REBEKAH SNYDER Presents “THE FIDDLE PLAYER STAYS”
Rebekah Snyder delivers a delightful piece of country songwriting with her latest single, “The Fiddle Player Stays.” Built from a real night at a local bar, Snyder turns a small, mischievous moment into a quietly winning example of contemporary Americana. The perfectly framed anecdote and short story with a clear narrative is a reminder of the tiny human stakes that make country songwriting special.
Snyder’s lyricism here is economical and literal in the best way. Rather than piling on metaphors, she lets the incident stand as both plot and emblem. The verses read like a short scene: barroom lighting, a borrowed bow, the hum of an audience, and then the awkward claim of ownership the next morning.
That specificity is what gives the song its life, and Snyder’s narrative voice sits somewhere between amused and defiant. She’s telling the story to the listener with a smile, but the lyrics excel in tone control. Snyder balances humor and a small, genuine edge, reading like both a punchline and a polite provocation.
Musically the single favors classic country textures: prominent acoustic guitar, tight rhythmic support, and a fiddle that functions as the song’s narrative instrument as much as its melodic one. Producer Dean Miller’s Nashville touch keeps the arrangement uncluttered, and the recording deliberately resists contemporary overproduction.
True to the title, Snyder lets the fiddle cut through with a raw, charismatic sawing that often steps in to comment on the lyrics rather than merely decorate them. It’s an interesting stylistic choice, as the instrument that’s at the story’s center also becomes the emotional core of the track.
Snyder’s vocal performance here is solid as usual, demonstrating control and character over acrobatics. While Rebekah doesn’t demonstrate her full vocal range on this single, her presence is still commanding, as she leans into a classic delivery that favors storytelling clarity and emotional honesty over vocal showiness.
The Fiddle Player Stays is a confident, well-crafted slice of modern country storytelling, proving just how potent specificity can be. A single real-world incident becomes the bedrock for a tune that is witty, rooted, and musically satisfying. For listeners following Snyder’s arc from “America” to her recent releases, this single shows an artist growing more assured in how she tells her stories; letting lived experience supply both the material and the moral.
https://www.instagram.com/rebekahsnyderofficial/
Distance Major Present “With You”
New Jersey-based composer Michael Keane broadens his horizons even further with his latest alias: “Distance Major,” an instrumental project that incorporates elements of prog rock and smooth jazz.
Distance Major’s debut single, “With You,” is a deceptively simple yet emotionally rich instrumental track that underscores Keane’s strength as a melodic storyteller. Released as part of the project’s self-titled debut album, the song is concise, structured, and imbued with a cinematic sensibility that reflects Keane’s broader artistic ambitions.
https://distancemajor.bandcamp.com/track/with-you-single
The arrangement of With You is elegant and restrained. It opens with a subtle pulse of bass and gentle percussive elements that establish a soft foundation, The heart of the track soon follows with the melodic lines, primarily a repeating synth motif, which serves as both “verse” and “chorus” in a traditional pop sense.
Midway through With You, the electric guitars kick in, adding distortion in the accompaniment along with solos full of character. Layers of ambient pads and light harmonic flourishes are built around the synth motif, rising and receding in waves. This approach creates a sense of movement, evolving through layering and subtle dynamic shifts instead of building up to a drop.
What makes the arrangement particularly effective is its production. The mix balances minimalism and richness with enough sonic detail to reward repeated listens. The reverb tails are long, and the stereo field is used thoughtfully, but Distance Major doesn’t overcrowd the mix as the clarity of the lead melody remains assured throughout.
From earlier work rooted in drifting ambient structures, Keane is drawing on song form more explicitly, but without sacrificing the atmospheric and cinematic qualities that defined his previous output. With You illustrates this maturation by delivering a distilled, refined expression of what Distance Major is.
This single is not a showpiece for flash or complexity, but rather a statement of purpose: that Keane can communicate deeply with restraint while creating music that feels cinematic, sincere, and thoughtfully composed. For listeners who appreciate instrumental music with heart, With You delivers.
https://www.instagram.com/lifesciencerecords/
X-CALADE PROMOTIONZ Presents ‘WAR HEADPHONES INSTRUMENTALS’
With “War Headphones Instrumentals,” X-Calade Promotionz, helmed by Queens-based producer Pete Atkinson, returns with another installment in his steadily expanding catalog of raw, street-hardened beat tapes. The album delivers 24 new instrumentals, continuing Atkinson’s tradition of prolific, underground-focused hip-hop craftsmanship while maintaining an unmistakably East Coast aesthetic.
Atkinson has long carved out his niche with an output that rarely pauses, with recent releases like XP Raw Format Instrumentals (2025), Wardrobe Instrumentals (2024), and Be Scared Instrumentals (2024). He’s a producer deeply committed to consistency and volume, and Atkinson once again uses this release to refine the gritty sonic identity that has defined X-Calade Promotionz for over a decade.
$5 Digital D/L for the WAR HEADPHONES INSTRUMENTALS by X-CALADE PROMOTIONZ
As with his previous beat tapes, War Headphones Instrumentals leans on the foundational elements of instrumental hip-hop. Thick, dusty drums; chopped and reassembled samples; and short, looping melodic phrases that shift mood with subtle adjustments. Atkinson’s production thrives in minimalism, and his tracks rarely overreach. They focus on the essentials: rhythm, attitude, and atmosphere.
What sets X-Calade Promotionz apart is the refusal to smooth out his edges for broader audiences. The production remains unapologetically rough, sample-driven, and firmly rooted in the DNA of NYC hip-hop. If many modern instrumental albums trend toward glossy lo-fi ambience, Atkinson counters with something far more immediate: beats that feel like they belong in cyphers, rap battles, or night sessions in a cramped Queens home studio.
Though the album offers 24 tracks, several stand out both for their titles and their texture, with “Heart Start War Stop” opening the album with a title as confrontational as the beat itself. One of the darker tracks on the album, “Chronic Pain” leans into dissonance and atmosphere. “Sneak Speakers” ends things on an energetic note as layered percussion and a fast-shifting rhythm give it a sense of motion, almost as if the track refuses to end quietly.
War Headphones Instrumentals is another strong entry in X-Calade Promotionz’s extensive catalog. It won’t convert listeners who prefer smoother, more melodic instrumental hip-hop, but it isn’t trying to. Instead, it doubles down on everything longtime fans appreciate: raw breakbeats, an uncompromising attitude, and a producer unafraid of sonic grit.
Website / Socials (3 MAX):
http://www.X-CaladePromotionz.com
http://www.X.com/TheRealFabp
Margee Minier-Tubbs & Premik Russell Tubbs Presents “The Bells (Christmas CD Single)”
Christmas songs aren’t typically known for being innovative or experimental, but that wouldn’t stop the dynamic husband-wife duo of Margee Minier-Tubbs & Premik Russell Tubbs. Their latest single, “The Bells” arrives as a warm, slightly eccentric holiday single that trades standard Christmas pop for a jazz-forward production.
Clocking in at close to seven minutes long, this track feels more like a short suite than a radio carol and draws inspiration from an Edgar Allan Poe poem of the same name. Naturally, Poe’s work was darker and drearier, requiring some work on the lyrics and arrangement to give it a more festive feel.
The vocals are much closer to spoken-word poetry than song, and features Patrick Carmichael, together with Margee. Rather than a conventional Christmas narrative, this single leans into more evocative, poetic imagery that reads like a meditation on memory and ritual.
https://margeeminier-tubbs.bandcamp.com/track/the-bells-2
The instruments carry most of the emotional weight between lines with Premik framing the piece with the kind of multi-textured instrumentation he’s known for. Flutes and sax weave in and out, underpinned by shimmering piano and a rhythm section that favors color over rigid groove. The arrangement feels deliberate, textural, and designed to be experienced rather than skimmed.
The production on this single favors space and detail as the mix gives air to woodwinds and violin while keeping the percussion tactile. The vocalists are placed in a warm, close-up position, making it all the more rewarding to listen to the quiet, sparse verses bloom into fuller instrumental choruses.
The Bells is a tasteful, grown-up holiday piece that prioritizes atmosphere, musicianship, and poetry over instant pop gratification. If you enjoy holiday music with a jazz-fusion edge, coupled with literate lyrics and a willingness to let a song breathe, this single is sure to land well.
SVMMI Presents Debut EP ‘Almost Forever’
Rising pop sensation SVMMI marks a turning point in her musical career with the release of her latest EP, “Almost Forever.” While she had previously found success with hit singles such as “Rose with Thorns” and “Secret,” this EP is her first effort at releasing a thematically linked collection that weaves cinematic pop with country-tinged storytelling.
This compact three-song release stands out for being grounded in emotional intimacy, with the result being a purposeful departure from earlier high-energy or genre-flexing efforts. At its core, Almost Forever is a meditation on love’s fragility, and explores a rich emotional landscape of vulnerability, longing, and regret.
https://distrokid.com/hyperfollow/svmmi/almost-forever-2
The album begins with the hopeful “I knew,” a testament to instant connection and comfort. This leads into the more uncertain “What if?”, which explores the sense of trepidation and fear that comes with new relationships. The chapter closes with the title track “Almost Forever,” which brings a sense of wistful resolve to deal with the inevitable sense of regret that comes at the end of any love story.
– https://skopemag.com/2025/10/29/svmmi-delivers-heart-and-honesty-on-debut-ep-almost-forever
While SVMMI’s earlier output veered into polished pop and even dance/EDM territory, Almost Forever re-orients towards country-influenced songwriting. The polished pop arrangements mark her evolution as a young artist working to carve out a niche for herself.
Given the intimate themes, the arrangements on this EP lean towards being mid-tempo and reflective. The instrumentation incorporates acoustic touches and string sections to add cinematic depth. SVMMI’s performance takes the foreground as her voice carries the emotional weight, and the production supports rather than competes with it.
Almost Forever is a strong beginning for SVMMI as she stakes a claim in the more emotionally grounded pop-country space. Its strengths lie in its sincerity, focused production, and genre-blend that supports the message rather than overshadowing it. For listeners wanting pop songwriting with depth and heart, this EP hits its mark.
https://www.instagram.com/svmmiofficial/
Order of Silence Present ‘Solemn Monday’
Reunited after last performing in the 1980s, bandmates Graham Perry and Brad Cole bring their musical project Order of Silence to life with their latest single: “Solemn Monday”. Following up on their earlier single, “Matter of a Fact,” this record is a showcase of the duo’s emerging musical brand.
From the opening, the track strikes a deliberately unhurried tone. The instrumentation is clean and uncluttered with guitars taking most of the space and the rhythm section staying in the background, lending momentum without overpowering.
The lyrics deal with the classic themes of lost love, reflection, and memory. Perry’s vocals are conversational and intimate, perfectly fitting the mood. From the vocals to the lyrics and accompaniment, the entire song has a retro pop-rock feel, almost reminiscent of classic 60s pop.
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The production on this track is best described as mature and sensible, with Cole’s sound engineering clearly favoring clarity over flair. The vocals are placed front and center to drive forward the narrative and the effects applied, if any, are barely noticeable.
What really stands out in this track is the emotional restraint. Rather than climaxing into a soaring instrumental solo or dramatic vocals, Order of Silence trusts the subtlety of the moment. Some listeners may find it modest, but it’s the kind of performance that draws you in quietly, inviting introspection.
Overall, Solemn Monday is a gently impressive song. It doesn’t reinvent anything, but it doesn’t need to. It creates atmosphere, conveys emotion, and rides a fine line between melancholy and hope. If you’re willing to lean in rather than turn the volume up, this one’s a rewarding listen.
ONLINE:
https://orderofsilence.bandcamp.com/
https://www.facebook.com/GrahamPerryandtheAfterthoughts/
Steve Tintweiss And The Purple Why Present “Live In Tompkins Square Park 1967”
Reissues and remasters of classic jazz records have seen a resurgence in recent years, but the arrival of a previously unheard live recording from the first wave of avant-garde jazz feels almost miraculous. Live in Tompkins Square Park 1967 is just such a find; a long-buried snapshot of a musical moment when New York’s parks and lofts reverberated with restless invention.
For bassist, composer, and bandleader Steve Tintweiss, this document is not merely a nostalgic artifact. It is an assertion of his ensemble, The Purple Why, as one of the unsung forces of that creative ferment.
Tintweiss founded The Purple Why in 1967 after his stints as a sideman for the trailblazing ESP-Disk’ label. He would go on to play with Albert Ayler in what would become the saxophonist’s final musical statement. Yet, Tompkins Square Park 1967 represents the very genesis of Tintweiss’s vision; a group pushing the language of free jazz beyond the club and into the open air, both literally and spiritually.
The performance, unearthed from Tintweiss’s personal archive, captures a summer concert at Tompkins Square Park with all the energy of the audience present to see it.
The laughter, shouts, and chatter bleed into the music, producing an atmosphere of communal energy rather than distraction.
That rough-edged soundscape shines on the opening tracks, “Water” and “Land,” as the musicians navigate Tintweiss’s angular compositions with fearless commitment.
While “free jazz” is often shorthand for unbridled chaos, this record features a more nuanced interplay between structure and freedom as heard in later tracks such as “To Angel With Love,” and “Ramona, I Love You.”
Sonically, this is far from a perfected studio effort. The outdoor acoustics and amateur recording setup often drown out subtler and more delicate textures of the horns. Yet, this imbalance becomes part of the record’s documentary power: it sounds real and unfiltered on every track.
Live in Tompkins Square Park 1967 is not an album for casual listening. It’s a sonic time capsule, demanding engagement and historical empathy. For those attuned to the energies of 1960s New York avant-garde, this release is essential.
Jack Nolan Presents ‘The Lonely Petunia’
Australian singer-songwriter Jack Nolan makes yet another statement in his prolific run of new releases with “The Lonely Petunia,” a quietly stunning record that reaffirms his mastery of subtle storytelling and understated emotion. Known for crafting songs with an almost hypnotic atmosphere, Nolan strips back the production with his latest work to create acoustic soundscapes that feel personal, reflective, and beautifully unhurried.
From the opening chords, Nolan signals a move away from the fuller, band-oriented textures of his previous releases. Here, his voice and guitar take the spotlight, with light touches of piano, string flourishes, and resonator slide woven tastefully into the mix.
“Extraordinary” stands out early on in the album with the gentle interplay between guitar, string and piano. Nolan’s expressive vocals take the spotlight, but the strings step in to add intensity and back off to create space for the keys in more reflective passages. It’s a beautiful composition that draws you in for the long haul.
Musically, The Lonely Petunia sits comfortably in the lineage of Americana-inspired Australian folk. This is reflected especially well on “You’ve changed,” a guitar-driven track that blends in country elements. With its biting lyrics and heavy theme, the track fits in perfectly with the genre, reflecting the amount of thought that went into curating the album.
It closes out with “Fading fast,” which is a masterclass in restraining arrangements to give the vocals room to breathe. The violin interludes are great in their own right, but the real highlight is Nolan’s delivery that ambles and soars as the story demands. This track preserves the record’s characteristic sound: warm, slightly weathered, and full of quiet confidence.
Produced between Sydney and Nashville, The Lonely Petunia feels like the culmination of Nolan’s decades-long journey through the Australian roots scene. The audio engineering is handled with subtlety and never overshadows the lyricism. The guitars are clear but never sharp, and the vocals are mixed upfront, giving the impression of a performance in your living room.
While The Lonely Petunia may feel understated, its restraint is precisely what gives it depth. There are no unnecessary flourishes here; just craft, clarity, and conviction. It’s an invitation to slow down and rediscover the art of quiet storytelling in song.
The Sheyana Band Present ‘All The Best’
Tasmania’s Sheyana Band have always worn their musical influences on their sleeve: blues, soul, country and rock are blended into songs that feel lived-in rather than assembled. “All The Best,” released in mid-October 2025, arrives as a career-shorthand: a compilation that stitches three new studio tracks into a selection of fan favourites from Big Love and the Ricochet EP. For listeners curious where the band sits today, it’s an eminently generous primer.
The record kicks off with “Forth Valley Blues”, an opening that sets the tone with its raw, raucous and unapologetically electric delivery. The track places Sheyana squarely in the experimental side of the blues with its funk, rock and electric influences. It’s a statement that immediately signals authenticity, and that’s the album’s strength: it sounds like a band who live and breathe this music, not one chasing a trend.
“Remarkable Man” is an energetic re-recording of their hit from the Ricochet EP, and arrives like an adrenaline rush rather than a heavy impact. The electrifying guitar lines and propulsive drums frame the storytelling wonderfully, allowing Sheyana’s powerful delivery to shine even brighter.
Their hit track from the Big Love album, “Soul Sister,” is also featured in the collection, and marks a point where the album softens into seduction and warmth. It’s a reminder of Sheyana’s range: the band can swing from grit to soulful blues and make both feel wholly natural.
As a compilation, All The Best balances the rough-hewn energy of live-band playing with studio polish. The sequencing privileges momentum, but eases through soulful mid-tempo numbers. That arc helps the record avoid a common pitfall of “greatest hits” collections and presents itself as a coherent album of its own.
All The Best works on two levels: as an accessible entry point for newcomers, and as a modest reward for fans. It isn’t a radical reinvention, but it consolidates the Sheyana Band’s strengths: expressive vocals, muscular roots instrumentation, and an authentic blues/soul sensibility.
Circus Mind Present “Melt Away” With Guest Guitarist Scott Metzger
Circus Mind makes a powerful statement with their latest single, “Melt Away,” an energetic track that starts out steady and swells into a relentless sonic delivery. With its evocative writing and texturally varied instrumentation, this is one of those songs that grabs your attention and refuses to let go until the very end.
The lyrics on this track almost venture into psychedelic territory, tackling themes of climate dread and personal dissolution through a message to the Earth with the opening lines “Dear Gaia, can you make it rain?”. It draws on images of humanity meeting the fate of the dinosaurs and mountains meeting the sea to paint an apocalyptic picture.
The message of Melt Away is delivered by arranging the track as a gradual escalation. The single starts out with a focus on the vocals, but the drums and guitars kick in soon enough to give it a more powerful hard-rock sound. But this too changes into a more electronic, synth-driven movement before Metzger comes on board with an incredible guitar solo that encapsulates the chaos that the lyrics depict.
What stands out on this track is how well every segment is arranged. Despite having five distinct sections in just over four minutes, nothing ever feels out of place, reminding you that the members of Circus Mind are seasoned performers who know how to craft a record.
Unsurprisingly, the production on this track is top-notch, with the mix favoring clarity for the rhythm section and keys, while the guitar sits slightly forward when it needs to. The drums are punchy without sounding overengineered, and the reverb and distortion are done just right whenever they’re used.
Melt Away is an effective evolution for Circus Mind, an evocative, cinematic mood while retaining that experimental spirit that they’re known for. The standout guitar cameo from Scott Metzger is a tasteful addition, and this track is a rewarding listen for fans who like their indie rock with texture and narrative heft.
https://www.circusmindband.com/
https://www.instagram.com/circusmindband/
Miguel Kertsman Releases ‘Paradoxes’
Miguel Kertsman is a multitalented Brazilian-American musician and an accomplished composer, producer, engineer and arranger. Miguel has incorporated many different styles and genres throughout his music career including contemporary classical, jazz, rock and world music. On his latest release, ‘Paradoxes’, Kertsman has decided to dive into progressive rock and tackle a style of music that inspired him as a young man. Fans of YES, Emerson Lake & Palmer, Pink Floyd and Patrick Moraz will truly appreciate what Miguel Kertsman has created here on the new album.
‘Paradoxes’ is a concept album whose parts are all played live-in-the-space on original vintage instruments, along with drums, bass, guitars, and vocals, captured through only a few microphones. This unique approach to music production makes this record extra special and definitely stands out. Going back in time to the classic Prog rock records and art rock concepts, Miguel Kertsman looks to capture some of that magic again with his own twist on ‘Paradoxes’.
Miguel can be heard playing piano, harpsichord, pipe organ, vintage analog keyboards & synthesizers and handled vocals on two tracks. The album also features Drew Sarich & Loren (Saiphe) Kertsman on vocals, Titus Vadon, Matheus Jardim and Michael Schatzmann on drums, Stefan Bernheimer on guitars and Helmut Schartlmüller on bass. Right out of the gates on “Enclosed Pathways”, a suspenseful and scary start leads into an explosion of sound that will blow your mind. A slow ‘n’ steady tempo, nice work on the keys and fascinating dynamics can be heard on the following composition titled “Postlude, Letting Go”. Track three, “Still Currents”, provides a lively burst of energy that combines with an intriguing world of wonder. The mysterious tone keeps you guessing from beginning to end on “Still Currents”. A bit of mystique hits the listener on “Red Blue Sky” where Miguel delivers a spellbinding performance. With so much depth and superb direction, “Jubilant Anxiety” hits on all the right notes and makes for one profound experience. Miguel Kertsman delivers a bold performance on “Fanfare in Quietude” as this one really POPS from start to finish. Miguel is diving deep into the “Atemporal Ocean” where one will enter the chill zone and hear atmospheric music for the ages. Welcome to the wonderful world of “Postlude, Waterverse” where dreams become reality. The listener will receive pure finesse on “Then Is Now” and then you will gather all of your thoughts and contemplate the rich notes on “Postlude, Nostalgic Future”. Track 12, “i-Clock”, is intuitive & entertaining where time is ticking away but the maestro is in full control. Miguel has a burning desire to create true art through progressive-minded music and this is highly evident by the end of the record on “Liquid Fire Single Radio Edit”.
Miguel Kertsman is not afraid to push musical boundaries and he proves this on ‘Paradoxes’. Miguel gives you Prog Rock for the new age and his creativity on the new album is off the charts. Come ONE, come ALL and enter the realm of ‘Paradoxes’ and allow Miguel Kertsman to be your musical guide for this journey.
By Jimmy Rae
Larry Douglas Releases ‘Music Speaks For Me’ [Deluxe]
This new EP is a melting pot of infused styles as Larry Douglas is animate about the concept of “sound painting”. With elements of jazz, R&B, old-school and new-school hip-hip, ‘Music Speaks For Me’ is like a musical buffet. Listeners can select what they like with a wide selection of tasty tracks to choose from. Larry Douglas will excite your ears with music that doesn’t just speak for him, but for many souls out there.
The record includes Larry Douglas on trumpet, muted trumpet, vibes and flute, LaDamon Douglas on synthesizer, piano, Rhodes, drum programming and scratches, Clifford Lamb on piano, Prentice Spry on piano, Essiet Essiet on bass, Garret Douglas on bass and Jorge Pineda on congos, bongos and clave. With so many different instruments and elements being played upon, ‘Music Speaks For Me’ makes for one fulfilling listen. Music Speaks For Me’ definitely has something for everyone.
The EP kicks off with the title track, “Music Speaks For Me (Feat. Gregory Cone)”, and a smooth-as-ice flow hits your eardrums immediately. With a tight beat in place on “Music Speaks For Me”, you will sway to the left and sway to the right the whole time. Next, we hear an original take on a classic R&B hit as Larry Douglas puts his own spin on “Return of the Mack (Feat. Amen Kush & Jorge Pineda)”. This version of “Return of the Mack” is instrumentally on point with a very distinct and unique approach by Larry Douglas. There is plenty of flavor for everyone on “Return of the Mack” with a bangin’ beat to boot. Track three, “Me and My Cohiba (Feat. Rem Dog)”, has a slick rhythm and catchy hook that will attract many listeners. “Me and My Cohiba” is rhymin’ and stylin’ at its finest! The next song is “Outstanding” and a real attention-grabber that musically & vocally shines. Track five, “They Call Her Zadie Mae (Feat. Clifford Lamb)”, is simply jazzy goodness that is nice ‘n’ mellow. “They Call Her Zadie Mae” has a relaxing vibe overall that will put you at ease. Larry Douglas is going out with a bang and displaying pure class on “All I Am”. Some stellar playing can be heard on “All I Am” to the sound of a classic, golden melody.
Larry Douglas knows how to merge genres and elements in a way that works perfectly and comes across as a winning combination. Larry keeps it all fresh on the new record and he isn’t afraid to take chances musically. Music is the universal language and ‘Music Speaks For Me’ will connect with many people out there.
https://www.facebook.com/ladamon.douglas
https://www.instagram.com/thefatboi_/
By Jimmy Rae
Major Spark with ‘Walk Among The Poppies’
Major Spark is a talented duo based in Boston and the energy is off the charts on the new release, ‘Walk Among The Poppies’. Major Spark has that likability factor with catchy hooks and positive themes. ‘Walk Among The Poppies’ will electrify your senses and get you excited as you listen to the 10-track album.
Major Spark was formed by longtime friends and musical partners Mark Goodman and Brian Charles. Mark is well-versed in the indie/underground music scene while Brian is also an accomplished producer, engineer and songwriter. Together, the dynamic duo has created music that can be appreciated by many on ‘Walk Among The Poppies’. This new record will majorly spark your interests and keep you entertained from start to finish!
As soon as you hit play, you will step into “The Other Side” where edgy vocals collide with rockin’ chords to make up one solid jam. Next, Major Spark is locked & loaded with one catchy melody on “Be My Key” and this song also features Miranda Serra. Track three, “I’ll Make It Up To You”, offers up infectious energy where the listener will be very much invested throughout the entire recording. You will receive a distinct tone that stands out in a crowd on the following number, “Strawberry Road”. Get ready for some cool, country swag that collides with a little rocky top pop on “Take It Too Far”. The title track is up now and “Walk Among The Poppies” is musically rich with interesting dynamics that truly work and keep you engaged. It’s time to head to the “Mountains” and enter the hangout zone where you get a real gritty texture and a solid performance. Track eight, “Back In Time”, provides a happy-go-lucky vibe where this composition appears to be heading in the right direction. Prepare for the “Perfect Star” where a sparkling hook and fan-friendly sound will draw you in. Major Spark proves to shine through and shine on as “Perfect Star” spins round ‘n’ round. The closing song, “Birds Aren’t Real”, supplies lyrics that will rattle your senses and have you question everything high & low.
Major Spark has original material that will catch on with the masses due to upbeat tempos and effective melodies. With hopeful messages and a super cool style, ‘Walk Among The Poppies’ is a major success already in my book. Give Major Spark a shot and allow yourself to ‘Walk Among The Poppies’ for one adventurous listen!
https://www.majorsparkmusic.com/
https://www.instagram.com/majorsparkmusic/
By Jimmy Rae
Camille K Presents “Let’s Face It”
Camille K’s “Let’s Face It” is a quietly confident pop single that wears vulnerability like a style choice. Intimate and carefully produced, the song finds her balancing warm songwriting instincts with contemporary pop-production touches, delivering a playlist-friendly mood that leans toward R&B-tinged pop.
Lyrically the track centers on confronting fear and opening up as small, specific images of hesitation give way to a greater message about taking chances. Camille writes from the front lines of emotion with the words feeling conversational and confessional, which helps the song feel more relatable rather than theatrical.
The arrangement is uncluttered and deliberately paced with soft guitars and subtle melodic lines creating a warm bed for the vocals. Restrained programmed drums and atmospheric touches let the moments of intensity breathe rather than compete.
Camille’s voice is the emotional anchor, as she delivers with a mix of youthfully candid phrasing and surprising tonal control. It’s breathy in the softer moments, and fuller on the hook. Her delivery sells the vulnerability without sounding overwrought, and there’s an honesty here that makes it all the more appealing.
On a technical level the single favors clarity: the vocal sits forward, and the low end is supportive rather than dominant. acoustic elements blend with tasteful programming to give the track an intimate late-night character that’s polished without sounding overproduced.
“Let’s Face It” is a well-crafted pop single that showcases Camille K’s growth as both writer and performer. It’s modern without being trendy for trendiness’ sake, and should resonate with listeners who favor emotionally honest pop with subtle production flourishes. If Camille continues to pair this level of songwriting with thoughtful production choices, she’s carving a clear lane for herself.
https://www.instagram.com/camillekmusic/
Patrisha Thomson Presents “Your Love”
Seasoned jazz vocalist Patrisha Thomson makes a long-awaited return with her latest album, “Your Love.” Released four years after her last full-length album, Your Love is a polished, warmly sung record that balances familiar standards, thoughtful arrangements, and one striking original.
The track selection is thoughtful and classy, with Thomson fronting a small session band and leaning into an intimate, late-night jazz-club aesthetic. There’s a clear melodic focus on every track, and the arrangements favor lyric and phrasing over flashy solos.
The album opens with “Robbin’s Nest,” a classic written by Sir Charles Thompson and popularized by the likes of Ella Fitzgerald and Count Basie. Patrisha’s vocals are the highlight of this track, as she masterfully weaves melodies through bright tenor sax and piano arrangements.
https://patrishamusic.com/release/your-love/
https://www.discogs.com/release/35346604-Patrisha-Thomson-Your-Love
The titular track, “Your Love,” is a standout moment, with its incredibly catchy drum groove. The piano and bass sections are toned down, but exquisitely crafted to perfectly accompany the lyrics. The track is light and lively, making it a great fit for its mid-record placement.
The album closes out with a soulful delivery of Stevie Wonder’s 1976 classic, “If it’s Magic” which is a duet with Valerie Monroe. This track also features a change in instrumentation, with Patrisha’s & Valerie’s vocals being backed by a cello and harp arrangement. With its mesmerizing atmosphere, If it’s Magic is a perfect slow ballad to close out the album.
https://open.spotify.com/artist/3oASH77eNg7RheoCAoEP87
Production-wise the record is clean and radio-ready without sounding too sanitized. It still retains the warmth and intimacy of a live performance, with the mix keeping Thomson’s voice front-and-center while giving the band room to breathe.
The greatest strength of Your Love is that it stays uncluttered, with quiet ballads and mid-tempo pieces letting Thomson’s emotional clarity shine. There’s nothing radical here, and fans of classic vocal jazz are sure to appreciate the record’s restraint and craft.
Craig Greenberg Presents “Some Peace of Mind”
Craig Greenberg’s latest single “Some Peace of Mind” arrives as a burst of sunlit, horn-driven piano soul; a tune that trades some of the intimate singer-songwriter introspection of his earlier records for full-bodied NYC soul. The song premiered in late October 2025 and will open his forthcoming full-length album due in early 2026.
At its heart, the track is a blues-inflected piano rocker that leans heavily into classic R&B tropes. The arrangement foregrounds the piano and a sassy horn section, giving the song a rowdy, celebratory swing. It’s a welcome change from the reflective tone of many of Greenberg’s previous ballads and chamber-pop moments.
Lyrically the song reads as a letter of gratitude for finding a sense of inner peace. It’s a testament to Craig’s resilience set to a dance beat. That balancing of reflective lyricism with upbeat instrumental optimism is what makes the song special: it’s soulful storytelling with a toe-tapping arrangement.
The song’s arrangement is tight, with tasteful additions of trumpet and sax beyond the backbone of bass, piano and percussion. Craig’s vocals shine, but don’t dominate the mix, letting the rhythm section set the atmosphere. The production is warm and live-feeling to compliment the overall vibe, but never goes far enough to sound overproduced.
Some Peace of Mind is a successful stretch for Craig Greenberg, as it’s his most unabashedly horn-forward, danceable single to date. However, it’s still grounded in the piano-based songwriting that defines him, and fans who appreciate his craft as a piano poet will find plenty to love.
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REBEKAH SNYDER AND ADAM CUNNINGHAM Present “DON’T EVER DATE A YANKEE”
Rebekah Snyder and Adam Cunningham deliver a spirited and soulful classic country duet with their latest single, “Don’t Ever Date a Yankee.” Sitting squarely in the Americana lane, this single is bound to go down well with country music fans while offering enough contemporary polish to engage a broader audience.
The single opens with a drifting, low‐sung acoustic guitar, soon joined by Snyder’s hushed vocals. The drums kick in at a slow tempo with a distant sound in the opening sequence, conjuring images of lonely country roads. The intensity ramps up pretty quick though, as Adam joins with a powerful verse, driving the guitars up with electric grit and pedal steel flourishes.
Lyrically, the song frames itself into the classic Romeo-and-Juliet archetype and tells a tale of forbidden romance. But under the playful facade lies a more serious message of challenging outdated divisions and finding common ground.
For Rebekah Snyder, “Don’t Ever Date a Yankee” marks a subtle shift from her earlier hit single, “America,” which was a stripped‐down acoustic ballad rooted in personal narrative. Cunningham, on the other hand, is already known for his time on The Voice, but this duet provides an opportunity to showcase his diversity by taking on a character role and joining in a narrative.
The production, credited to Nashville producer Dean Miller, does a great job of balancing authenticity and polish. The rhythm section is constructed spaciously, letting the vocalists and guitar solos shine. The harmonies between Snyder’s drawl and Cunningham’s rasp steal the spotlight, and add a cinematic‐duet flair.
“Don’t Ever Date a Yankee” is a commendable step forward for both Rebekah Snyder and Adam Cunningham. It’s richly produced, emotionally grounded, and roots-oriented without being backward‐looking. For listeners who appreciate country and Americana with storytelling depth, this single delivers.
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@skopemag Review – ‘Postcard From London’ by California™ – feat. Les Fradkin
California™ (feat. Les Fradkin) returns with their latest full-length release: “Postcard from London.” Utilizing 60s/70s pop textures across covers of 9 pop classics and 13 originals, this album arrives as a warm, nostalgia-tinged record that functions both as a tribute and as a modern indie-pop release.
While this nostalgia-suffused collection acts as a great showcase for Les Fradkin’s strengths as a multi-instrumentalist/producer, it does so without ever compromising on California™’s retro-pop aesthetic. With 22 tracks the album reads like a mixtape of sunny jangle-pop, melodic singer-songwriter pieces, and affectionate covers.
The album opens with “Fellow Travelers,” a harmony driven single set to a brisk percussion that you can’t get out of your head. The synths, guitars, and soaring vocals add energy to the track, making it the perfect album opener.
https://californiatm-featlesfradkin.bandcamp.com/album/postcard-from-london
Postcard From London also features a few covers of classics that the Fradkins had also released as singles. Notable examples include Les and Loretta’s covers of “The Mighty Quinn,” “Brown-eyed Girl” and “Good Vibrations.” In each of these cases, the spirit of the song is retained, paying respect to the original artists while Les adds his own twists to the melody and arrangement.
It might be a bit early for the festive season, but the album includes a couple of holiday specials as well with “Christmas Vacation” and “A Christmas Gone Too Soon.” What stands out about these tracks is that they don’t lean too heavily into the Christmas song archetype, and preserve that classic pop sound while integrating elements like church bells to generate that Christmas vibe.
The production on this album is characteristic of California™ and maintains a consistent tonal palette across the record. You get vintage keyboard colors, clean but warm guitar tones, and an overall mix that emphasizes melody and vocal clarity. Even though the Mellotron is Les’ specialty, it never crowds the mix, and instead blends perfectly into layered arrangements.
Postcard From London is a warm, affectionate album for lovers of melodic, retro-tinged pop. Its strength is its ability to balance familiar covers with well-crafted originals that sustain the record’s emotional throughline. Fans of Les Fradkin’s long career and listeners who enjoy tidy, melody-forward production with vintage textures will find a lot to like.
Miss J Presents ‘22424’
Miss J, the force behind The Miss J Experience, has carved out a niche with her self-coined ROCKHOUSE aesthetic; an electrifying mash-up of classic rock’s raw grit and house music’s pulsating energy. Her latest single “22424” arrives as a potent distillation of that formula, and showcases the New York-based singer-songwriter’s skills at their peak.
With its hard-hitting lyrics and upbeat instrumentation, this track is a dance-floor igniter that’s equal parts therapy session and club banger. The chorus delivers the simple yet powerful lyrics: “I thought you were with me/ You used me for release,” that solidify her shift toward more vulnerable storytelling wrapped in high-octane production.
The single begins as a mid-tempo house track, but this is where “22424″ shines as a masterclass in dynamic tension and release. The standout element is a super clean BPM shift that seamlessly accelerates the track into a full-throttle house frenzy, with electric guitar riffs kicking in alongside an energetic percussion.
The change in tempo is matched by a change in lyrical themes as well, as she shifts from a tale of trauma to healing. “I had to heal to recover/ I had to break down to finally find me” is delivered with an incredibly satisfying vocal power that leads into an increasingly energetic final verse.
The production on this track is really well done, with layers of synth stabs, echoing reverb on her vocals, and subtle rock-infused percussion creating a spacious yet immersive soundscape. It’s polished enough for streaming playlists but raw in its emotional delivery.
Overall, “22424” is a solid single that fits right in on your dance playlists. It’s not reinventing the wheel, but spins it with ferocious style, making heartbreak feel like a prelude to the party. For fans of genre mash-ups or anyone needing an auditory hug that slaps, stream it now on your platform of choice.
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@skopemag Review – Bongo Boy TV – Season 14 Episode 9 – “Fall Into Space”
Bongo Boy TV – Season 14 Episode 9 (Aired September 2025, Now Streaming ) – “Fall Into Space” featuring music videos from around the world by award-winning independent artists.
Dirty garage rock rages through with the Ex-Bombers’ “He’s A Bad, Bad Man.” They get into the swing of things, featuring grimy guitar licks over a ramshackle beat. Best of all are the lyrics that speak to the darker side of things.
Meresha blends electro-pop and R&B with the angular “Trouble.” The chords have this glossy, fine finish. Giddiness dominates the vocals as they capture a sense of gleeful abandon from the ordinary.
The gritty rock-infused EDM blast of “We Choose To Go The Moon” has Stonks Bros embody the dancefloor fusion of Justice. Volume is a given, with the whole sounds feeling purely chaotic, as arpeggios scale up and down the walls. Such a physicality and the vocoder usage feel completely on point, nicely rounding off the atmosphere.
An intimacy emerges out of the subdued splendor of Scott McDonald’s well-crafted, timeless grace of “One Mistake I Can’t Repeat.” The lyrics shift the gaze inward, and the self-reflection is soothing. He builds the song up in this glorious way, making sure every single moment counts.
Neon blooms of color explode on “Heartbeats” with Nashville, TN & Estonia. Highly energetic, this feels like a gigantic blur, a speeding through beautiful, green spaces. The triumphant horns are a delicate touch, adding to the peacefulness.
Physicality runs through Matt LeGrand’s satisfyingly sweet “All Good.” Genre-wise, it combines tropical dub influences with dance elements. The resulting mix swirls about in this bold, brilliant haze.
Van Gordon Martin embraces urban living with reggae on the infectious basslines of “Let It Grow.” The low-end has a satisfying cadence, feeling doubly refreshing. Word choice matters, as the verses embrace a sense of quiet contentment.
Sounds fold and unfold to the neo-hip-hop of LBM’s “Stranded.” Syncopated, skittering snares go perfectly with the track’s sense of purpose. A singular guitar adds a lot of soul to the equation, aligning flawlessly with the vocals. This ends the whole experience on a high note.
Bongo Boy TV – Season 14 Episode 9 (Aired September 2025) – “Fall Into Space” featuring music videos from around the world by award-winning independent artists.
In heavy rotation for 4 weeks in the USA on 72+ TV terrestrial TV channels in September 2025. See TVGuide at bongoboytv.com for your local listing. The Premier Date was Tuesday September 2, 2025, on Ch. 29 in Portland, Oregon, and followed with heavy rotation on a total of 72+ Terrestrial TV channels. Bongo Boy Rock n Roll TV Show Series 14th Season.
Summary Listing of Featured Artists – Music Videos:
The Ex-Bombers – He’s A Bad, Bad Man
Meresha – Trouble
Stonks Bros. We Choose To Go The Moon
Scott McDonald – One Mistake I Can’t Repeat
The Winter Sounds – Heartbeats
Matt LeGrand – All Good
Van Gordon Martin – Let It Grow
LBM – Stranded
