Martin Hedegaard Bill is a songwriter from Holstebro, Denmark, and “Be Present” is his debut single, released February 26th and recorded at Komo Studio in Herning. The song’s message is straightforward: we’re all too consumed by phones and screens, and we need to slow down and reconnect with the world in front of us. Martin plays acoustic guitar and handles the songwriting and lyrics, but AI-assisted production fills out the rest of the sound. He cites Ed Sheeran as a major influence, which is obviously reflected in the overall tone of the song.
There is an irony worth noting here – a song urging listeners to put down their screens and be more present was built in significant part with AI-generated production. That’s not necessarily a dealbreaker, and Martin is transparent about it, but it does add a certain tension to the message that he’s presumably aware of. The acoustic guitar gives the track a human anchor, and the sentiment behind the lyrics is genuinely relatable. The subject matter – screen addiction, distraction, the slow erosion of presence in everyday life – is something most people feel acutely enough that a song about it can land regardless of how it was made.
As a debut, “Be Present” is an earnest first step from someone who clearly has things he wants to say. Martin has already mentioned that more songs are on the way, and the songwriting instinct is there. The production side of the project will be worth watching as it develops – particularly whether that human-AI balance shifts as he finds his footing.
London-based artist Antoin Gibson dropped “Venom-laced Tears” on March 6th, the follow-up to “Dead End” – a stripped-back piano-led release that documented burnout in its rawest form. This one deliberately moves in the opposite direction. Where “Dead End” was exposed and minimal, “Venom-laced Tears” introduces a more controlled, cinematic architecture. Gibson runs their own label Circum-Sonus and operates with a long-form artistic vision that favors conceptual continuity over trend-chasing, and this track fits squarely into that – serpentine imagery, forbidden fruit, ritualized transformation, the idea that vulnerability can harden into something closer to power.
Musically, it’s gonna take you by surprise with this almost cyberpunk aesthetic of the various supporting layers – dark synth textures and atmospheric production choices that feel intentional and precise rather than decorative. The restrained dynamics keep the tension coiled throughout, which suits the song’s central idea of controlled recalibration after collapse. The lyrics are punchy and to the point, but also have a layered depth to them, which is great with repeated listens – and you will definitely do repeated listens because the song is addictive and catchy. Antoin Gibson‘s vocal delivery sits somewhere between seduction and confrontation, which is exactly where the lyrical themes need it to be.
“Venom-laced Tears” premiered via Fame Magazine UK ahead of release, which tracks for a single this deliberately composed. Gibson is building something here piece by piece, and this is a strong next step.
In Dream It, Spell It, Feel It, Mandybom gently steps into the emotional grey areas of love. The moments where memory, regret, and hope quietly intertwine. The singer-songwriter has built her artistic voice around honest, vulnerable storytelling, and here she delivers a track that feels both intimate and quietly luminous.
The song opens with a soft, atmospheric glow. Warm synth textures drift through the background while subtle acoustic elements add an organic touch, giving the track a sense of calm spaciousness. Nothing feels rushed. Instead, the arrangement unfolds patiently, allowing the melody to settle naturally and create a dreamlike mood that draws the listener inward.
The melody feels effortless and sincere. Mandybom’s vocal approach is gentle and unguarded, almost conversational in its tone. In the verses, her voice carries the quiet vulnerability of someone revisiting a memory late at night. When the chorus arrives, the emotion opens slightly, revealing the central message of the song:
“Just give me one more day to say I’m sorry
Take the pins out of your heart
Just give me one more day to sketch out the past
Dream it, spell it, feel it.”
There is something beautifully human in this plea. Rather than dramatic heartbreak, the lyrics focus on the softer side of longing, the wish for another moment to repair what has been damaged, or perhaps simply to understand it better.
The track balances indie-pop sensibility with touches of country-folk warmth. The instrumentation remains refreshingly simple, allowing Mandybom’s storytelling and melodic instinct to lead the way; a faint retro charm lingers in the song’s straightforward structure, giving it a comforting sense of familiarity.
With Dream It, Spell It, Feel It, Mandybom captures something quietly universal: the way we replay moments in our minds, imagining how they might have unfolded differently. The result is a song that feels thoughtful, sincere, and gently reflective; a small but meaningful meditation on love, memory, and the courage it takes to feel deeply..
Frelinghuysen, New Jersey – Bongo Boy Records proudly presents the official music video for “Figure It Out,” the latest single from the acclaimed album We Need Love by the husband-and-wife songwriting duo Inches From Sin (Robert and Karen Holloway Brewer). The video, directed, produced, and edited by William J. Hall, is now available on all major platforms.
“Figure It Out” is a heartfelt call to action that blends personal reflection with universal social commentary. The song urges unity, empathy, and love in a world desperately in need of healing. Karen Holloway Brewer shares: “Sisters and brothers, let’s love one another—because ‘Figure it out’ is more than just a lyric; it’s a powerful call to action for a world that often feels like a riddle. If love is what’s missing, then empathy is what binds us. Right now, the world stands at a pivotal crossroads in desperate need of unity. Through our music, our hope is to help awaken hearts everywhere and inspire people to come together. United, we can truly FIGURE IT OUT.”
Music critic Dave Franklin (Dancing About Architecture, UK) praises the duo’s approach: “…the band confronts all manner of societal issues while holding fast to one simple truth—love is the only answer to our problems. It is a message as old as music itself, but it is fair to say that, as the world turns ever faster and grows increasingly darker, it is a message worth repeating.”
For credits and more info, check Check Bongo Boy Records artist page here.
Frelinghuysen, New Jersey – Bongo Boy Records proudly announces the release of “I Will Be Alright,” the powerful new single from Monique Grimme. Available now on all major streaming platforms, the track draws direct inspiration from a heartfelt Zoom conversation with Fab Morvan—one half of the iconic pop duo Milli Vanilli and a recent GRAMMY® nominee for his acclaimed audiobook You Know It’s True: The Real Story of Milli Vanilli.
During the conversation, which took place around the first round of the 68th GRAMMY® Awards, Morvan shared his remarkable journey of resilience and optimism in the years following the widely publicized 1990s lip-sync scandal. His words of perseverance and encouragement profoundly moved Grimme, who serves as a dedicated media member of the Recording Academy™ and played a key role in submitting his audiobook for GRAMMY® consideration. Morvan’s mantra—“I said to myself: I Will Be Alright”—became the emotional core of the song.
“‘I Will Be Alright’ is both a tribute to Fab Morvan’s inspiring journey and an anthem for dreamers everywhere,”says Monique Grimme. “The single is dedicated to those who refuse to let go of their aspirations, echoing Morvan’s resilience and his message of hope: perseverance, and never give up. You never know where your next song idea comes from.”
Production and Credits
Vocals, Songwriting, Composition, Arrangement, and Production: Monique Grimme
Mixed and Mastered: Sapphire Star Studios and Bongo Boy Records
UPC: 91043159483
ISRC: USPXQ2631301
Catalog Number: LR-3062766
Created using innovative studio and art tools including Me I’m 100% Human, Midjourney, Sora2, Suno (partial), and Arcanalabs, the single is accompanied by an official music video that captures its uplifting spirit and emotional depth.
Continuing to lean into their unique retro-soul soundscape, Bonneville are back with their latest single ‘Fools In The Game’, a slow-burning blues ode to the game of life, and the pursuit of love. The single cuts through with an easy confidence and arrives brimming with melody, authenticity and maturity.
Recording the single at FAME Studios in Muscle Shoals with the Grammy award-winning producer Starita, the track kicks off with rich guitar licks, spilling a pure, cinematic vibrance across the airwaves. As bold vocals soon take centre stage, ‘Fools In The Game’ takes its time in building an atmosphere, balancing silky instrumentation with a masterful finesse.
The band’s second release of the year, the US-based outfit looks to once again double down on their thrilling approach to retro musicmaking, proving that the old school can still feel like the new school.
Speaking about the release, the band discuss their creative influences, and the significant points of influence that they tried to emulate in the recording. Diving in, they explain, “[The single] took on a new life when the groove was born the first time all of the band members were in the room… [we] had been listening to a lot of Thee Sacred Souls and wanted that feel… It ended up landing outside of that, with a more straightforward bass groove and what feels to me like a late 1970s sound, similar to Andy Gibb’s ‘I Just Want to Be Your Everything.’”
The Beatroot Road, led by North Vancouver musicians Mark Russell and Hazel Fairbairn, showcases boundary-defying artistry through international collaborations. Their latest album, Humanimal, released on October 29, 2025, features ten tracks that explore the human condition with empathy, incorporating contributions from artists in thirteen countries and blending experimental instrumentation with accessible rhythms. Influenced by acts like Massive Attack, Gorillaz, and Björk, this project highlights human creativity in a tech-driven era. Russell and Fairbairn also discuss their collaborative approach, the concept of Humanimal, and future initiatives.
The Beatroot Road’s formation reflects a synthesis of your respective backgrounds—Mark’s multicultural upbringing in Sudan and Scotland, and Hazel’s scholarly exploration of Irish pub music alongside global fiddle traditions. How have these foundational experiences propelled the project’s emphasis on cultural integration without adhering to traditional “world music” conventions?
– We have both played within many musical traditions over the years, and found – not surprisingly – that there is a lot that they all have in common. Music is made for the same basic human emotional reasons wherever you are from, and we’ve found it can often speak across borders with more honesty than words can. I would say most musicians these days have at least a bit of ‘world fusion’ in their make-up – it’s almost impossible to escape hearing variety now, which I think is a good thing. World music fusion used to suggest an ethnic sample mixed into an EDM beat, and I think we’ve moved way beyond that these days – internationally artists are able to integrate now.
Also, crucially, all the musics we have both been involved in have been from ‘Learn by ear’ traditions which don’t use classical music theory, and musicians from these traditions tend to ‘get’ other musics quite naturally and quickly. They don’t need to translate the sound into symbols first, and are comfortable with the language of emotion. This project would not be possible using notation – it’s another written language which is culturally exclusive and makes no sense to the majority.
Finally, now seemed like a good time to celebrate some of the things we all have in common when so many of our fellow primates are banging sticks on the ground because of our cultural differences.
Over the years, your collaborations have expanded to encompass session musicians from regions including Austria, Jamaica, Kenya, and Venezuela. In what manner has this evolving network of international contributors refined your methodology for fostering artistic unity across geographical and stylistic divides?
One of the few ways that the internet has been hugely beneficial for artists, is that geographical location is simply no longer an issue. In the past, you needed to be in the same room as someone to make music at all, now it’s physically easier for me to email musical ideas to and from Kenya than to get up and walk through to the next room to work with Hazel in Vancouver. This project started in lockdown, so this relatively new remote ‘artist to artist’ methodology for working was absolutely ideal, and it exploded creativity to a global level for me. We can do the work when we want – time zones are a factor here – on equipment we all own, and perhaps most importantly, very economically. It ticks a lot of boxes to allow creative work. We’ve only just started with collaborations, and I have to be careful not to get too crazy too soon, but the world is out there beckoning me.
Humanimal positions itself as a “time out” from societal polarization, offering sympathetic portrayals of human joy and pain through indirect narratives. What deliberative processes informed the album’s thematic structure, ensuring each track contributes to a non-partisan examination of shared experiences?
That bit was quite easy really because to some extent all of our work tends to be about the human condition – usually from that artist’s ‘outside looking in’ perspective. So it was mostly just selecting suitable starting points from a bag of ideas. Adding international contributions without taking a cultural, political or religious stance was much easier than expected too – nearly all the artists involved are behind the idea – and fully understood why we wanted it to be kept to just things we all have in common – particularly at the moment. There was only one artist we approached who didn’t want to take part on those terms.
The album’s experimental approach involves mismatching instruments and genres while anchoring compositions with a consistent rhythm section of bodhrán, rhythm fiddle, bass, and organ. How did the editing and processing at Laboratory X Studio facilitate this balance between innovation and accessibility?
Modern technology. I would love to bore the will to live out of you with an interminable technical description of my favourite audio toys and techniques, but will kerb my enthusiasm in the interests of your sanity; These days, a regular laptop with software costing $100, can mix hundreds of instruments using hundreds of technical processors like EQ, echo, reverb etc. etc. (etc.) – giving it dozens of times more available technical capability than the very largest high-end studios of the 20th century, which used to cost thousands per day to use. That needs to all sink in as it’s what you might call a game changer. I could not have sculpted the fiddle ‘guitar’ sound in Payday, or the Bodhrán sound in Dance, Sinners Dance without a lot of digital audio processing for example. It’s important to say that the work is still all performance based; this is music played by humans on instruments, and sung without autotune – the technology we use processes performances, it does not create them. That is central to our philosophy.
Tracks such as the title song “Humanimal” critique AI’s limitations in replicating human capabilities, while others like “Payday” contemplate life’s meaning. In developing these pieces, how did you incorporate layers of lyrical depth to accommodate both casual listening and profound interpretation?
I’ve always felt that lyrics need to have depth; many of these lyrics were by Demmy James, who used simple words but always with layers of meaning. I wrote the track Humanimal with that intention, and we loved Roger Wilson’s lyrics on Payday for the same reason. Experimental music often seems to me to be written for people that are smarter than me – I don’t understand why they are doing it, and often just keep waiting for a tune to start. But I genuinely believe it doesn’t need to be like that. Simple tunes and short words can still be subtle and offer depth of meaning while remaining accessible to anybody listening – not just academics. Art is never an intellectual process at its heart.
Given the album’s reliance on human-performed instrumentation and unprocessed vocals from thirteen countries, what logistical and technical hurdles arose during the remote collaboration and assembly phases, and how were they resolved to preserve authenticity?
It was important to me that the artists knew there was freedom to express themselves for authenticity – which is hard to convey remotely. The way I have been working for many years, is by asking artists to record a ‘free track’ with improvisations and without rhythmic or melodic restrictions after they finished recording their part to their satisfaction, when the pressure is off. These takes often contain emotional honesty way beyond the ‘correct’ recording, with some real gems that aren’t in the polished version. It’s technically easy to cut out and paste the gems in to the final work – its just time-consuming selecting – particularly if you have too much good material to work with; it’s painful binning unnecessary bits that sound great!
Press acclaim, including from The Big Takeover Magazine, highlights Humanimal as a genre-defying endeavor rooted in human connection despite its origins in isolation. How does this release signify an advancement in your pursuit of “post-genre” music that resonates with audiences beyond polarized digital landscapes?
We hadn’t got a clue if this would be met by tumbleweed and silence or confused criticism or what, but have been delighted to see that some people are already listening and getting it. When we started we hadn’t heard of ‘post genre’ so were pleasantly surprised to see it is a real thing now. I grew up in a very creative period where every band was trying to sound original, but now music is selected by algorithms that compare and select based on similarity, so being easily defined in a genre is just the best way to make money on the internet if you aren’t too worried about quality. I guess that’s a familiar gripe in most professions, thinking about it.
But with platforms paying $0.004 per stream, only the most middle of the road music with huge numbers of streams can make any money at all in reality, and since we don’t even have an existing ‘genre’ to get us noticed by the bots in the first place, never mind mainstream appeal, we simply gave up trying to make money.
It’s been really liberating: we decided to make honest music we believe in without compromise, with the idea that if we really mean it, others may feel it too. If not, we have at least said what we wanted to say and had a wonderful time doing it. Life doesn’t often offer up much better than that in my experience, so if that’s all we’re going to get we’re still ahead!
With Humanimal now available, what mechanisms are you implementing to promote its global reach, such as targeted outreach to diverse cultural communities or adaptations for immersive audio formats?
The artists are promoting it locally in their own countries, and we have had huge support from Steven James at IMP – and other very gratefully received oxygen from people like yourself! – helping getting it going from a total standing start; we had absolutely no following or networks of any description when we released the first track. It’s building slowly but well, and doing better than I imagined it would. We’re starting to reach out to some radio stations now too, which is a new thing for us.
Immersive audio is a different story though – Hazel has just been involved in building a superb Atmos studio, and we have just about enough speakers here to cobble together a system in our own studio, so we’ve been talking about it – a lot. Most people won’t have atmos systems though, so immersive headphones may well be the main way forward outside of movie theatres or clubs, but we think they aren’t quite there yet – there are a lot of problems to do with how brains hear music to be figured out first – its complex stuff. We are definitely keen though, and actively watching the technology develop while starting to play about with some ideas.
Building upon the album’s call to young artists in “Dance Sinners Dance” to resist homogenization, what educational or mentorship initiatives do you envision to support emerging creators in maintaining originality?
Wow that’s a tricky one. It’s hard to see how things could change within music streaming platforms that are entirely run by such homogenizing algorithms, so I think we have to look elsewhere for support. Sites like Bandcamp are still fighting to keep music human, and for current mentoring, there are a number of internet based skills agencies that connect artists, but handle the business side themselves, and I think that’s a modern way of helping artists that works functionally.
But I can perhaps imagine a raw, low tech, teenage live movement – similar to the 1970s polar reaction of punk to disco music. There seems to be growing dissatisfaction with the enshitification of the internet – particularly amongst young people, so the conditions for change are coming. I think we have to wait for a generation of youth to become dissatisfied and angry enough with the artistic quality of music they are being fed, and then I don’t think they will need mentoring, we’ll need to just quickly step out of their way…
For many artists, I think facilitation is needed more than education. It’s delicate educating people to be creative, as it really has to come from within – art is about who you are, not something you do – and a great deal of western music education is very restrictive in its theories of right and wrong. I am not a fan personally – I passionately believe art education in particular needs to be about lighting a fire, not filling a bucket. For me, learning by ear is the way forward for creativity; if it sounds right, it is right. This works internationally, and is a central core to The Beatroot Road and our way of thinking.
For future releases, how do you plan to extend the collaborative model of Humanimal, potentially incorporating new regions, technological integrations, or interdisciplinary elements like visual storytelling to further emphasize human-centric creativity?
I’m hungry to increase the geography and scope of our collaborations – there’s a world of fabulous artists out there – the only restriction is our very limited budget. The same goes for visuals – I make basic promotional videos myself because we simply don’t have the budget to work with a good art film maker – videos are eye-wateringly expensive to make when you start filming. The video for Morbid Love was a collaboration with film maker Atsushi Kanno and actor Yoonie Kim where they donated their time and skills as a one off, but I would absolutely love to work with another sympathetic visual artist again soon. I also have always wanted to work with an experimental dancer on a piece too, which may possibly be more achievable if I can find one. I’m always looking…
When life slows down just long enough for you to catch your breath, sometimes that moment deserves a soundtrack. On her smooth and uplifting single “Coastin’,” Pittsburgh-born singer-songwriter Cathleen Ireland delivers exactly that — a laid-back groove that celebrates gratitude, resilience, and the simple joy of being alive.
“Coastin’” opens with an honest confession: “I feel so high I know I gotta cool it / I feel like I just dodged a bullet.” Right away, Ireland makes it clear that this song isn’t just about sunshine and good vibes. It’s about survival — the kind of emotional and personal journey that leaves you appreciating the small things. It’s the sound of someone who has walked through life’s storms and come out on the other side with a new perspective.
Musically, the track blends pop polish with soulful warmth. The rhythm glides effortlessly, creating a mellow groove that feels perfect for cruising down the coast with the windows down and the sun setting in the distance. Ireland’s vocals sit comfortably in the mix, confident yet relaxed, allowing the lyrics to breathe without overpowering the track’s easy flow.
There’s something refreshing about the sincerity of “Coastin’.” In an era when much of pop music leans toward high drama or heavy heartbreak, Ireland takes a different path. Her message centers on appreciation. “I’m thankful, grateful, I’m so blessed to be here,” she sings — and rather than sounding cliché, the line carries weight because it feels authentic.
Ireland’s songwriting shines in the way she paints scenes of calm and reflection. References to sunup-to-sunset days, coastal waters, and carefree moments evoke a sense of peace that many listeners can relate to. It’s a reminder that happiness isn’t always about big achievements or flashy moments; sometimes it’s about slowing down and recognizing how far you’ve come.
What makes “Coastin’” particularly appealing is its universal tone. Whether you’re sitting by the ocean, driving along a Florida highway, or simply relaxing after a long week, the song fits easily into the background of everyday life. It’s the kind of track that doesn’t demand attention but earns it through its warmth and relatability.
Cathleen Ireland has built her career on blending heartfelt storytelling with accessible grooves, and “Coastin’” continues that tradition. The single reflects an artist comfortable in her own lane, confident enough to let the music breathe and the message land naturally.
In the end, “Coastin’” isn’t just about taking life easy — it’s about recognizing the journey that made those peaceful moments possible. And with this track, Ireland invites listeners to do the same: take a breath, enjoy the ride, and keep moving forward.
Sometimes the most uplifting songs are born from moments when life feels the most overwhelming. That spirit of transformation lies at the heart of Audren’s latest single, “Smile, People Smile,” a vibrant contemporary soul release that turns frustration into rhythm and personal encouragement into a contagious burst of musical optimism.
Written after a period when everything seemed to go wrong, the song emerged from a simple yet powerful moment. Standing alone in front of the microphone, Audren found herself speaking words of reassurance to herself: just smile, you’ll be fine. From that spontaneous act of self-motivation, the song quickly took shape, carrying a message that feels both intimate and universal: sometimes joy begins with a conscious choice.
The track blends soul, contemporary soul, and pop with a lively groove that feels immediately inviting. Rolling drums and warm bass lines establish the rhythmic backbone, while vibrant horn arrangements inject the track with a playful sophistication. The horns add a bright, uplifting energy reminiscent of classic soul-pop influences, while a blues-inspired guitar solo introduces a touch of emotional depth and raw humanity.
Audren’s vocal performance is equally compelling. Her delivery feels natural and sincere, allowing the lyrics to unfold like a conversation rather than a performance. There is a warmth in her tone that draws the listener closer, reinforcing the song’s central idea: instead of waiting for happiness to arrive, sometimes we must create it ourselves.
The production further amplifies this sense of collective joy. Layered instrumentation, subtle backing vocals, and bursts of laughter toward the end create an atmosphere that feels almost communal, like stepping into a room where the music is already playing, and the energy is contagious. A subtle 90s-inspired R&B flavor gives the track a nostalgic touch while keeping its sound fresh and vibrant.
With “Smile, People Smile,” Audren delivers a song that is both uplifting and reflective. It is a reminder that even in uncertain times, small gestures, like a smile, can shift our perspective and lighten the emotional weight of the day.
“That’s Why I Love My Baby” marks the latest offering from American singer, songwriter, and pianist Judith Owen, serving as the first single from her forthcoming album due this spring. Rooted in jazz yet shaped by Owen’s storytelling sensibility, the track combines musical elegance with a lighthearted reflection on the nature of real love.
Built around a warm, piano-led arrangement, the song carries a relaxed swing that allows Owen’s expressive vocals to take center stage. Her delivery feels effortless and conversational, giving the impression that the story is unfolding naturally rather than being formally performed. The result is a track that feels both polished and inviting.
Owen approaches romance with wit and honesty. Rather than celebrating grand romantic gestures, the song highlights a partner who quietly expresses affection in his own understated way. Early in the track, she sets the tone with the lines: “My man, he don’t show it on the outside / My man likes to keep it on the inside I know.”
The narrative playfully challenges traditional romantic expectations. There are no flowers, elaborate displays, or Valentine’s Day theatrics, something Owen captures humorously when she sings: “My man, he don’t buy me cards and flowers/ No diamonds, none of that Hallmark stuff.”
Yet this absence of clichés becomes the song’s central insight. Beneath the humour lies an appreciation for a deeper form of devotion, one that appears not in dramatic gestures but in daily presence and care. The message becomes clear in the affectionate refrain: “And that’s why I love my baby / And I do.”
Musically rich and lyrically sharp, the track reflects Owen’s ability to balance sophistication with warmth. With “That’s Why I Love My Baby,” she delivers a charming reminder that love often lives in the small, consistent moments: quiet loyalty, shared laughter, and the simple act of staying through both sunshine and rainfall.
