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Black Sunset by Beat The Drum

Moataz Gwaily
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Black Sunset by Beat The Drum

Coming from a true lover of Downtempo and trip-hop, from Massive Attack to Aphex Twin, and from Nitin Sawhney to Underworld, I’m thrilled to say that Beat The Drum have that secret sauce going for them, and we can witness it first hand on ‘Black Sunset’, their latest release.

Beat The Drum are a London-based duo who operate from their secret HQ in the city’s outskirts. Composed of producers and songwriters Chris Calloway and Steve Murrell, Beat The Drum are also employing the services of classically trained British/Tamil singer Nisha Sivan on their latest output. ‘Black Sunset’ has nearly everything a trip-hop anthem needs. A stellar atmosphere, a distinctive and quite immersive production sound, and a rich, fulfilling mix that does a fantastic job at hypnosis. 

Revolving around a single chord wrapped with a gigantic bass riff, ‘Black Sunset’ is grandiose and confident in its presentation. The mesmerizing chants of Nisha Sivan fill the atmosphere as cavernous pads and electronic elements swirl in the air. The brooding baritone voice sounds like a reassuring -or threatening- lull, and the piano lines that get introduced in the song’s latter half are nothing short of amazing, carrying that single chord into modal territories that take that song higher. 

From the bass to the well-calculated vocals and from the slow tempo to the gorgeous instrumental choices, ‘Black Sunset’ is a song that excels on so many levels.

Gasoline by Meco Velez

Abdelrahman Khaled
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Gasoline by Meco Velez

Los Angeles’ Meco Velez released “Gasoline” on January 23rd. A Puerto Rican and Black artist who’s been building her sound over the years, Meco blends R&B, Pop, and Hip Hop into music that feels personal and resonant. Known for her smooth vocal delivery, emotional honesty, and creative versatility, she’s evolved with each release. “Gasoline” combines sultry vocals and unfiltered passion to channel romantic heat and the rush of being alive, whilst clearly drawing inspiration from the metaphor of gasoline as a force that fuels fire and forward motion. Her brand centers around fearless femininity, sensual storytelling, and modern Pop/R&B that doesn’t play it safe.

Musically, the song really takes advantage of the tried and true formula of drum arrangement of the genre: half-time backbeat alongside rapid hi-hat hits to keep the ebb and flow of the rhythm going. But where songs like this shine is in the sound design and sample choices, and I think the choice of the snare sound here fits the song like a glove, and the chords leave a ton of space for Meco Velez‘s smooth and provocative delivery.

“Gasoline” marks a new chapter in Meco Velez‘s musical journey. As she discovers her own sound through exploration and experimentation with different textures and flows over different variations of R&B-based music. The track builds on the foundation that she has already built while exploring new creative possibilities that will slowly take shape as her own sound starts to reveal itself.

Ending up in the Wrong Way by Richard Green

Abdelrahman Khaled
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Ending up in the Wrong Way by Richard Green

London-based Richard Green released “Ending up in the Wrong Way” back in June 2024, one of six compositions inside his EP Illusions. Green is a producer of electronic and experimental music who occasionally works with other musicians to record specific instruments. For this track, he collaborated with a violinist and saxophonist. The song draws from a personal experience in 2023, a bittersweet love story that didn’t work out. Green wanted something sweet, nostalgic, and sad because the end of a love is never happy. He composed everything in his home studio in London, but the final recording, including violin and sax, along with the mix and master, was done at Studio Elfo near Milan.

I like to think that the two main sections of this song, being played on saxophone and violin respectively, represent two sides in a relationship that ended up in the wrong way. Whether that was a conscious choice on the composer’s part or the performers, or was a happy accident, I think it works greatly to play the same melody in this call and response manner, almost as if the other section is the other side telling their story or their perspective. Another great choice that makes this work, in my opinion, is the unique blend of the texture of the saxophone (classically associated with jazz) and the violin (classically associated with orchestral music), with the electronic pop drum and bass used on this production.

Richard Green‘s focused on melodic beauty and emotional depth here, and the lead melody is sweet, easy to listen to, and expressive. The performances from the saxophonist and violinist are strong. He’s got new projects coming in 2026, including a melodic techno EP in April and an indie/electro/hip-hop beat project with an EP at the end of summer.

More Than Only Friends by A’shon Galaxy

Abdelrahman Khaled
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More Than Only Friends by A’shon Galaxy

Vallejo’s A’shon Galaxy released “More Than Only Friends” on January 23rd, the lead single from the upcoming project Forever Was All I Hoped, dropping February 20th. The track blends jazz, soul, and R&B to tell the story of a frustrated lover who longs for a deeper, carnal connection. Built on a steady, soulful groove, the song captures the emotional tension of wanting more than a friendship that never grows. A’shon Galaxy wrote and performed the full song. The project also includes standout tracks “With Him”, “Till We Had Enough”, and “Cycle of My Love”.

Musically, “More Than Only Friends” is more than just a contemporary soul song. Its harmonic movements are infinitely interesting and constantly shift between bright and dark to demonstrate the internal conflict and the frustration that come with yearning for a deeper connection when the opposite party seems not to reciprocate. Rhythmically, the backbeat serves its purpose to control the dynamics of the verse and appropriately amp it up for the chorus, but with nothing too flashy, as A’shon Galaxy aims to let the emotion of the story shine through.

A’shon Galaxy‘s captured something intimate and emotional here. The track’s perfect for late-night, chill, and soulful playlists. For a lead single setting up an album about longing and connection, this does the job well.

We Stay Close by Borsi

Abdelrahman Khaled
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We Stay Close by Borsi

Austrian Deep House producer Borsi released “We Stay Close” on January 23rd. The Carinthia-based artist is also the owner of an indie label, where he discovered his passion for music later in life. His productions range from Deep House and Melodic Techno to cross-genre sound experiments. The track focuses on subtlety, warmth, and emotional continuity. Instead of relying on big drops or obvious club moments, it unfolds slowly, driven by groove, depth, and connection. 

The song explores friendship and connection, quietly and honestly. Melodic vocal lines are used as a texture to reinforce the intimacy that the various warm layers of harmony create. The track sits between classic Deep House and modern organic influences, like the expressive violin lines that add emotional depth and compliment the vocals.

The groove on this song is tangibly human and bouncy in the best way possible, with the way the handpan drives a syncopated rhythm alongside the other percussion elements. It’s easily the best part about the song. The runner-up has to be the quality of separation of all the elements, which really gives the song a distinct space over the stereo image. The melodic content is not surprising or groundbreaking, but that’s what a house song should do: it’s a comfortable bed of melody with interesting but non-disruptive rhythms.

Borsi‘s been expanding his repertoire with each release, reaching a growing international audience. “We Stay Close” is designed for both the dancefloor and focused listening, working equally well during late-night drives, early morning moments, or intimate club settings. A timeless Deep House track that values feeling over formula.

Better Tomorrow by Mr.Rhame

Abdelrahman Khaled
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Better Tomorrow by Mr.Rhame

Söderköping’s Mr.Rhame dropped “Better Tomorrow” on January 23rd. He writes and records at home, using AI for vocals. While AI for vocals is a controversial choice for many, some might argue that it enables people to express ideas that they normally wouldn’t be able to, and some others argue that working within the confines of one’s own skills ignites creativity. Regardless, Mr.Rhame is clearly inspired by Linkin Park; he’s hoping his lyrics help others the way that band helped him. After 13 years on anxiety medication, he’s finally off it and reconnecting with his emotions. He wrote this to remind himself to look forward, planning to release monthly. 

The track has that EDM polish with layered synths and a driving beat that keeps the momentum going the whole way through, and they are definitely the best part of the song. The AI vocals handle the melody competently but lack the grit that would make the emotional core hit harder since they’re not human vocals. The production is surprisingly clean for a bedroom setup. The beats keep momentum without overpowering the melodic content, and the synth work creates space without cluttering everything. It’s earnest in its message about moving past yesterday and focusing on tomorrow.

Mr Rhame‘s “Better Tomorrow” reads like a personal manifesto. His quote captures it: “Forget yesterday. Make sure that today, you do something that you’d be proud of tomorrow.” The irony of using AI vocals for deeply human experiences is present, but the intent pushes through regardless.

Interview with SaraEllen

Mena Ezzat
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Interview with SaraEllen

SaraEllen, a versatile vocalist and songwriter from Tacoma, Washington, has carved a distinctive niche in the indie music landscape as one half of the jazz-pop duo Plaid Lion while pursuing solo ventures that embrace theatrical, provocative, and introspective themes. Her latest independent release, a reimagined cover of Hole’s “Doll Parts”—available on streaming platforms as of January 2, 2026—transforms the grunge classic into a sultry trip-hop and jazz-infused piece, featuring her expressive vocals alongside baritone saxophone contributions from Brad Carter. Produced and mixed in collaboration with Sam Welch, this track highlights SaraEllen’s ability to infuse harmonic complexity and emotional depth into familiar material, drawing comparisons to artists such as Beth Gibbons, Florence Welch, and Laufey. In the following exchange, SaraEllen reflects on her artistic development, the conceptual reworking of this enduring song, and her anticipated future endeavors.

  • Your musical journey encompasses both collaborative efforts with Plaid Lion and independent solo explorations. How has your background in jazz and trip-hop informed the balance between these paths, particularly in cultivating a voice that spans silky warmth to dynamic expressiveness?

I was a musical theater kid; my entry point into jazz was through the Great American Songbook. OLD show tunes. But I was also drawn to the vocal styles of artists like Beth Gibbons and Tori Amos. Portishead, Morcheeba, Zero 7 – all that draws elements of jazz and pop that just really resonate. And that kind of material seems to suit my timbre, so it’s natural for me to express myself through it.

  • As a composer and arranger, you often incorporate harmonic complexity into singer-songwriter frameworks. In what ways has this approach evolved over time, and how does it distinguish your solo catalog from broader trends in indie jazz-pop?

I love the intellectual challenge of writing or arranging a song in a non-obvious way. There is nothing wrong with simple and approachable chord changes. I just stubbornly want to be different. It’s always a balance between the complex and the familiar. Striking a good balance between those makes a memorable song.

  • The decision to release “Doll Parts” stems from a longstanding affinity for the song’s sparse yet layered lyrics. Beyond the initial piano experimentation, what specific artistic choices guided the transformation into a trip-hop and jazz arrangement, emphasizing melancholy and vibe-driven elements?

I knew I wanted to go for something kind of dark and sultry, but it took some weeks to nail down a production style. I was about to give up on it when one day I just decided to slow it way down and make it more soulful. And then I found a place of freedom in the song, and knew I’d found the direction.

  • Collaborating with Brad Carter on baritone saxophone adds a distinctive texture to “Doll Parts.” How did this partnership enhance the track’s atmospheric quality, and what considerations influenced the selection of such instrumentation to complement your vocal delivery?

I love working with Brad Carter. He’s a total jazz shredder, but also brings this rock sensibility to everything. I can explain the vibe I want and the scene I’m trying to set with a song, and he is totally tracking with that. He’s also contributing on my next release, “Laura Palmer,” which drops 2/13.

  • Your solo releases often delve into themes of power, justice, and personal ambiguity, drawing from mythology and folklore. In reinterpreting “Doll Parts,” how did you align Courtney Love’s original irony and earnestness with your own lyrical and thematic sensibilities?

The irony in Courtney’s lyrics is just so perfect. It says everything in such a tight package. And so many times when I have played it, in the back of my mind, I’m thinking, “we’re still having to say this.” Like, women are still objectified, we still sincerely want love and respect and to be seen and heard too. Especially in this age when it seems like things are going backward for women in a supposedly free country. Every time a woman runs for president, a big portion of our country is so disgusted with our audacity that they react by putting the worst possible guy in office, and the trad wife industry is trying to con women into a Stepford Wife existence, like that’s the only way you’re allowed to be a wife. I kept seeing Will Farrell saying “Barbie, get back in that box” and then my anger would turn into a chuckle. It was a fun challenge to have all that in mind with a delivery that is measured without being resigned, and retaining my sense of humor. I want to sing this in a way where you’ll hear it and not dismiss it.

  • Working with Sam Welch on production, mixing, and mastering for “Doll Parts” represents a key creative alliance. What insights from this process have refined your self-production techniques, especially in achieving a sound that evokes both nostalgia and modernity?

I have learned so much by working with Sam, and have continued that collaboration on mixing and production with my solo work and with Plaid Lion. He has such an incredible ear for this work and is just so fun and supportive. I’m primarily self-taught when it comes to mixing, and working in collaboration helps me understand why I like what I like, and how to communicate it and create it better.

  • Building on the acclaim for tracks like “Haunted House (I Wanna Buy A),” where critics noted your scat solos and theatrical verve, how does “Doll Parts” advance your exploration of expressive possibilities in vocal performance?

“Haunted House (I Wanna Buy A)” is definitely more of a “jazz” song, and I would not have produced it any other way, but there’s obviously a lot more to my sound and world. Covering someone else’s tune is just as hard as writing your own, especially if the original artist is very different from oneself. Miley Cyrus’ cover of “Doll Parts” from the Howard Stern show a few years ago is pretty epic. She can pull off a faithful-to-the-original cover. But for me, I had to take it back to square one to find a different emotional connection to the song for it to sound authentic coming from my vocal texture.

  • With “Doll Parts” now available, what new solo material or thematic directions are you developing, and how might they expand on the darker, provocative elements that define your independent output?

I just started calling my genre “Northwest Noir.” It’s a blend of jazz, soul, pop, and the weird glamour of a rainy day in the Pacific Northwest.

My next single, “Laura Palmer,” is about Laura Palmer from David Lynch’s “Twin Peaks” universe. It’s got vibes of Jamiroquai and Sade, kind of funky, sexy and groovy, but the lyrics are about the cultural trauma women experience. Laura Palmer is kind of an everywoman archetype.

I have another one that I have been playing live for a while – “Morgan le Fay” – that I intend to release sometime in March. Still working on that one. She’s another “dark feminine” character who is so timely.

  • Looking ahead, do you anticipate further integrations between your solo work and Plaid Lion projects, such as joint performances or hybrid releases, and what role might visual or multimedia components play in upcoming endeavors?

Plaid Lion has some great new tracks in the queue, so stay tuned for those. My husband Ian Franzel, who is half of Plaid Lion, contributed the nice bass work on “Laura Palmer.” Our live shows get to feature a special blend of both Plaid Lion and my solo work.

Thanks for the interview!

Elizabeth Naccarato Presents “Salonnières”: An Immersive Classical Portal to Enlightenment-Era Serenity and Inspiration

Sistra News Team
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Elizabeth Naccarato Presents “Salonnières”: An Immersive Classical Portal to Enlightenment-Era Serenity and Inspiration

Classical artist, composer and master pianist Elizabeth Naccarato has created a veritable portal through time and space on the deeply peaceful and immersive experience offered by her new album “Salonnières”. This altogether unique release not only communicates a rare pause for our modern age where the listener can engage in ethereal beauty, it projects the mind’s eye to a different time and place altogether, allowing us to reflect and bring a gem back into the now. A subtle rapture pervades this powerful and essential work.

 “Who you are, is where you’ve been”

During the Enlightenment era in France, a woman referred to as a Salonnière would host salon parties in her home. She would invite and facilitate musical artists, writers and thinkers in order to engage in stimulating and inspiring discourse. Among the pianists who played at these gatherings were Frédéric Chopin, Robert Schumann, Clara Schumann, Franz List and Claude Debussy. Chopin loved performing at these intimate gatherings, as he was less fond of large public performances. He probably perfected his improvisational skills during these events, and undoubtedly wowed the guests.
My piano composing has always been inspired by The Repertoire and the great composers.

“This collection contains some of those works, as well as my compositions that were inspired by them. The alberti bass of Mozart, the appoggiaturas and suspensions of Brahms, variations of Mozart and Chopin, improvisational runs, recitatives, and meters are some of the compositional devices that are indelibly imprinted in my mind and work. I hope that you listen to this record in an intimate space, and that it gives you serenity and inspiration. Thank you for coming and engaging.

Your salonnière,
Elizabeth

 

DEATH VALLEY DREAM CULT INTRODUCE THEMSELVES WITH DEBUT SINGLE

Sistra News Team
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DEATH VALLEY DREAM CULT INTRODUCE THEMSELVES WITH DEBUT SINGLE

Los Angeles, CA — Death Valley Dream Cult (DVDC), an LA-based multi-rock duo comprised of Greta Janssen (23) and Nate Ascending (19), officially announces their arrival with the release of their debut single, “Death of Creation.” The track marks the first chapter leading into the duo’s debut EP, slated for release in 2026, following a series of singles and visuals. “Death of Creation” is available on all major streaming platforms.

Built around the line “Complacency is the death of creation,” the song serves as both a manifesto and a warning. Sonically, “Death of Creation” lives at the crossroads of nu-metal and industrial rock, with heavy, blues-soaked guitars grinding beneath a big, bright chorus with undeniable pop pull. Vocals shift between vulnerability and defiance, capturing the tension at the heart of DVDC’s sound. The track was produced by London-based artist Tom Saint, whose sleek European electronic sensibility frames the rawness without diluting it.

When asked about the song, Nate shares, “We need to learn to think for ourselves, feel for ourselves, and stop inheriting the beliefs of our ancestors; everyone who came before us and didn’t have the energy or the bravery to develop their own thinking. I think a lot about religion, and people with prejudices, and a lot of people carry fears, because that’s what they were taught. So, that’s what I call being complacent. When you assimilate, you just take on the beliefs of everyone else. Our uniqueness is what makes us powerful. When we neglect that, we neglect our power. I think we need to awaken that and sharpen that, and do it in an authentic way, with integrity. Sharpening our minds and cultivating the life we want to live. The identity that we want to have as artists is really what this song is about to me.”

DVDC aims to show the beauty in the grit, embracing contrast, honesty, and self-trust in both their music and message. That commitment extends to every aspect of the project. “Death of Creation” was written and recorded in a single day on a laptop in Greta’s living room. The accompanying music video was shot in Death Valley with the cast doubling as the crew. Everything is DIY, and limitations are treated as fuel.

Beyond music, DVDC is helping spark a growing underground community of young creatives, musicians, photographers, filmmakers, stylists, fashion designers, and visual artists working collaboratively outside traditional gatekeeping structures. The result is a movement that’s bigger than the band itself. Greta explains, “People buy tickets to shows for the community. Yes, of course, they love the songs, but it’s a social event. People go because when they meet people who are also fans of the same band, usually that means that there’s certain common threads between them that led them all to that band, and those commonalities create a sense of community. I think that’s the most powerful thing. I’m committed to being able to harness that for Death Valley Dream Cult. That’s why the name is Death Valley Dream CULT. Even though it’s a duo project, it’s the idea of ‘the cult’, the larger group that embodies the values behind the band. We are people who are fiercely free and independent, who genuinely live life, are self-aware, smart and fucking tapped in. We are deeply spiritual. Deeply connected. People who really have sat with themselves and decided what their values are, and how they want to live a life around them.”

Death Valley Dream Cult exists in the collision zone between nostalgia and innovation. They aren’t resurrecting rock’s past; they’re mutating it for a generation raised on algorithms and disillusion.

Interview with Pol Sembrano

Mena Ezzat
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Interview with Pol Sembrano

Pol Sembrano, a Filipino-American composer and pianist in Seattle, has shifted from traditional music to immersive synth pop and electronic soundscapes. His latest single, “Open Mind,” is the second teaser from his debut album set for February 2026. The track explores themes of acceptance and resilience, produced with Casey Lewis at Echo Base Studios. Influenced by Depeche Mode, Pet Shop Boys, and New Order, it highlights Sembrano’s focus on catchy melodies and personal narratives. In an upcoming dialogue, he discusses his creative journey and future artistic directions.

  • Your musical journey encompasses a shift from classical piano training to embracing synth pop and electronic genres. How has this evolution allowed you to incorporate diverse influences, such as vintage synthesizers from the 1980s and 1990s, into a signature sound that defies categorization?

When I was growing up playing classical music was an integral part of my musical journey.  It allowed me to become disciplined when playing the notes right in front of me.  In reality, however, I was interpreting what the composer intended and my interpretation of the music took center stage instead of allowing me to have any sort of creative input.  Basically, the music existed and I was playing what was already there.  I speak of no disrespect regarding my musical origin and I am thankful to have the ability to play classical piano.  I, on the other hand, wanted to express myself though my own compositions so I started writing my own music.  It is liberating to create melodies and lyrics that were entirely mine.  Writing on my own also allowed me to experiment with different sounds  and the sky was the limit.  The songs, in itself, is wholeheartedly melodic despite the use of technology and electronics.

  • As a multifaceted artist handling vocals, keyboards, guitars, and programming on your recordings, what strategies have you employed to maintain artistic independence while navigating the challenges of self-production in your debut phase?

During the creative process, I had 100% freedom.  I usually begin with constructing the melody which is the most important element for me as a composer.  The bass line, keyboard riff and lyrics are added afterwards.  When the overall structure is finalized I focus on percussion, for example, the drum introduction, fills, crash cymbals and other percussive elements.  I try to not apply too many sounds that would overwhelm the backing track.  There are plenty to choose from and what is challenging for me would be when to stop selecting the sounds.  I sometimes wonder if I made a correct choice (s) regarding a certain keyboard patch or arpegiatted loop but so far I am satisfied with the end results.

  • “Open Mind” draws from personal experiences of overcoming hardship to advocate for acceptance and support amid persecution. In what ways did your real-life encounters, including survival of the 2004 Southeast Asian tsunami and extensive travels to 57 countries, shape the song’s lyrical and orchestral layers?

“Open Mind” for me is auto-biographical since I was taunted as a child for being overweight.  Children were somewhat cruel during my childhood so music was my escape.  Most classmates knew I played the piano and those individuals treated me with respect without being judgemental about my physical appearance.  As well, the song is about accepting people the way they are.  The song may be applied, without being specific, to racism, homophobia, sexism, ageism and other types of prejudice currently in existence today.  Having visited 57 different countries I experienced and learned various customs which were different from my own.  This mindset enabled me to embrace diversity and allowed me to accept things without judgement.  In addition, after surviving te 2004 South East Asian tsunami in Thailand, I realized that we only have one life and one should use time wisely.  For me, it’s about fulfilling my personal goals making a difference with my music.  It is also about welcoming different values and learning from them without the ridicule and maltreatment of others.

  • Collaborating with producer Casey Lewis on “Open Mind” introduces a polished dimension to your work. How did this partnership influence the track’s balance of experimental elements and danceable appeal, particularly in its multi-layered orchestration?

Casey did awesome work on the entire album.  First and foremost, he knew who my musical inluences were and applied their “signature sound” to the songs.  Secondly, he gave the songs a broader dimension which was a breath of fresh air.  It’s sometimes overwhelming to write, produce and perform your own music and having another individual who understands your music is quite liberating.  He added new sounds and subtracted others and in the end I was very happy with the final mixes .  He stayed true to the nature of the songs.

  • With “Open Mind” as a precursor to your self-titled album, what overarching narrative or sonic progression do you envision for the full release, and how does it build upon the critical reception of your earlier “Anywhere” EP?

For this album, I sincerely hope the listener will hear the subtle, and not so subtle nuances in each song.  At times, there are two to three melodies being heard simultaneously which makes for an interesting listen.  The “Anywhere EP” is a wonderful collection and introduced me to the music world.  With the self-titled debut album due this month (February) it is a collection of songs that will make its way to a larger audience both stateside and international.

  • Beyond the February 2026 album launch, what expansions in your creative output are you contemplating, such as potential live interpretations, interdisciplinary integrations like visual media, or explorations into additional genres to further your goal of universal connection through music?

I have just completed my first music video for “Anywhere” and it is currently being edited as we speak.  It will be released along with the album so it’s a double promotion, shall we say.  I also plan on playing live this year as well as hopefully working with other artists whose music are similar to my own.  I am looking forward to the rest of 2026.  There is no turning back now.

 

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