Rising Star Jessenation Drops Infectious New Single "Redemption"
Imagine a phoenix, not of flames, but of infectious rhythms. That is the core of Jessenation’s “Redemption,” a genre-hopping masterpiece that moves beyond such labels like a record player on shuffle. Afrobeat throbs like a hummingbird’s heart, and reggae lays down a cool island breeze, while dancehall slips in with a sly, syncopated wink.
This ain’t your average poolside dancehall. Jessenation’s lyrics are more like soulful conversations, dripping in wisdom. He sings of overcoming struggles with the smooth flow of a sculptor working the clay. Featured artist Jesse Jags added that smoky seasoned layer, like the perfectly aged rum behind the tropical cocktail.
“Redemption” doesn’t mean just getting triumph over personal battles. It’s about the redemption in the music itself. It’s a sonic haven in which you let it all go: worries, troubles, and in this throbbing bass and soothing melodies, find peace—for this feeling you get when you have chanced upon a secret beach at sunset, peace washing over you with the rhythm of the waves.
Rising Star Jessenation Drops Infectious New Single “Redemption”
The real trip, folks, is that Jessenation’s music is not all rainbows and steel drums. Underneath the throbbing beats lies an underscoring social commentary and subtle rebellion that’s like a pot cooking on low. Similar to those ancient African masks that are beautiful and intricate, but behind the surface holds a silent wisdom that speaks volumes.
This single from the upcoming debut album “GRACE” does augur very well for a strong kicking-off point in the Jessenation musical journey. “Redemption” is a powerful reminder that sometimes, from the ashes of challenge, comes our greatest growth. Leaving one in anticipation of where this artistic journey will take this very talented artist, it will leave you wanting more.
A Softer Side of Soul: Helena May’s Captivating ‘Still Here’
Helena May, the “blue-eyed funky soulstress,” is back with her latest single “Still Here,” and it’s a refreshing change of pace. Known for her energetic performances and soulful voice, May has been captivating audiences for over a decade, both as a solo artist and with Redtenbacher’s Funkestra.
“Still Here” reveals a softer side of May’s artistry, following her successful singles “Lifetime Supply” and “Puzzle Pieces.” While it may not have the immediate impact of her earlier hits, this track shines with its subtle, soulful sound. Produced by Fabian Wollner and mastered by Stuart Hawkes, “Still Here” blends drums, guitars, and keyboards into a jazz-inspired melody that nods to 70s soul while maintaining a contemporary feel.
May’s musical influences, including Joss Stone and The Brand New Heavies, are evident, but she brings her own unique flair to the table. “Still Here” explores themes of identity and social acceptance, with May’s delicate vocals extending a comforting message of individuality in a world that often demands conformity.
A Softer Side of Soul: Helena May’s Captivating ‘Still Here’The track seamlessly combines elements of contemporary R&B and British Soul, showcasing May’s versatility as an artist.
The track seamlessly combines elements of contemporary R&B and British Soul, showcasing May’s versatility as an artist. Her emotive delivery and soul-infused melodies tackle complex issues with grace and optimism, making “Still Here” more than just a song – it’s an uplifting experience.
Despite its more subdued nature, “Still Here” doesn’t skimp on groove. With its stunning synths, funky bass, and May’s powerful vocals, the track maintains a steady progression that keeps listeners engaged. It’s the kind of music that makes you want to dance away your worries.
Helena May continues to impress with her vibrant, heartwarming music. “Still Here” is a testament to her creative prowess and a must-listen for fans of soulful, feel-good music. Whether you’re a long-time fan or new to May’s work, this track offers a refreshing and invigorating musical experience.
Exciting news from China’s music scene: Yunnan-based band Bagedai has just dropped their debut album, and it’s already making waves. Recorded live at the iconic Yunnan Publishing House Studio in Kunming on May 30, 2024, this album is a testament to the band’s electrifying stage presence.
Sea of Wood Records produced the album, with technician Dou Ru Yi and producers Sam Debell and Lao You at the helm. They’ve managed to capture the essence of Bagedai’s live performances, which have been turning heads at festivals since the band formed in early 2023.
What makes Bagedai stand out? It’s their unique fusion of traditional Wa music and modern reggae. With twelve members, including five lead vocalists, they bring a rich, full sound that’s both familiar and fresh. Their music is deeply rooted in the cultural heritage of the Wa people from Ximeng, Yunnan, but it’s presented in a way that speaks to contemporary audiences.
Take their track “My beloved,” for example. It’s a perfect showcase of how Bagedai modernizes traditional melodies while staying true to their cultural roots. This approach has earned them airplay on international radio stations and critical acclaim.
We recently had the opportunity to have an interview Bagedai to discuss their debut album. Our conversation covered their creative process, sources of inspiration, and the cultural significance of their music. It’s clear that Bagedai isn’t just making music – they’re on a mission to preserve and promote Wa culture through their art.
As Bagedai continues to gain recognition, they’re quickly becoming a defining voice in Yunnan’s music scene. Their story is one of cultural preservation, musical innovation, and the power of blending traditions with contemporary sounds. Stay tuned for our full interview with this rising star in China’s music world.
Is there a story behind your stage name? Bagedai, also known as “Beautiful Homeland,” is the first piece of land the Wa ancestors stepped on after leaving Sigangli. It is the heartland of the Wa people, nurturing the bloodline of the tribe which was given birth along with the creation epic of Sigangli, with every mountain and tree carrying the mysterious power of ancient traditions.
Bagedai is the cradle of Wa culture, the Wa people formed tribes and spread out from Bagedai, each creating their own homes. No matter where the Wa people go, they never forget their homeland. Bagedai is the shared home of all Wa people, just as the band members come from the same place but have different professions, coming together to protect and promote our culture.
Where do you find inspiration? The tunes we sing are the ones we’ve heard our elders hum since childhood. During our free time, the band members gather to chat, have drinks and share our ideas, which also sparks inspiration.
Who inspired you to be a part of the music industry? Ximeng is a small county where many talents have emerged, like Yan Yong, the bassist of the Shanren, and Amei, the lead singer of Sigangli. We are influenced by these predecessors and want to join the music industry to let more people know about Ximeng and Wa culture.
We are influenced by these predecessors and want to join the music industry to let more people know about Ximeng and Wa culture.
How did you learn to sing/write/to play? The band members gather together, share our thoughts on a particular tune of Wa, and each member contributes their ideas. Once everyone agrees, we finalize the song’s writing.
What was the first concert that you ever went to and who did you see perform? Our first concert was at the Nanman Music Festival in Xishuangbanna, where Kawa also performed.
How could you describe your music? Wa music is primitive and simple, while beautiful and captivating. Its unadorned tunes and rugged style make it unique. Life in Awashan, including love, marriage, labor, harvest and celebrations, is the best musical score, with each chapter full of joy.
Describe your creative process. Everyone shares their thoughts on how to express the song’s true meaning. We practice multiple times to find the best way to perform the song, and that’s how we complete it.
What is your main inspiration? Many released songs are what we’ve heard since childhood. There are many captivating tunes in Wa culture, but few people sing them now. We want to protect and promote these tunes so everyone can hear these heart-touching songs.
What are your interests outside of music? We cook traditional Wa dishes together.
If it wasn’t a music career, what would you be doing? The five female lead singers work in the county’s ethnic cultural troupe. Among the musicians, there is inheritor of intangible cultural heritage, and others work in institutions or play in other bands in Kunming.
What is the biggest problem you have encountered in the journey of music? In the beginning, we didn’t receive much support and encouragement from people around us, which was quite disheartening.
If you could change one thing in the music industry, what would it be? We hope more people will support ethnic and original music, making it more popular and step onto the world stage.
What are your plans for the coming months? We have some regular performances coming up. Additionally, we will have a small-scale live house tour outside Yunnan in September. This tour will be interesting, because we will reduce the number of performers on stage, which originally consists of 12 people in most large-scale stage.
While ensuring the quality of the live performance, we are trying to fit the live house setting. This is a challenge, but if it works well, we hope to bring our music to more live houses and bars, which offer more intimate and atmospheric environment for the audience. We also plan to hold an album release presser for our self-titled album “Bagedai” in our hometown, Ximeng County.
Do you have any artistic collaboration plans? If possible, I hope the band can perform overseas, so more people can learn about Wa tunes and the efforts that we are making to preserve our ethnic culture.
What message would you like to give to your fans? Bagedai hopes to inspire more young people of ethnic minorities to learn and inherit their own ethnic culture. We want to tell them, only they can represent their ethnicity. By understanding the world through ethnic music, the world is also allowed to better understand ethnic minorities.
I saw him playing on one of those live feeds somewhere and liked what he was doing so asked him to get involved.
Hey, have you heard about Robin Mukherjee’s new album? It’s called “Further Ahead” and it’s pretty awesome. This guy from Manchester has been making waves in the folk scene, and this is his third album already.
The thing I find fascinating about Robin’s work is that he tries to combine traditional folk with indie music. His guitar is very, very good – lots of interesting single note picking, really. They are really thought-provoking. He covers all sorts of topics, ranging from politics to personal issues and even how the seasons influence us.
For this album, Robin collaborated with Will Falkiner and John Ellis at Limefield Studio for production work. He’s not restricted to the guitar only, he plays the piano, mandolin and even percussion sometimes. A couple other musicians to add some interesting parts are lap steel, electric guitar, and cello.
As a matter of fact, I had a recent discussion with Robin with regards to “Further Ahead”. I then engaged him in a discussion about his song production method as well as the characteristics of his music and the interpretations of specific songs.
If you have never heard him before, I believe that you would enjoy his music, or at least the songs he is performing. I especially like that his attitude is really authentic, there is something really memorable about it.
Want to check out the interview and learn more about Robin Mukherjee? I think you’ll be impressed by what he’s doing with his music.
Robin, can you share the inspiration behind ‘Further Ahead’? What themes and messages are you exploring in this album? Well hi there! I didn’t have any message in mind when wrote the songs or put this album together. Having said that, I have since noticed that quite a lot of the lyrical themes are about a personal growth or a desire for change. Oddly enough, I’m at a point of quite major change in my own life so I suppose I was subconsciously reflecting that in some way, making the whole thing a lot more self indulgent than I’d planned! Perhaps I should rename the album ‘Self Indulgence Volume 3’?!
What was your creative process like for ‘Further Ahead’? How did you approach the songwriting and production phases? I’d written the bulk of the songs and already knew what arrangements I wanted prior to recording. ‘Management’s Mantra’ is the only exception, which I’d only just written that day and made up as I went along.
That one was a lot of fun to do – those silly little harmonies and out of time handclaps were intentional to highlight the flawed and contradictory behaviour of the person the song’s about! With everything else, I’d already arranged harmonies, additional guitar/mandolin and cello in my own head so it was just a case of trying to convey that onto an actual recording, which was harder than it might sound!
In terms of production, I recorded it at Limefield Studio in Manchester and had a lot of help from Will Falkiner who mixed and mastered everything and was generally a good chap. I don’t think it shows but I get quite self conscious when recording and can’t stand hearing my own voice – Will’s humorous manner was enough to enable me to forget all that and crack on. And I must say he did a wonderful job of the whole thing!
How does ‘Further Ahead’ differ from your previous works? In what ways do you feel you’ve evolved as an artist with this album? I think it’s more accomplished and sure of itself than previous albums. It has more variety despite the shorter length. The sincerity of ‘Next Time’ and ‘Butterflies’ is completely at odds with the silliness of ‘Manager’s Mantra’.
Putting an instrumental piece on an album is something I would never have done when I was younger either. I took a lot of influence from Bibio’s ‘Sleep On The Wing’ with that piece. And I got the title from a good mate who offered that turn of phrase during a rubbish gig we were at a few years ago!
Are there any collaborations or featured artists on ‘Further Ahead’? How did these partnerships come about, and what was it like working with them? The cello parts were played by a chap called Ben Cashell. I saw him playing on one of those live feeds somewhere and liked what he was doing so asked him to get involved. I also had Vincent O’Brien playing slide and electric guitar. I’ve known him for several years and have played with him in a variety of outfits as well as on each others albums in the past.
He did an exceptional job on this album. In fact, I almost discarded ‘Next Time’ until he started flatpicking the pentatonic major in the second verse, bringing the whole song to life! The album would be mere shadow of what it is now without Ben and Vincent’s contributions.
I saw him playing on one of those live feeds somewhere and liked what he was doing so asked him to get involved.
Do you have a favorite track on the album? If so, which one and why does it stand out to you? That changes frequently, but at the moment I like Further Ahead the most. I like the feel of the song and the way it gradually builds. And I’m happy with how I arranged the harmonies and mandolin parts. I could only hear all the parts together in my own head before actually recording it and was really glad it worked.
The title ‘Further Ahead’ suggests a journey or progress. Can you elaborate on the significance of the album’s title and how it reflects your personal or artistic journey? I’m glad you think that because that’s what it’s about for the most part. As I briefly mentioned before, I think that many of the songs address change in some way – Polling day is obviously about wanting political change but I feel that the album also addresses seasonal change, overcoming bereavement and sticking two metaphorical fingers up at belligerent managers. I didn’t plan for change to be an overarching motif but that does seem to have become the case.
Will ‘Further Ahead’ feature any specific visual elements or music videos? How do you plan to visually represent the themes of the album? I’m not planning any videos as of yet. I’m not massively fond of being on film or those cringeworthy videos where the singer pretends to play/sing, so it would have to have a purpose if I did one. And I did briefly toy with the idea of making a video for ‘Polling Day’, but decided against it in the end. I had a grand idea of making a dance video and contacted a Morris dancing troupe near me to star in it. They were quite keen but nothing came of it, which is probably for the best!
What do you hope your fans take away from ‘Further Ahead’? Is there a particular reaction or feeling you wish to evoke? That’s a very good question! Firstly, I wouldn’t say I have ‘fans’, not at this level – I can barely sell out a phone box! Nonetheless, if anyone does hear this, it would be nice if they could listen to it as an album in full.
In terms of reaction or feeling, well, I suppose I try to create sounds that can transcend the listeners thoughts and feelings. The instrumental section on ‘Next Time’ and multiple guitar parts on ‘Assurance’ are probably the most obvious attempts at doing this. The latter was my attempt at channeling my inner Kings of Convenience! There isn’t anything quite as gritty lyrically on this record in comparison to my previous one but I hope some people will enjoy the odd song or find some of it relatable to their own experience.
Now that ‘Further Ahead’ is set for release, what’s next for you? Are there any upcoming tours, projects, or plans you can share with us? I have a one off show in Manchester on July 13th to celebrate the album. It will also be something of a farewell Manchester show as I’m moving away very soon. I’ll be doing material from this album as well as from my previous smash flops, and will be joined by some rather lovely special guests. After that, I’ll be studying a Masters in Music Therapy so might not be performing for the foreseeable future.
If I’m honest, I’m not sure if I’m going to record any more music after this album either. I know the phrase “Never say never”, but something feels pretty final about this one. Time will tell, at the very least this is the end of a chapter but my instincts for now are telling me that this is it. I felt that way throughout the whole process of making this album, and the final song ends with a reference to one of my favourite songs from my first album. I’m probably the only one who’s likely to notice it but it’s there. And by being there, it adds a nice full stop to everything and it all goes full circle, back to the very start.
Love's Foggy Labyrinth: Seafarers Sets Sail with "Everything I'd Do"
Forget conquistadors in search of El Dorado – Seafarers, the London chamber pop crew, are on a quest far more perilous: to wend one’s way through the treacherous waters of unrequited love. The latest single from the group, “Everything I’d Do (to Get a Hold on You)”, feels like walking through a Victorian streetscape, forever fog-bound and lamppost-cast with long shadows of melancholy.
This is a lush tapestry woven with shimmering threads of guitar and Lauren Kinsella’s vocals as smoky and rich as a good, well-aged bourbon. There’s a clear reverence here for the old country weepers of the ’80sᅳBonnie Raitt’s aching vulnerability and Emmylou Harris’s crystalline sorrowᅳbut there’s a sharper, more urban edge in this, a feeling of claustrophobia that must be part of the setting expressed by the song, where dreams have gone to a dead-end university town to gather dust bunnies.
Love’s Foggy Labyrinth: Seafarers Sets Sail with “Everything I’d Do”
Lyrically, it’s a heart laid bare. The narratorᅳa lovesick soul in perpetual chase after some distant flameᅳhalf-stumbles through frozen streets and dimly lit dives where each desperate attempt to connect is met with a chilling indifference. For me, this tale of dancing with emotional unavailability echoes in the messy tango that leaves you dizzy and heartbroken. Speaking of tangos, did anyone else catch the unexpected key change on the bridge? Genius.
“Everything I’d Do” is not all bleak, however. In the music, there is a flicker of defiance that refuses to give up completely. Here is the sound of someone grasping at a life raft in the middle of the oceanᅳhope fighting against despair. And perhaps, just perhaps, this glint of defiance is what makes this song so goddamn listenable. What lies before is the confidence that in every foggy labyrinth of love there will always be a way out.
Love in the Age of Swipe Right: A Review of Joe Lington's "SHE"
Imagine love as a vintage record store, full of dusty gems that are yet to be dug out; that is what Joe Lington curates on “SHE,” a sprawling 22-track exploration of modern love that feels like a rediscovery more than a debut.
Lington, an Irish R&B crooner with a feel for the unexpectedᅳthink singing in French and English, even Cameroonian!ᅳweaves a tapestry of really soulful melodies that shimmer with Sisqo and Keith Sweat influences. At the same time, though, it packages a bittersweet message. “SHE” is a lament for the fleeting connections of the digital age, a world where love has shrunk to the size of a quick swipe and a disposable bio.
Certainly, Lington doesn’t shy away from the metaphorical. One track stuttering drum beat feels like a first date, all nervous, and another with breathy vocals is redolent of the whispered intimacy of a secret shared between two people. There is a delightful sprinkling of whimsy throughoutᅳa saxophone solo that spirals skyward like a helium balloon, a bridge that dissolves into a jazz scat symphony and evokes a 3 a.m. party in a Parisian café.
Love in the Age of Swipe Right: A Review of Joe Lington’s “SHE”
Long from itᅳ”SHE” is not all rainbows and unicorns. There’s a sense of overwhelm in the sheer track listing, and some lyrics bend toward the overly familiar. At its core, it makes an impassioned plea for something deeper: a yearning for love that goes beyond curated profiles and fleeting dopamine hits of the dating app era.
By the end, you are left with this weird mixture: nostalgia for when a mixtape or a letter written by hand made sense, coupled with a flutter of hope that maybe, just maybe, Lington will be able to make the embers of real love in today’s digital age flicker back into life once more. Is it a perfect record? Far from it. But is it a compelling listen? Without question. “SHE” reminds us that, within a culture capturing every move for the ‘gram, some thingsᅳlike genuine connectionᅳare worth holding on to.
Georgia Crandon Explores Love's Intoxication in "Relapse"
Ever tried trapping lightning in a bottle made of cotton candy? That’s what listening to Georgia Crandon’s “Relapse” is. The latest single from her self-titled debut is much like riding a neon rollercoaster through the labyrinthine alleyways of infatuation; it’s a true visual odyssey, brilliantly painted with sound.
Crandon digs deeper to flesh out the paradoxical ecstasy of love and addictions; she seems to equate synthetic highs with natural euphoria, as though she were turning feelings into alchemical musical notes. Her voice runs with mercury on glass: shimmering, yet wild. The sound of Darren Bazzoni’s production evokes a milieu that’s almost retro but never dustyᅳlike Casablanca with electric guitars.
In “Relapse,” love isn’t just a gentle nudge that is a baby elephant hug. It is more a kind of quicksand that appears to be solid ground, which drags you into it with every seen-but-dashed-to-the-seas call toward some paradisiacalᅳthough it could turn paroxicmal (yep, I meant that). This song isn’t so much a pop-rock anthem as it is a sonic Rorschach test: do you see beauty or peril?
Credit: Upstage Photography
One just can’t seem to shake the irony-laced messaging deeply looped within those harmonic hooks: the intoxicating first blushes versus an inevitable emotional comedown. Isn’t this cycle older than freaking Nero? Maybe it’s Narcissus peering into his own trap once again, but Pink Floyd is playing softly in another room.
Georgia leaves us standing on the edge of a cliff considering our own vices, wrapped up prettily in metaphoric endorphins. Whose grip can we escape from?
When the last note has died, ponder the silencing echoes of your own relapsesᅳmusical or otherwise.
"Beauty of Change": KLT's Poetic Exploration of the Human Experience
Ever tried to harmonize with the whispering leaves of a cherry blossom? A little like delving into KLT’s “Beauty Of Change”—an elaborated piece, though, albeit put together through the sinews of soul and jazz.
Imagine, rolling in at midnight, on the train fueled by emotional coal, each stop opening a new vista of sonic beauty. Kevin Larriveau drives this locomotive like an old pro alchemist, making auditory gold from base emotions. The voice of Jessy Elsa Palma is nothing short of an aurora borealis: it captures you in its ethereal hues yet grounds you in earthly warmth, best illustrated in the duality underlying “Locked In Paradise.
Themes pirouette on existential tightropes throughout this album; they do not just dance. This collection seeks to unearth our most buried sentiments without resorting to melodramatics or trite tropes. It hisses goals lying forgotten beneath your conscious mind like “Theresa” does when its lush, gospel-inflected notes take flight like doves escaping Pandora’s box —though not too fast lest we forget Gabriel Gorr’s resonant double bass grounding us back.
The addition of Daphnis Moglia’s trumpet and the twilight strings of Interestring Quartet raises this already wonderful album off into astral territory. They swoon somewhere between Haiku poetry and Shakespearean monologues, such that “Beauty of Change” is coated in synesthetic palimpsests.
Credit: AB Salvan
Deciphering some ancient picture, written across time and memory, KLT posits an argument about change as inexorable but poignant at every step. If only reformations could always be so deep. or groovy.
In other words, travel through these soundscapes if you’re looking for anything more than just beats and hooks place. And seek out the wisdom veiled beneath seven soulful moonlit waves.
TATE SEDAR Ignites Dance Floors with "My Fire" Remix
When Julius Caesar crossed the Rubicon, it was less about the river and more a torrential flood of irreversible decisions. Likewise, TATE SEDAR’s “My Fire (TATE SEDAR Remix)” with Titus1—this is not some sort of electronic ripple but a bold dive into the pulsating depths of bass and electro house.
TATE SEDAR’s remix crackles with electric frenzy—picture a dragonfly skittering over a neon-lit puddle during a nighttime rave. It doesn’t walk or even run—vibrating, thunderous baselines across your consciousness that could wake Bacchus from his wine-induced slumber. Layered like an iron chef working just with sounds for lasagna, every note heaves under the weighty potential to evoke sensory overload or ecstatic dance moves.
But amidst this seismic clash of decibels lie messages as profound as they are pumped up on adrenalized synths. It sings—and howls at times—about desire, not shallow whims but deep-seated yearnings that come out in some crucible of thumping beats and shimmering drops, shooting stars across the space with high stakes in tango.
Credit: Lionel Lindeman
Out of these digital chills, what comes out familiar yet revolutionary looks like the fanfare of disco balls ringing against technological dalliance at the juncture of historical analogy, when convergence happens most unexpectedly. Small Gatsby enigma wrapped up in cadaques-catching cocktail parties under moonlit certainty retreating shadow banks.
And as we swing through “My Fire” between anatomical dissection and rhythmic submersion, what lingers isn’t an auditory experience but a vivid eruption, which bids us—in nodes till then concealed—to reconsider what lights us alight in our continued night sky searches for the musical North Stars.
If cherubs in the cosmos had a soundtrack for arrow-flinging, “Real Love” by Starmode & Tarmo might just be it. Strangely enough, imagine Cupid drenched in neon lights, vibing to electronic beats atop Helsinki’s snow-laden roofsᅳthis image encapsulates what brushes through your eardrums with this track.
Dancing on a tightrope between euphoria and plaintive longing, the single crafts sunlight out of notes and chords that could potentially resuscitate frozen hearts. The piano acts not just as an instrument but as an alchemist; turning air into goldᅳa rare feat reminiscent of Midas’s own playlist.
Starmode
The core message sings ballads about love’s rejuvenating power; more refreshing than a gulp of Klondike-esque cold air during summer midsöl (a coined term blending ‘sol’, sun WIth mid). This anthem does not tiptoe around its intentionsᅳit stomps through your feelings with the heftiness of Goliath sporting light-up sneakers pounding along to Beats by Dr Dre helium riffs.
Tarmo
Now let’s sidestep: Did aliens intercept transmissions from our “summery” songs and beam back “Real Love” as their first message? It seems probable when you get washed under its pulsating waves. Another curious muse is whether Archimedes would’ve abandoned his Eureka moment if this tune thumped through his bathhouse?
Wrapping up in ambiguation hues rather than clear-cutsᅳdoes “Real Love” truly elevate or simply tantalize us like unrequited love at peaktime disco infernos? Only repeated listens will tell if it remains timeless or tapers into nostalgia’s echoing whispers.
As Yosef Gutman Levitt plucks the strings on “Why Ten?”, it’s as if each note bobs like a lantern on some nocturnal sea, guiding lost ships toward mystic shores of Jewish numerology. In this new album, Levitt does not just play music, calling out storms and serenades from beyond, meshing sandy desert melodies with rainforest rhythms.
“Why Ten?” is not an album; it’s a merry-go-round ride whirling around the cosmic significance buried in the number ten. It whispered otherworldly jazzes, carried by tender guitar strums from Gilad Hekselman and Ofri Nehemya’s drumbeats that pulsate like heartbeats echoing through ancient cedars. They invite us to groves where traditions twist and twine, revealing sacred knots that bind spiritual realms to our mundane world.
Stefano Amerio incubates this spectral symphony within crystalline walls of sound production, breathing as if alive: a living creature birthed from harmony and heritage. Here lies the alchemistic pot in which notes are cooked together—haunting woodwinds by Gilad Ronen whispering secrets heard only once in a lifetime during chilled twilight breezes.
Yosef Gutman “Why Ten?”: A Mystical Jazz Journey
This record takes one atop the hills of Jerusalem at dusk, where every chord grows leaves to meet the skies, colored by past epochs’ aspirations and sighs. It indeed feels global, yet exuberantly localized—a weird paradox, somewhat like standing on two boats firmly, with their horizons stretched in front of them.
Thus tuned deep inward, yet expansive outwards, Levitt crafts not mere songs, but spells capable of sweeping one off one’s feet—as enchanted sailors, enraptured under starlit voyages tracing routes of thought long before we listened or even breathed.
Owan & Larbi Release Debut Project “Here’s to New Beginnings”
An eclectic duo from Ghana, West Africa, with a passion for heartfelt lyrics from love to life that grabs the ears of both home and streets listeners, Owan & Larbi are slowly constructing a unique sound that fuses classic Ghanaian Hiplife and new age smooth Afrobeats. Their debut EP, “Here Is To New Beginnings” a 6 song chronicling their experiences so far.
Filled with life and love songs, the budding duo speak on appreciating beautiful love and ebbs and flows of life. In the face of the obstacles and hardships, they have faced in finding loving and figuring out life, they hold fast to their grounds and have come to find peace and love in the end.
The songs are a great fit for romantic and chill moments where you can ponder on life and in times where you are looking for motivation to pursue your dreams. A very well put together project that highlights their stories over fitting instrumentals.
Stream “Here’s to New Beginnings” on all platforms here
Lifting the Veil: An Interview with Post Death Soundtrack
Get ready to go inside the dark and heavy world of Post Death Soundtrack. This band originated in Vancouver with the members as Stephen Moore and Jon Ireson; they are masters of doom, grunge, hardcore, and thrash metal.
Their latest album, “Veil Lifter,” looks quite different from their previous ones to say the least. Infused with feelings of Alice in Chains and Russian Circles, Post Death Soundtrack’s fourth full-length album offers an intense, live-sounding experience which should indeed be loved by fans of heavy music.
With strong, passionate vocals supported by distorted instruments, Moore guides the listeners through a perspective of self-actualization, struggle, and internal darkness. Notable tracks such as ‘Molotov Smile’ and ‘Hyena Dream’ are good examples of the way in which the band meshes heavy chug with trance-inducing rhythms.
The outcome is an atmosphere that will both remind listeners of some of the best parts of classic video games and feel futuristic and contemporary. Apart from music, “Veil Lifter” addresses issues of mental disorder and internal crisis, making it more than just songs but telling a story. From the conception of “Veil Lifter” to discovering what fuels Post Death Soundtrack, and their path from pain to triumph, let’s learn more about the band and the music.
Is there a story behind your stage name? It has several meanings, like most of the lyrics, one being that your Post Death Soundtrack is the energetic mark you leave after you die. The other could be that this is music for the dead, for those who die to the world.
Where do you find inspiration?
Life experience, trauma, struggle, loss, perseverance and spirit. Musically, I also feel it’s important to both lean into your loves but also experience a wide range of new and different music because it can all influence you and find it’s way into your work.
What was the role of music in the early years of your life? Early in life I was pretty typical in that I enjoyed music, which pretty much everyone does. However, when I was 12 or 13 and was introduced to Nirvana, I felt for the first time that I was understood. It lit a fire in me. I knew this was where I wanted to be and what I wanted to be involved with.
Are you from a musical or artistic family? No. I’m an odd duck.
Who inspired you to be a part of the music industry? Nirvana. And as the years went by and I just became more and more enamored with everything music, I realized it was my sport. It’s the only thing I know about and do well. So I’ve pretty much based my whole life around it by running independentmusicpromotions.com for my day job.
How did you learn to sing/write/to play? Originally, there was a guitar course at my school introduced and they actually let me play Smashing Pumpkins ‘Rocket’ for a test/assignment. I had a guitar teacher for a few years, but then I just veered off and started writing my own music. I was mainly interested in getting good to a certain point where I could write the riffs and ideas I wanted to.
I never cared about being a Steve Vai type of soloist, even though I respect and enjoy technical music too. For vocals, I would practice along with Nirvana, Alice in Chains, Stone Temple Pilots, etc over and over. It took me years to develop my voice. I probably didn’t even enjoy it until I was 28 or so, and it’s finally come into it’s own now.
What was the first concert that you ever went to and who did you see perform? The first shows I went to were local punk/grunge shows in Oakville, Ontario. One of the first bigger bands/concerts I saw was The Tea Party, who are kind of the Led Zeppelin/The Doors of Canada. Shout out to them. I grew up on ‘Edges of Twilight’.
Also, and I don’t care if this is embarassing – one of the first concerts was Kriss Kross at Canada’s Wonderland, and I wore my Dad’s pants on backwards. Say what you want – ‘Warm it up, Kriss’ – that song still holds up! Haha
Also, and I don’t care if this is embarassing – one of the first concerts was Kriss Kross at Canada’s Wonderland, and I wore my Dad’s pants on backwards.
How could you describe your music? It’s mainly metal when it comes down to it. Stylistically, my style blends doom, sludge and thrash metal with grunge, noise rock, psych rock, stoner rock and hardcore punk. I know that sounds like a lot, but I find they all go together seamlessly.
I grew up in the Calgary punk scene but listened to more grunge and alternative bands at the time. Later on I got into heavier and heavier metal, as well as the current doom and sludge scenes, which had a huge effect on me. Now, I mix it all in the gumbo and it comes out as a singular sound.
Describe your creative process. I typically either have songs and melodies come in my head while I’m out for a walk, or sometimes even in dreams. But most often I sit at the guitar and make things up on the spot, aiming for riffs I find interesting. Once I stumble on something, I’ll either record it right away on my phone, or I’ll sing a melody and placeholder lyrics, recording that.
It has to be fresh or I risk forgetting it. I’ll revisit the files later and expand on the ideas with a fresh mind. This is how the songs come about. Often the first ideas work, including the lyrics made up on the spot. I’m not sure why it works that way. Other times I will have lyrics and full poems already written in my lyric book, so I will browse through that and set them to music.
What is your main inspiration? My main inspiration is to put out something raw,, honest and uncensored, as that’s the only way I can be proud of it. I’m very stubborn that way. If we’re in a band and you tell me you just want to have fun and be silly, I run for the hills. I’m inspired to release serious art. And I’m constantly inspired by a really wide variety of music. I own 2,000 records.
What musician do you admire most and why? Kurt Cobain and The Beatles. Kurt Cobain because he made his lyrics brilliantly cryptic, and as a result managed to inject more power and emotion into the music because of it. A lot of people don’t understand them, but it’s like painting a picture with lyricism as opposed to just coming out and saying ‘I’m upset’, which to me is boring.
And The Beatles because they did what they wanted, experimented to high Heaven, and completely changed the world with how far they were willing to take things. They’re unendingly brilliant.
Did your style evolve since the beginning of your career? Yes, very much so. It was likely more spastic punk metal towards the beginning, but most of all, I’ve grown better in knowing what I’m good at and what I’m not. So I lean into my truth and what I do best, while still experimenting.
Who do you see as your main competitor? I try to support other artists and don’t really see any competitors. I just compete with myself, aiming to do my utmost and release something stronger than my previous release. I think I’ve done that with ‘Veil Lifter’, and as I start to write towards the next album, I am aiming to create something even better, heavier, more immersive and compelling.
What are your interests outside of music? I love meditation, philosophy, spirituality, comedy, film and food/nutrition.
If it wasn’t a music career, what would you be doing? I’d probably be working a job I don’t like, or possibly even be homeless.
What is the biggest problem you have encountered in the journey of music? Working with people who don’t understand or value the marketing side of things, and who only want to make the music and then chill. It’s been a challenge to find symbiosis between people and have a project move forward in a live or business sense.
If you could change one thing in the music industry, what would it be? I would do away with the feedback industry, because nobody needs feedback once the music is mixed and mastered. Their statement is complete. I would have that industry focus more on actual shares and coverage. Nobody cares what you thought about the change at 1:22 in the song.
Why did you choose this as the title of this project? It means ‘to lift the veil of ignorance and see reality as it is’, so to see reality as oneness as opposed to the illusion of duality.
What are your plans for the coming months? I plan to continue to promote ‘Veil Lifter’, while also writing ideas and song structures to lead towards the follow up album.
Do you have any artistic collaboration plans? I already collaborate with Casey Lewis on my work. He plays drums and really brings the songs to life, as he’s one of the top drummers in Canada. He also mixes and masters through his top tier studio, Echo Base Studios. Other than this, I have quite a few musician friends in Calgary who I plan to collaborate with on various projects. I also plan on some solo work.
What message would you like to give to your fans? THANK YOU to anyone who bumps this shit. It means the world to me, honestly.
Behind the Rhythms: For You Brother on Their Latest Hit 'America'
The three members of ‘For You Brother’, an alt-rock group originating from Aiken, South Carolina, is generating quite a buzz around their debut release “America. ” John Davis, Jean Carlos, and Phil Noah are childhood friends with a various set of inspirations that produce a new, exciting sound.
Their most recent single is a perfect representation of their talent and the fact that they have been friends for decades, with the tune that immediately gets stuck in your head. Non si può non rimanere colpiti da “America”, sofferente per il 6/8 time, vocali convincenti e corda pulita.
The vibe of the song is very consistent since all the parts fit together well in creating an enjoyable listening experience. In fact, any of the; Its chorus is quite touching and catchy, and it seems appropriate to call this song the anthem for national holidays.
We had an opportunity to sit down with John Davis, alias Jon Dash, to talk about the creative process of For You Brother. Davis shared not only information about the early influences and musical training of For You Brother, as well as their present and future creative endeavours, but also the backstory behind “America”. Keep on growing with For You Brother and follow them as they create the exciting and soulful art of rock music.
Yes, I usually dash out after a show. I’m kinda of a reclusive person
Where do you find inspiration? I find inspiration from living life’s journey & from older bands. Van Halen, Yes, Mother Finest, Boston, Queen, Prince.
What was the role of music in the early years of your life? the earlier years I spent most of my time trying to be different.
Are you from a musical or artistic family? musical family, yes cousins, uncle, ect
Who inspired you to be a part of the music industry? I was always drawn to music from a child.
How did you learn to sing/write/to play? I was self taught. Writing music I just record whatever I’m feeling that day.
What was the first concert that you ever went to and who did you see perform? my 1st concert was The invasion tour 1979 Van Halen
How could you describe your music? my music to me is danceable ,funk , rock, classic rock
Describe your creative process. my creative process starts out with whst ever riff that I start jamming on. Then it takes life.
What is your main inspiration? my main inspiration is pleasing God
What musician do you admire most and why? I admire Edward Van Halen the most. He was true to his heart musically. He inspired many guitarist. He had a big heart.
I admire Edward Van Halen the most.
Did your style evolve since the beginning of your career? Yes, my style is definitely evolving
Who do you see as your main competitor? no competition
What are your interests outside of music? my interest outside of music are spending time with my family and friends.
If it wasn’t a music career, what would you be doing? Business owner
What is the biggest problem you have encountered in the journey of music? biggest problem would be getting airplay on Radio stations
If you could change one thing in the music industry, what would it be? if I could change the music industry hmm maybe clean up the good ole bit system
Why did you choose this as the title of this project? America, is the title for the single as it represents the song perfectly.
What are your plans for the coming months?
my plans for the coming months are writing more tune with Jean Carlos to support out upcoming shows
Do you have any artistic collaboration plans Yes, Jean & I are currently playing with the Jimi Bennett Band writing & gigging
What message would you like to give to your fans?
my message to our fans would be Thank so much for your support & listening to our new single America.
From Covers to Club Hits: The Rise of SKYLAN in the EDM Scene
SKYLAN is still relatively new in the world of EDM but her shows and her music set her apart from the rest. She was born in Raleigh, North Carolina and is rather well-known for her efforts in revolutionizing the traditional electronic dance music. Her new song ‘High’ is a perfect summer hit tune which incorporates electronic dance elements combined with the Pop music genre and the emotions that can be associated with them metaphorically.
SKYLAN began her wonderful journey at the young age of 17 when she started covering songs on one of the most popular platforms, YouTube. It might have started with those basic equipments in school, but she has grown big and well known as a DJ and producer.
Her tunes, as she often said was influenced and composed during the festival times and when she gets to perform before live audiences have the ability to take people to the sunny side of the globe and light up the dance floors everywhere it is.
When we had a chance to talk to SKYLAN, she shared with us a few insights regarding her process of creating music, the artists that have influenced her the most, and her own experiences that are reflected in her music.
She disclosed her journey of discovering music in her early stages, her current realities, and the struggles she has faced in her journey. Thank you for watching the video and I hope you continue to follow this artist as this is just the beginning of what she will accomplish.
I chose this name when I was 17 and singing cover songs on YouTube, and I’ve grown rather attached to it. I wanted something cool and different, but most importantly, I wanted a name with no ties to my real identity. Music has always been very personal to me, and I didn’t want my family and friends to have opinions about it. As I got older, this alias proved useful when I had a job where being active on social media could have been problematic. Now, it helps me differentiate between people who know me in real life and those who know me from DJing and my music based on what they call me.
Where do you find inspiration?
The way I make music now is very different from when I first started. These days, with performing and DJing, my focus is on how a song will perform in front of an audience. I’m constantly thinking about how it will fit into my set. I do a lot of different types of sets, from EDM, mostly Bass House and Dubstep, to sometimes Melodic House. I draw a lot of inspiration from the energy and reactions of the crowds.
What was the role of music in the early years of your life?
Music has always been a big part of my life. I did the typical things musical kids do—chorus, vocal lessons, and playing the flute in elementary and middle school. In middle and high school, I really got into playing the guitar. My taste in music has always been all over the place, but I’ve always appreciated the artistry in every genre.
Are you from a musical or artistic family?
Yes, my mom is super creative. I’m pretty sure I remember her saying she played clarinet in High School. I don’t have much of a connection to my dad’s side of the family, but from what I remember, they were pretty theatrical.
Who inspired you to be a part of the music industry?
I’ve always had people telling me I should do something with music, but it wasn’t until I started succeeding with DJing that people stopped asking me what I was going to do for a career.
How did you learn to sing/write/to play?
I started learning how to produce music through YouTube tutorials back in 2016. I honestly got tired of paying producers and thought, “Screw it, I’ll just learn how to do it myself.” I picked up some skills from taking vocal lessons and chorus as a kid, but most of that faded over time, so I turned to YouTube tutorials again. I have a basic grasp of music theory, however to this day, I still can’t read sheet music. When I was a kid, I went out of my way to avoid learning it. My flute instructor once told my mom, “She can’t read the music, but if I play the composition first, she can play it back.”
I started learning how to produce music through YouTube tutorials back in 2016. I honestly got tired of paying producers and thought, “Screw it, I’ll just learn h
What was the first concert that you ever went to and who did you see perform?
I was 6 years old when I went to my first concert, which was Britney Spears on her …Oops I Did It Again tour. I vividly remember her dancing on stage in that iconic red bodysuit.
How could you describe your music?
My discography is pretty eclectic. I began with Tropical House, then transitioned to Big Room House. When I felt strongly about a political issue, I expressed it through a Dubstep track, and my TikTok followers really resonated with my song “Riddim Gods.” Over the past year, my music has consistently featured heavy bass elements, but recently, I’ve been exploring a blend of pop vocals with a heavier drop.
Describe your creative process.
I don’t follow a set formula to making a song. Most of the time it begins with a melody that pops into my head, or sometimes it starts with a lyric, a drum beat, a guitar riff, or a piano chord progression. Lyrics often come last for me, and I still consider them my weakest skill in songwriting.
What is your main inspiration?
My main inspiration has evolved over time. Initially, it was other artists and their songs. Now, my sets and the audience’s reactions are my biggest sources of inspiration.
What musician do you admire most and why?
Right now, women are absolutely killing it in music. I find a lot of inspiration from the big names in pop music, like watching Chappell Roans rise to fame has been pretty cool. But my heart will always be in EDM, where artists like Nostalgix, ALLEYCVT, and Alison Wonderland stand out to me.
Better yet, Charlotte De Witte was the first woman to close out Tomorrowland in 2022. The EDM world, like many other genres, has historically been dominated by male artists. Women in EDM have often been underrepresented and underestimated, so it’s really inspiring to see them gaining more recognition and representation in the community.
Did your style evolve since the beginning of your career?
Like personal style? Yeah, I wear a lot more comfortable clothing during my sets now. I just got sick of the misogynistic comments.
Who do you see as your main competitor?
I’m more focused on staying in my own lane. Although, I do tend to get caught up in my own ambition, so in a way, I’m my own competition. I’m constantly pushing myself to explore “what’s next.”
What are your interests outside of music?
Do I have other interests? Well, kidding (kind of). I’m extremely extroverted, so I enjoy traveling, meeting new people, and catching up with friends outside of my events or work. I still bartend once or twice a week, so I still have an interest in craft cocktails.
If it wasn’t a music career, what would you be doing?
Well, I’m not in music full time just yet. DJing covers a good portion of my bills, but I still bartend once or twice a week. Funny enough, I was actually crowned Raleigh’s Best Bartender 2023 by Raleigh Magazine.
What is the biggest problem you have encountered in the journey of music?
There’s been a lot of weird stuff since I started DJing. Initially, getting my foot in the door was tough; there’s a lot of gatekeeping when you’re first starting out. The whole “we’ll pay you in exposure” taboo is pretty annoying, and it’s definitely not discussed enough, especially in the EDM scene. Also, Misogyny continues to be a recurring issue.
If you could change one thing in the music industry, what would it be?
I can handle the majority of the challenges I mentioned earlier, but if there’s one thing I could change, it would probably be transparency. It’s crucial, especially for independent artists like myself, to have clearer and more honest communication across the industry.
Why did you choose this as the title of this project?
“High” is the most frequently used word in the song. Well, technically, “I’m” is the most used word, but I didn’t think that would make a very good song title.
What are your plans for the coming months?
I have a lot of themed events here in Raleigh, NC that I’ll be DJing, but I’m also aiming to expand to other cities and states. I’ve got a few original tracks and some flips/remixes on deck that I’m really excited to release and play at some upcoming shows. Also, there’s some exciting stuff in the works that I can’t announce just yet, but yeah, I’m looking forward to it!
Do you have any artistic collaboration plans
Skrillex. He doesn’t know it yet, but if someone could just introduce us then I’m sure he’d be on board.
What message would you like to give to your fans?
That’s a bold question. I’m not sure if I have fans yet. But if there’s even just one person out there supporting me, just know ilu, your support does not go unnoticed, and please stop gatekeeping me to your friends.
The Impressive Talent of Carson Ferris Shines Through in 'Ghosts'
I remember clearly the first review I did for “Speed Limit” by Carson Ferris, at just 14 I was really impressed with what I heard, and now he is making waves in the pop music scene with his latest single “Ghosts,” released on July 5, 2024. Produced by Matthew Parker, this electro-pop track showcases Carson’s impressive vocal range against a backdrop of pulsing electronic beats.
“Ghosts” stands out for its immersive soundscape and Carson’s emotive performance. The song delves into complex themes like toxic relationships and the importance of letting go, displaying a maturity beyond the young artist’s years. Its slower tempo allows listeners to fully absorb its powerful message.
Initially conceived as an upbeat dance track, “Ghosts” evolved into a unique blend of heartfelt vocals and laid-back electronic vibes. Carson’s lyrics are particularly poignant, reflecting on the necessity of moving on from unhealthy situations. The bridge drives this point home, emphasizing that letting go is often the path to peace.
Initially conceived as an upbeat dance track, “Ghosts” evolved into a unique blend of heartfelt vocals and laid-back electronic vibes.
Carson’s ability to convey such universal themes is remarkable for his age. Parker’s production enhances the song’s emotional impact, making it a standout in Carson’s growing repertoire. The personal touch of Carson recording vocals in his home studio adds authenticity to the track.
Having started his musical journey at six with the electric guitar, Carson cites influences like Journey, OneRepublic, Ed Sheeran, and the Jonas Brothers. These inspirations shine through in his music, which blends pop and rock elements into a relatable sound.
“Ghosts” demonstrates Carson Ferris’ growth as an artist and his capacity for creating music with depth. It’s a compelling listen for fans of thoughtful electro-pop, and signals a promising future for this young talent in the music industry.
Connecting Through Music: An Interview with Lexi Berg
We are pleased to introduce Lexi Berg, a talented Swedish-American musician who seamlessly combines classic Swedish pop with Americana and folk influences. Raised in Stockholm, Lexi’s early exposure to coastal sounds shaped her artistic development. Her debut single “What If” garnered critical praise, marking a strong start to her career.
Lexi continues to impress listeners with her distinctive, powerful voice, often compared to that of Stevie Nicks. Her recent single “Lonely Satellite,” produced by James Eliot, showcases a blend of acoustic and electronic elements. Recorded in the Welsh countryside, the track offers a calming respite from urban life.
In addition to her musical pursuits, Lexi has built a sense of community through monthly jam sessions in London. Her performances at notable venues and festivals demonstrate her ability to form genuine connections with her audience. Lexi’s authentic approach to songwriting and performance positions her as an emerging artist with a unique voice in the industry.
We look forward to discussing Lexi’s inspirations, creative process, and future projects. Join us as we delve into the artistry of Lexi Berg.
Yes, it’s a shortened version of my full name, Alexandra Berglof.
Where do you find inspiration?
Inspiration comes from everywhere—by living authentically and embracing every experience that life throws at you, good and bad.
What was the role of music in the early years of your life?
I was born in Stockholm, Sweden and I lived on a houseboat right next to the amusement park. The lights and sounds from the shipyard would inspire me to play piano and write songs timed to the waves of the sea. The sounds calmed me down. Music was, and is my therapy.
Are you from a musical or artistic family?
Yes, my mother was an accomplished classical pianist as a teenager. My sister and I wrote songs together when we were very little. My great-grandmother composed beautiful songs, though they were never played outside the family.
Who inspired you to be a part of the music industry?
No one in particular inspired me. In fact, many advised against it, but I knew I couldn’t live with myself if I didn’t give it a try.
How did you learn to sing, write, and play?
I had incredible teachers—my Romanian piano teacher, Virginia Pipidi, and my first singing teacher, Sophie Yukuwa. My mother, however, was the one who really taught me everything musical. She showed me how to feel every note.
I had incredible teachers—my Romanian piano teacher, Virginia Pipidi, and my first singing teacher, Sophie Yukuwa.
What was the first concert you ever attended and who did you see perform?
Avril Lavigne! It was an unforgettable experience. We were seated at the top of the arena, barely able to see her, but I was ecstatic the entire time.
How would you describe your music?
It blends classic Swedish pop melodies with touches of Americana and hints of folk.
Describe your creative process.
I wrote “Lonely Satellite” with three of my favorite musicians. Jim Eliot, who has collaborated with artists like Ellie Goulding and Black Honey, introduced me to Mary and Willow Robinson from Outpost Drive. Feeling disillusioned by the pressures of London, we escaped to the Welsh countryside and wrote the song under an apple tree, surrounded by farm animals whilst being attacked by spiders and red ants.
What is your main inspiration for this song?
“Lonely Satellite” explores the contrast between the pervasive loneliness many of us feel in our hyperconnected world. Despite being more connected than ever, communities are disappearing, replaced by technology and individualism. In cities, the polluted skies hide the stars so that all we see are planes and satellites, symbolizing this disconnect. Looking up gives us perspective. Life doesn’t have to be about competition and success—it can be about collaboration, love, and support.
What musician do you admire most and why?
Stevie Nicks from Fleetwood Mac. Her magical performances leave you feeling hypnotized and spellbound.
Has your style evolved since the beginning of your career?
Absolutely! My voice is stronger, and I’ve delved deep into my soul to express my rawest self.
Who do you see as your main competitor? I see everyone as a potential collaborator, not a competitor.
What are your interests outside of music?
I love magic, tarot, and dancing. I enjoy a good rave, cooking, and hosting friends and family.
If it wasn’t a music career, what would you be doing? I’d probably be buried deep in an archive, possibly having a nervous breakdown.
What is the biggest problem you have encountered in your musical journey?
Realizing that some people in the industry are in it for the wrong reasons was a tough lesson. It might be cliche, but I thought I might be the exception. Nope.
If you could change one thing in the music industry, what would it be?
The list is long, but I’d start with changing songwriting cuts. Songwriters deserve fair compensation. What would we do without music?
Why did you choose this as the title of this project?
We are all lonely satellites, roaming around in search of real connection.
What are your plans for the coming months?
I’m focusing on releasing music, touring, and performing. I have a residency at Notting Hill Arts Club in London, with the next one on August 29th. I will hopefully be going on tour in the US late fall.
Do you have any artistic collaboration plans?
Yes! If you’re an artist or producer, hit me up!
What message would you like to give to your fans?
You are not alone. I feel the same way you do. Let’s build a new world where light conquers darkness.
Heaven Sent: About-Faces Talk Vulnerability and New Music
Did you know that ‘About – faces’ released a new track called ‘Heaven Sent’?This one is more emotional than its hit predecessor “Learn to Surf” released last year. Interestingly, it would appear that it was one of the first that they ever put on record and now it is one of the best hits during their concerts.
The track has this hopeful, grateful type of message, but with the indie rock twist that only this band can offer. It is quite easy to detect similarity to U2 and Bruce Springsteen where you can notice lots of guitar and a farecally big chorus. Sennen has this unique rawness to her voice and Danielle complements by singing back up with dreamy harmonies.
Sennen told about the purpose of the song. He said that it is not about overcoming the struggles of life but mourning and moving on , forgiveness and valuing the friends who stood by him when his father died.
He said that he does not have any religion but he does good in everything and the support that he receive form his friends was really like a godsend to him. It appears about-faces are becoming more popular by the day thanks to their poignant lyrics and narrative approach.
Take for instance this track “Heaven Sent”, this is the best example of how they combine alt-rock and indie with strong emotions and nice choruses. Still if you plan to know what exactly they are up to, then I think it’s worth a try listening to it.
Is there a story behind your stage name?
We struggled for a while to find a suitable name that fits the sound. Danielle mentioned about-face and I thought it was quite cool. The idea of turning 180 degrees to face the opposite way felt empowering to me. But because we’re a band, it had to become plural, I think about-faces adds another dimension to the original idea, now can be seen to be about everyone.
Where do you find inspiration?
I think inspiration comes in a variety of forms, could be a moment; a scene in a film; an overheard phrase or just a feeling we experience. I think you have to be consciously aware of these moments, and I think this is what sets us apart from other bands.
What was the role of music in the early years of your life? For us all it was always escapism, we’ve all played since teenagers, music now becomes a part of our life and identity. But first and foremost, we are music fans. I think this obsession with bands and artists sparked the desire to try and replicate what they have done.
Are you from a musical or artistic family? We have all inherited music from family members, some play and others just surrounded us with sounds since we were young. Whether that be listening to Chili peppers with our brothers; going to church, or family members in bands. Music has always been there, I feel like we just had to find it if that makes sense.
Who inspired you to be a part of the music industry? I think it was the idea of being a musician. I used to be fascinated by these high school bands, in my head they were the coolest. I always aspired to be like them, and then when I was I was inspired to be like the kids on the Leeds scene. I’ve always seen it like a ladder, the higher up you get the cooler you get in my head i suppose. I was always inspired by the lifestyle and the feeling of being ‘in a band’, then when I got better at musicianship, the songs and direction took full control.
How did you learn to sing/write/to play? In our bedrooms really, we’re still learning which is the most wholesome part of being in a band or musician, it’s a goal that keeps moving. I think the minute I learnt four chords on the guitar I started writing, just a burning desire to stay what I think of the world in song, it’s easier for me to express like this. As a band, though, we’re not very good at covers and never gave them much thought. We just want to write and write and write. Covers seem like a waste of time.
In our bedrooms really, we’re still learning which is the most wholesome part of being in a band or musician, it’s a goal that keeps moving
What was the first concert that you ever went to and who did you see perform? First memory I have is being on my dads shoulders at a festival watching Goldfrapp, she blew me a kiss. I remember seeing The Prodigy and Scissor Sisters at the same festival also.
How could you describe your music? Positively up-lifting, we spoke about how the tunes are happy/sad, maybe they are, but I’d like to think you’d stick us on a happy day in the sun, but if not, I appreciate you playing us in the winter months also.
Describe your creative process. It changes all the time. We recently got our own studio so that has changed the way we write. We’ve written a lot in that room, before we would bring ideas, whereas now we find the ideas there. We also got a whiteboard which has taken the creative process to the next level, who’d have ever thought.
What is your main inspiration? Life.
What musician do you admire most and why? I think we admire the artists with longevity, at the end of the day we want this to be our jobs forever, we know how hard it is to keep going in the industry for all those years so admire the ones setting the way.
Did your style evolve since the beginning of your career? 100%. Our style has evolved since last week, I think every session we aim for it to be better than the last so it’s only right our sound keeps evolving.
Who do you see as your main competitor? I would have to say ourselves. You’re only as good as your last gig.What are your interests outside of music?
If it wasn’t a music career, what would you be doing? I think it would still be music, just maybe not in a band. I think we’d all be doing something creative, and seeing the world. But for now, we know where our heads are at.
What is the biggest problem you have encountered in the journey of music? When we were younger it was hard because nobody would take us seriously, but now we’re just enjoying the ride. I would like to see the north of England get more light shone on it, there’s great music and art here, sometimes I feel like it is overlooked by the bright lights of London.
If you could change one thing in the music industry, what would it be? There’s probably more than one thing I’d like to change. I’ve always thought that the opening slot at the show should always go to a local band, I know this happens but I think if I came into fruition more, even at shows at the arenas it would shine more light on these bands. It wouldn’t be hard to make it possible either.
Why did you choose this as the title of this project? heaven sent is a phrase that came to me. I think it could be me trying to answer something I don’t understand, a feeling, emotion that I believes too powerful that could only comprehend to be godlike
What are your plans for the coming months? We’re releasing our next single Heaven Sent on the 12th July, with shows in Liverpool, Sheffield and York surrounding the release. We are also playing Truck Festival at the end of the month. We’re back in recording as well, so keeping quite busy, just how we like it.
Do you have any artistic collaboration plans Would love to, but not at the minute.
What message would you like to give to your fans? Keep going, see the light in every darkness. Love the people around you and enjoy life.
Behind the Mask: The Rise of ALTRBOY and 'LAMBO EYES'
Say hello to ALTRBOY; the latest addition to the list of artists who are making music feel fresh and exciting with her newly released song “LAMBO EYES. ”ALTRBOY is not your ordinary trap artist, she’s playing with the genre and subverting expectations with a touch of dark pop that loads this song with brightness. Like her high-pitched voice with that bass, you know the deep kind that rumbles your chest?
When you put it all together you definitely get goosebumps. However, don’t think that she just appeared randomly and out of the blue. ALTRBOY has been out of the limelight for some time now creating tracks for other artists like John legends and Sabrina Claudio.
Well, now she’s decided to step out into the light herself, and let me tell you something, you’re going to want to watch. Her inspirations are apparent in her work: From Lil Yachty to James Blake, she has drawn from all of them. “LAMBO EYES” is as you might have guessed was created after one wild night with the inspiration coming from Lamborghini headlight.
But only ALTRBOY could take that and make it a banger. The music style she brings can be classified as unique since there is nothing like it in the market now. The groovy rhythms, sequences of synths, and lush melodies accompanied by auto-tuned singing sound are so compelling that one would want to play songs on loop.
And that’s not all – there is even more music coming out soon. ALTRBOY may be here for a good time, but she’s here to take the music industry by storm. So sit tight, ladies and gentlemen We are going deep into her territory to discover what drives this emerging talent.
I use a plugin called Little Alterboy on a lot of my vocals and at the time I was changing creative direction as I used to go by a different name. I really liked the name AlterBoy but I wanted to make it a bit different so I removed the “E” and made it ALTRBOY.
Where do you find inspiration?
I listen to a lot of different genres of music and tend to pull from what I enjoy the most. I have been through a lot in my life and usually right from my own story but I also enjoy telling stories from other peoples point of view, I find that to be quite relatable.
What was the role of music in the early years of your life?
I grew up doing school musicals at a young age. High school was a difficult time for me, I ended up moving away at 16 and music wasn’t in my life as often. It wasn’t until I was in my early 20’s that I started to take music more seriously. I started making beats on GarageBand and eventually graduated into Logic Pro. During that time I realized I love writing more than anything so I started to focus more on songwriting and eventually I moved to Los Angeles to pursue my dreams.
Are you from a musical or artistic family?
No. My father is a roofing contractor and my mother is a bookkeeper. Although my household was not very musical my parents always played music. They loved to play Elton John, Cat Stevens, Paul Simon, Gospel music, Michael Jackson and many more.
Who inspired you to be a part of the music industry?
When I was young I loved writing poetry. My friend and I started a little songwriting group (just the 2 of us) where we would write songs together and sing them without music, as neither one of us could play an instrument. As I got older I knew I wanted to be in the creative arts and music was something that I wanted to be really good at so I dedicated all my time to songwriting.
How did you learn to sing/write/to play?
I had a great mentor that taught me how to use Logic which is where it all started. He taught me work ethic and persistence which lead me to work on my craft every day until I became who I am today.
What was the first concert that you ever went to and who did you see perform?
The Foo Fighters
How could you describe your music?
Depending on which song you are listening to I would say my sound is a mix of grungy pop and emotional songs that anyone who’s been heartbroken can relate to on some level.
Describe your creative process.
I usually start with a simple loop. I then record a few melody ideas and pick the ones I like the most and from there I begin to write.
Depending on which song you are listening to I would say my sound is a mix of grungy pop and emotional songs that anyone who’s been heartbroken can relate to on some level
What is your main inspiration?
Myself. I want to be my best self, I want to continue to grow and out-do my yesterday self. I want my younger self to be proud of the person I’ve become.
What musician do you admire most and why?
Pharrell Williams and Kanye West. Pharrell because he is such a talented shining light that stays true to himself no matter what and Kanye because he is incredibly talented and has had such a large impact on the music and fashion industry and he is unapologetically himself.
Did your style evolve since the beginning of your career?
Yes
Who do you see as your main competitor?
Myself
What are your interests outside of music?
I love spending time in nature; hiking, beach, jogging in the forest, etc. I like thrifting. I enjoy painting on clothes and shoes and occasionally make jewelry. I just like to stay creative.
If it wasn’t a music career, what would you be doing?
Idk. Probably living in the middle of nowhere without a cell phone enjoying life lol.
What is the biggest problem you have encountered in the journey of music?
Genuine relationships. The industry moves different and you have to learn how to filter out the good ones from the bad ones. It can be pretty brutal at times. It can definitely make you feel pretty isolated and lonely if you let it.
If you could change one thing in the music industry, what would it be?
Songwriters get paid equally.
Why did you choose this as the title of this project?
The title of this song came after an intoxicated conversation about how Lamborghini headlights look similar to a faded persons eyelids.
What are your plans for the coming months?
Continue to make music. I have a lot of projects I am working on right now, including my own stuff. So I will be pretty busy.
Do you have any artistic collaboration plans?
Yes, I am working with a number of producers and artists right now. Helping build projects from the ground up, creating music for tv/film and much more.
What message would you like to give to your fans?
Stay true to yourself, always. If you work hard, stay focused and keep your energy clear there’s nothing you can’t do.
Sporty-O’s 'Tequila Rage Face' Serve Up Sonic Bliss
In the euphoric battleground of “Tequila Rage Face,” Sporty-O, alongside Spanish alchemists Bowser & Rhades, ferments a sonic margarita that hits with the kick of linguistical lime and rhythmical tequila. As each beat drops like cubes into a glass already slick with condensation, your limbs find an involuntary groove; it’s breakbeat EDM laced heavily with Español fiesta.
Picture this: Sporty-O’s voice carves out revelries in mid-air, his lyrics clean yet dizzying—a camaraderie anthem wrapped tighter than salt on the rim of said metaphoric glass. The track spins around you, pulling gravity from under feet aching to dance atop sandy shores or sticky dance floors alike. Each chorus is a chug; frenetic yet melodic pulses compete in harmonious flare-ups as though every backdrop thumps against soft-lit neon infinities.
Sporty-O’s ‘Tequila Rage Face’ Serve Up Sonic Bliss
Bowser & Rhades sculpt their electronic bravado through channels that radiate heat—the kind summoned at beach bonfires where sparks dare kiss ocean tides. With drums pounding clear across crowded spaces, shoulders shimmy closer in shared inside jokes slathered jovially amongst friends swaying to rhythms baptized by celebratory spirit shots. It’s not just music but relief encased within melody—a secret door flung open vigorous by weekend vibes amidst quotidian dread.
Teetering briskly between exhilaration and what one might call a musical face meant for sipping robust tequilas,’ “Tequila Rage Foce” smiles big beneath its layer of frothy auditory foam—sip after sip leaves you enwrapped more profoundly within companionship tapestries woven deftly through noise-crafted loom tunes.
This release isn’t merely heard but lived riotously within each note—play responsibly!
Jack Bailey's 'Open Heart Surgery': Stitching Souls with Sound
Jack Bailey’s “Open Heart Surgery” EP feels like peering into a kaleidoscope with both eyes wide open. Amidst the cluttered skyline of indie-pop, Jack crafts his melody-tales from a room scented with resilience and perseverance. His partially sighted gaze transforms not into limitation but a vibrant canvas on which he mixes his audial colors—deepest mauves of melancholy interplay harmoniously with hopeful cerulean streaks.
Each track is an auditory finger painting; smears of mental health motifs tangled delicately with strings of personal relationships, all underpinned by the thrusting urgency of introspection. “Open Heart Surgery,” turns out it’s less about breaking ribs medically and more about stitching souls musically—with each strum oozing viscerality that doesn’t just tug at heartstrings but seems to pluck them clean off!
Jack Bailey’s ‘Open Heart Surgery’: Stitching Souls with Sound
Inheriting musical sensibilities perhaps as one would spectacles from an elder, Bailey echoes familial legacies threading through his soundscapes. Yet this journey is distinctly sprinkled with shadows and light unique to his roadmap—the crunch of gravel underfoot in unseen paths, illuminates unchartered territories where synth meets sentiment, creating fireworks that burst across the bedroom ceiling.
Briefly put: if existentialism had a soundtrack designed for echo chambers called hearts – it would be diagnosed as Jack Bailey’s “Open Heart Surgery”. A check-up you didn’t realize your soul needed.
Imagine stumbling across a hidden orchard where every fruit whispers a different tale; that’s the undercurrent of Sarah Lucie’s album, “Light in the Dark.” Within its branches, each note peels back layers, akin to onion skins revealing tender hearts unexplored.
Sarah’s voice is like listening to silk if silk were woven through airwaves—fluid and enfolding but powerful enough to tug at the steel wires of your soul-cage. There runs an undercurrent of authenticity cradled by minimalistic piano melodies which serves as both throne and kingdom for her vocals—it’s pop music stripped bare, quivering with raw emotions.
Sarah Lucie Shines with ‘Light in the Dark’
In essence, what knits “Light in the Dark” into a cocoon around its listeners are not just harmonies; it is stories wound tight within beats about embracing shadows as brothers-in-arms. Could Emily Dickinson have slipped into this era; she might’ve penned lyrics alongside Sarah—the existential undertow mirrors such old-soul ponderousness.
Drawing on themes heavily draped around self-discovery and acceptance (two bedfellows oft separated by vast chasms), there exists here a gallant effort to bridge this gap with tones blending chiaroscuro elements musically visualizing joy intermingling freely amongst sorrows. This album opens up corridors inside oneself possibly left unlit till now—a gentle coaxing towards recognizing wholeness amid fragmented reflections.
Sarah Lucie Shines with ‘Light in the Dark’
One may even argue traces of philosophical introspection reminiscent of Marcus Aurelius’ meditations embroider this musical tapestry making terms like ‘pop’ seem oddly restrictive or misplaced therein.
To gently unwarp from these vibrational ruminations comes short: we orbit an artist grafting melodies meant for more than idle ear consumption—they demand cogitative engagement which perhaps sows seeds long dormant within us all toward actualized potentiality. In summing up—Sarah Lucie bids you gaze into obsidian mirrors masquerading as songs only to see clearer reflections staring resolutely back.
Ray of Hope: Debo Ray Spins 'Feelin' Lucky' into Gold
As if a phoenix first flapped its fiery wings, Debo Ray’s latest track “Feelin’ Lucky” bursts from the ashes of past afflictions with a disco-infused defiance that sets every nerve alight. Here we find our Grammy-nominated siren weaving tales of liberation in threads spun from pure sonic gold – charged with an electrical storm of empowerment and unrelenting joy. The funk fizzles like champagne, pop elements sparkle amidst the pouring R&B melody, leaving one not just listening but virtually strutting alongside Ray through each decadent verse.
Produced by the Midas-touched hands of Prince Charles Chef Alexander, this single serves up soul food for thought; it’s jive talking to oath breakers and heart shakers about finding fortunes you didn’t know were lost. Within her vocal velvet lies a manifesto of freedom—a wild declaration dressed in retrospect that dances cheek-to-cheek with future aspirations.
Ray of Hope: Debo Ray Spins ‘Feelin’ Lucky’ into Gold
The lyrics cast spells against former shadows; it’s less about tossing coins into fountains than sprinting barefoot away from whirlpools that once sucked dreams dry. Imagine empowering hymns praised at full-volume out car windows on freeing freeway exits—or as bedroom anthems disrupting neighbors dead-set on sleep.
In short: “Feelin’ Lucky” becomes your backtrack to newfound independence or simply beats for shaking ground under constricting circumstances—either way, Debo Ray revives spirits long before echoes fade over shared airwaves. This slice deserves spotlights every time sunrise tempers life’s relentless roulette wheels.
Zukrassverliebt's 'Rosarot': Painting Love in Sound Waves
Imagine if Matisse had a paintbrush that serenaded notes instead of colors; that’s “Rosarot” for you—a canvas dripping with the hues of nascent amour, crafted by the unexpected duo zukrassverliebt, where generational lines blur in melodious synchrony.
“Rosaror” is not just a song but an audible blush. Picture it: each note like a butterflies’ wing flit across your stomach when eyes lock on newfound love. The harmonies concocted between this father and offspring delve into the manifold layers of nostalgia twisted with today’s lyricism—the kind that ricochets off into yonder worlds while keeping one foot planted in reality.
Driving its thematic chariot vigorously through the heartscape of anyone who has felt love’s dizzying high, “Rosarot” encapsulates more than mere feelings—it is reverbed existential musings dipped in pop elegance! It distills out likenesses to watching old romance films—every frame strung together with modern syntax yet reflecting traditional heartstrings. Herein lies their splendiferous trick: spinning timeless affection yet so distinctly personal and contemporary.
Zukrassverliebt’s ‘Rosarot’: Painting Love in Sound Waves
Let us trek briefly to ancients’ vases—recall their intricate depictions? This tune feels as evocative and sentimentally rich as those earthen stories. You live through every youthful yearn and tender folly anew within these three minutes and fifteen seconds replete with phonetical pool dives (special nod to German articulation!).
Waltz away from this experience pondering: Isn’t it remarkable how vibrations traversing air can mimic heartbeats—or perhaps even synchronize them? Behind ‘Rosarot,’ there’s more than melody; there’s mastery in reviving vibrance where monochrome threatened permanence.
Said Sara's "Then There You Are": A Musical Mirage
Did you ever suspect that a cacophony could be as comforting as a lullaby? Said Sara, better known in other universes as David Benson from Acephalix, crafts an audial quilt titled “Then There You Are,” which inexplicably feels like receiving a hug from the gusts of Autumn wind whispering through dry leaves.
Imagine an orchestra where ghosts wield the instruments—a bodhran pulsates with the rhythms of the unearthly heartbeats; each strum on the acoustic guitar seems to draw shadows closer around campfires. The music swirls like fog over a moor, roots and folk entwining seamlessly with haunting electronica waves. It is almost sorcerous how Benson conjures imagery potent enough to paint mirages—or memories—in midair.
“Monitoring, Listening in, Witnessing it”, croons Benson, evoking ancient beliefs: souls of lost loved ones wandering invisibly but sensed through slight rustle or unexpected chill—the universe’s subtle way of sending SMS through natural phenomena. This song stands not only as homage but also subtly nudges our consciences regarding environmental echoes—how nature holds impressions of all who walked before us within every breathed atomospheric molecule.
Said Sara’s “Then There You Are”: A Musical Mirage
The genius doesn’t stop at mere lyrics or melody; it breathes life into past connections—like toes unwittingly tapping to beats reminiscent of tribal dances centuries old or eyes shutting momentarily transporting one back to candle-lit vigils by forgotten gravesides marked now by crumbling stones rather than names.
As breezes continue their immortal voyages carrying whispers between worlds unseen yet undeniably felt—”Then There You Are” invites listeners into this spectral ballet and insists your spirit sway along. Albeit short-lived in length, its echoes may linger in minds long after final notes fade away like morning mist under rising sun rays promising another day—and perhaps another sign.
When the gods of music bestowed upon humanity a spice rack, Amanda Holley chose saffron for her latest concoction “SEASONING.” Much like this rarest and most delightful of spices, this track unfurls sensuously against the palate, disentangling with sweet-sultry rhythms that suggest both ancient soul traditions and mischievous modern perturbations.
Imagine an audio cauldron where Nina Simone’s deep reverberating lament marries Britney’s pop-infused chirps under a full moon; that’s how “SEASONING” straddles worlds. Holley isn’t just singing—she constructs layers upon flavors of audible frames: at its core beats an earthy clump of zeitgeist deemed R&B/Pop, but listen closely to hear whisked-in glimpses of divine feminine ethos stirred ferociously into each lyric strand.
Holley conjures verses as if they are inscriptions on age-old scrolls intended to bind hearts across epochs. Her message—a balmy embrace encircling fiery passions and gourmet aspirations—sears itself onto the listener’s mental sheaf. You come away feeling more than heartened or entertained; you feel catered too in mind & rhythmique capacities alike. Here lies her wizardry: blending incantatory themes about cross-cultural affection within stanzas structured like resonant poetic threads known only to those attuned well beyond casual listening.
Amanda Holley Spices Up with “SEASONING”
Was Da Vinci merely splotching colors when he filled forms on canvas? Similarly, ponder whether Amanda is “only” compiling chords when she mixes such brewed symphonies into our sensory peripheries. It becometh evident—the tribute offered unto auditory mediums by such artistry belongeth alongside any celebrated piece beneath Florence skies.
This single produced by GRAMMY-winning Andre “GC” Fennell and penned along with Emmillienne Bellaire decidedly disrupts mundane sonic landscapes much as Dali might throw clocks over branches — requires unusual sight yet curiously thought-provoking! As we await Holley’s forthcoming EP odyssey poised perhaps towards Grammy nods again…let it linger in your ears: does ‘SEASONING’ simply enhance taste or entirely redefine experience?
Young Rob and CocoDrops: Enchanted Sound in 'SHOW ME'
As if the sky split and dropped a basket of wild strawberries, fiery yet hidden by leaves, Young Rob’s single “SHOW ME” brings flavors tart and sweet to our dull playlists. Harnessing CocoDrops’ hauntingly fresh debut vocals as if they were sprites lacing through an enchanted forest, this track is less a song and more a siren call.
Do you hear it? The thrum of demanded duality—a belle in daylight and vixen come moonlight? It’s this yin-yang complexity spun with threads finer than spider silk around beats dense as velvet cake. Produced by REGAH, the song leaps from Young Rob’s signature Afrobeats into unkempt Hip-Hop hedgerows flowering unpredictably; surprising even seasoned ears.
Imagine hip-hop resonating in ancient gilded halls bewitched to echo only truths: here lies Rob not just playing Casanova but sculptor molding his muse out of pure sound—notes carve her cheekbones sharp like ideals yet soft as cravings. And isn’t it delicious? Biting into these lyrics cocooned in splits between good girls wrapped neatly under baddie veils?
Young Rob and CocoDrops: Enchanted Sound in ‘SHOW ME’
In fragments each measuring eternity itself—if pressed for what pulls one back—it’s that conundrum sung solidly into existence by Ghanaian pulses beating far beneath London pavements. In “SHOW ME,” there’s both shadow play and dazzling sunlight; coquettish whispers against declarative roars demanding definition or dare say deconstruction.
Short though my words might be—”SHOW ME” echoes infinitely larger within the caverns left echoing inside us after its last note drops off carefree cliffs edge plunges listeners willingly leap.
Richard Green's 'Your Angel': Is What You Call A Modern Classical Masterpiece
So, I just discovered this London composer, Richard Green. He’s doing some really cool stuff, mixing modern and classical music in a way I’ve never heard before. His latest track, “Your Angel,” is mind-blowing. He teamed up with this incredible pianist, Irene Veneziano, and a string quartet called Archimia. It’s all about love and change, and man, does it take you on an emotional ride.
The moment I pressed play, I felt like I was transported somewhere else. It starts so softly, almost like a whisper. Veneziano’s piano playing is just… wow. She makes it sound effortless, but you can tell there’s so much going on beneath the surface. It felt like the music was speaking directly to me, you know?
Then the strings come in, and it’s like the whole piece opens up. The way the piano and strings play off each other is amazing – intimate but also kind of epic. It builds so naturally, layer by layer, until you’re completely wrapped up in it.
Veneziano
The way “Your Angel” progresses is perfect. It starts off really introspective, then slowly builds to these powerful emotional moments. Green really knows how to take you on a journey. It’s like gentle waves, pulling you along.
What really struck me was how deep the themes are. It’s got this whole vibe about being a guardian angel for the people you love, even after you’re gone. It’s beautiful but also kind of sad. Really makes you think, you know?
The production is top-notch too. Everything sounds crystal clear, and you can pick up on all these little details in the performances. It’s obvious they put a ton of care into getting it just right.
Archimia
I’ve got to say, “Your Angel” is a masterpiece. It’s technically impressive, but it also just… moves you. It feels both timeless and totally modern at the same time. If you get a chance, definitely give it a listen. Trust me, it’ll stick with you.
Oh, and get this – Green pairs each piece with an image. How cool is that? It just goes to show how music can be about more than just sound. Whether you’re into neoclassical stuff or just looking for something different, “Your Angel” is worth checking out. It’s the real deal.
Why The Biebers' 'Sorry' Remains a Timeless Electro-Pop Anthem
I recently stumbled upon The Biebers, a Hungarian electro-pop band that’s been around since 2012. Can’t believe I’m just now discovering them! Their track “Sorry” caught my ear, so I decided to dive deeper into their music.
“Sorry” is such a catchy tune. The chorus, “She’s a dancing girl, she’s a maniac,” is super infectious. And that warbled synth in the “so sorry” part? Love it. Péter Puskás’s vocals are energetic and mesh perfectly with the glittery synths and thumping bass.
The song’s got this cool contrast between acoustic apologies and electro-pop hooks that really shows off their range. While “Sorry” might be one of their biggest hits, it’s clear these guys know how to write a solid song. They blend funk, indie-pop, and soul into this synth-heavy mix that feels both retro and modern.
Originally released in 2013 and later included on their 2015 album, “Sorry” has this great 80s synth-pop vibe – kind of reminds me of Depeche Mode, but with a 90s twist. Sure, the fast tempo and bold beats might be a bit much for some, but this is definitely a song meant to be experienced, not just listened to.
Originally released in 2013 and later included on their 2015 album, “Sorry” has this great 80s synth-pop vibe
It’s no wonder “Sorry” was a hit in Hungary. It’s perfect for dancing or belting out in the car. Those shimmering synths and electronic beats just make you want to move. It’s such a fun, upbeat track – guaranteed to put a smile on your face.
Péter Puskás’s vocals really make the song shine. His voice is rich and warm, matching the bright melody perfectly. It’s clear why these guys caught Robbie Williams’ attention at Sziget Festival. While they’ve released more music since, “Sorry” remains a standout hit.
The blend of electronic pop with dance rhythms and catchy vocals is just spot-on. And that acoustic guitar adds a nice touch, softening the sharp beats. Lyrically, it’s all about this mysterious dancing girl who’s driving the singer crazy. It’s no wonder “Sorry” still resonates with fans, both old and new.
The Savage Hearts Ignite with "Gang War/Speed Kills" EP
The Savage Hearts did not waste any time with their debut two-track release of “Gang War/Speed Kills. ” This release driving and captures the reckless youthful anger and musical rebellion of their time that explores social struggle for personal identity.
The first track ‘Gang War’ sets the tone for the entire EP by plunging the audience into the theme of struggle and transformation. The poignant lyrics paint a vivid picture of friendship turned sour: As Ringo says, “The best of friends not my enemies” and recalling that this place was a dance floor now it is the battleground of gangs The driving beat and relentless guitar riffs support these themes expertly.
‘Speed Kills’ then slows down to explore individuality and societal tendencies. Lyrically, the song is rebellious with its guitar opening and fast beat to challenge the masses and force noncompliance. The line “Nobody told you that speed kills” is used in this context to emphasize the risks associated with living recklessly.
The line “Nobody told you that speed kills” is used in this context to emphasize the risks associated with living recklessly.
The Savage Hearts are from Cavan, Ireland which adds a bit of mystery to them and their tunes. Fronted by ex-Strypes drummer Evan Walsh, the band is influenced by the mysterious Eddie Cruizer to make a distinct blend of blues, pub rock, psychedelia, and garage rock.
The concept behind “Gang War/Speed Kills” is a provoking one, which focuses the listeners on thinking critically about the norms of society and conflicts. This album is full of aggression and individual confessions and therefore can be recommended to everyone interested in introspective rock. As they remain active in the Irish music scene, what has been seen and heard is that The Savage Hearts are indeed a formidable band.
