Late Night Feelings Crafts A Thoughtful Late-Night Listen With In Your Dreams

With In Your Dreams, Late Night Feelings (AKA Karan Naik) delivers a project that values mood and atmosphere. He keeps things grounded, crafting an EP that feels intentional and personal without leaning on excess. It is a release that understands its own emotional lane and stays confidently within it.

The EP opens the door to a world of smooth production and reflective songwriting. Synths glow gently in the background, beats remain minimal, and Naik’s vocals stay calm and close. Nothing here feels over-produced. Each track unfolds at its own speed, creating a sense of continuity from start to finish.

Standout track “Heartstopper” injects a touch of lightness into the project, offering a moment of warmth and emotional release. It feels hopeful without being overly sweet, striking a balance that fits naturally within the EP.

What sets In Your Dreams apart is its consistency. There are no distractions or unnecessary twists. Naik focuses on mood, melody and honesty, trusting that these elements are enough. The result is an EP that feels cohesive and replayable. For listeners drawn to understated pop that values feeling over flash, this release is an easy recommendation.

goodie Unveils Details for The Early Years pt I (2010–2011), a Remastered Look at His Genre-Blurring Origins

An Ahead-of-its-Time Fusion of Guitar, Rap, and DIY Ambition, the Collection is Reborn for Streaming Audiences

Restlessly inventive artist goodie has announced that he is revisiting the roots of his creative identity with the release of goodie: The Early Years pt I, a newly re-mixed and remastered collection drawn from the first two albums he recorded between 2010 and 2011. Available on all major streaming platforms starting Friday, December 19, the album presents a curated snapshot of a teenage artist experimenting freely at the crossroads of guitar-driven songwriting and hip-hop.

Before goodie had a name or a defined sound, its creator was a classically trained kid—piano at age five, violin through middle school—who found his real musical voice after picking up a guitar on Christmas Day 2007. Writing songs alone in his bedroom quickly turned into a compulsion, driven more by emotion than technique. That trajectory shifted when a high-school friend, Matthew Molina (aka R1CAN), invited him into the world of DIY rap recording, cutting verses over YouTube beats with minimal equipment. The collaboration introduced goodie to rapping and self-recording—two practices that would become central to his approach.

Growing up in Atlanta public schools, goodie absorbed the city’s hip-hop culture while also being shaped by the genre-blending influence of Linkin Park’s Hybrid Theory. The result was an instinctive pull toward rapping over guitars—often solo, over sampled drums rather than with a full band. While that fusion-based sound existed at the time, the collection highlights an early, individual take that feels quietly forward-looking in retrospect.

Originally recorded with limited production knowledge, the songs lived for years in their raw form on Bandcamp. As goodie’s technical skills developed, the idea of revisiting the material became increasingly compelling. With the original session files intact, he returned to the tracks to give them fuller, warmer mixes—bringing clarity and dimension without sanding down their rough edges. A pause in making new music ultimately provided the space to complete the project.

Curated as a representative “tasting menu,” The Early Years pt I spans acoustic singer-songwriter cuts, guitar-driven rap tracks, and early experiments that resist clean categorization. The lyrics—often centered on youth, relationships, and underage drinking—are unpretentious but honest, capturing the mindset of a creatively restless teenager with no commercial agenda and few inhibitions.

“These songs are a perfect snapshot of who I was at that time in my life, both for better and for worse,” said goodie. “I don’t have a ton in common with that person now, but then again, as I was working on the project, I would catch a lyric here and there that made me think, ‘Jesus, I’m still struggling with that’ or ‘Wow, I already thought that at 18 years old?’ In both good and bad ways.”

The official tracklisting for The Early Years pt I is as follows:

“intro (chillin’ hard)”

“hardheaded woman”

“bullseye furk”

“havin’ a ball”

“happy song (bad week)”

“blackcloud”

“light me”

“interlude”

“little league”

“sorry in advance”

“no problem”

“it wasn’t enough (hope and luck)”

“tell ya friends”

“all i know”

“talkin’ shit”

“bittersweet (see you soon)”

Rather than nostalgia, The Early Years pt I functions as a document: outsider art preserved as-is, now placed alongside the wider streaming canon. It’s a reminder of how much ambition can exist before refinement—and how those early impulses often shape everything that follows.

# # #

Credits

Written, recorded, mixed, and mastered by goodie (Benton Oliver)

• “hardheaded woman” – Chorus and chord progression written by Cat Stevens (Yusuf Islam)
• “light me” – Chorus and chord progression written by Jean Anthony Greif
• “little league” – R1CAN verse written by Matthew Molina
• “bittersweet (see you soon)” – Chorus and chord progression written by Thomas Callaway (CeeLo Green) and Brian Burton (Danger Mouse)

About goodie

goodie is a project by music industry professional Benton Oliver, who works in management helping artists, bands, and producer clients manage their careers. Oliver has also worked with live music organizations including the New Orleans Jazz & Heritage Foundation, Preservation Hall, and the New Orleans Jazz Orchestra.

Oliver unveiled the project goodie in the early 2010s, after developing his sound outside of traditional band structures. Blending rap vocals with guitars, samples and whatever instruments were available, he was guided more by instinct and creative urgency than by genre rules or commercial ambition.

At the core of goodie is a commitment to outsider art: self-written, self-recorded, and self-produced music made without creative guardrails. The lyrics often reflect youthful restlessness and self-examination, focusing on relationships, indulgence, and internal contradictions, delivered with candor rather than polish. Early recordings prioritize momentum over technical refinement-, they reveal an artist driven by curiosity, density of thought, and a willingness to try anything once.

Rather than chasing trends, goodie documents moments—capturing who he is at a given point in time and moving on when that chapter feels complete. His catalog reflects growth through experimentation, and his recent work revisiting early material underscores a broader artistic throughline: ambition first, refinement later, and honesty always.

Anna Mozzon Instills Grace, Growth, and Gut-Punch Emotion in Stunning Debut Single ‘Innocent’

At just 15 years old, Anna Mozzon is already operating on a different wavelength. The Italian-born newcomer writes pop music with the emotional intuition of someone who’s lived far more life than her age suggests, pairing delicate piano arrangements with a vocal delivery that knows when to whisper and when to command the room.

Her debut single ‘Innocent’ arrives as a quietly breathtaking introduction, the kind of first release that doesn’t ask for attention, but earns it. Recorded in New York over three intensive days in August 2025, the track was produced by Vadim Zariuta, with vocal production handled by the ever-expressive Galana Bosaya. Adding another layer of creative credibility, Anna later refined the song alongside poet and hip-hop artist Nadirah X, who ultimately felt no changes were needed. For a first professional studio outing, that level of lyrical confidence is nothing short of remarkable.

Sonically, ‘Innocent’ unfolds with restraint and intention. The song opens in its most vulnerable form – just Anna, her piano, and a voice that carries weight without overreaching. As the track progresses, subtle production details and swelling instrumentation begin to lift the song skyward, building toward a cathartic, pop-leaning crescendo that feels both cinematic and deeply personal.

Lyrically, ‘Innocent’ reflects on the slow unraveling of a close friendship that once hinted at something more. It’s a story of loss, timing, and emotional honesty, capturing that universal moment when something meaningful slips away before it ever has the chance to fully exist. What started as a way to “get it out of my head” has transformed into a resonant anthem for anyone who’s ever mourned a what-could-have-been.

With ‘Innocent’, Anna Mozzon presents a sound that is polished but raw, emotionally intelligent yet refreshingly unforced. At an age when many artists are still searching for their voice, Anna has already found hers, and it’s one that feels poised to echo far beyond this debut moment.

Liz Luceris Shares Her Light

Through faith, all things are possible and Liz Luceris is a true testament to that fact.  Liz remains faithful at all times and her music reflects that strong spirit from within.  Liz Luceris is a cinematic composer and singer/songwriter and she trained in classical composition and film scoring at Berklee College of Music, AIR Studios and Budapest Scoring.  Liz writes from an emotional place and creates a sound that is bigger than life.  

Luceris combines elements of cinematic pop, orchestral indie, neo classical and art pop that produces one magical & spiritual experience.  Through hardships in life and all the blood, sweat and tears, Liz Luceris perseveres and digs deep to make meaningful music that matters.  The light shines on Liz Luceris and her music and it is quite profound to witness this firsthand as a listener.

Her single “Monochrome Tune” offers a haunting melody that will warm your heart.  This song is very soft ‘n’ somber with Liz providing a delicate & elegant touch.  Liz Luceris delivers a captivating performance on “Monochrome Tune” where there is beautiful tone to her voice overall.  The audience will want to embrace this closeness factor on “Monochrome Tune”, so come one, come all and enjoy this tight-knit number that is wonderfully orchestrated.  On the single, “Dopamine Shot (Sparkling Edition)”, the listener is overcome with joy thanks to a bright, full sound that jabs you right in the ears.  This song may be very short in length but is heavy in substance with Liz Luceris as your maestro on this trip.  I have to say that “Dopamine Shot (Sparkling Edition)” packs a ton of happy notes into 1:26, so hat’s off to Liz Luceris for accomplishing that.  The following composition, “I Speak Not”, is on the EP ‘Hommage À Byron’ and what power here with rich dynamics as well.  There is a cinematic feel here with elements of rock on “I Speak Not” and it all meshes extremely well.  Liz showcases her angelic voice on “I Speak Not” and with her mighty presence makes this song a dynamite production.  Musically & instrumentally, “I Speak Not” is superb and so dynamic with a solid beat throughout the track.  

Straight from the heart and straight to the soul can best describe the music of Liz Luceris.  With rich chords and emotive notes, the material will connect with many people near and far.  I say to Liz Luceris to let your light shine on through mindful & blessed music and never let that light go dim.  

https://open.spotify.com/artist/7e3PX8k0ajabSpOMkYqxY6 

https://www.chestnutboutique.com/ 

https://www.youtube.com/@lizluceris 

https://www.instagram.com/lizluceris/ 

By Jimmy Rae

Distance Major Channels Vintage Grit, Jazz Influence, and Cinematic Imagination on New Single “NYC 1970s Cinema”

Distance Major Channels Vintage Grit, Jazz Influence, and Cinematic Imagination on New Single “NYC 1970s Cinema”

RIYL: Tycho, M83, Boards of Canada, Phantogram, U.N.K.L.E., The Postal Service

Composer and producer Distance Major transports listeners into a stylized version of New York City’s past with “NYC 1970s Cinema,” one of the most distinctive and immersive tracks from his debut album. Inspired by the look, feel, and emotional tone of the city during the 1970s, the instrumental piece blends jazz influences with experimental electronic textures to recreate the atmosphere of classic film and urban nostalgia.

Rather than focusing on the turmoil that defined the decade, Distance Major draws from the aesthetic spirit of the era: the fashion, the grit, the color palette, the cinematic language, and the loose, unpredictable energy that shaped a generation of filmmaking. “This song is trying to capture two of my favorite things,” he explains. “The way New York City looked and felt in the 1970s, and my love of jazz and films from that time. I worked really hard on keeping everything loose and trying to get a sound that reflects what I feel when I think about that era or when I get lost in a film I discover from that period.”

The track stands as the most experimental piece on the record and a personal favorite for the artist. With a fluid structure, evolving moods, and a dusty, analog warmth, “NYC 1970s Cinema” plays like an unreleased score cue from a forgotten film reel. It’s an homage not only to a time and place, but to the emotional sensations that come with rediscovering vintage cinema. “I constantly come across films from that era that are new to me,” he adds. “I always end up with a similar emotion while watching them, and that feeling guided this track.”

“NYC 1970s Cinema” also reflects Distance Major’s improvisational creative process. Nearly all of his work begins with freeform sessions at the piano or on new synthesizers. Moments that catch his ear become the seeds of fully developed compositions, shaped through careful arrangement, harmony, and rhythmic exploration. “The music I’ve put out is pure emotion inspired by what I was feeling during the improv session,” he says. “Titles come from those feelings, and the songs evolve from one spontaneous moment.”

The track embodies the journey based approach that defines the Distance Major project. Each piece is designed to unfold like a cinematic narrative, rewarding headphone listeners and immersive environments while still resonating in group settings. Drawing from years of classical study, time away from music, and new explorations in electronic production, Distance Major crafts soundscapes that feel both personal and transportive.

Listen to “NYC 1970s Cinema” and the full Distance Major album HERE

DISTANCE MAJOR ONLINE:
BANDCAMP | INSTAGRAM | YOUTUBE | TIKTOK | X | FACEBOOK | SPOTIFY

From Espionage to the Courtroom: Jeffrey S. Stephens on Illusions of Trust

Jeffrey S. Stephens is no stranger to high-stakes storytelling. Best known for his adrenaline-fueled Jordan Sandor espionage thrillers and the Nicholas Reagan series, Stephens has spent years mastering the art of the page-turner. With his latest novel, Illusions of Trust, he shifts his gaze from global spy games to the high-pressure world of New York City law. Drawing on his own decades of experience as a practicing attorney , Stephens introduces readers to Russell Palmer, a Manhattan lawyer who finds himself entangled in a dangerous web of high-society divorce, corporate corruption, and murder. We sat down with the author to discuss this new direction, the real-life inspirations behind his characters, and the craft of building suspense.

Q: After writing six espionage thrillers and a murder mystery, what inspired you to pivot to a legal drama and create this new set of characters for Illusions of Trust?

Jeffrey S. Stephens: I decided to call upon my decades of experience as an attorney to create a new set of characters.  I moved from New York City to Connecticut long ago, and it was interesting to recall my early days in Manhattan as I recreated some of those adventures in a modern story.   

Q: The setting of New York City plays a significant role in the book, from the “demi-monde” to the world of the ultra-rich. How did your personal history living and practicing law in Manhattan influence the atmosphere and authenticity of the story?

Jeffrey S. Stephens:  In my view, there is simply no other city that provides the diverse settings and characters we find in New York.  The bars and restaurants, the parks and theatres and museums, just fabulous and as varied as the population.  From the working class to the wealthy, the people in New York provide a special study in human nature.  I had such fun and learned so much practicing law in New York, both good and bad, but almost always fascinating.

Q: The relationship between the protagonist, Russell Palmer, and his mentor, private detective Robbie Whyte, is central to the narrative. Are these characters based on specific people you encountered during your legal career?

Jeffrey S. Stephens: Very much so. Robbie Whyte is loosely based on a retired NYPD officer. At first I represented him, and then we became close friends., He was a guiding force as I went into practice for myself, and he understood New York as only a street cop can.  He was a funny, cynical and loyal man.  As for Russell Palmer, there is always a part of me in my main characters, so I leave that to the readers.

Q: The plot touches on some intense real-world themes, including a federal investigation into a major pharmaceutical company. What motivated you to include this specific type of corporate intrigue as a backdrop for the novel?

Jeffrey S. Stephens: True stories of corruption have unfortunately become all too common, as you suggest. It seemed worthy exploring the personalities that engage in those acts of selfishness and evil.  In thrillers and mysteries, I believe it is critical that the villains be three-dimensional—interesting characters with real texture.  As I wrote ILLUSIONS OF TRUST, I tried to create more than one intriguing villain, to keep the story moving and the twists and turns believable.  

Q: When crafting a mystery with so many “layers of deceit” and twists, do you meticulously outline the plot beforehand, or do you allow the story to evolve organically as you write?

Jeffrey S. Stephens: Plotting in advance and creating a detailed outline is my protection against what people call writer’s block, but what I consider a thoroughly avoidable situation.  I remember reading about Alfred Hitchcock and how he created a storyboard for every scene in his movies.  By the time he got to filming, he had already envisioned all of what was to come.  Although I create a careful road map for myself, since I do not have to pay actors and cameramen, I have the luxury of taking major detours along the way.

Q: You have often cited the late George V. Higgins as an influence. What is the most valuable piece of advice you would offer to aspiring writers who want to follow in your footsteps?

Jeffrey S. Stephens: First, make sure you have a paying job. Second, as Higgins said, “Writers write”.  Don’t make excuses, don’t procrastinate, just write, even if tomorrow you trash what you wrote today.  Finally, don’t get caught up in trying to make your first draft perfect.  As Hemingway cautioned, you are going to have to rewrite again and again anyway. Just keep writing, and miracles can occur.  

Illusions of Trust promises to be a gripping addition to Stephens’ body of work, blending the pacing of a thriller with the insider authenticity of a legal procedural. Readers can expect to be kept guessing as Palmer and Whyte peel back the layers of corruption to ensure justice prevails. To learn more about the book and Jeffrey S. Stephens’ other works, you can visit his website or find Illusions of Trust on Amazon.

Top 5 Free Mac Data Recovery Software (2025)

Losing files on Mac – whether due to accidental deletion, formatting, system error, or any other unexpected reason – can be distressing. Fortunately, in 2025, several free Mac data recovery methods, including manual backups and third-party recovery tools, are available online that you can try to recover your lost files. 

However, recovering lost files using previous backups can be time-consuming and sometimes challenging, as well. Thankfully, dedicated free Mac data recovery software tools can help you recover lost or deleted files in Mac with a few simple clicks, with minimal effort. In this article, we’ll explore the top 5 free Mac data recovery software tools, explain what they do best, their limits, and when you should choose each one. Let’s get started! 

Features to Check in Your Mac Data Recovery Software

When choosing a Mac data recovery software to restore lost files, it’s essential to thoroughly check and analyse all its features. Some essential features include:

• Recovery Size Limit: Check how much data can be restored using your free Mac data recovery tool (some tools only allow scanning or have a low free recovery limit).
• Different Scanning Capabilities: Multiple tools offer both basic scan and deep scan capabilities. Basic scan is for recovery of recently deleted files, but deep scan allows you to find files from formatted, corrupted, or severely damaged drives.
• Support from Different Storage Devices: Look for the data recovery software which supports the recovery of files from different storage devices, ranging from HDDs, SSDs, USB drives, SD cards, to external drives.
• Compatibility With Apple Silicon (M1, M2, M3): Modern Macs run on Apple Silicon chips, so the tool must be optimised for these processors for stable performance.
• User-Friendly Interface: Ensure your Mac data recovery tool provides a clean and simple GUI so anyone, even without technical expertise, can easily restore lost files.

Best 5 Free Mac Data Recovery Software Tools to Try in 2025

Now that you are familiar with different features to check in any free Mac data recovery software tools, it’s time to explore some best tools along with their features. Here are the top 5 among them:

1. Stellar Data Recovery Free for Mac

Stellar Data Recovery Free is a user-friendly free Mac data recovery software, especially designed to restore your deleted files by performing a thorough scan of your storage media. The software can recover files deleted from various internal or external storage devices, such as Mac internal drives, USBs, memory cards, and more. It supports modern file systems (APFS, HFS+), works with a variety of storage media, and lets you scan, preview, and recover deleted files.

Pros:

• This tool offers a simple and user-friendly GUI, making it easier even for beginners to restore deleted files.
• The software is useful for both simple deletions and complex data loss scenarios (formatted drives, corrupted volumes).
• The preview functionality of this software lets you preview the recoverable files before restoring. 
• The free version supports recovery of lost files up to 1 GB for free. To restore files of a larger size, you can check and use the premium versions.

Cons:

• The Deep scan process on large drives or external media may take hours.
• To perform advanced recovery (bootable media recovery, unbootable system recovery, disk imaging), you need to purchase the premium version.
• If your deleted data is overwritten, even Stellar may struggle to restore it fully.

2. EaseUS Data Recovery Wizard for Mac

It is a popular data recovery utility, supporting recovery of accidentally deleted, formatted, or lost files from Mac internal drives and external media. You can easily restore deleted photos, videos, documents, and other types of files of various file formats using this tool. It offers both quick and deep scans, file-type filtering, and preview functionality — making recovery fairly simple and accessible.

Pros: 

• EaseUS Data Recovery Wizard for Mac supports recovery of deleted files from various internal or external storage media, including USB drives, SD cards, and external HDD/SSD.
• It offers a clean, user-friendly interface with straightforward scan and recovery process.
• This tool can easily handle data recovery in different scenarios, including accidental deletions, empty Trash, formatted drives, corruption, etc.
• The free version actually performs some basic data recovery without payment.

Cons: 

• The free version is limited in file size during recovery. For larger recoveries, you’ll likely need to upgrade to Pro.
• Some file formats (especially large or RAW photos) may not support previews under free mode.
• Features like bootable-drive recovery, cloud recovery, and advanced repair tools are available only in paid versions.

3. Recuva by CCleaner

Recuva is a well-known freemium data-recovery tool, allowing recovery of files deleted from internal or external disks, USB drives, memory cards, and more. The software supports various file systems such as FAT, exFAT, NTFS (and some Linux filesystems like Ext2/3/4) for storage media. It is known for several amazing features, such as it performs both quick and deep scans, previews recoverable photos, and helps retrieve files even from formatting, corrupted or damaged drives.

Pros: 

• The freemium version of this Mac data recovery software makes it accessible even without spending any cost. 
• A wizard-style, intuitive UI works well for beginners and non-technical users.
• This tool performs fast recovery of recently deleted files or a deeper scan for lost or formatted data.
• The tool is lightweight with a small size, and it doesn’t heavily burden system resources.

Cons:

• This software is designed only for the Windows OS. If you’re using a Mac, it won’t work unless via a virtual machine or other workaround.
• The full deep scans on large or damaged drives may take a long time and yield limited success.
• The free version is somehow limited in size; the paid version is often necessary for more serious recovery tasks.

4. Disk Drill Data Recovery

Disk Drill for Mac is an all-in-one data recovery software that supports the recovery of files deleted from various storage devices, including internal/external drives, USB drives, memory cards, and more. Its interface is clean and user-friendly, making it accessible even to non-technical users. The free version lets you scan and preview, while full recovery requires upgrading to the Pro plan.

Pros: 

• The software offers a clean, intuitive GUI that simplifies the recovery process — good for beginners and non-tech users.
• It allows you to preview the recoverable files before restoring them, ensuring everything that is recovered is really required.
• Works with HFS+, APFS, and other common file systems, making it practical for modern Macs

Cons:

• If data has been overwritten or the storage device is physically damaged, Disk Drill may fail to restore files.
• The free version offers limited features, and data recovery on large drives can be time-consuming.
• Sometimes recovered files come jumbled or unnamed, making them hard to sort.

5. R-Studio

R-Studio is a powerful, cross-platform data recovery software, supporting restoration of files on both Windows and macOS devices. It also supports a broad range of file systems — including APFS/HFS+ on Mac and many on Windows/Linux. The advanced scanning feature of this tool allows creating disk images, which makes it popular among IT professionals and advanced users.

Pros: 

• The software supports recovery of files even if the partition structure is lost or the drive is reformatted.
• It avoids writing to the original disk during recovery, reducing the risk of further data loss.
• It works on macOS (Intel + Apple Silicon), Windows, and Linux, which makes it flexible if you deal with multiple OS environments.

Cons:

• Many advanced features and detailed options are applicable only in paid versions. 
• The free/demo version typically restricts recovery to a minimal file size (e.g. 256 KB). To restore files of a larger size, you need premium versions. 
• Users need some understanding of file systems, partitions, and recovery principles to get good results.

Wrapping Up

If you are looking for free Mac data recovery software, then carefully check the above top 5 tools to help you restore lost or deleted files. Carefully check the pros and cons of the aforementioned top 5 free Mac data recovery software tools, then select the one that best fits your needs. Remember: free tools are excellent for many recovery situations, but there are limits. If a drive is physically failing or files are mission-critical, consider pausing software attempts and contacting a professional data-recovery service—software cannot reliably fix mechanical hardware failure. 

Day Z. Duke Turns Heartbreak Into Power on ‘Pain In My Passt’

Day Z. Duke arrives with a sharp sense of purpose on her new single “Pain In My Passt,” a title that signals the wit, grit, and bite waiting inside the track. The wordplay sets the stage for a country anthem steeped in frustration, resolve, and the kind of emotional fire familiar to fans of Carrie Underwood’s early breakthroughs. Duke leans into that lineage with confidence. Her vocal delivery moves from controlled restraint to a clenched, almost trembling power that mirrors the evolution of a woman who has finally drawn the line.

The production balances modern polish with enough Southern edge to keep the story grounded. A tight drum pattern and a thread of electric guitar carry the melody forward while Duke’s voice cuts through with an honest mixture of tenderness and anger. There is real personality here, something that recalls the spirit of Miranda Lambert’s sharpest moments. Duke allows the hurt to sit beside the humor, which makes the chorus land with particular force. “Pain In My Passt” introduces an artist who understands how to turn personal chaos into a fight song, and it suggests that Day Z. Duke is ready to claim her own corner of contemporary country.

https://open.spotify.com/album/1mE0ST6pTeNZwjVMj9SAKZ

The Burnett Sisters Band Release “Easy Come, Easy Go”

With Easy Come, Easy Go, The Burnett Sisters Band step confidently into a new tier of contemporary bluegrass artistry. Long known for their seamless family harmonies, their deft blend of tradition and originality, and their increasingly visible presence on the festival circuit, the Burnetts arrive here with their most cohesive and compelling statement to date. The album’s 10 songs—seven originals penned or co-penned by guitarist/songwriter Geary Allen, alongside a handful of reimagined standards—showcase not only the band’s technical refinement but their deepening narrative voice. What emerges is a record that honors the roots of bluegrass while embracing a modern emotional range.

URL: https://www.burnettsistersband.com/

The opener, “Blaming You,” sets the tone with pointed lyrical clarity and some of the band’s strongest vocal interplay. Sophia Burnett’s delivery is warm but firm, capturing that delicate bluegrass balance between lament and resilience. Instrumentally, the track is crisp and unhurried: guitar, fiddle, and mandolin interweave with a lightness that gives the harmonies room to bloom. It’s a sharp reminder that the Burnetts’ greatest gift may be their ability to let simplicity shine.

“Fool’s Gold,” on the other hand, carries more rhythmic bite. Allen’s songwriting stands out here—lean, focused, and subtly metaphorical without ever drifting into abstraction. His guitar work anchors the groove while the sisters layer harmonies that evoke early country duos but with a contemporary sheen. It’s one of the album’s most radio-ready songs, and its energy serves as a perfect early-record lift.

The centerpiece of the first half, “Don’t Let Me Fall,” is arguably the emotional apex of the record. Its pacing is masterful: a slow build that welcomes fiddle and mandolin lines that feel both classic and fresh. What truly elevates the track, though, is the vulnerability in the vocal performance. The Burnetts don’t often lean into overt sentimentality, but when they do, they do so with restraint and authenticity.

The title track, “Easy Come, Easy Go,” is catchy, succinct, and reflective of the album’s larger themes—acceptance, release, and the ability to pivot from hardship with grace. At just under three minutes, it wastes no time and pulls off the kind of efficient, melodic accessibility that defines great bluegrass singles.

https://open.spotify.com/album/6ZAswrbf2xvSD5C5JojmXt

Of the traditionals, “Lovesick Blues” and “Julianne Johnson / Tie Your Dog, Sally Gal” offer two different showcases of the band’s deep roots. The former leans into a classic old-time wail, while the latter—sparked by joyful tempo and tightly executed fiddle runs—captures the vitality of their live shows.

The home stretch of the record reveals the band’s narrative sophistication. “The Youthful Soldier” and “Sorrow, Grief, and Pain” are striking examples of Allen’s ability to craft historical and personal storytelling with equal weight. The songwriting avoids melodrama, choosing instead to let imagery and arrangement evoke the emotional stakes. Both tracks highlight the Burnetts’ impressive ability to honor traditional idioms without sacrificing their contemporary voice.

And then there is “The Song of the Mountains,” the recent summer 2025 chart-topper that solidified their status as a rising force. It’s easy to hear why it resonated: it’s vibrant, melodic, and driven by a chorus built for festival sing-alongs. Overall, Easy Come, Easy Go succeeds not just because of its musical polish but because it articulates who The Burnett Sisters Band are right now: artists on the rise, rooted in tradition yet unafraid to evolve. It’s a record that rewards repeated listening and marks a major milestone for a group clearly poised for even greater heights.

Gwen Waggoner

Dale Ann Bradley Releases “Mary’s Rock” 

Every so often, a bluegrass single arrives that feels less like a track release and more like the opening of a dusty, long-forgotten book — the kind you’d find tucked into a cedar chest in an abandoned mountain homestead. “Mary’s Rock,” Dale Ann Bradley’s arresting new single, is exactly that kind of discovery: a song that reads like living folklore, delivered with the steady assurance of an artist who knows how to turn local legend into sweeping emotional experience.

What immediately distinguishes “Mary’s Rock” is how cinematic it feels without relying on large production gestures. There’s no grand string section, no dramatic percussion, no overly assertive soloing. Instead, Bradley and her collaborators rely on carefully placed instrumental colors to create atmosphere. The guitar establishes the terrain. The mandolin throws glints of light across it. The bass is the earth beneath the story — grounding, subtle, inevitable. Together, they form a soundscape that feels carved out of the mountains themselves.

The narrative at the center of the song is a gripping one: Mary, a bride effectively traded through marriage; Francis, the man she is bound to; a climb up a mountain that carries echoes of destiny; and a disappearance that has become part of regional lore. Yet the genius of Bradley’s treatment is that she approaches the story not like a historian but like a witness. She doesn’t deal in exposition; she deals in sensation. Her voice conveys the weight of secrets, the chill of elevation, the tremor of uncertainty that must have accompanied that fateful ascent.

https://open.spotify.com/album/1WwOdcfl8cphiG9kno3ljP

Sonically, the track balances warmth and eeriness with impressive finesse. Bradley’s timbre remains one of the most recognizable in modern bluegrass: pure without being fragile, emotive without being indulgent. There is a steadiness to her tone that gives the tragedy at the heart of the story even more tension. She doesn’t telegraph the mystery — she embodies it. When she sings of Mary’s fate, there’s an almost journalistic neutrality, but underneath it lies something deeply human: compassion for the lost and unspoken critique of those who controlled the lives of women in Mary’s era.

Lyrically, the song excels by not over-explaining. The power is in the restraint. We know just enough to feel the dread in Francis returning alone. We know little enough that our imaginations fill in the cold, jagged gaps. The ambiguity becomes the emotional hook — a rare feat in a genre that often favors narrative clarity. This is where “Mary’s Rock” transcends tradition and enters the realm of modern songwriting craft: it trusts listeners to engage, interpret, and feel the story rather than passively receive it.

The pacing is another of the song’s quiet triumphs. It unfolds in steady increments, mirroring a climb up uncertain terrain. This structural echo — the music rising as the characters rise — adds a cinematic quality that rewards repeated listens. You start to notice how the mandolin flickers where the light might thin, or how Bradley pauses slightly between phrases as though catching her breath on the mountainside.

“Mary’s Rock” succeeds because it refuses to be just a retelling. It is an invitation — into history, into mystery, into empathy. Dale Ann Bradley has crafted a single that resonates beyond its runtime, lingering like an unanswered question and a half-remembered dream. It’s a song that proves once again why she remains one of the most indispensable interpreters of Appalachian narrative music: she not only preserves stories — she animates them.

Gwen Waggoner 

Eggnog for the Damned: Fifteen New Christmas Songs of 2025 That Refuse to Sit Quietly by the Tree

Christmas music is supposed to behave itself — twinkle politely in the background, smell like pine and nostalgia, and never, ever ask too many questions. But 2025’s new crop of holiday songs didn’t get that memo. These tracks kick down the chimney, spill the eggnog, and start testifying, flirting, rocking, and soul-searching all at once. Somewhere between sacred hush and electric grin, this year’s Christmas releases remind us that the season isn’t just about comfort — it’s about collision: faith slamming into joy, memory wrestling with desire, and hope refusing to be quiet. What follows is not a gentle carol service, but a cracked, glorious mixtape for the faithful, the restless, and anyone who’s ever needed a little noise to feel the miracle.

https://open.spotify.com/playlist/2VxCzfxYwO2G3oQ8uDj4UL?si=G8_MSE0sT5q0H3qCS1U-Zg 

1. Elvira Kalnik — “I Met You on Christmas”
   This one slips in sideways, wrapped in romance and frost. Elvira Kalnik doesn’t shout; she remembers. The song feels like a half-forgotten kiss under cheap lights and real snow, where Christmas becomes the accidental witness to love that didn’t ask permission. It’s tender, cinematic, and quietly devastating.
2. Pentatonix — “Bah Humbug”
   A cappella rebels in Christmas drag. Pentatonix flips seasonal cynicism into vocal gymnastics, turning Scrooge-energy into playful rebellion. It’s clever, crisp, and oddly cathartic — a reminder that even skepticism deserves harmony.
3. Robert Ross — “Rockin’ Christmas”
   Ross doesn’t knock — he kicks the door in with a Telecaster. This is barroom Christmas: loud, loose, and proudly unpolished. It smells like spilled beer and tinsel, and that’s the point. Faith, family, and fun collide in a way that feels honest rather than tidy.
4. Lauren Spencer Smith — “Last First Christmas”
   Heartbreak wears a Santa hat here. Smith delivers a slow-burn ballad that aches with memory, the kind of song that makes December feel longer and lonelier. It’s not about joy — it’s about what’s left when joy moves out.
5. DPB — “The Wonders of Christmas”
   Pure wonder, unapologetically so. DPB leans hard into joy, awe, and spiritual optimism, delivering a track that sounds like Christmas morning bottled and shaken. This is belief with a beat — bright, buoyant, and fearless about its message.
6. Little Big Town — “The Innkeeper”
   Storytelling Christmas. Country music has always known how to narrate faith, and this song proves it. A quiet, reflective retelling of the Nativity from the margins, it feels ancient and immediate at the same time.
7. Gwen Stefani — “Hot Cocoa”
   Sugar rush Christmas. Stefani doubles down on playful pop excess, turning seasonal kitsch into a knowing wink. It’s fluffy, fun, and impossible to take seriously — which is exactly why it works.
8. Eddy Mann — “O’ Come”
   This is the soul of the season laid bare. Mann transforms reverence into something raw and lived-in, a gospel-infused plea that feels more like prayer than performance. It doesn’t entertain — it testifies.
9. Jonas Brothers ft. Kenny G — “Coming Home This Christmas”
   Smooth nostalgia with a saxophone halo. This track wraps sentimentality in polish, evoking airports, reunions, and the long drive home. It’s comfort food, expertly prepared.
10. Emily Ann Roberts — “Come Home to You”
    Country warmth and holiday longing intertwine here. Roberts sings for anyone counting miles instead of days, turning Christmas into a promise rather than a place.
11. Kylie Minogue — “XMAS”
    Slick, stylish, and joyfully superficial. Kylie delivers holiday pop that sparkles without apology. No soul-searching here — just dancefloor tinsel and champagne cheer.
12. Sara Bareilles & Brandi Carlile — “Salt Then Sour Then Sweet”
    A grown-up Christmas duet. This song understands life’s flavors and doesn’t rush to resolve them. It glows quietly, like candlelight after the guests leave.
13. JVKE & Forrest Frank — “Christmas Morning”
    Modern Christmas for a streaming generation. Bells meet beats, innocence meets irony, and somehow it works. Youthful and restless, like the holiday itself.
14. Gwen Stefani — “Shake the Snow Globe”
    Chaos Christmas. This track embraces the mess — emotional, sonic, and seasonal. Shake it hard enough and something joyful spills out.
15. Miranda Lambert & Parker McCollum — “Band Together Texas”
    Not born as a Christmas song, but adopted by the season through communal spirit and shared grit. It closes the list like a group hug — imperfect, loud, and real.

Taken together, these songs prove that Christmas in 2025 isn’t a single sound. It’s a collision — sacred and profane, polished and ragged, reverent and reckless. And that’s exactly how it should be.

–Leslie Banks

IRIEspect Announces New EP “Lost In Time” Out December 12 on Dubshot Records

A vibrant, genre-bending collection featuring collaborations with Ras Ajai, Skygrass, Duvbear and a bold Manu Chao cover

Long Island, NY — December 2025 — IRIEspect, the explosive seven piece reggae, dub, jam, hip hop and Latin outfit signed to Dubshot Records, proudly announces the release of its new EP “Lost In Time,” arriving Friday, December 12. Showcasing the band’s most dynamic and versatile work to date, the project highlights IRIEspect’s infectious energy, wide ranging influences and rapidly growing presence across the East Coast and beyond. Listen HERE!

The “Lost In Time” EP brings together five standout tracks, each offering a distinct world of sound while staying rooted in the band’s trademark blend of roots reggae, rock, live dub, Latin rhythms, hip hop and dancehall. With more than two hundred shows across Long Island, New York City and the greater Northeast in recent years, plus performances with Collie Buddz, The Original Wailers and a sold out show with Steel Pulse at Brooklyn Bowl, IRIEspect enters 2025 with undeniable momentum.

TRACKLIST AND SINGLE BREAKDOWN:

Want Me Too featuring Ras Ajai
A bright, beachy and radio ready single featuring Ras Ajai of Sean Paul’s Dutty Rock Records. With steel pan textures and an uplifting island vibe, this track delivers instant feel good energy.

Nuh Leave Mi Alone featuring Skygrass
A tough, dancehall charged anthem with Kingston artist Skygrass, who has nearly two hundred thousand Instagram followers. Built for clubs, parties and festival speakers, this is the reggae single that hits with force.

Lost
The EP’s most compositionally advanced and artful track. A rootsy, dynamic and emotionally rich arrangement featuring soaring horn lines that showcase the band’s musicianship and depth.

Me Gustas Tu
A vibrant reimagining of the Manu Chao global hit. With more than one million followers, Manu Chao remains a giant in world and Latin reggae, and IRIEspect delivers a fresh version blending Latin reggae and hip hop in both Spanish and English. Complete with a melodica solo, this is the EP’s most versatile song and a strong fit for international and hip hop markets.

Dangerous featuring Duvbear
A raw and punk influenced reggae rock tune featuring Duvbear, also known as Shalom Miller, son of Matisyahu. With bold dynamics and a high energy punch, “Dangerous” adds a gritty edge to the project.

ABOUT IRIEspect:

IRIEspect is a genre blending powerhouse from Long Island, New York, delivering a high energy live show and a sound that fuses roots rock reggae with dub, Latin, hip hop, dancehall and more. The band has built a devoted following across the Tristate and Northeast markets and has performed more than two hundred shows in recent years. They have shared stages with major reggae and alternative artists including Inner Circle, Barrington Levy, Long Beach Dub Allstars, Pepper, Badfish, Fortunate Youth, Sister Nancy, Artikal Sound System, Pete Francis of Dispatch and many others.

Their 2024 debut full length LP on Dubshot Records introduced the standout single “Strong Island” and marked a significant new chapter for the band. IRIEspect continued to build momentum in 2025 with singles including “Want Me Too,” “Nuh Leave Mi Alone,” “Lost” and “Me Gustas Tu,” all available now on major streaming platforms.

The “Lost In Time” EP arrives December 12 on Dubshot Records, further establishing IRIEspect as one of the most exciting emerging voices in modern reggae fusion. Fans of Bob Marley, Sublime, Stick Figure, Manu Chao, Elovaters, Dirty Heads, Tropidelic, Rebelution, Iration and similar artists will feel right at home.

Press materials, booking info, live videos and additional assets are available through the official IRIEspect link hub.

For All Music, Media, Social Links, Past Shows/Artists performed with etc, visit https://linktr.ee/IRIEspect  -IRIEspect #irie #respect

Duanna’s open tabs Is The Chill Electronic Escape Your Brain Has Been Begging For

Duanna’s brand-new EP, open tabs, feels like the soundtrack to every moment when you want the world to quiet down for a second. It is a six-track listen filled with soft beats, glowing synths, and vocals that feel almost weightless. If your brain has been bouncing between too many thoughts lately, this is the kind of project that helps everything settle.

What is immediately striking is how smooth the transitions are. One song glides into the next in a way that makes the whole EP feel like a single continuous vibe. It is perfect for late-night scrolling, early morning commutes, or anytime you want music that holds your mood instead of pushing it around.

The production feels carefully considered without sounding stiff. There are small flickers of sound tucked into the mix that keep things interesting, but nothing ever pulls you out of the haze the EP sets up. Duanna has a great instinct for restraint, and it shows in how naturally each track unfolds.

open tabs hits that sweet spot of music that works in the background but also rewards a focused listen. It is moody, airy, and easy to get lost in, which is exactly why it deserves a spot in your rotation.

Rebekah Snyder Releases Heartwarming Holiday Single “Up on the Housetop,” Out Friday, December 12th

RIYL: Miranda Lambert, Tyler Childers, Kacey Musgraves, Chris Stapleton, Brandi Carlile

Nashville, TN — December 12, 2025 — Alt-country/Americana artist Rebekah Snyder ushers in the holiday season with her charming new single, “Up on the Housetop,” a modern country take on the classic Benjamin R. Hanby Christmas tune. The track arrives everywhere tomorrow, Friday, December 12th, and carries with it a story rooted in family, nostalgia, and once-in-a-lifetime timing.

The idea sparked over Thanksgiving when Snyder traveled to Nashville to continue work on her upcoming full-length album with producer Dean Miller. Planning to bring her three children along for the trip, Snyder realized she had a rare opportunity: to record a Christmas song with them while they are still young enough to feel the pure magic of the season.

“I wanted to pick something the kids genuinely love,” Snyder shares. “My son Thomas performed ‘Up on the Housetop’ at his second-grade Christmas pageant last year, and he knew every word. It felt like the perfect fit.” With her youngest son and daughter each taking a line, her middle son providing the iconic “clicks,” and all three joining their mother for a joyful chorus of “ho ho ho,” the result is a charming multigenerational performance filled with warmth and authenticity.

Following her recent success with Adam Cunningham on their charting duet “Don’t Ever Date A Yankee,” which reached #138 on the Music Row Breakout Country Chart, Snyder steps into the holiday spotlight with a rendition shaped by her love of classic country traditions. Recorded with a nod to Dolly Parton’s cover of Jimmie Rodgers’ “Blue Yodel No. 8,” the track features fiddle, banjo, and a playful “blue” yodel that brings new life to the beloved Christmas standard.

For Snyder and her children, a resilient family who have overcome significant challenges, this recording became more than a nostalgic project. It became a celebration of togetherness, joy, and the simple, enduring hope of the holiday season.

“Up on the Housetop” is available on all streaming platforms Friday, December 12th.–

https://www.instagram.com/rebekahsnyderofficial/

“CALL THE MIDWIFE” STAR FRANCESCA FULLILOVE NOMINATED FOR TV TIMES AWARDS 2025 — SECOND YEAR IN A ROW

“CALL THE MIDWIFE” STAR FRANCESCA FULLILOVE NOMINATED FOR TV TIMES AWARDS 2025 — SECOND YEAR IN A ROW

Francesca Fullilove, the young breakout talent from Call the Midwife, was nominated for Favourite Young Actor (Under 18) at the TV Times Awards 2025, marking her second consecutive year being recognised by one of the UK’s leading television awards.

At just 12 years old, Francesca has already become one of the most promising young actors on British television. Her warm, expressive performance in the long-running BBC drama has charmed both audiences and cast alike, earning her a growing fan base and recognition across the industry.

The 2025 TV Times shortlist featured standout rising talent from series including Coronation Street, Emmerdale, Hollyoaks, and Adolescence. Francesca appeared alongside ten of the UK’s most exciting young performers, reaffirming her place as a name to watch in the coming years.

A Rapidly Rising Career

Francesca’s acting journey began early, with standout roles including appearances in Call the Midwife—where she has worked with household names such as Megan Cusack, Jenny Agutter, Judy Parfitt, Cliff Parisi, Helen George, Miriam Margolyes, Stephen McGann, and Laura Main.
She also appeared in a well-loved Petit Filous commercial with her younger brother, further cementing her on-screen versatility.

Away from filming, Francesca leads a vibrant life filled with dance (modern and street), baking, shopping, and spending time with her family in Epsom, Surrey. With Italian heritage on her mother’s side and a warm, grounded upbringing, she brings a relatable charm to her growing public profile.

National Attention Beyond Local Press

While Francesca has already received strong media coverage across Surrey—thanks to her impressive back-to-back nominations—her team is now looking toward broader national and entertainment platforms as her career continues to develop.

Her recent features include:

• Your Local Guardian

• Surrey Comet

• TresA Magazine

• Radio St Helier (Desert-Island-Disc style interview)
  

As her visibility grows, Francesca hopes to build connections within the wider entertainment industry, expand her Instagram presence (@francescafullilove), and reach audiences who resonate with authentic, emerging talent.

A Bright Future Ahead

Francesca’s second TV Times nomination underscores her dedication, natural screen presence, and clear passion for acting. With continued industry recognition and a strong support network behind her, she’s poised for an exciting year ahead—including new opportunities both on-screen and in media.

TV Times Awards 2025 Update

Voting for the TV Times Awards 2025 has now closed, and the results have been published. Although Francesca did not take home the award this year, her consecutive nominations highlight her rising profile and the strong support she continues to receive from viewers and industry peers alike.

Follow Francesca Fullilove

Instagram: https://www.instagram.com/francescafullilove/

Spotlight: https://app.spotlight.com/9490-6754-7718

Where the Light Gets In: Alex Krawczyk’s “Wonders Await” Rekindles the Spirit

Where the Light Gets In: Alex Krawczyk’s “Wonders Await” Rekindles the Spirit

There’s a certain kind of artist who doesn’t just write songs—they excavate them. They dig through memory, intuition, scars, and fleeting flashes of grace until something true rises to the surface. Alex Krawczyk has always lived in that space, and on her sophomore LP Wonders Await, she leans all the way in. This is an album that doesn’t posture or preen. It whispers, breathes, leans close. It reminds you that healing is messy and beautiful and utterly non-negotiable if you want to keep your soul intact.

From the opening seconds of “Falling in Love,” you get the sense that Krawczyk isn’t content with surface-level storytelling. The horns glow, the acoustic guitar pulses like a heartbeat, and her voice—a gentle yet resolute flame—reminds you what it feels like to surrender to something bigger than your own fear. It’s not a naive love song; it’s a chronicle of vulnerability reclaimed. She sings like she’s standing on the edge of something frightening and exquisite, arms open anyway.

“The Beach Song” moves like a warm breeze carrying sand and memory. Krawczyk draws a world where moonlit moments become emotional anchors, a reminder that joy doesn’t have to be perfect to be real. There’s a road-worn romanticism here, a sense that she knows exactly how fragile bliss is and chooses to hold it anyway. And maybe that’s the album’s central power: a refusal to discard the small miracles.

Then comes “When the Road Is Uneven,” a track that feels like it belongs in the canon of spiritual folk medicine. It’s a companion piece for the weary, a song for anyone who’s ever stared down the long road and wondered whether they’d make it home. The chorus—“let the music renew your stride”—isn’t just lyricism; it’s lived wisdom. Robbie Roth’s production lets the arrangement breathe, giving space for the emotional weight to settle and lift in the same breath.

The title track, “Wonders Await,” is radiant in a way that doesn’t shy away from the truth that life can break you before it blesses you. Krawczyk sings with an almost childlike openness, rediscovering the world with a beginner’s mind. Her vocals float atop airy keyboards and Patrick Smith’s shimmering flute, creating a little portal of optimism—one you didn’t realize you needed.

And then there are the emotional side paths:
“West Coast,” a wistful dreamscape painted in ocean tides and release.
“Justice,” a restrained slow burn about longing for clarity.
“Payphone,” a nostalgic gem that dips into the past with tenderness rather than irony.

But the closing pair—“I Am a Song” and “Carry On”—are where Krawczyk delivers her thesis. These tracks aren’t just songs; they’re affirmations. They are a hand on your shoulder, a voice reminding you that love, art, resilience—these things outlast the storms.

Wonders Await is the rare kind of album that doesn’t demand your attention but earns it. It’s gentle without being soft, hopeful without denying the dark, and honest in a way that feels like conversation rather than performance.

In a world crowded with noise, Alex Krawczyk offers signal—clear, human, healing. Wonders, indeed, await.

–Lonnie Nabors

Elina’s ‘A Place I Recognise:’ A Conversation on Healing, Growth, and a Transformative Year

Sweden’s Elina returns to the rural landscapes of her hometown in ‘A Place I Recognise,’ an outpouring of songs born from a year of brave decisions, a soft rediscovery of self, and her way back to an inner place she’d long been circling. 

In this exclusive conversation with the songwriter, she reflects on moments that reshaped her, healing, and finding the clarity and courage to begin again…

The EP follows a narrative of returning home – partly inspired by your move back to your rural hometown in Sweden, and partly shaped by personal experiences. Could you share which events influenced the lyrics in this collection?

I went through quite a few big changes last year that was a really long time coming. Unfortunately, pursuing a career in music took a toll on my mental health in so many ways because of many different reasons. It wasn’t until last year that I finally gathered the strength and courage to start a new chapter and it turned out to be the best decision I’ve made in ages. It led me to healthier relationships personally, professionally, and with myself.

Which song on the record was your favourite to write, and what made it so special?

I’d say ‘Scars.’ It was my first session in ages earlier this year in London, and I was super nervous because I’m such a big fan of James’s music. But it turned into one of those rare experiences where everything just felt easy, from writing the song to recording it, and throughout the whole collaboration with James and his team. It was all pure joy to me. 

There’s such an uplifting energy throughout the EP; it feels like you were in a positive creative space. Would you say the songs reflect your healing journey and path toward self-discovery as it unfolded?

Thank you, that’s such a big compliment! They definitely do, and I’d say I’ve come home creatively with these songs in a way I haven’t really felt before. As an artist, it’s a constant process of navigating and reinventing and this time we were all completely in sync in the process when it came to production, sound, and the overall soundscape – which was really uplifting and inspiring. Lyrically and emotionally, the songs are so closely tied to recent experiences that they feel like an extension of myself at this point. That’s all you ever hope to achieve, really, so it feels like I’ve shared something that’s 100% me.

How do you hope listeners will connect emotionally with the songs? Are there particular themes you feel are woven throughout the EP?

My constant hope is that listeners will feel seen and inspired when they hear my songs. This EP comes from a place of personal reflection, growth and choosing myself after a long period of challenges. If these songs can encourage others to do the same and to prioritize their own happiness, trust their instincts and embrace the courage it takes to create a life that feels true to them, then it’s more than I could wish for. All the themes throughout the EP, like self-discovery, resilience, freedom and coming home to yourself, are all tied together with that sense of empowerment and hope, if that makes sense. 

You’ve blended indie folk and pop so beautifully, all while staying true to your signature sound. Were there any musical influences that guided you during the making of this record?

That makes me really happy. I feel like I finally got to bring in some band influences and full arrangements this time, something I’ve longed to do since the beginning. I’ve dipped my toes into it on previous records, but never fully explored it. My heart has always, and will always, beat for rock music and bands. It’s the music I grew up with and the music that inspired my writing. So this EP became a way to blend that lifelong bank of influences with my original, softer soun,d and that’s been incredibly fun! 

Listen To ‘A Place I Recognise,’ Out Now 

Vienna Vienna’s ‘Buzz’ Turns Existential Chaos Into a Glimmer-Rock Adrenaline Shot

“Buzz” is the sound of your brain melting in real time, and Vienna Vienna is standing over the pot stirring with a neon-pink tambourine, grinning like he knows exactly what he’s doing to you. This isn’t a song—it’s an electrical short circuit dressed up as indie rock, the kind of thing you blast at 2 a.m. when you’re still vibrating from the world’s nonsense and your own nervous system is staging a coup.

From the first fuzzy guitar scrape, Vienna Vienna makes it clear we’re not here for serenity. No, “Buzz” is an ode to the modern condition: everything’s too loud, too fast, too stupid, and somehow too bleak and too hilarious at the same time. The drums punch like they’ve been up for three days on caffeine and catastrophic headlines. That tambourine? It’s the little voice in your head going, “Why is everyone like this?” except now it’s keeping time.

Vienna Vienna sings like a man who’s seen the abyss, took notes, and decided the only reasonable response was to write a banger. “I’ve seen a devil, I’ve seen a devil buzz,” he mutters, tossing off lines about eight-dollar despair and societal decay like he’s reading coupons for the apocalypse. It’s bleak poetry wrapped in party lights, and that’s the brilliance of it—he’s not escaping reality, he’s dancing in the wreckage, kicking up dust, laughing because crying is too predictable.

https://viennavienna.ffm.to/buzz 

There’s a ramshackle glory to the whole thing, the same spirit that drove punk kids to scream about alienation except now the alienation has Wi-Fi and a subscription model. Vienna Vienna taps into that jittery youth-doomerism vibe without turning it into a costume. This isn’t nihilism—it’s survival by groove. The man understands that if the world insists on bombarding us with existential static, the least we can do is turn the buzz into a hook.

“Buzz” joins earlier singles “Idle Hands” and “Company Hunting” in this expanding universe of glimmer rock, where queerness, chaos, humor, and heartbreak swirl together until they’re indistinguishable. But this track is the most potent hit yet. It feels like the EP Entertain Me tearing through its chrysalis, wings twitching, ready to thrash its way into every overstimulated ear.

Vienna Vienna isn’t trying to save you. He’s trying to make you feel alive in the middle of the noise. And with “Buzz,” he damn well succeeds.

https://www.facebook.com/viennaviennamusic 

https://www.tiktok.com/@viennavienna 

–Leslie Banks 

JD DAYS ANNOUNCES CHRISTMAS ANTHOLOGY — A CINEMATIC MUSICAL JOURNEY OF LOVE, FORGIVENESS & FESTIVE MAGIC

JD Days return this winter with Christmas Anthology, a ten-track festive project blending heartfelt songwriting with vivid, Pixar-style storytelling. The album features six original songs and four re-imagined holiday classics, each accompanied by its own short 3D-animated film.

From snowy New York romances to Santa’s rock-and-roll sleigh ride, Christmas Anthology invites listeners to rediscover the season through love, unity, renewal, and forgiveness.

A PIXAR-STYLE CELEBRATION OF THE HOLIDAYS

Each track forms part of a wider narrative, brought to life through cinematic animation and JD Days’ signature pop-rock and folk influences. Together, the songs and visuals create a warm, immersive experience designed to “light the dark” during the winter season.

TRACK HIGHLIGHTS

• Evergreen Christmas – A glowing winter love story

• Angel Woman – A dawn-lit ballad of grace, hope, and renewal

• Here Comes Santa – JD Days’ upbeat modern-rock Christmas anthem

• All You Need Is Love – A luminous finale celebrating togetherness and forgiveness
  

RELEASE & AVAILABILITY

• Digital Album + Video Anthology: 5 December 2025 on Spotify, Apple Music, YouTube Music, and Amazon Music

• 4K Video Premiere: Vimeo & YouTube – 20 December 2025

• Radio Campaign: Holiday rotation begins late November 2025 (Adult Contemporary / Holiday formats)

• Sync Licensing: Seasonal placements via Sony Music Publishing, Warner Chappell Music & Universal Production Music
  

BRIDGE VIDEOS — CONNECTING THE STORY

The project features 10 cinematic bridge videos, each narrated by a warm American female voice, seamlessly guiding listeners through the Anthology’s emotional arc.

Featured Bridge Videos:

• Mistletoe
• Evergreen Christmas
• Shape of My Heart
• Angel Woman
• Somewhere
• Two Lovers
• Here Comes Santa
• Live for Today
• Happy Xmas (War Is Over)
• All You Need Is Love
• Evergreen Christmas (Instrumental)
  

All bridge videos are available in 1080p MP4 with professional voiceover.

ABOUT JD DAYS

JD Days is a UK-based creative collective led by singer-songwriter James, blending pop-rock, folk, and cinematic visual storytelling. Their mission is to create timeless music and imagery that celebrate love, forgiveness, and the shared humanity at the heart of the holiday season.

“At Christmas, music and love can still light the dark. This anthology is our gift to anyone searching for hope, connection, and a reminder that every heart deserves forgiveness.”
– James, JD Days

Follow JD Days
Instagram: https://www.instagram.com/jd_days/
Website: https://www.jddaysproductions.com/
Spotify: https://open.spotify.com/artist/4eF2rwiLVjQu1cETNJF7WS

India International Music Week 2026 Sets the Stage for a New Era of Global Music Exchange

Copyright © 2013 Skope Entertainment Inc. All Rights Reserved.