High-spirited Halo by Child of SP boldly deviates from his past works and explores Jersey Club with mainstream pop appeal. The song is set around an addictive uptempo pulse that calls listeners to dance right away. Although the song’s arrangement is somewhat simple, its fast tempo and rhythmic precision of the drums—common in Jersey Club music—stand out and challenge conventional pop standards.
Particularly in the way the song combines introspective ideas with an unquestionably modern pop sound, the impact of well-known musicians including The Weeknd, Charlie Puth, and Daniel Caesar is evident throughout. With complex lyrics layered over peppy instrumentals, Child of SP catches The Weeknd’s mix of dark but catchy pop, therefore generating a contradiction that keeps the listener interested on several levels. This strikes a mix of deliberate lyrical language and appealing beats.
Halo’s production is fresh and polished, fully using modern pop and dance production methods. With quick, forceful drum rhythms and deep basslines guiding the Jersey Club sound, the instrumental backing mostly consists of electronic sounds. The song has an ambient texture that balances the fast tempo and keeps a sleek, futuristic vibe thanks in great part to synths all around.
The tune gains complexity and a unique dance aspect via the usage of chopped vocal samples and rhythmic stutters, therefore reflecting the Jersey Club style. The dynamic interaction of these components reveals the quality of the production, effectively balancing the intense club atmosphere with mainstream pop appeal.
Child of SP presents a competent vocal performance with a smooth and expressive tone that complements the story of the music exactly. Vocally, there are some similarities to Charlie Puth in the execution of sleek, pitch-perfect melodies. But Child of SP also adds a rawness that fits more like Daniel Caesar’s, giving the song emotional depth. His voice is clear, with sufficient subdued inflections to suggest sensitivity and power.
The songs explore rich subjects, mostly the idea of the “halo” as a façade but also as a symbol of morality and purity. The song looks at how people show themselves in society and projects a picture that doesn’t necessarily fit their actual character. “We are all hypocrites… and I am no different,” Child of SP says quite eloquently. The songs ask listeners to consider the duality of public personas against personal truths【5�source】. This story balances the high-energy rhythms to produce a distinctive contrast that enhances the theme resonance of the song.
Halo’s 3D music video adds visual layers to its message, therefore augmenting the power of the song. The images most certainly fit the duality subject, which drives the symbolism behind the “halo” and investigates the difference between appearances and inner reality. Though not fundamental to the musical components of the song, the video complements the tune to provide a whole artistic vision that is as much about introspection as it is about enjoyment.
One song that combines dance floor vitality with more subdued lyrical meditation is Halo by Child of SP. The album shows a clear development for the performer, stretching limits in genre and thematic depth. Child of SP has produced a commercially viable and intellectually interesting song by combining Jersey Club’s contagious rhythms with a pop sensibility like The Weeknd and Charlie Puth.
Halo sounds like the kind of song that appeals to many listeners—perfect for both leisure listening and introspection—with excellent production, a strong vocal performance, and a premise that sparks ideas. Child of SP is shown to be a rising artist who deftly balances commercial appeal with artistic vision.
Halo by Child of SP
Album: Change by Carl Liungman
Carl Liungman’s effortless and effusive piano compositions and performances on Change, his latest full-length release, are heartwarming. A gentle virtuoso, the music on Change is melodic and easy to follow and to enjoy.
Based in the Swedish town of Vastervik, Carl Liungman’s Change is a deeply personal listen that touches on loss and on new beginnings, leaning on experiences of seeing parents fade away into old age and of witnessing a state of growing turmoil worldwide, and witnessing the pockets of light and hope here and there. Change is an album of most efficient, solo piano pieces. Gorgeous sounding, the music on the album was recorded on a Steinway grand piano, live in a concert hall, resulting in an engulfing listening experience that really help the compositions shine.
Pieces like the starter ‘Mother’, and ‘Final Days’ are wonderfully touching. Using simple melodies and chord structures alongside a greatly dynamic performance allows Liungman’s music to breathe into life without much complexity. ‘Hope’ is a stirring piece of melancholic movements. One of the album’s more morose and memorable compositions with shifting colors and moods. Another highlight is the rhythmic and cinematic ‘Wind In June’, one of the album’s more fluid pieces that bring forward the album’s tendencies toward new age piano music. Another memorable set of melodies grace this beautiful piece.
The album’s final and titular piece is one of its most moving and shapeshifting. A stellar 6-minute composition, ‘Change’ features light and shade in its dynamics, a flowing composition that’s hopeful and loaded with melancholy. A generally gripping experience from start to finish, this piece is an appropriate closer to an exceedingly immersive listen.
Change is a delightful collection of solo piano pieces that are easy to fall in love with. Carl Liungman’s style is deceptively simple and his compositions on Change are touching, while being deeply impactful.
Don’t Move by AR Da Don
HERE IS TO YOUR NEXT FAVORITE GANGSTER RELEASE!
Get ready to dive into such a brave and unfiltered world of AR Da Don, a rising star who’s turning his street-hardened journey into an explosive musical force. Born in Grady Hospital and raised in the unforgiving streets of Lynwood Park, AR doesn’t just rap—he lays out his life like an open book, and it’s not for the faint of heart. His latest track combines the sharp beats of trap with the raw, rebellious energy of rock, all wrapped up in a genre he calls “Gangsta Rock.” This release is quite interesting, and is absolutely bound to be a favorite of yours!
From his upbringing in neighborhoods run by killers, drug dealers, and gangsters, AR Da Don brings an unmistakable authenticity to his music. The artist unapologetically raps about moving between John Hope and Perry Homes, getting caught up in the same trouble as everyone around him; and this isn’t just a story, it’s his real life, including two prison sentences, with the FBI locking him up for five years. The beats are hard, his voice stands out, and you can really feel his struggle in every line.
What’s refreshing about AR’s sound is the way he mixes genres so seamlessly. It’s like a wild fusion of hip-hop’s punchy beats and rock’s untamed attitude, with live instruments adding an extra layer of power and authenticity. His music doesn’t necessarily fit into a certain box, and that’s exactly the point. “Gangsta Rock” isn’t just a genre—it’s a reflection of AR’s life, where chaos meets creativity and street smarts meet artistic ambition. He’s not just surviving anymore; he’s thriving, and you can hear that in every verse and every note.
This release is not just about music. It’s about transformation. AR Da Don has taken his street hustle and flipped it into something powerful, focused now on being a better father to his seven kids and an entrepreneur with a vision. This track is more than art; it’s a testament to growth, resilience, and a true human evolution.
TREMPLIN L’BOULEVARD FEST 2024
The yearly TREMPLIN L’BOULEVARD FEST 2024, 22nd edition ,Gathering featured a selection of rockers and rappers ready to bring the energy with their performances throughout the day at the festival venue teeming with music enthusiasts excited to experience their preferred artists on various stages.
Festival battlers (TREMPLIN 2024) are competitive events used at music festivals where artists or bands duel against each other, usually in real time in front of an audience. These events can feature multiple genres of music ranging from rock and rap to dancehall and fusion.
There were 15 competing bands through different categories. For Rock & Metal, there were four competing bands: NEXUS 7.17 (Agadir), VELVET EXIT (Casablanca), PAGAN ULVER (Settat), MEAN MACHINE (Casablanca).
The first prize of this year’s Tremplin L’Boulevard لبولفار, Rock/Metal category:
PAGAN ULVER from Settat city, the winning band from the Tremplin L’BOULEVARD FEST 2024.
The second prize of this year “Tremplin” L’Boulevard Fest: NEXUS 7.17 from Agadir city.
Fusion bands, which incorporate elements from multiple musical genres, have been exciting audiences all over the globe with exciting and innovative live performance experiences. These bands artfully combine aspects of jazz, rock n’ roll, funk, gnaoua, world music, and more into unique sonic palettes that expand the landscape of genres
Regarding Fusion/World, there were four participants: ISU TAR (Kelaat M’gouna), LOTFI E (Salé), ANAS CHAIR (Al hoceima), FARAFINA YELE (Tanger).
The first prize of this year’s Tremplin L’Boulevard لبولفار, Fusion/World:
ANAS CHAIR from Al Hoceima city.
The second prize of this year “Tremplin” L’Boulevard Fest:
ISU TAR from Kelaat M’gouna
While there were 7 competed Rap/HipHop groups as :
- LKARYANIST (Agadir)
- LE S777 (Casablanca)
- KADIR (LAAYOUNE)
- NFLOW (Casablanca)
- LIBRE MAN (Meknès)
- THOMAS (Salé)
- DHARADY (Casablanca)
The first prize of this year’s Tremplin L’Boulevard لبولفار, Rap/HipHop :
LKARYANIST from Agadir city.
The second prize of this year “Tremplin” L’Boulevard Fest:
LIBRE MAN from Meknes city.
Coup de coeur :
NFLOW from Casablanca city.
As usual, the festival takes place in one stage. First, the Tremplin, organized from September 12 to 15, where 15 bands/artists :Hip-Hop, metal/rock, and fusion bands have clashed to try to win the first prize of 10,000 Dhs/ the second prize of 5.000 Dhs, as well as recording two pieces in the studio HIBA and one complete training with music professionals.
And finally a concert on the Boulevard fest 2024 stage!
Where the great names of the Rock / Metal, Electro and Fusion scenes such as SAKADOYA, SUICIDAL TENDENCIES, ORION, WE COME FROM WAR, SMAAL X, FEHD BENCHEMSI & LALLAS, Mehdi NASSOULI, AITA MON AMOUR and the other artists/bands… .
The main stage was lit up by the performances of rap and hip hop artists during the afternoon session. SMALLX stole the show with his rap delivery and deep lyrics that had everyone captivated. The audience couldn’t contain their excitement as he belted out tracks such, as “7” and the other songs. and the other rappers like NAYRA ( French rapper), NAB FAKE, RUBIO, KLASS-A, DADA, also left a mark with his energy and commanding presence on stage.
- SMALL X
- NAYRA
- NAB FAKE
- KLASS-A
- DADA
14 september 2024:
After the competition between the bands competing for the festival awards (Rock/Metal), the audience enjoyed the festival with an international Rock and Metal bands like: WE COME FOR WAR (Metalcore/Prog Deathcore – Morocco), ORION (A Metallica experience – France), SAKADOYA (Melodic Deathcore – Morocco), SUICIDAL TENDENCIES (Crossover/Skate Punk and thrash – USA)
ORION
L’BOULEVARD Festival contribute to broadening the exposure of these musical styles. Rock festivals put a premium on live bands and fast-paced sets, while rap and hip-hop gatherings shine the spotlight on verbal pyrotechnics and urban cool — sprouting a lineup that blends veterans icons with breaking names. Fusion Festivals mash these together, creating a massive wealth of sound, and encouraging artists to work together.
With a little of something for everyone, guests can expect to see live performances, art installations and food vendors all ensuring that no one misses out on the community-building action. Summarily, these festivals have shorthand become necessity avenues for shedding light on creativity, spreading culture and fostering the evolution of music.
One of the key aspects that separate L’BOULEVARD Festival from its competitors is its competition format. But not just for a battlefield of pride, but also — the chance to catapult their career. That suspense and lack of inconsequential, doe-eyed compliments to save face brings a sense of excitement and tension as everyone involved wants to win-over both the judges . The festival is fairly eclectic, with a mix of popular and newcomer acts that together provide a platform for new voice in the music industry to be heard.
L’BOULEVARD Festival 2024 offered a music experience, for attendees to explore emerging artists and enjoy known performers from rock to rap to hip hop genres.The variety of acts made for an unforgettable 4 day’s of music.
Photography by: Chadi Ilias, Hicham Laabd, and Abdelhamid Belahmidi.
Thank you, L’Boulevard Festival, we will see you next year.
Yassine Siyaf
U Know It Ain’t Cool by Wilza
Adding a modern twist to a classic tune is Wilza, who remixed “Don’t Be Cruel” by Bobby Brown with a new flavor in “U Know It Ain’t Cool”. The tech house track breathes life into the 80s iconic hit to have people moving on the dance floor the same way they did 40 years ago!
“U Known It Ain’t Cool” is Wilza’s second release from his upcoming EP “New Jack House”, which “focuses on bringing that old skool New Jack Swing sound to a contemporary audience through the medium of house music,” shared Wilza. Through remixing prominent RnB songs,, Wilza is reviving the genre with an electronic flair.
The track opens up with a steady upbeat tune, before Brown’s vocals radiate in the background, creating an echo that is catchy to the ears. The transition from one element to the other is smooth, and soft piano strums give the track a velvety effect.
Following the release of his previous single “What You See”, “U Know It Ain’t Cool” takes you on a climactic journey that reaches its peak near the end of the track with a drum kick that leaves you wanting more.
Whether you’re a fan of dance music, or you’re into oldies, you’re going to love the creations that Wilza is putting out these days!
The Poet by Maria Weissman
Maria Weissman’s next song “The Poet”, due to premiere on September 13, 2024, is more than just a song; it’s a sincere investigation of familial legacy, artistic partnership, and personal tragedy. Drawing greatly on Weissman’s relationship with her grandfather, Norman Weissman, the song creates a link between generations and combines creative activities with personal emotional expression.
The very intimate and reflective quality of “The Poet” is reflected in its song form. Designed with a simple layout, mostly vocals and piano, the song allows the words front stage. Beginning quietly and establishing a sense of closeness, Weissman’s vocal delivery progressively gains intensity to mirror the emotional path of the story. This steady build-in dynamics accentuates the love, sorrow, and artistic legacy ideas of the song.
Though its art-pop sensibility distinguishes Weissman’s “The Poet” from the acoustic and alternative pop genres, The stripped-back approach of the song reminds one of well-known musicians who are noted for fusing deep lyrical content with folk traditions: Joni Mitchell and Sufjan Stevens. As the press release notes, Robert Frost’s impact is evident not just in the lyrics but also in the general introspective tone, in which words seem to occupy as much of a part of the music as the instruments themselves.
While the song’s soft instrumental arrangement also recalls musicians like Norah Jones, with an eye towards subtlety and atmosphere, comparing “The Poet” to Mitchell’s “Blue” album is appropriate in terms of literary and emotional depth. With a modern touch, Weissman’s music shows a nostalgic aspect evocative of old acoustic sounds, accessible while yet maintaining a timeless character.
With piano as the main accompaniment, “The Poet” has basic but haunting instrumentation. This decision fits the introspective and personal quality of the song. The exquisite piano arrangements have light, steady chords that allow Weissman’s voice to convey the emotional depth of the song’s space. This simplicity in manufacturing improves the intimate experience of the tune, therefore allowing listeners to enter a private moment.
Given a song of this kind, the subdued and understated production is ideal. Weissman chooses an organic sound instead of depending on strong effects or layers so that her voice’s natural beauty and the warmth of the piano may show. This method emphasizes the song’s concentration on family, art, and memory, therefore implying that the music itself pays homage to the past.
The emotional weight of the song revolves mostly around Weissman’s mesmerizing vocals. Her voice has a warmth that is fragile yet also consoling. Her voice breaks through with increased force at times as the song moves, reflecting the emotional highs and lows of its story. Her voice has a terrible quality that reminds me of Fiona Apple as it can portray depth with a subdued performance.
Though it falls under the larger alternative pop genre, “The Poet” features strong acoustic and art-pop components. Thanks to its lyrical material, it blends the contemplative elements of singer-songwriter music with a literary and philosophical bent. The poem “The Poet” penned by Weissman’s grandfather directly inspired the songs, and there is evident emotional resonance. Focussing on family ties, loss, and artistic legacy, the song’s story reflects the thematic richness of works like Leonard Cohen’s where poetry and music coexist together.
The songs of Weissman honor the unfinished poetic dreams of her grandpa and investigate the issue of creative inheritance—how art may span time and space to unite people across generations. Said another way, the song and project are “a meditation on art, legacy, and the universal longing for connection.” The way the song is musically arranged reflects this attitude in addition to the lyrics.
The examination of family legacy in “The Poet” is among the most arresting motifs. Drawing mostly on the life and works of her grandfather, Weissman honors not only him but also her great-grandfather Arthur Millier and his artistic legacy including people like Robert Frost. This very intimate link gives the song more depth and reflects both her loss and a larger statement on the essence of art and legacy.
Maria Weissman‘s “The Poet” is evidence of the ability of music to catch and preserve intimate events of love, grief, and connection. The song crosses conventional genre lines to become something quite significant with its simple sound, expressive vocals, and very intimate lyrics. Weissman has created a work honoring her grandfather as well as a meditation on the continuing nature of art by combining her family’s artistic tradition with her musical ability.
“The Poet” will appeal greatly to those who enjoy alternative, acoustic, and reflective, pop music. Its modest strength distinguishes it as a special gift in the musical scene of today since it is based on legacy and feeling.
Mimosa by Proklaim
Namibian solo rap artist, Proklaim, is back with such a unique release, Mimosa; and this is not to be mistaken with what could be your favorite drink at the moment. Although it might also have the same mesmerizing and this feel-good hypnotic effect!
Mimosa is quite an empowering release. Just from the very first few lyrical words, the artist is celebrating having the chance to live and experience life, daily. “The sensation of a brand new day,” for him, is a remarkable moment. It is a new start, a new chance, and a new hope to elevate and to both do and be better. Because, “it’s only right to celebrate life,” as the artist openly implies. The opening is such a strong statement and sets the tone to the whole release, and is followed by a super catchy chorus, both lyrically and melodically.
The chorus does a beautiful work highlighting the essence of this song. “Started with a dream, a little bit of this and a little bit of that and kept on going.” Simple, straightforward, and beautifully rooted and down to earth statement regarding dreaming, because who doesn’t have dreams, right? And probably the best way to actually achieve our dreams is to keep on going, regardless of whatever happens in the way.
So, everything starts with a dream; and to our surprise, the beat that Proklaim used in this release is actually created by a young talent, Jake Laiuni, whom he discovered during an online run-sessions involving obtaining beats from a variety of young talented beat makers. Laiuni’s beat has such a chill yet a powerful feel to it; with a deep, warm, yet playful bassline that beautifully anchors the whole of the elements together. It is skillfully groovy and subtle at the same time.
Mimosa by Proklaim is not just a release that empowers people when listening. The artist is making a statement by including and encouraging young talents and providing them with such opportunities as a genuine sign of belief in abilities and potential. This is a release that speaks not only through music, but also through genuine acts. This is a truly unique soulful hip-hop release, and without a doubt it’ll make you feel absolutely empowered as a dreamer. So, for all of you, dreamers. “Keep on going!” Just like your next favorite artist, Proklaim, is doing!
The New Students Return with Little Blue Dot: A Whimsical Americana Journey Following the Success of Quarantunes
After the critical success of their COVID-inspired last album, 2020’s Quarantunes, New York-based Americana band The New Students have just released their follow up, Little Blue Dot. The New Students generally have sizeable gaps between releases, but each release is a fully formed album, and Little Blue Dot is no exception. With their usual charming mix of whimsy and social commentary, contemporary folk, americana and classic bluegrass, fans are likely to enjoy this album as much as its predecessor.
This album has been percolating with us for a long time – we wrote one of the songs over a decade ago, some we’ve been playing live for a few years, and some are more recent.
With a decade and a half together under their belts, the members of The New Students are all top level musicians whose craft with their individual instruments (or multiple instruments in the case of many of the members) is continuously honed. With folk and Americana music, people often picture banjos missing a string or a bass fashioned out of a washtub, broom and washing line a’la Country Bear Jamboree, but even with rudimentary instruments, country, bluegrass and folk musicians are among the most highly skilled of any genre. Likely having abandoned the glass jug and washboard percussion, The New Students have nonetheless retained the authenticity to their beloved Americana.
With those classical blues, bluegrass and Americana skills very much on display, The New Students also clearly have a penchant for the golden age of folk in the 60s and 70s, with their social conscience shining through Little Blue Dot. The album itself is thus titled to refer to planet Earth, as seen from a mile high perspective and calls for listeners to see Earth and humanity from a compassionate perspective. All of The New Students’ work has that thread of social justice, and they state their purpose is to get the message across. With songs like “Greta’s Song,” the title track and the stirring a cappella, Crosby, Stills, Nash &Young-inspired “The Refugee” show the band are very good at expressing such a message.
These songs speak to what we think are some of the universal concerns we all have on this little blue dot floating in space: fear for the future of our planet, the vanishing American Dream, love found and lost. We want to write songs that spread human empathy, but also make you want to sing along.
With whimsy, Americana, social commentary and very good music all part of Little Blue Dot, The New Students are doing their part to educate while they entertain, and their message is likely to spread even farther with that expansive perspective.
Tears Can Heal by Andy Smythe
Andy Smythe’s latest single, “Tears Can Heal,” is a deeply moving tribute to the enduring power of friendship, captured through his signature blend of soulful storytelling and evocative music. Following the critical success of his album Poetry in Exile, Andy continues to impress with his extraordinary four-octave voice and masterful songwriting, drawing inspiration from the likes of Harry Nilsson, Rufus Wainwright, and The Beatles. This track, however, takes on a special significance as it delves into the poignant memories of a dear friend who played a pivotal role in shaping Andy’s musical journey.
“Tears Can Heal” recounts the story of a friend who introduced Andy to the music icons such as Neil Young, The Plastic Ono Band, and Van Morrison—artists who have left an undeniable mark on his sound and music. This friend, remembered for his generous spirit and creative talents, had a profound influence on Andy’s development as a songwriter. Tragically, he passed away without fully realizing the fulfillment he sought from his life’s vocation. In this song, Andy pays homage to the invaluable friendship they shared, capturing the bittersweet nature of loss and the enduring memories that continue to inspire.
The arrangement of “Tears Can Heal” is enriched by the collaboration with composer Chris Payne, whose friendship with Andy spans more than 20 years. Chris’s musical imagery beautifully complements the song’s emotional depth, adding layers of texture igniting the listeners’ musical curiosity.. The use of unconventional and alluring instrumentation, such as the una corda—a piano with felt-covered strings—creates a hauntingly nostalgic and delicate sound that resonates throughout the track. This collaboration between two long-time friends makes this release not only a tribute to a lost friend but also a celebration of the bonds that continue to grow and flourish.
Together, Andy and Chris have crafted a piece that is both timeless and resonant, a song that speaks to the universal experience of love, loss, and remembrance. “Tears Can Heal” stands out as a testament to Andy Smythe’s ability to blend heartfelt storytelling with rich, evocative music, making it a poignant and memorable addition to his musical journey.
