NovA has today released his new album titled ‘Dark Was The Night’. Derived as a total and absolute concept album, ‘Dark Was The Night’ definitely deserves your unbridled attention when you hit play on track one. Music that teaches as well as it entertains and evokes emotions is the type of music we need more of.
Shifting styles and mashing genres, NovA shows his vast repertoire of musical tastes and artistic choices. Consider the music a gateway drug with the intention of getting you to hear the messages and lyrics. Each track a chapter and every chapter a life lived and lesson learned. This is a perfect example of music as commentary.
About ‘Dark Was The Night’
NovA’s Dark Was the Night is a cinematic concept album by Philadelphia-based lyricist NovA and an instant underground hip-hop classic. In this album each song is a scene. It tells a gripping story of a young boy’s life, exploring themes of love, loss, and ultimately, his death.
The narrative begins with the devastating loss of the main character’s father, whose death sets him on a dark and tumultuous path. Amid the darkness, moments of hope emerge through the love and support of his romantic interest. However, this hope is shattered when his love interest betrays him, culminating in his tragic end.
The album effortlessly shifts between styles, showcasing NovA’s versatility and storytelling prowess. Hardcore hip-hop tracks like “Pocket Rocket,” “Package,” and “Sweet,” featuring fellow Philadelphia native Dev Hoc, deliver high-energy lyricism and gritty beats. These are seamlessly balanced with dark, introspective songs such as “No Where to Run,” “Hell On Earth,” and “Havoc,” which delve deep into themes of pain, struggle, and resilience.
Standout collaborations add depth to the album’s impact. Styles P delivers raw intensity on “Hell On Earth,” a hardcore, super-lyrical exploration of urban struggle and survival. Meanwhile, Freeway joins NovA on “Marvel,” an upbeat and confident anthem. As two Philadelphia natives, NovA and Freeway craft a track infused with hometown pride and infectious energy, positioning “Marvel” as a Philly classic.
On the other end of the spectrum, NovA embraces lush, silky-smooth R&B/pop-inspired tracks like “If You Let Me,” “Don’t Call It,” “One You Call,” and “Body,” infusing soulful melodies and heartfelt lyrics that explore themes of love, vulnerability, and desire. These tracks add a softer, emotional dimension to the album, showcasing a different side of NovA’s artistry.
“Eye Wonder”, another standout track, takes a unique and poignant approach, telling the story of the main character’s death through the lens of Stevie Wonder’s discography, weaving his music into the narrative in a deeply emotional and creative way.
“Oh God, Good Lord” is a chill-inducing moment on the album, with NovA’s raw delivery and haunting production making it unforgettable. “Risk It All” offers a lush, rap/R&B-inspired vibe, blending heartfelt lyrics with soulful melodies to explore themes of vulnerability and sacrifice. Meanwhile, “Hit Another Lick” delivers a dark and foreboding tale of crime, steeped in tension and grit.
The final four tracks of the album bring the story full circle, peeling back the layers of how and why the main character meets his tragic end. These songs reveal the decisions, betrayals, and circumstances that led to his downfall, offering a powerful and emotional conclusion to the narrative.
This emotionally charged album masterfully weaves a compelling tale of resilience, heartbreak, and the fragile balance between light and darkness, cementing its status as a standout in modern hip-hop.
About NovA
NovA has emerged from the vibrant streets of Philadelphia, carving out a distinct niche in the hip-hop world with a style that blends complex rhymes and poignant storytelling. His musical journey began at the age of 14, and he has since developed a unique sound that resonates deeply with listeners. Among the highlights of NovA’s career are his collaborations with hip-hop legends Freeway and Styles P on his latest album, “Dark Was The Night.” These partnerships not only serve as significant career milestones but also demonstrate his talent and hard work, earning him considerable respect within the hip-hop community.
“Dark Was The Night” is a gripping narrative about a man whose challenging childhood leads him through a life marked by intense relationships, profound loss, and ultimate betrayal, culminating in his death. The album explores themes of love, loss, betrayal, and the impact of life choices. Driven by a passion for crafting beautiful, meaningful music, NovA continually strives to push the boundaries of hip-hop, expressing a range of emotions through his lyrics and melodies. Looking forward, NovA is determined to broaden his influence in the music world and explore new creative avenues, ensuring his voice remains a powerful and influential force in the hip-hop industry.
Seattle Alternative Electro-Soul artist Fem du lit have dropped their debut album “’Stigmata’” on Friday, February 28th. The album examines the stigma of queerness in the African diaspora and the ruptures in family relationships that ensue. The story arc takes the listener on a journey, from the joys of family, to defiant romances, domestic abuse, and patrilineal heartbreak. Titled using the latin etymology, ‘Stigmata’ juxtaposes religious and occult motifs interwoven throughout the 13-song full-length debut.
With vocals resembling Anita Baker and Kadhja Bonet, the album showcases Fem du lit’s bilingual lyricism. Their afro-futuristic spin on production adds to the elemental feeling of a spiral decoding inherited trauma. “Pour la fin du temps”–music for the end times, this apocalyptic compilation of songs ties together heavy political topics with hypnotic, psychedelic instrumentation to soothe the soul in the face of environmental catastrophe. “End of days, terror on the masses, luxury for some, warmth of your hum pollinates my lungs. Honey-glazed onions remedies my soul, remedies my soul. Cataclysmic love heals harm from above.” ‘Stigmata’ includes four already-released singles: “BANKRUPT”, “COLD COLD WORLD”, “LILYJAM” and “DEAD MAMA”.
Behind Fem du lit’s compelling artistry is Francesca Eluhu, a visionary Seattle-based singer, producer, and multi-instrumentalist. Their artist name, meaning “woman of the bed,” evokes the indictment of femininity embodied in haunted spirits, comfort, shelter and sensuality. Of French and Congolese descent, Eluhu pulls inspiration from their Afro-diasporic heritage while weaving in eclectic influences like Mereba, Liv.e, and Salami Rose Joe Louis.
Known for fronting Seattle’s psychedelic neo-soul band, Day Soul Exquisite, FEM du lit’s solo project ventures boldly into an electro-soul realm, showcasing their genre-defying sound. This debut album features instrumentalists Thomas Arndt, Xiomara Mills-DuPree, Josh Pehrson, Zora Seboulisa, Lily M Tahar, Liu Wenbao, and a feature from rap artist Da Qween. STIGMATA is to be released on Eluhu’s independent record label, La fem records on February 28th, 2025.
Archer Oh has today released their new album titled ‘The Internal Theater’ via Rainbow Row Records. ‘The Internal Theater’ is definitely an album that has something for everyone. Plus it has that rare ability to be able to play from start to finish without losing a listener or forcing anyone to reach for the skip button. No filler whatsoever.
With that aside, the songs are beautifully crafted messes of angst, anger, rhythm, rhyme, and resolution with anthemic growl and post punk pure rock banter. If you don’t feel that rush of adrenaline mixed with already, um, mixed emotions then you should probably go to the doctor because you have bigger problems.
Unhidden hooks and dirty chords drenched in pristine passion, ‘The Internal Theater’ pisses off the introvert and calms the extrovert just enough for both to meet in the middle.
About Archer Oh
California indie garage rock band Archer Oh (lead vocalist and guitarist Arturo “Archie” Medrano, drummer Pedro Hernandez, guitarist Diego Jacuinde, and bassist Juan Cabrera) have released their highly anticipated debut studio album, The Internal Theater via AWAL/Sony. Engineered by Sean Cook at John Congleton’s Los Angeles studio, Animal Rites, and mastered by Howie Weinberg, the album unleashes a deeper, more evolved sound from the group. Through a flurry of moody melodies and passionate riffs, The Internal Theater unpacks inner conflict and the coming of age feelings and confusion of what one expects of themselves, versus what is expected of them by society.
These themes are best heard on The Internal Theater’s focus track “Leave Me Alone” – an explosive tantrum. Disillusioned with their own confusing behavior and people in their life, the song is a wanting to be left alone, yet the only thing that can be done by the singer is to scream it over and over to the point of exhaustion. Archie continues, “An exhaustion that is somehow simultaneously the most tired you have ever been and also a weariness that is all too painfully familiar.”
Archer Oh will be embarking on a US tour next month, kicking off in Phoenix, AZ on March 6. The band will also be making a stop at this year’s SXSW as an official artist. Tickets and dates for all shows are available here.
Humbly beginning in the backyards of the Inland Empire in 2017 – through their energetic live performances, DIY work ethic and goofy personalities – the group has amassed a cult following that in spite of the odds, increasingly platforms the band to new heights. By 2022, Archer Oh had shared stages with acts like Destroy Boys, Vundabar, Beach Goons, Six60, and Late Night Drive Home, embarked on two national tours supporting The Red Pears, and closed out the year with their first headline tour in celebration of their debut album, Gradients, including 3 consecutive sold out headline shows in Southern California
The following year solidified Archer Oh as a formidable touring machine, with the band playing 84 shows in 2023 – including The Channel Surfing Tour – their first full-length headline tour that included performances at Treefort Fest, Austin Psych Fest, and Norman Music Festival, capping it off with a headline show at The Belasco in Los Angeles. Fans then saw the band announce their biggest show ever: the Say It’s Forever Festival with The Red Pears at Los Angeles’ The Shrine. Archer Oh are excited to continue to win over audiences with the new music and live dates.
Joan & The Giants have today released their new single and lyric video titled ‘Still Breathing’. From Australia to the world with love and feeling for the music and everything that inspires it, ‘Still Breathing’ is a testament to the butterfly we all become after being trapped in the cocoon. Change is inevitable, life is not. That is a gift. What you do with that gift is up to you. This is a track that lets you know you’re still alive, kicking, and picking your destiny one choice at a time.
Anthemic in feeling and personal to the touch, ‘Still Breathing’ is that song for everyone. With that personal touch for the inspiration (read below), ‘Still Breathing’ is written from experience and comes from the heart from an artist that wears that heart on her sleeve.
Check out our other features with Joan & The Giants HERE.
About Joan & The Giants
Joan and the Giants’ collections of accolades expanded exponentially in the past year. Having won Best Rock Song and Runner up Song of the Year at the 2024 WA Song of the Year Awards, touring along Australia’s east coast, playing Sydney’s SXSW, and playing alongside P!NK and Tones and I at OPTUS Stadium, 2024 was a productive year, and 2025 is set up to be a fantastic follow-up as they head to the US for SXSW in March.
‘Still Breathing’ is a dreamy and emotional track. Born impromptu from a jam session, this is a free-flowing and heartfelt single and a true reflection of the love and passion that Joan & the Giants put into every song. With two tracks of guitar, a percussive track and melodic track, this song is imbued with an internal conflict. Its echoing instrumentals straddle the line of wistful pop and energetic rock. Frontwoman Grace Newton-Wordsworth’s voice is intoxicatingly authentic and leads the listener on an moving journey.
The emotion of this song comes from a very real place. This single marks the parting of frontwoman Grace Newton-Wordsworth and her long time partner, bandmate and songwriter, Aaron Birch after their nine-year relationship has come to an end. A tumultuous time for both of them, this is a product of their shared pain after their separation, and in that tragedy a passion is captured. This song acts as a farewell to Aaron as he and the band go their separate ways. Grace comments that:
“The lyrics really speak about an inner war, trying to fight for the people you once were but knowing you have to let it all go – “But some things are best kept in the past, and I know we weren’t built to last”.
Coming off their exciting performance at 70 Tons of Metal this past January, Super Monster Party (SMP) has a new single and video entitled “Night Into Dreams”. The track is an 80’s synth wave meets metal and is inspired by the popular Sega video game of the same name. It features guest artists, Lacey Johnson, a popular VGM artist, and the members of Lame Genie on drums, bass, and guitar.
“I wrote this song to capture the essence of the game, Nights Into Dreams — a realm where the magic of flight, matches the pulse of the joystick, and every riff powers you through a level of chaos and triumph.” adds vocalist Rei Sega.
The single is also their first taste of new music since releasing their latest album “Rage Quit” this past November.
About Super Monster Party
Super Monster Party is a band for all video game nerds, jump’n’run enthusiasts, metalheads, 90s kids, weirdos, and everyone in between – a metal band that’s all about video games, singing from the heroes or villains introspective point of view. Rocking together since 2020, Super Monster Party have already gathered a lot of XP, having a bunch of achievements under their belt, with 4 albums: Rage Quit (2024), Game Genie (2023), Side Quest (2020), Permadeath (2020) and an EP Up Up Down Die (2022). The band is the concept of Singer/Songwriter Rei Sega and features notable members Emilio Martinez (Yngwie Malmsteen) on bass, Fern Lemus (Lions at the Gate) on the drums, Andy Alvarez (Irras One) on rhythm guitar, and Oleh Andrievsky as lead guitarist.
Their intense, melodic, catchy, and heavy sound shows influences of The Misfits, Rhapsody, Slipknot, NOFX, and Van Halen. The variety of different influences and genres, worshiped by the band, means that they can find the right metal sound for all game themes – each video game universe is authentically set to music, while the skills of the masterful musical chameleon that is Super Monster Party cannot be pinned down to one genre. No two songs sound the same, but one thing is for sure – they all rock hard.
Levi Robin has today released his new single titled ‘Whole As A Broken Heart’. Some of the best songwriters are also the most poignant storytellers. The kind that reflect the lessons of life in their lyrics and the emotions of those chapters in their life that speak to themself as much as the ones who listen and love what they listened to.
Levi Robin inflects every slight nuance and conveys the story behind the words. His music is as atmospheric as it is anecdotal. He lets you live the moment with him. Beyond mere commentary, his choice of words and notes feel the pain and show the struggle. Future classic.
About ‘Whole As A Broken Heart’
Inspired by the wisdom of spiritual master Menachem Mendel of Kotzk and Zohar, Levi confides, “‘There’s nothing so whole as a broken heart’ and ‘there is no light like that which comes from great darkness’. In my life, I’ve seen that when I allow myself to take on the bitter and broken, letting the walls of my heart break in humble surrender, then the bitter turns to sweet, and the brokenness turns into fertile soil, in which ‘those who sow in tears will reap in joy’. Consider this an invitation, to come as you are, whole as a broken heart.”
About Levi Robin
Levi Robin’s journey of exploration and curiosity has taken him down many roads. The soul-baring folk artist’s distinctive musical style combines deeply personal and transformative lyrics with emotive stirring vocals, creating a sound that is filled with meaning and connection.
Growing up in Orange County, California, as a teenager Levi became deeply dissatisfied with what he and many describe as “the conveyor belt trajectory of the school system.” With nothing but a shirt on his back and guitar in hand, he took a chance on a different path – a musical one. Levi confides, “From being a runaway to encountering eastern spirituality, from psychedelia to unearthing my own ancient Judaic roots, songwriting has been a uniquely integrating constant.” Songwriting became a powerful way to translate his deepest feelings into melody and verse. Taking inspiration from an eclectic array of artists including Bach, Stravinski, Mingus, Hendrix, Dylan, Beck, Gaye, D’Angelo and Radiohead, and more, Levi Robin creates his own mindful and genre-defying musical releases.
The artist first attracted attention in 2014, with the release of his debut self-titled EP as well as his subsequent tour with Matisyahu. Since then, he has shared a series of singles and albums, racking up over a million streams, garnering him a fanbase worldwide. In 2023, Levi experienced a serendipitous moment when he met producer Yoel Kreisler, aka ‘FRAYMES’, at one of his concerts. Sparking up an instant and immediate creative connection and friendship, the duo entered the studio. He shares, “We started trading music and influences, and began conceptualizing new ways of approaching recording this new music.” The result and first taste of this new collaboration is the single “Whole As A Broken Heart”.
“Whole As A Broken Heart” features hauntingly stunning vocals illuminated by rich, poignant harmonies and slow-burning instrumentation for a cathartic and compelling listen. Inspired by the wisdom of spiritual master Menachem Mendel of Kotzk and Zohar, Levi confides, “‘There’s nothing so whole as a broken heart’ and ‘there is no light like that which comes from great darkness’. In my life, I’ve seen that when I allow myself to take on the bitter and broken, letting the walls of my heart break in humble surrender, then the bitter turns to sweet, and the brokenness turns into fertile soil, in which ‘those who sow in tears will reap in joy’. Consider this an invitation, to come as you are, whole as a broken heart.”
In the end, Levi Robin hopes his music inspires people to seek out the hidden light of life. “Whole As A Broken Heart” was released February 26th worldwide.
Jessie Wagner is a highly sought-after touring vocalist who has performed alongside legendary artists such as Lenny Kravitz, Chic, Duran Duran, and Little Steven and the Disciples of Soul. She also leads the NYC rock/soul band Army of the Underdog. In 2020, she released her critically acclaimed debut solo album, Shoes Droppin’.
Jessie will release her new LP ‘War Within’ on April 25 via Wicked Cool Records.
Regarding the new single, “Up Against The Wall,” Jessie says: “Have you ever had a deliciously tantalizing moment that plays over and over in your mind? No matter how hard you try to fight it, you’re constantly floored by the sweetness of the memory. It’s like it has you backed Up Against The Wall.”
About Jessie Wagner
Jessie Wagner’s journey to center stage has been a long and winding one. After years of singing beloved hits on some of the world’s biggest stages, she is finally stepping into the spotlight on her own terms—sharing her personal stories of triumph and pain through her own music.
As an in-demand touring vocalist, Jessie has traveled thousands of miles performing with icons like Lenny Kravitz, Chic, Duran Duran, and Little Steven and The Disciples of Soul. In 2020, she unveiled her most personal work yet—her debut solo album, Shoes Droppin’, released through Wicked Cool Records.
Blending bluesy R&B, neo-soul, acoustic balladry, and rock reminiscent of John Mayer’s more introspective side, Shoes Droppin’ maintained a cohesive sound rooted in the rich production styles of the ’60s and ’70s. The album’s deeply personal songs reflected Jessie’s own journey through hardship and redemption—an evolution shaped by her roots in Norfolk, Virginia, and her current home in New York City, where she also fronts the rock/soul band Army of the Underdog.
Miki Berenyi Trio have today released their new video for the track titled ‘Big I Am’, the latest single from their forthcoming debut album ‘Tripla’, due out April 4th via Bella Union.
A wondrously atmospheric delve into what independent music should be, there is a glare and an aura abut this song that takes me back while moving me forward. The vocals are stellar and the soundscape the guitars and bass give feels like an oxygen heavy atmosphere bring that lucid awareness and dream state together all in one like something that should be illegal.
Good music is meant to inspire and designed to be a future memory. ‘Big I Am’ is that combination that brings that and more with a mix of sounds and beat that can be on a dancefloor as much as a stage.
This is the perfect gateway drug for the album that drops in April.
About ‘Big I Am’
Lacing turbulent rhythms and crunchy guitar with industrial electronic beats that command you to the dancefloor, the song skewers the macho aggression unleashed by social media types such as Andrew Tate: “Throws his weight around, living a lie / Empty victory, stereotype, cliché masculine.” Miki Berenyi shares: “I’ve witnessed 50+ years of the trends in masculinity and frankly, nothing much changes – as ever, there are good men and there are shit men, and there are boys who can be misguided but easily mature into the best of their sex. But this latest incarnation of ‘winning’ the sex war is a laughably infantile and willfully regressive new low.” The accompanying video was filmed at the Consortium Museum (Contemporary Art Center) in Dijon, France, in one of the Isabella Ducrot “Profusione” exhibition rooms, by director Sébastien Faits-Divers.
About Miki Berenyi Trio
Miki Berenyi Trio, or MB3 for short, is named after its lead singer – a direct way to convey the presence of the former singer/co-guitarist of Lush, and one of the most instantly recognisable faces of the ‘90s – but the songwriting is entirely a three-way collaboration, as the album title describes: acknowledging the mother tongue of Miki’s father, Tripla is Hungarian for ‘triple’. Already earning acclaim for the project from Stereogum, Under The Radar, SPIN, BrooklynVegan, FLOOD and more, it is a landmark record for its three creators: Miki Berenyi, KJ ‘Moose’ McKillop and Oliver Cherer. The album’s richly layered, imaginative and uniquely slanted strain of dream pop is an often euphoric and sometimes melancholic mix of guitars and electronica, fronted by Miki’s instantly recognisable vocal, overlaid with an often profound and sometimes abrasive or yearning view of the world.
Tripla is completed by a superb mix by Paul Gregory (of Bella Union labelmates Lanterns On The Lake) and beautiful artwork by Chris Bigg – who designed the sleeves for Piroshka and contributed to all of Lush’s sleeves – incorporating photography from Martin Andersen. But for all the album’s heightened and sophisticated sound, MB3 have gone back to basics, not only recording at home but driving a car packed with their gear, loading in and out of venues themselves. “There is something very ‘grass roots’ about what we’re doing,” says Miki. “There’s no point following the ‘announce the album, then tour, then record the next album’ route – we just want to wring as much enjoyment out of this as we can, and hope that it resonates somewhere!”
Miki Berenyi Trio have announced a number of upcoming live dates including Rough Trade instore performances for the album launch in April followed by a European tour and a UK tour in May.
The Speakeasy has today released their new single titled ‘Troubled Waters’ from their upcoming EP dropping later in 2025. Featuring a monster rhythm and assaulting guitars, the anthem is apparent in the music and rebellion in the muse with a sim light at the end of the tunnel.
A definite foot stomper with lyrics that read like a speech, the song never lets up in the hopes of never letting go via a positive light shining on a dark swamp. This is the type of music we need right now. The type that grabs us by the neck and points us in the right direction. Doing that with the fervor of leaders and the motivation of soldiers. Music for the masses when the masses are estranged.
About ‘Troubled Waters’
‘Troubled Waters’ is a glimpse of The Speakeasy’s highly anticipated EP, set to release in 2025 – the band’s fourth record and a bold new chapter. This powerhouse track captures them at their finest, delivering their most audacious sound yet.
With raw energy, heartfelt conviction, and lyrics that cut to the bone , ‘Troubled Waters’, is an anthem for resilience and transformation – reminder that no matter how rough the seas, there’s always a way forward.
Prepare for impact. “Troubled Waters” is the band’s boldest statement yet—full of heart, grit, and the promise of better days ahead.
About The Speakeasy
Hailing from the vibrant punk scene of Montreal’s north shore, The Speakeasy is a punk rock quintet best known for their energetic live performances with their blend of heavy skatepunk. With a collective punk rock journey spanning over two decades, the band officially came to life in November 2017.
Two EPs marked their journey, leaving a trail of chaotic footprints on the punk landscape. Now, as they gear up for the release of their third album, the anticipation is palpable. After a few noteworthy festivals such as the Pouzza Fest, Music 4 Cancer and Festirock, The Speakeasy gained more and more attention on the punk rock scene by delivering a full electrifying live performance.
Thrusting themselves into the spotlight, The Speakeasy signed with Thousand Islands Records for their second release, a partnership that echoes their rebellious spirit. But this isn’t just about record deals; it’s about breaking the chains of creative confinement. The Speakeasy’s music is a call to unity, a rebellion against the norm.
The latest LP, a departure from the concept album format, is a declaration of freedom from rigid rules. It’s a raw expression of life’s kaleidoscope inspired by passion, the pandemic, the grind of work, the struggles of mental health, the grip of addiction, the complexities of love, the allure of sex, and the resilience found in getting knocked down and rising again. Their music isn’t just a soundtrack; it’s a celebration of punk spirit that invites you to join their revolution. The stage is set, the amps are buzzing, and The Speakeasy is ready to ignite.
Juanita Stein warms up for her imminent solo headline tour with the release of an Orlando-Cubitt-directed video for ‘Old World’, taken from her critically acclaimed fourth solo album ‘The Weightless Hour’ (out now, Agricultural Audio). Following recent UK tours with Evan Dando and Travis, the Howling Bells frontwoman will embark on her own UK solo headline dates, which include a performance at London’s Lower Third on 25th March.
Stein says of ‘Old World’: “This was a song that was written in one long breath, in a room, in a house, in a village in the South of France. After having taken a long walk through the woods, the light streaming through the pine trees, I found myself reflecting on what it means for me, to have ended up living and travelling in Europe, like so many of my family before me.
This song recalls the first time I travelled to Europe, which was with my family when I was 16. Having lived a life in Australia, a country in its infancy by comparison, I was confronted with a rich and bloodied history whose roots ran centuries underground. The generational trauma that came with learning about my own family history there, was a reckoning. We brought along my grandmother, who hadn’t returned to Czechoslovakia since she was 14, when she was forced to flee the Nazis. We visited the crumbling house she grew up in. I stood in the streets of many Jewish ghettos and burnt out synagogues that were forced to become churches. I visited Holocaust Memorial museums, I learned of the slow rise of right-wing fascism reawakening in a new Europe, all of this coupled with the acknowledgement that I had relocated to Europe myself to start a family and the conflict that causes within the body. I learned what it felt like to be the “other”, to be hated for the religion you were born into, and simultaneously, to also be hated for being perceived as a Westerner, as when someone yelled at me, “bloody American” when they looked down at my ripped jeans, or when me and my brothers were hauled into a police station in Prague for potentially spying when using our disposable cameras outside a cemetery. This was not Australia. This was The Old World.”
’The Weightless Hour’ sees Stein join forces once more with long-time collaborator, the producer Ben Hillier (see also: Depeche Mode, Doves, Blur, Elbow). After originally teaming up for 2020’s Snapshot, Stein’s third record, which was built from collected fragments of grief following the loss of her father, it was Hillier’s penchant for minimalism – his instinct for risk-taking while stripping sounds back to their gleaming bones – that aligned with her vision for her fourth project.
In removing most instrumental additions beyond the guitar (and you will notice there are no drums on the LP), with ‘The Weightless Hour’, Stein made a subconscious choice to make the project entirely her own. In the space freed by the stripped-back instrumentation, her storytelling bleeds freely like watercolors across a blank page. The album is an intensely human document with a profound sense of dignity. A record on which Stein has found that exploring a more restrained side can yield work that is armed with experience and yet is all the lighter for it, where your attention isn’t demanded and yet is effortlessly claimed. Every sound, every choice, has earned its place.
“I think making records is a really powerful way of letting go of experiences,” Stein notes. “I’m allowing myself to kiss things goodbye.” Through these converging chapters of her life, ‘The Weightless Hour’ feels like an arrival for Juanita Stein: “I’ve finally learned to be okay in space and be loud in my experiences.”
Check out our other features with Juanita Stein HERE.
The Darkness has today released their new video for the track titled ‘Walking Through Fire’ from their upcoming album ‘Dreams On Toast’ dropping March 28th via Cooking Vinyl.
I have to say this, I have no idea why they called this a visualizer. It looks like a video to me. Is that the new term? Because it’s everything a video used to, and should be. The band in their element. Making the music. Having fun. Being fun. Being The Darkness. And this is what this song is to me. It is The Darkness. That band that never sold out or fucked up in anything they’ve done. One of those last vestiges of rock n’ roll that is what rock music is. Rebellious and cheeky with that glint in the eye that winks at you because you ‘get it’.
Whatever your preferences is in music, whether it be indie or pop, rock, whatever, remember this: the best music comes from those who respect the rebel in us all that gives us that little shimmy in the nether regions. That place drenched in the darkness.
Check out our other features with The Darkness HERE.
About ‘Dreams On Toast’
Multi-platinum UK rock band The Darkness – singer/guitarist Justin Hawkins, guitarist Dan Hawkins, bassist Frankie Poullain, drummer Rufus Taylor – have released their scorching new single ‘Walking Through Fire’, the latest song to be taken from their forthcoming album ‘Dreams On Toast’ out March 28th via Cooking Vinyl. Pre-order ‘Dreams On Toast’ HERE.
“Walking Through Fire” is an epic Darkness anthem with signature guitar solos, a thunderous rhythm section and high-flying falsetto flourishes which deliver an amusing ode to the band’s love of rock ‘n’ roll and the state of the music industry in 2025.
Regarding the single Justin Hawkins says, “The life of an artist is grueling endeavor, leavened with rare moments of shining success. We wade through sweet treacle every day, to make things for others to love. For we chosen few, this is akin to climbing a mountain for the glorious view, whilst studiously avoiding looking at the discarded condom that has attached itself to our stylish yet practical hiking footwear. To rephrase in less oblique tones, nothing worthwhile is ever easy, and that is why we, The Darkness, are walking through fire… thinking of you.”
Produced by Dan Hawkins, ‘Dreams On Toast’ flawlessly captures The Darkness at their peak, celebrating their influences and strengthening their sound, while also embarking on avenues never before heard from the band. It’s an indisputably grand display from the inspired and passionate quartet.
The diversity of the record has been displayed in recent singles such as the ‘70s pop genius of “The Longest Kiss,” searing hard rock of “Rock And Roll Party Cowboy” and the self-deprecating glam punk rock of “I Hate Myself.” There are further sonic delicacies to revel in on the forthcoming record, including the ‘60s inspired balladry of “Hot On My Tail,” a monologue from actor Stephen Dorff on the romantic closer “Weekend In Rome” and even a country classic with “Cold Hearted Woman.”
Destined to further cement The Darkness as one of Britain’s – and the world’s – most important, eclectic and courageous rock bands, ‘Dreams On Toast’ finds Justin, Dan, Frankie and Rufus continuing to push boundaries. Over two decades deep into their multi-platinum, award-winning career, they offer up unexpected surprises to bedazzle and amaze fans once again in 2025.
The Darkness will be taking the album on the road with their ‘Dreams On Toast’ world tour kicking off with the UK leg in March. North American tour dates to be announced soon.
Blaiz Fayah has released his new album titled ‘Shatta Ting’ via Creepy Music. While the numbers clearly speak for themself, the underlying enticement comes from the music and rhythm in each track. The overall style is a bombastic staccato feel throughout that puts that signature stamp in a way that is undeniable and unmistakable.
With clear feelings of reggae and rap in each track, there is an endearment that captivates and leaves the listener in awe of the music. The age of Spotify is clearly here, with the shorter attention span and quick to judge within those first few notes, but, Blaiz takes that into consideration by making music that grabs you with the first note and leaves you intrigued after that first listen.
About Blaiz Fayah
The highly prolific and internationally renowned Dancehall artist, Blaiz Fayah, has released his new album ‘Shatta Ting’. ‘Money Pull Up’, the lead focus single from the album is currently going viral and has already cumulated billions of views and generated more than 200k user generated content on Tiktok in 2 months. The track earns 10k daily from a dance challenge that turned into a global trend within just a few weeks.
As influencers and enthusiastic fans all around the world join the challenge of busting some serious moves to this sizzling dancehall banger, the popularity of the track has earned it the #1 spot on the reggae / dancehall chart on Shazam, over 9 million streams on Spotify with more than 450k streams in one day and the track’s video on Youtube has surpassed 3 million views.
With his unique style, Blaiz Fayah is experiencing growing success across the globe, from Colombia to Kenya, the Netherlands, Costa Rica, and France, where he hails from. With ‘Money Pull Up’ leading his current wave of success, Blaiz currently boasts over 3 million monthly listeners and 320 million views on YouTube.
If you’re not already familiar, Blaiz Fayah emerged as a Dancehall revelation in 2018 with his hit ‘Best Gyal’, taken from the album ‘Level Up’. Between 2020 and 2023, he released the ‘Mad Ting’ series, three albums featuring collaborations with beatmakers like DJ Glad and Mafio House, with whom he has consistently delivered hits. Through this series, Blaiz Fayah showcased his diverse influences, blending elements of Dancehall, Kompa, Moombahton, Reggae, Shatta, and Zouk into his music.
Simultaneously, he has collaborated with Basshall Records, delivering some of the Dutch label biggest hits, including ‘Bad’, ‘Pon Di Ting’, ‘Pilot’, ‘Basshall Session #3’, and more recently, ‘Badman Party’. Alongside Kybba, head of Basshall Records, Blaiz Fayah has become a driving force behind the Shatta wave sweeping the international scene.
On his new album ‘Shatta Ting’, Blaiz Fayah returns to instrumentals that are far more Shatta-focused than his previous releases. Produced across Martinique, Paris, the Netherlands, and Spain, the album features collaborations with top-tier Martinican beatmakers such as DJ Glad, Mafio House, Gyzmo, Natoxie, Mikado, Bmad, as well as Kybba, Tribal Kush, and Limitlezz from the Basshall Records roster. Over the years, Blaiz Fayah has built a strong artistic connection with these accomplished producers, whose composition forms the foundation of each of his tracks.
‘Shatta Ting’ also includes two standout collaborations: the “bad queen” Maureen on ‘Money Pull Up’, and the rising star of the new generation of Martinican artists, Le Jèm’ss, on ‘Whole A Dem’. It was actually with a track by Le Jèm’ss that Blaiz Fayah launched his own label, Mad Ting Records, in late 2024.
Blaiz also just dropped ‘Ghetto Whine’, which features a powerful Dancehall flow on an intense Shatta production by Martinican beatmaker Mikado. Watch the video here.
To accompany the release of ‘Shatta Ting’, Blaiz Fayah will embark on an international tour with his musicians and dancers, performing in France, Europe, Canada, Latin America, and East Africa. The tour will culminate in a special gig at the iconic Olympia Hall in Paris on January 31, 2026, promising a brand-new show, fresh arrangements, and plenty of surprises!
The Tumblers are shaking things up—and not just in their New York City neighborhood. Formed in Brooklyn, this folk-rock band is making a name for itself with its raucous live shows and unexpected approach to the genre.
With “Starlight,” The Tumblers add a hint of edge to their music that transcends the boundaries of indie rock and folk, a trait shared by many tracks on Tangerine.
When discussing the track in greater detail, bandmember Jack Crawford-Brown writes: “I think we’ve gotten grittier and more vibrant in general across all our songs. I would call it Folk Rock / Indie Rock. I think a lot of that comes from Ian’s guitar sound, which has added a lot of playful creativity in general. All the songs before were recorded part by part. This release is a band playing together, locked in. We said imperfections are fine. We want it to sound real. That’s all new!”
“Starlight” comes after January’s “Voice Inside”, as well as last fall’s dual lead singles “Light Of A Home” and “Tastes Like June”, with all of the tracks coming ahead of The Tumblers’ upcoming album Tangerine, due to be released on March 28, 2025.
‘Tangerine’ Tracklist
‘Tangerine’ cover.
Jenny
Hocus Pocus
Rally
Bell Tower
Light of a Home
Crystal Ball
Wild Weather
Voice Inside
Sleepy Lion
Lovers and Criers
Tastes Like June
Cathy’s Song
Starlight
Tangerine
About The Tumblers
The Tumblers are shaking things up—and not just in their New York City neighborhood. Formed in Brooklyn, this folk-rock band is making a name for itself with its raucous live shows and unexpected approach to the genre. “A fickle friend is my favorite enemy!” shouts lead singer Jack Crawford-Brown into the mic, and the crowd answers, “Enemy!” as the band jumps in unison, like a punk band decided to pick up a banjo and a violin.
“Our music might seem fun and loose, but it comes from a place of deep passion and intensity,” says Crawford-Brown. “We love the harmonies and the storytelling of traditional folk, but we want it to hit harder—louder, more raw. We want people to feel it in their bones.
The Tumblers are gearing up for the release of their debut album, Tangerine, set to drop March 28, 2025. The record ranges from haunting ballads to foot-stomping anthems. “It’s the culmination of countless hours spent in cramped rehearsal spaces, ignoring eviction threats, and pouring everything we’ve got into our music,” says bassist Emerson Sieverts. “We wanted this album to represent who we are as a band—wild, honest, and unafraid to break the mold.”
Jack and Emerson’s musical journey began at age 11, playing together in various bands across the DC area for about a decade. In 2022 they reunited in New York and, together with Ian, Will, and Camellia, formed The Tumblers.
With a new album on the horizon and a reputation for high-energy, unforgettable performances, The Tumblers are making their mark on the folk rock scene.
Rooted in personal growth and self-reflection, Kat Velasco’s new single “Paper Boy” invites listeners to examine the delicate balance between self-worth and the illusions we create in relationships. The track is a pop powerhouse, weaving a compelling narrative with lyrics that pay homage to the iconic boombox scene from John Cusack’s cult classic Say Anything. Velasco elevates the mainstream pop vibe with her signature twangy flair, infusing the bop-worthy instrumentals with a touch of distinct, modern Southern charm. “This song captures the journey of prioritizing character over credentials—of letting go of the ‘perfect on paper’ expectations to truly value how someone treats you,” Velasco explains. “It struck such a deep chord with me because it speaks to something so many of us have felt—that moment of realizing you deserve better.”
Produced by Andy Sheridan (Avery Anna, Parmalee) and co-written by Melissa Sheridan and Anna Vaus (Keith Urban, Maddie & Tae, Carly Pearce), the track pairs a unique, refreshingly modern melody with a universally relatable message. “Paper Boy” also features an all-star lineup of contributors: Andy Sheridan on programming, electric and acoustic guitar, keys, and background vocals, Jared Kneale on drums (Ben Rector, Lauren Daigle), Matt Utterback on bass (Hunter Hayes), and John Shaw on electric guitar. The track was recorded with tracking engineer Todd Tidwell (Taylor Swift, Reba McEntire, Dolly Parton) and mixed by Joel Bruyere. Highlighting the bittersweet thrill of unforgettable relationships, “Paper Boy” invites listeners to reflect on their own paths and embrace growth through the lessons love often leaves behind.
Born and raised in South Carolina and now based in Nashville, Kat Velasco is a rising country-pop artist whose love for music was nurtured through a rich background in musical theater. Since debuting her music in 2021, Velasco has captured attention with her breakout single “Leave Me Wild,” which earned spots on prominent Spotify playlists like New Music Friday and Fresh Finds Country. Her edgy, genre-blending sound and soulful vocals have also landed her multiple radio interviews nationwide, while her song “Call Me” gained widespread traction on popular playlists and featured a music video showcased on CMT. Following performances opening for acts like Love and Theft, BRELAND, David Nail, and Tierra Kennedy, Velasco released her latest single, “Burning Man,” in late 2024.
Check out our other features with Kat Velasco HERE.
About Kat Velasco
Nashville-based Western pop artist Kat Velasco, originally from South Carolina, discovered her passion for music and performing at an early age. With a rich background in musical theater and the music industry, Kat has long been writing songs and performing on stage. In 2021, she began releasing her own music, and her third single, “Leave Me Wild,” gained traction, landing on popular Spotify playlists like New Music Friday and Fresh Finds Country. Her sound is an edgy blend of Western influences, paired with strong, soulful, and captivating vocals.
In 2022, Kat’s single “Call Me” made waves, earning her invitations to radio stations and interviews across the U.S. The track hit multiple popular playlists, and its music video was featured on CMT. Other singles, including “Let it Ride” and “Lifetime Lover,” both garnered 15K streams within a week of their release. Earlier this summer, she headlined her first Nashville show at the iconic Exit/In. She has also opened for notable artists like Love and Theft, Frank Ray, BRELAND, David Nail, John Morgan, and Tierra Kennedy. Kat is set to perform at several festivals later this year, sharing the stage with headliners Megan Moroney, Jon Pardi, and Chase Rice.
Her spring release, “Shania,” is currently charting on Country Radio and making waves on Music Row. Her latest release, “Got Away,” has already surpassed 10K streams and is featured on playlists like Fresh Finds Country, CMT, and ACMAs.
For a song about the philosophical implications of theoretical physics, there are a lot of cats in the video for Lunchbox’s “Evolver.” That is only as it should be, for whatever their esoteric inclinations, Donna McKean and Tim Brown are unapologetic about their obsessive love of all things feline. The video is also full of vintage pix and vintage gear from their over-stuffed basement recording studio. If nothing else, Lunchbox has always been relentlessly DIY. The video came about when Donna dragged Tim to see the dBs reunion show at the Chapel. Fandom rekindled, Tim stumbled upon Josh Parrett’s astonishingly cool dBs video on line, and was amazed and delighted when Josh agreed to do one for Lunchbox.
Lunchbox’s legendary lost album Evolver is lost no more! Sparklingly remastered for the album’s twentieth (and a few!) anniversary and available on CD, cassette and (for the first time) vinyl, this psychedelic masterpiece fills a crucial hole in the band’s discography. Recorded in the couple’s 1990s Oakland basement between stays in Berlin, tour dates in London, and dreamy sojourns up the rugged Mendocino coastline, Evolver fuses jangle and jungle, ambient and dub into a striking pop statement.
Marrying refined songcraft to the serendipitous magic hidden in half-broken reel-to-reel tape decks and vintage synthesizers, the Evolver plants its pop flag on the terrain of magic and mystery. Dreamy jangle pop gems emerge seamlessly out of a sea of loops, drones, and dubbed-out horn fanfares, cascades of tape echo feedback and whispers from outer space providing a trance-inducing backdrop to the pop sensibility for which Lunchbox is well-known. Hook-filled and hypnotic, Evolver is a sublime slice of post-pop psychedelia that you won’t want to miss.
For this special and long-overdue reissue we’ve raided the bands vaults for three previously unreleased tunes that add extra dimensions to the album’s uniquely trippy flow. And for the vinyl heads we’re pressing this as a double LP for maximum fidelity and playability, including a vinyl-only fourth side of beats, loops, interludes and puzzling aural ephemera, all taken directly from the original master tapes.
More context / background from the band’s Tim Brown:
Evolver is a product of a distinct time and place, or rather three places: the pre-gentrification Oakland Rockridge neighborhood, where Donna and I lived in the so-called “Shafterhouse” with its basement studio, in walking-distance of crucial trumpet-friend Jeremy Goody who lived around the corner; the Mendocino coast up around the town of Gualala, whose rugged, slightly-spooky coastline was (and remains) an irresistible attraction for us (and was the source of all Donna’s photos for the cover and insert); and the city of Berlin, Germany, where we lived in the mid-late 1990s during my graduate research, indelibly stamped by post-Wall underground club culture and the crumbling beauty of a city we were haunted by and are still in love with. We played a number of Berlin shows, including one in the legendary techno-squat Im Eimer, a fairy-light lit crumbling former slaughterhouse with a giant hole in the top floor through which the band could look down into the rooms below onto an all-night Jungle dance party. Like playing inside a UFO.
The Evolver moment in time—right around the year 2000—was similarly a product of three influences: I was in graduate school at Berkeley and had a ton of time to work on records in the basement instead of writing my dissertation; we had been doing a live band since 1995 and were sick of the restrictions imposed by having a band, especially by the straightjacket of turn-of-the-century West Coast indiepop, with its pro forma sounds and gestures; and it was also—so I was informed—the moment of a rare astrological transit related, for me, to some kind of psychedelic awakening. Basically, Evolver was conceived and recorded in kind of a low-level acid trip, infused with a strong feeling that everything was alive and connected, part of an indissoluble whole. Those three time-related factors added up to a sense of freedom—Evolver was the first and last time that we really made a record just for us, with no concern whatsoever with how it would be received.
The sense of freedom was also bound up, crucially, with technology—Evolver is first and foremost a product of sounds that came out of specific pieces of equipment piled all around the Shafterhouse basement: a 1971 Micromoog; an array of Teac 2 and 4-track reel-to-reels; a barely-working Japanese Vestakaza RV-1 Reverb (impossible to find again, I’ve learned); various Electro-Harmonix boxes; and above all, two keyboards: one, an Everett home-market console organ that had keypads that not only made the dreamy Maj9 chords heard all over the album, but produced chord progressions that we would never have come up with on a guitar or piano; the other was a Mattel Optigan, a kids’ keyboard from the 1970s that used primitive optical sampling technology to reproduce the sounds of guitars, or pianos, or whatever. We had a full set of the flexi-discs containing the samples, which you inserted through a slot where they were read by a light sensor. Happily, you could also put the records in upside down, making the samples play backwards.
Other than the Everett and the Optigan, the most important basis of the recording process was the tape decks themselves. We recorded mostly onto a Tascam TSR-8 8-track, and a little onto a TEAC 3340 4-track. But the biggest feature of the decks was the tape delay you could get out of the various two-tracks we had sitting around. The whole record is steeped in tape delay: this is where a signal goes out of the main deck into a second tape deck, and the distance between the record and playback heads (and in dependence on the speed of the deck) produces a delayed signal that then comes back into the board. If you then send that signal back to itself, all sorts of fun stuff ensues, the decks serving as instruments in their own right, producing squalls of noise or deconstructive dubscapes.
In keeping with the spirit of the place(s) and moment, the machines kind of literally told us what to record, and we just sort of obeyed. The influence of drum ‘n’ bass, imbibed during our Berlin sojourn, as well as during our late-1990s run of London shows, is clear on the record. Also clear are shades of dub reggae and the dreamier side of indiepop. But we really didn’t strive to be one thing or another—we just tried to realize what was being given to us. It was easy, like surfing a wave. It will never be that easy again, that magical again, but we’re incredibly fortunate to have Slumberland Records come along to release a Twentieth Anniversary edition of a record that never came out on vinyl like it was supposed to and was basically lost. Now, it is found, and we couldn’t be happier.
Oswald Slain has today released their new single titled ‘Ugly’ from their upcoming debut EP ‘Kiss Me On The Mouth’ dropping in April. Inspired by the film ‘Boogie Nights’ and the world that film portrays, ‘Ugly’ takes a poke, prod, and penetration at that world and the people who lived in it, with all puns intended.
Musically and lyrically in your face with a retro-stomp feel and indie-tastic vibe, ‘Ugly’ is one of those tracks you’ll find yourself listening to over and over again, partly for the snark, and partly for the slacker infused revolution in the fuzz and frolic you can’t escape.
About ‘Ugly’
Born from the creative cocoon of their home studio, Oswald Slain is a testament to both personal growth and musical evolution. Recorded over the miserable January of 2024, Oswald Slain’s music reflects a period of introspection and growth. Having reconciled with the chaos of youth and the trials of aging, lyricist Fitz channels these experiences into sincere, humorous, evocative songwriting alongside the timeless swagger of old retro rock records.
Produced in-house in their DIY home studio and mastered by Jason Mitchell at Loud Mastering (PJ Harvey, XTC, Big Special), ‘UGLY’ lifts the red curtain on the darker side of the 70’s adult entertainment industry.
Speaking on the inspiration for the song, vocalist and lyricist Charlie Fitzgerald says: “‘Ugly’ was one of the first tunes we made at home messing about in our little studio. We really enjoyed the slapping drum beat and fuzzy guitars and wanted to make something gross and tacky with some pretty moments. Lyrically it’s inspired by the film Boogie Nights and all the deranged antics that went on behind the glitz and the glamour of the 70’s adult entertainment industry. I like things that aren’t perfect and people who are not afraid to just be themselves; everyone has an ugly side or a bad angle but that only adds to an overall greater beauty in my opinion.”
About Oswald Slain
Formerly known as Little Thief, Oswald Swain’s sound is a rich tapestry woven from the threads of classic Americana, echoing the timeless vibes of Neil Young and The Band, whilst infusing it with the gritty, energetic rock essence familiar from their previous works. Anchored by the driving rhythms and fuzzy guitars, their music offers both reflective depth and an irresistible groove, promising music that resonates with both heart and soul.
Under their previous moniker, the band toured the UK multiple times, playing slots at esteemed festivals such as Glastonbury, Shambala, Liverpool Sound City, Isle of Wight, Kendal Calling and Greenman Festival, receiving support from the likes of Far Out Magazine, RTE, BBC Radio 6’s Steve Lamacq and BBC Radio 1. Co-founding members Charlie Fitzgerald and Rhii Williams, who have been writing music together for over 10 years, made the difficult decision to change the band name and move forward in a new direction.
Born from the creative cocoon of their home studio, Oswald Slain is a testament to both personal growth and musical evolution. Recorded over the miserable January of 2024, Oswald Slain’s music reflects a period of introspection and growth. Having reconciled with the chaos of youth and the trials of aging, lyricist Fitz channels these experiences into sincere, humorous, evocative songwriting alongside the timeless swagger of old retro rock records.
Jesse Daniel Edwards has today released his new eponymous album via Cavity Search Records. Bringing you back to that golden age of songwriting, with a diverse idea of songwriting and a beautifully sweet and somber mix of originality and a mix of songs that sound like nothing else out there, Jesse brings forth an album like no other.
With just him and his piano, there is so much going on you forget this is a singular person. There is a world here. To be discovered and lived in as much as the music was lived through. A true master craft.
Jesse Daniel Edwards almost feels like he steps in and out of his own world. Clearly a virtuoso at the piano, there is more there in that the songwriting is as original as it is captivating. These are beautiful songs on many, many levels. Impossible to date and hard to turn away an ear. This album is an experience.
About The Album
Recorded live on 2-track tape by Scott McEwen at Memphis Magnetic Recording Co. in April 2024 on a Chickering Grand Piano, this self-titled release marks a new chapter in Edwards’ evolving artistic journey, offering an intimate, raw portrayal of his musical and emotional world. Performed, recorded, and manufactured in Memphis, the album features just Edwards and his piano, a pared-down approach that contrasts with the more elaborate, rock-driven sounds of his previous works. It’s a work of reflection, honesty, and vulnerability, captured with a simplicity that speaks volumes.
About Jesse Daniel Edwards
Nashville, Tennessee-based singer-songwriter Jesse Daniel Edwards returns with a deeply personal and stripped-back album, Jesse Daniel Edwards, out February 21, 2025, via Cavity Search Records. Recorded live on 2-track tape by Scott McEwen at Memphis Magnetic Recording Co. in April 2024 on a Chickering Grand Piano, this self-titled release marks a new chapter in Edwards’ evolving artistic journey, offering an intimate, raw portrayal of his musical and emotional world. Performed, recorded, and manufactured in Memphis, the album features just Edwards and his piano, a pared-down approach that contrasts with the more elaborate, rock-driven sounds of his previous works. It’s a work of reflection, honesty, and vulnerability, captured with a simplicity that speaks volumes.
The album’s first single, “I’m So Happy (I Think I Might Cry),” drops on January 24, 2025, offering a glimpse into the profound emotions and tender introspection that shape the record. Edwards describes the album as a “reflective revue,” one that revisits moments from the past with both nostalgia and clarity. “What if time is the canvas, and our lives the brush?” he muses, hinting at the deeper philosophical undercurrent running through the album. “There was enough in the cellar to dig out and reflect. Potatoes, tomatoes…”
The tracks on Jesse Daniel Edwards are a collection of moments and memories that Edwards revisited, carefully selecting those that felt particularly meaningful in the context of this new phase of his life. “Life itself is a process of overwriting information,” he explains, “a moment can feel like forever, and yet a life so short.” This idea of memory and time as fluid, ever-changing elements is central to the album’s themes.
The decision to record in Memphis—a city known for its rich musical history—was driven by a love for the space itself. Edwards refers to Memphis Magnetic Recording Co as his “favorite tech lab in the galaxy,” a “butterfly-net-shaped” place designed to “catch dreams.” The result is an album that feels both timeless and deeply connected to the present, a combination of raw emotion and meticulous craftsmanship.
In many ways, this album represents an ongoing dialogue between past and present. Edwards reflects on the unique nature of each album he creates: “Every one is different, simply because they occur at different junctures in your life.” In that sense, Jesse Daniel Edwards feels like both a culmination and a new beginning, a way of examining and re-examining the journey he’s been on. “I was born in a lighthouse, and that—God willing—is where I shall die,” he says, reflecting on the deeper, almost mystical connection he has to his music.
Lyrically, the album is marked by a raw honesty, one that reflects the ups and downs Edwards has faced over the past decade. The songs are built on the framework of vulnerability and introspection, delivering a message of “honesty – raw and simple.” Edwards muses, “The present is you, and me, together. How else do we keep track of time passing I ask you, mmm, how?” This candidness, paired with his soulful, expressive piano work, creates an intimate atmosphere throughout the record, inviting listeners to join him in his emotional journey.
Despite the simplicity of the arrangement—just piano and voice—the album never feels sparse or lacking. Each song is a delicate balance of quiet reflection and emotional depth, capturing the full spectrum of human experience, from heartbreak to joy, from loneliness to connection. “It got so emotionally intense—was Denny ready for it, was I?!” Edwards recalls, referring to Denny Swofford of Cavity Search Records, who produced the album, having worked on solo, one-instrument records by Elliott Smith (Roman Candle) and Pete Krebs (Brigadier) previously. “It’s taken the past decade to train and prepare for race day. But that’s Memphis for you.”
While the album’s sound may be simpler, it is no less complex in its emotional scope. “I remember being honest, I remember trying, but not too hard,” Edwards reflects. “I remember the imperative of the moment, and the moment passing.” These words capture the essence of Jesse Daniel Edwards: an album built on the fleeting nature of time, and the deep emotional connections we create along the way.
With songs like “This House Comes With a Ghost,” “Wrong About God,” and “Left Your Coat Behind,” the record explores themes of memory, loss, and the quiet yet profound moments that shape our lives. The album is a love letter to the past and an acknowledgment of its complexities, while also embracing the rawness of the present moment. “The theme is the past 12 years running, still running,” Edwards explains. “There is no future, the past itself is a dream…the present is you, and me, together.”
Fans of Edwards’ previous work may recognize the dreamer at the heart of this record, but Jesse Daniel Edwards is a stark departure from anything he’s done before. It’s an album that speaks to the heart, not the head—a meditation on life’s most fundamental truths, delivered with simplicity and grace. As Edwards puts it, “The goal WAS the record.”
In the end, Jesse Daniel Edwards is about capturing a moment—an emotional snapshot in time—and allowing listeners to experience it as if it were their own. With its raw honesty and timeless sound, it’s an album that resonates with anyone who has ever felt the passing of time, the weight of memory, and the beauty of fleeting moments.
Sure has today released their new video for the track titled ‘Belong to the Past’ from their upcoming album ‘Destruction of Form’ dropping March 14th via Frozen Records.
A monster sound driving an unstoppable hook, Sure has a sound that is all it’s own inhabiting an entire universe all to itself. Parts of the past collide with the future in a musical cacophony of lush sound and emotional transition.
While the video is a barrage of images associating with the music, it all makes sense and serenity with the song and guides it all together. The power is in the music, however. There is a heart in the soul that takes me back while moving me forward. Creating an almost dark atmosphere where the lyrics sometimes float and sometimes sink within. Beautifully crafted in a way that the song almost feels like a score as much as a song.
About ‘Belong to the Past’
‘Belong To The Past’ instantly takes us in an irresistible catchy Synth-Post-Punk groove, cinematic & emotional. Lyric-wise, we are caught between 2 generations tearing themselves apart, and feeling misunderstood despite their mutual love. In the absence of a future together, only the memories remain.
About Sure
Escape from your life & the march of the world, and recklessly dance on the ashes of your past. French trio SURE continues to explore post-modern disarray, spilling into visceral melodies, driven by irresistible dance-floor beats and a voice that stretches between the extremes, all the way to synth-pop.
2020 marked the release of ‘Twenty Years’, their unanimously praised debut album, combining post-punk power with cold-wave melancholy. With their upcoming Destruction Of Form, the band moves away from the genre’s academicism, finding a curious industrial sensuality, both dangerous and seductive. Still oscillating between darkness and pleasure, this new album recalls the melodic clarity of DEPECHE MODE, the extreme production of THE SOFT MOON, and the polished modernity of HEALTH.
Johnny Vitulli’s latest single is a song of amour- not about a person, but rather, a city. The artist was originally inspired by a drive with his father, who had discerningly stated “The Bronx is love”.
The cheery, raucous sounds of the stadium open up, and we find ourselves dropped into a specific slice of time and space. Next enters the acoustic guitar: the assured-feeling fingerstyle line repeating meditatively. A kick drum…and finally, the pure-yet-languid vocal line…
Dozens of thin threads intertwine to make a multicolored tapestry of sound: Hints of 60’s music, Radiohead, soft punk, and pop all twist together.
Meet Johnny Vitulli: the singer-songwriter and guitarist who is paving a solo career far and wide. The artist has toured Australia, Thailand, Italy and more. However, nothing can get in the way of his love for New York: Particularly, the Bronx.
The resulting music is a deeply personal and resonant artistic expression that everyone can relate to. A stirring message at its heart: In love, there is chaos, elation, and sometimes, ghosts which we must reckon with.
This single is a multi-faceted reflection of the town…It’s the elated feeling of being in the Yankee stadium, a stark contrast to the haunting streets. This dichotomy is showcased in the delivery of the song, which has uplifting moments, followed by darkening chords and a melancholic air.
Johnny Vitulliy takes much of his inspiration from Bad Brains: An American punk-rock band that pioneered a unique sound. Like Bad Brains, Vituilli has mixed multiple genres to create something new. As the song reaches its peak, the layers of vocal harmonies become sweeter, while an electric guitar offers a darker feeling in the background.
“Bronx Love” is a slow burn…but as it nears the end, the small flames lick up into a bonfire. The strumming guitar soldiers on, the vocals take on hints of punk’s roughness, and the entire atmosphere becomes something beautiful and massive.
What is that inexplicable sound rising up to, where does it go?
Johnny answers: “One love, one life.”
A mantra that repeats and repeats until it fades away, unresolved.
In the end, it all comes full circle… back to love.
Q&A
Why did you choose to release this on Valentine’s Day?
Given the title of the song it seemed fitting. Valentine’s Day can be a rough day for a lot of singles out there so I figured I’d present a musical offering of an atypical or unconventional kind of love. However it’s hard not to be romantic about baseball. It’s also the anniversary of the Saint Valentine’s Day Massacre in 1929 when seven men were murdered in Chicago in an execution style shooting. While Al Capone was never charged or proven to have been behind the massacre he was the prime suspect. Interestingly enough his family is from the same part of Italy as mine and he also hailed from Brooklyn much like my family. Since I reference “A Bronx Tale” within the song I figured I’d salute all my famiglia Italiana.
Is the Bronx your favorite city in the United States?
New York City collectively is my favorite city in the world. I don’t discriminate against any boroughs. Love it or hate it there’s no place like it. It’s the only place I’ve ever lived that’s ever truly felt like home. I feel like I can always be myself when I’m here.
Where did you get the samples of the stadium?
YouTube.
Where did you first hear Bad Brains, and what was your first thought or impression?
I have an affinity with bands that combine genres in unique or interesting ways. I think Bad Brains were pioneers in that way and I feel like they don’t get the recognition that they deserve. I was part of the hardcore, punk, reggae, hip hop fusion Warped Tour generation. I was really into Sublime growing up and as I got older I began to understand that they were standing on the shoulders of Bad Brains. Their relentless hardcore pace coupled with their soulful reggae is like an audible manifestation of a Yin Yang or some kind of psychological paradox. It’s beautiful, brash, combative, and cathartic.
What is the most chaotic or unsettling experience you’ve had in the Bronx, and how is that represented in “Bronx Love”?
My mother always said that New York City has the best and the worst of everything. It can all be found within The Bronx or any of the other boroughs. You can be on 5th avenue in Manhattan or on Nostrand Avenue in Brooklyn, there’s always a potential threat lingering in the shadows. This isn’t fear mongering this is astute awareness. If you’re from New York or if you’ve lived in the city for a significant amount of time you’ve truly seen everything so not much really phases you. I’ve been jumped plenty of times, but I was always the fastest kid on every team so my speed helped me flee from many midnight marauders. Violence was just a prevalent part of life so we grew up tough along with a heightened sense of intuition. I don’t walk down a block or get on a subway car without eyeing up everyone within my general vicinity. Much like fighting it’s the punch you don’t see coming that hurts you the most.
Before your solo career, which bands did you play in? What inspirations did you take with you from those years?
The first band I was in when I was 13 was exactly what you’d think a band of 13 year olds would be called: Absent Minded. I also played in Unknown Asset, Slam Bambi, G Spot Tornado (I guess there’s a theme there) Famous Under Cover Kids, and Made In Motion. I’ve been very fortunate to be friends with a lot of incredibly talented musicians. It’s important to surround yourself with people that are better than you. If you’re the most talented or the smartest person in the room you’re in the wrong room. High tides raise all ships. It’s definitely more fun to be in a band, especially when there’s a synergy and sense of camaraderie. However it’s super important to pick your players wisely. Definitely work with people who listen to the same bands as you and have the same vision or objective as you. Often times there’s strength in numbers, but there can also be fracture and division. There’s a lot of ego in rock and roll and often times too many egos spoil the mix. A true collaboration is when the best idea available is the one we use; especially if it’s NOT my idea. A lot of contention stems from insecurity. Every band I’ve been in has operated as a true democracy so it can take a long time for everyone’s voice to be heard so we can attain concurrence before moving forward. It’s just faster for me to get things done by myself as the songwriter, performer, and producer. I can play and sing all the parts much more efficiently. However there is nothing quite like co-creating. When you’re in the room piecing a song together with one of your best friends it feels like the only true magic in the world. Every other magic has some kind of a trick. But with music each song you write is one of one. It’s unique unto itself and to the universe. It feels like you discovered something special. That feeling of your hands in the clay, the act of creating, those are the moments I live for. There’s also an Lennon/McCartney kind of friendly completion aspect to being in a band. You know you’ve got to step your game up with you’re surrounded by a lot of other talented songwriters and musicians.
Do you have any advice for musicians who are just beginning to pave their own solo careers?
Have fun and make the music you want to hear. Be the audience you’re creating for. Don’t listen to the peanut gallery. If someone’s praise is going to elevate you then their criticism is certainly going to diminish you. If your security is dependent on someone else then you’re insecure. Truly not giving a fuck what anyone thinks about you is your superpower. Do what you love to do regardless of the facts or analytics and don’t have a backup plan. I love being a solo musician and an independent artist because there’s nobody there to tell me what I can and cannot do. I’m combining genres in ways that probably unnerve a lot of people, but that’s really not my concern. I love it and that’s all that matters. If you’re creating music to appease a particular group of the audience your work will be watered down and you will undermine the process. Try not to put so much pressure on yourself. Art isn’t here to save the world, art is here to thrill the artist. It almost always comes down to the last one standing and it’s only failure if you give up. If you have the wisdom to discern temporary defeat as a stepping stone on your way to success then you’ve got it figured out. Obstacles don’t block the path, they are the path. They’re in your way to test your will, emotional resilience, mental toughness, and fortitude. It’s part of your purification process to temper your character and fortify your resolve. I think I had an advantage because there was nowhere for me to run when things got tough, there was never a net to catch me when I would fall. I’ve slept on the streets of multiple major cities and lived in my car for an extended amount of time. Boo hoo nobody cares. Stay hustling, shower in the gym if you have to, and do what you gotta do to survive. I just had to soldier on and figure it out. If success is the only option you have then you must succeed. That being said nobody succeeds alone, make sure you surround yourself with people who truly support you and your dreams. Do everything you can to present the best version of yourself. Find the vibrational frequency of your dreams fulfilled with unwavering faith and conviction. Don’t ask yourself what it looks like, ask yourself what it feels like. Once you consistently match that frequency and capture the feeling of your wishes fulfilled then they have to make their way to you. It’s law. This isn’t philosophy, it’s quantum physics. You can suffer the pain of discipline or the pain of regret. The easy path becomes hard very quickly and the hard path eventually becomes easy with enough discipline and consistency.
Did you write the lyrics to ‘Bronx Love’ first, or the music? Do you feel the order you make a composition makes a difference?
When I write a song I generally start with guitar unless I’m just trying to add music to one of my poems. I feel like the guitar part should be good enough to stand on its own before I add any lyrics. If it’s intriguing enough as an instrumental I’ll do my best to discover the possible lyrics hidden within. But, it all starts with a nonverbal sound. Something as simple that’s cool, that sounds like a song. I was dealing with a lot of personal issues at the time that I wrote Bronx Love. I was sitting in my favorite spot in Brooklyn on a beach of the east river facing the Manhattan skyline. The song came to me as some sort of solace as summer faded into fall. It was Derek Jeter’s last season so it was a very sentimental time for a lot of die hard Yankee fans.
Finally: At what moment did you know the song was complete, and that you’d successfully captured the Bronx?
When I write I do my best not over analyze, critique, or edit what comes through. I just want to be as authentic as possible. If I receive it from the divine then I do my best to let it be. Not everything needs to make logical sense. Like a painting I’ll start with a big brush as I splatter as much paint as possible onto the canvas, but then I’ll come through with a smaller brush and tighten up and spots that any need subtle fine tuning. I’m the son of two artists.
I’m not sure if anyone can successfully capture the essence of The Bronx. At least that wasn’t initially my intention. I’m just sharing the experiences I had with my family growing up. My parents have been separated since my birth. I grew up in a very contentious and violent place. The Yankees were our refuge. They offered us some semblance of peace and inspiration amidst a world filled with darkness and hate. My Dad would commandeer some random nose bleed tickets from a distant relative and that was our one big outing of the entire year. The days we would go to the ball game were filled with immense awe and wonder. We’d get there before the players arrived with the slim chance and hope that we could get an autograph as they entered the stadium. One day my brother miraculously got Mariano Rivera’s autograph, which will hopefully remain a family heirloom for many generations to come. We would see the craziest shit on the way to the game. Even as a kid I picked up guys exchanging money, drugs, or both as they seamlessly whisked by each other in the streets. The palpable energy of the infamous Bronx cheer gearing up to deliver her merciless roar. Cunning scalpers all scheming to out hustle one other. Decrepit cries from the lesser fortunate who lay in their destitute bed of dismal decisions. It was all in stark contrast to the prestige and professionalism of the clean cut Yankees. Night and day difference all within less than a block away. That’s what this song is about, that’s what I was trying to capture. Derek Jeter, Mariano Rivera, and many of the other great Yankees were tremendous role models for so many of us. They gave us something to believe in, something to strive for, a vision of what’s possible with enough hard work and dedication. There’s no shortcut to becoming a better ball player or musician. You have to put the work in.
Cumulus is proud to announce the new album ‘We’ve Got It All’, due out on April 18th via Share It Music. The new LP marks the fourth album by Cumulus, the songwriting project of Alexandra Lockhart and William Cremin. Cumulus has evolved over the years while scooping up praise from the likes of Stereogum, Interview, Consequence, PASTE, Under The Radar, KEXP, Brooklyn Vegan, Atwood Magazine, Seattle Weekly, The Stranger, and NPR Music’s All Songs Considered. What started out as the sole endeavor of Lochart has grown into something of a duo, with Cremin fully taking on co-writer and co-producer roles for the songs on We’ve Got It All. Today they share the lead single “Simple”, an ode to the seemingly less chaotic and fraught John Hughesian past of the 80s and early 90s. “Will it ever be that simple again?” ask Lockhart and Cremin as they harmonize together on the chorus.
“I was thinking about all the adventures I used to get up to in my cul-de-sac neighborhood as a latch-key kid,” shares Lockhart about the song. “I knew all my neighbors, and was raised in a communal kind of way- getting picked up after school by my friend’s mom in her Volvo station wagon, eating dinner at whatever house I happened to be in at 5:00. It feels so pure to look back on now, and I wonder if my future children will ever feel that sense of safety.”
Written in between long drives and voice memos, solo walks in the woods, and writing sessions in a cozy Seattle basement practice space, We’ve Got It All is a reflection on the most important things in life that carry us through the most difficult times. It is songs inspired by childhood friendships, a hello from a neighbor, bookish escapes, winding highways, family connection, and of course, always, music. In the vein of Lockhart’s biggest songwriting inspiration Jason Molina when he said “The real truth about it is no one gets it right /The real truth about it is we’re all supposed to try…” the song “Boxes and Letters” holds the thesis statement and titular line of the record: “Take a deep breath of the cold air and watch the leaves fall, for a minute we’re pretending- we’ve got it all- figured out.”
Once Lockhart & Cremin had the lyrics and skeletal layout of every song, they brought in Bellingham musician Aaron Guest (Polecat, Jenner Fox Band) on piano to bring a fuller arrangement of the songs to life. Guest’s mastery of his instrument brought new colors and emotions to the lyrics that became integral to the stripped down direction of the record. Lockhart knew she wanted to make a record that was inspired by the singer-songwriters she spent most of her listening time with (Jason Molina, Damien Jurado, Waxahatchee, Lucinda Williams, Chris Staples, Courtney Marie Andrews, and Maggie Rogers).
After assembling William Cremin on guitar, Aaron Guest on Piano and keys, John Van Deusen (Lonely Forest) on bass, and Aaron Ball (Dryland) on drums, the group had two practices, and then spent 4 days live tracking all 11 songs at The Unknown in Anacortes, Washington with Nicholas Wilbur as engineer. With additional tracking and engineering from Cremin at Recreational Psychoacoustics Lab in Seattle, the record was complete with 6 total days of tracking, with an emphasis on capturing whole vocal takes and as much live and collaborative energy as possible. Each song is its own story, attached to specific places and moments in time, but when assembled there is a shared story of resilience, and a refusal to let the darkest parts of our mind prevent us from moving forward, building connection with others, and sharing the most vulnerable parts of ourselves.
The release of We’ve Got It All marks the second offering from Cumulus on Share It Music. In furtherance of the label’s mission, a donation will be made to MusiCares, a non-profit that helps artists cover the cost of medical and mental health services, as well as providing financial support to artists needing natural disaster relief.
Ant (Atmosphere) has today released his new double single titled ‘Darker Colors’ & ‘Prelude Revisited’ from his upcoming album titled ‘Collection of Sounds: Volume 4’ dropping April 4th via Rhymesayers.
Delving into a deep cavern of soundscapes and ideas, Ant goes off on his own in the only way he can conceive; sheer originality. Bucking the trend of hook, verse, chorus, ‘Darker Colors’ & ‘Prelude Revisited’ are bookends to that idea that you almost had or that dream you can’t quite remember yet defines the next day. Caught outside of the box and about to crush said box, ‘Collection of Sounds: Volume 4’ feels like more of an event than a release with the gateway drugs these two tracks appear to be.
Listen with the lights off, shades draw, and speakers (not earbuds) set to a not so comfortable volume. Loud enough to be the center of attention yet quiet enough to let the mind race and roam to that refreshness that just entered your head. Inspiring to say the least.
This is conveyance via atmosphere without lyrics.
Check out our other features with Ant and Atmosphere HERE.
About ‘Collection of Sounds: Volume 4’
Anthony Davis, AKA Ant, the producer half of the legendary, pioneering hip-hop group Atmosphere, proves once again how irreplaceable he is with the announcement of Collection of Sounds: Volume 4 (the last installment of the four-part series of instrumentals). This latest release showcases the lifetime of dedication behind his craft, blending his unparalleled skills with a fresh, expanded vision.
With previous volumes in the Collection of Sounds series, Ant has traced his musical evolution, spanning hip-hop, funk, reggae and more, all influenced and inspired by extensive travel dating back to his youth. Volume 4 deepens this exploration, introducing rock-inspired elements—guitars that wail, gnaw, and groove—while maintaining his signature sound.
This is the fourth official solo release by Anthony “Ant” Davis, producer of Atmosphere. His extensive production credits include tracks for artists such as MF DOOM, Brother Ali, Felt, Murs, The Grouch & Eligh, Rav, Sage Francis, Dynospectrum, and more.
This announcement occurs on the heels of the release of Collections of Sounds: Volume 1, 2 and 3. Volume 3 delves into the rich influences of reggae, dub, and early hip-hop, crafting a vibrant instrumental landscape that pays homage to these foundational genres. Volume 2 features smooth beats, intricate sampling, and lush layers that create an immersive funk-laden atmosphere, where Volume 1 has pockets that are practically begging for rappers to explore. The Collection of Sounds series offers a window into Ant’s creative journey, reflecting his evolution as an artist over the years, drawing from a vast vault of unreleased material.
When he first pondered releasing an instrumental series, Ant figured he might want to make the songs more “intricate” than the ones he gave to his rapper collaborators, filling up the space in the mix that would normally be given over to their vocals. “But then it would be jazz, right?” he says with a loud laugh. “And I’m not that.” Fitting, as Collection of Sounds is not about forgetting who you are—it’s about remembering, reconfiguring, and reimagining, all at once.
‘Collection of Sounds: Volume 4’ Tracklisting
‘Collection of Sounds: Volume 4’ cover.
Hearing In Dark Colors
Darker Colors
All Right Now, Listen
Prelude Revisited
Behind The Sound
Day After 2010
Just Another Three A.M.
AAAND
Side Eight Synesthesia
Created With A Heavy Brush
Hearing Situations
All Sounds In Place
A Pinch Brighter
Classical Piano Number Seven
4-Track Beyond Beat / Supreme Shoutout
Coloring, Shading And Endings
About Ant
The son of a military family, Ant grew up bouncing between locales: Texas, California, New York, Colorado, even as far away as Germany. While moving every couple of years presented plenty of challenges, it also exposed Ant to a wide array of different people and cultures. It also helped nurture his burgeoning love of music. Ant’s father, only 20 years his senior, was an avid record collector. “He was into funk and jazz and soul music and stuff,” Ant says. “When I’m ten years old, he’s only 30, and rap is out: he was listening to it, but he didn’t know the difference between Grandmaster Flash and Rick James. To him it was the same thing—this is all funk, this is all disco, this is just all music.”
“There was always this weird dream in my head that I could get somewhere,” says Davis. As one half of Atmosphere, the longtime Minneapolis resident has carved out the type of career that aspiring musicians across the world imagine as they cut their teeth in home studios and on small stages. Yet while decades of sold-out tours and critical acclaim might have been, at one time, an abstract notion to the now 53-year-old, he always had a sense that he could spin his ingenuity behind turntables into a living. While the last 30 years serve as proof positive that he was right, his new four-volume collection of instrumental work, Collection of Sounds, illuminates the variety of styles and skills that made that inkling a reality.
The Modbeats have today released their new single titled ‘The Setting Sons’ via Mayleen Records. That suave retro guitar sound with vintage originality and spark in the snark attitude shows us that rock is far from dead. It never left. Relevant in sound and message, The Modbeats show us, in the lyrics, that the party is far from over; it just has a few assholes in it.
And, isn’t that what life is all about? Getting through the bad while carrying on?
Musically, this is brilliance in a bottle you are about to drink. Intoxicating in reverence and mesmerizing in sound, ‘The Setting Sons’ takes us back while pushing us forward with that sweet guitar rock we all miss and now know is alive and well.
Check out our other features with The Modbeats HERE.
About ‘The Setting Sons’
The Modbeats’ signature blend of early rock and roll foundations with mod stylings, surf, power-pop, and blues influences shines brightly in “The Setting Sons.” The song’s opening riff is heavily influenced by neo-Eastern sounds, reminiscent of Jeff Beck’s work on The Yardbirds’ “Heart Full of Soul.” The track builds from this distinctive intro into a chorus that’s as anthemic as it is memorable. The solo, performed on a Fender Stratocaster, complements the quasi-Eastern vibe while standing out with precision and restraint. Frontman and songwriter Philip Dunn describes the inspiration behind the single, stating, “The world has gone mad, but at least we can still get in the car, blast our favorite songs, and have our kicks for at least a little bit. For me, that album is Setting Sons by The Jam. Long live Paul Weller! Long live The Jam!”
To achieve the song’s signature sound, The Modbeats utilized an array of iconic instruments—rhythm tracks featuring a blend of Rickenbacker guitars—the 330/6 for the opening riff and the 360/12-string for additional layers. “We wanted this to be a song that feels fresh but carries the timeless elements of classic rock. The solo needed to stand out without being overly busy, and the chorus ties it all together in a way we’re really proud of,” Dunn explains. Adding to the track’s depth, Bryan Haring of The Gaslight Anthem contributes vocal harmonies on the chorus, further amplifying the song’s anthemic quality. Dunn composed and produced “The Setting Sons,” with engineering by Nick Semanchik at Lake House Studio in Asbury Park, NJ. The song solidifies their position as modern torchbearers of the vibrant rock and roll sound spanning decades.
The Modbeats are a New Jersey-based four-piece band blending early rock and roll foundations with mod stylings and musical elements of surf, jangle-pop, power-pop, rockabilly, folk, psychedelic, blues, alt-country, and soul. Alongside Philip Dunn (vocals, guitar), the lineup includes Joe Mandia (guitar), Scott Matison (bass), and Fizz (drums). Since forming in 2023, the band has quickly garnered attention for their nuanced spin on revival rock, with their June 2024 debut single, “Ballad of a Starving Artist,” featured on WXPN’s annual Power Pop Extravaganza. Recent release, “Fairweather Friends,” earned attention from notable press outlets like Rock at Night, Powerpopaholic, and Digital Tour Bus. The band was also placed on Music Connection’s coveted Hot 100 Live Unsigned Artists and Bands of 2024 list.
About The Modbeats
Threading the needle of early Rock N Roll Rhythm & Blues and Jangle Pop Soul, NJ-based band The Modbeats launched their debut single “Ballad of A Starving Artist b/w “Rocking Chair” courtesy of Mayleen Records in Summer 2024. Formed in late 2023, The Modbeats name symbolizes the confluence of Mod and Modernist stylings with the pure sonic bliss and beat of rock n roll music. Three more A/B side singles are slated for release with a full-length eponymous LP to follow.
Following an impressive trajectory with debut album ‘The Legend Of The Goldkimono’ in 2022, Martijn ‘Tienus’ Konijnenburg is making his mark on contemporary music. The new single is taken from his upcoming album, to be released later this year and co-produced by Martijn himself and Tim Bran (London Grammar, Birdy). It emerges from a moment of doom scrolling and self-reflecting, resulting in the simple realisation: “this ain’t your timeline, this is your lifetime”. Whilst being disguised as a sun-drenched pop tune with an addictive carefree vibe, dig deeper and Goldkimono’s animated lyrics actually explore the discord between our digital existence and real-world connections.
Goldkimono: ”Lifetime” reflects on the chaos and disconnection in the modern world, from global tensions to personal struggles. The song touches on themes of spiritual awareness, unity, and the quest for inner peace in a world full of digital distractions.”
With the single comes a vibrant video created by visual director Cal Bain, where computer-generated imagery played a big part in bringing ‘Lifetime’s’ urgent message to life in a colourful way.
Cal Bain: “You know those days when life feels like it’s running on cruise control, and then suddenly – bam! – you’re dodging curveballs left and right? I wanted to show that feeling through Goldkimono’s digital character and this virtual playground we created. I used CGI to create this mix of old-school and modern digital vibes, hoping to capture something familiar but fresh.”
About Goldkimono
Dutch artist Martijn ‘Tienus’ Konijnenburg is a genre-defying songwriter and performer whose music transcends cultural boundaries. His musical project Goldkimono launched in 2020 through his own Camp Kimono Records and achieved immediate success with debut single ‘To Tomorrow’, produced by heavyweight Crada (Drake, Kendrick Lamar). His debut album ‘The Legend Of The Goldkimono’ (2022) has managed to rank up nearly 40 million streams on Spotify and earned Gold certification in The Netherlands, while track ‘Electric Swing’ gained international recognition being featured on the Netflix show ‘Army Of Thieves’.
Beyond his own artistry, Goldkimono’s songwriting has shaped hits for major artists, including Kygo and Tai Verdes. His sophomore album ‘Something Out Of Nothing’ (2023) marked a new chapter in his independent journey, led by the critically acclaimed single ‘Lost Inside My Head’, which dominated Dutch radio as both Radio 2’s TopSong and 3FM’s Megahit.
Another crucial part of Goldkimono’s musical makeup is performing live. He has so far managed to captivate audiences with electric live shows at premier Dutch venues and festivals, including Lowlands, Down The Rabbit Hole, Into The Woods and TivoliVredenburg – and with more dates to come.
“Music is life giving. It’s like water. Water seeps through and brings life to everything” he says, reflecting on his artistry as being a vital resource rather than a product. With a steady string of new releases and live shows planned for 2025, we can all look forward to more of the Goldkimono perfect recipe: deep-rooted messages and infectious melodies.
Of Limbo have released their new video for the track titled ‘Joke’s On You’ (Unplugged). When I see the term ‘unplugged’ attached to a song, I get mixed reactions. It can be hit or miss. An acoustic version of anything exposes the true musicianship and strips away most of the production ‘slickness’ that hides various things in the song. The atmosphere is made thin. In the case of ‘Joke’s On You’, that’s a massive bonus. The feeling and meaning is revealed under all of those metaphoric onion skins. The life is revealed. The guttural core is exposed.
Of Limbo shines in this stripped naked arena. Nothing left to chance and everything here to show. An almost tribal element is brought into the mix with beautifully dark layers of bare essence crystalized in the ears and ingested by the soul.
Short but sweet, and a bit of sour, Of Limbo record a darkly layered and emotionally captivating peak into their varied sound and what will be a storied legacy.
Brothers Jake and Luke Davies now live in Long Beach, CA – but were raised in Melbourne, Australia. Growing up on Rock N’ Roll, they developed a passion for the music. Jake says “I first put a guitar in Luke’s hands when he was 10. I taught him the nylon string acoustic intro to ‘Unforgiven’ by Metallica, from there he was hooked!” With the release of new track & video ‘Joke’s On You’ the band is forging ahead, albeit in a more toned-down, acoustic direction.
The band’s Jake Davies says “Joke’s On You’ is about recognizing gaslighting techniques in a relationship. You see the person feigning tears and storming off expecting you to chase after them. Most of us are all too familiar with these kinds of manipulative tactics by now. But when you first start to really recognize it, it’s a relief and kind of empowering. Because you realize it’s not you…It’s all them.” The band shot the video for “Joke’s On You” entirely on an IPhone 14 at a park next to their mom’s house in Australia, armed with nothing but a $20 LED from Amazon and a six pack of tall boys. Jake explains “The red and blue color overlays are meant to be a representation of being two faced.”
The Davies brothers loved their native Australia, but were drawn to the U.S. when Luke was accepted to the Berklee School of Music in Boston. Jake relocated to Long Beach, California and started playing in bands on the local scene. After a couple of semesters @ Berklee in 2015, Jake invited Luke to come spend a school break with him in Southern California. Jake says “Every night turned into us partying and writing music. We couldn’t record it on our phones fast enough – It was just pouring out of us! We knew Luke needed to drop out of Berklee and move in with me permanently in Long Beach to do this together for the rest of our lives”.
As far as the genesis of the band name, Jake continues “One night after heavy drinking at the bar, Luke was struggling. I asked him, ‘how you doing over there Luke’? He said ‘I don’t know man… I’m a little left Of Limbo’ and it jumped out at us as a band name. Of Limbo has a mystery to it… It’s a bit weird and we definitely have to say the name twice when people ask. But hey – what’s Pearl Jam? Eventually the name just becomes the band identity of the band – not the definition of the words”. It matches their refreshingly unique hard-rock sound, that doesn’t just follow current trends. Davies says “We absolutely strive to not repeat ourselves and create as many different colors as possible. As far as influences. Alice In Chains, Soundgarden, Rage Against The Machine are all at the top. As far as how diverse the sound is, Faith No More is a band who I really respect for their ability to do this too”.
The band released “Estrada” in 2024. They saw their profile raised significantly with “California Demon” in 2023, which saw the song placed on all major DSP platforms on multiple Hard Rock & Metal playlists, and widespread press acclaim including Loudwire, HEAVY, BraveWords, The PRP, Substream, Medium, Ramzine, Rock N’ Load, and more. 2022’s “Let’s Go” also received adds on multiple playlists on Spotify, Apple Music, Amazon Music, and Pandora. The “Let’s Go” video made several Top 10 lists for Video Of The Year. Previously released songs include ‘Happened Again, ‘Nothing But Now’; ‘Nicotine’; and ‘Fight For Your Right’ (Beastie Boys cover).
Of Limbo pride themselves on making every show a party. They have toured with Wolfmother, Hinder, Candlebox, Buckcherry, Faster Pussycat, and Joyous Wolf, among others. Their high-energy performances create an electric atmosphere that is infectious, making it impossible not to have fun. “Performance wise, for us, it’s always been about making a rock show a party again” says Jake. “I can’t tell you how many shows I’ve been to where the people just stand there like zombies that have been herded into a room to just stare at the meat on stage and robotically clap when a song ends. You know the craziest thing about it? All it takes is like two people at the front to start losing themselves, dancing and having a good time to break people out of this weird self-conscious trance. It’s as if it sweeps across the rest of the crowd like an electrical current shocking them all back to life and everyone has so much more fun after that. “If you want a passive, one-sided entertainment experience, go to a movie.”
Of Limbo will be rolling out more acoustic tracks throughout 2025, with a full album titled “Unplugged” to be released in the 4th quarter. Tour dates are currently being booked to support the new music
German metal duo Mantar are pleased to present their video for “Cosmic Abortion.” The track comes off their latest full-length, Post Apocalyptic Depression, released on Metal Blade Records.
Where 2022’s Pain Is Forever And This Is The End saw the pair bring a sonic richness to their madly heavy blackened death-punk grooves, assisting the record to its position at #2 on Germany’s Official Top 10 album chart, this year’s Post Apocalyptic Depression smashes the palette and punches a hole in the canvas. “We wanted to do everything different from the last album,” affirms guitarist/vocalist Hanno Klänhardt. “The last album was very produced. A huge sounding record with clean production. Display of power. That was what we wanted and felt at that time. Now we are trying to destroy what we’ve built up with the last album. There is a certain beauty in disappointing people’s expectations.”
Describes Rock Hard Germany in a 9/10 review of the record, “[Mantar] paints pictures of dirty basement clubs, of sweat, chaos, aggression and smashed beer bottles as far as the eye can see.” Writes Decibel Magazine, “… Post Apocalyptic Depression now carries forward the giant thrust and swagger of its predecessor, even as it strips back all the runtimes, tightens the compositional core and snaps it together like a fist.” Metal Injection notes, “If you need a proper kick in the ass to get things going today – or you just wanna punish your speakers a little – here’s your chance.” Adds Fuze, “Dark, dirty and relentless, Post Apocalyptic Depression shows what Mantar are all about: uncompromising authenticity that disturbs and fascinates. A must for anyone who appreciates unadorned musical brutality.”
Of “Cosmic Abortion” Hanno comments, “The intro riffing is already a classic. One word: epic. Bolt Thrower vibes meet Chaos A.D.-era Sepultura groove. White Zombie? Ok. Brutal ‘90s swagger. A beat that breaks necks. The hook is already a live show classic. Slogans make the world go round.”
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