Emma's "Amnesia": When The Beat Drops, So Does The Truth.
There’s a curious kind of cruelty beating at the heart of Emma Whybrow’s new single, “Amnesia,” and it is utterly exhilarating. Here is a massive, pulsing techno anthem—a thundering, four-on-the-floor declaration built for vast, sweaty rooms—and yet, tucked inside its propulsive machinery is an intensely private, bitingly personal act of dismissal. It’s like finding a handwritten “get lost” note folded neatly inside a fireworks display.
The track’s narrative is all venomous sugar, a series of fantastical, sarcastic questions posed to a phantom who has dared to reappear. While the beat insists on collective movement, the lyrics paint a picture of solitary, self-absorbed grandeur: spaceships and treasure cruises. The juxtaposition is a dizzying, brilliant trick.
Emma’s “Amnesia”: When The Beat Drops, So Does The Truth.
For a moment, one of the shimmering synth arpeggios reminded me of the frantic, blinking light on an old museum diorama I saw as a child—the one depicting the Battle of Hastings. It was meant to signify chaos and action, but it was just a tiny bulb, blinking in a loop, completely unaware of the painted soldiers it was meant to represent. That’s the sound of this song’s accusation: a looped, bright, impersonal signal for a deeply personal catastrophe.
Emma’s “Amnesia”: When The Beat Drops, So Does The Truth.
Emma Whybrow weaponizes the concept of amnesia, turning it from a passive affliction into an active, unforgivable insult. This isn’t a lament for what’s been forgotten; it’s a cold stare at someone who believes their absence can be so easily overwritten, as if a memory card was simply wiped and reformatted. The song doesn’t ask for an apology. It scoffs at the very notion that one might be owed.
It leaves you with the strangest, most invigorating feeling. So, when the beat drops, who are you meant to be dancing for: yourself, or the ghost you’re finally kicking out of the room?
"Turn Back Time": Jimmy Scott Free's Soulful Paradox.
Jimmy Scott Free’s return with “Turn Back Time,” featuring the potent vocals of Kim English, is a peculiar kind of exorcism. It’s a track with a passport full of stamps—born of a Southend sensibility, aged in Barcelona, and now arriving on our shores—yet its emotional core is stuck stubbornly in a single, unchangeable moment. This is a song that tells you to dance while its lyrics confess to being paralyzed, a shimmering, euphoric cage of a memory.
There’s a strange, fossilised quality to the obsession here, as if a pang of profound longing has been perfectly preserved in amber. The thumping, soul-infused beat doesn’t bury the feeling; it polishes the amber, holding it up to the strobe light. One gets the sense that Jimmy Scott Free, after a decade of disillusionment and creative recalibration, understands this paradox intimately. He isn’t just recounting a lost love; he’s orchestrating the sound of an internal feedback loop, the beautiful, maddening hum of a thought you cannot shake.
“Turn Back Time”: Jimmy Scott Free’s Soulful Paradox.
The track’s raw energy prevents it from ever wallowing. Kim English’s voice slices through the nostalgia not with sadness, but with a vibrant, demanding ache that insists on being heard and felt. The result is less a lament and more a full-bodied haunting. It’s the sonic equivalent of spotting the face of an old lover in a crowded room, but the room is a festival tent at 2 a.m. and the face is just a trick of the light.
“Turn Back Time”: Jimmy Scott Free’s Soulful Paradox.
It feels less like a comeback and more like a continuation of a conversation that was paused mid-sentence ten years ago. How brilliant, and how terribly human, to build a dance floor right on top of your own personal glitch in time?
"I'm Still Standing": Frankie Muriel's Taut, Emotional Groove.
With “I’m Still Standing,” Frankie Muriel isn’t just releasing nine songs; he’s excavating a life lived in the key of rock and roll. The glam-metal swagger of KINGOFTHEHILL and the dance-floor pulse of Dr. Zhivegas are here, but only as ghosts in the machine—ancestral echoes beneath a sound that is grittier, warmer, and stained with the wisdom of survival. This is the sound of a man taking inventory.
The whole thing feels less like a straightforward narrative and more like an act of kintsugi—the Japanese art of mending broken pottery with gold lacquer. Muriel isn’t hiding the cracks of heartbreak, fatherhood, or personal failure; he’s tracing them with funk basslines and soul-inflected guitar, making them the most interesting part of the vessel. He wrestles with the complex physics of love: its pull, its decay, its sudden, startling regeneration. There’s no sonic indulgence here, just a taut, emotional groove that feels earned, like the comfortable quiet after a necessary argument.
“I’m Still Standing”: Frankie Muriel’s Taut, Emotional Groove.
For a moment, one track made me think of the specific, dusty smell of a sunbeam hitting an old velvet armchair. It’s that kind of record—it doesn’t just play, it triggers dormant senses. This is not the sound of a rocker raging against the dying of the light, but of someone who has sat with the darkness long enough to know its shape and is now simply walking toward the door, unafraid of what’s next.
Muriel’s journey from peacocking frontman to this soulful raconteur is palpable in every note. The resilience isn’t shouted from a mountaintop; it’s humming in the amplifier. So what do we do with our own beautiful scars when the music finally fades?
Listening to Shelita’s new single, “Fade,” is a strange and strangely comforting exercise in suspension. The track is built on a foundation you could almost set your watch to—a steady, pulsing beat that feels less like a drum machine and more like a medical monitor keeping track of something vital. Over this steady pulse, airy synths drift and gather like weather fronts, creating a tension that is both calming and deeply unsettling. It’s a heartbeat in a glass case. Precise. Steady. A constant.
This is a song about holding on, but not with a frantic grip. It’s the kind of holding on you do with open palms. Shelita’s vocal delivery is the key; it possesses a focused clarity, a kind of pre-grieved composure. She’s not pleading so much as she is building a temporary shelter against an inevitability. There’s a line in the theme about creating a shared, idealized fantasy, and the song captures this with a startling accuracy. It’s the sonic equivalent of building a perfect little world inside a shoebox diorama—knowing full well the messy, bigger room exists just outside the cardboard.
Shelita’s “Fade”: Strange Comfort in Suspension.
The music offers an emotional sanctuary that acknowledges its own fragile walls. It’s a space where finality is understood but not yet allowed entry. Shelita’s pop sensibilities are sharp, but they serve something more profound here than simple hooks. She’s mapped the intricate geography of a goodbye that’s happening in slow motion, a moment stretched thin until it’s translucent.
It leaves one wondering about the nature of these moments. Is a comfort offered against a ticking clock somehow more potent, or just a beautiful, shared delusion?
Listening to Amara Fe’s debut album, “Reborn”, is a peculiar act of unearthing. You expect a phoenix from the flames, a cannon-blast of arrival. Instead, you get something far more interesting: the sound of a locked room being patiently, methodically picked from the inside.
This isn’t the clamor of a wrecking ball tearing down old walls for attention. It’s the quiet, assured scent of old paper and leather in a forgotten library aisle—the smell of substance, of things that last. Fe, having seized the production reins, crafts a narrative that values inner wisdom over external volume. Her vocals, steeped in the soulful RnB of her family’s legacy (you can feel the shadow of Minnie Riperton, for whom her grandmother wrote, in the effortless grace), don’t shout for validation; they command a specific, intentional space.
The Journey Within: Amara Fe’s “Reborn”
She built this herself. You can hear it in the careful architecture of the alternate pop arrangements, a framework for a story about shedding the societal pressure to be smaller, louder, shinier, other. There are anthems of independence here, certainly, but the most compelling moments are in the cracks. The album breathes, admitting to the lingering sting of regret, the slow, cautious process of learning to trust your own footing after trauma. It’s a liberation that knows the weight of its former chains.
It all charts a course from being an overlooked footnote to becoming the entire text. It’s a journey so complete, so deeply considered, it leaves you with a strange and unsettling final thought.
Discovery Monthly: Six Rising Stars Redefining Ghana's Musical Future
Ghana’s music scene continues to evolve with fresh voices emerging from every corner of the country.
These six artists represent the new wave of creativity, authenticity, and innovation that’s reshaping the Ghanaian music narrative.
From the streets of Accra to the cultural heartlands of the Upper West, each brings a distinct flavor that speaks to both local pride and global appeal.
Their success reflects broader changes in how African music is consumed and appreciated worldwide. Streaming platforms have democratized access to audiences, while social media provides direct artist-to-fan communication channels that bypass traditional industry gatekeepers.
Their commitment to local languages and cultural elements, combined with contemporary production techniques and global musical influences, creates a distinctly Ghanaian sound that speaks to both local and international audiences.
This balance between tradition and innovation positions them well for sustained success in an increasingly competitive global music market.
The next phase of their careers will likely involve increased international collaboration, larger platform performances, and continued artistic growth.
For music fans seeking fresh perspectives and authentic voices, these six artists offer compelling reasons to pay attention to Ghana’s evolving musical story.
Blakid Music
BLAKID MUSIC: The Ga Dialect Pioneer
Real Name: Emmanuel Kabu Ocansey
Origin: Osu, Accra
Genre: Afrobeats/Hip-Hop
Label: Rych Entertainment
Emmanuel Kabu Ocansey, professionally known as BlaKid Music, stands as one of Ghana’s most compelling emerging voices.
Born and raised in Osu, Accra, this 25-year-old artist has carved out a distinctive niche by seamlessly fusing raw lyricism with melodic flows, all delivered in the Ga dialect which is a bold artistic choice that sets him apart in an industry often dominated by English and Twi.
The name “BlaKid” serves as an abbreviation for “Black Identity,” embodying the essence of the Black experience in contemporary Ghana.
This conceptual foundation runs deep through his music, where cultural pride meets modern expression.
His ability to naturally switch between Ga and English creates a sonic experience that feels both deeply rooted and refreshingly contemporary.
BlaKid’s breakthrough moment came with his emotionally charged single “Fake Love,” released in May 2024. The track addresses the hypocrisy in human connections, delivering a powerful reminder to appreciate people while they’re still present rather than waiting until it’s too late.
The song’s emotional depth, combined with his distinctive delivery, struck a chord with listeners across Ghana and beyond.
His recent recognition speaks volumes about his rising trajectory. In 2025, BlaKid earned a nomination for “Emerging Artiste of the Year” at the Ghana Music Awards USA, a significant milestone that validates his growing influence.
The nomination came on the heels of several successful releases, including “Baa Sumo Mi” (meaning “Come and Love Me” in Ga), which further showcased his commitment to cultural representation through music.
What makes BlaKid particularly intriguing is his approach to storytelling. His lyrics often reflect the realities of urban Ghanaian life, delivered with a authenticity that resonates with young audiences.
His collaboration with established artists and his feature on Shatta Wale’s “Accra Invasion Project” demonstrate his growing recognition within Ghana’s music establishment.
The artist’s visual presentation matches his musical innovation. His music videos, particularly for “My Heart,” showcase a vintage-inspired aesthetic that pays homage to classic African cinema while maintaining contemporary relevance.
This attention to visual storytelling suggests an artist who understands the importance of complete artistic expression.
BlaKid’s commitment to his cultural roots extends beyond language choice. His music often incorporates traditional Ga rhythms and melodies, creating a bridge between ancestral sounds and modern production techniques. This approach positions him as both a cultural ambassador and a forward-thinking artist.
NashBerry
NASHBERRY: The Upper West Champion
Real Name: Abdul Rahman Nasir
Origin: Upper West Region, Ghana
Genre: Hip-Hop/Afrobeats
Notable Achievement: Multiple award-winning regional artist
Abdul Rahman Nasir, known professionally as Nashberry, represents the voice of Ghana’s Upper West Region with unmatched authenticity and pride.
This versatile artist has become synonymous with quality music from the northern territories, consistently delivering tracks that celebrate his heritage while appealing to national audiences.
Nashberry’s musical foundation rests on his masterful use of the Waala dialect, making him one of the few artists successfully bridging local linguistic traditions with contemporary hip-hop and Afrobeats production.
His approach to music-making reflects a deep understanding of his cultural responsibility as an artist representing an often-overlooked region of Ghana.
The artist’s discography spans 29 songs across various platforms, showcasing remarkable consistency and productivity. His recent releases, including “Entuli La” and “Doma Nani Mwini,” have garnered significant attention, with the latter becoming a viral sensation on social media platforms. These tracks demonstrate his evolution as both a rapper and a melodic artist, comfortable switching between hard-hitting verses and catchy hooks.
Nashberry’s recognition extends beyond streaming numbers. He has secured multiple awards at the Upper West Music Awards, including “Digital Artist of the Year” in 2023, cementing his status as the region’s premier musical export. His success at these regional awards reflects not just popularity but genuine artistic merit recognized by industry professionals.
His collaboration portfolio includes work with fellow Upper West artists like Big Dib, with whom he released “Maba (Acoustic Version)” in February 2025. These partnerships highlight his role as both a solo artist and a collaborative force within the regional music scene. His ability to maintain his distinct identity while working with others speaks to his artistic maturity.
What sets Nashberry apart is his commitment to authentic representation. His music videos often feature locations and cultural elements from the Upper West Region, providing visual context that many Ghanaians rarely see in mainstream media. This approach has earned him respect as both an entertainer and a cultural advocate.
His recent track “No Love For De Street” showcases his versatility, addressing social issues with the same passion he brings to celebratory anthems. The song’s production, handled by Best Gally, demonstrates his ability to work with quality producers who understand his artistic vision.
Nashberry’s streaming presence continues to grow, with reports indicating he became the second most-streamed artist on Spotify in Northern Ghana. This achievement reflects not just regional support but genuine musical quality that transcends geographical boundaries.
Lord Fargo Gh
LORD FARGO GH: The Youngest Dancehall King
Real Name: Clement Omani Mensah
Origin: Korle Gonno, Accra (raised in Mamprobi & Dansoman)
Genre: Dancehall/Reggae
Label: Well Connected Music
At just 25 years old, Clement Omani Mensah, professionally known as Lord Fargo GH, has positioned himself as Ghana’s youngest dancehall sensation. Born in Korle Gonno and raised between Mamprobi and Dansoman.
Lord Fargo’s artistic identity centers around versatility within the dancehall genre. His stage name “Fully In Charge” reflects his confident approach to music-making and performance.
This confidence isn’t misplaced; his ability to seamlessly blend traditional dancehall rhythms with contemporary Ghanaian sensibilities has earned him recognition as a rising force in the genre.
His recent single “500 Grand,” released in September 2024, showcases his evolution as both a songwriter and performer. The track’s official music video demonstrates professional-level production values, indicating serious investment in his artistic presentation. The song’s themes of ambition and success resonate with young audiences who see their own aspirations reflected in his lyrics.
The artist’s connection to Well Connected Music provides him with professional backing that many emerging artists lack. This support is evident in the quality of his releases and the strategic approach to his career development.
His collaboration with label mate Kush Rhymes on tracks like “Liff Off” demonstrates the label’s commitment to building a cohesive artistic community.
Lord Fargo’s performance capabilities extend beyond studio recordings. His live shows, including his maiden “Fully Charged” concert, have established him as a compelling stage presence.
These performances often feature high-energy delivery and crowd interaction that’s essential for dancehall artists seeking to build lasting careers.
His upcoming project, tentatively titled “Ugly Truth Mixtape Album,” promises to showcase his range as an artist. The title suggests a willingness to address real-life experiences and challenges, moving beyond party anthems to more substantive content. This artistic growth indicates an artist serious about longevity rather than quick success.
What makes Lord Fargo particularly interesting is his age relative to his accomplishments. At 25, he’s already established himself within Ghana’s dancehall scene while maintaining room for significant growth. His youth allows him to connect with Generation Z audiences while his musical maturity appeals to older listeners familiar with classic dancehall traditions.
His recent birthday release “Pay Di Price” demonstrates his understanding of strategic timing and fan engagement. The track’s release on his birthday created a personal connection with listeners while showcasing his continued productivity as an artist.
Kpese Boii
KPESE BOII: The Volta Region Powerhouse
Real Name: Gideon Azadzi
Origin: Abor, Volta Region (Avenorpedo village, Akatsi municipality)
Genre: Hip-Hop/Afro-Pop
Gideon Azadzi, professionally known as Kpese Boii, represents the raw talent emerging from Ghana’s Volta Region.
At 25, this hip-hop and Afro-pop artist has built a reputation for delivering hard-hitting lyrics with emotional depth, establishing himself as one of the region’s most promising musical exports.
Kpese Boii’s artistic identity revolves around authentic street narratives delivered with technical precision. His stage name, which translates to “hood boy,” reflects his connection to grassroots experiences and his commitment to representing his community’s realities.
This authenticity resonates strongly with young Ghanaians who see their own struggles and aspirations reflected in his music.
His recent single “Gameli,” released in May 2025, showcases his artistic evolution. The title, meaning “There is time” in Ewe, carries deep philosophical weight about divine timing and patience. The track serves as both a personal anthem and a broader message about perseverance, delivered with the emotional intensity that has become his signature.
The artist’s breakthrough track “Helu,” released in April 2025, demonstrated his ability to create anthems for “grinders, dreamers, and anyone chasing their goals.”
The song’s official music video garnered significant attention, earning placement on TV3 Ghana’s “Top 5 Countdown” at the fourth position – a notable achievement for an emerging artist from the Volta Region.
Kpese Boii’s collaboration history reveals an artist comfortable working across different styles and with various producers. His work with established artists like Medikal on “Mom’s Prayer” demonstrates his growing recognition within Ghana’s hip-hop community.
These collaborations provide platforms for showcasing his skills to broader audiences while maintaining his distinct artistic identity.
His earlier releases, including “Awadzor” and “$60 Million,” established his reputation for creating memorable hooks combined with substantive lyrical content. The latter track, in particular, became a viral sensation, with its colorful music performance capturing attention across social media platforms.
What sets Kpese Boii apart is his bilingual approach to hip-hop. His seamless integration of Ewe and English creates a distinctive sound that honours his cultural heritage while remaining accessible to national audiences.
This linguistic versatility positions him as both a regional representative and a nationally relevant artist.
His streaming presence continues to grow, with over 854,000 plays on Boomplay Music, indicating genuine audience engagement beyond social media metrics. This organic growth suggests sustainable career potential rather than fleeting viral success.
The artist’s commitment to his “For The Hood” brand reflects his understanding of his core audience and his responsibility to represent their experiences authentically.
This brand consistency across releases and visual presentations demonstrates strategic thinking about long-term career development.
Tony Blaze
TONY BLAZE LORD OF LYRICS: The African-Canadian Wordsmith
Real Name: Anthony Drake Quainoo Jnr
Origin: Elmina, Central Region, Ghana (African-Canadian)
Genre: Hip-Hop/Rap
Label: Blazerpheobs Music Group
Anthony Drake Quainoo Jnr, professionally known as Tony Blaze Lord Of Lyrics, represents the global reach of Ghanaian talent.
This African-Canadian recording artist, graphic designer, and entrepreneur has built his reputation on lyrical excellence and metaphorical sophistication that earned him his distinctive stage name.
Tony Blaze’s artistic foundation rests on his exceptional wordplay and punchline delivery. His title “Lord Of Lyrics” isn’t mere branding – it reflects genuine skill in crafting complex rhyme schemes and meaningful content that sets him apart in an often superficial hip-hop environment.
His approach to rap emphasizes substance over style, though he delivers both with equal competence.
His recent release “Broke N****s,” featuring NanaBa in May 2025, demonstrates his continued productivity and willingness to address social and economic realities. The track’s title suggests direct commentary on financial struggles and social dynamics, delivered with the unflinching honesty that characterizes his best work.
The artist’s 2020 album “Blue Drake” showcased his range as both a solo artist and collaborator. Featuring artists like Ohenewaa, Ball J, Jackie Marie, Dayodman, and Dinny Berry, the project demonstrated his ability to curate cohesive musical experiences while maintaining his distinct artistic voice.
The album’s 18-minute runtime suggests focused, intentional songwriting rather than filler content.
Tony Blaze’s international perspective, gained through his Canadian experience, provides unique insights into both African and North American hip-hop traditions. This dual cultural awareness allows him to create music that speaks to diaspora experiences while remaining rooted in Ghanaian identity.
His entrepreneurial approach extends beyond music through his Blazerpheobs Music Group, indicating understanding of the business aspects of artistic careers. This business acumen, combined with his skills in graphic design, positions him as a complete creative professional rather than just a performer.
His spiritual dimension, evident in tracks like “Holy Ghost” and “That’s the Gospel,” adds depth to his artistic persona. These releases demonstrate his willingness to address faith and spirituality within hip-hop contexts, appealing to audiences seeking meaningful content beyond typical rap themes.
The artist’s collaboration with various producers and artists across different projects shows his adaptability and professional approach to music-making. His work with artists like Shizzy Songs on “Wish” demonstrates his ability to mentor emerging talent while continuing his own artistic development.
His recent social media activity suggests continued commitment to his craft, with promises of new video content and ongoing musical projects. This consistency in output and engagement indicates an artist serious about maintaining relevance and growing his audience.
Noisy Danqua
NOISY DANQUA: The Emerging Voice
Real Name: Danquah Bernard
Origin: Accra, Ghana
Genre: Afrobeats/Contemporary
Role: Singer/Producer
Noisy Danqua represents the newest wave of Ghanaian talent, operating as both a singer and producer from his Accra base.
While information about his background remains limited, his growing presence in Ghana’s music scene suggests an artist focused on letting his music speak rather than relying on extensive biographical narratives.
His dual role as singer and producer provides creative control that many emerging artists lack. This self-sufficiency allows him to maintain artistic integrity while developing his sound without external pressures. His production skills complement his vocal abilities, creating a complete artistic package that’s increasingly valuable in today’s music industry.
Recent collaborations, including work with Samant D’legend and Chana Paul on tracks like “Je,” demonstrate his ability to work effectively with other artists while contributing his distinct musical perspective. These partnerships suggest an artist building networks within Ghana’s music community rather than working in isolation.
His social media presence, while modest compared to more established artists, shows consistent engagement with fans and regular updates about new music.
This direct communication approach reflects a grassroots strategy for building audience relationships without relying on traditional media gatekeepers.
The artist’s choice to maintain some privacy about personal details while focusing on musical output suggests a professional approach to career development.
This strategy allows his music to be evaluated on its own merits rather than being overshadowed by personal narratives or controversies.
His streaming presence across various platforms indicates understanding of digital music distribution and the importance of multi-platform availability.
This technical awareness, combined with his production skills, positions him well for independent success in Ghana’s evolving music industry.
While Noisy Danqua may be the least established of the six artists featured, his inclusion reflects the dynamic nature of Ghana’s music scene, where new talent can emerge quickly and gain recognition through quality output and strategic networking.
There are songs that are produced so that you can dance. Some of them are supposed to engage you in critical thinking. Dax does both in his song, Man I Used to Be, but in a manner that leaves an impact on you and whose effects lasting much longer after the music has ended.
The song begins with a light guitar tone and the producer, Jimmy Robbins, develops an effect that emulates the mood of being in a car at night along with the fragility of a Sunday morning reflection. Then Dax starts singing in a low and meaningful tone, the opening line being the catchiest one:
"I’m half the man I used to be
It’s gon’ take some getting used to me.”
This introduction sets the tone of the song instantly, it is sincere, raw and open to show the hard aspects that come along with personal growth.
Dax talks about ending the negative patterns in his life
The song is not an ideal success story. Rather, it is personal confession. Dax talks about ending the negative patterns in his life, answering the addiction issues, and getting over his past troubles. He does not present these topics as an achieved success, but as a permanent work that must be done constantly. His voice varies in its expression of smooth musical tones and sharp intense verses that fully engage the listener all through the song.
The uniqueness of the song is that it sounds open and vulnerable. It is not about exhibiting and bragging about success. Rather, it focuses on self-improvement, healing the heart, and being honest about your true experiences. This song leaves an impression on people in a world where people remember nothing but just singles.
In this song, Dax does not only rap. He addresses people himself, and listeners can experience the sincere feeling of each and every word he says.
From Solihull to the Stars: Sam Ostler on His New Single
Sam Ostler has come up with his new release, and this time he is aiming high. This Solihull singer-songwriter has just published his latest single titled as Dancing In The Stars on August 1 st, 2025. A bright energy of indie pop is mixed with sincere emotion in the song. Sam is also recognized with his piano-oriented, soulful, music style that is influenced by popular musicians such as Elton John, U2, and Coldplay. He has soon established himself in the contemporary pop music world. In 2024, he went on tour in the UK with Gabrielle and five of his singles were played BBC Radio 2.
Dancing In The Stars is the ideal soundtrack to the end of summer. The music has a catchy tune, a glamorous feel, and a strong chorus that reproduces the magic of those special nights when time has seemed to go slowly and anything has been possible. The words form vivid images of sky-full of stars, glittering lights and the exhilarating sensation of human connection that takes your breath away.
The song is both emotional and uplifting and exudes both the feeling of escaping real life as well as a kind of gentle reminder to enjoy being happy even when things are hard. This contrast indicates the skill that Sam has in producing music that touches on various emotional states and keeping up a positive spirit.
We were able to have a chat with Sam regarding his inspiration and how he made the song, Dancing In The Stars, his philosophy of creating music and what his future projects will exude as he keeps maturing in the music industry as an artist.
Congratulations on the release! Can you tell us the story behind “Dancing In The Stars”? What inspired the song?
Thank you! “Dancing In The Stars” is a song that came from a place of hope and resilience. I wanted to write something that felt uplifting but still emotionally honest. The idea behind it is about finding light in the darkness — whether that’s after a tough time, a personal loss, or just one of those moments where life feels heavy.
The imagery of “dancing in the stars” came to me as a way of expressing freedom and connection — almost like rising above it all, even if just for a moment. It’s about holding on to joy, love, and those little sparks that keep us going. I really hope people find their own meaning in it, and that it brings them a bit of comfort and energy when they need it most.
The title feels dreamy and romantic. What does “Dancing In The Stars” mean to you personally? The title “Dancing In The Stars” does have that dreamy, romantic feel, and for me, it’s all about escapism and emotional release. Personally, it represents those rare, magical moments when you feel completely free — like you’re not weighed down by anything, even just for a little while.
It’s also about connection — with someone, with a memory, or even with yourself. There’s something powerful about imagining yourself dancing among the stars… it’s symbolic of rising above challenges, finding joy in the little things, and embracing the beauty in life, even when things aren’t perfect. It’s a reminder to keep reaching for something brighter.
How did the creative process go for this track? Was it written in a burst of inspiration or developed over time?
This one came together in a really natural way. It started as just a small idea — a melody and a few lyric lines that popped into my head one night — and it grew from there. It definitely had that burst of inspiration at the beginning, but then it evolved over time as I sat with it and let the emotion guide the structure.
I spent a lot of time shaping the production to match the feeling I wanted — something uplifting but still rich with emotion. I worked closely with the producer to strike that balance between soulful and modern. Sometimes songs take a lot of trial and error, but with “Dancing In The Stars,” everything just seemed to flow, like the track already knew what it wanted to be.
I worked closely with the producer to strike that balance between soulful and modern.
Can you walk us through a typical studio day when you were working on this song? A typical studio day while working on “Dancing In The Stars” was a mix of focused creativity and a bit of trial and error. I’d usually start the day revisiting any ideas or rough takes from the day before — listening back with fresh ears, tweaking lyrics or melodies that didn’t quite land.
A lot of time went into getting the vocal feel right. I wanted the emotion to come through clearly without it feeling too polished or overdone. We’d record a few takes, experiment with different tones and harmonies, and just see what felt most natural.
Then it was onto production — layering in the textures, playing around with synths, drum patterns, and atmospheric sounds to give it that dreamy lift. There were definitely moments where we’d go off track trying something wild, but often that’s where the best surprises came from. It was a relaxed but focused vibe — the kind of session where time disappears because you’re so immersed in bringing the song to life.
The production feels very emotional yet uplifting. How did you balance those two feelings in the sound?
That balance was really important to me — I wanted “Dancing In The Stars” to carry emotional weight but still leave people feeling lifted by the end. The key was in blending warm, soulful elements with brighter, more atmospheric layers.
We started with the foundation — the chords and melody — which already had a bit of a bittersweet tone. From there, we added textures that felt light and expansive, like airy synths and subtle rhythmic elements that give the song movement without overpowering it.
Vocally, I aimed to deliver the lyrics with honesty and vulnerability, but without making it too heavy — more like a quiet strength. It was all about contrast: the emotional core of the song sitting inside a soundscape that feels hopeful, spacious, and open. The goal was for people to feel something deep, but also to walk away with a sense of peace or possibility.
Are there any specific lyrics in the song that are especially meaningful to you? Yes — one line that really stands out to me is: “Your smile lit the room I left my mark on you .”
That lyric captures the heart of what “Dancing In The Stars” is all about. It’s that idea of finding light in the toughest moments, and choosing to keep going, even when things feel uncertain or heavy. It’s a simple line, but for me, it holds a lot of personal meaning — it’s about resilience, hope, and believing there’s always something worth holding onto.
There are other lines that touch on love, connection, and escapism, but that one always pulls me back to why I wrote the song in the first place.
How does this song differ from your previous releases in terms of sound or message? Dancing In The Stars” definitely marks a bit of a shift for me — both in sound and in message. Sonically, it’s more expansive and layered than some of my previous releases. There’s a real focus on atmosphere and emotion, blending soulful vocals with more modern, ambient production. It still feels true to my style, but there’s a bit more boldness and lift in the soundscape.
In terms of message, this song leans more into hope and light, even though it touches on deeper emotions. A lot of my earlier tracks explored love, heartbreak, and introspection, often from a more grounded or intimate place. “Dancing In The Stars” is still personal, but it has this universal, almost cinematic quality — it’s about rising above, finding joy in small moments, and holding onto something bigger than yourself. It feels like a natural evolution.
What’s something surprising about the making of this song that fans might not expect? One surprising thing about the making of “Dancing In The Stars” is that it almost didn’t happen — at least not in the form you hear now. The original version was much slower and stripped back, almost like a piano ballad. It had the emotion, but it didn’t quite capture the feeling of movement and release I was aiming for.
It wasn’t until a late-night studio session — kind of on a whim — that we started experimenting with a more uplifting tempo and atmospheric production. That shift completely transformed the song. Suddenly it clicked — it kept the emotional depth, but gained this dreamy energy that made it feel alive.
So in a way, the version people hear now was a bit of a happy accident — and I’m really glad we took that creative risk.
Looking ahead, is this song a hint of what’s to come in your future releases? Yes, absolutely — “Dancing In The Stars” is a strong hint of where things are heading. It represents a step forward in both sound and storytelling for me. I’ve been exploring more atmospheric, emotionally rich production while still keeping that honest, soulful core that’s always been part of my music.
Lyrically, I’m leaning into themes of hope, connection, and resilience — things that feel especially important right now. So while each upcoming song will have its own identity, this release definitely sets the tone. It’s the start of a new chapter that I’m really excited to share.
Finally, if “Dancing In The Stars” was a scene in a movie, what would it look like? If “Dancing In The Stars” were a scene in a movie, I’d picture it as a quiet, magical moment under a vast night sky. Imagine a wide-open space — maybe a rooftop or a field — where the main character, maybe a bit worn down by life’s challenges, looks up and sees the stars glowing brighter than ever.
The scene would have soft, shimmering lights all around, almost like the stars are gently swirling and dancing themselves. There’s a sense of calm and wonder, like time slows down. The character starts to move slowly, almost dancing, letting go of their worries and just being present in that beautiful moment.
It’s a mix of solitude and connection — feeling small in the universe but also part of something infinite and uplifting. The visuals would be dreamy, ethereal, with a warm color palette and subtle motion that makes you feel hopeful and free.
Reitse Machiel on “Circles” and Finding Beauty in the Moment
The new single from Reitse Machiel “Circles” captures a feeling that many people can understand – the constant movement of life while sometimes feeling like you are not making real progress. Created mostly during weekends and summer breaks, this song reflects those times when life feels like it is running in repeating patterns that are busy but still have meaning. Reitse Machiel explains how the melody, particularly the section that comes after the bridge, actually circles back to where it started, which perfectly represents this main theme.
Produced by Sem Witt, the track combines upbeat synthesizer sounds with personal emotions to create something that feels both fresh and authentic. The song goes beyond being just a memorable tune – it carries an important message about staying focused on the present moment and finding calm even when situations are not perfect.
One lyric that particularly stands out is “Some moments hold a secret that the rushing world won’t see,” which serves as a gentle reminder to value quiet, meaningful experiences while dealing with the fast pace of daily life. Listeners have responded positively to the song, with streaming numbers already reaching over 400,000 plays.
Looking toward the future, the artist has promised that more music is coming soon, encouraging fans to join what will be a personal and emotional journey that manages to be both catchy and deeply meaningful. This song feels like the beginning of something significant that will continue to develop and grow over time, offering listeners both entertainment and genuine emotional connection.
First off, congrats on the release! What inspired “Circles” and what does the song mean to you? Thank you!
The song came together mostly during weekends and heading into summer break—those moments where I try to slow down, even though I tend to keep going. That contrast really inspired the vibe of the song.
The title “Circles” suggests repetition or being stuck in a loop—was that a theme you were exploring emotionally or musically?
Definitely. I sometimes feel like I’m caught in a loop of always staying busy—doing things I enjoy. “Circles” reflects that rhythm.
What was the creative process like for this track? Did it come together quickly, or did it take some time to shape?
It started at the piano with the chords and the melody you hear after the bridge—“we’re running and running in circles.” That part literally moves in circles musically, which sparked the rest of the track. I sent the idea to Sem Witt, who produced the song, and from there we shaped it step by step.
How did the sound of “Circles” come together? Were there any influences—musical or personal—that helped shape its style?
I wanted to create something a bit more upbeat than my previous track, Shadow in the Crowd. I tried to write more intuitively, without overthinking genres. The synth influences came naturally through Sem’s background as a producer.
What emotions or moments were you trying to capture with this song? Moments when everything just feels right. And even if it doesn’t—still being okay with that.
Is there a particular lyric in “Circles” that stands out as especially meaningful to you? Right now: “Some moments hold a secret that the rushing world won’t see.”
I used to be very ambitious and perfectionistic as a musician, but now I’ve learned to appreciate what’s happening in the moment.
Was there a moment in the studio where you felt, “This is it, this is the song”? Yes! During the recording day, we were still tweaking the vocal mix and arrangement. You could really feel the track come to life as we worked on it.
If “Circles” were part of a movie soundtrack, what kind of scene would it play in? A scene where someone takes off in a van with their dog, not really knowing where they’ll end up. (Is that too specific? 😄)
How does this release fit into your upcoming plans—are more singles, an EP, or an album on the way? Yes! A lot of exciting things are coming. I’ll be releasing more music in the near future.
What has the response been like from fans so far? Better than expected! People are connecting with the song and really seem to feel it. It’s already been streamed over 300,000 times on Instagram—which is kind of surreal.
Finally, for someone discovering your music for the first time through “Circles,” what do you hope they hear in you as an artist?
That it’s personal. Catchy, but with feeling and a deeper layer
"Dragons" by Maddy Low: Battling the Beasts Within
There’s a peculiar ache that settles in when listening to Maddy Low’s new single, “Dragons.” It isn’t a dramatic wound, but a slow, persistent pressure, the kind you feel behind your eyes after staring at a blank page for too long, convinced that whatever you create will be a monumental failure. For an artist of eighteen to articulate this specific brand of self-imposed paralysis with such clarity is, frankly, unsettling in its precision.
Low sings of the exhausting battle against perfectionism, the quiet, corrosive fear that you are an imposter in your own life. The song is a diagnosis written by the patient; she identifies the enemy not as some external monster, but as a beast born of her own ambition. The dragons of the title are her own high standards, the heavy “brake” a mechanism she installed herself.
The production brilliantly mirrors this theme. At its core, it’s an acoustic ballad—vulnerable, stripped back. But it’s wrapped in a sophisticated architecture of glassy piano, vocal harmonies that feel like the ghosts of expectation, and shimmering synth pads. For a moment, those synths sound less like music and more like the architectural blueprints for a beautiful prison, meticulously designed for a single occupant.
“Dragons” by Maddy Low: Battling the Beasts Within
This isn’t a song about victory. It’s a snapshot of the exhaustion, the deep desire not for greatness, but for the simple freedom to exist without the constant, crushing weight of your own potential. Maddy Low isn’t asking for a sword to slay her dragons, but for the schematics to understand how she built their lair in the first place.
The track ends, but the hum of the internal machinery remains. It leaves you wondering: what happens when the architect of the cage finally misplaces the key?
Janet Devlin’s new single, “Houston,” arrives as a gleeful contradiction, a two-stepping Americana anthem for the sovereign state of one. It has all the upbeat, country-rock fixings for a roadside sing-along, yet its heart is miles away, floating in a self-imposed, wonderfully stubborn vacuum. The track opens, and you’re ready for a communal good time; instead, you find yourself at a party where the host is having the time of their life, blissfully, terrifyingly alone.
The whole thing puts me in mind of those old mission control rooms, all serious faces and beige consoles. The song’s cheerful Nashville twang is the steady telemetry beep, signaling all systems are normal. But the lyrics—they’re the quiet admission from the astronaut that they’ve deliberately cut the comms link because the silence is just too beautiful. This isn’t a cry for help; it’s a postcard from the void, scrawled with the defiant message: “Don’t bother.” It makes the listener feel like the helpless technician on the ground, staring at a screen that says one thing while your gut tells you another.
Janet Devlin’s “Houston”: A Party of One.
There’s a strange bravado here, a celebration of solving your own problems by simply deciding they don’t need an outside solution. Devlin’s delivery is a masterclass in this complicated joy. It’s the sound of someone broadcasting distress signals only to themselves, creating a perfect, hermetically sealed echo chamber where freedom and alienation are indistinguishable. The bravado is intoxicating; the isolation is absolute.
It brilliantly captures the peace some people find in their own company, a concept often misunderstood. But the song leaves a peculiar hum in the air long after it’s over. When does fortress-like self-reliance, this glorious island of the self, become so comfortable that we forget how to build a bridge?
Sun-Drenched Truth: Amy-Lin Slezak's "Known 3 Yrs. Seen 24 Hrs."
Amy-Lin Slezak’s “Known 3 Yrs. Seen 24 Hrs” opens with the bright, optimistic twang of country pop, a sound so sun-drenched you can almost feel the heat coming off the asphalt. The fiddle weaves itself through clean acoustic strums and soaring electric guitars, a musical language we all know. But the story it tells is something wonderfully specific, a peculiar ache you didn’t know you had a name for. Slezak isn’t singing about the one who got away, but rather the one who stayed, the emotional co-conspirator in a pact forged from shared romantic wreckage.
There’s a strange purity to this kind of relationship—a lifeboat built for two, paddling through the stormy seas of other people’s failed promises. The song captures this so precisely. It reminds me, bizarrely, of the marginalia you find in old library books, little penciled-in arguments with the author from a reader decades gone. Slezak’s lyrics feel like that; a private, cherished dialogue that wasn’t meant for a grand stage but defined a small, critical world for a time. This isn’t a story of loss. It’s the sound of finding an old blueprint for a house you never built, and instead of feeling sadness, you just admire the elegant design.
Sun-Drenched Truth: Amy-Lin Slezak’s “Known 3 Yrs. Seen 24 Hrs.”
The track’s brilliance is in its refusal to wallow. The upbeat arrangement—drums kicking forward, that fiddle practically skipping—insists on cheerfulness, turning a potentially sorrowful memory into an act of fond celebration. Slezak understands that some formative bonds aren’t grand romances or epic tragedies; they are supportive, unconventional alliances that serve their purpose and then, quietly and without drama, dissolve into the past. This song gives that experience an anthem.
It leaves you with a funny, phantom warmth. We’re so often told to focus on the destination, the happily ever after. But how many of our lives are built on the foundations of these beautiful, temporary shelters?
Kimilist Turns To Star Power On New 2025 Single “Bad Boy”
Ghanaian rapper Kimilist is back and ready to charm the ladies with his latest single, “Bad Boy,” officially released on Friday, August 8th. The track, which marks his first release of 2025, sees the artist confidently embracing his “bad boy” persona with a smooth, afropop-infused sound.
“Bad Boy” follows Kimilist’s successful afrosound-inspired EP, “Bad Boy Diaries,” continuing the narrative of his multifaceted personality. This new single, however, takes a more direct and flirtatious approach, with Kimilist presenting himself as the ultimate cool kid for all the “pretty ladies.”
On “Bad Boy”, Kimilist exudes style and self-assurance, painting himself as the ultimate cool kid with appeal. The song builds on his signature flair for a radio-ready cool jam poised to catch on with fans and is also perfect for playlists and dance floors.
Fans can now stream “Bad Boy” on all major digital platforms.
Julia Faulks’ new EP, “Colours”, doesn’t so much present a palette as it does the messy, satisfying work of mixing the paints yourself. It’s a six-song study in emotional reciprocity, a sonic accounting of what it costs to love and what it means to be loved in return.
Faulks operates in that murky, humid space she calls the “in-between,” where affection curdles into obligation and loyalty is tested not by grand gestures, but by the draining friction of daily life.
This is music about drawing lines in the sand. On “Red,” she diagnoses the exhaustion of becoming a depository for someone else’s gloom, a feeling so specific it’s almost a physical weight. Then, just as you’re settling into the melancholy, the brass on the defiant anthem “Dig Deep” kicks in.
Credit: Jacob Power Photography
It feels like the sudden, specific warmth of sun on your face after emerging from a long train tunnel. It’s the sound of choosing to stay, of deciding a connection is worth the fight. This dynamic tension is the EP’s core engine, powering the empowering, lock-turning finality of the kiss-off “Wait for You” and the quiet, bone-deep comfort of “Side by Side,” a gorgeous ode to the friends who are simply, reliably there.
What lingers most, however, are the moments of profound quiet. The ache of “Always There” perfectly captures that specific frustration of trying to explain a feeling that has no simple name—like attempting to describe the exact colour of twilight to a stranger over the phone.
Credit: Jacob Power Photography
It’s in these hushed corners, as on the dreamy closer “Sound of You,” that Faulks’ soul-pop confessionals become truly compelling. The EP isn’t a map through heartbreak or a simple celebration of love; it’s an audit of your own emotional inventory.
It leaves you not with answers, but with a better set of questions, wondering about the sonic tint of your own loyalties.
Emland on “You and I”: Telling a Story When Words Aren’t Enough
Emland is back with a good new single. This Mallorca-based singer, songwriter, and producer released a song called You and I on July 25, 2025, and it was based off of a single, unexpected text message. This message came in at one of the hardest moments in his life, immediately after a painful breakup. Emland made an effort to reply in words, but nothing seemed to say what he would have liked to say. Rather he chose to respond with music.
The result is the song called You and I, which is strong and touching. It is original, catchy, and emotional at the same time. Emland has brought together his keen eye towards the minutia with his keen sense of sound to produce something that is stylish and highly personal. The song is the fourth single off his forthcoming debut album titled “EVOLVE” which he wrote and produced himself. The entire album will be released at the conclusion of 2025.
Here we have a discussion of the story behind the song where we touch on how that text message inspired him to start writing and why Emland believes that this song is a kind of a musical photograph that captures a real moment in time. He also speaks of his creative process, the thoughts behind his album and how he builds complete environments to accompany his music. The talk shows how personal lives can be turned into universal musical statements that reach an audience.
“You and I” feels deeply personal—can you tell us what inspired the song? I wrote this song after getting a text message on my phone – that happened in a moment when I was going through a really difficult time after a deeply painful breakup. That message was very unexpected and I didn’t really know how to answer it properly at that time; I did write back in the common way, but as I was doing that, I was feeling and realizing that there was no way for me to give an accurate answer just by using words; and that’s what triggered this song.
When I listen back to it now, I feel that “You and I” says everything that I was feeling and thinking at that moment. In a complete way. And I love that.
Would you say this track reflects a particular chapter in your life or emotional experience? Absolutely. It’s a musical photograph of a very precise moment in my life.
Is there a specific message or feeling you hope listeners take away from “You and I”? I’m quite sure that most of us, at some point, have experienced that exact feeling of speechlessness – especially when it comes to human relations. That kind of emotion that fills you up with something that you just cannot express with words and makes you feel helpless in that moment. This song is about that.
How did the production process for “You and I” differ from your previous releases? I had a pretty solid Demo of this song after writing it, so the foundation for the final production was a pretty good one from the beginning. I just had to dive a little deeper in terms of layering sounds and shaping the whole groove that’s constantly progressing and getting bigger throughout the song.
It’s subtle, but there’s a constant growth in the dynamic, which reflects a little bit the feeling that I had when I first read that sparking message. Also, I used quite a lot of automation in the vocals, especially in the second Chorus, which is probably my favorite moment of the song.
Was there a moment during recording where the song took an unexpected turn? I wouldn’t say so – but I definitely did get some surprise moments, some lucky accidents during the vocal production 🙂
I wouldn’t say so – but I definitely did get some surprise
How does “You and I” fit into the overall sound and identity of EVOLVE? Well, it’s one piece out of eight – all songs on EVOLVE have a connection between each other and tell a bigger story than the individuals. Generally speaking, I think my sound is quite eclectic, which is something that I love as a listener – I get bored if I listen to an album that sounds the same all the time, it just makes me disconnect.
So, I’m naturally always trying to find new sounds, new structures, new ways of telling my stories. I would say “You and I” is unique in the same way my other songs are. Still, it’s part of a bigger soundscape that I just feel makes sense once you experience it in perspective and all together.
Do you think “You and I” signals a new direction for your upcoming work? I just hope that by now I’ve showed that you can expect something unexpected. I mean, I do Pop and that’s my playground, but I will always try to come up with something different and personal. I’m enjoying this challenge and it feels like a really beautiful journey to me 🙂
Is there a music video or visual concept accompanying “You and I”? What was the vision behind it? In general, I’m a very visual kind of person – I’m constantly picturing and seeing things in my head, and that’s actually a very important part of my songwriting. “You and I” does not have a music video yet, but I definitely know how it would look like. If there’s one concept, one word, that defines this song for me, it’s “earthquake”.
This song felt and feels like an earthquake to me. There’s a moment, a section, that I wrote and produced trying to capture that exact idea: the Pre-Chorus. If you listen to this and close your eyes – that part feels, literally, like walls come tumbling down to me. That’s what I’m seeing in my head every time I’m listening to this part.
How important is the aesthetic or visual storytelling for you in complementing your music?
It’s extremely important. I pay a lot of attention to the cover arts of my songs. Each song has an associated image that reflects the story and the music and I put a lot of effort and time in getting to that exact image.
I have people that work with me in that aspect and I can’t thank them enough for their patience, because I know that I am very meticulous about that. Ultimately, to me, it’s all about creating and crafting a whole world – because music is not “just” music to me.
When I listen to a song that connects with me, I’m immediately in another place – it’s like a gate to another world. And that’s what I want to create, a world on its own. For you and for me. For everybody who’s listening.
Is “You and I” part of a bigger project—an EP or album in the works? Yes, as I mentioned before, “You and I” is one out of eight songs of my upcoming, first studio album “EVOLVE”.
What can fans expect next from “EVOLVE”? With “You and I”, I’ve now officially released half of the album, so we’re actually halfway there now 🙂 What you can expect is a 100% true and honest picture of what my life has been in the last five years. I came to point where I had to make a very deep and paused reflection about what drives me – “EVOLVE” is exactly that.
Little Game, Big Feelings: Inside Kris Kolls’ Latest Single
Kris Kolls is an emerging pop artist based in Istanbul and who was born in Russia. Her highly emotive and fashionable music is fast becoming widely popular. Her latest single named Little Game was introduced on the 25th of July 2025, and it proves why she should be given attention as an artist. Her music is a mixture of electronic beats, a soulful voice, and sincerity which adds something fresh and interesting to the contemporary pop music.
The tune of the song is very playful, yet there are several layers of meaning to it, which makes this song so much more than a catchy tune. Smart lyrics and an infectious rhythm take you through the twists and turns of romantic relationships in the song. Kris wrote and produced the song herself, something that indicates how much she is involved in the creative process and artistic contribution to all elements of her music. Throughout the song, it maintains the attention of listeners by attractive them to its entertaining spirit and then taking a step back and revealing something more real and emotionally moving behind it.
According to Kris, the song is about the little things that happen with love; the enjoyable moments, the hard moments and all that occurs between them. She has already released seven tracks within a year, and she is working fast, and the song, titled Little Game, is another confident step towards the direction of artistic growth and career success.
Congratulations on releasing “Little Game!” What inspired the title and concept of this single? Thank you! This single captures the dynamic between a man and a woman. I managed to convey the mood and those playful moments when I become a bit of a handful — and how skillfully my beloved handles all the ups and downs of our beautiful life together. It’s our little game.
How would you describe the sound and mood of “Little Game” to someone who hasn’t heard it yet?
It’s very playful, light, and uncluttered, with a lyrical interlude featuring cello that adds emotional depth. The mood is positive, kind, and easygoing. I was so happy when it came together — it’s a cheeky little track!
Can you tell us about the songwriting process—was “Little Game” born from a personal experience? Absolutely. I wouldn’t say I have a difficult personality, but I do enjoy observing relationships and how people interact. I wanted to reflect on that with kindness and admiration. In fact, this song might not even be about me directly — it’s about appreciating love and understanding from the outside.
I wouldn’t say I have a difficult personality, but I do enjoy observing relationships and how people interact
Did you collaborate with any producers or other musicians on this track? If so, how did they influence the final sound? I’ve been releasing music for less than a year, and “Little Game” is my seventh track. I write the lyrics, compose the music, and do the arrangement myself. I’m open to collaboration in the future.
The final sound always comes on its own — it’s impossible to predict, you can only feel it. The music of different artists is constantly in my ears and in my mind.
I’m deeply inspired by the talent of others, especially those who have reached incredible heights.
What do you hope listeners will feel or take away after hearing “Little Game”? Everyone experiences music differently, but I hope listeners feel the warmth and beauty of a loving relationship. I want to show how joyful and meaningful those emotional undercurrents can be.
Does the single represent a new direction in your music, or is it more of a continuation of your previous style?
My core style is pop — with touches of synth-pop, alt-pop, and a bit of pop-R&B. I don’t want to limit myself to one genre. I’m always experimenting and exploring, and this track is another step toward understanding who I am as an artist.
Was there a particular moment during recording when you knew this song was special? I fell in love with it almost immediately. The idea came to me spontaneously. I wrote the lyrics first, and two weeks later, the music came all at once. I spent some time figuring out how to enhance it but ended up keeping it mostly as it was — just added a bit of breathing space at the end. I still feel a sense of admiration when I listen to it. It turned out beautifully.
Are there any hidden meanings or Easter eggs in the lyrics that fans should look out for? Not in this track — no secrets or Easter eggs this time! But I’m definitely planning to include hidden messages and special moments in my future album.
How does “Little Game” fit into your upcoming plans—can fans expect an EP, album, or tour soon?
Right now, I’m focused on writing more music. I’m definitely thinking about an album, though I’m not sure how many tracks it will include yet. I’ve always dreamed of releasing a full-length album. I follow the reach of my songs around the world, and I think that will guide my future touring plans.
If “Little Game” was part of a soundtrack, what kind of movie or scene would it perfectly accompany?
I think it would be a perfect fit for a superhero film or a romantic comedy — or even a fun, chaotic movie like The Hangover — something adventurous, humorous, and deeply human.
The Reclaim: How Mist2'9 Turned Reflection into Revival
Mist2 9 is a musician with a definite mission – not just to produce music, but restore a lost sense of passion. His latest album The Reclaim is not just an album but also an essential move in his music career. Having taken a break in recording and releasing music at a time when they were beginning to draw attention, Mist29 opted to re-enter the picture with even greater strength and determination. That choice is evident in this album – as it acts as a moment to look within, to reconnect to their creative force, to be an artist.
With a clear yet not simplistic objective to make the best music possible, Mist29 mixes profound emotion, musical ability, and creativity in storytelling in each song. Songs such as the alteregos track delves into the minds of an artist in a hard situation, revealing the inner conflict of quitting and pushing on. Mist2 with 9-all by himself does all the work, including the writing and the production. Although such a style may be difficult to achieve, it produces music that is authentic, impulsive and which evokes emotions.
By means of The Reclaim, Mist29 is pursuing an energy-filled future, self-growth, and significant relationships with the audience. Among his plans is to have more radio plays and live shows as they plan to take back their position in the music industry. The album symbolizes the reconnection to their roots, as well as a determination to take a step forward with a new intensity and creative vision.
What inspired you to write “The Reclaim,” and what does the title mean to you? I feel like this album was a self reflection of something that I lost the passion for. I stopped recording and releasing music when I was just starting to get recognition. So, it made me step out of my comfort zone and claim my passion back.
Is there a particular message or story you wanted to convey through this track? I don’t really have a particular message that I’m trying to convey. I just want to make the best music possible and showcase the artistry that my city and I can offer. I think the song that best resonates with how I feel is alteregos where there’s two sides of an artist one that wants to give up on his passion and the other one that’s willing to do whatever it takes to make it in the music industry.
Were there any specific events or personal experiences that shaped the lyrics or mood of the song? I don’t feel like I had any events that motivated me to write certain lyrics or create a certain song. I just try to put myself mentally in situations or create an idea and try to indulge myself into that by relaying the lyrics on the song.
Were there any challenges you faced during the production of this song? Producing songs in general is difficult, I do everything my own so just getting everything down is a science. I still feel like I could have done better
What emotions or imagery do you hope listeners take away from “The Reclaim”? If any of the songs on the album the reclaim resonate with the listeners I’m happy. I just tried to produce the best music possible for the audience and listeners.
How does this track fit into your overall musical journey or upcoming projects? I think the reclaim allowed me to feel more comfortable, recording, and allowed me to get a wider audience.
What can fans expect from you next after this release? I feel like the fans can expect a lot more radio play and more performances. I plan on doing a lot more showcasing and promotions.
Graceland Music’s New Single “Y’ABA Y’ABA” Is A Song of Glory and Praise
Many people were excited for Graceland Music’s third song, “Y’ABA Y’ABA,” which they announced would be coming out soon and indeed, its finally out.
The main motive of the praise song is telling God how much we love and appreciate Him and recognizing His amazing power and love. The uplifting song “Y’ABA Y’ABA” aims to inspire worship and joy in listeners.
It’s a passionate praise song meant to remind Christians that God is greater than all other names, thrones, and powers. The song features Emmanuel Juddah & Raphael Obeng Nyarko.
As the song builds up to a strong chorus with full voices, you feel like you’ve made a big step forward. The song’s energy comes from the way the group’s sounds blend together.
Every word and chord in this powerful gospel song praises God’s majesty, beauty, and total power.
Listen to the song below and follow them on social media via @gracelandmsc on Instagram and Tik Tok.
A Promise in Song: Gavin Fox on ‘You Can Lean On Me’
Dublin-based singer-songwriter Gavin Fox has returned with a touching new single called “You Can Lean On Me,” and it creates the kind of lasting impression that stays with listeners long after the song ends. The track combines gentle acoustic guitar with heartfelt folk-rock energy, building slowly and naturally like having a real conversation with someone you completely trust.
This song will be part of Gavin’s upcoming 2025 album called Illuminate, and it focuses on themes of human connection, offering support, and finding quiet inner strength. The inspiration came from Gavin’s experience helping a friend work through anxiety, which led him to write “You Can Lean On Me” as a way to provide comfort to anyone facing difficult times. The song avoids being loud or overly dramatic, instead choosing to be honest, genuine, and deeply human in its approach.
The track starts with soft, quiet vocals and gradually develops into something more powerful and uplifting, featuring rich musical arrangements and a sincere message. The style brings to mind early work by Mumford and Sons or Glen Hansard, while allowing Gavin’s distinctive Irish character to come through clearly.
David Arkins, who has worked with Gavin for a long time, produced the song and helped bring together emotional storytelling with a sound that draws from folk and Americana music traditions. The result goes beyond being just another song – it becomes a genuine promise to be present when someone needs support the most.
We had the opportunity to speak with Gavin about the personal meaning behind this track, his approach to writing songs, and his plans for future creative projects.
Congratulations on the release of “You Can Lean On Me,” Gavin. The title suggests themes of support and connection. What inspired you to write this particular song? I recently helped a friend through an anxious moment they were experiencing. This person had a lot of fear built up in their head. Without betraying a trust, I wrote this song in an effort to reach out to anyone else who might need to hear it.
How would you describe the musical style and emotional tone of “You Can Lean On Me”? What can listeners expect when they press play? It starts off quite mellow I guess, in the kind of tone you might adopt when meeting someone in the dark – sort of a hushed Americana vibe. Then it builds to something reminiscent of a rebellion-against fear and anxiety-when folk rock kicks in.
It starts off quite mellow I guess,
Walk us through your songwriting process for this track. Did the message of support come from a personal experience or observation? Both. I think when you have experienced not-so-bright moments yourself and come through, it’s your duty to help others when they need it.
The concept of being someone others can rely on is powerful. What does that phrase mean to you personally, and how did you translate that into music? It feels a special thing to connect with people. I try to do this musically. It is obviously rewarding when a song I release does well in terms of streams and radio plays, but most rewarding are the times my music touches someone. I sometimes receive messages from people, from different places around the world, telling me how one of my songs had an effect on them. Those messages, and the conversations I have, are the reasons I write and release music.
Who did you work with in the studio on this single, and how did they help bring your vision to life? I worked with Irish producer David Arkins on the song, as I have done on all my work. We work well together at this stage. He tunes in to the sound I’m after and challenges me to make it better. It’s fun but serious, the way a creative process should be.
How does “You Can Lean On Me” fit into your overall artistic journey? Does it represent a new direction or build on themes you’ve explored before? I have explored this theme before in my previous work. The music though feels a little different. I guess it’s my personal journey into something deeper and what’s coming out this time are messages lightly decorated with an old, Americana-folk inspired sound.
What do you hope listeners take away from this song? Are there specific emotions or messages you want to communicate? The song might just reach someone at a time they need it. It’s kind of soothing and energetic, something they can lean on. It might help. And it might also remind them that they don’t have to go it alone and prompt them to speak to someone.
Are you planning any live performances or special events to support the release of “You Can Lean On Me”? I don’t have any live performances lined up at this stage. I’m still writing and recording. But I will come out of hiding soon, I promise!
Is this single part of a larger project, like an upcoming album or EP, or does it stand alone as a statement piece? With my previous work, there were definite plans and every song was released to fit into a particular album project. Right now, I don’t have a specific plan. I’m writing what I feel and releasing it into the world as it comes. Most likely there’s another album coming, but it’s coming very organically this time around.
What’s next for Gavin Fox after this release? What are you most excited about in your musical journey moving forward? I’m heading back into studio to record another couple of songs later this month. I’m not looking too far ahead. It’s a privilege to be able to do what I do and I’m just enjoying the journey.
DJ SAvvy and “Come Closer” EP. That’s all you need to know before hitting play, but stick around because this story gets interesting fast.
There are four songs. For twelve minutes. Influence that spans several countries. What DJ SAvvy has made with her latest EP sounds both familiar and totally out of the blue.
In the first track, “Ta Dom de Mais,” the music is very clear, and the voices float above it all like smoke from a good incense stick.
There’s something almost ceremonial about how the harmonies layer themselves, building into what can only be described as pure euphoria set to rhythm.
But then “Navelar” arrives, and suddenly we’re in a different room entirely.
You can feel the closeness here. When the rhythm stutters and shakes, it sounds like worried energy. The tunes seem to breathe with you as the rhythm hums.
It’s the kind of track that makes you lean closer to your speakers, searching for secrets hidden in the mix.
The collaborations across this EP tell their own story. Neyvaldo, Ky Sheny, YnG Cole, and Ydcem Ave each bring distinct flavours that somehow never clash with DJ SAvvy’s vision.
Instead, they make it worse. “Hinga Buya” is a great example of this because it comes in with the confidence of someone who knows what they are doing.
The vocals here are sharp, almost confrontational, riding over beats that pulse with controlled aggression. It’s the kind of track that makes you walk differently after hearing it.
Then comes the title track, sliding in like the final piece of a puzzle you didn’t know you were solving. “Come Closer” wraps the entire EP in dreamy synths and vocals that seem to exist in their own atmosphere.
The steady beat keeps everything in place, and the high-pitched singing make the song sound almost alien.
The most interesting thing about this EP for me is how DJ SAvvy makes Afrobeat, UrbanKiz, and slum zouk sound like they were always meant to be together.
Like finding out your favourite foods from different cultures actually pair perfectly. The production throughout is meticulous without feeling sterile, polished without losing its soul.
DJ Savvy Releases Latest EP Come Closer
It is impressive when an artist can make you feel like you are on vacation without leaving your chair. DJ SAvvy does this without using tricks or trying to sound foreign; she does it by really knowing how these music styles relate to each other.
Each track serves as both a complete thought and part of a larger conversation about connection, rhythm, and the ways music can bridge any distance.
Come Closer doesn’t overstay its welcome, but it doesn’t need to. Twelve minutes is exactly enough time to make its point and leave you wanting more.
Sometimes the best stories are the ones that know when to end.
Listening to Shotgun Driver’s new EP, “Jester Privileges”, is like finding a glitter bomb in a padded cell. The four songs present a disorienting, strangely compelling contradiction. On the surface, the alt-pop framework pulses with an upbeat, almost defiant energy; this is the slick, rock-tinged anxiety of a Machine Gun Kelly track built for open-road brooding. But beneath it, the narrative, carried by those uniquely stacked and humane vocals, chronicles a complete and terrifying psychological implosion.
This isn’t the sound of heartbreak; it’s the sound of the structural collapse that follows. The journey from obsessive love to nihilistic despair is so acute it feels less like a breakup story and more like a field recording from a soul tearing at its own seams.
At one point, I was suddenly reminded of those Victorian mourning brooches, intricately woven from the hair of a deceased beloved. The music has that same quality: an artifact of devotion that is both beautiful and unsettling, a meticulously crafted monument to a devastating absence. It’s an intimate, slightly morbid work of art you can’t quite look away from.
The title itself is the key. A jester has the privilege of speaking harrowing truths, but is still, ultimately, the fool performing for the court. Here, Shotgun Driver wears the pop hooks and driving beats like a colorful costume while describing a reality of paranoia and identity loss. The dark-yet-upbeat combination isn’t a flaw; it’s the entire point. It’s the sound of forcing a smile while everything inside has shattered into a fine, sharp powder.
When the final track fades, leaving only that primal urge to flee, one is left with a profound sense of unease. What happens after a performance of such spectacular self-immolation?
Listening to Jacre and Lucie Glang’s collaborative single, “Holy,” is an act of calibration. The song doesn’t shout; it quietly rearranges the furniture in the room, asking you to find a new, more comfortable place to sit. In a world practically vibrating with manufactured urgency and digital anguish, this track proposes a radical alternative: turning away. It’s a slow, deliberate retreat into a sanctuary built of acoustic strings, shared breath, and the hushed sanctity of the natural world.
For a moment, I wasn’t thinking of folk music at all, but of those mischievous doodles medieval monks would hide in the margins of illuminated manuscripts—tiny, joyful acts of personal expression amid overwhelming piety. That’s the feeling here. This is a song about drawing your own little defiant snail in the corner of a furious world.
Jacre
The voices of Jacre’s Julian Ransom and Lucie Glang are the heartwood of this quiet rebellion. They don’t just harmonize; they weave together like ivy on an old stone wall, each finding strength and pattern in the other. They sing of leaving the noise behind, not as an act of surrender, but as a profound choice to consecrate what truly matters: a piece of earth and a specific person. The instrumentation is sparse and intentional, leaving space for the song’s central theme to breathe – the idea that true holiness is found not in a cathedral, but in the shared silence between two people watching the light change through the trees.
Lucie Glang
The track is a beautiful, necessary balm. It presents a gentle secession from the madness, a two-person nation founded on stillness. But in a world that never stops yelling, is it a peace we can truly hold?
Talon David Releases Brand New Single "Paradise State of Mind"
Talon David‘s latest single “Paradise State of Mind” arrives like a perfectly timed antidote to our collective malaise, though its origins trace back to those claustrophobic early pandemic days when wanderlust felt like a distant memory.
The artist, who was born in Nashville and now lives in London, wrote this song while working long shifts at Nashville International Airport’s Barista Parlour and watching planes taxi to places she could not get to.
After five years of living abroad and still having that familiar urge to move, David has turned her restlessness into something incredibly kind: a song that will not let worry win.
The tropical bassline of “Paradise State of Mind” is what first draws you in. A baritone ukulele gives the song its unique warmth.
This four-string sweetness is not like most of them. David’s selection of instruments gives her rich vocal arrangements a deeper, more powerful base that never sounds sweet or too cute.
David’s one-woman-orchestra style is evident in the work. She writes, arranges, records, mixes, and masters all of her own music. Each carefully put harmony shows how much artistic power she has.
Not only do her background voices fill in the blanks, they also create mood, making the soundscape feel both close and far away.
David calls her sound “miscellaneous,” which sounds like an attempt to avoid talking about her art at first but actually says something important about how she works.
Neo-soul and dramatic pop are two styles she draws from, along with jazz notes and rock beats. As if you were lucky enough to find a secret radio station playing just the right music, the effect feels both familiar and unexpected.
The story behind the song gives it more meaning. Because David wrote it during COVID lockdowns while serving coffee to tourists she admired, the song is both therapy for her and a service to the public.
In terms of music, it is like having that friend who always knows what to say when you are feeling down.
David’s musical background is clear throughout. Growing up with creative parents who played everything from Journey to the original Broadway cast recording of Wicked, she took in a lot of different styles without losing her own voice.
The production choices on “Paradise State of Mind” reflect David’s technical education at Belmont University and her subsequent experience across multiple home studios in the US and UK. Every element serves the song’s emotional core rather than showcasing technical prowess for its own sake.
What makes this single particularly compelling is its timing. Released as David prepares for her “fairytale era,” it feels like both culmination and beginning. The song synthesizes years of artistic development while pointing toward new creative territories.
Her approach to optimism feels particularly relevant now. Rather than denying difficulty or pain, she acknowledges it while insisting on the possibility of transcendence. The song doesn’t promise easy answers but suggests that perspective shifts can create real change.
Talon David Releases Brand New Single “Paradise State of Mind”
“Paradise State of Mind” succeeds because it trusts listeners to handle complexity wrapped in accessibility. David doesn’t talk down to her audience or oversimplify her message. She presents hope as an active choice rather than passive wishful thinking.
The single positions David as an artist worth watching closely. Her ability to balance commercial appeal with artistic integrity suggests a sustainable creative vision. She’s building something lasting rather than chasing trends.
“Paradise State of Mind” is a summer song that is more serious than most while still being a lot of fun.
There are not many songs that sound good both at beach parties and when you are alone thinking.
You can not help but hum along with the song while you think about what it means. In a time when music is easy to throw away, that mix feels almost new.
Dancing Through Life: Michelle Galas Talks Music, Culture, and Her Latest Hit
Michelle Galas is an artist whose biography bridges the gap between cultures and countries. She was born in France and grew up in a colorful atmosphere of Guadalupe, residing at present in London, her multi-cultural experiences are being reflected in each song she creates.
Music played a significant role in the life of Michelle since her childhood as she was inspired by her father singing and her uncle playing the saxophone. At the age of 18 she discovered her love in writing songs and since then she has devoted her career to producing music that puts a smile on people, makes people feel free and expressive.
Inspired by such popular musicians as Madonna, Lady Gaga, Cher, Cyndi Lauper, and Kylie Minogue, Michelle has found her musical style, which she refers to as hype pop thunder dance. This genre is the mixture of the lively vibe of 80s and 90s dance music and powerful notes and lyrics.
Her single Take Me Baby (in your arms) Starseed Remix demonstrates her prowess as an artist on every level as it combines the stirring nature of her feelings with strong production values and catchy vocal arrangements.
Michelle adds even more energy into the original track with her new Starseed Remix which gives the song an aspect that is purely made to dance to but still carries the heartfelt message of the song.
Michelle, in this interview, tells about music she sings and how she went about doing the remixes, and about how serious she is in making music that people can identify themselves and relate to physically and emotionally. Her mission has always been the same: to make the songs that will make people dance and feel their hearts.
Listen to Take Me Baby (in your arms) Starseed Remix on
How does it feel to have “Take Me Baby (in your arms) – Starseed Remix” out in the world? Thank you very much. Thank you for having me too. It is good to have the remix out and see how another version of the song can have an impact on people.
Can you tell us the story behind the original version of “Take Me Baby (in your arms)”? What inspired it? Take me baby (In your arms) has been written by Loretta Rajkumar and myself. The song is a message of a woman asking her man to give her affection in the terms, (in your arms) it can have some connotation sexual for some people .
What made you decide to create the Starseed Remix—and what does the term Starseed mean to you in this context? I wanted to do a version more for the dancefloor and make DJs play it in nightclub.
How did the remix process differ creatively from making the original track? The remix adds more sounds or vibes to make people dance. The original track was done following the song meaning and the vibe of the melody.
The remix has a very cosmic and ethereal feel—was there a particular sound or mood you were trying to capture? Starseed knows the crowd with his experience playing in different nights. He used the synth, and the saxophone sounds of the original and added his own touch. I guess the song message, my voice and melody made him used sounds that enhance the vibe of the song’s meaning.
Starseed knows the crowd with his experience playing in different nights. He used the synth,
Who did you collaborate with on this remix, if anyone, and what was that partnership like? GroovStacymusic done the original version of the song and Starseed done the remix. Both are very creative and passionate music producers and do not hesitate to do crazy stuff hahahah
Is there a message you hope listeners take away from this version of the song? To dance and feel free to sing a message they can ask to anyone they think about and want to share love.
Have you had a chance to perform this remix live yet? If so, how was the crowd’s reaction? No I am working on it . It is not easy to perform as a singer of dance music in nightclub in London in a market controlled and leaded by DJs. But it will happen for sure.
How do you feel this remix connects with your existing audience—and does it open doors to a new one? My existing followers/audience loves dance music, so this remix version is giving a push to my music style, and I got some good feedback. I think this remix will open the doors to the ears of new lover of dance music leading them to my style and world.
Is “Take Me Baby (in your arms) – Starseed Remix” part of a larger project, like an upcoming EP or album? I am working on other songs to do an EP and I will do a Remix version of the same EP.
How would you describe the sound and style of “Take Me Baby (in your arms)” compared to your previous work? Are you exploring any new musical directions? Contrary to my first release ” There is a fire burning (in my soul)” Take Me Baby (in your arms) is more energetic with an add of the sax vibes. Each of my future releases will be different style following still the goal to make people dance.
What’s on your personal playlist right now? Any artists or songs that influenced this remix?
No artists have influenced the remix. Starseed done the remix has he felt it. One of the artist I am listening to a lot now is Lady Gaga Mayhem album I think it is very creative to mix genre and style/sounds and Fariusmusic.
Life, Death, and Rock ’n’ Roll: The Story Behind God of the Dead
Rosetta west is back with their most audacious album to date titled God of the Dead. This promising new album takes blues rock in bold new directions blending psychedelic sounds, world folk, raw punk, and subtle acoustics. Far beyond what they had done previously under the title Gravity Sessions, this Illinois-based act delves into profound spiritual and mystical topics with 15 songs that are as mysterious as they are powerful.
The group revolves around the lead singer Joseph Demagore who has a hard-edged deep voice, plays his guitar with a lot of fierceness and his piano playing is emotional. He collaborates with a long time bass player Orpheus Jones and ever-changing drummers Mike Weaver and Nathan Q. Scratch to create music that is both shocking and effective. Additional textures are added by special guest musicians on such stand out tracks as Midnight and Boneyard Blues to make the album a full musical experience.
God of the Dead is far more than a compilation of songs, it is a complete listening experience. The album explores the ideas of life, death, faith and intense personal searching, but it is also boldly experimental and original. By creating exceptional songs like Chain Smoke, My Life, and Inferno, Rosetta West once again proves that they are not afraid to experiment and push boundaries as to what rock music can be.
The band demonstrates their determination to artistic development as they do not want to remain in the safe areas, preferring to experiment with new sounds and significant material that can make them as well as their listeners think.
Congratulations on the release of “God of the Dead,” Rosetta. That’s a powerful and striking title. What inspired you to choose this name for your latest single?
I have personally have had many near-death experiences recently and I have also had a strange number of encounters with murders, suicides and heart attacks simply while walking my dog in what is considered a safe and fairly sedate town. That naturally gave rise to a lot of thought about death.
The title suggests themes of mythology, power, or perhaps mortality. Can you tell us what story or message you’re exploring in this song?
It’s pure existentialism, I suppose. Trying very hard to find meaning in life, to understand the nature of God, and especially if a personal relationship with God is possible.
It’s pure existentialism
How would you describe the sound and atmosphere of “God of the Dead”? What musical elements did you use to create the mood you were aiming for? Well it’s a very diverse album, which I’m proud of, but again, I think an overall existential crisis shoots through all of it. As far as musical elements, I suppose the most important factor is my voice – how I use it, and what I say in the lyrics.
Walk us through your creative process for this track. Did the concept come first, or did the music lead you to this darker, more intense theme? Certainly my life experiences informed the themes. They inform what I come up with on my instruments too, of course.
Are there any specific mythological references or cultural influences that shaped the direction of “God of the Dead”? I’m a lifelong student of religion and mythology so the reference points are too numerous to mention. I think in my free moments, I revert to a more mystical, pagan worldview. But in other times I feel trapped by the Judeo-Christian aspects of my upbringing. And there’s definitely a rebellion to that, but also a confusion and a feeling of betrayal. It’s not a healthy inheritance.
How does this single compare to your previous work? Are you exploring new musical territory or building on themes you’ve touched on before? Mostly building on what I’ve done before, to be honest. Going forward, I want to feature piano much more prominently. I had a dream about that and I’m trying to follow it.
What was the recording and production process like for this song? Did you work with any collaborators to bring this vision to life? Most of the collaborators on “God of the Dead” were long-time friends, so it was very comfortable. But on “Boneyard Blues,” the sound engineer I had meet that day at the studio played drums, and it was wonderful. I thought he did a good job.
What emotions or thoughts do you hope listeners experience when they hear “God of the Dead” for the first time? I hope they find a reflection and and an expression of their own feelings and thoughts in the music, and are comforted by that.
Are you planning any visual elements, like a music video or special artwork, to accompany this release? How important is the visual aspect to this particular song? Yes there will be several videos. I try to make some interesting clips on my own, and there is now someone helping me with some of the videos. It helps spread the word.
Is “God of the Dead” a standalone single or part of a larger project? What can fans expect from Rosetta West in the coming months?
I hope to have another release out this year, and as I said, I hope there is a prominent piano piece. I’m working on it, but who knows what will happen in the end.
Amanda Emblem on Love, Life, and “Storm in My Life”
The Amanda Emblem Experiment has come out with a new and exciting single titled Storm In My Life. It is the initial issuance of Amanda Emblem, an Australian singer-songwriter residing in Kandanga Creek, this year. She is credited with writing purposeful lyrics and coming up with stories that are rich in music.
Amanda is a significant figure in Australian music, who has been active in it over two decades. This fresh track is a follow-up to the successful EP released last year called Farmtime, and it is a logical step forward in her creative activity.
Storm In My Life is a love song, which is an effective blend of powerful emotion, energy, and obvious narration through metaphor. The song draws parallels between the top and bottom of romantic relationships and an unpredictable storm, which makes it relatable and really human.
The style of music is inspired by the indie folk, alternative country, and blues-folk music genres. It has a warm fingerpicked guitar, harmonica, and attractive slide guitar lines. The central point is the singing of Amanda, which makes the balance between the emotional openness and the melodic readiness of delivery.
The song presents Amanda as a songwriter, song composer, and song producer because of the vibrancy of the sound as well as the sincerity of the words.
The song is somehow new and old, playful and meaningful. It presents the thrill and being in love. Indie folk music lovers and honest songwriting will mark the song Storm In My Life as a piece of work that they will remember even after the last notes are played.
“Storm in My Life” is a powerful title—can you tell us what inspired the song and what it means to you personally? The music and the title came about in the same place, at our holiday spot in a tiny beach village called Tinnanbar. My partner and I love to meet up with our mates who live there. We drink cocktails and jam around the kitchen table. I record it for laughs and to inspire new songs. That’s exactly what how it happened.
The title is powerful. I think that passion and drama work quite well together. I know firsthand having survived a few “storms” in my own love life… when it came to writing the song I drew on experience definitely!
Was there a specific moment or experience that sparked the idea for this track? Totally!!! It was something said as a joke, in passing, from my friend to her romantic partner as a thunderstorm approached our house during one of these jams. It went like this; Rachel: “You are the storm” Tim “No, you are the Storm!”
It was recorded it on my phone with our jam that night. I instant picked up on it. It was such a vibrant recording, complete with electrical interference and many laughs! The rest of the lyrics took some time.
The lyrics feel emotionally charged—do you find songwriting to be a form of therapy or reflection for you?
Always. The whole songwriting process is imbedded in my emotional development. I’m influenced not only by my experiences but also by those around me. I absorb and reflect them in song, and it’s like a superpower of sorts, in that I don’t really understand how it happens, but it’s always a positive thing that I enjoy immensely.
What was the writing and recording process like for this single? Did it come together quickly or was it more of a slow build?
It was a slow build. The music came first, and the song had a working title of “But bar” for ages. The title and hook came (as described) not long after, but the two didn’t really connect until I worked on it in the studio. Then it was a complete delightful rush of lyrics… this all happened over a three month period.
How do you usually approach crafting a song—does it start with the words, a melody, or a mood?
For me every song has a different journey. “Storm” took a while to craft, but other songs just “fall” out of me, almost like they were written by someone else and I’m just a vessel to give them life. In these instances I’m lucky if I am recording because once that moment comes and goes I can’t recall exactly what I sang and played. There are a few songs like this on my coming album. I liken them to gems of the moment, and reproducing them in the studio is a process of relearning them and making them shine.
I also have a process whereby the lyrics and titles come first. I collaborate with others in this way, using a formula that I use in songwriting workshops. Often these sessions result in more than one song however, and they often get reworked over and over to get to a finished stage, ready for the studio.
Do you see this single as a continuation of your previous work, or a new direction for The Amanda Emblem Experiment?
Since my second album I’ve been settling into an easy acoustic folk environment having spent years as a rock artist trying to prove something . I liken the gentle nature of where I am at now. I feel like it’s a natural evolution, so you could say it’s a continuation.
What have you learned about yourself through making this song?
Yes. Because the title/hook was determined, before the lyrics I had to research my memory, relive some experiences and relationships that were comparable. Turned out there was quite a lot to draw from. Most curiously was my reactions to actual storms upon analysis.
Where I live, in the last few years it has flooded, with unprecedented wet weather. For some of our community it’s had devastating results. Yet despite the risks and destruction I always get excited at the extreme weather. I drew on that bizarre behavior for inspiration.
Do you have plans to perform the track live soon, and if so, how does it feel to bring this one to the stage?
The song is a great live track. I’ve already performed it quite a lot, mostly solo. Right now I’m integrating keyboard into our live set for a festival performance coming up. Getting the dynamics right on this one is the biggest challenge but it’s a great song and it hits hard.
Is “Storm in My Life” part of a larger project or album we can look forward to? Yes, there’s an album titled “The Wood” coming very soon.
Finally, what message would you like to leave with fans who connect deeply with the emotions in this song?
I would say that it’s ok if your romantic relationships aren’t smooth sailing all the time. Just because it’s stormy, it doesn’t mean there’s any less passion. No relationship is without its challenges. Recognising that the ups and downs can add to the spice is a great way to cope and put these things in perspective.
Michellar’s new EP, “My Alma Latina,” arrived with the familiar, sinuous warmth of a Santana guitar riff but proceeds to map out an altogether different territory. This isn’t just a collection of pop songs seasoned with Latin flair; it’s a five-part spiritual field guide, an intimate log of a soul navigating a world that refuses to stand still.
It begins with an earthy anxiety, a love for a physical home shadowed by the threat of its destruction. Listening, I was suddenly reminded of the specific smell of ozone after a lightning strike a block away—an abrupt, beautiful, and slightly terrifying sign of power you can’t control. The EP doesn’t wallow there. It swivels, catching the glint of a fleeting human connection—a shared dance that feels like a full lifetime condensed into three minutes, a desperate pact made against the coming dawn. It’s a temporary sanctuary, as fragile and precious as a bead of morning dew.
But when a place and a person prove to be insufficient anchors, the journey turns inward. The concept of prayer here is stripped of its ceremonial robes, presented instead as a daily, foundational act—less a grand plea and more like the quiet, persistent work of a root system seeking water in dry soil. It’s the sound of quiet strength being built, moment by moment.
Rooted & Reborn: “My Alma Latina” by Michellar
This accumulation of resilience leads to its final, breathtaking confrontation. The EP wades into the vast, dark ocean of the self, surrendering to an overwhelming struggle that feels like a symbolic drowning. What emerges on the other side is a hard-won, gasping sense of freedom—a rebirth found not in a cathedral, nor in a lover’s arms, but in the terrifying and transformative depths within.
What happens, this EP seems to ask, when we realize salvation isn’t a destination we pray to, but a territory we must discover within?
Listening to Marie Chain’s new single, “Holy Water,” is like turning a corner to find yourself in the midst of a sacred ritual already unfolding. It’s a gathering by a riverbank, but the river is made of sound—a compelling, moving current of Global Soul that tugs you in before you’ve even had a chance to decide if you want to get wet.
The beat has that hypnotic, rolling Afro-rhythm, but it’s anchored by a piano that plays with the deep, marbled melancholy of the blues. It’s an odd and brilliant pairing, like finding a perfectly preserved Art Deco lamp in the middle of a forest.
The song is a plea, an invocation for a cosmic rinse-cycle. Chain isn’t just singing about washing away her own missteps; she’s petitioning for a full-scale spiritual power-washing for everyone. Her voice doesn’t ask, it demands, with the robust, earth-shaking force of a gospel matriarch who has simply seen enough. As she sings of purging the “sins, suffering, and vanity of others,” I find myself thinking of the strange, accumulated weight of a thousand strangers’ online anxieties, a digital grime we all wear. This track aims to scrub it all off.
Marie Chain Demands Purity with “Holy Water.”
It’s built like a ritual, escalating from a quiet request into a full-throated, choir-backed exorcism of negativity. You can almost feel the impurities being lifted, atom by atom. The song is inspired by a mountain stream, and that clarity is there in the crisp harmonies, a coolness cutting through the music’s emotional heat. It leaves you feeling strangely light.
But once the final note fades and the cleansing is complete, you’re left standing there, spotlessly clean and a little dazed. What does one do with all this sudden, pristine emptiness?
Navigate the Tilt: Lincoln's Future Theory's Potent "Reality Buzz."
Lincoln’s Future Theory have distilled a uniquely modern affliction into their new single, “Reality Buzz.” It’s the specific sound of a cheap energy drink fizzing next to an overdue bill. A nervous, propulsive energy runs through the track, a driving alt-rock current that feels like trying to walk in a straight line while the world tilts on its axis. The guitars, steeped in a satisfying psych-grunge haze, don’t just strum; they seem to be climbing over each other, trying to get to higher ground.
This isn’t just noise, though. There’s a fascinating narrative of defiance stitched into the fabric of the song’s atmospheric churn. We’re hearing someone navigate a world of daily indignities and decide, quite consciously, to be magnificent anyway.
This act of pretending—of mentally crowning oneself amidst the squalor—reminds me, strangely, of the Barracks Emperors of 3rd-century Rome. Men who, surrounded by chaos and imperial decay, simply decided they were in charge, their power forged from little more than sheer will and a loyal few. This is that feeling, translated through shoegaze textures and post-rock ambition. It’s a coronation of the self.
Navigate the Tilt: Lincoln’s Future Theory’s Potent “Reality Buzz.”
The song finds its glamour in the muck, a flash of imagined velvet in a gritty reality. There’s a profound strength in its central idea: that your identity isn’t what the world hands you, but what you have the guts to claim. A personal celebration made of cheap thrills and brute-force imagination.
“Reality Buzz” doesn’t offer an escape hatch from the overwhelming hum of modern life. Instead, it offers a strategy for living within it. The track fades, but its central question lingers like a ghost in the static: what happens when you decide the kingdom inside your own head is the only one that truly matters?
Stars Go Dim's "Roses": Discovering Peace in the Prosaic.
Stars Go Dim’s new album, “Roses,” has a peculiar effect; it settles into a room less like music and more like a change in the atmospheric pressure. There’s a plush, amber-toned sound here, a vibe so authentically steeped in 1970s groove that you can almost feel the corduroy under your fingertips.
Chris Cleveland’s vocals, smooth and seasoned like worn-in denim, glide over bass lines that amble rather than race. This isn’t music in a hurry. It has a bus schedule from 1974 and it’s perfectly content to wait.
The entire project is a gentle argument for finding the profound in the prosaic, for seeing the divine thumbprint on a coffee mug or in a stranger’s fleeting kindness.
Listening, I was suddenly reminded of the intricate, almost floral patterns on old cast-iron sewer grates—an anonymous artist, decades ago, decided that even something so utilitarian deserved a moment of beauty. That’s the sort of perceptual shift “Roses” seems to be nudging us toward. It doesn’t preach from a pulpit; it offers a knowing nod from across a crowded room, suggesting there’s something holy in the very act of paying attention.
Stars Go Dim’s “Roses”: Discovering Peace in the Prosaic.
This collection charts a journey away from the frantic chase for more, proposing a quiet rebellion of gratitude. The lyrics advocate for a re-evaluation not with fireworks and epiphanies, but with the steady confidence that a little bit of hope is enough fuel to get you through the day. It’s the sound of choosing presence over productivity, a quiet act of defiance against the relentless hum of modern hustle.
“Roses” doesn’t hand you a perfectly manicured bouquet. It seems more interested in getting you to notice the good soil you’re already standing on. What if peace isn’t something you have to find, but simply something you have to uncover?
