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NO SILENCE LEFT BETWEEN THE LINES!

Cherine Abulwafa
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NO SILENCE LEFT BETWEEN THE LINES!

Marcus Christ steps into “Get The Haters Back” with a presence that feels both sharpened and intentional, as if every bar carries the weight of memory and momentum at once. The track doesn’t unfold as a simple return; it feels like a reassertion, a moment where identity is no longer questioned but projected outward with clarity and force.

The production sets the tone with a quiet, almost deceptive opening before expanding into something far more commanding. As the beat drops, Marcus Christ meets it with precision, his delivery grounded yet assertive, allowing each line to land with control. The hook weaves itself into the fabric of the track seamlessly, not as a break but as a continuation of thought, “get the haters back, they all wanna know me, the old me, yea real young G,” a phrase that feels both like a challenge and a reflection, looping back on itself as if searching for recognition while resisting definition.

As the verses unfold, the writing leans into a raw, street-conscious energy, blending references, ambition, and self-awareness into a continuous flow. He moves through lines like, “I’m kinda strapped, dealing in this rap, I could take you back to 96, all eyes on me, but you can’t see me on a TV screen,” positioning himself within a lineage while simultaneously questioning visibility and recognition. There’s a push and pull between past and present, especially when he continues with “I ain’t been crowned, but I get my green, I’m the hottest around, a straight up fiend, these streets be mean, got a dollar and a dream, Wu-Tang talking cream by any means,” where hunger becomes both narrative and driving force.

What makes the track resonate further is how Marcus Christ threads intensity with flashes of something more symbolic. His imagery shifts unexpectedly into something almost mythic, “cutting them no slack, I got whipped or flogged, came back let ‘em know and left them in awe, wore the thorn crown, made sure it was on good, holes in my palms, now my palms rock stars,” where struggle is no longer just lived but transformed into a kind of iconography. These moments elevate the track beyond surface-level bravado, giving it a deeper, almost allegorical undertone.

Even in its most confrontational lines, there’s a controlled awareness. When he states, “it’s only if you have ears to hear and a mind to see, fuckin’ with my money is like fuckin’ with me,” it lands less as aggression and more as a boundary: clear, unwavering, and intentional. That same clarity echoes through the repeated refrain, they all wanna know me, which begins to feel less like curiosity from others and more like a statement of distance: you can look, but you won’t fully understand.

Marcus Christ has fully established “Get The Haters Back” as both a declaration and a layered self-portrait. It moves between confidence and confrontation, between reflection and resistance, without ever losing its grip. As part of the world he is building with The American Pharaoh, the track stands as a defining piece, one where Marcus Christ doesn’t just return to form, but reshapes it entirely!

A SLOW-BURNING ORBIT AROUND MEMORY AND LIGHT!

Cherine Abulwafa
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A SLOW-BURNING ORBIT AROUND MEMORY AND LIGHT!

There’s a certain kind of listening that asks you to slow down, and with “Solstice,” Arcas and the Bear invites exactly that. The Milton Keynes-based project led by Dan Patmore returns with a piece that feels less like a release and more like a quiet orbit, circling memory, time, and inner stillness with remarkable sensitivity.

Arcas and the Bear’s “Solstice” establishes a meditative atmosphere. Textured layers unfold gently, guided by delicate percussion and faintly organic sonic details that feel almost environmental. The track doesn’t rush to reveal itself; instead, it lingers, allowing each sound to breathe and settle. There’s a cinematic quality embedded in its DNA, expansive yet intimate, recalling the emotional vastness of space-driven narratives while remaining deeply personal at its core.

What stands out most is the patience in its construction. The progression is subtle, almost weightless, yet undeniably intentional. Rather than building toward a dramatic peak, the piece evolves through nuance: small shifts, tonal inflections, and quiet accumulations that mirror the internal process of reflection. It’s music that trusts the listener to stay.

Created during a period of retreat over the winter solstice, the track carries a strong sense of context. Recorded in a home studio environment, surrounded by familiarity, comfort, and a conscious permission to rest, “Solstice” feels grounded in lived experience. It holds the imprint of a year being processed slowly, honestly, without force. That sense of self-acceptance resonates throughout, giving the piece an emotional clarity that feels both vulnerable and assured.

Echoes of influence, from the textured nostalgia of Boards of Canada to the refined electronic sensibilities of Aphex Twin and Jon Hopkins, can be felt beneath the surface. Yet, Arcas and the Bear doesn’t lean on imitation. Instead, these references dissolve into a broader sonic identity, one that prioritizes atmosphere, introspection, and a kind of quiet emotional precision.

As the final release from a period of creative pause, “Solstice” carries a quiet sense of transition. It doesn’t announce a new chapter loudly; it simply opens the door. There’s something deeply compelling in that restraint, in the way the track chooses reflection over resolution, presence over performance.

With “Solstice,” Arcas and the Bear crafts a space that feels suspended between what has been and what is yet to come, an orbit that doesn’t seek escape, but understanding..

SOUNDTRACKING THE SPACE BETWEEN WORLDS

Cherine Abulwafa
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SOUNDTRACKING THE SPACE BETWEEN WORLDS

With “Time,” Iuliano doesn’t simply return; he assertively resets the pace of listening! The Italian singer-songwriter and producer steps back into focus with a track that resists immediacy, choosing instead to unfold slowly, almost deliberately, as if asking the listener to meet it halfway.

As the first glimpse into his upcoming album, The Place, the song establishes a clear tonal direction: introspective, spacious, and emotionally controlled. Rooted in chillwave and electronic pop, it leans away from structure-driven songwriting and toward atmosphere, where feeling takes precedence over form.

Iuliano’s voice plays a central yet unconventional role. Rather than dominating the track, it moves within the soundscape, blending into ambient layers and re-emerging with subtle shifts in presence. At times it feels distant, almost untouchable; at others, quietly intimate. This fluidity blurs the line between vocal and instrumental, reinforcing the track’s immersive quality.

Repetition becomes a tool for reflection rather than emphasis. Phrases cycle gently, carrying a sense of quiet certainty without ever becoming rigid or declarative. There’s a meditative quality to the writing; less about storytelling, more about creating a mental and emotional space the listener can inhabit.

The production is equally restrained and precise. Expansive synth textures stretch across the track, while soft electronic pulses provide a steady, almost subconscious momentum. Nothing feels intrusive; every element is carefully placed, allowing the composition to breathe while maintaining cohesion. The result is a sound that feels both intimate and expansive at once.

What lingers most is the tension the track sustains, between movement and stillness, closeness and distance, clarity and abstraction. It’s this balance that gives “Time” its depth, positioning it as more than just a listening experience, but a reflective one.

There’s a noticeable sense of artistic clarity in this release. Drawing from a background shaped by formal training and diverse cultural experiences, Iuliano distills his sound into something focused and intentional, free from unnecessary weight.

“Time” by Iuliano fades out but leaves a state of awareness, one that continues to echo, quietly, stretching beyond the boundaries of the song itself..

A STORY TOLD IN GLANCES, DISTANCES, AND INSTINCT!

Cherine Abulwafa
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A STORY TOLD IN GLANCES, DISTANCES, AND INSTINCT!

With “I Need You (Cat & Mouse),” Makhyli crafts a track that feels like a sequence of lived moments: sharp, reactive, and constantly on edge. Sitting between hip-hop and pop, the song doesn’t unfold in a straight line; it moves in fragments, much like the experience it captures: “everywhere I go I gotta look around!”

The writing is disarmingly specific. Lines like “trying to keep the peace so you won’t spike my drink” and “crossing my fingers that you won’t follow me” don’t aim for metaphor; they land in reality. There’s an unsettling familiarity in “no eye contact” and the quiet resignation of “there’s 14 empty seats, but I can’t fuss,” moments that reveal how deeply this vigilance is embedded in the everyday. Makhyli doesn’t heighten the narrative; she lets it sit exactly where it already exists.

Sonically, the track mirrors that tension. The production remains restrained, almost skeletal at times, allowing her voice to carry the unease. When the chorus arrives, it expands without fully releasing the pressure. “I need you right now” repeats like a reflex rather than a plea, especially when paired with “shared my location,” a line that grounds the song in a distinctly modern language of survival.

What makes the second verse particularly striking is its shift in perspective. “If I had a shaft in between my thighs / I’d look straight ahead” reframes the entire narrative, not as isolated fear but as a condition shaped by gender. It’s followed by the haunting simplicity of “what I would do to not be prey,” a line that is indeed striking. Even in moments of stillness, “looking out my peephole” or admitting “no I never trust people,” there’s no sense of exaggeration, only accumulation.

The track’s emotional weight extends beyond its sound. Released in collaboration with Right To Be and RAINN, the song becomes part of a broader dialogue around safety, harassment, and visibility. Yet, this context never feels external; the message is already embedded in every line, every pause, every instinctive reaction.

As Makhyli continues to define her solo voice, “I Need You (Cat & Mouse)” emerges as a pivotal release, one that transforms observation into articulation. It doesn’t seek to resolve the tension it holds; instead, it names it, repeats it, and refuses to soften it..

Champion by Baby Booder

Abdelrahman Khaled
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Champion by Baby Booder

Ann Arbor’s Baby Booder – real name Daijon T. Munson – dropped “Champion” on March 27th, the second track off his 15-song album “P O I N T E”, a lyrical tribute to the neighbourhood he grew up in during Obama’s two terms. He has been writing since the age of seven, releasing music to SoundCloud since he was eleven, and has built over 300 released compositions independently through his own label, Substance Controlled. Outside of music, he has been a board member of Ann Arbor’s Neutral Zone youth nonprofit and an affiliate of the My Brother’s Keeper Washtenaw Chapter. “Champion” draws from Bad Boy Records, Mary J. Blige, and Freddie Gibbs, and reflects on the challenges and wins of 2025, recorded mainly at home to preserve that underground feel.

The story behind the song is one that doesn’t get told enough about Ann Arbor – a city known for its university reputation and relative wealth, but with pockets that don’t match that image. Booder grew up in a cul-de-sac, moved to an apartment complex surrounded by condos and medical centers, watched his parents work themselves to the bone while kids in the streets ranked each other in ways that turned dangerous. “Champion” is about coming out the other side of all that – stronger, wiser, and clear-eyed. The Bad Boy influence is in the production swagger, the Freddie Gibbs influence is in the unflinching honesty of the storytelling, and the lo-fi home studio warmth keeps it grounded rather than polished into something unrecognisable.

With shows already lined up across South East Michigan in April and May, Baby Booder is building in the right direction. “P O I N T E” has fourteen more tracks to go, and if “Champion” is any indication, it’s a project worth sitting with front to back.

Kristin Ambuhl Releases New Single “No Other”

Sistra News Team
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Kristin Ambuhl Releases New Single “No Other”

NASHVILLE, TN — Recording and performing artist Kristin Ambuhl releases her new CCM single, “No Other,” available on April 27th, 2026 on all major streaming platforms worldwide — Spotify, Apple Music, Amazon Music, YouTube, and more. The track is the first of four upcoming singles Kristin will release in 2026, each one a scripturally-rooted Christian pop rock song that weaves multiple Bible verses into a unified theme. “No Other” draws its heart and context from the books of Isaiah and Psalms.

It is the kind of song that could only come from someone who has been building toward this moment for a long time. Kristin grew up just outside of Nashville with an early love for both music and language — she began classical piano lessons at nine years old and spent her childhood writing poetry before discovering that the two could become one thing. Songwriting followed naturally.

In the years after high school, Kristin recorded her first single, sang in multiple college choirs, and trained her voice through years of private coaching with three skilled vocal instructors. She later attended Belmont University, taking music business and songwriting classes, before finally overcoming a long-standing battle with stage fright to begin performing and promoting her original music locally. Her debut EP — released on SoundCloud and featuring acclaimed bassist Dominic John Davis — made an immediate impression, earning indie radio play and press coverage across the United States, France, Brazil, Germany, Mexico, and Egypt.

Now, with “No Other,” she returns with her most ambitious and personal work yet. Unlike previous projects that involved co-writers, all lyrics, chords, and melodies across the four upcoming singles are written entirely by Kristin — shaped by years of immersion in scripture spanning Genesis to Revelation. The songs feature well-established Nashville studio musicians, grounding Kristin’s writing in a production that is both polished and powerful.

The three singles that follow “No Other” — “Who is He,” “A New Thing,” and “Set Free” — will arrive throughout 2026, each carrying the same scriptural depth and pop rock energy that defines this new chapter of her artistry.

 

 

 

Elvira Kalnik’s “Water Knows” Becomes a Heartfelt Tribute to Her Father’s Battle with Dementia

Michael Stover
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Elvira Kalnik’s “Water Knows” Becomes a Heartfelt Tribute to Her Father’s Battle with Dementia

NEWARK, NJ  — Internationally renowned artist Elvira Kalnik is revealing the deeply personal story behind her haunting single and video “Water Knows,” sharing that the song ultimately became a tribute to her late father and the emotional journey her family endured during his battle with dementia.

Originally inspired by the cleansing and healing symbolism of water, the song carries a much deeper meaning for Elvira—one she had not previously shared publicly while her father was still alive.

“My dad was the kind of person who lit up a room when he walked in,” she recalls. “My friends used to say that whenever he arrived, it felt like a celebration.”

A gifted and warm-hearted man, he was an actor and musician himself—playing guitar, singing songs to his daughter, and reading her fairytales as a child. His kindness drew people and animals alike, and he lived by a strong sense of honesty and reliability that shaped Elvira’s own values and artistic integrity.

“He always kept his promises. That was one of his biggest values, and he raised me with the same principle,” she says.

Behind the emotional depth of “Water Knows” lies a five-year struggle that profoundly changed Elvira Kalnik’s life. Her father developed dementia at a relatively young age, and the disease gradually took away the man she had known. Though his memory faded, the emotional connection remained.

“He didn’t remember who I was, but he remembered that he loved me and the rest of our family,” she says.

Throughout that painful time, the idea behind “Water Knows” began to take shape. The song reflects the concept of releasing emotional pain the way tears dissolve into water—allowing sorrow, grief, and unanswered questions to be carried away by the flow.

“Inspiration for the song came from the cleansing properties of water,” she says. “When you cry your pains and worries into water and let them be carried away.”

The track itself blends deep house with jazz, jungle, and cinematic soundscapes, creating an immersive emotional journey that mirrors the turbulence of grief before gently resolving into acceptance.

While the song tells a deeply personal story, Elvira Kalnik hopes its message resonates universally.

“It’s something none of us can fully comprehend until it happens,” she says. “But it’s unavoidable for all of us one day. All we can do is be more loving and kind to our parents and cherish them while they are still here.”

With “Water Knows,” Elvira Kalnik transforms personal loss into art—offering listeners a powerful reminder of love, memory, and the healing power of letting emotions flow.

Based in the United States and originally from Europe, Elvira Kalnik is a multi-talented artist with a classical background who seamlessly fuses electronic music with theatrical visuals, fashion, and storytelling. She is a singer, songwriter, model, music and video producer, actor, and fashion designer. Since releasing her first album before the age of 15, Elvira has experimented fearlessly with sound, blending genres and artistic disciplines to create immersive experiences. Her music videos—including “Dreams Come True,” “Blind Love,” and “Star Dance”—have received recognition at festivals across Europe and the United States, while her music has reached the top of the UK iTunes charts. In 2024, she performed at the United Nations Humanitarian Gala in New York, where she received the Presidential Award for Outstanding Leadership and Community Impact.

Website: https://www.elvirakalnik.com

Shweta Harve Unveils Official Music Video for “Have You Loved Like a Tree?” — A Powerful Visual on Enduring Love

Michael Stover
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Shweta Harve Unveils Official Music Video for “Have You Loved Like a Tree?” — A Powerful Visual on Enduring Love

DALLAS, TX — Billboard charting singer-songwriter Shweta Harve has released the official music video for her emotionally resonant single, “Have You Loved Like a Tree?” The cinematic visual brings to life the song’s powerful metaphor of unconditional love, endurance, and quiet strength — portraying love not as fleeting passion, but as something rooted deeply in patience, presence, and growth.

Written and performed by Harve, the song reflects on the kind of love that gives freely without expectation, stands firm through storms, and remains even when life’s seasons change. The visual narrative expands on that message, presenting the tree as a silent witness to life’s emotional journey — from childhood innocence to separation, loss, and ultimately rediscovery.

Directed by Shweta Harve and Aakash Giri, the music video blends storytelling and symbolism to create a moving visual companion to the song’s reflective message. Through carefully crafted scenes and intimate performances, the video illustrates how love can remain constant even when people drift apart — much like a tree that continues to offer shade, shelter, and stability regardless of circumstance.

The video features performances from Eiffel Dutta, Valek Dutta, Sristy Dutta, Soumodeep Singha, Neha Rawat, Sourav Das, and Shweta Harve, with production by Studio6. Their performances help bring emotional authenticity to the story, portraying moments of connection, departure, and reflection that mirror the song’s lyrical arc.

Musically, the track is anchored by Harve’s expressive vocal performance and a thoughtful arrangement composed by Dario Cei, whose instrumentation provides a gentle yet evocative sonic backdrop. The recording also features Diego Bejaran on acoustic guitar, Emi Di Fiori on drums, and Dario Cei on electric guitar, bass, and flute, creating a soundscape that allows the song’s emotional message to unfold naturally. The audio engineering was handled by Serhii Cohen, whose work gives the track clarity and warmth.

Behind the camera, a talented creative team helped shape the video’s visual storytelling. Videography was captured by Biswarup Mondal, Sandipto Mukhopadhyay, and Ricardo Ivan Morales, with assistant videography by Saurav Das. The video was edited by Piyali Samanta, Santanu Dutta, Nitin Khajotia, Shantnu Dulara, and Shweta Harve, whose collaborative vision ensured that the narrative flows seamlessly between moments of stillness and emotional revelation.

The video further expands the song’s broader message of love as an act of care and sustainability. The single has also inspired an awareness initiative encouraging listeners to plant trees in honor of loved ones — transforming the metaphor of enduring love into a living symbol that grows over time.

“At its heart, this song is about the people — and the presences — that quietly keep us alive,” says Harve. “Trees do this for the planet every day, just as some people do for us emotionally. The video allowed us to visualize that idea in a deeply human way.”

With “Have You Loved Like a Tree?”, Shweta Harve continues to establish herself as a thoughtful voice in modern pop — blending poetic storytelling, emotional sincerity, and meaningful themes that invite listeners to reflect on the deeper roots of love.

For more information, please visit http://www.instagram.com/shwetaharve 

 

From Calvary to Redemption: Eddy Mann’s “When I Was Saved” Brings the Message of Easter to Life

Michael Stover
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From Calvary to Redemption: Eddy Mann’s “When I Was Saved” Brings the Message of Easter to Life

MELBOURNE BEACH, FL – Acclaimed Contemporary Christian singer-songwriter Eddy Mann releases his powerful new single and music video, “When I Was Saved,” available worldwide this Friday, March 20th, 2026. Inspired by the Biblical account in Luke 23:26–43, the song offers a deeply moving reflection on the crucifixion and the profound spiritual moment when redemption and sacrifice collided on Calvary.

Blending elements of Pop, Rock, Country, and Folk, “When I Was Saved” captures the emotional weight of the crucifixion story through Mann’s signature storytelling style—honest, reflective, and spiritually resonant. The song features the soulful supporting vocals of Liz Collins, whose voice adds a haunting spiritual depth to the track’s message of grace and salvation.

At the heart of the song lies its striking refrain: “I was saved the day my best friend died.”

With these words, Mann presents the paradox of Christian redemption—how loss became victory, and how love triumphed over hate on the hill called Calvary.

Written in December 2024, the song grew from Mann’s meditation on the final hours of Christ’s life and the perspective of those who witnessed the crucifixion. Through vivid imagery and heartfelt lyricism, the track walks listeners through that solemn day—where mockery, sorrow, forgiveness, and divine promise unfolded together.

“The song reflects on that sacred moment when everything changed,” says Mann. “It’s about understanding that through the ultimate sacrifice came the greatest gift—salvation.”

The accompanying official music video, available now on YouTube, visually complements the song’s emotional journey, bringing its themes of sacrifice, mercy, and hope to life.

The single serves as the first glimpse into Mann’s upcoming project Dreaming with God, scheduled for release in Summer 2026.

About Eddy Mann
Eddy Mann is an award-winning, chart-topping Contemporary Christian recording artist and songwriter known for his heartfelt storytelling and spiritually inspired music. Drawing on influences from pop, rock, folk, and Americana, Mann’s songs explore themes of faith, redemption, grace, and the human experience. His music continues to inspire listeners around the world through its authenticity, biblical inspiration, and uplifting message. For more information, visit www.eddymann.com

Novai Makes Her Powerful Introduction with Debut LP “This Is Novai”

Michael Stover
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Novai Makes Her Powerful Introduction with Debut LP “This Is Novai”

PITTSBURGH, PA — Pop/R&B Artist Novai officially steps into the spotlight with the release of her debut full-length album, “This Is Novai,” available worldwide on March 20, 2026 via MTS Records. Blending R&B, pop, adult contemporary, and gospel influences, the album delivers a deeply personal introduction to an artist whose voice bridges empowerment, vulnerability, and faith.

With 12 tracks written by songwriter Michael Stover, This Is Novai unfolds as both a musical journey and a declaration of identity. Across the record, Novai explores themes of self-discovery, emotional healing, resilience, independence, and spiritual redemption, presenting a sound that moves effortlessly from soulful pop confessionals to uplifting gospel testimony.

The album builds on the momentum of Novai’s earlier singles, including the empowering anthem “No Regrets,” a fearless declaration of liberation and personal growth. With its soaring chorus — “No regrets / Just wings / I’m flying” — the song captures the spirit that runs throughout the entire project: rising above pain and reclaiming one’s voice.

Elsewhere on the album, tracks like “Better Off Glittering,” “My Hoops,” and “Girls Night Glow” showcase Novai’s vibrant pop-R&B personality, celebrating confidence, individuality, and the freedom to define oneself on one’s own terms. These energetic moments balance seamlessly with more reflective songs such as “Someday,” “Never Enough,” and “I Won’t Let U Hurt Me,” where Novai’s expressive vocals explore the emotional complexity of love, heartbreak, and self-worth.

Faith and spiritual renewal also play a powerful role throughout the record. Gospel-inspired tracks “Back to Your Heart,” “My All,” and “Washed in the Water” reveal a deeply personal side of the artist, weaving themes of grace, redemption, and divine guidance into the album’s narrative. These songs bring a soul-lifting dimension to the project, highlighting Novai’s ability to move effortlessly between contemporary R&B and inspirational music.

Musically, This Is Novai draws inspiration from classic soul storytelling while embracing modern pop and contemporary R&B production. From uplifting anthems to introspective ballads, the album presents a cohesive sonic identity that highlights both Novai’s vocal range and emotional authenticity.

With its diverse influences and honest songwriting, This Is Novai positions Novai as an emerging voice capable of connecting across genres and audiences — equally at home delivering empowering pop hooks, soulful R&B melodies, and heartfelt gospel declarations.

Album Information
Artist: Novai
Title: This Is Novai
Label: MTS Records
Release Date: March 20, 2026
UPC: 199891720965

Track Listing:

  1. No Regrets – ISRC: QZZEB2542497
  2. Better Off Glittering – ISRC: QZ5FN2691896
  3. Someday – ISRC: QZZ8A2596728
  4. Back to Your Heart – ISRC: QZ5FN2691902
  5. Six Seven – ISRC: QZ5FN2691905
  6. My Hoops – ISRC: QZ5FN2691907
  7. My All – ISRC: QZ5FN2691909
  8. Girls Night Glow – ISRC: QZ5FN2691911
  9. I Won’t Let U Hurt Me – ISRC: QZ5FN2691914
  10. Never Enough – ISRC: QZ5FN2691915
  11. Washed in the Water – ISRC: QZ5FN2691918
  12. Back to Your Heart (Radio Edit) – ISRC: QZ5FN2691919

This Is Novai is available March 20th, 2026 on all major streaming platforms and digital retailers.

For more information, interviews, or media inquiries, please contact:
MTS Management Group / MTS Records
www.mtsmanagementgroup.com

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