DSCH—Shostakovich Ensemble Brings Schubert’s ‘The Trout’ and Dvořák’s Piano Quartet to Life in New LAWO Classics Release
Album: Schubert: Piano Quintet D. 667, “The Trout” / Dvořák: Piano Quartet No. 1, Op. 23
Artists: DSCH—Shostakovich Ensemble
Performers: Filipe Pinto-Ribeiro (piano), Esther Hoppe (violin), Lars Anders Tomter (viola), Christian Poltéra (cello), Tiago Pinto-Ribeiro (double bass)
Label: LAWO Classics
Catalogue Number: LWC1423
Recording Dates: 26–29 October 2025
Recording Location: Reitstadel, Neumarkt in der Oberpfalz, Germany
Portuguese Chamber Ensemble Unites Internationally Acclaimed Musicians in a New Recording of Two Cornerstones of Romantic Chamber Music
The DSCH—Shostakovich Ensemble presents a new recording featuring two celebrated works from the Romantic chamber music repertoire: Franz Schubert’s Piano Quintet in A major, D. 667, “The Trout” and Antonín Dvořák’s Piano Quartet No. 1 in D major, Op. 23. Released by LAWO Classics, the album brings together an internationally acclaimed group of musicians for a performance that explores the lyrical beauty, expressive contrasts and intricate interplay of these two masterpieces.
Founded in 2006 by pianist and artistic director Filipe Pinto-Ribeiro, the Lisbon-based DSCH—Shostakovich Ensemble has established itself as a prominent chamber music collective, bringing together outstanding performers from across the international classical music scene. The ensemble’s flexible format encourages artistic collaboration and a repertoire spanning several musical periods, from the Classical era to contemporary compositions.
Schubert’s “The Trout” is among the composer’s most recognisable instrumental works. Written in 1819, during a summer visit to the Austrian town of Steyr, the quintet was inspired in part by the suggestion of music patron Sylvester Paumgartner, who commissioned a work using the unusual instrumentation of piano, violin, viola, cello and double bass. Schubert incorporated the melody of his earlier song Die Forelle (“The Trout”), transforming it into a series of five variations in the work’s fourth movement.
The quintet is distinguished by its flowing melodies, lively rhythms and warm, convivial atmosphere, reflecting the circumstances surrounding its creation. Across its five movements, Schubert develops a rich musical dialogue between the instruments, balancing the piano’s expressive flourishes with the resonant foundation of the double bass. The result is a work that captures the composer’s gift for melodic invention and his distinctive approach to chamber music.
The recording also features Dvořák’s Piano Quartet No. 1 in D major, Op. 23, composed in 1875 during a particularly productive period in the Czech composer’s career. Following the award of the Austrian State Prize, Dvořák entered a period of intense creativity, completing the quartet in just 18 days. The composition showcases his emerging musical identity through folk-inspired melodies, rhythmic vitality, lyrical passages and distinctive Slavic influences.
Structured in three movements, the quartet moves between reflective passages and energetic musical exchanges. Its second movement, built around a theme and five variations, introduces contrasting moods that anticipate Dvořák’s later exploration of the Bohemian Dumka tradition. The final movement incorporates rhythms associated with the Czech furiant folk dance, bringing the work to an exuberant conclusion.
Together, the two compositions reveal different yet complementary approaches to Romantic chamber music, highlighting the composers’ abilities to create expansive melodies, explore instrumental colours and balance emotional depth with moments of musical exuberance.
The ensemble is led by Filipe Pinto-Ribeiro on piano, alongside violinist Esther Hoppe, violist Lars Anders Tomter, cellist Christian Poltéra and double bassist Tiago Pinto-Ribeiro. Each musician brings extensive international performance experience to the recording, with careers encompassing major concert halls, prestigious festivals, solo performances and distinguished chamber music collaborations.
Since its foundation, the DSCH—Shostakovich Ensemble has performed internationally and appeared in major concert series and festivals across several continents. Its critically acclaimed discography includes the world premiere recording of Dmitry Shostakovich’s complete chamber music for piano and strings, released in 2016, as well as Beethoven’s Piano Trios Op. 11 and Op. 38, released in 2021.
Recorded from 26 to 29 October 2025 at Reitstadel in Neumarkt in der Oberpfalz, Germany, the album was produced by Vegard Landaas, with Thomas Woldén responsible for balance engineering and mastering. The recording was made possible with support from the Portuguese Republic’s Directorate-General for the Arts.
With this release, the DSCH—Shostakovich Ensemble brings together two defining works of the chamber music repertoire, offering listeners an opportunity to experience the melodic richness of Schubert and the distinctive rhythmic and lyrical character of Dvořák through the ensemble’s collaborative approach.
Follow DSCH—Shostakovich Ensemble
YouTube: https://youtube.com/DSCH – SHOSTAKOVICH ENSEMBLE
Spotify: https://open.spotify.com/artist/DSCH – SHOSTAKOVICH ENSEMBLE
Unite The States Project distribute the official music video “Doctor Weasel”
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CattSue Opens the Family Album and Lets the Heartache Sing on Heartstrings and Highways
By Lonnie Nabors
There is something almost defiantly unfashionable about sincerity in music right now, which is exactly why CattSue’s Heartstrings and Highways lands with such force.
This is not a record built around mystique. There are no smoke machines, no carefully manufactured distance, no attempt to convince the listener that pain is glamorous. CattSue comes at these songs from the opposite direction. She names the people. She remembers the places. She opens the family album and points directly at the scars.
Across 11 tracks, Heartstrings and Highways moves through love, grief, motherhood, family memory, resilience, faith, survival and addiction with the emotional directness of somebody who has stopped worrying about whether vulnerability looks cool.
That begins with the record’s relationship to memory.
https://open.spotify.com/album/4ecbSaK5oWvec09LU0zsHu?si=iINOs7R7RjCJBQMNz1mKlw
“A Whisper on the Wind” is rooted in the loss of CattSue’s mother when she was only four and a half years old. What makes the song resonate is not some oversized declaration of grief, but the tiny details that survived it: National Park, New Jersey, photographs, a Mrs. Beasley doll, the frustrating inability to remember exactly what her mother’s voice sounded like.
Those are the things that stay.
“More Time” carries that same ache into CattSue’s relationship with her father. Here, grief arrives through riverbanks, Sunday Eagles games, repeated stories and words of encouragement that somehow continue speaking after the person who said them is gone. It is one of the album’s clearest strengths: CattSue understands that the biggest emotions are usually hiding inside the smallest memories.
Family is everywhere on this record, but rarely presented as simple.
“Little Man” watches a son grow from childhood into adulthood, moving from tiny footsteps down the hall to the moment when the child who once needed his mother becomes the man holding her hand.
Then “Mother’s Heart” turns the picture over.
This is motherhood without the greeting-card filter. It deals with sacrifice, disappointment, distance and the painful truth that you can give somebody everything you know how to give and still end up hurt.
That emotional honesty becomes even more pronounced on “Broken.” CattSue doesn’t pretend resilience means walking away untouched. The song understands that survival can look messy. Sometimes being strong simply means continuing.
“In the Light” is the album’s most overtly outward-facing statement. Written for survivors of trafficking, abuse and exploitation, it is informed by CattSue’s personal connection to human trafficking through a family member and friends who were trafficked. The song moves beyond sympathy and toward reclamation. Voice. Identity. Freedom. Life.
That distinction matters.
CattSue isn’t singing about survivors as damaged people waiting to be rescued. She is singing about people taking themselves back.
The album’s closing track, “When the Clouds Come Home,” cowritten by catt Sue, turns toward addiction. The metaphor is smart because addiction often does feel like weather. The pressure changes. The darkness gathers. The storm returns to familiar territory.
But the song’s deeper point is that nobody has to fight alone.
There are prettier records than Heartstrings and Highways. There are probably slicker ones. There are certainly records more interested in impressing you.
That is not this album’s mission.
CattSue is more interested in recognition.
She wants somebody listening to hear a line about a parent, a child, a loss, a wound, a relapse, a memory, and think: yes. I know that place.
That is the road this album travels.
The highways keep moving.
The heartstrings never really do.
Carmelo Alfano: “Is This You?” – New Mix Featuring AJ Lambert
A remarkable musical journey from Pavarotti’s teacher and pioneering live streaming to an unexpected new collaboration
Sicilian-English artist Carmelo Alfano returns with “Is This You?”, now presented in a new mix featuring AJ Lambert.
Based in London and with family roots in Sicily, Alfano’s musical journey has taken him through some remarkable and unexpected chapters. He studied voice in Modena for two years with the teacher of legendary tenor Luciano Pavarotti, before developing a career as an artist, actor and television sound engineer.
A New Mix with AJ Lambert
The new version of “Is This You?” features AJ Lambert, following a friendship that began when Carmelo photographed AJ performing at Rough Trade East in London.
The photographs led to a friendship that developed through music and creative projects. In 2025, AJ invited Carmelo to a screening of a short film she had made, and later asked him to sing backing vocals during one of her London performances.
Now, the creative relationship has come full circle, with AJ contributing to the new mix of “Is This You?”
The collaboration is a natural extension of a friendship that has developed through live music, photography and shared creative projects.
From Early Streaming to Sundae Club
Carmelo has consistently found himself at interesting crossroads in music.
More than 20 years ago, he became one of the early pioneers of live music streaming, broadcasting a London gig using a dial-up service. The event attracted the attention of Sky News, who came to film it.
Another important chapter came through Sundae Club, the project formed by Hamstall and producer George Shilling. Hamstall had previously been the keyboard player in Carmelo’s band, Alfano, which supported James Blunt and performed at venues across London.
Sundae Club went on to secure a publishing deal, release their debut album Technostalgia, have music used on GMTV and write music for ITV UEFA Champions League Weekly. They also co-wrote a track recorded by French Fame Academy winner Nolwenn Leroy.
The Tom Jones Story
Persistence has also played a major role in Carmelo’s career.
In 1993, he sent a demo to Tom Jones, believing one of his songs would suit the singer. Ten years later, he was contacted by Mark Woodward, who had been trying to find the Carmelo who had originally sent the recording.
The reason? A song from the demo had been considered for Tom Jones, but Carmelo’s contact details had been lost with the cassette cover.
These experiences have shaped Alfano’s approach to music: keep creating, keep experimenting and never give up.
With “Is This You?” – New Mix Featuring AJ Lambert, Carmelo begins another chapter in that journey, bringing together a remarkable career history with a collaboration that began simply with a photograph at a London gig
Follow Carmelo Alfano
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Instagram: https://www.instagram.com/carmelo_alfano
Tik Tok: https://www.tiktok.com/@carmelo_alfano
Spotify: https://open.spotify.com/artist/carmeloalfano
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Sanjay Michael Revives Classic Rock Swagger on ‘Baby Baby’
Sanjay Michael taps into the swagger of classic rock on ‘Baby Baby’, a guitar-driven single fuelled by bluesy riffs, infectious hooks and an unmistakable sense of attitude. Drawing on the spirit of Jimi Hendrix, AC/DC and Guns N’ Roses, the Singapore-based artist delivers a track that feels rooted in rock’s golden era without losing sight of his own identity.
A conversational vocal delivery gives the song its personality, while its full-bodied production leans into the genre’s raw energy and infectious groove. Following his debut album, Rocking Into Midnight, and the stripped-back Wall Street Blues EP, ‘Baby Baby’ marks another confident step forward, balancing a love of rock tradition with a more expansive sound.
Accompanied by a performance-led video, ‘Baby Baby’ celebrates the enduring appeal of guitar music, placing groove, melody and personality front and centre. Sanjay Michael makes no attempt to reinvent the genre; instead, he embraces its timeless appeal with a playful confidence that feels entirely his own.
ZOMBIE FEST 9 SET TO BECOME THE BIGGEST MUSIC EVENT EVER HOSTED BY CAMBRIDGE JUNCTION
More than 90 acts, six stages and 12 hours of music as Zombie Fest returns to Cambridge this Halloween
Cambridge is preparing for one of its biggest Halloween celebrations yet as Zombie Fest 9 returns to Cambridge Junction on Saturday 31 October 2026, with organisers expecting the event to become the biggest music event ever hosted at the venue.
Taking over the Cambridge Junction complex, Zombie Fest 9 will feature more than 90 acts across six stages, bringing together major names from 90s and 00s dance, jungle and drum & bass, house, hardcore, hardstyle, trance and breaks.
The extensive line-up includes N-Trance, Stanton Warriors, Jaguar Skills, Dub Pistols’ Barry Ashworth, Mr C, Ultrabeat, Ratpack, Dougal, Slipmatt, Grooverider, Logan D, Lisa Pin-Up, Rob Tissera, Alex P, Scott Garcia & MC Vapour, alongside dozens more DJs and live performers.
The event’s crossover line-up brings together artists from different eras and corners of British dance music. N-Trance will perform their iconic 90s anthem Set You Free, while Ultrabeat will bring the early-2000s favourite Pretty Green Eyes. Scott Garcia & MC Vapour will represent the UK Garage sound, while drum & bass pioneer Grooverider joins the bill alongside jungle and rave favourites including Ratpack, Dougal and Slipmatt.
Also appearing is Jaguar Skills, renowned for his high-energy megamixes and mash-ups, alongside Stanton Warriors, one of the best-known names in breakbeat.
FROM THE VOICE TO ZOMBIE FEST
ZF9 will also welcome artists who have recently been making waves on television.
With artists appearing across six stages, ZF9 promises a diverse musical journey throughout the day, bringing together established names, cult favourites and newer performers under one roof.
MORE THAN MUSIC
Zombie Fest is designed to be a complete Halloween experience, with interactive Halloween characters roaming throughout the venue, meet-and-greet opportunities and photo opportunities for attendees.
The event will also feature an exclusive VIP experience, including Q-Jump, a premium VIP bar, luxury sofas and private toilets, giving guests the option to experience ZF9 with an enhanced level of comfort.
With 12 hours of entertainment and six stages operating throughout the event, Zombie Fest 9 is expected to transform Cambridge Junction into a Halloween playground for music fans and festival-goers.
A DECADE OF ZOMBIE FEST
Zombie Fest first launched in 2015, originally taking place at Mildenhall Stadium as an all-night event running from 6pm until 6am. Over its early years, the festival grew to feature up to 10 stages and 150 artists, attracting audiences of up to 2,500 people.
The event moved to Hi Cambridge in 2023, evolving into a daytime-to-midnight format before relocating to Cambridge Junction in 2025.
Over the years, Zombie Fest has welcomed major names including Chase & Status, Pendulum, Andy C, Paul Oakenfold, Judge Jules, So Solid Crew, N-Trance, Baby D, Fabio & Grooverider, DJ Hype, Jaguar Skills and Ultrabeat, among many others.
The festival has also been recognised as a three-time UK Festival Awards finalist, receiving nominations for Best Small Festival in 2017 and 2018, as well as the Grassroots Festival Award in 2018.
Now, ZF9 marks another milestone for the brand, becoming the largest event Cambridge Junction has ever hosted.
And the story does not stop there. With Zombie Fest’s 10th edition already in discussion, the brand is looking towards its next chapter – ZF-X.
ZOMBIE FEST 9
96 Artists | 6 Stages | 12 Hours | One Massive Halloween Experience
For more information and event updates, visit zombie-fest.com and follow Zombie Fest on social media.
Previous Zombie Fest coverage:
East Anglia Daily Press – Zombie Fest
Cambridge News – Zombie Fest comes to Cambridge
Hi Cambridge – Zombie Fest: The Aftermath
Ely Standard – Judge Jules headlines Zombie Fest 8
Follow Zombie Fest
Facebook: https://www.facebook.com/share/zombiefest
Instagram: https://www.instagram.com/zombiefestuk
Website: https://zombie-fest.com
Tik Tok: https://www.tiktok.com/@zombiefest_uk
Noble Hops’ “Thinkin’ (‘Bout Drinkin’)” Is a Booze-Soaked Rock ’n’ Roll Reckoning That Refuses to Raise a Toast
By Leslie Banks
Rock ’n’ roll has always had a drinking problem. Hell, half its mythology was built on whiskey bottles, broken barstools, and the kind of decisions that sound fantastic at midnight and look like a police report by breakfast. From the swaggering excesses of the Stones to the beer-soaked lunacy of the Replacements, alcohol has been rock’s favorite accomplice, excuse, and occasional executioner. But Pittsburgh-area bruisers Noble Hops have decided to flip the bottle upside down and see what ugly little truths come spilling out.
Their new single, “Thinkin’ (‘Bout Drinkin’),” arriving October 10th, isn’t some fist-pumping celebration of Friday-night stupidity. It’s the morning after, the afternoon before, and the vicious little cycle that connects them. It’s a rock song about drinking that has the audacity to admit drinking sometimes sucks.
And there’s something wonderfully subversive about that.
Frontman Utah Burgess, who originally wrote the music nearly twenty years ago and collaborated on the lyrics with former B.U.M. bandmate Marty Roppolo, doesn’t bother dressing up the situation in metaphorical perfume. The opening image is a man drinking straight from the bottle because even the simple civilization of a glass seems like too much trouble. He’s already on his way to oblivion, and everybody knows it except, apparently, him.
Then comes the chorus, a gloriously circular piece of alcoholic logic:
“Now I’m thinkin’, ’bout drinkin’ / And I’m drinkin’, to keep from thinkin’.”
There it is. The whole damn tragedy in two lines.
Forget your twelve-step lectures and preachy television specials. That little lyrical merry-go-round tells you everything about the machinery of self-destruction. The bottle becomes both the problem and the proposed solution, a cruel practical joke that stops being funny somewhere between the third drink and the shattered relationship.
What makes “Thinkin’ (‘Bout Drinkin’)” particularly interesting is the contradiction at its center. Noble Hops, a band named after one of beer’s essential ingredients, is offering a song about the dangers lurking inside the very substance its identity cheerfully celebrates. That’s rock ’n’ roll irony with teeth.
Musically, the single represents the band’s harder-rock direction. Tony Villella’s electric guitar work, Burgess’s rhythm guitar, Johnny “Sleeves” Costa’s bass, and Brad Hurlburt’s drums provide the instrumental foundation for a story that demands something more confrontational than a polite acoustic confession. The material calls for grit rather than polish, aggression rather than sentimentality.
And Burgess knows the difference between singing about drinking and glorifying it. His narrator isn’t some glamorous outlaw staggering triumphantly toward another round. He’s a frightened, lonely bastard watching his life dissolve and wondering whether his true colors are uglier than he ever imagined.
The woman leaves. Sobriety arrives too late. The damage remains.
Released on World Mental Health Day, the song also raises a question rock music has spent decades avoiding: What happens when the party is actually somebody’s attempt to outrun despair?
Noble Hops doesn’t offer a tidy answer. Thank God.
Because great rock songs aren’t supposed to solve your problems. They’re supposed to grab you by the collar, shove you toward the mirror, and make you confront whatever’s staring back.
“Thinkin’ (‘Bout Drinkin’)” isn’t buying the next round.
It’s handing you the bill.
And brother, it’s a hell of a lot bigger than you thought.
Alysha Finds Common Ground Between Faith and Alternative Music on ‘Take It or Leave It’
London-based artist Alysha explores the intersection of faith and alternative music on her latest single, ‘Take It or Leave It’, a dark fusion of goth, new-wave and electronic influences. Co-produced with Matt Rist, the track pairs shadowy synths with a nocturnal atmosphere, challenging conventional expectations of Christian music through a distinctly alternative sound.
A Cuban-Indian musician raised in London, Alysha draws on an eclectic range of influences, from Beyoncé and Lauryn Hill to Siouxsie & The Banshees and gospel. Since releasing her debut single, ‘David Attenborough’, at 16, she has developed an increasingly adventurous sound, earning more than 3 million Spotify streams and performing at festivals including Wild Paths and Forwards.
With ‘Take It or Leave It’, Alysha continues to push beyond genre boundaries, bringing her spirituality into darker electronic territory. Fresh of supporting LANY across four stadium dates in Japan and South Korea, this single marks another step in the evolution of an artist unafraid to challenge expectations.
@skopemag Album Review: Rachael Sage
Last year’s ‘Canopy’ by NYC songwriter Rachael Sage was a big, bright, horn-assisted band record. She returns this year with ‘Under My Canopy’. This is the same set of songs, taken apart and rebuilt around acoustic guitar, cello, violin, accordion and harmonica, with two chamber-style bonus cuts bolted onto the end. It’s out today on MPress/Virgin/Universal, produced by Sage with Mikhail Pivovarov, who also mixed and mastered.
‘Under My Canopy’ earns its place for a practical reason: Sage’s lyrics were always the point, and the louder arrangements sometimes competed with them. Strip away the wah-guitar and brass and there’s nothing left to hide behind. Mostly, that’s to the songs’ advantage.
The case for the whole project rests on three songs, all in the back half. ‘Nexus’ is the most difficult to write about. Sage composed it after reading about Nex Benedict, the nonbinary Oklahoma teenager who died after a beating by classmates. The arrangement here, built on upright bass, harmonica and cello beneath her own guitar, keeps to a dignified middle register. It never swells for effect. Lines about wanting this “tide of torturousness” to mean something are delivered almost conversationally, which is exactly what makes them sting. It’s a song about mourning that refuses to wallow, and it knows the difference.
‘God Bless America’ is the album’s gamble, and Sage knows it; by her own account the idea met resistance from the people around her. Here, Irving Berlin’s standard is a deliberate set-up for what follows. Her argument is that caring enough about gun violence to demand policy change is the most patriotic thing a person can do, and the performance is sincere enough that it doesn’t read as irony or provocation. It plays as a held breath before ‘Underneath’.
‘Underneath’ then does what the title promises. Written the same day as a school shooting and first aired that night at Rockwood Music Hall, it’s the sparest thing here: Sage’s guitar, Cassandra Kubinski’s harmony, violin and cello, a touch of accordion from Rob Curto. The imagery is almost naive in its directness (guns that guard us, souls like stardust), and that’s the trick. There’s no clever angle, no attempt to be the smartest song about the subject. It just aches. The sad addendum is that, as Sage herself notes, the storyline keeps repeating, which gives a song that’s already heavy a grim permanence.
It would be easy to remember only the heavy material, but the record is smarter than that. ‘Canopy’, with Kristen Ford alongside Sage, is the mission statement and it’s a catchy one: slide guitar from James Mastro, Trina Hamlin’s harmonica, a chorus that begs to be sung back. Sage is a lifelong pacifist who has spent years being told she’s too idealistic, and the song is her answer. Its lyric about a world run by women ending war will raise eyebrows in some quarters. She expects that, and doesn’t flinch.
The production is warm and unfussy, the playing is first-rate, and the writing carries a conviction you can’t fake. It’s the sound of someone who has decided, after a long career, that being sincere is not the same as being naive. In a catalogue that has always put empathy first, this album simply says it with the lights turned down.
Tracklist:
Just Enough – Acoustic
Canopy Prelude
Canopy – Acoustic
Live It Up – Acoustic
Belong To You – Acoustic
The Best Version – Acoustic
Everyday – Acoustic
Colorized World – Acoustic
Kill The Clock – Acoustic
Nexus – Acoustic
Le Rêve
God Bless America
Underneath – Acoustic
Just Enough – Chamber Version
Everyday – Chamber Version
https://open.spotify.com/album/5jJyGuJpCEgGuKgVkvgGER?si=U8VgNhsvQ-CLGN2VLK92Mg
Mila Sidhu Moves Between Heritage and Desire on ‘One Night’
Mila Sidhu turns self-possession into a sound on ‘One Night’, a sleek collision of alternative pop and R&B built around desire, confidence and control. Crisp production and sultry vocals give the track a nocturnal pull, balancing polished pop sensibilities with a darker, more intimate edge. Rather than framing attraction as a question of validation, Sidhu approaches it as an exercise in agency: she is less concerned with being chosen than deciding who deserves her attention.
Created with producer Siloe, the track began with Sidhu’s desire to weave Indian musical influences into her sound. Her subsequent exploration of traditional scales adds another dimension to a production otherwise rooted in contemporary pop and alternative R&B. The cultural thread feels most compelling as part of a broader musical identity shaped by movement between places and influences, rather than as a decorative flourish. Sidhu’s strength lies in bringing these elements together without losing sight of the song’s immediate, physical appeal.
Where much of her songwriting draws on vulnerability and emotional uncertainty, ‘One Night’ finds Sidhu occupying a more assured position. Its sensuality is deliberate, its confidence uncomplicated, yet the track retains the atmospheric quality that runs through her wider artistic world. The result is a poised statement of intent from an artist exploring the relationship between heritage, femininity and self-definition on her own terms.
Some Memories Never Learn to Stay Gone: Lili Caseley Returns with “I Cry Again” on October 23rd, 2026
There is a particular kind of heartbreak that does not arrive with the ending. It comes later, on an ordinary afternoon, long after the brave face has become a habit, when a familiar street corner or a half-remembered melody undoes months of careful healing in a single breath. London singer-songwriter Lili Caseley has written the song for that moment. Her new single, “I Cry Again,” arrives worldwide on Friday, October 23, 2026.
“I Cry Again” lives in the space between being over something and being finished with it. Caseley turns her attention to the feelings that linger when a relationship, a memory or a moment simply refuses to fade, and to the humbling discovery that moving on is rarely a straight line. One recollection is all it takes, and every emotion she believed she had safely put away comes flooding back. Rather than disguise that relapse of the heart, she sings straight into it.
That is the quiet courage of this record. In a pop landscape that so often rewards the armor, the clapback and the triumphant exit, Caseley offers something far riskier: an admission. Strength and sorrow share the same breath here. The tears of the title are not a defeat. They are proof that something mattered. The result is intimate, unguarded and deeply human, the work of an artist willing to show the fragile side of love while her own identity and sound come into ever sharper focus.
The single’s artwork mirrors that mood. It finds Caseley alone in a private, contemplative moment, elegant and still, the visual equivalent of a held breath before the feeling breaks.
Raised in Camden, North London, the daughter of a Portuguese mother who grew up in France and an English father, Caseley has built a catalog of soulful pop shaped by that heritage, by the poets she loves and by the contemporary pop she grew up on. Since debuting with “Have I Ever” in 2018, she has released a run of singles including “C’est La Vie,” “Badoom,” “Hotel Du Palais” with Nick Vyner and “Al Pacino,” earning support from Clash, Notion, Music Week and the Official Charts, along with airplay on BBC Radio 1Xtra and BBC Introducing. She has named Stromae, Billie Holiday and Nelly Furtado among her inspirations, and all three can be felt in the way she balances rhythm, storytelling and soul.
Caseley is also an official FENIX360 Ambassador, representing the artist-first platform built to connect independent musicians directly with their fans. “I Cry Again” follows her acoustic release of “Face Each Other” this past August and marks another confident step forward for an artist whose audience continues to grow on both sides of the Atlantic.
Some songs help you forget. This one sits beside you while you remember.
Lili Caseley’s “I Cry Again” will be released worldwide on Friday, October 23, 2026.
Follow Lili Caseley on Instagram @lilicaseley_ and online at linktr.ee/lilicaseley.
Pre-Save “I Cry Again” by Lili Caseley here:
https://bfan.link/i-cry-again
Esosa Gabrielle Gets Real About Love, Lies, and Heartbreak on Powerful New Single “Guilty”
Out now, the emotionally charged release finds the rising artist turning betrayal and personal heartbreak into a fearless musical statement
Some of the most powerful music comes from the moments we’d rather forget. The broken promises. The sleepless nights. The uncomfortable truths that change everything. For rising recording artist Esosa Gabrielle, those experiences become the emotional foundation of her compelling new single, “Guilty,” officially released today and available now on Spotify.
Unfiltered, deeply personal, and emotionally fearless, “Guilty” explores the complicated aftermath of love gone wrong. Infidelity, divorce, shattered trust, and the struggle to reclaim one’s identity all find their place in a song that isn’t afraid to venture into uncomfortable emotional territory.
But Gabrielle isn’t simply revisiting heartbreak. She’s taking ownership of her story.
And that distinction makes all the difference.
When Love Becomes the Hardest Lesson
There’s something universally relatable about discovering that a relationship wasn’t what you believed it to be. The realization can be devastating, particularly when years of love, commitment, and shared dreams are suddenly called into question.
“Guilty” captures that emotional collision, examining what happens when devotion meets deception and the future you imagined begins to disappear.
Rather than reducing the experience to a simple story of right and wrong, Gabrielle explores the complicated emotions that accompany betrayal. There’s disappointment, confusion, vulnerability, and the difficult process of accepting that some relationships cannot be repaired.
It’s the kind of subject matter that demands emotional honesty, and Gabrielle embraces it.
What emerges is a song that speaks not only to those who have experienced infidelity, but to anyone who has ever been forced to rebuild after losing something they believed would last forever.
That emotional accessibility is what gives “Guilty” its strength. Listeners don’t need to know Gabrielle’s personal history to recognize the feelings behind the music.
They simply need to have loved someone.
No Perfect Love Stories Here
In an industry where romantic relationships are frequently packaged as glamorous fantasies, Gabrielle takes a refreshingly different approach.
Her music acknowledges that love can be messy, complicated, and occasionally devastating. People make mistakes. Trust gets broken. Feelings change. And sometimes the hardest part of moving forward is accepting what happened in the first place.
“Guilty” doesn’t attempt to wrap those realities in a neat, comfortable conclusion.
Instead, it confronts them.
For Gabrielle, that willingness to explore emotional complexity is becoming an important part of her artistic identity. She’s interested in the stories people recognize from their own lives, particularly the experiences that rarely make it into everyday conversation.
There’s a vulnerability to that approach, but there’s also considerable strength.
After all, sharing a painful experience with the world requires a different kind of courage than simply keeping it hidden.
From Personal Confession to Cinematic Storytelling
The release of “Guilty” is accompanied by a music video produced by Day Nine Films, extending the song’s emotional narrative into the visual world.
The collaboration brings a cinematic perspective to Gabrielle’s exploration of love, betrayal, and personal transformation, adding another layer to the storytelling behind the single.
For an artist whose work is rooted in human emotion, the visual component offers another way for audiences to connect with the themes driving the music.
It’s an approach that reflects Gabrielle’s desire to create experiences rather than simply release songs.
The Woman Behind “Guilty”
Gabrielle recently opened up about the personal experiences surrounding the single during an appearance on The Andrew Eborn Show.
The revealing conversation explored the difficult subjects of divorce, infidelity, and the emotional circumstances that helped inspire “Guilty.”
It was an opportunity for audiences to discover more about the person behind the music and understand why the song carries such personal significance.
For Gabrielle, speaking publicly about painful experiences represents another extension of her commitment to authenticity.
Rather than allowing difficult chapters of her life to remain unspoken, she’s using them as creative material, turning vulnerability into a source of connection with listeners.
That willingness to be open could become one of her most compelling qualities as her musical career continues to develop.
An Artist Finding Strength in the Truth
With the arrival of “Guilty,” Esosa Gabrielle is introducing audiences to an artist who understands that meaningful music doesn’t always come from happy endings.
Sometimes it comes from disappointment. Sometimes from loss. And sometimes from the moment you finally recognize that walking away is the beginning of something better.
Her latest release is a statement about emotional accountability, self-discovery, and the complicated process of healing.
More importantly, it reflects an artist determined to tell stories that matter to her, regardless of how uncomfortable those stories might be.
For listeners who have experienced the devastation of broken trust, “Guilty” offers recognition and understanding. For those still navigating the emotional aftermath of a difficult relationship, it provides a reminder that pain can eventually give way to resilience.
And for Esosa Gabrielle, it represents another step toward establishing a musical identity built on honesty rather than illusion.
Because sometimes the most powerful thing an artist can do is stop pretending everything is fine and tell the truth.
Esosa Gabrielle’s new single “Guilty” is available worldwide now.
Stream Esosa Gabrielle – “Guilty”
Artist: Esosa Gabrielle
Single: Guilty
Release Date: October 8, 2026
Music Video: Produced by Day Nine Films
Listen on Spotify:
https://open.spotify.com/track/7eDIrd0cGjVl0UvS3Gij28?si=e530d2e960b8451e
Clarity Liao Turns Romantic Anxiety Into Upbeat Pop On ‘Lose’
Clarity Liao turns jealousy into something unexpectedly buoyant on ‘Lose’, the focus track from her forthcoming debut EP Dear…. Built around upbeat drums, electric guitar and a bright pop arrangement, the song deliberately rubs against its subject matter: insecurity, comparison and the fear of watching someone you want choose somebody else. What could have been a stripped-back confession instead becomes a lively study in emotional contradiction.
That tension gives ‘Lose’ its character. Liao originally conceived the song as a sparse piano ballad, but the finished production finds greater depth in its refusal to wallow. Her candid vocal delivery moves through infatuation, obsession and self-doubt without overplaying any of them, while touches of indie pop, R&B, bedroom pop and modern doo-wop give the track a loose, genre-fluid quality. The result feels less like a conventional breakup song than a snapshot of the irrationality that precedes acceptance.
As the track progresses, Liao gradually shifts her perspective from projection towards release. It is this movement that makes ‘Lose’ more than a song about romantic jealousy: beneath its polished pop surface is a portrait of someone confronting the limits of their own fantasy. As an introduction to her solo work, it establishes Liao as a songwriter more interested in following an emotion wherever it leads than fitting neatly into a predetermined sound.
DALE CORNELIUS ANNOUNCES; WHAT IS CARRIED. WHAT IS LEFT BEHIND? A HAUNTING NEW CHAMBER WORK INSPIRED BY MEMORY, PLACE & RENEWAL
What Is Carried, What Is Left Behind? Streaming Link
Award-winning Australian composer explores memory, grief and renewal through an immersive new chamber work featuring ‘Eclective Strings’.
Due for release in October 2026, the six-track album brings together string quartet, synthesizers and found sound in an immersive production mixed in Dolby Atmos Spatial Audio. Created with Melbourne-based string collective Eclective Strings, the project represents a major new chapter for Cornelius, moving beyond his celebrated career in screen composition into a more intimate and personal musical world.
The album began with a chance recording made late at night in Montalcino, Italy. While walking past the Concattedrale di San Salvatore, Cornelius captured the sound of a metal door moving in the wind. The strange, percussive sound became the central sonic motif of the title track and ultimately inspired the wider concept of the album.
Using Dolby Atmos, Cornelius has recreated the spatial experience of that original recording, placing the listener inside the soundscape with the string quartet and synthesizers arranged around them.
At the emotional heart of the album is ‘A Whispered Dawn (Spencer’s Lullaby)’, a string quartet composition originally written in 1999 during an extraordinarily difficult period in Cornelius’s life. His first-born son, Spencer, nearly died before and after childbirth. One of the first infants in Australia to undergo an operation in utero, Spencer was born at just 27 weeks and spent three months in neonatal intensive care, with doctors uncertain whether he would survive.
During this frightening period, Cornelius wrote A Whispered Dawn (Spencer’s Lullaby). The composition was never recorded and remained only as a manuscript for 26 years. Now, alongside the new material on What is Carried, What is Left Behind?, the piece finally receives its first recording.
For Cornelius, returning to the composition more than two decades later represents an act of reclamation — bringing together the fear and uncertainty of that moment with the perspective gained over the years since.
“Recording it now, alongside music written from that more honest place, is an act of reclamation. It’s the answer that piece has been waiting on for twenty-six years.”
Its inclusion gives the album a powerful sense of continuity, bringing together music from two very different points in Cornelius’s life and creating an emotional journey from uncertainty and memory towards hope and renewal.
“Recording it now, alongside music written from that more honest place, is an act of reclamation. It’s the answer that piece has been waiting on for twenty-six years.”
The album’s opening track, ‘In This Moment, What Matters Most?’, is similarly rooted in Cornelius’s personal experience. The phrase became an important reminder during a period of caring for his mother and dealing with anxiety, eventually becoming both a tattoo and the title of the album’s opening composition.
FROM MARY & MAX TO THE CONCERT HALL
Cornelius brings more than two decades of experience to What is Carried, What is Left Behind? His extensive screen-composition career includes more than 90 international productions, including Mary & Max, Backtrack, Till Human Voices Wake Us and five seasons of The Doctor Blake Mysteries.
He has also composed music for major IMAX documentaries including Hidden Universe and The Great Barrier Reef, as well as creating site-specific immersive works for the Australian Pavilions at the Shanghai and Nagoya World Expos.
His work has earned 18 major international awards and nominations, including AACTA and APRA/AMCOS recognition.
The new album has already received strong reactions from leading figures in the music industry, including Deutsche Grammophon’s Senior Manager A&R Anusch Alimirzaie, who described Cornelius’s music as “truly beautiful.”
Christian Kellersman, Executive Producer of Deutsche Grammophon’s Recomposed series, also praised the new work, saying: “I listened to your new album and it’s beautiful.”
London-based Major Tom Music Supervisor Marina Guy described the music as “truly stunning.”
A 55-MINUTE IMMERSIVE LIVE EXPERIENCE
Alongside the album, Cornelius is developing a 55-minute continuous live concert experience, transforming the record into one uninterrupted performance.
The production combines live string quartet, keyboards and sample manipulation with spoken word, bespoke lighting and video projection. Designed with festivals and curated concert series in mind, the performance can also incorporate local string quartets and language-specific spoken-word performers for international presentations.
TRACKLIST
- In This Moment, What Matters Most? – 5:06
- What is Carried, What is Left Behind? – 6:41
- Innocence – 3:46
- A Whispered Dawn (Spencer’s Lullaby) – 6:50
- Under an Impersonal Sky There is Hope – 4:57
- Bloom – 3:12
ABOUT DALE CORNELIUS
Dale Cornelius is an award-winning Australian composer based in Melbourne, with a career spanning more than two decades in screen scoring. His work has appeared across film, television, documentary and immersive projects, including Mary & Max, Backtrack, Till Human Voices Wake Us, The Doctor Blake Mysteries, Hidden Universe and The Great Barrier Reef.
With What is Carried, What is Left Behind?, Cornelius steps outside the demands of screen composition to create a work where memory, place and personal experience become the story itself.
ABOUT ECLECTIVE STRINGS
Eclective Strings is a Melbourne-based string collective featuring members of the Melbourne Symphony Orchestra and the Partridge String Quartet. Co-director Amy You has performed as a featured soloist on the Hans Zimmer Live world tour and collaborated with Yo-Yo Ma. The ensemble’s wider credits include work with Sigur Rós, Nai Palm of Hiatus Kaiyote, Lior and Wafia.
Follow Dale Cornelius
Instagram: https://www.instagram.com/dalecornelius_composer/
Facebook: https://www.facebook.com/DaleCorneliusOfficial/
Spotify: https://open.spotify.com/artist/dalecornelius
Youtube: https://www.youtube.com/user/dalecornelius
Website: https://dalecornelius.com.au/
TG_angel Turns Digital Frustration Into Pop Inspiration With New Single “MacOS!”
The UK artist brings technology nostalgia and interpersonal tension into their world of hyperpop, electronic music and “Cyber Angel” imagery.
UNITED KINGDOM: Hyperpop and electronic pop artist TG_angel has released “MacOS!”, a new single inspired by the unexpected connection between struggling with technology and becoming frustrated with another person. Released October 4th, the track introduces listeners to an artist whose creative universe brings together cyber aesthetics, religious imagery and LGBTQ+ identity.
The inspiration for “MacOS!” began with an attempt to recreate an older computer experience. While trying to emulate an old version of Mac OS on their everyday Windows computer, TG_angel encountered confusing downloads and mounting frustration. Their eventual solution was to purchase an old MacBook on Vinted, but the experience also sparked an idea for a song.
“The idea for MacOS! came from when I was trying to emulate an old version of Mac OS on my main Windows computer that I use for everything,” TG_angel explains. “I found it really frustrating, and I didn’t know how any of the downloads worked, so I just gave up and bought an actual old MacBook on Vinted, and I thought it’d be really interesting to use that idea of getting frustrated with downloading something and combine that with being frustrated with a person.”
That connection gives “MacOS!” a relatable starting point: the moment when something, or someone, refuses to work the way you hoped. By drawing a parallel between digital obstacles and personal friction, TG_angel turns an everyday annoyance into a playful creative premise that fits naturally within their technology-inspired world.
Pronounced “TG Underscore Angel,” TG_angel blends experimental electronic production with bouncy, high-energy pop. Their broader artistic approach moves between the cute, the futuristic and the unsettling, drawing on synth-driven sounds and the nostalgia of 2010s-era technology.
At the center of the project is the “Cyber Angel,” a character and evolving fictional universe shaped by digital culture, heavenly imagery, identity and spirituality. Music, fashion and visual art each contribute to that universe, with glowing interfaces, synthetic textures and angelic imagery forming its visual language.
“MacOS!” offers a new entry point into that world, pairing a distinctly personal origin story with TG_angel’s imaginative approach to pop. An accompanying music video adds another dimension to the release.
Follow TG_angel:
YouTube | TikTok | Spotify | SoundCloud
ARGYRO Turns Los Angeles Into a State of Mind on “She’s So LA”
By John Parker
Los Angeles is a place, a brand and, for generations of songwriters, a particularly durable fantasy. On “She’s So LA,” the Denver-based singer-songwriter and multi-instrumentalist ARGYRO (Scott Argiro) treats it primarily as the last of those: a collection of attitudes and images condensed into one magnetic woman.
The title says plenty. She isn’t simply from Los Angeles; she’s “so LA,” as though the city were a personality type. ARGYRO approaches her with equal parts attraction and fascination, turning her into a character who belongs to the same world of carefully constructed identities that runs throughout his Glitterati project.
“She’s So LA” is streamlined pop-rock, built for immediacy without sounding impatient. Argiro performed all of the studio instruments and vocals except the lead and rhythm guitars, which were played by Damon Wood. That largely self-contained recording process gives the track cohesion: rhythm, melody and vocal phrasing seem to move toward the same destination.
Wood’s guitars provide an important counterweight. They bring rock texture to a song that could easily have leaned entirely into polished pop, giving the arrangement some grit beneath its California sheen.
The record was mixed and mastered in Denver by Jesse O’Brien, and there is an amusing geographical contradiction at its center. A song devoted to Los Angeles mythology was created hundreds of miles away in Colorado. Perhaps that’s appropriate. Cities often loom largest in popular culture when viewed from a distance.
ARGYRO is also an actor, and “She’s So LA” demonstrates how readily he thinks in scenes. The song doesn’t need to explain its central character exhaustively. Instead, it establishes an atmosphere and lets listeners fill in the missing details. She becomes simultaneously a woman and an idea of a woman, inseparable from the city being projected onto her.
That visual instinct carries naturally into the accompanying music video, directed by Denver filmmaker Elgin Cahill. The collaboration reinforces something increasingly apparent in ARGYRO’s work: he isn’t treating songs and visuals as unrelated promotional products. They’re different parts of the same storytelling impulse.
https://www.youtube.com/watch?v=d-pURYEiHqo
Within Glitterati, “She’s So LA” also sharpens one of Argiro’s recurring interests: the distance between identity and presentation. The album has repeatedly circled celebrity, glamour, ego, romance and authenticity. Here those concerns become lighter and flirtier without disappearing.
The song enjoys its fantasy too much to dismantle it.
That’s an important distinction. ARGYRO isn’t standing outside Los Angeles culture wagging a finger at superficiality. He’s intrigued by the spectacle. He recognizes its absurdities while remaining susceptible to its pleasures.
And “She’s So LA” succeeds because it understands that attraction rarely begins with careful investigation. Sometimes a gesture, an attitude or an image is enough.
We see someone.
We invent everything else.
Then, if the pop song is good enough, we fall for the invention.
Ashes Awaken Turn the Devil’s Favorite Phrase Inside Out on “We Sold Our Souls to Heaven”
There is something gloriously perverse about naming a Christian metal song “We Sold Our Souls to Heaven.”
For fifty years, heavy metal has been accused of selling souls in precisely the opposite direction. Parents panicked, preachers burned records, politicians held hearings, and somewhere in every suburban basement a kid discovered that a distorted guitar sounded considerably more convincing than whatever the adults were yelling about upstairs.
Michael Stover understands the joke.
More importantly, he understands that a good rock song needs something sharper than a sermon. “We Sold Our Souls to Heaven,” the new single from his Christian metal project Ashes Awaken, (October 23rd) takes one of rock mythology’s oldest clichés—the Faustian bargain—and hijacks it for the other side.
“It was a deal that changed my life / The day I let my savior take control.”
There’s your thesis. No coy metaphors. No spiritual hide-and-seek. Stover walks through the front door carrying the cross in one hand and an amplifier in the other.
That kind of directness could easily become unbearable. Christian rock has spent decades proving that good intentions do not automatically produce good records. Too often faith-based music feels afraid of dirt, contradiction or desperation—the very things that made rock and roll necessary in the first place.
Ashes Awaken is more interesting when it embraces them.
The central hook, “We sold our souls to heaven,” works because it sounds almost wrong. You hear the phrase and instinctively expect sulfur, crossroads and bad decisions. Instead, Stover turns surrender into liberation. The transaction here isn’t about losing yourself. It’s about unloading the baggage that was killing you.
That tension gives the song its pulse.
https://open.spotify.com/artist/22GJudYpAkGjF4e8dPHbh5
“When you are lost what will you do?” Stover asks, before answering with Jesus, healing and guidance through darkness. There is nothing ambiguous about the theology, but ambiguity isn’t always the point. Sometimes a song exists because somebody climbed out of a hole and feels compelled to yell back down to the people still trapped there.
There’s another wrinkle worth discussing: the performance is AI-generated under Stover’s creative direction. The lyrics, composition and concept are his; artificial intelligence provides the musical performance.
Cue the inevitable arguments about authenticity.
Fine. Have them.
Rock music has always had an uneasy relationship with technology, right up until yesterday’s sacrilege becomes tomorrow’s standard equipment. Distortion was noise. Synthesizers were cheating. Drum machines were soulless. Pro Tools was supposedly going to murder humanity.
Now here comes another machine through the door.
Whether listeners embrace that aspect of “We Sold Our Souls to Heaven” will depend largely on what they believe a recording is supposed to represent. But the song’s central idea remains stubbornly human: despair, surrender, faith, second chances.
And that is the peculiar charm of Ashes Awaken.
This is a song created with decidedly twenty-first-century machinery delivering a message approximately two thousand years old.
Somewhere between those extremes, the guitars roar, the title smirks and Michael Stover makes his bargain.
The devil, apparently, doesn’t get this one.
LONGBOAT CELEBRATES BRITAIN AND LONDON ON NEW ELECTRONIC ALBUM PROUD OF MY POSTCODE
Seattle-born, UK-based band Longboat explores Britain, London and everyday life on forthcoming electronic album, set for release in September
Longboat announces the forthcoming release of Proud of My Postcode, a new all-electronic album inspired by Britain, London and the experience of seeing the country through the eyes of an American musician who has made the UK an increasingly important part of his life.
Set for release at the end of September, Proud of My Postcode was recorded at Strongroom Studios in Shoreditch, with Will Davies engineering. Across the album, Longboat moves between Britain’s past and present, creating an observational portrait shaped by history, everyday life and a deep affection for the country.
Formed in Seattle in 2011, Longboat is a prolific, genre-fluid band led by its founding musician, an original jazz tenor saxophonist and songwriter. Although Longboat is often a solo operation in the studio, the band can expand to include live rock and jazz musicians, strings, horns and backing singers, depending on what each piece of music demands.
Proud of My Postcode is the 37th album in Longboat’s extensive catalogue.
An American Perspective on Britain
The album grew out of a long-standing fascination with Britain and the contrasts between life in the UK and Longboat’s founder’s original home of Seattle.
Seattle is surrounded by mountains, forests and wildlife, while Britain offers something entirely different: thousands of years of history embedded into its cities, towns and landscapes. For Longboat, that history provides an endless supply of subjects to observe and transform into music.
But Proud of My Postcode isn’t intended to be a comprehensive portrait of Britain. Instead, it reflects one musician’s personal relationship with the country and the details that have caught his attention along the way.
“Proud of My Postcode doesn’t draw a complete picture of the UK, but I hope it helps to convey my affection for this country,” says Longboat’s founder.
That affection extends beyond Britain’s famous landmarks and historical moments. Longboat is particularly interested in the everyday — the ordinary moments, habits and observations that make life in Britain distinctive.
“I particularly like the way people celebrate the mundane here between various and sundry political and economic crises,” he says.
Rather than writing traditional love songs, Longboat approaches songwriting as a form of observation. Freed from the conventions of romantic songwriting, the music can focus on the world immediately around it: people, places, history, culture and the contradictions of modern life.
“It’s pretty liberating,” he explains.
From Seattle to Clerkenwell
Longboat’s connection with the UK has also increasingly moved beyond the recording studio.
The band’s founder currently spends time between Britain and Seattle while putting longer-term plans into place, with the intention of making the UK his permanent home in the future. In London, he has also begun performing piano-only versions of around 100 songs from Longboat’s extensive repertoire around Clerkenwell and hopes to take these performances further afield.
This emphasis on direct, human performance reflects Longboat’s independent approach to music. The band is committed to songwriting, recording and performance without the use of artificial intelligence, placing human creativity and musical agency at the heart of its work.
With Proud of My Postcode, Longboat turns that philosophy towards Britain itself, creating an electronic album that captures the perspective of an American-born musician increasingly drawn to the history, character and everyday life of his adopted home.
About Longboat
Formed in Seattle in 2011, Longboat is a prolific, genre-fluid band led by its founding musician, an original jazz tenor saxophonist and songwriter. While often operating as a solo studio outfit, Longboat can expand to incorporate live rock and jazz musicians, strings, horns and backing singers according to the demands of the music. With more than 500 songs written and 39 albums recorded, Longboat has built an extensive catalogue driven by observation, experimentation and a fascination with the world around it.
Follow Longboat
Instagram: https://www.instagram.com/longboatmusic/
Facebook: https://www.facebook.com/longboatmusic
Spotify: https://open.spotify.com/artist/longboat
Bandcamp: https://longboat.bandcamp.com/
Youtube: https://www.youtube.com/@longboatmusic4410
Light On The Hill release the official music video “Angels and Saints”
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Amana Melome’ Returns Recalibrated the Remixes: Soul, Jazz and Global Rhythms Collide on New Remix Album
Recalibrated The Remixes Streaming Link
“RECALIBRATED The Remixes” arrives 25 September 2026, marking the final chapter of an extraordinary journey of self-discovery
Multidisciplinary artist Amana Melome’ is set to release RECALIBRATED THE REMIXES on 25 September 2026, bringing the journey that began with her acclaimed RECALIBRATION album to a powerful and celebratory conclusion.
RECALIBRATED: is about what happens when the searching is over and the lessons have been absorbed. It is a musical celebration of returning to an authentic self, embracing personal strength and stepping into a new chapter with confidence.
“I created this album of remixes because I wanted to rejoice and dance in celebration of the journey of ‘coming home to my authentic self’ through recalibration,” says Amana Melome’. “I wanted to rejoice in the affirmations of strength, embracing every aspect of who I am and my inner magic in these songs.”
The album takes listeners on a genre-spanning journey, bringing together producers from across the world to reinterpret Amana’s music through Dub Reggae, Funk/Disco, Jazz-House and Soulful/Deep House, alongside unexpected jazz influences.
A Celebration of Becoming
The collection focuses on the songs ‘Con C.ALMA’, ‘Recalibration’ and ‘SO DONE!’, with the latter opening the album as an unapologetic statement of personal liberation.
“Done with playing small, done with playing it safe,” Amana explains, describing the track as a farewell to limiting beliefs and outdated versions of herself.
Featuring Joel Holmes and Cee Elassaad, SO DONE! transforms that declaration into a celebration of strength, freedom and renewed energy.
The Song That Brings Everything Full Circle
The album’s most powerful moment comes with ‘Space Age Mama Jama RECALIBRATED’, a reimagining of the very first song Amana ever recorded, originally featured on her debut album Indigo Red! more than ten years ago.
For the new version, Amana returned to the same producer who worked on the original, Saverio ‘Sage’ Principini, creating a remarkable musical full circle. Acclaimed pianist Deron Johnson, known for touring with artists including Miles Davis and Stanley Clarke, also contributes to the new arrangement.
“Same song, totally different ME!” says Amana. “Giving myself permission to shine at full volume!”
The track captures the transformation at the centre of the entire Recalibration story: a woman finally embodying the fierce, playful, powerful character she imagined when she first wrote the song.
“Here I am RECALIBRATED!”
Motherhood, Identity and Finding Her Way Back
Amana’s return to music has been deeply connected to motherhood. After becoming a mother, she stepped back from her musical career to focus on raising her daughter. Now, as her daughter has grown older, Amana has found the freedom to reconnect with her music and creative identity.
Her creative journey has always been surrounded by music. Her grandfather was jazz musician Jimmy Woode, while her grandmother was a jazz singer and dancer and her parents were musicians. Amana herself works across music, writing, painting, ceramics and dance, creating an artistic world that refuses to fit neatly into one category.
Her multicultural upbringing – with connections to Italy, the United States, Spain, Sweden and the Caribbean – has further shaped her distinctive approach to music and storytelling.
Her work has already received praise from music publications, with All About Jazz highlighting its “cross-cultural spirit and jazz subtlety”, while Independent Artist Buzz praised her ability to combine soul, folk and cinematic storytelling.
RECALIBRATED: THE REMIXES – Tracklisting
- LET’S GLOW [Intro]
- SO DONE – Cee Elassaad & Joel Holmes Remix
- CON C.ALMA (DUB REMIX) – Somos Animales
- RECALIBRATION – Opolopo Remix
- CON C.ALMA – Eli Anai Remix
- RECALIBRATION – GodBlessComputers Remix
- RECALIBRATION – Saverio ‘Sage’ Principini Remix
- RECALIBRATED [Interlude]
- SPACE AGE MAMA JAMA RECALIBRATED – Deron Johnson & Saverio ‘Sage’ Principini Remake
- SPACE AGE MAMA JAMA RECALIBRATED – Saverio ‘Sage’ Principini Fire Remix
Live Dates
3 October 2026 – Teatro Niccolini, Florence, Italy
10 October 2026 – Malaga, Spain
About Amana Melome’
Amana Melome’ is a multicultural and multidisciplinary artist whose music blends soul, jazz, folk, world music and cinematic storytelling. Based in Marbella, Spain, she draws on a life shaped by multiple cultures, creative disciplines and a deep connection to personal expression.
Follow Amana Melome’
Instagram: https://www.instagram.com/amanamelome/
Facebook: https://www.facebook.com/AmanaMusic/
SoundCloud: https://soundcloud.com/amanamelome
Spotify: https://open.spotify.com/artist/amanamelome
YouTube: https://www.youtube.com/@Amana.Melome
Website: www.amanamelome.com
