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EP: Zero by Keisuke Yoshizawa

Abdelrahman Khaled
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EP: Zero by Keisuke Yoshizawa

The title of Keisuke Yoshizawa‘s debut EP is an equation. Raised in Tokyo’s old downtown, the composer and keyboardist grew up with a quiet melancholy and a restless madness side by side, found both again during two years in London, and on Zero let them collide until they cancelled out. What remains is a starting point, and the EP treats it as a rebirth. Released on January 30th, Zero is fully instrumental, three pieces of ambient texture and piano that together run under five and a half minutes.

It opens with very cool, jazzy chords straight away. “Zzz” begins with spacious harmony that evokes the dreamy and the abstract, with the push and pull of the tide. As a music nerd, I enjoyed the unconventional chord changes, which are very cool indeed, literally, because it sounds cool as opposed to a warm sound, but not cold in an uninviting way. It is cool in the way you set the AC to so you can fall asleep better.

It is incredible how the simple pulse in “birth” creates a sense of momentum and the start of something, especially after the stillness of the previous song. A faint heartbeat runs beneath the piano, and the track doesn’t linger long before we move back to the land of dreams on “SiF,” a very introspective piece that combines elements of the two preceding songs. It has a consistent pulse, though fainter, as if in the distance or somewhere in the back of your head, and simple piano melodies cut through the ambience at moments. I listened to “SiF” on repeat as meditation, and it is very effective at giving rise to calming streams of consciousness.

“SiF” was co-written with the London creative team State is Flow, and it closes with a real recording of the bells of St Paul’s Cathedral, whose dome Yoshizawa could see from the studio window. Before going solo, he played keyboards and composed and arranged for the bands 166cm and Sijima, and during his time in London he co-composed music for the feature film OUT (2026).

Since Zero, he has released a second EP, TWIN, in April, played a solo set on the main stage at HYPER JAPAN Festival at Olympia London in July, and appeared as a special guest at London band Barbican Estate’s Tokyo show in September. For anyone who wants calm, immersive instrumental music with a personal story behind it, Zero is a short, rewarding listen and a good place to begin.

Only You by Carl Kammeyer

Abdelrahman Khaled
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Only You by Carl Kammeyer

At some point, Carl Kammeyer realized how much certain people had carried him through life. These were the ones who believed in him before he believed in himself and stayed by his side through thick and thin, often through quiet, everyday acts of kindness that rarely get noticed. “Only You,” released on October 2nd, is his way of saying thank you. Kammeyer, from Bethel Island, California, says writing it helped him process those feelings and reminded him of the importance of gratitude and connection.

Musically, this sounds like love made manifest. It has great rhythm, but the key is a beautiful stereo spread of warm harmony, created with a combination of textures and an exceptionally tender vocal performance. The track has the grandiosity of gospel or ritualistic religious music alongside the intimacy of a tender love song. I am the biggest fan.

Everything about the song comes from one person. Kammeyer wrote, performed, and produced it himself in his home studio, a space where he says he feels most comfortable and authentic. He describes the recording process as hands-on, built on trusting his instincts and leaving room to experiment, and he names no specific artists as influences, saying he let his own feelings and story guide the writing. That approach gives the song its direct, personal quality, which he sums up as a reminder that “the simplest, most genuine expressions can have the biggest impact.”

The subject is what holds it together. A tribute to the people who stood by someone is a theme many listeners will recognize from their own lives.

Kammeyer says live plans are still to come, and that he looks forward to bringing the song to the stage and meeting listeners in person. For now, “Only You” is on streaming platforms and shows what a single artist working alone can do when the emotion behind a song is real.

BEYOND THE CULTURE OF REPLACEMENT..

Cherine Abulwafa
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BEYOND THE CULTURE OF REPLACEMENT..

In a world increasingly driven by the impulse to replace rather than repair, holding on to something for its history and imperfections can feel almost radical. Toronto-based singer-songwriter Tara Van explores this idea on “Miles On It,” a dreamy, soul-infused reflection on impermanence and the value of lived experience. Rather than treating the passage of time as something to mourn, she invites us to appreciate the things that inevitably change or disappear.

The track blends contemporary soul, neo-soul, and pop into a sound that feels both intimate and expansive. “It’s hard to see you go,” Van sings in the opening, establishing the bittersweet tenderness that runs through the song. Soft guitar strums settle into a steady, unhurried groove, while her voice glides effortlessly across the arrangement, warm and quietly resonant. When she sings, “This world is sink or swim,” the reflection broadens, acknowledging life’s turbulence while finding comfort in the experiences that carry us through it.

The central refrain, “We put some miles on it,” captures the song’s message beautifully. Whether it’s an old car, a familiar road, or a relationship that has run its course, the things we leave behind are rarely without a story. Rather than dwelling on what could have been, Van celebrates the fact that these experiences happened at all. It’s a subtle but meaningful shift in perspective, turning the inevitability of loss into an appreciation of the journey itself.

That sentiment finds its musical counterpart in the production, shaped by Van’s collaboration with producer Mark Calderone. Built around her vocals, Calderone’s melodic guitar work, and carefully layered electronic textures, the arrangement achieves an immersive quality without sacrificing its simplicity. Its relaxed, rolling groove recalls the sun-soaked sensibility of Khruangbin and Leon Bridges’ “Texas Sun,” while the atmospheric electronic elements lend the track a distinct character. The bridge, in particular, introduces an almost otherworldly dimension.

Recorded at Calderone’s now-defunct Apt Sea studio, the song carries an added poignancy, reflecting the very idea it explores: places, like experiences, can disappear while leaving something meaningful behind.

With “Miles On It,” Tara Van delivers a soulful reminder that not everything needs to last forever to matter. Beyond its dreamy textures and understated groove, the track encourages us to slow down, cherish what we have, and recognize the beauty in every mile travelled..

LOVE BEYOND THE GRAND GESTURE..

Cherine Abulwafa
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LOVE BEYOND THE GRAND GESTURE..

Promises are easy to make when life is kind. What happens when circumstances turn difficult, and love has to become something more than words? “Forever by Your Side” by Elias Dream explores devotion beyond grand declarations, focusing instead on the quieter, more demanding act of remaining present when someone you love is going through a difficult time.

Rather than treating love as an idealised romantic feeling, the track focuses on what remains when fear, pain, and uncertainty enter the picture. There are moments when reassurance cannot change a situation, and finding the right words becomes almost impossible. In that space, simply staying beside someone can become its own expression of love. The song’s emotional premise lies in this distinction: devotion isn’t always about finding a way to make things better; sometimes, it’s about making sure the other person doesn’t have to face them alone.

Elias Dream combines contemporary pop and soft rock with a strong sense of dramatic progression. The vocals begin intimately, establishing a personal connection before the arrangement gradually expands into something fuller and more powerful. The contrast gives the song room to breathe. Quieter passages draw the listener closer, while the growing intensity reflects the emotional weight gathering beneath the surface. Rather than prioritising a danceable hook, the track allows its narrative to shape the listening experience, unfolding almost like a scene from a film.

One of its most distinctive elements is the Hammond B3 organ, played by Elias Dream himself. Its warm, organic tone adds character to the modern production, creating a texture that feels expressive without overwhelming the vocals. The instrument also reflects a recurring feature of his musical identity, where the familiarity of the Hammond meets a contemporary, cinematic approach to songwriting.

The production process adds another dimension. Generative AI was used to create stems, but Elias Dream arranged and developed the material, performed the organ parts, and handled the mixing and mastering. The result reflects a hands-on approach in which technology serves a broader musical vision.

“Forever by Your Side” by Elias Dream finds its strength in recognising that love doesn’t always need a grand gesture to prove itself. Sometimes, it means listening, staying close, or simply sharing the uncertainty of a difficult moment. Love may not be able to change every circumstance, but it can change how alone someone feels while facing it..

THE COMFORT OF MAYBE..

Cherine Abulwafa
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THE COMFORT OF MAYBE..

Romantic songs often sell us the idea that love will eventually prevail. Real life is less obliging. “Cuando despiertes con él” by Joe Nilson finds its emotional tension in that gap, following the hope that someone who has chosen another person might one day recognise where their heart truly belongs.

The song explores the difficulty of moving on when part of you still believes the person you love might eventually choose you. Nilson imagines a future in which they wake up beside someone else and realise their heart belongs elsewhere. It’s a bittersweet kind of hope: comforting enough to hold on to, but potentially painful when it keeps you from accepting what is.

Nilson gives this uncertainty a romantic bachata-pop foundation. The Latin rhythm brings a natural sense of movement, while the melodic direction keeps the focus on longing and sentiment. There is a cinematic warmth to the sound, evoking balmy evenings, city lights, and the kind of romance that seems effortless on screen. The contrast is part of the appeal: the music invites movement even as the story remains suspended between heartbreak and possibility.

The release also marks a new chapter for Nilson. A Dominican singer-songwriter based in New York City, he has spent years working primarily as a songwriter. With “Cuando despiertes con él,” he steps forward as a recording artist, bringing his own lead vocals to a song built around his lyrics and melody. AI-assisted tools were used in the instrumental arrangement and production, while the songwriting and vocal performance remain his own.

“Cuando despiertes con él” by Joe Nilson captures both the comfort and complication of holding on to possibility. Its danceable rhythm softens the sting of unrequited love without resolving it. Sometimes, the hardest thing to surrender isn’t the person themselves, but the future we’ve imagined with them..

ONE DAY AT A TIME..

Cherine Abulwafa
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ONE DAY AT A TIME..

Telling someone to stay strong is easy. Finding a meaningful way to stand beside them when life becomes frightening is harder. “Still Fighting” by ErickOscar is rooted in that difference, transforming a personal act of friendship into a song about support, resilience, and the courage to face each day as it comes.

Written for a close friend undergoing chemotherapy, the song comes from a situation where encouragement cannot promise a happy ending or make difficult days disappear. Serious illness brings its own exhausting routine of treatments, uncertainty, and waiting. In that context, support isn’t about having the right answers; it’s about making sure someone doesn’t have to face everything alone.

That intention shapes the track’s musical progression. Drawing on decades of songwriting across genres, ErickOscar begins with an intimate, reflective feel before gradually opening into a fuller, more anthemic arrangement. A steady rhythmic pulse anchors the song, while expanding harmonies create a growing sense of strength. The shift gives the track momentum without suggesting that resilience means being strong every moment.

Instead, “Still Fighting” leaves room for vulnerability alongside determination. Its rising energy feels less like a declaration of victory than an encouragement to keep going, even when the outcome remains uncertain. The arrangement mirrors the experience of taking things one day at a time: finding enough strength for the present without needing to know what comes next.

Music cannot remove the physical demands of chemotherapy or resolve the questions that accompany serious illness. But it can offer companionship, a familiar voice to return to, or a reminder that someone is thinking of you when the days become difficult.

That is where the song’s personal origins reach beyond one friendship. Its message can resonate with anyone supporting a loved one through illness, or anyone who has needed someone to stay close when circumstances cannot easily be changed.

“Still Fighting” by ErickOscar finds its strength not in promising victory, but in recognising the value of showing up. Sometimes, all we can offer is our presence and the encouragement to keep moving forward; and sometimes, taking life one day at a time is more than enough..

STUCK BETWEEN THEN AND NOW..

Cherine Abulwafa
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STUCK BETWEEN THEN AND NOW..

The problem with looking for closure is that it can become another way of holding on. “Less In Love” by Dead Dreamz sits in that uncomfortable space between what has already happened and what we’re still trying to make sense of: where memories linger, feelings shift, and moving forward proves harder than simply deciding to do so.

Interestingly, the song itself went through a similar process of transformation. What began as a track about flexing evolved through three different versions before becoming something more introspective. Somewhere along the way, the focus shifted toward connection, memories, and the difficulty of letting go. That evolution seems to have stayed in the music, which resists settling into a single mood or predictable structure.

The opening is deliberately unconventional, with an off-centre quality that takes a moment to find its footing. Rather than following familiar melodic rap formulas, the production leans into a darker, atmospheric sound that feels slightly unsettled. It mirrors the emotional state at the centre of the song: wanting to move forward while remaining caught up in everything that hasn’t quite been resolved.

The lyrics make that contradiction explicit. “It’s like the less I know / Helps me let you go” captures the temptation to stop searching for explanations and simply accept what remains. But the track doesn’t offer that as an easy solution. The shift from “That’s the lesson learned” to “Ain’t no lesson learned / We just less in love” introduces a more complicated possibility: sometimes we recognise a pattern without necessarily escaping it.

That refusal to arrive at a neat conclusion gives “Less In Love” by Dead Dreamz its character. The experimental edges, shifting emotional direction, and blend of emo rap and hip-hop feel appropriate for a song caught between reflection and release.

“Less In Love” by Dead Dreamz captures the strange experience of being emotionally caught between then and now: no longer where you started, but not entirely free of it either. Perhaps moving on isn’t always about finding the missing answer. Sometimes it’s about accepting that the past can remain part of your story without getting to decide what happens next..

Long Street Made of Glass by Alexis Lace

Abdelrahman Khaled
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Long Street Made of Glass by Alexis Lace

At twelve, Alexis Lace walked down Victoria Street in London for the first time with a family member she is now estranged from. They only walked the street together because their time was limited, and to her, the place seemed made of glass. A few months ago she went back alone at around 5 am, in the dark, and the memories of those good times and of the loss that followed came rushing back. “Long Street Made of Glass,” released on September 25th, is the song that came out of that walk.

When I covered Alexis Lace last November with “Stork,” the fourth single from her album Silver, the subject was her decision to live childfree and the judgment that comes with it. That song was blunt, with a steady, barely moving rhythm and vocals aimed squarely at the double standard around parenthood. Now she turns to something just as personal in a completely different way, and the two songs sound nothing alike. Where “Stork” confronted a lifetime of pressure head-on, “Long Street Made of Glass” takes its sadness and turns it into an upbeat, catchy tune. She chose that deliberately, so this very personal song would not simply be a sad one.

That range is worth pointing out. Both tracks come from very serious, intimate territory, one about identity and autonomy and the other about estrangement and memory, yet each finds its own sound. It shows how diverse Lace is as an artist, and the choices in each song, from how the track moves to how the feeling is expressed, are the kind of human creativity and expression that AI can never replicate.

She does it all herself, too. Lace wrote, produced, recorded, mixed and mastered the song in her own room, drawing on 90s R&B, with All Saints, TLC and En Vogue named as influences. The video uses footage of Victoria Street’s glass buildings, shot on the street itself.

Lace is now working on her fifth album, due in early 2027. If these two songs are anything to go by, it will be hard to predict.

Pain of Us by LTMAA

Abdelrahman Khaled
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Pain of Us by LTMAA

What does it mean to be a global citizen when there is so much suffering in the world? That is the question LTMAA took into “Pain of Us,” released on September 7th. The Washington, D.C. artist wrote it about global and collective trauma, and she describes it as a call to expand our circles of concern. Her inspirations include seeing the National Guard on DC streets and the pain around genocide, and the way narratives about it can be used to silence the truth.

I always get excited for trip-hop and Massive Attack-inspired music, because I know I’ll be in for a groovy treat and incredible sound design, and “Pain of Us” delivers on exactly that. The sound design is built around two key instruments. Omar Waqar, who co-produced the track with Eddie Grey, plays electric sitar, which the project describes as the ache of the song, while Grey’s bass guitar acts as its heartbeat. Over that foundation sit LTMAA‘s haunting, textured vocals and a downtempo trip-hop pulse, with warmth from alt-R&B and future-soul grooves running through it. The mood is late-night, intimate and cinematic, with piano adding another layer.

The influences are named plainly: FKA Twigs, Portishead, Sade, Sneaker Pimps, Massive Attack and Morcheeba. That lineage fits a song that carries heavy subject matter inside a groove that stays accessible. LTMAA says that while the song confronts pain and suffering, it is ultimately about hope.

The track also draws on LTMAA‘s own history. LTMAA is the project of Lynn, the former lead singer of Bebek, an experimental indie band active in Philadelphia’s underground scene in the early 2000s. After stepping away from band life, she spent years refining her craft and working in trauma research, which now feeds directly into her songwriting. “Pain of Us” is the first release from her debut solo project and from a forthcoming five-track EP exploring trauma, collective pain and hope. With the EP still to come, this marks a return after years away, and for fans of trip-hop’s darker, groove-led side, it’s well worth hearing.

Goodbye, My Love by Elias Dream

Abdelrahman Khaled
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Goodbye, My Love by Elias Dream

One moment the person you love is there, and suddenly they are not. That is the premise of “Goodbye, My Love,” the story of a man who loses the woman he loves in a tragic accident. Würzburg artist Elias Dream released it on August 13th, and he wants the listener to feel as if they are in the scene with him, moving from hope and fear to the moment he realizes he has to say goodbye.

Storytelling is the core of the project. Elias Dream describes his songs as short films you can follow with your eyes closed, and this one splits the work between its two halves. The verses carry the narrative in a rap delivery, and the sung sections are where the emotion opens up. Piano, electric guitar, and atmospheric elements build the mood without pulling attention from the story, which lands the track somewhere between emotional rap, melodic pop, and a cinematic ballad. The project’s bio also points to a Hammond B3 with Leslie as a recurring signature, set against modern production.

By modern production, I mean it uses AI; to a trained ear, it sounds right away like a Suno song. The process is far from hands-off, though. Elias Dream says he develops the concept and story, writes the lyrics and sets the musical direction himself, then works on the arrangement and production, edits stems, and does his own mixing and mastering until it feels right to him. That makes it a hybrid process of sorts, which is good, and the result comes through as higher quality than a track left entirely to a generator would be.

For listeners who care how a song is made, that disclosure matters, and Elias Dream‘s account of his role is a point in his favour. For anyone drawn to rap and pop with a narrative running through it, “Goodbye, My Love” is a story-first single built around a subject most people would rather not think about.

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