Transverse Warms Hearts with Gratitude-Filled "Moon and Back"
Kade Sanders, performing under the moniker Transverse, alongside collaborator Caroline, has dropped a new single, “Moon and Back.” Known for weaving together chill pop, soft rock, and EDM, Transverse aims for a sound that’s as broad as it is uplifting. This solo flight, however, detours slightly… or does it?
“Moon and Back” is a sonic valentine, an outpouring of gratitude wrapped in Future Bass, a sprinkle of Indie Pop dust, some chill, even soft rock, and some genres thrown in . At its core, the artist conveys a profound appreciation to this “someone.” This “someone” who is , frankly, the unsung hero, the coach, the guiding star, teaching the singer (no comma here) about perseverance and maybe, just maybe, how to properly fold a fitted sheet. Who knows?
Transverse Warms Hearts with Gratitude-Filled “Moon and Back”
There’s an acknowledgment of past hurts – because, let’s face it, even the most beloved figures in our lives occasionally step on our metaphorical toes. Transverse doesn’t shy away from that. The lyrics suggest a relationship forged in the crucible of shared experience, evolving yet resolute. It speaks of the sort of deep-rooted connection that could either remind you of seeing an extraordinarily well-made biopic about Marie Curie, powerful and inspiring, the commitment obvious.
Or a sandwich…
A truly great sandwich.
The sound is undeniably optimistic. Did I mention the great sandwich? The vibe consistently strives for peace, for the joy in deep, abiding love and gratitude. It’s the sonic equivalent of a warm hug on a drizzly Tuesday. A musical representation of knowing where you left your car keys. Unexpected comfort, solid footing. This track is a reflection on that relationship, a reaffirmation of unwavering devotion.
While a lot of the work to which Transverse puts their name could indeed easily appeal to vast sections of people, “Moon and Back” aims more specifically at the heartstrings, striking emotional notes with an easy hand. Does it completely escape easy labeling? Did they reach their described goals? What even is music, anyway? Something to contemplate… alongside “Moon and Back.”
Josh Jensen Lands With Reflective "This Is Where We Landed"
Seattle’s Josh Jensen has returned with his third album, “This Is Where We Landed,” a 40-minute, 10-song exploration into the wonderfully absurd circus we call life. Did you know that the collective noun for a group of owls is a parliament? Anyway, back to the music.
This collection of Americana-infused acoustic tracks navigates the bewildering journey of existence. It feels, at times, like trying to assemble IKEA furniture with instructions written in hieroglyphics – frustrating, yet strangely rewarding when you finally get something that resembles what’s on the box. Jensen delves into the weighty themes of love, loss, family, the wanderlust that itches beneath the skin, and, of course, the final curtain call: death. The album comes across as a musical manifestation of that existential dread one experiences in a long line at the DMV, only with nicer melodies.
The overarching message is a poignant blend of being delightfully lost and finding strong comfort in the people you found or find you. Acknowledging the universal burdens we carry, it reflects on being both fragile and robust, and the relentless tug-of-war between light and darkness, and somehow the music assures its safe arrival.
Josh Jensen Lands With Reflective “This Is Where We Landed”
He’s tapped into something primal here. This record grapples with his wife’s battle with breast cancer. It’s an album exploring the search for truth within the maze of daily life, a sonic version of trying to find your car in a multi-story parking garage. Have you ever noticed how elevators always seem to be going in the opposite direction you need?
“This Is Where We Landed” showcases human connection as an anchor in these turbulent times. It nudges us to embrace the complex, confusing mess of being alive.
Maybe, ultimately, the destination doesn’t even matter as much as the journey itself.
Salzburg-based Armenian artist GOHAR, a self-producing, opera-trained purveyor of Alt R&B/Pop, has just released a new single, “Zero Sense.” Signed to the UK label Minimal Surface, GOHAR brings a certain vocal polish, let’s just cut to the chase shall we?
“Zero Sense” plunges headfirst into the maddening whirlpool of one-sided relationships. Ever felt like you’re explaining quantum physics to a goldfish? That’s the vibe. The lyrics paint a vivid picture of someone trapped in a relentless cycle of talking at, not to, another person. It’s the emotional equivalent of trying to fill a bucket with a hole the size of, well, a very large hole.
And why is it that the sound of dripping water is so irritating? unrelated, maybe, maybe not.
The frustration practically oozes from the speakers. GOHAR’s vocals, beautifully controlled yet brimming with a simmering exasperation, capture the precise moment when hope begins its slow, agonizing fade into disillusionment. She’s reaching out, explaining, practically offering a PowerPoint presentation on empathy, and getting… nothing. A blank stare. The void.
Hear the Void: GOHAR Drops Emotive “Zero Sense”
The theme is clear, concise, almost surgical in its precision: the utter breakdown of communication when one party refuses to truly listen. It explores the internal argument of staying versus leaving, of holding onto that fragile glimmer of hope that things might change, despite all evidence pointing towards, as one of the old master used to sing…the same old situation!.
GOHAR’s “Zero Sense” makes you question, Is it a reflection of all the unheard voices in the cacophony of modern existence? Or, perhaps more intriguingly, is it an echo of your next big bust up? Perhaps all we do is communicate to voids these days, great and small?
Find Your Sonic Color in Shrouded Day's "Legend of the Shadow-Touched"
Shrouded Day, the brainchild of Omaha-based flutist and keyboardist Dan M., returns with the 15th Anniversary Edition of “Legend of the Shadow-Touched.” An album, and a hefty one at that, boasting 17 instrumental tracks that promise—and largely deliver—a journey into the slightly peculiar intersection of Tangerine Dream and…Jethro Tull?
The core of “Legend of the Shadow-Touched” revolves around themes of alienation and personal growth. But it’s not the angst-ridden, teenage diary kind of alienation. It’s more like the quiet contemplation of a lone tree on a windswept prairie… if that tree suddenly sprouted a synthesizer. Or started playing the blues.
Dan M. deftly fuses acoustic and synthetic sounds creating music that manages to be both expansive and deeply personal. Keyboards, guitars and synthesizers join flutes in weaving textures.
The stated New-Age influences are present, and yet it never fully loses itself in fluffy-cloud territory. There’s a grounding melodic structure that keeps things tethered, a reassuring pulse amidst the ambient drift. Perhaps he has looked to Mannheim Steamroller, that titan of Christmas-infused electronica, for melodic strength and a good rhythm base. What if Mannheim Steamroller was covered only by flutes?
Find Your Sonic Color in Shrouded Day’s “Legend of the Shadow-Touched”
The release speaks about introspection and catharsis, two forces dancing between silence and chaotic celebration, much like that time my uncle tried to explain quantum physics using only interpretive dance. There’s joy here, certainly, alongside a kind of thoughtful engagement that’s hard to pin down. It isn’t so easy, to find words to express pure musical interpretation, sometimes words just get in the way.
The exploration goes beyond merely touching on soundscapes. Instead, it is an opportunity to search deep within a sonic fabric rich in layers of both familiar sounds and unusual.
What if sound had a color? Or more aptly, which colour would represent your innermost self?. “Legend of the Shadow-Touched,” in its anniversary form, compels one to consider these kinds of, admittedly, slightly strange questions.
"Grains of Sand": Megapenny Music Ignites the Travel Bug
Megapenny Music, the brainchild of a musician with roots tangled in both classical piano and the electric pulse of synthesizers, returns with “Grains of Sand.” After designing synths and taking a breather, the musical entity gifts us a song after coming back to producing.
“Grains of Sand” plunges headfirst into a bubbling cauldron of Euro-pop, but it’s the message that truly sprawls out. The description provided had an enthusiastic celebration of wanderlust, and this track takes off on an epic backpacking trip across soundscapes. It speaks about anticipation. It’s the giddiness before a massive journey, the pre-dawn excitement of a plane ticket burning a hole in your pocket.
The music makes the listener desire a unison of shared experiences. The vibrant diversity within the song showcases this musical journey across the globe. It is an interesting contrast against the concept, for example, of trying to fit all the world’s oceans into a teacup – utterly impossible, yet “Grains of Sand” somehow hints at the attempt.
“Grains of Sand”: Megapenny Music Ignites the Travel Bug
Did ancient mariners feel this same pull towards the unknown, charting courses by stars and sheer intuition? Megapenny Music conjures the connection in an auditive way. It taps into the same yearning. The travel bug, only presented as an auditive feeling.
The core, however, remains that sense of unity the text describes. That shared laughter with newly made friends in a bustling marketplace, maybe, or singing along to a ridiculously catchy tune (like this one?) in a crowded hostel common room. The emphasis on the transformative power of this travel creates the main base in “Grains of Sand.” The feeling it is trying to present sticks like sand from the beach in every inch of your suitcase, the scent of unfamiliar spices still clinging to your clothes.
This track isn’t afraid to revel in the joy, and maybe, just maybe, encourages some joyful escapism to unexplored territory. Can true freedom truly be measured in passport stamps?
eRapWMDX: Dive into the Digital Abyss with "The Algorythm"
eRapWMDX: Colorado’s alternative music recording artist, eRapWMDX, an innovator combining music, engineering, and apparently, downhill skiing, has dropped a new single, “The Algorythm.”
“The Algorythm” dives headfirst into the digital abyss. The single paints a bleak, strangely compelling picture of our obsession with online validation. Clicks, likes, shares…the holy trinity of the 21st century. Ever felt that creeping sensation of needing just one more? eRapWMDX has, and they’ve translated it into a surprisingly catchy, slightly unnerving anthem. Is the cake a lie? Who’s to say at this point.
The song builds a critique. A sound of frustration about that dopamine-fueled feedback loop that has seemingly captured, well, most of us. The “beast scenario” they describe, this loss of self in the digital maelstrom. It echoes, somewhat disturbingly, like that one Black Mirror episode, except instead of rating everyone, we’re just chasing invisible carrots dangled by…code. And for what? Do we win anything if our reality melts like cheese on a hot dashboard?
eRapWMDX: Dive into the Digital Abyss with “The Algorythm”
This is the interesting contradiction. “The Algorythm” with its alternative electronic vibe, occasionally flashes of an indie rock undercurrent. Is it fun and makes me feel like an ancient Egyptian carving hieroglyphs with my phone.
eRapWMDX taps into the feeling of being adrift in a sea of ones and zeros, that constant push to present a perfectly curated, utterly unreal version of ourselves. The artist showcases that feeling when the algorithm takes and never give backs.
It’s a wake-up call wrapped in an oddly danceable package. One moment, I’m contemplating the philosophical implications of social media addiction. The next, it could make a very good elevator music.
Are we all just hamsters on a digital wheel, running towards an illusion of connection? Perhaps.
Genevive, that London-based sonic architect, is back at it. This time, it’s with “See Clearer,” a single that’s ostensibly about breaking free from deceptive comfort zones. But isn’t everything, when you boil it down? Like trying to find the matching sock in the dryer of existence.
The track dives headfirst into self-discovery, empowerment – the whole shebang of leaving the past in the dust and wrapping yourself in a cozy blanket of self-love. Genevive lays out the narrative: it’s like recognizing you’ve been living in a meticulously crafted dollhouse, where everything’s almost real. There is that slow dawning of having accepted a counterfeit reality. It feels somehow linked to those dreams of finding the exit of a supermarket.
“See Clearer” pulses with electronic rave energy, but it also hangs back with a dream pop haze. Think neon lights filtering through a London fog. You’re running, not really sure from what, but there’s an undeniable urgency. It’s like the musical equivalent of that feeling when you’re late for a train and you’re not quite sure which platform it is… or if you even bought a ticket.
“See Clearer”: Genevive’s Urgent Call to Wake Up
External forces, the lyrics suggest, want to keep our protagonist comfortably numb. There are hints of struggle. The persistent beat keeps us grounded in that hope, a flickering light in the shadowy corners of a rave in an unknown dimension.
The whole production makes the listener yearn for some authenticity, the truth. Genevive throws you on an emotional rollercoaster that, in the most random of correlations, oddly reminds me of Marie Curie tirelessly sorting tons pitchblende searching radium. The reward: clarity.
“See Clearer” leaves you asking: Are we ever truly awake, or just dreaming of a clearer picture?
Genre-Bending 'Frontier' EP Arrives from Lockdown Co.
Lockdown Co., that dynamic London trio, has dropped “Frontier,” an EP that feels like a sonic geology lesson. Leah Bell-Miller’s vocals add a new dimension to the already established foundation constructed by Lloyd Meeks on guitars and production and Doug Rimington battering the drums and bass. But instead of predictable sedimentary layers, we’re talking volcanic upheavals and metamorphic shifts.
This EP, a cocktail of hard rock, grunge, prog, a shot of blues, and… is that a maraschino cherry of funk rock I detect? – explores the topography of inner turmoil. And why do maraschino cherries always taste vaguely of disappointment? Anyway, back to torment. “Frontier” is about battling demons. External ones, internal ones, probably the ones that hide under your bed and steal your socks. It’s a landscape of fire and darkness, of feeling utterly squashed, like a bug under a… well, a very large, metaphorically significant boot.
But, amidst this metaphorical boot-squishing, there’s a fierce pulse of not giving up. It’s the cyclical nature of struggle – the ebb and flow, the push and pull, the endless internal debate about whether to order pizza or just cry into a bowl of cold cereal (the answer is always pizza, obviously). The band’s evolution shines brighter here, a maturing sound, polished until the point where it became soulful and melodic.
Genre-Bending ‘Frontier’ EP Arrives from Lockdown Co.
The EP represents the enduring human spirit’s ability to find the ‘on’ switch for the will to persevere, even when everything feels distinctly ‘off’. Did you know the population of the earth is estimated to reach 9.7 Billion in the 2050’s? Speaking of large numbers. The themes explored on “Frontier” delve into how large the scope of struggle, resilience and determination to get a grip in life is.
Lockdown Co.’s musical evolution is impressive, their blend of styles is ambitious and surprisingly cohesive.
Ultimately, “Frontier” leaves you wondering if the struggle ever truly ends, or if we just get better at dancing with the darkness. A strange and wondrous piece of musical journeying.
Love is a "Supernova": MUNZER's Addictive EDM Anthem
MUNZER, the hip-hop wordsmith known for verses that could probably solve quadratic equations, has taken a detour into the pulsating heart of EDM. His latest single, “Supernova,” a collaboration with Johnny Bullz from Bullzeye Beats, is… well, it’s something. Have you ever tried to explain the color orange to a squirrel? That’s kind of how I feel right now.
This isn’t the MUNZER who meticulously crafts lyrical labyrinths. Instead, “Supernova” plunges headfirst into Chill House, a genre that, frankly, I always thought was invented so DJs could have bathroom breaks during their sets. The track explores the supernova of love – that intense, all-consuming infatuation where your beloved’s every action warps your personal reality.
The theme is pretty direct. The feelings of an intense love interest are a huge astronomical event, like he has found his love and is now an Astronaut. MUNZER expresses this, using descriptions of feeling that is almost addictive, he is out of control, in an intense state of mind. I wonder, is there a cosmic tax on metaphors?
Love is a “Supernova”: MUNZER’s Addictive EDM Anthem
Seriously, though, the core idea of love as an explosive, reality-bending force resonates. The track sonically mimics this feeling – it pulls you in, the beat is relentless, and you get a bit lost in the haze of sound. A song of this nature is something that could get played for ages, from dusk until dawn, a timeless classic of love.
“Supernova” reveals a vulnerability. He’s captivated, almost controlled, by this all-encompassing sensation. The production makes that feel appropriate.
It is intriguing to witness an artist, skilled in verbal precision, embrace the abstract emotionality of EDM. It raises all kinds of questions, including does a cat experience sound more purely because it cannot explain or create the music in the first place?
So, what remains is this bizarre fusion— a potent dose of romantic obsession swirling within the electronic ether of an astronaut. Does it all fully combine? Perhaps that’s beside the point. Maybe the discombobulation is the destination.
Nissu Opens His Diary: Dive into the Heart of "Memories"
Alright, buckle up, because Nissu’s Memories just teleported me… somewhere. Nissu, a Brazilian-born, Dublin-based pop artist, has dropped this six-track EP, and it’s like opening a particularly well-organized, yet emotionally chaotic, scrapbook.
The EP, Memories, supposedly functions as an “open diary,” they say. He tackles love, friendship, that whole pandemic thing, and the general rollercoaster of being a person. But does it achieve being truly an open diary? This makes me wonder what he chose not to include in the diary. Why are these six particular memories out of all a person’s possible memories? This is, for real, serious stuff. One moment, it’s the giddiness of new love—like that unexpected feeling when your favourite pizza place invents a new, even better topping. The next, it’s the sting of separation, which feels kind of like finally finishing a jigsaw puzzle only to realise a piece is forever gone.
Nissu Opens His Diary: Dive into the Heart of “Memories”
He is doing something really well. It’s about connection, being in a connection, cherishing good moments and all. Musically, Memories lives in that sweet spot between contemporary pop and a longing for, I don’t know, maybe 80s synth ballads? Or maybe not. Was there a sale on nostalgia at the music store? Who cares. It works (mostly). The vocals are smoothly gliding through the lyrics.
The unifying thread? The various faces of love. Not the kind you see advertised around Valentine’s Day, but the vast, sometimes messy, always complicated experience that can encompass romantic partners, family, and even a very dear neighbour’s pet fish. The overall impact is one of gratitude, an audio thank-you note to the universe, perhaps?
This collection, ultimately, stresses the power of cherishing. Of not only living life but actively holding on to what’s important to go through moments with more resilience and gratitude, having our beloved ones close, even if physically far.
It all leaves you wondering: what memories will we curate, years down the line? What flavour of pizza topping will best describe our own open diary entries?
P0STERGIRL, the Brighton-based purveyor of sardonic art-pop, has dropped a new single, “PARADISE,” and, honestly, it’s the kind of track that makes you want to simultaneously dance and ponder the heat death of the universe. I think I need new shoes, too.
“PARADISE” apparently grapples with optimistic nihilism, which, at first glance, feels like ordering a sugar-free ice cream sundae topped with existential dread. P0STERGIRL, draws inspiration from physicist Brian Cox (because who doesn’t find particle physics inherently catchy?) to delve into the sheer absurdity of it all.
It’s that strangely comforting, albeit darkly humorous, acknowledgement that nothing really matters. It is, to use one the genre definition, an indietronica song, but also some king of anthem. The music a sonic layer cake of Indie-pop glitter electronica that is all so…cheerful, almost manically so, as it celebrates, or laments the end.
Find Your “PARADISE” in Oblivion with P0STERGIRL
The core message? We’re all going to kick the bucket, so why not embrace the void with a cheeky grin? Reminds a film ending… what was it? The lyrics explore this yearning, not for a fluffy cloud heaven, but for the ultimate escape hatch: oblivion. Non-existence. It’s not about angels and harps; it’s about the sweet, sweet release of no longer having to worry about, you know, anything. Did I pay rent?
This release feels like the musical equivalent of a Salvador Dali painting – surreal, a bit unsettling, but ultimately captivating in its strangeness. Did I leaved the oven on?
The idea that our worries and memories will vanish along with us isn’t presented as tragic, but, some how liberated.
So, P0STERGIRL seems to ask us that question. “Paradise” found, perhaps, not in eternal bliss, but in eternal nothingness? Where do you find it?
Anthem Alert: UPHORIA - "Don't Wanna Catch Your Disease"
UPHORIA, the rising, multi-instrumentalist, solo artist hailing from Australia’s Sunshine Coast, bursts onto the scene with her single, “Don’t Wanna Catch Your Disease.” It’s a declaration, a sonic slap in the face to anyone who’s ever tried to dim someone else’s sparkle.
This track is all about reclaiming power. Imagine that feeling when you finally rip off a band-aid that’s been stuck way too long. You can taste the aftermath of a toxic, narcissistic entanglement – but instead of bitterness, there’s a ferocious rejection of that poison. The title itself? A brilliant bit of metaphorical hygiene.
Musically, UPHORIA straddles the line between pop-rock, a smidge of pop punk with big helpings of straight up rock. It’s a blend that feels, dare I say, both a nod to the past and a fresh slap of reality. And speaking of the past, ever noticed how the best revenge is a killer chord progression?
The song structure keeps it tight, a deliberate move that holds you through the experience, mirroring that clear headed state after escaping a bad situation. No messing around. “Don’t Wanna Catch Your Disease” states its case boldly and without remorse; There’s defiance in every note, a “you can’t touch me anymore” vibe that ripples through the catchy, hook-laden composition. Ever met a parrot with boundary issues? Neither have I.
Anthem Alert: UPHORIA – “Don’t Wanna Catch Your Disease”
The lyrics are a fierce, unfiltered declaration of independence. UPHORIA isn’t just singing about moving on; she’s building a fortress against manipulative individuals, choosing a path free of their control. It’s the kind of resolute determination that feels ripped from the soul.
“Don’t Wanna Catch Your Disease” makes you think… Will future archaeologists dig up this song and declare it the anthem of a generation that finally learned to say “No, thanks”? Food for thought.
Arashk Azizi's "Elegy Sonata": A Sonata for the Soul
Arashk Azizi, a contemporary composer, navigates the profound depths of human emotion with his signature “Piano Poem” style. His latest release, “Elegy Sonata,” is a four-track EP.
“Elegy Sonata” grapples with death and grief, fear and mourning. Azizi’s piano becomes a vessel, pouring out despair and flashes of raw anger, reflecting upon loss—loss that, it appears, resonates deeply with his personal journey. You know, it is kinda like that feeling you get staring at the sheer, baffling complexity of, say, an Escher print. It’s ordered chaos. Or the tax code.
The blend of traditional forms like the Sonata and Nocturne with modern harmonies is no casual dalliance. Azizi crafts his unique “Piano Poem” form. It feels simultaneously meticulous and spontaneous. As though a highly trained ballet dancer was let loose on a rain slick street. Graceful? Absolutely, so graceful that it will break your soul in two. The Risk? Always.
It might evoke that quiet awe experienced before grand historical shifts – that unnerving tranquility right before…everything changes. But I was thinking about popcorn earlier. Specifically, about how each kernel pops at its own, unpredictable time.
Azizi’s “Elegy Sonata”: A Sonata for the Soul
“Elegy Sonata” offers moments of stark beauty that hit with the suddenness of an unexpected downpour. And it carries that feeling of solitude you might know well. Maybe. Other times, it resembles an internal storm, and chords rage in thunderous cascades. Azizi’s command over his instrument is not to showmanship, but an excavation of the soul.
There is a heavy, looming question within “Elegy Sonata”. This makes the collection less an epitaph. It will force you to seek an understanding, which makes this far more potent and less…definitive.
Auditing the Ex: Allegra's "Refund" is Fierce and Catchy
Allegra, the London-based singer-songwriter, once known for her dance-pop hits, has delivered a new single, “Refund” which is part of an EP released last year titled “Unsent Love Letters Vol1.” Turns out, emotional bankruptcy can be surprisingly… catchy?
“Refund” is all about demanding emotional recompense. Did someone say, ‘auditing the ex’? Our speaker in the song has decided that ‘I want my time, energy, and tears, cashed back with the value’. It’s emotive pop served with a side of electronic sizzle and, honestly, a whole plate of “I’m done.” Amazing female vocals, as advertised, carry that sense of fierce determination – it’s like the sonic equivalent of ripping up old love letters and scattering them in the wind. Or maybe flushing them. I wouldn’t, paper can be a hasle to take out of the toilet pipes.
Auditing the Ex: Allegra’s “Refund” is Fierce and Catchy
The roller coaster metaphor is spot on. The relationship Allegra describes is less romantic getaway, more rickety fairground ride on the verge of collapse. You know, the kind that makes you question the structural integrity of… well, everything. It’s the musical manifestation of finally hitting that “enough is enough” button.
But wait, is there a hidden track on this single about the philosophical implications of emotional economics? Probably not, my brain tends to add DLC to everything, the paid kind. But I do have the song stuck on my head.
The shift from straight-up dance-pop to this more emotive territory is intriguing. It feels like Allegra is not only demanding a refund from her fictional ex, but also reclaiming a bit of her artistic self. The musical direction hints to this.
What remains after the echoes of “Refund” fade? Perhaps a gentle reminder that sometimes, the best investment you can make is in yourself, and the most valuable currency is self-respect.
"Country Dreams": Soul Provider's Search for Meaning
“Country Dreams,” the new album from Soul Provider, arrived… and, well, it didn’t arrive on a golden chariot pulled by unicorns. It just showed up. Sixteen tracks of pure, unadulterated country – or, at least, that’s what they’re calling it. There is a lot of Americana in it. There’s a definite flavor, a sort of sonic stew of love, loss, hope, and resilience. Think less “bro-country,” more… “brooding-by-the-creek-country.”
The album weaves this winding tapestry. Nostalgia gets a heavy hand, with lyrics looking back on youthful escapades and friendships faded like an old pair of jeans. The deep cuts of grief? Also present, served straight up. And a random yearning, to chase a feeling that remind us what freedom is supposed to means.
But, amidst the expected heartbreak and honky-tonk, there are odd turns. It will bring introspection to a different level.
One moment, you’re tapping your foot, the next you’re wondering if Soul Provider is secretly campaigning for environmental awareness. Is this a country album or a coded message to save the bees? This is what I mean with introspection.
“Country Dreams”: Soul Provider’s Search for Meaning
Seriously, though, the overarching theme here seems to be a search – for peace, for belonging, for something to make sense in a world that often doesn’t. It’s a theme explored, oddly enough, with that “American” touch, very country, no need for banjos.
The vocals are heartfelt. There is a real emotion in every phase. The lyrics reach different situations in the complexity of human nature, showing meaning with the experiences.
It makes you wonder, are we all just characters in a cosmic country song? It make think if Soul provider have looked in the same spot of I did before. I still think is important to think that… squirrels deserve a national holiday.
“Country Dreams,” in its beautifully bewildering way, simply asks: are we truly living, or just dreaming we are?
Razorblades and Resistance: Ray Noir on Music, Identity, and Survival
Ray Noir uses his musical practice to destroy conventional expectations in the music industry. The alternative rock genre received its queer anthem through Razorblade Romance which Ray Noir released on Valentine’s Day 2025. A queer musician who belongs to both the Norwegian metal community and the ethnic minority has transformed his fight against metal’s rigid male identity structure into musical art.
Razorblade Romance unites the raw power of industrial metal with futuristic production by Grammy-winning guitarist Steve Stevens who worked with Billy Idol while crossing between defiant grit and liberating euphoria to expand a genre known for its exclusivity.
Ray created the song as his personal struggle to survive those who made him feel unwelcome within the alternative music scene. According to him the song exists as a message specifically meant for queer children who have been told they do not belong. Through its emotional rhythms the track combines confrontational musicality with authentic unapologetic sound that expresses both anger and resilience and healing.
Through this interview Ray reveals the story of how he composed his music while discussing his fights with personal identity and his Norwegian metal heritage alongside his alt-goth and industrial sound combinations which create empowering anthems that help listeners find courage in their own stories.
Ray suggests the continuation of Razorblade Romance through his labeling of the album as “part one” while revealing his plans for multiple parts in his storytelling about identity and resistance. This goes beyond being a song because it brings forth a compelling message to its listeners. Through this statement he displays that fresh perspectives possess the power to redefine established narratives even within traditionally structured areas. The scene is not only welcoming Ray Noir but witnessing his revolutionary transformation of it.
What inspired you to create “Razorblade Romance”? Is there a specific story or experience behind this track?
“Razorblade Romance” is a song about being an outsider and the struggle of having to hide who you are, which keeps you from living authentically. Growing up in Norway’s metal scene, I didn’t see any queer representation, and it made me feel like I had to suppress parts of myself to fit in. The song reflects that experience, the pain of hiding, the scars it leaves, and ultimately the resilience to survive it. It’s deeply personal and a reflection of what so many queer people go through.
The title “Razorblade Romance” suggests something both dangerous and alluring. What does this juxtaposition mean to you and how does it relate to the song’s themes?
“Razorblade Romance” has that mix of danger and allure because, when you’re forced to hide who you are, it can really mess with your head. I’m not trying to glamorize suicide or anything, but this is the reality, when you grow up feeling like you can’t be yourself, it takes a toll. The title reflects that contrast: the romance is the longing to live authentically, while the razorblade is the pain of having to hide. It’s about what happens when you’re constantly fighting to exist in a world that doesn’t accept you.
How would you describe the sound and style of “Razorblade Romance” compared to your previous work?
“Razorblade Romance” leans more into industrial metal, whereas my previous work has been more alternative goth and electro. With Scorpio, the mixtape I released in 2024, I was already starting to push in this direction, so this track feels like the natural evolution of Ray Noir. It’s heavier, more intense, but still keeps that dark, emotional core that’s always been a part of my music.
Were there any particular musical influences that shaped the sound of this single?
I’ve been listening to a lot of late ‘90s and early 2000s industrial metal, and I really love that sound. I wanted to take that energy and refresh it a bit, make it feel new while still keeping that raw, heavy vibe. That was a big inspiration musically. And then, of course, having Steve Stevens on guitar just took it to another level, his style fit the track perfectly and really brought everything together.
Does “Razorblade Romance” explore any personal experiences or emotions that were challenging to translate into music?
Yeah, definitely. Razorblade Romance is one of the most personal songs I’ve written. It’s about growing up in a scene where I felt like I couldn’t be myself, where being queer wasn’t really accepted. That kind of experience leaves scars, and trying to put all those emotions, frustration, isolation, and the struggle to survive, into a song was intense. I wanted to make sure it felt raw and honest but also empowering, like a reminder that even after all that, I’m still here. That was the biggest challenge, finding the right balance between the pain and the strength that comes from it.
As Ray Noir, how would you describe your artistic identity, and how does “Razorblade Romance” fit into that vision?
Ray Noir is a queer, alt-goth, electro-metal, industrial artist, nu-industrial if you want. My whole artistic identity is about being there for the misfits, the outsiders, all the lonely kings and queens out there. I want people to listen to my music and feel something, to know they’re not alone. Razorblade Romance fits perfectly into that vision because it’s about that struggle of feeling like you don’t belong, but also the strength that comes from surviving it.
Did you collaborate with any producers or other artists on this track? If so, how did that partnership influence the final product?
Yeah, Razorblade Romance actually started as a demo I had lying around for years, and I picked it up again recently. I got Jon Cass from As Everything Unfolds to produce it, which really helped shape the sound and bring it to life. Then I worked with my friend Steve Stevens from Billy Idol, who was kind enough to add his guitar work to the track. He’s a total legend, he’s worked with Billy Idol for years, played on Michael Jackson’s Dirty Diana, and even won a Grammy for the Top Gun Anthem. Having him on board really took the song to another level, it wouldn’t be the same without him.
Is there a particular lyric or musical moment in “Razorblade Romance” that you feel especially connected to?
Honestly, the whole song connects with me, but one part that really hits is the line: ‘When I die, will you know? Will you grieve? Will you be there?’ It’s about that feeling of wondering if people would even care if you disappeared, if your friends, your family, or even people who barely know you would notice. And that comes from a real place, because society is constantly shaming queer people to death, making us feel like we don’t belong. Those thoughts can really take over on the darkest days, and I wanted to capture that in the song.
What do you hope listeners take away from this single?
I really hope people, especially young queer kids in the alt scene, can find strength in this song, and in my music in general. I want them to know they’re not alone. Unfortunately, there still aren’t many openly queer role models in the scene, and that needs to change. I’m here to challenge that. With Razorblade Romance and everything I do, I feel like this is my purpose, to create something that makes people feel seen and understood.
Were there any unexpected challenges or breakthroughs during the production of this track?
There weren’t really any major challenges during the production, but there were definitely breakthrough moments. Hearing Steve Stevens’ guitar work on the track was huge for me, it really elevated the song. Also, I’m just so happy with the production that Jon Cass brought to the table. Seeing it all come together and come to life was the real breakthrough for me, it was like watching something I’d been working on for years finally reach its full potential.
Are you planning any visual components to accompany the single, such as a music video?
Yeah, there’s a music video for Razorblade Romance that dropped on the release day, it’s up on YouTube. My drummer and I filmed it at this really creepy cemetery in London called Abney Park Cemetery in North London. We snuck in during the evening when it was really dark, jumped over the fences, and had a camera guy with us to capture it all. It was super DIY, but it worked perfectly with the vibe of the song.
How has the reception been to “Razorblade Romance” so far?
The reception has been great so far. We got added to two of Apple Music’s playlists, Breaking Metal and Breaking Hard Rock. There’s been a lot of positive feedback from fans and people in general. I’m really happy that people are enjoying it and connecting with it. It’s something I’m really proud of.
What’s next for Ray Noir following this release? Are you working on more singles or perhaps a larger project?
I’m working on new music and have a few more releases lined up. I’m also doing a mini UK tour in April and some more shows later this year, so I’m really excited about that. There’ll be more music and maybe an EP by the end of the year. Keep your ears to the ground and eyes peeled 😉
"It’s a Cock Show, Basically” – Joudi Nox Talks Toxic Masculinity in Her Latest Track
When it comes to speaking frankly Joudi Nox avoids any form of hesitation. Through her music Joudi Nox uses fearless honest statements to express hidden truths that others typically avoid addressing. This latest musical release HOWTOBEAMAN (pt.1) exposes toxic masculinity through satirical analysis of irrational social rules which define male conduct. The song combines stripped-down trap instrumentals with autotuned vocals to deliver precise lyrics that reflect its targeted subject matter ironically.
Through her direct observation of male interactions in her social group for many years and personal life experiences Joudi crafts her artistic expression. The initial segment of HOWTOBEAMAN (pt.1) surpasses conventional critique because it delivers a strong declaration. The track accomplishes both therapeutic release and social provocation because she uses cutting insights to decode social norms through her unapologetic sincerity. The unapologetic songwriting techniques and production methods of Joudi find their fans among Billie Eilish, Lorde and Tate McRae listeners.
Joudi takes a seat to discuss the motivation she had for the track and the artistic challenges she faced while creating its message as well as preview what “(pt.1)” represents for her musical future. Joudi Nox uses her music as more than a musical medium because she creates conversations through her songs. The new voice emerging in the musical landscape will challenge established norms without hesitation.
“HOWTOBEAMAN (pt.1)” is an intriguing title. Can you walk us through what inspired this track and what the “(pt.1)” suggests about your future plans? I wrote this song after being part of a friend group that mostly consisted of boys and I watched them over the years follow a set of rules that seemed ridiculous to me. One day I decide write all these rules down like a rule book on how to be a man, all the hypocrisies, all the absurdness, all the toxic masculinity. I originally wrote a 4-minute song but the second half felt out of place so I decided to split it into two parts.
How would you describe the sound and feel of “HOWTOBEAMAN (pt.1)” to someone who hasn’t heard your music before? It sounds like a bitch face or a frown. It sounds like the face I and many women I know made when the guy they’re out on a date with says the one thing that reminds us that after all he’s another boy, another follower of the HOWTOBEAMAN rulebook. It’s punchy but lowkey. It’s bassy and dark like the reality of being around a lot of men these days. It’s an in-your-face beat and vocals that sound disappointed.
Was there a specific moment or experience that sparked the creation of this single? Well, years ago I was hanging out with this guy every day. We called late at time every night, we go on dates so I develop feelings. I confess, he says he feels the same. The next day he changes his mind and wants to stay friends. The dramatic person that I am goes to class pissed off, fed up with all the twisted rules boys follow.
I begin writing down all these rules I learned from that boy and all my guy friends. I was fed up that the song was on paper in less than 3 minutes. I rushed home after class to produce it because I knew exactly what the bass should sound like. What’s funny is that this guy still to this day unaware that this song is about him and our friend group.
Well, years ago I was hanging out with this guy every day. We call
The title suggests an exploration of masculinity. What aspects of manhood are you addressing in this track? I’m addressing the things a lot of men prioritize in their lives over healing, emotional maturity and empathy and then label that masculine. I learned that from my previous guy friends that even though we’re all friends, they don’t bond and don’t help each other emotionally most of the time.
For that specific friend group, I noticed an undertone of competition a lot. Everything they do is not for their own fulfillment but for some competitive end, either getting more women, being more fit, having a better career, a nicer car, a longer ding dong…etc. Everything is a cock show basically. The song points out this unhealthy logic that they follow.
What was the most challenging part of creating “HOWTOBEAMAN (pt.1)”? Being satisfied with the final version. The song went through a lot of tweaks and edits and then went back full circle to something similar to the original version. I learned to trust my production instincts and just let things go and improve with the next release.
What was your songwriting process like for this single? Did the lyrics or the music come first? The lyrics definitely came first. The bass line even came before the melody. I just wrote things down and my brain kind of had an idea how things will sound like but I couldn’t hum it loudly like I usually do because I was in class lol. I rush home, turn on my mic, and hit record. It just happened. Most of my best songs come out as a combo when I write them, the lyrics and music come together as if I’m remembering a song that’s not been created yet.
Did the final version of the song end up close to your initial vision, or did it evolve significantly during production? I knew how the bassline should sound like but I was a broke music technology student at the time and didn’t have the diverse sounds and skills that I have now to produce it exactly how I wanted. About a 3 years ago I play the old demo to my best friend who, after listening to it, wanted it released while I almost forgot the song existed.
So when I reopen the session and work on it again I improve on the quality of the demo and trust the direction of where the song is taking me because in a lot of moments I paused and was like “that’s now the genre I usually make music in” but I didn’t care. I’m happy it turned out the way it did because now I’m more confident to release more music like that.
How does “HOWTOBEAMAN (pt.1)” reflect your own journey or perspective? I’ve always been the blunt friend who points out BS when she sees it. Over the years, life knocked me down multiple times that I kind of lost that part of myself. So when I dig HOWTOBEAMAN out from the pile, I hear my old self being a baddie, so unafraid to be herself. It woke me up. I knew I had to release it because it would mean I get to claim myself again. I get to define my artistic style and pave my path and build my brand.
How does this track fit into your broader artistic evolution? In the past few years my style was lost and I was no longer listening to music as often as I used. I had be comfortable with myself as a person and artist. I let myself listen to music from my Arab culture, Egyptian rap, Palestinian indie pop, but also indie singer-songwriter music like Gracie Abrams, and Nessa Barrett.
I took a few steps back and wondered what my style was and the answer was all them. HOWTOBEAMAN is the first time I use Arab beat and instruments from my culture but also pop bass, singer-songwriter lyrics, and hip-hop style production. This song paves the way for what Joudi Nox truly sounds like.
Is there a particular lyric or moment in the song that feels most significant to you personally? In the second half of the second verse; “Never be close to him ‘cause that shit’s gay, and tell that random girl passing by to suck your D”. I think it’s the one I resonated with the most when I wrote it down, I was like ‘damn that’s a good line’ because it calls out how a lot of male homophobic cases come from closeted men.
On the other hand, it calls out how they don’t get close to each other as friends because they think it’s “gay” and that shows how insecure and unhealed some men could be that they don’t understand that being vulnerable has nothing to do with sexuality nor feminine things, it’s for everyone. The line after that proceeds to expose the absurdity in their actions by how they make women uncomfortable with their cat-calling. The overall umbrella of this verse is to showcase men’s chaotic behaviors in society the come from deep rooted insecurities.
Can you give us any hints about “pt.2” or other upcoming projects? Who says pt.2 exists? But if it does, it would probably be bolder and darker, hypothetically speaking of course. Maybe even a faster beat? We’re hoping to release more music for this year that would lead an EP. Something coherent and defines the sound of Joudi Nox. I hope that I can provide cathartic relief through my music to my fans.
I may not be the friend that you can speak about your ex to over and over again because I’d probably tell you to shut up, but I’ll take you to break things or punch something to let it all out or we can take revenge on your ex, I’d be happy to help.
From Synth Waves to Star Maps: Florent Lelong’s Musical Vision
Through his musical compositions Florent Lelong leads audiences beyond words for private sonic explorations which he develops through detailed sonic arrangements. He has practiced music through instinct and sensory perception for more than ten years by borrowing elements from pop, ambient, classical and urban musical styles.
The release of his album Constellations demonstrates his artistic peak. Sound takes precedence over lyrics because the album exists as a complete immersive experience which leads to introspection. Based on ancient traditions of finding mythical beings in star configurations Lelong guides listeners to explore their feelings through his musical compositions.
The album merges electronic textures with cinematic elements to create expansive cosmic sounds that also deliver intimate reflective moments starting from “Pegasus” through “Andromeda.”
During this interview we explore the sources which inspired Constellations alongside Lelong’s musical development and his musical objectives to create emotional responses in listeners.
What inspired you to create CONSTELLATIONS? Is there a particular story or experience behind this track? At the heart of this project was a visceral need to create instinctively, free from the constraints of any particular aesthetic. At some point, I realized how deeply I was drawing from within myself—composing this album felt like an inner journey, guided by emotions and intuition. I believe this album will resonate with those going through a period of introspection or self-reflection.
The title CONSTELLATIONS evokes imagery of stars and cosmic connections. What does this theme represent in your music? For me, electronic music has always been closely linked to the concept of space—both the vastness of outer space and the mental space we create within ourselves. I pay close attention not just to the sounds themselves, but also to the space they inhabit and the way they shape the overall atmosphere.
How would you describe the sound and style of CONSTELLATIONS to someone who hasn’t heard your music before? House music at the movies!
Did the creative process for CONSTELLATIONS differ from your previous work? If so, how? Aside from the more instinctive and authentic approach I mentioned earlier, my creative process remains largely the same. I see music much like a sculptor working with stone or a director guiding actors—it’s about shaping raw material into something meaningful.
Are there any specific musical influences that shaped the sound of this single? I’d say it’s a blend of Ben Böhmer and Nora En Pure meeting Hans Zimmer. These artists, despite working in different genres, share a common hypnotic, spatial quality in their music.
I’d say it’s a blend of Ben Böhmer and Nora En Pure meeting Hans Zimmer.
What emotions or ideas did you want to convey through CONSTELLATIONS? A wide range, really. CONSTELLATIONS can be seen as a journey into the unknown, into infinity. Along the way, listeners will experience moments of hesitation, excitement, questioning, and joy.
Can you share any interesting stories or challenges from the recording sessions for this track? I gave myself just one constraint during the creation of this album: I chose one hardware instrument, one software, and stuck to this limited setup. In an era where everything is instantly accessible, I could have easily downloaded a plugin for a specific sound I had in mind and then forgotten about it. By imposing this rule, I forced myself to truly master my instrument and push it to its limits—something I might not have done otherwise.
What do you hope listeners take away from this single? I hope each listener will make the album their own, using it to build their own universe and imagery. I named this album CONSTELLATIONS with ancient civilizations in mind—those who saw mythical and fantastical figures in the stars. I wanted to create a space of freedom, where everyone is invited to dream.
What’s next for Florent Lelong following this release? Are you working on more singles or perhaps a larger project? I’m currently working on releasing the album on vinyl, and I already have a clear vision for my next sonic adventures! I encourage your readers to stay tuned!
Raw, Messy, Real: SHAB Bares All in "One Suitcase"
Buckle up, because SHAB’s “One Suitcase” just dropped, and it’s… a lot. Twenty-one tracks of pure, unadulterated pop – it’s like being force-fed a rainbow-flavored cake while riding a rollercoaster through a hall of mirrors.
The core message? Desire. Raw, messy, sometimes confusing, sometimes gloriously straightforward desire. SHAB, a global pop sensation and advocate, apparently decided to unpack every single facet of romantic connection, from that first electric jolt (did anyone else feel a sudden urge to rearrange their sock drawer while listening? Just me?) to the confident demand for, well, more.
There’s this persistent thrum of empowerment, almost like SHAB’s whispering (I know, no “whisper”!), that women aren’t done taking their sensuality back, like some hidden art gallery, where some can find abstract figures made of light. Speaking of which, wasn’t there a Roman emperor who collected spoons? What a random time, much different to ours.
But then the album shifts, swerving into these moments of deep longing, an almost obsessive yearning for a soulmate. This musical is a personal narrative from oppression to freedom, a theme felt. The musical transitions within “One Suitcase,” are stark, abrupt, and full of change in many different shapes and sizes.
Raw, Messy, Real: SHAB Bares All in “One Suitcase”
It’s electric pop, sure, but it’s got this… texture. Like velvet sandpaper, maybe? Smooth in one moment, unexpectedly abrasive the next. This, along with the number of tracks. helps highlight the length of time and journey reflected, as SHAB celebrates a new independent life for her, in America.
And throughout, you feel SHAB’s own journey, that transition from oppression to this defiant freedom. It’s exhilarating and, honestly, a little overwhelming. But it’s also incredibly potent.
“One Suitcase” isn’t asking for your polite applause. It’s demanding you feel something. It is challenging. Will you still be thinking about it next week? Maybe, or Maybe the human mind is fascinating…
Trauma & Groove: Inside Al Kenizo's "Don't Lock Me Out"
Right, let’s dive into this sonic soup, shall we? Al Kenizo’s “Dont lock me out,” a single teasing an upcoming album, has arrived. And… it’s doing things. Things to my ears, things to my soul, possibly things to the structural integrity of my coffee table, which I may or may not have started tapping my foot on.
The genre is tagged as “Soulful Electronic,” and, yep, that hits the nail somewhere near the head. It’s groovy, for sure, making you want to move in ways you probably shouldn’t in public. It feels akin to stumbling upon a lost recording from a 1970s sci-fi film – retro yet futuristic, familiar yet strange. Did anyone else just think about cheese for a second? No? Just me? Okay, moving on.
Al Kenizo, a solo electronic artist, funnels trauma and personal experience into their music. Rollo Armstrong comparisons feel deserved, not beacuse their styles sound the same. Its the shared emotional landscape between artists.
“Dont lock me out” is a plea, a bargain, a contradiction wrapped in a pulsating beat. The speaker is clinging to someone, a muse perhaps, a source of life… even while dreaming of independence. “Give me another chance,” the subtext screams, “but also, I might just fly away.”
Trauma & Groove: Inside Al Kenizo’s “Don’t Lock Me Out”
It’s the human condition distilled, isn’t it? This push and pull, this desire for connection and freedom. Speaking of connection, are rotary phones making a comeback? I saw one in a shop window the other day. Completely irrelevant, I know.
The track ripples with an optimistic undercurrent that bubbles to the surface. You could play at 3 a.m at the after-party to keep energy levels. You will find equal success with it sound-tracking your sunday morning chill.
The entire piece is messy, heartfelt, and delightfully confusing – kind of like life itself. What will Al Kenizo cook up for us Next?
"Living Like This (Deep House Remix)": YayRaven's Sonic Diary
Right, so, YayRaven. British, Bermudian roots… that’s a collision of grey skies and turquoise water right there, isn’t it? And that sort of sums up this track, “Living Like This (Deep House Remix).” It pulses, a steady, insistent throb you’d expect from Deep House, but it carries… cargo. Precious, fragile cargo.
This isn’t just beat and bass; this is a sonic diary entry, stained with the kind of ache you feel down to your bones. It’s about the gaping hole left by a love gone supernova. No warning, just… gone. The lyrics spin this raw, unfiltered yarn of loss. She’s caught in the rip current of grief, longing for a final word, a goodbye that never came.
Have you ever tried to catch smoke? That’s what chasing that closure must feel like. It is frustrating. Infuriating, Even.
The central theme hits you square in the chest: profound, all-consuming grief. It’s not the softly-softly, romanticized sadness; it’s the messy, ugly, bewildered kind. One moment, there’s this… person, and the next, a void so absolute it bends space and time. The song tackles the un-acceptance. The raw edge of “how can this be?” And, tucked beneath that, a fear. A pre-emptive flinch away from ever being that vulnerable again.
“Living Like This (Deep House Remix)”: YayRaven’s Sonic Diary
The deep house framework almost feels… ironic. It is almost like forcing a party dress onto someone in deep mourning. The music carries an energy that seems at the beginning to disagree with the lyric’s sadness. But is really fighting for that person. Pushing forward. I’d imagine it makes them, perhaps against the grain, move, if not in body at least in mind.
And somewhere, amongst all this intelligent creation, YayRaven is exploring the universality of this ache. The sonic exploration. The… Oh! Did you ever hear about that time a flock of starlings re-enacted, entirely by accident, a Van Gogh painting, only to dissipate seconds later into…nothing? I think there is sadness there, too.
YayRaven has painted the abyss, but somehow, there’s a pinprick of light stubbornly refusing to be extinguished. What remains to be seen, is from where will that pinprick of light expand?
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Flatfoot Sam’s newest single Wetiko represents both a musical creation and an important message to the world. This track gets its name from Native American terminology which describes destructive human mental states that lead to excessive greed and violence alongside suffering. The song functions as a cautionary message and a call for attention. Wetiko exists as a distinctive musical creation that unites elements from Trip Hop with Leftfield while blending them into the new genre of TripField. This brooding musical journey lasts through multiple notes until the end of the piece.
Wetiko starts with unsetting melodies and pulsate beats to enchant its listeners from the very first note. Multiple layers enhance this deep musical composition through bass frequencies and detailed synthesizers which create an extensive underground audio environment. The song serves both entertainment and psychological impact by making listeners ponder the historical and current madness in human history.
The exceptional quality of Wetiko emerges from its ability to combine defiance and meditation methods. The songwriter creates a rhythmic anti-establishment protest through musical sound that battles against the elements causing human suffering. The song delivers a clear warning that identifying this madness represents the path toward moving beyond it.
Through Wetiko Flatfoot Sam proves his dedication to exploring new musical territory leading up to his second album release in 2026. Beyond electronic music stands a complete artistic experience meant to test and enlighten the audience. Flatfoot Sam has demonstrated his ongoing musical momentum as he plans to release another single by the end of this year.
Danza: A Timeless Fusion of Tradition and Innovation
Patricio Anabalón’s latest single, Danza, is a musical journey that transcends generations, seamlessly blending the rich heritage of Latin American music with fresh, contemporary sensibilities. The song is a collaboration with legendary Cuban troubadour Silvio Rodríguez, a revered figure in Latin folk and protest music. Their partnership marks a historic moment, bringing together two powerful voices of the singer-songwriter tradition.
The song’s production is marked by the exquisite arrangement of Chilean composer and guitarist Javier Farías, whose intricate guitar work creates an atmosphere of sophistication and depth. Farías, whose career has spanned collaborations with renowned artists such as Andy Summers (The Police) and Daniel Binelli (Astor Piazzolla’s sextet), adds a global touch to Danza, enriching the song with sound layers that evoke both intimacy and expansiveness. His influence is palpable throughout, forming the backbone of the track and making it a standout piece in the realm of modern “canción de autor” (author’s song).
Their partnership marks a historic moment, bringing toge…
Danza also features the Cuarteto Austral and Chilean percussionist Felipe Candia, who bring a distinctive rhythmic and harmonic structure to the composition. Their contributions deepen the song’s poetic resonance, creating a harmonious fusion of folk traditions and contemporary artistry that enriches every beat.
This collaboration holds even more emotional weight as Anabalón reflects on the relationship he’s built with Rodríguez over the past two decades. The duo has shared the stage several times, and now, with Danza, their bond culminates in a poignant musical statement. Anabalón describes Rodríguez as a key reference for not only him but for generations of singer-songwriters across the globe, and this song feels like both a tribute and a milestone in Anabalón’s illustrious career.
Visually, the single is equally powerful, with art by Cuban illustrator Eliani Luzardo capturing the essence of the song’s themes. Tomás Pérez handled the recording and mixing, while Gonzalo “Chalo” González ensured the final production was mastered with clarity and precision. The single’s art and production reflect the meticulous care taken in every aspect of Danza, making it a full-bodied artistic expression.
As the ninth track from Anabalón’s upcoming album La Noche Que Nunca Llega, Danza further cements the Chilean singer-songwriter’s status as one of the leading figures in Latin American music today. It captures the emotional depth and poetic lyricism that have defined his career while embracing new territories with this historic collaboration. The song not only resonates with the past but also reaches forward, inviting listeners to experience the enduring legacy of the troubadour tradition in a contemporary light.
Danza is available on all digital platforms, and it’s a must-listen for anyone who appreciates the depth and beauty of Latin American folk music.
Listen to Danza ( Patricio Anabalon & Silvio Rodríguez) below
Star Seeds Report Breaks Boundaries with 'Nouadhibou'
Stepping beyond comfort boundaries proved difficult for most artists yet Star Seeds Report used this opportunity to develop their artistic expression. As a melodic techno and progressive house artist the musician transformed his sound with Nouadhibou while producing a track which brings feelings of nostalgia and adventure alongside warmth.
After experiencing six months of travel from Amsterdam to Cameroon he gave the song its name after the Mauritanian city Nouadhibou that became a permanent part of his memory. The artist rediscovered nostalgia through browsing his travel photos that inspired him to develop his music with a combination of resonant melodies and rhythmic vitality and vocal selections which represented the essence of this destination. The song integrates his electronic components but delves into a natural and bright musical direction.
The interview explores Nouadhibou’s creation journey alongside the struggles of maintaining emotional depth while remaining danceable along with how the song showcases his new artistic freedom. The report with Star Seeds Report provides details about his musical artist name together with upcoming releases and his approach to making authentic music from his heart.
What inspired you to create “Nouadhibou”? Does the title reference the city in Mauritania? -The name Nouadhibou does indeed refer to the city in Mauretania, I visit the city on a 6 month road trip through Africa ( from Amsterdam to Cameroon over land) years ago.
How would you describe the sound and style of “Nouadhibou” compared to your previous work? -With this track I stepped out of my ‘comfort-zone’, I wanted to make a more sunny and cheerful track, but you can still hear my favourite sounds I think. Normally I make more Techno/Trance like tracks.
Was there a specific moment or experience that sparked the creation of this single? -I was looking through some photos I took on my road trip and remembering the beautiful time I had in Nouadhibou, that made me want to write a this track.
I was looking through some photos I took on my road trip and remembering the beautiful time I had in Nouadhibou
What themes or messages did you want to explore through “Nouadhibou”? -I wanted to make a happy, sunny track, and take people to the feeling I had when I was in Nouadhibou, the nice people, the weird but beautiful landscape, the warm weather…
Can you walk us through your creative process for this track? Did it evolve significantly from your initial concept? -I was looking for vocals that could give me the same feeling as I had when I was over there and stumbled on the vocals now used in the track. And after that it all went pretty fast. I had some difficulties mastering the track because I didn’t want it to sound ‘heavy’ but also didn’t want to lose it’s danceability, because for me that’s what music is all about, you have to be able to dance on it 😉
What musical influences shaped the sound of “Nouadhibou”? -What I said, it was the vocals that gave me the inspiration, later in the process I noticed that it had a touch of the old but epic track from Neneh Cherry and Youssou N’Dour – 1994
Did you collaborate with any other artists or producers on this single? If so, how did those partnerships influence the final product?
-No, for this track I worked alone.
How does “Nouadhibou” fit into your artistic journey as Star Seeds Report? -I don’t really know…. Maybe it doesn’t but I had fun making it and it definitely has my signature all over it 😉 And actually I noticed lately that I like to get out of my comfort-zone and not get stuck in one genre
Were there any particular challenges you faced while creating or recording this single? -As I described before, I didn’t want to make it to heavy in the sound design, so I had to change some times after a time, first I had a pretty solid but to prominent bassline, so later I decided to go for a more ‘real’ bass guitar sound. And that seems to worked out pretty well.
What do you hope listeners take away from “Nouadhibou”? -I hope they can hear the sun shine and that it gives them a chill but energetic vibe that make them want to dance.
Do you have any interesting stories from the recording sessions for this track? -Not really…
What’s the significance of your artist name “Star Seeds Report” and how does it connect to your music? -A pretty philosophical question, but I’ll try to answer it: as I make music from the heart and just want to share my emotions with the listeners through my music I kind of like to think that what I make is not something ’I came up with’ or something that would be good for millions of stream…
I’m pretty pretensionless but on the other hand I’m proud of what I make. I’m verry happy and thankful that I have the opportunity to use music to express myself. But I’m also a Star Seed, just like everybody else is in my opinion… and my music is the ’report’ to the listeners of that gratitude for being able to make music and express myself.., I hope that makes some sense 😉
Are there any visual components planned to accompany the single, such as a music video? I tend to make my own visuals (videos) for my tracks, and I did so until now for all of them (YouTube) but for Nouadhibou I asked a friend who’s really good at it to make a video for this track, so yeas, there will be a video but I can’t tell you when it will be ready for now, but soon, I promise…
What’s next for Star Seeds Report after the release of “Nouadhibou”? -When making a track I always focus on that track alone, of course there always ideas running through my mind but nothing that keeps me from the track I’m working on. But no that Nouadhibou is out in the open and left home I was thinking of making a pretty upbeat and driving progressive house track, with of course my love for the ’90 vibes written all over it, so stay tuned and I hope we meet again… until then I really hope you enjoy Nouadhibou, and don’t forget to dance! With love, Star Seeds Report
Bohardt’s ‘ILOVEU’ – A Synth-Pop Love Confession That Shines Bright
Bohardt’s latest track, ‘ILOVEU’, is the kind of song that makes you feel everything at once. A shimmering synth-pop anthem filled with raw emotion, infectious melodies, and a beat that pulls you in from the very first note, this song is a declaration of love wrapped in neon-lit production.
From the moment the bright synths kick in, ‘ILOVEU’ feels like a confession—one of those life-altering moments when saying “I love you” is both exhilarating and terrifying. Bohardt perfectly captures this delicate balance of urgency and vulnerability, allowing the listener to experience the pulse-racing thrill of love’s most pivotal moment.
What makes this track so captivating is its cinematic quality—it’s easy to imagine it playing in a romantic movie montage, a late-night drive with the windows down, or even a moment of quiet bravery before telling someone how you truly feel. The production is masterful, with synth layers that swell and fade at just the right moments, mirroring the emotional highs and lows of love itself.
There’s a warmth and authenticity to his voice that makes every lyric hit with impact,
Bohardt’s vocal delivery is another standout element. There’s a warmth and authenticity to his voice that makes every lyric hit with impact, especially in the song’s more stripped-down moments. When the instrumentation fades and the words “I love you” stand alone, it feels intimate, real—like a heart speaking directly to another.
Fans of Robyn, CHVRCHES, and Carly Rae Jepsen will immediately feel at home in Bohardt’s sound, yet he manages to carve out his own space in the synth-pop world. His previous work has explored themes of expectation, consequence, and self-discovery, but ‘ILOVEU’ marks an evolution—an artist embracing the immediacy of emotion and allowing it to explode into sound.
Even the track’s run time of 3.14 minutes adds a clever touch—tying into the mathematical constant π, a symbol of something infinite and never-ending. It’s a subtle yet meaningful nod to the boundlessness of love, reinforcing the idea that saying “I love you” is just the beginning of a lifelong journey.
Ultimately, ‘ILOVEU’ is more than just a love song—it’s an experience, a moment, a feeling in motion. Whether you’re screaming it from the rooftops or whispering it into someone’s ear, this track is the perfect soundtrack for love in all its thrilling, heart-pounding glory.
Bohardt has once again proven his ability to craft songs that resonate deeply while keeping you dancing. ‘ILOVEU’ isn’t just a song—it’s a memory waiting to happen.
Punk, Politics, and Perseverance: An Interview with The Hearse
Manchester-based band The Hearse is back with a striking new single, “One from One Hundred,” was released on February 28, 2025. Rooted in post-punk, new wave, and punk influences, the track explores themes of manipulation—both in the media and personal relationships—while embracing individuality and defiance. Drawing inspiration from Joy Division, The Clash, Blondie, and more, The Hearse continues to carve out a distinct identity with their raw, DIY approach to music.
Lead vocalist Jess Armer wrote the song in 2023, channeling personal struggles and global tensions into its powerful lyrics. Despite lineup changes and a lengthy recording process at Salford University, the band remained committed to crafting a sound that balances nostalgia with modern energy.
With a blend of biting social commentary, unapologetic honesty, and a love for 70s and 80s punk aesthetics, “One from One Hundred” isn’t just a song—it’s a statement. In this interview, The Hearse discusses their creative process, influences, and the challenges of bringing this track to life.
What inspired you to create “One from One Hundred”? Is there a specific story or meaning behind the title?
– The title? I just thought it sounded cool, really. I wish I could provide a more thought provoking answer but that’s just about it. It’s sort of like saying “One in a million” except in more of an individualistic way.
How would you describe the sound and style of “One from One Hundred” to someone who hasn’t heard your music before? Looks like punk, smells like punk, might be punk. No, it’s very 70’s / 80’s inspired like most of our music.
Did you approach the creative process for this single differently than your previous work as The Hearse? For once our current lineup actually played on the track. It was good too as everyone was giving great input. Obviously compared to the previous tracks, it’s different musicians, but you can tell our tone has shifted on this song and who’s put input where.
The name “The Hearse” evokes certain imagery. How does your artist name connect to your musical identity and the themes in “One from One Hundred”? We’re all deadbeats… I think it all sounds rather cool.
Were there any particular musical influences that shaped the sound of this track? As I mentioned previously 70’s and 80’s (and 90’s) music is our main point of reference. Bands in particular like The Damned and The Clash were the main influence this time around. There was a bit of Arctic Monkeys thrown into the mix too, which I didn’t really get at first but I hear now.
Can you share any interesting stories or challenges from the recording sessions for “One from One Hundred”? We initially began recording in pretty early 2024, if I’m not mistaken. We went through lineup changes and al kinds of stuff in the meantime so we just never got round to finishing it and worked on other songs, so the process did take almost a year. A lot of the recording was done a couple weeks before the song was mixed / mastered / released.
It’s good to set a deadline because otherwise you get nothing done. Then again even with a deadline I sometimes just don’t do stuff. I usually forget.
Is there a particular lyric or musical moment in the single that holds special significance for you? The main riff probably. I wrote that so long ago and it never fit with anything. Then I started to write a song about some poseurs I didn’t like and I found it worked well with that. The lyrics weren’t too dissimilar from how they are now in the chorus. Then, stuff started happening to me and I wasn’t happy and it felt like the topic had to change to match the song. But the riff is the main focal point of the song which it’s all built around.
I’m a terrible lead guitarist so I had to write something easy enough for myself to play as well…
How does “One from One Hundred” fit into your broader artistic vision? I suppose it shows more of our punk influences and variety of sounds we can produce. Our last single was a total shift from this one and even our first one, so I think it’s just us showing we’re not afraid to try anything. We’re a very eclectic band with all kinds of influences, but sometimes being too inconsistent in genres can confuse your audience, so in trying to appeal to everyone it’s kind of doing the opposite.
Did you collaborate with any producers or other artists on this track? If so, how did that partnership influence the final product? My friend Matt who lives in Australia mastered (or should I say Mattstered) the track. Everything else was done by myself and Henry. My friend Kylie in America worked closely with me in designing the cover.
What emotions or ideas were you hoping to convey through “One from One Hundred”? This is a difficult question. People can interpret it how they want, but I’d like to at least get the message across that it’s okay to be angry, it’s okay to want change and to change, and it’s okay to not fit in. You know, anger is an energy, and all that. I just don’t want to be perceived the wrong way like I’m promoting manipulation or something like most political leaders these days.
People can interpret it how they want, but I’d like to at least get the message across that it’s okay to be angry,
Has your approach to songwriting evolved since you began your journey as The Hearse? I mean I’ve been writing songs for as long as I can remember, but since forming The Hearse a lot has happened, there’s been lots of changes. Sometimes I don’t find it challenging writing songs, it’s too easy.
But other times it’s the hardest thing going. I get burnt out really easily and I struggle great deals with anxiety and OCD so my mind is constantly occupied. I don’t know which I do first or lyrics or melody, just whatever pops in my head first. I also get ill all the time so most of my time is spent composing.
What do you hope listeners take away from this single? Please don’t take away our single, we spent ages on that.
Are you planning any visual components to accompany “One from One Hundred,” such as a music video? Yes, and I’m apparently in charge of it so wish me luck.
How has the audience response been to the single so far? It’s been really great, thank you to everyone who’s listened.
What’s next for The Hearse following this release? Are you working on more singles or perhaps a larger project? Your guess is as good as mine. Stay tuned and find out!
For Jay J. Ra Music is a journey, and for this artist, that journey has taken an exciting new turn with Sweet Stories 2. Originally released in 2022 under the name D.bé Jayri, Sweet Stories was a reggae-infused ode to love and compassion, filmed in Accra, Ghana.
Sweet Stories 2 (Soulful Solo Version) is the official solo version of Sweet Stories 2 featuring African Child. Now, with a fresh Afrobeat arrangement and a collaboration with Ghanaian artist African Child, Sweet Stories 2 breathes new life into the original message while expanding its reach.
This project is more than just a genre shift—it represents artistic evolution, cross-cultural collaboration, and a deeper exploration of musical storytelling. From facing unexpected delays in production to embracing new vocal styles, the path to Sweet Stories 2 was one of persistence and growth.
In this interview, we dive into the creative process, the challenges faced, and the emotional depth behind this release. Join us as we explore how this artist blends R&B, pop, gospel, and Afrobeat to craft a sound that is both personal and universal.
“Sweet Stories 2” suggests a continuation of narrative themes. How does this release build upon or differ from the first installment?: I wrote the original Sweet Stories to a reggae performance style, conveying a message of love and compassion, in slow tempo. Sweet Stories was released in 2022, under my old artist name, D.bé Jayri, and I shot the music video for it in Accra, Ghana that very same year. The music video is available on YouTube.
A radio host and friend of mine that I had met in Ghana, suggested to me last year, that I should put together a record that will gain the attention of the African music market, more specifically, a Ghanaian audience and get them acquainted with my artistry. Thus, my friend, the radio host, got the original Sweet Stories song re-done into an upbeat Afro-beat style arrangement and also suggested that I collaborate with a Ghanaian artist.
So, the differences between the original and Sweet stories 2 are the genres, the tempo and the opportunity to collaborate with a fellow artist from Ghana, African Child, (on the collaborative version). However, the lyrics (in most cases) and theme remained the same.
How has your approach to storytelling through music evolved between the first and second chapters?: As I said before, the theme and most of the lyrics remained the same. However, I saw my art of story-telling evolved in Sweet Stories 2 with the influence of direct Afro-beat arrangements and collaborating with a fellow artist. I was able to vocally express myself and my style of singing with joy to music directly coming from the motherland, the African continent.
When I first heard the instrumental and re-arrangement of Sweet Stories, I immediately knew the lyrics and emotions would be expressed through the styles of R&B and Afro-beat, something I am fairly new to as an artist.
Were there any specific life experiences or emotional moments that influenced the stories in this release?: I have been into several relationships in the past to know the importance of companionship, even though some where very brief, however, this song was written based on my general experience of love affection and on the idea of what a lasting companionship could be.
The title implies a certain tenderness or nostalgia. What kind of emotional landscape were you aiming to create?: The emotional landscape that I try to express is to encourage us to just take the time to love and appreciate and enjoy your significant other, and it may not even be your significant other only, but your loved ones and others as well, because life is short and uncertain and the most we can do, most of the time, is to show love to everyone.
because life is short and uncertain and the most we can do, most of the time, is to show love to everyone.
Could you share a particularly meaningful moment or story from the creation of this project?: After I recorded Sweet Stories 2, here in Canada, I sent it over to my radio host friend in Ghana. He then gave over the track to a studio engineer in Kumasi, Ghana, to mix and master it, and it is that very same studio where African Child, the featured artist on the collaborative version, recorded his part. My friend and I planned to release the song in November 2024, so we could promote and push the song during the upcoming holiday season, then.
However, for some reason, the studio engineer sat on the record for months without doing any work on it. I got worried and a bit frustrated and asked that the project to be taken from that studio engineer and be given to another. The track was mixed by another studio engineer in Ghana called Quab Sea and I was able to release the record publicly on February 1st, 2025. Sweet Stories 2 (Soulful Solo Version) was mixed and mastered by K.R. Moore, my studio engineer here in Canada. Even in face of uncertainly, I still believed in this project, and it turned out to be amazing.
How do you balance maintaining your signature sound while pushing your artistic boundaries in this new release?: My style of singing is mostly Pop/R&B/Gospel, (for an industry that is fanatic to categories sounds, but I don’t). I saw myself blending all those genres to communicate well with the essence of the afrobeat instrumental on the record. I found myself singing R&B but consciously and carefully tried to tailor it to a wider African audience. So we could call the track an Afro-beat R&B/Soul and Pop record? I suppose so.
What musical elements or production choices help convey the “sweetness” in these stories?: Well, it depends on what your perception of “sweetness” is. However, I believe what made this track “sweet” was that I decided to soulfully re-do the vocals and added a little more vocal riffs and runs, well, to make the track more smoothe and Jazzy, a contrast to Sweet Stories 2 (featuring African Child) which sounds more Pop, commercial and edgy.
Did you collaborate with any new artists or producers for “Sweet Stories 2”? How did these collaborations shape the final sound?: Well yes. With help from my radio host friend, I was able to collaborate with Dan Bassey of Ghana, who is the music producer of both Sweet Stories 2 (Soulful Solo Version) and Sweet Stoires 2, and as mentioned before, also collaborated with African Child, a fellow Ghanaian artist, who is the featured artist on Sweet Stories 2.
The communal efforts of all us as artists, producer and studio engineer, had made the sounds of both tracks phenomenal. Even though each record have a slightly different sound and feel to them, both however, have the same larger than life African musical elements that gives them an epic sound.
Looking back at both “Sweet Stories” projects, what have you learned about yourself as an artist?: This project made me see how far I have come and grown as an artist. For years I have written my own songs, but this project has proven to me that I can be a more versatile and open minded writer for music, and also for other artforms such as film, television books and poetry.
Can listeners expect certain themes or motifs to carry through both releases? How do they connect?: Love, affection and adoration, those are the themes and motives behind the song, and all are inter-correlated.
What’s next for you after “Sweet Stories 2”? Will there be a third chapter in this musical narrative?: I will leave an open mind to this idea: there maybe another chapter to Sweet Stories, or I may just cap it at number 2…who knows..let us see which direction the universe takes us.
Alli Brown's "Undeniable": Resilience, Raw and Real
Alli Brown’s “Undeniable”… Hmm, where to even begin with this kaleidoscope of sound from Salt Lake City? It’s like someone took the earnestness of a diary entry, crumpled it up, threw it at a dartboard of genres – pop, folk, country, rock – and then decided to set the whole thing to music. Did the dartboard land on “genius” or “glorious mess”? I’m still figuring that out, and that, my friends, is a good thing.
Alli Brown, who started this sonic journey in 2022, serves up eleven tracks. This feels, appropriately for our ever-decreasing span of time, important. Eleven confessions, maybe? The album hums with real-life experiences; Brown dives headfirst into the messy tangle of being human. These tunes will be buzzing around my cranium all day. Resilience, independence, the chase after your own shimmering, elusive something… it’s all there. Reminds me of trying to assemble IKEA furniture without the instructions: frustrating, yet weirdly compelling.
One minute, you’re tapping your foot to a deceptively upbeat melody, the next, you’re staring out the window, contemplating the existential dread of choosing the wrong type of pasta for dinner. Did I buy penne when I meant to buy fusilli? See, that is the rabbit hole this collection sends one on.
Alli Brown’s “Undeniable”: Resilience, Raw and Real
This album champions taking the road less traveled, even if it means leaving skid marks on the hearts of others.
It’s raw. Did she record this in her living room? A sound-proof studio? A converted spaceship? This feels independent. The specifics are blurring. All I know is it is deeply personal.
Alli Brown is declaring sonic, bold, independent self, and frankly, you want that? This album does that. Do the styles sometimes confuse each other? Is life also not messy and undefinable. Is her album Undeniable? Absolutely.
Is this the soundtrack for late-night drives, heartaches, or for triumph? Only time. Your time will tell.
Beyond Vivaldi: Robert McGinty's "Reflections" Shines
Right, so, Manchester’s own Robert McGinty is back. “Reflections,” they call it. Twelve classical instrumentals. Twelve! Like the apostles, but…less preachy, more piano-y. It’s supposed to be uplifting and joyful, this album, a sequel of sorts, tracking his growth since the debut. Did you know the collective noun for owls is a parliament? Completely unrelated, I know, but owls are wise, and there’s a certain wisdom embedded in McGinty’s compositions, somewhere between the Vivaldi-esque flourishes and that unexpected hint of Spanish guitar.
It’s predominantly classical, this thing. But it’s got this… sheen of modernity. A bit of Joplin’s ragtime pep gets in there, playfully chasing the more structured, Haydn-inspired sections. McGinty, the multi-instrumentalist maestro, throws piano, guitar, flute, and strings at us. It is all a lot. My cat, incidentally, prefers the flute sections. Claims they mimic bird song. I wouldn’t know; I’m more of a Liberace fan myself.
The album wants to explore the blend between joy, and the mellow drama that is sadness. It’s there. It’s that feeling that grabs your emotional heartstrings.
He delivers. He is reported to blend many classical styles with his unique style, and on this, he delivers a truly original, and creative album.
Beyond Vivaldi: Robert McGinty’s “Reflections” Shines
This whole album… it’s like a well-brewed cup of tea on a rainy afternoon – comforting, familiar, yet somehow… surprising. You expect Earl Grey, and then bam! A subtle hint of ginger. Where did that come from? Commissioned works are apparently sprinkled throughout, adding another layer to this sonic tapestry.
This blend of old masters. This, is what makes it an engaging experience. Classical. Yet, now.
It asks to question our own experiences, asking to look in, with an added blend of beauty.
Is “Reflections” a profound statement on the human condition? Perhaps. Or maybe it’s just a really nice collection of tunes to put on while you ponder the mysteries of the universe, like why pigeons bob their heads. Either way, it’s worth a listen.
Guess Pre’s “Clarity.” The name itself feels like a punchline missing its joke, or maybe the setup to a philosophical riddle I’m not equipped to solve. Gregory Stanton, the Wisconsin-based artist behind the moniker, has served up a nine-track album that’s… well, it’s trying to be a lot of things, and surprisingly, mostly succeeding.
This isn’t background music for folding laundry. It’s more like the soundtrack to a fever dream where you’re simultaneously filing your taxes and learning to salsa dance. Grimrose’s mixing gives this multi-genre selection a polished professional feel.
The album, mastered by Lia Kahn, dives headfirst into Stanton’s sobriety journey, grappling with the mundane chaos of daily existence. There are shades of early 2000’s electronica, but, and for some reason, also hints of an old dial up modem sound mixed in. That sounds insane, I Know, but just follow me here. It works. It creates some sense of urgency, or maybe the “dial-up” evokes that connection, I’m just not quite sure.
Responsibility, self-doubt, the relentless hum of anxiety—it’s all in here.
“Clarity” is presented with an unexpected instrumentation and sonic texture. Stanton worked alongside various local producers to provide the wide ranging beats to back his unique vocal performances.
Guess Pre’s “Clarity”: A Sonic Blender of Angst
It’s like Stanton took EDM, punk, and lyrical rap, tossed them into a blender with a handful of existential angst, and hit “frappe.” The result is sometimes jarring, sometimes breathtaking, and always… interesting. One minute you’re nodding along to a beat that wouldn’t be out of place in a cyberpunk club, the next you’re pondering the nature of reality. Why is cheese so expensive? It’s questions like these, alongside Stanton’s own personal questioning that “Clarity” invokes.
“Clarity” shows marked maturity, and offers listeners a positive and cohesive perspective, that has a solid base for futher expansion on later releases.
Is this the sound of enlightenment? Probably not. But it’s a compelling, confusing, and ultimately captivating snapshot of one person’s attempt to make sense of it all. And, honestly, isn’t that what the best art should be?
