A’lahn, a rising artist from Washington, D.C., deftly bridges the worlds of pop and dancehall with a sound that radiates both warmth and energy. Backed by her band, First Wonder, her live performances have already begun to carve out a reputation for their undeniable charm. With the release of her debut single, "Shooting Star," A’lahn invites listeners into her orbit with a track that feels like both a bold introduction and a carefully crafted statement of intent.
"Shooting Star" thrives on its balance of vulnerability and exuberance. Sparked by an impromptu connection with a new beat, the song unfolds as a heartfelt exploration of love, self-worth, and the beauty of embracing one’s individuality. A’lahn’s lyrics cut straight to the heart, offering a celebration of self-appreciation that resonates deeply without veering into sentimentality. The track opens in a hushed, minimalist space, with A’lahn’s vocals and piano creating an immediate sense of intimacy. When the beat drops, the production feels expansive yet grounded, allowing her voice to remain the focal point. There’s an infectious joy that builds throughout, punctuated by a male harmony line delivering the evocative refrain, “I’m in your galaxy,” which deserves its own spotlight for how seamlessly it blends into the mix. The vocal harmonies, layered and textured, elevate the track while keeping it tethered to its emotional core. While the production is polished and undeniably catchy, the soul of "Shooting Star" lies in A’lahn’s voice—a dynamic instrument that carries the song’s themes with grace and power. At just the right length for a pop single, the track leaves a lasting impression without overstaying its welcome. "Shooting Star" marks an impressive debut for an artist whose trajectory feels as boundless as the cosmos she sings about. A’lahn is a name worth remembering, and this is only the beginning.
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Boston’s High Horse group describe themselves as “a progressive-acoustic boy band featuring four friends, three bows, and one pick.” They’ve just released their debut self-titled album High Horse. The band’s unique lineup includes Carson McHaney (fiddle), Karl Henry (cello), G Rockwell (guitar) and Noah Harrington (bass) plus a couple guest players. Their music is described as “a band of brothers playing alternative rock on acoustic instruments, exploring and performing original compositions and tunes from diverse folk traditions.”
The boys first got together in spring of 2023 to play a suite composed by Carson McHaney for his graduate recital at the New England Conservatory of Music. No doubt realizing the potential for their unusual grouping, the band developed a genre that mixes bluegrass, Celtic and old-time sounds. Their uniqueness extends to the recording process, where the band played together in one room but aimed multiple microphones at each player. Recording took place at the Great North Sound Society Studio in Maine by producer Jacob Jolliff, with engineering by Dave Sinko and mastering by David Glasser. “Tombstone Territory” throws us right into the fray, with a jazzy construct giving the guys separate parts that somehow coalesce. Even at the top you can feel the stringed instruments being pushed “outside the lines” to create mysterious, spooky sounds. When the main melodies finally kick in, one can’t help but gasp at the invention and dexterity of the players. It’s like classical, prog rock and jazz went to a coffee shop for an extended conversation. Oh yeah: it’s also quite lovely! Though everyone shines, guitarist G Rockwell and mandolin player Jacob Jolliff blast through seemingly impossible runs without pausing for breath. At five minutes the pace slows a bit to showcase strings and bass, which is a changeup that works beautifully. “Prelude (Holy Water)” is a short chamber-style piece with harmonic melodies that seem to play right on the surface of my heart, before kicking into a rock-like tempo with slashing chords that suggest heavy metal guitar while staying resolutely acoustic. “Holy Water” does not seem to have a musical connection to the previous track, featuring acoustic picking and the gorgeous vocals of Kat Wallace. This track is the most song-like thus far, though it can’t help but feel like a church hymn with the whole group adding backing vocals of “holy water.” “The Orphan / Richard Dwyer’s / Mrs. Lawrie’s” starts with pizzicato strings leading into a Celtic-influenced reel. At three minutes the tempo kicks into what might be “slip jig” time, then gets impossibly speedy for the final section. If I’d heard this track in isolation I’d just assume these guys were an Irish Traditional band. “Dotted Line” features one of the main guys on lead vocals and is a surprising detour into Americana or country folk rock, making it one of the more accessible tracks here. That the boys can stack harmony vocals as well as they play their instruments is almost overkill! The latter half of the album features a four-movement suite which is described as “a perfect showcase for their unique sound.” The opening “Suite l. Mantra” features another amazing solo acoustic turn by G Rockwell accompanied by Jacob Jolliff’s mandolin, before being joined by the strings. The guys were going for a “gentle, wind-swept texture evocative of western movie music.” Part two follows without pause: “Suite ll. Money On My Mind” is meant to add a “muscularity” to the proceedings. Strings are foremost and the melodies here recall long-ago prog tracks by Gentle Giant. “Suite lll. Farewell (for The Time Being)” is described as “a gorgeous string band elegy worthy of Nickel Creek or the Appalachia Waltz recordings of Yo-Yo Ma, Stewart Duncan, and Edgar Meyer.” This one’s short but packed with invention. The conclusion “Suite lV. Side-Stepping” gathers all the loose threads for a final Irish-like dance with joyous, inviting melodies. The middle section locks into a circular riff on which all players jam with abandon, with a faster and more traditional race to the finish line. Believe it or not, there’s MUCH more here than I’ve been able to describe, and nothing rates anywhere south of a ten. I’m floored by these guys and I know you will be too!
Niovel, the creative force helmed by Josefiene "Fiene" Pertosa (vocals, lyrics, composition) and Simon Krajewski (composition, production, instrumentation, backing vocals, lyrics), return with their fourth studio effort, Please Tell Me More. This ten-track opus sees the duo embracing their symphonic and power metal roots while inviting long-time collaborators Hannah Bullock, Nicole Jaskot, Nassim Arastoopour, along with guest appearances by Kaj Żukowski (Neferious) and Jean-Michel Kellermann on guitar. Together, they craft a sound that is equal parts cinematic and thunderous, a testament to the duo's steadfast commitment to the genre.
The album sets its tone with "Innocence," an orchestral prologue that feels pulled from the opening sequence of an epic film. Warm strings and an ethereal harp lay the groundwork for spoken word passages that sound like they belong in a dimly lit theater, evoking a sense of grandeur and anticipation. It’s an arresting start, but things truly kick into gear with "Almost No Dark Secrets." Here, Niovel flex their technical prowess, unleashing a tightly executed track that channels the intricate virtuosity of Dream Theater. Pertosa’s angelic vocals float above the chaos, creating a striking contrast that’s amplified by ghostly soundscapes and swirling layers of instrumentation. It’s an opener that leaves no doubt: this album isn’t pulling any punches. The record’s ambition continues to swell with "Caravan," an expansive, haunting track where razor-sharp guitars carve through moments of atmospheric silence. The push-and-pull dynamics lend the song a cinematic weight, each crescendo hitting with a calculated precision. "The Powers That Control You" follows suit with relentless shredding and a fantasy-tinged mystique that wouldn’t feel out of place in Middle-earth. Niovel shifts gears with the title track, "Please Tell Me More," a lush piano ballad that trades bombast for intimacy, showcasing the duo's ability to weave quiet beauty into their stormy soundscapes. “Fire Be Mine” cranks the intensity back up with towering peaks and surprising moments of tranquility, while "Downward, Downward" is drenched in choral harmonies that conjure images of medieval knights chanting in unison. The balance between ferocity and grandeur remains a defining feature. Synth-laden "Getting Away" stands out as a sonic experiment, while "Only Sanctuary" delivers a more straightforward, hard-hitting anthem. The album’s closer, "There Is No Escape," is a sprawling, nearly fourteen-minute epic that refuses to sit still. Packed with twists, turns, and climactic flourishes, it feels like the culmination of everything Niovel has been building toward—a labyrinthine journey through the heart of their musical ethos. For fans of symphonic metal’s heyday in the ‘80s and ‘90s, Please Tell Me More is a lovingly crafted homage to the genre’s grandiosity, but it’s also a bold statement from a band that refuses to be tethered by nostalgia. With impeccable production, virtuosic performances, and a clear passion for the theatrical, Niovel keeps the symphonic metal flame burning brightly.
Ales Tsurko’s Before the Void feels like an album suspended in time—a meditation on change, impermanence, and the fragile beauty of the world. Written during a period that Tsurko describes as being filled with wonder and possibility, it captures a profound shift, a sense of longing for something that has been lost to the uncontrollable tide of transformation.
The album opens with “No. 9,” a composition that drifts weightlessly, evoking the calming, expansive soundscapes of artists like Jon Hopkins. It’s serene yet humbling, pulling the listener into a state of awe. By contrast, “No. 12” introduces a subtle tension with pulsating, arpeggiated synths that ripple across vast sonic terrain. It’s a track that feels ominous, like the distant rumble of a storm just beyond the horizon. “The Summer Morning in Minsk” emerges as a standout moment, recalling the intricate textures of Fennesz. It’s undeniably beautiful, but there’s an undercurrent of something ancient and elemental, as if the song is channeling the raw, untouchable power of the sun. “Metallic” shifts the tone, feeling almost digital yet impossibly vast, as if humans are mere specks dwarfed by the towering structure it invokes. On “No. 6,” Tsurko offers a reprieve—a track that feels like floating at cruising altitude, surrounded by serenity. The calm, meditative moments are contrasted by “Odessa, 1978,” a piece that feels alien and otherworldly, reminiscent of the textured nostalgia of Boards of Canada. The album closes with “No. 11,” a track that envelops the listener in an atmospheric whirlwind, every sound molecule swirling like particles in a gust of wind. Before the Void is an exceptional work, steeped in introspection and wonder. It explores the immensity of forces far beyond our understanding, pointing to something ancient and untouchable. Tsurko’s compositions feel less like music and more like a dialogue with the unknown—a reminder of the fleeting nature of our own existence and the vastness of everything that lies beyond.
Dean Carter’s “Standstill Sol-Invictus” is a sprawling, nearly ten-minute ode to the rebirth of light and hope heralded by the winter solstice. Its title alone hints at the grandiosity within, yet the song’s strength lies in its understated brilliance. Opening with acoustic guitar lines that evoke the vast, windswept plains of 19th-century Americana, it pulls the listener into a meditative space before expanding into something more intricate.
As the track unfolds, Carter’s exceptional guitar work takes center stage. Two distinct guitars—one panned left, the other right—create a rich stereo effect that feels intimate yet expansive. The addition of tom drums, which pulse like echoes of ancient rituals, infuses the piece with a ceremonial, almost mythic quality. There’s a timelessness to the composition, as though it exists outside of any specific era. While the instrumentation is consistently engaging, the final two minutes are where “Standstill Sol-Invictus” truly ascends. The song takes on a mantra-like quality, pulling the listener deeper into its hypnotic layers with each measure. It’s an immersive experience that feels both personal and universal, a reflection of the solstice’s symbolic promise of renewal. What makes this track so compelling is its restraint. The warmth of the acoustic guitar and the minimalist arrangement create a delicate balance that never feels overwrought. It’s a song that doesn’t demand attention but effortlessly earns it. Carter’s ability to channel such profound emotion into a deceptively simple framework makes “Standstill Sol-Invictus”not just a great track, but a quietly powerful statement.
Sarantos returns with "God Doesn’t Make Mistakes," a stirring new single that dives headfirst into the deeply personal terrain of faith, doubt, love, and redemption. Paired with a cinematic music video, the track feels like an invitation into Sarantos’ inner world, urging listeners to confront their own spiritual reckonings without fear of vulnerability.
The song is an exercise in dynamic contrasts. It shifts fluidly between subdued, folk-inspired verses and grand, orchestral crescendos. While the verses are understated and pleasant, they set the stage for the bigger moments, as layers of instrumentation gradually build. The addition of orchestral strings adds a rich texture that elevates the emotional weight of the track. At around the two-minute mark, the song takes a dramatic turn, bursting into a powerful, rock-driven section that feels almost triumphant. The lyrics remain at the heart of the song, weaving themes of divine connection and personal conviction. Sarantos’ words leave little doubt about the significance of faith in his life, presenting his beliefs with an unapologetic sincerity. As the track progresses, the energy peaks near the four-minute mark, where a soaring lead guitar rips through the mix, delivering the song’s most electrifying moment. Sarantos leans fully into his convictions, crafting a piece that feels both deeply personal and universally resonant. In a world where topics like faith can polarize, Sarantos boldly offers his truth, and whether you align with his perspective or not, there’s an undeniable strength in the courage of his delivery.
Tone Ranger’s latest release unveils Vecinoz, a Santa Fe-based Latin-pop duo comprised of the multifaceted Tati Bohorquez and Giovan Michael. Not content with just making music, the pair channel their creativity into a range of endeavors—Tati helms a Colombian pop-up eatery, while Gio is a published author with multiple writing collections to his name. Their collaborative debut, Cuentito, recorded at Animalia Studios in Santa Fe, fuses Alex Simon’s Latin-inspired instrumentation with lyrics steeped in literary homage, nodding to the poetic genius of Lorca and Borges.
The track immediately grabs you with its infectious rhythms, a vibrant tapestry of Latin influence woven with organic instrumentation. From the earthy percussive layers to shimmering melodies, there’s a warmth that feels alive and celebratory. However, it’s not purely traditional—unexpected touches, like subtle synth pads, quietly disrupt the formula and elevate the production, keeping the listener engaged. While the instrumentation lays the groundwork, it’s the vocals that truly make Cuentito soar. Both Tati and Giovan deliver performances that brim with emotional depth, dynamic range, and an intuitive sense of nuance. Their voices complement each other beautifully, creating harmonies that feel effortless yet powerful. It’s the kind of chemistry that can’t be manufactured, and it takes the song to another level. What’s striking about Cuentito is how it balances tradition with modernity, subverting expectations without losing its roots. It’s a track that feels grounded in its cultural influences yet reaches beyond them, thanks to smart production choices and an unmistakable authenticity. Recommended.
Dominique Lemaire, formerly the driving force behind Énée, steps into the spotlight with his solo project, The Domi. Known for blending pop and rock influences with shades of The Strokes and Arcade Fire, Énée carved out a notable presence on French stages and released a string of well-received records. Now, Lemaire opens a new chapter with his latest track, “Days of Wonder.”
There’s an undeniable charm to “Days of Wonder.” Playful and nostalgic, it channels the lo-fi pop eccentricities of Ariel Pink while wrapping itself in a warm, inviting glow. The track is effortlessly catchy, buoyed by memorable vocal melodies that stick with you long after the song ends. Instrumentally, it’s tight and balanced—the guitar, drums, and production are crisp without overshadowing the song’s inherent lightness. There’s also a subtle nod to ‘50s pop sensibilities, which adds a layer of vintage sweetness that feels fresh rather than retro for retro’s sake. “Days of Wonder” carries the energy and immediacy of a standout single. It’s the kind of track that feels instantly familiar, like it’s always been on your playlist, yet compelling enough to hit repeat. As an introduction to The Domi, it’s a promising first step, and one that leaves us eager to hear what’s next. A delightful listen, and hopefully just the beginning of something even greater.
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Melody Mortal’s "Nightmare" is a ferocious dive into the turmoil of heartbreak, set against the electrified chaos of a rockstar’s existence. Channeling the gritty aggression of The Prodigy and the cinematic theatrics of Rob Zombie, Melody carves out a distinct space with her dark, hyper-femme pop aesthetic. The track pairs hauntingly evocative lyrics with a raw, visceral narrative, painting an intense portrait of emotional unraveling.
The song kicks off with a riff that wouldn’t feel out of place on a Nine Inch Nails record—gritty, distorted, and dripping with attitude. Melody’s vocals bring an Evanescence-like power, blending dark energy with an anthemic edge that feels both commanding and vulnerable. The relentless 4/4 beat anchors the track, creating a pulsating rhythm that feels tailor-made for packed, sweaty dance floors. What sets "Nightmare" apart is its dynamic range. The track flows through a series of transitions, exploring a variety of sonic textures without ever losing its cohesion. The production is razor-sharp, showcasing a level of polish that heightens its impact. This is a song built to hit hard, whether through club speakers or headphones. A dark, addictive banger that demands repeat listens—don’t sleep on this one.
CHARLIECITYY’s debut album, In Another Life, emerges as a bedroom pop opus that feels both intimate and far-reaching. Hailing from Birmingham, England, the rising artist teamed up with five producer collaborators to craft the album’s instrumentals while meticulously handling the vocals, mixing, and mastering himself. The result is a deeply personal and polished work that pulls from the emotional expanses of Frank Ocean and the experimental textures of MK.Gee. According to CHARLIECITYY, In Another Life is a raw examination of love, loss, and self-discovery—a confessionary record that invites listeners to untangle the complexities of relationships and personal growth. Themes of regret, denial, and acceptance ripple throughout the album, marking it as both vulnerable and ambitious.
The album opens with "flashback," a track built around delicate acoustic guitar picking, atmospheric layers, and a steady bass undercurrent. The ever-present use of Auto-Tune—employed throughout the record—casts a modern sheen over his yearning vocals. As the song intensifies, it becomes a poignant meditation on the ache of lost love, setting the emotional tone for what’s to come. It’s an evocative introduction, establishing CHARLIECITYY’s ability to weave deeply personal narratives into his music. "Mirror" shifts gears with a mix of pop and pop-punk elements, striking a balance between buoyancy and emotional weight. The dynamics land well, with the low-end production providing a satisfying depth, grounding the song’s more playful moments. On "Heartstrings," CHARLIECITYY channels his inner Frank Ocean, yet the song's quirky, offbeat production feels akin to something pulled from FX’s Dave soundtrack—a testament to his ability to blur genre boundaries with ease. It’s a track that highlights his knack for finding beauty in unconventional arrangements. The album’s darker side emerges on "Denial," a brooding and melancholy track that carries the weight of unresolved emotions. Meanwhile, "I Never Seem to Learn" stands out as a highlight, marrying a moody hip-hop beat with shimmering guitar lines that create an irresistible contrast. Tracks like "Requiem" delve into introspection, "Skin" expands with sprawling soundscapes and orchestral touches, and the title track, "in another life," impresses with its stripped-back minimalism. The closer, "goodbye," is a poignant farewell, bringing the album to a satisfying conclusion. In Another Life feels tailor-made for a generation navigating the chaos of love in a digital age. CHARLIECITYY captures that universal turbulence of heartbreak and healing, crafting songs that resonate deeply with twenty-somethings who are still piecing together the puzzle of intimacy. Yet, for all its modernity, the album taps into timeless truths about love and longing that transcend its youthful target audience. This is a promising debut, with CHARLIECITYY proving himself an artist willing to bare his soul and push his craft forward. It’s an experience worth exploring.
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