Junior Sisk Releases “It’s All Fun and Games”
Junior Sisk’s It’s All Fun and Games offers more than a collection of songs—it presents a living case study of how tradition operates in American bluegrass. In 11 tracks, Sisk and his band perform the delicate dance between preservation and innovation, a dynamic that ethnomusicologists recognize as central to the survival of folk-derived genres.
The opening track, “Where Love Goes To Die,” situates itself firmly within the lament tradition of bluegrass. The song’s lyrical content resonates with the Appalachian themes of loss and endurance, while musically it employs the canonical instrumentation: mandolin, banjo, guitar, bass, and harmony vocals. What is striking is how the band’s technical precision elevates the material without stripping it of its rustic authenticity. Heather Berry Mabe’s harmony, in particular, invokes what Miss Dixie Hall once described as “mountain clear”—a sonic aesthetic tied to geographic and cultural identity.
The title track, “It’s All Fun and Games,” is particularly interesting from a cultural standpoint. While the phrase implies levity, the song underscores the irony of human relationships—a reminder that humor and sorrow coexist in bluegrass storytelling. This duality reflects what folklorist Henry Glassie once called “the laughter behind the tears,” a defining feature of Appalachian expressive culture.
https://open.spotify.com/album/0nqiYFm6kiy9Fv5vfRvF3W
“Still Be Blue” and “The Last Time Again” exemplify the genre’s recursive use of melancholia. These songs, though contemporary in authorship, feel centuries old in spirit. They draw upon the modal qualities and lyrical tropes inherited from Scotch-Irish balladry, filtered through the distinctly American experience of rural life. By contrast, “Sweeter Than Tupelo Honey” reflects the celebratory side of bluegrass, where sweetness and devotion serve as a counterbalance to the pervasive themes of heartbreak.
From an instrumental standpoint, Jonathan Dillon’s mandolin lines and Tony Mabe’s banjo playing illustrate the “drive” that Bill Monroe once insisted defined bluegrass. Curt Love’s bass provides the essential rhythmic grounding, ensuring that the ensemble functions as a cohesive unit rather than a collection of soloists. The interplay between musicians is communal, echoing the jam-session roots of the genre.
“I Don’t Hurt Anymore,” a cover, represents an intertextual gesture, placing Sisk within a continuum of interpreters who keep older repertoire alive. Meanwhile, “The Devil’s Train” serves as a metaphorical climax. Its apocalyptic imagery resonates with both religious and secular audiences, reflecting the deep cultural entanglement of bluegrass with evangelical Christianity and Appalachian moral storytelling.
Junior Sisk himself is a fascinating figure in ethnomusicological terms. Rooted in the Blue Ridge Mountains, influenced by The Stanley Brothers and the Johnson Mountain Boys, he embodies a lineage of transmission that connects family, community, and professional performance. His career trajectory—from songwriter to bandleader, from Rebel Records to Turnberry—demonstrates how institutional recognition (IBMA awards, SPBGMA honors) validates traditionalism even within a commercialized framework.
It’s All Fun and Games thus functions on multiple levels: as entertainment, as tradition-bearing, and as cultural performance. For scholars, it underscores how bluegrass continues to thrive not by breaking radically with the past but by carefully curating and reanimating it. For listeners, it’s simply great music, delivered with skill, passion, and authenticity. In bridging these worlds, Junior Sisk reaffirms that bluegrass is not just alive but vital.
Gwen Waggoner
‘Red Wine Haze’ by Necktie Social
A relatively new band, Necktie Social was founded in early 2022 by members Dusty Owen, Joey Torres, Corey Davis, and Jacob Veal. While only about three years old, the band showcases a mature and full-bodied sound in their latest album, “Red Wine Haze.” Necktie Social’s music is influenced by classic rock and blues. Both influences are cleverly displayed and interwoven throughout “Red Wine Haze.” With clear and powerful playing and distinct vocals, Necktie Social is making a prominent statement with their powerhouse record “Red Wine Haze.”
Starting off steady until it explodes into a power riff, is “Devil’s Backbone,” the opening song of the album. While mostly a classic rock anthem, the blues and country rock influence is clearly felt through the guitar melodies. The guitars are the hero of this song, nevertheless the band strikes a balance between the guitars and their lead singer’s unmistakable vocals. Forgotten and cast out, the artist sings of being “Born in the devil’s backbone / A man on the run.” It’s a formidable image to start the album with and immediately snares the listener, like the devil himself come up to party.
The namesake song, “Red Wine Haze,” all rhythm and rock, begins with a stellar guitar blend and changes to a steady strumming that anchors the rest of the song like a pulse. More country than the songs previous, the singer channels country soul and sings about a woman in a haze: “You’re the target she’ll never miss / She’s an angel but she loves the hell outta me / She’s the one that I need.” The ideal end to the first half of the album, “Red Wine Haze,” encapsulates the record with its lyrical juxtaposition of devils, angels, and need.
“Walk on Water,” the next song after “Red Wine Haze,” and the first song of the second half is a curious Biblical reference after songs about devil and hellish need. The title might be referring to a miracle, but Necktie Social certainly twists the narrative by saying that they are sinners and will never walk on water: “No preacher man gonna ever save me.” Back to a more classic rock sound, like Van Halen, the drums and guitar burst into the song and refuse to let up even until the last second.
The final song and stand-out, “Hello or Goodbye,” is started by a bluesy chorus of guitars that gradually builds and builds to a strong and emotional surge. The lead singer’s vocals reach their peak in this song, especially with the noticeable background harmonies, and with the expert merge of vocals and instruments. The album might have been primarily hard-partying in the previous half, but the heart of the band sparkles in this number. After the second chorus, the guitars change again to rhythm that makes one want to roll the car windows down and drive until the sun sets. A fantastic finish to an exemplary showing by Necktie Social.
Necktie Social investigates a darker side in “Red Wine Haze,” from their misdeeds to hellish need. The band might only be three years old, but don’t let their “youth” be mistaken for “inexperience” as they send out a clear message with this album. Like their inspirations before, Necktie Social wants to be recorded with the best in classic and/or country rock, which, dare to say, is not long off if indicated by this album.
By Annamaria Lund
REBEKAH SNYDER HONORS THE HEART OF A NATION WITH NEW SINGLE “AMERICA” — OUT NOW
REBEKAH SNYDER HONORS THE HEART OF A NATION WITH NEW SINGLE “AMERICA” — OUT NOW
RIYL: Tyler Childers, Brandi Carlile, Lori McKenna, Jason Isbell, Kacey Musgraves
September 11, 2025 — On a day of remembrance for a nation forever changed, alt-country/Americana artist Rebekah Snyder releases “America,” a stripped-down and deeply personal acoustic ballad honoring the resilience and courage of everyday Americans.
Written the day after September 11, 2001, “America” is more than a patriotic anthem, it’s a raw reflection on loss, love, and the values that carry us forward in times of unimaginable tragedy. Snyder’s intimate storytelling and haunting acoustic delivery draw from her own life as a single mother, domestic violence survivor, and proud granddaughter of a WWII veteran, giving the song an authenticity that speaks directly to the heart.
Filmed in Los Angeles by Marcos Durian, the official music video features Snyder’s daughter portraying a young version of Snyder, surrounded by symbols of working-class Americana — Iron City Beer bottles, Old Spice cologne, and the unshakable grit that holds families and communities together.
“I wrote ‘America’ as a way to process what I was feeling the morning after 9/11,” Snyder recalls. “It’s about honoring the people who serve, the families who sacrifice, and the strength we find in each other when everything feels uncertain.”
As the nation pauses to remember, “America” offers a poignant soundtrack for reflection, a reminder that the true spirit of this country lies not just in symbols, but in the everyday people and quiet acts of courage that bind us together.
The single marks the beginning of a bold new chapter for Snyder, who has multiple releases planned for 2025. From her Appalachian roots to her sky-high perspective as a licensed flight instructor, Snyder’s voice is as grounded as it is soaring.
Listen to “America” – HERE!
ABOUT REBEKAH SNYDER:
Born and raised in rural Pennsylvania, Rebekah Snyder is an alt-country singer-songwriter and certified flight instructor whose music is grounded in truth, tradition, and personal resilience. A single mom of three and domestic violence survivor, Snyder writes songs for the overlooked and underestimated. Her stripped-down style reflects her Appalachian roots and honors the voices of her ancestors, especially the veterans and strong women in her family.
ABOUT THE SINGLE:
“AMERICA”
Release Date: OUT NOW!
REBEKAH SNYDER ONLINE:
SPOTIFY | APPLE MUSIC |
FACEBOOK | INSTAGRAM | YOUTUBE | TIKTOK
A Hopeful Take on Longing for Love by Neel Rupareliya ft. KS Thejal
Mumbai-based music producer and composer Neel Rupareliya has released his new indie fusion single PIYA AAJANA, now available on all major streaming platforms. Rooted in Raag Kaafi and blending Indian classical elements with modern indie sounds, the song explores longing for love — not as something heavy or sad, but as something graceful, beautiful, and full of hope.
The track features vocals by KS Thejal, a trained Carnatic and Western vocalist, whose expressive delivery brings out the depth of the lyrics. Together, Neel and Thejal present a song that reflects the timeless theme of desire and connection, framed through a fresh and inclusive lens.
ABOUT THE SONG
Piya Aajana is a mid-tempo, groovy track with the warmth and hope of love, merging Indian classical elements like tabla and harmonium with synth textures, guitar, and drums. The result is a sonic palette that is rooted in Indian classical yet distinctly contemporary — a soundscape that sits comfortably between Indian indie, fusion, and folk-inspired pop.
“I always felt that longing for love doesn’t have to be sad or melancholic. It can also be beautiful — full of hope and anticipation. That was the seed for Piya Aajana, and the reason the song feels graceful and open, rather than heavy.” – Neel
ABOUT THE ARTISTS
Neel Rupareliya is a versatile music producer, composer, and orchestrator from Gujarat, now based in Mumbai. Trained in Hindustani classical music and harmonium from a young age, he went on to study at AR Rahman’s KM Music Conservatory (Chennai), specialising in Music Production and Composition. Neel blends Indian classical traditions with modern sounds, creating fresh perspectives in Indo-fusion and Hindi pop. His work includes contributions to Symphony of Gujarat with Osman Mir and Third Culture Collective, as well as Ochhav with Aditya Gadhvi.
KS Thejal is a trained Carnatic and Western vocalist. Her versatile approach and expressive voice allow her to navigate between classical and contemporary genres, making her an ideal collaborator for fusion-driven projects like Piya Aajana.
RELEASE INFORMATION
Song Title: Piya Aajana
Artists: Neel Rupareliya ft. KS Thejal
Release Date: 5th September 2025
Audio: https://open.spotify.com/track/01uiCWEev7Qi8vDl7pDQMZ?si=c6e2849d69dc4646
Social: https://www.instagram.com/neel_rupareliya/?hl=en
@skopemag Q&A With Reggie Braxton and “The Brax-Tone Experience”
Great to meet you – how has 2025 been for you so far?
– It’s been a great year. Music wise I have three songs that have made the R&B charts. I also recorded my videos for “Miss Riddle,” “Georgie Porgie,”and “Notice Me” on the beautiful island of Saint Martin!
When did you get into music and how did it become more than just a hobby and more of a career?
– When I did my first gig in the late 80’s. It became more than just a hobby once I started to get paid for it.
You are from Detroit – how did the rich music scene there help influence and inspire your sound today?
– I grew up in a musical family. My cousin was an original member of the Temptations. My grandmother was also a professional blues singer. The Motown sound was also a heavy influence on the city, such as Motown’s very own Berry Gordy, which we’re proud of.
You have great style – did you ever consider getting into fashion?
– Haha, thank you for the compliment but no. I’d be open to it though.
We are all excited to hear your new release – “The Brax-Tone Experience” – how long have you been working on this project and what can music fans expect?
– I’ve been working on the project for almost two years. My fans can expect a variety of music genres. I covered some jazz standards, hip hop, R&B, and pop songs. They can expect some different genres with my personal touch added to each song. Also, there will be a few original songs written by me.
I am loving your cover of Erykah Badu’s “Next Lifetime” – what was it about this song that made you want to put your own spin on it?
– I really loved how she did the song. In 2012, I originally thought about covering this song from a man’s perspective, of being in a committed relationship and seeing someone of mutual attraction but not acting on it because of commitment. Also, I love Erykah Badu’s musical style. I was heavily influenced by her performance for this song, which further made me want to add my spin to “Next Lifetime.”
When you are creating music – who do you work with from producers – musicians – etc?
– Well currently I am working with J Poww of UNV fame, who helped arrange the background vocals and co-wrote some of the original music; Grammy Award winning Christopher Bivins aka Buddafly Wolf, producer for Chris Brown, Tank and Kehlani; with engineering by another Detroit legend, the Grammy Award-winning Jezreel Santos, whose projects include soulful crooners Kem, Gregory Porter and Mali Music.
There is a new rendition of Erykah Badu’s “Next Lifetime” on my re-release album – remixed by Badu’s very own musical director, Grammy nominated, ASCAP and Billboard award winning composer/producer, Norman ‘Keys’ Hurt. In fact, Hurt has remixed the entire Brax-Tone Experience project!
Being that we are in the digital age – how do you use social media to promote your music and reach new fans?
– I promote my music through all of the digital platforms – Instagram, TikTok, and across all music platforms, etc.
Can we expect to see you on the road and what is your live show like?
– We are currently finishing the re-release of “The Brax-tone Experience,” after that we will start pursuing opportunities. My promotion manager has been pursuing concert dates for the near future. We’ve already had people request performances. We will be posting concert dates on social media.
You can see a glimpse of my live performance in my music video “Miss Riddle” at
https://www.youtube.com/watch?v=BegTJr1uSi8&list=RDBegTJr1uSi8&start_radio=1
So let the good people of @skopemag know where they can follow and stream you?
– On social media I can be followed on:
Instagram: ReggieBraxton007
FaceBook: Reggie Braxton
TikTok: Reggie Braxton
My music can be streamed on all digital music platforms.
Thank you Skope Magazine for the interview!
Olivia Millin Presents ‘Soul for the Taking: A Pop Séance for the Dancefloor’
There’s something inherently cinematic about the way fear works its way into pop music. Most of the time it’s camp—the kind of monster-mash novelty that dies as quickly as the candy supply. But every once in a while, a young voice emerges from the fog, unafraid to play dress-up with the supernatural while keeping both feet planted firmly on the dancefloor. Enter Olivia Millin, 20 years old, already crafting her mythology with a pen dipped in neon ink and blood. Her new single, “Soul for the Taking,” (out September 12th) is a Halloween-themed slice of J-Pop/dance-pop confection that pulses like a strobe light in a haunted house.
The track, produced with icy precision by Kevin Charge, wastes no time pulling you into its shadow world. Millin sings with a mischievous grin, her voice sweet and sinister, as if she’s luring the listener into a cornfield maze where demons dance in sync with bass drops. The verses are vivid vignettes—fog swallowing friends, footsteps echoing into nowhere, a voice from the void whispering your doom. It’s pop theatre with teeth, a carnival ride wrapped in glow-in-the-dark cobwebs.
What’s thrilling about “Soul for the Taking” isn’t just the Halloween gimmickry—it’s Olivia’s ability to merge narrative songwriting with the pulse of club culture. The chorus, with its chant of “the afterlife is waiting / your soul is ours for taking,” is a sugar-rush hook that straddles playful and predatory. You can practically imagine costumed fans shouting it back at her during a live show, arms in the air, as the lights flicker blood red. It’s that duality—terrifying and fun—that makes the song feel like it could stick around year after year.
Lyrically, Millin toys with tropes that could easily slip into cliché, but she injects them with her own youthful bravado. There’s a cinematic detail to lines about zombies, ghouls, and demons “fiending for your soul.” You don’t just hear them—you see them, like extras from a cult horror flick ready to break into a choreographed dance sequence. And that’s where Millin shows her instincts: she knows Halloween isn’t just about scaring people. It’s about spectacle, ritual, catharsis. She offers all three in under four minutes.
Musically, the production fuses glossy J-pop sensibilities with a darker electronic underbelly. The beat is relentless, throbbing like a heartbeat under duress, while layers of synth weave a sonic fog you can almost get lost in. The result feels equal parts Harajuku dance party and Tim Burton fever dream. Kevin Charge gives Olivia the perfect sonic playground: eerie but not oppressive, poppy but never lightweight.
At 20, Olivia Millin is already positioning herself as a global pop experimenter, unafraid to lean into her own eccentricities. “Soul for the Taking” is more than a seasonal gimmick—it’s a statement of intent. She wants to entertain, to frighten, to mesmerize, and most of all, to make you move. If Halloween needed a new anthem for the TikTok generation, Millin may have just delivered it. Like the best seasonal songs, this one has the power to outlive the pumpkins. The afterlife is waiting—and it’s got a beat you can dance to.
Musician, Author, and TEDx Speaker Lindsay Manfredi to Release Raw, Unflinching Memoir About Love, Loss, and Finding Self-Worth
The Girl Who Cried Love: A Pivot to Self-Worth, Manfredi’s Second Book, will be Unveiled September 9
Los Angeles, CA — [September 5, 2025] — Lindsay Manfredi, bassist for the rock band Cold and author of the empowering book, Unfuckwithable: A Guide to Inspired Badassery, is set to release her most vulnerable and empowering work yet — The Girl Who Cried Love: A Pivot to Self-Worth — on September 9, 2025.
Blending the grit of rock ‘n’ roll with the honesty of personal transformation, The Girl Who Cried Love is a memoir about breaking free from toxic relationship cycles, healing from heartbreak, and reclaiming personal power. Written in her signature, unfiltered, storytelling style, Manfredi’s second literary release takes readers behind the scenes of her life on and offstage, revealing how chasing love in all the wrong places ultimately led her to the most important relationship of all — the one with herself.
“This isn’t just my story,” said Manfredi. “It’s for anyone who’s ever abandoned themselves for love, anyone who’s ever felt stuck in a pattern they couldn’t break. I want people to know they’re not alone. And that it’s never too late to write a new story.”
The Girl Who Cried Love offers both memoir and message, giving readers hope, perspective, and the tools to shift from self-sabotage to self-worth. Fans of Glennon Doyle, Cheryl Strayed, and Mel Robbins will connect with Manfredi’s relatable voice, humor, and raw honesty.
Book Details:
- Title: The Girl Who Cried Love: A Pivot to Self-Worth
- Author: Lindsay Manfredi
- Publisher: Best Seller Publishing
- Release Date: September 9, 2025
- Formats: Paperback, Ebook, Audiobook
- Website: www.lindsaymanfredi.com
The Girl Who Cried Love will be available wherever books are sold, including Amazon, Barnes & Noble, and independent bookstores nationwide through IngramSpark distribution.
ABOUT LINDSAY MANFREDI
Lindsay Manfredi is a musician, author, TEDx speaker, and unapologetic truth-teller. As the bassist for the Two-Time, Gold Album-Selling rock band Cold, she’s performed across the U.S., bringing her high-energy stage presence and deep connection with audiences to every show. Offstage, she’s the author of the empowering guide Unfuckwithable: A Guide to Inspired Badassery, and her work blends raw personal storytelling with a mission to inspire resilience, self-worth, self-love, and authenticity.
Her new memoir, The Girl Who Cried Love: A Pivot to Self-Worth, is a fearless look at heartbreak, toxic relationship cycles, and the moment she decided to stop chasing love and start living it. With her signature mix of grit, vulnerability, and humor, Lindsay invites readers to reclaim their power and remember the magic they’ve had all along.
She is passionate about using her platform to spark conversations that help people heal and step fully into their worth — and she’s ready to bring that energy to podcasts, interviews, and, ultimately, stages around the world.
To learn more about Lindsay Manfredi, visit www.lindsaymanfredi.com.
Follow Lindsay Manfredi on Instagram @lindsaymanfredi
KILLCODE Rises Strong with New Video for “One Trick Pony”
The Poignant Vignette Weaves Themes of Family, Community, and Remembrance, Honoring Both Those Who Have Stood Beside the Band and Those No Longer Here
New York, NY – [September 5, 2025] – Hard rock heavyweights KILLCODE have unleashed the official video for “One Trick Pony,” a fierce new anthem for anyone who’s ever been counted out, underestimated, or overlooked. Available now at “One Trick Pony” Official Video, the band says that while the song itself set the tone, the true inspiration behind the video came from those closest to the band.
“The real inspiration came from the people around us—friends, family, and even the ones we’ve lost,” said KILLCODE Vocalist/Frontman Tom Morrissey. “It’s all about celebrating that spirit while keeping the raw energy KILLCODE has always had.”
Unlike past videos, “One Trick Pony” carries a deeply personal touch. Beyond showcasing the band’s powerful presence, it weaves in themes of family, community, and remembrance, honoring both those who have stood beside them and those no longer here.
To bring this vision to life, KILLCODE partnered with James Callahan and the team at Camp Rattler, longtime creative collaborators. “Like David Swajeski, who directed our past videos, James and the Camp Rattler crew are like family to us,” said Morrissey. “They previously directed the lyric video for our song ‘New Superman,’ and just like then, they brought the same vision and edge to this project. They understand the heart behind it. It wasn’t just about shooting a video—it was about creating an experience together.”
With “One Trick Pony,” KILLCODE hopes fans walk away with more than just a visual companion to the song. “This is bigger than just a single or a video,” the band emphasized. “It’s about connection—friends, family, the people we’ve lost, and the energy we all carry forward together.”
To learn more about KILLCODE, visit http://killcode.net
Follow KILLCODE at:
Facebook:
https://www.facebook.com/KillcodeOfficial/
YouTube:
https://www.youtube.com/@KillCodeBand
Reverb Nation:
https://www.reverbnation.com/killcode
A Hopeless Mission of Hope
Blueprint Tokyo’s 2025 album Neon Circuits and the Mission of Hope is a fascinating listen that completely subverts the expectations of an unsuspecting audience. The name of the band combined with the album title leads one to believe that this album would be a techno, rave, house music, or any other modern electronic sound genre but what it actually is. Even the first few notes of the first track, “Say Anything,” mislead the listener, and once they move past this, the sound is shocking in a great way.
This talented group has blended a modern alternative pop with classic rock roots and created a sound that can resonate with all kinds of people. The instrumental background lines up more with an alternative sound, while the raspy vocals give off the vibe of a folk rock group, and this contradiction blends surprisingly well into a modern tone. Not only does this contradiction work in terms of sound, it also works in terms of theme, in that the so-called “Mission of Hope” comes through in the more positive background, while many of the lyrics are more hopeless, ironically. Much of the lyrics are a desperate call for help from an unknown source, and it is tragically beautiful that their mission of hope is never achieved.
This up and coming band from Oklahoma City should be on everyone’s radar, regardless of what your cup of tea is musically. In an album of sixteen songs, there is truly something for everyone. The introspective, anthemic track, “Stranger Things,” is there for those going through heartbreak and needing a powerful song, “Connected Lines” is there for those who want some 80s nostalgia combined with a modern sound, and the whole album is there for those on their own missions of hope.
The chemistry that Blueprint Tokyo has makes for a seamless combination of genres that would be difficult for most groups to pull off. The raspy, gritty vocals combine with instrumentals from every decade from the 80s on into an emotional journey that remains open ended, even in the album’s conclusion. It is safe to say that Blueprint Tokyo is not going anywhere but up, and with their creativity, there is so much room to grow and even more music bending sounds to explore. They have an exciting, longing sound that is exactly what music needs.
Written by Logan Duffett
Mark Wilson’s “Carry Me On” Captures Life’s Turning Points
Mark Wilson’s “Carry Me On” captures the feeling of a journey—both literal and emotional—set against a backdrop that blends rock with singer-songwriter roots. Wilson draws listeners in with warmth and sincerity, sharing a story of cruising the open road, carrying the weight of the day, and pausing in those fragile moments that make us think about what really matters.
The song kicks off with Wilson leaving, headed up Highway 95, setting a scene that’s familiar to anyone who’s spent time on the road. It’s neither flashy nor complicated—just honest, straightforward storytelling grounded in personal experience. This simplicity is one of the song’s charms – Mark’s voice carries a comfortable roughness, an authenticity that immediately makes you lean in. There’s no over-singing here, just a calm but expressive delivery that feels like a friend speaking to you.
“Carry Me On” is tight and well-crafted. The production is professional without feeling sterile—each instrument has space, yet everything blends seamlessly. The guitars have a warm, ringing tone that complements the steady pulse of the drums and bass. The arrangement moves with purpose, building gently in the verses, then opening up in the chorus to create a sense of lift without overwhelming the listener. This mix of clarity and warmth keeps the song approachable and relatable, a sound rooted in classic rock but with a fresh, modern touch.
The track also shines with its grounded storytelling. It’s about the moments that shake us awake. When Wilson describes approaching flashing yellow and red lights, a wreck on the road, the experience is vivid and immediate. But it’s more than a cautionary tale – the wreckage serves as a metaphor for life’s bigger questions. The chorus, repeating the line “Who will carry me on? Who will play all my songs?” echoes the kind of uncertainty we all feel about legacy, support, and the future. It’s a simple refrain, but one that lingers in your mind because of how honestly it’s presented.
“Carry Me On” balances reflection with accessibility. The questions Wilson asks himself in the song—about balancing wrongs, following dreams, and living ethically—feel fresh and relatable, not preachy. And rather than getting bogged down in existential weight, the song keeps moving with a rhythm that feels like progress, a steady push forward despite the doubts.
There’s a real human element here, too, in the way the song portrays vulnerability without losing strength. When Wilson talks about waking from a bad dream or feeling a sudden shake on his bike, it’s a moment of reckoning. The music underscores this with a subtle build and release, mirroring the rise and fall of tension in the narrative. By the end, “Carry Me On” offers a kind of comfort—an invitation to slow down, take stock, and lean on others when needed.
“Carry Me On” fits effortlessly into Mark Wilson’s broader work, showing the evolution of an artist who isn’t afraid to write honestly about life’s ups and downs while delivering songs that sound good and feel real. The track’s production quality affirms that Wilson has a clear vision and the skills to bring it to life in a way that stands out in today’s often over-polished music scene.
For anyone who’s ever been on the road, faced a tough moment, or just needed a musical reminder to stop rushing and pay attention to life, “Carry Me On” offers something genuine and reassuring. It’s a companion for the journey, delivered with heart, craft, and a sense of honest reflection that makes it well worth hearing again and again.
https://music.apple.com/us/song/carry-me-on/1834217586
Young G Freezy Presents ‘robot funk electrik punk’
Young G Freezy is a dynamic music producer and visionary whose creative contributions span both film and music industries. Young G Freezy is the founder of Freezy Music Capital, a label for music and publishing.
With a distinct flair for blending genres, he has carved out a niche with his groundbreaking production work, particularly in his self-created genre, Rapzilly. This innovative genre combines elements of rap with zesty, experimental sounds, creating a fresh, energetic style that has captured the attention of listeners and critics alike.
https://www.youtube.com/watch?v=rem_fIyxfpg
Carried Away: Elvira Kalnik Finds Truth in the Flow of ‘Water Knows’
There are songs you hear, and there are songs you experience. Elvira Kalnik’s “Water Knows” belongs firmly in the latter camp. It’s not simply a track you stream on a passing playlist; it’s an immersion, an elemental reminder of how art can mirror the turbulence of the soul and the calm that follows when you finally let go.
Elvira Kalnik has always been an artist of fearless invention, blending opera with jungle beats and fashion with soundscapes. With “Water Knows,” she takes that ambition inward, writing from a place of stress, surrender, and transformation. The result is a deep house tapestry woven with threads of jazz, dance, and spiritual meditation. The trumpet calls out like a beacon in the fog, the synths swell like ocean currents, and her voice — part confessional, part prayer — guides you through the uncertainty of being human.
The lyrics read like a meditation journal left open for us to find. “There are so many questions, but answers only water knows,” she sings, and suddenly the metaphor crystallizes: water as truth, as healer, as the element that carries away what we can no longer hold. Her delivery is both vulnerable and commanding, as if she’s learned the lesson herself and now passes it forward.
https://www.youtube.com/watch?v=ED_xz4ZMqA0
What makes this song resonate isn’t just the innovative production or the seamless genre-crossing — it’s the sincerity. You believe her when she admits there’s no undo button in life, no second takes. You believe her when she releases her emotions into the current of sound. And as a listener, you find yourself doing the same, allowing the music to cleanse and carry whatever weight you’ve been holding.
“Water Knows” isn’t just about escape; it’s about acceptance. It’s about honoring the mess, the questions, and the absence of certainty. Elvira Kalnik has given us not only a track to move to but a soundtrack for personal reckoning, the kind you return to when you need to remember that surrender can be its own form of strength.
In the end, “Water Knows” is less about genre and more about humanity. It’s a sonic baptism — one you didn’t know you needed until the final notes recede, leaving you cleansed, contemplative, and strangely renewed. Elvira Kalnik hasn’t just made another song; she’s created a reminder that even in chaos, beauty still flows.
–Lonnie Nabors
Double G Releases Emotional Music Video “Blink of an Eye” – A Tribute and a Wake Up Call
Baltimore based hip hop artist Double G has released his powerful new music video “Blink of an Eye” which is a raw and emotional tribute inspired by the loss of a family member who struggled with substance abuse and the pain of going down the wrong path.
“Blink of an Eye” is more than just a song. Double G channels his grief and experience into an honest artistic expression, shining light on the struggles of addiction and the impact it leaves on loved ones. The video captures the heartache of loss while delivering a message of awareness and reflection.
“This was my way of telling their story in the only way I know how, through music,” says Double G. “I wanted to honor their memory but also create something that could resonate with anyone who has seen how quickly life can change in the blink of an eye.”
The release continues Double G’s reputation for blending personal storytelling with hard hitting relatable lyricism. Known for turning life experiences into songs that connect with listeners on a deeper level, he uses “Blink of an Eye” to spark conversations about choices, consequences, and healing.
The official video for “Blink of an Eye” is available on YouTube: Double G – “Blink Of An Eye”
For press inquiries, interviews, or additional information, please contact:
Double G
Email: doubleg410@gmail.com
Instagram: @DoubleG410
Rebecca DGD 5’s “Feels Like Rock’n Roll?”
Where do I begin with the strange genius of Rebecca DGD 5’s new single Feels Like Rock’n Roll? At the risk of presuming kindred association, a Billy Corgan quote comes to mind: “The deeper I get into my life as a musician, I’m discovering that it becomes less and less about other people, and more about what I want to do. And that’s a good place to be.” Such sentiments seem to perfectly compliment the nature of Feels Like Rock’n Roll, a controlled riff that has some of the strangest and most unlikely musical pairings of all time.
The opening starts with something of a sermon by Rebecca DGD 5, seemingly expressing in a sort of meta way her intentions with the song, right down to continuity with why the title is so decidedly plainspoken. “…Turn back to Jesus and Gospels of Truth/Thought there was enough then a Kissing Booth/Turns out, naugh, the dimples. Thanking God I outgrew the pimples,” she chants, with somewhat sneering undertone. Everything about the piece then takes a turn for the personal, with the chant steering away from nostalgic memories and personal sentiments to seemingly autobiographical and personal experience. It leaves one wondering what truly is being communicated at the heart of the track. Is this some sort of personal manifesto?
A story being told? Maybe some sort of social commentary wrapped up in the weirdest, most uncanny way? In the chorus, guest star Chago Williams bellows the titular “This feels like Rock’n’Roll,” yet the vocal expressions aren’t joyous. There’s a kind of a caustic sadness he’s able to bring with a visceral literality to the song. I’m not sure if this is entirely the right word, but there’s something almost mournful about the piece. Like the storytellers of the song’s narrative themes are looking back, not forward. The lyrics seem to imply some sort of regret, literal elements harkening back to the rebelliousness coming from growing up in a small town with Christian influence.
Patti Smith once said, “Sometimes you’re doing really well, then, after three or four years, everything inexplicably crashes like a house of cards and you have to rebuild it. It’s not like you get to a point where you’re all right for the rest of your life.” She also said, “Grief starts to become indulgent, and it doesn’t serve anyone, and it’s painful. But if you transform it into remembrance, then you’re magnifying the person you lost and also giving something of that person to other people, so they can experience something of that person.” The song feels like it has undertones of both sentiments.
There’s the painful wisps of nostalgia at the beginning of the track, undulating into something that morphs into an almost empowered chant by the end. The image Feels Like Rock’n Roll conjured up in my mind was sitting at the local watering hole. Beer in hand, looking at my reflection in the large mirror behind the bar. Moving from the shadows of memory into the matter-of-factness of present. The song would do well to be played in that sort of ambience. All in all while by no means a refined act, I’ll look forward because of aforementioned quality to what Rebecca DGD 5 does next.
Gwen Waggoner
How Roofing Agencies Develop Targeted Marketing Campaigns
Marketing is effective only when roofing agencies can reach the target audience. Understanding how these agencies build specific campaigns that resonate can be particularly helpful. In this post, I will share the process of developing effective marketing strategies that are unique to clients.
Identifying the Target Audience
Identifying the audience before you can build a focused marketing campaign is essential. One of the main focus points of even Roofing Digital Marketing Agencies is getting to know their potential clients and their preferences regarding roofing. This demographic breakdown might include age, location, and income. By identifying these traits, agencies can adapt their messaging to target specific audiences.
Conducting Market Research
In-depth market research is crucial. Roofing agencies collect and compile data on various trends and behaviors to note both what people want and what they are doing. It informs us about what prospective clients are seeking in a roofing service. This information is often obtained through surveys, interviews, and analyzing online behavior. Agencies can leverage insights acquired through thorough research to discover which needs are not yet met and gain a competitive advantage.
Crafting a Unique Selling Proposition
A roofing agency stands out from the competition through its unique selling proposition (USP), which showcases the uniqueness of its services. Creating a USP includes finding and matching the agency’s strengths with the clients’ needs. The marketing message is built on this proposition. It has to be direct and to the point with a touch of flair to get them curious.
Developing Compelling Content
Marketing campaigns heavily depend on content. Roofing agencies develop relevant and exceptional content that provides solutions to your target audience and addresses their specific needs. These are examples of blog posts, videos, and social media posts. The content should be a valuable resource, answer your readers’ questions, and demonstrate the agency’s expertise. This creates trust with potential clients and motivates them to seek more information on the services provided.
Choosing the Right Marketing Channels
Marketing platforms must be chosen because that is where the audience will be found. Roofing agencies study where their target audience hangs out. This could be social media, search engines, or local directories. This allows agencies to channel their efforts more efficiently towards reaching the correct audience.
Utilizing Social Media Platforms
The ability to find your ideal clients on social media is significant. Roofing companies utilize these sites to share content, engage with followers, and market their services. For clicks and eyeballs, attractive visuals, customer testimonials, and project highlights are often displayed. Agencies have the chance to respond to questions almost instantaneously because social media is real-time.
Implementing Search Engine Optimization
Search engine optimization (SEO) is essential to a roofing agency’s online presence. By optimizing website content with the appropriate keywords, agencies can rank higher in search results, boosting the likelihood of attracting potential customers looking for roofing services. SEO involves a range of tasks, such as optimizing website structure (Website Architecture), improving page load speed, and acquiring high-quality backlinks.
Utilizing Pay-Per-Click Advertising
PPC advertising is one of the quickest ways for roofing agencies to reach a targeted audience. Agencies can show ads on certain search queries for roofing services through platforms like Google Ads. With instant visibility and the ability to work within your budget, this type of advertising gives agencies a clear edge. Agencies can track and change directed campaigns to get the most ROI.
Measuring and Analyzing Results
Tracking your marketing campaigns has been essential. Roofing agencies use analytics tools to assess the performance of their campaigns, which helps them get better ideas on leads. KPIs like web traffic, leads, and conversions are tracked. Agencies can identify the best metrics to optimize strategies, make data-driven decisions for campaigns, and work with data-driven insights.
Adapting to Changing Trends
Roofing agencies need to adapt to the changing marketing landscape. By tracking trends and consumer behavior, agencies can adapt. Being up-to-date means they can keep up with clients’ needs and retain a competitive edge.
Conclusion
By strategically building targeted marketing campaigns, roofing agencies focus on knowing their audience, writing a great message, and choosing the right media. These agencies can deliver impactful campaigns that drive success by establishing relationships and keeping up with trends. Familiarizing oneself with such techniques can provide key takeaways for businesses striving to improve their marketing.
The Earthly Frames Venture Into Bold Pop Territory on New Album Vanity Pressing – Out Monday, September 8th
The Earthly Frames Venture Into Bold Pop Territory on New Album Vanity Pressing – Out Monday, September 8th
RIYL: Of Montreal, Sufjan Stevens, St. Vincent
August 27th 2025 – Maryland experimental pop artist Gabriel Walsh, known as The Earthly Frames, continues to expand his sonic universe with Vanity Pressing, the latest installment in his decade-long Rainbow Table album series. The record arrives September 8, with the first single “Gallows Girls” out now and the second single “Birthday Effect” releasing this week.
Marking a daring shift into accessible pop without losing his signature experimental edge, Vanity Pressing examines “the double edged nature of solipsism, the tension between depression and aggrandizement.” The album features contributions from
vocalists Shirley Kudirka, Aloysius Fortune, Katherine Koherence, Busayo Oninla, and longtime collaborator Graham Hopkins on drums. Mastered by Timothy Stollenwerk, the project blends synthetic textures with organic instrumentation for what critics call “hypnotic, energetic, and unlike anything you’ve heard before.”
The lead single “Gallows Girls” featuring Busayo Oninla showcases Walsh’s retro futuristic pop instincts, while “Birthday Effect” (out August 27) highlights Shirley Kudirka’s ethereal vocals against lush, layered production. Together, these tracks
preview a full album that’s as accessible as it is complex, an artistic leap forward in the
Rainbow Table’s violet chapter.
PREVIEW VANITY PRESSING – HERE
ABOUT THE EARTHLY FRAMES:
Maryland based Gabriel Walsh has been creating music as The Earthly Frames since the mid 1990s, building a catalog that blends retro and modern styles, meticulous craftsmanship, and fearless experimentation. His ongoing Rainbow Table series seeks to create a full length LP for each color in the ROYGBIV spectrum. Following the indigo themed Infranyms (2022), Vanity Pressing represents the violet spectrum and his boldest statement yet, an album that bridges avant garde sensibilities and hook laden pop.
ABOUT THE SINGLES:
“Gallows Girls”
Release Date: August 15, 2025 LISTEN HERE
“Birthday Effect”
Release Date: August 27, 2025
VANITY PRESSING
Album Release Date: September 8, 2025
THE EARTHLY FRAMES ONLINE: INSTAGRAM | YOUTUBE
G’sta Releases “#IWin”
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Max Chaos Releases “Ride the Wave”
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RAVE ON: JOE AVERAGE RETURN WITH “PANIC BUTTONS” — A TRACK 35 YEARS IN THE MAKING
RAVE ON: JOE AVERAGE RETURN WITH “PANIC BUTTONS” — A TRACK 35 YEARS IN THE MAKING
Band : Joe Average feat Mad Mick ( 1990 Infinity) + FABER
Lead Single: Panic Buttons
Release Date: July 8th 2025
Panic Buttons Spotify Streaming Radio Edit Link
Brighton-based electronic act Joe Average exploded back onto the scene with their first official release since the early ’90s — a pulsating new single titled “Panic Buttons”, out July 8, 2025. The track brings together original members Rich, Mad Mick, and Prof, reunited by a string of near-supernatural coincidences and a shared belief that the music they shelved decades ago still hits hard today.
Back in the late 1980s, the trio were part of a band performing across legendary London venues like Hammersmith Palais and Hippodrome, riding the earliest wave of the UK rave scene. Josh’s anthem “Infinity” was a massive hit, driven by Mad Mick’s unforgettable sax line — a haunting melody that became an underground classic.Fast forward to Friday the 13th of October 2023 — exactly 34 years to the day of their final gig — when Rich and Mick met again. “It was like the universe was telling us to finish what we started,” Rich says. And so began the quest to find Prof, the band’s original keyboardist. After following a longshot lead to a church in northeast London, Rich found him — quite literally standing in the same rave top he wore in 1989. The reunion was bizarre, magical, and emotional.
The result? “Panic Buttons”, a re-energised anthem that blends old-school rave with modern production and an edgy vocal performance by rising talent Faber, who brings raw soul and fierce attitude to the mix. Produced by Rich, the track features live drums, Mick’s signature saxophone, and Prof’s melodic undercurrents — capturing the spirit of the early rave era with fresh intensity.
The journey back has been deeply personal. Rich, who once had to stop drumming after a serious motorcycle accident, went on to build a globally successful motorcycle exhaust brand and even constructed his own house. But the fire for music never left — and “Panic Buttons” marks a full-circle moment.
This isn’t just a reunion. It’s a resurrection.
Let the rave begin.
Viral U.S. Rockers DEAD CITY EMPIRE Set Sights on UK and Europe After Run Lola Run Breakthrough
Viral U.S. Rockers DEAD CITY EMPIRE Set Sights on UK and Europe After Run Lola Run Breakthrough
Artist : Dead City Empire
Single: Run Lola Run
Release Date: Out Now
Run Lola Run Spotify Streaming Link
Explosive rock outfit DEAD CITY EMPIRE are making waves beyond the U.S., with their viral hit Run Lola Run sparking attention overseas and paving the way for their next major move – a brand new video and plans to conquer the UK and European rock scenes.
Fronted by dynamic lead singer Sky Lennon, whose charisma drives the band’s raw energy, DEAD CITY EMPIRE also features powerhouse drummer Kenny Kaos, an avid MMA practitioner whose relentless spirit matches his pounding rhythms.
The band’s long-awaited debut album, Night Parade, is the culmination of years of dedication, blending raw energy, dynamic riffs, and storytelling rooted in their diverse cultural background – Native American, white, Black, and Asian heritage – and shaped by an unshakable belief in perseverance.
With a headline hometown show that truly smashed it on August 20, 2025 at The Pocket, Washington, D.C., the band is also in discussions for live performances across Europe.
Their viral single Run Lola Run has already started the buzz.
“We want to connect with new audiences and share our music on stages across the UK and EU,” says Kaos. “This is about building a global rock family.”
Follow Dead City Empire
Instagram: https://www.instagram.com/
Facebook: https://www.facebook.com/
Twitter: https://x.com/dcempirenews
Spotify: https://open.spotify.com/intl-
Youtube: https://www.youtube.com/@
European Youtube: https://www.youtube.com/@
