Mike Coner's "Aho Ahoa" Transcends Urban Latin Boundaries
Not only is Mike Coner‘s newest song “Aho Ahoa” another addition to the genre, it also shows how music can be a safe place to be and a way to reach higher levels of consciousness.
Hip-Hop, Bachata, Rap, Reggaeton, Merengue, Trap, Dancehall, and Afrobeat are just some of the styles that this Colombian-Venezuelan artist plays. A real variety of musical styles.
Coner does not just play around with these styles; he seems to live in them and bend them to fit his story. “Aho Ahoa” shows this variety, but at its core, it is about something that is been in songs for a long time: the spark of a love meeting.
“Aho Ahoa” makes you feel like you are going into a certain moment instead of breaking down a track. There are parts of the process that should not go together but do in some way.
There’s a pulse, an undeniable energy drawn from reggaeton and dancehall, yet layered with melodic sensibilities that soften the edges. It’s the sound of city lights reflecting on wet pavement after a sudden downpour, a mix of grit and unexpected beauty.
Coner’s delivery changes. Sometimes he rides the beat with cocky confidence, and other times he takes on a more personal, almost chatty tone.
It is not just about technical skill; it is also about showing how you felt during that first meeting—the hesitancy, the curiosity, and the growing sense of possibility that are at the heart of the song’s love encounter theme.
It is interesting how a song about a simple meeting can hold the weight of a whole life. “Aho Ahoa” does not directly talk about Coner’s past or the struggles he went through from living on the streets to performing on stages across countries, but they do affect how he sings the song.
In his voice, there is a strength that comes from knowing how important relationship is because he is been without it. They are very different types of music, but the way they turned their experience into art hits home.
The 2025 return to Europe is a big step forward in Coner’s artistic career. His work with European artists suggests that he is expanding his musical language on purpose, taking in new influences while keeping the core parts that make up his unique sound.
In contrast to many artists who try to appeal to a wide range of cultures, Coner’s work shows how uniqueness of experience can, in a strange way, make connections that are more universal.
Regarding production, the track shows what Capital Porcual meant when they said “tremendous musical and cinematographic production.” Sound parts are put together with a dramatic sense, making emotional arcs that go beyond language boundaries.
The different sounds of the instruments show different emotions, and the rhythms bring to mind both old-fashioned Latin styles and new urban styles.
“Aho Ahoa” shows that he can play a lot of different types of Latin Urban music. You can hear the steady beat of dancehall, the catchy melodies of modern reggaeton, and maybe even hints of bachata in the music itself, though you can not hear the instruments breaking down clearly. It is more of an effect that you can feel.
There is no chaos in this mix; it is a combination. It is about an artist who is happy with who he is and does not want to be put in a single box.
This unwillingness to fit into a single category is a statement in and of itself, showing how complicated modern identity is, especially for artists who connect different countries and experiences.
Like migrant birds that find their way by stars that most people can not see, Coner finds his own way through the sonic air.
Mike Coner’s “Aho Ahoa” Transcends Urban Latin Boundaries
“Aho Ahoa” feels like a sign of growth and a testament to Mike Coner’s journey, from being in danger to working with artists from other countries.
This gives the song’s idea of relationship more meaning. The path of finding your place in the world and using suffering to fuel creativity is a lot like finding that spark with someone else.
Stories like this have meanings that go beyond the music itself. They offer stories of hope and change.
The lively, well-made Latin Urban music shows how versatile Mike Coner is and how good he is at catching a certain emotional moment.
It works well as a single, giving you an easy way to get into his sound while giving you a taste of the wider range of influences he uses.
Knowing about the artist’s own amazing journey makes the feeling of fresh connection even stronger on the track.
It makes you think about more than just the story in the song. It makes you think about the next part of Mike Coner’s own story.
This LA-based musician VANNGO, who spent a good chunk of time being an entrepreneur before the music really took hold is back.
“Heartbreaker USA” comes after “We’ll Rise LA!“, which was a song of strength born from the ashes of real fires.
If the first single was about picking up the pieces after life throws a Molotov cocktail at you, this new track feels like exploring the part of you that might have lit the match.
VANNGO himself says it’s about “the fires we start ourselves.” It’s a departure, a swerve into a different lane.
The beginning of “HEARTBREAKER USA” is hypnotic guitar work that makes you think of both the cramped despair of a dive bar and the wide, empty roads of the desert.
It is this duality that makes the track stand out, creating a mental world that feels both limited and limitless.
What VANNGO brings, though, is his own taste. There is a lot of knowledge in the brutal voice, and it is not just from music. It is from thirty years of working in business.
They are tired and angry at the same time. That sound comes from someone who has seen enough to know that polished stories are often lies. The track pulses, it pushes forward, a soundtrack for driving too fast with the windows down, chasing something or running from it – maybe both.
In terms of sound, the track is in interesting ground. For emotional realism, its simple production style keeps things real, while adding elements that feel both familiar and new.
Perhaps most compelling is how “HEARTBREAKER USA” functions as a map of internal contradiction. “We’ll Rise LA!” focused on disasters happening to other people, making VANNGO an instrument of resilience. This follow-up, on the other hand, looks at how reckless love can lead to self-immolation.
The track’s strong rhythm section gives it a forward motion that matches its emotional urgency. This is music for movement, flight, and maybe even freedom. But underneath all of this kinetic energy is a fragility that keeps the song from becoming just bluster.
VANNGO has found that hard-to-find balance between swagger and sensitivity that sets the best American rock bands apart, from Springsteen to the early Kings of Leon.
The Pacific Palisades fires were a catalyst, pushing VANNGO into the light. Now, he seems to be embracing the heat. “HEARTBREAKER USA” isn’t shy. It leans into its influences – grunge, alt-country, southern rock – but manages to feel current.
It’s like finding an old leather jacket that somehow fits perfectly right now. It avoids feeling like a throwback because the emotion feels raw, immediate. It’s the difference between remembering a feeling and feeling it.
What does it mean to survive yourself? The song seems to grapple with this. Resilience isn’t just about enduring external blows; it’s about exploring the internal space, the messy, beautiful, contradictory parts of being human.
The most obvious thing about “HEARTBREAKER USA” is VANNGO’s deep knowledge of rock music’s ability to stay true to itself over time.
VANNGO Unveils New Single “HEARTBREAKER USA”
After years of being quiet, this is the sound of an artist who has finally found his voice. As a result, the song is both strong on its own and a tantalising preview of the album that comes after it.
VANNGO does not want to follow short-lived fads. He want to achieve something more substantial and long-lasting.
It is music for people who are in the middle of things—the thinkers, the fighters, and the people who are making bad decisions at 2 AM under a buzzing streetlight.
People like it because it does not act like it knows everything. The right questions accompanied by a great song and a voice that sounds like it has seen a lot are enough sometimes.
Relentless Beat, Raw Emotion: MYLEZ - "Open Your Eyes"
Right then, let’s talk about MYLEZ and the new single “Open Your Eyes”. This track landed like a late-night text message you know you shouldn’t read but absolutely will – a compulsive throb of House music underpinning a familiar, aching plea. MYLEZ, apparently shaping sounds since the tender age of 13 up in Ter Apelkanaal, lays out a narrative here that’s raw around the edges: the slow, awful drift when one person’s love seems to have clocked out while the other is still desperately watering a plastic plant.
The beat is steady, insistent, almost relentlessly optimistic in that classic House fashion. But underneath? Oh, it’s the sound of someone hammering politely on a locked door, knowing full well the person inside might just be pretending not to hear. The lyrics paint this picture of emotional quicksand, that feeling of being utterly cemented in place while the object of your devotion sails blithely on. It’s this strange friction – the desire to move, maybe even dance, trapped inside the paralysis of hoping this specific person will suddenly turn around.
Relentless Beat, Raw Emotion: MYLEZ – “Open Your Eyes”
Listening, I got this peculiar flash – remembered seeing a documentary about those intricate Dutch floral clocks, marvels of precision, everything moving in perfect, preordained time. “Open Your Eyes” feels like wanting to smash that clock, or at least plead with one of the little wooden figures to look at you, just once, breaking the mechanism. There’s a desperate focus here, a rejection of any other potential connection, clinging solely to this one flickering hope. It’s dedication bordering on… well, something exhausting.
The production is clean, the energy undeniable for the genre, but it’s that core message – the stark vulnerability of wanting to be seen by eyes that seem resolutely shut – that sticks. It’s less a call to the dance floor and more the soundtrack to pacing your apartment at 3 AM. Does setting such heartache to a beat somehow make it bearable, or does it just highlight the awful silence waiting when the track ends?
Robin Swann's "Flaunt You": Indie Pop Grit & Anxious Hearts
Robin Swann’s new single, “Flaunt You,” lands with the deceptive sheen of polished indie pop, but listen closer – there’s grit under its fingernails, a heart beating anxiously beneath the bright synth layers often crafted with collaborator Xander Lee. It captures that peculiar, stomach-flipping vertigo of falling headlong into a love that feels both utterly destined and terrifyingly risky. You know the feeling, like realizing you’ve accidentally painted yourself into a corner, but the corner is incandescently beautiful.
Swann sings of wanting to shout a name from the rooftops while simultaneously wanting to tuck it away, safe from prying eyes or potential disapproval, hinting deeply at the specific anxieties that can accompany same-sex love and the complex shadow cast by family expectations. The music mirrors this – swells of almost cinematic sound crash against moments of close-miked vulnerability. There’s a texture in the layered vocals during the chorus, a kind of shimmering density, that oddly reminds me of the iridescence on a pigeon’s neck feathers. An everyday detail, yet startlingly vibrant when you actually stop to look. Seems fitting, somehow.
Robin Swann’s “Flaunt You”: Indie Pop Grit & Anxious Hearts
The song doesn’t offer easy answers. It lives in the precarious space between fear and fierce desire, the ache of concealment warring with the desperate hope for authentic, open connection. It charts the shaky ground of wanting this love, the one that scares you, to finally be the one that lasts, the one worth the potential fallout.
It’s a potent little capsule of hesitant bravery, that internal wrestling match before you step out into the light, hand-in-hand. What courage it demands, not just to feel love, but to dare to openly wear it?
Get Swampy: Circus Mind Drops Vibrant New Single "NOLA Song"
Circus Mind throws open the doors with their new single, “NOLA Song,” and immediately, the air gets thick with something swampy and alive. It’s a blast of sound, fronted by Mark Rechler’s buoyant keys and vocals, rolling out an invitation that feels less like a polite request and more like a joyful, almost desperate tug on the sleeve. This isn’t just sightseeing; it’s soul-seeking set to a serious groove.
The band – Brian Duggan laying down slick guitar lines, Michael Amendola’s saxophone crying and celebrating, underpinned by the lockstep rhythm section of Matt Fox, Steve Finkelstein, and Dan Roth – conjures that particular New Orleans energy. It’s funk-rock, yes, but steeped in that humid, second-line strut, the kind of music that seems to rise right up from the cracked pavement itself. You hear echoes of influences, sure, like finding a faded Little Feat sticker plastered on Dr. John’s piano. There’s a density to it, a history baked right into the beat.
Lyrically, the party vibe masks a tender vulnerability. The plea to “Come to Nola” doubles, quite pointedly, as a plea to “Come know love.” It casts the Crescent City as a cure-all, a vibrant sanctuary where loneliness evaporates amidst the music, the food, the sheer presence of the place. It makes me picture someone trying to reconstruct a lost feeling using only spices and brass instruments – a fascinating, slightly improbable kind of alchemy. Can a city truly be a synonym for connection?
Get Swampy: Circus Mind Drops Vibrant New Single “NOLA Song”
The track barrels forward with undeniable energy, a high-spirited tribute demanding movement. Yet, it’s that undercurrent of yearning beneath the swagger, that ache wrapped in celebratory horns, which lodges itself in the mind. It’s less a postcard, more like finding a tear-stained note tucked inside a Mardi Gras bead necklace.
So, does channeling the undeniable spirit of New Orleans actually bridge the distance between two lonely souls, or does it just provide a fantastic beat to dance through the heartache?
Rebecca Anderson Finds Stillness in New Single "In the Beginning"
Rebecca Anderson’s new single, “In the Beginning,” lands with the quiet insistence of finding an unexpected patch of vibrant green moss flourishing on a stark city sidewalk – something natural and enduring where you didn’t anticipate it. This is Soulful R&B from the LA-based, classically trained artist, but it carries an unusual stillness, a contemplative core. Anderson isn’t aiming for chart-storming bombast; instead, the track meticulously builds its structure on the foundational concept of God’s unwavering presence – the Alpha Omega, the fixed point in a world that feels increasingly… well, wobbly.
The groove possesses a smoothness, sure, yet it’s almost deceptively gentle, like a deep river current beneath a calm surface. Within this flow, the lyrics chart immense theological ground: divine sovereignty, everlasting love, the kind of profound trust that bypasses the need for empirical proof. Anderson sings of personal transformation (“never been the same”), finding strength purely through belief. There’s a litany of divine names invoked – provider, healer, peace, savior, “I Am” – which, funnily enough, reminds me of studying ancient Akkadian cylinder seals in a dusty museum basement years ago, how they crammed lists of divine attributes onto tiny stone surfaces, asserting comprehensive power through sheer inventory.
Rebecca Anderson Finds Stillness in New Single “In the Beginning”
It comes, we’re told, from a period of deep spiritual connection and divine inspiration, and that sincerity is palpable. The track isn’t demanding your attention; it seems content to simply exist, mirroring the very permanence and perpetual reign it celebrates. It’s less about overt persuasion and more about quiet affirmation, offering itself as an anchor in potentially turbulent personal waters. It lays out a case for sufficiency, the idea of finding everything necessary within this unchanging divine relationship, this source of unwavering love forever.
You don’t necessarily need to subscribe to the specific theology to recognize the solid ground Anderson seems to stand on here. The conviction isn’t shouted; it’s woven into the very fabric of the sound – a calm, soulful insistence aiming for a sense of abundance found not in noise, but in steadfastness. What sticks, though, is the texture of that certainty translated into song. Does it purely comfort, or does its very stillness present its own quiet challenge?
Shape of Water's "Last Goodbye": Grief You Can Dance To?
Shape of Water drops their single “Last Goodbye,” and it hits like walking into a brightly lit kitchen the morning after a furious argument – everything’s superficially tidy, the chrome gleaming, but the air itself feels bruised, humming with absence. This electronic art rock outfit from Manchester, featuring Rossano Capriotti handling vocals, bass, and keys with Luca De Falco on guitar/backing vocals and Tom Moks providing drums/backing vocals, certainly knows how to craft these peculiar emotional pressures.
They nod towards clubbing vibes, Freddie Mercury’s theatricality, and Lady Gaga’s electro-pop drama for this track’s synth-driven engine, and the influence is clear. The beat is insistent, designed for motion, possibly even catharsis on a darkened dance floor. Yet, beneath this polished surface throbs a narrative thick with post-relationship desolation: the specific, hollow echo of profound loneliness, the dizzying disorientation of feeling emotionally unmoored, adrift in the storm’s aftermath described in the lyrics. It’s like trying to trace the outline of a departed guest solely by the indentation left on a velvet cushion – you know something was there, but the shape is elusive, frustrating.
Shape of Water’s “Last Goodbye”: Grief You Can Dance To?
The words speak of memories lingering like unwelcome scents, sharp and persistent reminders of what’s fractured. Capriotti delivers this central ache with a raw directness that slices right through the shimmering production. And it’s this very juxtaposition that wrong-foots you. That relentless rhythm from Moks, Capriotti’s potentially glittering keys or grounding basslines, maybe brief, melancholic sparks from De Falco’s guitar – they construct a container that feels almost jarringly sleek for the vulnerability rattling inside. For a second, it evoked those intricately jewelled Fabergé eggs; stunningly crafted, almost overwhelmingly ornate, but ultimately enclosing… what? A carefully decorated void where something vital once resided.
This isn’t simply sadness layered over synths; it’s the peculiar, restless energy of grieving itself, propelled onto a stage it doesn’t quite belong on. The song doesn’t smooth things over or offer easy comfort. It leans into that awkward, jittery feeling when loss leaves you stranded but somehow demands action. It definitely sticks with you, this track, like the phantom limb ache of a finished conversation. Does dancing through such wreckage truly help clear the air, or merely stir the dust into more elaborate, glittering patterns?
TOSPACEWEGO's "Lives I've Wasted Willingly": A Journey Through Romantic Regret
Charlie Smith, the creative force behind TOSPACEWEGO, has been crafting music since 2006, but with his latest single “Lives I’ve Wasted Willingly,” he demonstrates a musical maturity that can only come from years of artistic evolution.
From the gentle violin that opens the track, listeners are transported into a dreamlike soundscape where time seems to bend backward. The song exists in that rare twilight space between reality and dreams, where memories, wishes, and regrets intertwine like threads of fate.
The lyrics cut deep from the very first lines: “Lives I’ve wasted willingly/Getting you to notice me/Seconds slowly killing me/Getting you to know it’s me.” There’s raw honesty in these words that speaks to anyone who’s ever given too much of themselves to someone who couldn’t reciprocate. Smith’s delivery feels confessional and resigned, with each line landing like a whispered secret.
What makes this track truly special is its layered composition, both musically and emotionally. The instrumentation begins smoothly, creating an understated foundation of grooves and careful transitions. The drums provide a solid backing while delicate guitar riffs and glassy tones lift the melody. Everything is wrapped in an encompassing instrumental haze that feels both intimate and expansive.
What makes this track truly special is its layered composition, both musically and emotionally.
Just when you think you understand the song’s direction, it surprises you. Around the three-minute mark, a horn solo emerges, sweeping through the melancholy like a beam of golden light. This is followed by what feels like an 80s-inspired guitar solo that elevates the entire piece to cinematic heights.
The production allows each element room to breathe and evolve, creating a valley of memories that play out distinctly yet simultaneously. What begins as a bluesy alt-rock ambience gradually transforms into a sublime jazz frame by the end—truly embodying the “alternative” spirit by refusing to be confined to a single genre.
When Smith delivers the lines “Tethered to reality by a slew of crazy dreams, feelings coming out of the blue, wondering what happened to you/Thoughts often gently marred by the sight of you in his arms,” the despair and angst in his voice convey the tremendous emotion poured into this work.
“Lives I’ve Wasted Willingly” is more than just a song—it’s an immersive experience that lingers long after the music ends. In all its dim glory, TOSPACEWEGO has created something uniquely theirs, a sonic space that flies to planes both rare and underrated. For listeners willing to surrender to its twilight glow, this track offers a beautiful meditation on nostalgia, heartache, and the wisdom that comes from looking back.
Vulnerable Resolve: Hearing Max Mayer's "Someday I'll Fly"
Hearing Max Mayer’s single “Someday I’ll Fly” feels a bit like eavesdropping on a very specific, very modern kind of prayer whispered over a crackling phone line. Here we have this London-based musician, grappling with the magnetic pull of ambition against the equally strong tether of a heart miles away. The song lives squarely in that awkward, stretching space between here and there.
It’s country-inspired folk pop, yes, but the ‘country’ feels less about dusty roads and more about the internal landscape – that wide, sometimes lonesome territory of chasing a dream while promising someone you’ll eventually land back home. Mayer voices the loneliness, the grit required to stay “strong,” and that knot of fear that the waiting might just wear the other person down. You can almost hear the ticking clock underneath the melody.
Vulnerable Resolve: Hearing Max Mayer’s “Someday I’ll Fly”
There’s a particular chord Mayer strikes, a blend of resolve and vulnerability, that strangely brought to mind those ludicrously determined carrier pigeons from old war films – that sheer, illogical insistence on reaching a destination, despite everything. An odd thought, perhaps, but the feeling sticks. The music itself is energizing, hopeful even, pushing forward despite the lyrical anxieties about a love deferred. It doesn’t wallow; it gazes towards a future reunion, however distant.
This isn’t just about love versus career, though. It’s about the promises we make, maybe mostly to ourselves, when standing at a crossroads. It’s about believing flight is possible, even necessary, while simultaneously worrying about the person left watching you become a speck in the sky.
Does the conviction hold? That’s the echo left behind. Makes you wonder, doesn’t it, which takes more courage: the flying, or the waiting?
Augmented Hearts Strikes The Chord With "Self-Destruction"
St. Louis band Augmented Hearts has released a new single called “Self-Destruction.” The track was produced by Kevin W. Gates with finishing work by Doug McBride.
The song explores addiction cycles and harmful patterns we struggle to break free from. It features a dynamic sound that shifts between quiet moments and powerful intensity, combining post-hardcore elements with cinematic qualities.
In our conversation, Augmented Hearts discusses the emotional themes of “Self-Destruction,” their writing approach, and how this release shows their artistic development. We also talk about their upcoming EP “The Weight to be Honest” and their future creative direction.
Self-Destruction” is such a powerful title — what inspired this track, both lyrically and emotionally?
“Self-Destruction” is a personification of addiction—whether it’s to a person, a feeling, or a self-destructive habit. It’s about being caught in that cycle where the highs are intoxicating, the lows are unbearable, and yet you keep coming back. Lyrically, it explores the push and pull of knowing something is destroying you but still choosing it, because it’s familiar… because it’s everywhere.
Even when you try to walk away, it follows you—haunts you. You start to see it in everything and everyone, and escaping starts to feel impossible. It’s a song about being trapped in that emotional limbo, and the quiet desperation of wanting out but not knowing who you are without it.
Can you walk us through the writing and production process for this single? Any specific moments that stand out?
We started writing this song a year before actually writing it – if that makes sense. We had a core piece of it, but when trying to flesh it out, it just wasn’t quite right. We randomly revisited the idea a year later and lots of ideas started happening individually. We met up for a writing session with a few that we felt were strong, but weren’t really related.
We started writing this song a year before actually writing it
We spent a bunch of time together in the same room working out how to make them meet, which resulted in a key change from B minor to A minor going into the chorus. We’re really happy with how smoothly it worked out!
Does the song reflect a personal experience, a broader commentary, or a fictional narrative? All of the above. The song speaks to those cycles of being drawn to something or someone you know isn’t good for you—a reflection of how addiction, in any form, can blur the lines between desire, dependence, and self-sabotage. There’s truth in the chaos, and a lot of that truth is emotional rather than literal.
So while it’s rooted in real feelings and situations, we wrote it in a way that others could see their own stories in it too. Whether someone connects with it through a toxic relationship, a habit they can’t quit, or even their own inner battles, the emotion behind it is very real.
What message or feeling do you hope listeners take away after hearing “Self-Destruction”? We hope Self-Destruction shows how we’re evolving as songwriters—it’s one of the most progressive and emotionally layered tracks we’ve created, and it pushed us outside our usual approach in a way that felt necessary. Musically and lyrically, it explores the magnetic pull of the things that hurt us—how easy it is to stay caught in a cycle, even when we know better.
More than anything, we want listeners to know they’re not alone in that struggle. The things that are bad for us often come disguised as comfort or love. But there is a way out. You have the strength to cut ties with what’s hurting you, even if it takes time. Healing is messy, but it’s possible.
How does “Self-Destruction” differ from your previous releases, sonically or thematically? We played more with contrast—shifting between haunting softness and intense heaviness—to mirror the emotional turbulence in the lyrics.
Thematically, it goes deeper into the psychology of addiction and self-awareness than anything we’ve done before. Our past songs have explored loss, identity, and inner conflict, but this one really sits in the uncomfortable space of knowing something is toxic and choosing it anyway.
The name ‘Augmented Hearts’ suggests something both emotional and enhanced — how does this single reflect that concept?
Our name speaks to the idea of emotion pushed to its limits—raw feelings amplified, distorted, or reshaped by experience. This single lives in that exact space.
It’s an emotional gut punch, but one that’s layered with intensity and intention. The music enhances the vulnerability of the lyrics—every dynamic shift, every heavy moment or delicate pause is there to reflect the complexity of the emotions we’re expressing.
It’s not just about feeling something—it’s about diving deeper, turning those feelings inside out, and revealing what’s underneath. That’s what Augmented Hearts is all about.
If you had to describe the single in three visual images or scenes, what would they be? – A match slowly burning down to your fingertips—there’s beauty in the glow, but you’re holding onto something that’s hurting you.
-A figure standing in the rain, staring at their reflection in a cracked mirror—distorted, unsure if what they’re seeing is real. – A dark room filled with flickering static screens, each one showing a different memory you’re trying to forget, but can’t escape.
Is “Self-Destruction” part of a larger project — an upcoming EP or album, perhaps? “Self-Destruction” is part of our EP “The Weight to be Honest”!
Looking ahead, where do you see Augmented Hearts heading next creatively? We’re really leaning into the idea of pushing boundaries—both sonically and thematically. “The Weight to be Honest” EP opened the door for us to explore darker, more complex emotional territory and more dynamic songwriting structures, and we’re excited to keep going down that path.
We’re experimenting with blending atmospheric textures, heavier moments, and even more vulnerable lyricism to create something that feels immersive and real.
Creatively, we want to keep surprising ourselves. We’re not interested in repeating what we’ve already done—we want each release to reveal a different facet of who we are. Expect more risk-taking, more storytelling, and music that challenges us as much as it connects with others.
Glass Cabin's "I Don't Know" Leaves a Beautiful Bruise
Glass Cabin’s latest single, “I Don’t Know,” feels less like a song arriving and more like something found already playing in a dusty, roadside motel room you didn’t intend to stop at. Jess Brown and Dave Flint, the architects of this Nashville duo, have conjured a piece that sits squarely in their poetic intersection of country rock atmosphere and gothic Americana shadowplay. It’s a slow burn, unwinding the bittersweet story of watching a magnetic soul inevitably drift away.
There’s a palpable sense of resignation here, an observer’s lament for someone too vibrant, too untethered to ever truly belong to one place, or one person. The lyrics sketch this free spirit with admiration, yet underlying it all is that distinct Glass Cabin unease – the feeling that this connection, however beautiful, was always built on shifting sand. The dreamlike quality isn’t gentle; it’s the unsettling drift of remembering details you wish you could forget. That slide guitar weeping in the background… it sounds, quite specifically, like the melancholic drone of power lines stretching across an empty prairie just before dusk settles hard. Strange, the associations sound makes.
Glass Cabin’s “I Don’t Know” Leaves a Beautiful Bruise
This isn’t just a sad song; it’s steeped in a country noir acceptance of loss. Brown and Flint masterfully weave the inevitability of separation into the very fabric of the music, leaving you with that predicted chill, the anticipated emptiness where warmth used to be. It’s the sonic equivalent of watching smoke curl and dissipate – you knew it couldn’t last, but the fading still stings with a cold finality. “I Don’t Know” doesn’t offer closure, not really. Instead, it lingers, a beautiful bruise left behind by something transient.
Does acknowledging the fleeting nature of a thing diminish its beauty, or somehow intensify it? Glass Cabin seems content to let you wrestle with that one.
Revoh Wattz and Funky Flacco just dropped “Defcon 0”, and listening feels less like pressing play and more like stumbling into an operations room mid-crisis. The air crackles. Sirens might not be blaring, but you feel them somewhere deep in the mix, vibrating just below the audible threshold. Something’s perpetually on the verge, and maybe we’re just catching up to its undeniable momentum.
Funky Flacco’s production is pure, uncut boom-bap – that deeply satisfying head-nodding rhythm section, absolutely, but it’s stitched together with a palpable thread of nervous energy. The drums snap with a precision that feels almost defensive, like building a barricade brick by rapid brick. It’s this constant state of readiness the track broadcasts, this high-alert vigilance. For a fleeting second, a clipped hi-hat pattern conjured the completely unrelated image of those old zoetrope animations – static pictures blurred into frantic, urgent motion. Everything feels coiled, primed. Zero time for contemplating your navel.
Then Revoh Wattz steps to the mic, voice a focused beam cutting through the sonic unease. The flow isn’t just confident; it’s propelled by an almost alarming necessity. He’s cataloging a relentless drive against… well, seemingly against the sheer drag of existence itself. Inertia, doubt, the heavy cloak of past burdens – all getting shouldered aside, forcefully. It’s the sound of clearing obstacles not with quiet strategy, but with sheer propulsive energy, like remembering you left the iron on three towns ago and needing to rectify it now. This certainly stands apart from current melodic drifts, feeling starkly, intentionally, alive. Authentic isn’t just a talking point here; it’s the load-bearing wall.
This collaboration, clearly brewed over time between friends, feels less like mere nostalgia and more like an arrival. A statement hammered out on foundational hip-hop anvils, wielding classic techniques to articulate anxieties and ambitions that feel utterly present. The weight of expectation, the personal need for decisive action – it hangs thick in the sonic space.
“Defcon 0” doesn’t fade politely; it cuts out, leaving a residue of adrenaline. It’s a potent reminder that sometimes focus isn’t cultivated, it’s demanded by circumstance. But after the urgent signal fades, what precisely are we racing towards?
Akira Sky's Block My Number Transforms Heartbreak Into Dream Pop Gold
Akira Sky emerges as a voice for those navigating the beautiful mess of modern emotions. Her latest single, “Block My Number,” is an atmospheric journey through the complex terrain of setting boundaries after heartbreak.
The track pulses with a quiet intensity that builds like city lights reflecting off rain-slicked streets, showcasing why Akira Sky is quickly becoming a standout voice in indie pop.
The opening moments of “Block My Number” draw you in with atmospheric pads and delicate instrumentation that create a dreamlike state.
Akira Sky’s vocals float above this sonic foundation with remarkable control, each note carrying the weight of difficult decisions made in the name of self-preservation.
What really stands out about this track is how it turns ignoring someone online into something almost ritualistic, a healing rite that Akira Sky captures with a rare sense of realism.
The multi-instrumentalist Akira Sky started her musical journey in Los Angeles before moving to Brooklyn. She brings her formal training and raw emotional intelligence to every part of this production.
She has a deep knowledge of sound architecture that belies her age as a student at NYU’s elite Clive Davis Institute.
The production choices throughout “Block My Number” reveal an artist who knows exactly how to frame her narrative through sound.
The structure of “Block My Number” mirrors the emotional journey of setting boundaries. It begins in a space of contemplative uncertainty before gradually building toward a chorus that feels like a moment of clarity amid emotional fog.
There are small changes in the texture in the middle section that build tension before the final chorus, which sounds both freeing and sad.
This careful arrangement takes a simple breakup song and turns it into something much more complex, showing off Akira Sky’s skill for telling emotional stories.
One thing that sets Akira Sky apart from many of her peers is her skill at balancing precise technical skill with real feeling. Her singing in “Block My Number” has times when it sounds strong and times when it sounds weak, sometimes in the same line.
This duality perfectly captures the mixed emotions that come up when you end a relationship—the sense of loss and freedom that Akira Sky so eloquently describes.
The lyrics to “Block My Number” stay away from overused themes and instead focus on specific, familiar moments that hold the emotional story together. When Akira Sky sings about the hard choice to stop talking to someone, she does not make them sound like a bad person. Instead, she just says that sometimes you need to be apart from someone to grow as a person.
“Block My Number” speaks to anyone who has had to make hard decisions about relationships because of how mature the lyrics are.
The production features organic instrumentation layered with electronic elements that create depth without overwhelming Akira Sky’s vocals.
Orchestral sounds flow over acoustic guitar strings and computer synths, making a rich base for the music that is worth listening to more than once. Every time you play it, you will find new details that show how carefully Akira Sky works on her craft—a slight harmony here, an aural flourish there.
Shot across Manhattan and Brooklyn, the video captures the urban isolation that often accompanies emotional separation. The chemistry between Akira Sky and Brazilian actor/model Pablo Morais creates a visual narrative that perfectly complements the song’s themes.
The video’s color grading deserves special mention—scenes alternate between cool blues that evoke emotional distance and warm ambers that suggest lingering attachment.
This visual dichotomy mirrors the emotional complexity of “Block My Number.” The editing creates a dreamlike quality where moments flow into each other with the same fluidity as Akira Sky’s vocal lines, creating a cohesive artistic statement across mediums.
What makes both “Block My Number” and its video particularly compelling is how they transform the mundane act of digital disconnection into something almost sacred.
The video’s urban settings—dimly lit streetlights, reflective surfaces, intimate spaces—create a world where emotional and physical distances blur together, further emphasizing the themes Akira Sky explores in her music.
Akira Sky is an example of a new breed of singers who have full creative power over their work. She is a fully solo artist who writes songs, sings, produces, and plays instruments. “Block My Number” has a clear vision that shows how independent the artist is; there is no sense of compromise or business sense, just pure artistic expression.
Akira Sky’s Block My Number Transforms Heartbreak Into Dream Pop Gold
People who like the music of Remi Wolf, Janelle Monáe, and Lorde will find Akira Sky’s music both familiar and new. She draws from the same sources of emotional honesty and sound experimentation, but she sees these things through her own unique lens.
The result is music that pays homage to its predecessors while also breaking new ground. “Block My Number” is a great way to get into her artistic world.
The exciting preview song “Block My Number” is from Akira Sky’s upcoming first EP, which will be out this summer. If this song is any indication of where her full project is going, fans can look forward to a collection that strikes a good balance between emotional depth and musical sophistication.
Not only is “Block My Number” a good song, it is also an emotional experience that turns personal limits into art.
If you have ever looked at a contact’s name on your phone while your finger was on the “block” button, Akira Sky has made a song for that moment.
The song “Block My Number” tells us that sometimes the best way to take care of yourself is to put things away, and that is when great art can come out.
Listening to Loup Miracle’s new EP, “Back To You”, feels a bit like trying to navigate by stars through a suddenly unfamiliar city. The French outfit, steered by Vincent Leservoisier alongside Paul Douvier and Miguel Romero Sulbaran (with input here from Pierre Szabo and Issara), crafts art rock that’s simultaneously groovy and deeply unsettling. These three songs thrum with the push-and-pull of modern existence – resisting the glittery, hollow calls of fame and status, only to find yourself adrift, compass spinning wildly.
There’s a tangible sense of disorientation woven into the hypnotic soundscapes. One moment, a soulful guitar line offers a hand, the next, intricate, cutting-edge textures suggest walls closing in. It evokes that strange internal friction, wanting desperately to reconnect – pleading, almost – but carrying the weight of that resistance still heavy on your shoulders. You hear the yearning for solid ground, for intimacy, underscored by a pervasive fear of being left utterly alone. It’s the sound of someone turning back towards… something fundamental, maybe. It reminded me, strangely, of the specific smell of damp earth when you rediscover a path long overgrown – familiar, but changed.
Yearning and Resistance on Loup Miracle’s “Back To You”
The arrangements are emotionally astute, building tension without resorting to histrionics. It captures the complexity perfectly: the seeking of solace paired with a kind of defensive crouch. This isn’t a neat resolution; it’s the knotty, often contradictory, process of trying to find meaning after the world’s noise becomes too much. The plea for acceptance rings true, yet there’s a shadow of ambivalence, a suggestion that letting someone fully in remains the highest hurdle.
Does finding your way back ever mean arriving unchanged? Loup Miracle leaves you turning that question over, long after the intricate sounds fade.
London-based singer-songwriter Asta Bria offers something refreshingly different with her latest single “Our Bible.”
This funk-infused pop song is a gentle reflection that there is beauty in the everyday things we miss.
The professionally trained violinist has made music that sounds both familiar and new at the same time. Her clear and expressive voice soars above a production that honours the traditions of funk and soul while staying firmly rooted in modern tastes.
People are right to compare Bria to Enya; her voice has a similar flexible quality to Enya’s, but she adds warmth and intensity to her performance that makes viewers feel close to her.
“Our Bible” begins with subtle restraint, piano notes falling like raindrops against a minimalist backdrop. As the song progresses, it builds with remarkable patience, adding layers of instrumentation that include contributions from the London Community Gospel Choir.
Their appearance gives the chorus more depth and complexity, turning what could have been a simple pop song into something that really makes you feel something.
Jagannatha Suta and Bria herself co-produced the track at RAK and Angels studios in London. It shows a deep understanding of rhythms.
The music production never gets in the way of the main message; instead, it works with it to bring out the emotional depth of Bria’s words and singing.
The soft funk elements, which sound like Lionel Richie or Kool And The Gang’s most moving tunes, give the song a rhythmic base that keeps it moving forward with purpose and grace.
“Our Bible” stands out because its lyrics are mostly about everyday love. Today, a lot of artists are interested in hot topics or made-up drama. Bria, on the other hand, is interested in the quiet magic of daily life.
She sings about creating personal narratives of love and connection, suggesting that our most sacred texts might be the stories we write through our daily interactions and choices.
The 80s influences are apparent but never heavy-handed. Instead, they function as subtle touchstones, creating a sense of nostalgia without becoming derivative.
This balancing act between past and present mirrors the song’s thematic concerns with finding meaning in the here and now while acknowledging the ongoing stories we create.
Bria learnt to play the violin at the famous music school of Vilnius and then continued her education at the Royal school of Brussels. Her careful attention to musical detail shows that she has had classical training.
Overall, the music seems well-thought-out, with each part contributing to the emotional journey of the song.
“Our Bible” feels lived-in and authentic, the work of an artist communicating genuine emotion rather than demonstrating technical prowess.
This single arrives at an interesting juncture in Bria’s career. Having recently signed her independent label to a global distribution deal with Right Track/Universal Music, she stands poised for wider recognition.
“Our Bible” suggests she’s ready for the spotlight, having developed a distinctive artistic voice that draws from various traditions while remaining uniquely her own.
The song’s message of hope and joy feels particularly apt for our current moment. In times of division and uncertainty, Bria offers a gentle reminder of what connects us—the small moments of joy and connection that form the backbone of human experience.
Asta Bria Crafts Soulful Optimism Funk-Pop Gem With “Our Bible”
It brings to mind the Japanese concept of “mono no aware”—a sensitivity to the impermanence of things and the bittersweet feeling of their passing. There’s a similar appreciation for transient beauty in Bria’s celebration of everyday existence.
At the end of the song, Bria’s clear singing, the harmonies of the church choir, and the funk-influenced rhythm section all come together to make something bigger than the sum of its parts.
The song “Our Bible” by Asta Bria makes her a performer to keep an eye on in 2025. Major record labels are planning to release her first album in the autumn of 2025. This song is both a great work in its own right and an exciting taste of what is to come.
By honouring the sacredness of daily love, Bria has made something that is both deeply personal and deeply global. It is a vocal reminder that the deepest truths can be found in the simplest moments.
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Kingly T is an artist with Jamaican roots who is now a U.S. citizen. His music blends reggae with pop and R&B influences, developed through his worldwide travels from Mexico to Japan.
His new single “We Can Do It,” produced with Benjamin Jackson, combines reggae rhythms with pop hooks and uplifting lyrics about perseverance and self-belief. The song reflects Kingly T’s commitment to themes of unity, hope, and cultural diversity.
“We Can Do It” previews his upcoming album planned for 2025. We recently spoke with Kingly T about the inspiration behind his new single, his artistic journey, and how he balances his musical roots with new sounds.
First off, congrats on the release! Can you tell us the story behind “We Can Do It”? What inspired the message of this song? So many times, people give up on pursuing their goals when faced with difficult challenges. When we put our minds to be successful, with hard work we will get there
The title itself feels empowering. What message are you hoping listeners take away from “We Can Do It”?
I am looking for listeners to get motivated to pursue their goals after listening to this song
How did the writing and production process unfold for this track? Was it something that came together quickly or took time to develop? I get inspired to write a song suddenly. The writing and production process usually happens quickly.
I get inspired to write a song suddenly.
What role do current events or your personal experiences play in the lyrics and tone of the song? I can testify to having completed tasks that seems very difficult All I have to do is focus my mind on being successful without doubt, and put in the work to make it happen
You’ve released a lot of music over the years—how does “We Can Do It” reflect your evolution as an artist? I have grown over the years as an artist and that’s because I put in the hard work ” We Can Do It “showcases the sound I have developed over the years
The sound of the song—how would you describe it, and what genres or influences shaped it? The song is Roots Reggae, with conscious positive message and energy. With that being said my music has no boundaries so elements of other genres is present
Is “We Can Do It” part of a bigger project—like an album or EP—or a standalone single for now? Stand alone single for now
What was the most challenging part of bringing this song to life, and what was the most rewarding?
We are still promoting this song, I find marketing to me the most challenging part in music release
You’ve always had a unique voice and style. How do you stay true to yourself while also exploring new sounds and messages? It took me years to find my true sound and I am locked in. I don’t try to sound like anybody else. I always strive to be original
Is there a specific moment in the song that’s your personal favorite? Maybe a lyric, a beat drop, or a vocal line?
Don’t deviate, hold your head high
“Newborn Fossil” and the Art of Balancing Chaos and Clarity
Detroit band Marcus: The Apex Predator! is back after seven years with their new EP, “Newborn Fossil.” The band features Kevin Watts on guitar and vocals, Nick Marko on drums, and Sean Bondareff on bass.
The five-track EP was recorded and mixed by Jake Shives and mastered by Grammy winner Dave Feeny. It combines punk energy with thoughtful moments, exploring themes of time, identity, and memory. Songs like the title track and “Lo-Fi” showcase the contrast between youthful ideals and adult realities.
We recently spoke with Kevin Watts about the EP, how their sound has changed, and what it’s like to return after such a long break.
“Newborn Fossil” is such a striking title — what inspired that phrase and how does it reflect the themes in the track?
Thank you! This song and much of the EP wrestles with time, age, and legacy. The idea behind the song came from me finally getting to see one of my favorite bands ever–Jawbreaker–a couple of years ago with my friends Joe and Mike. I imagined being at that show and witnessing an out-of-body conversation (or maybe a confrontation) between my younger self and my older self as we “both” hear the same song (“Condition Oakland”) at the same time and bring our present lives to the table as we take it all in, live. The younger me is an old sould and the older me won’t grow up, so we kind of collide and fulfill each other in that way.
Can you walk us through the creative process behind the single? Was there a specific moment or idea that sparked it?
Musically, I just started banging out the verse and chorus riffs very spontaneously on a Saturday morning during the COVID days. I honed it a bit and then played it for Nick when we could finally get together to play again.
Did the song evolve much from its original concept, or did it come together pretty quickly?
This is one that did not go through much tinkering. It came together really quickly musically. The vocal patterns and theme came a bit later, but it all felt pretty organic and natural.
How would you describe the sonic landscape of “Newborn Fossil”? Were you experimenting with any new production techniques or sounds?
The sonic landscape is very emblematic of who we are and what we want to sound like. It’s raw enough to be true to ourselves, but we want it to sound clear enough to do the song and the musicality justice. Dave Feeny (mastering) and Jake Shives (recording and mixing engineer) at Tempermill Studio did a phenomenal job of finding that balance in the production.
Your name — Marcus: the Apex Predator! — suggests a bold, primal energy. How does that persona come through in this track?
I think there is a rawness, a grittiness, even a desparation, but yet a vulnerability to this track–and much of the EP–that is very true to our namesake (my late cat, Marcus).
I think there is a rawness, a grittiness, even a desparation, but yet a vulnerability to this track–and much of the EP–that
Lyrically, “Newborn Fossil” sounds like a paradox — something ancient and brand new at the same time. What’s the deeper meaning behind the words?
This goes back to the Jawreaker concert. It all stemmed from that concept–the confrontation, collision, and co-existence of new and old. I like writing about paradoxical things and juxtaposing competing things and seeing if they somehow find ways to fit together.
Are there any specific lines or moments in the track that you feel hit hardest emotionally or conceptually?
I really like the chorus because the vocal pattern and guitar 2 part present a counter-melody to guirar 1 and the bass that I was worried might not work, right up until the time we recorded. Nick and Sean hadn’t heard it before I recorded those parts and it was gratifying (and a relief!) that they dug them.
As it turns out, I think the chorus is what really makes the song. I also really like the lead guitar line in the outtro. It just kind of happened as I was messing around in the days leading up to recording and I think it’s a good emotional cap on the song–especially with the really anthemic feel that Nick and Sean bring out in that part. They did amazing work on this song, and the whole EP.
What were you listening to, watching, or reading that might’ve influenced the vibe of “Newborn Fossil”?
I think our influences (Jawbox, Husker Du, Fugazi, Queens of the Stone Age, Protomartyr, the Clash, Jawbreaker, At the Drive-In, etc.) are all rattling around in there somewhere. But I think that more than anything it was the drive and desparation to get something musical out there in the world in the wake of COVID that fueled a lot of the feel of the track and the EP.
Does this single signal a new direction for you musically, or is it more of a continuation of your current sound?
I dont’ foresee us straying too far from who we are, musically. But there are always different ways to play in that playground of colliding sounds that we like to play in–aggressive, but beautiful; reaw but thoughtful.
Is “Newborn Fossil” part of a larger body of work, like an upcoming EP or album?
There are quite a few songs that are not yet finished, but that were already coming together during this recording process. And there have been more song sketeches coming out of me in the few months since we finished Newborn Fossil.
So, I hope and expect that we’ll get to work on some new songs before too long. No more of this “seven years between records” business! Nick and I are committed to not letting that happen again.
What can fans expect from your live performance of this track — any visual or thematic elements you’re bringing to the stage?
We’ll see. We don’t have any shows booked at the moment, but if and when we do, I foresee it being three guys leaving it all on the line–loud, honest, no frills.
If “Newborn Fossil” were a creature or character, what would it look like?
Great question! Maybe a mix between me and Marcus the cat? No. That would be scary. I’m not sure, but hopefully something awesome–maybe with fangs, horns, a Detroit Tigers baseball cap, and a jetpack.
No Filters, Just Feeling – Nelson G Gets Real in 'Me and Who'
Nelson G is making his mark from Brugg, Switzerland. He creates emotional pop and R&B music that connects with listeners. His new single “Me and Who” came out on March 7, 2025. This song is special for Nelson. He wrote, produced, and recorded it all by himself.
“Me and Who” looks at the complex feelings in modern dating. The song explores situationships – those relationships that lack clear definition. Nelson captures the mix of passion and confusion that comes when connection exists but commitment remains unclear.
The track features smooth vocals over simple R&B beats. Nelson adds warm synth sounds to create a sound that feels both personal and professional. The chorus stays with you, and the layered production shows his growth as an artist. His music style draws from influences like Justin Timberlake and The Weeknd. The result is emotional, catchy, and easy to relate to.
We recently talked with Nelson G about his new single. He shared the story behind “Me and Who” and explained how he created it on his own terms. Our conversation offers insights for anyone navigating love’s uncertain waters.
Can you tell us about the inspiration behind the song and what the title means to you? The inspiration came from that feeling when you really like someone and everything just feels light, dreamy, and exciting. You know, like when it’s just the two of you, and nothing else matters. But at the same time, there’s a little doubt or curiosity, like: is it really just me and you? Or is there someone or something else in your heart or mind? That’s where the title “Me and Who” comes from. It’s playful, but also a little deep if you really think about it. I wanted to capture that fun, romantic energy with a touch of mystery.
How would you describe the sound and style of “Me and Who” compared to your previous work? It’s definitely more laid-back and feel-good. There’s a lightness to it that makes you want to smile or dance, but it’s also smooth, emotional and mysterious at the same time. The guitar is a big part of the vibe—it gives it a fresh feel. My vocals are layered and soft, Compared to my past songs, this one feels more open and realistic, but still polished. I wanted something people could connect with instantly, whether they’re relaxing, driving, or vibing with someone special.
What was the creative process like for this single? Did you approach it differently than your other songs? Yeah, for sure. This one was very hands-on—I produced, wrote, sang, and composed everything myself. That gave me full freedom to explore exactly how I wanted the song to sound. I didn’t rush the process. I let the beat, the lyrics, and the mood, that come together naturally. I focused on making each part of the song flow smoothly—the verses, the chorus, the bridge. Everything blends together in a way that feels effortless, but a lot of love went into each detail.
Were there any particular artists or genres that influenced you while creating “Me and Who”? I wasn’t trying to copy anyone, but I was definitely inspired by that smooth pop and R&B sound. I love music that feels warm and romantic, with a little groove. Artists like Justin Timberlake, The Weeknd, or even old-school Usher inspire me because they mix emotion with style so well. That’s kind of the energy I wanted for “Me and Who”— something soft, catchy, and full of feeling.
Is there a specific message or emotion you hope listeners take away from this song? I want people to feel good when they hear it. Whether you’re in love, thinking about someone, or just enjoying the vibe, I hope the song brings a smile to your face. A message that I hope people will take away, is that you’ll always see a version of someone, that they want to show off themselves. So you might not see the ”real side” of them, because they might be hiding it, due to personal struggle, insecurity or even embarrassment.
Can you share any interesting stories or challenges from the recording sessions for “Me and Who”? Yeah, actually! One cool thing is that I recorded a lot of the vocals late at night when I was just vibing in my room. I didn’t plan for those takes to be final, but when I listened the next day, the vocals had this soft, feel that I really liked. I ended up keeping most of them. A real challenge was being my own producer and artist at the same time—it takes a lot of focus. Another challange was also switching from the pre- chorus to the chorus, because I needed a good connection between the two.
Did you collaborate with any other musicians or producers on this track? If so, how did those partnerships shape the final sound? No, this one was all me. I wanted to create something that felt completely personal, from the music to the lyrics to the mix. It was a bit of a challenge doing everything on my own, but it also helped me stay true to my vision. The final sound is exactly how I heard it in my head when I first started writing.
How does “Me and Who” fit into your artistic journey and evolution as Nelson G? I think this song shows how much I’ve grown. I’m getting more comfortable with being myself in my music—being playful, romantic, and confident. It’s also a sign of how much I’ve learned technically, being able to produce and arrange everything. “Me and Who” feels like a step forward for me, both creatively and emotionally.
Are there any visual components planned for this release, like a music video or special artwork? Yes! The artwork is already out, and it really matches the fun, romantic mood of the song. I’m also planning visuals—maybe some tiktok promo videos, that brings the story and vibe of the song to life. I love when visuals help people connect even more with the music.
What’s next for you after this single release? Is “Me and Who” part of a larger project or album? This is just the beginning. I’m working on more music that fits this style—light, emotional, smooth. Although I don’t see it becoming part of an EP or album later, I’m sure some other projects will be coming. Right now, I’m just focused on sharing good music and building something real, that people can engage in. I also want to go different directions for now, to see, what people like about my artistry.
How have your fans responded to the single so far? Has any reaction particularly surprised you? The response has been quit good. A lot of people tell me the song makes them feel good, and that they like the vocal mixing and the instrumental. And a lot of fans love the bridge, It always gets people smiling and vibing.
If you had to describe “Me and Who” in three words, what would they be? Mysterious, Deep, Romantic.
Birkir Blær delivers his latest single “Go On” through an irresistibly energetic performance while delivering polished indie pop sounds. As an Icelandic musician who relocated to Sweden the 25-year-old artist constructs a self-assured piece which links R&B rhythms to catchy melodies.
The song begins with a sweet humming melody which leads into the introduction of funky basslines and rhythmic percussion and lively guitar riffs. The horn section brings uplifting atmosphere to the track which then shifts to a slow bridge section where rhythmic clapping and Blær’s musical performance become the focus of an intimate moment.
Since taking the Swedish Idol crown in 2021 Blær has successfully developed his position as an artist to follow. The song carries a meaningful empowering message through its catchy sound by encouraging both confidence and ignoring negative influences. The genuine feeling of determination emerges through his lines that describe pushing away negative influences.
During an Icelandic writing camp Blær created this song before contemporary production methods perfected it to display his talent for mixing musical styles without losing genuine emotional depth. The single serves as evidence that Birkir Blær’s musical journey has just started because he presents music that is both confident and infectious with refreshing optimism.
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Shanay Morant introduced her first EP to the world through “The Elements of NaySoul Vol. 1.” The five-track album delivers an innovative approach to independent R&B music. The project takes its muse from the natural elements Water, Fire, Earth and Air. Shanay demonstrates her creative progression through the EP while she works to produce music which combines enjoyable elements with meaningful depth.
These Waters serves as the first song to establish the distinctive mood for this EP. The song utilizes mellow electronic sounds together with emotional vocal expressions. During “everything I wanted is coming to me” Shanay communicates through her lyrics both her hopefulness and her sense of determination. Each song of the collection leads the audience through its entirety because of her deep and expressive vocal delivery.
The project gains greater diversity from artists who work together.
The project gains greater diversity from artists who work together. Luke Waldron joins Shanay Morant on “Not Again” while she teams up with DNA Picasso for “Fall For You” which adds youthful energy to the EP. The ending track “What Now” generates positive emotions of confidence and joy in listeners. The EP uses a combination of hip-hop beats together with soul elements plus lofi textures to establish its unique sonic profile.
The authenticity and emotional sincerity provides an authentic feel throughout “The Elements of NaySoul Vol. 1.” The project establishes roots through its nature-based themes. Shanay Morant demonstrates through her debut album that she is a promising New York artist with a well-defined artistic style.
Chloe Sofia's Pulse Challenges Notions Of Authenticity
Finding a fresh voice with something genuinely interesting to say feels increasingly rare.
A 15-year-old singer, songwriter, and composer from Milton, Canada, Chloe Sofia‘s debut single “Pulse” shows a level of maturity and creativity that belies her age.
Sofia’s musical path began in show choirs before she taught herself guitar at 12, combining her dual loves of storytelling and music.
This background shines through in “Pulse,” a song that marries catchy pop sensibilities with a narrative depth unusual for a debut release.
Roy Hamilton III produced the song, and his grandpa was a big influence on Elvis Presley. The steady beats and acoustic guitar strums make Sofia’s singing sound clear and sure of themselves.
What really sets “Pulse” apart is its interesting conceptual foundation. Sofia says the song came from a plot she made up for a comic book about a robot that dates people to get their organs and replaces his metal parts with living flesh.
This sci-fi premise turns into a strong metaphor for shallow attraction: the robot looks beautiful on the outside but is empty on the inside.
This theme hits home especially well coming from a young artist who has to deal with the social media world where looks often matter more than content.
“Pulse” hits a great mix between being easy to understand and being artistically beautiful. While the words are angry and self-reflective, the music keeps a pretty calm mood that works well with them.
The chorus hooks you right away, and the lines tell the story with careful attention to detail. Hamilton’s arrangement goes well with Sofia’s natural ability to write songs, letting her voice carry the emotional weight of the story.
Sofia’s singing act is especially noteworthy. Even though she is young, she sings the lyrics with a lot of poise and emotional intelligence.
There’s no strain for effect or unnecessary vocal gymnastics – just clean, expressive singing that serves the song’s message. This restraint speaks to an artist who understands that communication matters more than showing off technical ability.
The framework of the song follows common pop tropes, but there are enough small changes to keep things interesting throughout its length.
Sofia’s method of writing songs with the chorus coming first works well here, as the hook sets the emotional centre around which the rest of the song swirls.
What’s particularly impressive about “Pulse” is how it manages to be both age-appropriate and universally relatable. Sofia doesn’t attempt to sound older than her years, yet the themes she explores – deception, superficiality, the search for authentic connection – resonate across generations. This balancing act suggests an artist with strong self-awareness and artistic vision.
For a first song, “Pulse” shows a lot of confidence. Sofia does not sound like she is trying to be like the people who inspire her. Instead, she has found her own unique style that comes from her experiences and artistic drives.
The production quality recorded at Hamilton’s Toronto studio, benefits from professional polish without sacrificing the emotional immediacy of Sofia’s performance.
The mix places her vocals front and centre while the instrumental elements provide a supportive foundation that never overwhelms the storytelling.
Sofia’s musical journey is just starting; she is still in high school and juggling music with schoolwork and other activities; but “Pulse” shows that she is on the right track. The single shows not only raw ability, but also the kind of creative thought and intellectual insight that sets artists who will last apart.
Sofia’s brave decision to base a song on a strange sci-fi idea is very impressive. The robot image could have turned into a cheap trick in less skilled hands, but Sofia uses it in a way that does not take away from the emotional heart of the song.
Chloe Sofia’s Pulse Challenges Notions Of Authenticity
Sofia’s honest way of talking about her creative process and inspirations makes her seem like an artist who cares more about real expression than fake images. This sincerity shows in the way she performs, which puts connection over showmanship.
Sofia’s voice makes it easy for young people to understand how hard it is to connect with others in this digital age. The robot character in her song is a good metaphor for online personas, which often have well-kept appearances that hide their true goals.
Sofia keeps getting better as an artist, and “Pulse” gives her a good base to build on. The song shows that she can turn her own original ideas into catchy pop music without losing any of its depth or uniqueness.
Sofia has the professional skills and artistic view to make a body of work that means something as her career goes on, if this launch is any sign.
In the end, “Pulse” works because it strikes a good mix between economic appeal and artistic purity. The song fits the criteria of modern pop while still having a unique point of view that makes Sofia stand out from her peers.
As a 15-year-old artist’s first song, this is a huge accomplishment and a sign of an exciting new voice in Canadian music.
Pilots Find Beauty in the Mess on "Eyes On The Horizon"
Pilots unleash their album “Eyes On The Horizon”, and frankly, the horizon it scans seems littered with emotional debris rather than gentle dawns. This Surrey outfit belts out anthemic alt-rock that promises soaring heights, yet dives headfirst into the messy, often bruising territory of love gone sour and the exhausting climb back to oneself. It’s a curious concoction, like finding shards of stained glass in a gravel pit – surprisingly sharp, unexpectedly beautiful in flashes.
The sound is undeniably big. Huge, even. Guitars crunch and swell, choruses erupt with the kind of force designed to pin you to the back wall. Yet, lyrically, we’re knee-deep in confusion, regret, the particular hollowness that follows a severed connection. They sing of love as a blinding, sometimes cruel force, mapping its fallout with a passion that feels almost defiant. There’s a relentless quality here, a refusal to just fade out, even when the words speak of weariness and the sheer effort required to just “come alive.”
It’s that friction that grabs you. The juxtaposition of stadium-sized hooks with intimate, sometimes uncomfortable admissions of weakness. One minute, you’re caught in a wave of pure sonic power; the next, a line about struggling to let go snags on your thoughts like burrs on wool. Occasionally, a particular distorted chord progression would shimmer oddly, reminding me, quite inexplicably, of the way sunlight refracts through cheap plastic – a momentarily dazzling, slightly artificial rainbow against the surrounding storm clouds. It’s modern rock muscle flexing around a heart that’s clearly taken a few knocks.
Pilots Find Beauty in the Mess on “Eyes On The Horizon”
They channel that classic alt-rock energy, certainly, but filter it through a very contemporary lens of anxiety and uncertain futures. It’s loud, it’s raw, it pounds relentlessly. After spinning through these ten tracks of cathartic noise and carefully articulated pain, you’re left energised, perhaps a little wrung out. Is the horizon they’re focused on one of eventual peace, or just the next inevitable storm?
FLAVUS NOVA Navigates Depletion with New Single "Blur"
FLAVUS NOVA’s new single, “Blur,” kind of snagged on my ear the first time through, like catching a thread on a splinter. There’s an immediate, uncomfortable honesty to it. This isn’t background music for sorting your sock drawer, unless your socks are currently staging a tiny, threadbare rebellion against perpetual use.
The Northern Ireland native, now navigating the UK/Ireland scene, paints a stark picture here. It’s that grinding feeling of being endlessly tapped, a human vending machine dispensing empathy and energy until the coils are bare and the light flickers out. You give, they take, you end up blamed for the emptiness they created. There’s a weary loop playing out in the indie pop-rock framework – a sort of churning guitars-and-synths landscape that feels less like dancing and more like pacing a worn patch of carpet.
FLAVUS NOVA Navigates Depletion with New Single “Blur”
It’s the anthem for the perpetually agreeable, the ones whose ‘yes’ muscle is overdeveloped while the ‘no’ has atrophied. FLAVUS NOVA gives voice to that peculiar burnout where your own feelings become… well, blurry. Indistinct. Like trying to recall the colour of a forgotten room. Suddenly, the rhythm reminds me, strangely, of the slight lag you sometimes get on old video calls, that fraction of a second disconnect that makes conversation subtly exhausting. That’s the feeling – a persistent, low-grade emotional buffering.
The vocal carries the weight, not with melodrama, but with a kind of grounded exhaustion, bordering on numbness. It makes you lean in. “Blur” doesn’t offer easy answers, doesn’t wrap things neatly. It simply holds up a mirror to that drained sensation, that quiet insistence of “this depletion isn’t my fault.”
And you’re left wondering, when does the polite fade finally become a necessary disconnection?
Gentle Light, Gentle Sound: A Review of “Early Morning Glow”
The musical collaboration between Steve and Dolapo offers “Early Morning Glow” as a relaxing jazz performance which seamlessly unites classic musical elements with modern musical trends. The musical composition begins with piano notes that establish a feeling of tranquility which evokes a sense of dawn serenity.
This work features vocals as its main focus because both artists perform with strong emotional clarity and restrained power. Their musical harmonies demonstrate a professional connection between them which produces authentic artistic collaboration. Through paced saxophone lines Steve supports the singing voices and together with steady rhythmic backing and piano the accompaniment supplies necessary foundation to the song.
The song’s lyrics started as poetry written by Dolapo which intertwines the concepts of conserving both actual morning light and psychological optimism. The piece maintains an unexpected profoundness despite its peaceful exterior.
Through their work Steve and Dolapo have created a piece which explores both the peaceful moments of morning and loving relationships beyond time constraints. The song “Early Morning Glow” gives listeners a peaceful experience that shows how loveliness survives in everyday quiet periods.
“Early Morning Glow” feels like a title packed with imagery. What inspired the name and the overall mood of the song?
“Early Morning Glow” was inspired by both our points of view regarding the intrinsic beauty embedded in every breaking of the dawn of each passing day. Over time, we often shared photographs depicting how profound sunrises and the moments before them were and that in a way helped to put words to the thoughts we both share for this undeniably gorgeous part of each day.
The words of “Early Morning Glow” were formed through these pictorial exchanges, coupled with the fact that many people, including ourselves claim to be “Morning People”. The silent joys, hopes and aspirations that naturally come with each day break added more impetus to the poetry verse that would later become the full fledged song that we now call “Early Morning Glow” We hope all the “Morning People” out there would be able to relate to and fully connect with our song.
How did the songwriting process unfold for this track? Did the lyrics or the melody come first? For “Early Morning Glow”, the lyrics came first. The thoughts were fully formed and written as a poem. The lyrics later formed the basis for the melody of the song. As the melody took flight from the emotions encapsulated within the lyrics. For the melodies and lyrics that are penned by Dolapo as is the case here, the finished melody is given to Steve as an a cappella vocal.
Steve always hears the arrangement in his head fully the moment the song is sung to him by Dolapo. This song struck him as jazz immediately and he started by arranging and scoring the piano part. Upright bass was scored next, followed by a drum kit pattern. The piano part in the score is the finished piano part, whereas the scored bass line was then learned by Steve and played and recorded on a real double bass.
He then wrote, played, and recorded the saxophone parts on the horns themselves and added the parts to the score later. Later he performed and rerecorded the drums on a real drum kit. The finished backing track was sent to Dolapo to rerecord the final vocal. The final piece was for Steve to write, sing and record his vocal harmony on the fly.
Was there a specific setting or time of day that influenced how “Early Morning Glow” was created?
“Early Morning Glow” was basically created out of the summation of the feelings that the break of each dawn gave us up until the time of its recording. We tried to capture its awe inspiring moment, the mystery that enshrouds it, the depth of its existence and the anticipation it brings. Ordinarily, we think its an unending phenomenon but we just wanted to register our appreciation of it with our tune.
“Early Morning Glow” was basically created out of the summation of the feelings that the break of each dawn gave us up until the time o
How would you describe the sound of “Early Morning Glow” to someone who’s never heard your music before?
To someone who has never heard of “Early Morning Glow” before, we would love to describe it as that one song that sets you out on a positive note, right from the very start of your day, as it speaks to the day ahead of you in a bid to affirm desirable outcomes to all human endeavours that are noble and worthwhile.
The song has been carefully orchestrated to softly and smoothly flow into your listening with the gentility and grace of the morning breeze and progressively carry you through the sometimes meandering nature of the day; till it climaxes at the peak of the activities of the same day.
There’s something intimate about the track—was that a deliberate sonic choice, or did it evolve naturally?
The sonic choice that could be heard in “Early Morning Glow” can be said to be both deliberate and natural at the same time. As earlier mentioned, the lyrics of the initially written poem had embedded emotions in them which the sonic choice tried to explore and unravel. The relative softness and airyness of the sound in question interpreted the emotional landscape of “Early Morning Glow” as a whole. We could bellow our way through if we wanted to but the break of dawn as we know it, comes in softly and a similar approach informed the sonic choice therein.
What was the most surprising or unexpected part of working together on this particular song? One of the most surprising/ unexpected parts of writing and working together on “Early Morning Glow” was the fact that I (Dolapo) thought my poem was destined only to be poetry, but the arranger/producer in Steve instantly saw the musical potential of the poem as soon as it was written and published. I thereafter formed a melody out of the written verses, while Steve went ahead to co-record and produce the tune. The synergy, although not totally unexpected; going by the track records of the prior projects, remains surprising as the individual roles are more complimentary than we could fully fathom. We both find our process magically seamless.
What message or emotion were you hoping to convey through “Early Morning Glow”? With “Early Morning Glow”, We are hoping to tap into the positive vibes that come with each day. We strongly believe that starting and facing each day with a positive attitude could in some ways help to reinforce one’s outlook in the face of the multifarious tasks that await us on a daily. It’s a love letter to the incoming day, asking it to be kind, as it begins with the rising of the morning sun. There’s a bit of fantasy in there, if we’re asked and a tinge of optimism too.
The track feels personal—does it reflect a shared experience or two separate perspectives coming together? We would love to state that “Early Morning Glow” basically reflects one of the many unified fronts about our outlook to life in general. We both believe that kindness and positive affirmations and attitudes go a long way to birth the world we so much long and want to see. Apart from being Creative Partners, we are best of friends and our thoughts are often laid bare in every of our songs.
Is there a visual component (like a music video or cover art) that plays into the story of “Early Morning Glow”? Yes, as with every song that we have released so far, we equally have a visual component for “Early Morning Glow” It could be found on our website at www.steveanddolapo.com and our YouTube channel as well. It’s our way of putting faces behind each song.
Have you had any memorable reactions from fans or listeners to the song so far? Many! But, this quote from a listener we just recently met moved us very much:
“This is amazing, you both, Steve and Dolapo! I listened several times to dive into what’s actually happening there. I don’t think I‘ve ever heard something similar before. I certainly agree with the positive energy! But there’s much more in there, something very bluesy and great Jazz handcraft (kind of a Gershwin-vibe), as well as musical/operetta.
It’s like beside the overall beauty of the morning glow, there’s also the shadowy and glary aspects in it and declaration of a majestic sun coming. Fascinating!” – Mark K.
Looking back on your growth as artists, where do you think “Early Morning Glow” fits in your journey? Every song that we create strengthens our beautiful friendship which at the same time nurtures and grows our creativity as artists. Each song multiplies the great respect, admiration, and love we have for each other and excites us for the adventure of the next one! As Dolapo often states “the music never stops”. Whenever a song is finished the next one is begun, sometimes even before! We both love many genres and styles of music and we always seem to do something fresh and new with each composition.
Is “Early Morning Glow” part of a bigger project we can expect soon—like an EP or album? We have a lot of songs finished as well as in the pipeline and we are hoping to release our second vinyl LP later this year!
What’s next for Steve and Dolapo? In addition to our LP, there will be several cover song releases to help us increase our visibility and audience. We are also actively working to bring our songs to television and film.
Any upcoming shows, collaborations, or surprises on the horizon? The cover songs we have coming are really fantastic and will likely surprise some of our audience. We can’t wait to see the reactions!!! As far as shows go, only the future can tell. We are physically separated by an ocean but if major label interest and means come about, we would most definitely love to do live shows!
Mark Walsh's "Saturn" Orbits the Boundaries of Pop and Personal Mythology
Through his latest song “Saturn,” Mark Walsh from Boston has created something truly unique. It is a love letter to space that stays strongly connected to human feeling.
The song is the first in Walsh’s bold plan to release a new single every month until 2025. This shows that the artist is very creatively active.
Walsh is a solo singer from Boston who has only released five songs so far. He shows a lot of musical growth. His rising fan base in the U.S., Brazil, Germany, and the U.K. shows that music can connect people from different countries when it touches them emotionally.
Walsh’s musical experience, which began with Guitar Hero and Beatles Rock Band on the Nintendo Wii when he was 8 years old and continued through programs at Berklee College of Music and the South Boston Boys and Girls Club, adds another layer to enjoy.
The unplanned idea that led to “Saturn” is similar to the way he writes songs. He calls it a “flow state” where the best words “just come to you.”
The genesis of “Saturn” reads like a perfect creative origin story. After watching Interstellar during its 10th anniversary theatrical run, Walsh found himself contemplating the nature of time, distance, and connection in ways he hadn’t before. The following morning, driving to work beneath a full moon, the opening lyrics materialized in his mind with unusual clarity.
What is really cool about “Saturn” is how Walsh used real NASA recordings of electromagnetic waves from both Earth and Saturn to make the show.
These minor sounds are not just sound effects; they give the track real cosmic DNA. After the first chorus, there is a breakdown that uses radio waves from Earth. This choice in sound gives the space theme real meaning.
The upbeat pop style of the song makes its deeper topics easy to understand. Walsh’s clear voice soars over the music with a confidence that does not fit with the fact that he is an independent artist.
The arrangement builds on itself in a way that makes the sound experience feel both close and far away, like the universe itself.
Lyrically, “Saturn” shines brightest when Walsh connects the astronomical with the personal.
This image perfectly captures the song’s central thesis: that even the most magnificent cosmic wonders pale in comparison to the small, precious moments we share with those we love.
The earnestness of Walsh’s method is a breath of fresh air. When he sings about love transcending the bounds of space and time, you believe him. The message could easily become too sweet, but Walsh’s honest performance and careful production choices keep it grounded.
With more than 150,000 Spotify plays already, “Saturn” looks like he will be able to reach even more people. With the song’s movie-inspired roots, Walsh’s tale feels especially fitting.
Mark Walsh’s “Saturn” Orbits the Boundaries of Pop and Personal Mythology
Like Interstellar, “Saturn” plays with big ideas about where people fit in the world, but it always comes back to the power of connecting with others.
“Saturn” is interesting because it feels both personal and general at the same time. Walsh has turned his specific experience—seeing a movie, falling in love, and looking at the moon—into something that speaks to more general human feelings of awe and connection.
The song makes people think about the small things in their lives that seem to have a big impact on the world.
Walsh made something that feels both new and old at the same time by using ideas from astronomy that have interested people for hundreds of years.
What really makes “Saturn” so interesting is how honest it is about how it feels. The song makes us think that the space between two people can hold some of the deepest truths, even if Earth and Saturn are millions of miles apart.
GRAVA Unleashes An Undeniable Masterpiece "Sideshow"
GRAVA‘s“Sideshow“: The Undeniable Magnetism of Defiant Vulnerability.
“Sideshow” by GRAVA comes out of Nashville’s lively music scene with a ringing roar that commands attention.
Other artists might just copy the sounds of early-2000s angst without adding any real emotional depth, but GRAVA has made something that feels both familiar and urgently present at the same time.
The Nashville-based singer has made a song that is a great introduction to her style. GRAVA proves herself as an interesting new voice with strong sounds that soar and fit with amazing control.
Her voice is filled with real emotion; it never sounds fake or forced. Her performance has an honesty to it that stays with you the whole time you listen to it.
With lyrics co-written by Christian Clark and production by Clark and Jesse Owen Astin, “Sideshow” proves how creative it can be to work together while still staying true to GRAVA’s own style. This lets the emotional core of the track shine through without losing sound quality.
Musically, “Sideshow” draws from a rich palette of influences while carving out its own unique space. GRAVA’s musical DNA shows clear traces of artists like Pink‘s bold attitude, Olivia Rodrigo‘s emotional vulnerability, Paramore‘s melodic intensity, and Avril Lavigne‘s punk-pop sensibilities. Yet rather than simply mimicking these influences, GRAVA synthesizes them into something distinctly her own.
The music makes moments of closeness and space, which lets the track breathe while keeping its lively core. The intense and lyrical guitar work changes all the time, giving the sound a lot of variety that keeps the viewer interested.
The instrumental backdrop provides the perfect foundation for GRAVA’s vocal performance, with driving rhythms and dynamic shifts that mirror the emotional journey of the lyrics.
Themes-wise, “Sideshow” covers areas that are both deeply personal and widely understandable. The song is about how it feels to be second-best in a relationship.
This feeling might make you think of how supporting characters in classic books often show more truth than the main characters because they are on the edges and watch everything. If someone makes you feel special but then breaks their promise, GRAVA is a song that speaks to that anger.
The story arc of “Sideshow” is what makes it stand out from other breakup films. The song starts with a sad scene but turns into a trip of self-discovery and strength as it goes on.
Like how some art forms, from Renaissance paintings to current movies, show how people change through darkness, this development from pain to understanding is a pattern.
The song’s emotional background of broken hearts in small towns makes it seem even more real. There is something especially sad about broken relationships in close-knit communities where personal history meets shared places and links between people.
The most striking thing about “Sideshow” is how it manages being weak and being strong. GRAVA is not afraid to show her pain, but she also does not wallow in it.
Instead, the track shows a way to feel good about yourself that does not feel imposed but rather earned. This emotional honesty is part of a larger culture trend where being real is becoming more important than being perfect.
GRAVA is continuing to make a name for herself in Nashville’s music scene by playing at places like The East Room, The Underdog, Drkmttr, and Eastside Bowl. “Sideshow” is a great way to get to know her art.
GRAVA Unleashes An Undeniable Masterpiece “Sideshow”
The song makes me think of an artist who is both technically skilled and emotionally deep. This is a good mix that should lead to interesting things happening in her work.
“Sideshow” by GRAVA is a satisfying experience for music fans who like music that mixes emotional honesty with well-executed ideas.
Though the song is about a specific story, its themes of relationships, self-discovery, and personal strength are general. They include feeling ignored and finding value in oneself.
In the end, the song gives listeners a sense of emotional closure that does not feel contrived or overly simple.
GRAVA turns being pushed to the side into a moment of reclaiming oneself, making music that stays with you long after the last note fades.
The Soul-Rattling Power of Near Death Experience's "Shake"
Near Death Experience’s single, “Shake,” arrived not so much as music, but as a sudden, urgent insistence. It’s London psych-rock-soul alright, but brewed with something fiercely immediate, demanding attention like a ringing telephone in an empty room. The core quartet – Ian Whiteling guiding the trip with vocals and guitar fuzz, Joshua Van Ness laying down a heartbeat that feels both frantic and locked-in, Amar Grover’s bass weaving thick, essential patterns, and Jack Dawkins’ sax cutting through like a startled exclamation – they cook up a potent concoction.
It’s got that irresistible funk gravity, pulling you onto its wavelength. But listen closer. Whiteling isn’t just singing; he’s pleading, maybe bargaining with the universe, for a total overhaul. This ‘shaking’ isn’t gentle encouragement; it’s a full-body neurological event craved, a seismic shift demanded to escape the “nightmares” and reach for elusive “dreams.” There’s a raw need here, the kind that leaves fingerprints.
The Soul-Rattling Power of Near Death Experience’s “Shake”
Dawkins’ saxophone lines, sometimes smooth, sometimes jagged, momentarily made me think of those bizarre anatomical drawings from the 17th century – intricate, slightly grotesque, revealing hidden workings. It’s a strange thought, I know, but the song excavates something primal, this intense desire to be utterly remade, “lost in you,” as the lyrics admit. It pushes and pulls, a surrender that feels simultaneously like a desperate lunge forward.
This track doesn’t soothe; it vibrates. It understands that sometimes transformation requires not a nudge, but a vigorous, soul-rattling disruption. It leaves you feeling the phantom limb of a reality you desperately want changed. What else possesses that kind of power, besides maybe love, or terror, or a truly magnificent groove?
Giant Killers Ask What Remains of Legend in "One For Georgie"
Here we have Giant Killers with their single “One For Georgie,” a name that immediately sends ripples back three decades, a testament to patience and perhaps a touch of rightful stubbornness. Jamie Wortley and Michael Brown, the duo who saw their initial 90s trajectory cut short, are back, holding the reins to their own music. And this release feels less like dusting off relics and more like completing an unfinished thought.
It’s indie-pop, alright, buoyant on the surface, carrying that particular shimmer. Wortley’s vocals guide us through the narrative, while Brown’s instrumentation adds layers – bass holding the line, keys providing colour. But underneath the sheen, there’s a definite ache. The song maps the trajectory of “Georgie” – clearly evoking the spectral brilliance of George Best – from universal adoration to a state of being… misplaced? Forgotten by the masses.
Giant Killers Ask What Remains of Legend in “One For Georgie”
It tackles that peculiar weight of public love, how it inflates and then, almost inevitably, leaks air. Georgie. The name makes me think, oddly, of those faded hardback biographies of footballers you’d find in the local library, the ones with slightly bruised corners, maybe a biro moustache scribbled onto the dust jacket by some forgotten adolescent wag. Icons handled, perhaps, a little too carelessly. The song itself doesn’t offer easy answers about Georgie’s fade, just poses the melancholic question, wrapped in a cautionary tale about pedestals.
The accompanying video cleverly braids their past and present – flickering archive glimpses against the sharp reality of their 2024 Shiiine On festival performance. Seeing archive footage of Best spliced in feels poignant, a digital ghost fulfilling a decades-old promise. It’s a loop closed, visually mirroring the song’s reflective spirit.
So, Giant Killers give us a thoughtful bop about fleeting glory. It’s a tune that catches the ear, but lingers with the unsettling thought: when the stadium lights dim and the crowd goes home, what truly remains of a legend?
Right then, let’s talk about Sean Kennedy and his latest single, “Insane.” It arrived, not so much announced, as simply appearing in the sonic landscape, like finding a misplaced chess piece on a park bench. Kennedy, who’s apparently been putting pen to paper since he was ten (good lord, what angst were you channeling at ten?), crafts this slice of indie pop that digs into the rather messy business of loving the pain.
There’s a particular kind of uncomfortable honesty here. The track revolves around this almost chemical dependency on relationship turmoil, where calm feels like boredom and conflict feels like… connection? It’s perplexing. Listening, I found myself thinking about the smell of ozone just before a thunderstorm – that electric tang promising something dramatic, possibly destructive, but undeniably alive. Kennedy captures that compulsion, the magnetic pull towards what hurts, turning self-sabotage into a kind of troubled poetry.
Credit: Photo by Cole Kennedy
The production is slick, certainly cinematic, but it doesn’t just wash over the vulnerability; it frames it, maybe even heightens it. There’s a sheen, yes, but beneath it, the lyrics feel raw, exposing that internal monologue where you know you’re walking back into the fire, but the warmth, however damaging, is too seductive to resist. It’s less a cry for help, more a documented confession scrawled on a napkin under flickering neon light. This song has the peculiar quality of making you recognise patterns in yourself you’d perhaps rather ignore, like catching an unexpected reflection in a dark window.
It’s emotionally driven pop, absolutely, charting the choppy waters of attraction and self-destruction with a knowing, if slightly resigned, air. Kennedy isn’t offering solutions here, just laying out the intricate, often maddening, map of a heart wired for intensity over ease. It sticks with you, this one, leaving behind a residue of complicated feelings.
Does recognizing the cycle ever actually help you break it?
Lost at Sea: DayEyez Maps Isolation on the Haunting "Cast Away"
DayEyez crashes ashore with “Cast Away,” a single that feels less like a planned arrival and more like waking up amidst personal wreckage you vaguely remember building. Helmed by Shaun Dayman from Richmond, New Zealand, this AI-driven alt-rock project tackles profound regret with a sound both cinematically huge and intimately crushing. Forget grand catastrophes; the narrative here is the slow, insidious rot of relationship neglect – the forgotten promises, the missed connections, the casual cruelties adding up until the foundation simply gives way. It’s the emotional equivalent of death by a thousand ignored text messages.
The AI collaboration is a strange, fascinating wrinkle. How does code process the uniquely human tendency to meticulously dismantle something cherished? Perhaps it doesn’t feel it, but DayEyez certainly articulates it, mapping the ache onto soaring melodies and thunderous dynamics. There’s a peculiar sharpness here, like the phantom smell of ozone after a distant lightning strike – a premonition of immense energy already spent, leaving only charged air and emptiness. The production swells, mimicking the expanding void the narrator now occupies, adrift and utterly culpable.
Lost at Sea: DayEyez Maps Isolation on the Haunting “Cast Away”
This isn’t just sadness; it’s the gut-punch of self-inflicted exile. The isolation feels vast, amplified by the arena-sized soundscape, yet rooted in the tiny, specific failures the lyrics confess. Dayman uses the technology not to obscure, but seemingly to sharpen the focus on the raw nerve of guilt. It’s the stark, echoing quiet after shouting into a canyon and only hearing your own weary voice return, confirming your solitude. It makes you want to check if you left the gas on, metaphorically speaking.
“Cast Away” doesn’t offer easy answers or comfort. It’s a stark portrayal of looking back and seeing only your own fingerprints on the ‘delete forever’ button. Does amplifying regret through silicon and circuitry make it more bearable, or just inescapably, chillingly louder?
