MISS J Presents ‘ROCKHOUSE’ Album
Miss J is known for her spirited fusions of rock and house music, and her latest album, “ROCKHOUSE,” continues to push the boundaries of this fusion style. From the opening seconds, the album announces itself as a collision: electric-guitar riffs crash into thumping house-style pulses, brass and funk licks swirl into rock-pop swagger, and raw emotion sometimes gives way to dance-floor abandon.
Underneath that collision is Miss J’s core impulse: to refuse box-ticking. As described by a profile of the album, she asked herself: “Why keep genres in their own lanes when they hit harder together?” In that sense, ROCKHOUSE acts as a manifesto: an album seeking to unite head-bangers and dance-floor die-hards.
The opening track acts as a sort of overture to the album with a runtime of just under one minute, but quickly gives way to “Numbing The Pain,” one of the highlights of the album. This track features breathy pop-rock vocals combined with bluesy textures in the instrumentation. The arrangement pulls back at moments, allowing Miss J’s voice to ride over shimmering instrumentation, and then surges into heavier guitars and brass. That ebb-and-flow dynamic makes it one of the more emotionally resonant moments on the album.
Meanwhile, “22424,” released earlier as a single, stands out for its emotional weight. Even though the title implies something more cryptic, this track stands out for its lyrical guts, covering themes of heartbreak, betrayal, healing, and empowerment. All of this emotion is wrapped up in a relentless groove that surges to match the emotional intensity.
https://www.instagram.com/themissjexperience/
https://themissjexperience.com/
The production on ROCKHOUSE walks a stylistic tightrope as it needs to balance between the two genres. On one hand, there’s a sense of discipline and polish that suits its hybrid ambition. The mixes tend to emphasize punch, with guitars that are often gritty but clean. The percussion and basslines are prominent, and the rhythmic backbone leans heavily on house-inspired grooves rather than traditional rock drumming.
ROCKHOUSE isn’t a subtler or more introspective kind of record. It doesn’t hide its intentions, but declares them instead; pushing genres together, blurring expectations and letting the music do the rest. In that spirit, Miss J delivers something compelling; a record that feels like a party crashing into a rock show, or a rock show melting into a club set.
Sofia Sampaio Presents ‘Everything Is Ok’
Houston-based singer-songwriter Sofia Sampaio makes a powerful statement with her debut EP “Everything Is Ok.” With this collection, Sofia establishes herself as a confident new voice in indie/alternative pop; one that wears its influences on its sleeve while staking out a personal, coming-of-age narrative.
The record was released in late September 2025 and collects material written between roughly ages 19–21. that youthful vantage point is central to both the lyrical concerns and the EP’s tonal swings, and the collection reads like a short memoir in six tracks.
The record begins with “Everything is ok,” the title track which explores that feeling of being unable to find peace despite everything seeming alright on paper. Sampaio navigates feelings of anxiety and gratitude while using a powerful rock arrangement that completely blindsides you the first time.
“Soma” is another standout track, with Sofia taking a more easygoing approach musically, but still maintaining the same sonic energy. The use of Soma as a metaphor for escapism is a smart lyrical choice and hints at a cerebral writing style that’s uncommon in modern pop music.
With “Invisible,” Sofia showcases the record’s softer side, delivering an aching, melodic, and lyrically taut ballad. Its quieter production puts the spotlight on Sampaio’s control as a vocalist, and she rises to the occasion to deliver a flawless performance.
Sampaio’s lyrics across the EP often trade grand pronouncements for precise, image-driven details. She’s economical with metaphor, and when she does use them, they land with clarity and sting. There’s an effective tension between confessional lines and sly, conversational turns that keeps the EP from lapsing into earnestness.
Everything Is Ok is an assured debut that’s concise, emotionally honest, and well produced. It introduces Sofia Sampaio as a songwriter with an eye for detail and the melodic gifts to make those details stick. For listeners who enjoy intimate alt-rock with emotional frankness, this EP is a rewarding listen.
https://sofiasampaio.com/
https://downersclub.com/2025/10/12/sofia-sampaio-ep-everything-is-ok/
Brooke Moriber Presents “Your Jesus”
Nashville-based singer-songwriter Brooke Moriber steals the spotlight yet again with her powerful new single, “Your Jesus.” With its message of reclaiming power and taking a stand for yourself, this single arrives as a clear, deliberate pivot: part intimate testament, and part pop-country anthem. The song leans into Moriber’s theatrical vocal strength while wrapping its emotional core in contemporary production choices.
With the refrain “You might be a sinner baby, but I ain’t your Jesus,” this single is a character piece at its heart, and interrogates the idea of acting as someone else’s salvation, even when they drag you down. The lyrics play with religious imagery like turning the other cheek, bearing a cross, and surrendering to a higher power.
Even though she relies on metaphor, Moriber’s writing still favors concrete images and measured lines rather than sweeping abstraction. It gives the song a confessional clarity that’s accessible and relatable for general audiences. The verses set up a tension and the chorus delivers a blunt emotional ledger.
Moriber’s voice; trained on stage, and seasoned in the studio, is the emotional thread that carries the whole thing. She balances theatrical power and conversational intimacy, as breathy phrasing on the verses keeps things vulnerable, while sustained notes land in the chorus so the emotional stakes feel earned. That tension between restraint and release is the song’s chief strength, and makes the lyrical questions land with real weight.
The Sonic choices here lean towards modern country-pop, with a warm acoustic bed, tasteful electric guitar accents, and a tight, syncopated rhythmic pocket that keeps the track moving without crowding the vocal. The production tilts toward clarity and space, and the vocals are engineered front and center, which suits the lyric-forward approach.
Overall, Your Jesus is a confident, well-crafted single that showcases Brooke Moriber’s storytelling instincts and vocal gifts. It’s thoughtful without being ponderous and radio-savvy without feeling hollow. Moriber positions herself neatly between theatrical expressiveness and contemporary country songwriting, and for listeners who’ve followed her earlier releases, this track reads as an evolution.
https://www.instagram.com/brookemoriber
Ted Rosenthal Trio Presents “Classics Reimagined: Impromp2”
Through the “Classics Reimagined” series, celebrated pianist and longtime faculty member at Juilliard Ted Rosenthal leads his improvisation-based trio to reframe well-known classical themes into a jazz trio setting. The latest installation, “Improm2,” takes shape by transforming masterpieces from the likes of Chopin, Beethoven, Brahms, and Rachmaninoff into vivid, modern jazz conversations.
This is not simple “crossover” padding though, and Rosenthal treats each classical piece as raw material rather than an exhibit. He extracts motifs and colors, reshaping them into swinging grooves and rubato ballads. The result sits squarely in contemporary jazz, but you can still feel the classical DNA within it.
Ted Rosenthal Trio – Classics Reimagined: Impromp2 (CD)
At the heart of the record is the trio interplay: Rosenthal’s pianistic clarity and compositional shaping builds perfectly on Noriko Ueda’s (bass) anchoring harmonic and rhythmic movement. The drums split between Quincy Davis and/or Tim Horner depending on the track produce a flexible, highly responsive rhythm section.
Across the album the trio alternates roles fluidly: sometimes the bass and drums lock into a driving swing or gentle underpinning that lets Rosenthal solo freely. Other times, like in the interpretations of Beethoven’s “Pathetique” sonata, the trio pulls back into chamber-like textures where space and silence are key.
The opening track, “Waltz in C-Sharp Minor,” is a stunning piece of innovation that blends Latin textures and rhythms while still preserving Chopin’s lyricism. The reconstruction of Mussorgsky’s “The Old Castle” (feat. Ken Peplowski) is also interesting as Peplowski’s warm, woody clarinet tone pairs with Rosenthal’s blues-tinged soloing; creating an arrangement that balances both nostalgia and swing.
If you love both classical repertoire and intelligent jazz arranging, this album is a joy: it rewards repeated listens because the arrangements are layered with a complexity that is difficult to appreciate with a single listen. Rosenthal’s project emphasizes lyrical conversation over nonstop virtuosic display, leading to an intelligent yet deeply enjoyable record.
Classics Reimagined: Impromp2 is a thoughtful, well-executed merging of classical themes and modern jazz trio artistry. Rosenthal’s arranging intelligence, the trio’s responsive dynamics, and tasteful guest turns make this one of the stronger jazz/classical crossover albums of the year. This record is highly recommended for listeners who enjoy chamber jazz, and inventive reinterpretations of the classical canon.
Blind Uncle Harry Presents ‘Kimberly Kankowski’ On December 4th, 2025
Blind Uncle Harry is known for his character-driven folk songs that pair sharp-eyed satire with raucous sing-along hooks. “Kimberly Kankowski” keeps that tradition intact while sharpening the comedy to deliver a satirical single that feels both immediate and mischievous.
Musically the song is simple by design, and that’s actually one of its strengths. At its core “Kimberly Kankowski” relies on percussive acoustic-guitar riffs to propel Harry’s narrative forward, and the arrangement gives the vocals room to deliver each punchline.
Where this song really shines is its lyricism, as it’s a character piece through and through. Harry paints Kimberly as a deliberately over-the-top caricature of liberalism, complete with neon hair, a ACAB tattoo, and a habit of dumpster-diving freeganism. The song gleefully mines her eccentricities and contradictions for both laughs and
social observation.
In the best moments, the writing nails the comedic dissonance between Kimberly’s urban-progressive identity and the conservative, small-town Tennessee setting she crashes into. Lines like “Her pronouns are her and she / But they’re ok with them and they” play with cultural shorthand in a way that’s cheeky without being outright hostile, poking fun at the performative flexibility of modern identity talk.
EARLY STREAMING ON BANDCAMP:
https://blinduncleharry.bandcamp.com/track/kimberly-kankowski
ONLINE:
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The rhyme structures are simple and intentionally singsong, giving the verses a nursery-rhyme bounce that makes the surreal details like quinoa chips with artichoke, or a panic attack over an unverified organic banana, feel even more absurd. The chorus works as a comedic anchor, grounding each new setting with the same punchline about tempeh scarcity, which becomes increasingly funny as the incidents around it escalate.
The production on this track keeps the focus on Harry’s delivery as he leans into personality, using a gravelly, theatrical timbre to sell jokes and small emotional beats alike.
The mix prioritizes clarity of words, while verses are front-and-center so every line registers. There’s an intentional modesty in the sound engineering, meant to preserve the song’s identity as a folk-comedy tune.
Overall, “Kimberly Kankowski” is an excellent dose of what makes Blind Uncle Harry memorable: clever lyricism, a vocal performance that sells every line, and a production that chooses immediacy over polish so the joke and the character land. It’s playful and pointed satire that’s designed to stick in your head for hours afterward.
Alex Lopez Releases New Music
Alex Lopez is an example of the future. Allow me to explain. A self-representing artist, building views and clicks based solely on the merit of his music. All courtesy of a slick campaign entirely orchestrated online. Lopez also is something of a dark horse given that he is doing all of this with a unique fusion of bluegrass and rock, calling to mind a similar genre pioneering done by acclaimed singer-songwriter Dwight Yoakam in the nineties.
FACEBOOK: https://www.facebook.com/alopezmusic4u
What’s extremely exciting is all of this is being done by Lopez himself, without corporate interference or extensive producer edits. What you have is a pure, clean sound, technically polished and professional to a tee, but at the same time emphasizing risk, authentic expression, and a kind of caustic, homemade quality feeling true to the inherent spirit of the bluegrass music scene. Lopez has this imperfect vocal quality, ironically perfectly tailored to the musical compositions he creates with his band.
You have these resonantly beautiful lyrics and themes communicated to the listener, but without being soft because of the aforementioned quality. This is where the rock sense is infused into the sound. Calling to mind musical acts like the Canadian band Crash Test Dummies’ hit single Mmm Mmm Mmm Mmm, Lopez eschews aAlex Lopez Releases New Music
Alex Lopez is an example of the future. Allow me to explain. A self-representing artist, building views and clicks based solely on the merit of his music. All courtesy of a slick campaign entirely orchestrated online. Lopez also is something of a dark horse given that he is doing all of this with a unique fusion of bluegrass and rock, calling to mind a similar genre pioneering done by acclaimed singer-songwriter Dwight Yoakam in the nineties.
FACEBOOK: https://www.facebook.com/alopezmusic4u
What’s extremely exciting is all of this is being done by Lopez himself, without corporate interference or extensive producer edits. What you have is a pure, clean sound, technically polished and professional to a tee, but at the sny sort of manipulation or engineering – willing to let his voice crack and go off-key every now and then. It produces this kind of dissonant quality similar to noughties music, where it wasn’t as much about showcasing the track being a product of the performer, but rather an emphasis on the song as a whole.
“I call it Alternative Blues/rock mixology: contemporary blues that blends melody and groove with elements of rock, pop, and jazz to expand the boundaries of the genre,” Lopez explains, in an interview with Blues.Gr magazine. “My sound is a mixture of the diversity of influences I had musically growing up. As for songwriting, its honestly something I’ve done as long as I can remember and for me its not creative drive, writing songs is like breathing. I can’t live without it and I don’t think about it as I’ve just been able to do it. That said, emotions good and bad typically are a catalyst for my songwriting…I think you can sum it up in a few things. Musically – you get better at your craft by the sheer exercise of repetition.
https://open.spotify.com/artist/5oB905tcb4iXWwZjKL81aI
You learn and develop the art of arranging and how instruments work together. You learn that more is not always better and that surrounding yourself with the best musicians really is the key to success. And lastly you develop the confidence to stick to your vision for your music and that’s a tough thing to do when everyone seemingly has a perspective. The process of writing a song really hasn’t changed for me since I was 12, you become inspired by something whether it be a lyric, a riff or a melody and then let that speak to you until you have a section, sketch or phrase.
You have to listen to the universe for those moments. And from there the craft takes over, working a song until it feels right. I am not sure that will ever change for me.”
Gwen Wqaggoner
Circus Mind Presents “What a Mess”
New York–based band Circus Mind is known for their groove-rich, funk-rock energy, but their latest single, “What a Mess,” marks a turning point in their artistic arc. Circus Mind slows things down here into their first proper ballad, delivering a smooth and reflective track that deals with emotional turmoil.
Lyrically, What a Mess reads like a lament, covering multiple layers of disorder ranging from personal to political and existential. According to frontman Mark Rechler, the song springs from frustration, disillusionment, and a deep longing for unity in a fractured world. The lyrics feel restrained yet passionate, and while there’s anger, it also
feels like a plea for empathy and collective healing.
Musically, this is a departure from Circus Mind’s signature sound; an artistic choice they make to create space for introspection. The track is built around a lush bed of piano, organ, and gently sweeping pedal steel. The instrumentation evokes a classic-rock/soul hybrid and has all the makings of a modern classic.
From a production standpoint, What a Mess is notably restrained, allowing emotion to breathe. The mix keeps the vocals front and center while giving plenty of space to supporting elements. The backing vocals towards the end of the track harmonize in a way that elevates moments of the chorus without veering into grandiosity.
– https://skopemag.com/2025/11/17/circus-mind-drops-emotional-new-single-what-a-mess-out-november-17th
What a Mess marks a compelling turning point for Circus Mind as the band deepens their musical and narrative palette by embracing a more contemplative, and emotionally open style. It’s a risk, but it pays off beautifully without abandoning what makes Circus Mind compelling. Instead, it reveals a new dimension, one rooted not only in virtuosity, but in vulnerability.
https://www.circusmindband.com/
https://www.instagram.com/circusmindband/
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
