The Witching Hour: Unpacking the Magic of Bleec's 'Wicca'
There’s a strange kind of darkness that hums at your elbows when you listen to Bleec’s “Wicca”—like the feeling you get when a candle flickers too convincingly in a supposedly empty room. But let’s be clear, this isn’t a ballad for your melancholic playlist walk through a rainy suburbia. It’s a spell. Literally.
At first, you might mistake its soft, rippling melodies for something too delicate to bear the weight of heartbreak, but there’s steel wrapped in the mist. Bleec turns pain into an incantation; the loneliness, the rejection, they all get tossed into a cauldron and boiled into resilience. Not to mention the sheer texture here— layer upon layer of atmospheric murmurings that feel like someone’s summoning something very old, yet weirdly comforting.
The track is all about spiritual resurrection, as if we’re sifting through an old, charred diary where someone’s scribbled the secret to surviving emotional devastation. There’s enough witchcraft here to shake off any lingering bitterness. That’s how Bleec operates—resilience doesn’t come through anger, it comes through turning inward, conjuring something that’s already been buried deep within the self. Allow me a bizarre analogy: it’s a bit like battling your worst self with nothing but a velvet glove, trusting it’ll work.
The Witching Hour: Unpacking the Magic of Bleec’s ‘Wicca’
Musically, “Wicca” has an eerie elegance that somehow merges haunting introspection with just enough folk and rock to keep you tethered to the modern world. Think medieval cathedral, but the sound system’s got Bluetooth. It’s mystical without the overblown clichés of cauldrons and broomsticks—more protection spell, less Hollywood magic. What Bleec does is alchemy, not illusion.
Genuinely, it leaves me wondering: how much can a spirit break before it rebuilds stronger than ever?
Footprints in the Fog: Red Skies Mourning's 'Myosotis' Leaves a Lasting Impression
Sometimes music sounds like déjà vu, like a place you’ve visited in a dream, only to wake up and forget the details, leaving you with an aftertaste—a sense that something out there understands you more than you understand yourself. “Myosotis,” the latest album from Red Skies Mourning, wrestles with this feeling, like unpacking a suitcase filled with other people’s memories and wishing you’d brought your own.
Chris Aleshire, the group’s unmistakable voice, navigates this album with a rawness that’s deeply conversational, yet somehow distant, like someone recounting their life under a streetlamp at 3 AM. Alongside producer CESAR and co-writer Ryan Curtis, Aleshire doesn’t tell you how to feel so much as hand you the pieces and lets you construct the picture.
Footprints in the Fog: Red Skies Mourning’s ‘Myosotis’ Leaves a Lasting Impression
The themes here—life’s unpredictability, fractured relationships, turning a personal corner—are as old as time yet dressed in fresh, atmospheric soundscapes. It’s all tied together, not with a neat bow, but more like a knotted string unraveling as the songs progress. The blend of alt-rock pop and commercial hooks feels like wandering through Baltimore’s streets with your headphones on shuffle, never knowing what genre or mood will hit next. There’s something cinematic but unpretentiously so, like flipping through an arthouse film and a blockbuster in quick succession.
“Myosotis,” named after the forget-me-not flower, feels like footprints in wet cement. It hardens and weathers. But what will stand? It’s that incredibly human desire to process the ephemeral. Aleshire and crew speak about relationships, but really? They’re asking more than they’re saying.
And really, don’t we all just want to ask the right questions?
Unmasking Emotion: Masquerade's 'Something Mine' Reveals the Beauty in Dissonance
There are songs that feel less like music and more like modern mythmaking, almost like a someone’s calling ancient birds under a grey Nottingham sky. “Something Mine” by Masquerade shuffles between battle cry and lullaby in a dissonant yet captivating twist, and no, it’s not playing within the safe lanes of pop-rock, either.
The guitar strums feel like distant conversations, the drums, a heartbeat locked in sync with emptiness, filling space but never quite sealing it. The vocals? Well, they don’t quite shout; they ache—like the murmur of someone who’s tired of yearning but still clings to it like an old jacket on a windy day. Through a mixture of emphatic melodies and brittle vulnerability, Masquerade presents a track that hums with restlessness, a march toward…something. A lonely fate? Maybe a better tomorrow, maybe just something real. There’s an ode to imperfection here, sure, but also a strange comfort in the chaos of dissatisfaction.
Unmasking Emotion: Masquerade’s ‘Something Mine’ Reveals the Beauty in Dissonance
This song smells of damp streets, late nights spent wondering, and the stubbornness of people who refuse easy answers—there’s a gritty beauty in that. Like catching glimpses of yourself in shattered glass, the rough spots make it sharp, even empowering.
Is it absurd to think this song could be a cousin to existential theatre? Or, dare I say, a soundtrack to a 19th-century letter about unrequited love—but sent by DM? Random feelings become anthemized, framed by warm, human contradictions.
“Something Mine” doesn’t give you answers. It’s not here to coddle. Instead, it leaves you in the messy middle of things—where you realize wanting more might just be what makes you feel alive.
There’s a special kind of freedom found in a 90’s bop—that mix of nostalgia and naïveté, before anyone had figured out adulthood was kind of a hoax. DJ Thommek’s “Take Me Back” taps into that wide-open sensation, but instead of rose-tinted glasses, you’re donning a pair of neon heart-shaped sunglasses under a kaleidoscope light show. Düsseldorf might not be the nightlife capital of the universe, but this track certainly makes its case.
The beat? Driving, of course. But what’s more, the energy feels like it’s balancing on that thin line between chaos and euphoria. It’s a rhythm that doesn’t ask you to dance, but pulls you into it—as if you’re swimming in the beat, and dancing is the only way to stay above water. Somewhere between the synth leads and carefully arranged bass drops, something joyous unravels.
What sets it apart from the usual EDM churn? The happiness doesn’t feel forced—like those smiling selfies that hide dark under-eye circles. “Take Me Back” is genuinely seeking something slightly more primal, or maybe just less cluttered. You don’t get bogged down in excessive ornamentation, which is refreshing in an era that too often demands maximalism as a default.
DJ Thommek’s Sonic DeLorean: Buckle Up for ‘Take Me Back’
There’s an underlying shift—you can almost feel it—like the moment in history when disco was beginning to grapple with punk’s rise. Thommek isn’t chasing trends; he’s folding moments into moments, but with a knowing, carefree smirk.
In the end, it’s a call: not backwards, but back to that core of spontaneity, of joy before self-awareness stepped into the scene.
Aiden Button's 'Splashed City' Is A Lo-Fi Journey Through Urban Soundscapes
In his latest release, Splashed City, Aiden Button brings a fresh touch to the lo-fi genre, building an ambient urban soundscape that feels both intimate and expansive. The piece, created entirely without loops or samples, showcases Button’s distinctive approach to composition, drawing from his diverse background in genres ranging from progressive rock to ambient film music.
Button’s choice to use the iconic Crystal Piano patch from the Roland JD-800 adds a bright, nostalgic warmth to the track, while a deep bassline drives the music forward. The song flows seamlessly, shifting between layers of sound that embody the grit and gentle chaos of city life, a theme that inspired the track’s evocative title.
Starting with smooth jazz chords, the piece evolves with a central break and subtle effects, leading to a climactic fusion of instruments that feels both spontaneous and meticulously crafted. Button’s production choices reveal his meticulous artistry, blending imperfections with intention, resulting in a track that feels both technically rich and emotionally raw.
With Splashed City, Button offers listeners more than background music; he creates an introspective space that invites a deeper engagement, leaving us eager for his upcoming projects.
*Splashed City* has such an intriguing title. Can you share the inspiration behind the name and the song itself? Really, it comes randomly. I loved the sound of this two words together.
What themes or messages did you aim to convey in *Splashed City*, and how do they reflect your personal experiences or worldview? The funny thing is exactly this: I didn’t think of any ‘prepackaged’ message, but I just let the music flow. I wanted to experiment with the lo-fi genre, including some of my own compositional approaches that stem from my background as a composer.
Can you walk us through the creative process for *Splashed City*? How did the song evolve from its initial idea to the final version? The compositional approach came from a chord sequence I played just for fun one evening with a bassist friend. We were experimenting with bass lines in relation to some smooth jazz chords. I immediately knew I wanted to turn that chord progression into a lo-fi track with a very prominent bass.
At that point, the track structure with the main loop was already in place. I knew I wanted to add a central break with a different chord progression, tweak the drum parts with a filter, and include some sweeps… I also wanted the track to have overlapping parts, so that each individual section could harmoniously connect with the others, allowing everything to play together in the finale. Then the rest was ‘just’ effects… lots of effects in the mixing and mastering stages
The lyrics paint a picture of urban life in an imaginative way. How did you approach writing the lyrics, and is there a particular story or image you wanted to capture? Since there are no lyrics in the song, the title Splashed City just came to me for no particular reason… I was probably unconsciously thinking about city life, which can not only ‘splash’ you but also ‘crush’ you in its frantic rush. The rest is the magic of generative AI.
Was there a moment during the making of *Splashed City* that stands out to you as particularly memorable or challenging? All the moments in the track are very interesting because they connect seamlessly with each other… My favorite melodic line is still the Crazy Flute, which colors the chords—especially the dominant one—with an altered jazz scale. As for the section, I prefer the moment after the break when all the instruments come together, and, with careful listening, you can perceive a drum delay that accentuates the flow of the track.
Did you collaborate with anyone for *Splashed City*, and if so, how did that influence the final track? As I mentioned before, the only real influence was that evening with friends, although I have to admit the ideas came directly from me. I still want to thank my friend Luca Rancan for his support and inspiration.
Who did you work with for the production, and how did their input shape the sound of *Splashed City*? It was a me, myself and I production 😀
What do you hope listeners will take away from *Splashed City* when they hear it for the first time? I know it’s difficult to expect what I’m saying, as this type of track is mainly used as background music for studying or relaxing. I’d love for the listener to enthusiastically notice the various elements we discussed and, perhaps even through reading this interview, to gain a deeper understanding of the track
Have you had any surprising or interesting feedback about the song so far? I have to say that this time many playlist curators and even some friends were drawn to the track… more than usual, and it seems to stand out more than my previous solo piano productions.
In what ways do you think *Splashed City* reflects your growth or evolution as an artist? Splashed City is the final culmination of my exploration of digital music in the streaming market. All my previous work up until this point has served to enhance my musical skills. Now I feel ready to work on what truly interests me: my progressive rock album.
Does *Splashed City* set the tone for future projects you’re working on, or is it more of a standalonepiece? As mentioned before, it’s a stand-alone work, but at the same time, it creates a continuity that will lead me to apply what I’ve learned in my future projects.
What’s next for you? Do you have any upcoming releases or projects that you’re excited about? Next year will be dedicated to the release of my album Shades of Keys. It will be a multi-genre album that gathers all my main influences and will be divided into four sections: progressive rock, orchestral, solo piano, and jazz and blues. I can’t wait!
Soaring Beyond Limits: Rawyrah’s Epic Debut, ‘Flight of the Phoenix’
A new band Rawyrah enters the melodic metal genre with “Flight of the Phoenix” as the first single that in terms of both – musicianship and emotion – feels like the band came out of the ashes. Originally from the Cologne, Germany, she adds a layer to the genre which has not been heard before, not only due to her gospel choir background, but her years of vocal training as well. Combined with Austrian producer Frank Pitters, something ostentatiously movie-like has been produced here – a track that is far beyond the framework of a conventional theme.
She leads singing over the top of the orchestral track that blends climates of metal music with a score-like dramatic feel. The song lyrics describe transformation of an individual and that is where the phoenix symbol is used to explain how one has to destroy the self-imposed chains. It is an empowering theme played out with raw realism which must resonate with the journey of not only the protagonist but the director Rawyrah herself.
“Flight of the Phoenix” is a prime example of how metal has the ability to tell stories and move people. Rawyrah has achieved something remarkable: a technical achievement on its first outing and an emotionally resonant one at that. It’s heavy but not to the extent of losing its soul; there’s a genuine headbang for every good mope.
Celebrating Strength: KARMA Talks Inspiration, Unity, and Music
Amid a music landscape craving authenticity and powerful messages, the Memphis-based trio KARMA emerges with their latest single, “SIS (She’s Something).” This soulful blend of R&B and hip-hop celebrates the resilience and unity that bind women together. Drawing inspiration from the spirit of 90s girl groups, KARMA infuses nostalgic sounds with fresh energy, creating a track that demands respect and embraces self-worth.
Composed of KB, Keymah Renee, and Miesha MonRoe, KARMA brings a dynamic chemistry to their sound, exuding confidence and sophistication. The trio sees their music as a form of empowerment, ensuring “SIS (She’s Something)” resonates with listeners from all walks of life, including a heartfelt nod to the strength of transgender women. More than a catchy tune, the song is a rallying cry for women who lift others up and for those who work tirelessly without recognition. With lush harmonies and heartfelt lyrics, KARMA is here to celebrate womanhood in all its forms.
In an exclusive interview, we explore KARMA’s journey, their creative process, and the empowering themes behind their music. As the trio continues to make waves in the industry, their message of unity and self-acceptance is sure to inspire and empower listeners everywhere.
Congratulations on the release of “SIS (She’s Something)”! How does it feel to finally share this new music with your fans? A: Thank you Thank you soo much Honestly it feels amazing to share every song we put out because they all have such a huge personal meaning for us and whenever we get to share that with the world its like inviting people in to get to know sides of us that we might not show all the time.
Can you tell us about the inspiration behind the name “KARMA”? How does it reflect your music and artistic vision? A: Yes absolutely its a long story but we wont bore you we will keep it short and sweet for this interview we named ourselves KARMA because we believe in good and bad KARMA people always talk about the bad side of KARMA but the good side get very little praise at the end of the day what you put into the atmosphere of you will get back so you do good you get good you do bad you get bad we like to think we bring the good KARMA into you life.
What’s the story behind “SIS (She’s Something)”? What inspired the lyrics and message of the song? A: yassss SIS well it comes from a lot of thing but women are so underrated a lot of the time and we wanted to say in this song “SIS we see you” We see you being the mom and the dad even when you are tired… We see you working 2 jobs to put food on the table…we see you taking care of your parents and you are tired but never complaining…
We see you Kamala Harris running for president of this beautiful nation ready to carry America on your back… We see you Cis the transgender that dont get recognized or get bullied… We see all of you all and we want to let you know you are doing your big one and you need to be recognized for that…
Can you elaborate on the meaning of “She’s Something”? Who or what is the song about? A: Yes absolutely”She’s Something” is about all woman its a womens anthem we have had so much negative internet beefs between women that we wanted to be sure to say to every woman you are something special for all that you do when you get up at 6am head to school to get your education, go to school to teach young children, go to the gym to keep your body looking good, taking care of your family, even the strippers that might have to strip to pay their way through school SHE’S SOMETHING for sure through it all she holds her head up and take the good with the bad. In the song we speak on “you got bread we do to so watch how you come at me” because people feel like if they have more then you they dont have to respect you and we feel all women deserve respect.
Yes absolutely”She’s Something” is about all woman its a womens anthem we have had so much negative internet beefs between women that we want
How do you collaborate as a band when writing and recording new music? Do you have a primary songwriter or is it a collective effort? A: Wow thats a good question sometimes we could just be done went through something and we could be sharing that experience with each other and the team we own our own studio so we will just be talking and a narrative will flow from it and us and our team start the magic we go through lots of versions before it becomes a song and we demo sometimes 10 or more times befor the final version and some songs a lot of songs dont make it pass the board lol but we are in the studio daily making music we like to tell people be careful what you say or do around us because you just might find it in a song 😂
What’s the most challenging part of creating music together as a band? How do you overcome creative differences? A: another good question weeeelll we honestly dont have any creative differences to be honest we all kind of know our lanes so MiiMii (MIesha MonRoe) she is more like the crazy one of the group she likes to try all kind of stuff and we just go along with it tbh KB I am super chill and a tomboy and MiiMii best friend so we really just move as one Key (Keymah Renee) I am the sexy saucy of the group and which ever way the wind blows i am easy going so if they say this what we doing i am all on board i usually jump out there first 😂
How do you balance individual creative expression with the cohesive sound of the band? A: We are sisters and we are learning and open to learning more daily so there is no wrong answer or mistakes can someone want to try something rather its us or our team we just do it no push back so it makes for a easy way of being creative. no one idea is dumb or stupid we all are willing to give it a shot and even laugh at ourselves while doing it…
Are there any notable musicians or bands that you’ve been listening to lately? A: yeeeeess absolutely we actually listen to all kinds of music and artists from old to now if you rode in the car with you, you would be filled with every emotion possible you would go from wanting to beat someone up to wanting to get married to saying f the police to wanting to put on your cowboy boots to crying and in love with everyone mainly God we wont name all the amazing artist because there would be no more space in this interview by the time we finished naming people weeks will have passed 😂
“SIS” seems to have a strong feminine empowerment vibe. Can you talk about the importance of this theme in your music? A: yep you are correct definitely a female empowerment song and we think we already said so much about that above
How do you think “SIS” will resonate with your female fans? What message do you hope they take away from the song? A: We hope for all of the females fans and new fans to come we hope the song resonate in a way of letting them know when they are doing all the things that they do daily unselfishly and just encase no was has told them today “Sis someone sees you and you are truly something else keep doing your big one” hold your head up dont give up it cause you are the (s$#t) 😂
What’s next for KARMA? Are you working on a new album or EP? A: What we have coming up next the music video that we are soooo proud of to SIS (She’s Something) drops this friday Oct 25th and we are in the studio working on our Christmas release called “Under The Mistletoe” which will drop November 15th for the holidays the video for that will come out 2 weeks after the song and we have shows coming up just a lot of great things to wrap up 2024 in a big way.
Are there any upcoming collaborations or side projects that you’re excited about? A: we are in talks with a few artist unfortunate we are not allowed to drop that information just yet but some exciting things happen even TV things hehehe
What’s the most exciting thing about releasing new music for you as a band? A: Umm a lot of things but if we had to chose one watching to see how our fans light up when they listen to what we had cooking up its like a gooood old fashioned dinner at grandmas house for us. Soulful and very fulfilling 😂
Ryan Tobin on Faith, Struggle, and the Story Behind 'Purgatory Road'
As Tobin will explain in an interview, one of the songs on the album, namely the title song, was made at a time when he was still trying to get his life back on track after overcoming the withdrawals of addiction. One night when he was nursing his sick children the idea just came to him. Strapped to his side, the guitar, he poured everything he’s been through, and even fleeting moments of victory into what would become his best work yet. And that is true throughout the track listing – which makes Tobin more than a survivor but a storyteller.
Canyon Lake, Texas native Tobin’s rock star story is one of passion and tenacity. Here he reveals much of the story behind the creation of *Purgatory Road*, the hidden messages in his songs and his dreams for changing lives through music. Throughout it all, one thing remains clear: for Tobin, music is not art it is a vocation to become an artist.
“What inspired the song “Purgatory Road”? Is there a personal story or experience behind it? I was about a year into my recovery from alcoholism and mental disorder when I started writing Purgatory Road…one cold winter night my family and I had fallen ill. While my wife rested I stayed up to watch over the kids who like me were riddled in fever, pain, and exhaustion. As a way to keep my eyes open and stay alert I sat down with my guitar and lightly strummed. It was common chord progression, but I felt something different.
Maybe it was my fever or what I liked to think was a floodgate of healing opening up by my savior to guide me through another chapter in recovery. When I muttered the first few lines of the verse I stopped what I was doing started crying, thanked God, and grabbed a composition book and pen. I didn’t set off to write a song although I always wanted to.
This was something set in motion way before the night I wrote Purgatory Road. All the pain that I felt, all the broken promises, mistakes, and even the good times where going to find their way on this paper.
Can you talk about the meaning behind the lyrics and how they relate to the overall theme of the song? One specific event sparked the “Breathe, Breathe” part of the chorus. I was in treatment and had pretty bad episode dealing with withdrawals and other afflictions. One of the medical staff and counselors who helped me kept saying “breathe, breathe” and that kind of stuck with me throughout the healing process. The references to being under ice is the weight of addiction on top of the relationships that get burned along the way.
There are many references to my faith within the lyrics which play an important role to the entirety of the song and album. Still room for personal interpretation, but I think the music paints a pretty direct picture. Purgatory Road goes both ways and there is always a place to turn around and start over. I just had to ask God for help and be ready to receive it.
There are many references to my faith within the lyrics which play an important role to the entirety of the song and album
How did you approach the musical composition for “Purgatory Road”? What instruments and sounds did you use to create the distinctive atmosphere? The song didn’t sound exactly how it does now. It was written acoustically, and I did have help with one important part…the chorus! Originally the chorus sounded like this “Breathe Breathe its okay, no more tears for you to cry today” a good friend grabbed his guitar and said check this out “Breathe Breathe its gonna be okay, save your tears and all your fears, save them for another day” my jaw dropped and I was like….”THAT IS IT.”
I immediately told my friend “I will put you in the credits” and the song moved forward. My musically talented cousins helped with the initial production of a beautiful sound that was softer and acoustically centered. I knew there was some heavier rock in there and felt like this was my only shot to find out. So I sent the demo to another friend who God strategically placed in my path and the rest is history.
Can you describe the recording process for the single? Were there any challenges or memorable moments?
Writing, playing, and recording music has to be one of the best things to do in life. Nothing like it. Favorite part is recording vocals. For Purgatory Road and a few others on the album we did things remotely. So the only challenge to long distance production is time and opportunity for mistakes to happen.
The trust I had in the people who worked with me on this was paramount and it speaks volumes to the passion they have for music. Most memorable moment was hearing the playback for the first time with arpeggios and strings. I was finally able to start seeing a vision come to life and this has been an awesome experience thus far!
Where are you from, and how has your upbringing influenced your music? Born in Germany and grew up in the State of Texas in an extremely small town next to another small town. Currently settled in Canyon Lake out in the country. My passion from music comes from my time spent in church growing up, seeing my dad play in a cover band when I was a kid, and it seemed like no matter where I was at the radio was always on. If I had to pinpoint one experience that has had me locked in to music…it would have to be in 1997 when I saw a Christian acoustic duo play at a summer church retreat. My mom bought me my first acoustic guitar shortly after!
How would you describe your musical style? What genres or artists inspire you? My favorite type of music is rock or folk and within this is gospel and country. Most of the songs I play have a somber or reverent tone. I think acoustic guitars, violins, cellos, and basses capture those moods great. I play a six string acoustic primarily and typically have to learn in order to play the melodies that generate throughout life. Coolest part about rock music is that it is extremely versatile medium to show emotion with a song.
What is your creative process like when writing and recording new music? Do you have any specific rituals or routines? Prayer, people, and persistence. I had the melodies and lyrics but, my guitar skills didn’t always match up to what I was trying to get out so I had to learn more on guitar to get it as close as I could. Most of the time something pops into my head and I just start singing. Doesn’t have to make sense yet so I just record it with my phone. Then I start to dig into lyrics, overall melody, rhythm, tempo and then go from there.
What does the name “Ryan Tobin” mean or represent to you? I decided to keep my name when writing and releasing music because the songs were extremely personal. There were a couple of other options and maybe a name for a band, but after long deliberation and prayer, I knew it was the right thing to do!
What are your plans for the future? Are you working on any new music or projects? Immediate future…release the album Purgatory Road on November 1st. Next step is to get equipment ready for live shows and everything that goes with it including me! We also have plans to do some internet based live and pre-recorded events in the solo acoustic form. There are 4 new songs for the next journey in progress and I am starting to co-write with fellow musicians.
What are your long-term goals as an artist? Where do you see yourself in five years? What I would love is to just keep connecting with people through faith and music until I am called to do otherwise. Until then I will keep writing, singing, and telling my story. Some dreams include small tours, second album, and being able to support my music with the support of people who enjoy listening to it.
What message would you like to send to your fans and supporters? My belief, and what I know to be true is that God has a plan for every single one of us. Thank you all for being a part of my life and staying with me through some very tough times. Hopefully we continue to grow as a community and experience more cool times together as fans of music, friends, and family.
Music, Mental Health, and Moving Forward: An Interview with Canisha"
Canisha, another artist from Melbourne music scene, sings passionately, yet professionally. Following in the footsteps of Adele and Harry Styles she has created her own niche for this genre where pop music can be emotional and storytelling at the same time.
Her new song entitled “Save You From Yourself” is all about the domain of mental health and substance dependence and what it is like to remain as a spectator. The track further establishes Canisha’s ability to turn private suffering into public empathy; a talent that is making her famous across borders much as she grows popular domestically.
With help from acclaimed producers Anthony Liddell and Jake Amy, Canisha took the song from stripped back acoustic beginnings and molded it into a slick electronic production that still retains a lot of live instrumentation. Featuring Melbourne soul artist Bumpy injects the track with both additional meaning, and even more, a personal touch creates the song’s narrative and takes it to another level. Canisha reveals the process of creating this powerful music and shares the story behind those songs rooted in her own life experience.
Congratulations on “Save You From Yourself”! What sparked this song’s concept and message?
I had someone close to me who was struggling with their mental health and turning to alcohol to cope. I was too scared to tell them I was fearing for their safety, so I wrote a song about it as an outlet. I never intended for anyone to ever hear the song, I wrote it for me and for them.
How does this single fit into your artistic journey and musical evolution? It had been a while since I wrote a powerful ballad like this, I had been releasing a lot of pop songs. I don’t want to be stuck in a box of just releasing cheesy pop love songs. This song showcases my vulnerability and my powerful vocals.
What emotions or experiences do you hope listeners take away from this song? I want to promote talking about mental health, seeking help and support for mental health and checking in on your loved ones to let them know they are not alone.
Can you elaborate on the theme of self-salvation in “Save You From Yourself”? Those with addictions and mental health can only be helped by others so much, they need to want it for themselves. But encouragement and support from those around you is so important for self motivation.
What personal experiences or observations inspired the lyrics? The loved one that this song is about had a history of suicide attempts. I lived with the trauma of that for a long time. There was a time during COVID that I couldn’t get in contact with this person, so immediately my mind thought the worst. I went to their house and I kept knocking on the door but no answer. Eventually I managed to find a way into the house and found them in bed passed out after a night of drinking. Relief and anger came over me, relieved that they were ok, but angry because they had been drinking while I was scared for their life. I wanted them to know how I felt, but the conversation was too hard to have, so I wrote this song.
The loved one that this song is about had a history of suicide attempts. I lived with the trauma of that for a long time.
How do you envision the song impacting fans struggling with self-doubt or inner turmoil? I want everyone to know they are not alone, that it’s okay to need help. I want them to want to help themselves, they need to want to help themselves. Because their struggles impact those around them as well.
Which artists, genres or albums influenced “Save You From Yourself”? Adele has always been a major influencer for me and my music. I grew up listening and belting out the words to ‘someone like you’ and ‘rolling in the deep’. When I started busking, I loved singing Adele songs. I felt like you could always feel the emotion and power in her songs and I want to write like that.
Adeles bridges are what really get me and I knew I wanted a powerful bridge like her songs.
I was lucky enough to write this song alongside Bumpy – soul artists from Melbourne. I remember seeing Bumpy for the first time at Sidney Myer Music Bowl and there was instant adoration. I cried when I found out I was going to work with her. Bumpy helped me with my vocals and bought so much more power out of me.
Can you walk us through your songwriting process for this track? So I wrote this song in about 30 minutes during an online songwriting course. That week the topic was drink. I used a youtube piano track to sing along to.
I then took this song with me to the singing our futures program writing camp, where I was paired up with Bumpy and producer Anthony Liddell. I showed them the song and they helped me bring it to life.
I sat there with Bumpy at the grand piano and we figured out the chords and developed them further.
We wanted to bring a darkness to the song, and anthony did that with his amazing production skills. (check out verse 2)
How did you balance vulnerability with musicality in this song? With each lyric, I thought about the moment those lyrics are describing and thought about the emotion.
I emphasised certain lyrics with powerful vocals so the message of the lyrics was louder.
Will “Save You From Yourself” be part of an upcoming album or EP? I released my first EP in Jan 2024 and I’m excited to let you guys be the first to know that I am working on my debut album which will be produced by myself, along with Candice Lorrae.
Save you from yourself is a stand alone single
How do you maintain creative motivation and inspiration? Just keep on writing and moving onto the next thing. Don’t stew too long on one track when it doesn’t come out like I want it to. Don’t think about what others want, I need to focus on what I want people to hear.
Its easy to fall into the trap of trying to recreate what’s trending, but you gotta stick to what you want to do.
What message would you like to share with listeners worldwide? It’s ok to not be ok. Even if you’re not alright right now, you will be alright eventually. Check in on your loved ones and reach out for help when you need support.
How does “Save You From Yourself” reflect your personal growth? I wrote this song from scratch by myself, whereas in the past I struggled to write without a track from the producer first. I am growing as a songwriter.
What impact do you envision this song having on your discography? It shows that I am capable of different styles of music, that I can be real and vulnerable or fun and cheesy. You don’t have to stick to one genre/style.
I am a real person who has struggles. Everyone has their struggles and things aren’t always what they appear to be on the outside.
I want to decrease the stigma around mental health and addiction. Addiction is an illness and they need help and support.
Addiction and mental health impact those around the individual as well.
Anabel Rose Welcomes Everyone Into Her World With EP “Something About A Rose”
Just two years into her music career, Ghanaian alt-pop artist Anabel Rose has released her debut EP, Something About A Rose. Following the buzz around her singles “Love Me Or Die,” “DND,” and “Lungs,” Anabel’s new project dives deeper into her distinctive sound and the complexity of her persona.
Describing Something About A Rose, Anabel shares, “Each song is personified as a character, each with its own place in a visual world I’ve created. This EP lets me express parts of myself I can’t usually share out loud.” Through these songs, she introduces listeners to the many facets of her identity and artistry, making Something About A Rose both a musical and visual experience.
The EP features her three released singles, including the fan-favorite “DND,” plus three new tracks. Built on her alt-pop foundation, it blends in R&B, Funk, House, Rock, and Bossa Nova influences to craft a genre-crossing sound. Going solo on this project, Anabel’s aim is clear: to introduce herself fully to the music world and begin her journey as a bold new voice in alternative pop.
With production from Insane Auggie, Mēl, Johnwav, Lolu, and Kxlab, Something About A Rose invites listeners to step into Anabel’s creative world and explore her unique perspective. Listen here
I just listened to Mote’s new single “Torn of Wind” and it’s really something special. As a long-time fan of his work, I can say this track represents a bold new direction for the Berlin-based singer-songwriter.
From the opening guitar riffs, you can feel the raw energy and emotion pulsing through the track. There’s a gritty, post-punk edge to the production that immediately grabs your attention, but beneath that, Mote’s vocals convey a real vulnerability and introspection. His voice has this beautiful range, moving effortlessly from deep, resonant tones to soaring melodies that just send shivers down your spine.
Lyrically, “Torn of Wind” seems to be a reflection on self-discovery and personal growth. Mote has described it as a glimpse into his “dark side,” but there’s also an undercurrent of resilience and determination that comes through. It’s the kind of songwriting that makes you really lean in and listen closely, trying to unpack all the layers of meaning.
The musicianship on this track is top-notch as well. The guitars have this shimmering, atmospheric quality one moment, then they’re ripping through distorted riffs the next. The rhythm section provides this propulsive, urgent groove that keeps the whole thing moving forward with real urgency. It’s a rich, complex soundscape that rewards repeated listens.
What I find most exciting is that Mote has chosen to release this independently, stepping away from the major label structure. It feels like a bold, confident move – an invitation for listeners to really dig into his most authentic, unfiltered artistic vision. After the shimmering pop sounds of tracks like “Hello Divine,” this new direction is a welcome evolution.
“Torn of Wind” is the kind of song that sticks with you long after it’s finished playing. It’s moody and introspective, but there’s also this undeniable energy and emotion that grabs you by the heart. Mote has really hit a new creative peak, and I can’t wait to see what else he has in store.
Awaken Your Intuition with Carlos Ucedda’s Ethereal ‘Five Senses’
Just checked out Carlos Ucedda’s new track “Five Senses” and it’s seriously impressive. He’s managed to create this really immersive electronic sound that pulls from synthpop and dark wave while still feeling totally fresh. If you’re into Goldfrapp or Jessie Ware, you’ll definitely want to give this a listen.
The way the track opens is mesmerizing – these ethereal synths just pull you in from the first note. Then Ucedda’s vocals come in with this ghostly, echoing quality that adds such a cool layer to the whole thing. You can tell he really knows what he’s doing with the production – there are all these little details like glitchy beats and deep bass hums that make you feel the music as much as hear it.
What really got me thinking was the lyrics. He’s exploring some pretty deep stuff about how we perceive things and trust our instincts. It’s the kind of track that hits differently each time you listen to it.
The music video is worth checking out too – it matches the dreamlike vibe of the song perfectly. Pretty impressive considering he took a break from music for a while. This feels like someone who’s come back with a really clear vision of what they want to create.
If you’re in the mood for something that’ll take you on a bit of a journey and make you feel things, give “Five Senses” a spin. It’s the kind of track that sticks with you long after it’s finished playing.
Inpha Reblitive Celebrates Bob Marley With Energetic New Track
Rising Dancehall sensation Inpha Reblitive has just unleashed his latest track, Bob Marley, a rhythmic homage to the legendary icon that blends the vibrant pulse of dancehall with the soulful guitar vibes of The Wailers.
Mixed by Nicholas Collins of Nykkamuzik, the song has quickly captivated listeners, racking up over 10,000 views on Audiomack since its October 25 release.
With a danceable beat crafted by renowned producer Kmar Henry of 343 Muzik, Bob Marley is designed to get crowds moving. “This track has a danceable beat that will get anyone moving,” says Henry. Reblitive’s distinct sound brings a unique, infectious bounce, seamlessly blending modern dancehall elements with an undeniable nod to Bob Marley’s enduring influence.
Inpha Reblitive continues to define his signature style with Bob Marley, offering fans an energetic fusion of Caribbean rhythm and cultural homage. The track is now available across all major streaming platforms, delivering a fresh wave of dancehall to fans worldwide.
About Inpha Reblitive
Inpha Reblitive, otherwise known as Montie Martin is a Dancehall/Reggae artiste, who expresses a unique and more versatile side of the Jamaican Dancehall/ Reggae industry. Inpha Reblitive name was neatly constructed and generated over various conversations with friends, after going by a few other temporary names in his earlier years. Inpbha name signifies the cohesive effort that was executed to match the emotional graphic and lyrical music content that comes through the lips of this creative and talented individual. His music seemingly always captures the ears, emotion, minds and imaginations of his listeners. His message embodies a mix of reality and relativity that echoes and is needed for this generation to live for decades.
Inpha Reblitive grew up in the volatile community of Raymonds, a small district in Clarendon, Jamaica. After losing his father at age 11, he was forced to grow up early and was faced with immense hardship and suffering, which he used as a motivating factor to hone and develop his God given talents. He is the second (2) of three (3) children by his dad and the first (1) of three (3) children for his mother. At the age of fifteen (15), he developed an intrinsic love for music and used it to express himself during hard times. At the age of eighteen (18), Inpha assumed the role of breadwinner for his family and worked assiduously to provide for their basic needs. This was expressed in tracks such as ‘Weh Dem Deh’ and ‘Seven Days a Week’
Fueled and highly driven by his life experiences, Inpha Reblitive is entirely focused on bringing his creativity, talent and unique expression to the forefront of the Dancehall/Reggae Industry. He garnered some new attention with his single ‘Pretty & Petty’ featuring Destiny Sparta on the Great Standards Riddim, alongside Vybz Kartel and Sikka Rymes. ‘Decimal Point’ on the Body Language Riddim which created waves in the streets, produced by Naviigator Entertainment and not to mention features from Vybz Kartel, Tommy Lee Sparta, Lisa Hype, Jafrass, Destiny Sparta and Gold Gad.
Anabel Rose Shares Tracklist For Upcoming Project "Something About A Rose"
Following the release of her single “Lungs,” which earned her a cover placement on Sizzlers and H&M playlists on Spotify, the Ghanaian alt-pop artist has released the cover and tracklist for her debut project.
Titled “Something About A Rose,” the 6-track project is a breakdown of her personalities and insight into her artistry. The project has no features but with production credits for fellow 99PHACES members Mēl and Insane Auggie as well as producers kxlab, Johnwav and Lolu.
The project officially drops on November 8, 2024, on all streaming platforms.
Rhythm in Motion: Adik Angel’s Infectious New Release
I Just listened to Adik Angel’s “On the Move (Remix)” and wow – what a ride! This Swiss artist really knows how to get people moving. You can tell she’s got that classical piano background, but she’s not afraid to get wild with the electronics.
The track hits you right from the start with this killer combo of disco and modern dance beats. There’s this deep bassline that hooks you in, and these dreamy synths that kind of transport you back to those classic 80s clubs, but with a totally fresh twist. I love how she weaves in these funky synth riffs – they keep you guessing and grooving.
But the music video? That’s where things really pop off. It’s shot all over the city with these incredible dancers and skaters just doing their thing. There’s something so raw and real about watching breakdancers tear it up against graffiti walls while roller skaters glide through like they’re floating. Angel shows up too, jamming on her synths right in the middle of all this urban energy.
What really got me was how inclusive the whole vibe is. It’s not trying to be exclusive or fancy – it’s just pure joy and movement. Everyone’s welcome to this party, whether you’re a pro dancer or just someone who loves to move.
If you need something to shake off a rough day or just want to feel that rush of pure dance energy, hit play on this one. Fair warning though – you might find yourself hitting replay more times than you planned! The combo of those infectious beats and the crazy-good visuals is pretty hard to resist.
Annie J Opens Up About Music, Motherhood, and Making Magic with "Been Loving You"
Annie J’s sophomore EP “Been Loving You,” released October 18, 2024, masterfully blends retro-soul with modern pop sensibilities, creating a sound that feels both classic and refreshingly contemporary. From the introspective depths of “Your Power” to the infectious disco-inspired “Gotta Give It Up,” Annie crafts a deeply personal narrative that speaks to themes of vulnerability, self-acceptance, and transformation.
Annie’s unique musical perspective was shaped by her upbringing as the second-eldest in a large Mormon family, moving between small American towns throughout her childhood. Finding refuge in music, she drew inspiration from a diverse array of artists – from the soulful prowess of Whitney Houston and Nina Simone to the storytelling genius of Dolly Parton and Reba McEntire. These varied influences converge beautifully in her work, particularly evident in this latest release.
Now based in Seattle’s vibrant music scene, Annie has surrounded herself with talented collaborators who have helped shape “Been Loving You” into a powerful testament to personal growth. The EP not only showcases her evolution as an artist but also demonstrates the profound impact of her journey and creative community.
In our conversation, Annie opens up about the stories and creative process behind “Been Loving You,” sharing honest reflections on self-discovery and personal growth. With engaging candor and infectious enthusiasm, she reminds us that while celebrating progress is essential, self-love remains an ongoing journey. Join us as we delve deeper into the music and meaning behind Annie J’s latest release.
Congratulations on the release of “Been Loving You”! How does it feel to finally share this new music with your fans?
Thank you! It feels…wonderful to share this very personal musical journey with folks. We began work on this project about two years ago and it’s shifted a lot since then, a lot of people really came together to make it shine and it feels authentic and loving. A positive drop in the community’s bucket!
Can you tell us about your artistic vision and how “Been Loving You” fits into your overall musical journey?
I think ‘Been Loving You’ digs a little deeper into what’s been going on for me, musically, over the course of my life. Pulling in current and very yester-year influences, not being afraid to see what bubbles up and see beauty in it – which is a new experience for me! I’ve definitely been in the “I hate everything I do” club.
But there was a kind of peace within this project and the people I chose to work with. A new ability to leap and commit, which I’m super grateful for. And I know a lot of that comes from being surrounded by my trusted musical family and partnerships.
How would you describe your sound and style, and how has it evolved leading up to “Been Loving You”?
My style and sound are very R&B, soul, modern pop, with the subtle underpinning of 90’s country I was obsessed with as a kid that I kinda forgot about as an adult, honestly. There is story telling within tone and arrangement. Really colorful chords, kinda where hip hop and jazz meet. It’s my take on all of the beautiful things that have sunk in over the years.
What inspired the concept and lyrics of “Been Loving You”? Is there a personal story or message behind the song?
There are absolutely very personal threads on this record. A lot of lines were mumbled or improvised at first and then I’m like, “what does this even mean?” for a few days, and then it hits you hard. Like a part of my brain that rarely gets access to the real world was able to sing through in this work; it’s confusing and fascinating to me and I want more of it.
And I’m at a point in my life where I’m really re-examining who I am vs who I want to be. Like, I want to be a better partner and mother than I have been. I want to be a better friend and community member, which is hard to do when you don’t really like yourself that much. So there’s a lot of pumping up and self-affirming language and music here. And I think that’s a message anyone can relate to.
Annie J Opens Up About Music, Motherhood, and Making Magic with “Been Loving You”
Can you walk us through the creative process of writing and recording “Been Loving You”? Any notable challenges or breakthroughs?
We gave ourselves a long weekend, four days; Nick Foster (my husband), Scott Paul Johnson, and myself, and all of these tunes were pretty well formed by the time we were done. I remember we thought we were done, went out to breakfast to celebrate, but then there was a nagging feeling like, nah we gotta get back in the studio for another hour or two. Scott had to make a flight back out to Chicago, so we were pushing it. And Makin Bacon just spilled out, super organically. We were all pretty high from it I remember!
There were moments when our, then 2yr old, son desperately needed to be in the studio to “make music” with us. So, in the spirit of the weekend, we let him in which is how the song Interlude was born. He got the mic that time so mommy had to pick up the flute. Just as a result of saying, fine! Fuck it! And I love what we got there.
Toward the end of the nuts and bolts of production and trying to get the project over the finish line, we hit some road blocks for sure which really only led to more character, and more flavor. It became a really lovely, personal connection point with folks that came through for us in the end.
My dear friend, Emily Westman (a truer savant I have yet to meet) was just like, what do you need, I’m here for it all. She arranged and played strings for Gotta Give It Up, and did a lot of cool aux perc and synth stuff. A burst of energy as we were just dragging this thing across the finish line. Outa dough, outa ideas, and now looking back, lifted up by a whole lot of talent and love from our dear community.
How do you hope listeners will interpret and connect with “Been Loving You”?
Oh I hope people feel empowered and loved. It’s an “I’m starting with the man in the mirror” moment, its an “all you need is love” moment. But it’s not hitting you over the head, it’s all very personal, almost private, and I do hope there is some universality.
“Been Loving You” seems to explore themes of love and relationships. Can you elaborate on what inspired this focus?
Wanting them (love and relationships)! The onset of the pandemic and becoming a parent happened simultaneously in this household and…we all did what we could. I noticed a lot of darkness within myself that kind of exploded out in desperate moments and I really wanted to dig into that, to try and get to where that was coming from.
I guess there’s a realization that, you know, youth is gone and things don’t come as easily, when things become more deliberate. Being decisive about how I was going to treat myself and others wasn’t always my thing. Honestly, I still really struggle with that. But, choosing to love is where new and old beautiful relationships are born or reborn.
Who or what influenced the sound and style of “Been Loving You”? Any specific artists, albums, or genres that shaped the track?
Eryka Badu was a big influence, that blend of jazz and hip hop. And I’ve always been inspired by the authenticity of the lyrics, the story, the creativity. One of my favorite moments of hers is a song that I’ve listened to hundreds of times, called ‘Out My Mind’ particularly the two minute intro.
I was listening to Billie Eilish’s ‘Happier Than Ever’ album on repeat that summer. It’s a gem top to bottom; I love the writing, production, and just overall style. It shows restraint and beauty, it’s patient and also hard hitting at times. I remember thinking, that’s a pretty solid goal to be working towards.
And as I said earlier, it was a process of closing my eyes and letting the music come out which I think means my influences are varied, often subconscious, and rooted within different locations and times of my life.
What’s next for Annie J? Are you working on a new album or EP?
What is next? Great question 🙂
I’d love to do a few little exploratory things over the coming year in our home studio before working on the first full length. But, I am absolutely thrilled to begin that process. Just thinking about it fills me with excitement.
Javi Carabalí’s “Tripletazo #2” Ignites Latin Rhythms with Fresh Flair
Looking for the perfect summer soundtrack? Javi Carabalí’s new EP “Tripletazo #2 Con Tu Amor” might just be it. This three-track gem is a wild ride through reggae, Latin blues, and hip-hop that’ll have you hitting replay all day long.
The opener “Con Tu Amor” is straight-up fire – imagine if Bob Marley and Santana had a musical baby. Laoma Chavaco jumps in with vocals that’ll give you goosebumps, while Javi’s guitar work is pure magic. Trust me, you won’t be able to sit still for this one.
“Primavera” hits different though. Javi teams up with singer Lalie for what might be the sexiest Latin blues track I’ve heard this year. The way those rumba beats mix with Santana-style guitar riffs? Pure genius. It’s the kind of song that makes you want to grab someone and dance close.
Just when you think you’ve got Javi figured out, he throws “Gris” at you – a proto-reggaeton banger where he shows off his rap skills. It’s got this old-school New York hip-hop vibe but with a Colombian twist that makes it totally unique. The beat is infectious, and you can tell Javi’s having a blast mixing up these different styles.
Real talk – what makes this EP special is how Javi throws all these genres in a blender and somehow makes it work. It’s Latin music for sure, but not like anything you’ve heard before. Whether you’re into reggae, blues, or hip-hop, there’s something here that’ll grab you. And if you’re looking to spice up your playlist with something fresh? “Tripletazo #2” is your answer.
Sincere and Soothing: Rachaaine Delivers with "Late Night Talk"
Something about music makes those quiet hours of stillness and deep thinking feel special. Rachaaine accomplishes that in “Late Night Talk,” his latest single November 2, 2023. The Sydney based indie R&B artist has made something that doesn’t so much feel like a song as a conversation.
From the first note, it invites you into its gentle, atmospheric world. It’s masterfully understated, just the perfect setting for Rachaaine’s distinctive voice to shine. His vocal cadence is natural and powerful with subtle effects that heighten rather than hide his raw emotion.
The thing that really stands out is how real everything feels. Every lyric has intention, exploring timeless themes of love, relationships and self discovery. A song like that, that makes you feel like someone finally got what you’re thinking about while you’re up late, understanding you. The message never gets lost: the backing never intrudes, only adds the softest of foundations for the story.
The track wins through as it moves from vulnerability to hope to create a balancing act between emotional depth and quiet strength that Rachaaine pulls off so well as the track progresses. This isn’t an artist chasing trends or trying to make it on the charts, this is someone making honest music that connects.
Late Night Talk shows that Rachaaine is an artist to keep an eye on. If you’ve ever been lost in thought at those late hours, then this track is a pal and a friend. Great music should remind us that we’re not alone even if we’re the most introspective we’ve ever been.
Blending Introspection with EDM: The Heart Sutra (Brutal Deluxe Remix)
You know when someone takes a beautiful, spiritual song and turns it into something you can dance to, but somehow keeps all the magic? That’s exactly what’s happening with Tallulah Rendall’s “The Heart Sutra” remix. Brutal Deluxe, the producer behind this transformation, has taken Rendall’s acoustic meditation and given it a club-ready makeover that actually works.
Right from the start, you can tell this isn’t your typical dance track. Rendall’s voice floats in like incense smoke, with these gorgeous Indian-inspired vocal runs that make you feel like you’re somewhere between a temple and a dance floor. But then the bass kicks in, and wow – suddenly you’re moving whether you want to or not.
What’s really cool is how they’ve built the track. There’s this thick, heavy bassline that gets under your skin, but above it, these ethereal synths sweep through like shooting stars. The percussion has this African-inspired groove that makes it impossible to stand still. It’s like they’ve figured out how to make meditation move.
The way the track breathes is pretty special too. Just when you think you’re lost in the dance, everything pulls back, giving you these moments of pure calm before diving back into the groove. Rendall’s voice – and this is where her background in sound therapy really shines – becomes almost like another instrument, weaving through the electronic elements like she was born to do this.
Even with all the pulsing beats and production wizardry, there’s still this incredible sense of peace running through the whole thing. It’s pretty amazing how they’ve managed to make something that would work just as well at 3 AM in a club as it would in your headphones during a morning meditation session.
Bottom line? This remix does something really special – it takes you on a journey that’s both physical and spiritual. It’s got the power to make you dance and make you think, sometimes in the same moment. Whether you’re into deep house or just looking for something different, this track hits different. It’s proof that dance music can be both fun and profound – and sometimes, that’s exactly what we need.
From Heartbreak to Hope: Cassy Judy's Soulful and Sensational 'Soul Parts'
Cassy Judy’s latest album “Soul Parts” isn’t just another release – it’s a statement. The Sydney artist has crafted ten tracks that blend dreamy chillwave and piano-driven melodies with a dash of the wit she’s known for. Working with composer James Seymour, she’s created something that feels both intensely personal and universally relatable.
The album opens with “Odette,” and immediately you know you’re in for something special. It’s a heartbreak song that hits differently – the kind that makes you remember every person who ever got away, with Judy’s voice and delicate piano work carrying all that emotional weight perfectly.
Then there’s “Where Will I Find Love Again?” which somehow manages to be both melancholic and hopeful. The synths create this gorgeous backdrop for a story that anyone who’s ever been looking for love will recognize. It’s raw, it’s real, and it sticks with you.
“Trailblazer” stands out as the album’s powerhouse track. Here, Judy shifts gears from vulnerability to pure confidence, with a bass line that demands attention. As a trans artist, she brings authentic perspective to lyrics about forging your own path, but the message resonates with anyone who’s ever felt like an outsider.
The album wraps up with “Boundary Rider 2,” a thoughtful piece that ties everything together. It’s like that conversation you have with yourself late at night, set to music – reflective, a bit nostalgic, and surprisingly peaceful.
Throughout *Soul Parts*, you can hear echoes of influences like Prince and Dave Graney, but Judy’s voice – both literally and artistically – is distinctly her own. She’s taken her experience from over 200 live shows (from Sydney’s intimate venues to Broken Hill’s bigger stages) and poured it into every track.
What makes this album truly special is how it balances artistry with accessibility. Whether you’re drawn to the innovative sound design, the storytelling, or just looking for music that feels honest, *Soul Parts* delivers. In an industry that often plays it safe, Cassy Judy reminds us why taking risks matters. This isn’t just good music – it’s important music, and it deserves every bit of attention it gets.
“Scorpion Queen” by Almost Alive is a haunting, indie-rock masterpiece that delves into the darkness of internal struggle. This Cape Town-based band seamlessly blends alternative rock with the emotive depth of Arctic Monkeys and The Neighbourhood.
The song’s transformative power lies in its shifting rhythms and electric energy. A pivotal guitar solo at 2:04 injects anguish, struggle and desperation, evoking the turmoil of substance addiction.
Almost Alive’s debut album, “Apple” (releasing February 16), promises a sonic exploration of alternative rock, modern soundscapes and heartfelt storytelling. Inspired by Arctic Monkeys, Gorillaz and Cage the Elephant, “Apple” masterfully balances production, aesthetics and instrumentation.
Lead singer Barry’s lyrical prowess shines through themes of hedonism, sin and self-reflection. His provocative yet introspective approach tackles personal demons and societal shortcomings.
“Scorpion Queen” heralds Almost Alive’s emergence in Cape Town’s music scene, solidifying their unique voice.
Ainsley Costello’s Latest Single Packs a Punch: "Change Your Mind"
At just 20 years old, Nashville singer songwriter Ainsley Costello’s new single ‘Change Your Mind’ demonstrates her already growing artistic confidence. The track effortlessly melds pop and rock together, starting with an intimate beginning and building to an anthemic chorus that feels simultaneously new and nostalgic.
Echoing guitars and driving drums give the album’s soaring vocals just the perfect backdrop, courtesy of producer Ryan Lau. You can hear touches of Paramore and The Band CAMINO in her sound but Costello creates her own unique musical identity.
It takes on the subjects of personal boundaries and self advocacy. The lyrics are pointed—’I just want to show some skin, doesn’t mean it’s for him,’ ‘Nothing’s set in stone and you can change your mind,’—and Costello sounds directly to the experiences many people the same age confront: Her delivery is the perfect balance of strength and vulnerability, with authentic emotion to every line.
It’s another strong step forward for Costello, who’s been steadily building her career since she was 16. It’s exciting too, thinking of the preview this gives to her debut album ‘EXLESS,’ an artist on the rise and finding her voice. This track is a great introduction to her beautiful blend of catchy melodies and meaningful storytelling for new listeners.
The Unearthed Sound: Ian Leding's 'Lucifleure' Excavates the Soul
Ian Leding doesn’t transition from electric guitar to acoustic guitar in the album “Lucifleure”—he excavates the whole thing. Rips it out, strings and all, and hands it to us, not as something shattered but as something newly unearthed. His love affair with the 12-string guitar isn’t just about richness or texture. It’s like the memory of forgotten ruins, where each string carries its own ghost note, a little shadow of where it could have gone but didn’t.
The project is personal, of course—these things usually are—but not in the way we typically expect. Leding is reflecting on his mind, sure, but “mind” feels like too sterile a word for it. It’s less like looking into a diary and more like stumbling into someone’s dreams halfway through a narrative, where the Djembe beats by Annie Rose feel like they could shift landscapes. Her presence feels organic and ancient, almost communal. Maybe that’s the key here—it’s all about the gathering of sounds that were, but weren’t.
The Unearthed Sound: Ian Leding’s ‘Lucifleure’ Excavates the Soul
There’s darkness, but not in the heavy-handed gothic sense. It’s more like walking barefoot through a field at night; there’s damp grass, soft earth, but also the ever-present hum of something unseen. Listen to “Odessa”. It was written before the Russian war on Ukraine, but feels like it knew. How? Did the guitar strings vibrate with premonition? Or is it just that some melodies allow space for truths we pretend not to know until we can’t ignore them?
Leding and Rose don’t decorate their music. They offer troubled beauty. “Lucifleure” doesn’t demand your attention—it invites, then releases, then takes you back again.
Paws for a Moment: Surtees' 'Dog House' is a Howling Success
Loneliness feels like a dog. And not just any dog—the dog chained to the post in a rainstorm, howling at the dark sky, with ears drenched, drooping like misunderstood verses. That’s the vibe “Surtees” captures with their latest single, “Dog House”, featuring Jxk where Sissy Green and Soph are on production-duty, who altogether engineer a sonic rain that soaks through your skin, leaving you cold but oddly warm at the same time. You feel exposed, but you’re not alone in it.
The song hits like a bad argument you can’t walk away from, mixing achingly human indie riffs with the spitfire echo of UK rap. Jxk’s chorus isn’t revolutionary in its lyricism, but the way it lands—melodic lines snaking through the spotlight just as you’re busy dodging metaphoric slams from Surtees’ talk-your-way-out-of-it rap verses? It feels right. It’s that feeling when you’re pacing back and forth, trying to sleep, but the argument is still playing in your head on repeat.
Paws for a Moment: Surtees’ ‘Dog House’ is a Howling Success
Surtees doesn’t throw punches; he throws glances. The kind of looks that dig deeper than words, turning expressive pauses into well-aimed sucker punches. He’s rapping over beats tight enough to trap your frustrations but laid back enough to remind you that part of fighting is the inevitability of losing your cool. Sissy Green and Soph deserve a nod here, too— they don’t just make beats, they make conversations. It’s like the producers are on the ropes, the beat sagging where it should shimmer, and then suddenly, boom—high-energy propulsion when the emotions boil over.
Strange, isn’t it? In a track about the “Dog House”, you end up feeling more human than you’d expect. Maybe it’s not about winning; maybe it’s about surviving the storm.
LORDZAMEL's 'WINNER'S MENTALITY': A Brush with Greatness
It’s funny—a samurai isn’t what I expected to think of when hearing “WINNER’S MENTALITY” from LORDZAMEL. But here we are, standing in a world where the battles are internal, fought with metaphorical swords of swagger and resilience. LORDZAMEL thrusts you into the full spectrum of thought: yours, mine, his. He tosses societal norms to the side, cutting through them effortlessly with his flow. And did I mention the sample game? Soul drips from every snare like honey, but it doesn’t stick. It moves.
“WINNER’S MENTALITY” starts where a self-help book might end, but don’t mistake this for self-righteousness. This is about armor—custom fit, hand-crafted. There’s no proclamation of dominance here, only liberation in personal truth. It’s almost as if you’re catching a glimpse of someone crafting their identity while you’re still figuring yours out. The beat brings you in, sure, but the lyrics? They hold a mirror up and dare you to see yourself.
LORDZAMEL’s ‘WINNER’S MENTALITY’: A Brush with Greatness
Does this track make you think of Renaissance painters? Maybe not. But think: every brushstroke is intentional, right? Just like every word LORDZAMEL spits over that soulful palette. It’s deliberate, intricate. And yet, no one’s rushing to capture some fleeting moment of time. It’s more about the long game, the hustle of individuality. Michelangelo hacked at marble; LORDZAMEL hacks at expectations.
The strange thing is how refreshing it feels to hear authenticity in a genre often saturated with facades. The message lingers. Not like a pop chorus, but like graffiti—loud, colorful, defiant.
In a world obsessed with the filters we wear, LORDZAMEL suggests something radical: what if we skipped the filter altogether? Would you recognize yourself?
The Agency…'s 'Harbour Song': A Frozen Moment in Time
There’s something to be said about dancing when the ice cracks beneath your feet. It is, after all, a foolish thing to do—unless it’s “Harbour Song” playing in the background, in which case you might find yourself tugged toward the deep.
The Agency… doesn’t just play music, they lure you into a space that feels more like an unpredictable winter dream than an alt-rock tune. “Harbour Song” isn’t one for paper hearts—it cradles you through a slow waltz, precariously balanced between devotion and danger. The mythology of Hero and Leander isn’t shoved in your face like some ancient history lecture. Instead, it hums in the distance, like the unsaid things in a crowded room—are you listening closely enough?
The Agency…’s ‘Harbour Song’: A Frozen Moment in Time
The plodding rhythm feels deliberate, like steps in the snow, careful but heavy with purpose. This is introspective music, sure, but it’s also cinematic in a way that feels personal—a panoramic shot of bleak coastline, but somehow you’re shivering, alone, under a tattered coat. Cold, sure, but willing. You’ll go further.
Lyrically, the references to cracking ice and darkness weave a sense of danger that doesn’t necessarily explode. The tension is content to exist, like a string pulled tightly but never snapped. And when the narrator commits to “not need shelter,” it’s as though they understand that love—real, raw-to-the-bone love—sometimes asks for sacrifice without an endgame. It’s poetic, for sure, but it feels less like poetry and more like the disappointment or hope tucked into the corner of somebody’s eyes.
Hero. Leander. A lighthouse somewhere visible yet distant. Or maybe none of that matters. Maybe it’s about resolve in the sheer face of uncertainty… which, come to think of it, is where the heart lives best.
Roi Aknin's 'We're In The Same Boat' - A Ballad of Resilience in the Face of Adversity
Maybe AI can write music, but it’s not great with tears. Roi Aknin, a songwriter who invites the algorithm to the party yet keeps the emotional nucleus strictly human, has dropped “We’re In The Same Boat (Don’t Let Us Drown),” and it feels less like a song and more like that moment when the rain decides it’s done just drizzling.
It’s a ballad, sure, but let’s kick the museum description out of this boat before it gets too heavy. Aknin’s voice rises like a gust before an incoming storm. Her vocals float above the kind of pop-intensity that has you thinking, “It’s probably fine,” then suddenly you’re gripping the railing hoping it holds. There’s tension and release here. It’s soaked in grief but not in an indulgent, ‘everything is meaningless’ kind of way. Instead, it’s anchored in the human need to cling to something while the water rises.
Roi Aknin’s ‘We’re In The Same Boat’ – A Ballad of Resilience in the Face of Adversity
The theme is harder to shake off than that song your friend claims nobody else knows about. One year post a national wound—the October 7 attack on Israel—it becomes more than echoes of personal hardship. It’s collective, a human bond, not romantic, but real—when the world cracked and some were left asking how to stay above the surface.
Sure, AI might assist in assembling the puzzle, but there’s blood in these pixels. The words swim through layers of loss and connection, while somehow suggesting that even in this shared, sinking ship, the human spirit remains stubborn—buoyant even, like, how the hell did we make it this far?
And that’s the kicker. You don’t walk away unscathed, but you don’t drown either. Aknin doesn’t let you.
A Lightning Bolt of Hard Rock: ‘Weeping Gods’ by Electric High*
From Bergen, Norway, Electric High unleashes “Weeping Gods,” a sonic powerhouse that catapults listeners into a thrilling, raw and captivating whirlwind. This latest single from their debut album “Colorful White Lies” showcases mastery of alternative and hard rock, infused with ominous themes challenging religious absolution.
“Weeping Gods” boasts robust production, courtesy of Daniel Birkeland and Iver Sandøy. The track’s intricate soundscape lets each instrument shine: haunting steel guitar, grinding basslines and crashing drums blend for a stormy, gripping listen. Dual lead vocalists create emotional tension, shifting from whispers to forceful delivery.
Inspired by Rival Sons and Royal Blood, Electric High injects unpredictable energy. Lyrics explore sin, confession and redemption, posing profound questions. “I drank the tears of the weeping gods” probes the freedom from guilt through confession.
Electric High combines stoner heaviness with melodic surprises. Dirty guitar tones, aggressive basslines and hypnotic vocal melodies craft a fever-dream-like experience. Production maintains edgy rawness while highlighting nuances.
In “Weeping Gods,” Electric High revitalizes hard rock with heavy riffs, philosophical depth and unforgettable vocals. A testament to their innovative spirit, this single promises an exhilarating ride.
Mirrored Maze: Shell Games' 'Smoke & Mirrors' Reflects the Chaos Within
There’s a peculiar duality in “Smoke & Mirrors”, the latest offering from Shell Games, that feels sort of like standing in front of a fogged-up mirror—you see yourself, but you don’t quite recognize the edges. Carrie Martinelli, with her synthed-out alchemy and Nick Post’s spiral-shaped production, manages to make you face your own reflection even when you didn’t ask for it. But don’t panic. That funhouse effect just adds charm to the existential headache this album paints so vividly.
The album explores a diverse range of emotions and experiences, with standout tracks like “Body Snatchers” where the heart of ”Smoke & Mirrors” pulses most erratically. It’s not just a song about regret—it’s a confessional we weren’t meant to overhear, spilling over with yearning for redemption wrapped in something that sounds like it could be played at 2 a.m. after breaking into an abandoned arcade. The usual suspects—self-doubt, guilt, and the monotonous loop of past mistakes—are all there, haunting the track, but the beat feels like it’s dancing on the threshold of a funeral and an electronic uprising. Odd juxtaposition, but it works.
Mirrored Maze: Shell Games’ ‘Smoke & Mirrors’ Reflects the Chaos Within
And “Idle Hands,” the kind of lonely, post-breakup melancholy that smells like wet cement after a sudden summer storm. You can almost feel the weight of memory, the reminder that heartbreak doesn’t tiptoe out of the room, but lingers like leftover vinyl scratches on an old record. In fact, by the time the chorus swells, you start accepting that sometimes sadness is the most reliable partner—you can slow dance with it if you’re brave enough.
It’s an album of contradictions—synths that sing rather than hum, lyrics that cut like glass but feel warm to the touch. Shell Games has crafted an experience that doesn’t just ask, but dares you to feel both everything and nothing simultaneously. And really, isn’t that the essence of being trapped in a mirror maze?
“Smoke & Mirrors” feels less like storytelling and more like a private conversation you accidentally walked into, only to find yourself staying to listen.
The City That Fades: Amro.'s 'Places' - A Love Letter in Invisible Ink
Sometimes, a city disappears not by bulldozer but by memory. amro.’s latest single “places” feels like a sonic love letter to his hometown of Dushanbe, written in invisible ink that vanishes with time but occasionally reappears under the strange light of nostalgia. It’s that kind of song — a city tour through your own past, but you’ve forgotten if you’re the guide or the tourist.
What’s striking about “places” is how its emotion isn’t heavy, but light, like finding a photograph you didn’t know you’d lost. Synthwave and Synthpop beats pulse underneath, with melodies that remind you of neon-lit diners you’ve never been to. It’s both familiar and unnervingly unknown. Listen closely, and it’s like walking through a neighborhood that was never on any map, but somehow you know exactly every corner, every hidden graffiti, every forgotten bench. The synths in the song don’t glitter like disco balls, though; they sparkle more like lost stars, subtle but quietly endless.
The City That Fades: Amro.’s ‘Places’ – A Love Letter in Invisible Ink
The theme is clearly rooted in personal reflection — we’re talking about places that no longer exist, but amro. doesn’t wallow in regret or loss. Instead, there’s a fresh, almost innocent warmth, a kind of peace with the fading. It’s like watching a sunset you’ve seen a thousand times and knowing it’ll always be beautiful because of the fading.
There’s something deeply cinematic here. If you close your eyes during the song, you might find yourself walking alongside Harrison Ford in Blade Runner or waiting for the credits to roll after a Ghibli film, yet it never feels pretentious. Amro. gives weight to the simple notion: a place isn’t just bricks and streets; it’s moments, feelings, yourself at a different time.
Will you miss Dushanbe? Probably not, unless you’ve been there. But you’ll miss “places” long after the track fades out.
