Desperate Electric's "Don't Fall in Love": A Sonic Rollercoaster of Want and Woes
If you ever wondered what it might sound like to party under the northern lights while wrestling with existential desire, “Don’t Fall in Love” by Desperate Electric is probably close. Dangerously close. The album is a shimmering rollercoaster of want and woes—like sipping neon cocktails that buzz under your skin, knowing the hangover might hit harder than expected, but loving it anyway.
Kayti Korte’s smooth bass licks tease you along, while Ben Morris plays puppet master with a guitar and keys that flicker like fireflies you’ll never quite catch. You almost get away with it, but not quite. Temptation wins.
Thirteen songs of reckless chase, caution drops. The album dances at the intersection where 80’s disco-legged flashbacks meet starship R&B, but grounding it all is a deep tension—desire pulling you in one direction, self-awareness clawing back the other.
But listen, Korte and Morris know the game; they’ve been here before—they cannot merely escape it, so they innovate inside it. Are those vocal harmonies? No, they feel more like verbal embraces, or even traps, as Korte and Morris navigate this sonic flirtation in a way that almost feels dangerous.
Desperate Electric’s “Don’t Fall in Love”: A Sonic Rollercoaster of Want and Woes
Thematically, we are somewhere between a Nicholas Sparks storyline and a sci-fi fever dream. The album unpacks the human relationship experience but leaves room for kaleidoscopic interpretation. Desire is front-and-center, as pressing as an ignored text alert, but stretching into deeper contemplation of identity shaped through desire.
You constantly want, but does wanting undo you? That’s a theme threaded through the beats, through the throbbing synth—it’s also dangerously more enjoyable than introspection should allow.
It’s impossible not to feel caught. “Don’t Fall in Love” builds its own metaphysical night club where dancing means rethinking your choices as strobe lights blind your doubts.
So, fall in love… or don’t. Just be prepared for the ride
"What's it Gonna Take": Esthy's Powerful Ballad of Desperation and Longing
Esthy’s latest single, “What’s it Gonna Take”, feels like the sound of rain falling on a sun-drenched cactus. You’re never quite sure if it needs saving—thriving in its dryness or quietly gasping for water.
Heartbreak bruises softly here. It doesn’t shout, it observes. The lyrical questions spin on a slow axis: “Was it me? Did I miss that crack in the windshield when the road looked perfect?” Yet, here’s the killer—Esthy knows the car crashed miles ago. Or maybe it’s still veering off in slow motion. Who’s to say? But boy, does she wish she could rewind to that dizzy twist of fate that wasn’t quite yet fated.
Vocally, Esthy hovers like smoke, but with resolve—the kind of voice that carries both weight and wind at the same time. It matches the thick, spatial production underneath. A lot of pop-RnB these days is glossy and vacant, but the production here feels rich like the inside of a thousand-year-old tree. You know it’s been through some stuff.
“What’s it Gonna Take”: Esthy’s Powerful Ballad of Desperation and Longing
Dead End. Those two dreadful words hang heavy in the song, yet Esthy is still tip-tapping around the perimeter, knocking on windows pretending she can bypass the inevitable. And who hasn’t been there? Desperation’s game is begging when words feel small.
Did anyone else think of the haunted desperation in the paintings of Edward Hopper when hearing this? Relationships slipping through fingers, two people occupying space in totally different timelines. Esthy’s voice feels like someone standing under a fluorescent diner light, staring outward at a static world where a lover once was and never will be again.
In the swirling mess of everything, the track daringly asks, what if love is just bad geography—terribly, irreversibly misplaced?
All that’s clear in “What’s it Gonna Take,” though, is that some questions were never meant for answering.
Figuring it out is exhausting, but maybe there’s beauty in the ache.
"Hope in Everything" Remix: Sahara CyberStars' Uplifting Message
Does an echo have a heartbeat? That’s the question that came to mind as the opening riff of the Sahara CyberStars’ “Hope in Everything” Remix curled out of my speakers like a serpent spinning in space. Lesser mortals might expect a straightforward call to arms or, worse, a montage of weary optimism, but Dave and Trish Long don’t deal in such pedestrian paths. They’re far more concerned with the sound of a question mark at sunset.
Dave’s vocals feel like the slow unraveling of an old flag caught between velvet fingers. There’s something in his voice that makes you think of revolutionaries who are too tired to scream but too awake to sleep. Are we being led? Or are we merely driftwood in the sea of inequality?
It’s hard to say. Mostly because the remix doesn’t want you to choose—it wants you to wander around in those thoughts. Sand dunes of groove, washed over by Trish’s saxophone, blur into horizons you didn’t know were there. Leadership and power, sure, but not the kind you find in parliaments. The kind that’s quietly deciding the fate of the universe at some street corner. Ever felt like a late afternoon wind knows more about decision-making than any politician? Yeah, that’s where this remix lives.
“Hope in Everything” Remix: Sahara CyberStars’ Uplifting Message
There’s jazz here, but not the cigarette-in-a-dim-club variety. No, this is jazz that grew up, bought a synth, and occasionally reads philosophy before sunset. Somehow, the beat stays optimistic, like a heartbeat inside an engine.
Maybe, just maybe, the power lies in not having answers. Hope isn’t shiny, it’s raw, folded into the dirty notes Dave strums on his guitar between choruses of broken promises.
But can you hear the hope yet? Or is it like trying to catch headlights with your bare hands?
The Force is Strong with This One: INETT's "Summer Sith"
Sometimes an album feels like a conversation you weren’t invited to but want to eavesdrop on anyway. “Summer Sith” by INETT is one of those. It’s like stumbling into a Jedi Council meeting… in Florida. And instead of robes and light sabers, you’ve got hoodies, boom-bap beats, and existential rap battles between the light and dark sides of self. It’s not just music for your speakers — it’s a glitch in your soul’s coding.
There are no easy binaries here. INETT doesn’t give you good vs. evil; he gives you good-AND-evil, mashed up with a side of confusion and confidence, much like tagging graffiti on an angel’s wing. And that’s where “Summer Sith” shines — the album dives straight into the messy gray matter of transformation, rejecting the Hero’s Journey. It’s growth, but growth that brings scars. And sweat. And sometimes, just sometimes, joy.
The Force is Strong with This One: INETT’s “Summer Sith”
Recorded in his home studio in Florida, with beats by Diamondgamebeats that feel like cracked mirrors and twilight beach shadows, INETT’s peculiar blend of old-school hip-hop and a smattering of the experimental keeps “Summer Sith” feeling like a mixtape from the future stuck in the past. Taylor Jordan and ASRAP make cameo appearances you don’t expect. Like side characters in a dream sequence, they add texture but never steal focus from INETT’s personal odyssey.
INETT knows that individuality isn’t synonymous with perfection. He asks: what happens when you choose the wrong side… and you don’t regret it?
Latin Heat Meets Urban Energy in Gretch'N's Latest Single 'Moet' feat. $erna
Recently, listened to Moet, which is one of the recent songs from Cuban-Canadian artist Gretch’N, with the participation of Colombian-Canadian rapper $erna. It is one that I found particularly interesting and I believe you should add to your playlist.
The track is good reggaeton by the artist KBMP, and has the certain feel of what’s perfect for the summer. As soon as you press play – you know it was made for the beach parties or the late night dances. The recording is polished, with complex rhythm patterns characteristic to reggaeton music enhanced by several elements of pop music.
What is particularly striking is how Gretch’N and $erna engage with each other. Gretch’N has this Latin feel of her vocals with this smooth sultry voice that is so entrancing. Then $erna chimes in with these energetic rap lyrics that give a completely different feel to the song. It is a pairing that the anime pulls off quite smoothly.
Lyrically, “Moet” is a dance tune, which revolves around summer love and the good times. It’s fun and provocative, just right for the atmosphere, especially if the night is a little warm. The chorus is very memorable – I could still sing the lyrics even after the song had ended.
However, one can notice that Gretch’N has a background in dancing, and that is completely reflected in this song’s beat. Basically, it is the type of song you could try to dance to. There are certain elements of “Moet” that I like: the fact that is familiar and yet completely new.
It has that authentic reggaeton feel, but it is not boring at all since it is as if it has modern touches here and there. If you are a fan of Latin music or in the mood for a summer hit, then I encourage you to check out “Moet”. This is a very strong sign that Gretch’N is one artist to look forward to in the Latin music industry.
James Keen’s “Crossover” album feels like trying to remember a dream you had on a rainy Tuesday in a year that doesn’t make sense anymore. There’s an unmistakable whiff of solitude baked into every chord, as if each strum of the guitar was a plea to escape four walls that were closing in. Maybe that’s the fallout of lockdown living: we all heard the clock tick in a way we never had before, but Keen listened longer, and turned that vigil into music.
Yes, this is a pandemic album—but not one filled with moody dread or existential doom spirals. Instead, Keen offers up sonic vignettes of hope, like postcards from isolation. You know the feeling of stepping outside after days indoors, blinking at sunlight like you’ve never seen it before? That’s what this album sounds like.
The acoustic foundation smacks of familiarity, but there’s nothing nostalgic here except for the implicit ache of wanting to return to something that—spoiler alert—probably never existed in the first place. Even as he dances between Pop, RnB, and Folk like a kid trying on different hats in a thrift store, Keen keeps his gaze fixed ahead, not backward. This is future-looking songwriting, even if some of it has the syrupy sweetness of a mid-’90s CD collection.
James Keen’s “Crossover”: A Pandemic Postcard
Bands are easier to escape into, you’d think, with their kaleidoscope of harmonies and shared responsibilities. James Keen, however, seems to thrive on his lonesome—playing every instrument as if he’s conducting a conversation with versions of himself that only he can hear. Is it inevitable? Maybe, but that’s the magic trick. His soulfully hypnotic guitar solos drift into the ether, only to return like boomerangs. You didn’t expect to catch them, but here they are, stuck in your brain.
Ultimately, “Crossover” feels like a friend pressing play on a mixtape and carefully watching your face for a reaction. That’s where its power lies—not in perfection, but in connection.
And as for James? He’s probably already working on something new, hiding somewhere in plain sight.
LTB's 'Lay With Me': A Soulful Dive Into Love's Warm Embrace
I recently had the chance to listen to LTB’s new track “Lay With Me,” and I’ve got to say, it’s pretty impressive. LTB, who’s based out of Annapolis, has this knack for blending genres like R&B, pop, and what I’d call ambient blues. This latest release really showcases his ability to create a sound that’s both fresh and deeply emotive.
“Lay With Me” is a neo-soul track that dives into the complexities of love and intimacy. What struck me right off the bat was LTB’s voice – it’s velvety smooth and draws you in immediately. There’s a richness to his tone and a vibrato that’s really quite stunning.
The production on this track is polished but doesn’t overpower LTB’s performance. It’s got this minimalist instrumental backing that allows the lyrics to really shine through. There’s also a subtle jazz influence in the rhythm that adds a layer of sophistication to the overall neo-soul vibe.
Lyrically, LTB explores themes of longing and commitment. It feels like you’re listening in on an intimate conversation between lovers. There’s a universal quality to it – that desire for stability in love when everything else feels uncertain.
I’ve heard comparisons to artists like The Weeknd and James Blake, which I can definitely see, but LTB brings his own unique flair to the table. His ability to infuse raw emotion into every note really makes this track stand out.
What I find particularly impressive about “Lay With Me” is how it manages to be both comforting and emotionally charged at the same time. It’s the kind of song that lingers with you long after it’s finished playing.
For fans of modern neo-soul and R&B, I’d say “Lay With Me” is definitely worth a listen. It’s clear that LTB is an artist on the rise, and I’m excited to see where he goes from here. This track shows real growth and versatility, and it’s a strong indication that LTB is an artist to keep an eye on in the coming years.
From Mistakes to Melodies: Lauri Jarvilehto's "Hey Kid"
Every mistake has a rhythm. Lauri Jarvilehto’s latest single “Hey Kid” rides on the back of that truth, like a guilty conscience hitching a ride into the future. This isn’t just a song you listen to—it listens back. It’s the sound of a man born from restless nights and too much overthinking. And yeah, he’s playing all the instruments, but don’t mistake that for some weird ego trip. In fact, the whole thing feels like he’s shouting into a mirror, hoping it reacts with kindness.
“Hey Kid” takes you on a sonic tour of regret, like Bob Dylan got lost in a Minimoog catalog. Jarvilehto weaves his voice around the melody in a way that suggests he’s not even sure he deserves to be heard—or maybe he’s just hoping his children hear everything. There’s a Minimoog solo, by the way—a weirdly retro-futuristic juxtaposition that feels like watching a spaceship land in your backyard before it takes off as quickly as it came.
From Mistakes to Melodies: Lauri Jarvilehto’s “Hey Kid”
The themes in “Hey Kid” can hit hard or soft, depending on where you are when you hear it. If you’ve ever made a mistake, stumbled over the edges of your own youth, this is a letter you’d send to yourself. Apologies not laced with excuses. Music for grownups who still feel haunted by the teenage ghosts in their attic. That piano’s confession leads the charge, accompanied by guitars, bass, and drums—ingredients that taste like heartland rock but feel surprisingly un-bloated; an indie ethos all over it.
Jarvilehto is making peace with the bad decisions most of us try to sweep under the rug. And that’s the spookiest part: he paints them in melody like fingerprints on a fogged window.
The takeaway? Regret’s got a groove now. Ask yourself if you’ve learned your lesson.
I finally got the chance to speak to Shelly Perel, a fresh talent from Tel Aviv who has been gaining popularity in the music industry. Her latest single is 12 AM, which is a lovely taste of what is in her first album, Patience And Stuff, which is due to be released later this year.
Something that really caught my attention about Shelly’s music is the ability to mix the genres of alternative pop with the feel of soul music. This is something that is making the lady’s music friendly for listening to and people, not only in her region, but in other parts of the world as well.
‘12AM’ is a fine ballad as it is. It is a very personal yet relatable storytelling about love, comfort, and vulnerability, which was made into this beautiful music video with its spectacular visuals and message. The production is by Golde, who is also currently working on co-producing her new album, and the tune has a dreamy feel to it but is still very real.
Shelly’s voice this is superb, soft and soulful to sing the lyrics and convey the feelings of the song. In the course of the interview, we discussed the creative process behind “12AM” and it was enlightening to listen to Shelly explain how the concept was developed to the final track.
That she dedicated was self-reflective of those special, unnoticed moments in a relationship; those profound moments that are usually overlooked but which are significantly critical. We also talked about her influences and plans for the new album that is due to be released soon.
Before revealing too much, I think that ‘Patience And Stuff’ is going to be an incredible debut. If you enjoy touching, heartfelt lyrics coupled with the melodies of pop music with a bit of soul, you should certainly check out Shelly Perel and her song, “12AM”. It is a good precedent of what is to be expected from this budding talent out of Tel Aviv.
“12AM”* is such an evocative title. What inspired the concept behind the song, and how did it come to life during the songwriting process?
The writing process began when I arrived at Goldie’s studio, my producer, He played me one of his pieces (which later became 12AM) I fell in love with the sound, and every cell in my body was moved that I asked him to write lyrics on his production,.
The whole song was written in one writing session, my inspiration for the song was that moment before you go to sleep with your beloved cuddled in bed, you feel the most peaceful and the safest.
The song is not talking about 12AM in the sexy sense of the word but the romantic one.
The track has a late-night, intimate vibe. What were you aiming to capture with the mood and feel of *“12AM”*?
The intention of the song was to convey the familiar and so desirable feeling of ending a long day and just waiting to be in the arms of the one you love, tell them how the day went and find comfort and laughter with them
Was there a specific moment or experience that triggered the creation of *“12AM”*, or did the idea evolve over time?
Not any specific moment, Just falling in love I guess (:
Can you walk us through your creative process for this single, from the initial idea to the final version? “If I had to describe the production of “12am,” I would say it’s a song that produced itself, a song that was always there and just needed to find its way into our environment. I remember that when I was building the production, it didn’t feel like I needed to think about what would sound good or which direction I wanted to take it.
I just needed to let it come out, and layer by layer, it simply emerged as it was, like filling in a Sudoku puzzle. There are clear instructions, and there is only one correct answer in the end. It started with the piano, violins, bass, drums, vocals, and synthesizers—each had a clear place and a clear role. It’s hard for me to recall other songs I created this way.
After a few hours, the Sudoku was complete, the production was finished, and it was looking for someone to conduct it. Shelly heard it, and just like the production, in one take she added the last and so important piece to this puzzle. And then, it was truly complete. It’s the kind of song that makes you understand why you do what you do and why you chose the path you chose.”
The lyrics in *“12AM”* are beautifully introspective. What message or emotions were you trying to convey with this song?
The intimacy of loving someone, those little moments that make your relationship what it is, moments that no one in the world knows except you, I tried to convey the intimacy of my love in a way that doesn’t come through on social media, let’s say… more clean, honest and real.
The intimacy of loving someone, those little moments that make your relationship what it is, moments that no one in the world knows except you
Does the theme of *“12AM”* tie into any larger narrative or personal experiences you’ve been exploring in your recent music?
Definitely in terms of sound! 12AM is part of my debut album “Patience and stuff” which is to be released in November, I think its sound tells a continuous and full story and completely puts you into a special world which is this album.
In terms of lyrics I think the album gave me disillusionment and inner processes (which I think many can find themselves In them) the stories in each song lead each other very much and 12AM is the song that seals the album and the process I went through, so I am happy and excited for the future, and especially excited to share this album with everyone (:
*“12AM”* has a unique sonic palette. What influences or styles did you draw from when crafting the sound of this single?
yes, “And suddenly, like it meant to be, you know all my secrets, who I want to be
You introduce me to your flatmates
I’ll take you home to see my mom and dad “ – This line is close to my heart because it describes this process of a stranger entering your life and suddenly becoming the center of it, you take off your guard and allow this bond that is formed between you two.
What do you hope listeners feel or experience when they listen to *“12AM”*? Is there a particular mood or emotional state you aimed to evoke? I think we drew inspiration from a lot of things, but I can say about the singing sound, it was very important that it be close and intimate and have a warm feeling to it, in the back of the production there is a synth that Golde sings that gives an incredible cold and mechanical contrast to my singing line that gives it a little melancholic feeling that was necessary in the production in my opinion.
Is there a particular line or lyric in *“12AM”* that holds special meaning to you? Why? As with every song I write, there’s a reason or emotion behind it. I believe that each listener brings a song to their own unique place, and that’s the magic of music. My goal as a creator is to evoke any kind of emotions and connections in those who listen to my music.
Are there any visual elements or music videos planned for *“12AM”*? If so, how do you see the visuals complementing the song? There is a music video we created for 12AM you can watch it right here!
Does *“12AM”* hint at the direction of your upcoming work? Can we expect more releases in a similar style or thematic space?
What was important to me in the visual aspect of the music video was that it would convey warmth and intimacy. Honestly, I haven’t created a music video like this before, one that’s so raw. I’m without makeup, simply singing about what I feel. I wanted to keep it small and intimate, with warm spring colors. I even edited the video myself! Feel free to watch the video and let me know if I succeeded 🙂
What’s next for you creatively following the release of *“12AM”*? Are there any exciting projects or collaborations in the works?
As I’ve previously shared, “12AM” is a track from my debut album, “Patience and stuff” dropping in November. It’s been a 3-year journey, but I’m so excited to finally share this project with the world. I’ve really honed in on my sound and poured my heart and soul into it.
Feel-Good Grooves and Flirty Vibes: Charly Beth Talks 'The Way You Move'
It has been my privilege to listen to Charly Beth’s latest single titled “The Way You Move’ which is rather catchy. Beth has successfully captured that enchanting feeling when people are going out, everything is perfect and the disco floor is magnetic. Actually, I find its trajectory, the history of this track, fascinating.
Beth said it began as a bedroom experiment before becoming what she now presents as this disco-pop track. Listen closely and you can hear some of Kylie Minogue and Dua Lipa but there is a definite Beth Tweddle twist with some uber funky bass and some pop hooks.
The lyrics are silly, carefree, and even though they come from club culture, they are not necessarily sultry or sexual as one might presume, as it captures random glances of people across the room. It’s not meant to be some overly complicated concept – it’s about the rhythm and freeing yourself.
During the interview, Beth was willing to share how she writes her songs and some of the issues she encounters while in the studio. I was interested in what she said about how she enters the process of writing a song that is supposed to inspire confidence on the dance floor.
That is perhaps why I like the song “The Way You Move” because the song makes people employ their energy in dancing. In today’s world, most of us could go for a bit of that carefree spirit. If you fancy more cheerful disco-poppish, similar to Metronome’s ‘The Time Is Now’ or Marion McParland’s Sleeper, then I think Charly Beth’s ‘The Way You Move’ will be right up your street. This is a song type that can easily find you grooving to it, maybe even in your sitting room if not noticed.
“The Way You Move” has an infectious energy—can you tell us what inspired the creation of this song? When I wrote ‘The Way You Move’ back in 2022, I was going through a phase before it of writing lots of heartfelt, emotional lyrics, which I absolutely love, but I just felt like a change. I was listening to Dua Lipa and Kylie Minogue’s more funky songs, and I was inspired by just how good they made me feel. I was like ‘I want to create a song like this’, something that just makes people smile. Both Dua Lipa and Kylie Minogue hold such strong funky qualities in their music – a combination of simple lyrics, really cool rising bass lines and songs based almost entirely on groove rather than putting all the emphasis on the lyrics, and that’s what I wanted to create! Dancing is in my opinion one of the easiest ways to make yourself feel good, so it just made sense really to create a song about dancing… to dance to.
How did you approach the writing and production process for this single? Was it different from your previous work? The writing and recording process was similar to my previous work to be honest. I sat in my little flat in Liverpool with my piano and just wrote. This process was harder though this time than the songs I had written prior! I had just graduated from LIPA that summer, and because I was so used to writing songs every week there, when summer came, I gave myself a break. ‘The Way You Move’ was one of the first songs I wrote post-LIPA, and it was a struggle, because since there was that break, that pause in creativity, it took some adjusting.
I took it into the rehearsal rooms with my lovely band, who at the time was Tristan Smith, Niamh Mailer, Alan Mueller, Luca Visetti and Corin Murphy. We came up with an arrangement for it. They honestly do not get enough credit. I write the songs yes, however my band (then and now) are honestly what bring them to life, and enhance them, and there is nothing that can compare to that, so they are involved in this process as much as I am!
Production wise, I had a very tiny budget at the time, so we recorded a lot of the songs in my flat in the summer of 2023. I worked with the amazing Jacob Weinreich in Jacob’s cute little home studio to mix and add some extra production, and then I sent it off to be mastered 🙂
What message or emotions do you hope listeners take away from “The Way You Move”? At the surface of ‘The Way You Move’, it’s not really hard to miss that the song is entirely just about dancing and letting your hair down. However, one thing about me if you have seen me live, is I always like a dance on stage, I like embracing the quirkiness and showing off my personality through bright colours etc.,
So actually at the core of ‘The Way You Move’, it’s about having the confidence to actually be able to dance freely and own that, and remove fear of judgement and what others think from your head. I am actually trying to get lots of people involved in creating a music video for this track, by sending me home videos of them dancing to embrace this. I think it will be really beautiful! So yeah, if you are reading this and want to be involved, drop me a message on instagram – charlybethmusic
So actually at the core of ‘The Way You Move’, it’s about having the confidence to actually be able to dance freely and own that, and remove fear o
The song has a dynamic rhythm—was there any particular influence behind the sound or style of the track? Kylie Minogue and Due Lipa’s more disco/funky tracks were a huge influence on ‘The Way You Move’. The octave bass lines are a frequent feature in Dua Lipa’s music, so I was inspired by them! Likewise, the funky guitars in songs such as ‘Real Groove’ by Kylie Minogue had a huge influence.
Can you share any behind-the-scenes stories from the recording or production process? I can! As I mentioned before, this track was a self-recorded track, using bedrooms, band rooms etc. so when it came to recording the drums, which we recorded with Tilly Louise, it was totally DIY. We used one of LIPA’s rehearsal band rooms, and set the drum kit up with lots of microphones around it.
We used a music stand to hold a mic actually because we ran out of stands, and also daisy-chained 3 interfaces together for recording – so yes, very DIY. When it came to recording, we needed the snare drum muted. Tristan, who played drums on this song, whipped out a Heinz Beans can from his bag, and we used this to mute the snare. Quite an unusual process, but it was definitely fun and memorable, and added a lot of character to the song.
The rest of the instruments were recorded in my flat and my flatmates cat was about. He LOVES music so we’d be sat on the couch, recording, plugged into my laptop, and he’d just be sat listening, whilst also having zoomies which was a tad distracting!
In “The Way You Move,” there’s a strong connection between the music and movement—was dance a big influence on this track? 100%. The lyrics are about dance, and I wanted this to correlate with the tempo and feel of the track too. I just thought ‘if I dance to music, what is it about the music that I dance to that draws me in?’, and I realised that most music I enjoy a dance to has an easy groove, sits at around 120bpm, has emphasis on every beat when the energy increases, is an easy listen, and holds ear worm hooks so that I can sing along at the same time. So that is what I tried to achieve 🙂
How did you collaborate with your production team on this single? Were there any creative challenges you had to overcome? I found Jacob through a friend of mine. I sent over what I had already recorded and produced myself, and Jacob aided in bringing it to life through extra production and mixing. I don’t think there were any challenges. Myself and Jacob had good communication throughout the whole process. We had a reference track for the mix, spoke through ideas and were aligned in what to create. The only difference between the final version with the first draft is that it holds more of a live band feel than it first did.
Your vocals in this track are powerful and expressive. How did you find the right tone and energy to match the music? Thank you! This is so kind! Simple answer, a lot of takes! Haha no I’m joking! We did a lot of messing around with vocal qualities. For example, we played around with singing the chorus’ normally, and then singing it quieter, putting more emphasis on certain syllables, laughing whilst singing some parts – we basically tried a lot until we found an idea that worked. Jacob was very good at giving me ideas to try! We also took out some lyrics for emphasis on the first chorus for more impact, and double tracked them for power. There are so many layers of different vocal takes and qualities one on top of the other that all blend, it adds a lot of flavour and character, and adds to the overfull fun and quirky vibe the song gives.
Do you have any favorite lyrics from “The Way You Move,” and why do they stand out to you? The first verse of the song “something in my same old heartbeat beating, hold on to this feeling, am I breathing? Saw you over there, grooving without care, you’ll be the death of me” stands out to me as my favourite lyrics.
They portray this feeling of a regular ‘same old’ heartbeat – it’s routine, it suggests a lack of excitement in a persons life due to the heart rate staying the same. But then they see this person across the room, “grooving without care” and letting go of fear of what others think, and it creates almost this sense of healthy jealousy and admiration “you’ll be the death of me”. That is quite a harsh lyric, but also holds a warmth and a beauty because it conveys this opening up to a positive change, a kind of wanting to let go of worrying about what others think of you and just dance, letting the fear of judgement die away. I challenged myself to keep the lyrics simple, because there is also beauty in simplicity.
What has the fan reaction been like so far? Have there been any surprising responses to the song? The reaction so far has been great! I was really nervous to release this as it is my favourite release to date, and I was anxious about how it would be received. I have been overwhelmed by the response. So thank you to everyone for adding ‘The Way You Move’ to all your little playlists, liking and sharing the song, and even sending me videos of you dancing. That has been great to watch.
How does “The Way You Move” fit into the overall narrative or direction of your upcoming projects? I like to create songs that on the surface have a quirky groovy feel and get stuck in your head, but when you peel back the layers, have a lot of depth to them. I think this single really highlights the direction I am heading in as an artist. I love colour (which you can tell from the single artwork). I love groove. I love lyrics that hold depth. This is what ‘The Way You Move’ holds, and something my other songs share.
If you could perform this single anywhere in the world, where would it be and why? I’d love to perform on Jools Holland! Jools provides a great platform for musicians to be heard by a wider audience, and so many big names have been on that show.
Looking ahead, are there any exciting collaborations or releases on the horizon that you can tell us about? I’m currently working on getting some more studio time for another track, which is another of my favourites. This one holds the same groove as ‘The Way You Move’ but has a more live band feel, and the lyrics to this one are very personal to me, which is exciting and scary, because I have never released a song yet with lyrics that I can fully relate too! Expect groove, emotion, and storytelling, and get ready to dance 🙂
Electro Nostalgia Meets Modern Grit in JRTA’s Down Shiftin’
Just recently I got a chance to try listening to the newest production of JRTA, “Down Shiftin,” and I must admit it is a great work. The first thing that strikes the attention here is that JRTA is a rather versatile musician playing multiple instruments and carefully combining electro-pop and rock elements into a catchy sound.
Of all the things that JRTA insisted on, authenticity stood out to me as the most compelling. He writes and composes from his studio that is based at the 11th floor of the building, controlling every part of the procedure. This is particularly highlighted in the music so the sense of actually ‘Touching the Light’ feels unique in a way that does not emply fashionably over-productive studio wok, which seems to pervade today’s music.
But, what is really inspiring of this song is the message it brings about down shiftin’ while going for hopes and dreams in life regardless of one’s age and conditions. I think it is refreshing to listen to the works of an artist who can address such themes directly. As for the source of inspiration, JRTA uses miscellaneous elements.
It is also possible to note similarities to Morphine and Portishead, as well as to the classics of rock’ n’ roll such as The Doors. Yet, watching the show, one deciphers that all these influences yield a program uniquely JRTA’s own. What speaks volumes about this release is the blend of old school elements with modern feel.
It is a fine balance to strike, and while JRTA pulls it off exceptionally well, it feels like something that has been seen before but presented in new packaging. I got a perfect opportunity to talk to JRTA regarding the track and its genesis, including some of his most heartfelt musings revolving around “Down Shiftin’. ”
He spoke about his struggles and the period of self-awakening as well as subsequent phases of experimentation and searching for the core purpose of his artistry. If the audience wants to listen to music which is intelligent, combines two or more genres, and has a powerful message, then ‘Down Shiftin” by JRTA is worth listening to. It is an inspiring story of never giving up on creativity and talent, and of never being too old to achieve one’s dreams.
“Down Shiftin'” has such a cool vibe—can you tell us what inspired the song’s concept and lyrics? A moment of confidence. My actual driving. Seriously though, it reflects a significant breakthrough in determination. I was having a wrestling match with myself over whether or not to release my music when someone significant to me was making a suicide plan and confided in me.
It really spun me out. I had written this other song, Dreams Fade, about it, which is basically me feeling alone in the world. Then this song followed right after and it’s the middle finger to all of it. It is the decision to promote my music and give life my all however much is left.
How did the idea for “Down Shiftin'” come to life? Was there a particular moment or experience that sparked its creation? Let’s call it a wave of determination. I realized how close I was to having no one to rely on but myself and decided I would be the best person for myself to rely on that I could be.
What’s the overall theme or message you hope listeners take away from this single? Finish the race. Give it everything you’ve got. …and if this is your second act drop it in second gear and hit the gas.
Your sound is unique—how did you approach blending different musical styles in “Down Shiftin'”? I set out to make a straight electro-pop tune but fell in love with that synth tone that sounds like power chords on a guitar and went a little Fu Manchu.
What was the production process like for this single? Did you collaborate with any new producers or musicians? It was all just me in my apartment.
Are there any specific musical influences or genres that inspired the sound of “Down Shiftin'”? I do have a love of stoner rock that may creep in now and then.
The title “Down Shiftin'” suggests a sense of change or transition—does this reflect anything personal in your life or career? If you downshift and let up on the gas your engine will stop you. If you downshift and lay on the gas you have a ton of power and torque. I’m punching it.
How did you find the right vocal delivery and energy to match the tone of the song? I think the energy came from sincerity. The delivery from repetition.
Do you have any favorite lyrics or moments from “Down Shiftin'” that you feel are especially powerful? I’m a pretty big fan of the third verse. It sums up the drive I have found for my music.
What was the most challenging part of creating this single, and how did you overcome it? Probably writing the second verse. It started out pretty terrible but I love where it ended up. Revision was key.
How has the fan reaction been so far? Have there been any surprising responses to the release? Ha! My biggest fans are in the dish room at the pizza joint where I work to pay for promo. Like they plug in the wall and blow air. Seriously though someone commented that they had a crush on my music. That made me feel like I was in Jr. High but, like, in a good way.
Is there a music video or visual component for “Down Shiftin'”? If so, what was the concept behind it? It’s in the works. Just driving.
How does “Down Shiftin'” fit into your overall sound and vision as an artist? Do you see it as a new direction or a continuation of your style? That’s a good question. I had set out to make one electropop track, Dreams Fade, then I made Down Shiftin then I made another one called Afterlife that has similar components. So that is three out of over 20 songs. I guess that makes it a seventh of my sound. Perhaps a major seventh? I’m leaning toward the style of my song One More Toke. The press called it cloud hop.
Looking ahead, do you have any upcoming releases or collaborations you’re excited about? I think my next single will be one about a near-death experience I had on DMT. Simply called DMT NDE. I’m pretty excited about it. The song tells the story well.
If you could describe “Down Shiftin'” in just three words, what would they be? Catchy, Gritty, and Determined. Someone else said Glitch Mob meets Bowie and while flattering it’s just too many words.
Tillerman's "The Son Must Follow the Moon": A Song of Redemption and Hope
There’s something oddly hypnotic about the way “The Son Must Follow The Moon” walks its tightrope—that precarious space between secular rock swagger and gospel exultation. You’d expect tension here, but Tillerman, with their odd alchemy of Jon Kulczycki’s earnest vocals and Nicky Van Hines’ razor-sharp Nashville guitar tones, somehow hold the tension together like it’s nothing. Faith and distortion? Sure, why not.
The song starts like an unexpected breeze—Tom Kulczycki’s drums hit in a way that feels equal parts restrained and monumental—are drums supposed to feel architectural? Like scaffolding for a cathedral of melody? Meanwhile, Jon’s voice—a curious mix of grit and grace—takes on the role of an ancient storyteller, guiding us through a Saharan desert of doubt only to suddenly land us in the lush gardens of forgiveness. Is this about Jesus? Absolutely. But the trick Tillerman pulls off is making the divine allegorical enough that, believer or not, you’re left reflecting on your own personal betrayals and tiny resurrections.
Tillerman’s “The Son Must Follow the Moon”: A Song of Redemption and Hope
Iain Moyser’s bass is more a pulse than an instrument—less about notes and more about what’s beating beneath the floorboards of your chest. And oh, let’s not forget the most unexpected guests: The Itunu Gospel Choir from Nigeria. Their voices? Unreal. Like a sunbeam bursting through stained glass. They elevate the chorus with a kind of holy honesty that makes you wonder why more rock bands aren’t tapping directly into raw spirituality.
Are we meant to be thinking about the Easter story, or are we just meditating on the human condition? “The Son Must Follow The Moon” is less an anthem and more a communal prayer gathering around some cosmic campfire.
Love on the Road: Romain Swan and Romane Baudry’s Rock Romance
I recently got a chance to listen to ‘Bloody Business’ the most recent track in the record collection of Romain Swan and Romane Baudry and to be quite honest the track is very good. The fate of the two singers as a couple is also evident in this rock duet which proves the compatibility of the pair both on the stage and in real life.
Right from the beginning, any song features amazing guitar work complemented by an unceasing beat. It is noteworthy how perfectly Swan’s powerful deep and rather warm voice suits Baudry’s more sophisticated timbre. Together, they come up with a powerful yet surprising kind of sound.
The song describes a story of friendship that grows into affection, and that feels like it is being told in the music. But it’s not only about the words – the music itself is so meaningful, it seems to sing with the tale of connection and development. I was also able to view the said music video and the direction done by Frédéric Haury.
For instance, it has adopted the theme of Bonnie and Clyde, which also creates an extra visual appeal to the track. The heist storyline fits the song and its fast pacing quite well. One thing that I liked most about this creation of ‘Bloody Business’ is how steely part of rock selves, exists with the other parts of strength and renewal.
The chorus is particularly memorable or repeatable, and I was singing the melody even after turning off the record. In summary, Swan and Baudry have used all their musical prowess and talent to invite the listeners to a rock ballad filled with feeling.
In summary, fans of rock music with solid lyrics and powerful vocal performances should consider giving ‘Bloody Business’ a listen. It is a picture perfect for how personal experiences can metamorphose into great music for the masses.
What inspired the creation of “Bloody Business,” and how did the collaboration with Romane Baudry come about? Regarding “Bloody Business”, the inspiration struck the afternoon after Romane and I returned from Majorca.
We lived a lot of bad things, we needed a break and then, we crafted this song, pouring in deep emotions and personal, nuanced references in the lyrics that carry significant meaning for both of us.
We both have strong personalities, and we channeled our combined energy into this song to cleanse ourselves of the hardships we’ve faced.
Concerning the collaboration, this really wasn’t the first time we worked together.
Indeed, I’ve known Romane since 2018, as she was a close friend of Oriane, my cousin and the bassist in my band. We initially brought her in as an extra for a music video where she wore a mask. Later, in 2021, she took on a more prominent role in another video, where she appeared without any disguise.
Two years after that, she directed the music video for “Call Me The Devil” featuring Samer Elnahhal (Ex Lordi – 2006 Eurovision Winners).
So, as a very talented actress and singer AND girlfriend, that was obvious to both of us to sing together.
Indeed, I’ve known Romane since 2018, as she was a close friend of Oriane, my cousin and the bassist in my band.
Can you tell us about the theme or story behind “Bloody Business”? What message are you trying to convey through this song? “Bloody Business” is a song that dives into the themes of resilience, empowerment, and transformation. Like I said before, Romane and I wrote it shortly after a pivotal trip to Majorca, (Spain) where we both realized the need to move past the hardships we’d experienced in our personal lives.
The song is about taking control of your own narrative, facing challenges head-on, and turning adversity into strength. It’s infused with raw emotions and personal references that reflect our journey. The message is clear: no matter what life throws at you, it’s never too late to take charge, fight back, and carve out your own path.
How did you approach blending your musical style with Romane Baudry’s for this release? What was the creative process like? Romane Baudry is the most rock’n’roll girl I’ve ever known before in every terms… and so do I.
We’re always sharing the same vision (or almost) and the creation process is feeding us each day of our lives for years now (we worked together on a lot of stuff before).
So, mixing the musical style of each other was pretty easy this way.
How did Romane Baudry’s involvement shape the final sound of “Bloody Business”? Were there any moments where her contributions brought something unexpected to the track? Romane have a very specifical voice, this kind I love so much with a particular grain. When we rehearsed the song together, she tried some harmonics very interesting that we decided to keep for the final recording. Plus, her lead interpretation was pretty efficient. I’m so glad to sing with this incredible woman.
The title “Bloody Business” is quite evocative. What significance does it hold, and how does it tie into the overall vibe of the song?
Life is a business and a bloody one, definitely. It’s hard in a lot of topics and we have to experiment fight into each step of our existence. Furthermore, our respective character is very strong and we have together the intimate conviction that we have to be focus on what we want to walk through the different issues, disrespect included.
What was the most challenging aspect of creating “Bloody Business,” and how did you and Romane Baudry overcome it?
This is the very first time I assume my relationship in public. So, “Bloody Business” was a funny way to share the love Romane and I are in. Also, I think it was a snub to our previous life full of a lot of “relationshit”.
How has the reception been from your fans and the music community since the release of “Bloody Business”? The reception to “Bloody Business” has been incredibly positive and uplifting. Fans have really connected with the energy and message of the song, sharing stories of how it resonates with their own experiences. It’s been amazing to see the song spark conversations about resilience and empowerment, which is exactly what we hoped for.
The music community has also shown a lot of support, with some great feedback on the production and the raw, authentic feel of the track. We also had a lot of demands for interviews and reviews, super cool news. !
Overall, the response has been more than we could have hoped for, and it’s inspired us to keep pushing forward with even more passion and creativity.
How does “Bloody Business” fit into your overall musical journey? Do you see it as a new direction or a continuation of your previous work? I’m a rock singer involved in every kind of music after all. That’s the reason the pop rock song “Bloody Business” is, perflecty fit with my musical journey. I love so much to create this kind of music with powerful rock chorus and pop melodies. The match is perfect !
I like to work by exploring many styles, I continue to do pop rock, but I also do heavy metal music and why not touching the metalcore world. I swear to have no limit.
Beatz from L.E. Calls Us with 'Sound of the Sirens'
I recently got a chance to talk to Beatz from L. E. – an interesting electronic music band originating from Leipzig, Germany. Their story is quite remarkable – after receiving a lot of recognition in the early 2000s under the name DRP, they left the scene for 20 years. Now, they are back with a fresh name and a new style that raises eyebrows here and there.
Their current single, Sound of the Sirens, is a perfect illustration of this new style. It is like a combination of their trance origin with aspects of new melodic techno and some drum & bass. There are catchy vocals on this track that will captivate your attention and kind of pull you in with this very airy kind of happy feeling that you cannot help but be a part of.
During the interview, I asked the pair about their work and the concept of the comeback. It was interesting to listen to what they had to say about their experiences of coming back to music production from a long time and how they are maneuvering themselves in this expansive realm of electronic music.
Maybe one of the most engaging discussions we had with them was about the ‘Sound of the Sirens. ’ They discussed how they tried to include modern elements from trance, but also how they tried to honour the roots of the band. Even the title itself with its reference to mythical siren calls contributes an extra layer of interest to the track’s idea.
As it is evident from the song Beatz from L. E. is not stagnating but are evolving, incorporating influences from previous work as well as the present times. Their path from DRP to their work presented here reflects the development of the two as artists.
For lovers of electronic music, especially for lovers of trance and its derivatives, Beatz from L. E. is a couple that deserves attention. The return of Avantgardner to the scene means getting wise experience, a new vision and, more essential, new and striking material.
What inspired you to write “Sound of the Sirens”? Is there a particular story or message behind the track? When we started working on the track, we used a plugin called “Siren” for the main melody. We came up with the idea that the track should sound like the sirens from the Odysseus saga calling you. With this idea in mind, we produced the track.
How would you describe the sound of this single to someone who hasn’t heard it before? Sound of the Sirens is an energetic, infectious dance track that starts quietly and builds and builds. Just like the sirens, who first call slowly and then more and more strongly to lure the sailors with their beguiling song.
“Sound of the Sirens” is an intriguing title. Can you elaborate on its meaning and how it relates to the song? We had described the idea of how the track should sound in the two previous questions, so the title was logical. In addition, the main melody is actually the sound of this Siren-plugin. In this respect, it was a perfect fit.
How does this single differ from or build on your previous work? Our first releases as “Beatz from L.E.” were more techno oriented and a bit darker, sometimes with 303 acid lines and so on. With our earlier project, however, we mainly produced trance and the tracks we are currently working on are also more Trance or melodic techno.
Were there any particular challenges in the production of “Sound of the Sirens”? Indeed there were. We finished developing the track relatively quickly, right up to the drop. But then we tried out a few variations and discarded them again until we had finished the version that has now become the final version. That took a lot of time and nerves :-). But we are now very happy and satisfied with the track.
Did you work with other artists or producers on this song? If so, how did that influence the final product? No, there was no collaboration with other artists.
Are there any particular musical influences that shaped the sound of “Sound of the Sirens”? We wanted to produce a track that starts a bit calmer. We had Chicane in our mind for the first part and how it developed over the first few minutes. In the end, we wanted it to sound like a classic trance track. There was no particular sound that inspired and influenced it.
What do you hope listeners take away from “Sound of the Sirens”? We hope that listeners will listen to the whole track first. With today’s listening habits, it’s not a matter of course to listen to a track that’s almost 8 minutes long. And we want them to enjoy listening and going on our little musical journey. And if the track also works on the dancefloor, then that would be perfect.
How does this single fit into your broader artistic vision or upcoming projects? The tracks we’re currently working on and offering to labels are mainly from the trance and melodic techno genres. So this fits in quite well after ‘Sound of the Sirens’ and also after our ‘Losing Love’ remix by Terry Golden & Jordan Grace, which was released on the same day as ‘Sound of the Sirens’. But we also have 1,2 things in the works for our side project ‘House from L.E.’.
What can fans expect from Beatz from L.E. in the near future? We hope to release 2 more “Beatz from L.E.” tracks this year. Maybe we’ll also finalise a “House from L.E.” track and find a label for it.
If you had to describe “Sound of the Sirens” in three words, what would they be? Melodic, powerful, Euphoric
I have recently discovered a new song by Ell Freeman titled “Goodbye Stranger” and, in my view, it is great. While Freeman is both a neuroscientist and a musician, or at least an enthusiast, he came up with one song that can be felt and heard on multiple levels. It is a new song that Freeman wrote while in quarantine, and it incorporates rock music from both the 70s and the 90s in an exciting manner.
What really touched me was that the words were so intimate, Freeman penned the song as a father’s apology to his sons, due to an often neglectful parenting since he had always been busy serving his music. It is a theme, which I would assume, most of us can identify with as we try to balance our interests with our duties.
In terms of the melody and harmony, ‘Goodbye Stranger’ is complex. It draws from Britpop but similarly has some glam rock elements that Bowie experimented with. The guitar harmonies being especially fitting, and the drums give a nice groove to the song. Freeman manages to deliver the song’s lyrics fully while the chorus increases the music’s intensity.
This single is from Freeman’s “A Hard Place” EP and the quality of the song can only be improved with the rest of the EP. What I find most admirable is the way Freeman stands to depict his individual narratives in a manner that they become a subject of global concern.
It is a message of how presence matters in the lives of those of us that are dear to us, all encapsulated in music mastery. To sum up, if you fancy reflecting, meaningful lyrics and outstanding rock with a touch of vintage, you should give it a try and listen to “Goodbye Stranger”. I always enjoy those moments when artists are able to combine the things they do in their personal lives with what they do professionally to come up with something that is clearly meaningful.
What inspired the creation of “Goodbye Stranger”? Could you share the story behind this release? During the Covid lock-down craziness, my son had a nasty argument with his mother and barricaded himself into the bathroom.
I tried to talk to him through the closed door but he yelled at me to go away, furious with me for always being in my studio working on my music, rather than supporting him as a loving father should. I realised he was right, and wrote this song as an apology to him, and to reassure him that I was still there for him.
In what ways does “Goodbye Stranger” represent your growth as an artist? In writing this song and others around that time, I was learning that I could talk about personal topics in a poetic way, to convey deep emotions that may be familiar and relatable to listeners even though the actual events inspiring them are not revealed.
How did you come about with the total number of songs on the Album? The five tracks on the EP are the ones I have worked most on, and finished first, and they represent a particularly difficult period of my life that I am ready to draw a line under. I have several others in a similar genre that I will continue to release until the EP becomes a full album.
Are there any particular musical influences that shaped the sound of “Goodbye Stranger”? As a kid, I would hear rock, soul, folk and pop music filtering through the walls from my brother’s or sister’s bedrooms. A lot of my songs still carry the DNA of this music from the late 70’s and early 80’s.
A lot of my songs still carry the DNA of this music from the late 70’s and early 80’s.
What were the most significant challenges you faced while crafting this release?
Sleep deprivation! During this intense period I was working full-time on a very demanding university management job by day, and after making dinner and putting the kids to bed I would work on songwriting and music production until 3am, starting again at 7am the next morning.
Did you collaborate with any other artists or producers on “Goodbye Stranger”? If so, how did these collaborations influence the final product? The lyrics of this song were shaped during a zoom collaboration with Roel van Veldt, when we were both enrolled on an online songwriting programme. At the time he was living in a tiny caravan, after a difficult family break-up. The themes of this song resonated deeply with him.
What do you hope listeners will take away from “Goodbye Stranger”? Perhaps a reminder that we should always make time to be present for the ones we love before it’s too late, or maybe to try to forgive those whom we wish could have been more present in our lives.
Are there any specific elements or tracks in this release that you feel particularly proud of? I am proud to have finally released this first batch of songs. Goodbye Stranger is the product of a late musical awakening of emotional self-awareness after a lifetime devoted to scientific objectivity.
How has your approach to music-making evolved since your earlier works? Through practice, I have become more conscious of the process of songwriting and production, and how to convey nuanced emotions more precisely through sounds and words, as well as how to create a catchy hook and singable chorus.
Are there plans for any visual content or live performances to support “Goodbye Stranger”? There is a video accompanying this song ([youtu.be/xU9gjR2qWxw](youtu.be/xU9gjR2…Wxw)), in which I recorded video game imagery of desolate landscapes from my son’s virtual reality device. I chose this to depict the alienation that took hold as we each sought refuge in other worlds, during the forced confinement of lockdown. The song itself is not so suitable performing solo, but if and when I put a rock band together again, I will look forward to playing it live and loud.
Looking ahead, what can fans expect from Ell Freeman in the near future? I will continue to release songs dating from this previous era, to complete a full album. I will also release songs that reflect the more positive, hopeful side of my present life, in a wider variety of genres including bossa-nova and soul-funk.
If you had to describe the essence of “Goodbye Stranger” in a brief statement, how would you characterize it? Goodbye stranger is a song of regret and redemption, about a long-neglected relationship that is hopefully not too late to be rescued with renewed love and attention.
Breaking Down 'Bourbon': Midwest Royal’s Anthem of Rebellion
I was wondering if you have listened to the new song of Midwest Royal called Bourbon?I had the chance to watch it after its release on September 3rd, and it’s pretty;; killer, wouldn’t you agree?I’d say that Jonathan Rodebaugh has really embraced that outlaw country aesthetic while not being overtly traditional.
And from the word ‘go,’ it’s a gut-punch – those rasp-toned guitars and the cold, eerie twang of a pedal steel are so apt. Some of the words are textually highlighted as follows: Hello there! Rodebaugh has this world-weary voice that is just perfect for these lyrics. He doesn’t hold back with the lyrics either, having a go at the ruling elite and wondering why all these bloody conflicts we are drawn into.
The music itself is high-quality to the extent that none of the songs can be considered as average. My favorite part: Scott Guberman on the Hammond B3 – he destroys it – and Ben Helson on guitar – he absolutely rips it up. Yes, the whole bourbon and cigarettes imagery in the whole of the song?It’s like a very fitting representation of attempting to anesthetize all the turmoils happening in life, but simultaneously going against it at the same time.
This is not just the chorus of some hippie song – it is almost as if Rodebaugh is singing exactly what a lot of people today are thinking. That anger at how things are, right?First of all, the term “Bourbon” denotes something that is a kind of anthem for all the people, who have had it with the system. Still, one has to note that Midwest Royal has done a great job with this particular release for sure.
I feel quite excited waiting for them to unveil what they have been coming up with next. If you like modern outlaw country then you should check this out.
What is your stage name? My name is Jonathan Rodebaugh, but I write and record music under the name “Midwest Royal”.
Is there a story behind your stage name? I use this moniker because my music is more of a collective than an individual. I write songs and can play guitar, bass, some drums, and can sing some tunes. I hear the songs close to complete in my head and know what the songs need. Because of this, I write in many genres because the goal is to make the song it’s best.
Therefore I use musicians and vocalists to bring my music to life. Sometimes I only play bass and other times I do most of the instrumentation. Just depends on the song. So it if kind of like Queens of the Stone as there are revolving musicians. I prefer to write and record this way because it allows me to have control over the song to see it through, giving it every opportunity to reach it’s potential.
Where do you find inspiration? I find inspiration everywhere. I am inspired relationships, art, other music, nature, travel, reading, religion, politics, etc. I love living and experiencing life so I can be inspired by anything.
What was the role of music in the early years of your life? I have loved music since birth. I grew up in Eastern Kentucky along the country music highway and bluegrass, country, rock, r&b, Motown, and blues were all part of my history. I loved listening to records as far back as I remember. I listened to the Beatles and the Monkees with my cousins while at my grandparents’ house. My first records were 45’s of Prince’s Delirious and Huey Lewis’ The Heart of Rock n Roll.
Are you from a musical or artistic family? Not a lot musically. All of my families love music. My dad’s side sang in church. My great grandfather on my mom’s side played banjo and my great aunt played guitar. That is all the musicality that I am aware of. My parents are both talented with their hands. My mom is good with painting and my dad is good with mechanical things.
Who inspired you to be a part of the music industry? I think growing up watching Hee-Haw and the emphasis that my family put on music as an enjoyment gave me the inspiration.
How did you learn to sing/write/to play? I still don’t think I have learned how to sing lol. I have never taken vocal lessons or sang in choirs. I actually do not enjoy singing. I prefer to play bass or guitar. I started playing upright bass in 3rd grade and played until 8th grade. I gave up playing music after 8th grade until I inherited my great aunt’s guitar in 10th grade.
I kept the guitar but didn’t learn to play it. After high school I worked at a factory and a coworker, who was a musician, began to teach me to play guitar and gave me tips on songwriting. I have been eternally grateful to him ever since.
What was the first concert that you ever went to and who did you see perform? Other than southern gospel groups in church, my first concert was Carman in Lexington, Kentucky back in 1988 or so. It was an elaborate production. I was never a big fan of his music, I just went along with my cousins.
I write to the song, not the genre, while keeping my style ingrained throughout the process.
How could you describe your music? I believe that genre’s are just marketing tools. I write to the song, not the genre, while keeping my style ingrained throughout the process. I write and have written rock, alt-country, country, pop rock, alt rock, indie rock, and grunge/hard rock style songs thus far. I love all types of music (except modern jazz and death metal), so there is a good potential that I will write in more genres in the future.
Describe your creative process. I write one of two ways. Either I hear a melody with lyrics in my head that I write music to, or I write music that I like and form melodies and lyrics to that. Once I have the song structured, I take it to the studio and begin to develop it further. I take phone notes when I have ideas and usually do the complete writing process in the studio.
What is your main inspiration? Experiences that I have had are my primary inspiration. If I haven’t felt or experienced something it is hard to write about it.
What musician do you admire most and why? I am a big Paul Simon fan. He is the best songwriter of all time in my opinion. I believe that he wrote to make the song as best as possible. His entire catalog is amazing.
Did your style evolve since the beginning of your career? Some. I used to try write a song like x, y or z. Now I just write songs.
Who do you see as your main competitor? Myself. Music is like golf. You do not play against other people as much as you play against the course.
What are your interests outside of music? I love travel and experiencing new cultures, playing tennis, working on cars, hiking, being outdoors, cooking, and reading.
If it wasn’t a music career, what would you be doing? It is not my career. I work in rubber hoses.
What is the biggest problem you have encountered in the journey of music? Easily getting my music in front of people who might like it.
If you could change one thing in the music industry, what would it be? Gatekeepers
Why did you choose this as the title of this project? This single is called bourbon. I have been deeply irritated and affected, as all Americans have, by corrupt politicians. We should all be able to agree that Washington is not working for us but working for themselves and the people that multiply their net worth.
The idea and lyrics of a real American sitting at the bar, watching news on the bar tv with a bourbon in one hand, smoking a cigar or cigarette in the other hand, and being so fed up with the news that they give the middle finger to the TV. I wrote this idea into an anti US corruption song talking about all the things that make me angry.
Bourbon was a good title because it is in the song, is short, and is always something that comes with a good conversation. This song is a conversation about why we support bad behavior and theft in Washington. United we stand, divided we fall.
What are your plans for the coming months? I will be releasing a new single each month for the indefinite future.
Do you have any artistic collaboration plans Not outside of my normal writing process.
What message would you like to give to your fans? Keep listening and sharing Midwest Royal!
"Toxic" Reimagined: Hana Piranha's Alt-Rock Battle Cry
You ever bite into a piece of chocolate and realize it’s laced with dynamite? That’s kinda what listening to Hana Piranha’s cover of “Toxic” feels like—except instead of your taste buds, it’s your mind that’s left reeling.
It’s dark, sticky, and the slow burn takes a jagged, unexpected turn when Hana Maria’s violin slithers its way through the grit. A pop tune reimagined as rock chaos, bliss and violence weaving through willowy strings and crunching guitars.
If Britney Spears’ version was the glitzy club light under which we dance ourselves dizzy, Hana’s is the basement dungeon where raw truth leaks out of the concrete walls. Sexy, but dangerous. Seductive, but sharp.
The instrumentation? Our old friends Jim Beck (guitar), Andrew Lane (drums), and Mishkin Fitzgerald (bass) step in to layer it up in ways that Britney’s glimmering original could only dream of. Jim’s guitar riffs are less riffs and more rumbles— tectonic shifts that destabilize you as you think you’re getting comfortable.
“Toxic” Reimagined: Hana Piranha’s Alt-Rock Battle Cry
And while Mishkin’s bass stomps around with a dark swagger, Andrew’s drums, frankly, sound like he’s either punishing them or liberating them. Take your pick.
Thematically, this isn’t just a feminist anthem with a rock twist—it’s a shout from the bowels of selfhood itself. Hana and the band twist the lyrics into a scream loaded with exhaustion, the suffocating expectations of our Instagram-perfect world, a world briefed for destruction by the unstoppable force of human spit and dirt.
Britney’s “Toxic” gave us empowerment in glitter; Hana Piranha coats that empowerment in rust and makes you reckon with the decay. Trust, feminist theory and this track are now on a lovely crash course.
So here’s the real takeaway: this isn’t a cover. It’s a reawakening.
You could say “If You See Her” feels like the moment just before you spill coffee on your favorite book—tense, deeply personal, but somehow inevitable. Jacre, a.k.a Julian Ransom, seems to have the rare ability to drag listeners right to the precipice of emotional chaos, all while cradling us in the soft cello arms of Harley Eblen’s strings.
This is not a song for the impatient. It lingers, inviting silence to co-star with its cascading piano and Ransom’s voice, which doesn’t so much fly as it hovers—tentative, like it might break at any second. His storytelling smacks you with adult concerns. We’re talking about leaving somebody behind, but still loving them fiercely. A slow burn on an empty beach, if said beach is inside your chest cavity. There’s no urgency in the melody—just a heavy, deliberate rhythm, cradling heartbreak like it’s not entirely a bad place to be.
Let’s talk about the message here. Isn’t it odd? Love and distance, care and disappearance—the paradoxes Jacre addresses taste like tomorrow’s regrets. How does one reconcile love with leaving? Where does that intense desire for someone’s well-being live when your own heart isn’t in rhythm with theirs anymore? It’s a question sharper than a Shakespearean tragedy but less theatrical, more real-life sledgehammer.
Jacre’s “If You See Her”: A Bittersweet Farewell
The production quality, thanks to Dominic Romano, is like finding a snow globe with the perfect amount of gold flecks—it shines, but quietly. Eliott Glinn’s mixing gives air to the piano, and Philip Marsden’s mastering holds everything up just enough so it doesn’t collapse under its own emotional weight.
In the end, “If You See Her” feels less like listening and more like eavesdropping on a gentle breakdown. Not everyone will get it, but those who do? Well, good luck looking away.
Teddy Swims' "Lose Control": A Late-Night Diner of the Soul
Teddy Swims’s latest single, “Lose Control”, feels like dunking a croissant into black coffee at midnight while scrolling through old messages and knowing you shouldn’t. You’re aware the caffeine won’t help the sleep, just like this song won’t fix your broken memories—but here you are, wide awake in your feels.
Ammo and Julian Bunetta’s production provides a backdrop like velvet curtains being pulled too quickly, revealing a stage you’re not sure you want to be on. The beat pulses, not like a bass-heavy club banger, but like the thump of a heart that really should chill out. Teddy’s voice is raw, yet stupefyingly smooth—like he’s just rolled out of bed after dreaming of every love he’s ever lost. “Lose Control” slides through your psyche much in the way smoke curls out of a confused cigarette in an ashtray: beautifully but inevitably self-destructive.
Teddy Swims’ “Lose Control”: A Late-Night Diner of the Soul
The theme of love as addiction? Couldn’t be more relevant in today’s swipe-right-hookup-what-are-we world. Teddy doesn’t present love here as soft pop fluff—it’s a beast you wrestle with until you can’t breathe. He doesn’t even try to make it sound pretty. And that’s the thing: love isn’t pretty. It wrecks you, swallows you whole, like those old Greco-Roman myths where people were literally turned into trees or birds or whatever for the sake of obsession.
It’s introspective but doesn’t leave you introspective. It leaves you… breathless, slightly unravelled.
Maybe Teddy Swims is painting addiction with love’s colors, or maybe he’s planting love in the ruins of addiction. Either way, you end up somewhere you didn’t quite plan to go. Like a late-night diner. Sticky vinyl booth, love dripping like syrup from a spoon, and all you can think is: who’s paying the bill?
Bottled Up Emotions: Sandy King's 'You Got Me Mixed Up With That Bottle'
There’s something audacious about Sandy King’s latest single, “You Got Me Mixed Up With That Bottle,” as if she’s daring you to step into a smoky dive bar where the jukebox only plays the truth. It’s a place where the walls are stained with stories, and the drinks are poured straight, no chaser.
King, a Denver-based troubadour with 25 years of stage-earned grit, has the kind of voice that doesn’t just sing—it confesses. This song isn’t merely a tale of heartache; it’s a confrontation. The real twist? The villain isn’t just another heartbreak; it’s whiskey. And King paints it with the kind of vividness that makes you taste the burn with every note.
Her Fender Telecaster cuts through the track like a knife through butter, while the Hammond B3 hums like a storm on the horizon. There’s a tension here, a tug-of-war between vintage blues and a sharp modern edge, that pulls you in and refuses to let go. And then there’s King herself—rich, emotive, and unapologetically raw. The backup vocals feel like the echo of memories better left forgotten, haunting yet harmonious.
Bottled Up Emotions: Sandy King’s ‘You Got Me Mixed Up With That Bottle’
What really stands out is the way King blurs the line between person and vice. This isn’t just a lament about playing second fiddle to a bottle; it’s a dissection of the confusion that love and addiction breed. She’s not asking for pity—she’s demanding clarity, demanding to be seen beyond the glass and the pour.
Listening to “You Got Me Mixed Up With That Bottle” is like watching a slow-motion collision; you know it’s going to hurt, but you can’t look away. And maybe, just maybe, it’ll make you think twice about what—or who—you’ve got in your hand when the music stops.
The Weight of Silence: Unpacking Tidal Water's 'The Void'
Gravity has a sound, and it’s called “The Void” by Tidal Water. No, not the gravity that pins you to your seat in a physics lecture. This is the gravity of lives unseen, voices swallowed by silence, the weight of a world that too often prefers to look away. Led by Martin Hovden, a conjurer of slow-burning rock anthems from Oslo, this track is not for the faint-hearted, nor for those seeking a casual listen. “The Void” drags you in — willingly or not — into the margins of existence, where society’s neglected take refuge.
The sonic landscape, enriched by co-producer Txai Fernando’s keys and percussion, leans into the unfamiliar. There’s a restless energy, an almost suffocating push-and-pull that mirrors the very pain and invisibility the song attempts to articulate. Imagine if you could hear a scream ricocheting through the empty corridors of a long-forgotten building; this is that scream, but dressed up in the rich timbre of Brazilian instrumental styles by Renato Anesi. Jims Lehner’s drumming doesn’t merely keep time; it taunts it, stretching moments to their breaking point, while Markus Matland’s keyboards layer textures as if they are trying to coax ghosts out of hiding.
The Weight of Silence: Unpacking Tidal Water’s ‘The Void’
At the core of “The Void” is a raw insistence — it forces you to recognize the people you’d rather walk past, to feel the uncomfortable presence of those who live on society’s fringes. There’s no sugarcoating here. The lyrics confront, they question, and at times, they even accuse. The message: stop looking away.
It’s as if Hovden and his collective of sound architects are building a bridge not just from Norway to Brazil, but from apathy to empathy. If their upcoming album “Polarity” carries even a fraction of this weight, it might just shift some tectonic plates in the soul.
Who knew that a song could make you stare into the abyss… and see something staring back?
Rhythm and Ridicule: Papa J & Tidal Water's Digital Noise 'Blind and Arrogant'
“Blind and Arrogant” by Papa J & Tidal Water’s Digital Noise isn’t the type of release that walks into the room quietly—it kicks the door open, throws itself on the couch, and lights a cigarette it probably shouldn’t have. In this peculiar collaboration between Papa J, Martin Hovden, and Jim Lehner (who adds occasional live drum thunder like a god bored with the mundane rhythm of the world), there’s a sense of reckless abandon that runs parallel to a self-aware chuckle.
What happens when you decide to dance with your own flaws in public, wearing them like a designer jacket at a fashion show for the absurd? Papa J’s production mixes sharp, biting electronica with a tactile sense of organic rhythm, making you feel like you’re hearing drum and bass for the first time, or perhaps the last time, in a weirdly alternate universe.
Martin Hovden’s vocals are simultaneously deadpan and mischievous, like a jester whispering to a king, “Hey, I’m the joke, but so are you.” This release flirts with contradictions: self-deprecation laced with ego, humor that cuts with an undercurrent of sincerity.
Rhythm and Ridicule: Papa J & Tidal Water’s Digital Noise ‘Blind and Arrogant’
It’s as if a Dadaist painting decided to put down the brush and pick up a drum machine. “Blind and Arrogant” doesn’t just mock its own existence; it mocks the very concept of what we call ‘self’ in music. It’s an ouroboros of ego biting its own tail, reminding us that we’re all a little blind, a bit arrogant, and maybe, just maybe, that’s okay.
Is it innovative? Maybe. Is it a little ridiculous? Definitely. But in a world that takes itself too seriously, there’s a liberating charm in being the clown who knows he’s wearing oversized shoes.
And who’s to say we aren’t all dancing to the beat of someone else’s drum?
Echoes in the Ruins: The Casbahs' Haunting "Roman Numerals"
Have you ever observed how ancient graffiti can reflect the frustrations of the present day? The new single “Roman Numerals” by The Casbahs arrives unexpectedly, capturing a peculiar mix of archaeological weariness and the existential outcry typical of a band baptized by the rainy streets of the North East. Niall Fenwick’s vocals hover on the edge—somewhere between a plea and a warning—while Jack Walker’s bass hums like a heart tired of beating to the same old rhythm. This isn’t just indie rock; it’s a truthful confession masquerading as a melody.
The song’s rhythm builds patiently, with Joe Teasdale’s guitar weaving through the verses like smoke in a dimly lit room, encircling your thoughts with a purposeful sense of unease. Steven Grainger’s riffs flicker like distant headlights, shedding light on fragments of poetry, pieces of metaphors that seem to come from nowhere yet resonate as truths you’ve always known. And then there’s Harry Mason on drums—steady, relentless, like a clock ticking away the moments until something finally gives.
Echoes in the Ruins: The Casbahs’ Haunting “Roman Numerals”
Lyrically, “Roman Numerals” resembles a jigsaw puzzle composed of shattered mirrors, reflecting the restlessness born from the conflict between your true self and society’s expectations. There’s disillusionment, for certain, but it’s also a call for liberation—a dare to break free from societal norms and embrace the imperfections that define your humanity. It’s as though the band has drawn inspiration from Camus or stumbled upon a scribbled note in a long-forgotten punk zine: accept the absurd, let go, and carve your own path.
What’s enthralling about this is that The Casbahs aren’t attempting to rescue anyone—they’re simply echoing their own pursuit. They provide no easy solutions, no neatly packaged revelations, just a reminder that the journey to authenticity raises more questions than answers. And maybe that’s sufficient.
“Roman Numerals” doesn’t demand your comprehension; it challenges you to navigate through the haze with your emotions.
“B4 Fragile!”: Young Lazarus’s Self-Reflective Journey in His Second Studio Album
Young Lazarus, a multifaceted artist hailing from New York City, has made significant strides in his career, moving across the Atlantic to pursue his passion for music in England. Known for his work as a member of the band YOTA and his dynamic presence in the Youth Of The Apocalypse, Young Lazarus has returned with his second studio album, *B4 Fragile!*. This album, entirely mixed and mastered by the artist himself, offers listeners a raw and introspective exploration of the complexities within us all.
*B4 Fragile!* is more than just an album; it’s a dialogue. Across its 16 tracks, Young Lazarus dives deep into the nuances of being an up-and-coming musician in today’s world. The album’s overarching theme revolves around the balance of our inner selves—the “good,” the “bad,” and the “ugly”—and how these aspects are often suppressed by societal expectations. Lazarus’s intent is clear: to shed light on the parts of ourselves that are often overlooked or stifled.
The album kicks off with “Paragon,” setting the tone with its hard-hitting beats and introspective lyrics. The track feels like a declaration of intent, with Lazarus establishing himself as an artist unafraid to confront his inner demons. “Static” follows suit, maintaining the album’s intense energy while delving into the chaos of modern life.
“Good Bad Ugly,” serves as the album’s thematic centerpiece. It’s here that Young Lazarus’s vision truly shines. The track’s production, a collaborative effort featuring Softbite, Overcxst!, and Lazarus himself, is a standout with its haunting melodies and gritty undertones. The lyrics are brutally honest, addressing the constant struggle to maintain balance in a world that often pushes us to extremes.
This album, entirely mixed and mastered by the artist himself, offers listeners a raw and introspective exploration of the complexities within us all.
“No Chaser,” featuring a verse from J.I. Hudson, recorded in the States, adds a different flavor to the album. It’s a high-energy track with sharp verses and a pulsating beat, showcasing the seamless collaboration between the two artists despite the distance. The song’s theme of facing life’s challenges head-on without any filters resonates deeply within the album’s narrative.
Tracks like “4real” and “Locked In!” keep the momentum going, blending Lazarus’s sharp lyrical prowess with captivating production. “401k!” and “Risk It!” highlight the financial and emotional risks that come with pursuing a career in music, offering listeners a glimpse into the sacrifices that Lazarus has made along the way.
The latter part of the album continues to impress. “Seriously!” and “Hoax!” bring the album to a close with a strong finish, leaving no stone unturned in Young Lazarus’s quest for self-discovery. Each track on *B4 Fragile!* feels purposeful, contributing to the album’s overall message of embracing all facets of oneself—the good, the bad, and the ugly.
In just 44 minutes and 6 seconds, Young Lazarus delivers a project that is both personal and universally relatable. The fact that much of the album was recorded in London, with Lazarus taking control of the mixing and mastering process, speaks to his dedication and vision as an artist.
*B4 Fragile!* is a testament to Young Lazarus’s growth as a musician and a person. The album is a reflection of the dualities that exist within all of us and serves as a reminder that these aspects should be embraced rather than suppressed. With its powerful lyrics, diverse production, and cohesive narrative, *B4 Fragile!* solidifies Young Lazarus’s place in the hip-hop scene as an artist with something meaningful to say.
The Turbulent Beauty of Moontwin's 'Storm in a Shell'
The human psyche’s cartography is as extensive and enigmatic as the unexplored side of the moon. Moontwin’s “Storm in a Shell” leads us on an auditory journey into the bewildering terrains of self-discovery and the pursuit of significance.
Maple Bee’s vocals beckon like a siren, drawing us into the turbulent seas of human experience. Her lyrics serve as a confession, a series of contradictions and paradoxes expertly interwoven into a rich sonic tapestry by Zac Kuzmanov’s production. The music forms an emotional Möbius strip, folding in on itself to evoke a disorienting sense of wonder.
The Turbulent Beauty of Moontwin’s ‘Storm in a Shell’
Listening to “Storm in a Shell” brings to mind the Dadaist movement’s rejection of rationality and embrace of chaos. Moontwin’s fusion of art rock and electronic pop similarly challenges our perceptions of reality and the facades we use to hide our true selves. The single’s themes of disconnection and the quest for order are both timely and timeless, a duality embodied by Moontwin’s genre-defying sound.
Zac Kuzmanov’s diagnosis with ALS and subsequent move to Bulgaria adds a poignant layer to the music, showcasing the resilience and creativity of the human spirit in the face of adversity. Maple Bee’s lyrics intricately explore the human condition, filled with unexpected twists and turns that resist simple interpretation.
As the song’s soaring synths and driving beats propel us into the unknown, I am left contemplating the fragility of our self-perceptions. Are we merely delicate and impermanent shells, or can we discover a way to harness the storm within? “Storm in a Shell” by Moontwin offers no simple solutions, only a haunting and beautiful reflection of our shared humanity.
Rebellion smells sweet, coming off the bat like a freshly lit cigar in the smoke-filled backroom. “Outlawz – Remix” by Crimson Dot is the sonic equivalent of a wink and a nod to come join the wayward and villainous for a proposition. This notorious supervillain-turned-rapper managed to torture an entrancing concoction from the ether, one that will leave you doubting the fabric of morality.
HEEXX and Junii come together, their rhymes intertwined with Crimson Dot in a tapestry of youthful defiance that outlines the graffiti tag left on city walls. The production by 47 Quid is a masterclass in tension and release-a fusion of dark alleys and pokey basements where hip-hop’s underground revolution was born. These beats start low in the belly, a fire that fuels the lyrical pyromania of the trio.
But “Outlawz – Remix” is more of a call-to-arms manifesto, Crimson Dot at the wheel of villainy as his words lead the next generation down a path of mischief and mayhem. His words are a twisted form of empowerment as he leads the young and restless to abandon the status quo and forge their own paths. The message is hypnotic and disconcerting in the same way-a whispered secret across a crowded room.
“Outlawz – Remix” playing in my head reminds me of the Dadaist art movement of denial to the mainstream, rejoicing in chaos and disorder. This is Crimson Dot’s version, only musical; it’s like the middle finger pointed at all establishments. And yet, even in this anarchy, there would seem to be a tiny flicker of hope: hope for the next generation to find its voice, its way of rebellion. Will they heed the call of Crimson Dot, or will they do their own thing? The whole world is watching and waiting, and the choice seems far from obvious.
Fari's 'In Knots': A Soulful Ode to Vulnerability and Growth
“In Knots,” by Fari, is like a whispered secret in a crowded room: a confession, a cré de coeur, and an aural snapshot of a spirit in flux. The Brighton-based neo-soulstress weaves a tapestry out of raw emotion, the jagged thread of her voice stitching together fragments of jealousy, stagnation, and mental health struggles.
Fari is real, and that’s her superpower; she’s not afraid to let you see her scars, to let you into all of her thoughts. Songwriting for Fari is her way of exorcising demons and finding her own catharsis. “In Knots” is an ode to the power of vulnerability, a call to restore normalcy in discussions about growth and mental health.
The music itself is slow-burning fire, hypnotic neo-soul, and R&B with live looping, which is reminiscent of Erykah Badu and Lauryn Hill. Fari’s, on the other hand, is a thoroughly reserved vocal delivery—one which cracks with emotion on edges of phrases. It is deeply personal and entirely relatable.
Fari’s ‘In Knots’: A Soulful Ode to Vulnerability and Growth
I remember Frida Kahlo, regard for the unapologetic portrayal of pain, physical and emotional. A sound example of frippery itself—a parallel to that of Fari’s music—is a window into a world that we listeners peer into to better reflect on our own struggles. It was at that moment, listening to “In Knots,” that I realized growth is a really messy, non-linear process, and it’s beautiful because of that.
Fari’s “In Knots” is a triumph: some kind of chronicle of the human spirit and its ability to stick with one through most any rough patch and emerge reformed on the other side. A release that will have you holding your breath—maybe even a little changed.
A Personal Investment in Love: Kent Dustin Shines in “Impress You”
Kent Dustin’s single – “Impress You” is a wonderful piece that tells a romantic love story effectively while experimenting with music production. Despite his origins from Gold Coast, he is still able to mesmerize the audience through the themes of relationship between people in music. In this particular track, Dustin goes deeper and explores the concept of new romance and the happiness of life.
Such an unusual approach to creating music has a very interesting story behind it, as the song itself is unique in many ways. While the comments started with discussing particular approaches to investment, the author transformed the subject matter into a lighthearted conversation regarding how to attract a new partner.
This evolution is seen in lines such as the humorous proposition of tattooing the name of a beloved on the heart, used so effectively in Dustin’s merchandise. Created in collaboration with Robby De Sa and Nick Zaharias, “Impress You” is an example of the combination of indie-alternative and blues-rock, which is characteristic of Dustin’s songs.
“Impress You” is an example of the combination of indie-alternative and blues-rock, which is characteristic of Dustin’s songs.
The song is exceptionally fresh, positive in mood, yet it can be associated with such strong emotions like hope, nervousness, and shyness of young love. Even though Dustin Lore has different inspirations, ranging from Luke Combs to The Teskey Brothers, as well as Justin Timberlake, all these influences are reflected in the song’s depth of emotions.
Despite the somber lyrics, Dustin’s warm baritone with simple guitar accompaniment in this song makes the track quite accessible. They easily resonate with the positive outlook on life, cherishing the little victories and focusing on the brighter side of every day. “Impress You” is not just a song, is the reflection and celebration of those brief glimpses of emotions that color our existence.
While Dustin prepares for the release of his new EP with a sound that will be almost fully acoustic, “Impress You” gives a hint of what listeners can expect in the near future. As expected, after the successful run in the year 2023 on the sport and show program featuring a duet with Tesh Batkins, this single gives indeed the credibility to Dustin’s characteristic of turning the mundane into magical.
With “Impress You,” Kent Dustin not only charms a new love but also his listeners, showcasing his unique blend of storytelling and musical prowess. The track invites reflection on life’s meaningful moments, demonstrating Dustin’s knack for forging personal connections through his music. “Impress You” stands out as a compelling addition to his growing body of work, promising even greater things on the horizon for this talented artist.
Addicted to the Sound: Ghost Weather's 'Nicotine' is a Catchy, Emotional Masterpiece
Boston-based artist Michael Heller, better known as Ghost Weather, delivers a compelling blend of electronic pop and indie flair in his latest single, “Nicotine.” This track offers a unique sonic journey, combining an infectious melody with a deeply personal narrative that explores the blurred lines between addiction and intense attraction.
Inspired by his own struggles with nicotine addiction, Heller compares his attraction to a lover with the overpowering sensation of addiction. The hook, as Heller puts it, practically wrote itself – and it’s evident from the first listen that “Nicotine” is designed to linger in your mind. With its polished production and irresistible groove, the song is a strong contender for the ultimate summer anthem. Whether you find yourself nodding along to the pulsating beats or lost in the mesmerizing synths, “Nicotine” has a magnetic quality that keeps you coming back for more.
What sets this track apart is the gritty authenticity of its creation. Written, recorded, and produced solo in a rat-infested Boston apartment, Heller embraced his surroundings, even incorporating subtle rat noises into the track’s layers. This unconventional approach adds an unexpectedly playful texture, transforming a potential obstacle into a testament to creative resilience.
Musically, Ghost Weather draws inspiration from artists like Twenty-One Pilots, Owl City, and The Neighbourhood, crafting a sound that feels contemporary yet distinctly his own. The track’s heavy drums drive the energy forward, while psychedelic synths take listeners on a journey through Heller’s vivid storytelling. The emotional weight of the lyrics is palpable, offering a raw, introspective look at the duality of longing and dependency.
Inspired by his own struggles with nicotine addiction, Heller compares his attraction to a lover with the overpowering sensation of addiction. The hook,
The juxtaposition of polished production with raw personal struggle gives “Nicotine” its emotional core. Heller’s voice, both soothing and dynamic, ties the track together seamlessly, making it radio-ready while maintaining an indie edge that sets it apart.
Ghost Weather’s DIY ethos is noteworthy. As a self-produced artist, Heller takes pride in handling every aspect of his music – from writing and recording to mixing and mastering. His ability to create such a cohesive sound independently is impressive and underscores his commitment to authenticity.
In a music landscape often dominated by high-gloss pop, Ghost Weather offers a refreshing alternative with “Nicotine.” It’s a track that balances commercial appeal with emotional sincerity, likely to leave listeners hooked after their first experience. Whether it’s the catchy hook or the subtle production details, “Nicotine” has something for everyone to connect with.
Dance, Smile, Repeat: The Infectious Energy of “Jersey Girls” by Super Saiyan Jay**
Rising star Super Saiyan Jay from West Palm Beach, Florida, is making waves in the hip-hop scene with his dynamic sound and electrifying performances. His latest release, the “Jersey Girls” EP, is a collaboration with fellow Palm Beach artist King Dev that brings a fresh twist to the genre. This EP blends Florida’s distinctive musical flavor with the infectious rhythms of Jersey Club, creating a unique and captivating sound.
The EP kicks off with “Dirty Diana,” a track that sets the tone for the entire project. It’s a playful and edgy dance anthem that skillfully combines hyper-pop elements with hard-hitting bass, nodding to EDM while staying true to its hip-hop roots. The high-pitched electronic keys and snappy percussion create an irresistible party starter.
“Back To The Crib” follows, introducing a tropical vibe with Afrobeat influences. The smooth intro quickly gives way to an infectious rhythm, complemented by the rappers’ creative flow. Clever use of echoes, timing, and pauses keeps listeners engaged throughout.
As the EP progresses, it explores more introspective themes. “Put Love First” stands out with its brashy vocals over ethereal production. The somber keys and soothing tones offer a thoughtful contrast to the EP’s high-energy tracks. The songwriting shines here, using poetic language to address overcoming challenges and prioritizing love.
The title track, “Jersey Girl,” serves as the EP’s centerpiece. Its stripped-back instrumentation relies on crisp percussion, heavy beats, and well-placed samples to create an anthem-like feel.
The title track, “Jersey Girl,” serves as the EP’s centerpiece. Its stripped-back instrumentation relies on crisp percussion, heavy beats, and well-placed samples to create an anthem-like feel. The lyrics capture the essence of infatuation and attraction with sincerity and charm.
Closing the EP is “Beautiful Soul,” a track that adds a touch of melancholy to the collection. Drawing inspiration from House music, it features synth-heavy beats and clever wordplay, providing a fitting end to the journey and highlighting the deeper connections formed through music.
The “Jersey Girls” EP showcases Super Saiyan Jay and King Dev’s ability to craft a cohesive project that balances fun, energy, and introspection. It’s a promising release that hints at bright futures for these up-and-coming artists.
