Darryl Scotti and Big Yard Reimagine ‘State Of Mind’ with Elegant New Remix
Darryl Scotti and Big Yard revisit familiar territory on ‘State Of Mind (Remix)’, but rather than simply reworking the original, they uncover an entirely new emotional dimension within it. Stripping away much of the traditional instrumentation, the track leans into layered vocal harmonies, understated jazz influences, and spacious production, transforming the song into something more intimate and reflective.
What immediately stands out is the confidence behind the reinvention. The a cappella-driven arrangement allows the song’s melodic strength to take centre stage, while subtle rhythmic textures and atmospheric flourishes create a late-night listening experience that feels both sophisticated and deeply human. There’s a timeless quality to the recording, drawing equally from Americana storytelling and jazz-inspired restraint without feeling tied to either genre.
At a time when many artists are focused on chasing immediacy, Scotti continues to prioritise substance and craft. ‘State Of Mind (Remix)’ serves as a reminder that thoughtful songwriting can remain compelling regardless of format, offering a fresh perspective on an existing work while preserving the emotional core that made it resonate in the first place.
Jamie Richards Releases “My Goings, What’s Coming”
Jamie Richards has spent decades building a reputation as one of Texas country music’s most dependable storytellers, and his new single, “My Goings, What’s Coming,” is a reminder that some artists only get better at telling the truth with age. Drawn from his forthcoming album Blue Rock Sessions, the song finds Richards leaning into the qualities that have made him a regional favorite: plainspoken lyrics, emotional honesty, and a deep understanding of the restless souls who never quite seem able to stay in one place for long.
ABOUT THE ARTIST: https://www.jamierichardsband.com/
At first glance, “My Goings, What’s Coming” feels like a song about leaving. But beneath that surface lies something more complicated. This isn’t the story of a carefree drifter celebrating the open road. Instead, Richards sings from the perspective of someone who recognizes both the gift and burden of his own nature. The opening lines, “You can’t say you ain’t been told / I’m impossible to hold,” immediately establish a free spirit who knows exactly who he is and understands the disappointment that truth can bring to others.
The song’s central hook is both memorable and revealing. “My goings what’s coming, I can’t stop my running,” Richards sings, capturing the contradiction at the heart of the character. He may find comfort, companionship, and even love, but permanence remains just beyond reach. The line “I’m staying here, but I’m not here to stay” is classic country songwriting—simple, direct, and devastatingly effective.
What makes the song particularly compelling is the absence of excuses. Richards doesn’t portray the narrator as a rebel or romantic outlaw. There’s a quiet sadness running through the lyrics. When he sings, “Right now with you, I feel at home, that lets me know I stay too long,” the realization lands with a sting. Home is exactly what he wants, yet it’s also what sends him moving again.
That emotional complexity has long been one of Richards’ strengths. Raised on an Oklahoma dairy farm before cutting his teeth in honky-tonks, Nashville songwriting rooms, and eventually the Texas country circuit, he has built a career on songs that feel lived-in rather than manufactured. His authenticity is audible in every line of this performance. His vocal delivery carries the weight of experience, sounding less like an actor playing a role and more like a man reflecting on roads already traveled.
https://open.spotify.com/album/2aeVhnrFZ7e9hCa8A2VkA3
Musically, the track embraces the traditional country sensibilities Richards has championed throughout his career. The arrangement supports the lyrics without overwhelming them, allowing the story and melody to remain front and center. It’s the kind of song that trusts the listener to lean in rather than dazzling them with unnecessary production tricks.
“My Goings, What’s Coming” succeeds because it understands a universal truth: sometimes the hardest thing to live with is yourself. Jamie Richards captures that reality with grace, humility, and hard-earned wisdom. In an era often dominated by trend-chasing, this song stands as a testament to the enduring power of honest country music and the craftsmanship of an artist who still knows exactly how to tell a story worth hearing.
Gwen Waggoner
Circus Mind Unveils New Album Road Less Traveled, A Bold 10-Song Musical Journey
New York, NY — Circus Mind returns with Road Less Traveled, a 10-song, genre-defying album that has been unfolding one track at a time over the past year. The release brings the band’s ambitious rollout full circle, culminating in the arrival of its electrifying title track, a high-energy retro power pop anthem that closes the journey on a triumphant note.
Over the past 12 months, Circus Mind introduced the project through a steady stream of singles, embracing a modern fan-forward approach to releasing music. Now assembled into a complete body of work. Like a three-ring circus in full swing, the album moves effortlessly between styles while maintaining a strong center ring: great songwriting. Each track feels like a different act, hook-driven, rhythmically adventurous, and full of unexpected turns, yet the collection holds together as a cohesive ride, balancing musical risk-taking with sharp, memorable craft. Circus Mind easily blends funk, soul, 70′ rock, alternative, prog, NoLa Flavors, and island grooves into something both cohesive and wildly adventurous.”
The title track, Road Less Traveled, serves as the album’s grand finale. Driven by bright melodies and propulsive energy, the song delivers an uplifting message about trusting your instincts, tuning out distractions, and forging your own path, of course.
“Circus Mind albums tend to cover the spectrum of music I love and grew up with,” says songwriter, keyboardist, and vocalist Mark Rechler. “Like the circus, we are not just a bunch of clowns. We are acrobats, lion tamers, daredevils, and yes, even a few circus freaks. That is part of what makes the circus the circus.”
Road Less Traveled marks the band’s fourth LP and fifth overall release, continuing their evolution while staying true to the eclectic spirit that defines them.
The album was produced, engineered and mixed by Chris Fasulo and features performances by:
Mark Rechler on keyboards and vocals
Dan Roth on drums
Steve Finkelstein on percussion
Mathew Fox on bass
Brian Duggan on guitar
Chris Butler on backing vocals on Road Less Traveled
With a sound that feels both familiar and refreshingly original, Circus Mind once again demonstrates their ability to balance musical nostalgia with bold creativity.
“Ladies and gentlemen, children of all ages, step right up. The Road Less Traveled awaits.”
Road Less Traveled will be available on all streaming platforms this June.
ABOUT CIRCUS MIND:
Circus Mind is a New York-based rock outfit and the brainchild of ringleader Mark Rechler. The band’s latest release “Bioluminate”, a delightful mashup of rock and Nola funk mixed with late-Beatles pop, received rave reviews from Relix, The Rocktologist and countless other entertainment news outlets. The band features
Mark Rechler on Keys and Vocals, Brian Duggan on Guitar, Michael Amendola on Sax, Mathew Fox on Bass, Steve Finkelstein on Percussion and Dan Roth on Drums. Circus Mind is able to daringly swing from jazzy grooves to reggae roots then shoot out of a cannon into rock without missing a beat.
The boys deliver a modern take on influences such as Traffic, Steely Dan, Little Feat and Mott the Hoople while mixing in NoLa influences likeDr. John, The Meters and The Neville Brothers. Over the course of their career, Circus Mind has performed at Jazz Fest, The Fat Friday Annual Mardi Gras Ball, Brooklyn Bowl, The Capitol Theatre, B.B. King’s and many other prestigious venues.
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DJZEPiC delivers a funk-fuelled anthem built for late-night escapism in ‘i GOT A FEELiNG’
Australian producer DJZEPiC is tapping into dance music’s renewed obsession with groove, nostalgia, and emotional release. His latest single, “i GOT A FEELiNG”, arrives at a moment when disco-infused house continues to dominate club culture and streaming playlists alike, yet the track succeeds by offering more than a simple throwback. Instead, it demonstrates an artist increasingly confident in translating classic dancefloor influences into something tailored for a modern audience.
Built around elastic basslines, shimmering synth textures, and an infectious rhythmic pulse, “i GOT A FEELiNG” captures the euphoric energy that has fuelled dance music’s enduring appeal for decades. While echoes of French touch and early 2000s dance-pop inevitably surface throughout the production, DJZEPiC approaches these influences with a contemporary sensibility, favouring sleek arrangements and polished execution over outright nostalgia. The result is a track that feels familiar without becoming derivative.
With momentum continuing to build around his releases, DJZEPiC is steadily establishing a recognisable artistic identity within a crowded electronic landscape. “i GOT A FEELiNG” reinforces his strengths as a producer capable of balancing commercial accessibility with genuine dancefloor credibility, while offering a glimpse of where his sound may be heading next.
That trajectory becomes even clearer with forthcoming single “Light Years”.
Expanding on the cosmic undertones hinted at throughout his recent work, the track reportedly leans further into space-age funk and expansive house textures, suggesting an artist eager to push beyond revivalism and towards a more fully realised sonic universe. If “i GOT A FEELiNG” captures the rush of the night out, “Light Years” looks set to soundtrack the moment when the outside world disappears entirely and the music takes over.
Camille K Presents “Stuck”
Camille K continues her prolific run of bright, emotionally transparent pop with “Stuck,” a single that captures the frustratingly relatable feeling of being unable to move on. Released on June 2, the track arrives as the Philadelphia singer-songwriter’s latest step forward, following a string of increasingly polished pop releases that have highlighted both her songwriting instincts and her knack for memorable hooks.
From the opening moments, “Stuck” leans into a glossy pop sound built around crisp percussion and an upbeat rhythmic pulse. Like much of Camille’s recent work, the production is sleek without becoming overwhelming, allowing the emotional core of the song to remain front and center.
The arrangement features shimmering synth textures as a subtle undertone to Camille’s vocals, balancing radio-friendly accessibility with enough detail to keep the track engaging. But the chorus is where “Stuck” truly comes alive. Camille understands the value of a strong melodic payoff, and the hook lands with an effortless singalong quality, delivering the kind of earworm refrain that feels tailor-made for playlists.
Yet even at its most infectious, the song never loses sight of the emotional tension driving it forward. It transforms emotional frustration into something undeniably catchy.
Rather than wallowing in heartbreak about someone who still occupies your thoughts, Camille approaches the subject with a sense of self-awareness and youthful honesty.
The lyrics capture the circular thought patterns that come with lingering feelings, where every attempt to move forward somehow leads right back to the same person. It’s a familiar theme in pop music, but presented with enough sincerity that it never feels cliché.
Vocally, Camille favors control and expression over showmanship, delivering a light, conversational, and remarkably natural performance. The production deserves special mention, providing a polished mix that gives the track a modern sheen while leaving plenty of room for Camille’s voice to shine.
“Stuck” occupies the space in between uncertainty and connection when emotions refuse to resolve themselves neatly. It’s another strong entry in Camille K’s growing catalog, combining relatable storytelling, polished production, and an irresistible pop hook.
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Running on Credit’s Solidifies Their Place in Modern Americana on “Searching for the Sound”
Running on Credit returns with their new album and title track “Searching for the Sound”, a heartfelt country ballad that leans into what the band do best: grounded storytelling, lived experience, and unvarnished emotional honesty. As both a song and a statement of intent, it captures a band settling into its identity while staying true to the blue-collar roots that define their sound.
Recorded at Four Eyes Studios in Beaumont, Texas, “Searching for the Sound” embraces a stripped-back, live approach that allows the performance to breathe. Elmore’s lead vocal sits at the centre of the track, delivering a steady, unforced performance that carries both intimacy and quiet strength. Around him, steel guitar from Chase Curtis and subtle rhythmic work from Chris Cropper help shape a spacious arrangement that never overreaches, instead letting the song’s emotional core do the work.
Lyrically, the track follows a familiar but powerful country theme: the search for direction, identity, and meaning beyond the comfort of the known. It’s a song about stepping away from certainty and accepting the uncertainty that comes with growth. Rather than dressing this idea up, the band keeps things direct and unpretentious, allowing the narrative to land with clarity and weight.
In the tradition of acts like Turnpike Troubadours, Flatland Cavalry, and Tyler Childers, Running on Credit sits comfortably within the current wave of Americana artists keeping traditional country storytelling alive while gently pushing it forward. “Searching for the Sound” doesn’t attempt reinvention; instead, it succeeds by reaffirming what makes this style of music endure honesty, simplicity, and emotional truth.
Burial Ground Returns with Long-Awaited EP, Reviving the Pioneering “Bloodcore” Sound That Helped Shape Metalcore
Burial Ground Returns with Long-Awaited EP, Reviving the Pioneering “Bloodcore” Sound That Helped Shape Metalcore
Ashes from the Human Flame will Feature Two New Songs and “Forever Friends,” a Haunting Song That Had Only Been Recorded Once Live
Wilkes-Barre/Scranton, PA — [June 5, 2026] — After decades of silence, Burial Ground—the underground pioneers credited with forging the “Bloodcore” sound that helped shape modern metalcore—have reemerged with purpose. Reuniting earlier this year, the influential Wilkes-Barre/Scranton, PA band returns not just to revisit their legacy, but to expand it, announcing a long-awaited new EP that bridges their raw beginnings with a renewed creative force. The four-song project, entitled Ashes from the Human Flame, will be available on all DSPs starting Friday, June 5.
Originally formed in late 1991/early 1992 by late vocalist Jamie White and 15-year-old guitar prodigy Brian Quinn, Burial Ground quickly carved out a reputation in the hardcore scene for their explosive fusion of death metal, grindcore, and hardcore. Their sound—dubbed “Bloodcore” by fans – is now considered a legitimate offshoot within the heavy and extreme metal landscape, an honor the band regards as both humbling and sacred.
The band’s reunion comes after a series of rare and meaningful appearances over the years. In 2004, Burial Ground reunited for a tribute concert and fundraiser following the sudden passing of co-founder White. More recently, in 2025, members came together again to perform at a benefit honoring another fallen Wilkes-Barre/Scranton hardcore figure, Option Co-Founder and Side Over Bassist Neil Husvar.
As the sole remaining founding member of Burial Ground, Quinn was unable to attend the Husvar benefit concert, as he was touring the world as the lead guitarist for the multi-platinum rock band Candlebox. During his decade-long tenure with the band, Quinn performed on some of the world’s biggest stages and contributed to five studio albums.
Yet, after ten years on the road, Quinn eventually returned home, unaware that a new chapter for Burial Ground was about to begin. In early 2026, he reconnected with the band’s acclaimed 2004 lineup, which featured vocalist Steve Option alongside 1997 members Guitarist Dave Gruber, Bassist Erik Anderson, and Drummer/Percussionist/Vocalist Tommy “Tyrant” Lin. The reunion immediately rekindled the chemistry and creative energy that had defined the band’s earlier years, setting the stage for Burial Ground’s first new recordings in decades.
The forthcoming EP features four tracks that bridge past and present with two brand-new songs, plus two from long ago, showcasing the band’s enduring intensity and evolution. These include a previously unreleased track entitled “Flowers,” co-written by Quinn and White during sessions for a Revelation Records development deal which has since been re-invented as the track “Iron Lung,” and “Forever Friends,” a haunting and deeply personal song that had only been recorded live once. The band was able to harvest White’s vocals from that single live performance and include them on the song. It will be the first “new” music fans will hear posthumously from White. Recorded at Sound Investments Studio in Old Forge, PA, Ashes from the Human Flame was produced by Burial Ground and Joe “Wiggy” Wegleski, engineered by Wegleski, and mastered by Tom Borthwick.
“Burial Ground was never about fitting into a scene; we were building something of our own without even realizing it,” said Quinn. “Coming back to these songs, especially the ones Jamie and I wrote together, it feels like picking up a conversation that never really ended. This EP is for him, for our friends we’ve lost, and for everyone who kept this music alive all these years.”
The official track listing for Ashes from the Human Flame is as follows:
“Ashes from the Human Flame”
“Cult of Death”
“Iron Lung”
“Forever Friends”
Burial Ground will celebrate the release of the EP at the Hardcore for Husvar 2 show on Saturday, July 25 at the St. Mary’s Center (320 Mifflin Ave., Scranton, PA) featuring hardcore legends Judge as the headliner. Tickets are available at www.hardcore4huz.com. Proceeds benefit the Huz 2.0 Scholarship Fund and NAMI.
About Burial Ground
Formed in the early ’90s, Burial Ground emerged from the Wilkes-Barre/Scranton hardcore scene as innovators of a genre-defying sound that fused death metal, grindcore, and hardcore. Known for pioneering “Bloodcore,” the band’s influence can be heard across generations of heavy music. Their legacy continues to resonate as they return with new material in 2026.
Cathleen Ireland Finds Her Center on the Empowering Anthem “Breathe”
Every once in a while, a song comes along that doesn’t need smoke machines, flashy gimmicks, or social media tricks to make an impact. It simply connects. That’s exactly what Cathleen Ireland accomplishes with her latest single, “Breathe.”
At first listen, the track feels like an infectious pop anthem wrapped in polished production and undeniable hooks. But spend a little time with it, and you’ll discover something deeper. “Breathe” isn’t just a catchy song—it’s a reflection of the modern balancing act so many women perform every single day.
From the opening lyrics, Ireland drops listeners directly into her world:
“Hair makeup nails and toes / Rushing to get to this gig…”
Immediately, you understand this isn’t some manufactured empowerment slogan created in a boardroom. This is lived experience. It’s the voice of a woman juggling responsibilities, expectations, family, career, creativity, and identity while somehow still finding the strength to keep moving forward.
The beauty of “Breathe” lies in its honesty.
Written by Ireland and Danny E. B. and produced by longtime collaborator Sean McDonald at Red Medicine Studios, the song strikes a rare balance between contemporary pop accessibility and authentic storytelling. The beat is sleek and modern without sacrificing warmth, while the arrangement leaves enough space for Ireland’s voice and message to shine.
And what a message it is.
The chorus arrives like a reassuring hand on the shoulder:
“Breathe / You got this, you got this girl.”
Simple? Absolutely.
Effective? Completely.
In a musical landscape often cluttered with overcomplicated messages and excessive self-seriousness, Ireland understands the power of saying exactly what people need to hear. The repeated refrain becomes more than a lyric—it becomes a mantra.
What elevates “Breathe” above standard motivational fare is Ireland’s refusal to paint an unrealistic picture of success. She doesn’t pretend everything is easy. She doesn’t offer magical solutions. Instead, she acknowledges the exhaustion, frustration, and pressure that accompany modern life.
One of the song’s strongest moments comes when she addresses the dismissive attitudes women still encounter in professional environments:
“Every single one of them reeks of you’re just a girl attitude.”
It’s a line delivered with confidence rather than bitterness, and that’s what makes it resonate. Ireland isn’t seeking validation. She’s documenting reality while demonstrating resilience.
Vocally, she delivers one of her most engaging performances to date. There’s confidence in every phrase, but also vulnerability. She sounds like someone who has lived every word she’s singing. That authenticity has become one of her defining strengths throughout her career.
And what a career it has been.
Long before “Breathe,” Ireland established herself as one of Pittsburgh’s most accomplished independent artists. From her early days fronting Friday’s Child and theFIVE6 to leading Hot Weather Holiday, she has consistently evolved while remaining true to her artistic identity. Along the way, she’s earned recognition from the USA Songwriting Competition, the UK Songwriting Competition, the International Acoustic Music Awards, and dozens of international film festivals for her award-winning music videos.
Yet despite those accomplishments, “Breathe” feels remarkably grounded.
Perhaps that’s because the song isn’t concerned with accolades. It’s concerned with perseverance.
The track serves as a powerful preview of her upcoming album, In the City, showcasing an artist who continues to grow creatively while staying connected to the everyday experiences that inspire her work.
By the song’s conclusion, the message is crystal clear. Life may be chaotic. Responsibilities may be endless. The pressure may never completely disappear.
But there’s strength in pausing, taking a breath, and reminding yourself how far you’ve come.
With “Breathe,” Cathleen Ireland has created more than a memorable pop single. She’s delivered a soundtrack for anyone trying to navigate life’s demands without losing themselves in the process.
And in today’s world, that’s a message worth turning up loud.
–Lonnie Nabors
“This Is Not Surrender” by UniversalDice
UniversalDice is a band that operates on its own terms. Their sound weaves together the immediacy of contemporary rock with the crafted sophistication of classic songwriting, creating something that feels both urgent and enduring. There is a deliberate intelligence running through everything they do, music built not merely to be heard, but to be felt, questioned, and remembered. Like the best bands before them, they understand that a great song is also a conversation, one that lingers long after the final chord fades.
At the core of UniversalDice lies Dantone, a songwriter whose ambitions extend well beyond the stage. As lead vocalist, guitarist, producer, and director, he architects the band’s entire sonic and visual world from the ground up. His writing carries the hallmarks of a genuine craftsman, layered, purposeful, and unflinching in its willingness to confront the uncomfortable. Where many artists skirt around mortality, political fracture, and the quiet erosion of civil courage, Dantone walks directly into that territory and plants a flag.
There is something in UniversalDice’s DNA that echoes the trajectory of both 90s inspirations and The Beatles, two bands that began with raw, accessible energy and evolved into vehicles for something far more meaningful. Like such bands as Green Day, UniversalDice understands that melody is not the enemy of message; in fact, the two are most powerful when inseparable. A hook can carry a protest further than a slogan ever could.
That philosophy finds its fullest expression in the band’s recent single, “This Is Not Surrender.” Written and produced entirely by Dantone, the track is seven minutes of slow burning political fire wrapped in restraint. It does not shout. It does not perform outrage. Instead, it does something far more dangerous, it speaks quietly, clearly, and with absolute conviction, the way truth tends to when it has nothing left to prove.
https://www.youtube.com/watch?v=m7VfOnSn3H4
The song reads like a modern declaration, drawn from a moment when passivity has become its own form of complicity. Dantone’s lyrics challenge the seductive comfort of looking away, of telling yourself the storm will pass without your intervention. The title itself is a refusal, not a battle cry, but a line drawn with steady hands. In an era saturated with noise, the song’s measured tone feels almost radical.
Longtime collaborators Bob Barcus on guitar and Eddie Canova on bass provide the foundation, their contributions deliberate and uncluttered, allowing the song’s emotional and political architecture to stand fully exposed. The accompanying lyric video on YouTube reinforces this ethos, pairing the music with understated visuals that trust the listener’s intelligence.
What separates “This Is Not Surrender” from ordinary protest music is its patience. It does not demand agreement, it invites reflection. It offers itself as both a mirror and a window, personal enough to feel intimate, universal enough to outlast the moment that inspired it.
UniversalDice has made something genuinely rare here: a political song with the soul of a hymn. The quandry it leaves behind is not whether you heard it, but whether you were willing to listen.
Gwen Waggoner
Jonathan Moody, ‘Don’t Be My Doubt’: A Stirring Anthem for the Quiet Battles We All Fight
In an era overflowing with songs about self-belief, Jonathan Moody’s “Don’t Be My Doubt” stands apart by focusing on something far more fragile and far more human: the desperate need to be believed in by someone you love.
Built on a foundation of warm Americana and heartland folk, the track unfolds like a late-night drive through uncertainty. Moody’s weathered, soulful vocal doesn’t demand attention through sheer force. Instead, it earns it through sincerity. Every line feels lived-in, every phrase delivered with the conviction of someone who’s spent time wrestling with the doubts he sings about.
The song’s emotional core lies in its striking simplicity. Written by Chuck Hodges, “Don’t Be My Doubt” explores the burden of carrying the world’s disappointments only to discover that the harshest judgment often comes from the people closest to us. It’s a theme that resonates deeply in a culture increasingly defined by skepticism, criticism, and impossible expectations.
Musically, the arrangement is rich without becoming cluttered. Self-produced by Moody, the track benefits from a spacious, cinematic atmosphere that allows every instrument and emotion room to breathe, turning a personal reflection into something far more expansive. The elegant violin work of Keris Chois and the mournful cello lines from Guillermo Quiros add depth and gravity, while Christiano Galvao’s restrained drumming and Joao Paulo Drumond’s tasteful percussion keep the song moving with quiet determination. David Filice’s bass serves as an emotional anchor throughout.
Then comes the secret weapon: The Epoch House Choir.
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As the song builds toward its final moments, the choir transforms what begins as a personal confession into something communal and universal. The repeated plea of “Be my faith” becomes less a request to one person and more a collective prayer for compassion in an increasingly cynical world.
What makes “Don’t Be My Doubt” especially effective is its refusal to offer easy answers. The song doesn’t promise victory, wealth, or redemption. Instead, it argues that belief itself can be transformative. Sometimes all someone needs is a hand reaching out instead of another voice telling them why they’ll fail.
Moody has spent years honing his craft on notable stages across the country, from House of Blues venues to iconic music landmarks, major stadiums, and premier corporate events. That experience is evident throughout “Don’t Be My Doubt,” where seasoned musicianship meets genuine emotional connection, allowing the song’s message to land with remarkable sincerity.
By the time the final chorus fades, “Don’t Be My Doubt” leaves behind a lingering reminder that faith isn’t always found in churches, self-help books, or grand gestures. Sometimes it arrives in the form of a person who chooses to stand beside us when we’re at our weakest.
In a world increasingly quick to doubt, Jonathan Moody delivers a song that dares to believe.
Camille K Announces New Pop Single “Stuck” Out June 2, Music Video Premieres June 5
May 2026 — Rising pop artist Camille K returns with her vibrant new single, “Stuck,” arriving on June 2, followed by the official music video release on June 5. The track delivers a fresh and playful take on the “sweet, but psycho” cliché, transforming it into a bright, self-aware pop anthem that feels both modern and irresistibly fun. Snippet Here!
Blending glossy production with an undeniably catchy hook, “Stuck” captures the whirlwind feeling of being completely wrapped up in someone. It leans into that slightly chaotic, all-consuming crush energy while keeping things light, colorful, and danceable. Camille K approaches the concept with a sense of humor and confidence, making the song as relatable as it is addictive.
Driven by an upbeat tempo and vibrant melodies, “Stuck” is built for repeat listens. It fits seamlessly into pop, crush, and feel-good playlists, offering a burst of energy that stands out in today’s pop landscape.
With “Stuck,” Camille K continues to define her sound through sharp storytelling, polished production, and a strong sense of identity. The single highlights her ability to balance playful attitude with emotional honesty, creating music that connects instantly.
“Stuck” will be available on all major streaming platforms on June 2, with the official music video premiering June 5.
Ever since the age of 11, Camille has shared the stage with legendary artists such as Gina Schock (The Go-Go’s), Jeff “Skunk” Baxter (Steely Dan/Doobie Brothers), and Barry Goudreau (Boston). She has also opened for major acts including Flo Rida, Ja Rule, C&C Music Factory, Lit, Chris Kirkpatrick of *NSYNC, O-Town, LFO, and Jon Anderson (Yes).
Camille gained national recognition as a featured contestant on NBC’s America’s Got Talent in 2022, where her original song “Still in Love” earned high praise from the judges that day. Simon Cowell described her performance as “beautiful,” Heidi Klum called her “absolutely amazing” and “the whole package,” and Sofia Vergara praised her “spectacular” voice.
Beyond the stage, Camille has also made a mark in the film industry, with her music featured in Finding Christmas and 7th Secret. Her previous maxi-single, “Daydreamer,” reached #2 on the iTunes Top Dance Albums chart, further cementing her status as a rising star. She is currently working with Grammy Award-winning production team Sakred Wolves, consisting of Dirty Harry Zelnick, Lectriq, and M11SON, to craft new music that continues to push creative boundaries.
As Camille continues to tour throughout Philadelphia and New Jersey, “Stuck” marks another milestone in her journey, showcasing her signature blend of raw emotion, powerful vocals, and polished pop production. Camille K is also an endorsed artist of Anatomy of Sound picks and Minarik Guitars.
For more on Camille K, follow her on social media:
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Infinity Song – “Hurricane” Review
There are songs that politely ask for your attention, and then there are songs like “Hurricane,” which grab you by the collar, spill red wine on your vintage suede jacket, and drag you barefoot into the middle of some shimmering midnight dance floor where Fleetwood Mac, Rotary Connection, and the ghost of AM radio all somehow coexist in a sweaty celestial communion. Infinity Song doesn’t just perform “Hurricane” — they unleash it like weather.
The first thing that hits is the groove. Not a fake algorithmic pulse stitched together by committee, but an honest-to-God rolling rhythm that moves like a train coming downhill with sparks shooting off the rails. The drums don’t simply keep time; they provoke motion. The bassline slinks around the track with the confidence of somebody who knows exactly how dangerous they are. And over all of it, those harmonies — those impossible, blood-related harmonies — rise like incense smoke curling toward some stained-glass cathedral ceiling built entirely from soft rock records and old soul singles.
Infinity Song has always trafficked in atmosphere. Their music floats, glimmers, aches. But “Hurricane” does something different. It sweats. It pulses. It shakes loose from the dreamscape long enough to hit the body directly. There’s a physicality here that feels new, like the band suddenly discovered that transcendence and movement aren’t enemies after all. You can hear echoes of seventies Laurel Canyon mysticism colliding headfirst into dancefloor urgency, and somehow it works without collapsing into retro cosplay.
The genius of “Hurricane” is that it never sacrifices beauty for momentum. Lesser bands trying to make a “danceable” track usually flatten themselves into anonymous pop mush, sanding away every strange edge until nothing remains except a beat and some influencer-ready hooks. Infinity Song refuses that bargain. The guitars still shimmer like sunlight through fog. The vocals still arrive in waves so lush they almost feel unreal. But underneath it all is this relentless kinetic heartbeat that keeps pushing forward, like the song itself is trying to outrun something.
And maybe that’s the point. “Hurricane” sounds like yearning wrapped inside motion. The repeated refrain — “Hurricane let it pour / And I’ll keep waiting for more” — doesn’t land like surrender. It sounds ecstatic, almost defiant. The storm isn’t destruction here; it’s transformation. The band leans into chaos with open arms, dancing directly into the wind.
The accompanying video amplifies that energy perfectly, capturing the group moving with loose, hypnotic chemistry that feels refreshingly human in an era where so much pop presentation resembles content-farm automation. There’s charisma here that can’t be manufactured. You understand immediately why their live reputation has exploded, why NPR Tiny Desk audiences and international crowds have latched onto them like believers discovering some secret frequency the rest of the world forgot existed.
And that’s ultimately what makes Infinity Song fascinating right now. They’re reviving something old without embalming it. “Hurricane” doesn’t sound nostalgic. It sounds alive. Messy, glowing, seductive, and gloriously overcommitted to feeling everything all at once.
In lesser hands, this kind of soft rock romanticism would feel quaint. Infinity Song makes it feel dangerous again.
INFINITY SONG ONLINE:
–Leslie Banks
“Summer Before the Fall” by Chris Chitsey and Bee Smith
Chris Chitsey already is well on his way to carving a unique, artistic niche in the field of country music. Naturally when it comes to collaborations with other artists, things can become a double-edged sword. Even with established musical acts, sometimes collaborations can be to the detriment of both artists, stripping a sense of cohesiveness and each act’s unique individuality into something unfairly competitive. So it was gutsy for Chitsey to pair up with British artist Bee Smith for their joint single “Summer Before the Fall”. Luckily upon hearing the track, all fears were assured.
Chitsey and Smith make a formidable team, each elating and lifting up each other’s strengths as an artist. Chitsey sings with this stereotypical, rugged, chipped masculinity, while Smith is a welcome antidote but not as a contrasting, willowy presence in her own right. When she belts out a tune, her voice is feminine but unwavering and strong. While British, she immediately makes you think of the strong frontierswomen on shows like Dutton Ranch.
It’s a nice duet because in rare form both artists’ strengths are highlighted, both as contrasting performers and as a steady, single unit. The fact Chitsey is willing to try such a high wire act at an early stage of his career simultaneously communicates artistic integrity and generosity of spirit. It also highlights the confidence in his own craft and brand, making room equating to making his own stage presence that much stronger.
https://open.spotify.com/album/09C5eDA2yy5iY0iUgrSjEf
The song itself is something of a toast to older, simpler times. It espouses a kind of modernity where looking back isn’t regressive, while still firmly planting itself in terms of cultural relevance and production value in the marketplace. The title, “Summer Before the Fall”, seems deliberately handpicked, like something obviously euphemistic but whose said obviousness only adds charm. Chitsey isn’t trying necessarily to compete with the masters of the genre, but he is trying to continue a kind of quality they represented expertly in lockstep.
The lyrics are simple and effective, the meanings clear, and the sense of scope and gravitas decidedly homegrown and staying authentic to the inherent nature of what country is all about. Simply put, a sort of raw, rugged confessional, where being excessively verbose and dependent on hooks is sinful. Chitsey and Smith sing in a manner akin to concentrating on real things, that real people can understand and relate to. Country has always been something of an unappreciated unifier when it comes to the grounded nature of the medium. There’s never the sense even legends in the business espouse flintiness, or a feeling these figures are fundamentally that far away. A good country song reminds everyone, north or south, ideally about what really matters. “Summer Before The Fall” does not disappoint on this front.
All in all Chitsey is on my list as an act to watch. I like his style, I like his sense of emotional candor as an artist, and I like the fact none of his work to date feels entirely perfect. There’s room for messiness, twitchiness, and reinterpretation, all critical signs of someone playing the long game rather than trying to dominate current charts.
Gwen Waggoner
Rodney Atkins releases his latest album “True South”
Rodney Atkins releases his latest album “True South”, what strikes you most, across the full run of the record, is the emotional range it covers without ever feeling scattered. There is genuine joy here, the kind that comes not from youth or novelty but from knowing exactly what you have and choosing it every day. There is grief of a quieter sort too: the grief of time passing, of children outgrowing things, of mornings you can’t get back.
There are moments of levity and moments that land like a hand on the shoulder from someone who understands. Atkins holds all of it together not through any particular production flourish but simply through the consistency of his voice, literally and figuratively. He sounds like himself throughout, and in 2025, that is a more radical act than it should be.
The record also benefits enormously from the presence of Rose Falcon, his wife and collaborator, whose fingerprints are all over the album’s emotional texture. The love at the centre of “True South” doesn’t feel like a subject Atkins has chosen to write about. It feels like the atmosphere the whole record breathes. That’s the difference between an artist mining his personal life for content and one who has simply made a record about what his life actually is.
Rodney Atkins didn’t need to make a comeback record. He’s made something better than that: a record that makes the case, without raising its voice, that he never really went anywhere, and that some of the best work of a long career can arrive not with a bang but with the particular, unhurried warmth of a man who finally has everything worth saying.
https://open.spotify.com/prerelease/6kL5DVAs49UpTg9rOHsWBF?si=70aeda7924f14631
Floodfall, The Rent That We All Pay: Hard Rock’s Search for Meaning in an Age of Noise
There comes a point in every band’s evolution when the question is no longer who are we? but what are we trying to say?On their third full-length album, The Rent That We All Pay, Portland hard-rock outfit Floodfall finally sound like a band that knows the answer.
Built on towering guitars, cinematic production, and lyrics that wrestle with history, memory, technology, and human connection, The Rent That We All Pay is an album that feels less interested in escapism than confrontation. These songs stare directly into the uncertainties of modern life and dare listeners to do the same.
Recorded at Top Floor Studios in Gothenburg, Sweden, with longtime collaborator Jakob Herrmann, the album benefits from a rare combination of American songwriting grit and Scandinavian precision. The result is a record that sounds massive without becoming bloated, polished without losing its edge. Every riff lands with purpose. Every chorus feels earned.
Opener “Immortals Die” sets the tone with a blunt reminder that every empire eventually falls. It’s a thunderous statement piece, equal parts warning and prophecy. From there, Floodfall expands its lens. “89 and 24” transforms personal memories of natural disasters into a meditation on resilience. “Satellites” drifts through emotional isolation with surprising vulnerability, while “Paradise” dismantles nostalgia’s comforting lies with one of the album’s sharpest lyrical concepts.
The album’s middle stretch is particularly strong. “Fifteen Miles” turns a drive through Norway’s Laerdal Tunnel into an almost spiritual experience, while “Watching” channels contemporary anxieties about surveillance and perception into a tense, muscular rocker that feels frighteningly current. Elsewhere, “Last Horizon” captures the romantic loneliness of endless highways and fading sunsets, proving Floodfall are just as effective when they slow down and let atmosphere do the heavy lifting.
What separates The Rent That We All Pay from many modern hard-rock releases is its willingness to embrace complexity. These aren’t songs built around simple villains and heroes. Even the album’s closing pair, “This Wall” and “A Thousand Years Without You,” drawn from the band’s larger Scary Monsters universe, explore sacrifice, regret, and love through characters forced to live with impossible decisions. The emotional weight feels genuine because the band refuses easy answers.
Musically, Floodfall have never sounded more focused. The years of lineup changes and experimentation that marked earlier chapters of the band’s history seem to have crystallized into a singular identity. The guitars are heavier, the arrangements sharper, and the performances more confident than ever. Rather than chasing trends, Floodfall have doubled down on what makes them unique: intelligent songwriting wrapped in stadium-sized hard rock.
The album’s title ultimately reveals its central thesis. Whether it’s the cost of ambition, the burden of memory, the consequences of technology, or the sacrifices demanded by love, every track explores a different version of the same truth: existence comes with a bill. We all pay it eventually.
On The Rent That We All Pay, Floodfall don’t offer solutions. They offer reflection, catharsis, and ten songs powerful enough to make the weight feel a little lighter.
For a band entering its third chapter, Floodfall have achieved something increasingly rare in modern rock: they’ve gotten heavier, smarter, and more emotionally resonant all at once.
SOCIALS:
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Sam Bettens Talks Identity, Music, and the Return of “Not An Addict”
Nearly 30 years after “Not An Addict” became one of the defining alternative rock songs of the 1990s, Sam Bettens is revisiting the track from a completely different place in life. The multi-platinum voice behind K’s Choice has reimagined the iconic song with a stripped-down Americana approach, bringing new meaning to lyrics that have followed him throughout his career.
Over the last three decades, Bettens has built a remarkable journey both personally and professionally. From international success with K’s Choice to years spent living in Tennessee working as a professional firefighter while continuing to tour and record, his path has been anything but conventional. In recent years, Bettens publicly transitioned and now openly lives as a transgender man, bringing a renewed sense of authenticity to both his life and music.
His latest solo album, Coming Home, further embraces the Americana and roots influences that have shaped his recent work. Recorded in Nashville alongside some of the city’s top musicians, the album reflects a songwriter who continues to evolve while remaining committed to honest storytelling. With a European tour underway and a new chapter unfolding, Bettens shows no signs of slowing down.
We recently caught up with Sam Bettens to discuss the new version of “Not An Addict,” his evolution as an artist, life on the road, and what fans can expect next.
Nearly 30 years after “Not An Addict” first became a defining alternative rock anthem, what made this the right moment to revisit the song in a completely new way?
Partly the 30-year anniversary, but mostly the shift toward the Americana/Country genre. I was reluctant to touch it at first, but to me it felt more like a challenge than reliving the past. I love the idea that you can do something completely different with a song and still maintain its essence. The fact that this song is able to cross into a different genre is also a reminder that all these genres are often pulling from the same well. I love the interconnectedness of that.
The new version has a much more Americana and roots-driven sound. What inspired you to reinterpret the song through that lens instead of trying to recreate the original?
I’ve been living in this American musical world for a few years now while writing and recording Coming Home. To me, that was the only way it was worth revisiting, by looking at it in a completely different light. The alternative rock version is perfect the way it is.
Revisiting lyrics you wrote decades ago must feel very different today. Were there any lines in “Not An Addict” that hit you differently now than they did in the ’90s?
The original version was centered around drug addiction. For this new interpretation, I wanted to broaden it to include alcohol as well. Having lived a few decades since the original came out, all that experience contributed to feeling differently about the song. I know people who have had to grapple with addiction, and that made it feel more personal.
You originally became known around the world as the frontperson of K’s Choice during a very different chapter of your life. What has it been like returning to one of your biggest songs today as a transgender man?
Honestly, it’s been liberating. It’s like a weight I didn’t even know existed has been lifted off my shoulders. I’ve found a new confidence that makes even the most familiar things feel new again. Just standing on stage and holding a microphone, those simple actions, all of it feels better. Normal. That gave me a nice boost to tackle this new version.
Your latest album Coming Home marked a real creative shift into Americana and country-inspired storytelling. Did making that album help open the door creatively for this new version of “Not An Addict”?
One hundred percent. I probably wouldn’t have touched it again if it hadn’t been for this shift. I think whatever you do in life, when you’ve been doing it for 30 years, you need to actively find ways to keep yourself challenged and interested. I’m having more fun now than I can ever remember having. It’s partly feeling comfortable and at home in my own body, and partly following my own compass when it comes to what I think will feed my creative side. It’s constantly changing. I don’t imagine I’ll ever settle into just one thing.
You spent years living in Tennessee and even worked professionally as a firefighter while continuing to tour and make music. How did that chapter of your life shape the artist and person you are today?
Living in Tennessee and working as a professional firefighter really broadened me as a person, and I think that spills over into everything I do. When you’re taken out of your familiar environment, whether geographically, culturally, or professionally, it forces you to look at things from different angles. I hope it made me a more interesting person and also more empathetic. We develop ideas and opinions based on our own little world, and when you step outside of that, it’s a good reminder that maybe you don’t know as much as you thought you knew. Tennessee was a wonderful adventure, and firefighting was life-changing. I learned so much about empathy, service, and teamwork. That time and the people I worked with will always hold a special place in my heart.
Your story is one of reinvention in many ways, musically, personally, and emotionally. What have you learned about yourself through all those different chapters of life?
I learned that I’m resilient. And also that resilience is not a given or a place of arrival. It’s something you need to work on every single day. We have so little control over what life throws at us, but how you respond and how you come out on the other side defines who you are. I’m always thinking about how I can be better and stronger.
You’ve talked openly about transition, identity, and finally feeling comfortable in your own skin later in life. How has that personal journey changed your relationship with music and performing?
I’ve always felt at home on stage or in the studio, but there’s now a sense of belonging that feels fresh and new. A lot of self-doubt and imposter syndrome can creep in when there’s a nagging feeling that something isn’t quite right. You can never put your finger on it, so it spills over into almost everything you do. Now that I understand that part of myself, I feel like I get to do it all over again, but this time without the 45-pound backpack I was lugging around.
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In addition to music, you also released your memoir All I Am. What inspired you to tell your story in book form, and was there anything particularly emotional or difficult to revisit while writing it?
There’s something very therapeutic about writing things down. In our minds, we tend to go in circles, and writing this book allowed me, or rather forced me, to dig a little deeper and really figure out what was important and what I should maybe let go of. Some areas that were difficult and that you tend to gloss over were now being explored, and in the end that was an entirely positive experience for me. I’m not saying writing was easy, but I did enjoy the process of letting it all out and then fine-tuning it into something that made sense and that people would hopefully relate to.
With the release of the new “Not An Addict,” your continued solo work, and touring plans throughout Europe this year, what else can fans look forward to from you in the coming months, both as a solo artist and with K’s Choice?
The focus is on this new “Not An Addict” release right now and continuing to promote Coming Home. I’m also taking further steps here in the U.S. to re-establish myself as an artist who deserves a lane. In the meantime, we’re working on a new K’s Choice album as well. Busy times, but action breeds action, so I’m always at my best, and most creative, when things are in motion.
CattSue Finds Beauty in the Broken Silence on “A Whisper on the Wind”
Some songs are heard. Others are felt somewhere deeper — in that hidden chamber of memory where old photographs fade at the corners, childhood echoes still linger, and the people we lost never quite leave us. CattSue’s “A Whisper on the Wind” belongs to that second category. It’s not chasing trends, algorithms, or Nashville polish. It’s chasing something far more elusive: emotional truth.
And it catches it.
From the very first lines, CattSue opens the door to a deeply personal story rooted in the loss of her mother at just four-and-a-half years old. Heavy stuff, right? But here’s where the magic happens: she doesn’t turn grief into spectacle. There are no overblown vocal gymnastics, no dramatic orchestral swells screaming, “Feel this!” Instead, she leans into restraint — and that’s what makes the song hit like a freight train at midnight.
The image of little CattSue carrying her Mrs. Beasley doll everywhere after her mother passed away? That’s not songwriting-by-numbers. That’s lived experience. It’s painfully specific in the best way. You can see the child. You can feel the confusion. You can almost hear the silence inside the room after everyone else stopped talking about the loss because they assumed time would somehow fix it.
Spoiler alert: it doesn’t.
Musically, “A Whisper on the Wind” drifts in this beautifully understated lane between contemporary country, acoustic pop, and singer-songwriter confession. The production is warm, spacious, and intimate — the kind of arrangement that knows when to step back and let the lyric breathe. No unnecessary clutter. No shiny distractions. Just atmosphere wrapped around emotion.
And CattSue’s voice? That’s the secret weapon here.
There’s a tenderness in her delivery that never feels performative. She sings like someone reading pages from a private journal they never intended anyone else to see. Every phrase carries weight because she isn’t trying to impress you — she’s trying to connect with you. Big difference.
The chorus lands with quiet devastation:
“You’re my beautiful angel
Watching from above
I only had a little time
But it was enough…”
That line — “But it was enough” — says everything. Most songs about loss focus on what was taken away. CattSue focuses on what remains. Love. Presence. Connection. The invisible threads tying memory to everyday life. That emotional pivot transforms the song from sadness into healing.
And then comes the bridge — easily the emotional centerpiece of the track.
“I wish I could remember the sound of your voice…”
Wow.
Anybody who has lost someone too young understands exactly what that line means. The terror isn’t only losing the person. It’s losing the details. The voice. The laugh. The tiny things memory slowly erases over time. CattSue taps into that universal fear with startling honesty.
But instead of leaving the wound open, she fills the silence with imagined comfort: “My girl, I’m proud of you — go chase your dreams.”
That moment doesn’t feel manufactured. It feels necessary. Like she spent years needing to hear those words and finally gave herself permission to believe them.
There’s something refreshingly fearless about “A Whisper on the Wind.” In a music culture obsessed with hooks, image, and instant gratification, CattSue slows everything down and asks listeners to sit still with emotion. That takes guts.
Following the chart success of her debut single “Come Home to Me,” including recognition on the UK iTunes charts and Independent Music Network rankings, CattSue could’ve easily chased a safer, more commercial follow-up. Instead, she delivered the most personal song of her life.
That choice matters.
Because “A Whisper on the Wind” isn’t just another sad song. It’s a conversation between past and present. Between a little girl searching for answers and a grown woman finally finding peace in the unanswered spaces.
And somewhere in that stillness, CattSue creates something rare: a song that doesn’t just sound beautiful — it heals quietly while you’re listening.
–Lonnie Nabors
Darrell Kelley Channels Conscious Soul on “How Dare You Ignore Their Cries?”
Darrell Kelley continues his mission of using music as a voice for justice with his single, “How Dare You Ignore Their Cries?”. Known for confronting difficult social issues through his work, Kelley brings together elements of hip-hop and conscious soul on a track built around urgency, compassion, and accountability. The song follows in the spirit of socially aware artists such as Marvin Gaye and Curtis Mayfield, whose music often carried messages of justice, humanity, and social responsibility. Kelley taps into that tradition with soulful vocals and a message-forward approach, creating a track that is as much a statement as it is a song.
“How Dare You Ignore Their Cries?” addresses the ongoing public outrage surrounding the Epstein Files, focusing on the belief that accountability has not matched the scale of harm done to victims. Rather than treating the issue from a distance, Kelley places survivor advocacy at the center of the song, calling attention to the need for transparency, justice, and institutional responsibility. The track’s strength lies in its directness. Kelley does not soften the message or hide behind vague language. Instead, he uses the song to ask a difficult question: how can society move forward if victims’ voices are ignored and those responsible are not fully held accountable? With “How Dare You Ignore Their Cries?”, Kelley adds another socially conscious release to his catalog. The single reflects his ongoing commitment to music that confronts injustice, encourages awareness, and pushes listeners to think beyond the surface. It is a song rooted in moral urgency — one that refuses to look away.
https://www.instagram.com/darrellkelleyofficial/
Heavy Set Woman Hit the Open Road with the Genre-Bending Energy of ‘Highway One’
Heavy Set Woman have never seemed particularly interested in staying within the lines, and ‘Highway One’ is all the stronger for it. The latest release from the creative partnership of William Serralles and Gumpi Falcon arrives as a restless, freewheeling blend of country rock, blues, and classic Americana influences, delivered with enough personality to avoid feeling like a simple exercise in nostalgia.
From its opening moments, ‘Highway’ One moves with purpose. Driven by rolling rhythms, spirited guitar work, and a sense of constant momentum, the track captures the feeling of movement both physical and emotional. It’s the kind of song built for long stretches of highway, yet beneath its easygoing exterior lies a deeper current of reflection, using the road as a backdrop for examining relationships, uncertainty, and the spaces that emerge between people over time.
Heavy Set Woman’s greatest strength lies in their ability to balance musicianship with character. There are echoes of classic rock storytellers and genre-defying studio craftsmen throughout ‘Highway One’, but the duo never sound beholden to their influences. Instead, they channel those inspirations into something that feels personal and instinctive, allowing imperfections, unexpected turns, and moments of raw energy to become part of the song’s appeal.
The production reflects that philosophy. Rich without becoming cluttered, every instrument serves the song’s forward motion, creating a textured soundscape that rewards repeat listens. Whether it’s the interplay between the guitars and saxophone or the subtle shifts in dynamics that mirror the song’s emotional undercurrents, there is a clear understanding of how to build tension and release without sacrificing immediacy.
At a time when genre boundaries continue to blur, ‘Highway One’ succeeds not because it combines country, blues, and rock, but because it approaches each element with genuine conviction. The result is a track that feels adventurous yet approachable, thoughtful yet unpretentious.
With ‘Highway One’, Heavy Set Woman continue to strengthen their reputation as artists who follow instinct over convention. It’s a vibrant, road-ready anthem packed with musical detail, emotional depth, and enough unpredictable charm to keep listeners coming back for another ride.
A/K and Beverley Knight Deliver Disco-House Gold on ‘Through You’
Norwegian production duo A/K return with ‘Through You’, a polished slice of disco-infused house music that pairs their club-focused sensibilities with the unmistakable vocal presence of Beverley Knight. The collaboration arrives as another confident step forward for Henning Astrup and Joakim Kaspersen, whose decades of experience within Norway’s electronic music scene continue to translate into increasingly refined and internationally minded releases.
Built around a buoyant groove, crisp percussion, and shimmering disco textures, ‘Through You’ balances dancefloor functionality with crossover appeal. The production is clean and purposeful throughout, allowing the track’s melodic hooks to land naturally while maintaining the momentum expected of a contemporary house record. There is a clear understanding of pacing in the arrangement, with each element introduced at the right moment to sustain energy without overwhelming the mix.
Knight’s contribution proves central to the track’s success. Her soulful delivery injects personality and warmth into the production, elevating the record beyond a standard club cut. The vocal performance feels effortless yet commanding, bringing emotional weight to a song designed as much for communal singalongs as late-night dancefloors. The songwriting, developed alongside Maegan Cottone, complements this approach, favouring accessibility and memorable melodic phrasing over unnecessary complexity.
What stands out most is A/K’s ability to merge classic disco influences with contemporary house production techniques. Rather than leaning solely on nostalgia, the duo craft a record that feels current and commercially viable while retaining the organic musicality that has long defined the genre’s strongest releases. The result is a track equally suited to festival sets, radio programming, and curated streaming playlists.
With ‘Through You’, A/K deliver a vibrant and well-executed collaboration that highlights both their production maturity and their instinct for pairing strong songwriting with dancefloor energy. It is an infectious release that reinforces their growing profile within European house music while demonstrating the enduring appeal of expertly crafted vocal dance records.
