Amber Gomez Single ‘I’m Not Black and Blue’ from the album ‘For Those Who Couldn’t Keep Me’
Amber Gomez has long been active in the indie/pop scene as lead singer of the pop group Venus In Bluejeans who had a hit with their 2006 cover of The Beatles’ “Across The Universe”. In 2025, Amber makes a comeback in her solo career with her latest single, “I’m not Black and Blue”.
This single appears on her upcoming album, “For Those Who Couldn’t Keep Me,” guided by longtime collaborators Les Fradkin and Loretta Pieper, who come on board as producers/composers.
https://ambergomez.bandcamp.com/track/im-not-black-and-blue
I’m Not Black and Blue follows contemporary pop sensibilities, but also reflects a mature artist still refining her voice and sound. The instrumentation, arrangement, and overall sonic texture feel fresh and innovative, but there’s that touch of early 2000s pop-rock lingering in the background.
This is partly due to the heavy synth backing on the track that’s layered with a bit of distortion on the vocals. Gomez’s performance is also reminiscent of Lady Gaga’s early work, as she delivers powerful moments in the chorus with conviction and clarity while also showing great control on the more subtle phrasing.
While the production is clearly electropop at its core and engineers the track without hiding that identity, there is a faint undercurrent of folk-pop energy that softens the synthetic brightness. It gives the song some emotional grounding that highlights the introspective, melancholic songwriting.
The lyrical identity of “I’m Not Black and Blue” is clear and simple with lines like “I can’t hand you the world or everything in it” forming an irresistible hook for the chorus.
However, there is little metaphor or imagery in the verses, which is perhaps a sign that the song intends to stay in the lane of a pop hit and nothing more.
“I’m Not Black and Blue” isn’t a perfect song, but it’s a commendable one that showcases Amber Gomez’s vocal strengths and pop instincts. It’s a satisfying listen that offers a polished, hook-driven pop experience. This single is a solid foundation for Amber’s upcoming album, and we can’t wait to see how she evolves from here.
Site / Socials –
https://www.facebook.com/profile.php?id=61584447590527#
https://www.amazon.com/music/player/artists/B004SUTKOU/amber-gomez
https://www.reverbnation.com/ambergomez
Liz Luceris Reflects on Spiritual Resilience and the Music Born From It
Liz Luceris Reflects on Spiritual Resilience and the Music Born From It
November, 2025 — Liz Luceris is a cinematic composer and singer-songwriter whose work is deeply shaped by her spiritual life and the quiet resilience that faith has offered her. Trained in classical composition and film scoring at Berklee College of Music, AIR Studios, and Budapest Scoring, she has built a career defined not by spectacle, but by a steady, contemplative devotion to beauty, vulnerability, and truth. Her releases, including “In Vain,” “Blessing for a Broken Shelter,” and the EP Hommage à Byron, stand as touchstones in a much larger and more personal story.
Luceris describes her faith not as a brand or aesthetic, but as an interior anchor that carried her through years of chronic illness, mental health struggles, and long stretches of isolation. She does not frame these experiences as tragedy. Instead, she likens them to St. Paul’s thorn, a burden that shaped her, refined her, and ultimately created the conditions for something deeper and more meaningful to emerge. “Music became the vessel gifted to me where I could offer beauty and strength through a broken life,” she explains. “Especially through this broken life.”
This perspective shapes every part of her work. “Blessing for a Broken Shelter,” for instance, was composed as a quiet prayer for mercy and protection. It was written not from triumph, but from surrender, and from the belief that strength and brokenness can coexist. “Not because I have overcome everything,” she says, “but because God lets strength and brokenness live side by side in me, and through me.” The song’s sparse arrangement mirrors this invitation into humility and gentleness, creating a sonic refuge for listeners who carry their own forms of suffering.
“In Vain,” with its restrained orchestral landscape, and the literary-inspired Hommage à Byron EP further reveal her commitment to making music that is both emotionally honest and spiritually rooted. These works are less about self-expression and more about service, written in the hope that they might accompany someone else through their own quiet valleys. Luceris views these pieces not as personal statements but as offerings, shaped by the belief that art can console, strengthen, and restore. Her music is built to hold space for those who feel unseen or forgotten.
Across genres including cinematic pop, orchestral indie, neo classical, and art pop, Luceris blends formal training with contemplative depth. Her influences extend beyond music into theology, psychoanalysis, literature, and spiritual tradition. This interdisciplinary approach creates a sound that feels both intimate and expansive. Every composition reflects her desire to honor the sacred within the ordinary, the transcendent within the wounded, and the grace she finds in the everyday act of making music.
Her projects, though varied, share a consistent inner thread. They affirm that beauty can emerge from difficulty, that creation can arise from uncertainty, and that faith can shape artistry in ways that are subtle, sincere, and deeply human. This is the story Liz Luceris continues to tell through her work. Her music is not a chronicle of suffering or survival. It is a testament to the quiet endurance of the spirit and an offering of comfort to anyone walking their own hidden road.
Liz Luceris Online:
Laura Cheadle + The Girls Bring “All The Peace For Christmas”
How about a fresh, new Christmas song to help get you in the holiday spirit? If you answered yes, then Laura Cheadle + The Girls have got you covered with the new single titled “All The Peace For Christmas”. With a positive theme and festive mood, “All The Peace For Christmas” has a very cool and friendly vibe. It’s all about love and kindness especially during this Christmas season, so be sure to add “All The Peace For Christmas” to your playlist. Laura Cheadle + The Girls are playin’ & singin’ in a winter wonderland and not afraid to show their holiday spirit. ENJOY!
Jimmy Rae: I’m very excited to talk about your new single “All The Peace For Christmas” and how did the idea come about for this song?
Laura Cheadle: I had an idea for about a month about writing a Christmas song about everyone being free this Christmas. I really wanted to have a song that promoted peace, no matter who you are, who you love or where you’re from. I sat down one morning and said to Michelle (who is in Laura Cheadle + The Girls) and said ‘Play some jazzy chords’. From there, the melody and lyrics poured out of us. We knew it was something special because it was written within an hour.
Jimmy Rae: This new single has a very chill vibe and friendly demeanor that fans will love! How did it feel when you were recording this track originally and did it come out exactly how you had planned it?
Laura Cheadle: We had it ready to go and recorded it in one session. We knew exactly what we wanted and it all flowed so beautifully! I wanted it to be a fun acoustic vibe that everyone could easily bop around to. You can hear me playing bongos and tambourine on it, which was so fun! Michelle plays guitar and bass and even harmonized with me on background vocals! I sang the lead vocal very quickly because it just flowed!
Jimmy Rae: There is a very positive message in the title alone and wonder what “All The Peace For Christmas” means to you and The Girls personally?
Laura Cheadle: “All The Peace For Christmas” is about having the freedom we all deserve, no matter who you are, or who you love, to live at peace during this holiday season.
Jimmy Rae: The Christmas season is a wonderful time of year and my favorite time of year to be honest, just due to the spirit of it all. What makes the Christmas season extra special for you and The Girls?
Laura Cheadle: I am truly in the spirit this year! We have a full Holiday tour this year promoting the song all over television and music venues!
I really am making it my goal to promote peace, with all that is happening in the world right now.
Jimmy Rae: I LOVED the music video for “All The Peace For Christmas”! (https://www.youtube.com/watch?v=sr3QEgDBXuY&t=112s)
It was very entertaining and had a festive feel complete with cool snow effect ! Where did the idea come about to make a video and where was the video shot?
Laura Cheadle: This also happened seamlessly! Our social media girl Hope Hahn filmed and directed the video. Michelle came up with the idea to film in front of City Hall Philadelphia and it happened to be the perfect day for it. We then went to several other locations in Philadelphia including Cherry Street Pier! I think everyone is loving the scenery and background of Philadelphia! Philadelphia represents freedom so it’s the perfect backdrop for this song.
Jimmy Rae: With us celebrating Thanksgiving recently, what are some of your favorite traditions and favorite foods?
Laura Cheadle: I am vegan so I make my special Vegan Tofu Turkey, vegan Mac and cheese, vegan green bean casserole!
Jimmy Rae: Staying with Thanksgiving, love to know your Top 10 or Top 5 List of Things You’re Most Thankful For?
Laura Cheadle: I truly am thankful to be advocating for women and the LGBTQ+ community with my all-girl band ‘Laura Cheadle + The Girls. I truly am on a mission with joyful music. I love being a musician and using my platform as a voice for those who need it. This past summer, we toured all over the country and internationally performing at LGBTQ+ Pride events.
Jimmy Rae: How has the response been thus far for your song “All The Peace For Christmas”?
Laura Cheadle: It really has been amazing! People are responding to this song because I know deep down, we all just want peace in this world. I can’t wait for this Holiday tour to begin soon!
Jimmy Rae: Can you tell the Skope readers about any upcoming performances or appearances for Laura Cheadle + The Girls?
Laura Cheadle: Absolutely! You can check out our entire tour coming up: LauraCheadle.com/tour
Here are our holiday tour dates!
Jimmy Rae: With the holiday season upon us, what are your plans on the whole and what are your personal goals?
Laura Cheadle: I will be a busy Christmas elf this season performing all over national television and at venues in the Tri State area. Look out for us on TV!
Jimmy Rae: I’m sure the Skope Universe would love to know what are some of your favorite Christmas songs AND Christmas movies?
Laura Cheadle: My favorite Christmas song is definitely “The Christmas song” because it gives me that cozy feeling! My favorite Christmas movie lately has been Jim Carrey’s
“The Grinch Who Stole Christmas” because it’s so fun to watch.
Jimmy Rae: Looking ahead to 2026, what’s on tap for Laura Cheadle The Girls and what do you hope to achieve as a band?
Laura Cheadle: I will have major announcements coming up music career-wise as something huge is coming so stay posted on all of my socials! We are touring all through the holidays, have a brand new music coming out in March for our song “Lola Has A Girlfriend” and already booking for 2026! Check out the dates and more at Lauracheadle.com.
Jimmy Rae: I always end my interviews on a positive note and so with that, what are some simple things we can do on a regular basis to bring a just little joy to a person’s life? How do we make the world smile more, one day at a time?
Laura Cheadle: Please just treat people with absolute kindness. The world needs more of that!
By Jimmy Rae
@skopemag – Janet Devlin Album Review
Expanding on last year’s Emotional Rodeo, this 22-track deluxe release isn’t padded out with throwaways or novelty ex Janet Devlin has never been an artist to sit comfortably inside one box, and with ‘Not My First Emotional Rodeo (Deluxe)’ she blurs the lines between country, Americana, pop, and rock, stomping straight through them in worn leather boots and proving she belongs on every side of the fence.
tras. Instead, it feels like the second half of a story that was simply too big for one album. There’s grit, melody in abundance, and emotional weight that actually lands.
‘Candy’ rides on upbeat momentum and glossy hooks, but there’s a knowing edge beneath its sugar coating. ‘If He Wanted To He Would’ slows the pace, leaning into restraint and quiet frustration. On the opposite end of the spectrum, ‘Psycho Ex’ is sharp, playful and unapologetically dramatic, proof that Devlin can still have fun with the chaos without dulling its bite.
Across the full tracklist, her voice stands out the most. It’s instantly recognisable, smoky without being heavy, fragile without ever sounding weak. There’s a rawness to the way she sings that anchors even the most radio-friendly moments. Tracks like ‘Best in You’ and ‘Hooked’ pull everything back to basics, letting melody and emotion lead rather than production tricks.
Unlike many deluxe releases that feel like contractual obligations, ‘Not My First Emotional Rodeo’ feels necessary. These songs complete the emotional arc Devlin started on the original album. With heartbreak, defiance, nostalgia, humour and a restless search for meaning running through the entire collection.
https://open.spotify.com/album/5Sq35GVxpr2cxYp6jFJJB1?si=oifIp9ZaTOmx342wno2XDQ
Samuel Evanson Rings in the Holidays with Sparkling New Single ‘Christmas Bells’
Welsh singer-songwriter Samuel Evanson closes out 2025 with his festive single, ‘Christmas Bells’, a sparkling fusion of 1980s-inspired synth-pop and modern indie-pop sensibilities. Following the critical acclaim of his debut album ‘We Are Meant To Break The Rules’ and award-winning singles like ‘He Gave Me Nothing’, Evanson delivers a track that captures the magic, uncertainty, and warmth of the holiday season.
Evanson’s knack for storytelling shines through in ‘Christmas Bells’, transforming a familiar holiday theme into something deeply personal and relatable. The track balances introspective lyricism with buoyant pop production, creating a sound that is both reflective and celebratory. With its infectious hooks and emotional resonance, the single positions Evanson not just as a rising star in the indie-pop scene, but as an artist capable of redefining seasonal music for a new generation.
Built on glistening synths, driving drums, and his emotive vocals, ‘Christmas Bells’ nods to the timeless charm of WHAM! while embracing the playful edge of contemporary pop. Personal and heartfelt, the song reflects the early stages of a new relationship, balancing nostalgia with forward-thinking pop craft. Evanson’s latest release is a standout addition to the holiday music landscape, showcasing his ability to blend emotional depth with irresistible melodies.
Argyro’s “Lifeline”: A Pop Gospel for the Fractured and the Fried
Some songs don’t ask permission before they kick down whatever emotional drywall you’ve slapped up to get through the week. Argyro’s “Lifeline” is one of those—less a single than a flare shot from the deck of a ship we’re all pretending isn’t sinking. And if you think that sounds dramatic, wait till you hear the track itself, because Scott Argiro (yes, the Glitterati guy, yes, the Amazon Prime Christmas-movie heartthrob, yes, the drummer-turned-cinematic-pop-savior) isn’t dealing in half-measures here. He wants unity, compassion, connection—big words, big ideals—and he’s weaponized every instrument in his studio to drag you toward them.
“Within, without, above, below, between…” he murmurs at the top, like he’s trying to map the coordinates of the human condition on a fogged bathroom mirror. Then the song opens—really opens—into that widescreen pulse he’s been perfecting since Glitterati, that sleek pop sheen fused to a drummer’s intuition. Everything is precise but never sterile. Argyro handles the drums, bass, keys, guitars, vocals—hell, if there were a kitchen sink lying around he’d probably mic it and make it shimmer.
https://open.spotify.com/album/2Ab3Ac05081ZoodS5RO5PR?si=cca3cfc359bd437d
What hits hardest is the knife-edge earnestness. Most artists dodge sincerity because it’s easier to hide behind irony or nihilism, but Argyro charges straight into the heart of the matter like he’s got something to prove. Maybe he does. Maybe we all do. “Everyone’s tongue / is shaped like a knife,” he notes, and suddenly the glossy pop veneer cracks just enough to show the raw nerve underneath. If that line doesn’t land with you, congratulations on whatever quiet utopia you’re living in.
But then he pivots—because this is a guy who refuses to leave you in the dark. “We are lightning in a bottle / We are stardust in the sand.” Corny? Maybe. True? Absolutely. It’s the sort of lyric that would’ve gotten him mocked in certain scenes ten years ago, but right now sounds like the exact kind of cosmic pep talk the world needs before it collapses into another comment-section civil war.
And when he belts “Throw me a lifeline tonight”—that’s the gut punch. Not a plea. Not even desperation. More like a rallying cry for anyone who’s bone-tired from pretending everything’s fine. It’s the hook you’ll still be muttering to yourself in the frozen dinner aisle three days later, whether you want to or not.
“Lifeline” isn’t just Argyro’s strongest 2025 showing—it might be his manifesto. A shimmering, pulsating reminder that even in the endless noise, someone somewhere is still leaving the light on.
And honestly? That’s enough to grab the rope.
–Leslie Banks
New Music Out By ttwig
With a unique sound, ‘Hang Ten Colors to Catch the Sun’ is a gorgeous sonic journey from start to finish. A cohesive family of songs that call to all five senses (maybe six or seven if you give yourself an uninterrupted 40min listening experience with great headphones).
‘I Wanna Be A Dog’ is the second single from ttwig’s newly released sophomore album, ‘Hang Ten Colors to Catch the Sun’! The title was inspired by a poster spotted in a Venice surf bar bathroom in 2019, and when a creative surge hit during lockdown in 2020, it became the perfect name for the collection of songs that emerged alongside his debut album ‘Mindless Meadow’. California’s influence runs throughout: from a reflective solo drive down the Pacific Coast Highway in a 2016 Subaru named Betty, to a life-changing Big Sur sunset captured on 35mm film that became the album cover. Every piece of artwork for the record was shot on 35mm and later color-edited to reflect the kaleidoscopic hues ttwig hears in the music.
“It has been an absolute joy finding my voice as ttwig, and I am so thrilled to let this body of work out into the wild. I truly hope it resonates with you in some way, shape, form or color.”
While ttwig is the psych/indie outlet, the artist also continues to release music under JUICEB☮X, a project that has earned recognition on Spotify playlists including AlternaRap and Modern Psychedelia. Beyond solo work, they are one-half of Figmore, whose debut album was named one of the Top R&B Albums of 2021 by NPR and received airplay on KEXP, KCRW, Ebro in the Morning, Soulection Radio, and more.
‘I Wanna Be A Dog’ is a kaleidoscopic fusion of nostalgia, humor, and raw emotional longing. Blending psychedelic rock, indie, alternative rock, and bedroom pop, ttwig creates music that feels at once brand new and strangely familiar: music you’ve never heard, but still remember.
Anchored by an irresistibly infectious bassline, ‘I Wanna Be A Dog’ is a hazy swirl of psychedelic textures, playful but heartfelt lyrics, and an atmosphere that channels Toro y Moi, Tame Impala, Crumb, Men I Trust, and Hether. Written during lockdown in Los Angeles, the song poured out like an out-of-body experience:
“I came up with the bassline, and before I knew it, the other instruments pieced themselves together. I watched from a bird’s-eye view as I moved from bass to drums to guitar, sprinkling trippy details. Then came the lyrics: inspired by the beauty of a dog’s existence—living in the moment, totally loved, and never questioning their instincts.”
With tongue-in-cheek wit delivered in a semi-British accent, the track captures the carefree emotional purity of wanting to live life as a dog. The music video extends this surreal vision, reimagining ttwig as a chunky PS1/N64 character, navigating portals built from 35mm photos that double as the record’s artwork and immersive world.
With ‘I Wanna Be A Dog’, ttwig solidifies their identity as a psychedelic shapeshifter, an artist transforming the familiar into something surreal, heartfelt, and wholly unique.
‘Hang Ten Colors to Catch the Sun’ & ‘I Wanna Be A Dog’ are out now on all major streaming services!
‘Hang Ten Colors to Catch the Sun’ – BANDCAMP
‘I Wanna Be A Dog’ Music Video
“In the City”: Cathleen Ireland Finds Soul, Light, and Limitless Groove in a Skyline of Possibility
On In The City, Pittsburgh singer, songwriter, and producer Cathleen Ireland situates herself at the crossroads of aspiration and affirmation. Her songs aren’t about escape—they’re about belonging, about rediscovering joy in familiar places and finding light in the ordinary pulse of urban nights. With this album, Ireland bridges R&B sophistication, pop precision, and a distinctly personal lyricism that turns everyday moments into affirmations of vitality and connection.
The title track, “In The City,” opens the record with a rush of color and rhythm. A crisp, syncopated groove underlines her declaration—“I wanna taste that city life, let’s go to the city tonight.” It’s less a party anthem than a call to reawaken the senses. The lyrics evoke Pittsburgh’s geography—tunnels, rivers, inclines—but their spirit reaches beyond any one skyline. Ireland isn’t just describing a place; she’s describing a state of mind: the reanimation of soul through movement, music, and proximity.
That search for emotional renewal threads through the entire record. “Strategic” slides effortlessly into slow-burn R&B, balancing intimacy and restraint. The track’s refrain—“No need to be strategic, you got me body and soul”—subverts the contemporary tendency toward guarded love songs. Instead, Ireland opts for vulnerability, for directness. It’s music about dropping the performance and simply being, even as it arrives wrapped in sleek, modern production.
Her sound palette reflects an artist unafraid of dualities. On “Coastin’,” breezy guitars and buoyant percussion evoke sunlight and self-contentment, while her lyrics express gratitude so sincere it borders on prayer. “I’m thankful, grateful, I’m so blessed to be here,” she sings, the melody floating with the ease of someone who’s finally stopped looking for permission to feel joy. There’s a tactile warmth to her production—bass that hums like heartbeat, vocals that stay close to the ear, and arrangements that shimmer rather than shout.
https://www.youtube.com/watch?v=lrNGAm0keA8
Then there’s “Breathe,” arguably the album’s emotional centerpiece. Over an assertive beat and luminous keys, Ireland delivers a mantra for perseverance: “You got this, girl.” In lesser hands, such a lyric might sound trite; in hers, it lands as hard-won truth. She sings from experience, giving voice to the modern multitasking woman who juggles careers, caregiving, and creativity while searching for a moment to exhale. The song transforms daily exhaustion into empowerment, bridging pop accessibility with genuine catharsis.
By the time “Proud of Me” closes the record, the arc is clear. Ireland has built an album not just of songs, but of stages—a journey from craving to confidence, from hunger to fulfillment. “I just wanna make you proud of me,” she sings, but there’s no desperation in her delivery. Instead, there’s quiet triumph. The approval she seeks may start outwardly, but it circles back inward.
In The City is an album of grace and grit—rooted in the rhythms of lived experience, elevated by melody, and sustained by conviction. Cathleen Ireland doesn’t reinvent pop; she humanizes it. And in doing so, she reminds us that sometimes the most radical sound in music isn’t rebellion—it’s sincerity.
–John Parker
Pop With a Pulse: Kayn Falcon Turns the Dance Floor Into a Confessional
There’s a certain kind of magic that happens when emotions spill out under neon lights—a place where vulnerability and rhythm collide. Few new artists capture that atmosphere as naturally as Kayn Falcon, whose music is built for the moments when you’re feeling feels on the dance floor. With “Substance” and “Automatic,” Falcon proves that pop can still be both cathartic and irresistibly physical.
Falcon’s artistry is rooted in the belief that the dance floor isn’t just a space to escape—it’s a place to confront the things you’ve been avoiding. Inspired by the theatrical powerhouses of modern pop like Madonna, Lady Gaga, and Dua Lipa, he brings a sense of drama and emotional truth to songs that still sparkle with club energy. His influences from the 2010s pop boom are clear, but he channels them with a sleek, current edge that makes each track feel fresh.
“Substance” is the kind of song that hits you right in the chest even as you’re moving. It’s built around the ache of wanting something real—something that cuts through the noise—and Falcon turns that longing into a shimmering, pulse-driven anthem. The production feels like a late-night slow burn, the kind of track that makes your thoughts louder even as the bass thumps underneath. Dancing to it feels like letting your guard down in the dark, just enough to admit what you’re missing.
https://youtu.be/kUygnlgKIBM?si=g5MmsdYXT-LxHlLD
His newest single, “Automatic,” goes straight for the spark—the moment when chemistry takes over and emotion becomes instinct. It’s bright, hooky, and full of momentum, a song that captures how quickly everything can shift on a crowded floor. Falcon delivers the vocals with a blend of confidence and tenderness, finding the sweet spot between pop bravado and emotional honesty. It’s a track that makes you want to move, but also makes you think about why you’re moving.
Part of the reason Falcon’s music hits so viscerally is his synesthesia, a trait that lets him experience sound as color. It’s embedded in every beat and melody. “Substance” plays in deep blues and violets—moody, introspective shades—while “Automatic” explodes in neon pinks and yellows. This sensory layering gives his songs the immersive feeling of stepping into a glowing room where emotion becomes something you can almost touch.
Falcon understands that some of the most important emotional moments in life don’t happen in quiet places—they happen while you’re surrounded by speakers, strobe lights, and strangers. His music captures those cinematic flashes of clarity and connection, transforming pop into something that hits both the body and the heart.
For fans who crave songs that make them dance and feel, Kayn Falcon is quickly becoming an artist worth watching. With each release, he proves that the dance floor can be a sanctuary, a confessional, and a spark all at once—and he’s creating the soundtrack for anyone bold enough to feel everything, right there in the middle of it.
Sebastian Horton Captures Joy, Reflection and the Will to Keep Moving in ‘Stay (When The Light Goes Down)’
At just 19, Sebastian Horton steps onto the scene with a debut that doesn’t ask for attention, it commands it. ‘Stay (When The Light Goes Down)’ is a slick, high-gloss fusion of R&B-pop and dancefloor energy, laced with just enough emotional gravity to keep your feet moving and your head thinking. It’s one of those late-night tracks that hits differently depending on when you hear it, sweaty club anthem at midnight, quiet reassurance on the walk home at 3am.
The record carries a polished pop sensibility, nodding gently to the 2010s era of Drake’s vocal smoothness and Clean Bandit-style songwriting precision. But listen closely and there’s something far more personal beneath the production. Sebastian has lived through more than most artists twice his age, leukaemia, brain surgery, chronic health conditions, and yet the music never feels heavy. Instead, it pulses with a quiet resilience. You don’t hear sorrow; you hear survival.
The groove lands with bright confidence, flashes of funk surfacing between the beat and bassline. His voice, cool, controlled, with a maturity he hasn’t had time to grow into, floats effortlessly above the rhythm. It’s the kind of vocal delivery that says: this doesn’t define me, but it did shape me.
With this debut, Sebastian is making a statement. ‘Stay (When The Light Goes Down)’ is the work of an artist who has fought to keep moving forward, and now creates music that does the same. It’s energising, emotionally articulate, and quietly fearless.
MISS J UNLEASHES NEW ALBUM ROCKHOUSE: WHERE CLASSIC ROCK MEETS THE PULSE OF HOUSE MUSIC
New York, NY — Miss J is not just breaking boundaries, she is redefining them. What began as a journey through the soul of classic rock and the vibrant traditions of mariachi has transformed into something bold, electrifying, and entirely her own: #ROCKHOUSE.
A born performer and lifelong theatre kid, Jacqueline Real, professionally known as Miss J, grew up immersed in the arts. A native New Yorker, she discovered her love for the stage at a young age and first entered the entertainment world working behind the scenes on TV commercial sets. Music, however, remained her first love. Drawn to the energy and freedom of music festivals, she found herself deeply inspired by the raw, creative spirit of the house music community.
Another key pillar of her artistry is her connection to classic rock. Still pulled toward the stage, Miss J began performing across New York City, delivering gritty rock standards and intimate covers that showcased her powerful vocal presence and magnetic performance style.
Determined to merge her two musical worlds, Miss J began fusing her rock roots with hypnotic house rhythms and touches of EDM. The result is a sound that is both nostalgic and forward-thinking. ROCKHOUSE is not just an album — it is a movement. It is the collision of electric guitars and thumping basslines. It is an anthem for anyone who has headbanged to a Zeppelin riff and then lost themselves in a dancefloor drop on the same night.
Listen to the full album, “ROCKHOUSE” – HERE!
Her new single, “22424,” explores the transformation that occurs when heartbreak and disillusionment ultimately lead to self love and healing. As a songwriter, Miss J is gaining national recognition, recently earning a nomination for the Josie Awards in the Songwriter of the Year category. It is clear she is stepping into her moment.
“Why keep genres in their own lanes when they hit harder together?” Miss J asks. ROCKHOUSE also marks a major milestone as she releases the project independently under her own label, Electric Legacy Music, distributed through Sony Orchard — the same distributor behind superstar artists including Bad Bunny, Nas, Jack White, Kelsea Ballerini, and 21 Savage.
Her live show, The Miss J Experience, continues this genre-blending mission, creating infectious, intergenerational music designed to stand the test of time.
ABOUT MISS J:
Jacqueline Real (Miss J) is a dynamic songwriter and artist from Long Island, New York. Her musical foundation was shaped by classic rock icons like Cream, The Doobie Brothers, and The Doors, heard blasting from her father’s boombox. Her sound later expanded through her sister’s love of Sublime and 311, along with her own lifelong obsessions with Jim Morrison, Michael Jackson, Aaliyah, and disco.
Miss J’s artistic rise was sparked by her discovery of the festival scene, inspiring her to blend genres seamlessly, from deep house to hard rock. A former spoken word poet, her personal journey with mental health and imposter syndrome ultimately fueled her evolution as a songwriter.
With nearly 15 years in the entertainment industry as an actress and short film producer, she has collaborated with respected music creatives including Femke, David Ray Stevens, John Maxwell Hefley, Kareem Thompson, Danny Gold, and Peter Kooper. Her signature fusion of rock, house, and genre-bending production sets her apart as a uniquely versatile artist.
Her new album, #ROCKHOUSE, invites listeners into a vibrant, high-energy musical world. From rock to pop, funk, and house, Miss J delivers a lively sonic experience where everyone is welcome.
Connect With Miss J:
Bex Lindsey Drops Her Heart-Hitting Holiday Single “not ready for christmas” — Now Available Worldwide
Bex Lindsey isn’t sugar-coating the holidays this year—she’s cracking them open. Her brand-new single “not ready for christmas” is officially out today, and it hits with the kind of honesty most people only admit to themselves at 2 a.m. in the glow of a half-lit tree.
Instead of the usual sleigh bells and saccharine cheer, Bex leans into the raw, messy, beautifully human side of the season: the loneliness, the nostalgia, the heartbreak that refuses to stay quiet just because the calendar says be merry. It’s vulnerable, cinematic, and painfully relatable in a way only Bex can pull off.
Her vocals are warm but wounded, gliding over production that blends indie-pop shimmer with a bittersweet holiday bite. It’s the kind of song that sneaks up on you—soft at first, then suddenly lodged in your chest.
“not ready christmas” marks another bold moment in Bex Lindsey’s rising career. With The Process II earning love across indie music circles and her recent singles building serious momentum, Bex is proving she’s not just evolving—she’s leveling up. This release shows a deeper emotional range and a willingness to say what so many people feel but never say out loud.
The holidays can be complicated. Bex Lindsey just gave that feeling its own soundtrack.
“not ready for christmas” is available everywhere now.
https://distrokid.com/hyperfollow/bexlindsey/not-ready-for-christmas-2025
Kay Iris Close the Year With a Bluesy Battle Cry on “The Other Side”
Kay Iris are wrapping up 2025 the only way they know how – with a bang. Their new single, “The Other Side,” is one of those blues-kissed, Americana-rock anthems that hits you square in the chest and refuses to let go. It’s gritty, it’s defiant, and it’s got that big “we’re not here to play nice, we’re here to be heard” energy that every rising band should have in their pocket.
If you haven’t come across Kay Iris yet, they’re one of the UK’s most exciting new Americana-leaning acts, even though they only formed in 2024. Somehow they’ve already squeezed in a whirlwind of festival slots, Pub in the Park, Big Feastival, The Vegan Campout, Lakefest, Country Calling, plus shows with The Lottery Winners, Brave Rival, Turin Brakes, and Doves. Basically, they’ve been busy.
“The Other Side” is their latest power move, and honestly, it might be their strongest yet. Musically, it leans into this gorgeous Delta Blues feel, dusty slide guitars, harmonica touches, and that kind of foot-stomping swagger that makes you want to roll down the windows and blast it on a long drive. But underneath all that grit is a serious message.
Kay (the band’s frontwoman and emotional centre) digs into the messy realities of privilege, class divides, and that feeling we all get sometimes, that the deck is stacked, and we’re playing a rigged game. Lines like “Money is the Ace that’s up your sleeve” are sharp enough to bruise, but the song never sits in bitterness. Instead, it turns into this rallying cry for anyone who’s fighting their way forward, one stubborn step at a time.
Kay sums it up perfectly: the track is about making people who feel overlooked feel seen, and giving them that nudge to keep going. Coming from an independent, self-funded band, that sentiment lands with real weight.
With its soaring Americana chorus, blues-soaked edges, and a whole lot of heart, “The Other Side” feels like a big moment for Kay Iris, the kind of release that doesn’t just show who they are, but who they’re becoming.
Mark Newman Featured On The Blues Project’s New Album Live 2025 With Powerful Track “Tulsa”
New York, NY – Acclaimed singer songwriter and multi instrumentalist Mark Newman joins legendary jam blues ensemble The Blues Project on their newly released album Live 2025, contributing his evocative and historically charged song “Tulsa.” The album marks a milestone moment for the influential band, now 60 years into their storied career, and places Newman’s songwriting and guitar work on a national stage for blues, Americana, and jam band audiences alike.
Live 2025, led by co-founding member and original drummer Roy Blumenfeld, showcases the band’s renewed energy, deepened groove, and expanded stylistic palette. The 13 track release captures the group’s signature boundary pushing sound while introducing new musical flavors, including New Orleans funk, zydeco, and R&B influences. Among these tracks stands “Tulsa,” Newman’s haunting reflection on the 1921 Tulsa Race Massacre.
“We never learned about Tulsa in school. Racism is still alive and well. The difference is that now these terrible tragedies are recorded on cell phones and people can be held accountable,” Newman said of the inspiration behind the song, originally co-written with Walter Roberti and released alongside a striking pictorial video montage.
“Tulsa” appears on Live 2025 as Track 10, placing Newman’s narrative driven writing within a broader body of work that honors The Blues Project’s legacy while highlighting the emotional power and relevance of contemporary songwriting.
The Blues Project’s return to form highlights their pioneering roots as one of America’s original jam bands known for weaving classical, jazz, folk, blues, and rock into a singular sonic identity. Together with Newman, the 2025 lineup leans deeper into rhythm, groove, and eclecticism, building what Blumenfeld describes as a musical “gumbo.”
Mark Newman is a well traveled and in demand professional whose musical prowess has taken him around the world several times over; working alongside many soul, blues, and rock greats of our time including John Oates (Hall & Oates), Jim McCarty (The Yardbirds), Willy DeVille (Mink DeVille), Sam The Sham, Bobby Whitlock (Derek and the Dominos) and Sam Moore (Sam & Dave), as part of these bands Mark has shared the stage with stars such as Sting, Elvis Costello, Travis Tritt and Carla Thomas as well. As an opening act, Mark and his original band have played many dates with acts like Delbert McClinton, Les Dudek, The Doobie Brothers, Don Felder of The Eagles, David Bromberg and many others. Mark is currently touring intermittently with The Hitmen as well as with The Blues Project (led by original drummer Roy Blumenfeld) and his own original project, internationally.
Songs from Mark’s album “Empirical Truth” were played by over 60 radio stations nationwide, where they spent several weeks climbing the charts and ultimately peaked at an impressive #107 on the Americana Music Association (AMA) charts.
A multi stringsman, Mark has mastered electric/acoustic/lap steel guitar as well as the mandolin and dobro. Past music releases include the singles “Fill Up My Tank”, “At The Border” which was originally written with the struggles people were experiencing fleeing the war in Ukraine in mind, but is also inspired by the millions of people all around the world trying to escape oppression and hunger on an ongoing basis, “Tulsa”, a song and video created in remembrance of the Tulsa Race Massacre of 1921, and “From Me To You”, a cover of the Janis Ian song for her Better Times Project of 2020. His most recent studio album, “Empirical Truth” was the 2019 Winner of The Long Island Blues Society Best Album Category, and represented the NY area in competition at the International Blues Challenge in Memphis. Earlier records include 2006’s “Must Be a Pony”, 2010’s “Walls of Jericho”, and 2015’s “Brussels” – a live acoustic-driven EP.
ABOUT THE BLUES PROJECT LIVE 2025
Live 2025 is the latest release from the iconic band The Blues Project, delivering a vibrant and contemporary interpretation of the eclectic sound they helped pioneer in the mid 1960s. The album revisits classic songs while introducing new originals destined to join the canon. With a funkier, more R&B driven approach under Roy Blumenfeld’s leadership, the band continues to embody innovation, improvisation, and genre blending musicianship.
Track 10: “Tulsa” written by Mark Newman and Walter Roberti
Live 2025 is available on streaming platforms now.
For More on Mark Newman, VISIT:
TUNTUN Crafts a Sonic Playground on His Debut EP ‘TEXTURES’
There’s something almost mischievous about TUNTUN. Masked, faceless, and free from expectation, the London producer, also known as Nathan Jamal, treats ‘TEXTURES’ less like an EP and more like a playground. Six tracks, countless layers, and an energy that feels like the city itself vibrating under your feet.
From the first thump of ‘I Wanna Do’, you know this isn’t going to be neat or predictable. Jungle drums collide with glitchy textures, 2-step skitters across the mix, and warped samples pop in and out like they’re alive. It’s chaotic, sure, but in that chaos there’s a pulse, a heartbeat that’s pure TUNTUN: playful, immediate, and impossible to resist.
The magic of ‘TEXTURES’ lies in its contradictions. Tracks swing between frenetic, dancefloor-ready energy and quiet, introspective spaces where melodies hover like a momentary breath. Each beat, each sample, feels carefully chosen to capture not just a sound but a feeling—a London street corner, a late-night warehouse, a fleeting human connection.
In ‘TEXTURES’, TUNTUN doesn’t just make tracks; he creates moments. Messy, joyous, alive, and sometimes just a little wild, it’s a bold introduction to an artist who refuses to play by the rules, and invites you to lose yourself along the way.
Wayne Wilkinson Presents ‘Holly Tunes’
Jazz guitarist Wayne Wilkinson has built a career on clarity, swing, and an impeccable melodic touch; perfecting the kind of effortless fluency that only four decades on international stages can produce. His latest release, “Holly Tunes,” channels that experience into an intimate, trio-centered holiday album that is as comfortable as a fireside chair and as precise as a perfectly voiced chord.
The album finds Wilkinson supported by longtime collaborators Andy Burtschi (bass) and Scott Barbier (drums), with pianist and arranger Thomas J. Dawson Jr. adding gentle splashes of strings and organ. Together, the band delivers eleven deeply personal, straight-ahead jazz interpretations of seasonal standards.
https://waynewilkinson.bandcamp.com/album/holly-tunes
The track list is familiar, but the interpretations are anything but generic. Wilkinson approaches well-worn melodies with a craftsman’s ear: clean articulation, tasteful space, and a melodic sensibility that avoids flash in favor of expressive nuance.
https://open.spotify.com/album/6QN1blpnDVn1sEUTRgR5kw
“God Rest Ye Merry Gentlemen” opens the album with Wilkinson’s guitar singing the melody with brisk, relaxed swing. But the track doesn’t just follow the familiar tune, and builds into a delightful stretch of call and response where the drums, bass and guitar riff off each other with a warm fluidity.
“Silent Night” stands as the emotional centerpiece, with Wilkinson’s chord voicings giving the tune a glowing, nocturnal intimacy. The added violin and soft piano textures are understated, almost evaporating at the edges, allowing the guitar to carry the emotional weight. It’s a soothing and nostalgic melody that’s less about innovation and more about paying homage to the classics.
The closer, “Little Drummer Boy,” showcases the trio at its most interactive. Wilkinson lets the rhythmic motif breathe, using short melodic fragments and open space to build tension while the rhythm section provides a subtle undertone. It’s a lesson in restraint, and a reminder of the trio’s incredible harmony.
One of the album’s strengths is its refusal to overproduce. The sound is intimate and unfussy with the guitar placed forward, bass supportive, and the drums light. Dawson’s strings and organ are used sparingly, serving as gentle seasonal accents rather than grand gestures.
For listeners who crave a holiday record built not on ornamentation but on musicianship, Holly Tunes is a gift. It’s jazz guitar played with taste, intelligence, and an unmistakably personal touch.
The Heard Eye Presents ‘Plenty Love’
Dynamic funk rock collective, The Heard Eye, arrives on “Plenty Love” with a buoyant shove: a tight, radio-friendly rock groove that still carries the band’s unmistakable DNA. The track sits squarely in the group’s recent run of genre-blending singles; a continuation of the trumpet-led, riff-forward direction.
Lyrically the song covers a central message of offering and sharing affection as a steady practice rather than a grand pronouncement. There’s no fancy metaphor here, and the idea gets delivered with plainspoken hooks that prioritize sing-along clarity. The chorus is concise and memorable, built to stick after a single listen.
Where Plenty Love earns the most points is in arrangement: Schneider’s trumpet functions like a second lead voice, trading licks with De Kassian’s guitar while the rhythm
section locks into a tight, syncopated backbeat. There’s almost a psychedelic tone to the music that goes beyond plain funk and adds character to the single.
The arrangement favors space and groove over instrumental showboating, which keeps the track punchy and accessible. Production-wise the single is clean and forward: drums have snap, and the bass is present but not overpowering. The song’s runtime of just over 4 minutes gives it just enough time to breathe but never wander, which is smart sequencing for singles aimed at broad discovery.
For listeners who’ve followed The Heard Eye through earlier releases like “Only One Earth” and “All Love,” Plenty Love sharpens the band’s formula without departing from their unique style. The funk-anchored rhythms and pop-forward choruses are still there, while the inspiration behind the words still remains thoughtful.
Plenty Love is a well-crafted, high-energy single that showcases the Heard Eye’s core strengths: concise songwriting, smart arrangements, and production that places the groove up front. If you enjoy horn-led rock with a funk backbone and pop sensibility, this one will land easily in your rotation.
ONLINE:
https://theheardeye.com/
https://www.facebook.com/theheardeye/
Robert Ross Ignites the Season with a Warm, Wild, and ‘Rockin’ Christmas’
There’s a certain kind of warmth that only music can conjure—the kind that feels like leaning against an old jukebox in a dimly lit bar while the world outside freezes over. Robert Ross understands that magic. With his new holiday single, “Rockin’ Christmas,” Ross taps into the emotional memory bank we all carry around this time of year: the glow of a tree in the living room, the hush after the kids fall asleep, the sacred ritual of connection between two people trying their best to hold onto the simple joys.
Ross has always been a storyteller—a guy who wears the miles on his face the way road warriors wear patches on denim. His songs come from lived experience, not committee-crafted hooks. Here, he channels that authenticity into a Christmas tune that feels both familiar and freshly polished. There’s no gimmickry, no saccharine fluff. Instead, “Rockin’ Christmas” leans into groove, intimacy, and the kind of genuine affection that can’t be faked.
From the first line—“The tree is trimmed just look that glow / Meet me under the mistletoe”—you know you’re in good hands. Ross isn’t trying to rewrite tradition; he’s inviting you into his version of it. The production is crisp and warm, like vinyl played next to a fireplace. The guitars swagger with just enough rock ’n’ roll bite, while his vocals carry that relaxed confidence of a man who knows exactly what he’s celebrating.
The chorus—“We’re dancing, yeahhh romancing, aha / Rocking around the Christmas tree / Got a party for two just you and me”—lands with an easy smile. It’s not trying to blow your socks off. It’s trying to put an arm around your shoulder. And it succeeds. This is holiday music for people who want a little flirtation with their nostalgia, a little mischief with their mistletoe. The song whispers: It’s okay to slow down. It’s okay to feel something sweet.
My favorite moment arrives in the verse where Ross paints a picture of two exhausted adults, the kids asleep, a bottle of wine open, and the night finally theirs. It’s tender, it’s real, and it reminds us that holidays aren’t just about grand gestures—they’re about stolen moments, the ones that hold families together.
By the time the final chorus repeats, you’re swept up in the warm tide of it all. “Rockin’ Christmas” isn’t trying to be the next holiday anthem. It’s trying to be your holiday tradition. And honestly? It just might be.
–Lonnie Nabors
Machan Taylor: “Naked Out Loud” — A Triumph of Truth and One of the Year’s Most Outstanding Books
In an age where so much of what we read is filtered, polished, and performed, Machan Taylor’s Naked Out Loud arrives like a thunderclap of truth—a raw, fearless, and profoundly human memoir that doesn’t just tell a story, it exposes the soul behind it. Honest to the bone, beautifully written, and emotionally disarming, Taylor’s book is being hailed as one of the most outstanding and important literary works of the year.
Naked Out Loud is not simply a title—it’s a manifesto. With lyrical candor, Machan opens the pages of her life in full view, stripping away pretense, ego, and fear. She writes about love, loss, trauma, triumph, and the constant search for meaning with the kind of vulnerability that makes readers stop, breathe, and recognize pieces of themselves in her journey. Her storytelling isn’t about dramatics; it’s about truth. And that’s exactly what makes it revolutionary.
Long known for her powerful voice as a singer and performer, Machan Taylor has always possessed the rare ability to connect deeply with audiences. Her artistry—whether on stage or in song—has been steeped in emotion and authenticity. But in Naked Out Loud, she transcends performance and moves into revelation. She doesn’t hide behind melody or metaphor. Instead, she writes with a purity and courage that feel like both confession and liberation.
Every chapter pulses with life—raw, unfiltered, and unafraid. She confronts the beauty and brutality of her experiences with poetic precision, turning pain into wisdom and reflection into resonance. Readers have described the book as “transformative,” “hauntingly beautiful,” and “the kind of honesty that heals.” It’s rare for a memoir to feel this intimate, this alive. Machan doesn’t just write about survival; she writes about evolution—the spiritual, emotional, and creative rebirth that only comes from facing yourself completely.
What sets Naked Out Loud apart is its emotional accessibility. It doesn’t require you to have lived her life to understand it—it invites you to feel it. The book’s honesty becomes universal, touching everyone who has ever struggled, loved, fallen, or risen again. It’s the kind of work that leaves you with an ache in your chest and a spark in your heart, reminding you that the truest form of strength comes from embracing your vulnerability.
Naked Out Loud by Machan Taylor
Release Date: December 3, 2025
Publisher: New Haven Publishers
Available: Online and at major booksellers nationwide
Follow Machan Taylor on the web:
Website: https://www.machantaylor.com
Facebook: https://www.facebook.com/machantaylor
Instagram: https://www.instagram.com/machantaylorofficial
Get your copy online December 3rd, 2025
“Euphoria”: Don Broco’s Neon-Cracked, Adrenaline-Drenched Bid for Immortality
If Don Broco were ever accused of subtlety, “Euphoria” is the evidence that they’ve finally burned that bridge, salted the ashes, and danced on the grave shirtless at 3 a.m. This thing doesn’t start so much as it coils, all teasing electronics and robo-purr vocals like the band wants to whisper sweet nothings in your ear before shoving you headfirst into a nightclub speaker stack. It’s seduction as a concussion. Then the drop hits—guitars swing in like wrecking balls dipped in glitter—and suddenly we’re back in the future-nu-metal multiverse they’ve been Frankensteining together for years, except now it’s sleazier, tighter, and twice as fun.
The bassline alone should be illegal. It slithers, struts, and basically dares the drums to keep up. Rob Damiani is in full carnival-barker mode, howling a chorus designed to rupture throats across continents (“Gonna live forever!”—and yeah, in that moment, you almost believe him). It’s turbo-charged hedonism wrapped in a neon snarl, the sound of a band chasing the dragon of its own adrenaline and inviting the rest of us to sweat through our clothes while doing the same.
Don Broco say the track is about hunting that first-time high, the lightning-strike thrill you’ll never completely recapture. Which is funny, because this feels like the rare case where a band actually nails it—bottles the feeling, shakes it, sprays it like champagne across your skull. It’s the fourth single in their increasingly unhinged 2025 run, and at this point they’re basically treating genres the way Godzilla treats Tokyo. “Cellophane” went full swaggering nu-metal theater, “Hype Man” was a grenade disguised as a pop song, “Disappear” aimed straight for the gut, and now “Euphoria” is the sugar rush laced with nitro.
https://donbroco.ffm.to/euphoria
Fresh off an NYC show that reportedly melted several faces clean off their skulls, the band is storming into 2026 like they’ve been dared to take over the world. “Euphoria” is their gauntlet—loud, sweaty, unapologetic, and vibrating with the kind of chaotic joy most rock bands forgot how to feel.
Live forever? Maybe not. But this song sure tries.
–Leslie Banks
