from a deep nostalgia for tropical house. I miss the emotional journey that house music can take you on, especially when it includes live elements. That’s why I wanted to bring in live saxophone and guitar – to give the track that organic, soulful feel that takes you somewhere.
How does this release reflect your personal or artistic growth since your last one? I felt like I’d lost my way a bit musically. While I enjoy DJing tech house and I love Latin house, those sounds didn’t truly resonate with me in the studio. This record marks a return to creating emotionally driven music with organic elements – something that feels more true to me as an artist. It’s been a real reset.
Can you describe the creative process behind writing and producing “Hey How Are You?” It came together really quickly. I started with layers of pads and built from there. I used the vocal and guitar riff from Petit Biscuit’s Sunset Lover as a base – then resampled the vocal, chopped it up, and started shaping it into something new. The missing piece was the live sax – once I added that and re-recorded a fresh guitar riff, it all clicked into place.
The title feels very conversational and intimate. What significance does it hold for you? “Hey, how are you?” is something we say all the time – usually just as a throwaway line. But I think it holds more weight than we give it credit for. Depending on how you answer, it can open up something real – it can be the start of a beautiful or meaningful conversation. That duality really stuck with me.
How do you hope listeners will relate to the messages or emotions in this single? I hope this track helps people rediscover tropical melodic house in a new light. A lot of people associate the genre with pop or something cheesy, but I want to show that it can be cool, emotive, and genuinely beautiful.
Were there any unexpected challenges you faced during the making of this project? Honestly, the biggest challenge was getting the live sax part and clearing everything legally. There were a lot of hoops to jump through. Ironically, the actual creation of the track was the easiest part.
How do you balance vulnerability and storytelling in your music, particularly on this release? It’s a single, not an album 😉 – but for me, it’s about balance. I want to make music that people can relax to and party to. That’s why I love day parties – they carry that mix of ease and energy, and that’s exactly how I see this music.
What role do your fans play in inspiring or shaping your music? I wouldn’t say I’m in a “fan” phase of my career just yet. Right now, the biggest question is: Do I enjoy making this music? If I don’t, there’s no point. It starts with me. But if anyone wants to join the ride, they’re more than welcome.
How does “Hey How Are You?” fit into your overall vision for your career? I see this track as something I’ll be playing for years. It fits into a bigger vision – performing at festivals with live musicians alongside me. I don’t see it as just a DJ set. To me, the future looks more like a full band experience – that’s the evolution I’m working toward.
What emotions or thoughts do you hope to evoke with this release? I want it to evoke a sense of warmth, nostalgia, and connection. Whether you’re dancing with friends or just zoning out with your headphones on, I hope it makes you feel something – even if it’s just a moment of escape.
Wych Hazle releases The DEATH OF R&B MIXTAPE 2: CHANGELING, Wych Hazle with The DEATH OF R&B MIXTAPE 2: CHANGELING, Wych Hazle drops The DEATH OF R&B MIXTAPE 2: CHANGELING, The DEATH OF R&B MIXTAPE 2: CHANGELING by Wych Hazle, The DEATH OF R&B MIXTAPE 2: CHANGELING from Wych Hazle, Wych Hazle musical artist, Wych Hazle songs, Wych Hazle singer, Wych Hazle new single, Wych Hazle profile, Wych Hazle discography, Wych Hazle musical band, Wych Hazle videos, Wych Hazle music, The DEATH OF R&B MIXTAPE 2: CHANGELING album by Wych Hazle, Wych Hazle shares latest single The DEATH OF R&B MIXTAPE 2: CHANGELING, Wych Hazle unveils new music titled The DEATH OF R&B MIXTAPE 2: CHANGELING, Wych Hazle, The DEATH OF R&B MIXTAPE 2: CHANGELING, Wych Hazle The DEATH OF R&B MIXTAPE 2: CHANGELING, The DEATH OF R&B MIXTAPE 2: CHANGELING Wych Hazle
Some artists just release music but Wych Hasle offers transformative experiences. This visionary rapper/storyteller rips the cover off of today’s refined R&B with The DEATH OF R&B MIXTAPE 2: CHANGELING, and packages it back into something raw, moody and unashamedly vital. It is not a conventional mixtape, but instead a work of art and a cultural commentary toward the erasure of art.
Where the first Death of R&B project implied rebellion, CHANGELING is entirely devoted to revolutionary art. Constructed on twisted gospel samples, beat-boxed drum breaks, and lyrics that are both spoken word poetry and incantations, WYCH reshapes such themes of love, loss, change and renewal into artful expressions.
His musical background is strong, having been informed in his formative years by exposure to Earth, Wind and Fire, Parliament, and The Last Poets, as well as the early social commentary of hip-hop through such songs as The Message and It Like That. In the case of Wych, true rap music was never R&B–it was soul music made bare of its fundamental backbone.
His daughter Shen Aura and son Sun Ashay are major contributors to this new project, and this artistic vision is developed forward, with a sense of generational attitudes throughout. Already creating buzz in underground music circles, CHANGELING is a song that requires concentrated listening. The project features a harsh and perilous sound that is a stern reminder that music is not just the soundtrack of life, but a force that can challenge and completely transform our worldview on a fundamental level.
Listen to The DEATH OF R&B MIXTAPE 2: CHANGELING below
What inspired the concept behind “The DEATH OF R&B MIXTAPE 2: CHANGELING” and how does it differ from the first mixtape? The idea for the title came to me one night a few years ago while digging through decades of rhymes I wrote. I came up in the late 70s and early 80s. My father, uncles, and friends listened to bands like Earth, Wind, and Fire, Parliament, The Stylistics, and The Stylistics. Some deeper into The Last Poets and Gil Scott Heron. When rap came on the scene, like ‘The Message’, ‘The Breaks’, and ‘It’s Like That’…the truth about inner city trauma and angst was being expressed. That was a different movement than R&B and it killed my and my peers desire to delude ourselves with music that was syrupy, unreal, and not reflecting the outer and inner challenges we faced.
The whole Motown era was manicured and cleaned up for consumption and mostly fantasia and escapist, word to Berry Gordy’s method of choosing hits and acts. It did not , lyrically, or sonically reflect what the streets were coming to be.
The blues and rhythm that 80s and 90s babies feel is not the same blues, or rhythm of our parents.
Real Rap is not R&B.
How did you approach the creative process for this album compared to your previous work?
It came together organically after choosing a bunch of as songs out of notebooks that I collected for quite a while. All of the songs that were either deeply personal, or autobiographical…, or concept, relationship, or freedom songs that I stored away during the beginning of the 2000s when rap got real materialistic and club scene oriented.
What I do in this series, is closer to Soul than R&B. And closer to conscious rap roots than braggadocio. MICROPHONOLOGY the EP and Mixtape I did with WATKINZ Da General out of N.C., those are more for the heads into those type of bars.
MIDNIGHT WALKS, that I did with Rulerz Inc. is for the streets, those who grew up to purely urban music. Street Knowledge and revelations on such.
The DRAMAFICATION series was more about healing and reclaimin the my birthright as a griot and is also soul and social justice music.
The title suggests a transformation or change. What does “CHANGELING” represent in the context of this project? When I was young, my father used to take me to see horror movies because I was really deep into Night Gallery, The Outer Limits, and The Twilight Zone.
We saw this movie called The Changeling about the ghost of a child trying to communicate with a man who lost his wife and child in a road accident.
The way the child communicated, by moving objects, defying reality, telepathy, etc. was the scariest shit to me. More so than the slasher films.
So I became interested in the paranormal and studied quite a bit til the fear became intrigued and a desire to either debunk , or know about the unknown.
Doing so, over years of study, aided me on seeing nuances, parallels, and realities that changed my entire perspective on life.
I finally felt totally free to talk about any and everything how I wished.
I began to have a desire to aid people, through my lyrics, in seeing what is beneath the surface.
Doing so, over years of study, aided me on seeing nuances, parallels, and realities that changed my entire perspective on life.
an you tell us about any standout collaborations on the mixtape and what made those partnerships special? The most enjoyable part of this Mixtape is my collaborations with my daughter Shen Aura, a singer, and my son, Sun Ashay, a dancer, and beat maker from this current generation. The songs we did are multi laden and rich with information and feeling.
The Hive Cinema, Forbidden Fruit, Creature Feature, and Changeling are great thematic and stylistic leaps for me and the culture.
How do you think this album challenges or redefines the current state of R&B music?
I was never after redefining the genre, only expressing with vigor what it is not,…it rarely , at this point in history ,bares the naked soul of the artist singing it. Lots of the greats who did that are gone now…James Brown, Prince, Barry White, Marvin Gaye, etc.
I came to bare my soul and mind on poignant issues on this project and to represent for those who grew up during my era. To also show that Ageism in Hip Hop is bullshit. A masterpiece can be made at any time in our lives if we are true to what we do.
Nas proves this with his King’s Disease run.
Were there any personal experiences or stories that heavily influenced the themes on this mixtape? My life, my studies, my observations. Coming out of dysfunction and into therapy. Having knowledge of self. And most importantly, the lessons these things have become and manifested.
It was also my desire to not be led, coerced, or influenced by a label, producer, or momentary movement within the genre in an effort to create something timeless.
I always wanted to do that.
How do you want your listeners to feel or what do you want them to take away after listening to the album?
I want them to approach it with an open heart, open mind, and a hungry soul. Be prepared to go on multiple journeys. As much as I want them to feel, I want them to think, I want them to listen and analyze…not feel like if they have to rewind something to enjoy, or get it that something is wrong.
I hope they understand that rap can go anywhere subject, sound, and flow wise.
I hope they go back into my catalog to see that I am ever evolving and have many styles, and much more content to offer than fast food music.
I want it to inspire them to change.
The production and sound selection on the album feels unique. What guided your choices for beats and instrumentation? It was all feeling in. They came naturally, but over time as I locked in to paint the complete picture. I wanted nothing that sounded the same as the first installment, which was more rooted in soul music.
I read and listened to a lot of advice and perspectives of some have greatest creators on Earth: Questloves, Rakim, RZA, Rick Rubin, Prince, … different geniuses from different walks of life.
What challenges did you face during the making of the album and how did you overcome them? I did this on my own terms and with a more than capable team. The only challenge I faced was my own scrutiny and tendencies to perfectionism. Getting out of my own way.
I was very comfortable in my own skin doing this project.
How do you see your sound evolving after this mixtape? Do you have a vision for your future music direction? My next album is DOVES AT NIGHT. It will go in a different, yet familiar direction. I will be talking about some very deep and real things facing our existence. It is heavily influenced by black literature, the wedge between the streets and academia, black spirituality, reality rap, and inner revolution.
It is also very Solomonic due to my Father and myself being very intrigued by him as a figure in Masonry and Black Esoteric ideology.
Is there a particular track on “CHANGELING” that you’re most proud of or feel is underrated? Again, all the tracks I did with my children are my favorite for many reasons. I am sure there will be many more on that vibe with lyrics on that level and beyond.
What role do you think independent artists like yourself play in the changing landscape of R&B?
We shake up things and attempt to bring about necessary paradigm shifts to elevate the art and culture. We talk about things in new ways that make others look at reality a little different. We invent styles and promote possibilities.
How has your experience with your fans influenced this album’s release and promotion? The reception has been great. I have gotten a lot of great reviews and positive feedback. Specifically for packaging and presenting it in a way where listeners must survive listening to the entire project in one sitting. They have to make time for it.
Shit is too accessible and spoon fed nowadays.
What message or statement are you making with “The DEATH OF R&B MIXTAPE 2” about the genre and your place in it? Stop worrying about always being cute, polite, and manicured when it comes to expressing deep realities and feelings.
Let’s not spend whole albums simply talking about the superficial, dive in and do some potent bars with some meaning.
Can you share any behind-the-scenes moments or stories from recording this mixtape that fans might find surprising? They might be surprised to know that I work a 8 hour a day job, have two Masters degrees , write horror, sci fi, novels, scripts and essays daily as well,…all which can be found on Wattpad and soon Amazon. Please support my art there as well ( @wychhazle1).
I am in two films ‘ The Man Who Didn’t Shake Hands’ and ‘Is Your Story Making You Sick?’ a deep documentary directed by Frances Causey
to which I also recorded an alternative soundtrack.
My father is author Charles Pugh Sr., author ‘Griot’ and ‘The Hospital Plot’.
"Get Back My Way": Eddie Cohn's Gripping Battle for Sanity.
Eddie Cohn’s new single, “Get Back My Way,” starts with the kind of intimate acoustic strumming that feels like overhearing a conversation someone is having with their own reflection. It’s an immediate plunge into that uniquely modern disquiet—the sense of being adrift in a sea of your own making, armed with a compass whose needle just spins and spins. The narrator’s battle for “sanity” and “faith” isn’t abstract; it’s a palpable, teeth-grinding effort to find the thread again.
The track doesn’t just sit in its melancholy, though. It swells. The full band—with Brett Farkas’s electric guitars carving out space and Jake Reed’s drumming providing a resolute, anxious heartbeat—ushers in a sound steeped in the gutsy, flannel-clad vulnerability of 90s alt-rock. Then you notice Philip Peterson’s cello, not as a layer of orchestral gloss, but as another voice in the argument, sawing at the edges with a sorrowful gravitas. It’s a beautifully constructed crescendo, moving from an internal monologue to a desperate, outward roar.
“Get Back My Way”: Eddie Cohn’s Gripping Battle for Sanity.
The line “remember what you’re made of” stopped me cold. For a second, it made me think of kintsugi, the Japanese art of repairing broken pottery with gold, highlighting the fractures instead of hiding them. Cohn’s song feels like that—an attempt to piece a self back together not by erasing the pain, but by using the raw, aching plea as the very substance that fills the cracks. It’s a recognition that the fight itself is part of what you’re made of now.
This isn’t the sound of a victory lap. It’s the sound of the grueling marathon itself, of reminding yourself to just put one foot in front of the other. “Get Back My Way” ends not with a neat resolution, but with the echo of the struggle. What does it feel like to finally claw your way back into your own heart, only to find it’s a place you barely recognize anymore?
Rising singer-songwriter Cool JB has released his latest single, “Family Matter”, a heartfelt anthem that speaks directly to the struggles of survival and the power of family in a challenging society. The track, featuring Inspiraystonner, blends reggaeton, dancehall, and Afrobeats, creating a dynamic Afro-fusion soundscape that’s both emotional and infectious.
At its core, “Family Matter” tells the story of the African man’s daily grind—pushing through hardship, carrying the weight of responsibility, and holding on to love for family as motivation. The single was written and produced by Joshua Hussain (Cool JB), co-written by Olagunle Johnson, and mixed and mastered under Lukhasstar Records. The result is a track that balances lyrical depth with irresistible rhythm, making it a standout ahead of Cool JB’s highly anticipated album, UNIVERSE.
Born Joshua Hussain, Cool JB is more than a rising star—he’s a Nigerian Afro-fusion artist, record producer, and mix engineer whose journey reflects both resilience and passion. Raised in Lagos with roots in Kogi State, his love for music began in childhood, inspired by legends like Zule Zoo and Tony Tetuila. Over the years, he refined his craft through experimentation, collaboration, and formal training at Obafemi Awolowo University, where he further developed his artistry.
Cool JB’s versatility sets him apart. With a sound shaped by both African rhythms and global influences—from James Blunt to Enrique Iglesias—he weaves stories that resonate universally. His journey includes forming the group Windstars with his brother Daniel, recording his first single “Jofunmi” in 2010, and producing countless tracks for independent artists across Nigeria.
Now, with “Family Matter”, Cool JB cements his reputation as an artist with a voice for the people. Listen to “Family Matter” on all platforms here
Feel the Pressure: The Gilhoolys Unleash "Bad Routine"
Listening to The Gilhoolys’ new single, “Bad Routine,” is to feel the pressure of a low, grey sky just before it breaks. There’s a muscular, unapologetic rock energy here, the kind of sound forged in rooms with sticky floors and loud histories. It moves with a bruised swagger, the ghost of Thin Lizzy hanging around the edges of a decidedly modern indie rock angst, delivered with the world-weary defiance you’d expect from a band reborn from the Glasgow 90s.
The track’s title is a wonderful piece of understatement. This isn’t about the drudgery of a morning commute. The routine Dev sings about is something heavier, something with the inescapable scent of an old tenement flat—a place where the past lingers in the very walls, a history passed down not by choice, but by occupancy. The feeling of being “stuck in the middle” of “brain dead rich kids” is delivered not just with a snarl, but with the profound exhaustion of an outsider who has been playing the part for too long. It’s a cyclical dread.
Feel the Pressure: The Gilhoolys Unleash “Bad Routine”
This inherited weight is the song’s central nerve. The lyric “now and forever / I’ll pass it into you” is delivered with a chilling sense of resignation, transforming personal struggle into an almost generational curse. It’s a startlingly bleak admission, one that sidesteps bravado for a far more potent vulnerability. Then the song cracks open with its final, desperate question: why carry the weight of being “a mother’s son”? Suddenly, the fight isn’t with the world, but with existence itself.
When your history is a curse you feel compelled to pass on, what does freedom even look like?
Multifaceted US-based Ghanaian rapper, science communicator, and researcher Nana Kofi Kusi-Boadum (KooKusi) has released his latest body of work, “This Ability“, his third solo and fourth overall project. Known for tackling deeply personal and socially pressing themes through music, poetry, and film, KooKusi once again delivers a thoughtful and compelling narrative that connects art, science, and advocacy.
Since introducing himself with “5foot3” in 2022, KooKusi has crafted projects that give voice to hidden psychological struggles, from inferiority complex to fear and addiction. Each release has built on the idea of confronting what he calls “5foot3s”; the personal challenges and shortcomings that quietly shape people’s lives. With “This Ability”, he shifts the focus to disability, using music to amplify a story that deserves to be heard.
The project is inspired by Emmanuel “Clock” Ekow Amoako, a Ghanaian basketball player, coach, entrepreneur, and creative worth celebrating who has lived with anisomelia, a limb length discrepancy. Despite the challenges of his condition, Clock has excelled in competitive sports, co-founded teams, built “Clockwork brand”, and inspired many through leadership and perseverance. In addition to Dilys MaxVoy’s documentary “13:12 – Make the Clock Work” that shares Clock’s journey, KooKusi retells it here in a uniquely personal way, through the eyes of someone who once struggled with self-doubt and found confidence by witnessing Clock’s resilience.
Through “This Ability”, KooKusi frames Clock’s journey as more than a personal triumph but an essential and universal message of strength in the face of stigma and doubt.
The story then moves through the battles beneath victories anda fiery spoken-word tribute by executive producer,Li Diawto a decisive moment in Clock’s career. It is followed by Clock’s own voice from aFull Circl interviewwithReginald Amaah, bringing raw authenticity and emotional depth, before closing with a full hip-hop version of the opening track, this time from a triumphant perspective, bringing the journey full circle.
The closer featuresNotse, with additional vocals fromKiki Celine. This body of work was produced byRdeebeatz, Christoven, andEpidemix.To drive the message home even stronger, Kookusi collaborated and co-directed with film makersBaffour Kyem, Victor Morgan, Dilys MaxVoy and herTake it to the Maxcrew, to make visuals for each record so that the project is released as one big docuseries.
At its core, “This Ability” carries a mission and that is to challenge stereotypes, celebrate strength, and inspire both people living with disability and anyone facing their own limitations. It dismantles the bias that often surrounds disability by showcasing Clock’s achievements, while encouraging others to see challenges not as defining traits but as opportunities for growth.
For KooKusi, this project is as much personal as it is cultural. It honours a national figure while continuing his artistic commitment to scientific communication, addressing mental health in the most relatable stories. “This Ability” transforms disability into a narrative of power, proving that greatness can emerge from the very places society misjudges as weakness.
“This Ability” is available now on all major streaming platforms here
About the Heroes:
KooKusi (Nana Kofi Kusi-Boadum) is a Texas-based Ghanaian storytelling rapper and neuroscience researcher known for conceptual projects that address mental health and social issues. His scientific communication endeavors combine artistic expression with mental health advocacy, particularly within African communities where such topics often carry stigma.
Emmanuel “Clock” Ekow Amoako is a Ghanaian basketball player, coach, entrepreneur, CEO of Clockwork brand, and disability advocate. His achievements include multiple championship victories, team leadership roles, and business success, all accomplished while managing the physical challenges of anisomelia.
Razor Burn is back with serious intensity and their new single, point of defeat has proven that they are the most promising hard rock bands in Australia that have surfaced out of the underground scene. Following the success of their latest records, the brilliantly released albums Avow and Into The Void, this outfit of Melbourne delivers their unique blend of punk attack, alternative rock flair and classic hard rock force. The song brings the audience on a journey of the haunting opening notes, followed by a thunderous explosive vocals and guitars, which makes the song both unfiltered and vicious.
But there is much to be found in “Point of Defeat” beyond the sound thrashing and rocking spirit. Behind the thick guitar work and fueling drums, there is a valuable discussion of perspective of endurance, loss, and the spirit to continue when confronted with the most challenging demands of life. The song was the result of the personal grief experience and profound reflections and turned the suffering into the empowerment and reminded the listeners that even in the hardest times, one can find something worthy to protect. This makes music that is powering the body and appealing to the mind.
This interview is an interview where Razor Burn talks about the personal stories that led to the creation of the song, the creation process of the song, and the blend of rebellious attitude and optimism that has fueled his artistic head. The interview shows how they express the hard feelings in great music that resonates with struggling individuals.
The style of the band illustrates how hard rock can be a way of emotional release and strength and makes anthems of those who do not want to give up when life becomes overwhelming..
“What inspired you to write “Point of Defeat,” and what story are you telling through this song? Point of Defeat was the first track I wrote with Razor Burn. I heard the energy of the punk bands I loved that always held this sense of urgency such as Rise Against, While She Sleeps and Foo Fighters and I wanted to write a song that touched on that urgency and moved people but moved them in the direction towards finding hope and wanting to fight for their lives and care about themselves and those around them.
It’s a song that recognises one day we’ll die but if the end comes what’s the pont in giving up? Why not push to be better everyday and leave this world better than the way we found it and stop being told who we are by our culture and media and everything that we’re surrounded by in day to day life.
How does “Point of Defeat” reflect your growth and evolution as an artist? I’ve always listened to music that aims to inspire and move the audience. In this song I wrote a song that I needed at the time but it’s a reflection that I know if I need it than I’m not the only one in the world who can possibly feel like this. It’s that awareness of the relationship between having those private moments with the song in creating it followed by letting the audience accept and take what it wants from it and what it means to them and respecting that relationship that it’s only our song until it’s out there
Can you describe the mood and energy of the track, and how you wanted listeners to feel when they hear it? I was inspired to write a song that reflects the duality of pain and rather than succumbing to that anguish and depression when life gets to hard, to see it as a gift and a challenge to grow and push past that pain and through adversity towards strength and resilience. I want people to feel accepted with who they are and know that they’ll still be accepted into our community even if they change their minds or who they are that they don’t stand alone. It’s our nature to grow and evolve through adversity rather than remain rooted and stuck in these ever-looming mentalities and life struggles and cycles that someday feel useless to try and break and push back against.
What was the creative process like for this song? I was sent the music, along side other tracks for an album. And this was the first track in that list. And I felt it move me. I had just moved into a new house so had this fresh energy and I wanted to write my best but also something so raw and open about how I was feeling in life at the time. There was and still is a lot of pressure that seems like it won’t go away but as I’ve gotten older, I’ve learned that’s part of nature and these hard times do pass if you stick with it.
I’ve learned that’s part of nature and these hard times do pass if you stick with it.
I sat in a room by myself for a couple of hours with this little journey and I came up with “ring around the Rosie” first, it just matched the dark tone haunting tone of the intro that I was feeling, and I wanted to match the energy lyrically and everything built from there. I read a lot of movies and pay attention to a lot of scripts and messages people put into their own art and I sometimes echo those messages myself while intertwining my own beliefs into the lyrics.
Did the lyrics or the music come first? The music came first on this one as it does to most of our songs. It helps me feel the energy and feel inspired to write the words.
Did you experiment with any new sounds, techniques, or collaborations on “Point of Defeat”? I experimented more with trying to build intensity into the song and changing the melodies regularly to remain interesting and captivating while building that energy. I always see writing the song as the music is like building the house, laying the foundations putting up the frame and walls.
The vocals and lyrics become the furniture and the colour scheme and the quirky little things that people recognise and go “Oh I like that” and I’ve always loved singing and writing and have so much inspiration in experimenting with trying new ways to do things. I was hesitant to add the screams in the bridge, but it felt right and demonstrates our ability to go from these beautiful melodic moments like the intro to this heavy range that some people identify with and were also parts of the bands that have inspired us.
Are there any personal experiences or emotions that influenced the writing of this track? I lost my best friend of 1 years to depression a few years ago and whenever I write a bit of my grief in losing him makes its way into the lyrics. He struggled his whole life with strong mental health issues, but he was always my guiding compass keeping me on track when I was doing the wrong things. But he struggled in himself to feel good, and part of this song is that questioning of why should we just give up?
What would it solve, maybe something out there wants us to give up and our very act of existence is a defiance and a rebellion, and we won’t be told how we should live or who we are. And I want those messages to reach out to anyone that feels like him. It’s for people at that moment of breaking and going I can’t do all of this anymore to go why should I give up? If I give up like who benefits. Pain and grief and depression are hard to live with, but one day we all get that reprieve when we pass, so why not do something worth fighting for that the greedy and power grabbers of society don’t expect and fight on and push on and make our very act of existing a rebellion with compassion to ourselves and each other.
How does “Point of Defeat” fit within your overall musical style and your upcoming projects? Most of us have our roots in punk and hardcore and stadium rock. This is an energy that we want to carry forward as music becomes easier to make and the industry becomes more flooded with artists which has its dual positives and negatives. It makes it hard to stand out but with so many artists not willing to get a little angry and get a little human and emotional and trying to soften the mood.
There is a place for music with peace and chill vibes which I am all for, but then there’s a place for us in providing that punk spirit we grew up in and looking at making people feel alive and angry and ready to push past their pain and change their narrative and the narrative of the world around them to be better.
Part of my personal philosophy is when I’m home I’m with my son and my dog and this is my have and my peace but when I walk out the front door to go to work and I create and release into the world, it’s almost a war and a battle and a movement against the powers that fight for the individuals attention and data and tries to sell people or sell things to people and fight any powers that push people down. Bob Marley said it “The people who are trying to make this world worse aren’t taking a day off. How can I?” Our project is to move people to stand up for themselves in a healthy way and start caring about each other again in that community which reflects the community we all grew up in musically as well.
Can you share any memorable moments or challenges from the recording or production of this song? I started this song months before release and had to put it down for a while as I got distracted with other projects. But when I came back, I felt this would be one of the best songs I was going to put out there. Like it feels so natural to me to write and sing to music and songs like this like this is what I had been waiting for my whole life. I’ve been in other projects, and I didn’t think I’d be in a band again for a while as it gets harder to get multiple people into the same room at the same time. But the fact the music was there, and I’ve got so many ideas it becomes this natural connection and relationship with the project and the rest of the band that helps build it.
My studio is in my lounge room, and I remember the day I finished recording it, I had the screams for the bridge as my last part. And I sent my son from the lounge room for a few minutes (he’s 8) and he knows I’ve done screams in projects before but I was like “just for a few minutes, I don’t want to scare you” and I get self-conscious sometimes that my neighbours will hear and call the cops as well but it hasn’t happened and everything’s been going so well.
What message or takeaway do you hope fans gain from listening to “Point of Defeat”? I want them to know whether they feel stuck where they are, if they feel at an edge or tipping point or if they want to make a drastic change to improve their life which means losing people around them, that our songs and our band will be there for them. There is a place and a community for people who still care and who still give a damn about other people, their environment and the world around them however that looks.
I want them to feel the hard days are worth fighting through and meeting, that they never need to be lonely and that there are people out there who still give a damn and aren’t giving up on them and that this energy and spirit isn’t being defeated or told to shut up. We’re going to be hear, we’re going to be loud and the people listening are allowed to get as angry and push back as hard as they want.
Are there any plans for a music video or live performances of this song coming up? Yes, we just dropped our lyrics video and we’re actually starting the process of making a band performance style music video. We’ve lined up shows starting in October travelling around the south eastern areas of Australia throughout October to December this year with hopes that we’ll be able to work our way around the country a bit over the next year and really grow our platform and community around the band and the music.
EHU, a rapidly rising Ghanaian singer, has recently released her latest EP, “Time.” The EP comprises four tracks that are sure to captivate you. Her music, which is renowned for its soulful and evocative sound, incorporates elements of R&B and Indie R&B.
Through the use of smooth grooves and lyrics that are full of feeling, her songs cover the subjects of emotions and personal experiences. She uses the name Ehu to continue the legacy of her family and to embody the spirit of her grandma. Her choice of lyrics, which are primarily written in Ga and English, accompany a sound that blends elements of Afrobeat and modern rhythm and blues. The project’s opening track, “Conversations,” starts off with affirmations of what it feels like to be in love with someone. The Ga term “Min” means “be mine” or “my own,” and it intensifies emotions by making a subtle declaration of love. NINE99, a rapper from Ghana, joins the remix to provide a response to this declaration. Listen to the EP here Instagram:@ehu0fficial and Facebook:Ehu Music World. Listen to it here
KiKi Celine Champions Self-Love In Bold New Single “Better Off”
Accra-based R&B sensation KiKi Celine is back with “Better Off”. It is a soulful, Afro-R&B and Afro Swing fusion that transforms heartbreak into self-empowerment. The track was released on September 18th, 2025 after almost a year’s solo release hiatus by the young songstress.
Produced by Insvne Auggie with co-production by GV, WolfBite and Crics, the track blends smooth melodies with confident lyricism, reflecting KiKi’s signature balance of vulnerability and strength.
Speaking on the single, KiKi says: “Better Off is about choosing yourself when love no longer serves you.”
With relatable storytelling, lush harmonies, and an unapologetic message of self-worth, “Better Off”solidifies KiKi Celine as one of Ghana’s most exciting new voices. Available now on all streaming platforms here
Fantana Gets Sweet With Kojo Blak On New Single, "Fanta My Baby"
After a noticeable hiatus, Ghanaian singer Fantana has made a return to music with her latest single, “Fanta My Baby.” The track, a romantic duet that pairs her with the new sensational star Kojo Blak, is already buzzing for its smooth Afrobeats rhythm and undeniable chemistry between the two artists.
On “Fanta My Baby,” Kojo Blak emerges as the perfect suitor, delivering smooth, honeyed vocals that court Fantana throughout the song’s infectious runtime. His soothing delivery and refined finesse create an irresistible charm that perfectly complements Fantana’s vibrant energy and distinctive musical personality.
The Ugly & Tough-produced track builds around this central romantic narrative, with both artists playing their roles to perfection. Kojo Blak’s role as the persistent lover is matched by Fantana’s captivating response, creating a back-and-forth dynamic that feels both authentic and entertaining.
The song’s production perfectly captures the playful yet sincere nature of modern romance, wrapped in contemporary Afrobeats rhythms that make it impossible not to move.
“Fanta My Baby” is now available on all major streaming platforms.
'Listen' By 'Leonardo Barilaro'Is What Ethereal Should Sound Like
Leonardo Barilaro, known professionally as The Space Pianist, has just launched his groundbreaking new single “Listen” as the official soundtrack for Polymath Festival 2.0. This remarkable piece takes listeners on an incredible journey by combining actual NASA space recordings with delicate piano melodies, creating a powerful bridge between scientific discovery and artistic expression that spans from the Sun to Earth.
Recorded at the prestigious Steinway Dubai, “Listen” opens with authentic solar wind sounds captured by NASA’s Parker Solar Probe during its historic mission. Barilaro then weaves gentle piano melodies around these cosmic recordings, gradually building into sparkling electronic textures that represent the invisible magnetic fields surrounding our planet. The composition reaches its climax with the mesmerizing sounds of the Aurora Borealis, completing this sonic voyage through space.
This release represents much more than traditional music – it serves as an immersive experience that invites listeners to feel personally connected to the cosmos. Barilaro’s vision is crystal clear: space exploration encompasses not only scientific research but also human creativity and emotional connection. “Listen” perfectly embodies his signature “Space Music” style, building on the success of previous works like “Moon Seeds,” which achieved the remarkable feat of being streamed from the International Space Station.
The creative process behind “Listen” required careful integration of raw space audio with piano and electronic elements to craft a compelling narrative about cosmic forces. The main challenge involved making these diverse sounds flow together smoothly while maintaining musical coherence – a problem solved through meticulous studio work and creative collaboration.
Fans can also experience a specially created music video that accompanies the single, adding stunning visual elements to Barilaro’s cosmic storytelling. Looking forward, “Listen” establishes a solid foundation for his continuing mission as an artist-ambassador who connects art with science, including his ambitious dream of one day performing music on Mars.
What inspired you to create the single “Listen,” and what message are you trying to convey through it? ‘Listen’ was created to be the official soundtrack for the Polymath Festival 2.0, an event that celebrates interdisciplinary thinking. The core inspiration was to capture that spirit by blending authentic NASA recordings with piano. The track tells a story of the beautiful interference that connects the Sun to Earth. My message is that Space isn’t just a frontier for science; it’s a source of creativity and connection, reminding us that “In Space, there is space for Everyone”.
How does “Listen” fit into your current artistic journey and musical style? ‘Listen’ is a perfect representation of my artistic identity and my musical style, which I call ‘Space Music’ (literally!). It continues my mission of blending piano and synthesizers with bold experimentation, following the path of my previous work like ‘Moon Seeds’, which was streamed from the International Space Station last November 2024. This track is another step in my journey as a Cultural Ambassador of the Space Art Movement, using music to connect people to the cosmos.
Can you walk us through the creative process behind writing and producing this track? The process began with the concept of creating a sonic journey from the Sun to the Earth. I started with the raw sound of solar wind captured by NASA’s Parker Solar Probe. From there, I composed a soundscape using a grand piano and electronic textures to evoke the feeling of traveling through magnetic fields. The journey concludes with the ethereal sound of the Aurora Borealis, recorded from orbit. The piano parts were recorded at Steinway Dubai, and then the track was engineered, mixed, and mastered in collaboration with Gazelien Records at NYU Abu Dhabi.
I composed a soundscape using a grand piano and electronic textures to evoke the feeling of traveling through magnetic fields.
What emotions or experiences influenced the sound of “Listen”? The feeling behind ‘Listen’ is one of profound connection and the humanization of Space. I was driven by the experience of hearing these raw sounds from space and imagining them as a conversation. The sound of the solar wind is powerful and raw, while the auroras are ethereal. I wanted the piano and electronic textures to represent the human element bridging these two cosmic forces, creating a soundscape that feels both immense and deeply personal.
Was there a particular moment or story that sparked the idea for this song? The idea came when I first heard NASA’s Parker Solar Probe data translated into sound. I thought: if I connect this with the aurorae and the piano, it can tell the story of our Sun embracing our Earth.
This spark was the opportunity to create the official soundtrack for the Polymath Festival 2.0. The festival’s theme of celebrating multifaceted potential and blending art with science was the perfect catalyst. This led me to ask a series of questions: “What if you connect the sound of the solar wind and the auroras with a grand piano? What if a piano becomes a spaceship?”. The piece is my answer to those questions.
How do you hope listeners connect with “Listen” on a personal level? I hope listeners find a moment of stillness and curiosity, almost like looking up at the night sky. I want the music to inspire them to see Space not just as a scientific field, but as a source of creativity and imagination. My goal is for the track to help them reflect on our place in the Universe and feel the beauty of the forces that connect us to the stars.
How does “Listen” differ from your previous releases in terms of style or theme? The difference lies in its role, being the official soundtrack of the Polymath Festival. This gives it a thematic anchor in polymathy and human potential, expanding its purpose beyond music into cultural storytelling.
My previous major project, ASTROBEAT, involved collaborations with artists like Tina Guo and sending music to the International Space Station. ‘Listen’ in this case is different, because it brings the actual sounds from space missions, like the Parker Solar Probe, down to Earth and merges them into the core of the composition, making the track itself a form of cosmic data translated into art.
What challenges did you face while working on this track, and how did you overcome them? A significant challenge was creating a musical narrative that felt authentic. It’s one thing to layer sounds, but it’s another to make them tell a story of a journey from the Sun to Earth. The key was to structure the composition in a neo-classical way, using the piano and electronic textures as the vessel that guides the listener. Overcoming this involved a lot of experimentation in the studio, and the collaboration with mix and mastering engineer Daniel Basurto Fojaco was crucial to finding the right balance.
Do you have plans for a music video or special visuals to accompany this release? Yes, absolutely! A music video is an integral part of this release. In fact, the premiere of ‘Listen’ at the Polymath Festival 2.0 included the debut of both the new song and its official music video. You can find it on my official channels.
How do you see “Listen” shaping your music career moving forward? ‘Listen’ solidifies my path as an artist who truly merges art and science and strengthens my mission as a Cultural Ambassador for the Space Art Movement. It’s not just a concept, it’s a tangible piece of work that uses scientific data as a musical instrument. Moving forward, this track serves as a blueprint for how I can continue to collaborate with scientific institutions to create music, pushing me ever closer to my ultimate dream of performing on Mars.
Can you share any behind-the-scenes moments from the making of “Listen” that fans might find interesting? A very special moment was recording the piano part at Steinway Dubai. Playing on such a magnificent instrument, I closed my eyes and imagined the raw sounds of the solar wind and the auroras that would soon be blended with the music. It was a surreal experience, feeling the vibrations of the piano here on Earth while my mind was out in Space.
This was made possible thanks to the wonderful support from the House of Pianos CEO, Shavkat Mamadjonov.
The Human Behind the Music: Jared Bond Opens Up About 'Gross'
Kansas City artist Jared Bond has released a powerful new single called “Gross,” a track that demands immediate attention. Following his success with “Sugar Rush,” this release combines alternative rock, art rock, and grunge into something raw and unforgettable.
The song opens with hazy guitar work that creates a dark musical landscape. Bass grinding, driving drums, and Jared’s intense vocals create an intentionally unsettling sound that matches the song’s confrontational message.
Lyrically, “Gross” examines greed, corruption, and inequality in modern society. Rather than targeting specific individuals, the song addresses systemic issues involving leaders, institutions, and society broadly. Jared believes art should challenge rather than comfort, and this track fully embraces that philosophy.
His background adds crucial context. Originally the drummer for power-pop band Josephine Collective, which signed with Warner Brothers Records in 2006, Jared left music to raise a family and work as an ICU nurse. His healthcare experience directly influences the anger found in “Gross.”
The arrangement includes unexpected elements like chaotic guitar solos and haunting harpsichord. The lyrics confront uncomfortable truths without backing down, creating necessary discomfort that forces examination of difficult issues.
For alternative and grunge fans, “Gross” functions as both artistic expression and emotional release, representing one of Jared Bond’s most confident and daring works.
What inspired you to write and release your latest single, “Gross”? I wrote Gross in the winter of 2024–2025, after the killing of Brian Thompson. I want to be clear—the song isn’t about him specifically, but about what his story revealed. The way violence was met with indifference, and often celebration, felt like a symptom of something much deeper: a society numbed by greed and inequality. Writing about it was tricky, because of all the ethical gray areas, but I kept coming back to the idea that this song wasn’t about one person—it was about all of us.
People sometimes assume it’s about Donald Trump, and although I would jump at any opportunity to say “fuck that guy”, I consider him too pathetic and small to deserve even these few sentences. It’s about greed, corruption, overconsumption—and how those things live in our leaders, in our systems, and even in ourselves. I do feel the best way to positively impact humanity is to search for the ugliest parts of it in yourself, and do something about it from within. So the lyrics could be about anybody refusing to do that work.
How would you describe the sound and mood of “Gross” to someone hearing it for the first time? It’s unsettling on purpose. When I was writing it, I was laughing to myself because my wife hated it—I kept asking, “what’s the most disgusting chord I can play?” or “what’s the nastiest lyric I can come up with?” The more repulsed she was, the more I knew I was on the right track.
The mood is dissonant, abrasive, and sometimes even nauseating—at least that’s what I was going for. Some curators and bloggers have refused to circulate it calling it “unsettling” or “disorienting,” and I take that as a compliment. I just think they miss the point I’m trying to make, and that’s ok. Art isn’t supposed to be comfortable.
Does “Gross” reflect a specific personal experience or story? Not directly, but I do feel close to it as an ICU nurse. I’ve seen how our healthcare system fails people, especially those without money or access. Your socioeconomic status can determine the care you receive—and that reality fuels a lot of my anger. The second verse, in particular, came straight from that frustration.
“You’re a virus, keeping everybody ill.
You hide the vile, so you can sell the pill
Your tongue is poison, swollen with lies
That’s a claim even you can’t deny”
That last line is a jab at health insurance companies seeking to deny claims to maximize their profits. That’s as gross as it gets. It makes me puke in my mouth.
Jared Bond releases Gross, Jared Bond with Gross, Jared Bond drops Gross, Gross by Jared Bond, Gross from Jared Bond, Jared Bond musical artist, Jared Bond songs, Jared Bond singer, Jared Bond new single, Jared Bond profile, Jared Bond discography, Jared Bond musical band, Jared Bond videos, Jared Bond music, Gross album by Jared Bond, Jared Bond shares latest single Gross, Jared Bond unveils new music titled Gross, Jared Bond, Gross, Jared Bond Gross, Gross Jared Bond
What was the creative process like when making this track? This one started with the title. I’d been experimenting with finding a word or phrase first, and then making every lyric serve that title. Once I had Gross, the song poured out—lyrics, chords, melodies all circling back to that one word.
I showed it to my longtime collaborator Jim Embry, who came up with the bass line. A week later we were in Element Studios tracking drums and bass live, which gave the whole thing a raw, organic feel. From there, Joel Nanos worked his magic on the engineering and mix, and Joe Hutchinson mastered it. It was a really fluid process from idea to finished track.
How does “Gross” differ from your previous music? I think this song marks a shift in confidence for me, and it definitely rocks the hardest out of the ones I have released this year. I’ve been writing a lot lately—sort of a flurry of songs in a short time—and Gross feels like part of a bigger breakthrough. I’m finding my voice, both literally and lyrically, and leaning into the themes that feel most urgent to me.
What message or feeling do you want listeners to take away from the song? I’m not trying to tell anyone what to think. I try not to hand people conclusions—more to provoke thought and emotion. Personally, when I perform Gross, I feel a release. It feels good to shout back at corruption and greed through a rock song. If listeners feel that same catharsis, or even just stop and think for a moment, then I’ve done my job.
Were there any unexpected challenges during the production of “Gross”? The guitar solo was a fun challenge. I’m a drummer first, so soloing isn’t my natural lane. But this song demanded something wild and ugly, so I went for it. I worked it out at home between studio sessions and ended up with something chaotic but fitting. And not being a great guitarist actually served the “grossness” of the song. I couldn’t miss.
The bridge also surprised me—I played a harpsichord part that just clicked perfectly with those dissonant chords. It lit the song up in this creepy, unsettling way I hadn’t expected.
How involved were you in the songwriting and production of this single? Very. I wrote it on my acoustic guitar at home, arranged it, and played everything except for bass (that was Jim Embry). Joel Nanos engineered and mixed it, and Joe Hutchinson mastered it. I love collaborating with great people, but I also enjoy being hands-on in every stage.
Can you share any interesting behind-the-scenes moments from making “Gross”? Honestly, the best moments were when things got too weird. Between my wife’s disgusted reactions at home, and me trying out a harpsichord in the studio, it felt like the song had its own mischievous energy. Instead of resisting that, I leaned in—and the song became what it was supposed to be.
What can fans look forward to next after the release of this single? More music is coming! My next single, Love and Reason, drops October 1st—it’s a bit of a departure, more from the heart than from my recent cynicism. I’ll also be playing a show October 9th at The Ship in Kansas City. I’ve put together a killer band for it: Kyle Devlin (Gametime) on guitar, Jim Embry (Root and Stem) on bass, and Dave Dalby (Atlas) on drums. We’ll be playing all six songs currently streaming plus two unreleased ones. It’s going to be a night to remember.
Why Social Gravy's "Fools" Still Sounds Like Today's News
Let’s be clear about Social Gravy’s re-released single, “Fools”: this is not a song that uses metaphor as a shield. From its first snarling chords, this track, a furious time capsule from 2016 unearthed by Brad Kohn and Vee Bordukov, feels less like a composition and more like a brick heaved through a stained-glass window. It’s a raw-throated accusation, a two-by-four of a protest anthem aimed squarely at the “fascist favorite nominee.”
The sonic texture here feels less like indie rock and more like a color palette stolen from one of Goya’s Black Paintings—all consuming shadow and flashes of grotesque, furious light. The central chant of “you’re a liar” isn’t clever; it’s guttural. It’s the sound of patience being utterly, violently exhausted. There’s a curious bluntness to it all. It discards poetry for the cold, hard weight of an indictment, and in doing so, becomes something strangely powerful. For a project calling itself “romantic rock’n’rollers,” this is the sound of a romance with idealism dying a very public death.
Why Social Gravy’s “Fools” Still Sounds Like Today’s News
There’s a strange, almost nauseating vindication in hearing this now. The warnings about walls and hatred haven’t faded; they’ve simply sharpened, their outlines hardening in the intervening years. It doesn’t play like a relic. It plays like the morning news. You listen, and a forgotten taste rises in your throat—like the metallic tang of a coin you held in your mouth as a child on a dare. You knew you shouldn’t have, but you did it anyway.
It’s an uncomfortable listen, as it should be. The song succeeds not by offering comfort, but by reminding you that some fires were never put out. When, exactly, are we hoping for this song to finally sound dated?
Punk-Adjacent Paralysis: The Sun Harmonic's "Glory Days".
The first listen to The Sun Harmonic’s single “Glory Days” is a jarringly familiar experience, like finding a hot-rodded engine inside your grandfather’s once-sturdy grandfather clock. It’s all driving, muscular rock and roll, a glorious punk-adjacent racket built by Kaleb Hikele, Dave Skrtich, and Ian McLennan to peel the paint from the walls. Yet, nestled inside that furious momentum is a narrator stuck fast, sinking into the quicksand of his own history while the music tries desperately to pull him out.
The song’s core tension—this anthemic sound welded to a theme of paralysis—sparks a peculiar memory. It brings to mind the specific hum and worn-out carpet of a small-town bowling alley after league night. The frantic clatter of pins resetting, the smell of stale beer, the resigned look on someone’s face after another gutter ball. This is that sound. It’s the energetic noise of activity surrounding a deep, personal stagnation. It’s the futility of “squeezing water from a stone” set to a power chord.
Punk-Adjacent Paralysis: The Sun Harmonic’s “Glory Days”.
Here is an anthem for the person who sees the “Sweet Life” on the horizon but can’t shake the feeling they’re already “walking with the dead.” There’s no celebration in this nostalgia, only a weary self-awareness. The music barrels forward with defiant energy, but the lyrics keep tripping over their own feet, a constant, looping reminder of failure captured in that gutting admission: “silly me I should have known.”
This is the sound of flooring the accelerator with the parking brake still on—a furious, smoking, ultimately motionless burnout. Is it a cautionary tale or a diagnosis? The band doesn’t seem to know either.
"I Wanna Live": Brett Copeland's Volcanic Rock Energy.
The opening seconds of Brett Copeland’s single, “I Wanna Live”, don’t ask for your attention; they stage a hostile takeover. This is a song that feels less written and more clawed out of a desperate moment, built with the kind of volcanic energy that powers revival tents and bar-room brawls. Copeland’s voice is the main event—a raw, muscular instrument that sounds like it’s been aged in whiskey and defiance. It’s a glorious racket, a primal shout aimed squarely at the heavens, or maybe just at the ceiling of a hospital room.
There’s a strange hum beneath the classic rock chassis of it all. It reminds me of the low, threatening thrum of high-voltage power lines stretched across a barren landscape. You know you shouldn’t get too close, but you can feel the immense, untamed energy in the air. That’s the feeling here—the sound of grabbing a live wire because the searing shock is preferable to the encroaching cold. It’s a song about choosing to feel everything, even the pain, in the name of existence.
“I Wanna Live”: Brett Copeland’s Volcanic Rock Energy.
It doesn’t reinvent the sonic wheel, and frankly, it doesn’t need to. The guitars are muscular, the drums are a stubborn, driving heartbeat, and the whole thing is drenched in a sincerity that borders on furious. You can hear the ghosts of rock’s most impassioned performers in its DNA. This is anthem-as-weapon, a gut-punch of pure, unvarnished will.
The track ends, but the resonance sticks. It’s a messy, powerful piece of rock and roll that leaves you with an odd taste in your mouth—something like rust and lightning. When a song fights this hard for its own existence, what choice do you have but to listen?
"Across the Miles": Megapenny Music Remembers What Matters.
The first few notes of Megapenny Music’s single, “Across the Miles,” feel less like an introduction and more like a resumption. There’s a quiet confidence here, a melody that seems to pick up a conversation left hanging four decades ago—a detail about the artist’s hiatus that you can’t help but feel in the song’s DNA. Delphine Savatte’s voice enters not with a bang, but with the warm, lived-in quality of a welcome guest, sitting comfortably within a construction of soulful piano and gentle electronics. It’s a sound that is unapologetically earnest.
I listened to this on a Tuesday, and the piano progression somehow reminded me of the particular color of wet slate on an old garden path. A specific kind of deep gray-blue. Don’t ask me why. The song speaks of life as a journey, and its message—that connection anchors us—is as steady as a landmark. But it’s the line about a willingness to “share the rain” that sticks. It understands that solidarity isn’t about magical solutions; it’s about holding a sturdy umbrella for someone else while you both get a little soaked.
“Across the Miles”: Megapenny Music Remembers What Matters.
The arrangement itself bridges eras. A classically trained ear is evident in the harmonic choices, yet the production is clean and modern. There is no unnecessary sonic filigree, no frantic bid for attention. It’s all in service of Savatte’s delivery, which carries the track’s emotional weight with a deceptive simplicity. The ballad form can so often feel generic, but here it acts as a clear vessel for an emotion that needs no elaborate disguise: the persistent, patient hum of distant affection.
Megapenny Music’s return doesn’t shout from a rooftop; “Across the Miles” simply states its case as a fundamental truth. It’s a piece of music born from a long silence, and maybe that’s its power. It sounds like something that has had a great deal of time to think about what really matters. After 40 years, what kind of song does one even need to create? Apparently, just one that remembers who was waiting on the other side all along.
SERAh’s new single, “Favorite Game”, which features female vocalist Summer Rona, is the kind of track that feels less like it was composed and more like it was captured—a distress signal from a beautiful, dying star. The sound here is a curious contradiction. It’s vast and cinematic, shimmering with the sort of synthesized light that promises galaxies, but its heart is small, cramped, and aching with a very terrestrial kind of exhaustion.
This is the sound of a relationship worn down to the studs. You can hear the miscommunication in the gaps between the booming, trap-influenced percussion and the soaring melodic lines. They run parallel but never quite meet. It reminds me, strangely, of the hum inside a museum display case for ancient armor. You see the polished, formidable exterior, but you can practically feel the phantom ache of the battles it once endured. The energy is there, but it’s a memory.
A Distress Signal: SERAh’s “Favorite Game”
Then, the drop arrives. It’s not a gentle descent; it’s a magnificent, controlled demolition. A floor-filling, festival-sized catharsis that feels like finally throwing the game board across the room. All the tension built in the glittering, atmospheric verses finds its release in a euphoric surrender. Here, in the context of SERAh’s post-apocalyptic saga, that personal surrender echoes a universal one. A heartbreak feels cosmic when it’s the only thing left.
The track leaves you suspended in that dark, exhilarating freefall. When the prize for winning is just more of the same pain, what does it truly mean to lose?
Audra Watt’s new single, “Livin’ It Up,” arrived sounding like a car stereo blasting down a highway you’ve never driven before, fueled by a full tank and a spectacular disregard for the GPS. This isn’t a polite suggestion to change your life; it’s a three-minute rock-and-roll sermon on the glory of ripping up the map entirely, delivered with a voice that balances Nashville honesty with pure, unadulterated velocity.
The track has a magnificent, joyful clatter. Its blend of Pop and Country is less a clean mix and more of a spirited collision, with a piano line that feels like it’s been pounding out tunes in a Jersey shore bar for forty years. It makes me think, for a reason I can’t quite untangle, of the specific color blue of a gas flame just before it roars to life—pure, potent energy waiting to be unleashed. Watt is singing about breaking free from the sensible cocoon of a former self, and her performance feels less like a narrative and more like an active jailbreak happening in real time.
Audra Watt’s “Livin’ It Up”: Rip Up the Map!
This is music that captures the specific, slightly giddy terror of spontaneity. It’s for quitting the job you hate or buying the wildly impractical boots. The message—that it’s never too late to become the person you were meant to be—is hammered home with such sincerity that it feels less like a platitude and more like an undeniable law of physics. It’s a full-throated cheer for the moment you stop planning and just start driving.
After the final chord fades, what foolish, wonderful thing are you now obligated to do?
