Max Norton Shines with Emotive Rock in 'Nothing In This World'
I recently listened to Max Norton’s latest single entitled “Nothing in This World,” and it is a standout when it comes to the forthcoming London-based artist. As a love song, this track comes as the last from the “Each One Is A Movie” EP and the catchy tune delivers promises and admiration like a breath of fresh air. It is evident that Norton did well in transition from a drummer to a frontman. His aptness to write songs that are personal but can be understood by anyone is seen in this piece.
In short, “Nothing In This World” is not just any ordinary love song – it is a love song for the ages, coated with indie rockness that is irresistible. It is this concern for detail which makes this track stand out from the rest, thanks to Norton. which he played all the instruments for, has given him lush backing and a warm register befitting his honest lyrics.
The visual presentation is clean but natural at the same time, adding to the rawness of the song, something that is very rare nowadays due to excessive auto-tuning. The lyrics of the chorus – ‘All my life, I’ve been searching for you’ can be interpreted as the experience of discovering something that was not sought for a long time.
This is the kind of message that can easily find an echo in most people regardless of their station in life. The song ‘Nothing In This World’ on the EP serves as the last song and complements the rest of the songs perfectly. It reflects the message of hope and change in the song “Each One Is A Movie” making audiences feel fulfilled and wanting to play the song again.
In a music scene that can often feel oversaturated, Max Norton’s “Nothing In This World” stands out as a reminder of why we fell in love with indie rock in the first place. It’s honest, it’s heartfelt, and it’s the kind of song that sticks with you long after the last note fades. Whether you’re a die-hard indie fan or just someone who appreciates good music, this track is definitely worth adding to your playlist.
From 'Social Paralysis' to 'See Ur High': Sarah O’Moore's Musical Journey
Did you know that there is a person in America called Sarah O’Moore?This girl has been getting really popular recently, and for a very good reason. Sarah really has a voice, and the way she narrates her experiences through her music?Oh, boy, does it ever tug at the heartstrings.
Just this year, Sarah released her first EP titled “Social Paralysis” in May, and now she releases a new song that has left fans stunned. It’s called “See Ur High”, and as you already know it is not something that you would easily forget.
It actually describes the awful situation many people get into – you know, that state where you are in love with a person despite the fact that he/she is no good for you. The way Sarah entices the audience with her lyrics and that eerie tune, it feels as if she is speaking directly to you.
I understand why individuals are getting fixated on her music now. It is so amazing of her to always capture those emotions that we sometimes cannot fully express.
Geez! We can’t wait to catch up with Sarah and ask her how she even comes up with this stuff. Where do the ideas come from?Tell me the backgrounds of these killer tracks?I am sure you wouldn’t want to switch off the TV at this time.**Interview Titles:**
What is your stage name I don’t have a stage name it’s just my name which is Sarah O’Moore
Where do you find inspiration
When it comes to inspiration for my music, I draw ideas from a wide array of sources, making creative process both exciting and unpredictable.
Reading is a significant source of inspiration for me. Additionally, i find inspiration in the world around me, even in everyday conversations. Ultimately, inspiration can come from anything that resonates with me emotionally. its about being open and receptive.
What was the role of music in the early years of ur life? yes it was more than just a sound in the background, it was a source of comfort and joy. music had a way of lifting my spirits and made me feel grounded in my surrounding.
yes it was more than just a sound in the background, it was a source of comfort and joy.
Are you from a musical or artistic family? While my family isn’t musical in the sense of playing instruments, they are passionate music lovers and keen listeners. Growing up, music was always a signifcant part of our lives. my parents encouraged me to engage in the arts. This sort of shaped my appreciate and understanding from an early age
From the Vault: Ari Joshua’s Post-9/11 Tribute 'Tagine'
Ari Joshua’s latest release, “Tagine,” catapults me back to the era of self- and societal brainstorming in the early 2000s. This is an unheard previously track that was cut at Wombat Studios, Brooklyn, with guest appearances from Marco Benevento on the organ and Joe Russo on the drums. Combined, they produce a mood that is somber and foggy, yet expressive of something profound and truly powerful.
The name ‘Tagine’ is derived from a Moroccan restaurant in New York city in which Benevento started weekly sessions attracting talented players. You can see what close friends are like in the trio; they grasped the experience of those intense sessions. Joshua’s guitar is dark yet complex and perfectly synchronized with Benevento’s organ notes and Russo’s stomping on drums.
It goes beyond a simple musical creation as a record of emotions that New York felt in the years following the September 11 tragedy. Joshua tells me the harrowing experience of having to drive across the Brooklyn Bridge with gears and burdened by sad news to Tagine under more security than usual. It brings an additional layer of meaning to the track – a sense that enriches the experience of listening.
It goes beyond a simple musical creation as a record of emotions that New York felt in the years following the September 11 tragedy.
The name ‘Tagine’ is a reference to an African cooking pot, but the music it contains is progressive and psychedelic fusion with touches of Coltrane and Davis. The ideas of the band are experimented here, but at the same time, make the song timeless yet new.
It is the way in which one can tell where they are and what a specific time period is all about simply by listening. The song “Tagine” is one that fans of Ari Joshua, a jazz fusion artist, ought to listen to. It depicts the young budding talent and the nascent works of Joshua, Benevento and Russo who later on became critically acclaimed artists.
Given that this one is the first song to appear from this particular session, there is hope for more discoveries from Joshua’s collection of songs. Having a good listen is within everyone’s reach since “Tagine” is available on all streaming platforms out there.
Inside 'A Soul in Time': James Morgan's Tribute and Journey
We are pleased to present an interview with James Morgan, the esteemed guitarist and composer, who performs under the moniker “Morgan|Husband|Feraud” to talk about his latest musical endeavor”A Soul in Time”. This record was recorded in 2024, this EP is a jazz rock fusion album, with the incredible performance of Gary Husband in drums, synthesizer and piano and Hadrien Feraud in bass along with the extraordinary guitar work by Morgan.
There are special guests on this project – Eric Marienthal who plays the saxophone on some of the tracks and Joey De Leon on percussion. It is rare to find a product that takes its listeners on an upscale trip through soundscapes that have been composed and produced to the finest detail to bring out the style of 1970s jazz fusion.
This is an album that not only musically is inventive but is at the same time dedicated and expresses affection towards Dean Brown, who was co-writer and arranger of the project. In this section, we is going to look at how Morgan composed this great work, where he got the ideas from and the storyof this interesting album.
Drift Away with Wes Carroll Confabulation's 'Helium'
“Helium” by Wes Carroll Confabulation floats in the air like that carnival balloon, lost to the winds of change. The entire album dances at the threshold of reality, navigating the ethereal plane through neo-soul, jazz, and hip-hop flair. It’s akin to watching a kaleidoscope in slow motionᅳever-shifting and never quite predictable.
From haunting vibraphones to ambient slide guitar, “Helium” is a record that sonically houses an exploration of the labyrinth of contemporary life. Class and expensive living, fluid masculinity, and the quirky nature of love are wrestled with. Carroll’s clever wordplay keeps you tethered on the ground with deep grooves, even while the essence of the album solicits you to drift away.
Drift Away with Wes Carroll Confabulation’s ‘Helium’
Something playful, absurd is at work here: sexual humor bleeds into personal reflection, weaves a tapestry that’s both poignant and whimsical. The dynamic horn lines courtesy of Owen Chow and Rowan Farintosh cut through Dakota Hoeppner’s keyboard landscapes with an incisive richness in texture.
“Helium” is a dare to slow down, to grieve, to laugh, and to ponder precisely those very distractions which shape our existence. It’s an album that’s as much about the spaces between the notes as the notes themselves. Funhouse mirror reflection that asks which one of the versions of reality is the real one.
A Carnival of Sound: Jorden Albright's 'Pretty Party' EP
Within the pop galaxy, Jorden Albright‘s “Pretty Party” EP whirls as a nebula of sound, spinning to the gravity of a whimsical carnival ride. That is to say, Knoxville’s own synth-sorceress brews up a potion that’s part electropop sparkle, part R&B groove, and a dash of indie rock grit.
Imagine that in a room, amidst drizzle and fairy lights, with neon dreams—the heart-to-heart would be all self-appreciation serenades by Jorden, and then some intimate whispers in a crowded club to every note. A petal would be floating on a breeze of ambient vocals with catchy beats. Her songs don’t just play. They flirt, laugh, cry—each track a different vibe on a playlist of moods.
A Carnival of Sound: Jorden Albright’s ‘Pretty Party’ EP
“Pretty Party” is the fun pack variety for your soul’s craving—the heady fizz of a pop anthem here, a bedroom jam’s introspective pull there. One minute you’re dancing under strobe lights; the next, you’re enclosed within a sonic hug. It’s as if one is flipping through some sort of emotional scrapbook, each page more vibrant and immersive than the last.
The studio magic of Albright is the entrance into her secret garden of soundscapes. It proves that, with the end of this EP, one is still contemplating that fine line of boldness and vulnerability and reminding oneself that very often the most colorful parties personally stay very personal.
Icarus Phoenix's "Doctor! Doctor!": A Sonic Lifeline
Wonder if a breakup could ever sound like an afternoon sun shower with a dash of sorrow? Step into this mysterious land as Icarus Phoenix describes it with their “Doctor! Doctor!”, soft rock crashed into personal epiphany. Drew Danburry’s voice flows dripping, sleepless nights reminisce to conversations dancing in between reality and hallucination. This is far from just another soft rock track; it’s a diary entry set to melodies.
The band relates this tale of post-divorce despondency against a tapestry of guitar whispers and synth sighs in the background. Eli Sims’ drums are that steady heartbeat of the man in chaos, trying to regain a rhythm. Brendan Russell’s bass lines sound like a lifeline flung across the chasm of self-doubts. The synth layers by Leena Rhodes sheathe raw emotions with sonic elegance, acting like the glue between them all.
The theme? Raw, unbridled tête-à-tête with one’s own psyche. Ever felt like screaming into the void and wishing the echo returns your purpose? “Doctor! Doctor!” captures that existential yell. It’s an introspective odyssey; think Odysseus but in therapy, wrestling not with mythological beasts but invisible inner demons.
Icarus Phoenix’s “Doctor! Doctor!”: A Sonic Lifeline
It is an odd delight, and the song’s reflective nature parallels Van Gogh’s struggle to find meaning post-ear incident. A search for purpose in the form of a soft indie veneer, yet it is stronger than one may think.
In a world slipping seemingly out of control, Icarus Phoenix offers the soundtrack to our collective search for meaning. In a word, “Doctor! Doctor!” isn’t just a song—it’s a mirror reflecting our deepest vulnerabilities.
Chris Cachia's "The 27th Letter": A Sonic Labyrinth of the Mind
For Chris Cachia, getting out of that void which was obsessive-compulsive disorder is not a triumphant fanfare; it is a whispered confession in a crowded room. “The 27th Letter” is a sonic labyrinth of shadows wrestling with light for dominance. This isn’t just hip-hop—it’s cathartic exorcism, an atlas of navigation through the raging seas of the mind.
Cachia’s flow is like a surgeon’s scalpel, cutting brutally honest into the complexities of existence. His lyrics are fragments of dreams and nightmares pieced together like a mosaic, with every word tincturing his inner turmoil. Charlie McEvoy’s production is the perfect counterpoint: brooding canvas upon which Cachia’s verses dance like flickering flames. To the boom-bap beats, which are more than rhythm; they anchor the storm, holding onto the listener like an anchor to the ground amidst the lyrical maelstrom.
Songs like “Good and Evil” and “Inside and Outside” are existential chess games in which he is playing both black and white, victor and vanquished. It’s as though we have been invited into the battleground that was his mind, where demons and angels wrestle over his soul at fragile truce. There is something isolating and enormous in the cinematic soundscapes of this music, as if it is the music going through an artist’s mind with all his innermost thoughts and fears.
Chris Cachia’s “The 27th Letter”: A Sonic Labyrinth of the Mind
“The 27th Letter” is so much more than an EP; it’s a testament to the human spirit that can bounce back when life gets in the way. In this, Cachia has given many a beacon to hold onto: a shining example that, no matter how dark things get, there is always a glimmer of light waiting to guide us through. This is not music for casual listeners; it’s a call to arms for the weary, an ostinato of soul odyssey through treacherous landscapes of the mind.
Among a sea of disposability in tunes and shallow lyricism, “The 27th Letter” is an act of creation in defiance. It is music one could hear time and again, and with every new spin, new dimensions of meaning and emotion unfold. Cachia and McEvoy have composed a piece that challenges at the same time as it rewards—a tapestry of pain, perseverance, and redemption formed through the weft and warp of sound.
“Gospel Music Limits Me” - Lynx Signee Kasar Explains Switch To Secular Music
One of Ghana’s leading male vocalists, Kasar, revealed in an interview on TV3’s “The Afternoon Show” the reason behind his switch from Gospel Music.
The former contestant of the Voice Factory, who has released gospel music in past, made the switch and since released multiple singles.
Signed to Lynx Entertainment, the singer shared how, in his pursuit of music, he did not want to be limited in what he could sing about. As a lover of music, he would prefer to expand his discography to cover diverse themes.
“I love music in general, and it doesn’t matter if it’s country music, reggae, or any type of music as long as it’s good music. I would love to write love songs, songs about the economy, sometimes lifestyle or some of the things people are going through.” – @kasarmusic.
Rising Ghanaian musician Jo-El Sii has recently unveiled his highly anticipated new single titled “Waiting.” This captivating love anthem, written by Jo-El Sii himself, showcases his exceptional songwriting skills and vocal ability. With its soulful melodies and heartfelt lyrics, “Waiting” is set to captivate audiences and solidify Jo-El Sii’s position as a rising star in the Afrobeat and Highlife music scene.
Jo-El Sii, born Joel Fofie, has always had a deep passion for music since his early childhood days. From singing in church to participating in musical contests, he has honed his musical skills and developed into an Afrobeat and Highlife sensation. Inspired by legendary artists such as Daasebre Dwamena and Kojo Antwi, as well as contemporary Afrobeat musicians worldwide, Jo-El Sii aspires to carve a niche for his sound and create an identity distinct from his idols.
“Waiting” showcases Jo-El Sii’s growth as an artist and his ability to create captivating music that resonates with listeners. The song combines infectious beats, melodic hooks, and heartfelt lyrics, showcasing Jo-El Sii’s unique musical style. With his soulful vocals, he effortlessly brings the emotions of the song to life, captivating listeners with every note.
As an emerging talent in the Afrobeat and Highlife genres, Jo-El Sii has been making waves with his infectious energy and undeniable talent. His previous releases have garnered attention and praise from fans and industry insiders alike. Now, with the release of “Waiting,” Jo-El Sii is poised to make an even greater impact on the music scene.
“Waiting” is now available on all major music platforms here, allowing fans and music enthusiasts to immerse themselves in Jo-El Sii’s captivating sound. With his unique blend of Afrobeat and Highlife, Jo-El Sii brings a fresh perspective to the genre, captivating audiences with his infectious energy and undeniable talent.
Connect With Joel SII on IG – Joel_sii, X – joelsii_
Mortal Prophets: Prophets of a 'New Breed' of Sound
It feels at times almost primordial, yet extraterrestrial, in that the aural entity John Beckmann and the Mortal Prophets have conjured up seems to transcend time itself. “New Breed” is not an ordinary song; it’s a shamanic invocation on top of a rebellious cry against the mundane. Just imagine some sort of futuristic shaman, armed with nothing but his guitar and drum machine, crash-landing into some long-abandoned Mayan temple, and you’ll begin to get a feel for this track.
It’s a discordant ballet of beautiful chaos. Jagged edges of post-punk meet glacial rage, black metal, and the bleeding heart of indie rock that pulsates throughout. The sonic chimera is almost testament to Beckmann’s audacious brilliance. The vocals, mesmerizing chant-like in delivery, are atavistic and prophetic in call to arms against a generation adrift in the digital wasteland.
Mortal Prophets: Prophets of a ‘New Breed’ of Sound
“New Breed” is a declaration, a defiant stance against all acts of generalization and categorization. It holds the resonance of culture in riot, of society hanging from a cliff, staring into the yawning void of an abyss. A hallucinogenic tapestry of ancient ruins and otherworldly visitors, its video counterpart matched the unearthly atmosphere of the track.
This is not music for the faint of heart. It takes one’s full attention and demands surrender. It is sonic exorcism, cathartic purification for the soul. The music may not suit all, but it is undoubtedly very raw in power through its originality. Beckmann has just given birth to a masterpiece with his Mortal Prophets—art that is undoubtedly going to leave its mark on all who experience it indelibly.
Under Delusion's "Music Is My Drug": A Sonic Elixir for the Soul
It’s in the saying: music is a drug. Under Delusion, a trio of sonic alchemists, internalized this notion right into their veins, brewing an exact, powerful, intoxicating single called “Music Is My Drug.” At once an exhilarating, winding rollercoaster of sound and a fever dream sewn from synths and guitars, it feels familiar yet jarringly alien.
It’s an entrapping track, like a call of the sirens, with its smooth production that embeds the modern into the crossbred sounds of Bring Me The Horizon and Royal Blood. There is, however, something otherworldly about this—something that remains vague, like a sort of dream haze that singularly sets them apart. The female vocals provide an exquisite counterpoint to the heavy instrumentation, much like a whisper in the hurricane. It’s a little like watching ballet performed by fighter jets: that strange, beautiful juxtaposition.
Under Delusion’s “Music Is My Drug”: A Sonic Elixir for the Soul
It’s a human condition in sound form: a perfect emotional rollercoaster with polished exteriors but raw vulnerability underneath. Still, its deep yearning to connect with others reverberates right to its very core. It is both a cry for help and, at the same time, a love letter to the void—a requiem for our digital age. Under Delusion captures the zeitgeist in an audio elixir promising healing and destruction.
“Music Is My Drug” goes beyond music—it is a manifesto, nothing less. It’s an outgoing war against the ordinary and flatly rejects any relation with conformity. Neon-lit, shining like an oasis of miracles in a desert wasteland called life, it may not be the cure for cancer or world hunger, but it surely does stand for very precious moments of getting out, regardless of life’s unending grind.
Sonic Tapestry: Robert Jordan's “Vincent and Theo”
Robert Jordan‘s “Vincent and Theo” is more than an album; it is a sonic pilgrimage. This veteran troubadour from Boulder has put together a tapestry of sound that is as intricate as a Van Gogh masterpiece and as brooding as a Nietzscheenean soliloquy. All of that lies just in the labyrinths of personal trials and societal observations that Jordan’s voiceᅳweathered with soul-deep timbreᅳguides the listener through.
The music is raw, unfiltered, like staring into an abyss and finding an entire universe. The record flows incredibly well, going from the jubilation of “Song for Bob” into the somberness of “Purgatory.” It’s like it was Dylan but had been instilled with The Doors’ spirit, now matured into its own Zen-like wisdom.
With producers Gray and Snider, each song feels like that strong vessel through which Jordan gets to exploreᅳfamiliar yet alienᅳlike reuniting with an old friend who has just discovered quantum physics. Christian Teele’s drumming lays down beats as solid as a lighthouse beam, while Rebecca Abraxas’ backing vocals are ethereal beauty on top of ethereal beauty.
Sonic Tapestry: Robert Jordan’s “Vincent and Theo”
An already beautiful song, “In Heaven,” becomes one bitter ballad of noir-tinged smoky jazz clubs and lost souls, hanging a moment in timeᅳthe jasmine fragrances of warm summer nights. “Over for Good” stomps out the shoes; it is utterly a passionate release. Then you have “Purgatory”ᅳscathing social commentary on institutional religion, timely and timelessᅳdemanding to be heard like sermons for disillusioned hearts.
Jordan’s lyrics are written-in-stone poetryᅳvulnerable yet defiant; more storyteller at times, he’s painting vivid pictures with his words against melodies that are his inner world soundtrack. “Vincent and Theo” goes beyond merely being an album; it allows us to step right into Jordan’s profound journey through self-discoveryᅳan experience surely fascinating to travel through.
Toby TomTom's "23": A Sonic Transmission from Beyond
Toby TomTom is a sonic alchemist, turning base emotion into gold. “23” rises above the level of song; it’s a telepathic transmission from a far-off star, pleading for understanding. This thing is a cosmic lullaby, digital dirge, and exorcism on a dance floor all wrapped up in one mesmerizing package.
The track comes across like a funhouse mirror reflecting our fractured psyche, some sort of convoluted maze of sound. TomTom’s vocal performance becomes a raw, unfiltered scream into the void for paternal love. Here, what has been perceived is like an injured angel trying to communicate with the use of only rhythm and melody in Morse code.
Toby TomTom’s “23”: A Sonic Transmission from Beyond
The aural topography is as much alien as familiar, much like discovering some ancient relic doubling for tomorrow’s prophecy, with the seamless fusion of electronic undercurrents and avant-garde flourishes. Shake Dizzy’s contribution gives jolts of adrenaline that bracket his chaotic energy with the most wonderful contrast to the kinds of introspective lyricism projected by TomTom.
“23” delivers much more than just music; it’s a gateway to a different dimension—one in which sorrow and joy sit like old friends. The track witnesses that even from the deepest pit in the darkest corner of humanity, there lights up hope—a yearning to connect with someone. Probably the answers which we seek aren’t out there in the stars; they were within us all the time.
"Numb the Pain" by Lives Lost: Therapy in Sonic Form
“Numb the Pain” from Lives Lost behaves much like a sonic sledgehammer, providing space for a cathartic scream, which is cast into the chasm of despair. It is more than just a song; it is a confessional, a truly primal scream bottled and fleshed out relentlessly onto the listener. In its wounded-animal-like need for attention, it bites and claws. The band’s powerful post-hardcore and hard rock fusion works fine with raw, unfiltered emotions.
Tanis Pellegrini’s vocals are nothing but mesmerizing—raw and vulnerable yet tinged with steely determination. It feels as if he is laying his very soul bare, giving us an open invitation to become witnesses in this first-hand struggle. Aaron Perry wields the guitar like an extension of his own turmoil: each note at one time aggressive, melodic, and inner chaos incarnated into sound. Carothers and McKinnon back it up with a rhythmic backbone at once propulsive and hypnotic, a steady heartbeat amidst this sonic maelstrom.
“Numb the Pain” by Lives Lost: Therapy in Sonic Form
“Numb the Pain” is not merely music; it’s an urgent battle cry against the insidious grip of addiction. It reminds us pointedly that self-medication is a road on which treading recklessly surely takes one to desolate wastelands. The brutal honesty refreshed and terrified as the band held up a mirror to our darkest fears. This isn’t just music; it’s therapy—a collective exorcism of demons.
So much superficial noise surrounds Lives Lost, which manages to remain as something real. It pictures human suffering but also its resilience—the powerful proof of vulnerability. “Numb the Pain” is an emotional naked masterpiece that is sonically piercing in assault and will eternally mark the soul of every one of its bold listeners.
“Tales of the Unconnected”: An Epic from The Levy Circus
Who would have thought that a professor of endocrinology could cast soundscapes with the depth and complexity of a human body? Yet, Miles Levy of The Levy Circus has done just this. It’s music straight from the doctor’s office—but a symphony, bottled and uncorked, of experiences with an intensity both intimate and epic in one sweep.
“Tales of the Unconnected” is a tapestry of sound that weaves strands of Americana and Pop into something indefinable, arresting. It is like visiting an old diary overflowing with raw emotions and poetic ramblings. Levy’s voice, like some weathered instrument with a surprisingly wide range, carries the stories with sincerity both disarming and compelling. His lyrics work like X-rays on souls, laying out fractures alongside beauty in equal share.
The guitar work of Graham Jones gives the heartbeat to the self—pulsating rhythm serving up as melodic counterpoint while exuding raw emotion all at once. There’s just a chemistry about this band, and their interplay’s really something like a dance among people who have waded through countless trenches of creativity where every member of the band adds something truly unique.
Credit: Paul Smith MainlyMono
There’s something melancholically beautiful about this record, something that speaks to an endurance of longing that reverberates in the very fabric of time itself. It’s much like finding sepia-toned photographs that captured the fleeting instances of joy juxtaposed against profound sorrow. Moments of hope flicker inside introspection, most of which nod toward resilience rather than despair, licensing oneself to feel without giving up.
Against the backdrop of a modern world that contains disposable tunes, “Tales of the Unconnected” is timeless artistry rooted in the deep power of human connection and the transformation art can effect—no ordinary album but a journey evoking solace when alone or offering soulful soundscapes in life’s many moments.
Blacklight Beat Patrol "Whispers from the Void": A Sonic Kaleidoscope
“Whispers from the Void” by Blacklight Beat Patrol is a quantum jump into an acoustic black hole. Imagine something long forgotten, left over from some future civilization, suddenly found; this album unfolds as a mind-bending labyrinth of sound. It is as though Daft Punk and Aphex Twin had birthed a progeny that subsisted on broken radios and cosmic dust.
“Whispers from the Void” is a sonic kaleidoscope, setting before the viewer a chaotic ballet of glitchy rhythms and ethereal synths. It whips listeners through nostalgia with echoes of 80s synthwave and 90s rave culture, yet it is utterly now. As an auditory Rorschach test of sorts, this album projects different images and emotions onto each listener: for some, visions of desolate post-apocalyptic wastelands; for others, visions of euphoric dance floors in the sky.
Blacklight Beat Patrol “Whispers from the Void”: A Sonic Kaleidoscope
Here, one finds a shining example of the ability the band has for creating complex soundscapes. Each layer is constructed as if it is a small jigsaw itself that fits in very well to form something larger and more extensive. It’s like looking at Jackson Pollock paintings coming to life—a maelstrom of color and texture defying any sort of categorization—but within all that turmoil lies an innate melancholy, yearning for something lost or perhaps never found.
“Whispers from the Void” is not just an album; it’s better said to be a real statement—a raised middle finger against the ordinary, representing the frontier of sound most unknown. This forms powerful evidence that music may be everything, anything, or absolutely nothing.
Natalie Clark - "A Place Called Home": A Sonic Journey of Belonging
There are those moments in everyone’s life when one sees a kite caught in the wind just before it dips and soars again—Natalie Clark’s “A Place Called Home” evokes that exact feeling. This Scottish former school teacher, thrust into stardom by none other than Sir Richard Branson himself, like a fairy tale set in the highlands, carves out her niche with this single.
Clark’s voice? Think of velvet and grit having a baby. It holds and unsettles all at once. The pop vibes are the sticky notes on your heart: they cling but somehow manage not to smother—sort of like finding confetti after the party. Her lyrics wind through the meaning of “home,” diving deep but surfacing often enough to catch one’s breath.
“A Place Called Home” is less about bricks or mortar and more about the sanctuaries we carry within us. It’s akin to a painted canvas, where every stroke sings its song but synchronizes—like a Charlie Chaplin film mixing laughter with silent screams for the touch of humanity.
Natalie Clark – “A Place Called Home”: A Sonic Journey of Belonging
The mix is great here: melodies waltzing around themes that have a nostalgic ring, evoking peaks of joy and chasms of sorrow—in a word, flirting with the boldness of avant-garde, much like Van Gogh’s dabbling his starry nights over Beethoven symphonies. Natalie’s skillful storytelling dances deftly between prosaic realities and dreamy introspections.
With the backing of DVG Records for her debut album that will drop next, be prepared for sonic adventures tinged with raw nerves that uncover personal memories. But here’s my caveat: as brilliant as Natalie shines—is there too much glitter masking potential flaws?
Ultimately, though—consider this: Does anyone ever really come home, or do we forever hunt down echoes that were tossed across hallways of time? “A Place Called Home” calls on these ponderous journeys while humming lullabies that only our hearts could fathom completely…or maybe it leaves us yearning contemplations unanswered.
Carey Clayton's 'Headless': A Sonic Exploration of Self
‘Headless’ by Carey Clayton is a sonic odyssey merging the ethereal with the earthbound. Right from the first track, it sucks one into a world where meditation and mindfulness are not mere concepts but lived, breathed, and musically articulated experiences. One would say it’s like diving into a pool of shimmering consciousness, only to find the water’s made of sound.
Lyrical explorations of self-dissolution and interconnectedness are anything but linear in this album. Songs lace lush synths with interlocking guitars, weaving a tapestry at once intimate and expansive. Intricate percussion can be likened to a heartbeat of a sentient forest; ethereal vocals hover above everything, nailing the listener down into an ever-changing audio environment.
Each song in and of itself is a meditation, with crystallizations of thoughts and feelings. Teamwork with many talented artists like Eric Derwallis, Sam Merrick, Kayla Starr, and others, contributes many textures and dimensions. It’s as if they brought an entire village into the recording studio, each bringing their own voice to the collective hum.
Carey Clayton’s ‘Headless’: A Sonic Exploration of Self
The artwork, developed with the Gonzalez brothers, is very exemplary in its approach to the themes at play. A reflective chrome helmet faces you right back, eerily smudging the divide between self and world, oneness, and the masses. It is almost as if the music and visuals are having a conversation; each reflects and diffracts off the other.
‘Headless’ is never shy of a gamble. One minute you are lost in some swirling psychedelia; the next, some hauntingly familiar guitar riff roots you. It’s an album that exacts your attention, rewards your patience, and sticks with you long after that final note fades away.
In a world where music mostly serves as background noise, ‘Headless’ seems to say that it’s precisely within those experiences which make one stop and listen, ceasing from all activities, that something much deeper is born.
Looporia's "Mothership Down": A Sonic Journey of Self-Discovery
Imagine if clouds could sing. That’s how effortlessly ethereal “Mothership Down” by Looporia floats through your consciousness, carrying you on a ride across star-strewn skies. Daniel Longoria Lopez marries his Fort Worth roots with cosmic sonics to craft this indie dream pop odyssey that is as intimate as it is interstellar.
It’s a track that whirls around themes of friendship and loyalty the way an astronaut waltzes in zero gravity. The storyline—a space rescue mission powered by bonds forged back home—feels deep within these tunes that are laden with synth lines shimmering like reflections off a spacecraft’s metallic surface. Of course, kudos must be given to producer Jordan Lawlor for weaving such pristine audio tapestries, echoing the very vastness Daniels seeks to capture.
What makes “Mothership Down” so special isn’t in its kind-of-ambitious metaphorical cruise through emotional galaxies, but in how these themes underpin every beat and lyric in crafting of songs into stories, perhaps akin to Kubrick unspooling celluloid dreams in challenging gravities of the understanding cinema itself. It’s familiar, otherworldly enough to warrant exploration without needing any extraterrestrial knowledge—no overdrive in sight.
Looporia’s “Mothership Down”: A Sonic Journey of Self-Discovery
As one wades through the layered depths of sound and sentimentality here, Lopez questions not just who we are but where we truly belong—within constellations of communities or spiraled far beyond known orbits?
Reflection after listening: Are these connections what anchor us all down, or do they just delay our own necessary drift toward ourselves? Looporia challenges listeners while soothing their spirit, a true enigma wrapped in electronica.
Rising Star Jessenation Drops Infectious New Single "Redemption"
Imagine a phoenix, not of flames, but of infectious rhythms. That is the core of Jessenation’s “Redemption,” a genre-hopping masterpiece that moves beyond such labels like a record player on shuffle. Afrobeat throbs like a hummingbird’s heart, and reggae lays down a cool island breeze, while dancehall slips in with a sly, syncopated wink.
This ain’t your average poolside dancehall. Jessenation’s lyrics are more like soulful conversations, dripping in wisdom. He sings of overcoming struggles with the smooth flow of a sculptor working the clay. Featured artist Jesse Jags added that smoky seasoned layer, like the perfectly aged rum behind the tropical cocktail.
“Redemption” doesn’t mean just getting triumph over personal battles. It’s about the redemption in the music itself. It’s a sonic haven in which you let it all go: worries, troubles, and in this throbbing bass and soothing melodies, find peace—for this feeling you get when you have chanced upon a secret beach at sunset, peace washing over you with the rhythm of the waves.
Rising Star Jessenation Drops Infectious New Single “Redemption”
The real trip, folks, is that Jessenation’s music is not all rainbows and steel drums. Underneath the throbbing beats lies an underscoring social commentary and subtle rebellion that’s like a pot cooking on low. Similar to those ancient African masks that are beautiful and intricate, but behind the surface holds a silent wisdom that speaks volumes.
This single from the upcoming debut album “GRACE” does augur very well for a strong kicking-off point in the Jessenation musical journey. “Redemption” is a powerful reminder that sometimes, from the ashes of challenge, comes our greatest growth. Leaving one in anticipation of where this artistic journey will take this very talented artist, it will leave you wanting more.
A Softer Side of Soul: Helena May’s Captivating ‘Still Here’
Helena May, the “blue-eyed funky soulstress,” is back with her latest single “Still Here,” and it’s a refreshing change of pace. Known for her energetic performances and soulful voice, May has been captivating audiences for over a decade, both as a solo artist and with Redtenbacher’s Funkestra.
“Still Here” reveals a softer side of May’s artistry, following her successful singles “Lifetime Supply” and “Puzzle Pieces.” While it may not have the immediate impact of her earlier hits, this track shines with its subtle, soulful sound. Produced by Fabian Wollner and mastered by Stuart Hawkes, “Still Here” blends drums, guitars, and keyboards into a jazz-inspired melody that nods to 70s soul while maintaining a contemporary feel.
May’s musical influences, including Joss Stone and The Brand New Heavies, are evident, but she brings her own unique flair to the table. “Still Here” explores themes of identity and social acceptance, with May’s delicate vocals extending a comforting message of individuality in a world that often demands conformity.
A Softer Side of Soul: Helena May’s Captivating ‘Still Here’The track seamlessly combines elements of contemporary R&B and British Soul, showcasing May’s versatility as an artist.
The track seamlessly combines elements of contemporary R&B and British Soul, showcasing May’s versatility as an artist. Her emotive delivery and soul-infused melodies tackle complex issues with grace and optimism, making “Still Here” more than just a song – it’s an uplifting experience.
Despite its more subdued nature, “Still Here” doesn’t skimp on groove. With its stunning synths, funky bass, and May’s powerful vocals, the track maintains a steady progression that keeps listeners engaged. It’s the kind of music that makes you want to dance away your worries.
Helena May continues to impress with her vibrant, heartwarming music. “Still Here” is a testament to her creative prowess and a must-listen for fans of soulful, feel-good music. Whether you’re a long-time fan or new to May’s work, this track offers a refreshing and invigorating musical experience.
Exciting news from China’s music scene: Yunnan-based band Bagedai has just dropped their debut album, and it’s already making waves. Recorded live at the iconic Yunnan Publishing House Studio in Kunming on May 30, 2024, this album is a testament to the band’s electrifying stage presence.
Sea of Wood Records produced the album, with technician Dou Ru Yi and producers Sam Debell and Lao You at the helm. They’ve managed to capture the essence of Bagedai’s live performances, which have been turning heads at festivals since the band formed in early 2023.
What makes Bagedai stand out? It’s their unique fusion of traditional Wa music and modern reggae. With twelve members, including five lead vocalists, they bring a rich, full sound that’s both familiar and fresh. Their music is deeply rooted in the cultural heritage of the Wa people from Ximeng, Yunnan, but it’s presented in a way that speaks to contemporary audiences.
Take their track “My beloved,” for example. It’s a perfect showcase of how Bagedai modernizes traditional melodies while staying true to their cultural roots. This approach has earned them airplay on international radio stations and critical acclaim.
We recently had the opportunity to have an interview Bagedai to discuss their debut album. Our conversation covered their creative process, sources of inspiration, and the cultural significance of their music. It’s clear that Bagedai isn’t just making music – they’re on a mission to preserve and promote Wa culture through their art.
As Bagedai continues to gain recognition, they’re quickly becoming a defining voice in Yunnan’s music scene. Their story is one of cultural preservation, musical innovation, and the power of blending traditions with contemporary sounds. Stay tuned for our full interview with this rising star in China’s music world.
Is there a story behind your stage name? Bagedai, also known as “Beautiful Homeland,” is the first piece of land the Wa ancestors stepped on after leaving Sigangli. It is the heartland of the Wa people, nurturing the bloodline of the tribe which was given birth along with the creation epic of Sigangli, with every mountain and tree carrying the mysterious power of ancient traditions.
Bagedai is the cradle of Wa culture, the Wa people formed tribes and spread out from Bagedai, each creating their own homes. No matter where the Wa people go, they never forget their homeland. Bagedai is the shared home of all Wa people, just as the band members come from the same place but have different professions, coming together to protect and promote our culture.
Where do you find inspiration? The tunes we sing are the ones we’ve heard our elders hum since childhood. During our free time, the band members gather to chat, have drinks and share our ideas, which also sparks inspiration.
Who inspired you to be a part of the music industry? Ximeng is a small county where many talents have emerged, like Yan Yong, the bassist of the Shanren, and Amei, the lead singer of Sigangli. We are influenced by these predecessors and want to join the music industry to let more people know about Ximeng and Wa culture.
We are influenced by these predecessors and want to join the music industry to let more people know about Ximeng and Wa culture.
How did you learn to sing/write/to play? The band members gather together, share our thoughts on a particular tune of Wa, and each member contributes their ideas. Once everyone agrees, we finalize the song’s writing.
What was the first concert that you ever went to and who did you see perform? Our first concert was at the Nanman Music Festival in Xishuangbanna, where Kawa also performed.
How could you describe your music? Wa music is primitive and simple, while beautiful and captivating. Its unadorned tunes and rugged style make it unique. Life in Awashan, including love, marriage, labor, harvest and celebrations, is the best musical score, with each chapter full of joy.
Describe your creative process. Everyone shares their thoughts on how to express the song’s true meaning. We practice multiple times to find the best way to perform the song, and that’s how we complete it.
What is your main inspiration? Many released songs are what we’ve heard since childhood. There are many captivating tunes in Wa culture, but few people sing them now. We want to protect and promote these tunes so everyone can hear these heart-touching songs.
What are your interests outside of music? We cook traditional Wa dishes together.
If it wasn’t a music career, what would you be doing? The five female lead singers work in the county’s ethnic cultural troupe. Among the musicians, there is inheritor of intangible cultural heritage, and others work in institutions or play in other bands in Kunming.
What is the biggest problem you have encountered in the journey of music? In the beginning, we didn’t receive much support and encouragement from people around us, which was quite disheartening.
If you could change one thing in the music industry, what would it be? We hope more people will support ethnic and original music, making it more popular and step onto the world stage.
What are your plans for the coming months? We have some regular performances coming up. Additionally, we will have a small-scale live house tour outside Yunnan in September. This tour will be interesting, because we will reduce the number of performers on stage, which originally consists of 12 people in most large-scale stage.
While ensuring the quality of the live performance, we are trying to fit the live house setting. This is a challenge, but if it works well, we hope to bring our music to more live houses and bars, which offer more intimate and atmospheric environment for the audience. We also plan to hold an album release presser for our self-titled album “Bagedai” in our hometown, Ximeng County.
Do you have any artistic collaboration plans? If possible, I hope the band can perform overseas, so more people can learn about Wa tunes and the efforts that we are making to preserve our ethnic culture.
What message would you like to give to your fans? Bagedai hopes to inspire more young people of ethnic minorities to learn and inherit their own ethnic culture. We want to tell them, only they can represent their ethnicity. By understanding the world through ethnic music, the world is also allowed to better understand ethnic minorities.
I saw him playing on one of those live feeds somewhere and liked what he was doing so asked him to get involved.
Hey, have you heard about Robin Mukherjee’s new album? It’s called “Further Ahead” and it’s pretty awesome. This guy from Manchester has been making waves in the folk scene, and this is his third album already.
The thing I find fascinating about Robin’s work is that he tries to combine traditional folk with indie music. His guitar is very, very good – lots of interesting single note picking, really. They are really thought-provoking. He covers all sorts of topics, ranging from politics to personal issues and even how the seasons influence us.
For this album, Robin collaborated with Will Falkiner and John Ellis at Limefield Studio for production work. He’s not restricted to the guitar only, he plays the piano, mandolin and even percussion sometimes. A couple other musicians to add some interesting parts are lap steel, electric guitar, and cello.
As a matter of fact, I had a recent discussion with Robin with regards to “Further Ahead”. I then engaged him in a discussion about his song production method as well as the characteristics of his music and the interpretations of specific songs.
If you have never heard him before, I believe that you would enjoy his music, or at least the songs he is performing. I especially like that his attitude is really authentic, there is something really memorable about it.
Want to check out the interview and learn more about Robin Mukherjee? I think you’ll be impressed by what he’s doing with his music.
Robin, can you share the inspiration behind ‘Further Ahead’? What themes and messages are you exploring in this album? Well hi there! I didn’t have any message in mind when wrote the songs or put this album together. Having said that, I have since noticed that quite a lot of the lyrical themes are about a personal growth or a desire for change. Oddly enough, I’m at a point of quite major change in my own life so I suppose I was subconsciously reflecting that in some way, making the whole thing a lot more self indulgent than I’d planned! Perhaps I should rename the album ‘Self Indulgence Volume 3’?!
What was your creative process like for ‘Further Ahead’? How did you approach the songwriting and production phases? I’d written the bulk of the songs and already knew what arrangements I wanted prior to recording. ‘Management’s Mantra’ is the only exception, which I’d only just written that day and made up as I went along.
That one was a lot of fun to do – those silly little harmonies and out of time handclaps were intentional to highlight the flawed and contradictory behaviour of the person the song’s about! With everything else, I’d already arranged harmonies, additional guitar/mandolin and cello in my own head so it was just a case of trying to convey that onto an actual recording, which was harder than it might sound!
In terms of production, I recorded it at Limefield Studio in Manchester and had a lot of help from Will Falkiner who mixed and mastered everything and was generally a good chap. I don’t think it shows but I get quite self conscious when recording and can’t stand hearing my own voice – Will’s humorous manner was enough to enable me to forget all that and crack on. And I must say he did a wonderful job of the whole thing!
How does ‘Further Ahead’ differ from your previous works? In what ways do you feel you’ve evolved as an artist with this album? I think it’s more accomplished and sure of itself than previous albums. It has more variety despite the shorter length. The sincerity of ‘Next Time’ and ‘Butterflies’ is completely at odds with the silliness of ‘Manager’s Mantra’.
Putting an instrumental piece on an album is something I would never have done when I was younger either. I took a lot of influence from Bibio’s ‘Sleep On The Wing’ with that piece. And I got the title from a good mate who offered that turn of phrase during a rubbish gig we were at a few years ago!
Are there any collaborations or featured artists on ‘Further Ahead’? How did these partnerships come about, and what was it like working with them? The cello parts were played by a chap called Ben Cashell. I saw him playing on one of those live feeds somewhere and liked what he was doing so asked him to get involved. I also had Vincent O’Brien playing slide and electric guitar. I’ve known him for several years and have played with him in a variety of outfits as well as on each others albums in the past.
He did an exceptional job on this album. In fact, I almost discarded ‘Next Time’ until he started flatpicking the pentatonic major in the second verse, bringing the whole song to life! The album would be mere shadow of what it is now without Ben and Vincent’s contributions.
I saw him playing on one of those live feeds somewhere and liked what he was doing so asked him to get involved.
Do you have a favorite track on the album? If so, which one and why does it stand out to you? That changes frequently, but at the moment I like Further Ahead the most. I like the feel of the song and the way it gradually builds. And I’m happy with how I arranged the harmonies and mandolin parts. I could only hear all the parts together in my own head before actually recording it and was really glad it worked.
The title ‘Further Ahead’ suggests a journey or progress. Can you elaborate on the significance of the album’s title and how it reflects your personal or artistic journey? I’m glad you think that because that’s what it’s about for the most part. As I briefly mentioned before, I think that many of the songs address change in some way – Polling day is obviously about wanting political change but I feel that the album also addresses seasonal change, overcoming bereavement and sticking two metaphorical fingers up at belligerent managers. I didn’t plan for change to be an overarching motif but that does seem to have become the case.
Will ‘Further Ahead’ feature any specific visual elements or music videos? How do you plan to visually represent the themes of the album? I’m not planning any videos as of yet. I’m not massively fond of being on film or those cringeworthy videos where the singer pretends to play/sing, so it would have to have a purpose if I did one. And I did briefly toy with the idea of making a video for ‘Polling Day’, but decided against it in the end. I had a grand idea of making a dance video and contacted a Morris dancing troupe near me to star in it. They were quite keen but nothing came of it, which is probably for the best!
What do you hope your fans take away from ‘Further Ahead’? Is there a particular reaction or feeling you wish to evoke? That’s a very good question! Firstly, I wouldn’t say I have ‘fans’, not at this level – I can barely sell out a phone box! Nonetheless, if anyone does hear this, it would be nice if they could listen to it as an album in full.
In terms of reaction or feeling, well, I suppose I try to create sounds that can transcend the listeners thoughts and feelings. The instrumental section on ‘Next Time’ and multiple guitar parts on ‘Assurance’ are probably the most obvious attempts at doing this. The latter was my attempt at channeling my inner Kings of Convenience! There isn’t anything quite as gritty lyrically on this record in comparison to my previous one but I hope some people will enjoy the odd song or find some of it relatable to their own experience.
Now that ‘Further Ahead’ is set for release, what’s next for you? Are there any upcoming tours, projects, or plans you can share with us? I have a one off show in Manchester on July 13th to celebrate the album. It will also be something of a farewell Manchester show as I’m moving away very soon. I’ll be doing material from this album as well as from my previous smash flops, and will be joined by some rather lovely special guests. After that, I’ll be studying a Masters in Music Therapy so might not be performing for the foreseeable future.
If I’m honest, I’m not sure if I’m going to record any more music after this album either. I know the phrase “Never say never”, but something feels pretty final about this one. Time will tell, at the very least this is the end of a chapter but my instincts for now are telling me that this is it. I felt that way throughout the whole process of making this album, and the final song ends with a reference to one of my favourite songs from my first album. I’m probably the only one who’s likely to notice it but it’s there. And by being there, it adds a nice full stop to everything and it all goes full circle, back to the very start.
Love's Foggy Labyrinth: Seafarers Sets Sail with "Everything I'd Do"
Forget conquistadors in search of El Dorado – Seafarers, the London chamber pop crew, are on a quest far more perilous: to wend one’s way through the treacherous waters of unrequited love. The latest single from the group, “Everything I’d Do (to Get a Hold on You)”, feels like walking through a Victorian streetscape, forever fog-bound and lamppost-cast with long shadows of melancholy.
This is a lush tapestry woven with shimmering threads of guitar and Lauren Kinsella’s vocals as smoky and rich as a good, well-aged bourbon. There’s a clear reverence here for the old country weepers of the ’80sᅳBonnie Raitt’s aching vulnerability and Emmylou Harris’s crystalline sorrowᅳbut there’s a sharper, more urban edge in this, a feeling of claustrophobia that must be part of the setting expressed by the song, where dreams have gone to a dead-end university town to gather dust bunnies.
Love’s Foggy Labyrinth: Seafarers Sets Sail with “Everything I’d Do”
Lyrically, it’s a heart laid bare. The narratorᅳa lovesick soul in perpetual chase after some distant flameᅳhalf-stumbles through frozen streets and dimly lit dives where each desperate attempt to connect is met with a chilling indifference. For me, this tale of dancing with emotional unavailability echoes in the messy tango that leaves you dizzy and heartbroken. Speaking of tangos, did anyone else catch the unexpected key change on the bridge? Genius.
“Everything I’d Do” is not all bleak, however. In the music, there is a flicker of defiance that refuses to give up completely. Here is the sound of someone grasping at a life raft in the middle of the oceanᅳhope fighting against despair. And perhaps, just perhaps, this glint of defiance is what makes this song so goddamn listenable. What lies before is the confidence that in every foggy labyrinth of love there will always be a way out.
Love in the Age of Swipe Right: A Review of Joe Lington's "SHE"
Imagine love as a vintage record store, full of dusty gems that are yet to be dug out; that is what Joe Lington curates on “SHE,” a sprawling 22-track exploration of modern love that feels like a rediscovery more than a debut.
Lington, an Irish R&B crooner with a feel for the unexpectedᅳthink singing in French and English, even Cameroonian!ᅳweaves a tapestry of really soulful melodies that shimmer with Sisqo and Keith Sweat influences. At the same time, though, it packages a bittersweet message. “SHE” is a lament for the fleeting connections of the digital age, a world where love has shrunk to the size of a quick swipe and a disposable bio.
Certainly, Lington doesn’t shy away from the metaphorical. One track stuttering drum beat feels like a first date, all nervous, and another with breathy vocals is redolent of the whispered intimacy of a secret shared between two people. There is a delightful sprinkling of whimsy throughoutᅳa saxophone solo that spirals skyward like a helium balloon, a bridge that dissolves into a jazz scat symphony and evokes a 3 a.m. party in a Parisian café.
Love in the Age of Swipe Right: A Review of Joe Lington’s “SHE”
Long from itᅳ”SHE” is not all rainbows and unicorns. There’s a sense of overwhelm in the sheer track listing, and some lyrics bend toward the overly familiar. At its core, it makes an impassioned plea for something deeper: a yearning for love that goes beyond curated profiles and fleeting dopamine hits of the dating app era.
By the end, you are left with this weird mixture: nostalgia for when a mixtape or a letter written by hand made sense, coupled with a flutter of hope that maybe, just maybe, Lington will be able to make the embers of real love in today’s digital age flicker back into life once more. Is it a perfect record? Far from it. But is it a compelling listen? Without question. “SHE” reminds us that, within a culture capturing every move for the ‘gram, some thingsᅳlike genuine connectionᅳare worth holding on to.
Georgia Crandon Explores Love's Intoxication in "Relapse"
Ever tried trapping lightning in a bottle made of cotton candy? That’s what listening to Georgia Crandon’s “Relapse” is. The latest single from her self-titled debut is much like riding a neon rollercoaster through the labyrinthine alleyways of infatuation; it’s a true visual odyssey, brilliantly painted with sound.
Crandon digs deeper to flesh out the paradoxical ecstasy of love and addictions; she seems to equate synthetic highs with natural euphoria, as though she were turning feelings into alchemical musical notes. Her voice runs with mercury on glass: shimmering, yet wild. The sound of Darren Bazzoni’s production evokes a milieu that’s almost retro but never dustyᅳlike Casablanca with electric guitars.
In “Relapse,” love isn’t just a gentle nudge that is a baby elephant hug. It is more a kind of quicksand that appears to be solid ground, which drags you into it with every seen-but-dashed-to-the-seas call toward some paradisiacalᅳthough it could turn paroxicmal (yep, I meant that). This song isn’t so much a pop-rock anthem as it is a sonic Rorschach test: do you see beauty or peril?
Credit: Upstage Photography
One just can’t seem to shake the irony-laced messaging deeply looped within those harmonic hooks: the intoxicating first blushes versus an inevitable emotional comedown. Isn’t this cycle older than freaking Nero? Maybe it’s Narcissus peering into his own trap once again, but Pink Floyd is playing softly in another room.
Georgia leaves us standing on the edge of a cliff considering our own vices, wrapped up prettily in metaphoric endorphins. Whose grip can we escape from?
When the last note has died, ponder the silencing echoes of your own relapsesᅳmusical or otherwise.
"Beauty of Change": KLT's Poetic Exploration of the Human Experience
Ever tried to harmonize with the whispering leaves of a cherry blossom? A little like delving into KLT’s “Beauty Of Change”—an elaborated piece, though, albeit put together through the sinews of soul and jazz.
Imagine, rolling in at midnight, on the train fueled by emotional coal, each stop opening a new vista of sonic beauty. Kevin Larriveau drives this locomotive like an old pro alchemist, making auditory gold from base emotions. The voice of Jessy Elsa Palma is nothing short of an aurora borealis: it captures you in its ethereal hues yet grounds you in earthly warmth, best illustrated in the duality underlying “Locked In Paradise.
Themes pirouette on existential tightropes throughout this album; they do not just dance. This collection seeks to unearth our most buried sentiments without resorting to melodramatics or trite tropes. It hisses goals lying forgotten beneath your conscious mind like “Theresa” does when its lush, gospel-inflected notes take flight like doves escaping Pandora’s box —though not too fast lest we forget Gabriel Gorr’s resonant double bass grounding us back.
The addition of Daphnis Moglia’s trumpet and the twilight strings of Interestring Quartet raises this already wonderful album off into astral territory. They swoon somewhere between Haiku poetry and Shakespearean monologues, such that “Beauty of Change” is coated in synesthetic palimpsests.
Credit: AB Salvan
Deciphering some ancient picture, written across time and memory, KLT posits an argument about change as inexorable but poignant at every step. If only reformations could always be so deep. or groovy.
In other words, travel through these soundscapes if you’re looking for anything more than just beats and hooks place. And seek out the wisdom veiled beneath seven soulful moonlit waves.
TATE SEDAR Ignites Dance Floors with "My Fire" Remix
When Julius Caesar crossed the Rubicon, it was less about the river and more a torrential flood of irreversible decisions. Likewise, TATE SEDAR’s “My Fire (TATE SEDAR Remix)” with Titus1—this is not some sort of electronic ripple but a bold dive into the pulsating depths of bass and electro house.
TATE SEDAR’s remix crackles with electric frenzy—picture a dragonfly skittering over a neon-lit puddle during a nighttime rave. It doesn’t walk or even run—vibrating, thunderous baselines across your consciousness that could wake Bacchus from his wine-induced slumber. Layered like an iron chef working just with sounds for lasagna, every note heaves under the weighty potential to evoke sensory overload or ecstatic dance moves.
But amidst this seismic clash of decibels lie messages as profound as they are pumped up on adrenalized synths. It sings—and howls at times—about desire, not shallow whims but deep-seated yearnings that come out in some crucible of thumping beats and shimmering drops, shooting stars across the space with high stakes in tango.
Credit: Lionel Lindeman
Out of these digital chills, what comes out familiar yet revolutionary looks like the fanfare of disco balls ringing against technological dalliance at the juncture of historical analogy, when convergence happens most unexpectedly. Small Gatsby enigma wrapped up in cadaques-catching cocktail parties under moonlit certainty retreating shadow banks.
And as we swing through “My Fire” between anatomical dissection and rhythmic submersion, what lingers isn’t an auditory experience but a vivid eruption, which bids us—in nodes till then concealed—to reconsider what lights us alight in our continued night sky searches for the musical North Stars.
If cherubs in the cosmos had a soundtrack for arrow-flinging, “Real Love” by Starmode & Tarmo might just be it. Strangely enough, imagine Cupid drenched in neon lights, vibing to electronic beats atop Helsinki’s snow-laden roofsᅳthis image encapsulates what brushes through your eardrums with this track.
Dancing on a tightrope between euphoria and plaintive longing, the single crafts sunlight out of notes and chords that could potentially resuscitate frozen hearts. The piano acts not just as an instrument but as an alchemist; turning air into goldᅳa rare feat reminiscent of Midas’s own playlist.
Starmode
The core message sings ballads about love’s rejuvenating power; more refreshing than a gulp of Klondike-esque cold air during summer midsöl (a coined term blending ‘sol’, sun WIth mid). This anthem does not tiptoe around its intentionsᅳit stomps through your feelings with the heftiness of Goliath sporting light-up sneakers pounding along to Beats by Dr Dre helium riffs.
Tarmo
Now let’s sidestep: Did aliens intercept transmissions from our “summery” songs and beam back “Real Love” as their first message? It seems probable when you get washed under its pulsating waves. Another curious muse is whether Archimedes would’ve abandoned his Eureka moment if this tune thumped through his bathhouse?
Wrapping up in ambiguation hues rather than clear-cutsᅳdoes “Real Love” truly elevate or simply tantalize us like unrequited love at peaktime disco infernos? Only repeated listens will tell if it remains timeless or tapers into nostalgia’s echoing whispers.
