Echoes of Longing: Larry Karpenko Unveils "Fare Thee Well"
“Fare Thee Well,” the latest single from solo artist Larry Karpenko, isn’t presented to you; it unfolds around you. Like suddenly remembering the scent of rain on hot asphalt – evocative and unexpectedly grounding. Karpenko deals in the currency of emotive electronic, trading in the aches of love, loss, and that strange resilience we humans seem hardwired for.
This track is a goodbye, a sonic valediction to a friend, Sharlene. It is laced with the persistent thrum of longing, that feeling of looking for someone in a crowded room you already know isn’t there. But instead of drowning in the minor key of grief, Karpenko offers…acceptance? Maybe. Or is a brave, bruised, a determination to carry the flame.
The repeated “fare thee well” becomes both a lament and a release. I know, the music builds a soundstage as a cathedral to his love, and longing. Have you ever tried to catch smoke? That’s the visual it sparked. But a beautifully scented incense burning high above a church interior…
Echoes of Longing: Larry Karpenko Unveils “Fare Thee Well”
It avoids any sense of being trite or performative; It feels real. Raw is a bad comparison. Like watching a complex mathematical equation resolve itself into something astonishingly simple and beautiful. It’s the residue of feeling, not the feeling itself.
The core of the music pulsates with a tender kind of strength, a refusal to let go, expressed as an acknowledgment of a new stage in the relationship. This music is the sound of processing it all, of internalizing it all. It’s, in a single word: bittersweet.
What echoes loudest after the final note fades is not the sorrow, but a question mark dipped in hope. What colors will bloom from this winter of the heart?
This single. This single. Los Angeles-based singer-songwriter and producer Omar has dropped “Better Be Lucky,” and, well, I’m wrestling with a sonic octopus here. It’s electric pop, sure, but it feels like pop that’s been put through a taffy puller of conflicting emotions. Did I just think about taffy? Why? Moving on.
The central theme – that brain-scrambling push-pull of a toxic relationship fueled by frankly mind-blowing physical intimacy – hits with the subtlety of a neon sign in a dark alley. Our speaker is trapped. They know they’re being mistreated, that they are little more than an afterthought when the lights come up. It is great how authentic the storytelling feels. The song, explores those complex feelings, those human feelings. Yet, that magnetic, all-consuming connection… it keeps them tethered. Omar delivers the story with this raw, almost uncomfortably honest vocal performance. It’s like watching a tightrope walker navigate a hurricane—impressive and alarming.
There’s a real energetic bounce to the production that almost makes you want to dance this conundrum away.
Omar’s Raw Honesty Hooks You in “Better Be Lucky”
And it’s this very contrast. That contrast, found in music that is as danceable as the “electric pop” this is; with such frustration in the core of the main character in the lyric; makes it such an appealing song. It’s a puzzle.
Like seeing a perfectly arranged bouquet of flowers in a dumpster – beautiful, but… why?
This song reminds me of those ancient Greek myths – the ones where someone is eternally punished, but in the most oddly specific way. Our guy here is punished with, good chemistry.
“Better Be Lucky” is not trying to offer answers. I am certain of this.
It’s presenting a messy, very human dilemma in all its glitter-covered, heartbreaking glory. It’s a frustrating truth.
Have you ever felt like a lone sock in a dryer, tumbling endlessly, searching for its match, only to find… a button? That’s a little how I felt listening to De/OS’s (Taemin Kim’s) new single, “Rise I.” But in the best way possible. It’s a swirling vortex of calm, a sonic kaleidoscope. The release is described as minimalist ambient, orchestral, zen…and yes, it’s all those things. But it’s also, somehow, a tiny seed cracking open, a slow unfurling of… what, exactly?
Resilience. That’s what De/OS is exploring, what’s infused every subtle swell and retreat of the music. Not the kind of shout-it-from-the-rooftops resilience, but the quiet, persistent growth of a redwood, drinking deep from unseen springs.
There’s an almost painful beauty, and its not sad. I kept expecting it to be, for my mind and soul, and it did not happen! It’s surprisingly hopeful. Reminiscent of the first light, a brand new dawn, a golden hour over water, an inner peace.
And speaking of beauty of humankind, the explicit theme of “Rise I” doesn’t hit you over the head with a philosophical hammer. No.
Beyond Zen: De/OS’ Profound “Rise I”
It cradles you. Makes you breathe. Makes you want to call your grandmother and ask her about that one story from her childhood – you know, the one about the bird? Which reminds me… birds are weird. How do they know where to go?
Taemin Kim has managed to wrap profundity in a package so listenable, so unexpectedly grounding, that it catches you off guard. One moment you’re contemplating the very nature of existence, and the next you’re feeling utterly… centered.
What are the next chapters going to sound like? I don’t know, but if this is the beginning, it is something to go by… What remains, after all the noise fades?
Joize's "Nasty" Ignites a Friday Night Fever Dream
Manchester’s own Joize throws us headfirst into a Friday night fever dream with his new single, “Nasty.” And, boy, is it appropriately named. Not nasty as in, ew, gross. No. This is that electric slide-across-the-dancefloor-because-the-bass-just-possessed-you kind of nasty. Afro RnB, sure, but there are flickers of something a little…unexpected.
The theme? Unabashed, unapologetic desire. The song unfolds in a single electrifying night. It’s a brief exchange of a single glance, a pulse of energy between two strangers that suggests, not commitment, but something undeniably primal, fun, and perhaps slightly forbidden. There isn’t the search of forever here. Joize gives no promises beyond the confines of the present night, as bodies get drawn to one another for an electric embrace on the dance floor.
It brings into question, is the depth of human connection only found in commitment? Did we all decide to forget our basic instincts one day? Is it Tuesday already?
Joize’s “Nasty” Ignites a Friday Night Fever Dream
Seriously, though, this focus on immediate, physical gratification is refreshingly honest. It’s a slice of nightlife reality, and that realism will speak volumes to Joize´s growing following. Joize paints a vivid picture of that “living in the moment” vibe, without all the glitter and fake smiles often overused in this genre.
“Nasty” pulses with an energy that’s almost tactile. You feel the heat, the press of bodies, the magnetic pull. It makes one contemplate the fleeting nature of, well, everything, from empires that rise and crumble into dust and the transient chemical explosions in a baking soda volcano.
Joize channels that sexy club atmosphere beautifully. One moment it can be analytical and then… squirrel! Back to a rhythmic heartbeat that resonates deeply.
With “Nasty,” is Joize showing us something profound about our fleeting existence or is he, like an ant colony focused on relentless activity, simply reminding us to embrace the moment and dance?
Find Your Peace in Inal Bilsel's "Once Upon a Cloudtop Meadow"
Inal Bilsel, “Once Upon a Cloudtop Meadow”. Honestly, the title alone conjures… well, precisely what the music delivers. It’s an album that sounds like the background music for a Studio Ghibli film that doesn’t exist yet, but absolutely should. Have you ever seen a cat yawn so widely it looks like it’s trying to swallow the sun? That level of surprising delight – that’s this album.
The album is comprised of fourteen tracks, but functions as one large, continuous cinematic piece. Bilsel, an award-winning composer and producer, invites us not so much to listen, as to inhabit a sonic fairy tale. The press release says this is achieved through cinematic composition, a blend of jazz fusion, ambient sounds, and good, old-fashioned classical elements.
But, what does it feel like?
It feels like stumbling upon a secret garden where the flowers play miniature trumpets.
It’s intensely visual music. Which is curious, considering its lack of lyrics. I keep envisioning brightly-colored stop-motion creatures frolicking through, indeed, cloudtop meadows. Each instrumental piece sets a scene. Peaceful. Serene.
Find Your Peace in Inal Bilsel’s “Once Upon a Cloudtop Meadow”
Is this what clouds sound like when they gossip? Maybe.
The core message? Escapism. Pure, unadulterated, expertly crafted escapism. Which, when compared to, say, the invention of the printing press…seems vastly more fun at the present. Bilsel crafts more than mere melodies. Each song holds a fairy tale-inspired narrative.
The themes explored throughout seem to gravitate towards that of innocence and discovery. A sense of boundless optimism and, dare I say, wonder, pervades every note.
In a world often defined by its sharp edges, “Once Upon a Cloudtop Meadow” is a gorgeously rounded corner. It is nice to escape for a bit.
Feel the Shift: Mariah Jayne's "Crescent" Resonates Deep
Mariah Jayne, “Crescent”. This single… it’s a chipped teacup holding a storm. Not a tempest in a teapot, mind you, something far more contained, yet infinitely more volatile. “Crescent,” the new single from rising indie-pop artist Mariah Jayne, isn’t something you just listen to. You inhabit it.
The genre label says indie-pop. Fine. Accurate, I suppose, if you’re cataloging butterflies by pinning them to a board. But does that tell you about the ache? About the lyrical tightrope walk between self-doubt and defiance? No. Not one bit.
The message in “Crescent” unfurls slowly. It starts with internal conflict and low self-worth blooming like strange, nocturnal flowers in the moonlight. The struggle is with the confusing past, one that makes the singer feel like an outsider looking at her own existence. You see a deep dive into all the confusion.
Did I mention that oranges are originally from Asia? Thought you might like to know.
Feel the Shift: Mariah Jayne’s “Crescent” Resonates Deep
Jayne explores a yearning for peace in all that turmoil. Like she’s trying to see through her own confusion.
There is resilience woven into this sonic tapestry. The track’s theme is not about succumbing, not entirely. It’s about recognizing the scars, tracing their edges with a trembling finger, and still stepping forward. The lyrics touch briefly the existential dread and fear.
This will resonate. With anyone. This may apply to anyone who’s ever felt the ground shift beneath their feet and wondered if they were the only ones feeling the tremors. Or felt the existential pull of “who will fold the fitted sheet in such conditions?”. “Crescent,” in all is an excellent indie release.
Will it all make sense in the end? Maybe. Maybe not. Perhaps that’s the point.
Exploring New Frontiers: Among the Masses Unveils ‘Antarctica’
Good evening, everyone. Tonight we’re diving deep into the world of Among the Masses, a Swedish band redefining rock, pop-rock, and alt-rock with their unique sonic fingerprint. Their latest single, “Antarctica,” is an immersive experience that marries atmospheric soundscapes with emotionally charged storytelling. Produced and mixed by Andreas Ahlenius, this track showcases the band’s ability to blend nostalgia—think Depeche Mode, The Cure, and Radiohead—with modern innovation.
Inspired by the icy vastness of its namesake continent, “Antarctica” takes listeners on a cinematic journey filled with haunting vocals, ethereal synths, and brooding basslines. It’s both intimate and expansive, capturing themes of isolation, introspection, and wonder. For songwriter Kent Alfredsson, it began as a demo born from fascination with the unknown—ancient civilizations, hidden truths, and humanity’s place in the universe—and evolved through collaboration into the rich final product.
In this interview, we’ll explore the creative process behind “Antarctica,” how the band’s chemistry has grown over time, and what fans can expect next. Join us as Among the Masses shares the inspirations, challenges, and triumphs that brought this hypnotic piece to life.
“Antarctica” is an evocative title. What inspired you to name your latest single after Earth’s southernmost continent? It’s a strong metaphor if you like, but listening to the lyrics it’s quite profound and relates to what some people mean are ancient and still existing civilizations living side by side with us.
How would you describe the sound and atmosphere of “Antarctica” to someone who hasn’t heard your music before? It’s atmospheric, emotional, catchy melodies and production, sounding both modern and retro at the same time.
Was there a specific event or emotion that sparked the creation of this track? It’s the fascination of sightings and stories, and also there’s a better climate now regarding openness and an understanding of things we have no idea of and don’t understand.
Did you approach the writing and recording process for “Antarctica” differently from your previous releases? Not really, a song, a melody and/or lyric is always inspired by different events, books, movies, reality and news perhaps.
What were you aiming to convey thematically with this single? The song was more or less finished as a demo and we sent it to our producer Andreas Ahlenius to hear his view and vision, if any, and he came up with a direction for the production with the lyrics and the demo in mind.
Walk us through your collaborative songwriting process for “Antarctica.” How did the track evolve from initial concept to final product? This song is primarily written by me (Kent Alfredsson) as many of our songs are. It begins with the idea of the song, the lyrics (in one order or another) then a demo that’s sent around among the band members to get ideas and input.
Then the guys contribute ideas and suggestions until we meet to finalize the actual song as a demo.
Were there any happy accidents or unexpected turns during the recording sessions that made it into the final track? Not really on this one. It was sent to Andreas who had the vision quite fast, he then sends a draft for input and ideas.
How long did “Antarctica” take to complete from initial idea to finished product? It’s a long process since there’s many songs in the loop regarding writing, production and finalizing. So about one year.
Has your creative chemistry as a band evolved since your formation, and how is that reflected in this new single? Yes, throughout the years peoples roles have changed from time to time due to personal life and cycles of creativity.
At times some of us are more involved in the process than other times, but everyone’s involved in the process in different ways.
These roles change over time.
What’s your personal connection to “Antarctica” as a band? Does it represent something significant in your journey? I would say sound-wise it’s taking our music further, exploring new sounds and techniques, it’s a never-ending process.
Lyricwise ”Antarctica” is also food for thought when it comes to the unknown – within and in the universe.
Is there a particular lyric or musical moment in the song that feels most meaningful to you collectively? Probably the middle-eight that really takes it away musically and emotionally.
Do you have plans to release a music video for “Antarctica,” and if so, what can fans expect? At the moment there’s no plans for a music video for the track, but that might change.
Music videos are always fun to make.
Can fans expect more new music soon, and how might it relate to or differ from ”Antarctica”? Yes, there are more releases on the horizon. There’s a couple of more or less finished songs to be released. Keep your eyes open.
Fight the System with THE HYBRIS' New Album "t h r e e"
THE HYBRIS, a masked virtual trio—Ringo Rabbit, Beanie Bison, and Malcolm Mandrill—posing as superhero wannabes, drop their new album “t h r e e.” They claim a mission to save the world with tunes. It’s alt-rock, doused with punk sneer, a splash of 80s neon, and enough stadium-rock ambition to make Bono blush. But does it soar?
Well. This record digs its claws deep, like a cat with an existential crisis. Each track of “t h r e e” screams a diatribe about the “arrogance and downfall of modern times.” The lyrics? Picture a gladiator arena, except instead of lions, there are corporate logos and stock market tickers, with employees scrambling for glory in the downfall of the capitalist system. The guys expose the ruthless game, all these songs show ambition and the hunger for power, played inside that relentless, dehumanizing system. It’s…heavy. Almost so relentlessly dark that I feel inside a Kafkaesque dystopia.
Fight the System with THE HYBRIS’ New Album “t h r e e”
And yet… There’s an undeniable surge of energy, that defiant pulse running through the 12 songs that compose “t h r e e”. This album feels like finding a rogue fireworks display in the middle of a tax audit. Characters are depicted caught in the hamster wheel of success, reduced to strategies, risking it all. Even talking about failure and market crashes, amidst manipulation and never-ending pressure, the feeling remains the same. You kind of want to smash something, and then maybe start a revolution? Or, at the very least, write a strongly worded letter to your local politician. It is weirdly exhausting.
Musically, it jumps around. It brings the critical commentary on power’s circus and its relentless pursuit, along with the cost of humans. There’s that unexpected kazoo solo—wait, was that a kazoo?—that somehow feels right. It is a blend of celebration amidst chaos. And a call to fight.
Ultimately, “t h r e e” leaves you in a state of concerned reflection: is this the soundtrack to our impending doom, or a wake-up call we desperately needed? Or, maybe the question we are implicitly asked is “What flavor of apocalypse are we going for today?”
Emily AF, the brains behind Rockstar & Elise—a solo project that sounds like an 80s jukebox exploded and then reassembled itself with bluegrass banjos and industrial-strength glue—has dropped a new single. What do we make of Emily, a veteran sound engineer moonlighting as a nostalgia pop siren? Fascinating, no?
“Cruel Summer – Emily AF Version,” explores a sizzling, dangerous liaison. A clandestine connection where the “Do Not Disturb” sign is permanently illuminated. The lyrical journey maps out a head-over-heels plunge into a love affair that’s equal parts ecstasy and agony, where intense infatuation collides headfirst into the brick wall of emotional unavailability, or plain ol’ damage. And somewhere, a tiny voice squeaks,”Is this thing even safe?”.
This track’s sonic fingerprint aligns neatly to the “dark synth-pop” drawer of my imaginary file cabinet, or probably under the heading “synth-infused pop” if I were more organized. One might feel they’re being chased by robot dragonflies through a neon-lit, fog-shrouded city.
Our protagonist craves connection with an almost painful, voracious intensity. Meetings are “secret,” boundaries are…let’s say flexible. This tune might make the next season of “Stranger Things.” Or it might make the list of my gym playlist. But I Digress.
There is the thrill, a chase, the white-hot core of summer love – but also, alarm bells, like a disco ball shattered, reflecting back fragments of heartbreak and vulnerability. Isn’t that always how it ends? At least, on tv.
It evokes images of driving in cars that are old, but new, with a companion as beautiful as damaged and listening to radio-friendly synth tunes in this “Cruel Summer – Emily AF Version.”
In closing, this latest musical venture has prompted questions about the relationship between memory, desire, and the often-chaotic nature of emotional connections. Or maybe it’s just a catchy tune about a messy summer fling. What do you think?
CJ Jarratt Serves Up Sugary Poison with "Bad For My Teeth"
CJ Jarratt, a solo purveyor of that early 2000s pop-punk sound we all secretly still crank up in our cars, has just dropped a new single, “Bad For My Teeth.” And honestly? It feels like finding a half-melted candy bar in the pocket of your favorite old hoodie – sweet, familiar, and probably not very good for you, but you’re going to devour it anyway.
The song gnaws at the core of a toxic relationship, the kind that’s all shimmering surface and jagged edges underneath. CJ Jarratt lays it bare: this isn’t some romantic tragedy; it’s an addiction. He’s trapped. She is his queen and his virus all in one go. He Knows this entanglement with the alluring and destructive significant other, is bad, that their manipulative controlling behaviours are eating him from inside, yet he can’t leave. It’s the kind of lyrical honesty that makes you check your own pulse. Are you okay? Have you ever felt this stuck?
Suddenly, I’m thinking about Icarus. Did he, too, feel this exhilarated as the wax melted? A bit dramatic, perhaps, but this Power Pop sound has this way of opening up all old, the unhealed parts, doesn’t it?.
CJ Jarratt Serves Up Sugary Poison with “Bad For My Teeth”
The song is a sonic contradiction, bouncing between the energy of a stadium anthem and the intimacy of a confession whispered to a bathroom mirror. The theme is that raw ache, beautifully constructed in a head bobber sound, of knowing something is destroying you, and loving, maybe, every excruciating second.
It explores deeply, what a terrible addiction feels, sounds, smells. How powerlessness and love are twisted together to tie the perfect destructive knot.
It’s messy, chaotic, and painfully real. This thing about feeling trapped is not, in itself, new, is it? But this exploration is something.
Maybe that’s the point. Or maybe I’m just projecting.
“Bad For My Teeth” is available now. Listen, reflect, and maybe call your therapist. Or don’t. It’s your call.
Masks Off: Elliot Minor Returns with Powerful "How Does It Feel"
Elliot Minor, those British rock-revivalists, are back from a decade-plus slumber. They’ve re-emerged, instruments blazing, with their new single “How Does It Feel.” You know, the ones who always managed to sneak a cello into a mosh pit? That’s them. Five members, still kicking.
“How Does It Feel” digs into that gloriously messy space where outward success crashes headfirst into inner turmoil. They are painting us a scenario. One minute you’re king of the mountain, the next you’re wondering why your crown feels suspiciously like a dunce cap. It’s like finding a winning lottery ticket tucked inside a eviction notice – the bizarre duality of life laid bare.
The song deals in masks. We’re talking the kind you don’t buy at a costume shop, crafted instead, meticulously, out of brave faces and strained smiles. The band is speaking about the sort of disconnect that makes you feel like you’re shouting into the void, even when surrounded by a cheering crowd.
Masks Off: Elliot Minor Returns with Powerful “How Does It Feel”
Why do perfectly good shoelaces always snap at the worst possible moment? Irrelevant? Maybe. But it’s that kind of jarring interruption that echoes the song’s theme of fractured communication. It builds the atmosphere that despite it all. Despite reaching to be on “top of the world”.
It also throws a punch in the feels department. Elliot Minor isn’t just strumming guitars and bashing drums; they’re plumbing the depths of heartbreak and that yearning for a genuine lifeline. There’s that suggestion in confronting the monsters under the bed (or, more accurately, in your head) might just be the path forward. The journey starts within.
Is it that kind of cathartic release rock ballad? Are we to feel free from the struggles when we hit repeat?
What if all roads actually lead to Rome, Georgia, instead of Rome, Italy? These are the deep philosophical concerns prompted after multiple listens of that track. It’s an audio enigma wrapped in a five-piece band delivery. A return and a question mark, all at once.
Is Red Light Factory's "Manson Song" Your New Obsession?
Red Light Factory, a new duo out of Greater Manchester featuring Harry Lavin and Ben Warwick, dares to tread a rather murky path with their debut single, “Manson Song.” And no, it’s not a tribute to Marilyn, in case you were wondering… although, are any songs about Marilyn truly about Marilyn? That’s a question for another day.
The song, rather boldly delves into our collective, and somewhat disturbing, fascination with the darkest corners of humanity. Think less true-crime podcast binge and more a sonic exploration of why we binge. Lavin and Warwick aren’t offering easy answers; rather presenting an artful study, using unsettlingly beautiful soundscapes, blending Alternative Rock and the shadowy alleys of Post-punk and electronic flourishes.
“Manson Song” dissects the intoxicating allure of the charismatic villain, that illusion of connection that shatters on closer inspection, resembling cheap glitter under a magnifying glass. This perfect romance as revealed as the manipulative tactic of a destructive, and ultimately hollow figure. Have you ever found a seashell on the beach that looked amazing, and turned it over to find a hermit crab scuttling? That emotional swerve, is kind of this track in action.
Is Red Light Factory’s “Manson Song” Your New Obsession?
The band describes itself, as aiming to write fearless and unique songs.
The lyrics speak of a descent, a surrendering of self. “Tripping,” “recklessness”—these aren’t accidental choices, these are key terms used to illustrate a mind seduced, perhaps willingly, into an altered state. There’s almost a perverse poetry in the idea of trading reality for an illusion, especially one peddled by such transparently false gods, that will turn your stomach a little, it’s supposed to.
Red Light Factory aren’t condemning; they’re observing. They’re holding up a mirror, smudged and cracked, perhaps reflecting a disconcerting aspect of humanity. Did the invention of the television, by its very nature create the environment to enhance and magnify cult-followings?
The question left dangling is almost uncomfortable: what parts of ourselves are we willing to sacrifice for that gilded promise of belonging, even if the gold is only spray-painted on?
NBP Human: Find Your Glitch in the Matrix with 'Morbid Craziness'
NBP Human, the rock music project spearheaded by Balazs Janky, has returned with a sonic boom disguised as a single: “Morbid Craziness”. Janky’s return to songwriting peels back the layers of our modern reality, presenting a gritty, yet strangely hopeful, analysis.
“Morbid Craziness” throws a spotlight on the shadowy corners of a world obsessed with deceit. You know, the kind where your toaster probably judges you silently in the morning. It tackles the unsettling acceptance of falsehoods, the elevation of charlatans, and the growing chasm between the powerful and the, well, the powered-down. This isn’t some abstract doom and gloom – Janky is pointing fingers (metaphorically, of course; we don’t know his actual finger-pointing habits) at the very systems that feed on negativity.
NBP Human: Find Your Glitch in the Matrix with ‘Morbid Craziness’
But. Wait for the whiplash of positivity.
There is a shift. Did someone just open a window in this dark room? Against this backdrop of calculated chaos, the song champions love. A potent response to the maelstrom. It positions affection not as a passive emotion, but as a freaking sledgehammer. The only real defense.
Think of the “Flower Power” period. Peace and freedom. A way to combat violence.
The track pushes an active rejection of the surrounding “craziness.” It urges personal happiness, like some secret recipe scribbled on a napkin.
Ultimately, “Morbid Craziness” is a stark reminder to grab onto your humanity. It dares us to be, not naive, but audaciously optimistic, holding on with one of the main human caracteristic and weapons: love. Maybe, just maybe, that’s the glitch in the matrix we’ve all been waiting for. The seed of change.
Transverse Warms Hearts with Gratitude-Filled "Moon and Back"
Kade Sanders, performing under the moniker Transverse, alongside collaborator Caroline, has dropped a new single, “Moon and Back.” Known for weaving together chill pop, soft rock, and EDM, Transverse aims for a sound that’s as broad as it is uplifting. This solo flight, however, detours slightly… or does it?
“Moon and Back” is a sonic valentine, an outpouring of gratitude wrapped in Future Bass, a sprinkle of Indie Pop dust, some chill, even soft rock, and some genres thrown in . At its core, the artist conveys a profound appreciation to this “someone.” This “someone” who is , frankly, the unsung hero, the coach, the guiding star, teaching the singer (no comma here) about perseverance and maybe, just maybe, how to properly fold a fitted sheet. Who knows?
Transverse Warms Hearts with Gratitude-Filled “Moon and Back”
There’s an acknowledgment of past hurts – because, let’s face it, even the most beloved figures in our lives occasionally step on our metaphorical toes. Transverse doesn’t shy away from that. The lyrics suggest a relationship forged in the crucible of shared experience, evolving yet resolute. It speaks of the sort of deep-rooted connection that could either remind you of seeing an extraordinarily well-made biopic about Marie Curie, powerful and inspiring, the commitment obvious.
Or a sandwich…
A truly great sandwich.
The sound is undeniably optimistic. Did I mention the great sandwich? The vibe consistently strives for peace, for the joy in deep, abiding love and gratitude. It’s the sonic equivalent of a warm hug on a drizzly Tuesday. A musical representation of knowing where you left your car keys. Unexpected comfort, solid footing. This track is a reflection on that relationship, a reaffirmation of unwavering devotion.
While a lot of the work to which Transverse puts their name could indeed easily appeal to vast sections of people, “Moon and Back” aims more specifically at the heartstrings, striking emotional notes with an easy hand. Does it completely escape easy labeling? Did they reach their described goals? What even is music, anyway? Something to contemplate… alongside “Moon and Back.”
Josh Jensen Lands With Reflective "This Is Where We Landed"
Seattle’s Josh Jensen has returned with his third album, “This Is Where We Landed,” a 40-minute, 10-song exploration into the wonderfully absurd circus we call life. Did you know that the collective noun for a group of owls is a parliament? Anyway, back to the music.
This collection of Americana-infused acoustic tracks navigates the bewildering journey of existence. It feels, at times, like trying to assemble IKEA furniture with instructions written in hieroglyphics – frustrating, yet strangely rewarding when you finally get something that resembles what’s on the box. Jensen delves into the weighty themes of love, loss, family, the wanderlust that itches beneath the skin, and, of course, the final curtain call: death. The album comes across as a musical manifestation of that existential dread one experiences in a long line at the DMV, only with nicer melodies.
The overarching message is a poignant blend of being delightfully lost and finding strong comfort in the people you found or find you. Acknowledging the universal burdens we carry, it reflects on being both fragile and robust, and the relentless tug-of-war between light and darkness, and somehow the music assures its safe arrival.
Josh Jensen Lands With Reflective “This Is Where We Landed”
He’s tapped into something primal here. This record grapples with his wife’s battle with breast cancer. It’s an album exploring the search for truth within the maze of daily life, a sonic version of trying to find your car in a multi-story parking garage. Have you ever noticed how elevators always seem to be going in the opposite direction you need?
“This Is Where We Landed” showcases human connection as an anchor in these turbulent times. It nudges us to embrace the complex, confusing mess of being alive.
Maybe, ultimately, the destination doesn’t even matter as much as the journey itself.
Salzburg-based Armenian artist GOHAR, a self-producing, opera-trained purveyor of Alt R&B/Pop, has just released a new single, “Zero Sense.” Signed to the UK label Minimal Surface, GOHAR brings a certain vocal polish, let’s just cut to the chase shall we?
“Zero Sense” plunges headfirst into the maddening whirlpool of one-sided relationships. Ever felt like you’re explaining quantum physics to a goldfish? That’s the vibe. The lyrics paint a vivid picture of someone trapped in a relentless cycle of talking at, not to, another person. It’s the emotional equivalent of trying to fill a bucket with a hole the size of, well, a very large hole.
And why is it that the sound of dripping water is so irritating? unrelated, maybe, maybe not.
The frustration practically oozes from the speakers. GOHAR’s vocals, beautifully controlled yet brimming with a simmering exasperation, capture the precise moment when hope begins its slow, agonizing fade into disillusionment. She’s reaching out, explaining, practically offering a PowerPoint presentation on empathy, and getting… nothing. A blank stare. The void.
Hear the Void: GOHAR Drops Emotive “Zero Sense”
The theme is clear, concise, almost surgical in its precision: the utter breakdown of communication when one party refuses to truly listen. It explores the internal argument of staying versus leaving, of holding onto that fragile glimmer of hope that things might change, despite all evidence pointing towards, as one of the old master used to sing…the same old situation!.
GOHAR’s “Zero Sense” makes you question, Is it a reflection of all the unheard voices in the cacophony of modern existence? Or, perhaps more intriguingly, is it an echo of your next big bust up? Perhaps all we do is communicate to voids these days, great and small?
Find Your Sonic Color in Shrouded Day's "Legend of the Shadow-Touched"
Shrouded Day, the brainchild of Omaha-based flutist and keyboardist Dan M., returns with the 15th Anniversary Edition of “Legend of the Shadow-Touched.” An album, and a hefty one at that, boasting 17 instrumental tracks that promise—and largely deliver—a journey into the slightly peculiar intersection of Tangerine Dream and…Jethro Tull?
The core of “Legend of the Shadow-Touched” revolves around themes of alienation and personal growth. But it’s not the angst-ridden, teenage diary kind of alienation. It’s more like the quiet contemplation of a lone tree on a windswept prairie… if that tree suddenly sprouted a synthesizer. Or started playing the blues.
Dan M. deftly fuses acoustic and synthetic sounds creating music that manages to be both expansive and deeply personal. Keyboards, guitars and synthesizers join flutes in weaving textures.
The stated New-Age influences are present, and yet it never fully loses itself in fluffy-cloud territory. There’s a grounding melodic structure that keeps things tethered, a reassuring pulse amidst the ambient drift. Perhaps he has looked to Mannheim Steamroller, that titan of Christmas-infused electronica, for melodic strength and a good rhythm base. What if Mannheim Steamroller was covered only by flutes?
Find Your Sonic Color in Shrouded Day’s “Legend of the Shadow-Touched”
The release speaks about introspection and catharsis, two forces dancing between silence and chaotic celebration, much like that time my uncle tried to explain quantum physics using only interpretive dance. There’s joy here, certainly, alongside a kind of thoughtful engagement that’s hard to pin down. It isn’t so easy, to find words to express pure musical interpretation, sometimes words just get in the way.
The exploration goes beyond merely touching on soundscapes. Instead, it is an opportunity to search deep within a sonic fabric rich in layers of both familiar sounds and unusual.
What if sound had a color? Or more aptly, which colour would represent your innermost self?. “Legend of the Shadow-Touched,” in its anniversary form, compels one to consider these kinds of, admittedly, slightly strange questions.
"Grains of Sand": Megapenny Music Ignites the Travel Bug
Megapenny Music, the brainchild of a musician with roots tangled in both classical piano and the electric pulse of synthesizers, returns with “Grains of Sand.” After designing synths and taking a breather, the musical entity gifts us a song after coming back to producing.
“Grains of Sand” plunges headfirst into a bubbling cauldron of Euro-pop, but it’s the message that truly sprawls out. The description provided had an enthusiastic celebration of wanderlust, and this track takes off on an epic backpacking trip across soundscapes. It speaks about anticipation. It’s the giddiness before a massive journey, the pre-dawn excitement of a plane ticket burning a hole in your pocket.
The music makes the listener desire a unison of shared experiences. The vibrant diversity within the song showcases this musical journey across the globe. It is an interesting contrast against the concept, for example, of trying to fit all the world’s oceans into a teacup – utterly impossible, yet “Grains of Sand” somehow hints at the attempt.
“Grains of Sand”: Megapenny Music Ignites the Travel Bug
Did ancient mariners feel this same pull towards the unknown, charting courses by stars and sheer intuition? Megapenny Music conjures the connection in an auditive way. It taps into the same yearning. The travel bug, only presented as an auditive feeling.
The core, however, remains that sense of unity the text describes. That shared laughter with newly made friends in a bustling marketplace, maybe, or singing along to a ridiculously catchy tune (like this one?) in a crowded hostel common room. The emphasis on the transformative power of this travel creates the main base in “Grains of Sand.” The feeling it is trying to present sticks like sand from the beach in every inch of your suitcase, the scent of unfamiliar spices still clinging to your clothes.
This track isn’t afraid to revel in the joy, and maybe, just maybe, encourages some joyful escapism to unexplored territory. Can true freedom truly be measured in passport stamps?
eRapWMDX: Dive into the Digital Abyss with "The Algorythm"
eRapWMDX: Colorado’s alternative music recording artist, eRapWMDX, an innovator combining music, engineering, and apparently, downhill skiing, has dropped a new single, “The Algorythm.”
“The Algorythm” dives headfirst into the digital abyss. The single paints a bleak, strangely compelling picture of our obsession with online validation. Clicks, likes, shares…the holy trinity of the 21st century. Ever felt that creeping sensation of needing just one more? eRapWMDX has, and they’ve translated it into a surprisingly catchy, slightly unnerving anthem. Is the cake a lie? Who’s to say at this point.
The song builds a critique. A sound of frustration about that dopamine-fueled feedback loop that has seemingly captured, well, most of us. The “beast scenario” they describe, this loss of self in the digital maelstrom. It echoes, somewhat disturbingly, like that one Black Mirror episode, except instead of rating everyone, we’re just chasing invisible carrots dangled by…code. And for what? Do we win anything if our reality melts like cheese on a hot dashboard?
eRapWMDX: Dive into the Digital Abyss with “The Algorythm”
This is the interesting contradiction. “The Algorythm” with its alternative electronic vibe, occasionally flashes of an indie rock undercurrent. Is it fun and makes me feel like an ancient Egyptian carving hieroglyphs with my phone.
eRapWMDX taps into the feeling of being adrift in a sea of ones and zeros, that constant push to present a perfectly curated, utterly unreal version of ourselves. The artist showcases that feeling when the algorithm takes and never give backs.
It’s a wake-up call wrapped in an oddly danceable package. One moment, I’m contemplating the philosophical implications of social media addiction. The next, it could make a very good elevator music.
Are we all just hamsters on a digital wheel, running towards an illusion of connection? Perhaps.
Genevive, that London-based sonic architect, is back at it. This time, it’s with “See Clearer,” a single that’s ostensibly about breaking free from deceptive comfort zones. But isn’t everything, when you boil it down? Like trying to find the matching sock in the dryer of existence.
The track dives headfirst into self-discovery, empowerment – the whole shebang of leaving the past in the dust and wrapping yourself in a cozy blanket of self-love. Genevive lays out the narrative: it’s like recognizing you’ve been living in a meticulously crafted dollhouse, where everything’s almost real. There is that slow dawning of having accepted a counterfeit reality. It feels somehow linked to those dreams of finding the exit of a supermarket.
“See Clearer” pulses with electronic rave energy, but it also hangs back with a dream pop haze. Think neon lights filtering through a London fog. You’re running, not really sure from what, but there’s an undeniable urgency. It’s like the musical equivalent of that feeling when you’re late for a train and you’re not quite sure which platform it is… or if you even bought a ticket.
“See Clearer”: Genevive’s Urgent Call to Wake Up
External forces, the lyrics suggest, want to keep our protagonist comfortably numb. There are hints of struggle. The persistent beat keeps us grounded in that hope, a flickering light in the shadowy corners of a rave in an unknown dimension.
The whole production makes the listener yearn for some authenticity, the truth. Genevive throws you on an emotional rollercoaster that, in the most random of correlations, oddly reminds me of Marie Curie tirelessly sorting tons pitchblende searching radium. The reward: clarity.
“See Clearer” leaves you asking: Are we ever truly awake, or just dreaming of a clearer picture?
Genre-Bending 'Frontier' EP Arrives from Lockdown Co.
Lockdown Co., that dynamic London trio, has dropped “Frontier,” an EP that feels like a sonic geology lesson. Leah Bell-Miller’s vocals add a new dimension to the already established foundation constructed by Lloyd Meeks on guitars and production and Doug Rimington battering the drums and bass. But instead of predictable sedimentary layers, we’re talking volcanic upheavals and metamorphic shifts.
This EP, a cocktail of hard rock, grunge, prog, a shot of blues, and… is that a maraschino cherry of funk rock I detect? – explores the topography of inner turmoil. And why do maraschino cherries always taste vaguely of disappointment? Anyway, back to torment. “Frontier” is about battling demons. External ones, internal ones, probably the ones that hide under your bed and steal your socks. It’s a landscape of fire and darkness, of feeling utterly squashed, like a bug under a… well, a very large, metaphorically significant boot.
But, amidst this metaphorical boot-squishing, there’s a fierce pulse of not giving up. It’s the cyclical nature of struggle – the ebb and flow, the push and pull, the endless internal debate about whether to order pizza or just cry into a bowl of cold cereal (the answer is always pizza, obviously). The band’s evolution shines brighter here, a maturing sound, polished until the point where it became soulful and melodic.
Genre-Bending ‘Frontier’ EP Arrives from Lockdown Co.
The EP represents the enduring human spirit’s ability to find the ‘on’ switch for the will to persevere, even when everything feels distinctly ‘off’. Did you know the population of the earth is estimated to reach 9.7 Billion in the 2050’s? Speaking of large numbers. The themes explored on “Frontier” delve into how large the scope of struggle, resilience and determination to get a grip in life is.
Lockdown Co.’s musical evolution is impressive, their blend of styles is ambitious and surprisingly cohesive.
Ultimately, “Frontier” leaves you wondering if the struggle ever truly ends, or if we just get better at dancing with the darkness. A strange and wondrous piece of musical journeying.
Love is a "Supernova": MUNZER's Addictive EDM Anthem
MUNZER, the hip-hop wordsmith known for verses that could probably solve quadratic equations, has taken a detour into the pulsating heart of EDM. His latest single, “Supernova,” a collaboration with Johnny Bullz from Bullzeye Beats, is… well, it’s something. Have you ever tried to explain the color orange to a squirrel? That’s kind of how I feel right now.
This isn’t the MUNZER who meticulously crafts lyrical labyrinths. Instead, “Supernova” plunges headfirst into Chill House, a genre that, frankly, I always thought was invented so DJs could have bathroom breaks during their sets. The track explores the supernova of love – that intense, all-consuming infatuation where your beloved’s every action warps your personal reality.
The theme is pretty direct. The feelings of an intense love interest are a huge astronomical event, like he has found his love and is now an Astronaut. MUNZER expresses this, using descriptions of feeling that is almost addictive, he is out of control, in an intense state of mind. I wonder, is there a cosmic tax on metaphors?
Love is a “Supernova”: MUNZER’s Addictive EDM Anthem
Seriously, though, the core idea of love as an explosive, reality-bending force resonates. The track sonically mimics this feeling – it pulls you in, the beat is relentless, and you get a bit lost in the haze of sound. A song of this nature is something that could get played for ages, from dusk until dawn, a timeless classic of love.
“Supernova” reveals a vulnerability. He’s captivated, almost controlled, by this all-encompassing sensation. The production makes that feel appropriate.
It is intriguing to witness an artist, skilled in verbal precision, embrace the abstract emotionality of EDM. It raises all kinds of questions, including does a cat experience sound more purely because it cannot explain or create the music in the first place?
So, what remains is this bizarre fusion— a potent dose of romantic obsession swirling within the electronic ether of an astronaut. Does it all fully combine? Perhaps that’s beside the point. Maybe the discombobulation is the destination.
Nissu Opens His Diary: Dive into the Heart of "Memories"
Alright, buckle up, because Nissu’s Memories just teleported me… somewhere. Nissu, a Brazilian-born, Dublin-based pop artist, has dropped this six-track EP, and it’s like opening a particularly well-organized, yet emotionally chaotic, scrapbook.
The EP, Memories, supposedly functions as an “open diary,” they say. He tackles love, friendship, that whole pandemic thing, and the general rollercoaster of being a person. But does it achieve being truly an open diary? This makes me wonder what he chose not to include in the diary. Why are these six particular memories out of all a person’s possible memories? This is, for real, serious stuff. One moment, it’s the giddiness of new love—like that unexpected feeling when your favourite pizza place invents a new, even better topping. The next, it’s the sting of separation, which feels kind of like finally finishing a jigsaw puzzle only to realise a piece is forever gone.
Nissu Opens His Diary: Dive into the Heart of “Memories”
He is doing something really well. It’s about connection, being in a connection, cherishing good moments and all. Musically, Memories lives in that sweet spot between contemporary pop and a longing for, I don’t know, maybe 80s synth ballads? Or maybe not. Was there a sale on nostalgia at the music store? Who cares. It works (mostly). The vocals are smoothly gliding through the lyrics.
The unifying thread? The various faces of love. Not the kind you see advertised around Valentine’s Day, but the vast, sometimes messy, always complicated experience that can encompass romantic partners, family, and even a very dear neighbour’s pet fish. The overall impact is one of gratitude, an audio thank-you note to the universe, perhaps?
This collection, ultimately, stresses the power of cherishing. Of not only living life but actively holding on to what’s important to go through moments with more resilience and gratitude, having our beloved ones close, even if physically far.
It all leaves you wondering: what memories will we curate, years down the line? What flavour of pizza topping will best describe our own open diary entries?
P0STERGIRL, the Brighton-based purveyor of sardonic art-pop, has dropped a new single, “PARADISE,” and, honestly, it’s the kind of track that makes you want to simultaneously dance and ponder the heat death of the universe. I think I need new shoes, too.
“PARADISE” apparently grapples with optimistic nihilism, which, at first glance, feels like ordering a sugar-free ice cream sundae topped with existential dread. P0STERGIRL, draws inspiration from physicist Brian Cox (because who doesn’t find particle physics inherently catchy?) to delve into the sheer absurdity of it all.
It’s that strangely comforting, albeit darkly humorous, acknowledgement that nothing really matters. It is, to use one the genre definition, an indietronica song, but also some king of anthem. The music a sonic layer cake of Indie-pop glitter electronica that is all so…cheerful, almost manically so, as it celebrates, or laments the end.
Find Your “PARADISE” in Oblivion with P0STERGIRL
The core message? We’re all going to kick the bucket, so why not embrace the void with a cheeky grin? Reminds a film ending… what was it? The lyrics explore this yearning, not for a fluffy cloud heaven, but for the ultimate escape hatch: oblivion. Non-existence. It’s not about angels and harps; it’s about the sweet, sweet release of no longer having to worry about, you know, anything. Did I pay rent?
This release feels like the musical equivalent of a Salvador Dali painting – surreal, a bit unsettling, but ultimately captivating in its strangeness. Did I leaved the oven on?
The idea that our worries and memories will vanish along with us isn’t presented as tragic, but, some how liberated.
So, P0STERGIRL seems to ask us that question. “Paradise” found, perhaps, not in eternal bliss, but in eternal nothingness? Where do you find it?
Anthem Alert: UPHORIA - "Don't Wanna Catch Your Disease"
UPHORIA, the rising, multi-instrumentalist, solo artist hailing from Australia’s Sunshine Coast, bursts onto the scene with her single, “Don’t Wanna Catch Your Disease.” It’s a declaration, a sonic slap in the face to anyone who’s ever tried to dim someone else’s sparkle.
This track is all about reclaiming power. Imagine that feeling when you finally rip off a band-aid that’s been stuck way too long. You can taste the aftermath of a toxic, narcissistic entanglement – but instead of bitterness, there’s a ferocious rejection of that poison. The title itself? A brilliant bit of metaphorical hygiene.
Musically, UPHORIA straddles the line between pop-rock, a smidge of pop punk with big helpings of straight up rock. It’s a blend that feels, dare I say, both a nod to the past and a fresh slap of reality. And speaking of the past, ever noticed how the best revenge is a killer chord progression?
The song structure keeps it tight, a deliberate move that holds you through the experience, mirroring that clear headed state after escaping a bad situation. No messing around. “Don’t Wanna Catch Your Disease” states its case boldly and without remorse; There’s defiance in every note, a “you can’t touch me anymore” vibe that ripples through the catchy, hook-laden composition. Ever met a parrot with boundary issues? Neither have I.
Anthem Alert: UPHORIA – “Don’t Wanna Catch Your Disease”
The lyrics are a fierce, unfiltered declaration of independence. UPHORIA isn’t just singing about moving on; she’s building a fortress against manipulative individuals, choosing a path free of their control. It’s the kind of resolute determination that feels ripped from the soul.
“Don’t Wanna Catch Your Disease” makes you think… Will future archaeologists dig up this song and declare it the anthem of a generation that finally learned to say “No, thanks”? Food for thought.
Arashk Azizi's "Elegy Sonata": A Sonata for the Soul
Arashk Azizi, a contemporary composer, navigates the profound depths of human emotion with his signature “Piano Poem” style. His latest release, “Elegy Sonata,” is a four-track EP.
“Elegy Sonata” grapples with death and grief, fear and mourning. Azizi’s piano becomes a vessel, pouring out despair and flashes of raw anger, reflecting upon loss—loss that, it appears, resonates deeply with his personal journey. You know, it is kinda like that feeling you get staring at the sheer, baffling complexity of, say, an Escher print. It’s ordered chaos. Or the tax code.
The blend of traditional forms like the Sonata and Nocturne with modern harmonies is no casual dalliance. Azizi crafts his unique “Piano Poem” form. It feels simultaneously meticulous and spontaneous. As though a highly trained ballet dancer was let loose on a rain slick street. Graceful? Absolutely, so graceful that it will break your soul in two. The Risk? Always.
It might evoke that quiet awe experienced before grand historical shifts – that unnerving tranquility right before…everything changes. But I was thinking about popcorn earlier. Specifically, about how each kernel pops at its own, unpredictable time.
Azizi’s “Elegy Sonata”: A Sonata for the Soul
“Elegy Sonata” offers moments of stark beauty that hit with the suddenness of an unexpected downpour. And it carries that feeling of solitude you might know well. Maybe. Other times, it resembles an internal storm, and chords rage in thunderous cascades. Azizi’s command over his instrument is not to showmanship, but an excavation of the soul.
There is a heavy, looming question within “Elegy Sonata”. This makes the collection less an epitaph. It will force you to seek an understanding, which makes this far more potent and less…definitive.
Auditing the Ex: Allegra's "Refund" is Fierce and Catchy
Allegra, the London-based singer-songwriter, once known for her dance-pop hits, has delivered a new single, “Refund” which is part of an EP released last year titled “Unsent Love Letters Vol1.” Turns out, emotional bankruptcy can be surprisingly… catchy?
“Refund” is all about demanding emotional recompense. Did someone say, ‘auditing the ex’? Our speaker in the song has decided that ‘I want my time, energy, and tears, cashed back with the value’. It’s emotive pop served with a side of electronic sizzle and, honestly, a whole plate of “I’m done.” Amazing female vocals, as advertised, carry that sense of fierce determination – it’s like the sonic equivalent of ripping up old love letters and scattering them in the wind. Or maybe flushing them. I wouldn’t, paper can be a hasle to take out of the toilet pipes.
Auditing the Ex: Allegra’s “Refund” is Fierce and Catchy
The roller coaster metaphor is spot on. The relationship Allegra describes is less romantic getaway, more rickety fairground ride on the verge of collapse. You know, the kind that makes you question the structural integrity of… well, everything. It’s the musical manifestation of finally hitting that “enough is enough” button.
But wait, is there a hidden track on this single about the philosophical implications of emotional economics? Probably not, my brain tends to add DLC to everything, the paid kind. But I do have the song stuck on my head.
The shift from straight-up dance-pop to this more emotive territory is intriguing. It feels like Allegra is not only demanding a refund from her fictional ex, but also reclaiming a bit of her artistic self. The musical direction hints to this.
What remains after the echoes of “Refund” fade? Perhaps a gentle reminder that sometimes, the best investment you can make is in yourself, and the most valuable currency is self-respect.
"Country Dreams": Soul Provider's Search for Meaning
“Country Dreams,” the new album from Soul Provider, arrived… and, well, it didn’t arrive on a golden chariot pulled by unicorns. It just showed up. Sixteen tracks of pure, unadulterated country – or, at least, that’s what they’re calling it. There is a lot of Americana in it. There’s a definite flavor, a sort of sonic stew of love, loss, hope, and resilience. Think less “bro-country,” more… “brooding-by-the-creek-country.”
The album weaves this winding tapestry. Nostalgia gets a heavy hand, with lyrics looking back on youthful escapades and friendships faded like an old pair of jeans. The deep cuts of grief? Also present, served straight up. And a random yearning, to chase a feeling that remind us what freedom is supposed to means.
But, amidst the expected heartbreak and honky-tonk, there are odd turns. It will bring introspection to a different level.
One moment, you’re tapping your foot, the next you’re wondering if Soul Provider is secretly campaigning for environmental awareness. Is this a country album or a coded message to save the bees? This is what I mean with introspection.
“Country Dreams”: Soul Provider’s Search for Meaning
Seriously, though, the overarching theme here seems to be a search – for peace, for belonging, for something to make sense in a world that often doesn’t. It’s a theme explored, oddly enough, with that “American” touch, very country, no need for banjos.
The vocals are heartfelt. There is a real emotion in every phase. The lyrics reach different situations in the complexity of human nature, showing meaning with the experiences.
It makes you wonder, are we all just characters in a cosmic country song? It make think if Soul provider have looked in the same spot of I did before. I still think is important to think that… squirrels deserve a national holiday.
“Country Dreams,” in its beautifully bewildering way, simply asks: are we truly living, or just dreaming we are?
Razorblades and Resistance: Ray Noir on Music, Identity, and Survival
Ray Noir uses his musical practice to destroy conventional expectations in the music industry. The alternative rock genre received its queer anthem through Razorblade Romance which Ray Noir released on Valentine’s Day 2025. A queer musician who belongs to both the Norwegian metal community and the ethnic minority has transformed his fight against metal’s rigid male identity structure into musical art.
Razorblade Romance unites the raw power of industrial metal with futuristic production by Grammy-winning guitarist Steve Stevens who worked with Billy Idol while crossing between defiant grit and liberating euphoria to expand a genre known for its exclusivity.
Ray created the song as his personal struggle to survive those who made him feel unwelcome within the alternative music scene. According to him the song exists as a message specifically meant for queer children who have been told they do not belong. Through its emotional rhythms the track combines confrontational musicality with authentic unapologetic sound that expresses both anger and resilience and healing.
Through this interview Ray reveals the story of how he composed his music while discussing his fights with personal identity and his Norwegian metal heritage alongside his alt-goth and industrial sound combinations which create empowering anthems that help listeners find courage in their own stories.
Ray suggests the continuation of Razorblade Romance through his labeling of the album as “part one” while revealing his plans for multiple parts in his storytelling about identity and resistance. This goes beyond being a song because it brings forth a compelling message to its listeners. Through this statement he displays that fresh perspectives possess the power to redefine established narratives even within traditionally structured areas. The scene is not only welcoming Ray Noir but witnessing his revolutionary transformation of it.
What inspired you to create “Razorblade Romance”? Is there a specific story or experience behind this track?
“Razorblade Romance” is a song about being an outsider and the struggle of having to hide who you are, which keeps you from living authentically. Growing up in Norway’s metal scene, I didn’t see any queer representation, and it made me feel like I had to suppress parts of myself to fit in. The song reflects that experience, the pain of hiding, the scars it leaves, and ultimately the resilience to survive it. It’s deeply personal and a reflection of what so many queer people go through.
The title “Razorblade Romance” suggests something both dangerous and alluring. What does this juxtaposition mean to you and how does it relate to the song’s themes?
“Razorblade Romance” has that mix of danger and allure because, when you’re forced to hide who you are, it can really mess with your head. I’m not trying to glamorize suicide or anything, but this is the reality, when you grow up feeling like you can’t be yourself, it takes a toll. The title reflects that contrast: the romance is the longing to live authentically, while the razorblade is the pain of having to hide. It’s about what happens when you’re constantly fighting to exist in a world that doesn’t accept you.
How would you describe the sound and style of “Razorblade Romance” compared to your previous work?
“Razorblade Romance” leans more into industrial metal, whereas my previous work has been more alternative goth and electro. With Scorpio, the mixtape I released in 2024, I was already starting to push in this direction, so this track feels like the natural evolution of Ray Noir. It’s heavier, more intense, but still keeps that dark, emotional core that’s always been a part of my music.
Were there any particular musical influences that shaped the sound of this single?
I’ve been listening to a lot of late ‘90s and early 2000s industrial metal, and I really love that sound. I wanted to take that energy and refresh it a bit, make it feel new while still keeping that raw, heavy vibe. That was a big inspiration musically. And then, of course, having Steve Stevens on guitar just took it to another level, his style fit the track perfectly and really brought everything together.
Does “Razorblade Romance” explore any personal experiences or emotions that were challenging to translate into music?
Yeah, definitely. Razorblade Romance is one of the most personal songs I’ve written. It’s about growing up in a scene where I felt like I couldn’t be myself, where being queer wasn’t really accepted. That kind of experience leaves scars, and trying to put all those emotions, frustration, isolation, and the struggle to survive, into a song was intense. I wanted to make sure it felt raw and honest but also empowering, like a reminder that even after all that, I’m still here. That was the biggest challenge, finding the right balance between the pain and the strength that comes from it.
As Ray Noir, how would you describe your artistic identity, and how does “Razorblade Romance” fit into that vision?
Ray Noir is a queer, alt-goth, electro-metal, industrial artist, nu-industrial if you want. My whole artistic identity is about being there for the misfits, the outsiders, all the lonely kings and queens out there. I want people to listen to my music and feel something, to know they’re not alone. Razorblade Romance fits perfectly into that vision because it’s about that struggle of feeling like you don’t belong, but also the strength that comes from surviving it.
Did you collaborate with any producers or other artists on this track? If so, how did that partnership influence the final product?
Yeah, Razorblade Romance actually started as a demo I had lying around for years, and I picked it up again recently. I got Jon Cass from As Everything Unfolds to produce it, which really helped shape the sound and bring it to life. Then I worked with my friend Steve Stevens from Billy Idol, who was kind enough to add his guitar work to the track. He’s a total legend, he’s worked with Billy Idol for years, played on Michael Jackson’s Dirty Diana, and even won a Grammy for the Top Gun Anthem. Having him on board really took the song to another level, it wouldn’t be the same without him.
Is there a particular lyric or musical moment in “Razorblade Romance” that you feel especially connected to?
Honestly, the whole song connects with me, but one part that really hits is the line: ‘When I die, will you know? Will you grieve? Will you be there?’ It’s about that feeling of wondering if people would even care if you disappeared, if your friends, your family, or even people who barely know you would notice. And that comes from a real place, because society is constantly shaming queer people to death, making us feel like we don’t belong. Those thoughts can really take over on the darkest days, and I wanted to capture that in the song.
What do you hope listeners take away from this single?
I really hope people, especially young queer kids in the alt scene, can find strength in this song, and in my music in general. I want them to know they’re not alone. Unfortunately, there still aren’t many openly queer role models in the scene, and that needs to change. I’m here to challenge that. With Razorblade Romance and everything I do, I feel like this is my purpose, to create something that makes people feel seen and understood.
Were there any unexpected challenges or breakthroughs during the production of this track?
There weren’t really any major challenges during the production, but there were definitely breakthrough moments. Hearing Steve Stevens’ guitar work on the track was huge for me, it really elevated the song. Also, I’m just so happy with the production that Jon Cass brought to the table. Seeing it all come together and come to life was the real breakthrough for me, it was like watching something I’d been working on for years finally reach its full potential.
Are you planning any visual components to accompany the single, such as a music video?
Yeah, there’s a music video for Razorblade Romance that dropped on the release day, it’s up on YouTube. My drummer and I filmed it at this really creepy cemetery in London called Abney Park Cemetery in North London. We snuck in during the evening when it was really dark, jumped over the fences, and had a camera guy with us to capture it all. It was super DIY, but it worked perfectly with the vibe of the song.
How has the reception been to “Razorblade Romance” so far?
The reception has been great so far. We got added to two of Apple Music’s playlists, Breaking Metal and Breaking Hard Rock. There’s been a lot of positive feedback from fans and people in general. I’m really happy that people are enjoying it and connecting with it. It’s something I’m really proud of.
What’s next for Ray Noir following this release? Are you working on more singles or perhaps a larger project?
I’m working on new music and have a few more releases lined up. I’m also doing a mini UK tour in April and some more shows later this year, so I’m really excited about that. There’ll be more music and maybe an EP by the end of the year. Keep your ears to the ground and eyes peeled 😉
"It’s a Cock Show, Basically” – Joudi Nox Talks Toxic Masculinity in Her Latest Track
When it comes to speaking frankly Joudi Nox avoids any form of hesitation. Through her music Joudi Nox uses fearless honest statements to express hidden truths that others typically avoid addressing. This latest musical release HOWTOBEAMAN (pt.1) exposes toxic masculinity through satirical analysis of irrational social rules which define male conduct. The song combines stripped-down trap instrumentals with autotuned vocals to deliver precise lyrics that reflect its targeted subject matter ironically.
Through her direct observation of male interactions in her social group for many years and personal life experiences Joudi crafts her artistic expression. The initial segment of HOWTOBEAMAN (pt.1) surpasses conventional critique because it delivers a strong declaration. The track accomplishes both therapeutic release and social provocation because she uses cutting insights to decode social norms through her unapologetic sincerity. The unapologetic songwriting techniques and production methods of Joudi find their fans among Billie Eilish, Lorde and Tate McRae listeners.
Joudi takes a seat to discuss the motivation she had for the track and the artistic challenges she faced while creating its message as well as preview what “(pt.1)” represents for her musical future. Joudi Nox uses her music as more than a musical medium because she creates conversations through her songs. The new voice emerging in the musical landscape will challenge established norms without hesitation.
“HOWTOBEAMAN (pt.1)” is an intriguing title. Can you walk us through what inspired this track and what the “(pt.1)” suggests about your future plans? I wrote this song after being part of a friend group that mostly consisted of boys and I watched them over the years follow a set of rules that seemed ridiculous to me. One day I decide write all these rules down like a rule book on how to be a man, all the hypocrisies, all the absurdness, all the toxic masculinity. I originally wrote a 4-minute song but the second half felt out of place so I decided to split it into two parts.
How would you describe the sound and feel of “HOWTOBEAMAN (pt.1)” to someone who hasn’t heard your music before? It sounds like a bitch face or a frown. It sounds like the face I and many women I know made when the guy they’re out on a date with says the one thing that reminds us that after all he’s another boy, another follower of the HOWTOBEAMAN rulebook. It’s punchy but lowkey. It’s bassy and dark like the reality of being around a lot of men these days. It’s an in-your-face beat and vocals that sound disappointed.
Was there a specific moment or experience that sparked the creation of this single? Well, years ago I was hanging out with this guy every day. We called late at time every night, we go on dates so I develop feelings. I confess, he says he feels the same. The next day he changes his mind and wants to stay friends. The dramatic person that I am goes to class pissed off, fed up with all the twisted rules boys follow.
I begin writing down all these rules I learned from that boy and all my guy friends. I was fed up that the song was on paper in less than 3 minutes. I rushed home after class to produce it because I knew exactly what the bass should sound like. What’s funny is that this guy still to this day unaware that this song is about him and our friend group.
Well, years ago I was hanging out with this guy every day. We call
The title suggests an exploration of masculinity. What aspects of manhood are you addressing in this track? I’m addressing the things a lot of men prioritize in their lives over healing, emotional maturity and empathy and then label that masculine. I learned that from my previous guy friends that even though we’re all friends, they don’t bond and don’t help each other emotionally most of the time.
For that specific friend group, I noticed an undertone of competition a lot. Everything they do is not for their own fulfillment but for some competitive end, either getting more women, being more fit, having a better career, a nicer car, a longer ding dong…etc. Everything is a cock show basically. The song points out this unhealthy logic that they follow.
What was the most challenging part of creating “HOWTOBEAMAN (pt.1)”? Being satisfied with the final version. The song went through a lot of tweaks and edits and then went back full circle to something similar to the original version. I learned to trust my production instincts and just let things go and improve with the next release.
What was your songwriting process like for this single? Did the lyrics or the music come first? The lyrics definitely came first. The bass line even came before the melody. I just wrote things down and my brain kind of had an idea how things will sound like but I couldn’t hum it loudly like I usually do because I was in class lol. I rush home, turn on my mic, and hit record. It just happened. Most of my best songs come out as a combo when I write them, the lyrics and music come together as if I’m remembering a song that’s not been created yet.
Did the final version of the song end up close to your initial vision, or did it evolve significantly during production? I knew how the bassline should sound like but I was a broke music technology student at the time and didn’t have the diverse sounds and skills that I have now to produce it exactly how I wanted. About a 3 years ago I play the old demo to my best friend who, after listening to it, wanted it released while I almost forgot the song existed.
So when I reopen the session and work on it again I improve on the quality of the demo and trust the direction of where the song is taking me because in a lot of moments I paused and was like “that’s now the genre I usually make music in” but I didn’t care. I’m happy it turned out the way it did because now I’m more confident to release more music like that.
How does “HOWTOBEAMAN (pt.1)” reflect your own journey or perspective? I’ve always been the blunt friend who points out BS when she sees it. Over the years, life knocked me down multiple times that I kind of lost that part of myself. So when I dig HOWTOBEAMAN out from the pile, I hear my old self being a baddie, so unafraid to be herself. It woke me up. I knew I had to release it because it would mean I get to claim myself again. I get to define my artistic style and pave my path and build my brand.
How does this track fit into your broader artistic evolution? In the past few years my style was lost and I was no longer listening to music as often as I used. I had be comfortable with myself as a person and artist. I let myself listen to music from my Arab culture, Egyptian rap, Palestinian indie pop, but also indie singer-songwriter music like Gracie Abrams, and Nessa Barrett.
I took a few steps back and wondered what my style was and the answer was all them. HOWTOBEAMAN is the first time I use Arab beat and instruments from my culture but also pop bass, singer-songwriter lyrics, and hip-hop style production. This song paves the way for what Joudi Nox truly sounds like.
Is there a particular lyric or moment in the song that feels most significant to you personally? In the second half of the second verse; “Never be close to him ‘cause that shit’s gay, and tell that random girl passing by to suck your D”. I think it’s the one I resonated with the most when I wrote it down, I was like ‘damn that’s a good line’ because it calls out how a lot of male homophobic cases come from closeted men.
On the other hand, it calls out how they don’t get close to each other as friends because they think it’s “gay” and that shows how insecure and unhealed some men could be that they don’t understand that being vulnerable has nothing to do with sexuality nor feminine things, it’s for everyone. The line after that proceeds to expose the absurdity in their actions by how they make women uncomfortable with their cat-calling. The overall umbrella of this verse is to showcase men’s chaotic behaviors in society the come from deep rooted insecurities.
Can you give us any hints about “pt.2” or other upcoming projects? Who says pt.2 exists? But if it does, it would probably be bolder and darker, hypothetically speaking of course. Maybe even a faster beat? We’re hoping to release more music for this year that would lead an EP. Something coherent and defines the sound of Joudi Nox. I hope that I can provide cathartic relief through my music to my fans.
I may not be the friend that you can speak about your ex to over and over again because I’d probably tell you to shut up, but I’ll take you to break things or punch something to let it all out or we can take revenge on your ex, I’d be happy to help.
