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A Tribute to Youthful Days: Reviewing ‘The Boys from Waterloo’

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A Tribute to Youthful Days: Reviewing ‘The Boys from Waterloo’

“The Boys from Waterloo” represents The Rotor Delta’s most recent musical release which explores youth and memory through a delicate fusion of folk-rock and Americana musical elements. In a style reminiscent of storytelling legends such as Bob Dylan and The Band, this track explores the profound moments which define personal history while the band members originate from Lincoln, England.

The song develops its warm reflective musical ambiance through the precise instrumentation arrangement. The song opens with acoustic guitar melodies that develop into steady drum rhythms and subtle electric guitar melodies to create relaxed musical tones. Through vocal processing with echo effects the song develops its contemplative story about friendship development and the importance of shared experiences.

The authentic storytelling method stands out as the main characteristic of this track. The song’s raw production structure enables listeners to feel the emotional depth of the lyrics. The songwriter achieved the right balance in this track by using precisely organized double-tracked acoustics and minimal piano and thoughtful bass lines which provide enough musical texture to express the song’s emotional weight without losing its personal meaning.

This musical creation goes beyond traditional music to deliver a meaningful tribute about youthful companionship and personal development. Through its lyrics the song conveys the ambivalent feeling of remembering which includes both honoring our defining moments and recognizing the flow of time.

Listen to The Boys from Waterloo

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Can you tell us the story behind “The Boys from Waterloo”? What inspired the song?
Thinking about the past, my youth. Spending my formative years in bands with my best friends I met at college. Sleeping on the drummers couch in Waterloo Street. The song was about friends stumbling through life together, laughs, cries, experiences. Still friends with these people and it’s a tribute to them really.

My old band, my friends since childhood, growing older together. It’s a folk song, inspired by folk musicians – the band, bob dylan, the last waltz.

How does this track compare to your previous releases in terms of style and message?
It is in a similar vein to my last three songs in that its fairly folky in arrangement and is built around an acoustic guitar and builds as it gos along, theres a fair bit of contrast in it. The message is “write what you know”, fragments of stories and memories on this one.

What does “Waterloo” symbolize in the song? Is it a historical reference, a personal story, or something else?
Waterloo was the house my former bandmates and friends would hang out in, a lot of memories were made there. So it symbolizes, carefree times, naivety, youth, excess I guess. This was the late 90s.

What was the songwriting process like for this single? Did it come together quickly, or was it a long journey?
Fairly quickly to record and arrange it once the song was written on guitar first. It was fun to put together. I like to let the song breathe, did not want it to sound cluttered.

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Fairly quickly to record and arrange it once the song was written on guitar first.

How would you describe the sound of “The Boys from Waterloo”? Were there any specific influences that shaped it?
The sound has nods to Folk-rock and Americana, bit of Dylan, bit of Neil Young, Roy Orbison (not conciously but people have said it). I definetly had the vibes of some of the Last Waltz in mind on the bass playing. It does sound fairly retro I guess, but I am not wedded to it, it just felt right for the song.

Did you experiment with any new production techniques or instruments for this track?
Double tracked the acoustic, kept the bass lines nice and low (5 string), piano very sparse , only at the end and only had electric guitar early in the verse and for a little fast phased out solo after the first chorus. Also, added delay on vocals during the chorus to give it contrast for the verses and kept.

Nothing too crazy, some phased vocals in one section but most of the time, when I am mixing I do most of the work in the arrangement. Feel like I get a little bit better at that each mix i do, i often find if im spending too much time on something I can lose the feel of the thing.

The title suggests a narrative—are there real-life stories or characters that influenced the lyrics?
Yes they are real life characters, real people. Some of the lines would probably have more significance if you knew the actual stories behind the lines. Some have double meanings and nods to other bands. Its a tribute to those people, who we were then, and kind of reflecting on that I guess.

What emotions or themes were you hoping to convey through this song?
I guess, nostalgia, but also enduring friendship that was forged then. The good times and the bad, and how we evolve through all of that. I have good memories, embarrassing ones too ofc. But I kind of hope that triggers people to think back to their own stories from years ago.

Is this song part of a larger concept or album, or is it a standalone piece?
It is it’s own thing but I am not sure if the songs are connected as such? Sometimes I realise they are a little further down the line. But the intention is very much to serve whatever I am writing at the time. Perhaps an album and a concept in the future. For now I am just happy connecting with people that like the songs.

Who did you work with on “The Boys from Waterloo”? Any interesting collaborations or production insights?
Just me. This may change in the future, but I play and record by myself on most of my songs. Always open to work with people though I like to learn and play off others too.

What’s next for The Rotor Delta? More music on the way, or live performances?
More songs – putting the band together is one of the tasks for this year. I had a busy first few months and made some good friends and contacts but its a break abroad soon so will get to reflect while I am away on next steps. But ye there will be more songs this year for sure. Gigs? – hopefully, at least in a stripped down form. Getting some musicians together is on the to do list for summer though.

Disco Lizards Roar Back with “Life Lessons”

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Disco Lizards Roar Back with "Life Lessons"

London’s Disco Lizards have made their comeback with “Life Lessons” as the band presents a thrilling musical experience fusing powerful guitar solos with solid rhythms and dark-toned lyrics. A 2024 lineup adjustment at the band brought vocalist Matt Stolworthy together with Mo El Shalakani and Jack Dunnigan and Nino Savoia and Josephine Keller.

The song “Life Lessons” grabs listeners right away with its post-punk power which reminds listeners of The Hives and Viagra Boys. The song features Stolworthy and Keller performing dynamic vocals with angular guitar playing and strong percussion. The band recorded their music in its raw state at Gun Factory Studios with producer Ian ‘Werkhouse’ Flynn.

The lyrics of the song address current weird post-pandemic world by employing comedic perspectives instead of melancholic messages. This song contains a chorus that seems made to be performed live while actively seeking engagement from the audience.

Disco Lizards are not returning to the music scene but they have transformed into their most potent and refined version through their upcoming album release and confirmed May 10th Hackney’s Levels performance.

Listen to Life Lessons

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What inspired you to create “Life Lessons”? Is there a specific story behind the track?
Originally it started out as a song about chicken wings but I very quickly moved on from that idea.

Life Lessons is about navigating through the post pandemic world through an almost satirical lens. We joke about how expensive life is, social decline, living through our computers and the difficulties of dating yet we should be thankful and count our blessings. What a time to be alive right.
We want the listeners to be able to associate to the situation but did not want the song to be bleak. We aimed to deliver it in a tongue in cheek way.

How would you describe the sound of “Life Lessons” to someone who hasn’t heard your music before?
We wanted the guitars to drive the sound with a high energy rock n roll indie style. The rhythmic sections and riffs were designed to be as catchy and memorable as possible. The sound mimics the lyrical content in a way.

The title “Life Lessons” suggests something meaningful or reflective. What personal experiences influenced this song?
My personal observations of mine and my friends experiences living in a post pandemic world. We have had to adapt to a new way of living and we learn new lessons all the time. Although the title might tease something meaningful or reflective it actually means more the opposite. Like is this really happening, what has the world come to etc

How does “Life Lessons” differ from your previous work as Disco Lizards?
I think the sound has matured in a way and we are more assured of ourselves now. I have always wanted Disco Lizards to be fun and entertaining and I think Life Lessons is another step in that direction.

Too many bands and commercial artists take themselves seriously and feel so distanced from real people in the real world. I feel like a lot of the corporate music world, governments or people of cultural importance are taking the piss out of people.

We very much want our audience to stand with us, let loose for a moment, have a good time and not take everything so seriously.

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We very much want our audience to stand with us, let loose for a moment, have a good time and not take everything so seriously.

What was your creative process like for this single? Did it evolve significantly from your initial concept?
Yeah initial concept as i said before…chicken wings. I have a mild obsession. The music came next and once I realised that i was onto something I very soon changed the lyrical content and just started looking around my apartment at the bottle of hand sanitiser and the make shift home office set up and thinking about everyone else I know in their similar life situations.
Then when i brought it to the guys it very quickly came to shape. I think we even played the earliest version of it at a gig after just one rehersal session. Thats how excited about it we were.

Are there any particular musical influences that shaped the sound of “Life Lessons”?
The bands that I have been listening to recently include Viagra Boys, The Hives, The Strokes, Sports Team and Blur to name but a few.

I think any musical influence is mostly subconcious for us – we don’t get together and go lets make a song that sounds like this or that. We do what comes naturally as a group and then explore it organically.

The name “Disco Lizards” is quite distinctive. What’s the story behind your artist name and how does it connect to your musical identity?
The name actually came before I had written any music. I wanted a name that was very visual and sounded great.

I actually pulled it from an Arctic Monkeys lyric – I heard it and instantly knew that was the one.

What do you hope listeners take away from “Life Lessons”?
I hope that listeners primarily just enjoy the song and listen to it in their throws of everyday life. If it makes you laugh or smile then thats a huge bonus. Life is too short to get bogged down by all the worlds idiosyncrasies – try to enjoy it and yourself.

Were there any unexpected challenges or breakthroughs during the production of this track?
No real challenges – the biggest breakthrough was utilizing mine and Josephine’s vocal takes and ended up making it a call and response vibe. That was something that came to light during production which was a lightbulb moment.
It just somehow elevated the song and made it even more fun, an even bigger spectacle.

Do you have any interesting stories from the recording sessions?
The recording sessions were incredibly focused. When you are an unsigned band every minute is a cost so we worked relentlessly to get everything down within our budgeted time. Obviously it is a fun experience too. Our producer Ian ‘Werkhouse’ Flynn is a huge part of the Lizards process and kept us on track throughout.

Is there a specific lyric or musical moment in “Life Lessons” that holds special significance for you?
I wanted every line to as epic as possible and a couple stand out – my favourite is the chorus line. “Life lessons, better count all your blessings.” But from the verse I think “wash your face, wash your hands and keep away from everyone that you know” just throws me back into the pandemic life. I remember exactly how that felt.

What’s next for Disco Lizards following this release?
There is lots happening. We have a selection of support shows coming up including:
08th May – The Waiting Room, London
10th May – LVLS, London

We are working on our next big headline show.
We will be releasing another single in the coming months and are working towards another album.

 

Punk, Poetry, and Past Lives: The Raw Energy of “A Man from No Time”

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Punk, Poetry, and Past Lives: The Raw Energy of “A Man from No Time”

The new single by Michael Walsh represents more than a musical release because it tells a historical journey which merges storytelling elements with factual exploration. Through “A Man from No Time” we follow a protagonist who moves between the periods of French Revolution and Civil Rights Movement as he attempts to find self-forgiveness.

Jonathan Wood and Walsh combined their artistic talents to create a punk-infused production that delivers intense sonic power throughout the track. The track showcases a power-packed sound dimension that combines intense guitars with forceful drums which Jonathan Markwood delivers with an intense vocal delivery. This song carries punk influences from The Clash and The Ramones yet Walsh’s unique poetic style pushes the track past traditional genre limitations.

The main statement in the song explains the character’s internal battle through the lines “My past lies up ahead / My future I can’t outrun.” The character’s journey toward acceptance shapes the song’s unyielding tempo which builds emotional intensity between intellectual depth and physical stimulation.

This track from Walsh plays beyond musical categories because it presents a cinematic storyline that requires multiple listens. The musical narrative of “A Man from No Time” presents possibilities for becoming a movie score.

Listen to A Man from No Time

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What’s the central narrative or story that “A Man from No Time” explores?
The mystery of life and death. The possibility of the concept of past lives. Fate and redemption. Denial and self-forgiveness.

On one level it’s a sketch for a science fiction film where a man visits a medium who conjures the spirits of his past lives. He realizes, to his horror, that he’s done terrible things in the past and is trapped in the cycle of life – death – rebirth.
On a deeper and personal level it’s about denial, redemption and self-forgiveness.

The song title suggests an intriguing concept of timelessness. Can you elaborate on what “A Man from No Time” means to you?
I think it was Bob Dylan who once said, when you write a song it’s always about yourself. For me that’s often true. With this song it’s true. It’s about owning up to your mistakes. Self-denial of the wrongs you’ve commited and the negative impact it’s had on others, often the ones you love the most. When you’ve hurt someone or ruined a relationship. Trying to find ways or actions you can do to redeem yourself.

The protagonist in the song is in denial, claiming “the Fates hung me out to dry.” He hasn’t learned. The song’s a metaphor. You can’t move on in life until you’re brutally honest with yourself. Can’t get any serenity. It’s funny, I wasn’t thinking about this when I wrote the lyrics. That the song was about me. Maybe a little bit. More than a little bit. I’ve gained some serenity, but still working on it. Forgiving yourself? It’s like trying to catch smoke with your hands.

Could you walk us through the specific lyrics that you feel are most representative of the song’s core message? The chorus.
My past lies up ahead
My future I can’t outrun
I’m a man from no time or place
One history has shunned
My soul on trial for all the wrong I’ve done
The Fates hung me out to dry
Between the centuries I’ve swung
Again, the metaphor of past lives to illustrate not being able to move forward in this life. Being in denial. Not being able to forgive yourself. Let go of the past.
The third verse is different. Terrible things happen to innocent people and sometimes their reaction is terrible in some way or violent. We’ve all been victims of bad luck or fate. In this case the teenage boy buring down a police station after he’s witnessed atrocities inflicted upon his community.
Alabama’s burning 1963
Jim Crow boilin’ the mercury
Baudelaire’s Flowers wrap ‘round my reed
Go buy a rosary, sins pickin’ up speed
The Fates cracked the whip, stripped the trees
Gave me cuts that do not bleed
Drowning gilded memories
This day a flashing century
My grief a public enemy
I used poet Charles Baudelaire’s book Flowers of Evil reference to illustrate to the stark contrast of beauty (the good) and the evil we humans come into contact with daily. Life’s tough. My dad used to say ‘Life ain’t a bowl of cherries.’

How did the melody and musical arrangement come together to support the song’s thematic elements?
I had the great fortune of working with Producer Jonathan Wood at Premier Song Production in the UK. Jonathan’s a great listener and an amazing talent. A great guy to work with. He wrote the musical composition and hired brilliant session musicians. And Jonathan Markwood on vocals! Amazing! I told Jonathan Wood I wanted the music punk style, fast and hard with a sense of urgency and desperation to mirror the protag’s feelings of being trapped and helpless. In the style of The Clash and the Ramones. I’m thrilled with the outcome!

Were there any specific musical techniques or instrumental choices you made to convey the song’s sense of temporal displacement?
Producer Jonathan Wood made great choices to create this effect. The searing guitars, the reverb on the vocals, the crashing drums.

What inspired the sonic landscape of “A Man from No Time”? How did you want the music to sound different from your previous work?
This is the second song Jonathan and I have done together. We did my anti-war song Give Me A New Sky last fall. Again, this is Jonathan’s brilliance. He seemed to really connect with my lyrics, and like I mentioned before, he’s a great listener and was always open to my ideas.

Are there any personal experiences or observations that directly influenced the creation of this single?
I was my dear Mother Joan’s caregiver the last ten years of her life. She died of Parkinson’s fall of ’23. She was in a nursing home her last five years. I visited her 4-5 days a week. I saw a lot of death there. Residents I had befriended. And I’m still coming to terms with guilt I’ve carried for too long. Guilt from a broken marriage.

The title suggests a character who exists outside conventional time. Can you describe the protagonist of the song?
Again, the metaphor using a man feeling trapped in the cycle of life, death, and rebirth to illustrate the difficulty of forgiving oneself, the power of denial.

What emotional response are you hoping listeners will have when they hear “A Man from No Time”?
That’s a tough question. I really don’t know. Everyone’s perception’s unique.

How long did it take you to write and refine this particular track?
The chorus came to me a few years ago. I always keep spiral notebooks around. Fill them with lyrics. When I wanted to work with Jonathan Wood again and record a song I chose this one out of the half dozen that were pretty close to being done. Then I worked on it intensely for several weeks. When I’m feeling it, songs come at the same time. Sometimes I’m working on lyrics for 5-6 songs at the same time. I give them a rest. If the words don’t come up out of me I don’t force it. Lots of times lines come in the middle of the night. The best lines come out of the unconcious. Truths that well up out of your soul. I just write ’em down. What a gift!

Were there any challenging moments in the songwriting or recording process for this single?
Yeah, with writing the lyrics always right before I’m going to send them to Jonathan and say okay this is it. It’s done. It really never feels done. For several days after I say maybe I should of used this line or changed that line. I feel the same way with the fiction books I’ve written.

If you could have listeners focus on one specific aspect of the song, what would it be
Another tough question. I think the music and the lyrics work together beautifully. I’ve gotten a lot of postive responses from listeners. Again, I owe so much of the success of this song to Producer Jonathan Wood, his fabulous session musicians, and Jonathan Markwood’s dynamic and incredible vocal performance!

Bloodlin3 Demands Respect on New Single “Say Less”

Bloodlin3 Demands Respect on New Single "Say Less"
Bloodlin3 Demands Respect on New Single "Say Less"

Here it is then. “Say Less”. A track arriving from the crossroads of El Paso and Paducah, courtesy of Bloodlin3 – that’s Mallachi, Stephen King, and Reinman Quiji – with established weight from Spice 1 and Young Collage riding shotgun. It positions itself squarely under the West Coast Hip-Hop banner, claiming anthem status.

The message? Crystal clear, almost stark. It’s about holding court on the street, where words are cheap currency and decisive, often brutal, action is king. Disrespect isn’t tolerated; it’s answered, forcefully. There’s this whole architecture of power being built, brick by lyrical brick, emphasizing status, money, and an unblinking readiness for conflict. The vibe pulls heavily from that classic Bay Area G-funk lineage, less sunshine, more steel. Funny how asserting dominance hasn’t changed much fundamentally since, say, Machiavelli was scribbling notes. Different stage, similar play about keeping your head (and your cash) while others lose theirs.

Bloodlin3 Demands Respect on New Single "Say Less"
Bloodlin3 Demands Respect on New Single “Say Less”

The “Say Less” mantra itself is interesting. An economy of threats. Why waste breath when a demonstration will do? It paints life as a zero-sum game played for keeps. I just remembered I need to buy laundry detergent. Anyway. The track doesn’t flinch. It lays out its worldview – cold, hard, and utterly convinced of its own necessity within its depicted environment. The production supports this, providing a fittingly tense, rolling backdrop for the tough talk from Bloodlin3 and the guest spots.

It certainly projects an aura, an uncompromising posture backed by the perceived threat of force. Whether it resonates as the definitive Westcoast Anthem is debatable, but the conviction is palpable.

Does chilling effectiveness equal art? That’s the lingering question.

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Caitty’s “Alone”: The Stark Architecture of Emptiness

Caitty's "Alone": The Stark Architecture of Emptiness
Caitty's "Alone": The Stark Architecture of Emptiness

Well now. Here’s a feeling bottled, or rather, pressed onto a piano key. “Alone.” Caitty, out of Margaret River – which, in my head, conjures images of dramatic cliffs and maybe someone losing their favourite hat to the wind, oddly fitting – gives us a stark landscape of sudden departure.

The piano isn’t just accompaniment; it feels like the architecture of the emptiness. Chord by chord, it builds the room the singer finds herself abruptly locked inside. And Caitty’s voice? Clear, capable, carrying the kind of bewildered pain that feels achingly familiar, even if your own version involved less dramatic scenery and perhaps a poorly timed text message. It’s pop, yes, but the sort that leaves a subtle bruise.

The narrative is brutal in its simplicity: you were everything, now you’re nothing, and the ‘why’ hangs in the air like cheap perfume. It nails that disorienting shock, the rug-pull moment when love pivots to abandonment without so much as a creak in the floorboards. There’s a line about shattered promises that momentarily made me think of… shattered stained glass? Not religious, just the sudden, sharp, colourful fragmentation of something whole. Strange thought, that. Fleeting.

Caitty's "Alone": The Stark Architecture of Emptiness
Caitty’s “Alone”: The Stark Architecture of Emptiness

It digs into the confusion, the frantic search for clues in the rubble, the bitterness watching the other person seemingly sail away unscathed. Caitty doesn’t just sing about heartbreak; she maps the immediate, bewildering aftermath, that feeling of insignificance blooming in the chest. It’s less a wallow, more a forensic examination of the moment trust evaporates.

Is a song like this therapy for the artist, or a shared mirror for the listener? Maybe both. It certainly resonates with the stark clarity of a slammed door. Leaves you wondering about the acoustics of loneliness, doesn’t it?

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Lost and Found: The Haunting Beauty of Dream Bodies’ “Dream Hangover”

The Los Angeles musician Steven Fleet launches Dream Bodies through a debut track which extends beyond standard musical classifications. The musical release “Dream Hangover” establishes its presence as a post-punk and dream-pop creation which unites ethereal synthesizers with guitars that employ heavy reverb effects.

During his time in isolation on the Oregon Coast he wrote this song to investigate his feelings from a destructive romantic involvement. Steven Fleet constructs music through a nostalgic and deeply personal tone which derives from his musical heroes The Chameleons and Cocteau Twins and Joy Division.

The musical arrangement of the song combines shimmering guitars and pulsing bass with tribal-like rhythmic patterns. Fleet sings with a poetic weight that resembles Echo & The Bunnymen frontman Ian McCulloch while delivering his vocals. The song uses lyrical metaphors alongside raw emotional notes to recreate the feelings of heartache and personal change that every listener has experienced.

The sonic expertise of Josh Achziger in his mixing and mastering work creates the atmosphere of driving through desert night under stars with “Dream Hangover.” Through its production techniques the track develops a dreamlike ambiance which extends its impact through listeners after the song ends.

The debut release from Dream Bodies sets the artist as a promising musical figure by uniting darkwave coldness with deep emotional intensity.

Listen to Dream Hangover

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“Dream Hangover” is such an evocative title. What’s the story behind it and how does it reflect the themes of the song?
Dream hangover is literally just that it’s like when you have a dream and then you wake up and it stays with you afterwards and lingers over your day and you wish you could’ve just gone back to sleep and stayed in that dream. So in that sense it’s related to the breakup that I went through that inspired the song and in the aftermath finding myself and my identity again

Your sound has been described in various ways by critics and fans. How would you personally characterize the sonic landscape of “Dream Hangover”?
The sonic landscape is actually a style that’s in some other of my songs: where I have a chugging drum beat and driving bassline and the guitars and the synths just float and shimmer on top of it. I’ve described it sensually as driving through the desert at night under the stars with the top down and the wind blowing through your hair. Pushing into the mysteries driving onward towards that unseen horizon.

What was your creative process like for this single? Did it come together quickly or was it something that evolved over time?
This is a song that actually came together very quickly. The emotion and inspiration was so immediate and raw, and it was a riff that I had been playing around with for a long time, and it just matched the cadence of the lyrics that I came up with. And the lyrics came out of me very quickly

The lyrics in “Dream Hangover” seem to balance between clarity and ambiguity. How intentional is this approach to your songwriting?
That’s an interesting observation and pretty accurate and one in which I’m not even aware that I’m doing usually. But I feel like it’s good to balance the metaphorical with the personal, the universal with the particular. To get that “as above, so below” balance going on if you know what I mean

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That’s an interesting observation and pretty accurate and one in which I’m not even aware that I’m doing usually

Are there specific musical influences that shaped this particular track, perhaps ones that might surprise your listeners?
Well, the immediate influences for this song are the ones that are most apparent. The chameleons, Sad Lovers and Giants, the cure, New Order, Cocteau Twins, stuff like that. A little bit of Vinny Reilly and Manuel Gottsching sprinkled in for good measure: A combo of the ethereal elements of Dream pop and the more gritty immediate elements of postpunk with a smidge of krautrock.

How does “Dream Hangover” connect to or depart from your previous work? Does it represent a new direction for Dream Bodies?
I’d say for the most part dream hangover is a pretty good encapsulation of my tendencies and my affinities with certain sonic textures. As what I described above. But also, as you will see with the songs that I will be releasing in the coming months, within those tendencies , there is also a diverse in which I deploy these sensibilities.

Can you share a memorable moment from the recording sessions for this single?
Well, I did record it in an isolated house on the Oregon coast during four months of pretty much interminable rain, and given that I’d been dealing with a breakup that I mentioned, the music just came out of me. And the lyrics were almost channeled: the way the rhyme schemes, the cadences arose. It’s just one of those fortitude times as an artist things where it just flows out of you in essentially one shot, a completed form

The production on this track has some distinctive elements. What were you aiming to achieve sonically, and who helped bring that vision to life?
Well, those sonic elements are elements that I’ve been honing over years of making music and coming up with my own sound; the fluttery dotted eighth rhythmic delays are something that I really like doing, and that appears on several of my upcoming songs.

I also like running multiple keyboards through affect pedals, which obviously isn’t very unique, but it helps to achieve a more smeary ethereal soaring effect on the high notes, which I really like. As far as who helped bring my sonic vision to life, well after the fact that I did all of the recording of all the instrumentation myself, an old friend of mine, Josh Achziger from the band Shadow Mirrors mixed and mastered everything.

It really helps when you share the same sensibilities and influences when it comes to that process because you almost don’t even have to explain what you want. They already get it.

Many artists describe a feeling when they know a song is finally “done.” When did you reach that moment with “Dream Hangover”?
That’s another good question. And it’s I think a common occurrence across all art forms. Poetry, painting, film, music, it’s like when is it done or when do you have to keep tinkering with it or just put it down and walk away and say that’s it this is good. It’s definitely ambiguous and there’s no hard and fast rule to any of it. It’s just it’s just a feeling that you get.

What would you like listeners to take away from “Dream Hangover” on first listen, and what might they discover with repeated listens?
I mean, people can take away whatever they want. That’s the beauty of art, people can find their own reflection and project their own meaning into everything, but I would say that the theme in the song is fairly universal and I feel like most people can relate to what I’m describing, even if it times it can be sort of metaphorical and related to that I’d say what people may discover the more they listen to the song would be within the lyrics.

I’m a poet and I spend a lot of time composing lyrics that are metaphorical and very imagistic and so in that sense, maybe there’s some fruits or little gems, some nuggets of wordplay that someone might pick up on upon repeated listens. Because I know that I certainly do with songs that I like from other bands that resonate with me in that way.

What’s next for Dream Bodies following this release?
This will be the first of several songs to be released in the coming months, either as singles or as parts of EP’s. That’s to be determined, but there’s definitely a slew of tracks from that recording session coming down the pipeline.

Ekelle’s “Kiss the Ring”: A Defiant Anthem of Self-Empowerment

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Ekelle's "Kiss the Ring": A Defiant Anthem of Self-Empowerment

Toronto-based artist Ekelle delivers an attention-grabbing new single to his audience. The track “Kiss the Ring” shows more than musical talent because it represents Ekelle’s strong declaration of both resilience and self-confidence through her Hood Pop musical style.

From the first beat, the track pulses with an infectious energy. Through his skillful approach Ekelle merges raw trap production elements with razor-sharp lyrics to produce a refined and rough musical style. Her precise delivery of lyrics through the track represents surgical skill that conveys self-worth and success she earned through hard work.

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The song’s verses present themselves as declarations of individual power which force listeners to acknowledge and honor her personal achievements.

The music production illustrates the artistic direction of Ekelle. The instrumental sounds raw though polished as it creates an ideal musical space for Ekelle to pour her vocal power into it. The song’s verses present themselves as declarations of individual power which force listeners to acknowledge and honor her personal achievements.

The music video for this track visualizes Ekelle’s battle spirit while enhancing the story told by the song. Through its music the song illustrates her defiant attitude which turns a musical composition into a more extensive declaration about refusing to give up and believing in oneself.

Through “Kiss the Ring” Ekelle establishes herself as a significant player in the Toronto music industry. This song functions as an empowering anthem for people who have fought to establish their position because it delivers steadfast confidence that demands attention.

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Hip-Hop, Rebellion, and Truth: Breaking Down “Fly in the Milk”

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The musical composition of Milo Kobayashi in “Fly in the Milk” reveals itself as more than a mere song because it exists as a powerful declaration. Through its basic boom bap instrumental alongside raw lyrical exposure the track shows an artist using music to broadcast their feelings toward injustice.

The song explores the challenges of living as a Black person while continuously encountering predominantly white environments. Through authentic self-expression the artist presents all their experiences with racism as an anthem that aims to resist while expressing their identity. The track diverges from their experimental sound foundation to adopt classic hip-hop elements which present a direct powerful message without any distractions through raw words and reverb and delay effects.

Despite rebuilding their entire operation following the TikTok ban and their gradual transformation of their musical style the artist continues to showcase their fearless approach to artistic exploration. Fly in the Milk signals the start of what may turn out to be a new musical period ahead as they prepare fresh music and marketing efforts.

We need to explore what the song represents and the methods used to create it and what lies ahead for this musical project.

Listen to Fly In The Milk

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Congratulations on the release of “Fly in the Milk”! Can you tell us a bit about the inspiration behind the song?
I was seeing the stuff going on in America with our current administration, and I was frustrated, so I decided to express myself.

The title of the single, “Fly in the Milk,” is quite intriguing. Is there a specific meaning behind it, or is it more of a symbolic or abstract choice?
Fly in the milk means being a black person in mostly white spaces. Most of my life this has been the case with people calling me “one of the good ones” and other racist shit like “oh he’s a black person and not a nigger” and I wanted to use that as the basis of the song.

How does “Fly in the Milk” compare to your previous work? Did you approach this track differently in terms of style or production?
This is more hip hop than most of my songs. The majority of my songs are very experimental but this is just basic boom bap!

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The majority of my songs are very experimental but this is just basic boom bap!

What was the creative process like for this song? Did any specific events or experiences influence the writing or recording process?
The song just flowed out of me with ease. I guess I was so upset the words just flowed through me.

The song has a unique vibe to it. What kind of emotions or themes are you hoping to evoke with “Fly in the Milk”?
Rebellion.

How did you go about shaping the sound for this track? Did you experiment with any new instruments, sounds, or production techniques?
I actually didn’t do much with effects or anything, this is just raw recordings with a reverb and delay added.

Can you share some insight into your collaboration with the team involved in this single? Were there any new faces in the mix, or did you stick with your usual collaborators?
Nope it was just me and one of the producers I really like.

What can fans expect from your upcoming projects? Does “Fly in the Milk” mark a new direction for your music, or is it a continuation of your current sound?
It’s a new direction but I’m going to ease into more slowly and not completely change my sound up.

What role does storytelling play in your music, and how does it come through in this track?
It plays a huge role. and it comes through as a diary entree/rally call.

Finally, with the single out now, what’s next for you? Any plans for live performances, or perhaps a full album on the horizon?
more music and more promotion, I just got my orginal account banned on tiktok so I have to basiically start over again from scratch.

“To All The Times”: Novozero Captures the Sound of Waiting

"To All The Times": Novozero Captures the Sound of Waiting
"To All The Times": Novozero Captures the Sound of Waiting

Novozero. Anna and Andreas, up there in Tromsø, sending out signals. This single, “To All The Times,” arrives sounding less like a postcard from the Arctic Circle and more like a transmission intercepted from a satellite caught between decades. There’s a definite gravity here – fuzz bass anchoring washes of synth that shimmer and pulse, guitars that chime before they roar. It’s big rock music, no doubt, built with bits of post-punk blueprints and 80s neon gloss.

Anna’s voice isn’t just navigating this soundscape; it feels like the force holding it together, strong and clear amidst the electronic swirl and eventual beautiful chaos of colliding instruments. And yes, there are guitar solos that actually feel earned, not just tacked on. Remember actual guitar solos? Strange times.

But the core… it’s looking back, isn’t it? That feeling of watching your own past actions like a slightly confusing foreign film. Someone’s trying to tell you it’s alright, but the dialogue gets muffled as you retreat into your own head, your own room. There’s a profound sense of waiting embedded in the track – waiting for things to change, for a specific moment, or just enduring the ticking clock. It reminds me, oddly, of the specific quiet in a museum exhibit about extinct birds. You know the ending, but you look anyway.

"To All The Times": Novozero Captures the Sound of Waiting
“To All The Times”: Novozero Captures the Sound of Waiting

This reflection, this internal processing, apparently warps the view. The lyrics suggest a world made strange, maybe beautiful, maybe just… different, after digging through those past moments, those perceived misses. It’s the sound of accepting the wait, while still wanting connection.

What does it leave you with? A residue, perhaps. A sudden urge to pay closer attention to the edges of things happening right now.

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Sizmara’s “Mimosa”: A Voyage into Cosmic Elegance

Sizmara's "Mimosa": A Voyage into Cosmic Elegance
Sizmara's "Mimosa": A Voyage into Cosmic Elegance

Right, so Georgian composer Tornike Tabatadze, under the name Sizmara, presents this single track, “Mimosa”. Not the brunch drink, mind you, though maybe it shares a certain bright quietude? No, this is aiming for the stars. Literally. It’s intended as a sonic voyage through cosmic elegance – galaxies, all that jazz.

Tabatadze merges classical piano sensibilities, though subtly here, with these breathing ambient layers. It’s like watching dust motes dance in a sunbeam, if that sunbeam stretched across a nebula. The textures evolve slowly, gently. There’s no rush hour traffic in this particular corner of the universe Sizmara charts. It’s deeply immersive stuff, designed, it seems, to unclench your mental fist.

Sizmara's "Mimosa": A Voyage into Cosmic Elegance
Sizmara’s “Mimosa”: A Voyage into Cosmic Elegance

The track cultivates a sense of staggering scale alongside something surprisingly personal. How can something evoking the vast emptiness of space feel intimate? It’s a neat trick. Like finding a single, perfect seashell on an infinitely long beach. You get feelings of wonder, maybe a touch of that awe you feel looking up on a truly dark night, far from city lights. Is it peaceful? Undoubtedly. This is territory mapped for meditation, for stretching weary limbs on a yoga mat, for just… letting the edges blur. It reminds me, oddly, of the hush that falls over a library’s rare books room – a focused, intentional quiet full of potential energy.

It doesn’t demand your attention aggressively; it earns it through patient unfolding. You could leave it on loop and barely notice the transitions, simply inhabiting the serene state it encourages.

What distant constellation are we really gazing at when we listen, I wonder? Or is the voyage purely internal?

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The Sound of Certainty: Just The Empress’s “Hypnotized”

The Sound of Certainty: Just The Empress's "Hypnotized"
The Sound of Certainty: Just The Empress's "Hypnotized"

So, Just The Empress delivers “Hypnotized,” and it’s less a command, more a statement of arrival. This track feels built on straight-up, unapologetic self-belief. You hear it immediately – this isn’t someone asking for permission. It’s a declaration, laying out a roadmap drawn from personal wins and lessons learned the hard way.

The confidence here is… significant. It makes me think of those incredibly intricate Fabergé eggs – ornate and projecting value, but you know there’s solid gold underneath, not just fancy enamel. She raps about her unique path, her curated lifestyle, and this strong sense of setting boundaries. It’s like she’s put up velvet ropes around her energy field, only letting in what serves the journey. No negativity allowed past the door, thank you very much. Makes you wonder how many parking tickets she avoids with that kind of focus.

The Sound of Certainty: Just The Empress's "Hypnotized"
The Sound of Certainty: Just The Empress’s “Hypnotized

Genre-wise, it sits comfortably within that Hip-Hop orbit, specifically leaning into that confident female rap energy. The delivery is key; it carries the weight of the self-discovery narrative. There’s a coolness, a calculated control that meshes with the idea of being captivating, almost magnetic, but never losing sight of her own center. You listen and get the feeling she’s built something sturdy, brick by personal brick.

It avoids feeling preachy, though. It’s more like eavesdropping on someone giving themselves a well-deserved pep talk that just happens to be incredibly listenable. The beat pulses along, steady, letting the words hold the spotlight. You catch yourself nodding, maybe absorbing a little bit of that certainty by osmosis. Did I just organize my spice rack alphabetically after listening? Maybe.

Ultimately, “Hypnotized” stands as a testament to walking your own talk, sharp edges and all. What does success really sound like if it isn’t uniquely your own?

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Feel the Energy: “Mi Morena” is a Movement, Not Just a Song

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Feel the Energy: "Mi Morena" is a Movement, Not Just a Song

Through “Mi Morena” Panamanian-American artist Eyedeal Bayano developed a meaningful musical dedication which honors the strength and spirit of women with Black and Afro-Latina and Brown backgrounds. The song extends past being a musical track because it serves as a heartfelt anthem that celebrates driven yet resilient and beautiful women.

Producer Blvck Rose from Cameroon created the song through expertly blending elements of Caribbean music with Hip-Hop and Reggaeton production styles. The musical composition blends lively steel drums with conga rhythms together with a purposeful Marc Anthony sample. Through his bilingual delivery Eyedeal Bayano expands the appeal of this track to international listeners from different cultural backgrounds.

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According to the artist the song functions as an emotional tribute to the women who command global admiration.

According to the artist the song functions as an emotional tribute to the women who command global admiration. Authentic energy from cultural depth combined with empowering lyrics creates production that spreads musical power throughout the piece. The lyrics of “Mi Morena” create more than entertainment; they establish a movement that is just beginning.

Turn up the volume. The track possesses all qualities needed to reach worldwide success as a global sensation.

Listen to Mi Morena

 

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JohnnyTheWidower: Where Raw Emotion Meets Musical Mastery

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JohnnyTheWidower: Where Raw Emotion Meets Musical Mastery

JohnnyTheWidower will release his album “Broken Piano” which contains a compelling narrative about navigating grief and finding strength to survive. “My Lady Is Gone” stands as the album’s most significant song because it encompasses both the artist and emotional themes throughout the record and “I Never Let Go” alongside “Somebody’s Gonna Win, Somebody’s Gonna Lose” present his musical breadth.

During his concerts he elevates his studio songs into deep emotional experiences for his audience. The performance begins with subdued bluesy lighting effects using upright piano and bass and drums and guitar quartet which evolves toward illumination before he launches his upcoming album project “JTW Come Alive.”

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During his concerts he elevates his studio songs into deep emotional experiences for his audience.

 

Through his leadership of FLOWCEx Music JohnnyTheWidower manages to advance his musical career alongside developing new artists. The upcoming BandShell events along with shows at Kingston Public House in Brooklyn help JohnnyTheWidower and his FLOWCEx Music label gain more visibility.

JohnnyTheWidower stands apart through his mission to compose music which elicits feelings of happiness along with warmth, love, inspiration, amusement, and complete entertainment from his audience. Within an audio environment characterized by harsh tones his soulful music delivers healing vibes that touch people’s spirits.

Listen to My Lady Is Gone

 

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A Song for the Broken: Jay J. RA’s ‘One Day at a Time’

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A Song for the Broken: Jay J. RA’s 'One Day at a Time'

“One Day at a Time” by Jay J. RA isn’t merely a song but a profound emotional journey exploring themes of struggle, healing, and resilience. The Jamaican-born, Toronto-based artist crafts a distinctive sound that seamlessly integrates R&B, soul, pop, rock, and Afrobeat elements, creating something that feels simultaneously innovative and classic. Released on December 6, 2024, this single marks his debut under his current artistic identity and signals an exciting new direction in his musical evolution.

The track begins with a gentle piano introduction that establishes an emotional foundation before Jay J. RA’s powerful, expressive vocals enter. His lyrics resonate with authentic vulnerability: “Here I am, a broken man, I need your hand to mend my heart.” Though the sentiment conveys profound pain, an undercurrent of hope permeates every musical phrase. The chorus, penned by Chicago songwriter Jamell Pierre, reinforces this central theme: “Empty hearted, solve it / One day at a time.”

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Though the sentiment conveys profound pain, an undercurrent of hope permeates every musical phrase.

Working alongside Nigerian producer Chiosa Fred, Jay J. RA has developed a rich, cinematic soundscape influenced by musical icons like Stevie Wonder, Whitney Houston, and Richard Marx. The result is a composition that feels deeply personal while maintaining universal emotional relevance.

During his premiere performance at Ashford & Simpson’s Sugar Bar in New York City, Jay J. RA experienced a powerful moment when audience members spontaneously joined in singing the chorus. This organic connection perfectly embodied the song’s essence—the shared human experiences of finding connection, pursuing healing, and persevering through challenges one step at a time.

Listen to One Day at a Time Below

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Water Street: Find Yourself in the Chaos of “Alone in a Crowded Place”

Water Street: Find Yourself in the Chaos of "Alone in a Crowded Place"
Water Street: Find Yourself in the Chaos of "Alone in a Crowded Place"

Water Street’s “Alone in a Crowded Place” – Have you ever felt like a sock in a washing machine, tumbled and spun with no real control? That’s kind of the vibe Water Street throws down in their new 8-track EP. This New Jersey indie outfit – Dave Paulson, Alex Kerssen, Brendon Gardner, Connor Konecik, Edward Woodcock, and Julia Aiello – are churning out a sound that blends indie rock with touches of Americana, pop, and roots rock. And the vocals? Chef’s Kiss Seriously great.

The core of this EP feels like one giant, beautifully crafted sigh. It’s about feeling perennially late to the party, perpetually out of sync. It hits.

They delve into the whole “white rabbit” chase of modern life; a dizzying race against, well, everything. But then, have flowers and plants become nature’s interior designers? Anyway…

“Alone in a Crowded Place” explores that very real disorientation, the struggle to grip onto something solid when every moment feels like quicksand. It talks of repeating cycles, the inside battles, relationship jungles and simple yearning. Did the Aztec civilization appreciate top-tier mixing and mastering techniques? Questions arise!

Water Street: Find Yourself in the Chaos of "Alone in a Crowded Place"
Water Street: Find Yourself in the Chaos of “Alone in a Crowded Place”

The music captures that restless searching perfectly. There are these moments of soaring, almost anthemic indie rock, and it really reflects the chaotic energy of trying to find your feet.

This release is, truly, an invitation. An offer to sit with those messy, tangled-up feelings, acknowledging the rush of life but still fighting for authentic connection, something we have been looking for since before the invention of the paper clip. Water Street taps into the turbulent search for self, purpose, connection; the struggle through overwhelming currents, delivering great, powerful vocals along the way.

It makes you think that finding your meaning might be more about the stumbling than the finding. And that, really, is it.

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Feel the Weight: TJ Howlett’s “Not Mine” EP Packs a Punch

Feel the Weight: TJ Howlett's "Not Mine" EP Packs a Punch
Feel the Weight: TJ Howlett's "Not Mine" EP Packs a Punch

Melbourne’s TJ Howlett throws a shovel full of coal-dusted reality into the guitar-driven blues-rock furnace with his “Not Mine” EP. Two songs. Just two. But, my word, they carry the weight of generations. Suddenly, I’m thinking about Dorothea Lange’s photographs, only… louder.

“Not Mine,” the title track, and then “Drinking Man” – they’re not just following each other; they’re wrestling in the dirt. This EP is a stark portrait of a mining community’s inherited trauma. Backbreaking labor, the crumbling façade of faith, a father drowning in booze and rage, a mother’s silent suffering… it’s all there, laid bare. And have you noticed how blue some hydrangeas are? Startling.

Howlett’s voice – it’s good, powerfully conveying the grit and the grief. The guitar work isn’t flashy; it’s the steady, relentless churn of a life spent digging, both literally and metaphorically. The lyrical content paints that bleak canvas. The failure of religion, specifically, struck hard with lyrics. The children that grew up in it. The escape, maybe through intellect and then, the emotional scar.

Feel the Weight: TJ Howlett's "Not Mine" EP Packs a Punch
Feel the Weight: TJ Howlett’s “Not Mine” EP Packs a Punch

This isn’t music for a sunny picnic. It’s that dark, existential area and this EP really touches it. A defiance, then, played to rock, to express those hard stories. It is, for me at least, the exploration of human experience. Howlett seems obsessed and it gets under your skin. There is the power, you see and yet also control that runs along and against a loss of agency, an acceptance maybe, of predetermined pain.

It’s a coming-of-age story carved into a coal seam, an exploration of love, loss, power, and control, viewed through the lens of a working-class mining town upbringing. It feels true.

What remains after the dust settles? Perhaps, just the echoes of a question hurled into the void.

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Ooberfuse Speaks Truth to Power in New Track “We Will Overcome”

Ooberfuse Speaks Truth to Power in New Track "We Will Overcome"
Ooberfuse Speaks Truth to Power in New Track "We Will Overcome"

It’s… a sunbeam through a raincloud, isn’t it? That’s the initial feeling, anyway. Hal St John and Cherrie Anderson, the British-Filipino duo known as Ooberfuse, have delivered a track that bounces between vibrant pop and something a bit more globally aware. This song feels less like a commercial, and it might just be the flavor needed to add a punch. I was doing some deep sea sponge research the other day (as one does), and a sudden, iridescent orange colour in an old video struck me, reminds me how great colours look.

Cherrie Anderson’s vocals are undeniably the star here. Her delivery has an excellent ability to bring light in dark, an emotional weight without ever veering into melodrama. And melodrama, let’s be honest, would be the easy route, given the song’s central message: tackling the silence around child abuse, exploitation, and trafficking, intensified with the newly established US military bases in the Philippines.

Ooberfuse Speaks Truth to Power in New Track "We Will Overcome"
Ooberfuse Speaks Truth to Power in New Track “We Will Overcome”

“We Will Overcome” uses a hopeful melody, the song is set to resonate with fans. The song pushes their signature move of producing songs regarding social issues.

It takes courage to produce the track. And yet, Ooberfuse tackles it head-on, their sonic palette blending elements of what I can only describe as “inspirational groove,” a touch of world music swirling around a solid pop core. Are there flamingos in the Philippines? I should look that up.

Ooberfuse Speaks Truth to Power in New Track "We Will Overcome"
Ooberfuse Speaks Truth to Power in New Track “We Will Overcome”

They are backing up the important work of PREDA, championing the act of “speaking truth to power.” That can be an action used across any walk of life I feel, and even though I do not experience those issues highlighted here, it empowers the listener to address and talk. The world of musical creativity is used with great expertise here.

It is an artistic cry against injustice. It will remain within the musical minds for days, if not months after hearing it.

Follow Ooberfuse on Website, Facebook, Twitter(X), Bandcamp, Instagram, Songkick, TikTok

Echoes of Longing: Larry Karpenko Unveils “Fare Thee Well”

Echoes of Longing: Larry Karpenko Unveils "Fare Thee Well"

“Fare Thee Well,” the latest single from solo artist Larry Karpenko, isn’t presented to you; it unfolds around you. Like suddenly remembering the scent of rain on hot asphalt – evocative and unexpectedly grounding. Karpenko deals in the currency of emotive electronic, trading in the aches of love, loss, and that strange resilience we humans seem hardwired for.

This track is a goodbye, a sonic valediction to a friend, Sharlene. It is laced with the persistent thrum of longing, that feeling of looking for someone in a crowded room you already know isn’t there. But instead of drowning in the minor key of grief, Karpenko offers…acceptance? Maybe. Or is a brave, bruised, a determination to carry the flame.

The repeated “fare thee well” becomes both a lament and a release. I know, the music builds a soundstage as a cathedral to his love, and longing. Have you ever tried to catch smoke? That’s the visual it sparked. But a beautifully scented incense burning high above a church interior…

Echoes of Longing: Larry Karpenko Unveils "Fare Thee Well"
Echoes of Longing: Larry Karpenko Unveils “Fare Thee Well”

It avoids any sense of being trite or performative; It feels real. Raw is a bad comparison. Like watching a complex mathematical equation resolve itself into something astonishingly simple and beautiful. It’s the residue of feeling, not the feeling itself.

The core of the music pulsates with a tender kind of strength, a refusal to let go, expressed as an acknowledgment of a new stage in the relationship. This music is the sound of processing it all, of internalizing it all. It’s, in a single word: bittersweet.

What echoes loudest after the final note fades is not the sorrow, but a question mark dipped in hope. What colors will bloom from this winter of the heart?

Follow Larry Karpenko on Website, Facebook, Twitter(X), Bandcamp, YouTube, Instagram

Omar’s Raw Honesty Hooks You in “Better Be Lucky”

Omar's Raw Honesty Hooks You in "Better Be Lucky"
Omar's Raw Honesty Hooks You in "Better Be Lucky"

This single. This single. Los Angeles-based singer-songwriter and producer Omar has dropped “Better Be Lucky,” and, well, I’m wrestling with a sonic octopus here. It’s electric pop, sure, but it feels like pop that’s been put through a taffy puller of conflicting emotions. Did I just think about taffy? Why? Moving on.

The central theme – that brain-scrambling push-pull of a toxic relationship fueled by frankly mind-blowing physical intimacy – hits with the subtlety of a neon sign in a dark alley. Our speaker is trapped. They know they’re being mistreated, that they are little more than an afterthought when the lights come up. It is great how authentic the storytelling feels. The song, explores those complex feelings, those human feelings. Yet, that magnetic, all-consuming connection… it keeps them tethered. Omar delivers the story with this raw, almost uncomfortably honest vocal performance. It’s like watching a tightrope walker navigate a hurricane—impressive and alarming.

There’s a real energetic bounce to the production that almost makes you want to dance this conundrum away.

Omar's Raw Honesty Hooks You in "Better Be Lucky"
Omar’s Raw Honesty Hooks You in “Better Be Lucky”

And it’s this very contrast. That contrast, found in music that is as danceable as the “electric pop” this is; with such frustration in the core of the main character in the lyric; makes it such an appealing song. It’s a puzzle.

Like seeing a perfectly arranged bouquet of flowers in a dumpster – beautiful, but… why?

This song reminds me of those ancient Greek myths – the ones where someone is eternally punished, but in the most oddly specific way. Our guy here is punished with, good chemistry.

“Better Be Lucky” is not trying to offer answers. I am certain of this.

It’s presenting a messy, very human dilemma in all its glitter-covered, heartbreaking glory. It’s a frustrating truth.

Follow Omar on Twitter(X), YouTube, Instagram, TikTok

Beyond Zen: De/OS’ Profound “Rise I”

Beyond Zen: De/OS’ Profound "Rise I"
Beyond Zen: De/OS’ Profound "Rise I"

Have you ever felt like a lone sock in a dryer, tumbling endlessly, searching for its match, only to find… a button? That’s a little how I felt listening to De/OS’s (Taemin Kim’s) new single, “Rise I.” But in the best way possible. It’s a swirling vortex of calm, a sonic kaleidoscope. The release is described as minimalist ambient, orchestral, zen…and yes, it’s all those things. But it’s also, somehow, a tiny seed cracking open, a slow unfurling of… what, exactly?

Resilience. That’s what De/OS is exploring, what’s infused every subtle swell and retreat of the music. Not the kind of shout-it-from-the-rooftops resilience, but the quiet, persistent growth of a redwood, drinking deep from unseen springs.

There’s an almost painful beauty, and its not sad. I kept expecting it to be, for my mind and soul, and it did not happen! It’s surprisingly hopeful. Reminiscent of the first light, a brand new dawn, a golden hour over water, an inner peace.

And speaking of beauty of humankind, the explicit theme of “Rise I” doesn’t hit you over the head with a philosophical hammer. No.

Beyond Zen: De/OS’ Profound "Rise I"
Beyond Zen: De/OS’ Profound “Rise I”

It cradles you. Makes you breathe. Makes you want to call your grandmother and ask her about that one story from her childhood – you know, the one about the bird? Which reminds me… birds are weird. How do they know where to go?

Taemin Kim has managed to wrap profundity in a package so listenable, so unexpectedly grounding, that it catches you off guard. One moment you’re contemplating the very nature of existence, and the next you’re feeling utterly… centered.

What are the next chapters going to sound like? I don’t know, but if this is the beginning, it is something to go by… What remains, after all the noise fades?

Follow De/OS on Website, YouTube, TikTok, Instagram

Joize’s “Nasty” Ignites a Friday Night Fever Dream

Joize's "Nasty" Ignites a Friday Night Fever Dream
Joize's "Nasty" Ignites a Friday Night Fever Dream

Manchester’s own Joize throws us headfirst into a Friday night fever dream with his new single, “Nasty.” And, boy, is it appropriately named. Not nasty as in, ew, gross. No. This is that electric slide-across-the-dancefloor-because-the-bass-just-possessed-you kind of nasty. Afro RnB, sure, but there are flickers of something a little…unexpected.

The theme? Unabashed, unapologetic desire. The song unfolds in a single electrifying night. It’s a brief exchange of a single glance, a pulse of energy between two strangers that suggests, not commitment, but something undeniably primal, fun, and perhaps slightly forbidden. There isn’t the search of forever here. Joize gives no promises beyond the confines of the present night, as bodies get drawn to one another for an electric embrace on the dance floor.

It brings into question, is the depth of human connection only found in commitment? Did we all decide to forget our basic instincts one day? Is it Tuesday already?

Joize's "Nasty" Ignites a Friday Night Fever Dream
Joize’s “Nasty” Ignites a Friday Night Fever Dream

Seriously, though, this focus on immediate, physical gratification is refreshingly honest. It’s a slice of nightlife reality, and that realism will speak volumes to Joize´s growing following. Joize paints a vivid picture of that “living in the moment” vibe, without all the glitter and fake smiles often overused in this genre.

“Nasty” pulses with an energy that’s almost tactile. You feel the heat, the press of bodies, the magnetic pull. It makes one contemplate the fleeting nature of, well, everything, from empires that rise and crumble into dust and the transient chemical explosions in a baking soda volcano.

Joize channels that sexy club atmosphere beautifully. One moment it can be analytical and then… squirrel! Back to a rhythmic heartbeat that resonates deeply.

With “Nasty,” is Joize showing us something profound about our fleeting existence or is he, like an ant colony focused on relentless activity, simply reminding us to embrace the moment and dance?

Follow Joize on YouTube, Instagram, TikTok

Find Your Peace in Inal Bilsel’s “Once Upon a Cloudtop Meadow”

Find Your Peace in Inal Bilsel's "Once Upon a Cloudtop Meadow"
Find Your Peace in Inal Bilsel's "Once Upon a Cloudtop Meadow"

Inal Bilsel, “Once Upon a Cloudtop Meadow”. Honestly, the title alone conjures… well, precisely what the music delivers. It’s an album that sounds like the background music for a Studio Ghibli film that doesn’t exist yet, but absolutely should. Have you ever seen a cat yawn so widely it looks like it’s trying to swallow the sun? That level of surprising delight – that’s this album.

The album is comprised of fourteen tracks, but functions as one large, continuous cinematic piece. Bilsel, an award-winning composer and producer, invites us not so much to listen, as to inhabit a sonic fairy tale. The press release says this is achieved through cinematic composition, a blend of jazz fusion, ambient sounds, and good, old-fashioned classical elements.

But, what does it feel like?

It feels like stumbling upon a secret garden where the flowers play miniature trumpets.

It’s intensely visual music. Which is curious, considering its lack of lyrics. I keep envisioning brightly-colored stop-motion creatures frolicking through, indeed, cloudtop meadows. Each instrumental piece sets a scene. Peaceful. Serene.

Find Your Peace in Inal Bilsel's "Once Upon a Cloudtop Meadow"
Find Your Peace in Inal Bilsel’s “Once Upon a Cloudtop Meadow”

Is this what clouds sound like when they gossip? Maybe.

The core message? Escapism. Pure, unadulterated, expertly crafted escapism. Which, when compared to, say, the invention of the printing press…seems vastly more fun at the present. Bilsel crafts more than mere melodies. Each song holds a fairy tale-inspired narrative.

The themes explored throughout seem to gravitate towards that of innocence and discovery. A sense of boundless optimism and, dare I say, wonder, pervades every note.

In a world often defined by its sharp edges, “Once Upon a Cloudtop Meadow” is a gorgeously rounded corner. It is nice to escape for a bit.

Follow Inal Bilsel on Website, Facebook, YouTube, Instagram, Songkick

Feel the Shift: Mariah Jayne’s “Crescent” Resonates Deep

Feel the Shift: Mariah Jayne's "Crescent" Resonates Deep
Feel the Shift: Mariah Jayne's "Crescent" Resonates Deep

Mariah Jayne, “Crescent”. This single… it’s a chipped teacup holding a storm. Not a tempest in a teapot, mind you, something far more contained, yet infinitely more volatile. “Crescent,” the new single from rising indie-pop artist Mariah Jayne, isn’t something you just listen to. You inhabit it.

The genre label says indie-pop. Fine. Accurate, I suppose, if you’re cataloging butterflies by pinning them to a board. But does that tell you about the ache? About the lyrical tightrope walk between self-doubt and defiance? No. Not one bit.

The message in “Crescent” unfurls slowly. It starts with internal conflict and low self-worth blooming like strange, nocturnal flowers in the moonlight. The struggle is with the confusing past, one that makes the singer feel like an outsider looking at her own existence. You see a deep dive into all the confusion.

Did I mention that oranges are originally from Asia? Thought you might like to know.

Feel the Shift: Mariah Jayne's "Crescent" Resonates Deep
Feel the Shift: Mariah Jayne’s “Crescent” Resonates Deep

Jayne explores a yearning for peace in all that turmoil. Like she’s trying to see through her own confusion.

There is resilience woven into this sonic tapestry. The track’s theme is not about succumbing, not entirely. It’s about recognizing the scars, tracing their edges with a trembling finger, and still stepping forward. The lyrics touch briefly the existential dread and fear.

This will resonate. With anyone. This may apply to anyone who’s ever felt the ground shift beneath their feet and wondered if they were the only ones feeling the tremors. Or felt the existential pull of “who will fold the fitted sheet in such conditions?”. “Crescent,” in all is an excellent indie release.

Will it all make sense in the end? Maybe. Maybe not. Perhaps that’s the point.

Follow Mariah Jayne on Facebook, YouTube and Instagram.

Exploring New Frontiers: Among the Masses Unveils ‘Antarctica’

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Exploring New Frontiers: Among the Masses Unveils ‘Antarctica’

Good evening, everyone. Tonight we’re diving deep into the world of Among the Masses, a Swedish band redefining rock, pop-rock, and alt-rock with their unique sonic fingerprint. Their latest single, “Antarctica,” is an immersive experience that marries atmospheric soundscapes with emotionally charged storytelling. Produced and mixed by Andreas Ahlenius, this track showcases the band’s ability to blend nostalgia—think Depeche Mode, The Cure, and Radiohead—with modern innovation.

Inspired by the icy vastness of its namesake continent, “Antarctica” takes listeners on a cinematic journey filled with haunting vocals, ethereal synths, and brooding basslines. It’s both intimate and expansive, capturing themes of isolation, introspection, and wonder. For songwriter Kent Alfredsson, it began as a demo born from fascination with the unknown—ancient civilizations, hidden truths, and humanity’s place in the universe—and evolved through collaboration into the rich final product.

In this interview, we’ll explore the creative process behind “Antarctica,” how the band’s chemistry has grown over time, and what fans can expect next. Join us as Among the Masses shares the inspirations, challenges, and triumphs that brought this hypnotic piece to life.

Listen to Antarctica

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“Antarctica” is an evocative title. What inspired you to name your latest single after Earth’s southernmost continent?
It’s a strong metaphor if you like, but listening to the lyrics it’s quite profound and relates to what some people mean are ancient and still existing civilizations living side by side with us.

How would you describe the sound and atmosphere of “Antarctica” to someone who hasn’t heard your music before?
It’s atmospheric, emotional, catchy melodies and production, sounding both modern and retro at the same time.

Was there a specific event or emotion that sparked the creation of this track?
It’s the fascination of sightings and stories, and also there’s a better climate now regarding openness and an understanding of things we have no idea of and don’t understand.

Did you approach the writing and recording process for “Antarctica” differently from your previous releases?
Not really, a song, a melody and/or lyric is always inspired by different events, books, movies, reality and news perhaps.

What were you aiming to convey thematically with this single?
The song was more or less finished as a demo and we sent it to our producer Andreas Ahlenius to hear his view and vision, if any, and he came up with a direction for the production with the lyrics and the demo in mind.

Walk us through your collaborative songwriting process for “Antarctica.” How did the track evolve from initial concept to final product?
This song is primarily written by me (Kent Alfredsson) as many of our songs are. It begins with the idea of the song, the lyrics (in one order or another) then a demo that’s sent around among the band members to get ideas and input.
Then the guys contribute ideas and suggestions until we meet to finalize the actual song as a demo.

Were there any happy accidents or unexpected turns during the recording sessions that made it into the final track?
Not really on this one. It was sent to Andreas who had the vision quite fast, he then sends a draft for input and ideas.

How long did “Antarctica” take to complete from initial idea to finished product?
It’s a long process since there’s many songs in the loop regarding writing, production and finalizing. So about one year.

Has your creative chemistry as a band evolved since your formation, and how is that reflected in this new single?
Yes, throughout the years peoples roles have changed from time to time due to personal life and cycles of creativity.
At times some of us are more involved in the process than other times, but everyone’s involved in the process in different ways.
These roles change over time.

 

What’s your personal connection to “Antarctica” as a band? Does it represent something significant in your journey?
I would say sound-wise it’s taking our music further, exploring new sounds and techniques, it’s a never-ending process.
Lyricwise ”Antarctica” is also food for thought when it comes to the unknown – within and in the universe.

Is there a particular lyric or musical moment in the song that feels most meaningful to you collectively?
Probably the middle-eight that really takes it away musically and emotionally.

Do you have plans to release a music video for “Antarctica,” and if so, what can fans expect?
At the moment there’s no plans for a music video for the track, but that might change.
Music videos are always fun to make.

Can fans expect more new music soon, and how might it relate to or differ from ”Antarctica”?
Yes, there are more releases on the horizon. There’s a couple of more or less finished songs to be released. Keep your eyes open.

Fight the System with THE HYBRIS’ New Album “t h r e e”

Fight the System with THE HYBRIS' New Album "t h r e e"
Fight the System with THE HYBRIS' New Album "t h r e e"

THE HYBRIS, a masked virtual trio—Ringo Rabbit, Beanie Bison, and Malcolm Mandrill—posing as superhero wannabes, drop their new album “t h r e e.” They claim a mission to save the world with tunes. It’s alt-rock, doused with punk sneer, a splash of 80s neon, and enough stadium-rock ambition to make Bono blush. But does it soar?

Well. This record digs its claws deep, like a cat with an existential crisis. Each track of “t h r e e” screams a diatribe about the “arrogance and downfall of modern times.” The lyrics? Picture a gladiator arena, except instead of lions, there are corporate logos and stock market tickers, with employees scrambling for glory in the downfall of the capitalist system. The guys expose the ruthless game, all these songs show ambition and the hunger for power, played inside that relentless, dehumanizing system. It’s…heavy. Almost so relentlessly dark that I feel inside a Kafkaesque dystopia.

Fight the System with THE HYBRIS' New Album "t h r e e"
Fight the System with THE HYBRIS’ New Album “t h r e e”

And yet… There’s an undeniable surge of energy, that defiant pulse running through the 12 songs that compose “t h r e e”. This album feels like finding a rogue fireworks display in the middle of a tax audit. Characters are depicted caught in the hamster wheel of success, reduced to strategies, risking it all. Even talking about failure and market crashes, amidst manipulation and never-ending pressure, the feeling remains the same. You kind of want to smash something, and then maybe start a revolution? Or, at the very least, write a strongly worded letter to your local politician. It is weirdly exhausting.

Musically, it jumps around. It brings the critical commentary on power’s circus and its relentless pursuit, along with the cost of humans. There’s that unexpected kazoo solo—wait, was that a kazoo?—that somehow feels right. It is a blend of celebration amidst chaos. And a call to fight.

Ultimately, “t h r e e” leaves you in a state of concerned reflection: is this the soundtrack to our impending doom, or a wake-up call we desperately needed? Or, maybe the question we are implicitly asked is “What flavor of apocalypse are we going for today?”

Follow The Hybris on Website, Twitter, and Instagram.

Dangerously Addictive: Emily AF’s Neon-Lit “Cruel Summer” Remix

Dangerously Addictive: Emily AF's Neon-Lit "Cruel Summer" Remix
Dangerously Addictive: Emily AF's Neon-Lit "Cruel Summer" Remix

Emily AF, the brains behind Rockstar & Elise—a solo project that sounds like an 80s jukebox exploded and then reassembled itself with bluegrass banjos and industrial-strength glue—has dropped a new single. What do we make of Emily, a veteran sound engineer moonlighting as a nostalgia pop siren? Fascinating, no?

“Cruel Summer – Emily AF Version,” explores a sizzling, dangerous liaison. A clandestine connection where the “Do Not Disturb” sign is permanently illuminated. The lyrical journey maps out a head-over-heels plunge into a love affair that’s equal parts ecstasy and agony, where intense infatuation collides headfirst into the brick wall of emotional unavailability, or plain ol’ damage. And somewhere, a tiny voice squeaks,”Is this thing even safe?”.

This track’s sonic fingerprint aligns neatly to the “dark synth-pop” drawer of my imaginary file cabinet, or probably under the heading “synth-infused pop” if I were more organized. One might feel they’re being chased by robot dragonflies through a neon-lit, fog-shrouded city.

Our protagonist craves connection with an almost painful, voracious intensity. Meetings are “secret,” boundaries are…let’s say flexible. This tune might make the next season of “Stranger Things.” Or it might make the list of my gym playlist. But I Digress.

Dangerously Addictive: Emily AF's Neon-Lit "Cruel Summer" Remix
Dangerously Addictive: Emily AF’s Neon-Lit “Cruel Summer” Remix

There is the thrill, a chase, the white-hot core of summer love – but also, alarm bells, like a disco ball shattered, reflecting back fragments of heartbreak and vulnerability. Isn’t that always how it ends? At least, on tv.

It evokes images of driving in cars that are old, but new, with a companion as beautiful as damaged and listening to radio-friendly synth tunes in this “Cruel Summer – Emily AF Version.”

In closing, this latest musical venture has prompted questions about the relationship between memory, desire, and the often-chaotic nature of emotional connections. Or maybe it’s just a catchy tune about a messy summer fling. What do you think?

Follow Emily AF on Website, Bandcamp, YouTube, Instagram

CJ Jarratt Serves Up Sugary Poison with “Bad For My Teeth”

CJ Jarratt Serves Up Sugary Poison with "Bad For My Teeth"
CJ Jarratt Serves Up Sugary Poison with "Bad For My Teeth"

CJ Jarratt, a solo purveyor of that early 2000s pop-punk sound we all secretly still crank up in our cars, has just dropped a new single, “Bad For My Teeth.” And honestly? It feels like finding a half-melted candy bar in the pocket of your favorite old hoodie – sweet, familiar, and probably not very good for you, but you’re going to devour it anyway.

The song gnaws at the core of a toxic relationship, the kind that’s all shimmering surface and jagged edges underneath. CJ Jarratt lays it bare: this isn’t some romantic tragedy; it’s an addiction. He’s trapped. She is his queen and his virus all in one go. He Knows this entanglement with the alluring and destructive significant other, is bad, that their manipulative controlling behaviours are eating him from inside, yet he can’t leave. It’s the kind of lyrical honesty that makes you check your own pulse. Are you okay? Have you ever felt this stuck?

Suddenly, I’m thinking about Icarus. Did he, too, feel this exhilarated as the wax melted? A bit dramatic, perhaps, but this Power Pop sound has this way of opening up all old, the unhealed parts, doesn’t it?.

CJ Jarratt Serves Up Sugary Poison with "Bad For My Teeth"
CJ Jarratt Serves Up Sugary Poison with “Bad For My Teeth”

The song is a sonic contradiction, bouncing between the energy of a stadium anthem and the intimacy of a confession whispered to a bathroom mirror. The theme is that raw ache, beautifully constructed in a head bobber sound, of knowing something is destroying you, and loving, maybe, every excruciating second.

It explores deeply, what a terrible addiction feels, sounds, smells. How powerlessness and love are twisted together to tie the perfect destructive knot.

It’s messy, chaotic, and painfully real. This thing about feeling trapped is not, in itself, new, is it? But this exploration is something.

Maybe that’s the point. Or maybe I’m just projecting.

“Bad For My Teeth” is available now. Listen, reflect, and maybe call your therapist. Or don’t. It’s your call.

Follow CJ Jarratt on Website, Facebook, Twitter, YouTube, Instagram

Masks Off: Elliot Minor Returns with Powerful “How Does It Feel”

Masks Off: Elliot Minor Returns with Powerful "How Does It Feel"
Masks Off: Elliot Minor Returns with Powerful "How Does It Feel"

Elliot Minor, those British rock-revivalists, are back from a decade-plus slumber. They’ve re-emerged, instruments blazing, with their new single “How Does It Feel.” You know, the ones who always managed to sneak a cello into a mosh pit? That’s them. Five members, still kicking.

“How Does It Feel” digs into that gloriously messy space where outward success crashes headfirst into inner turmoil. They are painting us a scenario. One minute you’re king of the mountain, the next you’re wondering why your crown feels suspiciously like a dunce cap. It’s like finding a winning lottery ticket tucked inside a eviction notice – the bizarre duality of life laid bare.

The song deals in masks. We’re talking the kind you don’t buy at a costume shop, crafted instead, meticulously, out of brave faces and strained smiles. The band is speaking about the sort of disconnect that makes you feel like you’re shouting into the void, even when surrounded by a cheering crowd.

Masks Off: Elliot Minor Returns with Powerful "How Does It Feel"
Masks Off: Elliot Minor Returns with Powerful “How Does It Feel”

Why do perfectly good shoelaces always snap at the worst possible moment? Irrelevant? Maybe. But it’s that kind of jarring interruption that echoes the song’s theme of fractured communication. It builds the atmosphere that despite it all. Despite reaching to be on “top of the world”.

It also throws a punch in the feels department. Elliot Minor isn’t just strumming guitars and bashing drums; they’re plumbing the depths of heartbreak and that yearning for a genuine lifeline. There’s that suggestion in confronting the monsters under the bed (or, more accurately, in your head) might just be the path forward. The journey starts within.

Is it that kind of cathartic release rock ballad? Are we to feel free from the struggles when we hit repeat?

What if all roads actually lead to Rome, Georgia, instead of Rome, Italy? These are the deep philosophical concerns prompted after multiple listens of that track. It’s an audio enigma wrapped in a five-piece band delivery. A return and a question mark, all at once.

Follow Elliot Minor on Website, Facebook, Twitter, YouTube, Instagram, TikTok

Is Red Light Factory’s “Manson Song” Your New Obsession?

Is Red Light Factory's "Manson Song" Your New Obsession?
Is Red Light Factory's "Manson Song" Your New Obsession?

Red Light Factory, a new duo out of Greater Manchester featuring Harry Lavin and Ben Warwick, dares to tread a rather murky path with their debut single, “Manson Song.” And no, it’s not a tribute to Marilyn, in case you were wondering… although, are any songs about Marilyn truly about Marilyn? That’s a question for another day.

The song, rather boldly delves into our collective, and somewhat disturbing, fascination with the darkest corners of humanity. Think less true-crime podcast binge and more a sonic exploration of why we binge. Lavin and Warwick aren’t offering easy answers; rather presenting an artful study, using unsettlingly beautiful soundscapes, blending Alternative Rock and the shadowy alleys of Post-punk and electronic flourishes.

“Manson Song” dissects the intoxicating allure of the charismatic villain, that illusion of connection that shatters on closer inspection, resembling cheap glitter under a magnifying glass. This perfect romance as revealed as the manipulative tactic of a destructive, and ultimately hollow figure. Have you ever found a seashell on the beach that looked amazing, and turned it over to find a hermit crab scuttling? That emotional swerve, is kind of this track in action.

Is Red Light Factory's "Manson Song" Your New Obsession?
Is Red Light Factory’s “Manson Song” Your New Obsession?

The band describes itself, as aiming to write fearless and unique songs.

The lyrics speak of a descent, a surrendering of self. “Tripping,” “recklessness”—these aren’t accidental choices, these are key terms used to illustrate a mind seduced, perhaps willingly, into an altered state. There’s almost a perverse poetry in the idea of trading reality for an illusion, especially one peddled by such transparently false gods, that will turn your stomach a little, it’s supposed to.

Red Light Factory aren’t condemning; they’re observing. They’re holding up a mirror, smudged and cracked, perhaps reflecting a disconcerting aspect of humanity. Did the invention of the television, by its very nature create the environment to enhance and magnify cult-followings?

The question left dangling is almost uncomfortable: what parts of ourselves are we willing to sacrifice for that gilded promise of belonging, even if the gold is only spray-painted on?

Follow Red Light Factory on Facebook, Twitter(X), YouTube, Instagram, TikTok

NBP Human: Find Your Glitch in the Matrix with ‘Morbid Craziness’

NBP Human: Find Your Glitch in the Matrix with 'Morbid Craziness'
NBP Human: Find Your Glitch in the Matrix with 'Morbid Craziness'

NBP Human, the rock music project spearheaded by Balazs Janky, has returned with a sonic boom disguised as a single: “Morbid Craziness”. Janky’s return to songwriting peels back the layers of our modern reality, presenting a gritty, yet strangely hopeful, analysis.

“Morbid Craziness” throws a spotlight on the shadowy corners of a world obsessed with deceit. You know, the kind where your toaster probably judges you silently in the morning. It tackles the unsettling acceptance of falsehoods, the elevation of charlatans, and the growing chasm between the powerful and the, well, the powered-down. This isn’t some abstract doom and gloom – Janky is pointing fingers (metaphorically, of course; we don’t know his actual finger-pointing habits) at the very systems that feed on negativity.

NBP Human: Find Your Glitch in the Matrix with 'Morbid Craziness'
NBP Human: Find Your Glitch in the Matrix with ‘Morbid Craziness’

But. Wait for the whiplash of positivity.

There is a shift. Did someone just open a window in this dark room? Against this backdrop of calculated chaos, the song champions love. A potent response to the maelstrom. It positions affection not as a passive emotion, but as a freaking sledgehammer. The only real defense.

Think of the “Flower Power” period. Peace and freedom. A way to combat violence.

The track pushes an active rejection of the surrounding “craziness.” It urges personal happiness, like some secret recipe scribbled on a napkin.

Ultimately, “Morbid Craziness” is a stark reminder to grab onto your humanity. It dares us to be, not naive, but audaciously optimistic, holding on with one of the main human caracteristic and weapons: love. Maybe, just maybe, that’s the glitch in the matrix we’ve all been waiting for. The seed of change.

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