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Album: And The Horse You Rode In On by Ray Barnard

Mena Ezzat
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Album: And The Horse You Rode In On by Ray Barnard

I tend to gravitate towards music that incorporates fusion in its composition. Typically, I discover this blend between two main styles. However, I was truly impressed when I came across Ray Barnard’s latest album, which beautifully combines elements of soul, reggae, R&B, and even rock, all seamlessly intertwined. Let’s explore this further below.

If you visit Ray Barnard‘s website, you’ll be captivated by his stunning artistic portfolio, which clearly showcases his mastery as a seasoned musician. His latest album, And The Horse You Rode In On, features ten tracks and was released just a month ago. The singing style maintains a vintage quality that I truly appreciate, transporting me back in time, especially with the music enhancing that experience. While I typically prefer not to discuss each track individually to avoid influencing listeners, I thoroughly enjoyed every piece, each possessing its own unique characteristics.

The music is masterfully created. Ray has a remarkable talent for selecting his collaborators. This skill likely stems from his background as a rock musician, where he led the rock band, The Copperheads.

This rich blend of influences and partnerships has undoubtedly shaped Barnard’s musical path, adding a depth and authenticity that truly connects with listeners. His knack for effortlessly blending various genres showcases his versatility and deep appreciation for the universal language of music.

In And The Horse You Rode In On, Barnard doesn’t just create songs; he crafts experiences. Each track invites listeners to embark on a sonic adventure, exploring themes of identity, love, and spirituality with a refreshing honesty and vulnerability. The album’s texture is further enriched by the live rhythm tracks, which lend an organic feel that breathes life into the music, making it feel both timeless and immediate.

As I mentioned earlier, I prefer not to discuss each track in detail, but I truly enjoyed several of them, and I was pleasantly surprised to see they were included in the press kit. Notably, “Scufflin’” emphasizes that self-preservation is rooted in community, while “Closer To God” serves as a gospel piece touching on personal spirituality and natural sanctuaries. “Pistol Pete” is an incredible and cheerful music piece that takes you back in time to the golden era. Additionally, “Greenlight” is a heartfelt tribute to a girl who embodies freedom and adventure; it actually reminds me of a friend. Lyrical themes should reflect our lives. In my opinion, this sets apart a veteran artist like Ray Barnard from the newcomers I’ve been listening to recently, who often choose topics at random.

At last, for both long-time fans and new listeners, this album is a compelling addition to Barnard’s impressive body of work, offering something for everyone to connect with and enjoy. It stands as a testament to his enduring passion for music and his unwavering commitment to pushing the boundaries of genre and expression.

Album: Crowin’ Around by Professor Louie & the Crowmatix

Moataz Gwaily
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Album: Crowin’ Around by Professor Louie & the Crowmatix

Crowin’ Around is a new showstopper of a song collection from one truly inventive and refreshing musical collectives. Professor Louie and his illustrious band of Crowmatix deliver a jovial bunch of blues, rock and roll, funk, and soul epics with an astounding amount of charm and confidence.

Tight performances grace each song on this 11-track listen. A brilliant showcase of a passionate group of veteran musicians coming together to have a bit of fun supported by immense talent and musical chemistry. Professor Louie & The Crowmatix are fronted by the titular Professor Louie, vocalist, keyboardist, and accordionist, the band’s sole main collaborator for 17 years. The Professor is backed by Miss Marie on percussion, more vocals, and even more keyboards, Frank Campbell on the bass, Dan Hickey on the drums, and Todd Mihan on the guitars. The album is also supported by a quartet from Woodstock horns from the Scranton and Woodstock Chapters.

For the length of Crowin’ Around, 45 minutes divided on 11 songs, there’s a steady stream of upbeat cheerfulness, honky tonk pianos, characterful vocals and meaningful, lighthearted lyrics, easy going grooves, and whole heaps of fun. The album’s starter ‘Elevate Yourself’ is a deliberate and slow-paced piece of sleazy blues and rock and roll that is defined by a hard hitting bass riff and a terrific groove. From the beginning, Professor Louie & The Crowmatix are comfortable showing off immense knack for layering their characterful keyboards with Louie’s soulful vocals and the occasional horn stabs and juicy leads. ‘Too Much Fun’ is exactly what’s written on the box. This pure unadulterated piece of rock and roll features a bouncy walking bass line, a fast paced groove, and the album’s most outstanding guitar solo. An efficient and capable piece of classic rock and roll goodness.

‘Monday Boogaloo’ features more horns in a more prominent positioning in the mix with rich and textured arrangements and riffs. The cut features a delicious syncopated groove that gives it a special taste, and its tasteful lead sections, featuring guitar and bass solos are masterfully subdued and just lush. More syncopated beats with the album’s first touches of melancholy can be found on the meaningful and ska-inspired ‘A Million’. With its colorful and prominent melodies and potent chord sequences, ‘A Million’ is the album’s first foray into lush, melodic songwriting. ‘Johnny’ is a quick return to the album’s true rock and roll form but with a melodic flair that the album will not be able to do without for most of the remainder of its runtime. With its build based on a sick vocal riff, ‘Johnny’ showcases more of the band’s exceptional chemistry through the group-yelled riff.

Bisecting the album is its first piece of true melancholia. Utilizing a hypnotizing blend of creamy keyboard sounds to deliver its rich and strong melodies, this drumless instrumental is the album’s first and last, and is easily one of my personal favorites. With its Tom Waits-level darkness and truly mesmerizing blend of steady, bass-delivered rhythm and keyboard parts, ‘Bird’s Lament’ is up there with the album’s absolute best offerings. ‘Rag Mama Rag’ reintroduces honky tonk rock and roll pianos and killer grooves after the touching respite that is ‘Bird’s Lament’. A welcome return to shape, this edgy and fast-paced cut is driven by the rhythmic piano hits and leagues of confident character that have graced each single of the album’s songs thus far. ‘Steadfast & True’ can be safely called the album’s first pop ballad. With its base built around warm acoustic guitar lines, familiar, gentle chord progressions, and saccharine swift vocals and words, this cut is soft and pretty and easy to fall for.

‘Stick To The Plan’ is a fiery piece of classic rock-tinged rock and roll that would be safely disguised as an outtake from Physical Graffiti, especially with its short and majestic blues solo, rock solid backbeat, and wealthy, varied, and energetic keyboard parts. The penultimate ‘Watch The River Flowing’ introduces a touch of sleazy, soft rock near the tail end of the record. This emotive blues ballad is fully loaded with touching solos, characterful organ playing, and terrific, heartfelt vocals that elevate this rather dramatic piece. The album ends with the sweet and cozy Christmas-themed ‘A Different Christmas’. A soft song and a sweet, heartfelt closer, the gentle rim shots, chill pacing, and melodic warmth on this song make it feel like a warm and soothing conclusion to a rather fiery and heady listen.

Crowin’ Around by Professor Louie & The Crowmatix is a joyous and fulfilling listen from a band of seasoned musical veterans. The group deliver an excessive amount of solid chops all across the board. Tight performances and raw, immersive mixes, Crowin’ Around is an immediately gripping album that does not let go until its very last seconds.

 

Power of the People by ZOOLOOK®

Moataz Gwaily
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Power of the People by ZOOLOOK®

Anybody who knows me half well would know quite well that I don’t throw around my comparisons to legendary French art pop duo Air lightly, and while there’s basically really scarce musical resemblance between their work and this fresh release from ZOOLOOK, I was thrilled to be embraced by the chill vibes, tasty leads, and exuberant charisma of ‘Power of the People’.

San Francisco-based sonic architect ZOOLOOK is a multi-disciplinary artist and musician whose upbringing, surrounded by his father’s eclectic record collection, helped shape an artist with a fascination towards funk, disco, and RnB music from the ’60s all the way to the neon-lit ’80s. Motown grooves, Bernard Edwards bass lines, Jean-Michel Jarre synth parts, and Herbie Hancock iconic trumpet leads all make an appearance in one way or another on this rather delightful instrumental.

‘Power of the People’ is essentially a funk jam with what resembles Reggae, soul, and disco flairs. A solid and simple beat ornamented by syncopated percussion, an impactful bass line that’s groovy and easy to follow, a sleazy funk guitar part that rhythmically scratches all the way through the cut, and endless instrumental and vocal layers fade into and out of the mix. A tasteful saxophone lead and Motown vocal oohs and aahs given a spectral treatment, ZOOLOOK effortlessly and inventively lays down such a balanced amalgam of styles.

‘Power of the People’ is hypnotic and tastefully crafted, which takes us back to the comparison with Air. ZOOLOOK’s style easily stands out.

Sunday Shroom by Vanda

Moataz Gwaily
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Sunday Shroom by Vanda

Soft and effervescent, Vanda’s ‘ Sunday Shroom’ is just like a cloud of colorful melodies, syrupy indie pop, and good vibes. An outstanding stunner for the fast-approaching beach season.

Based in Los Angeles, Vanda is a singer, songwriter, and producer whose mesmerizing blend of indie and alt pop garnered her millions of streams across platforms, and listening to Vanda’s latest single ‘Sunday Shroom’, how tightly composed, well envisioned, and superbly crafted it is, it becomes immediately clear that Vanda deserves every single ounce of attention she’s receiving.

This stunning cut is a medium-paced piece of indie pop that is tethered between ethereal atmospheres and a strongly earthy flavor. With the vast width introduced by the luscious pads, and the shoebox intimacy encountered via the vivid acoustic strums Vanda carefully sets the tone for a song that equally exists in two distant realms. Vanda’s voice is also divided between low and deliberate lulls on the verses, and the impassioned and impactful chorus yells, displaying stunning range and terrific control.

Perhaps most noteworthy on ‘Sunday Shroom’ is the arresting production job, giving this song its fair share of RnB, soul, and psychedelia via its punchy beat, gospel-like chord movements, and swirling textures, respectively. This is a mix that effortlessly elevates an already beautifully crafted pop song into the realms of outstanding pop cuts that have endless potential to last for years. A dazzling return by the gifted queer artist Vanda.

HOLA by kmalectro

Moataz Gwaily
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HOLA by kmalectro

‘HOLA’, kmalectro’s latest single is an addictive and dark piece of electronic pop that oozes with a brooding mystique. A minimal piece that packs a hefty emotional punch, ‘HOLA’ is an apt introduction to the sonic world of a distinctive artist.

kmalectro is the stage name of Cologne-based artist and producer Kamal Habib. Kamal is a multi talented artist who is the sole figure behind writing, performing, recording, and producing ‘HOLA’, his latest release. ‘HOLA’ is an introspective and brooding piece of electronic pop with a deep message that will resonate with listeners everywhere. 

kmalectro’s ‘HOLA’ is all about accepting oneself and learning to live with one’s imperfections. A profound message that Kamal was inspired to write about by personal experiences. Musically, ‘HOLA’ moves at a steady pace. A slow burner that is elegantly layered with infectious synths and addictive grooves, Kamal claims that ‘HOLA’ is a song that does not shout; it resonates and leaves a lasting mark. Indeed, ‘HOLA’ has a slow and calculated pace, memorable melodies, and an immersive atmosphere that leaves an impact, and the deliciously minimal arrangement is the cherry on top of this touching release.

kmalectro’s ‘HOLA’ is a remarkable release of melancholic and neon-lit electronic pop that will easily resonate with his fans. 

Power by James Fiori

Moataz Gwaily
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Power by James Fiori

James Fiori’s ‘Power’ is such a ferociously individual listen that it ends up with an easily polarizing feel to it. If you’re against it then nothing will change your mind, but if you manage to click with its unrelenting mayhem, you’ll be rewarded with a stupendously layered and rich listen.

Perhaps impossible to categorize, James Fiori’s ‘Power’ is a hypnotizing indietronica, jazz, and video game music hybrid. This sub 2 minute long anthem is the theme of an imaginary video game hero, meant to play as this hero gets ready to face his formidable foes. Through bold and contagious melodies, alongside manic and powerful beats, Fiori’s imaginative compositions take a challenging shape that is able to inspire and energize.

Composed of a minimal sonic blend of synths and electric drums, Fiori manages to lay down meticulously what sounds like countless layers of instruments that take the piece through its roughly 4-part composition. Perhaps most distinctive in ‘Power’ is its shapeshifting beat that wildly syncopates as if it is nothing, taking with it the whole arrangement through its paces.

A delightfully quirky composition that’s extremely creative, the Sheffield-based Fiori takes his listeners on an oddly fulfilling journey that’s rugged, and joyously intricate.

 

Jerry Burton’s Latest Album Showcasing Soul Mastery

Mena Ezzat
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Jerry Burton’s Latest Album Showcasing Soul Mastery

In this fast-paced digital age, you may be yearning for authentic music. Last month, Jerry Burton unveiled his vibrant and distinctive album, GREAT AMERICAN SOUL BOOK, REIMAGINED VOL. 1. Now, let’s hop into a time capsule and journey back to an era when music truly shone!

This album is a remarkable demonstration of soul mastery. Each track features captivating vocals that are both emotive and powerful. The musical structure is truly exceptional, unlike anything I’ve encountered elsewhere. Earlier this year, I listened to a soul release that lacked authenticity, but upon exploring Jerry Burton’s album, I was struck by the impressive songwriting and outstanding arrangements.

What I particularly appreciated is that each track resonates with various listeners and suits any mood—whether calm, energetic, or emotional. This diversity is a clever strategy, as Jerry clearly values it, a quality that many emerging artists often overlook in their albums.

Additionally, I must commend the selection of musicians involved; they are true masters of tone and rhythm! I look forward to mentioning them all, just as Jerry did in his press kit, so be sure to check their names at the end of the article.

Each track on the album showcases Jerry’s profound understanding and love for the genre. His talent for respecting the original spirit of the songs while infusing them with fresh and innovative arrangements is nothing short of extraordinary. The album kicks off with “Soul Man,” where Jerry’s voice harmoniously merges with the lush instrumental layers, embodying the song’s enduring hope and resilience.

Listeners will find themselves transported by the lush instrumentation and soulful rhythms that permeate the album. Jerry’s passion for music is palpable, and it’s clear that his lifelong dedication to the craft has culminated in this vibrant collection. Some songs truly captivated my attention, including “Compared To What,” “My Girl,” and “Sha La Girl,” as I feel that each one is created with meticulous care and passion.

Each note, each lyric, is delivered with a heartfelt authenticity that is often missing in today’s music landscape. Jerry Burton has not only honored the legacy of these timeless soul classics but has also breathed new life into them, allowing a new generation to discover and appreciate the richness of soul music.

For those who have a deep-seated love for the genre, this album is a treasure trove—a testimony to the enduring spirit of soul music and its ability to transcend time and trends. It’s not just about nostalgia; it’s about celebrating the music that has shaped so many lives and continues to inspire. Jerry Burton‘s GREAT AMERICAN SOUL BOOK, REIMAGINED VOL. 1 is a testament to the power of music to bridge the gap between generations, inviting everyone to enjoy the beauty of soulful expression.

In an era where music often feels fleeting and disposable, Jerry Burton’s GREAT AMERICAN SOUL BOOK, REIMAGINED VOL. 1 stands as a beacon of authenticity and artistry. It’s a reminder of the enduring power of music to connect us to our past while pushing us toward the future. For those who cherish the rich legacy of soul music, Jerry Burton’s album is not just a listening experience—it’s a journey.

Musicians: Bass: Lee Smith, Drums: Eric Johnson, Keyboards: Tom Lawton, Aaron Graves, John Avarese, John Conohan, Guitars: Twig Smith, Kevin Joella, Richard Tucker, Trumpets: Henry McMillian, Saxophones: Jay Davidson (solos), Louis Taylor, Trombones: Jared Antonacci, Background Vocals: Barbara Walker, Tamara Brody, Terri Bagwell, Yvette Rudd, Haven Merritt

Martone Marks a Decade of Dancefloor Dominion with “The Evolution of Martone – 10th Anniversary Edition”

Michael Stover
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Martone Marks a Decade of Dancefloor Dominion with “The Evolution of Martone – 10th Anniversary Edition”

Martone doesn’t walk into the room—he struts in, doused in neon, wrapped in rhythm, and trailed by a posse of pulsing beats and unapologetic truth. With The Evolution of Martone – 10th Anniversary Edition, he isn’t just commemorating a milestone—he’s etching his legacy into the cosmic vinyl of house music history with a diamond-tipped stylus of fierce individuality and spiritual swagger.

This record isn’t a greatest hits album. It’s a sacred groove scripture for the children of the night—those who found salvation beneath strobe lights and in the arms of strangers who knew the power of a shared beat. Martone, the self-proclaimed Emperor of House Music (a title earned, not claimed), lays it all out in this retrospective turned rebirth: a fierce collection of reimagined gems and new anthems that serve equal parts celebration, exorcism, and evolution.

Tracks like “Groove Tonight” and “We Go Down” don’t just drop—they explode in technicolor. You can hear the sweat, the glitter, the hands raised to heaven. “Chocolate” is a sensual, skin-on-skin slow burn dressed in high-gloss bass and midnight tension. It’s house music with hips and heart, a sensual soundtrack to a thousand dancefloor confessions. 

And just when you think Martone’s peaked, he follows this album up with “Too Bad, So Sad,” a brand-new banger with Intelligent Diva that slaps with cheeky bravado and delicious venom. It’s the audio equivalent of flipping off your ex while vogueing in 6-inch stilettos.

But beneath the sequins and sass, there’s soul. Real soul. Martone isn’t spinning beats for the fame of it—he’s building cathedrals for the outcast, the divine misfits, the loud lovers and quiet rebels who find truth under the disco ball. His voice, rich with tone and purpose, slices through the mix like a preacher with a PhD in funk, turning tracks into testaments of survival, resilience, and sacred queer joy.

What makes this 10-year retrospective hit harder than a VIP room sound system is the man behind the music. Martone is more than a musician—he’s a movement. Whether dropping a beat or a truth bomb, his mission is crystal: empower the silenced, elevate the bold, and shake the foundations of conformity until the walls crack wide open. His Amazon Best-Selling book Deep & Raw: The Erotica of Martone is an extension of that same pulse—unfiltered, fearless, and yes, filthy in all the right ways.

Martone doesn’t just remix tracks—he remixes the rules. And with proceeds from his projects going toward causes like LGBT Books to Prisoners, he’s proving that the groove can heal as well as it can hype.

Ten years in, Martone’s not mellowing—he’s metastasizing into a bigger, bolder, bass-heavier version of his true self. The Evolution of Martone is more than music. It’s a manifesto. A mirror ball moment of clarity. A neon-soaked sermon for those of us who never really fit in… until we did.

Turn it up. Strip it down. And don’t just dance—ascend.

–Lonnie Nabors

 

Ken Holt’s “I Did Not Know” Finds Wisdom in the Wreckage of Memory

Michael Stover
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Ken Holt’s “I Did Not Know” Finds Wisdom in the Wreckage of Memory

There’s a stillness to Ken Holt’s I Did Not Know—a kind of breath held just long enough to let the weight of the words settle into your chest. It’s the sound of realization arriving not in a burst of drama, but in the quiet pause after everything else has been said. With this gentle, heart-worn single, Holt delivers a song that feels lived in, like an old letter rediscovered in a box in the attic.

The Florida-based Americana artist, whose voice carries the patient tone of a man who’s watched seasons change with both awe and sorrow, offers something increasingly rare in contemporary roots music: an unhurried meditation on regret. Written with Howard Laravea and enriched by the aching vocals of Mary Kate Brennan, I Did Not Know is a song that doesn’t demand understanding—it invites it.

Holt’s delivery is unforced, intimate. He never strains to emote; instead, he speaks plainly and lets the truth do the heavy lifting. “You disappeared like a ghost who’s been wandering for so long,” he sings, not with anguish, but with quiet astonishment—like someone finally seeing the full shape of a shadow that had always been in the room.

The arrangement leans into restraint. Acoustic guitars move like ripples in still water. There’s no bombast, no swelling strings to cue our tears. The emotion lives in the spaces between the lines, in the near-misses and what-ifs that Holt sketches with a minimalist’s precision. The song is as much about what isn’t said as what is.

What makes I Did Not Know resonate so deeply is its framing of hindsight as something holy. “If I had known then what I know now,” Holt repeats like a prayer—one not meant to undo the past, but to bear witness to it. This isn’t a song about apology; it’s about recognition. It’s about the subtle but seismic shift that occurs when we realize the lives unfolding beside our own were more complex, more delicate, than we ever understood at the time.

Holt, whose long musical journey includes decades of performance, a spiritual calling, and a reverence for both gospel and rock tradition, brings that entire history into this moment. There’s a preacher’s cadence in his voice, yes, but also a poet’s restraint. It’s a balance that recalls artists like John Prine or Rodney Crowell—writers who knew that sometimes the most profound truths are whispered, not shouted.

With I Did Not Know, Ken Holt doesn’t offer answers. Instead, he holds space—for the listener, for the memory, for the possibility that grace can arrive even after the last word has been spoken. It’s a tender, knowing piece of Americana that honors the dignity of reflection.

In a world eager for closure, Holt gives us something more valuable: understanding.

 

–Anne Morrison

 

Facades by Stephanie Rodriguez

Moataz Gwaily
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Facades by Stephanie Rodriguez

The electronic pop and synthwave tendencies in the music of the London-based Stephanie Rodriguez have a lot of Goldfrapp’s ethereal confidence in them. ‘Facades’ is the title of Rodriguez’s latest release, a precursor to her upcoming EP.

An eerie and vaporous cut that introduces Rodriguez’s sound and fascination with music production to new audiences in anticipation of her new batch of songs. ‘Facades’ is released as a part of an EP, recorded solely by her, and featuring her songwriting method of composing the music and producing it first before adding lyrics. This attention to the musical landscape makes Rodriguez’s ‘Facades’ have an immediately gripping sound that is nuanced, while being mostly minimal.

Driven by a lush wall of vaporous synth pads, ‘Facades’ has a thick and foggy sound that can feel a bit claustrophobic. Stylistically, this choice makes the song stand out as a distinctive sonic experience, which is exactly what Stephanie Rodriguez was going for. With ample melodies, ‘Facades’ is not just a creamy ambient piece with thick textures. Rodriguez’s melancholic chord sequences and memorable vocal melodies easily elevate the song, making it an outstanding piece of synthwave that showcases Rodriguez’s fascination with and talent for production, as well as her melodic and harmonic sensibilities.

A dramatic release with an arresting charisma, ‘Facades’ is the kind of song that forces you to pause and listen, paying attention to minute melodic details in the song’s intricate wall of synths and slithering vocals.

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