VeeAlwaysHere’s latest single, "USED TO," serves as both a tribute to the early 2000s music scene and a fresh spin on the era’s sound. According to the artist the track is a love letter to the glossy, hook-heavy hits that inspired his musical trajectory, capturing their essence while injecting a contemporary edge that makes it undeniably his own.
The production is a standout—lush and meticulously layered, with sharp synths and beats that cut cleanly through the mix. The song feels alive, blending nostalgic textures with a modern vibrancy. At its core are VeeAlwaysHere’s vocals, delivered with a dynamic intensity that commands attention. The vocal melodies are instantly memorable, the kind you find yourself humming after just a couple of listens. What sets "USED TO" apart is its ability to shift in intensity, building emotional weight in key moments to keep the listener engaged. The song balances exuberance with precision, creating a polished yet heartfelt experience. This is a sleek, energetic track that feels both nostalgic and forward-looking—a difficult balance to strike but one that VeeAlwaysHere achieves effortlessly. With top-tier production and an undeniable sense of fun, "USED TO" is a track that demands to be heard.
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On “ex-friends,” jazzygold takes a scalpel to the emotional wounds inflicted by fractured friendships, delivering a cathartic anthem for anyone who’s learned that betrayal doesn’t always come from lovers. Drawing from personal experience, the track dissects the pain, healing, and hard-earned realizations that sometimes the most toxic relationships are the ones we never thought to question.
The song opens with a downtempo beat that leans into bluesy undertones, its instrumentation distinct and intriguing. From the first note, jazzygold’s vocals command attention—raw yet polished, carrying an emotional weight that cuts through the production. The bridge is particularly striking, with the bassline mirroring the vocal melody in a way that feels both deliberate and intimate, creating a moment of unexpected depth. The hook arrives swiftly, lifting the track with its soaring vocals and higher frequencies, but jazzygold doesn’t let it linger. Instead, the song cycles quickly back into the verse and hook, keeping the momentum fresh. A standout breakdown midway through shifts the energy, gradually building into an electrifying crescendo. The closing moments, with sparse guitar and vocals, leave the listener suspended in the song’s emotional wake. “ex-friends” is a triumph of both craft and emotion, with top-tier production that feels as unique as jazzygold’s voice. Recommended.
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Eryn Michel’s “We Tried!!!,” featuring Kimberly Shires and Emily Henry, takes nihilism and wraps it in the shimmering, irresistible packaging of synth-pop-rock. The result is an anthem so hilariously self-aware that it’s impossible not to grin. The song’s core sentiment—“we tried, we failed, so let’s dance our way into the abyss”—is delivered with a playful irony that feels both relatable and absurd in Albert Camus type of way.
The track opens with buoyant synths and tight percussion, laying a deceptively cheerful foundation for lyrics steeped in existential despair. As the verses unfold, the instrumentation builds in joyfulness, turning the tension between the upbeat melody and the downbeat message into a masterstroke of dark humor. By the time the hook hits, the contrast is almost too perfect—a gloriously catchy refrain that feels primed for singalongs in crowded arenas. The groove is undeniable, thanks in large part to the track’s funky bassline and dynamic shifts that keep the energy alive. It’s the kind of song that makes you want to move, even as you process the bleak reality it so gleefully pokes fun at. There’s a delicious irony in imagining this track becoming a global hit, chanted by kids oblivious to the bleakness of its lyrics. “We Tried!!!” is a triumph of clever songwriting and sharp production—a track that turns failure into something worth celebrating, with a smile and a dancefloor-ready beat.
Lazywall, the Moroccan trio that has spent years refining their singular fusion of worldy influences and alt-rock, crafts a sound that feels both ancient and modern. Rooted in traditional Arabic time signatures and instrumentation yet layered with the heft of powerful guitar riffs, their music transcends cultural and linguistic barriers. Singing in Arabic, the band tackles subjects like climate change, social injustice, and corruption with an unrelenting intensity that invites universal connection.
Their latest single, “L3ado Lbared,” exemplifies their seamless genre-blending abilities. Opening with a maelstrom of churning guitar riffs, a rumbling bassline, and thunderous percussion, the track erupts with energy before weaving in tabla-like rhythms and what feels like a sitar’s haunting resonance. The melding of these elements never feels forced, offering a cohesive and arresting transition. The first verse builds steadily, but it’s the explosive hook that leaves the deepest impression—an emotional release that’s both cathartic and electrifying. Midway, the track pares back its thunderous layers, unveiling a contemplative passage with delicate pads and intricate lead melodies. But this brief respite is only a precursor to the song’s climactic final minutes, where the guitars roar back to life with distortion that feels almost volcanic. The last thirty seconds land like a triumphant exclamation point, closing with a level of grandeur that borders on the cinematic. Comparisons to Tool feel apt, especially during the intricately constructed breakdown, but Lazywall’s commitment to blending metal with their Eastern influences ensures they’re carving out a lane entirely their own.
SlowGhost, a duo with a knack for weaving old-school sensibilities into modern pop frameworks, make an intriguing statement with “Haunted.” Their sound nods to nostalgic rock while maintaining a contemporary sheen, pairing lyrics being alone in a haunted house with a subtle sense of humor that feels both intentional and refreshing.
“Haunted” defies its own expectations. Judging by the eerie cover art, you might anticipate something heavy and brooding, but the track offers a surprisingly light and melodic tone. It opens with airy synths, a steady rhythm section, and vocals that immediately hook you with their inviting melodies. By the second listen, those lines feel familiar, almost begging for a sing-along. The chorus, anchored by the refrain “I’m alone in a haunted house / If I move I’ll never get out,” delivers both emotional weight and a playful wink. The song builds to a crescendo, with layered guitars swelling into the final chorus before closing with the poignant plea, “Darling, won’t you set me free.” This juxtaposition between lyrical melancholy and buoyant production creates a fun dichotomy. It’s not quite dark, but it’s far from cheerful, existing in a liminal emotional space that’s strangely compelling. SlowGhost leans into this ambiguity with a touch of wit, crafting a song that’s equal parts haunting and heartwarming. “Haunted” is a clever and addictive introduction to their sound—definitely worth a spin.
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Wilhelm, the solo endeavor of Murnau and The House Flies frontman, ventures deep into lo-fi folk terrain with Wake Me in the Sunrise, slated for release on January 7, 2025. Recorded entirely on a 4-track Tascam multitracker, the album’s nine tracks embrace a stripped-down aesthetic, channeling raw emotion and fleeting memories with an unvarnished intimacy. Following the contemplative glow of his 2023 single, “The Creek,” Wilhelm crafts a collection that feels like a quiet communion with the past.
The album’s emotional depth is matched by its deliberate minimalism, drawing easy comparisons to the hushed reverence of Sufjan Stevens, the melancholic shadows of Red House Painters, and the unflinching vulnerability of Bright Eyes. It opens with “Midnight Caller On The Moon,” where intricate guitar picking and soft organ tones cocoon Wilhelm’s mournful vocals, a combination that strikes straight to the core. “Obituary Page” shifts gears slightly, layering banjo into its delicate framework, hinting at a faint glimmer of hope amidst its introspection. On “Upon The Thinnest Lips,” Wilhelm’s deft guitar work and plaintive delivery deepen the album’s poignancy, while “All The Things I Need To Say” evolves from an intimate whisper into something grander, like a thought gaining clarity midstream. “Cloudless Wonder Eyes” anchors itself in sparse organ drones, creating a meditative stillness that feels almost sacred. “One To Keep You Warm” leans into reverb-laden vocals, giving the track a spectral quality—a lingering echo of a memory half-remembered. “Hopeless Drifting Afternoon” is a standout, with layered guitars and wistful vocals that nod to the dreamlike soundscapes of Youth Lagoon. The penultimate track, “Prophet’s Gun,” maintains the album’s reflective momentum before closing with the hauntingly tender “Hold Your Head Now, Baby,” a song imbued with a quiet solace, as if offering a gentle goodbye. Wake Me in the Sunrise may be minimal in its instrumentation, but its emotional resonance is anything but. It’s a cohesive, introspective album, tailor-made for rain-drenched afternoons and moments of quiet solitude.
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Monrad is the extremely cool public persona of Belgium-born musical artist Matthew Ramon. Now residing in a rural Italian village, Monrad has just completed his third solo release titled Not By Design. Baritone male voices in popular music are rare, but Monrad’s vocals are even lower than Dr. John or Barry White, which makes anything else he adds (backing vocals, guitar, keys) jump out at you that much stronger. His backings are a mixture of Berlin-style synth pop and twangy James Bond-spaghetti western guitars.
Monrad’s musical journey began in his twenties as part of a surf-punk band called Rencontrez L’amour. He then began experimenting with different instruments, styles and sounds. His first EP was the self-titled “Monrad” which Pitch Perfect described as “a dark mix of surf, spaghetti western and other like-minded genres.” Following up was a full-length effort called “Wired” where the vocals were said to be comparable to Leonard Cohen or Nick Cave. Back yet again with producer Filip Tanghe, Not By Design follows Monrad’s past blueprints while making subtle adjustments to his “reverby guitar” musical canvas. So that there’s no mistake about who we’re dealing with, “On Fire” begins the set with a deep dose of Ennio Morricone-style guitar. In popular music the closest thing I can remember to this is the Elvis Costello track “Watching The Detectives” though Monrad’s music is more synth-percolating than punk (I’m assuming the influence of the classic single “The Good, The Bad and The Ugly” is a given!). His singing is mostly spoken word, even during the choruses. Overall this track has a great groove, and the secondary chorus has some nice background vocals. “Not Yet” continues the synth-pop feel, a bit more upbeat this time and featuring classy bass parts. Otherwise the structure is similar to the first track, again featuring pleasing backing singers and some male chanting as well. There’s a great moment where the beat drops completely and the twangy electric guitar holds the spotlight by itself. “Caught Up” shows us what a Monrad track sounds like when he actually sings the choruses. Something about this track reminded me of Dire Straits, maybe both the music and vocals. The drum track here also caught my attention. “Whatever It Takes” is a dose of moody dreampop where the reverb is almost a player in its own right. I love how the instruments build as this tune moves forward, especially the orchestral synths and backing vocals. The concluding track “The Game” has a terrific forward-motion riff, space synths and the ever-present reverb guitar. Even after all the preceding tracks this one feels the most radio friendly, especially after Spotify played it twice in a row for me! Though these tracks have a surface similarity to each other, they open up with repeated listenings. I’m betting Monrad’s sound will be quite new to you and I definitely recommend checking him out!
The John Doe Trio—featuring the seasoned talents of Phil Woollett, Craig Ferguson, and Paul Townsend—has carved out a reputation as one of the most electrifying acts on the British blues circuit. Their debut album, Stranger, garnered widespread critical acclaim, with UK blues broadcasters hailing it as both “A Masterpiece” and “Most Excellent.”
Their track “RailRoaded” is a blistering blend of rock and blues that immediately transports you to a dimly lit dive bar on a Saturday night, the kind of place where the air is thick with sweat and beer, and the band plays loud enough to shake the walls. Though the song sticks to familiar blues progressions, the Trio’s performance is anything but predictable. The slick breakdown channels The Doors, with Woollett’s guitar cutting through with swirling riffs before escalating into a raw, distortion-drenched solo that feels like it might explode through the speakers. Townsend’s tight drumming and Ferguson’s steady bass provide the perfect foundation for the track’s electric energy. “RailRoaded” thrives on that barroom grit, capturing the visceral, live-wire energy of a band in their element. The trio’s chemistry is palpable, and it’s the kind of high-octane blues-rock that begs to be experienced live, where their raw spontaneity could truly breathe. With this performance, the John Doe Trio isn’t just riding the wave of British blues—they’re approaching it with their own signature sound. Definitely worth a listen.
Sometimes the best remedy is to let go of your worries and get lost in a groove, and Perspective’s “Take Them All Down” is built to do just that. The track, which is their third single from their upcoming album, kicks off with a funky swagger, driven by clean guitar lines, a bouncing bass and crisp drums before seamlessly introducing keys into the mix. There’s an effortless coolness to the way the song unfolds, with the hook arriving in a way that feels both worldly and unexpected, evoking the quirky energy of Talking Heads without feeling derivative.
A standout moment comes in the form of a breakdown, where fluttering snare rolls, delicate piano, and swelling synths create a playful contrast before the band effortlessly slides back into the hook. The repetition of the hook builds in intensity, eventually giving way to a joyful guitar solo, which leads into an exuberant outro that feels like a celebration in itself. What’s refreshing about “Take Them All Down” is its lightness—it doesn’t take itself too seriously but still manages to be musically sharp and vibrant. It’s a song that makes you want to move without thinking too much about it, the kind of tune that fills a room with good vibes. It's impossible not to get swept up in its infectious energy. Take a listen.
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Rusty Reid, a singer-songwriter blending indie-folk, pop, country, and rock from the Seattle area, delivers a burst of optimism with his track “The Meaning of Life,” the second single from his album Head to Heart. Channeling echoes of '60s jangle-pop, the song feels like a sun-drenched nod to the Byrds, carrying an infectious energy that’s hard to resist.
Opening with dueling guitars and a tight rhythm section, the track quickly envelops the listener in a lush, layered sound. Reid's vocals enter with a sense of earnest reflection, singing, “Some people say you must wait / For happiness to come to you / But trusting it all to blind fate / Is not what we are meant to do.” His lyrics, both simple and poignant, urge listeners to seize happiness in the present rather than waiting passively for it. The chorus heightens this emotional lift, with Reid making clever analogies to birds, reinforcing the track's carefree, buoyant feel. A standout moment arrives mid-song, with a searing guitar solo that breaks through the song’s easygoing atmosphere. As the verse returns, there’s a renewed energy—buoyed by a lively bassline and the subtle presence of organ—before the track closes with more dueling guitars in a brief yet satisfying outro. Reid captures an infectious sense of joy in “The Meaning of Life,” crafting a track that feels like a much-needed shot of happiness. In a time when many could use a little extra light, this song’s cheerful, easygoing nature is a welcome reminder of the simple pleasures that are often within reach. Even if it doesn't rewrite the genre playbook, its sincerity and warmth shine through, offering a comforting space to linger.
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