June 4, 2025

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

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

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

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

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

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

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

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

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

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

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

Listen to Distant

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

Interviews

Mister Styx

June 4, 2025

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

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

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

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

Listen to Hymn for Becoming

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

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

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

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

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

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

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

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

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

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

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

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

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

Music

Mister Styx

June 4, 2025

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

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

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

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

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

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

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

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

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

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

Listen to MISTR (Cover EP) below

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Crown of Fire: Broken Wolves Burn Bright One Last Time

Music

Mister Styx

June 4, 2025

Crown of Fire: Broken Wolves Burn Bright One Last Time

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

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

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

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

Let’s dive in.

Listen to Crown Of Fire

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Music

Mister Styx

June 4, 2025

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

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

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

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

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

Then comes “Our Goodbye” (with Liv Kennedy), a breakup anthem that defies the typical sad-and-slow formula

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

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

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

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

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

Listen to THIS IS POST-EDM below

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Lies, Truth, and Teenage Soundwaves: LED Breaks Out

Interviews

Mister Styx

June 4, 2025

Lies, Truth, and Teenage Soundwaves: LED Breaks Out

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

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

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

Listen to Lies All Lies below

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

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

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

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

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

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

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

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

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

The lyrics were directly inspired by the script which included a lot of mystery. So we followed the film’s theme of being chased

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

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

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

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

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

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

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

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

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

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

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

EY: I hope they are drawn to the storytelling!

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

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

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

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

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

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

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

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

EY: It feels nostalgic.

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

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

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

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

Music

Mister Styx

June 3, 2025

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

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

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

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

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

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

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

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

Listen to Creatures EP below

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

Music

MrrrDaisy

June 3, 2025

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

<a href="https://michellebond.bandcamp.com/track/intersection-featuring-tobias-wilson">Intersection featuring Tobias Wilson by Michelle Bond</a>

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Music

Chris The Blogger

June 3, 2025

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

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

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

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

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

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

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

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

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

Music

Chris The Blogger

June 3, 2025

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

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

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

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

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

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

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

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

Music

Chris The Blogger

June 2, 2025

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

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

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

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

Credit: SF

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

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

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

Music

Chris The Blogger

June 2, 2025

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

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

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

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

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

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

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

Music

Chris The Blogger

June 2, 2025

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

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

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

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

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

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

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

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

Music

Chris The Blogger

June 2, 2025

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

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

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

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

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

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

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Sonia Lorenzi Crafts Intimate Debut EP “Vers Soi”

Music

MrrrDaisy

June 2, 2025

Sonia Lorenzi Crafts Intimate Debut EP "Vers Soi"

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sonia Lorenzi Crafts Intimate Debut EP “Vers Soi”

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

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

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

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

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

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

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

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

Music

Chris The Blogger

June 2, 2025

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

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

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

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

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

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

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

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

Music

Chris The Blogger

June 2, 2025

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

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

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

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

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

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

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

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

Music

Chris The Blogger

June 1, 2025

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

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

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

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

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

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

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

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

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

Music

Chris The Blogger

June 1, 2025

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

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

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

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

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

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

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

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Sam Lewis Steps Into Twilight with “Juan Garcia”.

Music

Chris The Blogger

June 1, 2025

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

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

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

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

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

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

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

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“Angela”: Ubiquity Machine Unfurls Raw, Askew Honesty

Music

Chris The Blogger

June 1, 2025

"Angela": Ubiquity Machine Unfurls Raw, Askew Honesty

Ubiquity Machine unfurls “Angela,” and it’s less a single dropped into the weekly churn and more like discovering a forgotten, velvet-lined box containing a single, very specific, perhaps slightly painful memory. The promised “alternative groove with slow-dance melancholy” is the genuine article; it’s the sound of a party winding down when only the truly dedicated, or perhaps the truly lost, remain, swaying under a flickering light. You can almost feel the floorboards sigh with a familiar weariness.

This indie-alt duo, Ubiquity Machine, has a knack for the askew, and “Angela” is no exception. The lyrical dependence depicted isn’t merely on a partner; it’s on an Angela who functions as a human North Star, the sole navigation point in a universe otherwise seemingly constructed of persistent, swirling fog. The pleas to stay, the raw-nerved hope – it reminds me, oddly, of a very young child clinging to a trouser leg in a vast, overwhelming department store. She’s not just affection; she’s psychic gravity, holding the speaker’s world together.

“Angela”: Ubiquity Machine Unfurls Raw, Askew Honesty

The track doesn’t build to a predictable crescendo of emotion; it sort of seeps, like an unexpected stain on your favourite shirt that you only notice hours later. The vulnerability is palpable, akin to the peculiar stillness in the air before a summer storm you know is going to break but can’t quite predict when or how intensely. It’s this quiet, almost unnerving honesty, this laying bare of profound need without resorting to melodrama, that hooks you. This isn’t the grand opera of heartbreak or devotion; it’s the hushed, slightly bewildered sound of someone realizing just how much of their own equilibrium is balanced on the fragile promise of another person’s continued presence.

“Angela” doesn’t offer easy solace, nor does it provide clear answers. It’s more like being shown a beautiful, incredibly delicate bird held in cupped hands, and you’re left pondering not the bird itself, but the almost imperceptible tremor in those hands. Is this the exquisite agony of near-certain loss, or the breathtaking, terrifying risk of daring to hold on?

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Moonlit Electronics: Wolfgang Webb Searches for “The Lost Boy”

Music

Chris The Blogger

June 1, 2025

Moonlit Electronics: Wolfgang Webb Searches for "The Lost Boy"

Wolfgang Webb’s “The Lost Boy” arrived not so much as a collection of tracks, but as a sonic correspondence from a place where streetlights hum with Kraftwerk’s ghost and the shadows dance to a trip-hop beat. This is music conceived in the wee small hours, carrying that particular clarity – or perhaps, exquisite exhaustion – of a world stripped bare by moonlight. His past in television scoring bleeds through; these are soundscapes sculpted with a cinematographer’s eye, vast yet somehow teetering on the brink.

This ten-track odyssey is less gentle stroll, more fraught navigation. Brooding electronics, that distinct ’90s Bristol throb, and cellos sighing like ancient archivists chart the course. Webb, occasionally joined by collaborators like Esthero or Derek Downham adding their distinct textures, confronts the weight of memory—separation, trauma, repeating patterns—head-on.

A synth might flash by, unnervingly bright like a single headlight on a desolate road, then a guitar – perhaps Mark Gemini Thwaite’s distinctive ache, recalling The Cure or Love and Rockets – etches a line of beautiful sorrow. It reminds me, oddly, of the scent of old paper in a seldom-visited archive, holding stories both poignant and unsettling.

Moonlit Electronics: Wolfgang Webb Searches for “The Lost Boy”

This isn’t about easy answers; it’s the sound of someone finally unpacking an impossibly heavy suitcase, item by painful item, under a single, unwavering bulb. The search for the ‘inner child’ here feels less like nostalgia and more like a gritty reclamation, a difficult truce with what’s been.

The light offered isn’t a sudden dawn, more the stubborn glimmer of a distant constellation. You’re left a little scraped, a little more awake, and oddly companioned in the dark. So, what resonates longer: the pain depicted, or the sheer will to articulate it?

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Inside the Vortex: FRUM Captures Life’s Flow in “Whirlpool”

Music

Mister Styx

June 1, 2025

Inside the Vortex: FRUM Captures Life’s Flow in “Whirlpool”

Whirlpool by Faroese artist FRUM (Jenny Kragesteen) is more than just a collection of songs. It’s a deeply moving musical journey that captures the ups and downs of life itself. Across ten carefully crafted tracks, this album draws you into a world built from personal experiences, driving rhythms, and rich, layered sounds.

The heart of Whirlpool explores change, human connection, and starting fresh. FRUM blends experimental electronic pop with genuine emotion, creating something that feels both innovative and deeply honest. Each song shows real care in how it balances quiet, thoughtful moments with steady, compelling beats.

The album opens with “Intro,” creating an atmospheric mood before moving into “Orbit With You.” This standout track perfectly captures the warmth of being close to someone and that magnetic pull between people. “Sun Aura” follows with bright, glowing production that sounds like a sunrise you can hear.

What makes this album special is how personal it feels while still speaking to everyone. Songs like “Wave” and “Ride” give you a real sense of moving forward, even when things feel uncertain. The title track “Whirlpool” sits at the center of everything—both musically and in terms of meaning. It pulls you in with layered beats and floating vocals that mirror life’s spinning, sometimes chaotic rhythm.

It pulls you in with layered beats and floating vocals that mirror life’s spinning, sometimes chaotic rhythm.

“Rise” continues this upward movement, offering hope and strength. “Choir” feels like a shared, spiritual experience, while “Cycle” closes the main album with thoughts on life’s repeating patterns and what we learn from them. “Outro” ends everything gently, like taking a deep breath after a long, beautiful swim.

FRUM’s decision to work with female producers adds real purpose to the project. It’s a deliberate choice to support other women’s voices, and you can hear this collaborative, empowering spirit throughout the album.

The influence of place runs through every song. After spending four years between Iceland and Norway, FRUM’s music carries the feeling of dramatic landscapes and creative isolation. The result is cinematic and nature-inspired—expansive but never losing touch with real emotion.

Since her 2016 debut single “Birdstone,” FRUM has steadily built a unique voice in experimental pop. International performances, her first album For The Blue Sky, and features on global platforms like Netflix and H&M have all led to this moment. But Whirlpool feels like her most complete work yet—an album that explores not just her sound, but her story.

Whirlpool is more than music. It’s an invitation to drift, to feel deeply, and to find yourself again and again. For anyone looking for music that connects on both personal and universal levels, FRUM’s new album is absolutely worth the journey.

Listen to Whirpool below

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The Ivins Return With “Echoes” EP After Historic African Tour

Music

MrrrDaisy

May 31, 2025

The Ivins Return With Echoes EP After Historic African Tour

The brothers Jim and Jack Ivins lead the band The Ivins, which has always tried to make sounds that would fill a stadium while still being independent.

The band’s most recent release, the “Echoes” EP, comes two years after their historic Department of State-funded tour of Sudan and Egypt, which put them in a war zone just weeks before the fighting started.

The EP starts with the lead single “Culture Kill,” a song that sets the band’s sound right away. During the same recording session as their previous single “Illusion,” this song has Jim Ivins‘ intense singing and the band’s signature wall of guitars.

What is interesting about this song is how it strikes a balance between being easy to understand and having real rock energy. This is a mix that is becoming less common in today’s divided rock scene.

Its title is an unintentional statement on the loss of culture that they almost saw for themselves. The track pulses with built-up energy, which makes me think that some songs need historical background to fully affect me emotionally.

The next song is “One Of Us,” which was written during the COVID lockdown of 2020 but is only now finished. The song is very emotional, which may be a reflection of how the band is feeling about their time abroad.

The sound keeps the band’s signature polish while letting in just the right amount of roughness to show real feeling. The exact drums of Jack Ivins holds down the rhythm section and gives the high guitar work a strong base.

Another song from the COVID era, “Release Me,” shows how much the band has changed since their last full-length record, “Conditions” (2021). The setup has a depth that makes me think the band has been taking in influences while they were away.

The song builds up to a calming chorus that is both personal and global, which is typical of The Ivins’ style of writing songs.

The EP ends with a version of “Rabbit Hole” by The Infamous HER, another Nashville rock band. The background of this choice makes it feel even more meaningful: The Infamous Her covered The Ivins’ 2020 song “Bloom” in return.

Nashville is known for country music, but this musical exchange between two rock bands shows how collaborative the city’s rock scene can be.

The story behind the making of “Echoes” is what makes it so interesting. The Ivins were in a very important place in history when they worked with the US State Department on their ground-breaking tour of Sudan and Egypt.

It is clear that being the first American band to play in Sudan, just weeks before the country fell into a terrible civil war, had a huge effect on the band. They said that this event made them “take stock of their lives and careers,” which led to a time of exploring with side projects.

The Ivins’ approach to sound shows how they have increased their experiential language without giving up on basic maximalist ideas. Jack’s rhythmic base comes from his work with the famous pop-punk band Burn The Ballroom.

It shows polyrhythmic complexity that takes standard rock structures to a higher level. These percussion choices make me think of emotional compartmentalisation, which is the controlled holding back that you need to deal with stressful events.

Jim’s change in voice is just as interesting. His 90s-inspired side project The Fan has clearly shaped his musical sense, adding subtle dynamics to his simple alt-rock delivery. His feelings do not have to be loud all the time anymore; he now knows that quiet statements can be stronger than long screams.

When Nashville rock duo The Dead Deads asked The Ivins to open their first show on tour, it sparked the band’s return. Instead of just playing, the band used the time to clear out their stash of unused music and put together an EP that made sense.

This choice shows how honest they are as artists; instead of trying to make new music, they chose songs that showed their journey and their current artistic vision.

The Ivins have made a name for themselves in Nashville’s rock scene by working hard and making good music. Two full-length albums and seven songs released before this one made them known as a band that could sell records and make good art.

“Echoes” comes out at a cool time for rock music. Although rock music has split into many subgenres and niches, The Ivins are still dedicated to a style of music that is both new and old, which they joke about calling “Wannabe Stadium Rock.“

The Ivins Return With Echoes EP After Historic African Tour

Choices made in production show that a worker has grown up without giving up their core character. The guitars have the right amount of weight while still leaving room for subtlety. This suggests that the brothers have learnt to use dynamics as a tool instead of just counting on sound density.

The mix shows that a lot of thought went into the emotional geography of the music. Each instrument has its own place in the space that serves the dramatic architecture of the songs.

The title of the EP makes sense; these songs are a reflection of the band’s life, from being alone during a pandemic to working as an international peacekeeper in a war zone.

They also use the band’s artistic inspirations to make something new and different. Though “Echoes” is only 12 minutes long, it makes a strong impression and makes people want to know what The Ivins will do next.

The Ivins are a great addition to modern rock for people who like bands like Silversun Pickups, Foo Fighters, and Nothing But Thieves. “Echoes” is both a satisfying piece of work on its own and a hopeful sign of where the author wants to go in the future.

The band’s willingness to try new things artistically while staying true to their sound shows that they have a lot more to give.

The Ivins say that their future is still “uncertain,” but “Echoes” shows that you should still keep an eye on them. A lot of the time, style is more important than content in music, but The Ivins keep giving us both.

No More Excuses: Rose Cora Perry Sets Fire to the Past

Music

Mister Styx

May 30, 2025

No More Excuses: Rose Cora Perry Sets Fire to the Past

The new music video for “Excuses” by Rose Cora Perry & The Truth Untold is more than just a breakup anthem—it’s a full-on statement. Directed by Perry herself and Emanuel Benyamin, the video is bold, stylish, and filled with symbolism, making it a must-watch for fans of real rock and raw emotion.

At its heart, “Excuses” is about calling out the nonsense. It’s inspired by Perry’s own experience parting ways with a former musical partner, and she’s not pulling any punches. The lyrics are honest, direct, and demanding—urging accountability and responsibility not just in relationships, but in all aspects of life. It’s got that same fearless energy you’d expect from an Alanis Morissette or Carly Simon classic, but with a fresh, punk-rock edge.

Visually, the video doesn’t just support the message—it amplifies it. It switches between tight, high-energy performance shots and a moody, cinematic detective subplot. The return of Perry’s alter ego, Kathryn Gunn, adds a clever twist, as we see her literally and symbolically set fire to the past. It’s the kind of imagery that sticks with you: not just because it’s dramatic, but because it feels earned.

The return of Perry’s alter ego, Kathryn Gunn, adds a clever twist, as we s

The performance scenes are powerful. Perry commands the screen with a voice that’s both sensual and strong—somewhere between Amy Lee’s emotion and a darker-toned Kate Bush. Backed by bassist Jessie Taynton and drummer Steve Skrtich, the band is tight, confident, and in sync. There are no extra tricks or flashy distractions—just solid, passionate rock music.

The 90s-inspired alt-rock sound paired with an upbeat punk rhythm gives the song a timeless vibe. The guitars punch through, the drums stay locked in, and Perry’s voice anchors it all. The band knows how to leave space in the mix—letting the story breathe without losing any power.

In the end, “Excuses” isn’t just a song or a music video—it’s a declaration. Rose Cora Perry & The Truth Untold aren’t here to play it safe. They’re here to be loud, honest, and unapologetically themselves. If you’ve ever felt burned, betrayed, or just plain tired of excuses, this one’s for you.

Watch Excuses. Turn it up. And don’t look back.

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

Music

Chris The Blogger

May 30, 2025

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

Patrick Hynes’ new single, “Baby’s High Again,” doesn’t so much arrive as materialize, like a half-remembered scent of bourbon and regret clinging to a velvet curtain. This “Midnight Country” he’s cultivating, it’s less dusty plains, more the blue, flickering light of a motel television at 3 AM, illuminating a room where decisions have been made, then unmade, then made again. Hynes, a Scot with a Texan drawl in his musical soul, crafts a narrative loop so hypnotic it’s almost a dare to break free.

The track pulls you into its woozy orbit of what feels like substance-shadowed emotion, where “high” is a fraught sanctuary, a place revisited with the grim inevitability of a tide. At its core writhes a complicated, perhaps destructive, love – possibly with a best friend, now more like a co-conspirator in emotional chaos. It’s all fractured perception and a desperate, grasping intimacy, a bond that flickers between fated and fatal. You know, it’s a bit like those strange medieval dances, the danse macabre, where everyone’s whirling with Death, but here, it’s a different kind of oblivion they’re dancing towards, hand in aching hand.

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

This isn’t your grandpappy’s porch-swing Americana. Hynes’ rich pop textures lend a cinematic, almost bruised quality to the classic storytelling. It’s a sound that feels simultaneously raw and glossily produced, like a beautifully shot film about people making beautiful messes. “Midnight Country” indeed – it’s the soundtrack for when love and loss blur into one long, disorienting night, where euphoria always seems to have a comedown baked into its DNA.

“Baby’s High Again” doesn’t offer solutions, nor does it judge. It just holds up a cracked mirror to a cycle of breakdown and intense, fleeting connection. One finds oneself wondering, not if they’ll escape, but what part of themselves they’ll leave behind when the lights finally come up.

Anthony Winters Throws “Rocks At Your Window” Of Summer Nostalgia

Music

MrrrDaisy

May 29, 2025

Anthony Winters Throws "Rocks At Your Window" Of Summer Nostalgia

Philadelphia-based artist Anthony Winters transports listeners to the magical nights of teenage summer with his latest single, “Rocks at Your Window.”

The track takes us back in time through music, to a time when falling in love meant midnight runs and throwing pebbles at a crush’s window was a sign of endless possibilities.

From the first line, ‘rocks at your window, music loud‘, Winters sets the tone for a night of connection and surprise.

The production, handled masterfully by Vic Antonio at Little Brother Audio in West Philadelphia, wraps Winters’ narrative in layers of synth that feel simultaneously fresh and reminiscent of beloved 80s soundtracks.

This song is especially interesting because it has a real link to Winters’ musical growth. His first recording session with Antonio was where the song’s ideas were born. It was put on hold for four years before the team thought it was time to finish it.

This patient approach to creation shines through in the polished final product, which balances youthful exuberance with thoughtful production choices.

Winters draws inspiration from classic teen films like “The Breakfast Club” and “Ten Things I Hate About You,” as well as contemporary nostalgic touchstones like “Stranger Things.” These influences permeate not just the sonic elements but the thematic heart of the song.

The song does a great job of catching the awkward stage of youth, with its summer nights of freedom, the thrill of rebellion, and the passion of early love.

“Rocks at Your Window” is an important turning point in Winters’s career as an artist. During the COVID pandemic, Winters started making music every day with producer Tyshii, who also helped with this track.

He has since built his name through writing sessions in Nashville and sold-out shows with his band. This song is both an introduction for people who have never heard his work before and a statement of his artistic purpose for people who already know it.

The production choices merit particular attention. The synth elements create a dreamy atmosphere without overwhelming the narrative thrust of the song. There’s a careful balance struck between nostalgic references and contemporary sensibilities, allowing the track to feel timeless rather than merely retro.

Antonio’s production and mixing work shows that he has a deep understanding of how to support Winters’ artistic vision without using heavy-handed techniques.

Rather than simple pastiche, “Rocks at Your Window” examines how cinematic memory shapes personal experience. The song functions as both artifact and commentary, simultaneously embodying and questioning the cultural narratives it references.

The production itself reveals sophisticated understanding of temporal layering. Antonio’s synthesizer work doesn’t merely invoke period-appropriate sounds – it creates sonic environments that feel both historically specific and temporally displaced.

This approach mirrors the strange psychological phenomenon of feeling nostalgic for experiences one never actually lived. Winters taps into what media theorist Fredric Jameson might recognize as postmodern culture’s peculiar relationship with its own past.

The creative process behind “Rocks at Your Window” adds another layer of temporal complexity. Originally conceived four years ago during Winters’ first studio session with Antonio, the track existed in suspended animation before finding its proper moment for release.

This extended gestation period allows the song to exist simultaneously as document of past creativity and present artistic statement.

Collaboration with Tyshii brought additional creative energy to the project, though Winters remains the primary artistic voice. His vocal delivery – earnest without becoming saccharine, nostalgic without turning maudlin – navigates difficult emotional territory with impressive skill.

The challenge of conveying genuine emotion while working within heavily codified aesthetic parameters requires considerable artistic maturity.

Anthony Winters Throws “Rocks At Your Window” Of Summer Nostalgia

What distinguishes “Rocks at Your Window” from countless other 80s-influenced releases is its self-awareness about the contractedness of its own emotional landscape.

Musically, the single exists comfortably within alternative pop’s current boundaries while hinting at more adventurous possibilities. The production balances accessibility with sonic sophistication, suggesting an artist capable of broader artistic exploration.

Winters’ plans for multiple 2025 releases with various producers indicate awareness that artistic development requires continued experimentation.

“Rocks at Your Window” succeeds because it understands that effective nostalgia requires both emotional investment and critical distance.

The single positions Winters within a growing cohort of artists who approach retro aesthetics with intellectual curiosity rather than simple aesthetic appropriation.

His work suggests that examining our relationship with cultural memory might reveal something essential about contemporary emotional experience.

Perhaps the most remarkable aspect of “Rocks at Your Window” is how it makes familiar emotional territory feel newly significant.

“CIGARETTE” – A Smoky and Soulful Return from Katie Belle

Music

Mister Styx

May 28, 2025

“CIGARETTE” – A Smoky and Soulful Return from Katie Belle

Katie Belle, a rising pop artist from Georgia, shares a deeply emotional new single, “CIGARETTE.” The track is her first from an upcoming EP set to drop in Fall 2025. Produced by LA-based Fabio Campedelli, “CIGARETTE” takes listeners on a journey through memories of past relationships. It’s a smooth blend of dreamy pop and heartfelt storytelling, filled with sultry vocals and introspective lyrics.

Katie’s voice floats beautifully over atmospheric sounds, making the song feel intimate and almost hazy—like a quiet moment spent thinking about what once was. The track captures the bittersweet feelings that linger after love is gone.

This single follows the success of earlier songs like “West Coast” and “Disco Romeo,” and continues to show Katie’s stren

This single follows the success of earlier songs like “West Coast” and “Disco Romeo,” and continues to show Katie’s strength in writing music that feels both personal and relatable. A past winner of the 2023 Pop Vocalist of the Year at the Josie Music Awards, Katie also performs with Atlanta-based band “Color The Night.”

With expert production, honest lyrics, and captivating vocals, “CIGARETTE” proves that Katie Belle is an artist to watch. She brings emotion to life in every note, and this song leaves a lasting impression.

Listen to Cigarette

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DC’s United: A Soundtrack of Ambition, Love, and Legacy

Interviews

Mister Styx

May 28, 2025

DC’s United: A Soundtrack of Ambition, Love, and Legacy

H.E.M. Steel’s DC’s United The EP is a bold and personal project that blends the sounds of past decades with modern energy. Produced by GsharpBeatz, the EP symbolizes unity between two different D.C. neighborhoods—Southeast and Uptown Northwest. It’s more than music; it’s a message of coming together despite differences.

After almost quitting music, a conversation with his cousin reignited Steel’s passion. That turning point led to an EP rich in emotion, blending rap, trap, neo-soul, and R&B. With themes of ambition, love, and self-reflection, the songs touch on everyday experiences in a relatable way. Tracks like “Won’t Go Crazy” show off creative production, while “Where Tha Moneys At” reveals Steel’s mindset as an artist today.

The influence of Go-Go and local D.C. culture adds depth, alongside nods to artists like Kendrick Lamar, Drake, and Musiq Soulchild. Collaborations with Ainae and Keyz The Virgo bring soulful balance to the EP’s sharp edges.

Steel’s hope is to inspire listeners and restore a sense of community through his music. If this EP is the beginning of a new chapter, his upcoming LP is sure to raise the bar even higher. DC’s United is heartfelt, driven, and unifying.

Listen to DC’s United The EP

Follow H.E.M. Steel on

Congratulations on DC’s United The EP! Can you tell us what inspired the title and how it reflects the music and message of the project?
My producer and I are from two different quadrants in Washington DC. I’m from Southeast and he’s from the Uptown part of Northwest. There have been differences between our quadrants over the years on many levels, but the title of this project reflects that we both stand united with a shared vision & love for music.

Was there a defining moment or event that sparked the creation of this EP?
Yes, there was. So… at one point, I thought I was done with music altogether. Then one day, I played some of my older music to my cousin and she told me that it looks like I am letting my gift be wasted by not doing anything with it. So… I felt like I owed it to myself to do this project. In the process, I fell deeper in love with music and I have a deeper understanding of it now thanks to the work done on this EP.

Each track feels like it carries a specific weight. Did you approach this EP with a concept in mind, or did it evolve naturally as you created the songs?
Yes, I did have a concept in mind along with my producer GsharpBeatz. The goal was to blend some of the elements from previous eras (90’s, 2000’s, 2010’s) together for a cohesive sound.

How would you describe the sonic identity of this EP compared to your previous work?
This is genre-bending music which is completely different from my previous works. While pulling from different eras with a modern approach was the goal, we also wanted to blend different genres… rap/trap hip hop, neo/trap soul, and R&B. So in that scope, I think this is completely different from anything I’ve done before.

The goal was to blend some of the elements from previous eras

What genres or influences were you tapping into while producing DC’s United The EP?
Well, there was many artists that I was inspired by when I writing, performing and collaborating. Scarface, LL Cool J, T.I., Nipsey Hussle, Kendrick Lamar, Drake, J. Cole, 21 Savage, Wale, Big Sean, Musiq Soulchild, Jhene Aiko, Bryson Tiller and Kevin Ross were heavy influences. Hearing their music helped inspire me a lot when I was conceptualizing the songs.

Are there any particular sound elements or production techniques you experimented with on this project?
I think “Won’t Go Crazy” displays the different sound elements I thought was different and would stand out. When I mixed that song, I wanted to layer the harmonies a little different from what we’re used to hearing. I think it that turned out better than I expected it to.

Lyrically, this project feels powerful and intentional. What themes or stories were most important for you to express?
I wanted to just focus on three things… Feeling lit, embracing love and having introspection. Those are common themes in our daily lives and I wanted to find a balance between those three things.

Is there a specific lyric or track on the EP that you feel captures the essence of who you are as an artist right now?
“Where Tha Moneys At” sums up exactly where my space is currently at as a Man and as an artist.

“DC’s United” sounds like a call for unity. How does your hometown (assuming DC refers to Washington, D.C.) influence your music and this project in particular?
DC has a very rich history outside of politics. Our culture once stood out in every way. From our lingo, to our wardrobe, and especially the music… specifically Go-Go. Today… we are a far cry from where we once were mainly because we’ve lost our sense of community and identity. My hope is that GsharpBeatz and I can help restore some semblance of those things at our foundation, while also helping our community and culture evolve as well.

Are there any local artists, communities, or movements in D.C. that helped shape this release?
Go-Go music in particular has helped my musicality evolve in many ways so I will always hold that rhythm is my soul. But I would also say this… IDK, Rico Nasty, Crank Lucas, Wale, Shy Glizzy, Kevin Ross, Ari Lenox and others have held it down for the DMV (DC, Maryland and Virginia). Folks should tap in to our music scene more.

Did you collaborate with any other artists or producers on this EP? If so, what was that experience like?
Yes… I collaborated with Ainae ( was on season 20 of the voice on Kelly Clarkson’s team) and Keyz The Virgo. Two dope female vocalists and also great writers. They made the recording experience feel smooth and are amazing to work with.

If you could have one dream collaborator join you for a remix or follow-up to this EP, who would it be and why?
My ideal collaborator would be Bryson Tiller based on the sound of this album.

How do you hope people feel after listening to DC’s United The EP?
Mainly… I want them to be inspired. However, I want them to feel like they can use this EP for any situations they’re going through as well… good or bad.

What’s next for H.E.M. Steel? Can fans expect visuals, performances, or more releases soon?
I am about to go to a song writing camp in LA in June to get some sync placements in motion. Also, I’m going to start working on my 10 song LP as well starting in July. No cap… it’s what this EP is times 20.

If you could sum up the EP in three words, what would they be — and why?
Ambition, love and legacy. I think the songs fit the scope of those three words perfectly.

A Chorus You Can’t Forget – Elinor Sitrish’s ‘SHOUT!’ Hits Home

Music

Mister Styx

May 28, 2025

A Chorus You Can’t Forget – Elinor Sitrish’s ‘SHOUT!’ Hits Home

Elinor Sitrish’s new single “SHOUT!” is the kind of pop song that gets better every time you hear it. After a week of listening, it’s clear this track has something special that makes it stand out from other music on the radio.

What really works here is Sitrish’s voice. She can be both strong and gentle, which helps you feel every word she sings. The song deals with messy relationships and mixed signals, and her honest way of singing about these feelings pulls you in and keeps you interested.

The chorus is where the song really shines. It’s catchy and powerful – the kind of hook that sticks in your head without trying too hard. You’ll find yourself humming it later, and it’s perfect for singing along whether you’re driving or just hanging out at home.

Working with producer Adam Chavez, Sitrish has made a pop song that sounds fresh and real. The production is modern but not fake or overdone. Everything in the track helps support the emotion in the words, building up to that memorable chorus that hits just right.

What makes “SHOUT!” different from other pop songs is how genuine it feels.

What makes “SHOUT!” different from other pop songs is how genuine it feels. It’s not just another radio hit – it feels personal and honest. Sitrish brings together pop, soul, and jazz in her voice, which gives her a unique sound that feels both new and timeless.

The song works in many different situations – you could dance to it, work out to it, or use it in a movie scene. It has that flexibility that good pop music needs.

For anyone looking for music with real impact, “SHOUT!” is worth listening to. It shows that Elinor Sitrish isn’t just a good singer – she’s a real artist who has something to say and knows how to say it well.

Based on this single, she’s clearly headed toward bigger things.

Listen to ‘SHOUT!’

Follow Elinor Sitrish on

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