Antonia Bennett Presents ‘Expressions’
A lot of us know Antonia Bennett as the daughter of jazz legend, the late Tony Bennett, but with her new album “Expressions,” Antonia continues to carve out a path that is distinctly her own while nodding to the illustrious legacy of her father.
Released in June 2025, this record feels at once personal and polished, weaving together jazz standards, American Songbook classics, and original material in a way
that reflects her musical journey.
The album opens with a light, playful, and personal ode to lost love in the form of “Do You Still Think of Me.” The theme of romance is consistent throughout the beginning of the album with Antonia delivering beautiful renditions of jazz standards like “Exactly Like You” and “Once I Loved.”
Much of the album’s charm lies in its intimacy. Bennett’s voice has a warmth that draws the listener close, and Christian Jacob’s elegant piano arrangements create a candlelit atmosphere that exudes class. With established names like Kevin Axt on bass, Kendell Kay on drums, and Larry Koonse on guitar the album finds its footing
in both tradition and reinvention.
https://hypeddit.com/antoniabennett/expressions
The track list itself is a study in balance. Familiar standards like “Vous Qui Passez Sans Me Voir” and “Right on Time” are delivered with an affectionate ease that sounds playful and unforced. The effortlessness with which Antonia delivers her interpretations is truly impressive and a testament to her talent as a vocalist.
Expressions is not a record that chases trends, but is driven by natural artistic inspiration. The production feels unhurried, unforced, and natural. Each performance reveals Antonia’s ability to find emotional resonance in understatement, inviting listeners to lean in rather than be dazzled by vocal acrobatics.
With Expressions, Antonia Bennett demonstrates not only her ease with the Great American Songbook, but also her readiness to expand its borders, bringing in contemporary elements without ever compromising on elegance. It is the work of a singer who knows where she comes from, but more importantly, knows exactly where she wants to go.
https://www.antoniabennett.com
https://www.symphonicms.com/album/view/id/2009e06130402fa5434edee9af123582
https://linktr.ee/antoniabennett
Pat Petrillo Presents ‘Contemporaneous’
Vetera drummer Pat Petrillo takes you on a genre-bending journey through groove itself with his new album: “Contemporaneous.” Released in July 2025 via Innervision Records, this album is less a collection of songs than a musical project that slides seamlessly between jazz, funk, blues, and even touches of world music.
With an all-star lineup featuring Scott Ambush, Blake Aaron, Matt Rohde, Mike Cordone, Lemar Guillary, Scott Mayo and Phillip Wack, Petrillo has surrounded himself with players who can keep up with his restless imagination.
https://open.spotify.com/embed/album/6rMFLsglqVysxjzZ7YSZwi
The record wastes no time setting the tone. “Fused” bursts out of the gate with the kind of high-energy jazz-rock fire that cements Petrillo’s reputation as a drummer of both precision and power.
https://sym.ffm.to/patcontemporaneous
While Petrillo’s groove is relentless throughout the album, what keeps Contemporaneous from tipping into monotony is its stylistic variety within that groove-centered frame. “On the Regular” is a cheekily misleading title with its unpredictability and irregular instrumentation. Similarly, “Late Night Diner” stands out, evoking smoky after-hours vibes with glowing horn arrangements.
The production on this track is as smart as its composition, maintaining enough polish to sound professional, but never going far enough to feel artificial. There’s a sense of spontaneity in the music that makes it all the more appealing to listeners
Petrillo isn’t shy about his intentions as Contemporaneous clearly emerges as a genre-defying musical montage. It’s a record that resists easy categorization, much like Petrillo himself; a drummer who can lock a stadium groove one minute and improvise with jazz subtlety the next.
By the time the closing notes fade, you have nothing but admiration for Petrillo’s musicianship. Contemporaneous is bold, unapologetic, and brimming with life. For listeners ready to embrace a heady mix of funk, jazz, and soul, this is one of the most engaging fusion records of the year.
https://www.innervisionrecords.com
Rick Shaffer Presents New Album ‘Rites & Stories’
Starting out in the trenches of rock and roll nearly three decades ago, Rick Shaffer has been grinding away with no signs of slowing down or softening his edges. Kicking off his solo career in 2010, Rick Shaffer has made a name for himself with his gritty, uncompromising sound, and continues to build on that legacy with “Rites & Stories,” his latest release.
This album arrives as a testament to an artist whose solo career is now thirteen albums deep, but still refuses polish in favor of raw, ritualistic intensity.
LINER NOTES: https://tarockmusic.com/2025-rites-stories-liner-notes/
The title of the album itself reveals Shaffer’s maturity as a musician. Initially beguiling, it later becomes clear that the “Rites” are the fragmented instrumental sections and trance-inducing rhythms, while the “Stories” come through in the form of narratives: songs about temptation, regret, and redemption. Together, they create an atmosphere that is as unsettling as it is immersive.
“Standing in the Shadow” and “True Religion” are incredible openers, creating a dark and dissonant sonic landscape that immediately sets the tone for what is to come. This is not music for casual listeners; it’s meant to challenge, disrupt, and question the audience.
“Pleasure” stands out as an intriguing centerpiece, as it settles into a more melodic groove with eerie guitar riffs. Shaffer’s raspy vocals cut through the accompaniment, with lyrical depth that questions how meaningful our pursuit of pleasure is. The song embodies the album’s central tension: indulgence laced with regret; beauty tangled with danger.
Shaffer’s production choices lean toward a more raw and unpolished sound. It’s not radio-friendly, but provides a more authentic experience to the serious listener.
This is a philosophy Shaffer’s carried from his earliest days with The Reds into his current Berlin-inspired phase, where echoes of Bowie and Iggy Pop resonate.
As the album comes to a close, it simultaneously slows down its tempo while ramping up the intensity. Tracks like “Slow Days” and “Cry for Justice” feature more
aggressive, even violent, guitar sections that reveal the experimental edge of Shaffer’s musicianship.
For listeners who crave rock that feels dangerous and unafraid to dwell in the shadows, Rites & Stories is a powerful offering. It’s an invocation of sound from a seasoned musician still pushing himself, and his audience, into deeper, darker territory.
https://tarockmusic.com/rick-shaffer/
Los Angeles Improvisation Ensemble Present “Insubordinate Lunar Transgressions”
The Los Angeles Improvisation Ensemble shatters norms and transcends genres with their debut album: “Insubordinate Lunar Transgressions.” This collection is less a conventional album than a daring experiment in sound and collective intuition.
Released on Denouement Records, this release brings together four virtuosic players: Robert Hardt on woodwinds, Louis Stewart on piano, Andrew Shulman on cello, and Michael Valerio on bass. for a series of spontaneous creations that defy easy categorization.
– https://www.amazon.com/Angeles-Improvisation-Ensemble-Insubordinate-Transgressions/dp/B0F8PPW2HY
There are no charts, no arrangements, and no creative directors to constrain the group; what unfolds across these 13 tracks is pure improvisation, a vivid dialogue that slips effortlessly between jazz, classical, avant-garde, and even world music idioms.
What makes the record so arresting is the way these musicians channel freedom into cohesion. Despite the absence of structure, their interplay never feels chaotic. Instead, there’s a remarkable unity in how they listen and respond to one another, weaving lines that often sound composed in the moment.
The range of themes covered here is so wide that you’ve got to listen to it to understand just how broad the subject matter is. Pieces like “Sergei’s Diabolical Circus” and “Igor’s Infernal Rite to Sacrificial Square Dancing” take inspiration from classical music, paying homage to the pioneers of dissonance; Stravinsky and Prokofiev.
https://www.last.fm/music/Los+Angeles+Improvisation+Ensemble/Insubordinate+Lunar+Transgressions
Similar influences are apparent throughout the album, with pieces hinting at the works of Mingus and Copland. Even the titular track appears to be inspired by Schoenberg. But don’t tie these nods to the great with a lack of originality, as there’s no shortage of innovation on the lighthearted pieces like “Solar Voyage” and “When Johnny Comes Running Home”
The result is a body of work that’s at once unpredictable and deeply satisfying, filled with textures that are rich, elastic, and consistently engaging. The sequencing keeps the listener off guard but never alienated, moving seamlessly from humor to intensity, from airy chamber-like passages to dense collisions of sound.
Overall, Insubordinate Lunar Transgressions is an incredibly rewarding album, with fresh discoveries at every turn. For those willing to surrender to its unpredictability, it offers a transportive experience: sometimes whimsical, sometimes dissonant, but always alive.
Leirbag X.O. Presents “Immersive ElectroShock”
With his debut album “Annihilation of Darkness,” Leirbag X.O. carved out a reputation as a rising star in the experimental electronica space. His new single, “Immersive ElectroShock,” ventures into newer territory, evolving into a lighter sound while still maintaining his pursuit of crafting beats of universal appeal.
Known for threading together atmospheric textures with sharp rhythmic interplay, the Paris-based producer once again takes listeners on a hypnotic and jarring rollercoaster ride. What stands out here is the conservative use of bass and distortion, leading to an almost confusing sound. Is this meant for the dance floor in the club, or is it geared towards lonely late-night drives? It’s up to the listener to decide.
From the very first pulse, the track feels like a sensory initiation. Dense layers of ambience ebb and swell, gradually punctured by surges of electronic energy that live up to the “electroshock” in the title. Much like his earlier work like “Earth Paradise Hell,” the piece resists the trappings of conventional structure.
Given who the artist is, there’s almost no need to critique the production quality on this track. Leirbag X.O.’s approach is characterized by his sense of narrative through sound, and every element is placed with a surgeon’s precision. The result is music that feels alive, constantly shifting, and entirely immersive.
There’s also an unmistakable emotional undercurrent here. Leirbag’s past collaborations, such as “Texas/Paris/Arkansas”, showcased his lyrical introspection, but on “Immersive ElectroShock”, he trades in words for sonic storytelling. It’s a simple invitation to lose oneself in the interplay of sound, light, and electricity.
“Immersive ElectroShock” is not background music. It demands attention, pulling you into its world and refusing to let go until the final note fades. This track not only cements Leirbag X.O. ‘s reputation as a fearless sonic architect, but also gives us high hopes for the broader vision of his upcoming album; The Awakening of Light.
– https://www.instagram.com/gabcn78
– https://hyperfollow.com/beatsleirbagxo
Bonnie J Jensen Presents “RISE”
Veteran jazz vocalist Bonnie J Jensen makes a long-overdue comeback with “RISE”, her fifth solo album and her first since 2010’s “Shimmer.” Consisting of some classic jazz standards mixed in with reinterpretations of music from other genres, RISE is the work of a jazz vocalist entirely at ease with her craft, yet eager to stretch her artistry in new directions.
The album’s repertoire is as eclectic as it is cohesive, as Jensen kicks things off by bringing some swing and breathing life into The Styllistics’ 1971 soul hit “People make the world go round.” She moves fluidly between intriguing reinterpretations and paying homage to great modern jazz composers with her takes on Herbie Hancock’s “Butterfly” and “Cantaloupe Island.”
Even among the jazz standards, Jensen keeps things fresh by blending in unique singles like Chick Corea’s “Spain,” which serves as an epic centerpiece. With a runtime exceeding seven minutes, this is a great track to showcase her lyrical agility and musicianship.
One of the highlights on this album is Jensen’s smooth jazz cover of Sting’s “la belle dame sans regrets.” Her soft vocals add a level of depth and dimension that transcends the original, while the sax solos are a tasteful addition that elevate the atmosphere.
The album closes out with an incredible rendition of James Taylor’s “Don’t let me be lonely tonight.” matching the emotional impact of the original is a tough ask, but Jensen proves she’s up to the task with a powerful performance that brings tears to your eyes.
In these twelve tracks, Jensen draws on a handpicked roster of Australia’s finest jazz musicians; Matt McMahon on piano, Geoff Hughes on guitar, Ray Cassar on trumpet, Graham Jesse on saxophone and flute, Brett Hirst on bass, and Nicholas McBride on drums. Together, they craft a record of remarkable polish, depth, and variety.
Jensen produces this album herself, and it’s clear she knows exactly how to frame her instrument. The ensemble shifts from dining-room intimacy to full big-band punch without losing the album’s through-line of elegance. There’s an unhurried confidence in the way the record unfolds, with the musicians giving each song the space it needs.
“RISE” is a record steeped in tradition yet unafraid to take detours. It’s a collection that rewards close listening as much as it works as a late-night companion. In her return to the studio, Bonnie J Jensen hasn’t just picked up where she left off. She’s delivered one of her most accomplished statements to date.
Ray Barnard with ‘And The Horse You Rode In On’
Get ready for an all-out, jam session courtesy of Ray Barnard and his new release ‘And The Horse You Rode In On’. With so many awesome elements from roots-rock & reggae to soul & r&b, Ray Barnard will not disappoint! ‘And The Horse You Rode In On’ includes 10 lively tracks that will stir up your senses!
This is Ray’s fifth solo album and he also wrote, arranged and produced the record. The album also features a terrific rhythm section and they are Jeremy Johnson, Blair Krivanek, Nick Salisbury, and Greg Schutte. ‘And The Horse You Rode In On’ is one heck of a ride that you will want to play over and over again!
Right out of the gates, Ray is hitting you with some super cool vibes where it’s all about “Scufflin’” baby! Next, the audience is chillin’ out to one smooth operator on “What’s In A Picture”. Get ready for a sweet reggae beat and feel-good sensation on “Home In Your Heart” where one and ALL is welcome. Track four, “Said I Wouldn’t Do It”, flows like fine red wine on a hot, sunny summer day where a colorful rhythm rushes over you. Enjoy a fan-friendly instrumental on “Pistol Pete” and then wrap your ears around an infectious groove on “Gone Again”. Ray is moving mountains musically on “Closer To God” where the listener will pick up on a spiritual sense. Track eight, “LA Hangover”, is buzzing with chill notes and calming chords that comes across as groovetastic. Ray delivers fun & interesting dynamics on “Will 2 B Wild” and then it’s a GO for “Greenlight” where positive energy surrounds you.
Ray Barnard has music running through his veins and he’s been proving this for many years. Before going solo, Ray led the roots-rock group The Copperheads for 12 years. The group released three albums and was known for mixing Country and R&B. The Copperheads also played high profile shows with Junior Brown, Chris Scruggs, Rosie Flores, the Iguanas, Randy Weeks, Charlie Robison, Shooter Jennings, Ty Herndon, Jack Ingram and the Oak Ridge Boys. Barnard also played sideman for Frederick Thomas & Natural Selection, along with Minneapolis-Saint Paul acts such as In2ition, Bill Geezy, Molly Maher, Paul Bergen, the Dan Lowinger 4, Becky Kapell & the Fat Six, and Erik Koskinen. The creative juices are still flowing better than ever for Ray with this new release sounding like a sure-fire Hit! Be sure to roll along with Ray Barnard and ‘And The Horse You Rode In On’ because it’s an experience you won’t soon forget!
By Jimmy Rae
Jennifer Hill Drops ‘Love Bomb’
One thing you will notice right off the bat on this new release is the show-stopping voice supplied by Jennifer Hill. Jennifer sings with so much passion and you feel every single note on ‘Love Bomb’. Jennifer Hill bears her soul for all to hear on this 10-track album and she does not hold back at all.
Jennifer has been compared to the likes of Amy Winehouse, Tori Amos, Fiona Apple and Lady Gaga but her style is 100% authentic. Jennifer’s voice is so pure, clean and polished and so it’s no surprise to discover that she has been singing since she is a little girl. Covering a gamut of emotions while even giving the audience a little burlesque atmosphere at times, Jennifer Hill is on fire with ‘Love Bomb’.
The album features many talented musicians and they are horn player Bill Holloman (Chic, Gatlin Bros., Bruce Springsteen),guitarist Tim Palmieri(Lotus, Kung Fu, Karl Denson), guitarist June Millington(Fanny, Wild Honey, The Svelts), multi-instrumentalist Bob Schwecherl(Few Cents Short, Grandpa’s Grass), bassist Bobo Lavorgna(Aztec Two-Step, Batu), cellist Jeffrey Chen(Cargo Cult Revival, Ernest Hem ‘n’ Haw), and backing vocalist Stout (Alicia Keys, Santana, John Mayer).The record is produced by legendary producer Vic Steffens, who has worked with artists like Rolling Stones, Harry Connick, Jr., and Bobby Brown to name a few. Together, Jennifer Hill & company create and capture so many memorable moments on ‘Love Bomb’ that audiences everywhere will be enthralled with.
As soon as you hit play, the listener will hear a striking voice from Jennifer Hill on “Gemma Star” and she has quite the presence. With pristine vocals and a very appealing sound, Jennifer is off to an impressive start with “Gemma Star”! Get ready to take a bite out of “Made of Candy” next where Jennifer displays her showy side and appears to be quite theatrical on this number. Track three, “This Plane”, offers an emotional touch and one strong vocal delivery. “This Plane” is taking off and will have you contemplating life with lines like “Better move fast or you’ll lose it all”. Prepare for a playful melody and inviting tone on “Baby Child” where you will be instantly attracted to this song. Moving along, we hear “Erased” that includes touching material to go along with piercing vocals that have a hauntingly beautiful texture. Track six, “Can’t Say”, is powerful and grabs you immediately with its gripping sound. Jennifer Hill proves to be a star-studded singer and storyteller on “Can’t Say”. Heading into the next song, “Waiting” will leave you speechless with its masterful direction and then Jennifer is laying it all out on the table on “Civilized”. Track nine, “Hearts”, packs a punch and has a direct impact on the audience thanks to Jennifer’s sincere delivery. There’s a pleasant surprise on “Hearts” too where a cool rap session can be heard during the song. Jennifer Hill is standing tall by the end on “You’ll See” with a very strong performance as she leaves a lasting impression on listeners everywhere.
What I respect about Jennifer Hill is that she is not afraid to be vulnerable as an artist and she is so genuine. With a voice that is smooth as butter to go along with top-notch musical arrangements, Jennifer will certainly gain new fans with her latest release. She knows when to get serious and when to let loose and have a lil fun making ‘Love Bomb’ a must listen!
https://www.jenniferhillmusic.com/
By Jimmy Rae
Jeff Summa and the Roasters with ‘Who’s Got My Lighter’
Prepare to take quite a trip musically as Jeff Summa and the Roasters dare to ask ‘Who’s Got My Lighter’. Jeff Summa and the Roasters is cookin’ up some tasty grooves and rhythms that will get your ears buzzin’. With elements of rock, blues, jazz, funk, psychedelia and everything else under the sun, ‘Who’s Got My Lighter’ provides quite the listening experience!
Hailing from Litchfield, Connecticut, Jeff Summa and the Roasters have an infectious energy when performing as a band. Audiences everywhere will immediately gravitate toward this fan-friendly sound that is overly inviting. ‘Who’s Got My Lighter’ is witty and inventive and honestly just a hell of a good time from start to finish!
The record kicks off with the title track, “Who’s Got My Lighter” and right away a big, bright sound punches you in the ears. Jeff Summa and the Roasters are on fire musically as “Who’s Got My Lighter” is a fun-filled jam that really POPS! “Who’s Got My Lighter” may be simple subject matter but highly effective when you hear the entire song play out. Next, an enticing groove hits you with crazy material that will seriously have you pondering “Iguanas”. Enter into “Non Reality” where the vocals and lyrics will instantly grab you to go along with a slow ‘n’ steady pace that feels so right. Jeff Summa showcases a funny play on words on “Funk All Night” where the lines will make you laugh and fully satisfy your musical palette. It’s now time for a nice, “Simple Song” that is so relaxing to hear and easy-listening all the way! Track six, “Loss Cat, offers up some fine playing and is purring with excitement! The next stop is “That Ship Has Ssiled” and this is one smooth ride without any bumps or turbulence. Heading into the next song, “So Far Away” will have a deep connection to many listeners due to its inviting melody and welcoming vibe. Track nine, “Everybody Knows”, really moves and just gets you in a good mood from the start. Jeff Summa and the Roasters end on a very different note with “High Mage” that is not so peppy or cheery but definitely rich in content.
The chillax atmosphere surrounds this entire album as Jeff Summa and the Roasters set that tone right out of the gates. Jeff sums this up nicely here, “the songs on ‘Who’s Got My Lighter’ are individual stories inspired by just about anything except sitting down to “write”. Books, music, surfing or driving—they can all lead to song ideas for me.”
https://jeffsummaandtheroasters.com/
By Jimmy Rae
Marius Billgobenson Presents “IN PARADISE – Just Another Day”
Stockholm-based ethnomusicologist and singer-songwriter Marius Billgobenson delivers a warm and uplifting jazz anthem with latest single, “In Paradise – Just Another Day.” Released earlier in August, this track blends African rhythms with jazz, soul, and R&B to create a polished yet heartfelt single that washes over you with its charm.
The great thing about Billgobenson’s music is that he never forgets his roots, and his journey is reflected in his works. This track is no exception, and the vibrant traditions of Congolese storytelling are carried forward using jazz as a vessel.
The core message of the song; “it’s gonna be alright, just another day in paradise,” is delightfully touching and simple. Each verse builds up life’s challenges but concludes in a reassurance that “it’s always dark before the light, and you’re just learning how to fight.” Optimistic and reassuring, this is an exemplary use of smooth jazz as a genre.
It’s not often that a producer gets a feature on a track, but Marius’ decision to mention Paul Brown is fully justified as his work on this track is just exquisite. Every element feels meticulously placed without the track ever losing its organic warmth. The instrumentation on In Paradise is beautiful, but it never overwhelms Marius’ vocals, which are the true highlight.
This single also features a star-studded ensemble, with Tony Braunagel’s drumming setting a steady, unhurried groove while David Garfield’s keys weave gentle shimmering harmonies. Shane Theriot’s guitar work adds tasteful, melodic touches and Freddie Washington’s bass glues it all together with understated finesse.
Musically, the track is a perfect example of restraint, as every musician is fully capable of flashy and complicated performances. But instead, the musicianship speaks through subtlety and feel.
Billgobenson is an artist who has clearly lived a rich life and absorbed influences from across the globe, yet his music never feels distant or abstract. In Paradise is both a celebration and a gentle reminder: the hardships of life may distract us, but it doesn’t change the fact that our world is a beautiful paradise.
Wake Magnolia Present ‘A Night In Ventura’
Ohio-based alt-rock duo Wake Magnolia was propelled into the spotlight when their debut studio album, “Shadow Cast Light” won them best rock band at the 2022 Cleveland Music Awards.
Since then, they had us worried for a while with no new releases, but their latest single “A Night in Ventura” gives you hope for what they’ve been cooking for the past few years. With Nick Galbincea on guitar and vocals, and Adam Miller on drums, this track defies the limitations of their two-person lineup to create an incredible sonic experience.
With its heavy guitars and liberal use of the distortion pedal, A Night in Ventura clearly takes inspiration from 90s grunge music. However, the driving energy of the guitar chords and the relentless beat of the drums give it a power that elevates this single beyond the standards of the genre.
But it’s not just the instrumentation on this track that’s heavy. Galbincea’s vocals, along with the raw songwriting, create a timeless story of heartbreak that yearns for those Ventura nights. You have anger, acceptance, and vulnerability all thrown in the mix to create an emotional connection that stays with you long after the track is over.
But the real kicker here is the outro, because for the first two minutes, it seems as if Wake Magnolia has settled into a structure that’ll last for the entirety of the track.
But just as it looks like they’re about to start another verse, Miller drives up the tempo while the guitars get amped to the max to deliver a throbbing instrumental finale.
This dynamism is supported perfectly by the production that ensures that the guitar distortion never goes overboard. It maintains the refinement of a professional release without compromising on the raw vocal sound. This speaks both to the band’s technical abilities and their understanding of how to highlight them in the studio.
A Night in Ventura represents Wake Magnolia’s growth over the last couple of years, and successfully bridges the gap between classic grunge influences and contemporary alternative rock. Hopefully there’s a new album in the works, because this single has left us craving for more!
ONLINE:
https://linktr.ee/WakeMagnolia
https://www.instagram.com/wakemagnolia/
Flippin’ Gothic Fabp Live @ Snapps Splash 2025
The ever-unpredictable and authentically raw Flippin’ Gothic Fabp returned to the stage at Snapps Splash 2025 last July to deliver yet another electrifying freestyle. This was a special performance as it was a birthday celebration for Snappa chef, one of Fabp’s earliest mentors.
Before joining the US Marines, Flippin’ Gothic Fabp made the rounds in New York, North Carolina, and California’s underground circuits under the nickname “Fabulous P”. now back on an old familiar stage under a new name, Fabp’s uncompromising energy gave the Snapps crowd something to remember.
Originally on for just one song, Fabp paid his dues to the crowd, Snappa Chef, and his other mentors like DJ Ron G. The set showcased his signature grime-and-grit delivery with raw beats, spoken-word swagger, and lyrics that feel like pages ripped from a personal journal.
But it was what happened next that set the place ablaze, because Snappa Chef joined him on stage and put Fabp on the spot, requesting another song from his protege. You’d expect anyone to fold under the pressure, but Fabp took the challenge in stride, and switched up to match the new beat in an instant.
The energy flipped instantly with Fabp being amped up by Snapp Chef’s adlibs. You could feel the years of mutual respect and shared hustle coiling through the speakers. Snappa didn’t just lend his presence, but elevated the performance to create something that’s raw, unfiltered, and beautiful.
This performance wasn’t about flashy lyricism or underground theatrics. It was about paying respect to your roots, mentorship, and the grind. In a set that clocked in at just over four minutes, Flippin’ Gothic Fabp reminded the crowd why underground legends never fade; they just evolve.
Website:
https://www.X-CaladePromotionz.com
https://www.Instagram.com/therealfabp
https://www.x.com/Therealfabp
Tim Hort Presents ‘famine’
Chicago-based indie sensation Tim Hort makes waves yet again with his hauntingly beautiful new release, “Famine”. With this album, Tim Hort delivers his most
introspective and musically daring project to date; a record that is not only meant to be heard, but to be felt as a holistic musical experience.
1. July Island
2. Dissolve
3. From the End of the Earth
4. Chain and Sky
5. 491
6. Seems Right
7. Spires in the House
Released in late July, Famine is a seven-track suite that fuses alt-rock elements with shoegaze ambience and expressive lyrics. This album is an incredibly thought out collection that creates a lush, deliberate world of sound that flows like a memory; fractured, fading, and deeply human.
“July Island” is an interesting opener for the record, as it takes a more traditional alt-rock style that isn’t really representative of the rest of the album. Consider it a taste of what Hort can do outside his comfort zone, or maybe a n upbeat track to build the atmosphere for what’s to follow. With its layered textures and patient pacing, it’s clear Hort isn’t chasing trends on this album: each song feels like a small, weathered room you walk into: full of soft light, and the kind of silence that says more than words.
Shoegaze often leans into abstraction, but Famine uses it to bring an emotional clarity that’s pretty unique for the genre. Tracks like “Dissolve” hold a fragile weight, with guitars replete with delay and distortion. with lyrical restraint. As the album progresses, nothing here is rushed, with Hort trusting the listener to linger.
There’s a lot of experimentation going on with this album, with “The End of the Earth” swapping out the guitars and opting to be heavily piano-driven. “Chain and Sky” starts slow with a more traditional shoegaze sound and intensifies into a heavier track resembling an alt-rock staple.
Even the interlude, “491,” plays a vital role. Clocking in at just over a minute, it feels like a breath held between two emotional chapters. The sequencing throughout is masterful with the collection never feeling like a set of singles stitched together, but a singular arc shaped by grief, grace, and quiet resolve.
Famine might be Tim Hort’s quietest album, but it’s also his loudest statement yet. A meditation on what it means to endure, to reflect, and to create with care. This record places him among the rare artists who understand that silence, when handled with precision, can be the loudest sound of all.
This is music for late-night drives and long internal monologues. It doesn’t beg for attention; it earns it.
ONLINE:
https://timhort.com/
https://www.facebook.com/tim.hort.5/
https://open.spotify.com/album/1kjCTqYSdTgyIdYEncve8R?si=XQxrgrE5TPWajH43RcT1SA
https://www.youtube.com/channel/UCPCmECwdZ91ibw7oHZbvYPA
Brown Eyed Girl by California ™ – feat. Les Fradkin
Van Morrison’s 1967 classic “Brown Eyed Girl” is a generational classic and rock staple, making it the perfect choice for California™ feat. Les Fradkin’s latest cover.
The single release comes as a follow-up to their “Good Vibrations” EP which was constructed around the Beach Boys’ hit of the same name. For the most part, Brown Eyed Girl also borrows the same inspiration and takes on a distinct surf pop sound.
https://californiatm-featlesfradkin.bandcamp.com/track/brown-eyed-girl
The most distinct change in this version is the backing vocals and harmonies courtesy of Fradkin’s collaborators Tony Pernice and Richie Tuske. While Morrison’s original mainly relies on the guitar for accompaniment, the choral elements are clear evidence that this was inspired by Brian Wilson’s work.
Fradkin not only lends his unmistakable voice to the lead vocals but also builds a rich instrumental bed with his signature Mellotron alongside the synthesizers. As usual, even though he remains faithful to the tempo and vibe of the song, Fradkin is able to create a new dimension that was never evident in the original.
Bob Miller on percussion had an interesting job of his own as the band moved away from the traditional drum lines to something lighter with a lot of emphasis on clapping. Keeping the beat with your bandmates clapping is a nightmare for any drummer, but Miller manages to pull it off pretty impressively.
If you’re wondering about the chemistry and harmoniousness of the group, look no further than the fact that this cover was originally recorded in 1982 with Pernice and
Tusk joining in as well. While this release is tailored for newer audiences, the years of planning and discussion really shine through in the production.
Even though Fradkin’s production is pretty dense on this track, it’s never overbearing, with each element enhancing the single rather than overpowering it. While
Morrison’s version leaned on organic soul and simple rhythmic charm, this update needs to have great quality to thrive in the Spotify era. .
There’s no attempt to reinvent the wheel here; nor should there be. What California ™ achieves instead is a lovingly detailed reinterpretation that pays tribute to the original’s timeless warmth while updating it with the same “good vibrations”.
For longtime fans of the original, this version offers enough familiarity to sing along and enough sonic twist to be worth the revisit. And for newcomers, it’s a light-hearted treat that’s sure to brighten your day a little bit.
Leading with Heart: How Lee Berk Transformed Music Education
This book is a beautiful, deeply personal tribute to a man who forever changed music education. LEE BERK: LEADING THE BERKLEE WAY tells the story of Lee Berk, the longtime president of Berklee College of Music, and how he transformed what was once a small family-run school into one of the most respected music institutions in the world.
Written by Mark Small—a Berklee alumnus and former editor of Berklee Today—this book feels less like a formal biography and more like sitting down with someone who knew and admired Lee both professionally and personally. It’s filled with stories, insights, and heartfelt reflections not just from colleagues and faculty, but also from Lee’s family, including his wife Susan, who was a driving force behind the project.
https://www.halleonard.com/product/1490585/lee-berk-leading-the-berklee-way
What makes this book special is how it balances Berk’s public achievements with his private life. You get to see the visionary who pushed Berklee into new territory—introducing groundbreaking majors like music production, film scoring, music therapy, and songwriting—but you also get to know the generous, humble man who inspired so many around him. His leadership wasn’t about ego—it was about building a place where musicians of all kinds could thrive.
The book also touches on his deep roots: his family’s immigrant story, his father Lawrence Berk’s early music career, and how both generations pushed against traditional norms to legitimize contemporary music in higher education. Lee took his father’s dream and turned it into something lasting.
After Lee’s unexpected passing in 2023, this book became more than just a tribute—it became a way to preserve his legacy for future generations. Whether you’re a Berklee alum, a music lover, or someone who simply appreciates stories of quiet, powerful leadership, this book will leave you inspired.
Gozie Ukaga Presents ‘Color’
It’s not often that an album lulls you into a reverie with its opening track and keeps you there for the entire runtime, but that’s exactly what Gozie Ukaga’s debut full-length album “COLOR” achieves with its easygoing beats and ethereal soundscapes. With a quiet release in late 2024, this ten-track project is an 18-minute journey through ambient pop, synth minimalism, and vocal intimacy.
Gozie’s debut musical project was an EP titled “SHADE,” released back in 2019. COLOR builds upon the groundwork laid back then, but also captures Gozie’s journey as an artist. As a more mature writer and producer, Gozie refines his sonic palette with confidence, and is not afraid to put out tracks like “Hue,” which clocks in under 30 seconds, yet never feels incomplete.
The lead single, “Shade,” is just a piano solo with synth backing that sets the tone for the album with its ambient textures. With its sustained chords, the listener is drawn into a world where silence is as crucial as sound.
“Interstate Ninety Four” is the first full-length track with vocals and introduces soft trap beats under layers of atmosphere, evoking late-night drives and introspective detours. Gozie’s hushed vocals are just as mesmerizing as the accompaniment, and just draws you in with his introspective lyrics.
The production throughout the album is intentionally sparse with a few synths here and there, subtle percussion, and little else. This allows Gozie’s voice to carry the emotional weight of the record. This is exemplified on tracks like “Elipsis” and “Grudge” where feelings of melancholy and pain just hit you like a truck.
What makes COLOR so special is the way Gozie experiments with different sounds while still maintaining one cohesive vibe. On “Prism,” he flirts with experimental electronic soundscapes and autotuned vocals intentionally pitched to sound artificial. “Mixed Signals” follows up with a more classic rhythmic and beat-forward approach.
COLOR is a rare kind of debut: fully formed yet unafraid to take risks. Every track exists as a moment, a fragment of a larger emotional narrative, and the brevity becomes part of the storytelling itself. Gozie not only releases an album, but curates a full musical experience for quiet nights and reflective moods.
ONLINE:
https://www.gozieukaga.com/
https://www.facebook.com/UkagaGozie/
https://www.instagram.com/gozieukaga
Kathy Sanborn with ‘Romance Language’
There is something romantic about this album because Kathy Sanborn has a certain charm about her when she performs each song on ‘Romance Language’. Kathy has a very inviting tone that will draw many listeners in. This new record features 10 original compositions written by Kathy Sanborn and each one has its own unique story.
The album features Kathy Sanborn on vocals, piano and keyboards and Wayne Ricci on trumpet. Kathy is an award-winning performer and it shows on ‘Romance Language’ with material that is enriching and a voice that cuts right through. She can sing in English, French or Spanish and the message and emotion comes through the same each time.
The album kicks off with “Romance Language (For Uan Rasey)” and right away the listener is drawn in thanks to a sensuous tone by Kathy Sanborn. Kathy captivates the audience with her voice on “Romance Language” where it comes across as very sincere, emotional and playful. Next, on “Never Blue” Kathy delivers a soul-stirring performance that will leave the audience wanting more. Track three, “Sonrisa”, enchanting vocals hit your eardrums and they are smooth as butter. A mystical sensation that has a light ‘n’ airy texture comes your way on the following song called “Cambios”. A feel-good melody and easy-breezy vibe can be heard next on “Si Bon (So Good)”. Pure elegance is flowing out on “Después De Las Lágrima” and it is so soothing to hear. Kathy exhibits such a delicate touch on “El Viaje” where her vocals will relax you from head to toe. Moving along, “Romance Language (Homage to a Trumpeter)” is so well-done and simply just a masterful composition for the ages. Track nine, “Otro”, is performed ever so lightly yet ever so powerful with Kathy Sanborn hitting on ALL levels. Kathy is going out in style and with true class on “El Jardín De La Vida”. With pitch-perfect vocals, Kathy delivers a powerful performance on “El Jardín De La Vida”.
Kathy Sanborn proves that she can connect with a wide audience thanks to her appealing voice and strong music. This is a jazz record that you will want to check out and add to your playlist NOW! Kathy Sanborn shows the world that ‘Romance Language’ is in fact the universal language for many years to come.
https://kathysanborn.com/romance-language
By Jimmy Rae
Thurane Presents ‘Big House’
Arizona-based worship leader and singer-songwriter Thurane steps into the spotlight yet again this year with his vibrant rendition of Audio Adrenaline’s 1993 anthem “Big House”. Thurane’s warm vocals inject heartfelt emotion and polished Americana flair into this classic Christian rock staple, preserving its message and introducing it to a new audience.
After enjoying commercial success as the lead vocalist of bands New Jerusalem and Kenyon Grey, Thurane is set to kick off his solo career with this cover as it is set to be followed by a new EP titled “Lift Him Up” later this year.
The song innovates right at the start, opening with bright guitar riffs that are a touch heavier than the instrumentation in the original. Thurane’s rendition is more energetic, and conveys a sense of genuine joy in addition to the cheery lightheartedness of Audio Adrenaline’s hit.
There’s also a hint of classic country warmth in this cover that just adds a bit to its intrigue. That twang in the lead guitar, and the slight accent in Thurane’s voice breathe fresh life into nostalgic territory and underscores the song’s timeless message of inclusion and belonging.
With its crisp drums keeping up the beat to perfection, the production on this track is really well done. It sounds polished, but remains rustic enough to jam during a long drive or sing along with a bunch of old friends.
But Thurane’s vocals end up stealing the spotlight in this performance, as his delivery has no shortage of charm or confidence. While Thurane fits right into that type of artist to sing his heart out without a care for technique, his skills as a vocalist are spot on with barely a note out of place.
In a world where unity is more important than ever, Thurane’s cover of “Big House” is a heartfelt, revitalizing homage. He remains faithful to the song’s Christian‑rock roots, and elevates it with powerful vocals and upbeat Americana instrumentation. If this single is a sign of things to come, we can’t wait to see what else Thurane’s upcoming album has in store.
Alias Wayne Presents ‘Too Far’
Costa Rica-based Singer‑songwriter Ranzel X Kendrick returns with yet another thoughtful single under his indie rock alter ego Alias Wayne. “Too far” is an easygoing number that laments how our culture has become too polarized, and calls for everyone out there that’s gone too far to come back to where we can find some common ground.
From its opening bars, “Too Far” establishes a mid‑tempo groove, steeped in acoustic guitar riffs and harmonious backing vocals. Wayne goes for his usual refined production style on this track, striking a balance between lively and engaging instrumentation without overshadowing the vocals.
Wayne’s vocal performance takes a warm and soulful tone. He’s not here to impress you with his range; this is a comforting anthem that is centered around its message. His experience as a performer really shines through in the natural ease with which he sings, aligning with the song’s introspective tone.
Lyrically, Too Far takes a really simple approach to caution listeners on ideological extremity. The lines “Too far right/Too far out/Too far left/Too far gone” are a delightfully simple and succinct way to caution against extreme conviction. Its appeal is not partisan but built on emotional maturity, and self‑awareness instead.
Too Far is a thoughtfully composed and emotionally resonant single. It showcases Alias Wayne’s understated vocal warmth, intelligent songwriting, and genre‑fluid musicianship. With a message encouraging reflection and balance in a world of extremes, this timely single has the makings of a timeless classic.
ONLINE:
https://www.ranzelxkendrick.com
https://www.facebook.com/RanzelXKendrick
https://www.youtube.com/@AliasWayne
Transcendence: ‘Music of Pat Metheny’
If you seek musical exploration at its finest, then look no further than Transcendence: ‘Music of Pat Metheny’! Transcendence adds so much depth to Pat Methany’s original compositions and the dynamics are equally impressive. Transcendence gets highly creative on this new project while staying true to the roots of pure jazz.
Transcendence is a talented trio and they are: Bob Gluck on keys, Dean Sullivan on electric bass and Karl Latham on drums. Together, these skilled musicians have given ‘Music of Pat Metheny’ new life that can be enjoyed for years to come. The solos and improvisations on this album go outside the box of conventional standards making this a must listen. Crossing musical boundaries while staying true to the art form of jazz, Transcendence is proud to deliver ‘Music of Pat Metheny’.
The record features seven tracks and each one has its own identity and story. Right from the beginning, Transcendence is going in many directions on “Question and Answer”. In my ears, there is no Question that Transcendence has the answer to artistic freedom. Next, we hear “Afternoon” that offers up a good feel overall and one compelling sound. Track three, “The Bat”, hits on ALL levels with its heavy substance and rich material that just feels absolutely complete from top to bottom. Get ready for a wild ride equipped with plenty of twists & turns on this exhilarating “Offramp”. “Offramp” is truly an ear-bending experience that you won’t soon forget! Jumping into the next number, Transcendence is making a BIG splash with “Dolphin Dance”. Soak up everything “Dolphin Dance” has to offer as this song flows along at just the right speed. Next, Transcendence provides a playful melody that is very distinct on “Everything That Lives Laments”. Transcendence is barking up the right tree by the end of the record on “Roof Dogs”. The audience will witness a solid performance and interesting direction taken here as the road less traveled leads to the entrance of “Roof Dogs”.
Transcendence breathes new life into the ‘Music of Pat Metheny’ and it’s quite refreshing to say the least. This album was recorded live by Karl Latham at Firefly Studio and mixed & mastered by Paul Wickliffe. The choices are endless for Transcendence and the ‘Music of Pat Metheny’ is limitless. ENJOY the show!
https://karllatham.com/product/1089262-transcendence-plays-music-of-pat-metheny-cd
https://transcendenceglucksullivanlatham.bandcamp.com/album/transcendence-plays-music-of-pat-metheny
By Jimmy Rae
