No Sand Required: Funky Blackman Brings "The Beach" Vibes to You
If you’ve ever tried to catch a seagull mid-flight with a butterfly net, you’ll understand the elusive joy that Funky Blackman’s “The Beach” EP serves up. Not that there are any feathered friends involved, directly. But the feeling? Yeah, it’s there, a fleeting, beautiful awkwardness.
This isn’t some synthesized shoreline; forget the stock wave sounds. This is a memory, maybe yours, maybe his, re-assembled. He’s a sonic globetrotter, they say, and it shows. The soulful house rhythms pulse like the tide, the funk chords hit you like unexpected sun on skin, and the disco undercurrent… well, that’s the distant ice cream truck melody, a sweet reminder of simpler times. This is beach nostalgia without being sentimental.
No Sand Required: Funky Blackman Brings “The Beach” Vibes to You
I mean, did Cleopatra chill on a beach, maybe ponder some proto-disco? Probably not, but she would have felt this EP, the effortless groove, the reflections on… well, everything. It’s like peering into a shell, and instead of ocean sounds, you find little pieces of your own past. A half-remembered summer romance, that time your car broke down, the really good burger you had. You know, all of that.
Funky Blackman isn’t preaching from a sandy pulpit. He’s just sharing the vibe, the way it feels to be alive, connected to rhythm and memory, like a random text message from a long-lost friend. It makes you want to dance barefoot, and that’s about the best thing any music can do. Maybe the seagulls were there all along? Anyway… it makes you think.
"Frosty": Anacy Melts the Tinsel, Reveals the Truth
Anacy’s “Frosty” just landed, and honestly, it’s like finding a lone, slightly melted candy cane in the back of the cupboard – a bit melancholic, oddly sweet, and intensely…there. This isn’t your standard jingle-bell affair. Anacy, who carves out these sonic spaces somewhere between indie-pop and, what? Festive electronica? It’s like wrapping Christmas lights around a synthesizer, I guess. They’re South African, too, which adds a layer. Think of a summer solstice fire, flickering, but the smoke smells of pine.
“Frosty” tackles that strange post-holiday slump. It’s that moment where the glitter settles, and you’re left with the echoes of laughter…and the sting of someone gone. The nostalgic ache is potent, like accidentally stepping into a puddle with brand-new socks. Remember the Berlin Wall coming down? Yeah, this has that kind of feeling, that feeling of something immense falling away. It’s emotional debris, carefully arranged into a sonic snow globe.
“Frosty”: Anacy Melts the Tinsel, Reveals the Truth
The electro-pop influences keep it from wallowing completely; there’s a little dance-in-the-dark vibe happening. It’s a strange sort of celebration of the absence. Does that make any sense? I guess it’s like, the opposite of what you’d expect, yet feels so familiar, that ache of acceptance mixed with a little, well, a lot of wistfulness. So, what’s left then?
Anacy’s “Frosty,” feels like a lingering taste, a ghost of holidays past. The real gift here isn’t the festive cheer, it’s the courage to embrace the bittersweet.
Asteroid-ing Emotions: The Dinosaur's Skin's 'Meteor Shower' Hits Deep
Dust motes danced in the pre-dawn light, much like how my brain felt after hearing The Dinosaur’s Skin’s “Meteor Shower.” Trex and Triceratops, that dynamic duo from, uh, the past, seem to have found the perfect blend of heart-thumping bass and wistful synth. It’s not a typical love song; it’s a love song told by asteroids, apparently, hurtling through space. Quite the cosmic heartbreak, you know?
The whole thing swirls like a forgotten candy wrapper caught in an updraft – oddly beautiful and slightly melancholic. You’d think two gigantic reptiles would be all roar and fury. Not so. They channel this surprisingly fragile sense of wanting something that’s always slipping away. Which, let’s face it, is the most human thing ever. It hits you in the gut, somewhere between your ribs and where you keep that half-eaten box of cereal.
Sometimes it makes you wonder if that one time you missed a bus on purpose was actually some profound existential moment being experienced by some distant rock. Did that bus, like some love, simply pass me by? It does make me wonder; why do some buses (and loves!) keep circling while others disappear, gone in a blink of an eye? These two have captured the ephemeral nature of these celestial rendezvous quite skillfully.
Asteroid-ing Emotions: The Dinosaur’s Skin’s ‘Meteor Shower’ Hits Deep
It’s retro without being a copy-paste of the past and lo-fi without feeling underproduced. This isn’t the music of stone giants; it’s more like the quiet rumbling inside a volcano when it’s thinking of maybe, just maybe, finally erupting… into confetti. Their sound seems familiar, but you can’t quite put your finger on exactly why. That’s quite something. It resonates far beyond the soundwaves.
“Meteor Shower” manages to make something about the vast emptiness of space feel very, very personal, leaving you with a sense that even when we are hurtling alone through our own universes, we can never truly be completely alone.
"Graves," c: Not Your Final Resting Place (For Listening)
Hamilton Hound’s “Graves” isn’t something you just hear, it sort of happens to you, like finding a forgotten photograph in an old book. Ian Hamilton, this voice navigating the echoes of a working-class upbringing, doesn’t sing so much as share secrets whispered over a chipped mug of tea. Liz Arcane’s voice weaves in like a contrasting thread, adding a subtle but important texture. It’s the kind of conversation you’d eavesdrop on from a nearby table, catching fragments of humor that mask something deeper.
There’s a thread that feels remarkably like the awkward ballet of early film—charming, flawed, and utterly sincere—with those unexpected skips of a frame that force you to truly pay attention. I keep thinking of old typewriters, how the slightly uneven strike of each letter adds to the document’s unique soul. And James Mason, who’s behind the production magic, makes it feel as if this entire release unfolds in your own living room, slightly dusty from neglect but wonderfully cozy. It’s the kind of space where the past doesn’t just reside, it breathes.
“Graves,” c: Not Your Final Resting Place (For Listening)
Hamilton explores learning differences with a surprisingly light hand. The laughter, though, sounds a little strained at the edges, hinting at the real weight of those struggles. There’s an honest beauty in that struggle that shines through and you can feel it reverberating in the rhythm and pauses. I was reminded, quite unexpectedly, of that specific shade of orange in a Van Gogh painting—fierce, yet vulnerable at once. Perhaps it is a similar kind of light, illuminating the corners of their world and our shared human experience.
This isn’t a track to be casually added to a playlist. “Graves” plants something, a tiny, seed of thought. Now, go ponder what may grow.
"Cuentito" - A Sonic Snap Shot by Tone Ranger and Vecinoz
“Cuentito,” a single from Tone Ranger (Alex Simon) collaborating with Vecinoz (Tati Bohorquez and Giovan Michael), shimmers like heat rising off desert sand. It’s Latin-Pop, but with an insistent pulse that makes you want to move, even if you’re sitting in a dentist’s waiting room. I wonder, are dentist waiting rooms a type of desert? They certainly feel that way sometimes.
The lyrics, drawing inspiration from Lorca and Borges, don’t follow a straight path. They are fragments, almost overheard conversations, that somehow weave into a cohesive whole. New Mexico, their chosen backdrop, seems less like a location and more like a feeling; vibrant, sun-drenched, and ancient. You can almost taste the red chile and feel the dry breeze, I think, perhaps I’m just hungry now.
It’s odd how a piece of music can connect seemingly disparate threads – literature, landscape, dance – and present them as something new. A bit like trying to describe the colour blue to a person who can only see red. I suppose that makes music… magic? It certainly makes this collaboration intriguing.
“Cuentito” – A Sonic Snap Shot by Tone Ranger and Vecinoz
There’s a satisfying kind of rhythmic friction at play here, a push and pull between the structured electronic soundscapes of Tone Ranger and the emotive vocal delivery of Vecinoz. It’s the sort of thing that makes you think about all the improbable things that had to happen for this specific collaboration to come into being. That makes you think about all things happening in any moment, really.
“Cuentito” isn’t a story as much as a series of impressions. Like snapshots of a dream, fleeting yet powerful, its meaning lies as much in the spaces between the notes as in the notes themselves. A brief, shimmering encounter.
'You bred Raptors' Unplugged: Humor, Nostalgia, and His Latest Single
In an age of never ending robocalls and recycled stories, You Bred Raptors have produced something refreshingly new in their latest single ‘Telemarketer Terrorists.’ Inspired by comedian Jim Florentine’s legendary prank calls, and their own run-ins with the relentless telemarketers, this bedroom synth pop act combines wit and wisdom in equal dosage.
It’s the solo project of a musician who is unabashedly satirical, and turns ordinary annoyances into unexpectedly moving art. In Telemarketer Terrorists’ You Bred Raptors’ usual heavy rock sound is stripped away for something deliberately understated and nostalgic in its simplicity.
The track built around a Roland JX3p synth foundation, with recurring phrase “What about the other ones?”, explores the murky boundary between what is true and what is an oft repeated story.
This is a musical answer to our modern communication landscape, with early 2000s inspired beats that want you to dance and question everything you’ve been told.Get comfortable – you’re about to get an unfiltered look into one of music’s most fascinating minds.
The title “Telemarketer Terrorists” is provocative and humorous. What’s the story or inspiration behind this unconventional track? The title “Telemarketer Terrorists” is inspired by an old comedy series by Jim Florentine where he would get Scam Telemarketers to call him, and he’d try to string them along on the phone in funny ways for as long as possible. In one of my favorite sketches by him, a Telemarketer is trying to pitch him Ad Space in a non-existent magazine, and Jim Florentine just keeps repeating “Well, What About The Other Ones?” in reference to Other Ad Size options, over and over. It keeps the Telemarketer talking in circles for 45 minutes, and is something I’ve always thought was hilarious and quote to this day.
Your band name “You Bred Raptors” is quite unique. How does this identity influence or reflect the musical style of this single? The band name “You Bred Raptors” is a declarative statement. Kind of like saying “You made this” or “Look what You Built”. The single “Telemarketer Terrorists” reflects a certain similar idea of “These are stories that have been told and situations that have been presented, and this is the outcome of needing to deal with all of that.”
Can you walk us through the creative process of developing “Telemarketer Terrorists”? What sparked the initial concept? The song started with a synth track I laid down with my Roland JX3p. it was just the backing horn chords that persist throughout. I then jumped into creating drum tracks with a Roland tr707, and a handful of other percussive software vsts. I then started listening to this basic foundation daily. In my car, on my phone, in the shower.
And for some reason, whenever I would get to the end of the song, the line “What about the other ones? Well, what about the other ones?” would always pop into my head. I decided that I had to build the song around that concept of, being told stories, and exaggerations, and create the rest of the song backwards from there.
And for some reason, whenever I would get to the end of the song, the line “What about the other ones? Well, what about the other ones?” would always pop into my head.
The title suggests a satirical take on a common frustration. How are you blending humor and musical expression in this track? I’m a satirical person. Everything I say and create has atleast a hint of sarcasm attached to it, and can never be taken 100% seriously at face value (look at any of my music videos). This song directly leads in from a song called “The White Zone is for Loading and Unloading Only” and is very much the Response, to the Call of that song. If “the White Zone” is the satirically pompous and over-assuming Call, then “Telemarketer” is the Jabbing Response, both Lyrically, and Musically, pointing out the flaws in that line of thinking and presentation.
What genre or musical style are you exploring with this single? I was listening to a lot of “The Postal Service” and some less-epic B-side “M83” tracks while being inspired to really thin this track down musically. It has Synth-pop and what I would consider Bedroom-Pop vibes for sure. Very Under-produced on purpose.
Were there any specific experiences with telemarketers that inspired the song’s narrative? I get a LOT of Telemarketer calls. I used to make a game out of it. But, I also get stuck in a LOT of conversations with regular people. Conversations that have storied I hear repeated over and over again, and often start thinking to myself “how true is any of this? Has this story been told so many times that it has been made true?” That’s really what this sing’s narrative is inspired by.
How does “Telemarketer Terrorists” differ from your previous musical releases? This song is definitely a musical departure from my heavier Rock-Style releases. “Telemarketer Terrorists” is definitely much more of a Synth Pop, Bedroom Pop, song. It’s also a much more Stripped-down production than previous releases.
Can you describe the emotional or comedic landscape you were aiming to create with this track? I was genuinely going for an earnest sense of Longing for Simpler times, when maybe we didn’t know the realities of what “is” and what “isn’t”. While wrapped in an early 2000s Bedroom Synth Bop that makes you want to get up and Wiggle around and Dance and Move a bit.
Were there any challenges or memorable moments during the recording of this single? There was a point while making this song that I thought about thickening up the production of the tracks. I thought about laying down a stand alone Bass Line, I thought about adding Electric Guitars, and I really was tempted SEVERAL times to record additional layers and harmonies and “Thickening” of the Lead vocals. I kept deciding against this, as I wanted this song to sound Clear, Precise, and Earnest.
For listeners who might be new to your music, how would you describe the essence of “Telemarketer Terrorists”? It’s a Bedroom Synth Pop song with a strong lyrical narrative about Questioning things you have been told and previous taken as fact.
Did you collaborate with any other musicians or producers in bringing this track to life? No this song was entirely written and produced by myself. I really like the freedom and strange directions that things go in when I have no collaborators. I am in several other music groups with very Heavy collaboration with lots of members, so YBR is a way for me to express myself untethered. I did use New Alliance East Mastering to Master these tracks when I was finished with them.
What do you hope listeners will feel or experience when they hear the song? I hope this song gives listeners a bit of a Nostalgic feel. Not that the song SOUNDS Nostalgic, but that the themes, and feelings expressed when listening kind of… make them long for a simpler time.
How does this single reflect your broader musical journey and artistic vision? I think this single reflects myself going heavier into Narrative story telling with my songs. I really enjoyed the writing process for this. It made me think about a lot of things, and explore a lot of feelings in more Direct ways that I don’t always do in songs. I’d like to keep this going.
Christopher Parris on A Golden Sunrise of the Summerlands
Christopher Parris is definitely not your average musician. An ancient wisdom modern day reflection kind of storyteller, this progressive folk artist from Tunbridge Wells, England, with a penchant for music that seeks to bridge that gap. His sound is described as ‘higher vibrational music’ a term that invites listeners on a personal growth and transformational journey through a very spiritual experience.
His debut album, Living Through the Twilight of the Kali Yuga, includes a standout track in his recent single, ‘Golden Sunrise of the Summerlands.’ It’s not just a song, it’s a gateway to a beautiful, lush, uplifting sound underpinned by acoustic guitar, ethereal slide guitar and great harmonies. It’s hard to think of a single element of this track that isn’t meticulously crafted to elicit hope and introspection, really embodying the feeling and symbolism of a ‘golden sunrise’.
Christopher’s work is deeply personal experiences, including a major awakening at Stonehenge. Theses themes of healing, evolution and unity are channeled directly into his music. We sat down with Christopher to discuss the creative process behind “Golden Sunrise of the Summerlands,” its powerful meaning, and what fans can expect from Christopher’s upcoming work.
Congratulations on your latest single! Can you tell us about the inspiration behind Golden Sunrise of the Summerlands? In 2018 my two best friends in the world guided me to Stonehenge for the summer solstice ceremony, where I experienced what I would describe as a physiological and frequential alteration within the cellular make up of my being, turning me into a vegetarian overnight, ultimately healing me after years of horrendous physical and mental health issues caused by diet.
Tragically within just over a year, my two best friends were both gone and left me and the world behind, my cosmic family were no longer with me. One way of keeping my head above water was diving deeper into researching and studying as much as I possibly could about structures like Stonehenge, ancient megaliths, pyramids, ancient esoteric wisdom and teachings.
Gathering as much information as I could, it was clear that something tremendously supernatural and profound had happened to me, and it changed everything. My awakening at Stonehenge lit a spark in me, there is so much knowledge about our reality and our universe that has been kept hidden and there are ways to heal the body, mind and soul.
I had suffered for many years being out of balance, all of a sudden my health was dramatically improving and in the midst of grief Golden Sunrise was a way of me seeing the light at the end of the tunnel.
The title is evocative and poetic. What does it symbolize, and how did you come up with it? The summer solstice at Stonehenge was the most powerful activation of my life, a new dawn. Summerlands is a druidic term for heaven or paradise. We’re coming into a new era, it’s an invitation to transcend the illusion.
How does Golden Sunrise of the Summerlands fit within your body of work? Is it a continuation of previous themes or a departure? It’s from my debut solo album, it represents my sound well, although my repertoire is very dynamic and I’ve got a whole load more material coming soon that I believe takes things to another level. It was my old psychedelic rock band Sarah Tonin that played near Stonehenge at the spring equinox and summer solstice of 2018. So yes the acoustic sound with natural instruments was a tangent from loud rock music but a natural progression with the times and a well needed one.
I’ve got a whole load more material coming soon that I believe takes things to another level
The track title hints at vivid imagery. How does the music capture the essence of a “golden sunrise”? The percussion and congas certainly bring an earthly sound, the shimmering electric guitars create a magical luminescent quality and with some wonderful harmonies it all reaches a deeply satisfying crescendo. There is hope on the horizon, because not everything is what it seems.
What genre influences can listeners expect in this single? Did you experiment with any new sounds or styles?
You could describe it as folk, americana, country, rock with a 21st century twist. My friends and I play what comes naturally. Most of the time the songs come through by themselves and it’s best not to get in the way.
Are there any specific lyrics or lines in Golden Sunrise of the Summerlands that holds particular significance for you?
‘We’re beginning to see through the veil, soon it will be time to set sail.’ Life is an ever unfolding dream of self realisation and layer upon layer of expanded awareness. There is so much astonishing knowledge coming through, and we’re just getting started.
What was the creative process like for this single? Did it come together easily, or did it challenge you in unexpected ways?
The song was recorded live with acoustic and singing together so it has that organic live feel. The instrumentation was all arranged very naturally, my friends are super talented and the layers of sound scape magic came together wonderfully. They’re my favourite people in the world to be playing music with 🙂
Looking back, what was the most rewarding part of creating Golden Sunrise of the Summerlands? Not only because of this beautiful liberating sound my friends and I had created, but I released it on an album called Living Through The Twilight Of The Kali Yuga on the winter solstice on 2022. My own personal deadline was by the end of 2022.
Why? For months I had been studying the phenomena from India called Yuga cycles which is the study of geometric patterns and proportions throughout time and space and is a vast, intricate, mathematically verifiable and profoundly life changing area of wisdom. According to this knowledge the Kali Yuga ends in 2442, I figured out that 2022 was 420 years from the end of the cycle, and 7 x 6 x 10 is 420, so that year was geometrically in resonance with the Yuga cycles themselves.
I saw this as the way in which I would create a timeline, so I could release a series of albums that would reflect these unfolding times. That is exactly what I’m doing. In 2024, working with famous producer Dave Eringa I released The True Nature Of Time, and now I’m deep into the third album which is super exciting. All because of the debut album being released on 21/12/22.
How does your personal life or environment influence your music, particularly this single? The songs I write or channel are an expression of my deepest inner most feelings. They are deeply personal which makes them universal. My journey and story come out in my songs and Golden Sunrise Of The Summerlands, along with many other songs of mine have kept me going through the darkest moments in my life and given me strength when I was weak, hope when I was afraid and joy when I was sad.
It truly has been the music that has kept me going. I’m now here to share these wonderful creations with humanity. I currently have nearly four albums worth of material to share with the world and I’m here to help raise frequencies. Let’s do this!
Do you have plans to perform Golden Sunrise Of The Summerlands live? What can fans expect from your live performances? I always have Golden Sunrise Of The Summerlands in my live set, it’s a good opener. Expect to hear messages you’ve never heard before, ultimately it’s all good news, so come and see!! 🙂
Is there anything you’d like your fans to know about the journey of creating this single?
I have profoundly healed myself and raised my frequency through the music I am creating, the process has helped me remember our true power and I am here to share these creations with the world. There is a solution and it’s underway.
James M LaRocque's "All About Me": Self-Aware or Self-Obsessed?
James M. LaRocque, or JML as the hip kids probably call him, dropped “All About Me”. It’s a classic rock single, which, you know, feels like showing up to a party dressed as a Roman gladiator when everyone else is in jeans. Not a bad thing, necessarily.
This isn’t about discovering some new profound meaning to life, that’s for sure. JML is firmly planted in the fertile, albeit slightly stinky, soil of self-absorption. The message? Egos can be hilarious, particularly if they’re not yours. It reminds me of that time I tried to assemble a bookshelf, ended up with an avant-garde sculpture instead, and blamed it on “interpretive building.” Ah, art. Anyway…
There’s a certain charm to this. A swaggering, slightly tipsy, kind of charm. It’s not a subtle thing; it’s the musical equivalent of shouting your name in a crowded marketplace with a bullhorn fashioned from a traffic cone. That specific traffic cone? The one from 1978 that sat on the corner of Elm and Maple. I’m not sure why I remembered that. Where was I? Right, JML. The guy can definitely play. It’s classic rock, polished, like your uncle’s best silverware, the one that gets trotted out only during major holidays… or, you know, ego celebrations.
James M LaRocque’s “All About Me”: Self-Aware or Self-Obsessed?
“All About Me” is self-aware. I think. Or maybe I’m just projecting because my own ego needs something to latch onto. Either way, it’s a sonic smirk. Makes you wonder if maybe everyone has a little of this, “Look at ME,” lurking somewhere in their soul.
The tune finishes, leaving a strangely delicious aftertaste, like accidentally eating a slightly burnt marshmallow – unexpectedly enjoyable. What are we, really, if not just bundles of slightly ridiculous egos trying to make some sort of music?
Rhythm, and Desire: The Evolution of GINN With 'Dizzy'
Step into the world of GINN, where Electro Hop meets Deep House and emo rap in an unexpected cultural fusion. Their latest single “暈 (Dizzy)” showcases their signature style – heavy basslines and bilingual lyrics that explore themes of attraction and self-assurance.
We had a chat with GINN to discuss the creative process behind “暈 (Dizzy),” including their collaboration with producer LNCL and how the track came to life in the studio. They opened up about their musical evolution, cultural influences, and the delicate balance of pushing creative boundaries while staying true to their artistic vision.
Join us for an in-depth conversation that takes you from the thumping beats of their latest single to a preview of their upcoming project “Post-Euphoria.” Whether you’re just discovering GINN or have been following their journey, this interview offers a genuine glimpse into the mind of an artist who’s redefining genre boundaries.
“What was the inspiration behind “(暈 Dizzy)”? Can you walk us through the creative process of bringing this track to life? “‘暈 (Dizzy)’ is inspired by that head-spinning, ‘oh no, hot baes all around; who should I approach 👀’ moment of attraction—but, like, with bass. The kind of bass that shakes your soul and maybe your apartment walls too. The creative process? Picture me ankle-pounding to a beat in front of my arranger and saying, ‘Make it feel like you’re falling in slow motion, but also kind of sweating.’ That’s where it started. We built the rhythm around that vibe, tweaking 808s and hypnotic layers to mimic that crawling-through-your-veins kind of desire.”
The title “(暈 Dizzy)” seems intriguing. How does the song’s theme or emotion connect to that feeling of dizziness or disorientation? “暈 captures that moment when your brain glitches because you’re drawn to someone—or maybe just because you had one too many gin shots. or maybe GiNN 🥵. Either way, the feeling of being a little off-balance, vulnerable, and exhilarated ties perfectly to the groove. I mean, the bassline is basically designed to make your head spin, so if you feel dizzy, mission accomplished.”
This is your latest single—how does it differ from your previous musical works? What new artistic direction are you exploring with this release? “‘暈 (Dizzy)’ leans way more into Deep House and sensual vibes compared to my previous tracks, which were a bit more chaotic ATL-meets-Electro Hop energy. With this one, I wanted to be a little more unapologetic—think ‘sultry, but make it respectful.’ It’s still me, but now I’m making you vibe harder while questioning if you’re emotionally stable enough to handle it.”
‘暈 (Dizzy)’ leans way more into Deep House and sensual vibes compared to my previous tracks,
Were there any unique challenges or memorable moments during the recording of “暈(Dizzy)”? “The biggest challenge was mixing my deep voice with the 808s without it sounding like an earthquake simulator. I love my vocal body, but man, it’s like trying to shove two alphas into one room and telling them to play nice. As for memorable moments? Definitely when I was ankle-pounding to explain the beat. My arranger thought I was having an episode—or maybe just too caffeinated because we drink too much coffee every single day.”
Can you share a bit about the production process? Did you collaborate with any other musicians or producers on this track? “It was me and my arranger, LNCL, vibing in the studio like mad scientists. He’s the genius who gets my chaotic ideas and taste with sound designs/selections—like when I said, ‘Make it sound sexy but not in a creepy way.’ I also used my vocal layers as an instrument, shaping the track’s energy with little ‘huhs’ and ‘ahs.’ Basically, I collaborated with LNCL, my coffee addiction, and my ankles that still hurt after four months haha.”
What emotions or message do you hope listeners will take away after hearing “暈(Dizzy)”? “I want people to feel sexy, confident, and just the right amount of dizziness. Like, ‘Should I text my ex? No, I’m too hot for that.’ But on a deeper level, it’s about enjoying chemistry while keeping it respectful. No creepy energy allowed, please. There’s absolutely no excuse for being disrespectful to anyone’s boundaries.”
How does this single fit into your broader musical journey or upcoming project? “‘暈 (Dizzy)’ is the appetizer for my upcoming project Post-Euphoria. It’s like me saying, ‘Hey, this is my lane now—welcome aboard, hold tight, and maybe hydrate.’ The project dives deeper into Electro Hop while still playing with intimacy, cultural fusion, and my overall vibe of ‘I make bangers, but I’m kinda emo too.'”
The music scene is constantly evolving. How do you see “(暈 Dizzy)” reflecting current musical trends while maintaining your unique artistic voice? “‘暈 Dizzy’ definitely taps into the global Deep House wave but adds my little twist of bilingual lyrics and dark humor. It’s like, ‘Here’s a sexy, trendy vibe—but wait, why is this dude rapping about attraction with a bassline that could destroy speakers?’ That’s where my voice comes in, both literally and artistically.”
Are there any personal experiences or stories that influenced the creation of this single? “Look, I’ve had my fair share of ‘you’re way too attractive, and I might pass out’ moments. Growing up in an Asian household, though, there was always this unspoken (or very spoken) stigma around physical touch—like, any form of romantic connection was a scandal waiting to happen. That kind of upbringing definitely shaped how I approach these themes in my music. ‘暈 Dizzy’ is me trying to break that mold, saying it’s okay to embrace desire as long as it’s grounded in respect.
Also, fun fact: there was a time I drank so much that I caught alcohol-induced fatty liver disease—big oops there. So these days, I drink a lot less and channel those wild, tipsy emotions into my music instead. Safe to say, the ‘暈 dizzy’ vibes here are bass-induced, not gin-induced. Progress, right?”
For fans who are just discovering your music through “(暈 Dizzy)”—how would you describe your overall musical style, and what makes your sound distinctive? “My music is Electro Hop meets Deep House with a dash of emo rap and dark humor. It’s bass-heavy, bilingual, and hits like a heavy shot of GiNN—fun in the moment but leaves you thinking, ‘Wait, there’s more to this?’ Also, my voice is way deeper than you’d expect from my face, which definitely confuses people and makes it more fun.”
Mardi Gras' "Sandcastle": When Towers Fall and Melodies Rise
Mardi Gras, six souls strong – Liina Rätsep, Fabrizio Fontanelli, Alessandro Matilli, Carlo Di Tore Tosti, Valerio Giovanardi, Fabrizio Del Marchesato. A sonic stew of pop, rock, soul, seasoned with pinches of Irish countryside and grunge. Their new album, “Sandcastle,” it’s a funny thing. You build it, you know, meticulously. Expecting something sturdy, but then… the tide.
This record feels like exactly that; a gorgeous sandcastle doomed. I mean, not like bad doom, but you know how when you’re a kid you’re so damn proud of this sandy edifice, the towers just-so, the moat…and the waves come, well they come. “Sandcastle” is all about that. About things that look solid, maybe even should be, just crumbling. They sing about the messiness of feelings, all these sticky, insecure spots. Think of a kid, once thought ‘good’, who decides to rewrite his narrative. Reclaim some broken pieces with something…darker.
Mardi Gras’ “Sandcastle”: When Towers Fall and Melodies Rise
The whole thing is just a beautiful tangle. A bit like trying to knit with spaghetti. Does that make sense? It doesn’t have to. Sometimes things are just. And “Sandcastle”, somehow, is just that. Not even just ‘music,’ but the feeling when the rain unexpectedly hits just the right spot on your skin when walking through a strange, new place, and the feeling you get after seeing someone wearing an odd piece of clothing, not quite right but wonderful.
It’s the kind of thing that makes you want to drive with the windows down a little too fast in a car that probably doesn’t belong to you. The raw emotional edge, juxtaposed with the kind of melodies that stick in your head all day. You wake up to them, you’re humming them when someone asks how your day is, you keep hearing them all day long until they become a part of you. Is it too much to say this music feels like sunlight, dust, and regret mixed in an old tin cup? Maybe. But it’s true.
It makes you think about what you build, and how it’s gone.
Mapping the Future: The Heroic Enthusiasts Illuminate with 'Clear'
The Heroic Enthusiasts have quickly risen in the ranks of modern indie music in the vibrant New York music scene. Their latest single ‘Clear’ is a stunning mix of New Wave sensibilities and cutting edge indie rock, and their first track to be produced by Stephen Hague, who has worked with the likes of Depeche Mode, Pet Shop Boys, New Order and more.
With their third release from the forthcoming *Illuminate* album, The Heroic Enthusiasts deliver their signature sound in the form of James Tabbi and Thomas Ferrara. Themes of adventure and destiny blend together to weave a classic road trip narrative that inspired the track. Tabbi says it is like the romance of ‘opening an old school paper map and driving all night with a new love’ while Ferrara calls it a ‘call to live each day fully.’
The singles ‘All I Want’ and ‘Wake Me When It’s Over’ have already seen them garner over 600,000 streams, with a growing global following to build on. This shows that their evolution from critically acclaimed EPs to their current work has been a consistent commitment to pushing creative boundaries, yet in the truest sense of synth pop.
Since *Illuminate* will be out in April 2025, ‘Clear’ is a great tease for the future of this groundbreaking pair and hint of where they’re headed with their rising alternative careers.
“Clear” is an intriguing title. What’s the story or emotional landscape behind this single?
“Clear” is about that feeling of being absolutely, undeniably hooked on someone, even when you know red flags are waving in front of you. It’s that push and pull between your head and your heart.
The song captures the intense rush of that initial “blinded infatuation,” as the lyrics say, where you’re willing to ignore the warning signs and just go with the flow, wherever it takes you, surrendering to the moment, even if it’s a bit reckless.
Can you walk us through the creative journey of developing this track? What inspired its conception?
The journey of “Clear” started with a simple spark—a driving drum and bass sequence and the lyrics and melody of the chorus, “I wanna make it clear, I’m not giving up!” which felt undeniably catchy and energetic. We were in the studio when Stephen Hague, our production partner, brought us these song seeds, and we were all immediately drawn to the infectious energy.
From there, the lyrics started to flow, inspired by conversations about those relationships where you’re completely swept off your feet, even when logic tells you to proceed cautiously. We’ve all been there, right? That feeling of being drawn to someone like a moth to a flame, even if you know you might get burned.
We wanted to capture that tension in the song, the internal struggle between desire and reason. The lyrics about maps, streets, and avenues are metaphors for navigating this confusing emotional terrain. At the same time, the “warning light on the dashboard” represents those nagging doubts you try to ignore.
Stephen’s input was invaluable in shaping the song’s structure and dynamics. He has a knack for creating soaring, anthemic moments that perfectly complement the emotional intensity of the lyrics. He helped us craft a soundscape that mirrored the story’s push and pull.
How does “Clear” represent your current musical evolution or artistic direction?
“Clear” represents an exciting step in our musical evolution. We’ve always been drawn to crafting emotionally resonant pop music with a bit of an edge, and this song embodies that.
While we’ve always had a pop sensibility, “Clear” leans further into that realm. The song is catchy, with a chorus designed to get stuck in your head. We’re not afraid to embrace those earworm melodies and infectious hooks, but we always strive to do it in a way that feels authentic to our sound and vision.
Overall, “Clear” feels like a culmination of everything we’ve been working towards as a band. It’s an emotionally resonant and sonically captivating song, representing a significant step forward in our artistic journey. We’re incredibly proud of it and excited to see where this new chapter takes us.
The band name “The Heroic Enthusiasts” is quite unique. How does this identity reflect in the music and specifically in this new single?
You’re right; “The Heroic Enthusiasts” is definitely a unique name! It’s inspired by a 16th-century poem by the philosopher Giordano Bruno called “The Heroic Frenzies.” The poem explores themes of love, passion, and the pursuit of knowledge, all of which resonate with us as artists.
Ultimately, “The Heroic Enthusiasts” is more than just a band name; it reflects our core values and artistic aspirations. We strive to create intellectually stimulating and emotionally engaging music that celebrates the human experience in all its messy glory. “Clear” is a perfect example of that, blending passion, vulnerability, and a touch of romantic idealism.
Ultimately, “The Heroic Enthusiasts” is more than just a band name; it reflects our core values and artistic aspirations.
Were there any particular challenges or breakthrough moments during the recording of “Clear”?
Ah, you’re digging deep into the creative process! You’re right; there were some challenges and breakthrough moments during the recording of “Clear.”
One of the biggest hurdles we faced was finding the right vocal “answer-back” hook for the chorus. We knew we wanted something anthemic and memorable that would complement the music’s soaring melody and driving energy. We tried all sorts of different phrases and melodies, but nothing seemed quite to click.
Then, we had this spontaneous moment in the studio where we were just throwing out random ideas, almost like a stream of consciousness. Then James just blurted out, “Dead or Alive!” in this nearly defiant tone, and it instantly felt right. He may have listened to “You Spin Me Round (Like a Record)” early that day.
It was one of those magical moments where everything just fell into place. The phrase perfectly captured the reckless abandon and sense of inevitability we were trying to convey in the song. It added this extra layer of intensity and drama to the chorus, becoming a defining element of the track.
Another challenge was finding the right balance of guitar, electronic, and organic elements in the production. We wanted to create an expansive and intimate soundscape with swirling synths, melodic guitar lines, and driving rhythms, but also with moments of raw emotion and vulnerability. Stephen Hague was instrumental in helping us achieve that balance. He has a knack for blending electronic and acoustic sounds in a modern and timeless way.
Can you describe the musical and emotional atmosphere you aimed to create with this track?
With “Clear,” we aimed to create a musical and emotional atmosphere that was both exhilarating and unsettling, mirroring the intoxicating rush and inherent risk of surrendering to intense attraction.
How does this single differ from your previous musical releases?
While we’ve always collaborated within the band and with our producers, “Clear” represents a deeper level of co-creation, with Stephen Hague joining us as co-writer and co-producer. His influence is evident in the song’s structure, sonic landscape, and overall polish. This collaborative spirit brought a fresh perspective and helped us elevate our songwriting.
We’ve always loved experimenting with sound, but “Clear” showcases a more intense and darker sonic palette. The production is rich and layered, emphasizing atmospheric textures and dynamic shifts. Stephen Hague’s influence partly influenced this evolution, reflecting our growth as musicians.
What genre or musical influences are you exploring in “Clear”?
“Clear” is a melting pot of influences, reflecting our diverse tastes and the overall evolution of our sound. New Wave and Synth-Pop are core elements of our sound, and “Clear” definitely draws inspiration from new wave pioneers like Depeche Mode. You can hear it in the pulsating synths, the driving basslines, and the overall mood of dark romanticism.
We’ve always admired Depeche Mode’s ability to blend electronic textures with emotionally resonant songwriting, which we strive for in our music. Bands like INXS were a significant influence on us growing up. Their blend of rock energy, pop sensibility, and soulful vocals informs our songwriting approach.
In “Clear,” you can hear that influence in the driving rhythms, the anthemic chorus, and the raw emotion in the vocals. We are also drawn to the darker, more experimental sounds of Nine Inch Nails, a band we deeply respect. While “Clear” isn’t a full-on industrial track, there are subtle hints of that influence in the song’s darker undertones, distorted textures, and overall sense of tension and release.
Were there any collaborations or special contributions from other musicians in bringing this single to life?
“Clear” was a collaborative effort between The Heroic Enthusiasts and Stephen Hague. We played many instruments, with Stephan adding a few sonic elements to the mix in the production phase.
Beyond that direct contribution, we also want to acknowledge the ongoing support of our fantastic team at Meridian/ECR Music Group and The Orchard/Sony. They’ve been incredibly supportive throughout the process, providing visionary guidance and complete creative freedom.
For listeners who might be discovering your music through this track, how would you describe the essence of “Clear”?
If “Clear” is your first taste of The Heroic Enthusiasts, imagine driving down a dark highway at night, the road stretching ahead like an endless ribbon. There’s a sense of excitement, of anticipation, but also a hint of danger.
You’re unsure where you’re going but are fully committed to the journey. The vocals are raw and emotive, expressing desire, vulnerability, and reckless abandon. There’s a sense of urgency, of something important hanging in the balance. That’s the essence of “Clear:” It would be a journey you would be pleased you decided to take.
What do you hope listeners will feel or experience when they hear the song for the first time?
We hope that first-time listeners of “Clear” will feel a connection to their emotions: This song is meant to be felt in your body and your mind. We hope it makes you want to dance, drive fast with the windows down, or just let loose and express yourself.
Can you share any behind-the-scenes insights into the songwriting or production process of this single?
It might surprise you that Stephen Hague provided the initial spark for “Clear.” He presented us with this captivating musical idea—a driving bassline and a pulsating synth melody that immediately grabbed our attention. It was one of those moments when you just knew you’d stumbled upon something special.
From there, we collaborated with Stephen to develop the lyrics, instrumentation, and melody. We delved into conversations about those relationships where you throw caution to the wind and dive headfirst into the unknown despite the potential risks. The lyrics about maps, streets, and warning lights emerged as metaphors for navigating the uncertain terrain of love and desire. The Heroic guitar lines, sometimes doubled with synth sounds, were written and evolved to support the melodies and set up the song’s sought-after emotions.
As mentioned earlier, the “Dead or Alive” backing vocals in the chorus were a happy accident. We experimented with different vocal ideas, and that phrase spontaneously emerged. It perfectly captured the reckless abandon and sense of inevitability that we were going for.
Overall, creating “Clear” was a genuinely collaborative and organic process. It was a testament to the magic that can happen when like-minded people come together with a shared vision and a willingness to experiment and take risks. We’re incredibly proud of how it turned out, and we hope these behind-the-scenes insights give you a deeper appreciation for the journey of bringing this song to life.
Catching "Snowflakes Flight" with Edditter: A Sonic Snow Day
First thought? It doesn’t sound like someone trying too hard, which is always a relief. It’s not that self-important throb you sometimes get with ambient. It’s… like catching the first snow after a summer that stretched on way too long. Remember those hazy August days? They feel like distant echoes now, don’t they?
This single paints with sonic snow, and the whole picture is soft around the edges. Like, if Kandinsky was going through his winter whites phase. Or… or what if Van Gogh decided to trade starry nights for flurries? See, now I’m drifting…
The message is quiet, and isn’t shouting about Christmas (phew). There’s a kind of peaceful solitude, like being the only one awake while the world is wrapped in that cool, soft silence. You know, before the frantic unwrapping frenzy begins. Does that mean it’s good? I’m not sure, maybe? It just is.
Catching “Snowflakes Flight” with Edditter: A Sonic Snow Day
It’s electronic, yes. But think less glitch-rave, and more the slow, quiet hum of electricity on a cold night, kind of… comforting. Makes me want a hot chocolate and maybe a good old-fashioned paper airplane made from a Christmas carol printed on a piece of sheet music. Odd, I know.
“Snowflakes Flight”. A simple concept turned into a sonic daydream. I’ll be pondering the way snow falls, all patterns and no purpose, tonight. I think Edditter captured something important in the falling. It makes the silence just before a storm seem suddenly… necessary.
Experimental Soundscapes: Inside 'Burn' with Cracksinthereal
In the ever-evolving landscape of experimental music, Cracksinthereal stands out as an artist who consistently pushes boundaries. His latest release, “Burn,” a bold reimagining of The Cure’s classic, marks his first venture into cover songs and represents a departure from their ongoing conceptual work.
Created entirely in a bedroom studio, “Burn” showcases Cracksinthereal’s distinctive approach to sound manipulation. Drawing inspiration from electronic pioneers like Aphex Twin and infusing elements of noise experimentation reminiscent of Sonic Youth, he has transformed the original into something uniquely their own. The track explores themes of insomnia and inner turmoil through layers of distorted textures and atmospheric soundscapes.
“Patient,” is how Cracksinthereal hopes listeners will approach the track, acknowledging the complexity of their sonic architecture. The artist spent days studying the original before settling on their interpretation, paying particular attention to moments like the evocative slowdown during the line “slide back down and close your eyes, sleep a while you must be tired.”
With one album awaiting final mixing and another in development, both potentially seeing release in 2025, Cracksinthereal continues to evolve. This conversation offers insight into an artist who values narrative and innovation equally, crafting music that challenges and engages in equal measure.
The title “Burn” seems provocative. What’s the story or emotion behind this track? It’s a cover if a song by the cure, so thays where the title comes from.
Are there any personal experiences or emotions you’re exploring in this track that listeners might connect with? Narrative is the key element that I wanted to incorporate, hopefully people connect with it
What genre would you say “Burn” fits into, and how does it represent your artistic evolution? I don’t know, maybe something like post-noise, like post rock but really quite noisy.
There’s often a deeper meaning behind song titles. What does “Burn” symbolize for you? Burn as a title symbolizes insomnia for md
How do you hope listeners will feel or react when they first hear this track? Patient lol
What was the most challenging part of bringing “Burn” to life? Having the initial seeds of doing something different with the material, it took days of listening to the original before I settled on an approach.
Are there any specific lyrical moments in the song that you’re particularly proud of? I really like the slow down on “slide back down and close your eyes, sleep a while you must be tired..
How does this song fit into the broader narrative of your musical journey? It’s my first cover, it’s also the first piece I’m releasing that doesn’t really have a place in this sprawling concept work I’m developing.
Do you have any plans for a music video or live performances to accompany this release? I’d like to, it comes down to money and timing.
What’s next for Cracksinthereal after this song? I have a record in the can, just needs final mixing, and I have another I’m working on right now, hopefully one or both with be out in 2025, if not, you can expect some singles.
You Kinda Ruined Everything": A Story of Loss, Love, and Musical Discovery
When it comes to music composition, the most powerful songs often come from the most vulnerable moments, and “You Kinda Ruined Everything” is no exception. This debut single tells the poignant story of a cherished friendship unraveling after an unexpected confession of feelings. The artist, with raw emotion and heartfelt lyrics, explores the highs and lows of love, loss, and gratitude for fleeting moments that shape us.
With the help of talented producer Harry Marden, this track blends bittersweet lyrics with an uplifting melody, crafting an emotional experience that feels both deeply personal and universally relatable. Drawing inspiration from d4vd’s introspective storytelling and the vibrant sounds of LAUNDRY DAY, the artist has created a soundscape that balances melancholy with hope.
In this exclusive interview, we dive into the story behind the song, the creative process, and the emotional journey that shaped it. From the pain of letting go to the joy of musical expression, discover how “You Kinda Ruined Everything” came to life and what it means for the artist’s budding career.
The title “You Kinda Ruined Everything” sounds quite provocative. What’s the story behind this track, and what personal experiences inspired its creation? It’s about a girl from my university who confessed her feelings to me and therefore ruined our friendship as i didn’t feel the same way. It’s about the crumbling of a friendship i truly cherished.
The song seems to carry a raw emotional tone. Can you walk us through the emotional journey that led to writing these lyrics? I just wrote what i felt was right, to me everything was ruined because i lost her and the love i had for her left a painful lingering effect in my heart.
How does this single differ from your previous musical releases? What new artistic territory are you exploring with this track? This is my first ever track.
I just wrote what i felt was right,
Could you share some insights into the songwriting process? Was this a track that came together quickly or something you worked on over time? It spanned over a few months of writing, i wanted to convey my true feelings in the best way possible. It was hard at times to write the song but i felt like others could also relate to the song so i carried on.
The title suggests a complex relationship narrative. Without giving too much away, what universal emotions are you hoping listeners will connect with? I hope others can feel this song the same way i do, dealing with loss and heartbreak while leaving a bittersweet taste on their tongues, that they were grateful they had a moment in their lives they can cherish forever.
Can you tell us about the production of the track? Did you collaborate with any other musicians or producers to bring this single to life? I collaborated with my best mate Harry Marden, the producer of this song who is very taleneted in this industry. I felt like i could only make this song with him as he’s done the same in the past.
How does “You Kinda Ruined Everything” fit into your broader musical vision or upcoming album? I like to write about emotional and melancholy aspects of life as it’s a healing journey for me that allows me to look back and pull a smile.
What was the most challenging aspect of creating this single, both lyrically and musically? I didn’t want to make it too sad as that wasn’t the overall message i was trying to give, so the lyrics although may be sad, we made a tune that captures the highs and lows of love, loss and also happiness.
For fans who might be new to your music, how would you describe the emotional and musical landscape of this track? Bittersweet and heartwarming.
The title implies a sense of disappointment or heartbreak. How do you balance personal vulnerability with artistic expression in your music? I try not to be too direct with what i say in the song, i sort of beat around the bush and convey my words in a way that doesn’t leave the song on a bad note but allows me and others to feel content with the music. Although i did feel anger, it was purely due to my emotions getting the best of me as i couldn’t accept the fact i lost someone like her.
Are there any specific musical influences or artists that inspired the sound or emotion behind this single? I like d4vd’s lyrics and the upbeat vibe of LAUNDRY DAY, so i wanted to mix the two.
What do you hope listeners will feel or experience when they hear “You Kinda Ruined Everything” for the first time? I hope they just enjoy the melody and the melancholy yet happy beat we created. We don’t want listeners to feel sad, but leave the song feeling like they relate and appreciate to others experiences and that we’re not doing this alone!!
Consumerist Dream": The 10-Year-Old Artist Redefining Pop Music
This is not just another pop song, Soleil River Nation’s “Consumerist Dream” is a powerful statement from a 10 year old who sounds a lot older than she is. Released on November 15th, this track explores materialism and social media and how they impact kids and teens. You wouldn’t think that a person so young would be able to impart this level of insight, but Soleil does so with a level of maturity that’s pretty remarkable. Young Musicians Unite helps to support her and she meshes a nice catchy danceable beat with lyrics that make you think.
These shimmery synths launch you into a dreamlike space before exploding into a beat that’s hard to resist and the song starts with this. Delicate, but purposeful vocals from Soleil over thought provoking lyrics about things like plastic waste and the never ending pressure to ‘buy more, be more’.
Delicate, but purposeful vocals from Soleil over thought provoking lyrics
Her sense of humour combined with serious themes, combined with her sound that’s unquestionably fun, make her a real treat. A track that gets people moving and makes you think is rare. Soleil isn’t just falling into the trend; she’s carving her own lane and her one of a kind style is a blend of influences from artists like Dua Lipa and Sia, with her own special twist.
“Consumerist Dream” is not only music, it’s a cry for awareness, born out of a real sense of passion and talent. Soleil River Nation is a force to be reckoned with and this song proves it because her journey from self taught musician to performing with the National Children’s Chorus is quite impressive. She’s here to make waves and her music is definitely worth a listen.
Tomas Raae's "Jeg Glemmer Dig Aldrig": A Nordic Echo in Sound
A broken teacup, stained with Earl Grey, hums with the same quiet ache as “Jeg Glemmer Dig Aldrig.” Tomas Raae and the ethereal voice of Eline Hellerud Åsbakk craft something fragile, like frost on a window pane – beautiful and inherently ephemeral. It’s a love song, maybe, or a lament. It’s hard to pin down the heart of it exactly, which, I suppose, is the point. We don’t always know what we feel; it just washes over.
Raae’s instrumental work isn’t neatly categorized. There are flickers of jazz, yes, and a deep-rooted pull towards Nordic earthiness, but then a digital pulse enters, like a signal from a distant star. It’s the sound of old and new worlds colliding, perhaps reflecting how memory itself is both a fading photograph and a hyperreal projection at the same time. I once saw a flock of starlings perform a murmurations; this sounds a bit like the feeling that gives me.
Tomas Raae’s “Jeg Glemmer Dig Aldrig”: A Nordic Echo in Sound
There is this raw, emotive quality woven in, like a loose thread on a worn tapestry. The Danish, though I can’t grasp the words, seems to carry extra weight, somehow. I think about old Viking ships and stories sung around crackling fires, echoes of time itself seeping into the melody. Where did the teapot I’d had before break and go anyway?
“Jeg Glemmer Dig Aldrig” isn’t a song you listen to, really, but a state you enter into. It leaves you standing there, barefoot in a field, wondering if memory is just a clever trick the brain plays or something truly magical.
Orchestral Twinkles: Eric Harmsen's "All the Christmas Lights" is an Experience
Okay, let’s pretend the universe coughed up “All the Christmas Lights.” Not literally, of course, though I did find a sparkly rock in my pocket this morning – probably unrelated. This single by Eric Harmsen, straight outta Alpine, manages to feel both like a familiar, cozy sweater and a strangely uncharted territory.
The music… it’s less jingle bell rock and more like a snow globe gently shaken. You’re inside now, with that swirling sense of peace, but also a touch of beautiful, elegant chaos. It’s all orchestral, sure, and I might as well be sitting on a cloud made of cellos and chimes. This isn’t mere holiday music; it’s the quiet moment after the chaos, when you finally notice the individual lights twinkling with intention. A bit like a well-lit painting, actually. Think less Monet’s haystack and more an Ansel Adams landscape in a soft winter glow. Random, I know.
Orchestral Twinkles: Eric Harmsen’s “All the Christmas Lights” is an Experience
The message, or the feel, is deeply connected to togetherness, sure. But not that forced, shiny togetherness we’ve all felt the awkward pressure of at family gatherings. This is the kind that just is. Like how a single falling leaf might join a pile, each separate but contributing to something bigger. It’s personal peace writ large. I wonder if Eric owns a very loud cat that is secretly a music critic. It makes just as much sense as anything else these days.
It’s the sort of composition that asks you, quietly, to connect with something beyond the glittery surface. You could say it’s about mindfulness if you wanted to, but really, it’s about that moment of breath before or after the main event. That fleeting quiet moment where, for a second, all is just…there. Now, if you’ll excuse me, I believe that rock in my pocket needs closer examination. Did it just wink?
I saw a pigeon wearing a tiny top hat yesterday. It has absolutely nothing to do with Rich Allen’s new single, “No Pinks”, but, honestly, what does? The song unravels like a worn photograph, the edges blurry with regret, a silent conversation shouted in the spaces between plucked guitar strings. Allen, known around Tampa for his poignant songwriting, digs deep, like a fossil hunter searching for some skeletal truth beneath the sandy soil of relationships.
The emotional heft here… it’s like holding a brick. But not just a brick, more like, a brick someone tried to bake bread in, resulting in a crumbly, sad brick. “No Pinks” doesn’t tiptoe around its topic, the raw edges of terminated pregnancy, the sting of the unsaid and the unheard. You can feel the internal echo of a decision made in the dark. It’s a heavy song, a conversation with ghosts that doesn’t always find its footing but speaks with unflinching honesty, slow beautiful guitar licks providing the emotional pulse.
Rich Allen’s “No Pinks”: The Unsaid Screams
There’s this almost forgotten 1950s diner on Highway 17 in Sarasota. If you stared long enough at the chrome and cracked vinyl booths you might find the song in there. Maybe not this song specifically, but its spirit. “No Pinks” isn’t trying to answer everything. It seems content just to ask the question, to expose the vulnerability we all tend to hide under layers of “should haves” and “what ifs”. It’s art at its most human, at its most awkward, but undeniably, deeply real.
This is less music, and more, an offered hand to those who’ve walked the same desolate path, though I would not be sure a hand offering comfort, maybe just a hand.
The silence left by the song hangs, as thick as the humid Tampa air.
Strings and Stories: Behind 'Fathers' with Zachary Mason
Zachary Mason’s latest single “Fathers” is a breathtaking folk-pop exploration of the profound bond between fathers and children. Hailing from Guildford, England, Mason has crafted a deeply intimate musical landscape that resonates with raw emotional authenticity.
The track opens with delicately picked acoustic guitars, gradually layering string pads and subtle instrumentation that create an immediately introspective atmosphere. Mason’s warm, sincere vocals carry the weight of familial connection, transforming a personal narrative into a universal experience of love and gratitude.
Lyrically, the song is a masterclass in emotional storytelling. Lines like “a father’s eye is a child’s sky” capture the magical perspective of childhood, where parents seem omniscient and infinitely protective. Mason eloquently portrays the transformative nature of fatherhood – how becoming a parent fundamentally reshapes one’s entire existence.
The minimalist folk production allows the song’s emotional core to shine, with each guitar note and vocal nuance carefully considered. It’s a track that manages to be simultaneously melancholic and hopeful, inviting listeners to reflect on their own familial relationships.
For those who appreciate music that serves as an emotional mirror, “Fathers” is an essential listen – a tender, vulnerable exploration of love that will likely bring a tear to the eye and warmth to the heart.
What inspired you to write a song specifically titled “Fathers”? Is there a personal story behind this track? I am fortunate to have a very loving and supportive father, and this song is in part drawn from what I see in him as a father and how he feels about his son.
Also, I had an idea a little while ago to do something (be it a song, poem or prose) about fatherhood and how becoming a father changes a person and their outlook on life.
Can you walk me through the emotional journey you were experiencing while creating this song? It can be difficult to describe emotions accurately can’t it- easier perhaps in our artistry than in more matter-of-fact statements!
Putting it simply though, I would say love is a crucial part of this song: love for a father through the love he feels for you…
I think as well that this song explores the meaning and import of becoming a father, and so I felt that profound sense of meaning that I guess a lot of artists discover when delving into life’s deeper channels of meaning- a sort of wonder and sense of discovery…
I felt that profound sense of meaning that I guess a lot of artists discover when delving into life’s deeper channels of meaning- a sort of wonder and sense of discovery…
How does “Fathers” differ from your previous musical releases in terms of sound or message? Though some will see similarities in the general style and arrangement of the single in my past releases, there are some differences. The lyrics are perhaps more likely to resonate deeply with certain people; also, this is the first folk-orientated track I have released that was produced by Derrick Lin, someone I have worked with only for a short while but who has introduced a new dynamic to my work.
Who did you collaborate with on the production and arrangement of “Fathers”? The songwriting, lyrics and recording was all me; but, as mentioned above, Derrick Lin was the man who achieved the final polish. The song was mixed and mastered in a couple of days or so and I was grateful for the quick work!
What genre would you say this song fits into, and how does it represent your artistic growth? I’d say there’s definitely a Folk Folk/Pop connection here…
In terms of my growth: It’s another single, another work under my belt- and also a new theme which I’ve given some thought and learnt things from.
Were there any challenges you encountered while writing or recording this song? I don’t always have the best of health and I wasn’t feeling my best when I did this track… It got done though and I’m pleased with the outcome!
How do you hope listeners will connect with or interpret the message of “Fathers”? I hope that fathers, sons and families fall in love with this song and that it becomes an image to them of their own love and cherished memories.
As with all my songs, people are welcome to take a step into my world which, quite often, has taken a step into theirs…
Are there any specific lines or verses in the song that hold particular significance for you? I guess the chorus “They made you live” is a simple yet profound summary of the song’s message regarding fatherhood… “Once just a man… It changes everything…” is also an important line I feel- underlining the powerful impact of becoming a father on a person’s inner and outer life.
Do you have plans for a music video or live performances to accompany this release? There’s already a lyric video up on my YouTube channel that people can watch. I made it myself- I hope you like it!
I don’t perform live at the moment so I’ve nothing to announce on that matter.
How does “Fathers” reflect your personal experiences or perspectives on family and relationships? I sense something of my own father in the song- the rest is my own analysis and perception of the subject.
I’m grateful to have such a fine father: without him, this song would likely have gone unwritten- or would be completely different!
What can fans expect next from you after the release of this song? Well as I’ve been telling people on my socials and the website, this song is a brief break from the more rock-oriented sound I’ve been releasing of late, so for the next release you can expect something in the rock genre!
And if you are a fan of mine, may I take this opportunity to say a warm: “Thank you!”
Zachary Mason
The color of a worn-out teddy bear, the kind that smells faintly of dried chamomile tea and forgotten childhood adventures—that’s what “Ma,” the new single from Jeán et Joie, conjures up. It’s less a song, and more an unearthed memory, one that’s been tucked away so deep it almost feels like someone else’s.
Jeán et Joie, the American folk artist, lays down vocals as smooth as river stones, each syllable carefully chosen, like they’re dusting off these forgotten feelings. You know that feeling when you find an old photo? You stare, you remember, but it also feels just a little…removed? That’s what “Ma” offers—a hazy, lovely disconnect, even as it draws you in. We’re talking about that maternal bond, sure, but also about all those unnameable things that we carry within, the little bumps and bruises of life that somehow tie us to, well, everyone and everything, in that strangely intimate way. Which, come to think of it, is a bit like looking at those Impressionist paintings; all blurry up close but powerfully unified from a distance.
Unearthing Feelings with Jeán et Joie’s “Ma”
I thought of the 1920’s, randomly, when I listened. Maybe the echoes of that era when life had to be simpler and yet, probably wasn’t at all. Is it possible, that the real magic of music is how it reminds us of all the things we didn’t even know we were holding onto? The adversities it refers to here, it isn’t something that feels heavy to carry, but like an oddly comforting truth.
The raw vulnerability mixed with Jeán et Joie’s powerful voice, reminds you that some experiences, even when deeply personal, are somehow…universal. How curious is that?
Maybe a song, when it’s real, is just a little bit like a moth to a flame. You’re just drawn towards it, aren’t you?
Love's Slow Rain: Mi'Kael Chalyce Finds Her Sun in "Faded Love"
Sometimes healing sounds less like a whisper and more like a storm—a sonic reckoning that blows through the debris of old wounds, scattering the ashes of what no longer belongs. Mi’Kael Chalyce’s “Faded Love” is that storm, a swirling force of fiery assertion and raw self-honesty, blossoming from agony into liberation. Let me say it plainly: if resilience had a sound, it might just be her voice.
The single lands like a confession channeled through a cathedral, her vocals vast and soaring—the kind of power that could knock over a weak-willed heart in the front pew and leave it questioning its moral alignments. Mi’Kael sings of breaking free not with bitterness but with clarity, stretching these guttural truths into pockets of melody that pulse and sigh as though the track itself is exhaling relief.
Dorrell Smith and Beats by Dre take up dual roles as custodians of this sonic sanctuary, layering velvety production and a subtly sinister beat that slithers like an unwelcome memory but eventually fades into golden harmonies. You can practically see the door slamming behind her as the climactic swell relinquishes its grip. Every note feels measured, evidentiary—proof of messy survival baked into snare hits and synth slides.
Credit: David Easton & The Lions Den
There’s an undeniable intimacy to her narrative, but don’t flatten her text to the tone of a personal tragedy. This is rebuilding. Some chapters in life burn because they’re kindling for the bigger fire—that’s how it hit me. “Faded Love” thrums with generational scars flipping their script, and in an era where self-empowerment narratives often radiate colder tenacity, this is lush, visceral stuff.
Mi’Kael Chalyce has positioned herself as an oracle in progress—wounded but steady, reshaping not just a career but a template for how R&B can woo, weep, combust, and still make space to heal.
From Pac-Man to Pop Culture: "Rok" and the Art of Emotional Synth
If the Pac-Man arcade cabinet at the corner of a musty Scottish pub could talk, it might recount something akin to Rok’s self-titled odyssey. Nigel Dunn, the one-man conductor behind this electrified locomotive, paints in phosphorescent streaks of emotion while clutching an aesthetic pulled straight from the neon abyss of ’84. Yet, “Rok” isn’t content with cosplay. No, this album doesn’t merely wear the past like a gimmicky badge of honor. It interrogates life’s collective ache—love’s jagged edges, regrets burning cigarette-like holes in our lungs, and the gaudy comfort we find in pop culture relics.
Themes of life, love, and regret snake through this 11-track surge of modern electronica. You can almost hear Dunn wrestling with an unwieldy spectrum of human feels (if emotions had a BPM, he’d chart every one). This isn’t background music; it demands you see its layers. If love is the chorus—a relentless, echoing declaration—then regret slithers in as silent tension, barely masked by those glittering synth leads.
From Pac-Man to Pop Culture: “Rok” and the Art of Emotional Synth
The album’s marriage of nostalgia and innovation flirts with contradiction—and oh, what a flirt it is. Pop choruses hook like errant sweet wrappers glued to a gust of Glaswegian wind, while Dunn’s production ensures no one confuses “Rok” for a Spotify-era algorithm babysitter. He manages to craft something suspiciously intimate and personal under the guise of stadium energy, a difficult trick made deceptively simple.
“Rok” feels like going time-traveling not to fix mistakes, but to boil them down—and find meaning amid the wreckage. Think of it like audio-social realism, except chiseled in shimmering synth and bound tight by staccato euphoria. By the end of it all, you’re left wondering: is the past really the past, or does it pulse just beneath our present, as alive and neon-bright as we are willing to let it be?
Authenticity and Evolution: Inside the World of Drew and Badger
So I just got the scoop on this new surf rock EP *Splash Royale* by “Fly Janet” (Drew and Badger), and honestly? It’s kind of awesome. These guys are doing something totally different from their previous stuff – it’s like they’ve decided to just have fun and not overthink everything.
The whole EP basically came from this totally random inspiration. Drew’s apparently a huge Sauce Walka fan, and they just decided to create something that feels good, no deep hidden meanings required. And yeah, that makes the music feel super authentic.
Some of the tracks are really personal. Like, “Pipe Dream” was written right after Drew’s niece was born, which is just such a cool backstory. And then they’ve got these wild instrumental tracks that basically throw genre rules out the window.
What I’m loving is how they’re just doing their thing. No trying to fit into what people expect from a surf rock band, just pure creativity. The track “Head of Cow” even has this whole visual tribute planned that sounds pretty intriguing.
If you’re into music that feels fresh and doesn’t take itself too seriously, *Splash Royale* is definitely worth a listen. It’s the kind of EP that just feels like two musicians having a blast and inviting you along for the ride.
“Congratulations on your EP! Can you tell us about the inspiration behind Splash Royale? -Thanks so much! A lot of surf rock albums these days have a horror movie and rockabilly vibes. That isn’t our thing. We don’t actively seek any type of sound. These songs are a natural progression in our song writing.
The title Splash Royale is intriguing. What’s the story behind the name? – We had been listening to a lot of Sauce Walka. Drew came up with the name. We loved the title. Didn’t want to overthink it.
How does this EP differ from your previous work in terms of style and themes? – It has a brighter happier sound compared to anything we’ve done before. We have been very happy with how much fun it has been to write and play in this band. The vibe came through on the recordings.
– It has a brighter happier sound compared to anything we’ve done before.
Did you collaborate with any other artists or producers for this project? If so, how did those collaborations influence the final sound?
– We had 0 collaborations on this ep. This album is just Drew and me. Not that we are opposed to working with anyone. It just didn’t happen this time.
Is there a specific track on the EP that you feel is particularly personal or meaningful to you? Why? – Drew wrote pipe dream after the birth of his niece. It was special to see it finally make it on an album.
Your fans love your unique sound. How do you balance staying true to your signature style while exploring new musical directions? – We don’t think about them at all. We write music that we want to write, and that is how we stay true to ourselves. Authenticity is what our “fans” like to see/hear. If they don’t enjoy it, that’s fine, but we try to stay away from the thought of what would our fans like to hear.
What themes or messages are you exploring in Splash Royale? – M.O.E. Money over everything. Nah lol, I’m just fucking with you. There is no message. We just wanted an album that sounded different, and sonically had the same vibe.
Are there any music videos or visual content planned for tracks from Splash Royale? – Our first music video is going to be head of cow. Right before we announced the release date of “Splash Royale” (Chris) Badger’s mom passed away unexpectedly. The music video is going to be old 8mm home video footage of his mom from when she was a kid.
She grew up all over the world in places like Vietnam. The video is going to be a memorial to her life. She was an amazing woman who always supported her sons music endeavors. Badger’s sister is an amazing artist and photographer. She did our album cover, and she is doing the music video as well.
Looking back on the journey of creating Splash Royale, what’s the biggest lesson you’ve learned? -Don’t be afraid to be yourself, and just try new shit. These songs sound like nothing we would have written in the past. We are proud of it even if everyone ends up hating it.
Is there anything else you’d like your fans to know about Splash Royale or your creative journey? -Fucking life is short dude. Don’t be afraid to be yourself and do the shit you wanna do. We don’t take life for granted. So while we have the time and ability to make music we are gonna have fun and take advantage of our time here on earth.
Where can people find your music and keep up with your latest updates? – Spotify, Apple Music, all those sites. Our IG is where we tend to post all our latest updates. TikTok for all our thirst trap videos.
Ava Valianti Captures the Bittersweetness of Time in "Wishing Well"
I just have heard about this young and talented artiste called Ava Valianti. Wow. She is insanely talented 15 year old who has just dropped her single *Wishing Well* and honestly? I’m literally blown away by the fact that someone so young could come up with something so great.
It’s basically about that weird nostalgic feeling of missing out on childhood: you want to grow up and then you want to hold onto that lost magical kid moment. Her vocals are really good. She has a little bit of Billie Eilish to her mixed with Olivia Rodrigo but with her own little twist.
It’s so super soft and so gentle, just her voice and some acoustic guitar and then it builds into this like this powerful anthem, you know, basically embodies every complicated feeling about growing up. The bridge is especially killer – her voice just really soars and it just gives me total chills.
It’s so super soft and so gentle, just her voice and some acoustic guitar and then it builds into this like this powerful anthem,
It’s that one line: Can days be that bright again? that just hits different. She’s like she’s perfectly captured that moment when you knew you can never get back those years.
Get this – she’s already been nominated for a New England Music Award. At 15! Coming out early next year her debut EP is out and I am telling you that she is an artist to watch. *Wishing Well* is not just a song, it’s basically a promise for the greatness music to come.
A Celestial Symphony: Karen Salicath Jamali’s Dreams of Angels"
Have you heard Karen Salicath Jamali’s latest album *Dreams of Angels*? That’s serious. It was really cool how she can get that almost supernatural vibe, all with an old Steinway grand piano.
The whole album feels like driving through a dreamy, peaceful Landscape! There are beautiful melancholic tracks like “Archangel Metatron” you can really feel the emotion rolling through the entire note. Other songs follow suit, like “Angel Gabriel’s Heart” that has a nice, hopeful rhythm that just makes you feel good.
It’s cool and very intentional, and that’s how every single sound feels. Jamali isn’t just playing music,
It’s cool and very intentional, and that’s how every single sound feels. Jamali isn’t just playing music, it’s a story about angels and spiritual experiences. The way she uses these soft, flowing arpeggios makes you think she’s playing something much more profound than another piano album.
If you are into music that helps you zone out, meditate, escape reality for a bit, this is your album. It’s not just background noise, it’s an experience. Each track is a whispered secret, equally delicate and powerful.
Put on some good headphones, close your eyes, and just soak up *Dreams of Angels* seriously. Trust me, this is pretty magical.
Truth Giants: 777BLIKA’s NXTE Inspires and Uplifts
NXTE, 777BLIKA’s latest single, is a heartfelt anthem for anyone trying to make it through life’s challenges. On the track, collaborator 7GXNG and I blend introspective lyrics with polished production to create a song that’s both reflective and empowering, something we created alongside in our personal studio.
NXTE is the duo’s journey from 9-to-5 workers to inspirational artists that comes through in every bar. It’s not music; it’s a guide to life’s journey of self discovery and resilience. Some of the lines of the song represent the central theme of the song that is “Fighting with truth Giants carrying out natural gifts.”
NXTE is musically a blend of modern hip hop and trap with ambient rhythms and raw emotive vocals. 777BLIKA and 7GXNG have chemistry that’s seamless and a sound that’s at once familiar but new. The beats flow perfectly, bites you to head bop and introspection.
In the end, NXTE is more than a song, it’s proof that persistence and faith pay off, BLIKA’s organic storytelling and impeccable artistry make them already rising stars in the music game. If you are looking for some inspiration or clarity, this track is a must listen.
Mick J. Clark’s ‘It’s Getting Near Christmas’ is a welcome fresh take on the season, in a world where most of us have our holiday music overdressed and overly commercialized. The track already boasts over 85,650 Spotify streams and proves that authentic holiday spirit never goes out of style.
Clark captures the subtleties of the holiday season with a remarkable precision. It’s not another Christmas song… it’s a musical time capsule of the rush, the rush, and the joy that come with the celebrations. The song feels like a conversation with an old friend and also includes the challenges of last minute gift shopping and the warmth of decorating the tree.
The track is relatable. Clark’s voice is cozy and inviting and draws listeners right in. The melody is catchy as hell, and it’s not as if it’s just cheesy holiday cheer, it’s genuine warmth.
Even as an artist who has already generated quite a bit of noise (with 54 tracks enjoying regular play and multiple chart entries), Clark proves that he can make music that actually speaks to people. More than a seasonal track, this is a musical reminder to stop and smell the roses, if you will, of the magical moment.
Ty Wood’s 'Livin’ It Up' Sparks Joy and Resilience
Ty Wood’s debut single “Livin’ It Up” arrives like a breath of fresh air in a music scene that often feels overcrowded and formulaic. This isn’t just another feel-good track—it’s a robust exploration of personal resilience wrapped in an infectious musical package.
From the first notes, Wood commands attention. His vocals cut through the mix with a raw confidence that speaks to years of musical experience, despite being a newcomer. The track brilliantly balances rock energy with country soul, creating a sound that feels both familiar and refreshingly original.
The track brilliantly balances rock energy with country soul, creating a sound th
The song’s strength lies in its authenticity. Inspired by Wood’s personal journey, including his involvement with the Write Across America project, “Livin’ It Up” transcends typical motivational anthems. It’s a nuanced reflection on overcoming challenges, punctuated by driving guitars and soulful harmonies that invite listeners to embrace their own strength.
A standout female vocal adds unexpected depth, creating harmonies that elevate the track beyond a simple debut single. The result is a song that’s equally at home on a road trip playlist or as a moment of personal motivation.
Ty Wood has delivered more than just a first single—he’s made a statement about resilience, hope, and the transformative power of music.
Seizing the Moment:: The Harbours' Explosive 'Live It Up'
The Harbours come in a music landscape that is often drowned in cynicism and they bring with them a pure, unapologetic burst of joy. Their latest single ‘Live It Up’ is much more than a track – it’s a declaration of youthful rebellion and unadulterated enthusiasm.
Born from the strange crucible of university lockdowns, Ollie Drakard and Will Massarella-Tyler have made their pandemic era jam sessions into a musical bunch to be reckoned with. The essence of their journey is captured on ‘Live It Up’, a perfect combination of infectious indie pop and genuine story telling.
The musical architecture of the track is a masterclass.
The musical architecture of the track is a masterclass. The standout guitar riff sets the pace and builds with a captivating bridge that makes for almost cinematic anticipation. It’s the kind of song that becomes something that makes you wanna move, feel, and celebrate.
The Harbours are able to take musical sophistication and add a pinch of unfiltered, pure fun. It’s no surprise this is a ‘Track of the Week’ on BBC Introducing, a band that knows just how to craft a song that’s both thoughtful and irresistibly danceable.
The song ‘Live It Up’ is not just a song, it’s an invitation to live life’s moments, dance, connect, and just be there in the joy of the now.
From São Paulo to the Dance Floor: Child of SP With ‘Halo’
Child of SP is one of the very few artists who can coax raw emotion and dance floor energy, whilst also sounding cool at the same time. His latest single “Halo” is a beautiful hybrid between atmospheric R&B, Jersey Club pulsations, and some of the most introspective storytelling you’ll find in trap.
Child of SP is from São Paulo and South Florida shaped him, giving us a truly unique perspective on his music. From having his early days of social media covers to getting signed to a major European label in 2021, he’s been steadily building himself a reputation for innovative sound. It’s a ‘halo’ track, the end of the journey in which genre defied expectations.
The song begins with ghostly synth textures, which lead into a brutal beat that is equally intimate and expansive. He goes back and forth between breathy melodies and razor sharp rap flows, speaking on the themes of vulnerability, temptation and self reflection.
The difference about “Halo” is that it takes a nuanced approach to club music. It’s more than a track to manipulate bodies, but a track that makes you think. Child of SP has already broken Luxembourg’s digital charts and beaten out global artists, making him more than another newcomer, he’s a thorn in the side.
