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Made Love by Never Enough In Love

Abdelrahman Khaled
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Made Love by Never Enough In Love

“Made Love”, out September 11th, closes out the debut EP from Never Enough In Love, the Worthing-based project of songwriter and producer Neil Durrant. It’s a song about the depth and complexity of romantic connection, that particular ache of wanting to give and receive more from love than feels possible, delivered with the same intimate, cinematic sensibility that’s earned Durrant early praise from artists like Gorillaz collaborator Seye Adelekan, who’s said he loves “the fragility of the voice at the centre of it all.”

This song is a masterclass of pacing and storytelling. It starts out in a genuinely intimate fashion, a gentle, piano-led confession that lets its melodies breathe rather than rushing toward anything bigger too soon, and that patience pays off completely once the arrangement finally opens up. The build is gradual and earned, gaining intensity and emotional weight step by step before erupting into a euphoric, gospel-inspired finale that hits considerably harder for having taken its time to get there.

That arc the song takes, where the textures mirror the narrative, is what music is all about; you can probably listen to the song with no vocals and still get what the song is about; that’s how powerful it is. In my opinion, Neil Durrant’s debut EP, “Made Love” makes a strong case for an artist genuinely skilled at building worlds inside individual songs, intimate and dramatic in equal measure, and unmistakably he has his own style; even as the arrangement grows and becomes much more complex, it still retains a unique fingerprint of artistry.

Is This You? by Carmelo Alfano

Abdelrahman Khaled
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Is This You? by Carmelo Alfano

Carmelo Alfano‘s path to “Is This You?,” out September 1st, has taken some genuinely unusual turns. The London-based, Sicilian-rooted artist spent two years studying voice in Modena with the teacher of Luciano Pavarotti, filmed live-streamed gigs over dial-up more than two decades ago, long before streaming was standard practice, and fronted a band that once supported James Blunt. That band is also where this collaboration traces back to: Hamstall, the keyboardist in Alfano’s old lineup, went on to form Sundae Club with producer George Shilling, a project whose music has turned up on GMTV and ITV’s Champions League Weekly coverage over the years. “Is This You?” brings those two musical threads together, an eclectic, electronic-leaning track that sits somewhere between indie alternative and atmospheric lounge.

The harmony here is genuinely rich and complex, shifting between minor and major in a way that gives the track an ethereal, deeply mysterious quality throughout. Layered choir vocals push that even further, adding a genuinely otherworldly texture that elevates the track beyond a straightforward electronic mood piece. It’s the kind of harmonic movement that rewards close listening, the sort of detail that separates a track built with real compositional care from something assembled purely for atmosphere.

Given the decades of experience behind this pairing, Alfano’s opera-trained background meeting Sundae Club’s own history of collaborators and industry connections, it’s not surprising that “Is This You?” carries the weight of two genuinely seasoned musical minds working through something unconventional together. For listeners drawn to electronic and art-pop territory with something a little stranger and more textured running underneath it, this track is well worth the discovery.

Roger K Turns Economic Fatigue into Dancefloor Energy with “Cost of Living”

Sistra News Team
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Roger K Turns Economic Fatigue into Dancefloor Energy with “Cost of Living”

Independent pop artist Roger K transforms one of the most universal current pressures into pure movement with the release of “Cost of Living,” a vibrant, high-energy track that turns inflation fatigue into a tropical pop-reggaeton anthem.

Blending a crisp, infectious reggaeton dembow bounce with bright, summer-infused melodies, the song balances lighthearted escapism with the everyday reality of modern life. Driven by a polished, radio-ready production inspired by the warm and punchy sound of J Balvin’s “Azul,” it pairs smooth vocal hooks with sharp rhythm sections. Narrative-driven verses capture the all-too-relatable cycle of the daily 9-to-5 grind, checking bank accounts with a sigh, and making impulsive weekend “bad decisions” just to let off steam. Instead of dwelling on frustration, “Cost of Living” converts shared struggle into an infectious collective groove.

The contrast between transparent, everyday storytelling and a driving tropical rhythm gives the track multi-format appeal, equally suited to weekend playlists, dancefloors, and cultural-moment coverage.

Roger K is an independent pop artist blending modern commercial sound with subtle R&B influence. With over 15 years of live performance experience across Australia’s eastern seaboard, including English-language sets spanning the 1960s to today and Sri Lankan music performances that regularly drew crowds of 300+ across more than 150 gigs, he brings refined stage control and audience awareness into his recorded work.

His solo approach centres on simplicity done well: newly inspired songwriting, clean production, and a strong vocal presence that connects from the first listen. Previous releases such as “Smile at Fear” (Reggae), “Plastic Heart” (Afrobeats), “Lately” (R&B), and “Mona Lisa” (Lofi Afrobeats) showcase his range in expressive, story-driven music often described as instantly catchy. Beyond the audio, Roger is developing a distinct visual identity rooted in cinematic storytelling and stylised aesthetics, creating a cohesive artistic world for listeners to step into.

In his first year as a solo artist, he has amassed over 200,000 streams across platforms and secured international radio airplay, including in Brazil, reflecting a growing global audience. Operating independently, he sits at the intersection of creative freedom and commercial ambition, focused on building a recognisable sound and identity with each release.

About Roger K
Roger K is an Australian independent pop artist creating polished, emotionally resonant music that blends modern commercial pop with subtle R&B and global rhythmic influences. A seasoned live performer with more than 15 years of experience, he prioritises clarity, feeling, and storytelling in both his records and visual presentation. “Cost of Living” continues his run of accessible, high-energy tracks designed to connect instantly.

“Cost of Living” is available now on all major platforms.

BACK TO THE AGE OF WONDER!

Cherine Abulwafa
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BACK TO THE AGE OF WONDER!

Childhood can feel like a place we leave without realizing we are leaving it. The imagination remains, but the certainty that anything is possible slowly gives way to practicality, expectation, and time. Richard Green’s “Age of Dreams” takes us back toward that disappearing sense of wonder, opening First Light, the first EP in his ambitious trilogy tracing childhood, adulthood, and legacy.

As an instrumental, “Age of Dreams” has no lyrics to guide its meaning. Instead, Green lets the piano and strings speak in their own language. Irene Veneziano’s piano carries the piece with a delicate, unhurried touch, its phrases leaving enough space for curiosity to emerge. There is something almost childlike in that openness, as though the music has not yet learned that every possibility needs to be explained.

Archimia’s strings gradually introduce another perspective. Warm and cinematic, they expand the composition while bringing a subtle sense of reflection. The piano seems to embody the freedom of looking ahead; the strings feel more aware of what has already passed. That interplay gives the piece its emotional pull, allowing wonder and nostalgia to exist in the same space.

Green’s classical training is clear in the composition’s harmonic language and chamber-like arrangement, yet the production carries a contemporary sensibility that keeps the piece from feeling overly formal. The result is intimate without being small, cinematic without becoming overly dramatic.

The concept could easily have slipped into sentimentality, but Green largely avoids that by trusting the music rather than overexplaining the idea. Even the recording’s connection to his childhood surroundings near Piacenza adds a quietly personal dimension.

“Age of Dreams” is a graceful opening to First Light and the larger journey ahead. With Richard Green, returning to the age of wonder does not mean recreating childhood; it means remembering what it felt like to believe the world was still wide open!

A TRADITION IN MOTION!

Cherine Abulwafa
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A TRADITION IN MOTION!

For Sergiy Bolotny, folklore becomes more than musical material; it becomes a way of connecting places, histories and identities. A Ukrainian-born violinist making his home in the Netherlands, Bolotny turns toward Dutch folk tradition in ‘Little Dutch Rhapsody No. 1’, reimagining the Groningen song ‘Ain boer wol noar zien noaber tou’ through the expansive language of the solo violin. What emerges is a lively meeting point between cultural memory and contemporary classical expression.

The folk song itself tells the rather amusing story of a farmer setting off with only one shoe, giving the composition an unconventional foundation. Yet Bolotny does not simply preserve the melody. Instead, he takes its playful spirit and subjects it to progressive variation, allowing fragments of folk character to move through energetic rhythms, lyrical passages and technically demanding violin writing.

The performance constantly shifts between intimacy and momentum. Rapid string crossings and animated bow strokes bring a restless energy, while expressive portamenti, subtle microtonal inflections and sustained phrases reveal a more lyrical side of the instrument. These contrasts give the piece a sense of continual movement, with the violin carrying both the rustic charm of the source material and the sophistication of Bolotny’s neo-romantic language.

The natural acoustic recording adds to this sense of immediacy, leaving the resonance of the violin exposed and allowing its articulation and tonal nuances to shape the experience. Nothing feels overly polished or distant; the performance retains a human, almost conversational quality.

‘Little Dutch Rhapsody No. 1’ demonstrates how tradition can evolve without losing its character. Sergiy Bolotny transforms a curious fragment of Dutch folklore into something vibrant, expressive, and distinctly his own. ‘Little Dutch Rhapsody No. 1’ by Sergiy Bolotny is, fittingly, a tradition in motion!

FRAGMENTS OF A LIFE REMEMBERED..

Cherine Abulwafa
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FRAGMENTS OF A LIFE REMEMBERED..

French chanson has always had a particular talent for making ordinary life feel cinematic. A street corner can become a memory; a passing encounter can become a lifetime. FRANCK’s “La Rengaine” draws from that tradition with a stripped-back, contemporary approach, turning fragments of everyday life into a quiet meditation on memory and what time leaves behind.

The song unfolds through acoustic guitar, strings, and voice, with little interest in excess. Its arrangement is spacious enough for the lyrics to take centre stage, while the orchestral touches add a subtle cinematic weight. Rather than pushing toward a dramatic climax, the track lingers, much like the memories it describes.

FRANCK’s distinctive spoken-sung delivery strengthens that sense of intimacy. His performance feels closer to a confidence than a conventional pop vocal, allowing the storytelling to remain at the heart of the music.

A grey room, an old wool sweater, a walk along the Seine, a bar on the corner of a street. These small details become emotional anchors. Instead of describing nostalgia abstractly, “La Rengaine” gives it places, textures and objects we can recognise.

The accompanying black-and-white visual world extends this feeling, giving the song the atmosphere of a remembered film: timeless, intimate and slightly distant.

At its centre is the idea of the refrain that keeps returning: past relationships may be over, but their traces remain.

As the opening chapter of FRANCK’s return to songwriting, “La Rengaine” offers a mature and personal introduction. It is a reminder that sometimes the most powerful stories are found not in grand moments, but in the fragments we continue to carry..

A CALL FOR HARMONY IN A DIVIDED WORLD!

Cherine Abulwafa
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A CALL FOR HARMONY IN A DIVIDED WORLD!

What does it mean to be human? It is a question that can sound almost too broad to put into a song, yet TaniA Kyllikki’s “HUMAN” builds its identity around exactly that. Over pulsating house rhythms and atmospheric electronic textures, the British singer-songwriter turns a reflection on humanity into a soulful, dance-oriented call for empathy, equality and harmony.

The track’s message is serious, but its musical language is anything but restrained. Rynellton builds a deep-house foundation threaded with techno energy, creating a hypnotic pulse that keeps the song moving while atmospheric synth textures give it a spacious, slightly darker edge. Rather than simply placing a soulful vocal over a dance beat, the production allows the electronic and organic elements to push against one another, giving “HUMAN” much of its character.

At the centre is Kyllikki’s voice, shifting between intimate passages, expressive runs and soaring belts. Her five-octave range gives her plenty of room to expand across the arrangement, but it is the conviction in her delivery that makes the performance resonate. The vocal brings warmth and emotional immediacy to an otherwise electronic landscape, ensuring that the production never overwhelms the person behind the message.

The lyrics are deliberately direct. “Human, that’s what we are / Made up of many races / All different faces” establishes the premise before the chorus turns it into a recurring question: “What does it mean to be human / What does it mean for you and for me?” Repeated against the circular groove, the refrain gradually takes on the quality of a mantra.

The song emerged from Kyllikki’s reaction to the hostility she was witnessing online towards people of different races, cultures, and backgrounds. What began as a Facebook post evolved into lyrics, eventually prompting an unexpected collaboration with Rynellton in their bedroom studio. That origin gives the track an appealing sense of intimacy: something deeply personal expanding into a message intended for a much wider audience.

There is also something fitting about the music itself refusing boundaries. Soul and gospel meet deep house and techno; warmth meets electronic precision; reflection meets rhythm. The genre collision never feels like experimentation for its own sake. Instead, it reinforces the song’s central idea that difference does not have to become division.

“HUMAN” works because it gives its message a physical pulse. It can move a listener before asking them to reflect, making its call for connection feel less like a lecture and more like an invitation. Born from a divided moment but reaching toward something more hopeful, TaniA Kyllikki’s “HUMAN” is a call for harmony in a divided world, and one that leaves its central question open for undivided reflection..

Miss Ya Baby by Carbon Brown

Abdelrahman Khaled
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Miss Ya Baby by Carbon Brown

Northwest Arkansas quartet Carbon Brown put a modern spin on old-school soul, funk, and r&b with “Miss Ya Baby,” out September 4th, a wistful love song about longing for someone gone, whether that’s temporary distance or something more permanent. Drummer Maya Magnificent steps up to take the lead vocal here, a first for her in a big studio setting, while Tyler “Jazzmaster T” pulls out the flugelhorn for a solo that leans into a Chuck Mangione-style late-70s warmth. Craig, on keys, sax, and vocals, and Carrie “the Siren,” usually the band’s lead voice but on backing duty and aux percussion this time around, round out a group that came together through a local conservatory and, in Carrie’s case, a chance encounter while she was singing at her day job.

The production is very crisp, and no, I did not intend that to be a pun. I wrote down “very crisp production,” and then, as I was reading through the details, I found out it was recorded at Crisp Recording in Fayetteville! Which is a studio that’s been the standard in the region for three decades. The band recorded the song almost entirely live in one room, with only the vocals and flugelhorn solo needing a retake- the kind of real-time chemistry between musicians that’s harder to come by in an era where most home studios record one part at a time.

Maya’s lead vocal draws on influences like Sharon Jones and Amy Winehouse, filtered through a more modern reference point in Laufey, and she brings a genuinely heart-grabbing delivery to the track while still working in some distinctly present-day details, cell phones and Instagram among them, into the lyric. With only a handful of streamable songs out so far while the band finishes a full vinyl album, “Miss Ya Baby” makes a strong case for keeping an eye on where Carbon Brown goes next, especially with upcoming shows lined up around the NW Arkansas motorcycle rally and a fall date at a jazz and r&b club in Tulsa.

 

Falling Back In Love by DJ Thommek

Abdelrahman Khaled
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Falling Back In Love by DJ Thommek

Düsseldorf’s DJ Thommek keeps his music and visual art tightly linked, and “Falling Back in Love,” out August 21st, is no exception. The uplifting dance track tells a simple story: two lonely strangers meet on a train, the connection slowly deepens, and it eventually carries them all the way to Paris, dancing together in front of the Eiffel Tower. Thommek painted the cover art himself in pastel chalk, drawing on Edward Hopper for the mood, and the result matches the song’s quiet longing turning into something warmer.

I’ve enjoyed listening to DJ Thommek‘s work before, particularly because of the visual aspect of it, where the song functions as an extension of the artwork rather than something separate; the two completing each other and adding an extra dimension to whatever he’s trying to say artistically. This one isn’t as experimental as some of his other material, and that’s clearly by design. The goal here is different; this track is built to be approachable, danceable, and simple, three minutes that just make people feel good rather than a piece asking to be picked apart.

That shift in intent doesn’t come at the cost of identity, though. The melodic, emotion-forward production still sounds like Thommek even at its most direct, produced entirely in Ableton with the same instinct for pairing electronic textures with genuine feeling that’s defined his catalogue so far. For an independent artist building his audience one release and one painting at a time, “Falling Back in Love” is an easy entry point, a song confident enough in its own simplicity to just let the story and the groove do the work.

Caged Life by Twisted Natures

Abdelrahman Khaled
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Caged Life by Twisted Natures

Twisted Natures doesn’t stick to one genre by design, and “Caged Life,” out September 14th, keeps that shape-shifting identity intact, blending alternative electronic pop with darker cinematic textures and flashes of K-pop-inspired energy behind a powerful female vocal. The song is built around the idea of breaking free from whatever keeps a person trapped- expectations, fear, relationships, or a version of yourself you’ve outgrown- and that theme carries into the visual side of the project too, a concept built on cages and chains gradually giving way to neon-lit imagery of escape.

As I was listening, I suspected that the song was made using AI production tools, and after checking the band’s YouTube channel, this specific song isn’t uploaded there yet, but the other two tracks that are up carry a “Made with AI” label, so take that as you will.

On the production itself, there’s a genuine experimental streak running through the sound selection that’s worth crediting regardless of how it was assembled. Some of the bass parts here are gnarly in the best way, hitting with a texture that adds real character rather than just filling out the low end. That kind of detail fits the project’s stated aim of favoring bold, unusual production over staying inside a fixed lane, and it’s the strongest element carrying the track’s tension-into-release arc from the confined opening sections through to its explosive chorus.

Between the genre-blurring approach and the cages-to-freedom concept tying the song and its visuals together, “Caged Life” is a fitting entry in a catalogue built around constant reinvention, whatever the exact process behind assembling the sound turns out to be for this one.

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