Kathy Sanborn with ‘Romance Language’
There is something romantic about this album because Kathy Sanborn has a certain charm about her when she performs each song on ‘Romance Language’. Kathy has a very inviting tone that will draw many listeners in. This new record features 10 original compositions written by Kathy Sanborn and each one has its own unique story.
The album features Kathy Sanborn on vocals, piano and keyboards and Wayne Ricci on trumpet. Kathy is an award-winning performer and it shows on ‘Romance Language’ with material that is enriching and a voice that cuts right through. She can sing in English, French or Spanish and the message and emotion comes through the same each time.
The album kicks off with “Romance Language (For Uan Rasey)” and right away the listener is drawn in thanks to a sensuous tone by Kathy Sanborn. Kathy captivates the audience with her voice on “Romance Language” where it comes across as very sincere, emotional and playful. Next, on “Never Blue” Kathy delivers a soul-stirring performance that will leave the audience wanting more. Track three, “Sonrisa”, enchanting vocals hit your eardrums and they are smooth as butter. A mystical sensation that has a light ‘n’ airy texture comes your way on the following song called “Cambios”. A feel-good melody and easy-breezy vibe can be heard next on “Si Bon (So Good)”. Pure elegance is flowing out on “Después De Las Lágrima” and it is so soothing to hear. Kathy exhibits such a delicate touch on “El Viaje” where her vocals will relax you from head to toe. Moving along, “Romance Language (Homage to a Trumpeter)” is so well-done and simply just a masterful composition for the ages. Track nine, “Otro”, is performed ever so lightly yet ever so powerful with Kathy Sanborn hitting on ALL levels. Kathy is going out in style and with true class on “El Jardín De La Vida”. With pitch-perfect vocals, Kathy delivers a powerful performance on “El Jardín De La Vida”.
Kathy Sanborn proves that she can connect with a wide audience thanks to her appealing voice and strong music. This is a jazz record that you will want to check out and add to your playlist NOW! Kathy Sanborn shows the world that ‘Romance Language’ is in fact the universal language for many years to come.
https://kathysanborn.com/romance-language
By Jimmy Rae
Thurane Presents ‘Big House’
Arizona-based worship leader and singer-songwriter Thurane steps into the spotlight yet again this year with his vibrant rendition of Audio Adrenaline’s 1993 anthem “Big House”. Thurane’s warm vocals inject heartfelt emotion and polished Americana flair into this classic Christian rock staple, preserving its message and introducing it to a new audience.
After enjoying commercial success as the lead vocalist of bands New Jerusalem and Kenyon Grey, Thurane is set to kick off his solo career with this cover as it is set to be followed by a new EP titled “Lift Him Up” later this year.
The song innovates right at the start, opening with bright guitar riffs that are a touch heavier than the instrumentation in the original. Thurane’s rendition is more energetic, and conveys a sense of genuine joy in addition to the cheery lightheartedness of Audio Adrenaline’s hit.
There’s also a hint of classic country warmth in this cover that just adds a bit to its intrigue. That twang in the lead guitar, and the slight accent in Thurane’s voice breathe fresh life into nostalgic territory and underscores the song’s timeless message of inclusion and belonging.
With its crisp drums keeping up the beat to perfection, the production on this track is really well done. It sounds polished, but remains rustic enough to jam during a long drive or sing along with a bunch of old friends.
But Thurane’s vocals end up stealing the spotlight in this performance, as his delivery has no shortage of charm or confidence. While Thurane fits right into that type of artist to sing his heart out without a care for technique, his skills as a vocalist are spot on with barely a note out of place.
In a world where unity is more important than ever, Thurane’s cover of “Big House” is a heartfelt, revitalizing homage. He remains faithful to the song’s Christian‑rock roots, and elevates it with powerful vocals and upbeat Americana instrumentation. If this single is a sign of things to come, we can’t wait to see what else Thurane’s upcoming album has in store.
Alias Wayne Presents ‘Too Far’
Costa Rica-based Singer‑songwriter Ranzel X Kendrick returns with yet another thoughtful single under his indie rock alter ego Alias Wayne. “Too far” is an easygoing number that laments how our culture has become too polarized, and calls for everyone out there that’s gone too far to come back to where we can find some common ground.
From its opening bars, “Too Far” establishes a mid‑tempo groove, steeped in acoustic guitar riffs and harmonious backing vocals. Wayne goes for his usual refined production style on this track, striking a balance between lively and engaging instrumentation without overshadowing the vocals.
Wayne’s vocal performance takes a warm and soulful tone. He’s not here to impress you with his range; this is a comforting anthem that is centered around its message. His experience as a performer really shines through in the natural ease with which he sings, aligning with the song’s introspective tone.
Lyrically, Too Far takes a really simple approach to caution listeners on ideological extremity. The lines “Too far right/Too far out/Too far left/Too far gone” are a delightfully simple and succinct way to caution against extreme conviction. Its appeal is not partisan but built on emotional maturity, and self‑awareness instead.
Too Far is a thoughtfully composed and emotionally resonant single. It showcases Alias Wayne’s understated vocal warmth, intelligent songwriting, and genre‑fluid musicianship. With a message encouraging reflection and balance in a world of extremes, this timely single has the makings of a timeless classic.
ONLINE:
https://www.ranzelxkendrick.com
https://www.facebook.com/RanzelXKendrick
https://www.youtube.com/@AliasWayne
Transcendence: ‘Music of Pat Metheny’
If you seek musical exploration at its finest, then look no further than Transcendence: ‘Music of Pat Metheny’! Transcendence adds so much depth to Pat Methany’s original compositions and the dynamics are equally impressive. Transcendence gets highly creative on this new project while staying true to the roots of pure jazz.
Transcendence is a talented trio and they are: Bob Gluck on keys, Dean Sullivan on electric bass and Karl Latham on drums. Together, these skilled musicians have given ‘Music of Pat Metheny’ new life that can be enjoyed for years to come. The solos and improvisations on this album go outside the box of conventional standards making this a must listen. Crossing musical boundaries while staying true to the art form of jazz, Transcendence is proud to deliver ‘Music of Pat Metheny’.
The record features seven tracks and each one has its own identity and story. Right from the beginning, Transcendence is going in many directions on “Question and Answer”. In my ears, there is no Question that Transcendence has the answer to artistic freedom. Next, we hear “Afternoon” that offers up a good feel overall and one compelling sound. Track three, “The Bat”, hits on ALL levels with its heavy substance and rich material that just feels absolutely complete from top to bottom. Get ready for a wild ride equipped with plenty of twists & turns on this exhilarating “Offramp”. “Offramp” is truly an ear-bending experience that you won’t soon forget! Jumping into the next number, Transcendence is making a BIG splash with “Dolphin Dance”. Soak up everything “Dolphin Dance” has to offer as this song flows along at just the right speed. Next, Transcendence provides a playful melody that is very distinct on “Everything That Lives Laments”. Transcendence is barking up the right tree by the end of the record on “Roof Dogs”. The audience will witness a solid performance and interesting direction taken here as the road less traveled leads to the entrance of “Roof Dogs”.
Transcendence breathes new life into the ‘Music of Pat Metheny’ and it’s quite refreshing to say the least. This album was recorded live by Karl Latham at Firefly Studio and mixed & mastered by Paul Wickliffe. The choices are endless for Transcendence and the ‘Music of Pat Metheny’ is limitless. ENJOY the show!
https://karllatham.com/product/1089262-transcendence-plays-music-of-pat-metheny-cd
https://transcendenceglucksullivanlatham.bandcamp.com/album/transcendence-plays-music-of-pat-metheny
By Jimmy Rae
‘Good Old Days’ by Marc Daniels
Marc Daniels became an overnight sensation when he kicked off his solo career in 2015, achieving both popular success and critical acclaim with singles like “The Starting Line” and “Redheads”. In 2025, Marc emerges with a new single “Good Old Days,” ready to shape his image not as a rising star, but as a mature artist who’s seen the world.
Following the success of his 2018 LP “#HOLDMYBEER” Spokane-born country-rock artist Marc Daniels took a short hiatus, writing and composing for hit TV series such as “Roswell – New Mexico” and “Road Hard,” while also experimenting with house, dance, and pop music.
Unlike his more recent projects, Good Old Days is a return to Marc’s country-rock roots, and taps into the dropping universal ache of fleeting youth. The song is written as a message from a father to his son, infusing this track with Marc’s signature charm and rugged warmth.
Built on his expressive baritone and light-hearted songwriting, Good Old Days opens with a narrative punch: a young man sneaking in late, only to be met not with scolding, but with wisdom:
“Don’t be afraid, no matter what you did, kid I’m glad that you made it home,” Marc croons, setting the stage for a playful yet poignant journey through adolescence and early adulthood. The key message of the song shines through in the chorus: “wish someone had told me ‘bout the good old days; when I was living them.”
At its heart, Good Old Days is more than a nostalgia trip: it’s a mentor’s anthem. Lines like “Whether you lose or win, get in the game” capture the track’s spirit: a gentle nudge to live fully, make mistakes, and embrace the chaos of youth. It’s an homage to those moments we never realized were shaping us until they became memories.
Marc’s storytelling elevates the song with lyrics that are conversational yet reflective, playful but rich with hindsight, giving it universal appeal for anyone who’s ever looked back fondly on the days when they were young, wild, and free.
Musically, the track balances crisp guitar-driven rhythms with an easygoing tempo that mirrors the laid-back energy of Marc’s earlier work. With this single, he continues to make authenticity a defining feature of his musical career.
From touring the West Coast to featuring in film and TV, Marc has carved out a space where grounded storytelling meets crossover-ready charisma. Good Old Days feels like the product of a seasoned artist; still fun-loving, but deeper in perspective. It’s a beautiful track that’s equal parts pep talk, flashback, and anthem for late-night bonfires and backroad drives.
https://www.instagram.com/marcdanielscountry/
Flippin’ Gothic Fabp Live @ Pete’s Candy Store Open Mic (2025)
Brooklyn’s beloved Pete’s Candy Store prides itself on high-quality authentic material, making it the perfect stage for Flippin’ Gothic Fabp’s freestyle verses. At Pete’s weekly open mic last Sunday, Fabp made his appearance on the intimate basement stage, carving a singular presence amidst the backdrop of fairy lights, vintage candles, and cozy mismatched seating.
Fabp’s chill composure and casual attire melded seamlessly with the venue’s aesthetic. He wasn’t just performing; he was weaving lyrics into the candlelit crawlspace, pacing deliberately to anchor each moment in dramatic tension.
Building his set upon previous performances, this open mic revealed a more introspective side as Fabp sang about his journey as an artist. His flow leaned into a measured cadence, never rushed, allowing shadowy poetic imagery to breathe.
While Fabp is known to thrive on dense beats and theatrical flair, his performance at Pete’s took inspiration from reggae, opting for a pared back accompaniment and subtle percussion loops. This minimalism spotlighted his lyrical craft, offering a window into a freestylist who’s as comfortable conjuring internal landscapes as he is at commanding live rooms.
The crowd, a modest stage-facing audience, leaned in as he shifted between hushed verses and dynamic turns. As usual, Fabp worked the room with ease, getting cheers and chuckles with his shoutouts to the venue and its patrons. Even though his crowd work filled up the basement’s atmosphere, it felt deliberate and connective, not mere showmanship.
If Fabp carries this confidence into larger venues, backed by refined accompaniments and set dynamics, we may soon see him headline intimate arts spaces, with room to explore darkness and vulnerability at scale. The dimly-lit basement of Pete’s Candy Store may prove to be the crucible for his most compelling work yet.
Website / Socials (3 MAX)
https://www.x.com/therealfabp
https://www.instagram.com/therealfabp
https://www.X-CaladePromotionz.com
The Heard Eye Presents ‘Only One Earth’
The Heard Eye burst onto the indie scene in 2023, with the release of their innovative new album “Funkalypse”. After some time focusing on live shows and moving away from new music, the band returns with a hard-hitting reggae single in the form of “Only One Earth.”
The track starts out with gloriously warm and bright trumpets enveloping you in a tapestry of smooth reggae-infused funk. This is set against the backdrop of a rich, mellow bassline, while the groovy syncopated percussion kicks in.
The band wastes no time getting to their message of environmental conservation, starting off with powerful verses like
“Can they build a machine
To make the fertile soil
For the food to grow
What would it cost?
What have we lost?”
The rhythmic ensemble is tight yet fluid, carrying reggae’s signature sway to perfection. However, the light instrumentation takes nothing away from the song’s seriousness, and the titular question “We have only one Earth/Tell me what it’s worth” never misses and strikes you right in your soul.
The lyrics of this track pose visceral questions about whether modern conveniences can replace the bounties of nature and what would remain when we poison our only home. These are not idle musings, and they strike as firm reminders that our comforts are built on stilts that could collapse any day now.
Musically speaking, the melodic guitar solo that kicks in at about the halfway mark is absolutely glorious. It’s both expressive and assertive, filling the sonic space without overpowering it. In a track that’s nearly five and a half minutes long, it provides that change of pace to keep things fresh.
The production is crisp and spacious as well, with each instrument finding its own place. The bass, drums, trumpet, guitar, keyboard, and vocals all blend together harmoniously without sacrificing any of that delicious complexity. The intros, interlude, and outro feel like chapters in a story, making for a truly indulgent experience.
Only One Earth is a timely and reflective anthem that isn’t just meant to be heard, but felt as well. It’s a reminder that we need to change our ways now, or at the very least be conscious of all the damage that can’t be undone.
ONLINE:
https://theheardeye.com/
https://www.facebook.com/theheardeye/
https://www.youtube.com/channel/UCZYfBSsrpRbon80kVtx3mGg/featured
Joshua Ray Hudson with ‘The Dreams of a Working Man’
Hailing from North Carolina, Joshua Ray Hudson is an award-winning singer/songwriter and his latest release, ‘The Dreams of a Working Man’, is pure gold. Written about and for the hard-working Americans, this album has a real salt-of-the-earth feel to it. With elements of country and americana, ‘The Dreams of a Working Man’ touches on relevant topics that many people will relate to.
The record features Joshua Ray Hudson on vocals, guitar & bass along with The Blue Ridge Canyon Boys: Chalmers Croft-lead and acoustic guitar, mandolin, Nikao Wallace–drums, Josh Hamrick-bass guitar, Scott Sanders–keyboards. Justin Schipper–steel guitar (tracks 2, 3 & 10), and Bruce Bouton-steel guitar (track 5). Together these fine musicians have created music that speaks to the masses.
Joshua is howling away about life’s struggles right out of the gates on “The Wolf”. Joshua Ray Hudson has a lot to say about this ‘n’ that as “The Wolf” is relentless! Next, get ready for a heartfelt song called “I Had A Dream Last Night” where Joshua displays such richness in his voice with golden lyrics to boot. “I Had A Dream Last Night” offers up touching material where memories are revisited and portrayed for the audience. Get ready for a down-home sound and charming number with “Barefoot Southern Heart”. Nothin’ fancy about “Barefoot Southern Heart” but if feels oh so right and just perfect. We’ve reached the “The Silver Lining” where there is a real sense of truth pouring out that will move you. The title track is up next and the listener will understand once and for all that it is all about “The Dreams of a Working Man”. Joshua has so much grit and is so sincere when singing about “The Dreams of a Working Man”. Get ready to jam out to one fun tune on “Moonshine Runner” where you won’t want to waste a drip. On track seven, “That’s Why We Stand”, it’s all about the red, white and blue, our military and Old Glory. This prideful song about our country’s flag warms my heart with its patriotic theme as “That’s Why We Stand” is one stand-out single. Next, get a dose of “Roots” that grow stronger each and every day and never wither. Musical wisdom is hitting you hard on the following number titled “Old Too Quick, Wise Too Late” where you’ll just want to listen and let the words sink in. You will receive strong lyrics that pierce your ears on “Look At Me (the Autism song)” as Joshua is in the zone and delivering a commanding performance. There is also an excellent acoustic version of “That’s Why We Stand” that truly captures the heartbeat of America.
Joshua Ray Hudson has written over 350 songs, recorded four studio albums and has won the Don Gibson singer songwriter award three times. ‘The Dreams of a Working Man’ is some of Joshua’s finest work to date. Joshua Ray Hudson is a genuine country artist with roots music at the core of it all. Hard work does pay off and Joshua Ray Hudson is a true testament to that with his new release ‘The Dreams of a Working Man’.
By Jimmy Rae
Valerie Rose Presents “Tin Can Woman”
After nearly three years of not releasing any new music, veteran performer Valerie Rose returns to releasing originals with her latest single, “Tin Can Woman.” The singer-songwriter and multi-instrumentalist delivers a spirited slice of roots-rock flair on this track, layered with retro vibes and her signature boldness.
https://distrokid.com/hyperfollow/valerierose/tin-can-woman
From the grooving basslines to the tight drum work, the instrumentation on Tin Can Woman blends old-school authenticity with a contemporary edge. The result is an instant earworm with a head-nodding rhythm that’ll stay in your mind long after the song’s over.
The lyrics to Tin Can Woman could very well be about Valerie herself as the song opens with her singing “I’ve got a reputation that serves me right/A sweet black angel raising hell in the night.” The writing on this track is simultaneously aggressive while still being playful, and meshes wonderfully with that blues-rock tone Valerie’s going for.
Tin Can Woman perfectly captures the range of Valerie’s musical influences from classic soul and jazz to early rock ‘n’ roll. The expressive saxophone solos are standout parts of the arrangement, providing a nostalgic touch without feeling dated. The texture and emotional depth serve as a perfect counterpart to Rose’s commanding vocals.
– https://skopemag.com/2025/07/03/valerie-rose-releases-new-single-tin-can-woman-friday-july-4th
Tin Can Woman is more than just another Valerie Rose song; it’s a reaffirmation of her artistic voice. Musically rich, lyrically bold, and executed with remarkable
independence, the track stands tall in her already diverse catalog.
Lyle Hutchins Presents ‘Flatlander’
New Orleans-based alt-rock and Americana artist Lyle Hutchins steps confidently into the spotlight with his debut album, “Flatlander,” an innovative work that blends acoustic warmth with subtle electronic textures.
At its core, Flatlander reflects Lyle’s musical journey, covering the trials and tribulations of pursuing a career no one approves of far far away from home. With its themes of nostalgia, anxiety, and self-discovery this is a record that earns your attention with each deliberate note and hushed vocal turn.
The album opens with “M.I.A.” which perfectly captures that feeling of just wanting to disappear from this world and get away from it all. Lyle’s talents as a multi-instrumentalist and songwriter are evident on this track as he smoothly transitions between sections showcasing diverse musicianship.
Yet Hutchins rarely lingers in one musical style for too long. Tracks like “Stockholm Syndrome” bring a fuller sound, almost akin to a classic 4-man indie rock band.
Meanwhile, “Drive to Canada” utilizes synths and autotune distortion to produce an electronic sound that feels modern without sacrificing depth.
But for us, the highlight of the album was the gentle acoustic single “Shoulders.” The light instrumentation really allowed Lyle’s lyricism and vocals to shine through, making the song’s emotional payoff hit that much harder.
1. M.I.A.
2. Shoulders
3. River Runs
4. Stockholm Syndrome
5. When I Was 13
6. Crow
7. Till It Thaws
8. Phantoms In The Mist
9. Over Now
10. Out Here
11. Drive to Canada
12. Stars
13. Staying In Line
14. Flatlander
The title track, “Flatlander,” serves as the album’s climactic finale. The gentle acoustics lead into a journey through love, distance, yearning and loneliness, creating a sonic landscape that captures both restlessness and resolution. The album comes to a close in a moment of catharsis that’s as evocative as it is beautifully constructed.
What’s most striking about Flatlander is its balance. It’s never showy, but it’s never dull. It leans into classic Americana storytelling traditions while experimenting with form and texture. It’s a record that rewards attentive listening, revealing more with each spin.
Flatlander is a welcome breath of fresh air that is thoughtful, unpretentious, and rich with atmosphere. Lyle Hutchins may be new to the scene, but with this debut, he proves himself an artist worth watching: one who understands the power of both silence and sound.
ONLINE:
https://www.lylehutchins.com
https://www.instagram.com/lylehutchinsmusic
https://soundcloud.com/lylehutchinsmusic
https://www.facebook.com/lyle.hutchins.31
https://www.tiktok.com/@lylehutchinsmusic
Billy Gilman Releases “Waylon”
Country music has always had a soft spot for dogs. From Blake Shelton’s “Ol’ Red” to Luke Bryan’s “Little Boys Grow Up and Dogs Get Old,” our furry friends often take center stage in songs that make you laugh, cry, or—more often than not—both. Billy Gilman’s new Bluegrass single “Waylon” is the latest entry into this heart-tugging canon, and it might just be one of the most quietly devastating tracks of the bunch.
Released during May’s Mental Health Awareness Month, “Waylon” isn’t just a dog song—it’s a survival anthem. The titular Waylon isn’t a legendary outlaw singer (though the nod is clearly intentional); he’s a dog, and more importantly, the reason the song’s narrator is still here. That’s the gut-punch at the core of this track: sometimes, when everything else falls apart, it’s a wagging tail and a loyal stare that keep you tethered to life.
Co-written by Gilman, Dan Murph, and Philip Douglas, the lyrics are stark but stunning. “Please leave me Waylon / put anything else you want in that truck / ‘cause if I have to live here without you / that dog will be my reason to wake up,” Gilman sings, and you can practically hear a thousand dog owners whisper “Yep” through their tears. Gilman delivers the song with a vulnerability that feels earned, not performed. He’s not reaching for drama—he’s telling the truth, plain and simple.
When it comes to the musical composition, “Waylon” is a Bluegrass gem. The arrangement is gentle and uncluttered, featuring fiddle, banjo, acoustic guitar, and mandolin. There’s no big climax, no overproduction—just space for the story to breathe. Gilman’s voice, still pristine and expressive after all these years, carries the emotional weight with grace. Martha Christian’s harmony vocals provide just enough warmth to underscore the connection the narrator feels with his dog.
https://open.spotify.com/track/7iMLXbBZhqPpQdZXDUzNCi
And let’s talk about those dog songs. Country music has a long-standing tradition of honoring our pets, and “Waylon” joins an illustrious group. You’ve got the aforementioned “Ol’ Red,” a prison-break tale starring a clever bloodhound. There’s John Michael Montgomery’s “Friends,” which includes a dying man bequeathing his loyal pup. Dolly Parton gave us the heartwarming “Cracker Jack,” a tribute to her childhood dog. And more recently, Chris Stapleton’s “Maggie’s Song” tells the story of a beloved family dog from rescue to rainbow bridge in just a few sob-inducing verses.
What sets “Waylon” apart is how it fuses the emotional storytelling of dog songs with an unflinching look at mental health. That’s where this song really shines—it doesn’t just say “dogs are great.” It says, “dogs save lives,” and it means it. The collaboration with the American Foundation for Suicide Prevention makes this more than a single; it’s a statement.
“Waylon” is a quiet triumph—a song that sneaks up on you and stays. It’s for anyone who’s ever looked into their pet’s eyes and found a reason to keep going. It’s tender, it’s sad, and ultimately, it’s hopeful. If you’re a country fan, a dog lover, or just a human being with a heart, prepare to be moved. And maybe go hug your pup.
Gwen Waggoner
‘Good Vibrations’ by California ™ feat. Les Fradkin
Les Fradkin returns with his long-time musical project California™; this time with his wife, Loretta Fradkin, coming on board as a vocalist. With its light lyricism and breezy instrumentation, their latest release, “Good Vibrations”, has the makings of an instant summertime classic .
As its name suggests, the EP opens with a dazzling reinterpretation of The Beach Boys’ psychedelic pop masterpiece “Good Vibrations”. True to the style of Brian Wilson, this track is not derivative at all, and maintains Fradkin’s sonic personality in every chord.
https://californiatm-featlesfradkin.bandcamp.com/track/good-vibrations
https://open.spotify.com/album/66UZ2usJ5Ivsa3KIO5yVND
https://california.hearnow.com/good-vibrations
However, the Fradkins still pay homage to the original by maintaining that sense of joy and lightheartedness so characteristic of the Beach Boys. The use of the mellotron on this track is especially interesting, as it adds a bit of character that somehow works with the song’s psychedelic influences.
Les Fradkin’s experience as a musician really shines through on this EP as the sunny vibes of california pop are complimented perfectly by crisp modern textures and production finesse. Every note is balanced just right, feeling neither sloppy nor over-engineered.
The second track “Come fly to fall in love” is an original duet between Les and Loretta that invites the listener to embrace that liberating feeling of a great relationship. It’s a touching piece that adds contrast and variety to the collection.
On the other hand, “Island” just screams beaches and tropical vibes, adding in elements of Polynesian music to create a soundscape that transports you to a land of sand and coconut trees.
The common theme that ties all these tracks together is the idea of letting go and releasing yourself from the constraints of life, embracing freedom, love, and the joy of living.
California™ feat. Les Fradkin’s “Good Vibrations” is a masterclass in reimagining a classic genre. It doesn’t merely retread the familiar path of surf pop but refurbishes it with reverence, creativity, and vibrant new life. Whether you’re a lifelong fan of The Beach Boys or a curious newcomer, this EP is a must-listen.
Circus Mind Presents “Waste of Time”
Every artist has been at that stage in their career where they wonder if all the sleepless nights, soured relationships, and constant struggle were worth it. With their latest single “Waste of Time,” New York-based funk-rock collective Circus Mind delivers a sharply observed and irresistibly groovy reflection on the all-too-familiar feeling of creative burnout.
Equal parts funk rock and satirical soul, the track manages to transform artistic exhaustion into something danceable, humorous, and undeniably relatable with verses like;
“Just like the time it takes writing a song
Hoping that someone will sing along
It’s all a waste of time”
At its core, “Waste of Time” is a tongue-in-cheek critique of the creative grind, leading the charge with a wink and a smirk, and asking the question so many artists have muttered to themselves: Why are we even doing this?
The arrangement is as cleverly constructed as the song’s message. Waste of Time is driven by an irresistible funk groove and an accompaniment complete with crumpets, piano and even an ensemble of backing vocalists. The result is a sound that’s at once vintage and vibrant.
The production on Waste of Time is clean but warm, featuring crisp drums, bluesy guitar lines and rich keyboards. While each instrument is balanced with enough room to breathe, it still retains that natural feel of a live performance.
One of the most striking aspects of “Waste of Time” is how well it captures the existential paradox of being a creator: putting in countless hours, enduring rejection, and sacrificing comfort—all for something that may never yield a tangible return.
“Walking around mowed down by life’s confines
Wandering about the fate of your own designs”
Yet, rather than wallowing, Circus Mind chooses to embrace the absurdity. The groove becomes a form of resistance, a musical shrug in the face of futility.
Waste of Time follows in the footsteps of Circus Mind’s past genre-blending and innovative work, but marks a new level of lyrical ingenuity. It’s witty, funky, a bit cynical, and relaxed all at the same time without ever losing its focus. The track shows that even burnout can be art, and even failure can be fun.
https://www.circusmindband.com/
Heather Ward Presents ‘Gilded & Silver’
Seattle-based jazz vocalist Heather Ward took the jazz world by storm in May 2024 with her debut album “Honeysweet”. This year, she returns to the spotlight with Gilded & Silver, an enchanting and emotionally resonant collection that firmly establishes her as a rising force in contemporary jazz.
Drawing from traditional influences while carving out her own lane, Ward’s latest release is an elegant showcase of originals, jazz standards, and reinterpretations of pop classics. With her vocal subtlety, rich arrangements, and heartfelt storytelling, Ward invites listeners into a soundscape that is as intimate as it is timeless.
The album opens with an original titled “Into the Music,” a tribute to Heather’s Canadian jazz mentor, Hugh Fraser, and uncle, Joe Edmonds who both passed away during the pandemic. While her brooding vocals play with your emotions, in classic jazz style, Heather lets the piano and trumpet both take center stage with warm, hypnotic solos.
STREAMING:
LYRIC VIDEO FOR “Into the Music”:
From the opening notes, Gilded & Silver exudes the feel of a classic supper club, where the lights are low, and the music wraps itself around you like velvet. Ward’s sultry alto brings new life to familiar songs, and her rendition of “Dear Prudence” is one of the album’s standout moments as she transforms the Beatles classic into a slow-burning jazz ballad.
01. Into the Music
02. Towers
03. Dear Prudence
04. Blue Collar
05. Light Up My Room
06. My World is Beginning Today
07. A Million Miles Away
08. He’s A Tramp
09. My Favorite Things a la Trane
10. Midnight at the Oasis
11. Mercy Street
12. I Can’t Give You Anything but Love
The album also has a lighthearted side, as Heather performs a fun little cover of “He’s a Tramp” inspired by the Disney classic. Her vocals really shine on this track, with only the strumming of the double bass to accompany her performance.
Much of the album’s charm also lies in its uncluttered yet rich arrangements, with piano, upright bass, percussion, and subtle trumpet flourishes forming the backdrop for Ward’s vocals. The instrumentation never overpowers; instead, it breathes with her, each note carefully considered to enhance the lyrical and emotional message.
Heather is as reverent as she is inventive on Gilded and Silver, and she ends the album with the jazz standard performed by the likes of Billie Holiday and Ella Fitzgerald; “I can’t give You Anything but Love.” Once again, the instrumentation remains minimal, allowing Heather to pour her soul into the song uninterrupted.
In Gilded & Silver, Heather Ward has delivered more than a jazz record; she has crafted a deeply personal and musically sophisticated statement of identity. It is a work steeped in tradition but unafraid to push boundaries. We’re just two albums in, but this up-and-coming jazz artist already has the makings of a star.
ONLINE:
https://www.heatherwardstudios.com
https://www.facebook.com/quirkyjazz
https://www.tiktok.com/@heatherwardstudios
https://youtube.com/@heatherward9506
Melissa Kassel & Tom Zicarelli Group Release ‘Moments’
If you’re in the mood for inventive and original jazz that will get your mind racing, then you have to check out ‘Moments’ by Melissa Kassel & Tom Zicarelli Group. Melissa Kassel is a talented singer and lyricist who has a knack for telling a story through song. With Tom Zicarelli Group adding depth, Melissa Kassel is able to bring ‘Moments’ to life for a wide audience.
This new release explores many facets and musical structures with Melissa Kassel leading the way with her distinctive voice. Love, nature and everything else in between are touched on here making ‘Moments’ a must listen. The record features a talented cast of musicians and they are Melissa Kassel on vocals, Tom Zicarelli on piano, Bruce Gertz on bass, Gary Fieldman on drums and Phil Grenadier on trumpet. With 10 original compositions written by Melissa Kassel and Tom Zicarelli, true ‘Moments’ are made in real time.
The album kicks off with a sweet-sounding “Lullaby” that has a mellow vibe and wonderful melody. The calming feel and soothing notes will rush over you as soon as “Lullaby” is played. Get ready for some smooth “Dancing” next that sets the pace for a long stride of chords that move along effortlessly. Leave your worries at the door and let your mind go “Adrift” on the following song. We flow into “Sea Humanity” next that has an interesting direction and intriguing dynamics. “Sea Humanity” will get your ears buzzing and keep you on your toes from beginning to end! Track five, “Spring Forth Joy”, is bursting with bright flavor and one solid beat to boot! Embrace the “Glow of Your Love” that is one charming number that will make you feel good inside and out. Next, a sharp ‘n’ steady “Breath” takes over the airwaves with its mindful noise. “Twilight” is now upon us and how sweet it is as the mood is set and the tone is just right. It’s time to enjoy some hot coffee as a warm, “Morning Breeze” sails past your ears. The final “Moments” brings everything into perspective by the end and all is right in the world.
Melissa Kassel is so inventive with her lyrics and vocal approach while Tom Zicarelli Group plays like seasoned champs. Through fearless expression and artistic freedom, Melissa Kassel & Tom Zicarelli Group have created ‘Moments’ that will last a lifetime.
https://www.youtube.com/watch?v=GuTep_2jwlU
By Jimmy Rae
Merit Maker Presents ‘Better Days Ahead’
The golden days of punk rock are well behind us, but that won’t stop Merit Maker from trying to revive the genre to its former glory. Their latest release; “Better Days Ahead” blends alt-rock and pop-punk to craft an album that feels both fun and urgently energetic.
Merit Maker is a pet project of bassist and singer/songwriter Joe Stanton, a musician who has built his sound from the ground up. The great thing about Joe’s approach on his albums is that he doesn’t buy into that overproduced sheen you often see on modern records. Despite going really heavy on the electric guitars, the entire product feels refreshingly stripped down.
From the opening bars of “Set It Straight,” it’s clear that this record isn’t trying to reinvent punk rock, it’s trying to remind us why it mattered in the first place. In classic pop-punk style, he jumps right off the deep end at the start, transitioning into a softer melodic bridge, and ending with a heavy outro.
“The Stolen Hearts” leans heavily into a late-’90s sound reminiscent of Blink-182’s more brooding and reflective singles. The song’s signature 3-chord guitar riff is original while still feeling nostalgic, and you can’t help vibing to it as the track goes on.
“Around Again” is a full-on sprint inspired by Sum 41, with double-time drums and thick basslines giving it the feel of a mosh-pit staple. Yet even at their most aggressive, the tracks maintain a melodic clarity that’s often lost in contemporary punk.
I really liked the diversity of this album as tracks like “The Upsides of Downsides” take on a heavier, darker sound to contrast with the upbeat pop-punk entries. The guitar solos on this single, courtesy of Michael Layton, are especially powerful and demonstrate Merit Maker’s ability to effortlessly cross genres.
Thematically, Better Days Ahead stays close to the heart. It’s not a concept album, but there’s a loose emotional arc running through it: frustration, self-doubt, hope, perseverance. Stanton’s vocals are unvarnished, his tone somewhere between urgency and weariness, perfectly suited to the themes of burnout, recovery, and the search for personal momentum.
https://meritmaker.bandcamp.com
https://merit-maker.com/
In the end, Better Days Ahead is punk rock without the posturing. It’s an album for people who fell in love with punk because it was real, not polished: just music that meant something. And for those listeners, better days are already here.
Max Norton Presents ‘Chains’
Max Norton may not be the next Dave Grohl, but his journey sure feels the same. After more than a decade drumming at gigs ranging from Glastonbury to The Late Show with David Letterman, he now steps into the spotlight as a solo artist with his latest single, “Chains.”
Released earlier this year, Chains is a powerful indie rock anthem brimming with emotional clarity, and a yearning for liberation. What’s truly admirable here is that Max does not back down from being authentic and vulnerable, letting waves of catharsis wash over anyone that’s ever felt tied down by life.
Norton’s journey to this moment is integral to the song’s impact. Hailing from Tampa and shaped by his time spent as a supporting musician in Nashville and London, Norton has now broken free from his chains and relocated to The Shoals to pursue his solo career.
His background as a multi-instrumentalist gives Max a unique advantage, and every element in Chains is imbued with an unmistakable personal signature.
“Could you, could you, could you, could you, feel the same?
Could you, could you, could you, could you, be the change?
Do you, do you, do you, do you, see the rain?
Would you, would you, would you, break these chains”
They may look cliche when you read it, but with Max’s delivery, these repetitive phrases turn Chains into an instant earworm, and it’s almost impossible to stop nodding your head along to the beat.
This track balances conflicting themes masterfully, opening with soft acoustic strumming and hushed vocals, only to crescendo into a full-bodied indie rock chorus. Towards the end, Max ramps up the intensity, almost signaling a sense of desperation as the electric guitars and distortion pedals take over.
Chains is more than just another single; it’s a powerful statement of Max’s decision to step out from behind the drum kit and into the spotlight. We have no idea if it was the right path for Max himself, but if this track is any indication, it certainly was the best one for us the audience.
https://www.maxnortonmusic.com/
Brett Altman Presents “Pretty Long Island Girls
Following up on his emotionally stirring 2024 album “My Way Out,” Brett Altman returns with his latest single, “Pretty Long Island Girls.” This buoyant single explores the tension of regional pride and forbidden attraction with a story of a Jersey boy who couldn’t resist the charms of a Long Island girl.
https://samply.app/player/kWlkzSpAmcIKBZsjHUtc
Pretty Long Island Girls also marks the first release from Brett’s upcoming album This Is Me, due in Spring 2026. This new body of work promises to showcase his dual strengths: emotionally candid storytelling and a pop sensibility sharpened by experience.
With lines like “Nobody compares from coast to coast/Not even in Paris, Spain and Rome,” Brett’s lyrics are so delightfully flirtatious that they’d win over any girl. This track is witty, nostalgic, and just the right amount of ridiculous: a love story caught between zip codes and accents.
Musically, Pretty Long Island Girls is a breezy, summer-ready pop anthem infused with Latin-tinged guitar flourishes, funk-inspired rhythms, and a polished modern beat. The arrangement feels really light, but it’s full of character and perfectly suited for rooftop parties, weekend drives to the beach, or a tipsy singalong at a summer BBQ.
But while this song may seem all fun and games, there’s still an intensity in Brett’s voice toward the end of the track that draws you in with emotional depth. There’s a kind of warmth to his delivery that feels deeply personal.
Throughout the track, Brett’s vocals are clean and expressive with the audio engineering being applied tastefully while avoiding being overproduced. Always grounded in the narrative, he invites listeners not just to hear the story but to see themselves in it; to laugh a little, maybe roll their eyes, and ultimately hit repeat.
In an era oversaturated with love songs that take themselves too seriously, “Pretty Long Island Girls” is a welcome breath of fresh air. It’s clever, romantic, and perhaps most importantly, fun without ever feeling disposable. Like a good summer fling, it doesn’t need to be forever to be unforgettable.
https://www.instagram.com/brettaltmanmusic/
Santa Barbara Records Presents ‘CaliAmericana, Vol. 3 (A Compilation Inspired by the Legacy of David Crosby)’
Following the overwhelmingly positive reception of the first two instalments in their CaliAmericana series, Santa Barbara Records continues its heartfelt tribute to California’s rich musical roots with “CaliAmericana, Vol. 3”.
This thoughtfully curated compilation honors the legacy of David Crosby, and once again brings together a selection of Central Coast artists. Each musician contributes an original song along with a Crosby cover. I really love this concept as it promotes modern creativity alongside paying tribute to the greats, perfectly balancing modernity and heritage.
Opening the collection, brothers Chris and John Beland deliver a faithful rendition of “Eight Miles High,” perfectly capturing the toned-down beauty of the verses. However, their version upgrades that killer guitar solo, getting a crisper and more powerful sound in part thanks to the wonders of modern recording technology.
Kathleen Sieck’s ethereal voice stands out on “The Universe Knows You’re Mine” and her cover of “Lee Shores” as she leans into the simplicity that is the essence of folk rock. Lee Shores in particular is as mesmerizing as the original, and pulls you into a rare, meditative space that invites the listener to sit still and listen close.
1. Eight Miles High (Chris Beland and John Beland)
2. Oh, Nightingale (Shawn Thies)
3. Dangerous Night (Jonathan Firey)
4. Lee Shores (Kathleen Sieck)
5. Velvety Jesus (Glen Phillips)
6. Way Beyond the Blue (Chris Beland and John Beland)
7. Dirty David (Jonathan Firey)
8. The Universe Knows You’re Mine (Kathleen Sieck)
9. Guinnevere (Shawn Thies)
10. Music is Love (Glen Phillips)
Glen Phillips’ standout performance was his original “Velvety Jesus,” a dynamic and colorful track that still retains that classic Americana sound. His cover of “Music Is Love” perfectly captures the optimism and spirit of Crosby’s more accessible side, and is a perfect album ender with its warm production that recalls the AM radio era.
Jonathan Firey brings a different sound to the project as his original “Dirty David” brings a dark and haunting edge to the collections. The vocal harmonies and string accompaniment are the perfect touches to add flavor to the album.
And finally, vocalist Shawn Thies provides two of the album’s most emotional moments with “Oh, Nightingale” and her gorgeous cover of “Guinnevere.” The richness of her voice just draws you into the tracks and with its faithfully minimalist instrumentation, I’d argue that Guinnevere is actually better than the original.
CaliAmericana, Vol. 3 is more than a tribute album. It’s a living, breathing artifact of California’s folk-rock lineage; a record that understands where it comes from and where it wants to go. Whether you’re a Crosby fan or simply in search of good music, this album offers a rare combination of depth, soul, and sincerity.
ONLINE:
https://santabarbararecords.com/
https://www.instagram.com/santabarbararecords
https://www.youtube.com/channel/UCHIHr39pjpGOSsNjMd-79Lg
https://www.facebook.com/santabarbararecords
Ray Fox Presents ‘Will You Ever Know It’
The up-and-coming rap sensation Ray Fox is back with his latest single, “Will You Ever Know It.” The Pennsylvania-based artist’s latest release is a reflective and emotionally charged piece that captures the inner life of an aspiring artist wrestling with dreams, doubt, and an unshakable drive to succeed.
If nothing else, this song has plenty of heart, and Ray’s quiet grit is embedded into every line. This track should strike a chord deep within anyone that’s ever struggled to make it in life, with its poignant references to long nights and uncertain beginnings.
Clocking in at just over 1 minute and 15 seconds, Will You Ever Know It is definitely one of the shorter songs out there, but Ray more than makes up for it with the track’s emotional depth. The opening lines hark back to his struggles working multiple part time jobs to pay the bills, and the raw turmoil and angst really shine through.
There’s also a vulnerability in Ray’s delivery that works in the song’s favor. He doesn’t aim for flashy wordplay or vocal acrobatics; it carries weight precisely because it sounds real. Each bar feels lived in. You hear the tension between the artist who’s meticulously prepared for every studio session and the young man teetering between breakthrough and burnout.
The beat flows with a steady rhythm, and there’s little instrumentation aside from percussion, leaving room for the lyrics to take center stage. There’s a lo-fi polish here, and the minimalism behind Will You Ever Know It has its own unique charm.
It’s easy to imagine the track taking shape late at night, surrounded by notebook scribbles and half-full coffee cups. But through all the talk of being pushed down by the world, the track ends on a determined and positive note “I’ll live and I’ll learn, I’m waiting for my turn.”
https://www.instagram.com/rayfox33_/
Will You Ever Know It is a quiet anthem for the determined; a snapshot of a musician at the intersection of reflection and ambition. And if this is the tone Fox is setting for his upcoming projects, one thing is certain: whether the world knows it yet or not, he’s onto something.
