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A!MS Bridges Continents With Julian Marley On Grammy-Bound “Light & Love”

By
MrrrDaisy
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A!MS Bridges Continents With Julian Marley On Grammy-Bound "Light & Love"
A!MS Bridges Continents With Julian Marley On Grammy-Bound "Light & Love"

The Mediterranean sun beats down on Ayia Napa’s shores, but the heat radiating from A!MS’s latest creation burns even brighter.

“Light & Love” arrives as something far beyond a typical collaboration—it’s a cultural manifesto wrapped in irresistible dancehall rhythms, announcing the birth of what the Cyprus-based artist calls “Global Street.” When A!MS first conceived this hybrid genre, he wasn’t simply creating another musical category.

The multicultural artist, who has made the party destination of Ayia Napa his creative headquarters, recognized something missing in contemporary music: a sonic home for voices that exist between traditional scenes, for artists whose backgrounds refuse to fit neatly into established boxes.

Global Street emerges as his answer—a genre “as street as it is worldwide,” where hip-hop’s rebellious spirit mingles freely with sounds from every corner of the globe. The collaboration with Julian Marley feels inevitable in retrospect, though it represents a meeting of musical minds across generations and geographies.

Marley, the Grammy-winning son of reggae legend Bob Marley, brings decades of roots-reggae mastery to the project. His recent triumph at the 2024 Grammy Awards, where he claimed Best Reggae Album for “Colors of Royal” alongside producer Antaeus, positioned him perfectly for this cross-cultural experiment.

Antaeus himself deserves recognition as the sonic architect behind “Light & Love.” The Greek-born, Grammy-winning producer has spent over three decades as a Recording Academy voting member, developing an ear for genre-blending that few can match.

His production on this track demonstrates why he and Marley proved such a formidable team at the Grammys—there’s an intuitive understanding of how to honour reggae’s traditions while pushing its boundaries.

The track opens with twinkling, arpeggiated keys that immediately establish its club-ready credentials. These aren’t the heavy, militant rhythms often associated with conscious reggae; instead, A!MS and his collaborators craft something designed for both contemplation and celebration.

The beat structure reveals subtle complexity—tweeter-rattling highs and woofer-shaking lows create a sonic architecture that works equally well through headphones and massive sound systems.

What makes “Light & Love” particularly compelling is how it incorporates those “subtle and brief nods to Anatolian music and house music” without ever feeling forced or tokenistic. These elements emerge organically from the track’s Global Street framework, suggesting influences rather than appropriating them.

It’s a delicate balance that speaks to A!MS’s multicultural background and his understanding of how different musical traditions can inform each other respectfully. Hypertone’s contribution adds another layer to this cultural conversation.

This isn’t about one artist featuring others; it’s about creating space for multiple voices to exist simultaneously. The lyrical content delivers exactly what the title promises—messages of unity, upliftment, and cultural exchange that feel desperately needed in our current moment.

Rather than preaching from a distance, each vocalist approaches these themes from their own perspective, creating a conversation rather than a sermon. Julian Marley’s contributions carry the weight of his family’s legacy while remaining thoroughly contemporary, while A!MS demonstrates how Global Street can serve as a vehicle for meaningful social commentary.

The timing of this release feels particularly significant. As the lead single from A!MS’s forthcoming album, due in July, “Light & Love” serves as both introduction and mission statement. The Cyprus-based artist isn’t simply announcing his presence; he’s declaring the arrival of an entirely new musical movement.

The fact that this track has already been submitted for Grammy consideration in the Best Global Music Performance category suggests industry recognition of its innovative approach. A!MS’s decision to base himself in Ayia Napa adds another fascinating dimension to this story.

The Mediterranean party destination, known more for its club scene than its music production, becomes an unlikely headquarters for genre innovation. His Wave Fest events at Water World Water Park have already brought artists like ArrDee, Dappy, and Nemzz to the island, establishing Cyprus as an emerging hub for cross-cultural musical collaboration.

The production choices throughout “Light & Love” reveal careful attention to both dancefloor dynamics and sonic detail. That “sultry dance floor friendly groove” mentioned in early reviews isn’t accidental—it’s the result of understanding how Global Street music needs to function in multiple contexts.

A!MS Bridges Continents With Julian Marley On Grammy-Bound "Light & Love"
A!MS Bridges Continents With Julian Marley On Grammy-Bound “Light & Love”

The track works equally well as background music for summer gatherings and as a statement piece demanding focused listening. Perhaps most impressively, “Light & Love” manages to feel both timely and enduring.

The immediate appeal of its dancehall rhythms and catchy hooks ensures radio and playlist placement, while its deeper cultural message and innovative genre-blending suggest staying power beyond current trends.

This balance between accessibility and artistic ambition marks the difference between novelty and genuine innovation. The accompanying video, described as capturing the track’s “swaggering, attention grabbing energy while being remarkably stylish,” promises to extend the song’s cultural impact beyond audio.

As Global Street prepares for its full introduction through A!MS’s upcoming album, “Light & Love” establishes the genre’s core principles: respect for musical traditions combined with fearless innovation, street credibility balanced with global perspective, and most importantly, the belief that music can serve as a bridge between cultures rather than a barrier between them.

The track’s Grammy submission represents more than industry ambition—it’s a statement that hybrid genres deserve recognition alongside established categories. If successful, it could open doors for other artists working in similarly innovative spaces, artists whose multicultural backgrounds have left them searching for a musical home.

Standing at the intersection of reggae tradition and contemporary innovation, “Light & Love” offers a glimpse into music’s future—one where geographical boundaries matter less than artistic vision, where collaboration trumps competition, and where the street and the world can coexist in perfect harmony.

A!MS hasn’t just created a song; he’s opened a door to possibilities we’re only beginning to imagine.

Meco Velez Shares Her “Point Of View” In Six Seductive Movements

By
MrrrDaisy
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Meco Velez Shares Her Point Of View In Six Seductive Movements
Meco Velez Shares Her Point Of View In Six Seductive Movements

Meco Velez arrives with “Point Of View” EP carrying the confidence of someone who has already survived what she’s singing about.

This six-track debut EP functions as both confession and declaration – a carefully orchestrated reversal of traditional power dynamics that positions the singer firmly in control of her own narrative.

The Puerto Rican and African American artist has previously established herself with tracks like “Dark” and “Speed,” but “Point Of View” represents a quantum leap in artistic sophistication.

“All That” opens the collection with the confidence of someone who knows exactly what they bring to the table. Velez flips the script on traditional power dynamics, transforming from potential victim to calculated player.

The production pulses with intention while her vocals carry the weight of someone who’s learned that vulnerability can be weaponized. When she declares her intentions about wanting everything he has, it’s not desperation – it’s strategy.

The swagger in this song is part of a larger talk going on in modern pop music, where female artists are taking back stories that have usually been told from male points of view.

Think of how Doja Cat reconstructed desire in “Woman” or how SZA made uncertainty feel powerful in “Good Days.”

Velez works in the same area, but her style is unique, combining the confidence of the Caribbean with the drive of Californians.

“Pulse” serves as the EP’s centrepiece, and rightfully so. This track captures something primal about attraction – that moment when desire becomes so intense it manifests physically.

The atmospheric production creates space for Velez’s vocals to breathe and seduce simultaneously. She’s not just singing about wanting someone; she’s painting the physiological response to that want.

The visual component of this track, mentioned in the press materials, suggests an artist who understands that modern music consumption is multimedia.

The collaboration with Big Baby Gucci on “Thief In The Night” introduces an interesting dynamic. Rather than the typical call-and-response format many duets employ, both artists explore the same emotional territory from different angles.

Heartbreak becomes a shared experience rather than a gendered one. Gucci’s perspective adds depth without overshadowing Velez’s narrative control.

The track feels like a conversation between two people who’ve been hurt in similar ways, finding solidarity in their shared confusion.

“Addicted” ventures into territory that many artists approach with kid gloves, but Velez handles it with surgical precision. The song explores the frustration of wanting someone beyond the boundaries they’ve established.

It’s honest about the messiness of human connection – how friendship can feel insufficient when deeper feelings exist. The production supports this emotional complexity with layers that build and recede like the push and pull of the relationship she’s describing.

“Forbidden Fruit” might be the EP’s most sophisticated moment. The biblical reference isn’t accidental – Velez is playing with themes of temptation and moral complexity that have fascinated artists for centuries.

The moody production creates an atmosphere of tension that mirrors the internal conflict she’s expressing. This track demonstrates her ability to handle nuanced emotional territory without losing the pop sensibility that makes her accessible.

The EP concludes with “Fantasy” a disco-pop confection that feels like stepping into sunlight after spending time in emotional shadows. The shift in tone isn’t jarring; it’s earned.

After five tracks of exploring complex relationship dynamics, this final song offers release. The shimmering production and euphoric energy create the magical space Velez intended – a place where complications dissolve into pure feeling.

What makes “Point Of View” particularly compelling is how Velez balances commercial appeal with artistic integrity. These songs work as individual singles while contributing to a cohesive narrative arc.

Meco Velez Shares Her Point Of View In Six Seductive Movements
Meco Velez Shares Her Point Of View In Six Seductive Movements

The EP format allows her to explore different facets of desire and power without the pressure of filling a full album. Each track serves a specific purpose in the larger story she’s telling.

The production throughout maintains a consistent aesthetic while allowing each song its own personality. The pop-R&B fusion feels natural rather than calculated, suggesting an artist who’s found her sound rather than chasing trends.

Velez’s vocal performance adapts to each track’s needs – assertive when the moment calls for power, vulnerable when the story requires it.

“Point Of View” positions Meco Velez as an artist worth watching in the evolving Latin pop scene. She’s not trying to fit into existing categories; she’s creating her own space.

The EP suggests someone who understands that authenticity in pop music comes from being specific about your experiences rather than trying to appeal to everyone.

This collection refuses to apologize for its boldness or soften its edges for broader appeal. She’s not just making music; she’s making statements about what it means to be a young woman navigating desire, ambition, and identity in 2025.

The EP leaves you wanting to know what comes next, which might be the highest compliment you can pay to any debut project.

LiMaVii Channels Ethereal Frequencies In “The Union of Souls”

By
MrrrDaisy
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LiMaVii Channels Ethereal Frequencies In "The Union of Souls"
LiMaVii Channels Ethereal Frequencies In "The Union of Souls"

The song “The Union of Souls” by LiMaVii and LAIOUNG is truly unique; it works on frequencies that most artists would never dare to explore.

This collaboration between Polish mystic Lidia Magdalena Wiktoria Pozańska (LiMaVii) and Italian producer Giuseppe Bockarie Consoli (LAIOUNG) feels less like conventional music and more like an invitation to witness alchemy in real time.

The track emerges from what the artists describe as an authentic spiritual connection, and this authenticity permeates every note. LiMaVii’s voice carries the weight of ancient wisdom while maintaining an otherworldly lightness that seems to defy physics.

Her vocal approach here isn’t about technical perfection – it’s about channelling something far more elusive and powerful. When she sings about souls finding each other beyond physical limitations, you believe her completely.

LAIOUNG’s production work deserves particular attention. Known primarily for his trap and hip-hop background, his pivot into ethereal sounds demonstrates remarkable artistic evolution.

The Italian producer, who has garnered over 120,000 monthly Spotify listeners, brings his multicultural musical perspective to bear on this project.

His ability to weave different cultural influences becomes apparent in how he constructs the sonic architecture around LiMaVii’s vocals.

The main idea of the song is about holy union and divine time, which are both ideas that could easily become new-age clichés. But LiMaVii and LAIOUNG are able to ground these big ideas in real feelings and complex sounds.

The song is about two souls who recognise each other across dimensions with the help of light and vibration. This story format gives the music structure without getting in the way of its natural flow.

The most powerful thing about “The Union of Souls” is that it does not follow the rules of its genre. The airy melodies and emotional sexuality go together perfectly, making something that is all its own.

This isn’t ambient music for meditation, nor is it pop music dressed up in spiritual clothing. It occupies a space between these poles, drawing listeners into a state of active contemplation.

LiMaVii’s background as an energy healer informs her vocal delivery in fascinating ways. Her voice becomes an instrument of transformation rather than mere entertainment.

She approaches each phrase with the precision of someone who understands sound as medicine.

This perspective elevates the entire composition beyond typical singer-songwriter territory into something approaching sonic therapy.

The collaboration process itself mirrors the song’s themes. According to the artists, their creative partnership transcends typical professional boundaries, becoming what they describe as “a fusion of energy, purpose, and vibration.“

This spiritual dimension of their working relationship translates directly into the music’s emotional impact. You can hear the genuine connection between these two artists in how their contributions complement and amplify each other.

Introducing Ellery Twining: A Musician Crafting Sonic Narratives

LAIOUNG’s multicultural background – born in Brussels to an Italian father and Sierra Leonean mother – brings a global perspective to the production.

His ability to incorporate diverse cultural elements without appropriation or superficiality speaks to his artistic maturity.

The way he frames LiMaVii’s vocals suggests someone who understands the power of space and restraint in music production.

She doesn’t simply sing about spiritual concepts; she embodies them through her vocal technique and emotional delivery.

The production quality deserves recognition for its subtlety and sophistication. LAIOUNG creates space for LiMaVii’s voice to breathe while providing enough sonic texture to maintain listener engagement.

The balance between ethereal atmosphere and emotional directness requires considerable skill to achieve, and both artists demonstrate mastery of their respective crafts.

“The Union of Souls” functions as both artistic statement and spiritual offering. The artists describe it as

“an offering of devotion – to love, truth, and the sacred power of connection.”

This intention manifests clearly in the music’s emotional architecture. Every element serves the larger purpose of creating transformative experience for listeners.

The track’s approach to melody and harmony reflects both artists’ understanding of music as vibrational medicine. LiMaVii’s vocal lines follow intuitive rather than conventional patterns, while LAIOUNG’s harmonic choices support this organic approach.

The result feels simultaneously ancient and futuristic, drawing from timeless spiritual traditions while employing contemporary production techniques.

What emerges from this collaboration is proof that authentic artistic partnership can produce results greater than the sum of its parts.

LiMaVii and LAIOUNG have created something that honours both their individual artistic visions while pointing toward new possibilities for spiritual music in contemporary contexts.

The song’s impact extends beyond its immediate musical content. It represents a model for how artists from different cultural backgrounds can collaborate authentically, creating work that honours their respective traditions while forging new creative territory.

This cross-cultural dimension adds depth to the track’s universal themes of connection and recognition.

LiMaVii Channels Ethereal Frequencies In "The Union of Souls"
LiMaVii Channels Ethereal Frequencies In “The Union of Souls”

“The Union of Souls” stands as evidence that music retains its power to facilitate genuine transformation. In the hands of artists committed to authentic expression, sound becomes a vehicle for experiences that transcend ordinary consciousness.

LiMaVii and LAIOUNG have crafted something rare – music that remembers its sacred origins while speaking directly to contemporary hearts and minds.

This single marks both artists as creators worth following closely. Their willingness to explore uncharted creative territory while maintaining artistic integrity suggests future collaborations could yield equally powerful results.

“The Union of Souls” feels like the beginning of something significant rather than a standalone achievement.

The track leaves listeners with questions worth pondering: What happens when artists approach their craft as spiritual practice? How does authentic connection between collaborators translate into musical impact?

Can contemporary music still serve as a bridge between ordinary and transcendent experience?

LiMaVii and LAIOUNG answer these questions not through words, but through the transformative power of their shared creative vision.

Tahani Releases An Unflinching Emotional Archaeology “Twist Of Fate”

By
MrrrDaisy
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Tahani Releases An Unflinching Emotional Archaeology "Twist Of Fate"
Tahani Releases An Unflinching Emotional Archaeology "Twist Of Fate"

This isn’t your typical country radio fare, and Tahani knows it. Her latest single “Twist of Fate” arrives like an unexpected phone call at 3 AM – the kind that changes everything you thought you knew about pain, forgiveness, and the messy business of being human.

From her home in Coleford, England, Tahani has crafted something that transcends conventional songwriting paradigms.

“Twist of Fate” operates as both personal catharsis and communal healing ritual, positioning itself within the expanding constellation of LGBTQ+ artists reshaping country music’s traditionally heteronormative narratives

The story behind “Twist of Fate” reads like a psychological thriller written by life itself. Picture this: a three-year-old girl waiting every weekend for a father who never shows.

After 35 years, the same father comes back, but not as the man who did the damage. Instead, he is someone whose mind is gone because of dementia and whose body is failing because of cancer that will kill him.

The cruel irony? He’s finally kind, finally present, but only because he can’t remember the pain he inflicted.

Tahani walks through this emotional danger with the skill of a surgeon and the heart of an artist. There are decades of pain in her voice, and each note is heavy with it.

Saying “I am sorry” does not make it go away, especially when the person saying it can not even remember what they are sorry for.

The production choices here are deliberate and devastating. Recorded in an intimate home setting, every element serves the story. There’s no glossy Nashville sheen, no studio tricks to hide behind.

It is just Tahani, her voice, and a simple mix that makes you listen to every word. In terms of music, it is like looking someone in the eyes while they tell you their darkest secret.

Country music has a long tradition of redemption songs, but “Twist of Fate” sits in the uncomfortable gray area where forgiveness isn’t clean, where closure doesn’t come with a bow on top. Tahani doesn’t tell you what to feel – she shows you what it’s like to feel everything at once.

The influences are clear but never derivative. You can hear hints of Shania Twain‘s emotional bravery and early Carrie Underwood‘s storytelling ability, but with a very British flavour that makes things more complicated.

Inside Tahani’s Mind: The Making of ‘Psychological $uicide’

There are also hints of KT Tunstall‘s simple, honest music in the arrangement, though Tahani’s lyrics are more in-depth than most singer-songwriter music.

The song’s lyrics work on more than one level. At first glance, it seems to be about a certain family problem. If you look deeper, it turns into a lesson on what forgiveness means.

Can you forgive someone who has forgotten what they did? Thoughts? The questions are like smoke that never really goes away.

Tahani’s vocal performance deserves particular attention. She doesn’t just sing these lyrics – she inhabits them. You can hear the tears she shed during recording, but more importantly, you can hear the strength it took to transform that pain into art.

Her voice cracks in all the right places, holds steady when it needs to, and finds beauty in the broken spaces between words.

As an openly LGBTQ+ artist, Tahani brings additional layers of authenticity to her work. Her upcoming performances at Pride events promise to showcase how personal trauma and identity intersect, creating art that speaks to multiple communities simultaneously.

The song’s impact extends beyond its immediate emotional punch. “Twist of Fate” feels like a reset button. It reminds us that the best country music has always been about real people dealing with real problems, not manufactured drama designed for radio play.

The closeness of the music fits the emotional core of the song perfectly. Every guitar strum is deliberate, and every stop is full of meaning. There is something about this video that makes you feel like Tahani is sitting across from you in a dark room, telling you secrets over cold coffee.

For listeners dealing with their own family trauma, “Twist of Fate” offers something rare in popular music: permission to feel complicated emotions about complicated people.

The technical aspects of the recording deserve mention as well. The decision to keep everything stripped back wasn’t just aesthetic – it was necessary.

Tahani Releases An Unflinching Emotional Archaeology "Twist Of Fate"
Tahani Releases An Unflinching Emotional Archaeology “Twist Of Fate”

Any additional production would have felt like emotional armour, protecting both artist and listener from the full impact of the story. Instead, Tahani chose vulnerability, and the song is stronger for it.

The song’s final moments linger like a question mark, leaving listeners to grapple with their own definitions of forgiveness, family, and healing.

It’s the kind of ending that stays with you long after the music stops, the kind that makes you reconsider your own relationships and assumptions.

The track stands as proof that country music’s power lies not in its ability to provide comfort, but in its willingness to sit with discomfort until something like understanding emerges.

Tahani understands this instinctively, and “Twist of Fate” is her gift to anyone brave enough to listen.

‘I’m Doing Me’: Anna Faè’s Invitation-Only Sound.

By
Chris The Blogger
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'I'm Doing Me': Anna Faè's Invitation-Only Sound.
'I'm Doing Me': Anna Faè's Invitation-Only Sound.

Anna Faè’s new single, ‘I’m Doing Me,’ has alighted, feeling less like a song dropped into the ether and more like a personal edict etched onto a stubborn patch of London fog. Faè, who juggles personal training and business with her emerging artistry, clearly isn’t just dabbling; there’s a core of tempered steel glinting beneath.

The track, a concoction of shadowy dark pop sidling up to R&B’s slink and alternate pop’s off-kilter charm, pulses with a hard-won, gravitational confidence. This isn’t fleeting bravado; it’s the crisp declaration of someone who’s waded through metaphorical muck and decided the view from the other side – crisp, unobscured – is better, and entirely her own. ‘I’m doing me’ becomes less hook, more unshakeable fact of her atmosphere.

There’s a curious undercurrent regarding the “onlookers” – captivated, perhaps attempting to mirror, this newfound aura. It reminds me, unexpectedly, of someone trying to replicate the precise green on a lichen-covered standing stone. You can approximate colour, perhaps, but not conjure the slow absorption of sunlight, rain, and forgotten rituals that truly make it. This kind of inner finish isn’t acquired; it’s earned, particle by particle.

'I'm Doing Me': Anna Faè's Invitation-Only Sound.
Credit: This image is owned by secxtion the brand that played my song in the fashion show

And Faè is clear, without needing to raise her voice above the track’s steady throb: this particular energetic hum is uniquely hers, tuned by the frequencies of resilience and a journey through past pain. Music itself is presented not just as solace, but as the very catalyst, the revitalising current for this reclamation. It’s an empowering, deeply personal stance, establishing velvet-rope boundaries around a self painstakingly rebuilt, not merely redecorated for public consumption.

The track leaves a distinct sense of resolute forward motion, an unapologetic stride into a self-defined space. It’s a potent assertion, sure, but what lingers is the steely conviction that some inner landscapes are, quite rightly, invitation only. Does it not make one ponder what private maps we are all currently redrawing?

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Ren Shelter Unveils Deeply Personal “Superhero Life” From Debut EP

By
MrrrDaisy
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Ren Shelter Unveils Deeply Personal Superhero Life From Debut EP
Ren Shelter Unveils Deeply Personal Superhero Life From Debut EP

Ren Shelter releases “Superhero Life,” the emotionally charged third single from his highly anticipated debut EP.

The song makes a strong artistic message by combining personal family history with general themes like love, survival, and the search for honour in the face of hardship.

“Superhero Life” takes away all the pretence and safe distance between the artist and the audience, leaving behind a story that is so painfully personal that it is like reading someone is diary by candlelight.

“Superhero Life” tells the sad but ultimately positive story of Shelter’s dad’s youth, which was hard, full of neglect, and full of a never-ending search for love.

Shelter does not use family tragedy for artistic purposes. Instead, he treats the subject with a lot of maturity and respect, making a musical memorial that honours both the specific person and the human experience of recovery as a whole.

In the same way that childhood memories often start out soft before getting sharp, the song starts off with a deceptively soft sound. Shelter’s voice carries the weight of genetic grief, and each word was picked with care to honour a father’s story that needs to be told.

This is not just another song about having a hard childhood; it is a historical dig through generations of pain that brings up facts that many artists would rather hide.

The song shows how Shelter’s art is growing as an artist by showing both technical music skills and the emotional intelligence needed to deal with tough topics in a healthy way.

There is a deliberate lack of movement in the production that works with the story and lets Shelter’s words have the most effect.

Ren is an independent artist who is part of a new breed of singers who want to tell real stories and connect with their fans in a meaningful way.

“This song isn’t just my father’s story,” explains Shelter. “It’s for anyone who’s been through hell and still holds on to the hope of better days. Some people face unimaginable battles, but despite everything, they deserve a life full of strength, respect, and love.”

Emotional honesty is more important to him than making money with his music, which makes art that feels necessary rather than just enjoyable. The way Shelter sings deserves extra attention.

He navigate the emotional terrain of the song with remarkable maturity, never overselling the drama or underselling the pain. There’s a conversational quality to their delivery that makes listeners feel like confidants rather than mere observers.

“Superhero Life” follows Shelter’s previous releases from the debut EP, each track building toward a cohesive artistic statement about survival, growth, and the power of music to transform personal pain into shared understanding.

The song’s location as the third track shows smart artistic thought, as it gets to a point where fans are ready for such an open story.

The song has an effect that goes beyond just making you feel sad. It opens up important talks about childhood trauma, family relationships, and the long-term effects of mistreatment.

Ren Shelter Unveils Deeply Personal Superhero Life From Debut EP
Ren Shelter Unveils Deeply Personal Superhero Life From Debut EP

As both a personal release and a public service, Shelter’s work reminds us that everyone is fighting fights we can not see and deserves sympathy.

Others in the industry have noticed how committed Shelter is to real art and important stories. The artist’s goal to build important relationships in the industry and reach more people shows that they have a mature knowledge of the music business and value long-term artistic growth over short-term wins.

People who understand the addressee’s pain wrote songs that are understanding and reassuring. The repeated line “And I know that all you have been through” shows that the person is deeply aware of their pain, and the insistence that they “deserve a real superhero life” gives them hope and validation.

Everyone thinks that Ren Shelter’s full debut EP will make her a major new voice in independent music.

“Superhero Life” could be the song that makes or breaks her career because it shows how deeply she feels and how committed she is to telling the truth.

AmgTask Transforms Trauma Into A Masterpiece On “Pain In My Heart”

By
MrrrDaisy
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AmgTask Transforms Trauma Into A Masterpiece On Pain in My Heart
AmgTask Transforms Trauma Into A Masterpiece On Pain in My Heart

It is not the production quality or the rhythmic trap base that hits you first about AMGTASK‘s debut EP “Pain in My Heart.” It is the weight.

You can feel something heavy in the air as soon as you press play, like going into a room where someone just stopped crying. This is not a mistake.

The artist knows that the most powerful music comes from places we would rather not go back to. This is purposeful building and emotional engineering.

Trap music, a type of hip-hop that started in Atlanta, gets its name from places where drug deals happen and people can get stuck. However, AMGTASK’s first project, “Pain in My Heart,” provides a different view of the trap: as a place where people can change instead of being stuck forever.

This is “Pain in My Heart,” a six-track album that is a meditation on life and a sound autobiography written between the concrete of East Atlanta and the underground beat of Florida.

The EP does not just tell stories; it digs them up, cleaning memories with the care of an archaeologist working with old artefacts.

With dreamy music that breathes like a live thing, the first track sets the mood. AMGTASK’s singing style carries the weight of 21 Savage‘s unwavering honesty while still staying true to himself.

His voice flows over modern trap beats with a sense of urgency that makes you think these songs had to be made and that keeping them inside might have been fatal.

“Pain in My Heart” stands out from other rhythmic trap songs because AMGTASK does not romanticise pain. Others might cover up pain with high-end clothes, but he does it without any shame.

The production, crisp and atmospheric, provides space for these stories to breathe without overwhelming them. Each beat serves the narrative rather than competing with it, creating a sonic environment where vulnerability becomes strength.

Gucci Mane‘s toughness and BigXthaPlug‘s Southern realism have a big impact on the project, but it never feels like a copy. AMGTASK has taken these ideas and shaped them through his own life, making something that honours his sources of inspiration while also finding his own voice. If you copy your task instead of learning the lesson, that is the difference between mimicking and progress.

“Comfort” emerges as a standout moment, its eerie vulnerability cutting through the mix like a confession whispered in the dark. The track demonstrates AMGTASK’s ability to find beauty in brokenness, to transform pain into something approaching grace.

His voice here reminds me of how some jazz players can make a trumpet sound like it is crying—amazingly skilled but heartbreakingly sad.

The reflective heaviness of “Sacrifice” provides another emotional anchor point, its weight distributed across melodic lines that seem to carry the accumulated exhaustion of someone who has given too much for too long.

AMGTASK’s bars here don’t just rhyme—they resonate, each line landing with the impact of recognition. This is music for anyone who has ever wondered if the cost of survival might be too high.

AMGTASK shows throughout the EP that he knows that healing and hurting often happen at the same time. His use of rhythm seems natural rather than planned, as if these songs came out of nowhere from a deep well of experience.

The trap elements never feel like extras; they are an important part of the emotional structure and give stories that need to be told their rhythmic basis.

The production choices give the project a level of maturity that does not fit with being a launch. Others might overindulge, but there is control and room where others might crowd.

The beats support the songs instead of taking over, making room for AMGTASK’s voice to tell his stories in its entirety. This is the kind of production that gives you new information every time you listen to it; there are layers of meaning below the surface.

The way “Pain in My Heart” deals with time is what makes it so interesting. These songs are not about getting over or moving on from pain; they are about finding new ways to deal with it. It does not give fake hope or easy answers.

Instead, he gives us something more valuable: the understanding that just staying alive is a win in itself, and that we should be proud of making it through another day, even if it was hard.

The EP’s emotional geography spans from the dusty corners of East Atlanta to Florida’s underground scenes, but its true territory is internal. AMGTASK maps the scenery of recovery with the precision of someone who has walked every inch of this terrain.

His bars come from scars, as the existing review noted, but they also point toward healing. This is music that acknowledges pain without being consumed by it.

The contemporary trap elements provide a familiar framework for unfamiliar honesty. AMGTASK uses the genre’s conventions as a vehicle for unconventional vulnerability, proving that melodic trap can carry emotional weight beyond its typical boundaries.

AmgTask Transforms Trauma Into A Masterpiece On Pain in My Heart
AmgTask Transforms Trauma Into A Masterpiece On Pain in My Heart

His approach suggests that authenticity isn’t about rejecting commercial appeal—it’s about finding ways to be genuine within whatever framework you’re working in.

“Pain in My Heart” functions as both introduction and statement of purpose. AMGTASK announces himself not with boasts or threats but with the kind of radical honesty that makes listeners lean in closer.

This is music that demands attention not through volume but through intensity, not through spectacle but through specificity.

The EP’s six tracks feel carefully curated rather than hastily assembled. Each song serves a purpose in the larger narrative, contributing to an emotional arc that feels both complete and open-ended.

AMGTASK understands that the best stories don’t always have neat conclusions, that sometimes the most honest ending is the acknowledgment that the story continues.

As a first song, “Pain in My Heart” makes AMGTASK an act to keep an eye on. He is found a way to respect his inspirations while also finding his own style, to work within the rules of his field while also going against what they say is possible. Listen to this if you want to hear rhythmic trap with depth, economic appeal with artistic integrity.

The EP suggests that AMGTASK’s story is just beginning, that these six tracks represent not a destination but a departure point. He’s created something that feels both timely and enduring, rooted in specific experience but speaking to universal themes.

“Pain in My Heart” doesn’t just document survival—it transforms it into art.

Clouds and Clarity: The Peaceful Rise of Taavi’s Music

By
Mister Styx
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Clouds and Clarity: The Peaceful Rise of Taavi’s Music

Taavi continues to shape a peaceful corner of the music world with his latest release, the Clouds EP. Following his earlier singles “Wind Chimes,” “Soothing Soul,” and “Open Up,” and his previous EP Enlightening, Taavi now brings us four new tracks that float gently between ambient and emotional stillness.

Each song on Clouds feels like a step into quiet space—where everything slows down, and peace takes over.

Drifting In The Breeze

This song is as soft as its title suggests. It feels like a warm wind on your skin, light and easy. The gentle sounds slowly relax your whole body, helping you let go of stress. It’s the kind of track you play when you want to feel calm and present.

Floating Above

Imagine flying without wings—just you and the sky. That’s the feeling this song gives. Its smooth, flowing melodies help your mind wander and your thoughts settle. Time feels like it stops for a while, and all that matters is this moment of peace.

Skybound Serenity

This track is a deep breath turned into music. With its clear tones and soft layers, it brings a sense of comfort, like a warm blanket for your mind. Nothing is rushed, and every sound feels gentle and safe. It’s perfect for quiet afternoons or slow mornings.

Through the Mist

This final piece is about finding your way back to yourself. The music starts softly, like walking through fog, and slowly becomes clearer. As it plays, it lifts heavy feelings and brings a quiet kind of joy. It’s not loud or bold—it’s honest, calm, and healing.

Taavi’s Clouds EP is a beautiful continuation of his journey in ambient music. Without using words, he tells a story of freedom, stillness, and emotional clarity. If you’re looking for music that helps you pause and breathe, Clouds is worth listening to.

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Herman Suede And The Therapist Reunite For “One by One II”

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Blogger In Cap
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Herman Suede and The Therapist Reunite For "One by One II"
Herman Suede and The Therapist Reunite For "One by One II"

Herman Suede has released a remix of “One by One,” this time featuring Sierra Leone’s The Therapist. The two artists, who first connected on The Therapist’s “Gobe,” bring their chemistry to a song about patience and pursuit in love.  

The track captures a moment many can relate to – a glance across a crowded room, the quiet hope that a connection might grow.

Sung mostly in English with a Ga bridge, Herman Suede lays out his feelings with sincerity, while The Therapist adds a new dimension to the story.  

With its smooth Afrobeats rhythm and heartfelt lyrics, “One by One” remains a song about taking things slow and letting love unfold naturally. Listen to it here

Brood22’s “this again” Creates Beauty from Pain

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Mister Styx
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Brood22's "this again" Creates Beauty from Pain

Portland artist Brood22 has released a new song called “this again,” and it’s the kind of track that gets under your skin in the best way. This slowcore musician knows how to mix different sounds together – taking pieces from shoegaze, jazz, and lo-fi music to make something that feels fresh.

The song starts quietly. Soft drums and gentle guitars come in like someone speaking in a whisper. When the vocals join in, they don’t try to grab your attention. Instead, they pull you into a calm, dreamy world that feels safe and sad at the same time.

But there’s real pain hiding under all that beauty. The words talk about losing control and being trapped in a bad relationship. It’s heavy stuff, but Brood22 handles it with care. You can hear the artist’s Arizona background in the way the guitars drift and fade like heat waves in the desert.

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The words talk about losing control and being trapped in a bad relationship. It’s heavy

About halfway through, something changes. A fuzzy, distorted guitar cuts through the quiet, adding some rough energy before everything settles back down to a gentle ending. It’s like watching a storm pass over calm water.

This is Brood22’s third song this year, coming after a debut EP that showed real promise. The music works best when you’re in a thoughtful mood – maybe sitting alone somewhere quiet, just watching the world go by. It’s not the kind of song that demands attention, but once you give it some, it doesn’t let go easily.

“this again” won’t be the loudest thing in your playlist, but it might be one of the most honest. Sometimes the quietest songs have the most to say.

Listen to this again

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At 15, Ava Valianti Captures the Quiet Ache of Drifting Friendships

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Mister Styx
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Ava Valianti  releases Distant,Ava Valianti  with Distant,Ava Valianti  drops Distant,Distant by Ava Valianti ,Distant from Ava Valianti ,Ava Valianti  musical artist,Ava Valianti  songs,Ava Valianti  singer,Ava Valianti  new single,Ava Valianti  profile,Ava Valianti  discography,Ava Valianti  musical band,Ava Valianti  videos,Ava Valianti  music,Distant album by Ava Valianti ,Ava Valianti  shares latest single Distant,Ava Valianti  unveils new music titled Distant,Ava Valianti ,Distant,Ava Valianti  Distant,Distant Ava Valianti
At 15, Ava Valianti Captures the Quiet Ache of Drifting Friendships

At fifteen, most teenagers are still figuring out their voice—literally and figuratively. Ava Valianti, however, has already found hers, and it resonates with remarkable clarity on her latest single, “Distant.”

The Newbury, Massachusetts native has been building momentum since her 2023 debut with “Bubble Wrap.” Her blend of indie and pop sensibilities, combined with an emotional authenticity that feels well beyond her years, has earned her two New England Music Award nominations and airplay across more than 150 radio stations. Tracks like “Middle Ground,” “January,” and “Laugh Track” established her as an artist worth watching, but “Distant” represents a significant step forward in her artistic development.

The song opens with an immediately striking line: “I knew you like the back of my left hand, my right hand…” It’s a clever twist on a familiar phrase that signals this won’t be another generic breakup song. Instead, Valianti explores something more nuanced—the gradual dissolution of a childhood friendship.

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Instead, Valianti explores something more nuanced—the gradual dissolution of a childhood friendship.

Built around a gentle acoustic guitar foundation, “Distant” unfolds like a conversation with someone who’s no longer there to listen. Valianti’s vocals carry the weight of the narrative with impressive control, shifting subtly between nostalgia and acceptance. She paints vivid scenes of parties you’re no longer invited to and inside jokes that have lost their meaning, capturing those small moments that define the end of a relationship.

The song’s emotional core lies in its specificity. Rather than relying on broad statements about loss, Valianti asks intimate questions: “Do you still bicker with your siblings?” These details attempt to bridge a gap that has already grown too wide, making the eventual acceptance—”I smile to you, you wave goodbye”—feel both inevitable and poignant.

What sets “Distant” apart is its musical approach to heavy subject matter. The production maintains an almost buoyant quality that contrasts beautifully with the melancholy lyrics. This juxtaposition creates what Valianti herself describes as “smiling through the sadness”—a sophisticated artistic choice that makes the song accessible while preserving its emotional impact.

The arrangement gives Valianti’s voice room to breathe and showcase her growing technical abilities. Her vocal runs feel natural rather than showy, and even small details like deliberate breaths and a subtle inhale at the song’s end add layers of meaning. These choices demonstrate an artist who understands that sometimes the most powerful moments happen in the spaces between words.

“Distant” succeeds because it addresses a universal experience without losing its personal touch. Everyone has felt the slow drift of a once-close relationship, but few artists capture that feeling with such precision and grace. Valianti transforms what could be a purely sad story into something beautiful and cathartic.

With her debut EP scheduled for this fall, “Distant” serves as both a standout single and a promising preview of what’s to come. It confirms that Ava Valianti isn’t just a talented young artist—she’s a songwriter with something meaningful to say and the skill to say it well.

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The Sound of Starting Over: Inside ‘Hymn for Becoming’

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Mister Styx
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Lauren Conklin  releases Hymn for Becoming,Lauren Conklin  with Hymn for Becoming,Lauren Conklin  drops Hymn for Becoming,Hymn for Becoming by Lauren Conklin ,Hymn for Becoming from Lauren Conklin ,Lauren Conklin  musical artist,Lauren Conklin  songs,Lauren Conklin  singer,Lauren Conklin  new single,Lauren Conklin  profile,Lauren Conklin  discography,Lauren Conklin  musical band,Lauren Conklin  videos,Lauren Conklin  music,Hymn for Becoming album by Lauren Conklin ,Lauren Conklin  shares latest single Hymn for Becoming,Lauren Conklin  unveils new music titled Hymn for Becoming,Lauren Conklin ,Hymn for Becoming,Lauren Conklin  Hymn for Becoming,Hymn for Becoming Lauren Conklin
The Sound of Starting Over: Inside ‘Hymn for Becoming’

In her latest instrumental piece, Hymn for Becoming, composer and multi-instrumentalist Lauren Conklin invites us on a deeply personal and emotional journey. With melodies that feel as natural as the rustling of leaves or the ripple of a quiet lake, this string-based composition blends classical depth with Americana roots, offering listeners a sense of peace, transformation, and quiet hope.

Written during a period of personal change, Hymn for Becoming reflects Conklin’s transition from touring performer to full-time composer. It’s a musical portrait of letting go, of stepping into the unknown, and of finding beauty in new beginnings. The work draws on her background in bluegrass and country fiddle while embracing sweeping, cinematic arrangements that show her evolution as an artist.

In this interview, Conklin shares the story behind the piece, the emotional path it traces, and the artistic decisions that shaped it. She also opens up about vulnerability in music, the challenges of change, and how she hopes this piece brings comfort to others facing their own turning points.

Whether you’re familiar with her work or discovering it for the first time, Hymn for Becoming is a stirring reminder of the quiet power music holds when it comes from the heart.

Listen to Hymn for Becoming

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What inspired you to write “Hymn for Becoming”? Was there a particular moment or experience that sparked this song?
This piece came out of a time in my life where I was experiencing a lot of change. I had spent years on the road as a touring musician and it was an amazing experience, but at the end of the day I realized my calling was composing, not performing. This was one of the first pieces I wrote after making that shift, and was written as a reflection on the beauty that can be found in new beginnings.

The title suggests themes of transformation and growth. Can you tell us about the journey this song explores?
Transformation and growth are definitely big themes in this work. As a musician, so much of your identity can be wrapped up in your job, and when I made the decision to stop touring full time, I felt a lot of push back. I knew it was the right decision, and shifting to composition full time was something I was so excited about, but I definitely had people who didn’t understand and accused me of “giving up” or expressed disappointment in me, which was really tough.

A lot of the growth for me during that time was learning how to follow my own voice and not let what other people wanted dictate my life. Looking back, that was the best decision I’ve ever made, and I hope the message connects with other people, to follow your heart and not be afraid of becoming someone new and better and happier.

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As a musician, so much of your identity can be wrapped up in your job, and when I ma

How does “Hymn for Becoming” fit into your artistic evolution? Does it represent a new direction for you?
This piece is such a melting pot of all my influences – even though it’s written for a very classical instrumentation with string quintet, the style is decidedly Americana. I grew up playing bluegrass fiddle, and when I was touring worked in bluegrass and country, so this piece takes sytlistic elements of that and merges them with very soundtrack-esque strings and sweeping cinematic melodies, which is definitely representational of the world I’ve moved into now. I love that it’s a picture of past and present in my artistic revolution.

What does the word “hymn” mean to you in this context? Why did you choose that particular framing?
There are a couple reasons I chose that wording – first, when I was writing it, it felt very much like a meditation or prayer, a reflection on who I was and who I wanted to be. That is the emotional side, and then from a melodic side, the melody of this piece is very simple, and almost sounds like something that would have been written a long time ago. It’s very pastoral, and doesn’t really evoke any particular time period, and has a simple sing-able melody, all things that feel like classic hymns to me.

Walk us through how this song came together. Did the melody or lyrics come first?
Since this is an instrumental piece, the melody was the first thing. This started as just a solo fiddle idea, and then I ended up arranging it for full orchestra for a project, and that’s something that I ended up not using, but I loved the melody and the idea of it, so I arranged it a third time for string quintet, something I could easily record on my own and see how it worked with all the parts.

Were there any unexpected challenges or breakthroughs during the recording process?
I was so lucky to have some amazing players and a fantastic mix engineer work with me on this piece. The first recording I did, I played all the parts myself. I’m originally a violinist, but in recent years have also begun playing the other stringed instruments as well. This work starts with a solo cello section that I kept feeling was not quite what I wanted it to be, so I had the wonderful Kaitlyn Raitz re-record it. She’s got a great fiddle-y sensibility and made the opening so much better than I could have hoped! I also had Bruno Migliari record upright bass, and Eva Reistad mixed the piece.

This seems like a deeply personal song. How do you balance vulnerability with artistry in your music?
I try to make things that matter to me, and then let them go. You can’t worry too much about how your music is received, or whether the message comes through – especially with instrumental music, I feel like people will assign their own stories and emotions to it. This is something I loved making, and I just hope that it can connect with people now that it’s out in the world.

What do you hope listeners take away from this track?
I hope that people will take away a sense of peace in being exactly where they’re at. For me, this piece brought joy in a time of transition, and so I hope that the feeling of excitement and hope and self belief shows through and connects with the people who hear it.

What’s next for you as an artist? Are there new territories you’re excited to explore?
Yes, so many! I’m releasing a full collection of string quartets, and continuing to score films that challenge and move me. I have several projects I can’t talk about yet but am so excited about, and plan to continue releasing more music along the way.

If you could have any conversation with someone after they’ve heard this song, what would you want to discuss?
I’d love to ask what they heard in it, what moment or memory it brought up. Music is such a two way conversation, even without words. I think that’s the magic, that everyone hears the same notes, but walks away with something completely different.

Love, Bass & Falsetto: RZN8R’s Genre-Bending Triumph

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Mister Styx
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RZN8R  releases MISTR (Cover EP) ,RZN8R  with MISTR (Cover EP) ,RZN8R  drops MISTR (Cover EP) ,MISTR (Cover EP)  by RZN8R ,MISTR (Cover EP)  from RZN8R ,RZN8R  musical artist,RZN8R  songs,RZN8R  singer,RZN8R  new single,RZN8R  profile,RZN8R  discography,RZN8R  musical band,RZN8R  videos,RZN8R  music,MISTR (Cover EP)  album by RZN8R ,RZN8R  shares latest single MISTR (Cover EP) ,RZN8R  unveils new music titled MISTR (Cover EP) ,RZN8R ,MISTR (Cover EP) ,RZN8R  MISTR (Cover EP) ,MISTR (Cover EP)  RZN8R
Love, Bass & Falsetto: RZN8R’s Genre-Bending Triumph

Brooklyn producer and countertenor RZN8R has released MISTR, a bold and deeply personal EP that takes male-written love songs and makes them his own through both spiritual and dance-ready sounds. Known offstage as Derek Buckwalter, RZN8R brings together different worlds – he grew up in Oakland, trained as a classical singer, and now works in New York’s underground electronic music scene. With MISTR, he combines these different parts of himself into music that feels both intimate and powerful.

MISTR is more than just cover songs – it’s a complete reimagining. Released one year after his engagement, this four-track EP fully showcases RZN8R’s amazing countertenor voice for the first time. It celebrates queer love, memories, and movement. Every track works for the club but carries strong emotions.

The opening track “Get You” brings you into this world beautifully. Light textures and gentle clicking beats create a dreamy but rhythmic sound. As the beat grows and the synths build urgency, RZN8R’s high voice soars, grounding the song in rich romance. It’s a tribute to healthy, happy love – a beautiful opener that welcomes listeners into his vision.

“Adorn,” originally a cover of Miguel’s hit, gets reshaped with grooving beats and graceful piano touches. The remix adds even more life to the original version. The vocals are smooth, the drums infectious, and the overall feeling moves between R&B sensuality and club euphoria.

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The remix adds even more life to the original version. The vocals are smooth, the

Things get more sensual with “Pyramid,” a rich, layered production that moves between sweeping synths and piano-driven intimacy. This shows RZN8R at his most experimental – vocals changed in pitch, unexpected beat changes, and rhythm that rises and falls with emotional and sonic intensity. It’s sexy, hypnotic, and perfect for late-night listening.

The final track, “U Don’t Have To Call,” closes the EP on a sultry high. Originally an Usher classic, RZN8R’s version layers dreamy electric keys and thumping beats with detailed guitar and airy vocals. The result is a confident, euphoric anthem about unconditional love and availability – a warm invitation to closeness and connection, anytime, anywhere.

Throughout MISTR, RZN8R shows he can balance elegance and edge. His vocal performance is consistently striking – an emotional counterpoint to the complex rhythms of the beats. From afrobeats and amapiano to baile funk and gospel, this EP draws inspiration from around the world, filtering it all through a kaleidoscopic vision of love, identity, and sound.

In a landscape often filled with safe and predictable releases, MISTR stands apart. It’s a bold fusion of classical vocal technique and club culture, of heartfelt tribute and fearless innovation. For anyone who’s ever found clarity on the dancefloor or healing in a hook, MISTR is more than music – it’s a spiritual groove.

Listen to MISTR (Cover EP) below

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Crown of Fire: Broken Wolves Burn Bright One Last Time

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Crown of Fire: Broken Wolves Burn Bright One Last Time

There’s a certain beauty in finality—a sense of urgency, depth, and unfiltered honesty. That’s exactly what Broken Wolves deliver in Crown of Fire, their final release. The Toronto-based band has decided to part ways, but not before leaving behind a parting gift that feels both grand and intimate. With just four tracks, this EP distills everything the band did so well: lush, melancholic melodies, haunting lyricism, and a sonic palette that dances between folk, psych-rock, and shoegaze. It’s short, but it lingers like smoke after the flame.

Since their debut in 2019, Broken Wolves carved out a space in the modern rock landscape that felt rooted in the past while staring down the future. Their sound was never afraid to get dark or strange—often layered with meaning, mystery, and myth. With Crown of Fire, they lean into those qualities even harder. From the brooding opener “I Don’t Sleep” to the beautifully scorched title track, there’s a cinematic edge to the whole project, as if each song were a scene in a quiet apocalypse.

Thematically, the EP is rich in symbolism—fire, ruin, rebirth—echoing both ancient myth and modern anxieties, especially around environmental collapse. But what makes it truly compelling is how personal it all feels. The band isn’t just telling a story—they’re letting us hear what the end sounds like. And it’s stunning.

We caught up with Broken Wolves to talk about the meaning behind Crown of Fire, their creative process, and the epic story they didn’t quite get to finish. It’s a look inside one of the most underrated acts in Canadian psych-rock, and a proper sendoff to a band that deserved far more time in the spotlight.

Let’s dive in.

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The title “Crown of Fire” is bold and intense — what does it represent for Broken Wolves? Is it metaphorical, personal, or both?
Absolutely metaphorical – all to do with the imagery I had in mind of this woman, cloaked red, some sort of elemental fire god with a crown aflame. And somewhat symbolic of so many civilizations, empires throughout history that are kindled, burn bright, sometimes too bright and without control, only to either wither out or consume everything they touch, including themselves.

A fire burns itself out, unless it is fed. Civilization is at a bit of a breaking point where we have our stretched ourselves in our commune with nature, and the risks now are unlike anything we can fathom. The whole is very much a didactic allegory around the Ozymandias tale of “all great empires are bound to fall”, but especially one so content with literally burning nature to the ground.

Can you take us into the origin story of the EP — was there a spark or a specific event that ignited the creative process?
I had this imagery in my head, as a teenager, of a woman made of flame, her eyes afire, glowing, entrancing, suffocating in a way, but beautiful. A fire god of sorts, but something hallowed and threatening – not to be trusted but tempting. The band always had this lyricism of environmentalism built into it, but Crown Of Fire as a track was a bit more blunt around the imagery and the subject matter.

What themes or messages are you exploring across the tracks in “Crown of Fire”? Is there a narrative arc, or are they more standalone moments?
Funnily enough, our previous work, “The Summons” was originally intended to be act one of a grand concept album arc, and the intention was that Crown Of Fire would be a segue into the final act which would follow the rest of the concept album to it’s end point. In a quick summary, a protagonist gets visions of the end days and is prompted by otherworldly spirits to seek out a fire god deep in limbo to help save the world.

In doing so, they unintentionally set about the apocalypse, and in a moment of clarity and selflessness, help a struggling plant in limbo, which sets about some redemption and saves the planet. Long and ambitious, it was just too much. Also, it feels like this is probably one of the worst times to release a multi-series concept album, just culturally speaking. But ultimately, there is a theme in Crown of Fire that is a direct follow up to the Summons album, in a way detailing the events and interplay between the ill-fated protagonist and the Fire Goddess.

Did you approach songwriting or composition differently for this EP compared to your earlier work?
Like much of the previous work, a lot of the tunes were written ahead of time, but I would argue that this album showcases much more minimalism at the core of it. “I Don’t Sleep” is just two chords and a lot of band interplay, and I think there was a choice made to bring everything back to something more palpable, simple, while keeping an epic quality to everything. “Fool” very much came out of the blue as a song, along with “I Don’t Sleep”, but “Cauldron” and “Crown” were more purposefully workshopped, on a lyrical level, where as the former two had things to say and I agreed to let them speak in a sense – there’s more abstraction in those tunes but many of the same themes remain.

Is there a track on the EP that best defines who Broken Wolves are right now — and why?
I think “I Don’t Sleep” perhaps encapsulated the band best – we used to do a cover of “Venus In Furs” by the Velvet Underground and it definitely influenced that one. It was of the highlights to our live set, and I think a part of me wanted to have something like it in the set while being original. It wasn’t fully intentional to mimic the tune, but I wanted something slow, spooky, smouldering that could open up some room for everyone to stretch out, exaggerate band dynamics while keeping it super simple. Our earlier stuff was more arranged and orchestrated, but at certain point I wanted to craft tunes that were better vehicles to showcase everyone’s unique abilities in the band, rather than make highly complex prog-influenced arrangements.

The title suggests something explosive and powerful — did that influence the sonic textures or production choices on this project?
Definitely – for the moments we would go loud, I wanted to emulate the 90s “soft loud” dynamic that so many grunge and alternative bands were known for at that time. I wanted it to feel like a bomb would go off at the end of a verse. I will say however that Shoegaze has had a huge influence on my life as well, so I wanted to welcome some softer, blended textures as well, while retaining some firepower when needed.

Which song was the most challenging to finish — whether emotionally, technically, or collaboratively?
That’s a great question, and I want to say maybe Crown Of Fire. I think it took quite a few swings at when we were doing the rhythm section live off the floor, mostly for the ending. The 12 string guitar, drums and bass were all recorded at Ear Drum Valley live off the floor, while the rest of it was overdubbed at James’ (Bass/Producer) place. Emotionally however I would say the whole thing was a bit challenging to finish as the band officially split in April 2024 roughly a month and change since we finished the rhythm section tracking.

At that point I made the decision we’d finish it regardless, and we ended up doing independent tracking separately up until maybe the end of summer. There is something strange about putting out a product where you know there isn’t going to be a release show, or a celebration, or really any future prospects after the fact, but I couldn’t bear shelving it or canning it.

How has Broken Wolves evolved leading up to “Crown of Fire”? Are you in a different creative headspace than in your previous releases?

I think we became a tighter band, more efficient, and more collaborative. A massive part of this last album was just trying to open things up to let everyone have nice moments to shine, rather than going to town on orchestration and overcomplicating things. A big part of the philosophy for me was “Back to basics” and an attempt to highlight the best aspects of the band while trimming the fat.

I think this round we had a real clear sense of the sonic palette of the band, the dynamics, the tones, everything. The unit working at it’s best and it was less about a wide array of material as much as honing a refined vision that would cut through to the right audience, and really perfect this blend of 60s folk and psych with 90s grunge and shoegaze influences. I think we accomplished this in a way, despite whatever critique we might receive for this album or our previous work.

How do you balance individual influences within the band to create the cohesive sound we hear on this EP?
It’s a great question – I think there is a freedom in music that is termed “psychedelic” as it gives a lot of room for what can come in and be presented. But ultimately I think it’s about making sure there is space and balance, and good interplay between membership. Everyone in the band is a pro musician in their own right, and if anything our success with this release comes on the heels of finding a better balance than we had previously.

But the influences are very much just blended in, and I think they wouldn’t be as acceptable in the genres of say pop, rock, metal, what have you, but I do believe the psychedelic and alternative genres are great for this purpose – there can be a freedom and things can come from outside.

And I truly believe that’s how we find progress, and that’s how any genre gets a second wind, develops, or births a new genre – some sort of experimentation and fusion of things, at the risk of being perhaps inaccessible for a majority of people. But one of the core elements we agreed to was, “make it spooky, make it dark, build it up and hit it hard” as much as we can, and I think it came through in the end.

What do you hope fans feel when they hear “Crown of Fire” for the first time?
I hope they feel like they’ve entered a new world – something that is at once familiar, uncannily a place of home, but also utterly new and exciting. I want people to feel like they stepped into a portal to middle earth or something ahaha, maybe not fully blown Tolkien verse but a world that brings both comfort and confrontation.

Something that people FEEL like they’ve heard before, known before, seen before, but are actually seeing for the first time. A musical déjà vu of sorts, which is what I would use to describe any instant I was deeply affected by hearing a genre or band that I never heard before and challenges my understanding of music. I want it to be something they come back to – maybe think, “ya, why not a distorted 12 string guitar with some banshee howls, what else could go with that?”.

Have any reactions to the new music surprised you — whether from long-time fans or new listeners?
Not necessarily, but maybe just what people say is their favourite track. “I Don’t Sleep” seems to be a favourite among family, but I also thought “Fool” might make more waves than it has so far. Still waiting for all the reviews from friends to come in, but I can say on behalf of the band we are all mutually proud of the work we did. And I believe everyone brought their A-Game to this release, everyone shines and everyone did fantastic work, in my humble opinion.

If you could play this EP live in one setting that matches its energy and themes — where would it be?
Oh wow, very interesting question… hard to say, I mean, I would want to perform it in a dungeon maybe ahaha, or some medieval castle turned venue. I feel like it longs to be played in an ancient place, or an abandoned church. Come to think of it I think a cathedral would be a good place. I’m not religious, but there’s folkloric and didactic themes around promethean fire, faust, Frankenstein, etc in the music – don’t overstep your bonds with nature kind of thing.

I feel like it almost wants to be a sermon, something to people, “hey, we’ve gone wrong, there’s something needing fixing”. Without being overly patronizing, I do believe there needs to be more art addressing this issue in general, and a place of worship or a place that is considered sacred seems like a good place to promote this sort of message – if we cant count the earth as sacred bring that sermon to the places where people are there to listen.

Describe “Crown of Fire” in three words — no overthinking.
“No Planet B” – there is no victory in humanity abandoning the planet to Mars, or some other far-flung planet. We won’t stand a chance and it’s a stupid move. The story of the Wolves, at it’s core from day one, was addressing my nightmares around climate change, but reimagining them in a revisionist medieval history of sorts. My anguish, melancholy, anger, fear, all of it, in these songs.

In the 21st century I can’t understand how despite all our accomplishments we continue to destroy our planet. We got a gun pointed to our heads at this very moment, or whatever suicidal analogy you want to put in play – every day feels like we are walking blindly to disaster. And there are people who will still deny it, that 2+2=5, and there’s nothing anyone can do to prove it to them otherwise.

Their opinion trumps reality, math, physics, etc. I believe, despite all the information at knowledge at our disposal, we live in the one of the stupidest times in existence. We are eating ourselves alive like an Ouroboros of old, and we are repeating a weird cycle of self-inflected devastation.

Empires have crumbled due to this sort of hubris, seen in so many didactic folklore tales, and yet we still can’t seem to get our crap together to make some meaningful changes. But unlike before, an empire would fall to some other tribe, or nation, or empire to inherit the curse – this time it’s us versus nature, and we are the loser in either outcome, unless we decide to do something about putting the priority of our survival, of us, the planet, over the priority of profit. To quote an excellent Psych band, Quicksilver Messenger Service, “Pride of Man / Broken in the dust again” End rant.

What’s a lyric from the EP that hits you the hardest, and what’s the story behind it?
“Feels like it’s been all year / I was pleading with some ancient fear
“Done and gone the month of May / Scampering to it’s shallow grave”
It goes back to when we had those wildfires here in Ontario maybe two years ago – the sky was red for a few days here, eventually the smoke spread to Toronto, a dark reddish hue to the sky for a bit. New York looked really eerie as well when it reached them. It was just this moment of dread for me. I’m mostly a music instructor by trade, and I had to have some hard conversations with students who opened up about their concerns.

I’ll never forget one image from that time – There’s a chalkboard at the place I teach, and a small kid had drawn a picture of trees burning, and that devastated me. Something utterly heartbreaking about it. And I had been pleading with myself, or something, that things might get better, or that we would be drawn to some awareness. Dreading the summer months, never sure how it’d go down. And that line about month of May, just feeling like so many years of a short spring, then fire season. And as I write this, Manitoba and Saskatchewan and Ontario have fires raging. California burned in January. It’s only going to keep happening, and really, really isn’t rocket science. I don’t know what I’d trade to guarantee that the kids I teach will grow up safe from our own mistakes.

And that, in a nutshell, is the thought behind the Broken Wolves story – how far would any of us go to save ourselves, from ourselves, and would it even be enough? What is our humanity worth if it kills us? Which part of us will save us, the wolf or the man, the rational or the bestial? For all our accomplishments, we are creatures of habit, and I just hope we can turn things around.

Breaking the Beat: TATE SEDAR’s Post-EDM Revolution

By
Mister Styx
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TATE SEDAR  releases THIS IS POST-EDM ,TATE SEDAR  with THIS IS POST-EDM ,TATE SEDAR  drops THIS IS POST-EDM ,THIS IS POST-EDM  by TATE SEDAR ,THIS IS POST-EDM  from TATE SEDAR ,TATE SEDAR  musical artist,TATE SEDAR  songs,TATE SEDAR  singer,TATE SEDAR  new single,TATE SEDAR  profile,TATE SEDAR  discography,TATE SEDAR  musical band,TATE SEDAR  videos,TATE SEDAR  music,THIS IS POST-EDM  album by TATE SEDAR ,TATE SEDAR  shares latest single THIS IS POST-EDM ,TATE SEDAR  unveils new music titled THIS IS POST-EDM ,TATE SEDAR ,THIS IS POST-EDM ,TATE SEDAR  THIS IS POST-EDM ,THIS IS POST-EDM  TATE SEDAR
Breaking the Beat: TATE SEDAR’s Post-EDM Revolution

With THIS IS POST-EDM, TATE SEDAR delivers a debut EP that doesn’t just showcase his skills—it defines a new phase for dance music itself. Across five tracks, the LA-based producer channels his international background, emotional honesty, and fearless genre blending into a project that feels at once fresh, familiar, and deeply personal.

Opening with “San Francisco,” SEDAR sets the tone for what’s to come. It’s not just a tribute to his hometown—it’s a time capsule of the influences that raised him. The funk grooves, Motown flavors, hip-hop textures, and a dash of rock energy form a vibrant, toe-tapping introduction. More than just an energetic opener, “San Francisco” lays the groundwork for the emotional and sonic journey ahead.

The second track, “Emotions” (ft. P$YCHEDELIC), marks a major turning point in SEDAR’s creative evolution. It’s here that the idea of “post-EDM” comes alive. The track swerves away from standard electronic formulas, fusing tech house with lo-fi hip-hop, bass house, and trap. The gritty verses from P$YCHEDELIC bring rawness and edge, pushing the track far beyond traditional EDM boundaries. It’s not just a club banger—it’s a statement. The fact that the song is pushing 180K streams is proof that people are listening, and more importantly, they’re feeling it.

Then comes “Our Goodbye” (with Liv Kennedy), a breakup anthem that defies the typical sad-and-slow formula. Written during the pandemic and years in the making, it’s an emotional high point that’s also radio-friendly. Bright, guitar-driven production replaces the usual EDM synth stabs, creating something that feels both modern and timeless. It’s dance pop with depth, and the chemistry between SEDAR and Kennedy makes this one of the most memorable tracks on the EP.

TATE SEDAR  releases THIS IS POST-EDM ,TATE SEDAR  with THIS IS POST-EDM ,TATE SEDAR  drops THIS IS POST-EDM ,THIS IS POST-EDM  by TATE SEDAR ,THIS IS POST-EDM  from TATE SEDAR ,TATE SEDAR  musical artist,TATE SEDAR  songs,TATE SEDAR  singer,TATE SEDAR  new single,TATE SEDAR  profile,TATE SEDAR  discography,TATE SEDAR  musical band,TATE SEDAR  videos,TATE SEDAR  music,THIS IS POST-EDM  album by TATE SEDAR ,TATE SEDAR  shares latest single THIS IS POST-EDM ,TATE SEDAR  unveils new music titled THIS IS POST-EDM ,TATE SEDAR ,THIS IS POST-EDM ,TATE SEDAR  THIS IS POST-EDM ,THIS IS POST-EDM  TATE SEDAR
Then comes “Our Goodbye” (with Liv Kennedy), a breakup anthem that defies the typical sad-and-slow formula

“Coming Home (I.M.U)” slows things down without losing momentum. This track digs deep into SEDAR’s roots in progressive house, using reflective lyrics and warm production to tell a story of identity, purpose, and growth. What started as a sketch became one of the most personal songs on the record. There’s a sense of quiet power here—something that stands out in an EP built on big emotions and bold production.

The closer, “Dream” (ft. Otto Palmborg), is where everything clicks. Cinematic, emotional, and beautifully produced, it feels like the grand finale of both a concert and a personal journey. Palmborg’s vocals are soaring and intimate at once, matching SEDAR’s shimmering synths and crisp beats. The song went through several vocalists before landing on the perfect fit, and it shows. This is the kind of track you don’t just hear—you feel it.

Throughout the EP, TATE SEDAR proves that electronic music doesn’t need to stay in its lane. THIS IS POST-EDM isn’t just a catchy title—it’s a mission. By blending big-room EDM energy with live instruments, layered storytelling, and influences from pop, hip-hop, rock, and house, SEDAR breaks the genre wide open.

But perhaps what’s most refreshing is the human element woven through the entire project. There’s vulnerability here, honesty, and a clear sense of artistic identity. Dance music doesn’t always stop to reflect—but SEDAR does, and it works.

In the end, THIS IS POST-EDM isn’t just a debut EP. It’s the start of a conversation—about where dance music has been, where it’s going, and how artists like TATE SEDAR are going to get us there. If this is what the future sounds like, we’re ready.

Listen to THIS IS POST-EDM below

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Lies, Truth, and Teenage Soundwaves: LED Breaks Out

By
Mister Styx
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LED  releases Lies All Lies ,LED  with Lies All Lies ,LED  drops Lies All Lies ,Lies All Lies  by LED ,Lies All Lies  from LED ,LED  musical artist,LED  songs,LED  singer,LED  new single,LED  profile,LED  discography,LED  musical band,LED  videos,LED  music,Lies All Lies  album by LED ,LED  shares latest single Lies All Lies ,LED  unveils new music titled Lies All Lies ,LED ,Lies All Lies ,LED  Lies All Lies ,Lies All Lies  LED
Lies, Truth, and Teenage Soundwaves: LED Breaks Out

The passion in the music often makes it most powerful and that’s really what shines through in LED’s debut single, Lies All Lies. Layne, Lockett and Edie Yvonne are the three teenagers who make up the East Hollywood indie pop rock group. It was summer 2024 and they were both taking part in a film camp near Malibu where they met. Something that started as a short film project soon became much larger. As a result, the band was created, friendships grew and now a song emerges that’s easy to sing and full of meaning.

Lies All Lies takes its drama from the original film and adds in themes of betrayal and teenage emotions. Bright guitars, strong drumming and simple yet honest vocals make it both easy to recognize and something new. Each person adds their own blend of rock, punk, pop or storytelling to the show. Both of them have worked together to produce something that people enjoy, can relate to and feels young and energetic.

We discuss with LED how the song was produced, what they experienced when working together for the first time and their future goals. It is obvious that this is only the beginning.

Listen to Lies All Lies below

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What was the journey that led you to create “Lies All Lies”?
LO: We wrote “Lies All Lies” for the short film we were working on. We really wanted to write a song that embodied the movie and make it something that was fun to listen to.

LP: Well, we all met at a movie making camp last summer, then we asked if we could write a song for the movie seeing as we all write music, and then we all met up that weekend and created the song together.

EY: Thanks to film camp we fortuitously met (shout out to Shanelle Gray)!

How does this track represent your current artistic direction?
LO: I think it represents our playfulness in the music we make.

LP: This song was our first one we wrote, and then it just felt like we really all just clicked and we decided to form LED and to keep writing.

EY: We have been writing, recording, and performing together over the course of a year now. We’ve performed at Hotel Cafe, the Whisky, the Mint – getting reps in and seeing how this collaboration evolves.

Is there a specific personal experience or observation that inspired the lyrics for “Lies All Lies”?
LO: I love the verse that begins “Don’t take my kindness for weakness…” The movie that we filmed at camp was our biggest inspiration.

LP: I think we took inspiration from the movie as we took some key aspects of the film and added them to the song such as the false assumptions and being on the run and having a villain in the story. The whole movie is an action short film so we incorporated that feeling into the song. We also put our own spin on it tying it experiences like untrustworthy relationships that so many of us can relate to.

EY: The lyrics were directly inspired by the script which included a lot of mystery. So we followed the film’s theme of being chased or on the run. We tried to add a more relatable touch, relating the story to an suspect friendship – “Should’ve ran while I could, said you were misunderstood / Got caught up in your web, the lies you told and spread”. Even while the lyrics were inspired by the action and suspense of the short film, I think the idea of uncertainty in a relationship is what we ran with.

LED  releases Lies All Lies ,LED  with Lies All Lies ,LED  drops Lies All Lies ,Lies All Lies  by LED ,Lies All Lies  from LED ,LED  musical artist,LED  songs,LED  singer,LED  new single,LED  profile,LED  discography,LED  musical band,LED  videos,LED  music,Lies All Lies  album by LED ,LED  shares latest single Lies All Lies ,LED  unveils new music titled Lies All Lies ,LED ,Lies All Lies ,LED  Lies All Lies ,Lies All Lies  LED
The lyrics were directly inspired by the script which included a lot of mystery. So we followed the film’s theme of being chased

The title seems quite raw and direct – what made you choose “Lies All Lies” as the title?
LO: The title is a line in the movie that we thought best represented the story.

LP: in the last scene of the movie, the villain gets caught and confronted for murder and she claims that it is “lies all lies” and that she is innocent and as it is a very important part of the film, we decided to name the songs after it.

EY: Throughout the chorus Lockett is shouting “Lies All Lies” in the background. When we listened to whole track we thought those lyrics were most fitting and captured the idea of secrecy and deception.

Were there any unconventional production techniques or instruments you experimented with on this release?
LO: We used a lot of cool voice effects at the end of the song. It gives it a sort of far away tone that I think is really interesting.

LP: I did the backup Lies all Lies screams in the background for the song and it was something new for me because as the drummer, I don’t usually sing while playing, but it was a really fun and I’m now encouraged me to sing more!

EY: In the outro we used heavy effects for the vocals which was really fun. It was something I hadn’t experimented with before and added a lot of energy to the ending.

What was the most challenging aspect of bringing “Lies All Lies” from concept to completion?
LO: Getting all the details for the song together probably took the longest time.

LP: I guess the hardest part was probably coming up with ideas that captured the ideas of the film but wasn’t directly meant to be for the film like this song has a life beyond its original intent.

EY: It’s the first time we recorded together and its a new experience for me, and I love it!

How do you hope listeners will connect with or interpret “Lies All Lies”?
LO: I hope that listeners find it fun and charming to listen to!

LP: When people hear the song, I hope they can tie the song into their personal experiences, but also have a great time head banging and vibing out to the song.

EY: I hope they are drawn to the storytelling!

Did you collaborate with anyone on this track, and if so, how did that partnership shape the final sound?
LO: We had so much fun in the studio. We so grateful for the support to help us make our ideas come to life.

LP: My dad’s friend Akira helped us record the song. Akira also did help us with the effects and mixing of the song.

EY: It is such a gift to have the opportunity to be in the studio together.

Does “Lies All Lies” explore themes you haven’t addressed in your music before?
LO: . We haven’t really written songs based on a prewritten story, so it was a fun challenge!

LP: I usually play more rock/punk songs so when we wrote this song it was a different way of writing ‘cause this song is more pop. But writing this song has made me evolve my drumming skills into a rock-pop-punk mix style.

EY: Now that I have picked up the bass, it’s a new musical adventure. I’m over the moon to be making music with Layne and Lockett. I’ve learned so much and am loving the process! It’s been really exciting to write as a collective which is a departure from my own diaristic writing which I’ve been used to.

Were there any artists or genres that particularly influenced your approach to this song?
LO: We all have different sounds when it comes to music so I think you can definitely hear it in the song and how it all came together!

LP: My drumming style is heavily influenced by RHCP, Green Day and even techno music like my dads, so I had to get creative for writing a more pop beat.

EY: It feels nostalgic.

Is this track part of a larger project or album you’re working on?
LO: We are trying to get into the studio and record as much as possible.

LP: For now Lies all Lies is going to be a single alongside our other two original songs Hot Mess and Goodbye Eric. In the future though it could be really fun to release an album with Layne and Edie and I’m excited to see where this band will go in the future.

EY: Right now we spend our Sundays together to rehearse and write. We are releasing singles at this time. Our next track “Goodbye Eric” is in post and we’re looking forward to getting in the studio to continue recording and writing!

Ben Heyworth Captures Modern Life in Folk Form on ‘Creatures’

By
Mister Styx
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Ben Heyworth  releases Creatures EP ,Ben Heyworth  with Creatures EP ,Ben Heyworth  drops Creatures EP ,Creatures EP  by Ben Heyworth ,Creatures EP  from Ben Heyworth ,Ben Heyworth  musical artist,Ben Heyworth  songs,Ben Heyworth  singer,Ben Heyworth  new single,Ben Heyworth  profile,Ben Heyworth  discography,Ben Heyworth  musical band,Ben Heyworth  videos,Ben Heyworth  music,Creatures EP  album by Ben Heyworth ,Ben Heyworth  shares latest single Creatures EP ,Ben Heyworth  unveils new music titled Creatures EP ,Ben Heyworth ,Creatures EP ,Ben Heyworth  Creatures EP ,Creatures EP  Ben Heyworth
Ben Heyworth Captures Modern Life in Folk Form on ‘Creatures’

Ben Heyworth’s comeback with Creatures is a quiet success. These three songs shine with thoughtful sadness, warm humor, and gentle musical skill. After being away from music for a while, the Manchester songwriter comes back not as a completely new artist chasing trends, but as a wiser, sharper version of himself.

This is folk music made for city life – or “urban folk,” as Heyworth calls it. City stories and personal thoughts mix with acoustic sounds, playful organs, and art-pop touches. He’s not trying to bring back old folk music. Instead, he’s asking what it means to carry those traditions through the busy streets and waterways of modern Manchester.

The first song “Narrowboat” sets the mood with smooth, slow-moving beauty. Heyworth’s voice feels like an old friend sharing a memory – about the forgotten stories of the city’s canals and its people. The song drifts like a boat through thoughts and quiet watching, gently showing us that beauty doesn’t need to be loud.

“Image of Roads” changes pace but keeps the same feeling. It’s still gentle and full of space, but this time it’s about traveling – or maybe dreaming about it. We don’t know where the journey leads, maybe it’s not even real, but the emotions are true. There’s wanting, confusion, and questions about how much of our memories are just stories we’ve told ourselves too many times.

Then there’s the wonderfully odd “Creature Double Feature”, which gets strange without losing its emotional heart. It’s part show, part self-examination – looking at yourself through a funhouse mirror. “When I look in the mirror, do I recognize myself?” Heyworth asks, and the question hits hard, even as the song dances with carnival energy. It’s the EP’s strangest moment and also its most honest.

Throughout Creatures, you can hear influences from artists like Crowded House, Damon Albarn, and Tori Amos, but they never take over. The influence is there, but the voice is completely his own: gentle, self-aware, and musically rich without showing off. These songs are clearly personal, but they reach far enough to connect with all of us – especially those who’ve wandered through late-night doubts or romanticized their own half-forgotten past.

In a music world often chasing big moments, Creatures stands strong with quiet confidence. It’s not trying to sell you a quick sound bite. It’s inviting you in – to listen, to remember, and maybe to see something of yourself in what you hear.

Listen to Creatures EP below

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Michellar’s “Intersection” Marks A Bold Turn Into Americana Folk Territory

By
MrrrDaisy
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Michellar's "Intersection" Marks A Bold Turn Into Americana Folk Territory
Michellar's "Intersection" Marks A Bold Turn Into Americana Folk Territory

Michellar‘s latest single “Intersection” arrives as a refreshing addition to the Americana folk scene.

The San Francisco-based singer-songwriter takes a dramatic shift from her previous work, venturing into new musical territory with confidence and artistic clarity.

At the beginning of the song, there is a soft acoustic arrangement that slowly grows into something much heavier. The tune that starts out as a whisper grows into a full-bodied piece that draws from traditional American musical roots while still having a modern feel.

Overall, the banjo and guitar work in “Intersection” makes a rich background that supports Michellar’s story without taking over.

Producer Tobias Wilson, who also contributes vocals to the track, deserves recognition for his role in bringing Michellar’s vision to life.

Recorded at Wilson’s studio in Staffordshire, UK, the production quality strikes a perfect balance between polished and raw, allowing the emotional core of the song to remain front and centre.

The collaborative effort between Michellar and Wilson results in a song that feels both intimate and expansive.

Their partnership brings to mind the creative dynamics of duos like The Civil Wars or The Swell Season, where the sum becomes greater than its individual parts.

“Intersection” is about falling in love at first sight, but it does not get too sweet. Instead, Michellar sets this sweet moment against a dangerous background, which makes for an interesting contrast that takes the story above and beyond what you would expect from a love song.

This approach mirrors life’s complexity – how profound connections often occur during moments of vulnerability or risk.

Musically, the influence of The Mumford Sons and The Lumineers is apparent but not derivative. While these bands helped popularize the modern Americana folk revival with their foot-stomping anthems and earnest lyrics, Michellar carves out her own space within the genre.

Her approach feels more contemplative, focusing on the quiet moments between the crescendos rather than relying solely on dramatic builds.

The choice of instruments shows a deep respect for folk customs. The banjo brings brightness and a sense of urgency to important parts of the music, while the acoustic guitar keeps the beat steady.

These elements combine to create a sonic palette that feels both familiar and fresh – rooted in tradition yet forward-looking.

“Intersection” is different from other songs in the same genre because Michellar has a real link to her writing. The way she sings about that wonderful moment when two people meet makes it sound like she is speaking from personal experience rather than making it up. This sincerity comes through in the whole song, making it sound like a real statement rather than a genre exercise.

Intersection featuring Tobias Wilson by Michelle Bond

The lyrics avoid common tropes and instead focus on specific imagery and moments. Rather than broad statements about love, Michellar zeroes in on details – the specific location, the feeling of time slowing down, the awareness of danger juxtaposed against attraction. This specificity gives the song a cinematic quality, allowing listeners to visualize the scene as it unfolds.

For Michellar, “Intersection” marks a significant artistic evolution. As her first foray into Americana folk, the track demonstrates her versatility and willingness to explore new creative avenues.

This kind of artistic growth is always worth celebrating, particularly when executed with such care and attention to detail.

The vocal recording captures both the power and vulnerability in Michellar’s performance, placing it perfectly within the mix to ensure her storytelling remains the focal point.

According to Michellar, the song emerged during a difficult period, serving as an escape from personal struggles. This context adds another layer to the composition – the idea that art can function as both expression and salvation. By creating a narrative about finding connection in unexpected places, Michellar seems to have found her own form of liberation.

While “Intersection” stands strong as a single release, it also creates anticipation for what might come next. If this track represents Michellar’s first steps into Americana folk territory, listeners will naturally wonder what other explorations await. The single functions as both a complete artistic statement and a promising indication of future directions.

Michellar's "Intersection" Marks A Bold Turn Into Americana Folk Territory
Michellar’s “Intersection” Marks A Bold Turn Into Americana Folk Territory

Though Michellar doesn’t currently have performances scheduled, the song’s arrangement suggests it would translate powerfully to a live setting.

The organic instrumentation and emotional narrative would likely connect directly with audiences, creating the kind of intimate musical experience that defines the best Americana performances.

By entering this musical conversation now, Michellar has the freedom to draw from established traditions while pushing into new territory without the pressure of trend-chasing.

“Intersection” introduces an interesting new voice that folk music fans who like serious, story-driven music should check out. Together, Michellar’s desire to be open, her skill as a musician, and Wilson’s recording skills make for a song that is worth listening to more than once and suggests she has a lot of artistic promise.

As Michellar continues her musical path, “Intersection” will likely stand as an important marker – the point where she found a new voice and direction.

For listeners, it serves as an introduction to an artist unafraid to change course and follow her creative instincts wherever they might lead.

“I Wonder”: The Resilient Clarity of No Ordinary Fish.

By
Chris The Blogger
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"I Wonder": The Resilient Clarity of No Ordinary Fish.
"I Wonder": The Resilient Clarity of No Ordinary Fish.

No Ordinary Fish. The name itself conjures expectations beyond the usual shoal, doesn’t it? And their new single, “I Wonder,” largely delivers on that peculiar promise. It’s a track that sidles up rather than storms in, Exeter’s four-piece crafting a slow-burn narrative of party-lit paranoia and eventual, crucial self-affirmation.

Debbie Pearce’s voice steers us through this emotional labyrinth. We’re right there with her, feeling that familiar clench of insecurity as a partner’s attention drifts across a crowded room. Yet, what begins as a questioning gaze outward “I wonder what she’s saying to you” beautifully inverts into a powerful statement of intrinsic value “I’m the best you ever had”. It’s a wonderfully human pivot. The harmonies with Stu Pearce, whose bass lines anchor the song’s wandering thoughts, add a rich, conversational depth, preventing it from becoming a solitary lament.

"I Wonder": The Resilient Clarity of No Ordinary Fish.
“I Wonder”: The Resilient Clarity of No Ordinary Fish.

The song builds with a sort of lounge-bar theatricality, a torch song perhaps, but one that’s traded its sequins for something more introspective, something with indie sensibilities. It’s this eclectic character that draws you in; like suddenly noticing the intricate, dust-fine patterns on a moth’s wing, the music, guided by Rich Booth’s subtly jazz-tinged guitar and Joe Martin’s steady drumming, reveals unexpected textures beneath its pop/rock surface.

"I Wonder": The Resilient Clarity of No Ordinary Fish.
“I Wonder”: The Resilient Clarity of No Ordinary Fish.

There’s a quiet defiance in the narrator’s conviction, a plea for recognition that feels less like begging and more like a final, hopeful laying of cards on the table.

“I Wonder” doesn’t offer tidy resolutions. Instead, it lingers, prompting thoughts about the perplexing emotional tides of others, and the resilient clarity it takes to know your own worth even when the spotlight seems to be shifting. In the quiet aftermath, what really stops us from truly seeing what’s right there?

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Shedding Pretense: ESTRADA Music Project’s Bold “We Are Not God.”

By
Chris The Blogger
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Shedding Pretense: ESTRADA Music Project's Bold "We Are Not God."
Shedding Pretense: ESTRADA Music Project's Bold "We Are Not God."

ESTRADA Music Project’s new single, “We Are Not God,” presents a fascinating study in contrasts, much like its creator, Dr. Alejandro Estrada. When not navigating the complex corridors of NHS Scotland urology, he’s here, a multi-instrumentalist weaving the intensity of that world into these evocative soundscapes. And “evocative” barely scratches the surface; this track certainly pinged some unexpected bells in this old mind.

The song unfurls with a distinct darkwave/synth-pop current. Think driving basslines that feel like a steady, slightly ominous pulse, overlaid with synth melodies that shimmer with a cool, almost crystalline clarity. It could soundtrack a solitary, rain-streaked journey through Glasgow at 3 AM, yet beneath this sleek, modern architecture, there’s a profound, raw ache. It’s the kind of ache that makes you suddenly notice the way your own breath catches before a difficult conversation, or the subtle way your cat avoids eye contact after knocking over a particularly treasured, if slightly chipped, teacup.

“We Are Not God” doesn’t tiptoe around its message. It’s a direct, almost uncomfortably earnest plea for us all to shed pretense and simply…be better. To practice genuine kindness, empathy, and thoughtful consideration, not just the performative kind that looks good on social media but evaporates like morning mist. The call to humility, the reminder of our human fallibility, resonates with a particular clang when you remember its genesis: a doctor urging compassion, especially pertinent within the often-pressured world of healthcare where such values are vital, yet sometimes strained to near transparency.

Shedding Pretense: ESTRADA Music Project's Bold "We Are Not God."
Shedding Pretense: ESTRADA Music Project’s Bold “We Are Not God.”

Listening, I kept picturing those stark, beautiful German Expressionist woodcuts – bold lines, deep shadows, emotion carved right into the medium. There’s a similar weight here. The synths provide the sharp, defined edges, that sense of almost clinical precision, but the vocal delivery and the lyrics themselves? They’re the raw, unvarnished human cry at the centre of the image, a plea against causing pain that feels less like a suggestion and more like a diagnosis of a societal ailment.

Does this fervent musical sermon, born from scalpels and synth chords, actually nudge us towards better conduct? Perhaps. It certainly forces a pause, a moment to check the reflection in the darkened screen before you hit send on that tartly-worded email. And what, truly, is the measure of a song that manages that?

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Lost Your Spark? Seema Farswani’ “Got My Mojo Working” Understands.

By
Chris The Blogger
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Lost Your Spark? Seema Farswani's “Got My Mojo Working” Understands.
Lost Your Spark? Seema Farswani's “Got My Mojo Working” Understands.

Seema Farswani’s single, ‘Got My Mojo Working’ featuring Dem-C, has been looping in my head, and it feels less like a track and more like a beautifully vexing predicament set to a very groovy beat. The premise is so disarmingly human, isn’t it? This notion of possessing a potent personal magnetism, a kind of everyday folk magic that bends the world just so, only for it to utterly fizzle when aimed at the one stubborn individual you desperately wish to enchant. It’s the cosmic equivalent of a master illusionist whose grandest vanishing act somehow leaves only them, bewildered, on an empty stage.

Farswani, whose artistry has journeyed from Dubai through the U.S. to Singapore, weaves this wonderfully global sensibility into the music. The bluesy bedrock is undeniable, providing a familiar ache, yet it’s intricately threaded with bright pop sensibilities and these captivating, almost bittersweet Middle Eastern melodic inflections. Her voice carries a delicious bewilderment, a sort of “excuse me, universe, this part of the script usually works” pout that’s entirely charming. It makes me think, oddly, of the particular shimmer on a scarab beetle’s wing – beautiful, protective, yet perhaps not universally alluring.

Then there’s Dem-C’s beatboxing, which slips in not as mere percussive dressing but more like the frantic, internal rhythm of the mojo itself, trying to cold-start its faltering engine. Or maybe it’s the sound of an anxious heart, thrumming a little too loudly while waiting for a sign that, alas, never comes.

Lost Your Spark? Seema Farswani's “Got My Mojo Working” Understands.
Credit: SF

The song captures that peculiar brand of powerful impotence, the humbling thud when your tried-and-true charisma hits an unyielding wall of indifference. It’s the feeling of having brewed your most potent charm potion, only to find your target has an unexpected immunity. Yet, there’s no wallowing here; instead, there’s a playful, almost exasperated determination to perhaps consult a more esoteric manual, to amplify the signal.

What lingers isn’t sadness, but a wry, knowing nod to life’s unpredictable resistances. When even your best juju fails you on a specific someone, what new enchantment do you dare to conjure next?

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The Emotional Arc of Dylan Forshner’s “Hopeless Optimism.”

By
Chris The Blogger
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The Emotional Arc of Dylan Forshner's "Hopeless Optimism."
The Emotional Arc of Dylan Forshner's "Hopeless Optimism."

Dylan Forshner’s new EP, “Hopeless Optimism,” presents itself not so much as a collection of songs but as a series of candid diary entries set to intricately picked acoustic strings. This five-song journey from the Welland, Canada artist begins in a place of palpable internal wrestling, where the lyrics – and Forshner’s delivery – map out the grim territories of being overwhelmed, using substances to dull the ache, to simply keep the walls from caving in. His acoustic guitar isn’t just there for melody; it’s a constant, sometimes frayed companion through this emotional landscape.

The production is described as featuring “unconventional instrumental elements” around that central guitar. I didn’t detect, say, a theremin solo lamenting lost car keys, but there’s an interesting texture, a subtle grit. It’s like finding an unusually shaped pebble on a long walk; it doesn’t scream for attention, but you pocket it anyway, its quiet oddness a small point of fascination. There’s a definite nod to the indie pop/rock sphere, that knack for threading heartache with a melody that might just get stuck in your head despite itself.

The Emotional Arc of Dylan Forshner's "Hopeless Optimism."
The Emotional Arc of Dylan Forshner’s “Hopeless Optimism.”

Then, the EP takes a breath, shifts its gaze. The narrative arc, as promised, bends from this internal siege towards an outward search for connection, for love. And when this solace is seemingly found in another, the entire atmosphere of “Hopeless Optimism” subtly brightens. It’s less a sudden fireworks display and more like the gradual warming of a room when someone finally throws open the curtains on a surprisingly sunny day. Forshner chronicles this shift from desperate seeking to a kind of blissful fulfillment with a sincerity that’s hard to dismiss.

The transition is from a sound that feels like sorting through mental clutter in a dimly lit room to one that suggests finding a path, or perhaps, someone to walk it with. “Hopeless Optimism” – the title itself feels like a key. Does genuine hope only truly resonate once we’ve intimately known its opposite?

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Step into the Current: Roger Knox’s “Buluunarbi & The Old North Star.”

By
Chris The Blogger
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Step into the Current: Roger Knox's "Buluunarbi & The Old North Star."
Step into the Current: Roger Knox's "Buluunarbi & The Old North Star."

Roger Knox’s “Buluunarbi & The Old North Star” has settled in, and it’s like unearthing a geode – outwardly unassuming country bedrock, but crack it open and the crystals of story shimmer with a fierce, knowing light. The ‘Koori King of Country’, as he’s known, doesn’t just sing; he offers up pieces of a map drawn in river water and resilience, guiding you through the heart of his Gomeroi songman spirit.

This isn’t music you merely hear; it’s a current you step into. It pulls you along through ancestral lands, vibrant yet scarred by the relentless marks of injustice – those unhealed wounds of massacres, stolen children, the quiet violence of segregation. Yet, what rises above the sorrow, insistent as a heartbeat, is an extraordinary fortitude.

Step into the Current: Roger Knox's "Buluunarbi & The Old North Star."
Step into the Current: Roger Knox’s “Buluunarbi & The Old North Star.”

‘Evil’ Graham Lee’s pedal steel is less a mournful sigh here, more a steady exhalation across vast plains, while Laura Case’s violin and Kayla Flaxman’s cello weave through like sinew, connecting past to present. For a fleeting moment, listening to them, I thought of how my grandmother used to mend old lace, thread by delicate thread, making something whole again. An odd thought, perhaps, but the feeling’s similar.

The track “McMaster’s Ward,” penned with Toby Martin whose acoustic guitar lays down a path to walk, feels like a hushed conversation around a slow-burning fire. It’s an invitation into a space of profound loss but also profound connection, a testament to the enduring strength found in remembering, in reclaiming community brick by painful brick. Knox’s voice itself is a landscape, weathered and true.

The album doesn’t flinch from the darkness, yet it leaves you not in despair, but with a sense of gravity, a recognition of the deep roots that hold firm even when the world tries to uproot them. In a world of fleeting tunes, how often does music ask you to simply bear witness, and in doing so, offer a peculiar kind of strength?

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Is This Us? Rubanq’s “Worldwide Dead” Forces a Hard Look.

By
Chris The Blogger
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Is This Us? Rubanq's "Worldwide Dead" Forces a Hard Look.
Is This Us? Rubanq's "Worldwide Dead" Forces a Hard Look.

Rubanq’s “Worldwide Dead” slides into your listening not with a bang, but with the gritty inevitability of a slowly tightening knot. Joel Patric, the Gothenburg mind behind this introspective project, isn’t serving up easy comforts. Instead, he’s crafting a heavy-hearted chronicle of our digital descent, a sort of sonic warning flare fired from a shoreline most of us are too screen-addled to even see.

The track is rooted in an Americana that feels like it’s been dragged backwards through a particularly unforgiving hedgerow, snagging on the thorny branches of grunge along the way. There’s an emotional urgency to Patric’s storytelling that’s undeniable, a weary soulfulness wrestling with the notion of the “worldwide dead” – this creeping state where humanity seems to be passively, almost willingly, trading authentic freedom for the flickering embrace of pervasive technologies. The narrative mourns our enthrallment, this collective mesmerisation paving the way for a kind of living death, where cold, computational systems are perhaps already the silent arbiters.

Is This Us? Rubanq's "Worldwide Dead" Forces a Hard Look.
Is This Us? Rubanq’s “Worldwide Dead” Forces a Hard Look.

It’s this specific kind of “passive subjugation” he sings of, this willing ignorance of evident truths, that really burrows. It brings to my mind, quite unexpectedly, those unsettling Victorian “hidden mother” portraits. You know the ones – where the mother, the actual life-source, was literally draped under heavy fabric, becoming an anonymous, featureless scaffold just to keep her child still enough for the era’s long camera exposures. Essential for the image, yet rendered invisible, a ghostly prop. Are we now, in our turn, becoming these obscured figures in the grand, glossy picture of our digitally dictated future?

“Worldwide Dead” doesn’t flinch from the gritty reflection on digital burnout, the pace, the disconnection, the overwhelming global anxiety. It’s a demanding listen, yes, one that probes and festers rather than soothes. It leaves you turning over the sheer weight of our modern distractions, the unheeded calls.
Does this song, then, hum the possibility of an awakening, or is it merely the ambient, mournful sound of humanity being quietly judged by the very systems it so meticulously cultivated?

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Sonia Lorenzi Crafts Intimate Debut EP “Vers Soi”

By
MrrrDaisy
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Sonia Lorenzi Crafts Intimate Debut EP "Vers Soi"
Sonia Lorenzi Crafts Intimate Debut EP "Vers Soi"

On the occasion of the release of her first EP “Towards you” this 2025, Sonia Lorenzi presents us with “I remember”, a ballad sensitive where the intimate unites with the poetic.

The human brain stores memories like scattered postcards in an old shoebox, each one triggered by the most unexpected sensory details. Sonia Lorenzi understands this phenomenon intimately, and her debut EP “Vers Soi” serves as both archaeological dig and love letter to the fragments that shape us.

The Toulouse-based singer-songwriter has crafted something remarkable here: six tracks spanning nineteen minutes that feel simultaneously personal and expansive, rooted in French chanson tradition yet thoroughly contemporary.

“Je me souviens,” the featured track from this collection, operates as the emotional centrepiece of an already cohesive work. The song title translates to “I remember,” and Lorenzi treats memory not as static nostalgia but as living, breathing entity that continues to inform present experience.

Her approach to this theme feels refreshingly honest, avoiding the saccharine sentimentality that often plagues retrospective songwriting.

The musical architecture of “Je me souviens” reveals Lorenzi’s sophisticated understanding of dynamics and space. Synthesizers provide the foundation, their warm tones creating an atmospheric bed that suggests both comfort and melancholy.

The bass line moves with deliberate purpose, never rushing, allowing each note to resonate fully before the next arrives. Piano enters the conversation like a thoughtful friend, adding melodic commentary that feels conversational rather than performative.

What sets this track apart from typical French chanson is Lorenzi’s willingness to embrace electronic elements without abandoning organic instrumentation.

The percussion builds gradually, each layer adding intensity without overwhelming the delicate vocal delivery. Background vocals appear like echoes from the past, reinforcing the memory theme while creating textural richness that rewards repeated listening.

Lorenzi’s vocal performance deserves particular attention. She possesses the rare ability to convey vulnerability without weakness, emotion without melodrama.

Her phrasing feels natural, as if she’s sharing these memories across a kitchen table rather than performing for an audience. This intimacy becomes the song’s greatest strength, drawing listeners into her personal recollections while allowing space for their own memories to surface.

The production choices throughout “Vers Soi” demonstrate remarkable restraint and intelligence. Rather than filling every available sonic space, the arrangements breathe, creating moments of silence that feel as intentional as the notes themselves.

This approach serves the material well, particularly on “Je me souviens,” where the interplay between presence and absence mirrors the way memory itself functions.

Lyrically, Lorenzi writes with the precision of a poet who understands that the most powerful emotions often hide in seemingly mundane details.

Her French lyrics flow with natural rhythm, never feeling forced to accommodate the melody. The words carry weight without pretension, addressing universal themes through specific, personal observations.

The broader context of “Vers Soi” reveals an artist who has spent considerable time developing her voice before sharing it publicly. This debut doesn’t feel like tentative first steps but rather like the confident statement of someone who knows exactly what she wants to say and how to say it.

The EP’s title, meaning “Towards Self,” suggests a journey of self-discovery, and the music supports this narrative arc beautifully.

Lorenzi’s background in the Toulouse music scene becomes relevant when considering the cultural influences that shape her sound. The city’s rich musical heritage, from traditional French folk to contemporary electronic music, seems to inform her aesthetic choices.

She draws from these traditions without being constrained by them, creating something that feels both rooted and forward-looking.

The timing of this release feels particularly significant. In an era when much popular music prioritizes immediate impact over lasting impression, Lorenzi offers something different: songs that reveal new layers with each encounter.

“Je me souviens” exemplifies this approach, functioning as both immediate emotional experience and long-term companion piece.

Her previous singles, including “Main dans la main,” “Bulles de pensées,” and “Là où tu es,” established her as an artist worth watching, but “Vers Soi” represents a significant artistic leap.

The cohesion of the EP format allows her to explore themes more thoroughly than individual singles permit, creating a complete artistic statement that justifies the longer format.

Sonia Lorenzi Crafts Intimate Debut EP "Vers Soi"
Sonia Lorenzi Crafts Intimate Debut EP “Vers Soi”

The production quality throughout the EP maintains professional standards while preserving the intimate character that makes these songs special. Each track feels carefully considered, with arrangements that serve the songs rather than showcasing technical prowess for its own sake.

Lorenzi joins a growing movement of French artists who refuse to choose between tradition and innovation, instead finding ways to honour their cultural heritage while speaking to contemporary audiences.

Her music feels particularly relevant for listeners seeking authentic emotional connection in an increasingly digital age.

“Vers Soi” announces the arrival of an artist who understands that the most profound art often emerges from the most personal places.

Lorenzi has created something that honours the complexity of human memory while remaining accessible to anyone who has ever been surprised by the power of sudden recollection.

The EP stands as proof that intimate art can achieve broad resonance when executed with this level of care and intelligence.

Sonia Lorenzi has given us a collection of songs that function as both personal memoir and universal meditation on the nature of memory itself.

The Unforgettable Truth: My Glass World’s “Stranded Assets” Barges In.

By
Chris The Blogger
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The Unforgettable Truth: My Glass World's "Stranded Assets" Barges In.
The Unforgettable Truth: My Glass World's "Stranded Assets" Barges In.

My Glass World and their new album, “Stranded Assets,” have barged into my ear-space, rather like that one uncle at a wedding who insists on telling you about his model train collection, but then, confoundingly, reveals a profound truth about the human condition just as you’re reaching for another vol-au-vent. This isn’t background music; it’s foreground chaos, beautifully arranged.

The British duo, Jamie Telford and Sean Read, wrestle with communication itself – that slippery beast, capable of forging empires of affection or digging trenches of misunderstanding. The 12 tracks here are a portfolio of such ‘stranded assets’ – thoughts and feelings that have lost their conventional value in this strange, algorithm-pocked era, yet still throb with a desperate kind of life.

The music mirrors this entirely. One moment it’s all stomping, sax-driven bravado, a declaration that reminds me, quite vividly, of the defiant clatter of a lone, forgotten harpsichord discovered playing punk anthems in an abandoned stately home. Then, it plunges into these chilling, eerie synth-scapes where you feel the walls of your own assumptions (and perhaps the room) subtly constricting.

The Unforgettable Truth: My Glass World's "Stranded Assets" Barges In.
The Unforgettable Truth: My Glass World’s “Stranded Assets” Barges In.

Telford’s lyrics are sharp of tooth, the kind you want to pin to a board and connect with coloured string, tracing lines between a creative, despairing view and a stubborn sort of protest. It’s a world of characters grasping for something solid – meaning, love, a place to simply be – while buffeted by past regrets and the bewildering churn of the cost of living crisis. There’s a palpable sense of confinement, not just physical, but of the spirit, a commentary on how we invest so much in systems and ideas that then crumble like ancient biscuits left out in the existential rain.

“Stranded Assets” doesn’t offer easy answers, nor should it. It’s a splinter under the skin, this record. It provokes, it unsettles, and occasionally, it throws open a window onto a starkly beautiful, if rather dilapidated, vista of perseverance. You walk away feeling like you’ve eavesdropped on a particularly candid, slightly jarring, but ultimately vital conversation. In a world obsessed with fresh investments, what value truly endures when the market finally, inevitably, corrects itself?

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Geo Chandler’s “Spent”: Wired, Weary, and Wonderful.

By
Chris The Blogger
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Geo Chandler's "Spent": Wired, Weary, and Wonderful.
Geo Chandler's "Spent": Wired, Weary, and Wonderful.

Geo Chandler’s new single, “Spent,” arrived like an unexpected late-night espresso – jarring, yes, but with a curiously welcome clarity. It sets out to bottle that bone-deep weariness, the kind where your own thoughts echo a little too loudly in the cavern of your skull, a place where even the dust motes seem to sigh.

Chandler, an Edinburgh architect of sound, builds this with a fascinating, almost anachronistic toolkit. A delicate violin, imbued with a touch of classical sorrow – you can practically smell the old wood and rosin – finds itself weaving through a resolutely modern, driving beat. Then an arpeggiated piano patters in, precise and restless, like the intricate gears of a Black Forest cuckoo clock suddenly deciding to keep time with a rave next door. It’s UK garage and post-dubstep attempting a rather spirited, if slightly bewildered, waltz with the conservatory.

And it’s this very collision that intrigues. For a track ostensibly about being “spent,” it’s surprisingly… twitchy, restless. It’s the audio equivalent of needing to collapse, yet finding your leg jittering with an energy it doesn’t quite understand. That insistent synthesiser line, when it finally blooms, brought to my mind the utterly specific green of wet moss on an ancient stone after a month of drought – a sudden, vibrant sign of life where you’d almost forgotten to look. A little jolt, a pinprick of revival.

Geo Chandler's "Spent": Wired, Weary, and Wonderful.
Geo Chandler’s “Spent”: Wired, Weary, and Wonderful.

This isn’t purely for the dancefloor, mind you; though it has the pulse. It’s more like a soundtrack for pacing your flat at 3 AM, wired and weary, the city lights painting stripes on the wall. An introspective journey taken with a surprisingly insistent rhythm section. It’s a peculiar kind of dance, this one – a conversation with exhaustion that somehow keeps moving.

Does “Spent” leave you fully recharged, ready to scale metaphorical mountains? Perhaps not a full Duracell bunny revival. But it does leave you acutely aware of the hum, the fizz, the strange and often contradictory currents that power us, doesn’t it?

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Fearless & Fragile: Lisa Goldin’s “How Love Can Start”

By
Chris The Blogger
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Fearless & Fragile: Lisa Goldin's "How Love Can Start"
Fearless & Fragile: Lisa Goldin's "How Love Can Start"

Lisa Goldin’s new single, “How Love Can Start,” has a way of sneaking up on you, much like the scenario it so tenderly sketches: that jolt of an old flame reigniting. It’s less a grand pronouncement and more an intricate, slightly trembling look at love’s potential encore.

“Great news for GoldinFans! Lisa Goldin just launched her very own GoldinShop find it at CLICK-HERE, where fans can access her music directly. And that’s not all – the shop includes an exclusive pre-launch of her upcoming third album, “Something I Used To Wear”! This is the place for fans to be.”

Goldin, described as a fearless artist, certainly doesn’t shy away from the raw, awkward core of this. We’re talking about that peculiar human dance: the mutual recognition that time, the great eroder, somehow missed this particular connection. There’s a shared, palpable nervousness, a quiet admission that other romantic avenues led to cul-de-sacs, leaving both parties standing here, now, with this unexpected echo.

Fearless & Fragile: Lisa Goldin's "How Love Can Start"
Fearless & Fragile: Lisa Goldin’s “How Love Can Start”

This is where the song really digs its heels in. The lyrics wrestle with that tantalising, terrifying “what if,” that cautious hope pressing against the scar tissue of past hurts. It’s the emotional equivalent of finding a delicate, pressed flower in a book you haven’t opened for years – still beautiful, surprisingly intact, but you’re almost afraid to breathe on it. That frisson of “could this be it, this time?” resonates with an almost uncomfortable truth.

As a pop ballad, “How Love Can Start” doesn’t bludgeon you with melodrama; instead, its strength lies in building a sense of hesitant intimacy. The production lets the story breathe, capturing that almost unbearable tension between unspoken history and the present, tentative desire. It’s in the careful consideration, the impulse to hold back clashing with the urge to dive in. That “curious adrenaline” of a first spark, as the notes put it? Yes, that captures the odd buzz precisely.

The song taps into that universal feeling of wondering if love, truly great love, is always this blend of terrifying and beautiful, a gamble worth every last shred of vulnerability. Goldin leaves you with the weight of that possibility, that tiny, insistent beat of a question: if you open that door just a crack, what exactly is waiting to step through?

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Rhythm Pals’ ‘Lookin’ Good’: Pop-Funk Joy for All Ages.

By
Chris The Blogger
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Rhythm Pals' 'Lookin' Good': Pop-Funk Joy for All Ages.
Rhythm Pals' 'Lookin' Good': Pop-Funk Joy for All Ages.

Rhythm Pals’ new single, ‘Lookin’ Good,’ shimmied into my listening rotation, and honestly, it’s got the kind of bounce that could coax a smile from a particularly grumpy badger. These two dads, one musician, one animator, have concocted a pop-funk confection that’s as bright and immediate as a freshly opened box of crayons. Pure kid fuel, this.

The track champions the noble art of dressing oneself with pure, unadulterated joy. We’re talking mismatched socks raised to an art form, tutus paired with superhero capes – the kind of glorious, personal collage that probably makes perfect sense to the wearer and vaguely alarms strictly minimalist adults. It’s a sartorial chaos that somehow, in its childlike audacity, achieves a peculiar elegance. Think of those surprisingly stylish scarecrows you sometimes see, their patchwork defiance a statement in itself. Or perhaps a toddler who’s raided the dress-up box and emerged, briefly, as the undisputed monarch of the living room.

Rhythm Pals' 'Lookin' Good': Pop-Funk Joy for All Ages.
Rhythm Pals’ ‘Lookin’ Good’: Pop-Funk Joy for All Ages.

There’s a wonderfully grounded nod, too, to the inevitable: school, sports, the sensible shoe occasions. It’s a pragmatic beat within the freewheeling rhythm, an acknowledgement that sometimes the world demands a certain uniform. This isn’t a rebellion without cause; it’s an understanding of context, which, let’s face it, is a surprisingly sophisticated lesson wrapped in a beat that makes you want to put on your silliest hat.
The song doesn’t just suggest confidence; it sounds like it.

It’s the sonic equivalent of that internal fist-pump when you’ve chosen something utterly you and it just feels right, external validation be darned. It’s less about runway fashion and more about the quiet, internal hum of wearing your delightful weirdness with a grin. It makes me think of the sheer, unselfconscious pride of a cat who’s just successfully knocked something off a high shelf. Mission accomplished.

Does a song about clothes for kids really need this much unadulterated funk? Probably not. But I’m awfully glad it’s there. It leaves you wondering: what small, everyday act of joyful defiance will you choose today?

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Sam Lewis Steps Into Twilight with “Juan Garcia”.

By
Chris The Blogger
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The Hypnotic Pull of Patrick Hynes' "Baby’s High Again"
The Hypnotic Pull of Patrick Hynes' "Baby’s High Again"

Sam Lewis’s “Juan Garcia” isn’t a song that arrives with a fanfare; it feels more like a figure glimpsed in the twilight, carrying an invisible weight, and you instinctively lean in. Lewis, an artist who often paints with warmer, feel-good Americana hues, here offers something starker, a ballad stripped to its bones, letting his soul-stirring vocals do the heavy lifting – and heavens, do they lift, even as they mourn.

The song traces the outline of a migrant’s harrowing trek, speaking to that ongoing southern border crisis with a profound, almost unnerving, humility. Juan Garcia. The name itself feels like it could belong to anyone, everyone, who has ever strived for something just out of reach, across a dangerous divide. Lewis doesn’t preach; he chronicles, and in doing so, lets the inherent humanity of the struggle resonate without adornment, raw and exposed.

The Hypnotic Pull of Patrick Hynes' "Baby’s High Again"
The Hypnotic Pull of Patrick Hynes’ “Baby’s High Again”

And running parallel to this, there’s a deeper current of almost cosmic disillusionment. The narrator seems to have accumulated experiences like too many stones in a pocket, each one a harsh truth learned about the world’s less charming machinery. This weariness is palpable, a sense of having simply witnessed too much. It’s the kind of tiredness that settles after you’ve finally understood how certain societal structures actually operate – like deciphering the cryptic wiring diagram of an ancient, temperamental appliance only to realise it was designed to periodically shock you, just because.

Yet, amidst this jaded landscape, a profound admiration flickers for figures like Juan Garcia, those who absorb the blows but somehow keep their spine straight, a wistful longing perhaps for a time when belief felt less like an act of rebellion and more like breathing.

“Juan Garcia” doesn’t try to fix anything, or offer neat resolutions. It lingers, this song, like the ache after a long journey or the lingering taste of bitter coffee that you still, for some reason, find yourself wanting more of. It leaves you wondering: where do we place the wisdom that hurts, and can it ever truly sit beside innocence again?

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DRONE ,AMBIENT ,RELAXING ,STUDYING VIBES ,ELECTRONIC ,LEFTFIELD ,CHILLWAVE ,SOUNDSCAPE , SUPER EDGY ,EUPHORIC ,CINEMATIC ,SOUNDTRACK ,EUROPE BASED ,CHILLOUT, TAAVI DAFT, TAAVI DAFT EP, ENLIGHTENING, ENLIGHTENING, ENLIGHTENING EP, ENLIGHTENING BY TAAVI DAFT
Music Arena Ghana has helped a lot of artists, both those who aren’t signed to record labels and those who are.

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