Jeán et Joie have excelled at creating a sublime atmosphere, elegantly subdued and hypnotic on their latest folk single ‘Fried Rice’. The simplistic and short cut captures the essence of vintage acoustic folk, enhancing it with a gorgeous, modern mix for a pristine result.
‘Fried Rice’ is the latest single by the Los Angeles based folk outfit Jeán et Joie, masterminded by artist and songwriter Grey Jeán. The sound the outfit excels at, as described by the musicians themselves, combines simple instrumentals and poetic,
stream-of-consciousness style storytelling. On ‘Fried Rice’, written during a moment of creative inspiration under a moon rising from the east, the 4-piece brings to life just that.
The minimal cut is a vocals and guitar duet that’s laced with a beautiful melancholy, a bittersweet, delicate, and mesmerizing melody that immediately provokes emotions of loneliness and mystery. Recorded in California, at Rancho Cucamonga, and mixed for Dolby Atmos by Keith Jones, the single has an immersive sound that’s entrancing. The mystical lyrics are also full of wonder and a litany of hidden meanings and open to interpretation passages that further add to the magic of the short ‘Fried Rice’.
A delightful single, ‘Fried Rice’ doesn’t take long to establish a steady foothold as a single with a confident composition and a distinct vision, showcasing an immense songwriter and lyrical talent behind it. ‘Fried Rice’ is an enchanting piece of folk music.
Charming, whimsical, and quirkily exciting, Dave Clark’s latest single sticks out among its peers like a vividly colored rose in a barren meadow. ’Puddles and Water’ is a very unique piece.
London based singer and songwriter Dave Clark specializes in his very own distinct strain of folk and country. A sound that is reminiscent of folk from the 60s with a very particular modern pull, Clark is utilizing whimsical acoustic guitar arpeggios, modal chords, and an array of water drop effects to highlight his impassioned vocals and thoughtful lyrics.
The musical atmosphere that Dave Clark builds is certainly complex. With the rich mix of unaccompanied acoustic guitar noodling, interspersed with moments filled with the song’s dynamic and peculiar sounding drum parts, all supporting Clark’s distinctive melodies and deliveries, resulting in a musical environment that is at once cozy and curious, exciting and soothing.
‘Puddles and Water’ deals with themes of longing and loneliness, doing so with a soundscape that is lively and eclectic. It is a song that highlights Clark’s long years of writing songs. An experienced songwriter indeed, Clark’s peculiar and distinctive way of blending different styles and colors in a smooth way helps his song sound multifaceted and genuinely inquisitive. ‘Puddles and Water’ is a fantastic folk offering that is deceptively deep and well crafted.
After listening to Dominick Keath’s latest single ‘Providence De La Jetset’ and taking a deep dive into its many lyrical pieces of wisdom, soaking in the grandiosity of its groove and its chugged guitar riffs, we are pleased to be having an opportunity to ask the man himself about the work put into his awesome new single.
First of all, thank you Dominick for giving us this opportunity to chat. We would like to start with a bit of history. When and how did you start with music, and what would you say are some moments that shaped the musician you are today?
Thanks for having me on and nice to talk to you!
My very first introduction to rock`n`roll was during the 80`s when I grew up. I wanted to be just like my (by that time) biggest idol Nikki Sixx. When I saw Motley Crue live in Sweden 1986 (which was my first live consert ever) my life changed completey. I was 12 years old when I was in front row at that Motley-consert banging my head like crazy to my greatest idols. From that day on I knew what I wanted to do for the rest of my life. Music was my thing! I started my first band at the age of 13.
Decades later as a member of a tribute band in honor of the great canadian blues rock guitarist Frank Marino I got my actual musical training.I was a singing bassplayer and we as a band geeked out totally into this jazzy and groovy cool stuff that eventually laid the foundation for my bass playing. We named our band Jive Baby after a song by our great hero Frank Marino and Mahogany Rush.
The next moment that has shaped me as a musician is when I got recruited as the bassplayer to a metal band called Cloudscape where I participated on their 3 first albums. My songwriting has had an great impact from the years I played with those guys .We eventually got signed by a record label called Metal heaven and played on venues such as Bloodstock Open Air (UK), Prog Power UK, Sweden Rock Festival and played in countries such as Sweden, Denmark, Norway, Netherlands and UK.
For ‘Providence..’, a lot of the words seem to be rooted in personal experience. For writing lyrics, do you believe that the writer must have lived the situations they are writing about for the lines to have an impact on the listener? Or do you believe that simply feeling something is enough to carry the emotions across?
A very good question and my answer would be no, I don`t believe that you have to have your own experiences mixed in there when creating a good story or a strong vibe for the song. A good story that conveys a certain feeling for the listener I do think you can acchieve just as good by making it up. In the case for “Providence De La Jetset” the lyrics are partly inspired by some events in my own life as far as the message for the song goes… but the overall story and the specific scenarios that are illustrated in the lyrics are fictional.
For classic rock, when more songs were band-centered efforts, we often catch a feeling that the words and the music are part of one being. Inseparable, because they were strictly written around one another. For your own songwriting, is there a band to help in building the groove or the song structure, or is your work done totally solo? And how would you say the presence of a band could impact the songwriting process?
In the case of my own solo thing I work completely on my own and it differs quite a bit from when I work in a band situation. When I have a band incorporated in the writing process usually I get some riff or the entire background presented to me. As an example, this is the case in the recording of the full length album that I just finalized with my previous band Soulweeper (I`ll get further into that in just a second). In that process the main songwriter/guitarist provides me with his songs and then I write the lyrics, record the bass guitar and put down the vocals. My lyrics are usually well though out and they are written seperately from the actual writing of the song, as opposed to have the lyrics come to life when jamming together with the band.
Does the music come to you before the words, or is it the other way around? Which angle do you seem to focus on more in your songwriting process, and which would you prefer to leave a longer lasting impact on listeners?
My standard process is to start with the music and then I write a lyric that matches the vibe of the completed music. I`m one of those artists that put very much value in the lyrics in general despite my background as an instrumentalist, so this is a tough one to answer. Yeah, a song can still be great even if there`s a subpar (or even bad) lyric but the other way around would never work. Meaning if the lyric is poetic and top level but the music is lesser good the song will not really go that far. So at the end of the day I do think the melody has to have the longest impact on the listener.
For production purposes, do you prefer having a complete vision of where you want the production style to go, and it is a matter of finding a producer capable of delivering this vision? Or do you actively seek producers who have their own distinct way of seeing things, hoping they could help you see different faces for your songs?
This is another great question. In the case of my recent songs I did appreciate the collaborative venture with my producers in terms of production and direction since I haven`t precisely carved out my sound at this point. A creative producer that has a vision for the material could be helpful at this stage in my career but there has also been several situations in the past where I have had a certain song already completed, a clear vision in my head and just needed a great mix and mastering to finalize it. It all depends of the current situation but over time I think I will tilt towards wanting to have a producer who can deliver my own vision.
What do you have planned to follow ‘Providence De La Jetset’ with? More singles, or maybe an EP or an album? What can your fans expect of you over the coming months?
I will continue with single releases (the so called Water Fall Strategy Releases) and the follow-up song after “Providence de La jetset” will be released in 8`th of November. The song is called “Signs Of Yesterday” and is slightly different from it`s both predecessors. It is still a rock song with all those elements that include rock guitars, organic drums and catchy vocal melodies. This song however has an energetic beat and bassline that would define it as heavy funkrock with some electronic elements added to it. I`m very excited to see the reactions on this release since it is less of a hard rock-song and more of a “mainstream” kind of song with some heavy guitars and a furious bassline .
As I mentioned earlier I am also releasing a full lengt album with my previous band which is going to be released somewhere near the start of the next year of 2025. This is another side of my artistic expression. The name of the band is Soulweeper which is a heavy metal band that sounds slightly different from the music I release on my own. At the time of the writing of this article there are no details for a full scale reformation of Soulweeper though, however this might be the case during 2025. I`ll be glad to keep you updated further on this!
In the meantime you will hear more from my solo releases which is gonna lead up to a full length album as well. Plans beyond that will be settled based on the public response over time.
Thank you, Dominick, for this nice discussion. It was great getting introduced to your music and we are wholly excited for many more anthems to come.
Thanks a lot for the interview and look forward to talk again soon!
Aphex Twin meets Air on Christian J Smith’s latest single ‘Electric Velocity’. This short piece is written by Smith as a translation of some of his deeper emotions into sound, and it is engaging and melodic with a unique twist on the dubstep sound we are all familiar with.
Based in Yonkers, New York, Christian J Smith is a musician and producer who makes music from his living room, capturing some immense amount of emotions into melodic synth lines, alluring chord structures, and some rhythmic wizardry that gives his music a sense of melodic uniqueness, all of which is explored on ‘Electric Velocity’ and its sequels ‘Electric Velocity 2’ and ‘Electric Velocity 3’. Inspired by everything from the music of Skrillex to normal acts of daily life, there’s an element of warmth to ‘Electric Velocity’ that is decidedly rare in purely electronic music and ever rarer in dubstep.
The usual clacks, bangs, and rhythm twists of dubstep are all there, but what makes ‘Electric Velocity’ -and maybe all of Christian J Smith’s music- stand out is a clear cut sense of harmony that’s not only defined and beautiful, but also whimsical and unusual, making for a thoroughly interesting listen. What also makes ‘Electric Velocity’ distinct is a confident melodic part that’s unconventional and tightly written around the mystical and unusual chords. How everything revolves around the piece’s harmonic progression makes for a breezy and engaging listen that’s nuanced and curious.
Christian J Smith’s work is both engaging and profound. With a unique approach that makes his purely electronic music effort sound and feel tangibly human, Smith manages to capture emotions with his chords, melodies, delicate layering, and fantastic sense of pacing.
In today’s cultural landscape, where social media thrives on remixing narratives and presenting fragmented views of our everyday lives, Toronto-based band Jackie and her brother (siblings Jackie & Mark Andrade) harness gritty digital instruments to deliver a punk-infused, abstract critique. Their latest single, “Happy Shadows,” reflects our collective obsession with life mimicry, constant updates, and the pervasive nature of surveillance in our daily routines.
From the earliest days of childhood to the twilight years of life, everyone is participating in this social media experiment. Jackie and her brother function as both participants and critics of this new mode of experiencing and representing life; in short, the song explores concepts of mimicry and resistance to following trends and trending patterns. “Happy Shadows” includes lyrics that explore the beauty and simplicity of cherished childhood memories and the forceful presence and constant intrusion of social media in those memories.
Vocally, this is the first song that Mark lends his voice, preferring to typically be hidden in the producing and sonic side of the project. Both siblings use distorted mics pushing the song forward with a frantic march (slightly departing from their previous pop leaning tracks). With “Happy Shadows,” Jackie and her brother are also announcing the March 2025 release of their debut full-length album that will feature a range of songs and influences. They are excited to give listeners a more robust musical offering in a time of fragmented singles and releases.
Currently, the album will have at least 12 songs to offer listeners, with the hope to push that number even higher. The band is looking to create a true album listening experience with a carefully selected track listing and additional instrumental interludes. This extended listening format is pulling on the parts of their own musical influences, to a time when concept albums, interludes, and narratives dominated music releases.
In the electro-punk tradition of bands like Le Tigre, Jackie and her brother lean heavily on distorted synthesizers, feedback loops, and trashy electro punk drums to push back against this new remix culture reality. Produced, once again, in their home studio, the band worked to create a distorted and high-energy tone, one that borders on anxiety and panic. The bass guitar re-amped through a broken guitar amp and the tinny, driven guitar feedback washed over the track.
Michael William’s new track “What’s Wrong with You” is a heartfelt blend of faith-based conviction and traditional American pride, aimed squarely at listeners who find solace in the crossroads of country and gospel music. This live acoustic single, delivered with sincerity and raw energy, comes at a critical time—amid election season—challenging Christians to vote with their values and encouraging a return to Biblical principles as a guiding light.
William’s music is shaped by a rich tapestry of life experiences as a veteran, former police officer, and man of deep faith, reflected poignantly in both his lyrics and the song’s stripped-back, acoustic presentation. There’s an unpretentious quality here, capturing the simple power of a man with a guitar, a microphone, and a message. “What’s Wrong with You” doesn’t shy away from its purpose: it’s a call to action for believers, interwoven with appeals to patriotism and a traditional Christian worldview.
The track’s structure is straightforward, allowing William’s lyrics to take center stage. Lines like *“Though we’re scattered through this country in many a house and home / From way down on some Florida beach to Alaska’s frozen north”* are stirring in their depiction of a quiet, often unseen community of people who, in William’s words, love both “God and country.” His message is pointed: those who stand by these values are “the solution, not the problem,” a declaration that is both confrontational and rallying. This makes “What’s Wrong with You” resonate deeply with audiences who feel similarly disillusioned or marginalized in modern discourse.
Musically, the song’s sparse arrangement recalls the sounds of early country and folk, making it feel both familiar and timeless. William’s voice has a weathered authenticity—clear, resonant, and carrying the conviction of someone who’s lived these words. His experience shines through, especially in lines such as, “I believe in family, I believe God’s word is right / And when you’re wrong too many times you better stand for what’s right,” which reflect both his faith and his direct, no-nonsense approach to life.
As a song, “What’s Wrong with You” is unlikely to appeal universally—its message is firmly rooted in a specific cultural and religious perspective. But that’s also what makes it stand out. In an age of highly polished productions, William’s acoustic sincerity and lack of gloss feel like a statement in itself, offering a kind of rallying cry for those seeking clarity and a sense of grounding amid shifting societal values. The song’s straightforwardness in message and style underscores William’s belief that, sometimes, simplicity is the most powerful vehicle for truth.
If you’re a fan of artists like John Michael Montgomery or even Johnny Cash, Michael William’s “What’s Wrong with You” might just strike a chord. It’s a song for people who, like William, view faith and family as non-negotiable cornerstones of life—a reminder to stand firm, cast a vote, and keep the faith steady. In short, this track is more than music; it’s a mission statement, distilled into a few well-chosen chords and a passionate voice.
This release is indeed a sonic experience. With “Excuse Me While I Go Fall in Love,” Mary Knoblock takes listeners on an ethereal journey that blends the elegance of neo-classical influences with avant-garde experimentation. True to her signature style, Knoblock crafts a surreal, almost otherworldly soundscape with airy, atmospheric vocals layered over an upbeat tempo. This single acts as a heartfelt prelude to her fan-favorite track “Halo” and offers an intriguing glimpse into her upcoming album set for release in 2025.
While Knoblock’s music undeniably pushes the boundaries of genre and creates a unique narrative atmosphere, the production style in this track leans heavily on dreamlike qualities that may leave some listeners straining to catch the lyrical details. Her vocals, though beautifully ethereal, are softened to a degree that makes the lyrics difficult to fully absorb, diminishing some of the emotional impact of her storytelling.
Lyrically, “Excuse Me While I Go Fall in Love” presents a rich tapestry of romantic imagery and reflective poetry. Lines like “Covering the icy dew of the snow-covered roses” and “Hearts broke only once” show Knoblock’s ability to draw listeners into her universe of “dreamers,” weaving tales of love, heartache, and memory. However, the depth of these lyrics is somewhat lost due to the vocal treatment, which feels a touch too airy and abstract.
Overall, this single indeed highlights Knoblock’s commitment to artistic experimentation, offering listeners a truly imaginative experience.. For fans of neo-classical and experimental music, “Excuse Me While I Go Fall in Love” is a fascinating exploration of genre, but one that would benefit from clearer vocal production to fully immerse the listener in Knoblock’s poetic world.
KARMA’s latest track, SIS (She’s Something), is nothing short of a power surge! Such a soulful anthem that shouts out to every woman out there, highlighting the beauty and strength in their everyday roles. With a sound rooted in Memphis grit and heart, this trio of fierce women brings a unique blend of R&B soul and hip-hop heat, making this song not only a nod to the unstoppable spirit of women but a full-on celebration of sisterhood, resilience, and unity. Simply, this is girl power!
Through its vibrant beats and strong lyrics, SIS lifts up everyone it speaks to, be it moms, friends, sisters, wives, daughters, and more. KARMA goes deeper than catchy hooks; their verses cut to the core, honoring those small, unselfish acts that make women who they are. The song even reclaims “Cis” in a loving, inclusive way, giving all women and allies a space to feel represented and recognized. Because KARMA sees you, ladies!
The lyrics in SIS are quite empowering: “I’m a woman, real thick, gotta hold on to something.” There is honesty, self-assurance, and a truthful and fierce sense of independence. KARMA’s smooth vocals and hard-hitting rap breaks make it clear that they’re here to lift spirits, share truths, and remind every listener that she, indeed, is something. Their sound captures both tenderness and fire, showcasing the grit of survival and the beauty of unity, leaving everyone with a bit of that “I’ve got this” energy.
KARMA is more than a girl group; they’re a force, a sisterhood of survivors and dreamers who remind us all, women, of the importance of celebrating each other’s triumphs and resilience. With every beat, they bring a piece of their Memphis soul, a dose of raw honesty, and a sense of shared strength, leaving us ready to strut out and own the world .. just as we are!
This release is as chill as it could ever be. Anie Delgado’s latest single, “Stranger from the Internet,” elegantly blends a laid-back vibe with genuine, heartfelt lyrics that capture the surreal magic of finding love in the unlikeliest of places: online. With its acoustic sound that’s both smooth and introspective, the artist takes us on a journey into the world of dating apps, where cheap champagne, takeout sushi, and unexpected connections define the early stages of romance.
Delgado’s lyrics reveal an honest vulnerability as she reflects on meeting her husband during a work trip to L.A., a chance encounter that easily could have never happened. Lines like “I often think about how we could have missed each other”resonate with anyone who’s ever thought about the unexpected and uncertain luck of modern love. This release invites listeners to consider their own stories of chance encounters that blossomed into something beautiful.
Musically, “Stranger from the Internet” feels both familiar and fresh, with a melody that lingers in your mind long after the song ends. Delgado’s vocal delivery is warm and inviting, making you feel as if you’re sitting across from her, sharing a moment over spicy tuna and a glass of wine, maybe. The instrumentation is minimalist yet effective, allowing her lyrics to take center stage. The infectious rhythm keeps you swaying along, making it a perfect addition to any laid-back playlist.
In a world where love can often feel like a gamble, Delgado celebrates the beauty of connection and the power of good and unexpected love. The song captures the disbelief and gratitude she felt upon realizing she had met her soulmate online, wrapping it in a nostalgic glow that reminds us of the simpler times when love was about enjoying each other’s company, no matter the circumstances.
With its relatable themes and catchy melody, “Stranger from the Internet” is undeniably an anthem for anyone who’s navigated the world of online dating. It’s a toast to life’s unexpected connections and the little moments that make romance so uniquely memorable. Whether you’re currently in love, reminiscing about past encounters, or still swiping on your favorite dating app, Delgado’s ode to love in the digital age is a charming reminder that true connections can flourish in the most unexpected places. So, keep an ear out for this rising pop sensation. She’s definitely one to watch!
Javi Carabalí’s latest EP is an absolute trip of multifaceted and complicated latin music structures that are very engaging, bustling, typically melodic and chic for the genre, as well as gorgeously distinctive for this one-of-a-kind composer.
Colombian musician and composer Javi Carabalí is based in the capital Bogota, and his sound is nothing short of infectious on his latest 3-song EP Tripletazo #2 Con Tu Amor. It has been a great joy experiencing Javi Carabalí as he handles seemingly simple melodic and harmonic ideas, growing them into hypnotizingly complicated sonic soundscapes with a healthy blend of latin beats, rapping, vocal harmonies, and an array of synth lines and various other sound effects. On each of the EP’s 3 songs we witness Carabalí execute this with 3 wholly different results.
The EP starts with ‘Con Tu Amor’, a fusion of latin pop, calypso, and reggae. A stunning progression that is topped by a very dynamic arrangement of characterful handpans, ethereal pads, colorful singing by Laoma Chavaco, sparkling guitar lines, and a superbly tight production job that is keeping together a borderline overwhelming amount of detail streamlined, sweet, and even smooth. ‘Primavera’ follows and at 5 minutes in length, it is the album’s centerpiece. Also, in its grandiosity and addictive, dark latin vibes ‘Primavera’ manages to present itself as the album’s most serious and noteworthy effort, even if not necessarily “the best”.
Dominated by Carabalí’s charismatic, howling blues guitars, the bluesy undertones are further explored in the song’s slow beat and melancholic, minor progression synonymous with the blues, making this cut sound very similar to something Santana would totally pull off. The cacophonous percussion, peppered with various clicks and bangs alongside the drum kit, and with the intense distortion and roomy reverb on the guitars make this cut sound also very much like a polished cover of a Tom Waits cover. The album then concludes with ‘Gris’, the most playful and arguably most characterful of the 3 cuts. ‘Gris’ is streamlined, chic, and melodic, with a polished mix that’s not as bustling as the starter, or as vaudeville as the second, making it the album’s most accessible and easygoing offering.
Javi Carabalí’s Tripletazo #2 is a sonic feast of character and color that is wholly entertaining and easy to digest, yet full of nuance and detail that makes it a truly engaging listen.
The musical atmosphere that Dave Clark builds is certainly complex. With the rich mix of unaccompanied acoustic guitar noodling, interspersed with moments filled with the song’s dynamic and peculiar sounding drum parts, all supporting Clark’s distinctive melodies and deliveries, resulting in a musical environment that is at once cozy and curious, exciting and soothing.
I will continue with single releases (the so called Water Fall Strategy Releases) and the follow-up song after “Providence de La jetset” will be released in 8`th of November. The song is called “Signs Of Yesterday” and is slightly different from it`s both predecessors. It is still a rock song with all those elements that include rock guitars, organic drums and catchy vocal melodies. This song however has an energetic beat and bassline that would define it as heavy funkrock with some electronic elements added to it. I`m very excited to see the reactions on this release since it is less of a hard rock-song and more of a “mainstream” kind of song with some heavy guitars and a furious bassline .
Musically, “Stranger from the Internet” feels both familiar and fresh, with a melody that lingers in your mind long after the song ends. Delgado’s vocal delivery is warm and inviting, making you feel as if you’re sitting across from her, sharing a moment over spicy tuna and a glass of wine, maybe. The instrumentation is minimalist yet effective, allowing her lyrics to take center stage. The infectious rhythm keeps you swaying along, making it a perfect addition to any laid-back playlist.