Unveiling the Bittersweet Beauty: Exploring Alutepena Hughes-John's Latest Single
Aww! Our much-loved “crazy ukulele lady” Alutepena Hughes-John, who just happens to be the charismatic one whom we all adore, has made a comeback in the music scene with her latest single, “Platonic”. While she is now going solo, she is accompanied by this wonderful two-piece band comprised of Max Read on bass and Karl Thompson on the guitar.
Recorded and produced at Max Read’s Northampton studio The Lodge, “Platonic” is the piece that showcases Alutepena’s creative evolution. The track was one of her old band’s Anthroppic’s songs in 2008, going through a mighty glow-up and leaving its retro pop/rock skins for some shiny 2-Tone vibes now. This makes the sound experience a true audio journey with the blend of old and the new – something similar to getting cozy with an old friend.
it beautifully combines musical styles, drawing its inspiration from popular 2-Tone bands
As a significant feature in “Platonic”, it beautifully combines musical styles, drawing its inspiration from popular 2-Tone bands like The Selector and Madness that makes dancing irresistible! The mixing in of ska and reggae rhythms adds such a unique flavor to this song producing an energy that is so infectious and full of life that you just can’t help but want to move your body.
As Alutepena’s tunes wash over you, they make you drink in the bittersweet beauty of “Platonic song.” It talks about the universally felt ache of the unreachable thing in such a comforting way. Alu, who is well-loved by us all,is not only an amazing musician but a great storyteller who tells the stories of love and heartbreak that will stay with us forever. Our dear crazy ukulele woman, you make us so proud!
Dive into Faded Shades' Latest: "What I'm On About"
Faded Shades’ latest single, “What I’m On About,” is a blistering tempest tossed from the fiery depths of raucous rock’n’roll’s cauldron. Their authentic British invasion echoes do-si-do with raw tales spun into sweaty nights and heartbreaks splintered to a million pedestrian pieces.
Ignited on an open G tuning, the track cannonballs wildly through sonic landscapes like an untamed stallion clad in fresh-spun gold and rust-bitten denim. It ricochets off walls of time—jangly whispers kiss 60s boomboxes while rouged lips flirt daringly at mod-era jukeboxes.
Joe’s six-string tantrums are feverish soundscapes viscerally exposed amid Charlie & Liam’s primal percussive gambol; Effortlessly marrying psychedelic bar brawls with beer-soaked balladry like ink streaking across parchment in drunken delight.
Dive into Faded Shades’ Latest: “What I’m On About”
A saga born amidst Amsterdam’s neon glaze finds expression here- workmanlike angst painted in bright strokes against dark riff-driven canvases – unraveling perennial yarns crusted over classic-rock sensibilities that ring close yet distant, familiar yet curtained by intoxicating novelty
Faded Shades has fashioned vaudeville from noise – their tale universal yet deeply personal; scattered diversions distilled into singular intentionality – a dirge for faded loves crooned against the pulsating backdrop of empty pint mugs slamming onto torn-up wooden tables…
JWAVY’s “BEASTMODE” resounds with the piercing, audacious wails of urban survival in a nocturnal concrete jungle. It is a rap battle cry from the rainy city; Seattle echoes in every beat like drum beats against its steel nerves. Yes, dear reader, JWAVY has released an anthem of thunder and ocean shores cloaked in glinting braggadocio.
“BEASTMODE,” crisscrosses between roaring homage to Marshawn Lynch and hip-hop manifesto — two realms seemingly apart only to collide on this track with promethean impact. Rap is morphed into an unpredictable meteor shower that scatters stars across our mindscape: some white dwarfs of brief brilliance while others supernovas bursting with stories.
Vocally, she shimmers like aurora borealis strewn across the pitch-black northwestern sky. Her voice jettisons around MARIBASED1’s presence much like a graffiti artist asserting her dominion on untouched canvases–bright colors splashed upon dilapidated brick buildings portraying tales as old as time itself.
Subjectively speaking? It’s transcendental meditation through bass-thumping truths chanted at record RPMs; objectively? A cataclysmic symphony whose icy-hot resonance burns bluish flame trails on your eardrums.
Passionate love or heart-numbing indifference — one thing remains unblemished: “BEASTMODE” encapsulates both everything we crave from music when we itch for redemption and what irks us about modern soundscape when it doesn’t satiate our buried yearnings.
Into the Concrete Jungle: JWAVY’s “BEASTMODE”
The review ends here but her music won’t—like radio waves incessantly pummeling space’s frigid void—an invincible beacon flashing Hopefully Ever After messages against frowning cosmic odds while echoing human triumph within melodic whispers—a reverberating testament to self-pride!
Cheryl Craigie Shares Inspiration Behind Her Latest Single 'Migraine'
Good day ladies and gentlemen! It is my honor and immense pleasure to welcome you to this exclusive open interview with Cheryl Craigie, whose most recent single “Migraine”, has been making waves since the release date of the 1st of March. The song that ended up being written after Cheryl’s chronic migraine combined her deeply personal experience and a desire to inform others that often the disease is underestimated and even left unnoticed.
As soon as “Migraine” plays the first line, listeners are going in to its pulsating synth melodies, which, like the pain of a migraine attack, brings them right in to it. There is a transition of Cheryl’s emotional lyrics and authoritative tone that dominate the song, as she captures the dark reality of dealing with migraine status forever.
Cheryl´s father, a professional pianist, who is her greatest source of inspiration in pursuing a career in music was her biggest source of inspiration. Working with Eric Goldberg at the beginning, Cheryl improved her singing and eventually took her style beyond the mere desire to please the audience. Her art is now characterized by risk-taking and authenticity.
Besides music, since Cheryl is a food explorer, she finds solace in cooking, usually trying out new recipes from different cultures. If not for her music career she would open up her own restaurant, featuring her passion for cooking and her gastronomy talent.
After all, she is planning to do a cover of Taylor Swift’s song, which would mean a new chapter in her music career. She vows to continue doing what she loves with the support of her fans without whom she wouldn’t be there in the first place. Concluding, there are a lot more news from this incredible artist with a deep message and so many interesting ideas.
Is there a story behind your stage name? No, just me plain and simple!
Where do you find inspiration? I usually come up with song ideas and lyrics when I can’t sleep.
What was the role of music in the early years of your life? I’ve been singing since childhood and composing has evolved in recent years.
Are you from a musical or artistic family? Yes, my father was an accomplished pianist. I grew up playing and singing with him.
Who inspired you to be a part of the music industry? My father. He was my biggest fan and encouraged me to keep making music.
How did you learn to sing/write/to play? I was very fortunate to study under Eric Goldberg who is not just an accomplished musician but knowledgeable in production and all aspects of music. He has guided me through every step of the way and co-produced all my songs. I would not be doing this without him.
What was the first concert that you ever went to and who did you see perform? Jefferson Starship. I won tickets on a radio station and was awestruck when I saw the live performance. Since then I have been to over 100 concerts and still feel the adrenline rush every time.
How could you describe your music? My taste in music is very eclectic. I like to see where a song will take me and then decide what genre fits it best. Some of my listeners may not like that as they may be expecting a specific sound. I understand that music is very subjective and there is a risk in choosing to do this but I think it’s a risk worth taking.
Describe your creative process. I usually write my lyrics first and then decide what genre fits the message best.
What is your main inspiration? To write about life experiences. If you write about what you know you can convey the best message in your music.
What musician do you admire most and why? Dolly Parton. She’s not only a musician and composer but a storyteller who’s stood the test of time and still able to connect with people of all ages through her music.
Did your style evolve since the beginning of your career? Absolutely! I’m not afraid to take risks anymore.
Who do you see as your main competitor? That’s a tough one! I’m not sure I can answer that. 🙂
What are your interests outside of music? I love to cook and I’m constantly coming up with new recipes spanning all ethnicities. I find cooking relaxing and rewarding when others enjoy my meals.
If it wasn’t a music career, what would you be doing? I probably would have gone to culinary school and would have opened my own restaurant.
What is the biggest problem you have encountered in the journey of music? Being heard. It’s really hard to break through the barriers and get people to listen to artists who haven’t made a name for themselves yet. More doors have opened in recent years but it’s still not enough.
If you could change one thing in the music industry, what would it be? Make it easier for Indie Artists to be heard and get recognition.
Why did you choose this as the title of this project? There are literally millions of people around the world who suffer from Migraines. I wanted to bring attention and awareness to a disease often misunderstood and overlooked. Also, I wanted to let other know they are not alone in their journey. What better way to do this than through the universal language of music?
What are your plans for the coming months? I am currently working on a cover of a Taylor Swift song with a whole new arrangement. Stay tuned!
Do you have any artistic collaboration plans Not at this time.
What message would you like to give to your fans? I would like to thank them for listening and inspiring me to keep doing what I love. Their support means everything to me.
D. Watkins' "Slow Wine": A Harmonic Elixir for the Soul!
Through the staticky fog of musical mediocrity pierces D. Watkins’ single sensation, “Slow Wine”—a heart-beat pounding symphony trapped ingeniously within a pulsating Afrobeat thrill-ride. In this ethereal soundscape where rhythm weaves intoxicating tales and melodies embark on sensual tangos, Watkins proves an ambrosial puppeteer—his strings pulling us into spectral siren calls executed with diabolic precision.
Witness here intricate aphrodisiac arrangements armed to titillate even the most jaded sonic tastebud, forging harmonies debaucherous and divine within the same sultry breath. The vocal essence purrs through each melody—an otherworldly marriage of elegance and lasciviousness birthed lovingly from radiant visuals that gorge upon every lavish facet of life in his lurid portrayal.
D. Watkins’ “Slow Wine”: A Harmonic Elixir for the Soul!
“Slow Wine” is an unabashed whisper across your senses—a warbling blend seeping under petticoats of resistance to grip your soul in a tumultuous thrall: triggering primordial seismic shifts beneath societal norms until they collapse into dust over trembling lovers locked in deathless rhythms spun by almighty Eros himself.
Astoundingly intrusive yet delicately alluring like sweet monsoon rain on parched lips; let it devour you whole as we eagerly anticipate his next opus “Frequency”. A frenzied waltz twirling us relentlessly between blissful prairie sunlight-dappled elation and fever-pitched descents down into punishing abyssal scorn—D. Watkins promises not merely music but transcendental journeys cut raw from his fervently beating artisan heart.
Ascend to Ecstasy: Assa Music’s "Free" Sets Hearts Ablaze
Strapped into the rollercoaster of Assa Music’s latest single “Free”, we are sent reeling through an electric Eden, a cosmic discotheque where gravity has no say. In its electron-laced thrashing elation, this is a song that swells like billowing clouds over the Serengeti before pouncing forth in throbbing neon tendrils—the aurora borealis on an adrenaline bender.
Yet within this pulsating cocoon of triumph resides melancholic echoes probing our tether to solace; reminding us freedom isn’t but unshackled jubilation alone—it hustles with the shadows too. Soft ethereal whispers pirouette around thumping bass-beats and climb bravely upward, forcing midnight suns from hidden recesses of profound depth—a tantalizing play between luminous vortex and digital damnation.
A melodic poltergeist unabashedly tangoing across genres with audacious versatility—Assa coaxes celestial harmonies into punkish rebellion against music taxonomies. Here are wisps of ’80s synth-pop like Marty McFly on moonshine crushed into samples from next-gen consoles—an intoxicating smorgasbord where past probes future under euphoria’s addictive haze.
Ascend to Ecstasy: Assa Music’s “Free” Sets Hearts Ablaze
“Free” undeniably pulses as liberation hymn yet looms specter-like; challenging notion that chains are wholly cumbersome—not some nostalgic appendage yearning masochistic sovereignty. This techno-tonic symphony blurs margins separating beatitude from brutality—ecstasy donning mask of anguish winkingly becomes surrender serenade demonically beautiful squealing petition for existential paradoxicality.
Concise? Hardly! For Assa’s “Free” condenses multitudes in microcosm: love and agony dance gleefully triumphant — sonic supernova freezing time-space in fervent ballet that thrusts listeners beneath gossamer stratosphere reverberating psychedelic rainbows atop seas gone rabid. Readers, brace for emotional whiplash as “Free” straps you onto a sensory bullet-train hurtling through the greased grooves of unabashed human spectrum—hearts set alight and ashes flutter melancholic in the spectral winds.
Sofie Drops New Bouncy Heartbreak Anthem “Party Pooper"
Afro R&B artist Sofie has released her latest single Party Pooper on Friday 3rd May 2024. The rising star is back after her well-received EP “Waves in the 233” that dropped in August 2023. Her new single Party Pooper, produced by the talented Reef Boii is a wavy record that combines Sofie’s smooth vocals with a fun and bouncy beat guaranteed to get you moving. Although the song’s lyrics transport you to a rather sad scene of a lover witnessing their love interest deceive them on a night out, you have no other choice than to dance away the heartbreak. Thus, this is the song for those who want to still take charge of a down moment like this and steer their happiness. The Ghanaian artist is one to look out for as she constantly finds ways to reinvent her sound while sticking to her roots and truths. She blends African instrumentations and her Western influences that are evident in her choice of melodies so seamlessly, all the while sticking to honest and resonating lyrics.
Party Pooper is out on all streaming platforms. Listen to the song via the link here.
Following her last release in July of 2023, Nigerian songstress Elmina kicks off 2024 with new music. Regarded as an exceptional writer with a soft vocal touch, Elmina combines her musical influences across multiple genres R&B, Pop and Soul which she laces with afrobeats music from Nigeria to produce her music. The release is a two-pack consisting of Desire and DBL. The songs run on the theme of love, lust and assurance. Elmina’s ability to embody the emotions she sings about in her songs is her strongest attribute as an artist and she does so effortlessly in this release.
On “Desire,” Elmina is explicit about her intentions towards her love interest. With the underlying bass strings and chords, the afrobeat-produced song sees the singer compliment the flow of the beat with the calmness in her vocals as she expresses how head over heels, she is for this person and states what she wants from them. “you feed my desire. Loving you is all I want”.
“DBL” is a perfect case of R&B meets Amapiano. The bouncy groove and log drums meet Elmina’s soft flowing vocals. Unlike the first record, Elmina after making her intentions clear asks her lover to make their intentions clear. In the opening lines of the song she enquires “Over the sea, would you come searching for me? Into the night would you come looking for me?”
She goes on to tell them if they are going to come, they should not be late. She expresses how lonely it gets without them around and only asks that they should quicken their steps as they come. “see I’ve been waiting how long will you take? Too many shots and now I can’t see straight. Just wanna dance with you don’t be too late.”
Love is a beautiful experience which gets even better when the parties involved are not only vocal about their intentions for each other but make it a point to be present for each other when they are needed the most. That is the core of Elmina’s two-pack which is out now on all DSPs here
Unveiling the Artist Behind ‘Show Me The Gold’ Holly Roseanna
The music of Holly Roseanna literally shakes you up with an explosion of power and soul that just cannot be ignored. Her latest jam “Show Me The Gold” mixes appeal with an infusion of Scottish hip hop that will make you love the flavour of Holly’s witty, tongue-in-cheek approach. With every piece of the music you experience, you discover a person whose heart and mind are in everything she does, putting lyrics that linger even long after the last song ends.
Holly’s “Prima Donna” EP was directly form a time that she spent looking inwards and figuring herself out. Through her songs she touches on all the ways relationships, ups and downs, break ups and resilience can get to her. ‘Holly’s music is driven by bold female fervor and teeming with splashes of fury and silliness, to which she adds an electrifying flair.
Within this exclusive interview, Holly lets us look at the creative process by which she operates, the music influences that shape her sound, and the directions in which she intends to move. She returns to her earliest memories of using music as a family tradition and leads us through the way leading to her personality development over all the years through multiple collaborations.
And now fasten your seat belts as we remove the covers of what makes Holly Roseanna a real live tick – the songs of her stories and the passion that drives her every step. It’s time to be touched by Holly’s bright spirit as she not only will sing through her songs, but also reveal her life story.
Listen to Show Me The Gold (ft. Empress) below https://open.spotify.com/track/2sl9AZqZ0bjelqiXqk4IUm?si=91e88ff5c18b4abe
Is there a story behind your stage name? Roseanna is my middle name! My mum and dad were massive fans of the band Toto, hence the name Roseanna.
Where do you find inspiration? From other artists! I usually feel inspired to write something after hearing something I love by another musician.
What was the role of music in the early years of your life? My first introduction to music was singing to The Sound of Music when I was little. Then I started to ply the Cello when I was in Primary School. Once I learned to play guitar at 14, the rest was history and songwriting came fairly naturally to me.
Are you from a musical or artistic family? The musicial genes are strong in my family. My dad is a fantastic guitarist, my uncle is a bassist and my auntie plays the violin. My grandad was a fantastic singer and so was my great-granny – she even sang for the Queen!
Who inspired you to be a part of the music industry? My family have always been very supportive and have always encouraged me to get out there and share my music with the world.
My family have always been very supportive
How did you learn to sing/write/to play? I taught myself guitar and went to piano lessons for a few years to try and learn some music theory – which I wasn’t very good at! I prefer to play by ear.
What was the first concert that you ever went to and who did you see perform? My first gig was Jack White and the Raconteurs at the Edinburgh Corn Exchange when I was 16. I was in love with him at the time!
How could you describe your music? This EP is angry and sassy with a touch of silliness!
Describe your creative process. I normally start off my songs as an instrumental piece before the lyrics come. I normally write a bassline, then drums then add in chords and then any other embellishments until I have a groove. Occasionally I will start off an idea for lyrics – I decide what the mood for the song will be (i.e energetic, sad, a ballad) then I’ll take it from there and try to create a soundscape which suits the theme.
What is your main inspiration? Writers who write about unusual and interesting topics, rather than just stereotypical songs about love and heartbreak.
What musician do you admire most and why? Kate Bush and Andre 3000 – some of their lyrics are real poetry and very interesting – they both know how to think outside of the box and are hugely musically talented too.
Did your style evolve since the beginning of your career? Yes, definitely, when I first started off, I wrote girly love songs on the acoustic guitar. I find that style a bit cringey and embarrassing now!
Who do you see as your main competitor? I try not to compare myself to other artists as we all have a totally different set of circumstances. I compete with myself all the time though!
What are your interests outside of music? I love pole dancing and making stained glass art.
If it wasn’t a music career, what would you be doing? Music is only a hobby for me and I have a full time job in events management!
What is the biggest problem you have encountered in the journey of music? Not having enough time – if I had more time to excel in my skills I’d be a better artist for it.
If you could change one thing in the music industry, what would it be? It doesn’t pay particularly well, that’s for sure!
Why did you choose this as the title of this project? I chose the title ‘Prima Donna’ to reflect the heavy and sassy nature of the tunes. I feel like a Prima Donna when I sing them.
What are your plans for the coming months? I have a few gigs coming up with my cover band, Siren, and I’ll preparing for my next release!
Do you have any artistic collaboration plans Not on the horizon, but for this release I really enjoyed collaborating with Empress who’s an amazing Scottish hip-hop artist and rapper.
What message would you like to give to your fans? I hope you all love the EP and stay tuned for some more music which will be released very soon!
Cristina Noujaim Talks About Latest Single 'I Should've Said No'
Cristina Noujaim must be proud of herself, with this latest single of hers, “I Should’ve Said No,” she displays a very high artistic depth and a wonderful mastery of music. After an excruciating three-year production process, Noujaim has crafted a mesmerizing auditory experience which is difficult to categorize into a single genre. While 150 various vocal parts play in a complicated combination, this illustrates her exceptional talent as a musical narrator and requires that listeners would listen from the beginning to the end being transfixed by the story.
Just as Noujaim has done since the very beginning, the song flows the raw emotional intensity that underlines its capturing delving into the human relationship intricacies as well as the pain caused by words left unsaid. Every chord conveys truthfulness, as it takes us on an interior voyage of self-questioning and sorrow.
Noujaim’s vocals are just amazingly beautiful. This is performed effortlessly by her as far as the shifting emotional dynamics of the piece are concerned. Her talent to transfer feelings by voice is unsurpassed, evoking genuine empathy and understanding in the listener.
Speaking about the inspiration behind the single, Noujaim shares, “‘I Should’ve Said No’ is a reflection of the complexities of human relationships and the consequences of not listening to ourselves. It’s a deeply personal piece, as all my music is. My hope is that listeners will feel the same heart-wrenching retrospectiveness I felt while writing the song.”
As she continues to evolve as an artist, Noujaim’s journey is marked by her genuine passion for music and a desire to connect with her audience. “Truly the most incredible feeling in the world is knowing that other people listen to my music. I’m so grateful for every person who hears my songs and wants to listen again.” With her first EP, Atlas, set to release this November, and marriage in September, it’s going to be a busy yet exciting year for Noujaim.
More of this was shared during a recent interview with Mister Styx of Musicarenagh, so join us as we discover more about this multi-talented artist
What is your stage name? I don’t have one – Cristina Noujaim is my given name.
Is there a story behind your stage name? Nope!
Where do you find inspiration? Funnily enough, these days it’s my old journals. I’m emotionally doing really well, so when I have creative days I like to go through my old journals or notes and really zoom in on a feeling.
What was the role of music in the early years of your life? I have been singing since I came out of the womb. It’s funny, my sister and I recently found a video of me at 9 months old, with her teaching me how to play piano. Since then I’ve tried every kind of music imaginable — I’ve trained in opera, songwriting, music producing, musical theater, orchestra, and probably more. But for the last decade, I’ve found the most inspiration from producing music, so that’s where I’m leaning in.
Are you from a musical or artistic family? Surprisingly, no. I’m the only artist or musician in my immediate family, though every member of my family loves music.
Who inspired you to be a part of the music industry? I’m honestly glad to *not* be a part of the music industry. My full time job is at Meta, where I work as a Machine Learning Engineer. The best part is getting to come home, write and make music, and then share that music with my coworkers over lunch. It’s actually really great to live in both worlds.
How did you learn to sing/write/to play? I learned to sing through opera. I found a voice teacher, Kathryn Amyotte, who called my voice “raw lasagna” when we first started working together (I was 11). Sometimes I think of her, and hope she thinks it’s cooked.
I learned to sing through opera.
What was the first concert that you ever went to and who did you see perform? I was 11, and my family and I drove to Hershey Park in Pennsylvania to see the Jonas Brothers and Demi Lovato on the Camp Rock 2 tour. It was awesome.
How could you describe your music? The best way I can describe my music is vocal indie pop. My favorite thing to do is create vocal harmonies, and my co-writers and production clients will always have to rein me in from adding too many layers. With my own music, I simply go all in, and you can hear that in my new EP, Atlas.
Describe your creative process. I write when I feel something intense, basically immediately as the feeling starts. Usually I write down whatever I can and then call my co-writer, Liz Bissonette.
What is your main inspiration? Right now, my main inspiration is RAYE, who just makes the most incredible jazz-pop-hiphop-r&b mishmash. Her vocals are impeccable and I think about her live performances regularly when I’m planning my own.
What musician do you admire most and why? Taylor Swift. She writes the most incredible, poetic, life-changing lyrics and somehow it’s still a pop song.
Did your style evolve since the beginning of your career? Yes. I started strictly as a singer-songwriter, but as I gain production skills, I’m able to expand my music so much into new genres.
Who do you see as your main competitor? If I had to choose, the artist who makes music most like me is Ariana Grande, in the way that she stacks her vocals. However, no one can compete with her voice, I mean come on.
What are your interests outside of music? Obviously I love engineering, but most of the time when I’m not writing or working I’m playing with my corgi, Cheddar.
If it wasn’t a music career, what would you be doing? I think I’d still have to do something outside of engineering, so I’d probably be a painter. I’m pretty mediocre at it, but I love it so much.
What is the biggest problem you have encountered in the journey of music? Translating my vision into real life. I can hear songs in my head, but sometimes I don’t know how to put that into exact words or find instruments that fit the theme sonically. A lot of my production journey is learning how to fill those mental gaps.
If you could change one thing in the music industry, what would it be? I wish as musicians we could just release music, and not have to be content creators. I love music for the sake of music, but it’s important to also be heard.
Why did you choose this as the title of this project? I Should’ve Said No is about the regret of impulsive decision making and people pleasing. “I should have said no” was such a consistent intrusive thought during the time I was writing this song, so it fit perfectly as the title.
What are your plans for the coming months? My first EP Atlas releases this November. I’m getting married in September (!!!!!) so it’s going to be a busy year.
Do you have any artistic collaboration plans Everyone knows how much I work with Liz Bissonette, but I have a few other incredible artists you’ll be hearing me with soon.
What message would you like to give to your fans? Truly the most incredible feeling in the world is knowing that other people listen to my music. I’m so grateful for every person who hears my songs and wants to listen again.
An Odyssey Through Die Kammer's "Season V: Maybe Forgotten. Maybe Glorious.
Die Kammer’s latest release, “Season V: Probably Forgotten. Probably Glorious.,” is a work that transcends human experience and feeling. above all, this eleven-track opus exemplifies the band’s unceasing pursuit of musical growth while never straying from their unique artistic expression.
The forty-six minutes-long album takes its listeners on a journey. The compositions are meticulously crafted, with the genre changing from one song to the next. The opening notes of Die Kammer demonstrate wonderful harmony of diverse musical elements, creating a unique and engaging sound that is hard to put into a category.
This albums themes reflect on self-reflection, pain, and inner strength and mirror the individual sorrows and global troubles of the present era. The masterly lyrical power of Die Kammer enables them to convey deep insights into the human condition and invites listeners to explore the inner dimensions of their own lived experiences.
“I’ve Given Up To Cry” and “The Void” are stand-out tracks that demonstrate the band’s perfectly weaved narratives through haunting vocals and emotive instrumentation that stay with the listener even after finishing listening. While on the contrary some songs like “Ago” and “I Am Leaving Now” talk about the resilience of human spirit where the singer reflects the life’s victories and defeats.
The album’s production is flawless, which is evident in the expertly crafted soundscapes with the perfect balance of acoustic and electronic elements. Through rhythmic use of loops and beats, a modern touch is injected into the band’s traditional sound, thus taking every musical piece to a higher level.
In “Season V: “Maybe Forgotten. Maybe Glorious,” Die Kammer has given a brilliant performance that has to be experienced, discussed and celebrated as a magnificent addition to their extensive discography. Regardless of whether you are a long-time follower or a newcomer to this album, it is an essential listening – a captivating journey that will make an indelible impression on any soul who embarks on it.
Listen to Season V: Maybe forgotten. Maybe glorious below
Jane N' The Jungle's "Life of The Party" Reimagined
Jane N’ The Jungle’s decision to drop an acoustic version of “Life of The Party” might’ve caught some off guard, but it’s a move that pays off big time. This stripped-down rendition brings a whole new vibe to the table, showcasing the band’s raw talent and emotional depth in a way that hits you right in the feels.
From the get-go, you’re hit with Jordan White’s vocals, dripping with passion and vulnerability, perfectly complemented by Brian Dellis’s soulful guitar work. It’s like they’ve peeled back the layers of the original track to reveal the heart and soul of the song, and man, does it pack a punch.
What’s really impressive here is how they manage to capture the essence of the original while still making it feel fresh and intimate. While the original version had that big, atmospheric sound, this acoustic take strips it down to its core, laying bare the emotion and intensity behind the lyrics.
In a world where so much music feels manufactured and artificial, Jane N’ The Jungle keeps it real. They’re not afraid to push boundaries and try something new, and “Life of The Party (Acoustic)” is a perfect example of that. Whether you’re a hardcore fan or just discovering their music, this one’s definitely worth a listen.
So, grab your headphones, dim the lights, and get ready to be transported to a whole new dimension of sound. Trust me, you won’t regret it.
Bottled Lightning: The Mythic Intensity of Diya Dhar's “I Want You”
In “I Want You,” Diya Dhar orchestrates a symphony of yearning, each note a tear crystallizing in the crucible of her voice. Aryan Haanz’s acoustic strings beckon with sylvan fingers, while Mikail Mirza’s lead guitar lines shimmer like auroras writhing across an insomniac sky. All the while, Manasvi Baheti’s piano cascades as tender as raindrops kissing leaves in an enchanted forest at twilight.
Dhar weaves heartache and desire into auditory gold; it is not music but alchemy that she practices. Her lyrical loom spins gossamer threads connecting star-crossed lovers to cosmic despair – this track is their requiem and rapture both.
The lush orchestral backing sways between dream pop reverie and baroque grandeur: it’s a banquet hall mirroring chambers of cracked glass refracting neon psychedelia. Like mythic lightning bottled by sorcerers, “I Want You” storms through your senses – gentle thunder rolls are the crescendo for ghosts who sway clinging to echoes of lost embraces.
Bottled Lightning: The Mythic Intensity of Diya Dhar’s “I Want You”
And yet there lies inevitable tragedy – love here careens on the precipice where passion tilts perilously towards obsession; where memories morph into phantoms gnawing at one’s sanity with silken fangs. It resonates like bittersweet opium – divine agony laced throughout its harmonious addiction.
Remember this track as you would a feverish romance under foreign stars — beautiful and searingly transient. Diya Dhar has midwifed from silence an ardor-fueled epic poem distilled into four minutes of temporal absolutism that will scorch souls long after its last lamentations fade into silent yearnings.
“I Want Everything”: Pork Pie’s Auditory Ticket to Psychedelic Infinity
In the shadowed alcove of today’s musical bazaar, where neon echoes pirouette with soporific reluctance, emerges “I Want Everything” – a phantasmagorical mosaic from Pork Pie that distills the wistfulness of an Elysian bygone era through a prism of anarchic dance-floor defiance. With Shane Brett’s drums raining down like cosmic anvils against Michael Laverty’s bass-lines – serpentine rivers carving valleys into virgin planets – this osmotic tapestry unfurls like fever dreams in an opium den.
Amidst this genesis springs forth Stafford, alchemist and siren both; his vocal cords spun from gossamer spider webs woven tightly around our collective longing. His literary wand taps upon piano keys morphing pain to solace while his alto sax exhales lost love letters found in attic chests. Peter Laverty on lead guitar ignites comet tails that lick at heaven’s door—every riff a Pollock painting mid-stratospection.
“I Want Everything” catapults you into kaleidoscopic realms—a bacchanalian marriage between 60s psychedelia and modern tempestuous groove—its DNA redolent with garage rock sweat and indie effervescence crystallized under Dundalk’s Lockup watchful gaze: Pete Rust the conjurer; Fergal Davis the enchanter. Each note is a testament to their deft craftsmanship as sonic tailors who snip away till nothing but raw ethereal emotion remains.
“I Want Everything”: Pork Pie’s Auditory Ticket to Psychedelic Infinity
Pork Pie dares us—with audacity verging on lunacy—to sip from their chalice laden with liquid auroras in auditoriums where memories cavort untamed alongside pulsating cadences. Though birthed as progeny of “Pterodactyl,” this latest offering is no mere fledgling—it surges forth emblazoned with plumes iridescent enough to blind Zeus himself.
Ah! But fear not: for amidst such celestial braggadocio lies poignant humanity within every harmonic turn—an odyssey sailing agitated ocean-waves inside our marrow—the tangible ache of desire singing its universality straight through skin and soul alike… This is music that doesn’t simply demand your attention; it seizes it voraciously like Prometheus gripping fire—a decadent uproar meant not just for cognoscenti ears but any being dared dream beyond mundane finitude.
“Heaven”: Where Johan Davis Melds Passion with Circuitry
Upon the iridescent wings of Johan Davis’s “Heaven,” we are swept into a voracious vortex where electronic pulses beat against our temporal lobes like primal drums heralding a new dawn. Each synth stroke paints vibrant strokes across the canvas of consciousness, invoking a euphoria so electric it could resurrect Da Vinci to dance under disco lights.
Davis pulls at Avicii’s strings while whispering secrets into Kygo’s ear, all the while pelting us with beats as relentless as David Guetta’s urban heart and harmonies as haunting as Lost Frequencies echoing through love-lorn catacombs. But make no mistake—this is not your forebearers’ anthem, nor their requiem. It is rebirth; an EDM phoenix from silicon ashes.
“Heaven” crackles with the fire of first kisses in digital storms whilst refrains wash over you like love letters penned in stardust on satellites speeding past Mars. Yet within these celestial gardens of sound lies an arresting intimacy, each note a confession made beneath bedsheets woven from strands of light extracted from nebulas far beyond our grasp.
“Heaven”: Where Johan Davis Melds Passion with Circuitry
This solitary composition by maestro Davis shatters paradigms with symphonic fury, casting aside somber balladic chains to flirt daringly with brilliance only found when one wields passion and circuitry hand in hand—intertwining them until they surge through veins pumping plasma made pure with fervent innovation and undiluted connection.
Let your soul be seduced by his sonic saga; for here stands Johan Davis on his auditory Olympus—not content to merely ascend but rather redefine what realms may come when electronics conspire to conceive sheer Heaven amongst mortals.
Hilgrove Kenrick's ”Fragments: Part 1”—A Musical Epiphany
In the shadowy womb of silence, Hilgrove Kenrick’s album “Fragments: Part 1” emerges, a piano whispering secrets in the language of sorrow and joy. This is not mere music; it is raw cartography of the soul. Each note, like a tear fallen upon an ancient manuscript, blurs lines—between harmony and dissonance, pain and ecstasy.
Here lies “Charlbury”—a single ascending majestically from this body of work—where keys are caressed with such purity that each chord blossoms into epiphany. The BBC music introducing saw fit to unveil its beauty; we listen rapturously as if privy to the confessions within Eden’s walls.
Kenrick’s fingers dance languorously across ivory shores as waves crash against forgotten realms within us all. Ephemeral yet eternal echoes tell tales once submerged beneath our flesh-bound manuscripts compiled by years worn heavy on bowed backs.
Credit: James Greenoff Photography
Let us pause now: Behold! Woven into solitude’s fabric are tempestuous sonatas which scored scenes where death flirted lasciviously in Suicide Club whispers or traced Shadowhunters’ mythic arcs through time-wrinkled epochs.
“Fragments: Part 1” is a dappled chiaroscuro of sound, painting strokes so deliberate one might hear their own heartbeat syncopate with Kenrick’s gentle tempo—a lullaby for giants panting slumberous after battle or cherubs’ laughter twinkling through celestial vaults undone before dawn’s rosy fingers.
Each composition cradles your psyche while peeling back layers until you’re exposed—an essence distilled. To engage is not just to hear but to wander hallways haunted with ghostly intimacies—you’ll never leave untouched nor unstirred by such achingly human refrains.
The Sounds of Salvation: Russell Oliver Stone's 'We Gotta Wake Up' Calls You
In the labyrinthine echo of Russell Oliver Stone’s latest auditory mosaic, ‘We Gotta Wake Up,’ there lies a tremulous heartbeat thumping beneath a variegated veneer of jazz and R&B, frenetic yet precise like dragonflies skimming over an ancestral river. This release, plucked from the soul-stirring tree of ‘The Calling’, is less song than it is a clarion call to the slumbering giants within us all, rousing our social consciousness with the fervor of a revivalist preacher in the throes of divine communion.
Stone’s voice—a dulcet elixir laced with gravitas—is both balm and blade as he cuts deep into humanity’s fabric, sutured with silken threads by Amen Noir’s piercing spoken words and Poetikah’s lyrical soliloquies that rise like incantations amidst this tempestuous symphony. His notes soar high enough to graze Angel wings only to swoop down where devils fear to tread—an audacious tango between gospel choirs swathed in shadowed velvet lounges and blaring street corners preaching insurrection.
The Sounds of Salvation: Russell Oliver Stone’s ‘We Gotta Wake Up’ Calls You
To listen is to sit at the altar of history itself as each chord professed by Stone bears witness—not just sung but lived through decades; not crafted but mined from his very marrow now facing its mortal crescendo in terminal refrain. Yet amidst personal apocalypse looms unfettered hope: this silver-voiced sage proffers sound therapy for society’s ruptures while himself standing at eternity’s precipice.
Behold ‘We Gotta Wake Up,’ wherein Russel wields cadence and timbre against looming silence—the maestro conducting one final symphonic uprising before night falls eternal on him; yet leaving behind stars ignited that outlast darkest prognosis. Drink deeply this potion bitter-sweet—taste immortality distilled into evanescent melody—and wake!
In the fever dream fantasia of synth-wave rebellion, Kim Beyer’s “Let Loose” crackles like neon lightning against a velvet night. Here she stands: pop maestra wielding kaleidoscopic echoes of an era both retro and reborn, her voice not merely singing but igniting soul fires in echo chambers crammed with ’80s bravado.
The track is a threnody to liberation—a frenetic carpe-diem carousel spinning listeners through sonic wormholes whence AJB’s percussion pulses like a heart racing wild from cage’s breach. Kyle Vice’s guitar rips at seams of silent compliance, each riff a clarion call slicing through silk screens of conformity.
Kim—accidental TikTok muse turned phoenix—wears her skin anew; melodies entwine with shadowy verses as if joy frolics hand-in-hand with melancholy under clandestine moonbeams. Her anthemic resonance trains lenses on existence’s chiaroscuro, balladry seasoned by life’s abundant ironies.
Credit: Sam Fahmi / Studio 79
As synths swell into delirious crescendos and choruses detonate like confetti cannons bedecking midnight skies with stars’ shrapnel, “Let Loose” ridicules restraint. It stamps defiant footprints across soundscapes familiar yet uncharted—an auroral appeal for the daring that drowns out society’s monochrome whisperings.
What bellows forth is effervescent uproar—an insurrection in verse as contagious as fervor’s first blush—a jubilant insurgency painted in splashes vibrant as Aurora herself dancing shameless upon stratospheres untouched by mortal frettings. Listen! For within this symphony lies conflagration set to syllables; it begs you dance among its flames until nothing remains save the purest essence laid bare, inviolate and exuberantly free.
"Love Lessons": Charlotte Lansman's Odyssey of Heart
Like a tempest in a celestial teacup, Charlotte Lansman’s “Love Lessons” is the ambrosia-fueled odyssey to the heart’s darkest chambers and back. This siren of soul, with vocal cords spun from smoky silk and twilight longing, delves deep into love’s labyrinthine arcade—her notes caressing each twist like Icarus’ feathered tips grazing sun-drenched hopes.
Adrift on waves of jazz-infused yearning, “Love Lessons” births itself from the forgotten embers of past liaisons—a phoenix risen not just to soar but to scorch the parchment skies of retrospection. The track waltzes through time-swirled folk whispers while strutting upon rock-tinged bravados; every beat a pulse in pop culture’s palpitating heart.
Credit: Matilda Hill-Jenkin
Lansman’s voice—a medley painted with deep blues and greys on an audacious canvas—renders souls vulnerable and shields threadbare against her melodic siege. With Rodwell at production’s helm, they forge this Retro Soul anthem like Hephaestus crafting thunderbolts for Olympus—it crackles with electric wisdom amidst warm vinyl grooves.
When “Still Searching” promises more episodes within this opera of oscillation, we stand eager candidates schooled inadequately by these already imparting lessons—an audience blissfully unprepared marinating in antsy anticipation. Herein lies Charlotte Lansman: part poetess-prophetess fabricating reveries that creep into marrow—the wrong people could never taste so achingly right.
In the Heart of Nature: Tommy Crawford's "Mountain Song" Soars
In the whispering canopy of an ancient, emerald forest, Tommy Crawford’s “Mountain Song” blooms—a wildflower symphony rooted in earthy folk traditions yet dazzling with iridescent modernity. Here is music spun from the sunlit threads of nature herself, each chord a resplendent tapestry woven by trembling fingers and the fleeting kisses of chickadees’ wings captured songfully amidst Vermont’s velvet green.
Crawford treads a sacred path; where his voice rises—a woody timbre seasoned by miles—it carves soulful echoes into stone hearts. The strings quiver as if plucked by twilight itself, while guest minstrels Breitbach and Kogan cradle melodies till they weep golden droplets of familial love and communal embrace.
In the Heart of Nature: Tommy Crawford’s “Mountain Song” Soars
But to paint this as mere pastoral idyll would be to deny its serrated edge: “Mountain Song” does not merely ascend but claws skyward through tangled thicket and shadow—bearing raw scars scribed with societal wanderlust wrapped tightly in a lullaby’s promise—with every step towards that cloudy summit steeped intrepidly in fatherhood’s fragile potency.
Mixed exquisitely within The Station Studio’s hallowed walls by Appleton’s deft alchemy—the evergreen breaths entwine themselves around themes monumental yet whispered like confessions between old friends beneath stars. As “Good Night New York” looms on Crawford’s horizon, let us revel momentarily within this audial glen—an intimate ballad encircled grandiosely—where each note hums with life palpable enough to stir hibernating dreams beneath winter soil.
“Mountain Song,” ephemeral as dandelion wishes upon which it rides triumphantly into our auditory firmament then dissipates like mist—it renders unto those willing their very essence back transformed: enkindled spirits swathed in verdant hopefulness—forever bound to partake in this eternal dance led ably by maestro Crawford at Mother Nature’s rustic gala.
“Whiskey Blues,” the debutanistic thunderclap of Shyfrin Alliance, refracts light like a prism caught briefly in sun’s flirtatious gaze. This hurricane hovers at the fulcrum of Eduard’s baritone earthquake and hammond organ rebellion. One could drown in these maelstroms – or learn to exhale with gilled lungs.
The spectral choreography pulsates on an uncharted axis; blues meets romantic balladry as gospel-blues choir confesses sin, not to some unwavering deity but whiskey-sozzled demons begging redemption through rhythm.
Knife-edge guitar licks carve sensual arabesques onto thick marrowbone bass lines reverberating across eon-strewn existential tundras. The resultant harmonious discordance is a black hole supernova oscillation – chillingly carnal, haloed by cosmic turbulence.
Undeniably earthbound yet throbbing with celestial ambition, “Whiskey Blues” imbibes itself into oblivion only to resurrect from its fiery ashes—an audial phoenix undulating upon musical ley lines threading ancient past and unborn future.
In just under four hallucinatory minutes, Shyfrin Alliance bellows an augury foretelling both loss and perseverance toward daunting odds-trials by fire forged in stardust elixir of life’s effervescent dance. Drink deeply from this heady concoction although bittersweet bittersweet—it transforms sorrow into symphony!
Dizzying spectacle bounded within sonic faultlines insightfully trace enduring humanity’s tangled topology underpinning our sung-unsung histories painting existence via auditory shadows whispering ancestral truths radiant as Northern Lights’. Endure! Persist!
End after end result? A raw catharsis that makes us drunk on our own survival instinct. “Whiskey Blues” heralds arrival of nuanced runaway comet – don’t blink lest you miss their hypnotic interstellar streak across music’s infinite cosmic canvas.
Sofie Set To Release ‘Party Pooper’ First Single Of The Year
After a successful EP release in August last year, Ghanaian Afro/R&B artist Sofie is set to drop her first single of the year on Friday 3rd May 2024. Titled ‘Party Pooper’, the Afropop song is filled with bouncy melodies and sounds that explore the experience of being blindsided by a love interest on a night out.
Produced by the talented Reef Boii, the single is another exhibition of Sofie’s ability to blend West African instruments and rhythms with her core R&B sound. The dance-inducing instrumental provides a bedrock for her silky vocals and lyrics that contrast to the vibe the instrumental presents.
Sofie’s honest lyrics about feeling betrayed and deceived by a lover over such a beat see the artist processing heartbreak in her preferred way.
The song will be on all streaming platforms on Friday 3rd May for your listening pleasure.
From Orchestral Grandeur to Techno-Thrills: Exploring "Cybersymphony" by Leyla Romanova
Leyla Romanova’s debut in the world of music for film scores is an unbelievable breakthrough. By “Cybersymphony” she pays homage to the extraordinary achievement of Christopher Nolan, though the resulting sound shape is entirely new and just as impressive and novel as his.
Did you know that “Cybersymphony”, which is 7 minutes long, is just like a journey through the beat and melody of trance music? Romanova’s hybrid of the orchestral classical and modern electronic music gives her music an atmospheric texture, which is at once and entirely fresh.
It is obvious that Romanova had been, and still was, spectacular at her job just by looking at her. This song both figuratively and literally pulls you in and takes you on a journey that requires no images to portray a vivid movie. The harder the beat gets, the more distorted the synths and you dance without any resistance.
It is obvious that Romanova had been, and still was, spectacular at her job just by looking at her.
What differentiates this performance from others is its non-verbal story-telling narration. Romanova’s line is interwoven with what we call narrative level, the scenes of monumental battles, entreating musings, and mankind’s deepest values. A skill of a composer to convey many feelings without using a single word is a real evidence.
Romanova uncovered why she likes Christopher Nolan’s pictures and decided to music for the track was consistent with this narration approach. It can be argued that Cybersymphony is a perfect fit for Nolan’s masterpiece of cinema since it illustrates the drama, tension, and ingenuity of creative mastering.
After each release anticipate Romanova’s growth and new feats in the movie realm. In the end of the “Cybersymphony” she becomes very famous and she can only become part of a group of great movie score composers soon.
Tate Sedar Retakes "Oh Caroline" By The 1975 And Its Beyond Expectation
The gift of a mixing track and blending genre is in fact a true part of the TATE SEDAR’s craft. Aside from his recent remixing of this timeless classic “Oh Caroline” by The 1975, the Los Angeles-based producer has got the floor jumping with his latest adaptation.
From the beginning SEDAR literally peels away and exposes the fundamental vibe of the track before turning it into intricate dance music with electronic elements. musical hooks that combine harmonious melodies with pulsating beats create an inviting, melancholic atmosphere in which the powerful voice of the vocalist takes the spotlight. It’s actually a watchable and marvelous journey from the beginning to the end.
The fact that SEDAR pay close attention to details and how they relate to the sounds in depth brings about an amazing result. He delicately meshes the former vocals with guitar licks, live drums, and sine waves of synths, forming an addictive sonic rug that is originally entertaining yet the feeling is a confirmation.
However, SEDAR does not limit its artistry as a band that merely makes music to dance and celebrate. Fundamentally, he is a self-motivated individual with the desire to enhance his art for societal criticism and improvement. Such as victims of war care, raising of wellness of civil rights, his mix-ups convey more importance and mission.
By means of “Oh Caroline” remix TATE SEDAR has conveyed the feeling of both pulsing dancefloor tumult and mind-expanding musical experiment. At the same time, it’s a colorful tribute to various artists’ artistic re-reworkings of SEDAR which have in turn rejuvenated and infused the initial work with a brand-new artistic vision.
On the lookout for a high-octane remix that would not only capture hearts and minds but also give a literal kick to your feet? There’s your answer. SEDAR’s version is the story that will not stop to enthrall you.
Listen to Oh Caroline (TATE SEDAR Remix) – The 1975 below
Riding the Neon Reverie: Roman Angelos' "Motorbike Journey"
Akin to a moth drawn to the aching neon howl of longing, we embark on “Motorbike Journey” released by the label Music Factory Records—a husky reverie in chrome and loneliness. Roman Angelos take us along for an evocative ride down prophetic back alleys bathed in cistern moonlight. There are whispers of Morricone’s magnificent melancholy, echoes of Jobim’s purring pathos humming softly just under the phosphorescent euphoria.
Vibraphone notes flutter like intoxicated fireflies while trombone bellows breathe life into derelict jazz bars littering this desolate dreamscape when suddenly, rapturous flares of harmony disrupt our solitaire ballad startling birds takin flight with vestigial melodies clattering Scarlet macaw feathers unto forgotten cobblestone boulevards.
Riding the Neon Reverie: Roman Angelos’ “Motorbike Journey”
Yet scorn pulls at joy’s jovial jowl as tinges of exotica glitch across your cortex painting this sonic paradise wiith paradoxical hues. Infusions from early electronica fray edges further till ecstasy twines with pungent loss pushing “Motorbike Journey” far beyond quaint genre confines and plunging it into spectral realms between nostalgic fascination and sterile alienation.
All given breath by Shawn Lee—his hand seismic on throttle & chord progression alike—careening through liminal spaces where past betrays future and artistry eschews conventionality. Tune in folks. Put pedal to asphalt beat; board Angelos’ two-wheeled hallucination as it roars right outta reality, mournful tires eating terpsichorean distances beneath endless electronic skies rings with dangerous delight—an intoxicating synesthetic shape-shifter that will continue to serenade your consciousness long after farewell has been bid!
Sonic Odyssey: Exploring Paul Lupa's “What's the Dealin'”
Paul Lupa, in his layered symphony “What’s the Dealin,” dances to the rhythm of deeply interwoven notes that spin a web where reggae meets roots; an exciting oxymoron. Drenched in labyrinthine sounds of Hamburg’s solitude, he constructs veritable musical watercolors with Jamaican-born Jah Mason’s vocals – a rumbling thunder on a whispering canvas.
His production plays like Braille as it feels more than just heard, its complexity forcing us to run our fingertips through each ripple of bass and percussion, all meticulously intertwined by this masterful maestro. The remarkable Florian “Stahl” Muenzer matches note for note on guitar in this thrilling audio dance-off, whilst Cédric Munsch breathes life into his horn sections that might even make Coltrane blush.
Sonic Odyssey: Exploring Paul Lupa’s “What’s the Dealin’”
Drum tracks entrusted to BigFinga add rhythmic poetry; call-and-response between generations lost in music jazz clubs from old decades and those yet born into the 21st century beat labs. This is Paul Lupa painting beyond borderlines of genres—the embodiment of universal refrain—in chillingly delightful dedication to Nazar Moawad via his “Flashlight Riddim.”
A paragraph is barely enough cup room for this oceanic offering—a tide pulling you under swiftly while also teasing your senses with soft lulls as if asking ‘what’s the deal(in)?’. Despite its interrogative moniker though, we find less questions here than answers whispered beyond words but inside melodies birthed at sound-crossroads; resulting not just listenability but lived experience!
"Dirtfarmer Ep": Black Mountain Tabernacle's Haunting Hymns
In the gritty dust trails of their latest EP, “Dirtfarmer,” Black Mountain Tabernacle crafts a ghost dance of despondence and defiance while plucking at the strings of dark country lore. The scent of doom-laced honesty hangs heavy as Preacher’s vocals cut through like ragged thunder across a stark prairie skyline. His guitar, alongside Stonepicking’s weeping steel cries, conjures up images both spectral and earthbound.
As each track unfolds—like tattered pages from a worn diary kept under lock and key—the narrative arc bends toward the oppressive heartbreak only capitalism in its cruelest form can fertilize. Through Fred Hills’ frenetic heartbeat drumming to Alfie Wood’s bass lines that slither low on the horizon line like an impending storm, “Dirtfarmer” pulses with raw vigor.
“Dirtfarmer Ep”: Black Mountain Tabernacle’s Haunting Hymns
Recorded in Brighton Road Studios’ echoey chambers—with every stitch sewn under Jake Skinner’s watchful eye—the result is gruesomely picturesque; it reeks sweetly of despair yet vibrates defiant enthusiasm into your marrow. Masterfully tethered by Ben Pike’s resonant touch at Raretone Mastering in Leeds, this is no mere collection but a saga tingled with tragedy.
Energized by anguished narratives encapsulated in backbreaking melodies, Black Mountain Tabernacle singsblack-hearted hymns where shadows play folk tales on strung-up bone instruments—a ruthlessly enchanting spectacle dressed in dusk.
Raynald Grenier's Musical Odyssey: “Canon in E Flat”
With Raynald Grenier’s “Canon in E Flat,” we do not merely listen; we levitate on silken strands of sonic silk spun by the intricate loom of past virtuosos – Mozart, Beethoven, Vivaldi; those celestial mariners charting Siren seas where melody is both wind and wave.
Each note births a universe unto itself: Gravity-defying orbs pirouetting in an ethereal ballet as age-old harmonies resurrect from ink-blurred manuscripts to imbibe themselves into the thirsty ether. The composition inhales time and exhales timeless…a rhythmic catharsis that renders each minute insignificant—a meteor shower of sensations cloaked in the velvet robe of our shared musical lineage.
Raynald Grenier’s Musical Odyssey: “Canon in E Flat”
For here lies a seductive contradiction: A newer than new creation birthed April 13th from timeworn womb—the deific phoenix smoldering within its own immortality. And yet, it heralds a paradoxical simplicity—pristine streams meandering across valleys forged by obstinate mountains crowned with cloud wigs—an enveloping pastoral idyll punctuated by Templeton-like spiders spinning webs of enchantment over waiting fields.
Grenier has offered plump fruit in this release- ripe for biting but only if one savors – plunges fully into this cascading waterfall suspended mid-fall forever glistening under dawn’s dewy kiss. “Canon in E Flat” doesn’t just pacify ears—it detoxifies jaded spirits languishing under modernity’s incessant drone while serenading starved souls out onto sacred dancefloors divine. It is an exquisite elegy pulling double-duty elation—one tantalizing trickle at first glance revealing profound depths upon conscience surrender.
Exploring Ironic Sweden's Sonic Saga: "Media Whore"
In this sonorous ballad of bytes, “Media Whore” by the audacious Swedish collective Ironic Sweden, we are taken through labyrinthine electronicsᅳ an echo-scape both somber yet vitally pulsating. It is a bizarre simulacrum, humbly cradled in their southern Swedish studio, steeped in rich synth pop and EDM sensibilities yet seeping into brave new territories.
The hand of UK’s Callum Melville ᅳnotorious Calibeatsᅳ that crisply produced this sonic saga is finely felt. Like runic stones etched with modern lore, every vibrant burst and melancholic undertone perfectly echoes its far-reaching theme: the relentless thirst for fame and perpetual price it commandsᅳa media harlot begging for coins of attention.
Exploring Ironic Sweden’s Sonic Saga: “Media Whore”
Riddled with influences harking back to pristine synth-pop days akin to ‘Lost Eden‘ᅳtheir previous endeavorᅳthe band now adopts a more anthemic energy as members Dan, Stefan, and Tezz straddle between familiar rhythm-flows and surprising crescendos. And isn’t life too flirtatious often playing dice with our fates; where past meets present forming futures unforeseen?
“Media Whore,” then becomes not just sound but paradox-perfume from Ironic Swedenᅳan electronic opus breathed out like virtual vapors twirling amidst trials of celebrity-hood…until they fade away. The song? A masterful nuance cacophony; The review? A chaotic symphony wrapped as words dancing on a fine line called music critique.
Beyond Conventions: Exploring Addiction and Artistry with Sam Feinstein
If recently, you have found yourself in a terrible situation. Without a doubt, it's a real struggle to accept the fact of addiction and all the hardships it entails. Yet, you don’t need to go through this all alone. Sam Feinstein's latest song, "Need Me," deals sincerely with the sensitive topic of addiction through a direct and catching approach to sound.
This track takes the listener through the completely fabricated journey by the use of atmospheric synths, spacey guitar hooks, and his another-worldly beautiful voice. Through soft whispers and bumbustles, his voice is spread and layered creating a space of thoughts and exposing feelings.
"Need Me" is iconic as it separates itself from the norm - I refuse to obey the rules, at least, when it comes to my art. This melodic piece does not only convey to you how serious the vicious cycle of addiction becomes, but it also tells you the marks that it leaves on a person's life. We realize this song is written from a cussed place of sincerity.
While the topics are heavy, still there is a beat of hope fluttering through that track. Sam is not repelled by darkness, but rather invites light to illuminate the darkness for a better tomorrow. This man's experimental attitude portraits a fact that our greatest challenges can be overcame even by music that has a power to move and to cure.
I am aware that it is not an easy process but you don't have to sail all through it by yourself. See Sam's brokenness on "Need Me" 1 as an affirmation that your voice, your story matters. You've got this. One step, one day at a time!
Sam Feinstein out with Need Me ,Sam Feinstein releases Need Me ,Sam Feinstein with Need Me ,Sam Feinstein drops Need Me ,Need Me by Sam Feinstein ,Need Me from Sam Feinstein ,Sam Feinstein ,Need Me ,Sam Feinstein Need Me ,Need Me Sam Feinstein
Listen to Need Me below
https://open.spotify.com/album/4fPqp6rGQHJf4K2iMETFLT?si=TebU3-fETxWtVgw_NQ3SHQ
Follow Sam Feinstein on
Facebook
Soundcloud
Youtube
Instagram
What is your stage name
I don't have a special stage name right now. I'm just going by Sam Feinstein.
Is there a story behind your stage name?
I've been the bassist of several bands and I always released my music under the names of those bands, so I ended up with a lot of music under the names of dead bands, so I'm using my own name now to make sure that fans are always able to find whatever musical project I'm working on now.
Where do you find inspiration?
My voice has a somewhat villainous character, so I like writing from the perspective of real world villains. In this case, I wrote from the perspective of an addiction begging an addict to affirm their love, while also revealing the abusive nature of their relationship.
What was the role of music in the early years of your life?
I was diagnosed with autism early on in life, and music was the first way I began to connect with people and build a community.
Are you from a musical or artistic family?
I have several artists in my family: my aunt Karen is an art teacher and a visual artist of many mediums, my Zayde (grandpa) played piano and painted, my uncle played drums for a long time, my mom played piano when she was young, and my father recently started collecting and selling records and comic books.
Who inspired you to be a part of the music industry?
I knew I wanted to pursue music long term when I was in 7th grade in Mike Gianopolo's jazz band at Higgins Middle School. He taught me to improvise and that opened so many doors to me for musical expression and creativity.
How did you learn to sing/write/to play?
I started taking piano lessons when I was 7, but I really began to find my place musically when Christopher Stone started giving me bass lessons when i was 13 years old. Combined with the jazz experience I was getting from the middle school jazz band, this began me on the path toward songwriting and playing in my own bands.
What was the first concert that you ever went to and who did you see perform?
My father took me to a concert to see Styx, Foreigner, and Kansas when I was a freshman in high school. Styx were (and still are) one of my favorite bands and seeing them perform the song I love listening to on CDs live was an unforgettable experience.
How could you describe your music?
I make whatever interests me, and whatever the bands I play with inspire me to make. Right now I'm making a lot of synth-rock as I'm playing with a synth-pop band called The Monitors. In the past I've been in bands and wrote music ranging from ska punk to bluegrass to hair metal, rnb, funk, and klezmer.
Describe your creative process.
Right now, I tend to get inspired by lyrical ideas, record short pieces of songs, then go back with instruments and try to inspire myself to write more lyrics, and eventually it turns into a song. I used to have a more traditional love-performance oriented process of writing on a guitar or piano, but this process lends itself well to showcasing my primary instrument: bass.
What is your main inspiration?
I'm continuously inspired by the musicians in my community. Most people will never hear some of the finest musicians and most creative songwriters as they don't market their music for mass audiences, and only play them at local venues.
What musician do you admire most and why?
I've always loved Toh Kay. His lyrics feel like they light a rebellious fire in my soul. I love the way he combines ska punk with Eastern European folk music, and his band Streetlight Manifesto was the first band I ever moshed to.
Did your style evolve since the beginning of your career?
I always had someone sing my songs for me until I was in my mid-20s. Exploring my own voice, and seeing what possibilities I could explore with it was freeing and sent me down a path making music in styles I never would've imagined otherwise.
Who do you see as your main competitor?
I don't like seeing musicians as competitors. The world benefits from a diverse music scene, and I'd love for more people to be able to hear the wide variety of sounds missed by mainstream.
What are your interests outside of music?
My day job is in writing software for testing audio systems. I also enjoy hiking and cooking!
If it wasn't a music career, what would you be doing?
I'd have probably dove headfirst into science and engineering. I still do that as my day job (in an audio context).
What is the biggest problem you have encountered in the journey of music?
Balancing a music career, a tech career, and relationships becomes challenging. Sometimes I might be forced to go a long time where I don't get to invest much time into my music career. I'd love to make music my full time job, but I can't make that happen financially yet.
https://open.spotify.com/artist/5m8PEWgd0neC7q98XU8bla
If you could change one thing in the music industry, what would it be?
The music industry is full of scams. People will message you on instagram offering the world if you just pay them a little money. It's exhausting filtering out scams from real opportunities.
Why did you choose this as the title of this project?
"Need Me" references addiction and the intense, nagging urgency with which addiction can present itself to an addict.
What are your plans for the coming months?
I have another song in the works, and I'm hoping to continue putting out more music.
Do you have any artistic collaboration plans
I'm playing electric bass with synth rock band The Monitors and indie rock group Granny Nix, and playing upright bass with Melinda Kausek and will be playing live and releasing music with all of them in the near future.
What message would you like to give to your fans?
Stay tuned into your local music scenes because you're bound to find some hidden gems. Hopefully if you're listening to me, you've found something different that you wouldn't hear otherwise.
If recently, you have found yourself in a terrible situation. Without a doubt, it’s a real struggle to accept the fact of addiction and all the hardships it entails. Yet, you don’t need to go through this all alone. Sam Feinstein’s latest song, “Need Me,” deals sincerely with the sensitive topic of addiction through a direct and catching approach to sound.
This track takes the listener through the completely fabricated journey by the use of atmospheric synths, spacey guitar hooks, and his another-worldly beautiful voice. Through soft whispers and bumbustles, his voice is spread and layered creating a space of thoughts and exposing feelings.
“Need Me” is iconic as it separates itself from the norm – I refuse to obey the rules, at least, when it comes to my art. This melodic piece does not only convey to you how serious the vicious cycle of addiction becomes, but it also tells you the marks that it leaves on a person’s life. We realize this song is written from a cussed place of sincerity.
While the topics are heavy, still there is a beat of hope fluttering through that track. Sam is not repelled by darkness, but rather invites light to illuminate the darkness for a better tomorrow. This man’s experimental attitude portraits a fact that our greatest challenges can be overcame even by music that has a power to move and to cure.
I am aware that it is not an easy process but you don’t have to sail all through it by yourself. See Sam’s brokenness on “Need Me” 1 as an affirmation that your voice, your story matters. You’ve got this. One step, one day at a time!
Sam Feinstein out with Need Me ,Sam Feinstein releases Need Me ,Sam Feinstein with Need Me ,Sam Feinstein drops Need Me ,Need Me by Sam Feinstein ,Need Me from Sam Feinstein ,Sam Feinstein ,Need Me ,Sam Feinstein Need Me ,Need Me Sam Feinstein
Listen to Need Me below https://open.spotify.com/album/4fPqp6rGQHJf4K2iMETFLT?si=TebU3-fETxWtVgw_NQ3SHQ
I don’t have a special stage name right now. I’m just going by Sam Feinstein.
Is there a story behind your stage name? I’ve been the bassist of several bands and I always released my music under the names of those bands, so I ended up with a lot of music under the names of dead bands, so I’m using my own name now to make sure that fans are always able to find whatever musical project I’m working on now.
Where do you find inspiration? My voice has a somewhat villainous character, so I like writing from the perspective of real world villains. In this case, I wrote from the perspective of an addiction begging an addict to affirm their love, while also revealing the abusive nature of their relationship.
What was the role of music in the early years of your life? I was diagnosed with autism early on in life, and music was the first way I began to connect with people and build a community.
Are you from a musical or artistic family? I have several artists in my family: my aunt Karen is an art teacher and a visual artist of many mediums, my Zayde (grandpa) played piano and painted, my uncle played drums for a long time, my mom played piano when she was young, and my father recently started collecting and selling records and comic books.
Who inspired you to be a part of the music industry? I knew I wanted to pursue music long term when I was in 7th grade in Mike Gianopolo’s jazz band at Higgins Middle School. He taught me to improvise and that opened so many doors to me for musical expression and creativity.
How did you learn to sing/write/to play? I started taking piano lessons when I was 7, but I really began to find my place musically when Christopher Stone started giving me bass lessons when i was 13 years old. Combined with the jazz experience I was getting from the middle school jazz band, this began me on the path toward songwriting and playing in my own bands.
I started taking piano lessons when I was 7, but I really began to find my place musically when Christopher Stone started giving me bass lessons when i was 13 years old.
What was the first concert that you ever went to and who did you see perform? My father took me to a concert to see Styx, Foreigner, and Kansas when I was a freshman in high school. Styx were (and still are) one of my favorite bands and seeing them perform the song I love listening to on CDs live was an unforgettable experience.
How could you describe your music? I make whatever interests me, and whatever the bands I play with inspire me to make. Right now I’m making a lot of synth-rock as I’m playing with a synth-pop band called The Monitors. In the past I’ve been in bands and wrote music ranging from ska punk to bluegrass to hair metal, rnb, funk, and klezmer.
Describe your creative process. Right now, I tend to get inspired by lyrical ideas, record short pieces of songs, then go back with instruments and try to inspire myself to write more lyrics, and eventually it turns into a song. I used to have a more traditional love-performance oriented process of writing on a guitar or piano, but this process lends itself well to showcasing my primary instrument: bass.
What is your main inspiration? I’m continuously inspired by the musicians in my community. Most people will never hear some of the finest musicians and most creative songwriters as they don’t market their music for mass audiences, and only play them at local venues.
What musician do you admire most and why? I’ve always loved Toh Kay. His lyrics feel like they light a rebellious fire in my soul. I love the way he combines ska punk with Eastern European folk music, and his band Streetlight Manifesto was the first band I ever moshed to.
Did your style evolve since the beginning of your career? I always had someone sing my songs for me until I was in my mid-20s. Exploring my own voice, and seeing what possibilities I could explore with it was freeing and sent me down a path making music in styles I never would’ve imagined otherwise.
Who do you see as your main competitor? I don’t like seeing musicians as competitors. The world benefits from a diverse music scene, and I’d love for more people to be able to hear the wide variety of sounds missed by mainstream.
What are your interests outside of music? My day job is in writing software for testing audio systems. I also enjoy hiking and cooking!
If it wasn’t a music career, what would you be doing? I’d have probably dove headfirst into science and engineering. I still do that as my day job (in an audio context).
What is the biggest problem you have encountered in the journey of music? Balancing a music career, a tech career, and relationships becomes challenging. Sometimes I might be forced to go a long time where I don’t get to invest much time into my music career. I’d love to make music my full time job, but I can’t make that happen financially yet.
If you could change one thing in the music industry, what would it be? The music industry is full of scams. People will message you on instagram offering the world if you just pay them a little money. It’s exhausting filtering out scams from real opportunities.
Why did you choose this as the title of this project? “Need Me” references addiction and the intense, nagging urgency with which addiction can present itself to an addict.
What are your plans for the coming months? I have another song in the works, and I’m hoping to continue putting out more music.
Do you have any artistic collaboration plans I’m playing electric bass with synth rock band The Monitors and indie rock group Granny Nix, and playing upright bass with Melinda Kausek and will be playing live and releasing music with all of them in the near future.
What message would you like to give to your fans? Stay tuned into your local music scenes because you’re bound to find some hidden gems. Hopefully if you’re listening to me, you’ve found something different that you wouldn’t hear otherwise.
