Heather Ward Presents ‘Gilded & Silver’
Seattle-based jazz vocalist Heather Ward took the jazz world by storm in May 2024 with her debut album “Honeysweet”. This year, she returns to the spotlight with Gilded & Silver, an enchanting and emotionally resonant collection that firmly establishes her as a rising force in contemporary jazz.
Drawing from traditional influences while carving out her own lane, Ward’s latest release is an elegant showcase of originals, jazz standards, and reinterpretations of pop classics. With her vocal subtlety, rich arrangements, and heartfelt storytelling, Ward invites listeners into a soundscape that is as intimate as it is timeless.
The album opens with an original titled “Into the Music,” a tribute to Heather’s Canadian jazz mentor, Hugh Fraser, and uncle, Joe Edmonds who both passed away during the pandemic. While her brooding vocals play with your emotions, in classic jazz style, Heather lets the piano and trumpet both take center stage with warm, hypnotic solos.
STREAMING:
LYRIC VIDEO FOR “Into the Music”:
From the opening notes, Gilded & Silver exudes the feel of a classic supper club, where the lights are low, and the music wraps itself around you like velvet. Ward’s sultry alto brings new life to familiar songs, and her rendition of “Dear Prudence” is one of the album’s standout moments as she transforms the Beatles classic into a slow-burning jazz ballad.
01. Into the Music
02. Towers
03. Dear Prudence
04. Blue Collar
05. Light Up My Room
06. My World is Beginning Today
07. A Million Miles Away
08. He’s A Tramp
09. My Favorite Things a la Trane
10. Midnight at the Oasis
11. Mercy Street
12. I Can’t Give You Anything but Love
The album also has a lighthearted side, as Heather performs a fun little cover of “He’s a Tramp” inspired by the Disney classic. Her vocals really shine on this track, with only the strumming of the double bass to accompany her performance.
Much of the album’s charm also lies in its uncluttered yet rich arrangements, with piano, upright bass, percussion, and subtle trumpet flourishes forming the backdrop for Ward’s vocals. The instrumentation never overpowers; instead, it breathes with her, each note carefully considered to enhance the lyrical and emotional message.
Heather is as reverent as she is inventive on Gilded and Silver, and she ends the album with the jazz standard performed by the likes of Billie Holiday and Ella Fitzgerald; “I can’t give You Anything but Love.” Once again, the instrumentation remains minimal, allowing Heather to pour her soul into the song uninterrupted.
In Gilded & Silver, Heather Ward has delivered more than a jazz record; she has crafted a deeply personal and musically sophisticated statement of identity. It is a work steeped in tradition but unafraid to push boundaries. We’re just two albums in, but this up-and-coming jazz artist already has the makings of a star.
ONLINE:
https://www.heatherwardstudios.com
https://www.facebook.com/quirkyjazz
https://www.tiktok.com/@heatherwardstudios
https://youtube.com/@heatherward9506
Melissa Kassel & Tom Zicarelli Group Release ‘Moments’
If you’re in the mood for inventive and original jazz that will get your mind racing, then you have to check out ‘Moments’ by Melissa Kassel & Tom Zicarelli Group. Melissa Kassel is a talented singer and lyricist who has a knack for telling a story through song. With Tom Zicarelli Group adding depth, Melissa Kassel is able to bring ‘Moments’ to life for a wide audience.
This new release explores many facets and musical structures with Melissa Kassel leading the way with her distinctive voice. Love, nature and everything else in between are touched on here making ‘Moments’ a must listen. The record features a talented cast of musicians and they are Melissa Kassel on vocals, Tom Zicarelli on piano, Bruce Gertz on bass, Gary Fieldman on drums and Phil Grenadier on trumpet. With 10 original compositions written by Melissa Kassel and Tom Zicarelli, true ‘Moments’ are made in real time.
The album kicks off with a sweet-sounding “Lullaby” that has a mellow vibe and wonderful melody. The calming feel and soothing notes will rush over you as soon as “Lullaby” is played. Get ready for some smooth “Dancing” next that sets the pace for a long stride of chords that move along effortlessly. Leave your worries at the door and let your mind go “Adrift” on the following song. We flow into “Sea Humanity” next that has an interesting direction and intriguing dynamics. “Sea Humanity” will get your ears buzzing and keep you on your toes from beginning to end! Track five, “Spring Forth Joy”, is bursting with bright flavor and one solid beat to boot! Embrace the “Glow of Your Love” that is one charming number that will make you feel good inside and out. Next, a sharp ‘n’ steady “Breath” takes over the airwaves with its mindful noise. “Twilight” is now upon us and how sweet it is as the mood is set and the tone is just right. It’s time to enjoy some hot coffee as a warm, “Morning Breeze” sails past your ears. The final “Moments” brings everything into perspective by the end and all is right in the world.
Melissa Kassel is so inventive with her lyrics and vocal approach while Tom Zicarelli Group plays like seasoned champs. Through fearless expression and artistic freedom, Melissa Kassel & Tom Zicarelli Group have created ‘Moments’ that will last a lifetime.
https://www.youtube.com/watch?v=GuTep_2jwlU
By Jimmy Rae
Merit Maker Presents ‘Better Days Ahead’
The golden days of punk rock are well behind us, but that won’t stop Merit Maker from trying to revive the genre to its former glory. Their latest release; “Better Days Ahead” blends alt-rock and pop-punk to craft an album that feels both fun and urgently energetic.
Merit Maker is a pet project of bassist and singer/songwriter Joe Stanton, a musician who has built his sound from the ground up. The great thing about Joe’s approach on his albums is that he doesn’t buy into that overproduced sheen you often see on modern records. Despite going really heavy on the electric guitars, the entire product feels refreshingly stripped down.
From the opening bars of “Set It Straight,” it’s clear that this record isn’t trying to reinvent punk rock, it’s trying to remind us why it mattered in the first place. In classic pop-punk style, he jumps right off the deep end at the start, transitioning into a softer melodic bridge, and ending with a heavy outro.
“The Stolen Hearts” leans heavily into a late-’90s sound reminiscent of Blink-182’s more brooding and reflective singles. The song’s signature 3-chord guitar riff is original while still feeling nostalgic, and you can’t help vibing to it as the track goes on.
“Around Again” is a full-on sprint inspired by Sum 41, with double-time drums and thick basslines giving it the feel of a mosh-pit staple. Yet even at their most aggressive, the tracks maintain a melodic clarity that’s often lost in contemporary punk.
I really liked the diversity of this album as tracks like “The Upsides of Downsides” take on a heavier, darker sound to contrast with the upbeat pop-punk entries. The guitar solos on this single, courtesy of Michael Layton, are especially powerful and demonstrate Merit Maker’s ability to effortlessly cross genres.
Thematically, Better Days Ahead stays close to the heart. It’s not a concept album, but there’s a loose emotional arc running through it: frustration, self-doubt, hope, perseverance. Stanton’s vocals are unvarnished, his tone somewhere between urgency and weariness, perfectly suited to the themes of burnout, recovery, and the search for personal momentum.
https://meritmaker.bandcamp.com
https://merit-maker.com/
In the end, Better Days Ahead is punk rock without the posturing. It’s an album for people who fell in love with punk because it was real, not polished: just music that meant something. And for those listeners, better days are already here.
Max Norton Presents ‘Chains’
Max Norton may not be the next Dave Grohl, but his journey sure feels the same. After more than a decade drumming at gigs ranging from Glastonbury to The Late Show with David Letterman, he now steps into the spotlight as a solo artist with his latest single, “Chains.”
Released earlier this year, Chains is a powerful indie rock anthem brimming with emotional clarity, and a yearning for liberation. What’s truly admirable here is that Max does not back down from being authentic and vulnerable, letting waves of catharsis wash over anyone that’s ever felt tied down by life.
Norton’s journey to this moment is integral to the song’s impact. Hailing from Tampa and shaped by his time spent as a supporting musician in Nashville and London, Norton has now broken free from his chains and relocated to The Shoals to pursue his solo career.
His background as a multi-instrumentalist gives Max a unique advantage, and every element in Chains is imbued with an unmistakable personal signature.
“Could you, could you, could you, could you, feel the same?
Could you, could you, could you, could you, be the change?
Do you, do you, do you, do you, see the rain?
Would you, would you, would you, break these chains”
They may look cliche when you read it, but with Max’s delivery, these repetitive phrases turn Chains into an instant earworm, and it’s almost impossible to stop nodding your head along to the beat.
This track balances conflicting themes masterfully, opening with soft acoustic strumming and hushed vocals, only to crescendo into a full-bodied indie rock chorus. Towards the end, Max ramps up the intensity, almost signaling a sense of desperation as the electric guitars and distortion pedals take over.
Chains is more than just another single; it’s a powerful statement of Max’s decision to step out from behind the drum kit and into the spotlight. We have no idea if it was the right path for Max himself, but if this track is any indication, it certainly was the best one for us the audience.
https://www.maxnortonmusic.com/
Brett Altman Presents “Pretty Long Island Girls
Following up on his emotionally stirring 2024 album “My Way Out,” Brett Altman returns with his latest single, “Pretty Long Island Girls.” This buoyant single explores the tension of regional pride and forbidden attraction with a story of a Jersey boy who couldn’t resist the charms of a Long Island girl.
https://samply.app/player/kWlkzSpAmcIKBZsjHUtc
Pretty Long Island Girls also marks the first release from Brett’s upcoming album This Is Me, due in Spring 2026. This new body of work promises to showcase his dual strengths: emotionally candid storytelling and a pop sensibility sharpened by experience.
With lines like “Nobody compares from coast to coast/Not even in Paris, Spain and Rome,” Brett’s lyrics are so delightfully flirtatious that they’d win over any girl. This track is witty, nostalgic, and just the right amount of ridiculous: a love story caught between zip codes and accents.
Musically, Pretty Long Island Girls is a breezy, summer-ready pop anthem infused with Latin-tinged guitar flourishes, funk-inspired rhythms, and a polished modern beat. The arrangement feels really light, but it’s full of character and perfectly suited for rooftop parties, weekend drives to the beach, or a tipsy singalong at a summer BBQ.
But while this song may seem all fun and games, there’s still an intensity in Brett’s voice toward the end of the track that draws you in with emotional depth. There’s a kind of warmth to his delivery that feels deeply personal.
Throughout the track, Brett’s vocals are clean and expressive with the audio engineering being applied tastefully while avoiding being overproduced. Always grounded in the narrative, he invites listeners not just to hear the story but to see themselves in it; to laugh a little, maybe roll their eyes, and ultimately hit repeat.
In an era oversaturated with love songs that take themselves too seriously, “Pretty Long Island Girls” is a welcome breath of fresh air. It’s clever, romantic, and perhaps most importantly, fun without ever feeling disposable. Like a good summer fling, it doesn’t need to be forever to be unforgettable.
https://www.instagram.com/brettaltmanmusic/
Santa Barbara Records Presents ‘CaliAmericana, Vol. 3 (A Compilation Inspired by the Legacy of David Crosby)’
Following the overwhelmingly positive reception of the first two instalments in their CaliAmericana series, Santa Barbara Records continues its heartfelt tribute to California’s rich musical roots with “CaliAmericana, Vol. 3”.
This thoughtfully curated compilation honors the legacy of David Crosby, and once again brings together a selection of Central Coast artists. Each musician contributes an original song along with a Crosby cover. I really love this concept as it promotes modern creativity alongside paying tribute to the greats, perfectly balancing modernity and heritage.
Opening the collection, brothers Chris and John Beland deliver a faithful rendition of “Eight Miles High,” perfectly capturing the toned-down beauty of the verses. However, their version upgrades that killer guitar solo, getting a crisper and more powerful sound in part thanks to the wonders of modern recording technology.
Kathleen Sieck’s ethereal voice stands out on “The Universe Knows You’re Mine” and her cover of “Lee Shores” as she leans into the simplicity that is the essence of folk rock. Lee Shores in particular is as mesmerizing as the original, and pulls you into a rare, meditative space that invites the listener to sit still and listen close.
1. Eight Miles High (Chris Beland and John Beland)
2. Oh, Nightingale (Shawn Thies)
3. Dangerous Night (Jonathan Firey)
4. Lee Shores (Kathleen Sieck)
5. Velvety Jesus (Glen Phillips)
6. Way Beyond the Blue (Chris Beland and John Beland)
7. Dirty David (Jonathan Firey)
8. The Universe Knows You’re Mine (Kathleen Sieck)
9. Guinnevere (Shawn Thies)
10. Music is Love (Glen Phillips)
Glen Phillips’ standout performance was his original “Velvety Jesus,” a dynamic and colorful track that still retains that classic Americana sound. His cover of “Music Is Love” perfectly captures the optimism and spirit of Crosby’s more accessible side, and is a perfect album ender with its warm production that recalls the AM radio era.
Jonathan Firey brings a different sound to the project as his original “Dirty David” brings a dark and haunting edge to the collections. The vocal harmonies and string accompaniment are the perfect touches to add flavor to the album.
And finally, vocalist Shawn Thies provides two of the album’s most emotional moments with “Oh, Nightingale” and her gorgeous cover of “Guinnevere.” The richness of her voice just draws you into the tracks and with its faithfully minimalist instrumentation, I’d argue that Guinnevere is actually better than the original.
CaliAmericana, Vol. 3 is more than a tribute album. It’s a living, breathing artifact of California’s folk-rock lineage; a record that understands where it comes from and where it wants to go. Whether you’re a Crosby fan or simply in search of good music, this album offers a rare combination of depth, soul, and sincerity.
ONLINE:
https://santabarbararecords.com/
https://www.instagram.com/santabarbararecords
https://www.youtube.com/channel/UCHIHr39pjpGOSsNjMd-79Lg
https://www.facebook.com/santabarbararecords
Ray Fox Presents ‘Will You Ever Know It’
The up-and-coming rap sensation Ray Fox is back with his latest single, “Will You Ever Know It.” The Pennsylvania-based artist’s latest release is a reflective and emotionally charged piece that captures the inner life of an aspiring artist wrestling with dreams, doubt, and an unshakable drive to succeed.
If nothing else, this song has plenty of heart, and Ray’s quiet grit is embedded into every line. This track should strike a chord deep within anyone that’s ever struggled to make it in life, with its poignant references to long nights and uncertain beginnings.
Clocking in at just over 1 minute and 15 seconds, Will You Ever Know It is definitely one of the shorter songs out there, but Ray more than makes up for it with the track’s emotional depth. The opening lines hark back to his struggles working multiple part time jobs to pay the bills, and the raw turmoil and angst really shine through.
There’s also a vulnerability in Ray’s delivery that works in the song’s favor. He doesn’t aim for flashy wordplay or vocal acrobatics; it carries weight precisely because it sounds real. Each bar feels lived in. You hear the tension between the artist who’s meticulously prepared for every studio session and the young man teetering between breakthrough and burnout.
The beat flows with a steady rhythm, and there’s little instrumentation aside from percussion, leaving room for the lyrics to take center stage. There’s a lo-fi polish here, and the minimalism behind Will You Ever Know It has its own unique charm.
It’s easy to imagine the track taking shape late at night, surrounded by notebook scribbles and half-full coffee cups. But through all the talk of being pushed down by the world, the track ends on a determined and positive note “I’ll live and I’ll learn, I’m waiting for my turn.”
https://www.instagram.com/rayfox33_/
Will You Ever Know It is a quiet anthem for the determined; a snapshot of a musician at the intersection of reflection and ambition. And if this is the tone Fox is setting for his upcoming projects, one thing is certain: whether the world knows it yet or not, he’s onto something.
– https://www.tiktok.com/@rayfox33_
Marilyn Kleinberg Releases ‘Let Your Heart Lead The Way’
Marilyn Kleinberg has been a staple in NYC for many years playing at many of the established clubs. Marilyn has put together some of her favorite jazz standards on this new release titled ‘Let Your Heart Lead The Way’. Her deep love of music and special connection to jazz can be heard throughout the entire album as Marilyn puts her signature stamp on each and every song.
The record features Marilyn Kleinberg on vocals, Will Galison on harmonica, John Di Martino on piano, Noriko Ueda on bass and Victor Lewis on drums. Marilyn and this fine quartet have put together timeless pieces that listeners will adore. One will hear excellent musicianship and pure vocals throughout the 11-song set, so just sit back and ‘Let Your Heart Lead The Way’.
As soon as you hit play, Marilyn is inviting you to enjoy one classy number that is musically enticing on “Invitation”. An enriching sound will captivate your senses on the following composition “Alfie” as a sophisticated and alluring tone surrounds you. An emotional and sensual vibe hits you like a ton of bricks on “I Didn’t Know About You”. Prepare for a slow ‘n’ steady tempo that sets the tone and draws you in on “Then I’ll Be Tired of You”. Track five, “I Just Found Out About Love”, offers up a cheery & upbeat melody that is kind to the ears. Next, hold on tight because “Never Let Me Go” will keep you engaged from beginning to end. Crystal clear clarity is coming into play on the following number titled “Visions” as Marilyn Kleinberg delivers a commanding performance. Track eight, “Say It”, will ignite your musical palette with its comforting sound and warm melody. A smart ‘n’ savvy approach is detected on “If I Only Had A Brain” making the listener think twice about that faithful scarecrow from “The Wizard of Oz”. There is certainly more than meets the eye and ear on “If I Only Had A Brain” as Marilyn adds more depth to this classic tune. Soothing chords and a memorable performance are provided on “You Won’t Forget Me”. Marilyn has got style and grace and she proves it on the closing song “I Didn’t Know What Time It Was”.
Marilyn Kleinberg has a distinct voice that is polished and she sings from the heart on the new album. This veteran jazz singer from NY is hitting all the right notes and not holding back on the new release. With the help of a talented cast of instrumentalists, Marilyn Kleinberg gives a stellar performance that truly speaks volumes on ‘Let Your Heart Lead The Way’.
https://www.willgalison.net/copy-of-for-all-we-know
https://www.youtube.com/watch?v=F2Uv0_k902w
By Jimmy Rae
Meg Whalen Presents “The Break”
New Jersey-based singer-songwriter Meg Whalen returns with “The Break,” a soul-stirring single that cracks open the quiet devastation of heartbreak. Where some songs weep and others wail, The Break lingers in the stillness, in the pause between words, and in the weight of what remains unsaid.
Meg wrote this song during the winter, alone with a guitar and her thoughts. That isolation echoes through every note, but there’s no resentment or anger in Meg’s vocals; this song feels more like a confession or a detached observation that analyses what she has been through.
But who am I to cry,
Nothing you’ve denied,
We hold our truth, two sides to every lie
With the opening lyrics, Meg isn’t putting up a performance, she’s opening up to us. Her tone feels broken, exhausted, and deeply human. But like any good heartbreak anthem, the subtle verses build up into a swelling chorus. The guitars kick in, and Meg’s powerful vocals are put on full display.
The final half of The Break almost seems to take us through all the stages of heartbreak as the melancholy verse leads into the powerful chorus and transitions into an upbeat final verse that goes;
Heart beats over the sound of
Silence creeping around us
Nothing good left to say
In the span of just four minutes, Meg takes us on a journey from sorrowful reflection to the hopeful realization that it wasn’t meant to last anyway.
The production on this track is just as careful as the writing, with keys, guitars and vocals complimenting each other without being overwhelming. Faint acoustic guitar textures blend beautifully with the percussion, seemingly echoing from a memory rather than a studio. Every choice supports the song’s emotional atmosphere without overstating it.
With The Break, Meg Whalen is not asking for pity or praise. She’s offering company to those who’ve sat in the ruins of love, not knowing what to say, only feeling what’s been lost. If this is what she can pull off on just her sixth single, we can’t wait to see what Meg’s career has in store for us in the coming years.
Clara Rae Presents ‘Distract Me Baby’
Louisiana-born singer‑songwriter Clara Rae shot to fame earlier this year with her stunning performance on Season 23 of American Idol. Now, she steps into the limelight once again with her latest single “Distract Me Baby”.
Clara is known for utilizing classic sounds in her music, and this track is no different, with her warm country vocals combining seamlessly with a blues-heavy accompaniment that has a touch of a jazzy swing.
We know Clara for being a top-tier vocalist, but I think this song demonstrates that she is a smart and underrated lyricist as well. In the opening lines of Distract Me Baby, Clara explores romance as a form of escapism from the turmoil of the real world.
Cause whether I’m
Running and gunning and
Churning and burning and
Fighting to earn a living
The first verse is a beautiful piece of writing with its catchy alliteration and fast rhythm, getting the listener into the groove and capturing your attention from the get go.
It’s killing my soul and
It’s robbing my peace of mind
Oh, distract me baby
Slow down my life
On one hand, lying down in the arms of someone you love to distract yourself from life’s rat race is a comforting concept. But there’s a subtle undertone of using love to avoid confronting personal baggage hidden underneath the soft rhythm and hazy vocals.
From the opening guitar lick, spacious blues phrases cascade into brass breezes, and the arrangement envelops the listener in a warm, open soundstage. The saxophone and organ are tasteful additions to the instrumentation, and beautifully compliment the vocals.
While the song nods to the refined blues and sophisticated jazz of the ’50s and ’60s, Distract Me Baby is not retro to the point where it feels derivative. Clara’s originality still shines through, demonstrating the maturity she’s developed through years of touring and performing.
When you have such a lot going on, the production can often be challenging, but the melodic brass, organ swells, and uplifting vocals feel meticulously done without ever feeling overwrought. It’s polished, but still conveys Clara’s deeply soulful artistic vision.
With a debut album in the works and a string of high‑profile opening slots under her belt, Clara Rae is poised to carve a lasting niche in the music industry. If Distract Me Baby is any indication, her journey promises timeless substance and soulful innovation.
ONLINE:
https://www.clararaemusic.com/
https://www.facebook.com/ItsClaraRaeOfficial/
https://www.instagram.com/itsclararae
https://www.youtube.com/@itsclararaemusic
https://www.tiktok.com/@itsclararae
James Robert Webb Releases New Album
Let me start with a confession: I am not a country music fan. I don’t own boots. I’ve never shouted “yeehaw” unironically. My idea of twang involves indie folk bands with banjos and suspiciously clean flannel shirts. So when I queued up James Robert Webb’s Weekend Outlaw, I expected some decent songwriting, a few predictable chord progressions, and lyrics about trucks, whiskey, and heartbreak.
I got all of that. But I also got a hell of a good time.
Webb’s fourth album is something like a love letter to the people who work hard all week and refuse to let life pass them by. It’s big-hearted, rowdy, and a little messy in all the right ways — like a Friday night out with your best friends and a bar tab you definitely shouldn’t have opened. What surprised me most wasn’t the themes (which are pretty country 101), but the energy. This thing moves.
The opener, “Weekend Outlaw,” sets the tone perfectly. There’s a galloping rhythm, crunchy guitars, and lyrics that lean into the fantasy of breaking loose like Jesse James. It’s kind of absurd, kind of awesome, and undeniably catchy. Right away, I got why people love this stuff — it’s music designed for release, for letting go, for stomping your foot a little too hard on a hardwood floor.
https://www.youtube.com/watch?v=-DANrLj-yRo
Track two, “Gentlemen Start Your Weekends,” takes that same idea and blows it wide open. It’s all Friday night adrenaline, complete with a surprisingly natural guest verse from Nashville rapper Classic Williams. It’s the kind of crossover that shouldn’t work but does, mostly because Webb sounds like he’s having the time of his life. And frankly, I started to have some fun too.
What kept me engaged were the moments when the album pulled back. “Ride or Die” is more polished, almost pop-adjacent, with a chorus that wouldn’t be out of place in a Shania Twain setlist. “Lovesick Drifting Cowboy” is pure outlaw drama — all leather jackets, open roads, and emotional wreckage. I rolled my eyes at the title, then found myself mumbling the chorus two hours later.
But Weekend Outlaw isn’t just denim and dust. There’s actual tenderness here, too. “Buenos Noches Nagadoches” is low-lit and dreamlike, with lyrics that go down smoother than the whiskey it probably took to write them. “She’s Not You” is straight-up devastating. It tells the story of someone loved completely by one person while still haunted by someone else. It might be the best song on the album — and yes, I rewound it twice.
Will I become a full-time country convert? Probably not. But Weekend Outlaw showed me a version of the genre that isn’t just about clichés — it’s about freedom, joy, sadness, and living your life loud, even if only on the weekends.
Gwen Waggoner
The Dark Energy Arcade Present ‘The Dark Energy Arcade’ Album
Mitch Michelle and Rob Shinno kicked off their music careers in Detroit during the early 80s. The Dark Energy Arcade was a project envisioned all those years ago, but life got in the way and it was only in 2025 that the duo’s dream became a reality.
The Dark Energy Arcade is a self-titled 12-track debut album that fuses ‘80s pop-rock and disco music with modern EDM elements. This dazzling record takes listeners on a journey through heartbreak, memory, and neon-drenched dancefloors; all wrapped in a soundscape of shimmering synths and retro magic.
The album kicks off with “Love Torn,” an energetic track filled with soaring synths, electrifying guitar riffs, and a dreamy synth. The chaotic soundscape perfectly fits the theme of heartbreak to create a track that’s equal parts emotional gut-punch and electro banger. With its energy and mystique, Love Torn perfectly lays the groundwork for the rest of the album.
Further down the line, “Brand New Day” switches up the vibe by launching into an optimistic and sunny anthem. It’s almost as if the Beach Boys decided to experiment with New Wave and Synth-Pop. You get that feeling that this concept shouldn’t work, but Mitch and Rob pull it off convincingly and with style.
Midway through the album, things get more serious with “Lies.” This one’s darker and more grounded, with heavier guitars, a dirtier drum groove, and a vibe befitting a smoky nightclub late past midnight. The catchy dance beat hides an incredibly raw track where the emotion creeps up on you without notice.
As track after track unfolds, you wonder where The Dark Energy Arcade has been hiding all this time. And the thing is, they haven’t. Individually, Mitch and Rob are icons of American Indie music, and their expertise shines through in the impeccable production of this album.
The song that really stuck with me was “Separation,” with its haunting opening and offbeat percussive synths. There’s something beautiful about its distorted chords and gentle delivery. The theme of class consciousness hits hard in a way that only the best synth-pop songs do. It’s a slow burn that lingers long after it ends.
And finally, we arrive at the closer: “Secret.” This track feels more retro and leans heavily into the 80s vibe of the album. After a rollercoaster of experiments, Secret settles you into something more familiar; an easy tune to wind down to.
Each song on this album adds a new shade to the emotional spectrum, but what really impressed me was how cohesive it all felt. You can tell this was a project crafted with love and intention. Mitch and Rob may have parted ways for a few decades, but this album proves their creative chemistry never left.
ONLINE:
https://thedarkenergyarcade.bandcamp.com
https://www.facebook.com/thedarkenergyarcade
https://www.youtube.com/@TheDarkEnergyArcade
Kris Adams & Peter Perfido Release ‘Away’
This new release titled ‘Away’ is one for the ages! Jazz singer Kris Adams and drummer Peter Perfido join forces to pay tribute to the late guitarist/composer Michael O’Neil. The album features nine of O’Neil’s original compositions along with four other songs. There are also two compositions written by Paul Motian on ‘Away’. This record will capture your imagination and entice you with its magnetic tone.
The musicians on this album include Kris Adams on vocals, Peter Perfido on drums, Bob Degen on piano and André Buser on bass. Together, this talented quartet has created pure magic that will simply blow you ‘Away’! Kris Adams also produced the album and ‘Away’ was released on Jazzbird Records on May 1, 2025.
Right from the beginning, just press “Play” and witness musical elegance and delicate vocals hitting your ears. “Play” seems to float like a feather with its pleasant melody that will put your mind & body at ease. Next, prepare for one captivating voice and soothing sound on “Here”. Kris Adams and Peter Perfido are “Here” to stay! An enchanting melody hooks you in and puts a spell on you on the following track “Die Sehnsucht”. Pristine instrumentation along with excellent musical direction & orchestration can be heard on “Asia”. Get ready for a steady, calm flow that will sweep you away on “FM”. Next, a sweet, soul-stirring “Anthem” will satisfy your senses. An intriguing beat is detected on “I Remember Albert” that will move you and keep you on your toes. Track eight, “No Ordinary Girl”, speaks volumes musically & vocally from start to finish. I have to say that the next song is a true “Blessing” to listeners everywhere and is just beautifully done. Kris Adams, Peter Perfido and the rest of the quartet give a smooth and wonderful performance on “Etude”. It’s time to sail “Away” gracefully as Kris navigates these musical waters with such poise. Track 12, “Free One”, offers up a subdued feel that will have you in deep in thought thanks in part to its haunting melody. A warm “Summer Vacation” is ending this set and it’s inviting and comforting to say the least. You deserve to enjoy “Summer Vacation”, so just jump in because the water’s fine and nice & cool.
Kris Adams, Peter Perfido and the rest of the band should be very proud of their work on this latest project. ‘Away’ is a terrific tribute album and an excellent jazz record that will keep you engaged throughout. There are no dull moments from the first note to the last, Kris Adams and Peter Perfido deliver thoughtful music with ‘Away’.
https://krisadams.hearnow.com/
https://peterperfido.jimdofree.com/
https://www.youtube.com/watch?v=9hkTrimGfrE
By Jimmy Rae
Stephen Jacques Present ‘Dusty Danny’
I’ve always admired Stephen Jacques’ ability to turn a simple melody into a cinematic experience. With Dusty Danny, the newest single from his thirteenth studio album; Pioneers and Fragrant Flowers, Jacques proves once again that his music is as much about the journey as it is the sound.
Pioneers and Fragrant Flowers is all about the American frontier, and there was a certain type of character that thrived in that landscape. Today you’d call him a redneck, but 200 years ago, Dusty Danny was the quintessential American anti-hero: a bar-brawling, gun slinging icon who roamed the Wild West.
https://boxofmoxie.bandcamp.com/track/dusty-danny
The song kicks off with Stephen’s warm gravelly voice easing us into the narrative of the mysterious cowboy. Dusty Danny isn’t just a figure on horseback; he’s a myth in motion, caught between memory and mirage. Stephen masterfully spins a narrative of a dreaming, drifting cowboy that’s down to earth but dreams of the great blue skies.
Right out of the gates, Stephen impresses us with his clever songwriting. When he calls Dusty Danny a “whirlwind of a man”, it’s simple and efficient, but tells you everything you need to know about the titular character. Lyrics like “Danny was 80 proof” paint a picture that regular descriptions could never portray
Musically, Stephen Jacques blends classic Americana with alt-rock elements in a way that only he can. The acoustic rhythm section brings a gentle warmth, while the energetic electric guitar hook adds a kind of swagger befitting Dusty Danny. You can sense that every note was intentional, reflecting Stephen’s immense experience.
What stands out most here is how Stephen takes us through the landscapes of the wild west. From the mountains to prairies, we follow Dusty Danny, almost feeling the desert wind on our faces. There’s a sense of freedom here, but you can also sense a loneliness deep within.
Stephen’s production once again finds that perfect balance between rough-edged and refined. There’s no excessive audio engineering or auto tuning going on, staying authentic to the time it portrays. However, it’s still polished enough to sound great.
The great thing about Stephen’s work is that it doesn’t try to be a hit. It aims for something deeper: to make you feel. With Dusty Danny, he invites us into another chapter of his dusty, beautifully strange American songbook.
http://www.boxofmoxie.net
https://www.facebook.com/boxofmoxie.net
https://twitter.com/jacquesstephenr
https://www.instagram.com/stephenjacquesmusic/
https://soundcloud.com/stephen-jacques-429639698/tracks
Joe Wilkinson Presents ‘Fences’
LA-based singer-songwriter Joe Wilkinson is set to rock our world yet again with his latest LP “Fences.” As you load up Fences and the tracks go by, it almost feels as though Wilkinson is reaching back through decades of Americana. He creates a work of art that feels both familiar and warm, but is not quite like anything you’ve heard before.
Joe starts off strong with Travelin’ On, a light and upbeat rock anthem about the joy of travelling. This track evolves memories of driving down a deserted highway with the sun in your eyes and wind in your ears. By the time you get to that sweet guitar solo you know exactly who you’re with: a guy who knows how to rock.
01. Travelin’ On
02. Lost Until I’m Found
03. One Last Time
04. Fences
05. Accepting
06. Sometimes We Need Love
07. Understood
08. Most of the Time
09. It’s Too Late
10. Last Breath of Life
Produced by Steve Watson
Tracked at Watson House Studios
Joe Wilkinson – vocals and guitar
Leland Sklar – bass
John Ginty – keyboards
Fredo Ortiz – drums
Buck Reid – pedal steel guitar
Steve Watson – strings
But hold your high horses, because Travelin’ On is immediately followed by the emotional gut punch that is Lost Until I’m Found. With its synth interludes, strong bass, and subdued vocals, this track is reminiscent of 90s grunge acts like Pearl Jam. The ethereal lyrics and instrumentation prove that Joe has no intention of limiting himself to one genre.
The title track, “Fences,” is yet another emotional single that now ventures into soft country rock. Wilkinson’s lyricism balances separation and connection so deftly that it never tips into sentimentality. The piano is a tasteful addition to Fences, and contrasts delightfully with the soaring chorus, creating a song that feels truly timeless.
Later on in the album, “Most of the time” leans heavily into the country-blues sound with a stripped-down acoustic instrumentation relying primarily on drums, piano and guitar. This track is a sentimental ode to the joy and joy that travel brings.
The production work on this album shapes Fences into a space where every instrument and voice has its own air. Nothing feels crowded, and everything counts. His soulful guitar arrangements only underline the album’s emotional sincerity without ever overpowering it.
If you were looking for an album that ends on a high note, I have bad news for you. Last Breath of Life is by no means as depressing a track as its name suggests. It is a hopeful and beautiful ballad that closes Fences with a peaceful last breath, leaving you at ease, but craving for more.
This isn’t an album that aims to break molds—Fences is a quiet, steadfast reminder that simplicity, when skillfully done, becomes transcendent. Joe Wilkinson has spent years on the road and here, he emerges fully himself: a storyteller grounded in daily truths; a songwriter capable of weaving melancholy and brightness into something enduring.
ONLINE:
https://www.joewilkinsonmusic.net/
https://open.spotify.com/artist/5jpsEQoBgXvQ0kUlGL34cM
The Grab Brothers Band Present ‘That Kinda Girl’
The Grab Brothers Band, led by Larry and Marc Grab, made waves back in 2023 with their self-titled album that showcased the brothers’ incredible musicianship, songwriting, and unique “Retro for Today” style.
After starving us of new music for a couple of years, the brothers return with their latest single “That Kinda Girl,” featuring Jo Meager on lead vocals. This track is an ambitious change for the brothers, departing from their powerful guitar-backed vocals and venturing into bubblegum pop and pop-rock territory.
But true to their lyrical roots, the brothers write a song that is almost universally relatable. We all know that kind of girl that is too hot to handle, both in appearance and personality. The brothers capture this archetype perfectly right out of the gate with lines like;
“I stole your shirt/I ripped your pants
It’s on my body/I love to dance”
The instrumentation throughout the first half of the track remains relatively simple, with a catchy guitar beat and snare-driven percussion. It tells you that the track is made for you to dance along and enjoy, as opposed to being art music.
But this wouldn’t be a Grab Brothers song without a guitar solo, and that’s exactly what we get at the end of the second verse, with Larry and Marc’s powerful electric guitars crashing in and stealing the show.
Just like the track switches between rock and upbeat pop, the lyrics of “That kinda girl” do a stellar job of portraying the hot-and-cold nature of the kind of character they’re talking about.
Verses like,
“Soft to the touch
And as cold as ice
I’m the hottest of spice
Best taste in your life”
Really make you wonder if the brothers are speaking from experience as opposed to writing about a common experience. Their ability to blend dynamic instrumentation and simple lyrics to create a single that surpasses the sum of its parts is what keeps us coming back to the Grab Brothers’ discography.
With “That kinda girl,” the Grab Brothers make an explosive statement, signaling their return to writing new music and their willingness to experiment and explore new genres. We’ll be sure to keep an eye on this artist to see what other surprises they have in store for us.
https://www.grabbrothersband.com/
https://open.spotify.com/artist/2jZUiJuQYXzjJylMVfnNQ4
Blind Uncle Harry Presents ”l’II Never Be White Like You’
Indiana based indie-folk icon Blind Uncle Harry made an explosive statement earlier this May with his latest single, “I’ll Never Be White Like You.” This track is the sixth single from his upcoming album “Courage to Love,” and serves up a scathing indictment of the Donald Trump presidency and America’s current ruling class.
Delivered with Blind Uncle Harry’s signature blend of folk-rock and biting satire the track opens with a deceptively upbeat acoustic strum, subverting our expectations of the hard-hitting lyrics that will follow.
Lyrically, the song pulls no punches, hammering away at the exploitative nature of capitalism and American society. Lines like “Disease has such allure/When you know that you can sell the cure” and “I’ll always know that all this luxury/Exists because of such misery” expose the bitter reality hidden behind the American Dream, painting a picture that’s too terrifying to turn away from.
STREAMING ON BANDCAMP:
https://blinduncleharry.bandcamp.com/track/ill-never-be-white-like-you-single-may-2025
Recorded live @ Echo Park Studio for WTIU Public Television’s Local Live show.
Musically, the track is grounded in a stripped-down arrangement of just guitar, mandolin, and bass, highlighting the message in Blind Uncle Harry’s vocals above all else. The mandolin is a particularly tasteful touch, allowing for the creation of layered acoustic textures that propel the song forward with spirited strumming.
What makes “I’ll Never Be White Like You” stand out is its ability to blend humor with serious commentary. With lines like “You are mean and apoplectic/You’re so boring you’ve rendered me narcoleptic,” Harry doesn’t hesitate to take shots at Donald Trump, who he describes as “The worst American ever.”
The titular refrain “I’ll never be white like you / I will never be as red white and blue” serves as a catchy, yet confrontational, rallying cry against complacency and complicity. If nothing else, this single is astoundingly brave, as Blind Uncle Harry dedicates it to “the 77 million Christian Nationalist fascists- like Trump, equal parts mean and stupid- who voted for him”
“I’ll Never Be White Like You” stands as a testament to Blind Uncle Harry’s fearless authenticity and his commitment to using music as a vehicle for social critique. It’s a track that challenges listeners to reflect on uncomfortable realities, all while delivering a melody that lingers long after the song ends.
ONLINE:
https://blinduncleharry.com/
https://blinduncleharry.bandcamp.com/
https://www.facebook.com/BlindUncleHarry/
https://open.spotify.com/artist/4aBHS5ngRpjlH0GHxgDnrc
Ron Rieder with ‘Día Precioso’
Fresh off his debut release titled Latin ‘Jazz Sessions’, Ron Rieder is heating things up with the new album ‘Día Precioso!’. If you enjoy danceable rhythms and fun energy, then you will love the new record! ‘Día Precioso!’ includes rich music that ranges from sambas and mambos to tango and Afro-Cuban jazz. Ron Rieder will rejuvenate your soul with ‘Día Precioso’!
All eight compositions on the new record are written by Ron Rieder along with arranging two tracks. Ricardo Monzon handled musical arrangements for this album and was released on May 15, 2025. Ron Rieder brought in a talented lineup of musicians from the Boston area to help bring ‘Día Precioso’ to life. The album features: Fernando Brandao on Flute, Queralt Girant on Cello (8), David Harris on Trombone, Greg Hopkins on Trumpet (2,7), Fernando Huergo on Bass, Alain Mallet on Piano, Ricardo Monzon on Percussion, Yaure Muniz on Trumpet (1,3,4,5,6), Claudio Ragazzi on Guitar (7, 8), Alex Roitman on Bandoneon (8), Mike Tucker on Tenor Saxophone and Mark Walker on Drums. Ron Rieder has created original material that will delight audiences everywhere!
Right from the start, Ron and his team of skilled instrumentalists welcome you to Flavor Town on “Blue Skies”. An infectious groove instantly hits your ears on “Blue Skies” as this song will sail its way into your memory bank. Get ready for a classy touch mixed with an easy breezy flow on “Beautiful Day” as smooth solos fill the room. It’s time to get up and dance to “I Fell Into a Meme” where a fun-filled atmosphere paves the way for one high energy set. A colorful melody can be heard on the following number, “Dizzy Hechizo” where each player appears to be locked in and laser focused. Ron Rieder invites us all to celebrate good times & good tunes on “Birthday Song” where a musical party is being held. Track six, “Danca Festiva”, is a festival of vibrant sounds surrounding you where the listener will be inclined to move, shake or shimmy in some form or fashion. Next, just let loose and enjoy this “Funday” that will leave you feeling really good. Ron Rieder & company are going out on an elegant note on the closer, “Valver a Amar” where a cheery spirit is also detected.
This new album is shining bright and Ron Rieder and his team should be very proud of their efforts on this project. ‘Día Precioso!’ will make you smile and you will feel it in your bones with each passing beat & note. Ron Rieder delivers the goods with ‘Día Precioso!’, so brace yourself for a steady flow of enjoyment!
https://ronriedermusic.com
Bandcamp Link: https://ronrieder.bandcamp.com/album/dia-precioso-2
YouTube Video – https://youtu.be/fNg4-kjIzHw
By Jimmy Rae
Rob Eberle Presents “LYING WITH THE ENEMY”
Long Island’s up-and-coming pop-rock sensation Rob Eberle makes waves with his latest single, “Lying with the Enemy.” Diving headfirst into the wreckage of a toxic relationship, this track doesn’t just flirt with emotions—it absolutely tears into the discarded lover with melodic ferocity.
Already known for blending cinematic soundscapes with confessional songwriting, Eberle has pushed his artistry even further with this dark-pop anthem. The result is a raw, layered piece that sticks with you long after the last note fades.
https://untitled.stream/library/track/m3uQ7ChHyreGBxJyVVRAF
https://sparta.ffm.to/lyingwiththeenemy
The lyrics on this track are intentionally straightforward, focusing on simple storytelling instead of fancy wordplay. Eberle sets the scene with the opening verses;
You call me up after a month
Just to check in on me
Don’t like me calling on your bluff
But it’s easy to see
That you just need a favor
Think I’m too nice
Saving me for later
Like I’m some vice
If you’ve ever been in an abusive relationship, you know the drill goes exactly like this, and Eberle capitalizes on this opportunity to relate to his audience. His experience as a producer really shines through on the transitions from verse to chorus as we see him masterfully toning up the instrumentation to build up the energy.
If you came over
Oh, you’d be sleeping next to me
After we broke it all off
You want the best of me?
Coming from miles away
To take my energy
Think I’m good on
Lying with the enemy
Despite the subject of toxic relationships being characteristic of 2000s pop-rock Eberle still manages to improve upon the concept by labelling his abusive lover as “the enemy”. With its synths, electric guitars and bass blending together into a crescendo, this infectious chorus makes Lying with the Enemy an instant hit.
The remaining verses weave in sharp emotional contrasts: “I miss the way you feel/but this don’t feel right,” “I don’t want to lie/But there’s something about you/Keeps me up at night,” he sings, juxtaposing fleeting passion with inevitable collapse. The production supports this duality, being minimal in places and chaotic in others.
Every sound feels intentional, echoing the conflict between heart and mind.
In Lying with the Enemy, Rob Eberle doesn’t just tell a story—he makes you feel every beat of it. He channels deeply personal pain to illuminate universal truths: the masks we wear in relationships, the lies we tell ourselves, and the price of staying when we should have run.
Pop-Rock Rebellion with a Heartbeat of Youthful Longing
EJ’s latest single, “Fancy Car,” tears down the boulevard of modern pop-rock with its engine roaring, a youthful cry of love, rejection, and desperation burning in its exhaust. Set to drop May 23 as part of The Storm, the second chapter in his conceptual trilogy, the Orlando-based singer-songwriter delivers an infectious, emotionally charged anthem that captures the anxiety of not feeling good enough in a world obsessed with appearances.
The track opens with a lyrical gut-punch:
“All of my life / I’ve been waiting / all alone like a loaded gun.”
It’s a vivid start, full of tension and yearning, setting the stage for a story of heartbreak wrapped in adrenaline. There’s an urgency that pulses throughout the song, reinforced by a driving beat and sharp guitar licks that pull heavily from ’80s rock tradition — think John Hughes-era teen angst with a modern production polish. The result is a track that feels both nostalgic and current, a radio-ready catharsis for a generation raised on contradictions.
At its heart, “Fancy Car” is a love song filtered through insecurity and disillusionment. The chorus — catchy enough to echo in your head for days — hints at fantasy as both escape and illusion:
“Oh maybe she’ll want me / if we steal a fancy car / and maybe she’ll love me / if I give her everything that she wants.”
https://open.spotify.com/track/4cQPmBMQ1Cs10RJtWSmck5
EJ’s lyrics hit a nerve, portraying a love that feels transactional and fragile, wrapped in consumerist longing and self-erasure. There’s a resigned sadness when he sings,
“I’m a zombie and I’m waiting downstairs,”
conjuring the image of a man who’s lost himself entirely in the pursuit of someone else’s affection.
It’s this emotional vulnerability that gives the song its power — but let’s not overlook the musicianship. The guitar solo, a soaring, electrifying burst of fretwork glory, feels like a love letter to the glam and grit of the 1980s. It’s not just a solo; it’s a statement — EJ reminding us that rock and roll isn’t dead, it’s just evolving.
As the second single from The Storm, “Fancy Car” acts as a thematic cornerstone for EJ’s evolving trilogy, which began with 2023’s The Fantasy and will culminate in the upcoming full-length The Aftermath. The narrative arc across these releases traces the collision of idealism and reality — a reflection of EJ’s own journey through heartbreak, mental health struggles, and the pressures of living up to curated expectations.
EJ, who got his start playing the Whisky A Go Go at 14 alongside Guns N’ Roses keyboardist Dizzy Reed, has come a long way from his early recordings at the legendary Studio 606. But the heart of that teenager still beats under the gloss: emotional, raw, and chasing meaning in a chaotic world.
“Fancy Car” is more than just a single — it’s a snapshot of a soul searching for authenticity in a world of façades. And as EJ hurtles through empty streets calling out a lover’s name, you can’t help but root for him — loud, haunted, and heartbreakingly human.
Gwen Waggoner
