A Dark and Epic Ride: Mardi Gras’ New Single “Cinematica”
Mardi Gras has returned with “Cinematica,” the second single from their concept album called Sandcastle. This Roman rock band has been active since 2006 and creates music that combines symphonic rock with dark and dramatic themes. The song delivers both power and a movie-like quality that draws listeners in.
The album Sandcastle takes place in 1980s New Jersey and tells the story of Cecilia and Nicholas, two orphaned siblings who face life’s challenges while searching for pain relief and hope. “Cinematica” centers on Sebastian, an important character who is described as the last remaining Superstar.
The album Sandcastle takes place in 1980s New Jersey and tells the story of Cecilia and Nicholas, two orphaned siblings wh
Sebastian possesses attractive charm but also has a dangerous and self-centered personality. He becomes the villain who creates his own rules and expects others to follow them. Cecilia discovers his true nature too late, as Sebastian destroys her sense of security and forces everyone around him to give in to his demands.
The band performed this song live at the Auditorium Parco della Musica in Rome to a completely sold-out audience. The performance shows how Mardi Gras has developed from their acoustic beginnings into a full rock sound that draws inspiration from American, Irish, and British songwriting styles. The song carries a serious tone and dramatic storytelling that makes it feel like part of a movie soundtrack, which works well with the album’s connection to a graphic novel release.
Mardi Gras continues to prove why they deserve attention as a band, creating music that is confident, emotionally engaging, and highly visual in its presentation.
Just Rick has released a new single called “Quaint Celestial Reflections,” which creates a dreamy, psychedelic experience that feels like drifting through space. The track combines atmospheric keyboards, soft guitars, and Rick’s sincere vocals. The song mixes both playful and serious elements as it looks at what happens when pursuing dreams becomes “not what it seems.”
Instead of focusing on disappointment, the song discovers freedom through acceptance and letting go. It balances sadness with release, where music becomes a “phantasm of sound” and the pressure of everyday life fades away. Jennifer Allsbrook contributes harmonies that give the track a floating, almost supernatural quality. Dave Hudson’s studio production adds swirling keyboard sounds and space-like effects that make the song feel vibrant and cosmic.
Instead of focusing on disappointment, the song discovers freedom through acceptance and letting go.
Rick is a longtime musician from Hendersonville, North Carolina, who builds his distinctive sound from the foundations of American rock music, including country, blues, bluegrass, and rockabilly styles. With “Quaint Celestial Reflections,” he moves into psychedelic territory, creating something that is both entertaining and meaningful.
The song offers a relaxed, uplifting experience about self-reflection, escape, and releasing the need to succeed in traditional ways. Rather than focusing on winning in life, Rick encourages listeners to unwind, float along, and appreciate the perspective that comes from looking at things from a cosmic viewpoint. The track provides a gentle reminder that sometimes the best approach is to step back and enjoy the bigger picture.
Zachary Mason on “The Funky Martians”: Funk, Sci-Fi, and Cosmic Fun
British songwriter Zachary Mason is back with a new single titled The Funky Martians which is the second song of his forthcoming three song EP called 5…4…3…2…1…. This song, released in July 25th 2025, is a mixture of space rock, psychedelic music and funky rhythms in an exciting manner.
Zachary is renowned in his writing style and this song is a strange and humorous story of a human colony that reaches Mars and finds hostile Martians. The tale changes into a good direction as a surprise finding reveals that funky music can bring peace all over the galaxy.
The single has a rich bassline played by John Thomasson in Little Big Town and a pounding drumming by Nate Barnes in Rose Hill Drive. These artists contribute to the production of a song that is very alive, charismatic, and space-entertainment-related. In the song, Zachary does all the talking, and this includes the narrator, the colonists, and the Martians. He employs peculiar sound effects to make this unusual tale come alive.
It is the tenth single by Zachary and the fifteenth song of his. The Funky Martians is one of his most creative and humorous works to date. The full EP is something that fans can now anticipate as it will bring fresh, atypical tales and sounds.
At the current moment, The Funky Martians will give the listeners a chance to listen to some great music and reflect on the possibility that music can bring peace into the universe. The song makes all people dance to the beat as they embark on this fantastic journey across the universe.
“The Funky Martians” is such a fun and intriguing title—what’s the story behind it? So the story goes that a colony ship has just arrived on Mars, only to be confronted by some hostile Martians! In this case, it turns out that human error is Man’s best weapon- a young man named Johnny accidentally turns on the radio instead of deploying the phaser, and some “funky music just happened to be on…”!
The Martians are instantly hooked by the music, and are hence transformed from “foe” to funky! As you can imagine, writing this song was a load of fun! The track was recorded, for the most part, in late 2023, and was intended to be the second track on a three-track EP entitled: 5…4…3…2…1… I’d started this EP in early 2023 and had decided to continue the project, so I put together this song and the final track later in that year.
How would you describe the sound and vibe of this new single compared to your previous work? Having put together more than two hundred demos since late 2021, I’ve explored a lot of different sounds and approaches, but this song probably stands alone in its own quirky way! I think it’s the only track I’ve ever done that is entirely spoken word, and some of the effects were new to me! Having said that, some effects are similar to the ones used on the opening track on the EP.
Did you draw inspiration from any particular artists, genres, or even films/books when creating “The Funky Martians”? Well I’ve always enjoyed reading, and, amongst the various genres I’ve read, Sci-Fi is one of my favourites, so I did enjoy creating something in that genre! I’ve enjoyed books and stories over the years by Sci-Fi writers such as Asimov, Wells, Clifford D. Simak, E.E. Doc Smith, Lewis Padgett and many more, so I guess you could say that my mind has been well-rehearsed in the style of the genre!
Well I’ve always enjoyed reading, and, amongst the various genres I’ve read, Sci-Fi is one of my favourites,
I also enjoy Sci-Fi TV series and films such as Star Trek and A Quiet Place. (I’ve even written a few humorous Sci-Fi stories and had some published online! They are available on my website scribblings.uk (Scribbles))
Was there a specific moment or idea that sparked the concept for this track? I wanted to continue the story of the EP when I came up with this song, so I followed on from the events in track 1, and this is what I came up with. To be honest, I can’t remember much about the initial creative process for this track- but I did want to do something with a funny angle!
The song has a playful, cosmic feel—was there a deeper message you wanted to convey beneath the humour and groove? To be frank, no! It’s all fun and silliness! The other tracks on the EP do have the occasional thoughtful remark, but The Funky Martians isn’t likely to go down in the history of philosophy!
Can you walk us through your creative process for this track—did it start with a riff, a beat, or the lyrics? I think I began with some chords I’d worked out on the guitar, and then I finalised the main Guitar arrangement and recorded it. I believe I made up the lyrics as I went along, pretty much. I also enjoyed using the modified Guitar sound on my trusty Katana MKII Amp- it really gives the work that quirky sound!
Were there any unexpected instruments, sounds, or techniques you experimented with while producing “The Funky Martians”? Yes! As I mentioned before, the spoken word approach, as opposed to singing, was a new one for me. Also, the way I used some vocal effects was new territory in the studio. (Imagine trying to record “Play that funky music, space boy!” in a deep Martian voice without laughing!)
If “The Funky Martians” had a music video (or maybe it does!), what would it look like? In the right hands, I’m sure a video would be funny- and also totally mad! (I went with a lyric video after Mr Musk turned down my request for free passage to Mars along with my camera, guitar and Martian costume…)
What’s next for you after this release—can fans expect more funky, out-of-this-world tunes soon?
Well, as we speak I have already had Bass and Drums completed for the opening track of the EP 5…4…3…2…1… ! Going forward, it’s just a question of me having the right funds/budget to complete the production of the other two tracks… It’s not cheap out there these days, so it might be a little bit of a wait before the EP is released… Hopefully, fans will feel the wait was worth it!
Inside the Mind of DR BROWN: The Making of ‘TRUST’”
From the quiet beauty of Tamborine Mountain, Australia, comes an artist who knows how to turn raw emotions into powerful sound. Dr Brown’s new single, “TRUST,” released on July 11, 2025, is more than just a track – it’s a deeply personal story told through electronic music.
Inspired by the futuristic sounds of Imanu and Flume, Dr Brown takes these influences and adds their own twist, creating something fresh and exciting. The song is built with found sounds, personal sound design, and reconstructed samples, all layered with intense automation using plugins like Shaperbox and Portal.
The song is built with found sounds, personal sound design, and reconstructed samples
What makes this track even more special is the story behind it. “TRUST” reflects Dr Brown’s journey of overcoming substance use disorder and learning to rebuild trust over time. It feels real, raw, and honest – a true example of how music can heal and transform.
Even though it was recorded entirely in a bedroom with just a laptop and a few inspirational tracks, “TRUST” sounds rich and full of life. The attention to detail, the buried textures, and the bold production choices make it a standout electronic release.
Dr Brown sums it up perfectly: “Music is just listening to another’s mind…” And with “TRUST,” listeners get a front-row seat to the artist’s heart and growth.
From Grunge Roots to J-Rock Pop: sammy. /REVERSIES Talks New Single
Tokyo-based alternative rock artist sammy. /REVERSIES has released their powerful new single called “Full of Lies.” This DIY project combines the raw energy of grunge and emo music with the catchy elements of Japanese rock. As a solo artist, sammy. handles all aspects of their music, including writing, singing, and producing. Their songs explore personal topics like identity struggles, mental health challenges, and the difficulties of modern life, creating music that feels both deeply personal and easy for listeners to connect with.
“Full of Lies” opens with a strong chorus that captures feelings of regret and frustration. The song expresses the desire to speak truth in a world filled with dishonesty. The track features multiple guitar layers, strong drumming, and shifts between quiet, vulnerable moments and powerful, emotional peaks. This combination creates music that is both intense and genuinely human.
The single uses both English and Japanese lyrics with clever wordplay. The sound mixes Western alternative rock style with Japanese pop influences, making it feel like an important step forward for sammy. while still keeping the emo-grunge foundation that defines their music.
This release represents growth for sammy. /REVERSIES as they continue to develop their unique approach to being a one-person alternative rock band. The artist is working to redefine what solo rock projects can achieve, creating music that stands out in both the Japanese and international music scenes.
We spoke with sammy. /REVERSIES about the meaning behind “Full of Lies,” how they create their music, and their plans for future releases as this rising solo artist continues to build their career.
“Full of Lies” is a striking title. Can you walk us through what inspired this track emotionally or conceptually? I started creating this song from the chorus. For some reason, the phrase ‘I don’t know why. That was full of lies.’ naturally came to me as I was finishing it..
I guess the chaotic city of Tokyo, where I was born and raised, and the people I’ve encountered have shaped this song. The overwhelming noise of today’s social media-driven world also had a strong influence on it.
Is “Full of Lies” based on a personal experience, or does it reflect more of a fictional or universal narrative? It’s probably a reflection of both.
Maybe I’m singing about a world full of lies—one where it’s easy to lose your way—and how, just trying to survive in it, I ended up caught in those same lies myself.
While some parts are fictional, the emotions behind it are very real.
The production on this track feels layered and intense—what was the creative process like in the studio? Did it start with lyrics, a beat, or something else entirely? I usually start by humming melodies while playing acoustic guitar, and that’s how this song began as well.
The lyrics came to me pretty naturally from the start.
I wanted to blend Japanese-style wordplay with a pop sensibility, catchiness, and a cool, Western-inspired vibe.
First, I recorded a rough take of the main acoustic guitar and vocals. Then I layered in the drums, bass, and electric guitars, before finally re-recording the final vocals.
I focused a lot on the sound design and arrangement—carefully building the track layer by layer.
I focused a lot on the sound design and arrangement—carefully building the track layer by layer.
You perform under the name sammy. /REVERSIES. What’s the story or meaning behind that name, and how does it reflect your identity as an artist? I originally started out by posting acoustic cover songs on YouTube under the hiragana spelling of “sammy.”
When I decided to write original music and take my project more seriously, I switched to the English spelling so it would be easier to understand internationally.
“REVERSIES” was the name of a band I was in back in my student days—a name I came up with on a whim in high school.
It was inspired by the game Reversi, based on the idea of flipping over all the limitations around me and eventually turning things into my own color.
Even though I’m now active as a solo artist rather than a band, I didn’t want to let go of the name “REVERSIES.” It also fits the concept of being a “one-person alternative rock band.”
And, to be honest… I also figured that “sammy.” on its own would be way too hard to search online. Haha
Lyrically, “Full of Lies” touches on themes of deception and truth. How do you personally navigate those ideas in your own life or relationships? I guess I wrote a song like this precisely because I’m not very good at dealing with those kinds of things. haha
But the things I still want to believe in—and the people I care about—mean a lot to me. They’re what keep me going every day.
Were there any unexpected influences—musical or otherwise—that shaped the direction of this single? I wanted to incorporate a more contemporary sound than usual and capture the sense of chaos described in the lyrics.
So I experimented with looped samples to fill the gaps in my own playing.
It was a new challenge for my project. While I struggled to find the right textures, I had fun discovering sounds I never would have imagined using before.
How does this single differ from your previous work? Would you say it’s a departure or a natural evolution of your sound? While staying true to my core musical roots—like grunge and punk—I always want to keep evolving and challenging myself to bring new emotions to both my listeners and myself.
As part of that, I naturally felt drawn to experimenting with new sample sounds and incorporating the catchiness and pop sensibility of Japanese rock into my music.
That’s how this track came to be.
What message or feeling do you hope listeners take away after hearing “Full of Lies”? In the midst of our complicated daily lives, I hope this song can sit beside the feelings that are hard to put into words—or too heavy to share—and help release them, even just a little.
It might not fix messy emotions or situations, but I believe it accepts them as they are.
I’d be so happy if people could sing and scream along with me—and afterward, if it brings even a bit of comfort to someone, that would mean everything to me.
The emotional energy in the track is palpable—did you find it cathartic to write and perform, or was it more challenging to confront those feelings? Yes. For me, making music is like a form of self-counselling—where I face myself and my emotions, and try to transform even the painful ones into something meaningful.
Sometimes it’s hard to confront those feelings, but as I spend time writing, I often discover deeper emotions and realize that my anger or suffering has started to ease.
This song is definitely one of those moments.
What’s next after this release? Can fans expect more singles soon, an EP, or perhaps even a full-length project?
I’m planning to digitally release a new song next month, in August.
I’m also hoping to put out a new album later this year—I’m currently working on the concept.
Until then, I’d be happy if you could check out my past songs and wait just a little longer.
"Come and Get Your Love": Annika Bellamy's Pop-Soul Beacon.
To take on a song so woven into the cultural fabric requires a certain nerve, but Annika Bellamy’s new single, a remake of “Come and Get Your Love,” feels less like a cover and more like an inheritance. With her uncle, T-Bone Bellamy, having been the lightning-rod guitarist for Redbone, and founding member Pat Vegas sanctioning this version, the track arrives with a heavy, significant hum of legacy.
Bellamy’s modern pop-soul interpretation is immediately apparent; the familiar strut of the original is still here, but it’s been given a new pair of shoes—sleeker, smoother, built for a different dance floor. Her vocal delivery carries the song’s confident affirmation with a compelling ease.
“Come and Get Your Love”: Annika Bellamy’s Pop-Soul Beacon.
Where the 1974 classic was a swaggering, earthy invitation, Bellamy’s is a clean, bright beacon of reassurance. The lyrical core—that bold dismissal of someone’s self-doubt (“What’s the matter with your mind?”) followed by an unwavering celebration of their being—is delivered with such clarity that it stops being a question and becomes a statement of fact. You are fine, period.
Listening to it, I was struck by its directness, a quality that for some reason made me think of an International Klein Blue monochrome painting. There are no gradients, no gentle coaxing or blended shades of meaning. It’s just a pure, unapologetic field of exuberant color, an indivisible offer. This is the sound of that painting: an overwhelming, joyful, and absolute proposition.
“Come and Get Your Love”: Annika Bellamy’s Pop-Soul Beacon.
The track functions as a dialogue between generations, a family conversation held in public. It honors history not by replicating it, but by proving it can still breathe in a new body, with new lungs. The result is a profoundly uplifting piece of pop that leaves you with one simple, slightly nagging question: are we brave enough to accept an invitation so absolute?
Ticking Time and Southern Soul: Inside Sterling Miller’s New Single ‘Clockwork’
Sterling Miller has released his new single called “Clockwork,” a powerful song that speaks to anyone who feels there are not enough hours in the day. The track draws you in with its strong rhythm and keeps your attention while telling a story that many people can relate to when trying to balance work, family, and personal goals.
Miller recorded the song at his own Southern Echoes Studio in Nashville. His music combines southern rock, funk, and Americana styles with a current sound. The track features a smooth bassline, rich guitar work, solid rhythm, and group vocals that create a raw, authentic energy that feels both pressing and deeply personal.
The song delivers a clear and meaningful message about how fast life moves and how time seems to slip away. Miller sings “There ain’t enough time in the day, to do all the things I need” with a rough southern voice that brings to mind artists like JJ Grey and Mofro, Marcus King, and Anderson East. The song captures the feeling of someone trying to keep up with time, which reflects Miller’s own experience as a father, studio owner, and musician.
The music itself balances smooth and rough elements perfectly. The rhythm section creates a deep groove while the vocals carry strong emotion. The keyboards and guitars flow together naturally, creating an appealing sound. This is the type of song that makes you want to drive with the windows down and music turned up loud, especially when life feels overwhelming.
Sterling Miller shows clear growth as both a producer and solo performer with this release. “Clockwork” serves as more than just a new single – it opens the door to a new phase of his career filled with confidence, honesty, and southern character. If this song represents the beginning of his project called Smoking Section, listeners can expect something truly remarkable.
FaceTwo has released their new single called “Play With Fire,” delivering high-energy rock music. This Hamburg-based duo creates powerful sound from the very beginning of the track and maintains that intensity throughout. The song features strong guitar work, commanding vocals, and a memorable chorus that feels designed for large venues. Their approach brings back the feel of classic 1980s rock while adding modern elements.
The song explores the theme of falling in love with someone who might cause heartbreak, but choosing to pursue that connection because it creates a sense of being truly alive. The track is loud, confident, and emotionally charged. Rather than focusing on safety, the song celebrates taking emotional risks and embracing intense feelings completely.
The song explores the theme of falling in love with someone who might cause heartbreak, but choosing to pursue that c
Leon, the lead singer, brings valuable experience from his background as a sound technician and previous work as a band frontman. His vocal performance combines power with genuine emotion. Matze plays bass and also creates musical instruments. His bass playing provides solid, driving rhythms that support the overall sound. The two musicians work well together, creating obvious musical chemistry and energy.
“Play With Fire” represents more than just a musical release. It speaks to anyone who has been willing to take major risks for love. The song is meant to be played loudly and experienced fully, letting listeners feel the intensity that the duo has created.
Whispers That Stay With You: Lezzy Osbourne on “Etched Within My Flesh”
Lezzy Osbourne has now released her debut single, titled “Etched Within My Flesh,” a song that achieves the same effect without relying on loud sound or elaborate production. She composed this song at the age of 16 years when she had to cope with illness and bullying. The song is extremely intimate, as though you are reading the inner thoughts of a person that has chosen to share them with the world.
The song has soft acoustic guitar and the voice of Lezzy in the center. She does not sing complexly, she sings very simply and sincerely. Rather, she concentrates on narrating her story in a clear manner. This candid method makes the song sound real and heartwarming.
The song has soft acoustic guitar and the voice of Lezzy in the center.
The production itself is raw and unsophisticated, and this makes her message even stronger. What is particularly interesting about this release is that Lezzy did everything by herself. She composed the song, produced it, recorded it and mixed the final recording. This is a do-it-yourself approach, which contributes to the natural impression that the listeners are listening to her real self.
Although this is her debut single, Etched Within My Flesh reveals a musician who knows what she wants to say and how to say it. The song is very intimate, leaves an impression after hearing and haunting. This song is worth exploring by individuals who enjoy music with a sense and sincerity.
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From London’s alternative music scene emerges Sleep Stage, a powerful new voice in emotional rock music that embraces both melody and intensity. His debut album, Warning: Toxic, was released on July 4, 2025, delivering raw emotion through heavy guitar work and deeply personal lyrics. The album features standout tracks including “Sick of Love Songs,” “Love At First Bite,” and “Death in Those Arms,” exploring the complex territory between love and obsession, where relationships become both addictive and destructive.
Sleep Stage’s sound draws inspiration from the theatrical elements of Muse, the atmospheric heaviness of Deftones, and the rebellious spirit of Queens of the Stone Age. His music goes beyond simple rock songs to offer listeners a form of emotional release and connection. The album has already gained over 1,100 plays on Spotify, resonating with audiences who understand the complicated nature of difficult relationships.
Warning: Toxic examines what happens when love becomes unhealthy, when affection turns into habit, and when the boundaries between caring and self-destruction become unclear. The record speaks to anyone who has found themselves staying in situations that no longer serve them, making it both personally challenging and surprisingly relatable.
We spoke with Sleep Stage about his approach to songwriting, the recording process behind Warning: Toxic, and his perspective on creating music that addresses the more complicated aspects of human connection and emotional experience.
Congratulations on releasing “Warning: Toxic”—how are you feeling now that it’s finally out?
I’m feel absolutely buzzing! It’s crazy to imagine songs that started off in my bedroom would end up where I am now.
“Warning: Toxic” is such a striking title. What does it mean to you personally? I was really struggling with a name to be honest. I was wondering if I should pick a song title but my friend Aian did the art, which was meant to look like a corrupted cigarette packet, and a lot of the songs came from toxic moments in my life (whether one’s I’d incurred or experienced) and so ‘Warning: Toxic’ felt like it matched both aesthetically and in terms of how I felt writing and recording these tracks.
What inspired this ALBUM —was there a specific moment, relationship, or emotion behind it? This album was a collection of moments, relationships and emotions for me. I wanted it to feel like a rollercoaster, or more accurately a downwards spiral. Each song reflects this idea that we oftentimes treat people like vices, and I really wanted to capture that bittersweet feeling
Can you walk us through the story or message behind the lyrics? I started the album without a theme but as the songs came together it became clearer and clearer that it’s about the relationships we have with ourselves and others, and how they can become like vices we rely on and beg to have, even if it’s detrimental to our physical or mental health.
How does “Warning: Toxic” fit into your broader musical journey or themes you often explore? I like the idea of comparing things in weird ways, and that album really fits into that message. It’s as powerful and annoyingly catchy as I love to convey whilst being oddly dark and deep. I love to hide double entendres and different interpretations so everyone can have a different journey with my music which this album is full of
Heavy Riffs, Heavier Truths: Sleep Stage Talks ‘Warning: Toxic’
What was the writing and recording process like for this ALBUM? It was great. The two producers I worked with (Cam and Akin) are some of the loveliest, and most talented people. and I cannot begin to describe the fun we had with it. Being in the studio we’d just laugh and try things out whilst also having this clear direction and idea. It was like a mad scientist’s lab, where we’d experiment, have fun and yet have this clear direction and I couldn’t be happier for that atmosphere.
Did anything unexpected happen during the making of this ALBUM? I got the chance to play the synth like Mr Bean from the Olympic opening ceremony, which made us erupt with laughter.
Were there any sounds, instruments, or production techniques you experimented with this time? Definitely, I remember chatting with Akin about adding chopping vocals and some more dancey drums on one of my songs and although he originally laughed given his usually heavy production-style, we tried it and loved it. We also used fun little vocal clips, samples and synth sounds which I’d never tried before and it really managed to fit the vibe of the songs.
Are there any visuals (music video, cover art, etc.) that help tell the story of the song? The album art really sells it for me. As I say, my friend Aian, helped deliver on this idea we both had, something alluring but ultimately dangerous. I’m also hoping to release some visual content so look out for that.
How important is visual storytelling to you when releasing music like this? I think visual storytelling is a massive part but a hard part of being an independent artist. There are so many weird ideas that I’ve love to match my music to, and I hope I get the opportunity (so look out for that).
What can fans expect next from Sleep Stage—more music, shows, or surprises? I don’t want to give too much away but I might be collaborating with some artists soon. I might also have some news about music videos and a couple fun shows but it’s slightly too early to tell, so keep an eye out.
How do you hope “Warning: Toxic” makes listeners feel? I hope it makes them feel understood and powerful. Whether it’s the bad*ss riffs and stomping melodies or the words I speak. I want it to resonate with people, putting those toxic moments in life we inevitably face into some cathartic heavy music.
What do you think you’ve learned about yourself while creating this ALBUM? I think it’s really helped me become more critical of myself and the songs I write. Equally, I felt like I became much more introspective and self-reflective, whether musically or personally. Collaboration with, and trusting others, was also something I was unfamiliar with musically but I couldn’t have been more grateful to have made an album with such talented people.
I really got to come out of my shell and just throw things at the songs, and hear other people’s thoughts on how to make them more interesting, which I never would have without that amazing fun and trusting atmosphere
If “Warning: Toxic” had to be described in one word (besides “toxic”), what would it be? Gritty
Listening to the new EP from Mahto & The Loose Balloons, “Something Old, Something New, Something Borrowed, Something Blue,” is like opening a wooden box found in an attic. The contents aren’t keepsakes, but vows—four jagged promises made to oneself in the quiet aftermath of a great uncoupling.
This is music that breathes the air of the room it was born in. Mahto Addison-Browder’s voice has the texture of worn corduroy; his delivery is a simple statement of fact, not a plea for sympathy. The production is so lo-fi it feels less like a stylistic choice and more like a document of a specific moment, capturing the hum of the refrigerator and the mood of the weather outside the window.
When the harmonica appears, it isn’t a wistful sigh. It’s the sound of a screen door hinge that’s needed oil for years but everyone has grown fond of the squeak. It’s the honest imperfection that makes it feel true.
Mahto & The Loose Balloons: Unboxing Attic Vows
The journey here is one of frantic restlessness masquerading as freedom. There’s a peculiar liberation that comes from total emotional wreckage, and it sounds like driving with the windows down just to have something rushing past your ears.
In its defiance, there’s a deep torment, a soul caught between where it wants to be and where it has to go. Even the “borrowed” track, penned by Niko Graham, feels less like an homage and more like borrowing a friend’s glasses for a moment just to see the world from a slightly different prescription.
It’s all stitched together with a sense of finding bizarre humor in tragedy and a stubborn comfort in the mundane. The EP doesn’t offer answers. Instead, it sits with you in the paradox, content to observe the strange beauty of a complicated sadness. It’s an ode to the simple, ongoing effort of putting one foot in front of the other. So, what do you do with a map that only shows you where you’ve been?
The New Citizen Kane's "Ratbag Joy": A Beautiful Lie.
The New Citizen Kane offers a curious, glittering confection with the new single “Ratbag Joy,” and it’s a listen that feels a bit like dancing with a ghost at a warehouse party. On the surface, it’s all neon-slicked indie dance propulsion; a beat that tugs at your shoulders and synth hooks polished to a mirror shine, perfectly engineered for the hazy bliss of 2 a.m. It feels good. It feels dangerously simple.
But stay with it. Let it loop. The song’s glittering exoskeleton begins to crack.
This track puts me in mind of one of those ornate Fabergé eggs—so dazzling and impeccably crafted on the outside, but you half expect to crack it open and find a tiny, diamond-encrusted skull winking back at you. The joy here isn’t celebratory; it’s the frantic, sweaty joy of someone running from a fire, laughing all the way. It’s the sonic mask for a soul gnawed hollow by disillusionment, a desperate performance of “I’m fine” set to a four-on-the-floor pulse.
The New Citizen Kane’s “Ratbag Joy”: A Beautiful Lie.
The New Citizen Kane has built a dance track about the ache of being lost. The protagonist isn’t seeking a genuine connection on the dance floor but rather a momentary, anonymous anesthetic. They are chasing a fleeting sensation of coolness to plaster over the feeling of being fundamentally undervalued and off-course. The music itself is the beautiful lie, the chosen delusion. It’s a banger about the baggage we carry, a vibrant anthem for the art of self-deception.
It leaves you with an uneasy, exhilarating feeling—a fantastic beat in your feet and a lump in your throat. You’re left to wonder, which part of you is it really speaking to?
Bolidde’s new album, Rainbow Galaxy, doesn’t so much arrive as it does seep into the room, a ten-track document of flight powered by rock and roll muscle. Here is a veteran of the French scene who understands the architecture of a great pop hook, but who uses that knowledge not to build a summer villa, but a high-speed getaway vehicle. The album’s energy is immense, a slick fusion of snarling vintage riffs and modern, polished propulsion, all designed for one purpose: to go somewhere, anywhere, but here.
The sound makes me think of those old, ornate amusement park rides—the ones with glorious, peeling paint and a surprisingly violent motor. There’s a beautiful, melodic surface promising a fantastical journey, but beneath it churns a raw, mechanical disillusionment with the present. Bolidde maps out a constellation of escapes: retreating into the memory of a first love, finding solace in the transient magic of a traveling carnival, or simply railing against the calculated deceptions of the powerful. It’s a restlessness born from a world that feels increasingly toxic and rigged.
Run Wild with Bolidde’s “Rainbow Galaxy”
Across these songs, the longing for a past “golden age” collides with a desperate protest against a crooked now. Stories of entrapment, both by manipulative people and the ghosts of circumstance, feel less like simple narratives and more like field notes from a psychic jailbreak. The album poses no easy answers, offering sanctuary but always with the hum of the engine still running in the background.
It leaves you wondering not if escape is possible, but what the chase itself does to a person. After the final chord fades, are you any freer, or just more adept at running?
Scars as Tattoos: Clare Easdown's "Lipstick On My Restraints."
Clare Easdown’s new single, “Lipstick On My Restraints,” doesn’t arrive so much as it materializes, spitting glitter and venom in the face of polite society. This is the sound of a patient hijacking the asylum’s PA system, a furious and fiercely glamorous reclamation of a narrative. It’s a track that feels less written and more clawed into existence, forged in the friction between imposed silence and the absolute necessity of a scream.
For a moment, the central image—that vibrant slash of cosmetic defiance on a symbol of control—made me think of something I read about the besieged citizens of Sarajevo during the 1990s. How, amidst the chaos and rubble, people would still dress in their finest clothes just to fetch water, a radical act of normalcy and dignity. This song shares that same DNA. It’s the insistence on finding personal aesthetic and power in the very architecture of your confinement.
Scars as Tattoos: Clare Easdown’s “Lipstick On My Restraints.”
But Easdown isn’t merely surviving; she’s performing, turning a sterile institution into a stage. The song tears down the notion that trauma must be a quiet, shameful burden. Here, scars are not blemishes to be hidden but revered, almost mystical tattoos proving a battle was fought and, crucially, endured. It rejects the world’s diagnosis of “broken” and instead forms a solidarity with the wild, the misunderstood, the beautifully unconventional.
The dark, alternative-rock pulse of the track acts as a perfect vessel—a gleaming, serrated edge carrying raw, unapologetic lyrics. It’s a piece of music that looks you dead in the eye, never flinching from the brutal realities of a system that can fail the very people it’s meant to protect.
It leaves you with a question that hangs in the air long after the final chord fades. When faced with a world that wants to chain you, do you pull against it, or do you start redecorating?
Listening to Bloomfield Machine’s new seventeen-track instrumental album, “Copium,” feels a bit like stepping into a terrarium during a quiet downpour. The title itself suggests a kind of modern, knowing self-delusion, the balm we apply just to get by. Yet, the music crafted by Huntington Beach’s Brian Kassan is far too sincere for pure cynicism. This isn’t the sound of giving up; it’s the sound of accepting the strange stillness that follows a difficult decision.
A departure from Kassan’s darker work, this collection is built from minimalist electronic arrangements and ambient textures that leave plenty of room to breathe. As a solo project where one person handles every single element, from composition to mastering, there’s a startling cohesion. Nothing feels forced. The tracks unfold with a sort of patient logic, like watching patterns form in the condensation on a windowpane. Beneath the dreamy surface, however, are melodic hooks that latch onto your subconscious, holding the ambient washes together with surprising strength.
Finding Peace in “Copium” by Bloomfield Machine
The album claims to express feelings that can’t be verbalized, and it succeeds in that strange mission. It occupies the emotional space of a train stopped between stations for no apparent reason—a moment of suspended animation that is both unsettling and deeply peaceful. These are not songs for the club or the commute. They are for the quiet, in-between moments when you’re simply existing, caught between a melancholy for what was and a fragile optimism for what might be.
You can find the whole strange, comforting apparatus over on Bandcamp. After letting it loop for a day, the experience lingers. Is this music a medicine for the modern condition, or is it just a beautifully scored symptom?
Screams, Skulls & Surfing: Inside Max Chaos’s World
On Friday, the 13th, Max Chaos released his first solo single, titled “Ride The Wave.” This song combines chaos, revolt and great energy. The song is not intended to calm music fans; it is designed to please the fans of intense sound.
The musical genre is a mix between heavy metal and nu-metal and metalcore. It has intense guitar playing, powerful drumming, and the Max Chaos alternating between scream and melodic singing. The sound is loud, bold and hard-hitting in general.
The music video is created to combine both real and animated shots. It depicts the character of Max doing surfing above the crowds, guitar playing and running away in reality. The video narrates a story and carriers a powerful visual message.
There is also a radio version that uses cleaner language, but the same energy and rock sound like the original.
This single previews the next album titled Order of Mayhem. The project comprises merchandise, comic books of every song. On the album cover, a zombie is seen riding a wave comprising of skulls with sharks leaping out of the water.
Max Chaos collaborates with drummer Justin Kills who has been his long-time collaborator and bass player Karlos Doom of Evil Dead. Max Chaos offers this kind of music as the main performer of the band Max Chaos, who conveys the feelings of frustration, escape, and dark creativity.
Max Chaos is an artist that the listeners focusing on hard-hitting music with a story and building a whole world around the sound should follow this year.
Listening to Rewind The Mind’s new single, “Come On With Me,” is like being pulled into a room where the air itself is the color of marmalade. This Brighton outfit builds a foundation that’s both impossibly tight and wonderfully languid; the bassline functions less as an instrument and more as the steady, reliable metronome of your hips, while clean horns slice through the haze. The entire production feels humid, sticky with a carefree summer sweat.
At its core, this is a track built on a magnificent obsession. The female vocal isn’t merely telling a story; it’s a direct, breathless plea. It captures that very specific delirium of an infatuation that rewires your brain until a single person becomes both the sickness and the cure. The song’s command to dance feels less like a party invitation and more like an urgent, almost territorial summons to abandon reality for a private world built for two. It’s a compelling, dizzying form of escapism.
Get Sticky with Rewind The Mind’s “Come On With Me.”
For a moment, the undulating groove reminded me of staring into a cheap lava lamp as a child—that slow, mesmerizing, and ultimately pointless blob-ballet. There’s a similar logic here: an undeniable physics to the funk, yet its ultimate purpose is pure, unadulterated sensory pleasure. It doesn’t need to go anywhere profound, because its whole reason for being is to feel fantastic right now.
It’s a three-minute holiday from consequence. The song ends, the orange glow fades, but the feeling clings to your clothes for a little while after. And you’re left wondering: is that kind of dazzling, all-consuming escape a liberation, or just a beautiful, funky trap?
"Panic Buttons": Joe Average's Ecstatic Return to Rave.
Listening to “Panic Buttons,” the new single from the resurrected rave act Joe Average, feels like finding a party invitation tucked inside a government-issued emergency broadcast. It arrives with a grin, not a grimace. Thirty-four years is a long time to be quiet, and the Brighton trio of Rich, Mad Mick, and Prof have clearly spent their time away pondering the best way to face the abyss. Their answer, it seems, is with a four-to-the-floor beat and a complete, glorious refusal to be afraid.
The track builds on a bedrock of synth pulses that feel physically exhumed from a damp field in 1991, but this is no exercise in simple nostalgia. The production is sharp, coiled, and urgent. Then, a saxophone appears. It isn’t just a flourish; it’s a human, breathy wail cutting through the electronic perfection, a sound so unexpectedly alive it reminds me of the jarring scent of night-blooming jasmine on a sterile city street. It’s the sound of beautiful, messy life gate-crashing the orderly apocalypse.
“Panic Buttons”: Joe Average’s Ecstatic Return to Rave.
With a cool, commanding vocal from Faber, the track doesn’t just suggest a hedonistic response to annihilation; it makes it sound like the only sane choice. To reject sterile instruction and instead turn the final moments into an ecstatic, intimate communion is presented as the ultimate act of defiance. For a band that effectively dissolved for over three decades, this theme of finding euphoric life at the edge of a void feels less like a concept and more like a hard-won truth. They’ve already danced their way back from one kind of oblivion.
The song leaves you with a strange, giddy serenity. It’s a rebellion of joy, an ecstatic two-step on the lid of a bunker. In the face of it all, who needs shelter when the beat is this good?
The Civil War Within: Elena C. Lockleis's "Mind - Vs. - Heart."
Listening to Elena C. Lockleis’ new single, “Mind – Vs. – Heart,” feels like witnessing a civil war fought entirely within a single nervous system. The sound is an intimate knot of pop architecture, the kind Julia Michaels patents in her sleep, where a confession arrives not as a ballad but as a skittish, rhythm-driven pulse. You feel the frantic heartbeat right there in the percussion, a baseline of pure anxiety.
The whole affair puts me in mind of a trompe l’oeil—one of those impossibly realistic paintings of a hallway or a window on a flat wall. Lockleis’s lyrics paint a new love as this beautiful, sunlit corridor, a genuine escape. But the narrator can’t walk down it. They’re standing transfixed, touching the cold plaster of their own trauma, intellectually certain that the promise of depth is just a trick of the light, an illusion they are too broken to deserve.
The Civil War Within: Elena C. Lockleis’s “Mind – Vs. – Heart.”
There’s a fascinating, almost painful honesty in this structure. This isn’t a simple song about indecision; it’s about a protective mechanism that has become a prison. The mind, scarred and logical, screams that isolation is survival. The heart, foolish and brave, insists this person is the antidote. The song doesn’t choose a side. It just paces the cage, documenting the frantic push and pull between the known safety of solitude and the terrifying vulnerability of being truly seen.
The track leaves you suspended in that terrifying silence just before a choice is made, asking a quiet, devastating question: what if the safest place is also the loneliest?
Industrial Dissent: aktenzeichen_T's "Midnight Between Lagrange Points"
Listening to aktenzeichen_T’s new EP, “Midnight Between Lagrange Points”, feels less like putting on a record and more like unsealing a classified file. The artist’s name, German for “case file number,” seems to promise a kind of cold, bureaucratic evidence, and the Leipzig producer delivers—but the subject of this file is the messy, beating heart of human conflict. A case file rendered in kick drums and fractured snares.
This is a protest EP, but you won’t find any slogans here. Instead, you get the feeling of protest. The techno foundation is a cold, steel-girder framework, relentless and unfeeling like the machinery of war it decries. But across this grid, agitated breakbeats skitter and glitch, feeling like a nervous system fighting against its own programming. It’s the sound of teeth gritting in the dark, a tension so palpable it almost has a smell—like ozone and hot circuits just before a power surge. It made me think of the frantic clicking of a Geiger counter, a rhythm you never want to hear, repurposed here as a desperate dance track.
Industrial Dissent: aktenzeichen_T’s “Midnight Between Lagrange Points”
By stripping away the words, aktenzeichen_T bypasses the intellect and aims straight for the pulse. The tracks don’t tell you to be for unity and peace; they create a sonic space so fraught with mechanical tension that peace feels like the only logical escape. It’s the sound of a system trying to compute the illogical math of human hatred and finding only error messages in the rhythm.
The EP doesn’t offer a destination of unity, but rather plants you firmly in that disquieting, precarious ‘midnight’—that balancing point where gravity could pull you either way. Which direction do you fall?
Dancing Alone with thinking silly's "Small Town Syndrome"
Listening to “Small Town Syndrome” by thinking silly is an exercise in delightful contradiction. Dylan Morrison’s project, shaped here by the production hand of collaborator Margot Taylor, builds a sleek, propulsive chassis of dark pop and minimal techno, only to house an engine of pure, grinding ache. It’s the sound of someone forcing a smile so wide their face hurts, a dance track for the emotionally stranded.
The beat has this nervous, urban energy, a city-at-night sheen. But then the choruses hit, and a heavy guitar tone erupts like a dropped cast-iron pan during a quiet confession. It’s an astonishingly effective move. That sound, for a brief moment, makes me think of the specific metallic tang of old railway lines on a hot day – the smell of a place you’re desperate to leave. The polished production from Taylor ensures these gear-shifts feel intentional, like the cracking facade of someone trying desperately to keep a conversation civil.
Credit: Ethan Castelete
This isn’t merely a lament; it’s a diagnosis. Morrison’s narrative perfectly captures the particular torment of loving someone who is perceptive in every aspect of life, except when it comes to you. He’s caught in that awful loop, idealizing a past that no longer exists while battling a present that refuses to connect. The name “thinking silly” itself begins to feel less like a quirky moniker and more like the narrator’s own exhausted self-gaslighting.
The song doesn’t resolve, it just fades out on that heavy, distorted riff, leaving you with the feeling of a phone call that ended abruptly. It offers no catharsis, only a precise and unsettling reflection of a very modern heartbreak. What do you do when the music tells you to dance, but the words confirm you’re already dancing alone?
The Bristol Collective Shines: “Kaya Street's Summer Singles”.
Listening to Kaya Street’s new four-part single series—” Kaya Street Summer Singles” from “Revolutionary Minds” through to “Start Again”—feels less like queuing up a playlist and more like walking through four rooms of a single, sprawling house. Each one is painted a different colour, holds a different temperature, but they’re all unmistakably connected by the same foundation.
This is the Bristol collective’s genius: crafting a political and emotional narrative that moves from the bullhorn of the public square to the raw murmur of a private confession, all carried by a core of unnamed, collective-first musicianship. The vocalist here isn’t a star; they are a conduit, a vessel for the frequency.
The Bristol Collective Shines: “Kaya Street’s Summer Singles”.
The journey starts with a jolt. “Revolutionary Minds” isn’t a gentle invitation to the cause; it’s a frantic drum & bass beat that kicks the door in, demanding you pay attention. The track invokes a lineage of artistic defiance, and its militant optimism smells like something specific—like wet posters peeling from a brick wall the morning after a protest. It’s the scent of ink, rain, and conviction.
And then, the pivot. The jarring, brilliant pivot. “Blue Dancer” trades the righteous fury for a hypnotic, psychedelic Afrobeat haze. Here, the struggle is internal, a cyclical memory walking in circles around a gorgeous, looping bassline from Mario Corronca. It’s followed by “Don’t Give Up,” a soulful reggae-ballad that feels like a 3 A.M. phone call you know you shouldn’t have made but had to. It’s a hollowed-out plea for redemption, where the space between Toby Mcquity’s drums is filled with palpable regret. To place this track after the call-to-arms is a brave, deeply human choice. It admits that even revolutionaries get the blues.
The Bristol Collective Shines: “Kaya Street’s Summer Singles”.
The final room, “Start Again,” is where the windows are thrown open. Eryk Nowak’s Latin piano motifs dance with Soukous-inflected guitar lines, creating a global groove that feels like walking into a party where you don’t speak the language but everyone understands your smile. It’s a plea for empathy that feels earned, not preached. The rage and the pain of the previous tracks have settled into a kind of determined compassion.
Kaya Street makes music for the dancefloor and for the demonstration. This collection honours both, but it leaves you chewing on a fascinating question: which is built to carry more weight, the marching foot or the broken heart?
“Unforgiven”: Sophia Mengrosso's Operatic War Cry.
Sophia Mengrosso’s new album, “Unforgiven”, doesn’t so much start as it does detonate, a thirteen-song treatise on survival. Her voice, a thing clearly trained for gilded halls and velvet curtains, instead wails from within a foundry’s clang and fire. The result is a bizarre and beautiful collision, the sonic equivalent of discovering a lost Caravaggio painting lit by a flickering fluorescent tube in a derelict subway station. The sacred and the profane aren’t just in dialogue; they’re locked in a brutal cage match for the soul of the song.
We follow a narrator through the psychological labyrinth of a controlling relationship, a space where another’s will becomes the air you breathe. The lyrics narrate the slow poisoning of the self—being drowned, haunted, medicated into a hollowed-out compliance. There’s a clinical numbness to some moments that feels far more chilling than any theatrical scream. This isn’t the sound of a heart breaking; it’s the sound of a mind methodically, maliciously, being taken apart piece by piece.
“Unforgiven”: Sophia Mengrosso’s Operatic War Cry.
But this is no simple lament. The abyss, it turns out, has an echo. The album’s central miracle is how the anguish begins to curdle into something else entirely: defiance. Mengrosso’s operatic cries shift from pleas to war horns, and the guitars carve out a path from the wreckage. This is the sound of wings, once burned to stumps, being regrown from scar tissue and pure, unadulterated will. It’s less a story of recovery and more one of reclamation.
“Unforgiven” leaves you with a profound and slightly unsettling question. After escaping a cage, is freedom the goal, or is it learning how to wield the bars as your new armor?
Psychic Fever Unleashes Just Like Dat featuring JP The Wavy
The seven-member powerhouse Psychic Fever from Exile Tribe consisting of KOKORO, WEESA, TSURUGI, RYOGA, REN, JIMMY, and RYUSHIN has crafted something genuinely magnetic with this lead single from their conceptual EP “99.9 Psychic Radio.”
There are times when a song comes out that sounds like it was made in a lab to be as catchy as possible, but it still has a natural feel to it. There are not many like this one.
The main idea is about modern romance, that exciting moment when desire turns into something more.
JP THE WAVY‘s addition does not really feel like a feature; it is more like a talk between artists who understand each other’s work.
The fictional radio station concept at 99.9 MHz serves as more than clever marketing. It taps into something nostalgic about how music used to spread – through airwaves, through shared discovery, through the communal experience of hearing something new at the exact right moment.
This method is based on how hip-hop spread around the world through mixtapes and radio, and PSYCHIC FEVER has fully learnt from that experience.
But let us talk about what really makes this song interesting, besides how quickly it went popular. The levels of production make room for each member’s unique style to shine.
JIGG‘s arrangement does not make the singing sound too loud or hide the message too deeply in too much detail.
Instead, it gives J-pop and hip-hop a base that feels both modern and rooted in the practices that made them such strong styles in the first place.
JP THE WAVY and Nvmbrr wrote the songs, which avoid the usual problems that come up when people from different cultures work together. They do not use English words that do not fit or make odd versions; instead, they build a story that moves easily between languages and points of view.
The urban setting feels authentic rather than manufactured, and the romantic themes connect with universal experiences while maintaining their specific cultural context.
The group’s international ambitions, evident since their 2022 debut with the P.C.F EP, find their clearest expression here. This isn’t music created for export; it’s music created by artists who understand that great songs transcend geographical boundaries naturally.
The difference is subtle but important. When you’re trying to appeal to everyone, you often end up connecting with no one. When you’re creating something authentic that happens to resonate widely, magic occurs.
Consider how the track functions in different contexts. On TikTok, it provides the perfect soundtrack for dance challenges and romantic content.
On streaming platforms, it sits comfortably alongside both J-pop playlists and international hip-hop collections. In live performance – as evidenced by their touring success across Asia, Europe, and the Americas – it transforms into something even more dynamic.
The collaboration with JP THE WAVY represents something significant in Japanese music. Rather than importing foreign elements to seem more international, PSYCHIC FEVER has found artists within their own scene who share their vision for boundary-crossing music.
JP THE WAVY’s production work across the entire “99.9 Psychic Radio” EP demonstrates this isn’t a one-off experiment but part of a larger artistic statement.
What’s particularly impressive is how the song maintains its identity across different versions. The English version, released in September 2024, doesn’t feel like a translation but like a natural evolution of the original concept. This suggests a level of artistic maturity that many groups take years to develop.
The track’s success on social media platforms reveals something interesting about contemporary music consumption. While traditional metrics still matter, the real test of a song’s impact comes from how it integrates into people’s daily lives.
“Just Like Dat” has become soundtrack material – for workouts, for getting ready to go out, for those moments when you need something that matches your energy level.
LDH JAPAN’s management approach deserves recognition here. Rather than rushing to capitalize on viral success with quick follow-ups or radical style changes, they’ve allowed PSYCHIC FEVER to develop their sound organically.
The group’s recent signing with Warner Music Group suggests bigger things ahead, but the foundation they’ve built with tracks like this provides solid ground for expansion.
The song’s themes of romance and attraction might seem straightforward, but they’re executed with enough sophistication to avoid cliché.
The city scene gives the story some background, but it is not the main focus. The different points of view on love desire give it depth without being confusing. The emotional core feels real, not planned, which is the most important thing.
The choices made during production show that a lot of thought went into how the music would sound in different places. The mix sounds great on both high-end headphones and phone speakers.
The arrangement makes room for the singing and keeps the rhythms interesting enough that it is worth listening to again and again. There are small things like these that make the difference between a good song and one that becomes part of the culture talk.
Psychic Fever Unleashes Just Like Dat featuring JP The Wavy
The group’s touring success with this material provides another measure of its impact. Live performance reveals whether a song has genuine staying power or just studio magic.
Reports from their European and North American dates suggest “Just Like Dat” translates effectively to live settings, creating the kind of audience connection that builds lasting careers.
The popularity of “Just Like Dat” also shows how people around the world are discovering and enjoying Japanese music in new ways. Social media sites have opened up new ways for songs to reach new listeners, getting around traditional managers and geographical restrictions.
PSYCHIC FEVER has done a great job of navigating this new world, making material that works with these new ways of distributing it while still staying true to their art.
Because it is the first song on “99.9 Psychic Radio,” this song sets the tone for the whole EP. The idea of a made-up radio station gives the four tracks a common theme while letting them have different musical styles.
This way of thinking about ideas makes me think of artistic goals that go beyond individual songs and include bigger creative statements.
Being popular months after it came out says that the song has that rare quality of keeping power.
This is one of those songs that PSYCHIC FEVER has made, and it makes them an artist to keep an eye on for whatever comes next.
Jai Binó's More Captures Melbourne's Heat In Afro-Infused R&B Perfection
Sometimes music hits you sideways. You’re scrolling through new releases, half-listening to the usual suspects, when something stops your thumb mid-swipe.
That’s exactly what happens with Jai Binó‘s debut single “MORE” – a track that feels like summer condensed into three and a half minutes of pure magnetic energy.
The Melbourne-based artist has crafted something genuinely compelling here. His voice carries the kind of warmth that makes you lean in closer, while the production wraps around you like humidity on a perfect evening.
There’s an immediacy to “MORE” that feels both calculated and completely natural, as if Binó stumbled upon this particular combination of sounds while experimenting in his bedroom studio at 2 AM.
The track opens with percussion that feels borrowed from Lagos nightclubs, all polyrhythmic complexity disguised as simplicity. But this isn’t cultural tourism – Binó’s approach to Afrobeat influences feels lived-in, respectful, integrated rather than appropriated.
The way he layers his vocals over these rhythms suggests someone who’s spent serious time studying the masters, from Fela Kuti to contemporary artists like Burna Boy and Wizkid.
What strikes you first about “MORE” is its confidence. This is a debut single that doesn’t sound like someone testing the waters. Binó knows exactly what he wants to say and how he wants to say it.
The production choices here deserve special attention. Where many contemporary R&B tracks pile on the effects until the human voice becomes another synthesized element, “MORE” keeps Binó’s vocals front and centre.
The reverb is tasteful, the auto-tune minimal. You can hear the breath between phrases, the slight rasp that gives his voice character. It’s intimate without being invasive, polished without losing its soul.
Lyrically, the song operates on multiple levels. On the surface, it’s about romantic attraction – that pull toward someone who keeps you coming back despite knowing better.
But there’s something deeper happening here, a meditation on desire itself. The way Binó sings about being “fully present in a moment of connection” suggests someone who’s thought seriously about what it means to want something, someone.
The bridge section introduces a melodic element that feels almost conversational, as if Binó is working through his thoughts in real time. It’s here that the song reveals its true sophistication – this isn’t just a well-crafted pop song, it’s a piece of emotional architecture.
Each section builds on the last, creating a sense of momentum that carries you forward even as the groove keeps you locked in place.
There’s something almost cinematic about how “MORE” unfolds. You can picture it soundtracking a late-night drive through Melbourne’s inner suburbs, windows down, city lights blurring past.
The track has that quality of making ordinary moments feel significant, of turning a simple car ride into a scene from a movie you’d actually want to watch.
Binó’s vocal performance throughout is remarkably controlled. He never over sings, never pushes for emotional effects that aren’t earned. When he does let loose – particularly in the final chorus – it feels like a natural release rather than a calculated climax.
This kind of restraint is rare in debut singles, where artists often feel pressure to prove their range immediately.
Jai Binó’s More Captures Melbourne’s Heat In Afro-Infused R&B Perfection
The influence of artists like Khalid and 6lack is audible but not overwhelming. Binó has clearly studied the contemporary R&B playbook, but he’s not simply copying it.
There’s something distinctly Australian about his approach – a laid-back confidence that feels specific to his geography. Melbourne’s music scene has always had its own character, and “MORE” feels like a natural extension of that tradition.
What makes this track particularly impressive is how it manages to feel both current and classic. The Afrobeat influences give it contemporary relevance, while the song structure and melodic sensibilities feel rooted in R&B tradition. It’s the kind of track that could have been released in 2015 or 2025 and felt equally at home.
As debut singles go, “MORE” sets an impressively high bar. It suggests an artist who understands both his strengths and his audience, someone who’s ready to build a career rather than chase a moment.
The track feels like the beginning of something significant rather than a one-off experiment.
Jai Binó has created something that lingers. Long after the final note fades, you find yourself humming that central refrain, feeling the ghost of those Afro-infused rhythms.
Lina_ And Jules Maxwell Forge Musical Bridges On "Terra Mãe"
Lina_ and Jules Maxwell have made something truly surprising with “Terra Mãe,” whose English translation is “Mother Earth”
The Portuguese fado singer and the Irish songwriter found something they had in common that no one would have thought possible: a word that appears in both languages but has different meanings in different cultures.
The album opens with a revelation that feels almost accidental in its brilliance. “Fado” in Portuguese describes those melancholic folk songs that capture the soul of a nation.
“Fadó” in Irish Gaelic means “long ago” – the traditional opening for stories, much like “once upon a time.”
This linguistic coincidence became the foundation for nine tracks that feel less like fusion and more like recognition of something that was always there.
Lina_’s voice carries the weight of centuries. Her melismatic vocals on tracks like “Arde Sem Se Ver” (Follow The Dove) demonstrate why she’s collected multiple awards across Portugal and beyond.
She builds each line in a way that is almost architectural, creating emotional structures that do not seem to follow gravity.
Sometimes, when she sings Amélia Muge‘s arrangements, like on “A Flor Da Romã” (Cherry Blossom), her version feels both traditional and new.
Jules Maxwell brings his Dead Can Dance style to the mix, but this is not just dreamy background music.
His music for “Terra Mãe” is very restrained, with computer sounds that work well with Lina_’s singing instead of competing with them.
The title track emerged from improvisation sessions, and you can hear that organic quality in how the elements breathe together.
To think about, Maxwell’s piano playing is like the 12th-century Malmesbury Abbey, where some of the ideas for this record came from.
James Chapman’s production deserves particular mention. His multi-layered electronica never overwhelms the intimate moments, yet provides enough sonic architecture to support the album’s grander ambitions.
Chapman understands that sometimes the most powerful electronic music is the kind that doesn’t announce itself.
Lina_ And Jules Maxwell Forge Musical Bridges On “Terra Mãe”
The cultural exchange here runs deeper than surface-level collaboration. Both Ireland and Portugal occupy similar positions.
This geographical poetry manifests in songs like “Requiem” and the closing track “When Are You Coming,” co-written by both artists. These pieces capture something universal about distance and desire.
What strikes most about “Terra Mãe” is its refusal to exoticize either tradition. Lina_ doesn’t perform Irish music, nor does Maxwell attempt fado.
Instead, they’ve created a third language – one that honours both sources while belonging entirely to neither.
The album suggests that cultural boundaries might be more porous than we imagine, that artistic kinship can transcend geography and language.
“Terra Mãe” comes from a realisation that music, like the earth, belongs to everyone and no one at the same time. It goes beyond the careers of either artist.
Criwolf Releases Emotionally Charged New Single "Sweet Heart"
Italian singer-songwriter Criwolf (Cristina Pavone) has released her deeply personal new single “Sweet Heart,” a haunting dream pop composition that serves as a heartfelt tribute to the memory of her late brother.
The track, produced by acclaimed producer Eddy Mattei, known for his collaborations with international artist Zucchero Fornaciari, showcases Criwolf’s evolution as an artist willing to explore the most intimate corners of human emotion.
Criwolf has already made a name for herself in the indie music scene with her previous EPs “Scruffy Style” and “The Journey” “Sweet Heart” is a big step forward in her career.
The single shows how she can turn a personal tragedy into a work of art that can speak to anyone who has been through love, loss, or the complicated feelings that come with sadness.
The song comes from a very important place for me personally. After her brother died many years ago, Criwolf felt driven to make something to honour his memory while also working through her own feelings of loss.
The result is a composition that balances atmospheric production with raw emotional honesty, creating what critics have described as a “dreamy elegy” that manages to find light within darkness.
Musically, “Sweet Heart” represents Criwolf’s most sophisticated work to date. The song seamlessly weaves together elements of dream pop, alternative rock, and dark pop, creating a sonic palette that feels both contemporary and emotionally timeless.
Eddy Mattei’s production brings a cinematic quality to the track, with atmospheric textures and carefully crafted arrangements that allow Criwolf’s vocals to float above layers of instrumentation while maintaining the song’s intimate core.
His approach to the track emphasizes the song’s emotional authenticity while providing the technical sophistication that elevates it beyond typical indie releases.
Criwolf’s method to writing “Sweet Heart” shows how much she has grown as an artist. She does not try to avoid the hard feelings she has about her brother’s death; instead, she faces them head-on, writing a piece that recognises how complicated loss can be while also enjoying the lasting power of memory.
People can relate to the lyrics because they use both personal details and general themes to make the song’s meanings clear.
Criwolf Releases Emotionally Charged New Single “Sweet Heart”
“Sweet Heart” sets Criwolf up for more growth in the international pop music scene in the future.
Her work with Eddy Mattei opens the door to more high-level musical partnerships, and the emotional depth of the song shows that she can make music that crosses genre lines.
The response to the song says that it has a good chance of getting more performing options and media notice.
Criwolf continues to perform the track live, with upcoming performances planned across various venues.
Her willingness to share such personal material in live settings demonstrates her commitment to authentic artistic expression and her confidence in the song’s ability to connect with diverse audiences.
Some songs arrive like smoke signals from a distant fire, carrying news you’re not ready to hear.
It is not nice when Naomi Neva‘s new song “Burning” knocks on your door; it comes through like someone running away from flames, forcing you to face the uncomfortable truth that safety was always a dream.
The artist from Oakland has made a name for herself by being honest about her feelings, but “Burning” goes beyond self-reflection and into something much more dangerous.
This is an environmental reckoning set to a driving guitar hook that cuts through the haze of denial we’ve all been breathing.
The history of Neva is like a California horror tale. As a child, she had to leave her area when it caught on fire, and she remembers watching her dad find ways through hills that almost took them right into the fire.
That pain went into hiding for years, but it came back during what she calls a time of medical trouble and broken friendship. The timing seems almost prophetic: betrayal in a personal way and disaster in the environment are happening at the same time, making it the best time for art that matters.
The song itself sounds like a fever dream. It sounds like Neva is singing directly to you from the middle of the storm because her voice cuts through the mix like a knife.
Her delivery is almost like a movie, as if she were telling a disaster movie and the audience is both a witness and a victim.
The song tackles “the fear, anger, and helplessness that come with watching the world catch fire, literally and figuratively.” Neva does not promise recovery or closure; all she does is hold up a mirror to our hopelessness and tells us to look.
Neva produced the album in her home studio before having it professionally mastered at Abbey Road. There are parts of the album that purposely sound rough.
The recording at Abbey Road gives the song just the right amount of polish to make it radio-ready without taking away from its raw power. Neva’s singing stands out more in the mix thanks to the professional treatment, but her music still has that homely feel that makes it so appealing.
It strikes the right mix between being easy for popular audiences to understand and being strict enough for indie fans.
This is not the clean indie rock you hear on magazine covers; it is someone making music because they can not stand the silence. The guitar playing stands out, creating a sound tension that is both beautiful and frightening, just like the lyrics.
Oakland’s indie scene has always had “an eclectic mix of styles” that comes from “the city’s rich musical history.” Neva fits right in with this tradition while also making her own unique space.
Her voice sounds like a mix of the East Bay’s punk history and the folk introspection of artists who have seen their hometown change so much that it is no longer recognisable.
The natural topics of the song feel especially important now that climate crises are getting worse. Neva is not writing protest songs or proposing political answers. Instead, she is writing about how living in a burning world affects her mental health.
What makes “Burning” stand out is that it can make both the world and the domestic seem real. Neva’s specific trauma—running away from fires as a child, dealing with betrayal, and medical emergencies—helps us look at how we deal with loss and broken trust in our own lives.
“What Do We Do When The Systems Meant to Protect Us Fail?” is one of the songs’ difficult questions. When it looks like everything is on fire, how can we keep our hope?
Neva’s previous releases—from the intimate “In Parking Lots” to the fan-favourite “Still Singing for You“—established her as an artist unafraid of vulnerability.
“Burning” represents an evolution, maintaining that emotional honesty while expanding the scope to include environmental and social concerns. It’s personal music that refuses to stay small.
The name of the song refers to both real fires and figuratively burning bridges. It also refers to the slow burn of betrayal and the heat of climate worry.
Neva knows that the most powerful art can come from conflicts that are so close together that personal and global pain are hard to tell apart.
The song ends without a clear answer, leaving fans in the fog and doubt that surrounds us right now. Neva’s choice to put truth over ease and art over easy answers shows how much she values them.
“Burning” shows that the most important music does not always fix. Sometimes it just makes us feel less alone in our shared fear and wonder.
Rhys Hurd Channels Defiant Energy Into Disco-Rock Fusion On "Do It My Way"
Rhys Hurd‘s “Do it my way” arrives like a lightning bolt through a disco ball.
The South West artist has made something that does not seem to work on paper but really does.
It is a track that takes the dance-rock and disco elements that Royal Blood explored on their well-reviewed album Typhoons and confidently brings them into the year 2025.
Hurd has released three singles in just two months. This is a sign of an artist who is really into his work.
But “Do it my way” does not feel like the other songs. It seems like Hurd has found something important that he needs to share with everyone.
At the beginning of the song, there is a shimmering synthesiser line that sounds like it belongs in a John Hughes movie. Then, the band’s signature guitars crash in like waves hitting Cornish rocks.
The production choices here are particularly smart. Mixed and mastered by Hurd himself at Avon Audio, the track maintains the gritty edge that rock demands while leaving space for those 80s-inspired elements to breathe.
Josh Dunn-Crowley’s drumming is the right base—it is heavy enough for headbangers but has enough bounce to keep the disco spirit alive.
What I find most interesting about “Do it my way” is that it goes from sounds like they belong in a crowded rock club to a neon-lit dancefloor in an instant.
The lyrics give it even more of a real feel. It is not just sound play for the sake of it; it is revolt with a goal.
Hurd, who studies popular music at Falmouth University, has positioned himself as a voice for young people who feel disconnected from mainstream expectations.
It is interesting to see how this song fits into the present singing scene. Many artists look to the past for ideas, but Hurd looks to the future.
He mixes styles and eras with the confidence that only comes from not having been told it can not be done.
The guitar work is especially noteworthy. These are not just riffs; they are hooks that really bite.
It is clear that Hurd has spent a lot of time learning what makes certain guitar parts stick in your head for days, and he is used what he is learnt here with surgical precision.
The way the guitars and synthesisers work together creates a tension in the sound that perfectly matches the song’s main idea.
Sometimes the most interesting art comes from artists who haven’t yet learned the rules about what they’re supposed to do. Hurd seems to exist in that sweet spot where technical skill meets creative fearlessness.
Rhys Hurd Channels Defiant Energy Into Disco-Rock Fusion On “Do It My Way”
The production feels deliberately raw in places, which serves the song’s message well. This isn’t polished rebellion; it’s the real thing, recorded by someone who understands that authenticity often lives in the imperfections.
Some parts of the music slightly go against the beat, and the singers sometimes strain against the rhythm. These are not flaws; they are features.
What’s particularly impressive is how “Do it my way” manages to feel both contemporary and timeless. The 80s synth elements could have easily dated the track, but Hurd uses them as seasoning rather than the main course.
They add flavor without overwhelming the core rock foundation. The song’s message about fighting societal pressures and finding your own path isn’t exactly ground-breaking territory, but Hurd delivers it with enough conviction to make it feel fresh.
This song makes me think Hurd is a good artist to keep an eye on. The way he plays the guitar alone shows that he is good at what he does, but what is more important is that he has something to say and the confidence to say it in his own style.
“Do it my way” is a rebellion in action, proving that the most interesting art often comes from refusing to choose between seemingly incompatible influences.
Sometimes the best way forward is to ignore the map entirely.
Afrobeat Reimagined: YUKO’s Creative Spark in "Pourin"
With a name that’s quickly becoming known for lively, soul-filled music and heartfelt stories, YUKO is back with a new single that’s perfect for the heat of summer—Pourin. It’s a track that mixes afrobeat energy with a fresh amapiano twist, inviting listeners to let go, move freely, and soak in that joyful rush of celebration. But don’t be fooled—this feel-good hit didn’t come together overnight.
Originally written and recorded in October, Pourin took time to grow. YUKO first tried writing in a traditional afrobeat style, but something didn’t feel right. So she let it rest. When she returned to the track a week later, the chorus came naturally, and the rest followed like magic. What started as a song about stardom—”flashing lights, over loving”—changed into a celebration of letting loose and floating through the night.
What makes Pourin even more impressive is that it was recorded entirely on a phone using JBL headphones and BandLab—marking the end of YUKO’s DIY era as she now steps into real studios. Get ready to meet the artist behind the music, her journey, her sound, and what’s coming next in this exclusive interview.
Congratulations on the release of “Pourin”! How does it feel to have this new single out in the world?
Thanku! It’s so surreal, honestly anytime I release I sit and realise like damn I’m really doing this haha
For listeners hearing your music for the first time, how would you describe your sound and what YUKO is all about? YUKO is all bout finding comfort in the story the music is telling, weather that be a relationship or partying or being home sick
Tell us about “Pourin” – what inspired this song and what’s the story behind it? I really love going out and having fun plus on top of that I’m Ugandan so if you know us we will find an occasion to celebrate anything! Pourin is from the perspective of the substance beckoning listeners to let it in and let it move you. I wanted the song to feel the same way I feel when we’re under the influence, that feeling that you’re floating and everything is just so easy and fun.
The title “Pourin” is really interesting – what does it mean to you? Is it about emotions pouring out, rain, something else entirely? It’s actually a word play on Pour In (the drink), keep the drinks coming!
What was the creative process like for this track? Did it come together quickly or did you work on it over time? Omg I think out of my songs this was my fav to puzzle together. At first I had heard the beat & I knew I needed to make something on it, but when I tried to write in a typical afrobeat way it just wasn’t clicking so I let it sit for a week or so. When I came back to it on a random tuesday suddenly everything just aligned.
Omg I think out of my songs this was my fav to puzzle together.
When I started with lyrics at first it was going to be about celebrity life hence the ‘flashing lights, over loving’ it was hard to continue writing cuz I didn’t really know what else to say but then ‘through the night, bodies dancing’ came to me and the rest wrote it self basically
Were there any particular sounds, instruments, or techniques you experimented with on this song? Yessss, in the chorus you heard the ‘dayadayadaya’ right? So I had an idea to get someone to play that melody on a piano so it could be an amapiano beat in the chorus & it’s the first thing I wrote before I even had any lyrics. I ended up keeping my vocals, added 1 extra vocal layering so it would blend together and feel like you’re floating. I loved when everything just
What was the biggest challenge you faced while making this track? Oh god, the quality of the audio. I only have my phone, some JBL headsets and bandlab. The hardest part was finding a place where my phone microphone wasn’t sounding too bad so I could mix it a bit easier.
I also followed some tutorials on youtube because yo girl wanted this to be atleast a little decent ahhaha. I recently started working in real studio’s and that means Pourin is my last song i’ll have recorded on my phone, letsgoooo!!
Who are some of your biggest musical influences, and do any of them show up in “Pourin”? Pffff I kinda wanna gatekeep her, she isn’t a small artist or anything but I had her as my lil own secret: Alex Isley. In 2021 I heard her for the first time with the song Colors and I don’t know what happened but a whole new world opened for me, I knew this is it, this is me. The way she uses her vocals to make her music sound so light and tender omdays ppl lowkey get onto her!! Someone else I fuck with is Willow Smith, she was wayyyy before her time. Honestly very underrated artist.
What do you hope listeners take away from “Pourin” when they hear it? I want everybody to connect to it the way they want. For me it’s about the euphoric feeling of going out right but then I made an acoustic/mellow version of it & when I was performing this for the first time I felt like it could also feel like an addiction u can’t let go off and the thrill u get of doing it.
Is “Pourin” part of a larger project like an EP or album that’s coming? Nahh It isn’t, I think it’s strong on its own & for the coming months I’m not really thinking of making an EP or album.
Any final thoughts you’d like to share with your fans about “Pourin” or what’s coming next? My friends and I have been screaming ‘YUKO SUMMER’ because i’m releasing another afrobeat song in august!! It’s called Ba Da Da, created in April on writescamp ^^
