“Someday”: Love’s Last Cigarette Flickers in the Wind
Let’s get this out of the way first — Novai’s “Someday” (written by Michael Stover, released through MTS Records) isn’t trying to reinvent heartbreak. It’s not smashing guitars or shattering the foundations of pop. It’s doing something way more dangerous in this numbed-out, algorithm-fed era: it’s feeling something. This song bleeds, but it doesn’t beg for your sympathy. It just looks you in the eyes and says, “Yeah, love hurts. But I’m still here.”
The thing about “Someday” is that it moves like smoke — curling, haunting, refusing to dissipate. Stover’s lyrics are old-school in the best sense: “Baby if you wanna leave, I won’t hold you.” That’s not weakness. That’s dignity with its heart ripped out and duct-taped back together. He writes like someone who’s watched a lot of bridges burn but still keeps a match in his pocket — just in case love needs rekindling.
Novai sings like she’s standing in the middle of those ashes, voice trembling but steady, burning slow. There’s restraint in her delivery that kills louder than any scream. You can hear the ghosts of Whitney and Mariah in her phrasing, sure, but there’s also something raw and unschooled — like a gospel singer who wandered into a midnight diner and decided to sing her order to the jukebox.
https://open.spotify.com/track/0Erq2fwgs7vJl2pe78aQAT?si=4b909b60ba594bdd
Production-wise, “Someday” lives in that dusky, cinematic haze where the neon of ‘80s power ballads meets the intimate glow of modern pop confessionals. It’s got a heartbeat — a soft thump under the melody — but it never tries to dance. It just sways. The chorus hits like déjà vu: “Someday our love’s gonna find us / When all of this hurt is behind us.” It’s a line so simple it feels like it’s been written a thousand times before. But that’s the trick — Stover finds eternity in clichés because he means them. The man writes like he’s still foolish enough to believe in happy endings, and that’s punk as hell in 2025.
The bridge — “If you’re lost and you’re lonely, I’ll hold out my hand” — is where it breaks you. It’s not just a lyric; it’s an act of mercy. In a time when everyone’s ghosting, flexing, and performing emotional detachment like it’s fashion week, this song just offers a hand. No irony. No armor. Just humanity.
“Someday” doesn’t chase perfection. It stumbles, sighs, and keeps walking barefoot through the emotional wreckage, humming to itself. It’s that last cigarette after a breakup — bitter, necessary, and a little bit holy.
If music is supposed to remind us that feeling too much is still better than feeling nothing at all, then this one does its job. It’s a quiet rebellion against the sterile, over-polished noise of now.
Final verdict: “Someday” is a ballad for people who still believe the heart can heal itself, even after it’s been left out in the rain. Light one, pour another, and press play.
–Leslie Banks
Marc Daniels Presents “Cougar Town”
You can never know what to expect when country-rock sensation Marc Daniels drops a new single. His latest release, “Cougar Town,” takes the expectations set by his work from earlier this year and flips the script entirely, delivering a delightfully cheeky rock-leaning single singing the praises of dating older women.
The concept of this single itself merits a listen, as desiring mature, confident women is a complete inversion of societal expectations about desirability, youth, and what “hot” is supposed to look like. With its bold concept and provocative lyrics, this one’s a perfect showcase of Daniels’ approach to songwriting.
But there’s a nuance here; despite Daniels portraying older women as being desirable, he never leans into crude sexualization. In fact, the lyrics are quite tastefully done with lines like, “Like a wine, baby, aged perfection / Older women got the bold connection,” going beyond just plain physical attraction.
– https://open.spotify.com/track/7h6PIuiYb6nrtR4psycqWa
Stylistically, the country influences in Cougar Town are apparent, but this is probably Marc’s heaviest rock track to date. The electric guitars are powerful and raw, while the drums hit hard throughout the track. This stylistic choice is clearly not random though, as the texture and tone perfectly support the concept.
As usual, the real highlight performance is Daniels’ vocals, as he delivers lines that are gritty and worn in all the right ways. He sounds playful when it’s time to let loose, and switches to a more grounded tone when the track demands it.
Cougar Town is both entertaining and a statement. It’s not just about turning heads, but also about recalibrating what we think of head-turning in the first place. Marc Daniels uses country rock’s power, edge, and storytelling to challenge the idea that youth is always king. For listeners who like their country loud, their themes a little risqué, and their admiration served with a side of grit and laughter, Cougar Town is hard to beat.
Camille K Embraces Vulnerability on New Single “Let’s Face It” Out Tuesday, October 21st
Rising pop artist Camille K unveils her most raw and honest work yet with her new single “Let’s Face It,” releasing Tuesday, October 21st on all streaming platforms.
At its heart, “Let’s Face It” explores the emotional chaos of diving headfirst into something new, whether it’s a romance, friendship, or life-changing opportunity. Camille K lays it all bare, confronting the fear of vulnerability and the thrill of uncertainty with striking emotional clarity.
Blending melodic vocals, acoustic guitar, soft synths, and subtle sirens, the track captures both the serenity and tension of emotional risk. The result is a hypnotic, cinematic pop soundscape that lands somewhere between reflection and release.
Produced by Dirty Harry Zelnick, Lectriq, and M11SON, “Let’s Face It” builds on Camille K’s growing reputation for crafting intimate yet relatable pop moments. The song is a perfect fit for chill, vibey, emotional, romantic, or edgy playlists, offering a late-night soundtrack for anyone navigating the unpredictable nature of love and life.
With her signature honesty and modern pop edge, Camille K once again proves that being vulnerable might just be the boldest move of all.
Stream/Presave “Let’s Face It” here!
Camille K has been captivating audiences with her unique blend of classic and modern influences. Raised on a diverse musical foundation, her mother’s love for soul, R&B, and classic love songs and her father’s passion for classic rock, she has developed a sound that fuses timeless melodies with contemporary pop production. Her dynamic artistry and compelling storytelling have set her apart as a standout talent in today’s music landscape.
A seasoned performer since the age of 11, Camille has shared the stage with legendary artists such as Gina Schock (The Go-Go’s), Jeff “Skunk” Baxter (Steely Dan/Doobie Brothers), and Barry Goudreau (Boston). She has also opened for major acts including Flo Rida, Ja Rule, C&C Music Factory, Lit, Chris Kirkpatrick of *NSYNC, O-Town, LFO, and Jon Anderson (Yes).
Camille gained national recognition as a featured contestant on NBC’s America’s Got Talent in 2022, where her original song “Still in Love” earned high praise from the judges that day. Simon Cowell described her performance as “beautiful,” Heidi Klum called her “absolutely amazing” and “the whole package,” and Sofia Vergara praised her “spectacular” voice.
Beyond the stage, Camille has also made a mark in the film industry, with her music featured in Finding Christmas and 7th Secret. Her previous maxi-single, “Daydreamer,” reached #2 on the iTunes Top Dance Albums chart, further cementing her status as a rising star. She is currently working with Grammy Award-winning production team Sakred Wolves, consisting of Dirty Harry Zelnick, Lectriq, and M11SON, to craft new music that continues to push creative boundaries.
As Camille continues to tour throughout Philadelphia and New Jersey, “Let’s Face It” marks another milestone in her journey, showcasing her signature blend of raw emotion, powerful vocals, and polished pop production. Camille K is also an endorsed artist of Anatomy of Sound picks and Minarik Guitars.
“Monaco Affair” Sees Painted Dunes Perfect Their Signature Lounge Sound
Atlanta-based lounge duo Painted Dunes return with ‘Monaco Affair’, a sophisticated blend of jazz house and downtempo electronic music that effortlessly evokes luxury and escapism. Known for crafting “house music with a view – and a splash of jazz,” the pair continue to refine their signature sound, layering lush piano chords, sultry saxophone, and vibrant trumpet lines over fluid, hypnotic house rhythms.
The track transports listeners straight to the sparkling coastline of Monaco, balancing meticulous production with a sense of effortless elegance. Drawing subtle nods to jazz traditions while maintaining a contemporary electronic edge, ‘Monaco Affair’ positions Painted Dunes as innovators within the global deep house scene. Fans of dublon, berlioz, and Bolden will recognize familiar touchpoints, yet the track remains distinctly their own.
With millions of streams and international viral chart placements already under their belt, Painted Dunes deliver an immersive listening experience that appeals as much to casual audiences as it does to house and jazz aficionados. ‘Monaco Affair’ is both a sonic escape and a statement of refined artistry, confirming the duo’s place as leaders in the modern jazz house movement.
Kwae Kobain Redefines the Self on His Soul-Stirring EP ‘AHAMKARA’
Kwae Kobain isn’t here to play by the rules. The soul-rooted artist and curator has returned with ‘AHAMKARA’, a two-track EP that dives headfirst into the depths of identity, spirituality, and sonic reinvention. It’s bold, it’s personal, and it feels like a reflection of an artist who’s constantly evolving.
For over a decade, Kwae has been telling stories that sit somewhere between poetry and raw truth. With ‘AHAMKARA’, he turns that lens inward, drawing inspiration from the Sanskrit word meaning “I-making”, the idea of constructing the self. It’s a concept that feels right at home in Kwae’s world, where vulnerability and confidence often meet in the same verse.
The opener, “JADED,” sets the tone perfectly. It’s introspective but never stagnant, a chilled, futuristic blend of hip-hop grit and emotional honesty. Kwae’s auto tuned delivery dances between self-reflection and swagger, giving the track that balance between heart and headspace. It’s music for the thinkers who still like their beats to knock.
Then comes “Sirens,” a track that dips into Afro Fusion with hypnotic percussion and fluid melodies. This one breathes, it feels alive, pulsing with rhythm and soul. Kwae’s flow is effortless here, and his storytelling moves like water, smooth, reflective, and full of hidden depth.
What makes ‘AHAMKARA’ stand out isn’t just the sound, though, it’s the vision. Kwae pulls from a fascinating mix of influences: Hausa, Arabic, Hindi, and Sanskrit language references, paired with visual nods to Fauvism, Expressionism, and even alternative Nigerian fashion and body art. The result? A cultural mosaic that’s entirely his own.
If you’re into artists like ODUMODUBLVCK, PsychoYP, or Blaqbonez, Kwae Kobain deserves a spot on your radar. ‘AHAMKARA’ isn’t just an EP, it’s a statement. It’s proof that introspection can still bang, and that spiritual exploration can sound downright electrifying.
My Life As A Moth Flutters In With Arresting New Single ‘Time Thief’ – Out Now
My Life As A Moth Flutters In With Arresting New Single ‘Time Thief’
Rising singer-songwriter My Life As A Moth prepares to stop the clock with ‘Time Thief’, the first single from her upcoming album The Parade Of The Starlet & The Broken Hearted. An alternative anthem of beautiful chaos, ‘Time Thief’ explores the ways anxiety can distort and interrupt our sense of time and how “that negative spiral feels like a ‘time thief. You’re existing in that timeline at the same time grieving another reality that you could be thriving in” says My Life As A Moth.
Drawing inspiration from the eccentric brilliance of Björk, Siouxsie and the Banshees, and Gorillaz, ‘Time Thief’ unfolds as a kaleidoscope of pulsating drums, warped dial-up tones, and reimagined everyday sounds, produced and arranged by Keir Adamson and Ellie Mason (Voka Gentle). Written from early guitar sketches at her kitchen table – two riffs that became the song’s Foundation – My Life As A Moth extends her sonic experimentation into the studio shed, where even a washing machine becomes an instrument. Through shaking, scraping, and tapping found objects, she builds unexpected textures that pulse with instinct and alchemy, offering listeners an intimate glimpse into her world.
Ahead of the release of his debut album ‘Relief’ on October 17th, Noah & The Void dares to fly close to the sun with his stunning new single ‘Icarus’!
Noah & The Void is a passionate music project that’s primarily dedicated to creating a community based on mental health awareness & healing. Most of his music, while sonically being diverse, can usually have ties back to themes of mental healing, love, and any relatable emotion we all feel every single day. After losing his close friend Evan to paediatric cancer, Noah donates 100% of his streaming revenue to aid paediatric cancer research, and encourages people to check out evanscrew.org, a charity which was founded in Evan’s memory, and the primary reason behind Noah’s creative journey.
Drifting between emotional piano, and captivating vocals ‘Icarus’ perfectly captures the musical craftmanship of Noah & The Void. Discussing the lyrical core and foundations behind the new single, Noah explains how “Originally, I began writing this track as a joke. I had just got a coffee, and I fell for the girl that served me. When I got home I was playing around on my piano, and this catchy progression just started to develop – If I find something catchy like that, I usually start singing nonsensical gibberish over it until I get a melody I like. But this time the lyrics “I don’t wanna come down” came out.. and my nerdy self, thought of the Greek Myth of Icarus.. which is about a boy who flies close to the sun and falls into the sea. This combined with the coffee, were a catalyst to what you could call a silly reminiscence. They inspired me to write a song that firmly meshed my ideas together. I wrote for fun at first, and got myself a really great song in the end.” ‘Icarus’ is a fun, upbeat track with a romantic twist that’s completely honest with its sound and feel.
‘Icarus’ is only but a taste of what’s to follow with his debut album ‘Relief’, a record filled to the brim with personal influence, emotion, and hope. It’s a tone that can ambitiously be compared to a sunset performance at Red Rocks. Previous tracks ‘One Last Kiss’ & ‘Love Comes Free’ show how Noah & The Void has a sound that just can’t be pigeonholed into one genre. ‘Relief’ breaks out of the norm, and into something completely refreshing.
Noah is always creating, and on the lead up to ‘Relief’, he had an overload of content ready to go. Noah explains how “I had originally planned on dropping two albums; I have an excess of music, as I’m writing all the time. My idea was to have one album be very electronic, while the other leaned more alternative – Titled ‘Shelter’ and ‘Exposed’. This, however, became too much, both sonically and for me time wise. So, I narrowed down my favourites into one condensed work, called ‘Relief’! I wanted to capture the human experience.” As its title suggests, ‘Relief’ indicates an escapism from unneeded, everyday struggles, providing a hopeful message for its listener. October is a monumental moment for Noah & The Void.
‘Icarus’ is available on streaming platforms right now, and his debut album ‘Relief’ will follow on October 17th!
AC Scott: “It’s Never Too Late to Start the Life You Were Meant to Live”
AC Scott’s journey to releasing her debut single “Sometimes” is a whole new beginning. Known to many as Alison Craig, Sony Award–winning broadcaster, novelist, screenwriter, and familiar voice across the airwaves, she spent years talking about music rather than making it. But a life-altering diagnosis, deep personal reflection, and a return to the piano she first played at five years old changed everything.
Now surrounded by her late father’s instruments, songs pour out of her in the quiet of the night and on long drives across continents. Her story is one of resilience, creativity, and refusing to let time dictate dreams. We sat down with AC Scott to talk about her remarkable new chapter, the power of starting again, and why, sometimes, chaos is the perfect place to create.
Thanks so much for speaking to us! You’ve lived so many creative lives, broadcaster, novelist, screenwriter, now songwriter. What was it about music that called you back after all these years?
Thanks for asking me ! It was always about the music from day 1, I started playing the piano age 5, first job was in a record shop, VJ, radio DJ for my whole working life til my lungs collapsed and I thought my life was over. Music has always been a huge part of my life, I realised how visceral a connection it is when my Dad died and I couldn’t play the piano for 2 years. The introspection that my illness elicited has set me on this path. Ironically taking me from the most desperate place to the happiest I have ever been.
“Sometimes” feels intensely personal. Was it hard to decide to share something that raw with the world?
It was the first song I wrote and letting someone hear it was terrifying. I had no idea if it was even a song, it was such a personal confession of desperation and sadness. It is truthful and warts and all it’s the only way I know how to be.
You’ve spoken about writing at your father’s desk, surrounded by his instruments. What does that space mean to you now?
It looks like I have been burgled, it’s a mess and I love it. I can be unselfconsciously me. A broken Bohran, a couple of banjos, his fiddle, so many memories it is the most comforting place to hide away and write, my safe place as long as I keep the door shut as I don’t want anyone seeing the chaos.
Your story embodies an idea of “never too late.” Do you feel like society undervalues creative rebirth later in life?
I think the possibilities are endless. The cliché of being less of a person as you age is being turned on it’s head. The joy of age is experience, having a lot to say, not giving a toss,
You’ve said that songs just “pour out” of you now. Do you think your past experiences prepared you for this moment?
It is therapy pure and simple. Reflecting on a life well lived, with the extremes of good and bad that comes with, is an endless well of material.
What kind of environment helps you create, silence, chaos, night-time, coffee?
Driving! Every time I am in the car something pops into my head. I love driving and as I cant fly I drive all over the place – last year I drove from East coast to west coast USA and back again over 10k miles in 5 weeks with my iphone clamped to my hand as ideas ping into my head. Also sitting brain in neutral staring out the window sitting at the piano just letting go seeing where it takes me.
What’s been the most surprising or joyful moment of this new musical chapter so far?
The whole thing – just deciding to ride this train til I get booted off. Having my songs and voice endorsed by serious music industry legends, sailing from UK to the US, recording in LA with Andrew Rollins at his studio…I could go on and on…really every step has been a huge surprise and I have never been happier.
Are there particular songs or moments on your upcoming album that you’re especially proud of or excited for people to hear?
Never too late – is the second single which is my story. I hope it will inspire others to follow their hearts, ignore the doubters and the dreaded imposter syndrome and to just go for it! If it can happen to me it can happen to anyone. And Highlands – a song which I sobbed whilst writing. It’s about my parents, my Mums alzheimers, putting into words those feelings was so hard but I am so proud of that.
You draw inspiration from your Scottish roots. Do you think where we come from always finds its way into our art?
Consciously or subconsciously yes. It’s in our DNA. One of these days I am going to get a bagpipe into a song – AC/DC did it. Paul McCartney did it. I think I heard you cringe there. Ha!
Who or what inspires you right now, in life, not just in music?
My producer Andrew Rollins, amazing producer/Emmy award winning songwriter who is undergoing his 17th operation in a year. He remains strong, positive and a tower of strength to me despite his difficulties. Puts everything into perspective it really does.
https://open.spotify.com/artist/3sGVqsv06o5f9L4yyxMMz1
REBEKAH SNYDER AND ADAM CUNNINGHAM BRIDGE NORTH AND SOUTH WITH NEW SINGLE “DON’T EVER DATE A YANKEE” — OUT OCTOBER 17, 2025
REBEKAH SNYDER AND ADAM CUNNINGHAM BRIDGE NORTH AND SOUTH WITH NEW SINGLE “DON’T EVER DATE A YANKEE” — OUT OCTOBER 17, 2025
RIYL: Miranda Lambert, Tyler Childers, Kacey Musgraves, Chris Stapleton, Brandi Carlile
October 17, 2025 — Alt-country/Americana artist Rebekah Snyder returns with a playful and heartfelt new single, “Don’t Ever Date a Yankee,” featuring Adam Cunningham (The Voice). The duet kicks off Snyder’s upcoming country album, Ready to Ride!, produced in Nashville by Dean Miller.
Rooted in Appalachian storytelling and driven by classic country grit, “Don’t Ever Date a Yankee” is a spirited Romeo-and-Juliet-style love story about defying expectations and finding common ground between two worlds. Told from the rural point of view, the song explores what happens when a Southern heart falls for someone “north of the Mason-Dixon.”
“It’s a country song. It tells a story,” says Snyder. “It’s a duet with two characters getting married against the odds. The song features raw Southern acoustic and tough electric guitar, along with the beckoning of southern rock pedal steel style, combined with sometimes distant drums, powerful and evocative of the distance traveled on dirt roads, which sets the stage for the song, and the power needed for overcoming. It’s a Romeo-Juliet or Hatfield-McCoy-themed romance of forbidden love, but with a happy ending.”
Beneath its humor and charm, the song carries a powerful message about overcoming division. “In a playful way, the song highlights the foolishness of outdated prejudices held by prior generations,” Snyder adds. “It’s really about unity, coming together, finding common ground, and moving forward, despite our differences.”
A music visualizer by Paul Motisi accompanies the release, bringing the story’s down-home warmth and Southern flair to life.
Following the success of her moving single “America,” Snyder continues to carve her path as one of country music’s most authentic new voices, blending Appalachian roots, modern storytelling, and lived experience into songs that feel timeless and true.
Listen to “Don’t Ever Date a Yankee” — OUT OCTOBER 17!
ABOUT REBEKAH SNYDER:
Born and raised in rural Pennsylvania, Rebekah Snyder is an alt-country singer-songwriter and certified flight instructor whose music is grounded in truth, tradition, and personal resilience. A single mom of three and domestic violence survivor, Snyder writes songs for the overlooked and underestimated. Her stripped-down style reflects her Appalachian roots and honors the voices of her ancestors, especially the veterans and strong women in her family.
ABOUT THE SINGLE:
“DON’T EVER DATE A YANKEE”
Release Date: October 17, 2025
Album: Ready to Ride! COMING SOON!
Featuring: Adam Cunningham (The Voice)
Producer: Dean Miller
Visualizer: Paul Motisi
Genre: Country / Americana / Singer-Songwriter
“There Is A Rock” by High Road
“There Is A Rock,” the latest single from High Road’s acclaimed album Straight From The Heart, proves why this all-female Nashville quartet continues to gain attention far beyond the Gospel community. Blending rootsy country instrumentation with heartfelt Southern Gospel harmonies, the song bridges tradition and innovation. Produced by Ben Isaacs and released through Daywind Records, the track is already making waves, arriving on the heels of their chart-topping success with “There’s A River.”
The writing team—Sarah Davison, Kristen Bearfield, and Kenna Turner West—have crafted a song that feels like a true country ballad of faith. The lyric imagery is evocative: “So when the storm clouds fill the sky / The troubled waters rise / I’m praying for the saving hand of God.” Listeners who have walked through hardships will find themselves reflected in these words. It’s relatable not only in a spiritual sense, but in the way it echoes country music’s long tradition of facing life’s struggles with honesty and hope.
Vocally, High Road shines brightest when their harmonies merge into a singular, almost familial sound. The chorus, “There is a Rock, a firm foundation / His name is Jesus, the way of Salvation,” feels built for both radio and live performance, carrying a hook that stays with the listener long after the final note. It’s easy to imagine audiences at the National Quartet Convention or a Grand Ole Opry showcase singing along, swept up in the song’s conviction.
https://www.youtube.com/watch?v=wX4fTqqRdAE
Instrumentally, the arrangement strikes a balance between classic and contemporary. Acoustic guitar and fiddle give the track a bluegrass sensibility, while the piano anchors the melody with warmth and clarity. Isaacs’ production avoids over-polishing, instead emphasizing authenticity. That decision pays off, keeping the song accessible to listeners across genres—from southern gospel fans to country and Americana audiences.
Beyond the music, “There Is A Rock” is bolstered by the credibility of High Road’s journey. Since forming in 2011 under the leadership of Sarah Davison, the group has earned a Grammy nomination, multiple Dove Award nods, and recognition as Singing News Band of the Year. Davison herself brings a wealth of experience, from touring with George Jones’ band to directing segments at the Dove Awards. Her favorite verse, Proverbs 3:5-6, resonates throughout the group’s career trajectory: trusting God’s direction even when the path is uncertain. That trust is reflected in the lyrics of this new single, lending weight to every word sung.
The official music video, filmed in Hendersonville, Tennessee, reinforces the song’s rural roots and spiritual grounding. Sweeping visuals of open fields and natural landscapes pair beautifully with the theme of a “firm foundation.” It’s a visual reminder that God’s presence can be found not only in churches and cathedrals, but also in the everyday beauty of creation.
“There Is A Rock” is more than a single—it’s a statement of identity for High Road. It’s about staking a claim in the crowded world of inspirational music, proving that authentic artistry still resonates. In a year when Straight From The Heart is nominated for Bluegrass/Country/Roots Album of the Year at the GMA Dove Awards, this release cements High Road’s position as one of the genre’s most versatile groups. For listeners seeking both musical excellence and spiritual encouragement, this track delivers on all counts.
Gwen Waggoner
@skopemag’s AI Revolution: The Future of Music News
@skopemag’s AI Revolution: The Future of Music News
In the fast-paced world of music journalism, staying ahead of breaking news, new releases, and emerging artists is both a challenge and a passion. For Skopemag—a long-standing digital music publication known for its blend of indie spirit and industry savvy—the mission to deliver timely, relevant, and wide-ranging music coverage has always been at the heart of its identity.
By 2025, with the music scene evolving faster than ever and social platforms driving most of the engagement, Skopemag decided it was time to evolve again—this time, with the help of artificial intelligence.
Birth of the AI Aggregate: “SkopeAI”
The idea sparked in late 2024, when founder Mike Friedman noticed a troubling trend: while Skopemag was producing quality content, it was missing the speed and scope of real-time coverage that social media demanded. Trending artist news, surprise album drops, tour announcements—by the time the editorial team could catch up, the conversation had already moved on.
Inspired by this challenge, Skopemag partnered with a group of indie AI developers and music technologists to create SkopeAI—a proprietary AI aggregate designed to collect, filter, and post music news in real time.
How It Works
SkopeAI uses a hybrid model combining natural language processing (NLP) and machine learning algorithms tailored for the music industry. Here’s what makes it unique:
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Real-Time Crawling: It constantly monitors thousands of sources—record labels, artist socials, blogs, press releases, and even music forums.
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Contextual Filtering: It doesn’t just repost headlines. SkopeAI assesses newsworthiness, checks for duplicate stories, verifies sources, and tailors headlines for clarity and tone.
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Multi-Platform Distribution: Once curated, news is instantly published to both Skopemag.com and Skopemag’s official X (formerly Twitter) account, ensuring followers get breaking news wherever they are.
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Human-AI Collaboration: SkopeAI flags especially important or nuanced stories for human editors to dive deeper into, ensuring quality longform features don’t get lost in the speed of the feed.
Impact and Reception
Within weeks of launch, engagement metrics skyrocketed. Fans loved the 24/7 music news ticker on Skopemag’s X feed, and industry insiders appreciated the accuracy and breadth of coverage. Independent artists saw more visibility, thanks to SkopeAI’s ability to pick up underground buzz before it hit mainstream outlets.
What once took a team of writers hours could now happen in minutes—with AI handling the speed, and human journalists focusing on in-depth storytelling, interviews, and opinion pieces.
“It’s like having a newsroom that never sleeps, but still cares about the music,” Friedman said in an interview. “SkopeAI isn’t replacing writers—it’s amplifying what we can do.”
The Future
With phase two of SkopeAI in development, Skopemag plans to expand into multilingual coverage, regional scene tracking, and even personalized news feeds for users.
In an age of algorithmic overload, Skopemag is showing that AI doesn’t have to flatten culture—it can help amplify its richness, if guided by people who love music.
As the lines between tech and art continue to blur, Skopemag’s experiment stands as a model of what’s possible: a publication rooted in authenticity, now powered by intelligence—both human and artificial.
Follow the music. Follow the future. Follow @Skopemag on X.
And stay tuned on skopemag.com—where music meets innovation.
Breaking Free: Grace de Gier’s New Single “Done” Delivers an Anthem of Liberation
Breaking Free: Grace de Gier’s New Single “Done” Delivers an Anthem of Liberation
Artist: Grace De Gier
Single: Done
Release Date: October 11th 2025
With soaring guitars, haunting vocals, and a cinematic soundscape, Grace de Gier, singer-songwriter, and Edgar Grimaldos, multi-instrumentalist — who played all instruments in the studio in Paris — have created “Done,” a fierce anthem of liberation and empowerment.
The Colombian-born, Netherlands-based artist returns with a powerful alternative rock single inspired by breaking free from toxic relationships. The track blends pop-rock energy with raw emotional storytelling, delivering a universal message of strength and self-reclamation.
Mastered by 7-time Grammy-winning engineer Adam Ayan, “Done” has received glowing praise. The renowned engineer shared very positive comments about the track and even recorded a short video highlighting its emotional depth and production quality.
“Done is an anthem for anyone who’s been trapped and finally decides to say ‘No more.’ It’s about liberation, healing, and taking control of your life,” says Grace.
Grace de Gier has built an impressive career as an independent artist, earning recognition from major outlets including Rolling Stone (Spanish edition), MTV Rock Edition, El Tiempo, and El Espectador in Colombia. She is the recipient of the Music Monster Award (Mexico) and the Golden Mara International Latin American Award, and is a proud member of the Grammy Academy.
Her previous single, “Your Name,” reached #1 on the Amsterdam Independent Artists Chart (ReverbNation), demonstrating her growing influence among independent rock artists across Europe.
With strong roots in Colombia and deep connections across Europe and the U.S., Grace continues to bridge cultures through her distinctive sound.
The single is distributed through Creativity Group and The Orchard (Sony) and will be available on all major digital platforms.
About Grace de Gier
Grace de Gier is a Colombian-born singer-songwriter based in the Netherlands, blending Latin roots with international rock influences. Her music reflects authenticity, resilience, and the healing power of sound. Having overcome personal challenges, she continues to create songs that inspire and connect audiences across continents.
Follow Grace de Gier
Instagram: https://www.instagram.com/
Spotify: https://open.spotify.com/intl-
Youtube: https://www.youtube.com/@
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Aaron Bucks Drops Two new Singles
“Where I’m Home” is one of two back-to-back single Aaron Bucks releases from the forthcoming The Life Sessions LP, and they’re both very laid back, falling under the terms: Flip Flop and Beach Country, neither of which I am familiar with until delving into Bucks and finding what groove he’s in, and it’s an enormously satisfying blend of Country and Yacht Rock. The plot thickens with the background of the Canadian born – Nashville, TN residing artist previously achieving Billboard status, as well as being the founder of The Toby Project. “Where I’m Home” gets all the attention here it deserves.
INSTAGRAM: https://www.instagram.com/bucksmusicofficial/?hl=en
The music of Aaron Bucks can best be described as Country relatable, but with an Island influence, and that is the best way to put “Where I’m Home” with a hyphenated genre, perhaps Island-Country would be appropriate, and while it’s not a genre or subgenre per say, it’s just not a hard thing to imagine calling it when you listen to this singer/songwriter. “Where I’m Home” is about getting back from the road to the place you work to everything you do it for, hoping it’s understood and appreciated by all that’s needed, and not just a fantasy the separation can make it seem like.
“Where I’m Home” has all the ingredients of a soft rock or smooth jazz radio hit, even though it’s Country, as some Country music of the last thirty years fits just as well on easy listening jazz and rock stations, and the music of Bucks has been featured on SiriusXM’s No Shoes Radio, so if the shoe fits it should be good for spins on such stations away from the FM dial. And at the end of the day, you either like Country or you don’t, and the same goes for any sub-categories attached to it.
But “Where I’m Home” and Aaron Bucks himself are another story, unless there’s a lot of other artists blending beach vibes with Country like this, and if so, Bucks would have to be a top-level consideration for it. I just haven’t heard anything quite like it, myself, so naturally I was intrigued to find out more about him and started with the previously released single from the same forthcoming album. As it turns out, this blend is written all over his music style and the songs live their own life because of it, to the credit of Bucks in every department.
https://open.spotify.com/album/7b72Vq6pK7vWQEzQ5Qrx8w
If you look up “Where I’m Home” by Aaron Bucks, you see the cover art has a Jeep parked on the beach with an enclosed campfire, and it describes everything you need to know about what’s behind the cover, as it perfectly complements the release, and the lyrics do the rest of the business on this relaxing but catchy acoustic tune. And at this point it’s safe to consider Aaron Bucks an acoustic singer/songwriter, with that Country meets Island vibe, so if you’re expecting the music to meet a different standard, it’s all in the same vein as “Where I’m Home,” and it’s all very good stuff.
Gwen Waggoner
KC Johns knows of what she speaks!
KC Johns knows of what she speaks. When she releases a song, like the hot new country single Best Seat in the House, the kind of wistful nostalgia, temperance, and strength comes from Johns’ roots as a Mississippian. That kind of unapologetic, raw authenticity is a critical part of why she is emerging as one of the most exciting new acts in popular music, specifically country, in a time when the power is being given back to the hands of musicians.
While for just that reason popular music is getting a welcome, quality-centric upgrade, country in particular is proving to be a creative sandbox from which all sorts of new interpretations are emerging. Johns seems aware of the competition and ingeniously doesn’t try to go too out there with her interpretations or sound. She has a somewhat traditional composition to each of the tracks, but in the process imbues each song with searingly powerful, emotional and evocative lyrics. The result feels less like catchy hooks and more like stories, with beginnings middles and ends, the signature of a true singer-songwriter in peak form.
Part of that likely is because for Johns, these are indeed stories – personal stories – that she shares with courage and conviction for a wide audience. I’ve said it before, and I’ll say it again, you don’t have to be a country fan to be a KC Johns fan. You just need to enjoy authenticity and a good song, and when you’re in the presence of an artist like that transcending genre bias, they’re in it for the long haul.
https://open.spotify.com/track/6yLIAbi2fHaLdQKxsOUn3U
“It’s definitely been a long, winding road,” the Nashville transplant told local publication Nashville Voyager. “The reason I use the word winding is because I didn’t come straight to Nashville first, I was on cruise ships as a rockbound vocalist for 5-6 years and performing at Dollywood Theme Parks, then eventually moving to Nashville in 2017. One of the struggles I went through was finding who I was as an artist. When I met Billy Smiley, is when I finally knew exactly the type of music I wanted to release. But this business is tough. Not only am I the artist, but there’s a ton of work that goes into it, I’m the booking agent, the marketing guy, and everything in between. But I do have to point out my team – creating a great team this past year is when everything finally started coming together. I’m extremely grateful for the winding road.”
This is reflected beautifully in the lyrics for Best Seat in the House, where Johns pays poignant tribute to her grandfather. In the lyric video released concurrently with the song, there’s a video of both Johns and her grandfather jamming on guitars. This kind of affable and personal nature to each of the tracks could be cloying, but because Johns imbues all that with such craft it simply feels natural. “I grew up listening to Country & Rock n Roll. I wanted to combine the two to make my own sound,” she said. “…I’m super proud of how people have responded to my music. I have incredibly great supporters…I’m proud of my team the most. It takes a village to make things happen and I couldn’t do any of this without them. I believe what sets me apart the most is there aren’t many women out there doing the Country/Rock n Roll thing besides Miranda Lambert. My hope for 2022 (onward) is to continue to rock out and bring smiles to people’s faces with my music!”
Gwen Waggoner
Sabina Beyli Unveils Bold New Track ‘Bad Habits’ This October
Rising singer-songwriter Sabina Beyli will release her new single ‘Bad Habits’ on October 24, 2025. At just 22, she’s already making waves in alternative pop-rock with songwriting that cuts straight to the heart and melodies that stick long after the first listen. Her music pairs blunt, personal lyrics with big, memorable choruses aimed at listeners who respond to unfiltered storytelling. “Sometimes we fall back into the very things we swore we’d outgrow. It’s messy, it’s human, and it’s honest,” Sabina shares.
Produced by Mike Midura (Ok Goodnight, Rilena) and co-written with longtime collaborator Kate J. Brink (Charlie Weld, Bella Demita), ‘Bad Habits’ grew from a restless, moody instrumental that mirrors the chaos of Sabina’s inner world. The track layers raw guitar textures with expansive hooks, drawing on the brooding force of Evanescence, the directness of Maggie Lindemann, and the atmospheric heft of Deftones — all filtered through Sabina’s own perspective. The result is a frank, intense confession delivered with alt-pop-rock power.
True to her writing, ‘Bad Habits’ explores relapsing into destructive patterns, the pressure of perfectionism, and the hollow spaces that follow big mistakes. The song strikes a balance between visceral intensity and moments of fragile clarity, making it both cathartic and deeply relatable.
Outlets including Parade Magazine, Melodic Magazine, Refinery29, and CelebMix have featured her music. With two more singles scheduled for release in early 2026, Sabina is poised to continue expanding her sound and audience.
‘Bad Habits’ will be available on all streaming platforms on October 24, 2025.
Follow Sabina | Spotify | Instagram | Facebook | TikTok | YouTube
Launch Yourself ‘Higher’ — New Single from Fallin’ Astronauts Out August 8
Rising Vienna-based indie-pop duo, Fallin’ Astronauts — comprised of lead vocalist Maximilian Hamedinger and guitarist Emil Breit — are trekking a moonboot-sized leap back into the music sphere with their latest single, ‘Higher,’ set for release on August 8, 2025. The guitar-led track is the first from their upcoming five-track debut EP MONO, slated for an October release.
“With MONO, we wanted to strip everything back to the core — to create something that feels raw, honest, and unfiltered. It’s our debut, but more than that, it’s the first time we’re fully sharing our sound and vision. MONO stands for singularity — not just being one, but being whole,” says the duo.
‘Higher’’s dream-pop sound draws sonic inspiration from bands such as Coldplay, Kodaline, and Imagine Dragons, dipping into their palette of contrasting, unexpected instruments to create a lush yet minimalist soundscape that balances emotional depth with soaring, atmospheric energy. ‘Higher’ lets you feel as weightless as the title suggests, its uplifting lyrics reminding listeners that life is a colorful pool meant to dive in.
With an appreciation of finding themselves in art, Fallin’ Astronauts’ name originates from Banksy-style street art illustrating an astronaut doing something a bit mundane: holding shopping bags — a fitting metaphor for the band’s comic, unpredictable journey. Starting as classical music peers, Maximilian trained on the cello and Emil on trombone and piano. They embarked on their first creative project, Lonely Moon Bandits, and then took the celestial theme with them into Fallin’ Astronauts.
Now, the duo continues to orbit the indie scene with momentum, featuring in magazines such as Illustrate, Plastic, and Iggy, and magnetizing crowds in intimate performances, including South Korea’s national radio show TBS eFM. With soon-to-be-announced international tour dates across Europe and Asia, Fallin’ Astronauts are preparing for lift-off into their brightest era yet.
‘Higher’ is out on all streaming platforms from August 8, 2025.
Follow Fallin’ Astronauts | Spotify | Instagram | Facebook | YouTube
Bay Area bloodline rock & soul band Don’t Tell John are back with their new single, ‘Again’.
Multi-generational and family-formed, Don’t Tell John channel raw soul and swagger into every performance. Brothers Mark and Jack Larkin first cut their teeth in the 90s band Nathan’s Hand and now they’ve reignited that fire, joined by the next generation of Larkins. Veronica’s powerhouse vocals and William’s guitar work sit at the heart of the band, rounded out by Jon Protass on percussion and Eric Cretarolo on lead guitar.
Their sound has been described as a female-fronted Soundgarden: heavy, groove-driven, and haunting. Veronica’s voice, already compared to Janis Joplin and Beth Hart, rides over vintage tones and blues-soaked riffs, while the band delivers explosive live sets that leave no doubt about their modern edge.
With recent singles ‘Jake’, ‘Grandad’, and ‘Hard Luck’, Don’t Tell John have been building serious momentum on streaming platforms and social media. The release of ‘Again’ marks the next chapter.
The creative spark behind ‘Again’…
Guitarist/songwriter Mark Larkin explains: “‘Again’ is about the cycles we all fall into. The way they can weigh on you, and the hope that maybe this time you’ll break free. There’s a melancholy feel and a recognition that the longer you’re in those patterns, the harder it gets to escape. Veronica and I first sketched the song out on a family trip to Oregon, and it quickly became part of our foundation. It was even the first song we ever played live as Don’t Tell John. Recording it at our own Station House Studios felt like bringing the journey full circle.”
‘Again’ launches out of the speakers with urgency and heart, pulling you straight into the world of Don’t Tell John. It’s a bold new single that hints at even bigger things to come while reminding you why this band is one of the most compelling rising acts in rock today.
‘Again’ is available to stream right now!
New Vevo Report Highlights Music Fandom as Cultural Currency
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Bex Lindsey Announces New Album The Process II, Out October 10
Pop-rock artist and mental-health advocate Bex Lindsey will release her new album, The Process II, on October 10th, across all major streaming platforms. The project continues Lindsey’s deeply personal songwriting arc—pairing confessional lyrics with widescreen hooks—and follows a year of momentum built around singles like “One Moment at a Time” and “Little Girl Big Feelings.”
A week after the release, Lindsey will celebrate with an intimate album event in Brooklyn on October 17th, 2025.
“This record is about growth that doesn’t look pretty while it’s happening,” Lindsey says. “It’s about doing the work—setbacks, breakthroughs, and everything in between—and coming out the other side a little braver.”
The Process II expands the sonic palette of 2025’s pre-release singles—melding piano-driven pop, modern rock edges, and atmospheric electronics—while staying anchored in the candid storytelling that’s earned Lindsey press and fan attention this year. Coverage leading into the album highlighted her re-imagined “One Moment at a Time” and the self-portrait single “Little Girl Big Feelings,” both framing the album’s themes of resilience and recovery.
Retail and platform listings confirm October 10, 2025 as the street date for The Process II.
Release Event
What: The Process II — Album Release Celebration
When: Thursday, October 17, 2025 (doors 7:30 PM, show 8:00 PM)
Where: GLR Books, Williamsburg, Brooklyn, NY
Details: Intimate performance + album celebration (limited capacity).
About Bex Lindsey
Formerly known as Arizona Lindsey, Bex is a New York–based singer, songwriter, and producer whose work fuses pop sensibilities with raw, therapeutic lyricism. A champion for mental-health awareness, she brings lived experience into songs built for big rooms and honest conversations alike. Recent features and festival lineups have spotlighted her ongoing evolution leading into The Process II.
Listen / Pre-Save
The Process II will be available October 10 on Spotify, Apple Music, Amazon Music, and all major DSPs.
The official website for Bex Lindsey may be found at https://www.bexlindseymusic.com
Eddy Mann’s ‘It’s Time, Lord’ Turns a Whisper into a Wake-Up Call
There’s a certain courage in restraint — in refusing to shout when everyone else is screaming. That’s what Eddy Mann achieves with “It’s Time, Lord,” his new single released October 6, 2025. In an age of bombast and empty anthems, Mann’s simple, ukulele-led plea for peace feels almost radical. No fireworks. No grandstanding. Just faith, humility, and a few perfectly chosen words.
Mann isn’t a newcomer to conviction. The Philadelphia singer-songwriter has built a long career out of bridging scripture and street-level humanity — songs that sound like prayers whispered through cracked lips after a long night. But “It’s Time, Lord” feels like something deeper, more immediate. It’s less a performance and more a call for divine intervention in a world that’s forgotten how to listen. Inspired by Psalm 7, it’s a song born from the ache of watching too much senseless suffering and knowing that no human solution has worked yet.
“It’s time, Lord, it’s time / It’s time to an end to the violence,” Mann sings, his voice steady but weighted with weariness. It’s a line that should sound familiar to anyone paying attention — because how many times have we prayed that very thing in the past decade? The lyric repeats like a mantra, a rallying cry turned inward. Mann doesn’t demand that God fix it all; he’s asking that we remember what faith really means in the middle of the noise.
https://www.youtube.com/watch?v=BuLrRKQ-BDc
Musically, “It’s Time, Lord” feels like a quiet rebellion. The ukulele, that most unassuming of instruments, becomes a symbol of hope and disarmament — a small sound standing up to the chaos. You hear every breath, every brush of string, every ounce of intent. That vulnerability gives the song its backbone. It’s the kind of minimalism that draws from the same well as early Dylan, Bruce Cockburn, and even Springsteen’s Nebraska — artists who understood that truth doesn’t need volume, just honesty.
In a genre where too many Christian songs promise easy redemption, Mann’s writing refuses the shortcut. His prayer is honest enough to admit exhaustion. The world is bleeding, and this song doesn’t pretend otherwise. But beneath that realism, there’s faith — not the polished kind that fits neatly on a bumper sticker, but the kind that fights to believe even when it hurts.
“It’s Time, Lord” isn’t just a song. It’s a mirror held up to the faithful and faithless alike — asking the question we’ve avoided for too long: if it’s really time for change, what are we waiting for?
–David Marshall
