GABBY B EMBRACES FEMININE POWER AND PLAYFUL CONFIDENCE ON NEW SINGLE “PLAYBOY BUNNY”

Miami-based Brazilian pop artist Gabby B returns with her boldest statement yet, the infectious new single “Playboy Bunny,” an empowering anthem of self-confidence, sensuality, and unstoppable energy. Seamlessly blending Brazilian Funk, Reggaeton, and Latin Pop, the track captures Gabby’s signature mix of fiery charisma and fearless individuality.

Produced with her trademark flair for high-energy beats and captivating hooks, “Playboy Bunny” celebrates the power of femininity and the freedom to own who you are, inside and out. With its unapologetic message and playful edge, the song invites listeners to embrace their confidence and step fully into the spotlight.

The official “Playboy Bunny” music video brings the song’s message to life in a glamorous, cinematic world of empowerment and allure, showcasing Gabby’s dynamic performance and international star power.

Watch the full music video for “Playboy Bunny” – HERE!

“For me, Playboy Bunny is about confidence and attitude. Says Gabby. It’s that moment where you just feel good, do you, and don’t care what anyone else thinks.” “I wanted to make something that feels fun and powerful at the same time. ‘Playboy Bunny’ is about turning that confident energy into a vibe you can dance to.”

Adding to its momentum, “Playboy Bunny” is currently being featured by DJ Laz on Pitbull’s Globalization (SiriusXM), airing multiple times over the next several weeks and reaching fans around the world.

Gabby B continues to rise as one of the most vibrant and versatile voices in the global pop scene. Her bilingual artistry and magnetic energy have earned her international recognition, with singles charting in eight countries including the US, UK, Puerto Rico, Portugal, Japan, Italy, China, and South Africa, and viral videos that have collectively amassed millions of views across platforms.

A dynamic performer fluent in English, French, Portuguese, and Spanish, Gabby has shared the stage with artists like Iza, Flo Rida, Ja Rule, and Justina Valentine, and has appeared at major events such as the Stonewall Pride Festival and Y100.7’s Jingle Ball Tour in Miami. She’s also performed the National Anthem for the Miami Heat and Chicago Bulls multiple times, cementing her reputation as a powerhouse entertainer.

From her breakout single “Leche,” which peaked at #22 on the iTunes Italy Latino Chart and #6 in Japan, to her EP “XOXO,” and now “Playboy Bunny,” Gabby B continues to push boundaries, fusing cultures, genres, and languages into a sound that is entirely her own.

With “Playboy Bunny,” she invites fans everywhere to tap into their confidence, celebrate their uniqueness, and never apologize for shining.

GABBY B ONLINE:

Whitney Lyman on “Becoming You”: Embracing Growth, Timeless Sound, and the Freedom of Self-Discovery

With her upcoming EP Becoming You, Whitney Lyman invites listeners on a transformative musical journey that blurs the lines between introspection and empowerment. Written and produced in collaboration with acclaimed artist and producer Cherish Alexander, the record captures a natural evolution of sound and spirit – from the soulful reflection of “Undoing” to the grounding strength of “Solid Ground.” 

Whitney opens up about the creative process behind Becoming You, the magic of collaboration, and how performing live continues to shape her ever-evolving artistic identity.

Of course! Here’s the same interview, cleanly formatted without numbers, for a polished, professional presentation suitable for publication or web posting:

What initially inspired you to write your upcoming EP, “Becoming You”?
It was initially inspired by first meeting up with artist and producer Cherish Alexander for some songwriting sessions in Los Angeles. Starting with one song that led to a full EP because we worked well together and loved how the music was turning out. The subject matter resonated with both of us, and it made sense to keep going and release the songs as an album.

The EP title suggests a process rather than a fixed identity. How has your sense of “becoming” evolved?
As humans, I think we often get consumed in what our external identity is and how the world sees us, but tend to neglect the inner workings and what is most important to us at the end of the day. The more we understand ourselves individually, the more we can move from a place of inner truth. I spend a lot of time trying to get to know myself better, and then I can contribute to the world even more from a place of fulfillment.

The songs move between introspection and empowerment — from “Undoing” to “Solid Ground.” How intentional was that emotional arc when you began writing, or did it naturally emerge as the songs took shape?
It is a natural progression when you’re writing about what you are going through and diving deeper into those thoughts and feelings. We realize that all humans go through a very similar arc in life — such as the hero’s journey — from setting out on the adventure to the dark night of the soul, leading to self-realization and victory in the end, shedding the person we once were and stepping into our evolved self. There’s a reason these archetypes exist to begin with; we are all very much the same.

You’ve described “Supermoon” as being inspired by your time in North Wales. How did that setting influence the song’s storytelling and sound? The song was actually written long before I went to North Wales, and when I got there it seemed to be a perfect soundtrack for the setting, given the history and folklore of the area. So much so that I filmed the music video for “Supermoon” there, and it matched beautifully with the themes described in the song — forests, knights, castles, and dragons. The song sounds quite mysterious and magical too — dreamy and cinematic.

There’s a nostalgic quality throughout the EP that nods to artists like Fleetwood Mac and Sheryl Crow. What does “timelessness” mean to you in your songwriting?
Timelessness to me means the music could have come out decades ago or been released this year, and you still enjoy listening to it just as much — and for years to come it doesn’t lose its appeal. Fleetwood Mac and Sheryl Crow are artists I’ve loved since I was a kid because my parents listened to them, yet they are still very popular and current today. I think the music that resonates the most with people is usually something that sounds familiar yet brand new, and we are always building upon what came before. Even Mozart composed that way, referencing his influences — and his music is still popular and relevant hundreds of years later.

You collaborated closely with producer Cherish Alexander, who has worked with icons like Cyndi Lauper and Josie Cotton. How did that partnership shape the sonic and emotional landscape of “Becoming You”?
It definitely brought some of the nostalgic sounds you can hear in the album that are still timeless and relevant today. Cherish had started with the seed of the initial songs and also played many of the instruments on the album, as well as producing it. Everything we wrote resonated deeply with me on an emotional level, and I think that really comes out in my vocal delivery. Ultimately, we captured a gentle yet powerful vibe.

What inspired you to revisit “Solid Ground” and “Supermoon” in a stripped, orchestral form?
What inspired it was my long-time friend and collaborator’s gorgeous string arrangements he recorded for those two songs. They were so beautiful they deserved to have their own featured moment as orchestral versions. It’s nice to have different versions of songs too, as they can evoke different emotions.

You’re heading out on a UK tour this autumn. Are you looking forward to performing the songs live, and if so, why? How does performing live differ for you personally compared to recording?
I am currently in the UK and in the middle of my tour now. I’ve already performed in Wirral near Liverpool, and Colwyn Bay and Wrexham, North Wales — where I got my start in the UK. I have a few shows left on the tour, including an EP release show at Telford’s Warehouse in Chester on the 26th of October, and I’ve just added another full-band show at The Parish in Wrexham on Halloween.

This tour is a mix of solo and full-band shows, each with their own unique qualities. I’m also doing some recording sessions to finish up the next album I’ve been working on with each visit to the UK over the past year. Recording is definitely a different process than playing live, but they go hand in hand. Some songs are recorded before they are played live, and some are recorded after performing them for a while — they can evolve over time, which makes them even better.

The goal is to get the best possible result when recording, which is why it can take a lot of time and patience to get it just right. Performing live also takes discipline because you have one chance to get it right in that moment. Both are important to evolving as an artist, and both are processes I truly enjoy.

You’ve mentioned that “Becoming You” marks a new chapter in your creative life. How do you envision the next phase of your evolution as an artist? Becoming You has been a great way to get new music out into the world after a long period of not releasing or writing anything new during the world-changing events of 2020. It was a hard time for everyone, and creating this music with collaborators was very healing and inspiring during that difficult period. I see it as a moment that helped me move forward — and maybe it can do that for others, too.

The next phase is to keep building from this, to keep writing new music as much as possible — because it keeps getting better! Hopefully, I can reach even wider audiences and make a difference in the world.

Finally — if you could summarize “Becoming You” in one sentence, not as an album but as a feeling — what would it be?
Becoming You is the feeling of freedom in learning and knowing who you are, and staying true to that as you continue to evolve and find meaning in the journey of life.

Listen To Whitney Lyman 

Katya Redpath’s Five-Song Journey Bridges Continents and Genres

Every once in a while, a songwriter arrives whose music feels like an open passport. Austin-based artist Katya Redpath brings that kind of perspective to her recent run of singles, Edge of Town, So Easy, Wave, Sueño de Samba, and Zanzibar. Together, they trace a map of influences and emotions that highlight her natural versatility and seasoned craft.

Edge of Town starts the journey on familiar terrain, its rootsy guitars and confessional tone recalling the storytelling depth of Jason Isbell or Melissa Etheridge. There’s strength in her restraint; Redpath never oversings, allowing the lyric to breathe and the rhythm to drive the emotion. So Easy follows with a lighter touch, a shimmering pop-Americana blend where her phrasing dances around the melody like someone savoring a long-awaited exhale.

With Wave, Redpath channels reflective optimism. The song feels like the calm after a storm, carried by a rolling rhythm and a melody that lands somewhere between Sheryl Crow’s warmth and KT Tunstall’s melodic edge. It’s music that lifts the spirit without forcing sentimentality.

– https://open.spotify.com/artist/18hsBBUGVe4O1PD8o7JutR

Then comes the turn toward global color. Sueño de Samba infuses Latin rhythm into her storytelling. The track is elegant and sensual but never showy, blending samba and bossa nova textures with accessible pop songwriting. It’s the kind of cross-cultural gem that could easily find a home on both world-music and adult-contemporary playlists.

Finally, Zanzibar takes the listener abroad in the most literal sense. Its joyful repetition and playful chorus, “taking the ferry to Zanzibar” transform geography into celebration. You can almost feel the salt air and motion of the sea as the song unfolds.

Across these five tracks, Katya Redpath proves she’s an artist without borders. Her voice is steady, her writing confident, and her perspective refreshingly wide. Whether she’s playing a Texas roadhouse or a coastal café half a world away, her music speaks a universal language: connection.

https://www.katyaredpath.com

Rock with a Positive Vibe – Mark Winters

Texas-based artist Mark Winters isn’t your typical rock musician, he’s a poet, entrepreneur, and rocket scientist who writes songs that lift the spirit. What began as a simple anniversary song for his wife evolved into a journey of connection through music. Blending rock, pop, and blues influences, Mark’s sound is both hopeful and heartfelt, infused with poetic precision and scientific curiosity. With his new release Boundary Layer, he invites listeners to break free of life’s constraints and embrace motion, creativity, and optimism, proving that art and science share the same spark of discovery.

A witty poet, passionate musician, optimist, and family man, Mark Winters has built a career defined by creativity and purpose. He combines his love of poetry, science, and community to form his signature sound, which he calls “rock with a positive vibe.” Influenced by artists like John Mayer, Tom Petty, and Jason Mraz, Mark writes songs that reflect both intellect and emotion.

“My music starts from a place of poetry and creative inspiration,” he explains, “and I use my ‘rocket-scientist brain’ to find structures that help me explore that initial burst of inspiration and feeling, like writing haikus, my favorite!” It’s a process inspired by his grandmother, who first encouraged him to express himself through poetry.

Armed with a degree in Aerospace Engineering, Mark approaches songwriting with the same curiosity he once applied to flight dynamics, turning complex emotions into melodies that are easy to understand and deeply felt. Since his 2019 debut album Slipstream, he’s earned critical praise, landed on hundreds of playlists, and surpassed a million streams worldwide. His latest single, Velocity, continues that upward momentum.

Boundary Layer pays tribute to those who helped Mark push past his own limits and pursue the person he was meant to be. The title references the point in physics where motion begins, a fitting metaphor for his mission to help others move forward in their own lives through connection and creativity.

Beyond music, Mark and his wife devote time to mentoring young entrepreneurs and supporting philanthropic organizations throughout the Houston area. His life and art are guided by the same principles, optimism, curiosity, and generosity.

Mark Winters continues to bring his message of optimism and motion to audiences nationwide. His performances radiate warmth, intellect, and heartfelt connection, proof that art, like science, can propel us all forward.

https://markwintersmusic.com

Behind the Beat: The Genius of Juice Tha Black Beethoven’s ‘Ghoulish Gitdown’

When a track grooves this hard and still feels family-friendly, you know the producer behind it is operating on another level. “Ghoulish Gitdown,” the latest release from Juice Tha Black Beethoven, is a masterclass in musical architecture, a hybrid of pop, hip-hop, and R&B wrapped in a Halloween party anthem that hits all ages with equal force.

Underneath the playful lyrics lies a tight rhythmic structure. Syncopated handclaps, call-and-response chants, and minor-key modulations keep the energy climbing throughout. Juice’s classical training in piano and theory gives the track its refined harmonic movement, while his R&B instincts keep it grounded in pure groove. The bridge alone, with its soulful chord lifts and bluesy vocal phrasing, is a reminder that true musicianship never goes out of style.

Born in New Orleans and raised in Cleveland, Juice is a product of two great American music cities. He studied piano from childhood, graduated from Miami University with a Bachelor of Music, and earned early acclaim when Gloria Gaynor recorded his composition “Strive.” That background shows here: “Ghoulish Gitdown” is expertly balanced between technical precision and unfiltered fun.

This isn’t a novelty song, it’s a carefully crafted, radio-ready record that just happens to celebrate Halloween. With its accessible hook, bouncy beat, and perfectly sequenced modulations, it’s the kind of track that producers love dissecting and fans love dancing to. Juice Tha Black Beethoven proves once again that sophistication and soul can coexist, even when you’re rapping about ghouls. Streaming now!

https://juicethablackbeethoven.com

How Game Developers Could Use Music to Redefine Aviator’s Experience

Sound has been an essential element in online gaming, often undervalued for its role in the experience. When it comes to titles where speed, adrenaline, and timing are the keys to success, such as Aviator, which is a crash-style game, where timing, intuition, and nerve play a crucial role, you can change the very concept of playing the game with music. The integration of sound and strategy might mark a new step in the greater development of the Aviator world, as developers strive to ensure people remain engaged in increasingly complex ways.

Music can be used to enhance emotion, create tension, and guide player behaviour when incorporated carefully. It can turn a mere increase in the multiplier into a scene of danger and gain. In the case of platforms, where the game will be hosted, like betway aviator, this opens up an exclusive opportunity: not only to revise the gameplay, but also to revise the experience.

The Rhythm of Risk

The gameplay of Aviator is very misleading: the player controls a plane that rises with a multiplier, and they need to collect their cash before it hits the ground. Every second is full of hope and fear, an increased heartbeat reflected in the game’s minimalist graphics. However, there is depth of emotion just below this plainness that can be excavated with music.

Music is the only thing that can reach a player’s subconscious and influence their emotions without telling them what to feel. Suppose a developing soundtrack that is as intense as the flight: subtle, background music at take-off, more intense as the multiplier, then a sharp decrease in sound when the plane is gone. These clues would cause an almost physical association between danger and the beat, heightening the visage with each second.

The developers might even test adaptive audio, which dynamically adjusts the music based on the player’s choices. This would make each round feel more personal when playing on platforms like Betway Aviator. Gamers would discover that the high-risk approach yields melodramatic, cinematic peaks, whereas the safe approach yields less melodramatic, tactical peaks. Such minute changes in music might re-create the emotional texture of every flight.

Sound Design: Emotional Velocity

Classical casino games are based on mechanical jingles and synthetic sounds to stimulate the release of dopamine. However, Aviator boasts a minimalist style that leaves the way open for further artistic expression. The developers can create a more immersive and meaningful experience by incorporating layered soundscapes that include rhythm, harmony, and silence.

Considering a low-frequency hum, which may be perceived as a heartbeat, may reflect a player’s internal tension as the plane gains altitude. The soundscape would shift to a symphony of rising sounds as the threat grows, representing both opportunity and threat. The music would fuel the gameplay as an emotional engine.

This would also enhance Aviator’s storytelling capabilities. The central metaphor of the game, flight and crash, could be musically reflected as a cycle of ascent and liberation. The build-up to the climb, the silence before the fall, and the catharsis resetting are all conducive to the dynamic audio story. By doing so, the betting experience on Betway Aviator may not feel like a traditional gambling game but more like an event where people can actively engage and experience a living, breathing performance.

The Future of Audio in Gaming: Personalisation

Just one of the most promising advances in the gaming industry is the idea of customised music. With data analytics and player behaviour tracking, developers can create music that fits a single mood and playstyle. A defensive player may have a relaxing, ambient sound to help them concentrate, while a player who takes risks may have high-energy electronic music to increase adrenaline.

In the case of Betway Aviator, music personalisation should be considered a strong retention tool. When players associate specific sounds with their personal gaming trends and feelings, the process becomes very personal—almost religious. Even music can serve as a feedback mechanism to implicitly stimulate improved decision-making by rewarding patience or warning of risk through tonal changes.

The possibility of AI-generated music adds another layer of innovation. The machine learning algorithms would be able to generate original tracks on the fly based on a player’s play or betting tempo. The sessions may include a unique soundtrack that prevents two games from sounding identical. This type of emotional personalisation would take Aviator further away from its minimalist roots and make it more of an art form than a game.

Creating a Sense of Flow

Any gamer is familiar with the feeling of flow —the state of complete immersion when time ceases to exist and all actions become instinctive. One of the most effective means of achieving this state is music, which aligns rhythm with action and emotion. In games such as Aviator, where every decision is made within a fraction of a second, music might help guide participants into this state of mind.

Developers could use pacing, rhythm, and silence to reflect the natural ebb and flow of risk. Quick, repeating beats might correspond to a player’s pulse during moments of increasing tension and heightened concentration. The sound suddenly cuts out when the plane crashes, giving some time to think before the next round. This rhythmic arrangement makes the gameplay a meditative experience, helping players stay grounded even in moments of excitement.

Simple graphics and profound sound effects may be the recipe for Betway Aviator, providing a gaming experience unlike any crash game, making it both exciting and thought-provoking.

In the case of betway aviator and other websites of its kind, this practice is the logical evolution of the idea: combining art and the game to generate an emotion that lasts much longer than a single gaming session. In the world of digital, where there is no end to the choices to make, it is not only the victories in the next round that matter, but also experiencing every moment of the process.

Zackwa Did it Again Unveils Bold New Album “The Scarlet Room” — A Soul-Stirring Fusion of Hip-Hop, Funk, and Rock

Multi-talented artist Zackwa Did it Again is set to release his highly anticipated album The Scarlet Room on November 17, 2025 — a genre-blending journey that channels the energy of Jimi Hendrix, the soul of Prince, and the lyrical wisdom of J. Cole.

With its infectious grooves, raw emotion, and inspirational messages, The Scarlet Room delivers a powerful experience rooted in love, self-awareness, and divine connection. The album invites listeners to explore the deeper meanings of truth and compassion through music that’s both timeless and forward-thinking.

Lead singles “Heart on Alahayim” and “Keep the Commandments” showcase Zackwa’s signature sound — a blend of fiery guitar riffs, soulful melodies, and insightful lyrics that uplift the spirit while moving the body.

“Love is the greatest commandment,” says Zackwa Did it Again. “This album is my reminder to the world that truth, love, and unity are still the keys to freedom.”

Produced and performed entirely by Zackwa Did it Again, The Scarlet Room stands as a testament to the artist’s creative independence and visionary artistry.

Fans can pre-download or pre-save the album now at www.Zackwadiditagain.com. The Scarlet Room will be available on Spotify, Apple Music, and Bandcamp worldwide on November 17, 2025.

https://spotify.link/Ew4wuOioHXb

“He Made It All”: Dust and Grace’s Revival in a Rusted World

There’s a purity in He Made It All that feels almost subversive in an age of irony and algorithmic pop. Dust and Grace—bless their earnest hearts—don’t whisper about faith or tuck it neatly behind metaphor; they throw it down in the dirt and sunlight, let it breathe, and dare you not to feel something. In this world of digital detachment, their song is a hymn wrapped in denim, a gospel for the calloused-hand crowd who still believe the sacred might be hiding in the smell of wet grass or the laughter of a child.

The track opens like the sunrise—slow, certain, and glowing from the edges. Acoustic strums shimmer against a bassline that rolls steady as an old pickup on a backroad. You can almost hear the wood creak in the studio; the warmth feels lived-in. Then the vocals enter—strong, reverent, with just enough roughness to remind you this isn’t Nashville gloss. It’s Pennsylvania soil under the fingernails, it’s small-town devotion that never needed to be cool. The first line—“The stars in the sky, scattered and bright, like lanterns hung in the endless night”—lands not as poetry for poetry’s sake, but as testimony. These are lyrics that don’t just describe creation; they participate in it.

The song’s real power lies in how it reclaims awe. “He made it all, every leaf, every stone,” the chorus insists, not with sermonizing weight but with a disarming, almost childlike wonder. There’s no fear of judgment here, only gratitude so big it spills into melody. The harmonies swell like an open congregation, handclaps in the spirit of shared recognition. It’s not “worship” in the radio-safe sense—it’s primal, communal, and beautifully human.

You could argue He Made It All is a risk in 2025’s musical landscape. It’s unashamedly spiritual, un-ironic, and devoid of the cynicism that oils most pop machinery. But that’s precisely what makes it work. Dust and Grace are not trying to convert anyone—they’re testifying. And like any great testimony, it doesn’t need your agreement to find its power. It just needs your attention. There’s conviction in every syllable, and conviction is contagious.

Musically, the track rides the seam between country gospel and Americana—think early Stapleton with Sunday shoes, or if The Civil Wars had sung straight from the pew instead of the heartache motel. Producer Michael Stover keeps the arrangement uncluttered, letting every instrument breathe. The steel guitar sighs like a memory, the percussion soft as heartbeat prayer. And when that final refrain hits—“Yes, God made it all…”—you don’t feel preached to. You feel like you’ve been reminded of something you forgot somewhere between traffic jams and TikToks.

This is a holy racket for the soul-starved. He Made It All is a rebellion of reverence in a world allergic to sincerity. Dust and Grace aren’t reinventing the wheel—they’re reminding us who made it.

Five minutes later, the song fades out—but its light doesn’t. It lingers. And maybe that’s the point. He Made It All drops on October 31, 2025.

–Leslie Banks 

Whiskey, Wire, and the Ghost of Memphis: Cory M. Coons Channels the Raw Nerve of Rock’s Birthplace

There’s something perversely beautiful about a guy who’s been around the block long enough to know the game, yet still walks straight into Sun Studio with a guitar and a grin, daring to summon ghosts. That’s what Cory M. Coons does on The Sun Sessions, his new EP that sounds like it crawled out from under the floorboards where rock ’n’ roll itself was sweating in the dark. It’s not nostalgia; it’s resurrection. And not the pretty kind, either — this is dirt-under-the-nails, cigarette-in-the-ashtray, “let’s roll tape and see if the muse is drunk enough to dance” resurrection.

Coons, the Canadian troubadour with a knack for sincerity that should’ve gone extinct after 1974, strips everything back to the bone. No gloss, no digital Botox, no fancy studio trickery — just a man, a mic, and a reel-to-reel spinning like it’s 1956 and Elvis just left the building. The centerpiece here is “Crumbs ’24,” the 20th-anniversary remake of his 2004 song. Recorded live off the floor, it’s bare and beautiful — a tumbleweed hymn to time and persistence. You can hear the room breathing, the guitar wood groaning, the man himself teetering between reflection and rebirth. In a world addicted to quantized perfection, this kind of imperfection feels like oxygen.

https://www.youtube.com/watch?v=oya1wtRw4E4&pp=ygUcY29yeSBtIGNvb25zIG1lbXBoaXMgd2hpc2tleQ%3D%3D 

Then there’s “Memphis Whiskey Blues,” which might as well be the sound of Coons pouring his heart into a mason jar and sliding it down the bar to Muddy Waters’ ghost. It’s lazy in the best way — slouched, smoldering, sipping its own sadness. The lyrics aren’t reinventing the wheel (“I got them Memphis whiskey blues / I don’t know what to do”), but that’s the point. The blues were never about cleverness; they were about communion — that communion between a busted soul and a six-string that’s seen too much. Coons understands this in his bones, and he makes you feel it, too.

“Faded Glory (Land of the Free)” sharpens the political edge — the song aches for an America that might’ve existed only in myth but still stirs the blood when sung from a Memphis pulpit. And then there’s the audacity — or maybe the humility — to close with a Sun-soaked medley of “Hound Dog/Don’t Be Cruel.” Coons doesn’t try to out-Elvis Elvis; instead, he walks the same cracked tile floors and tips his hat to the King with a kind of reverent mischief. It’s not mimicry — it’s memory, played through calloused fingers and a voice that carries the weight of time.

The Sun Sessions isn’t perfect, thank God. It hums, it hisses, it wobbles — and that’s its glory. In an era where music sounds like it was printed by machine, Cory M. Coons reminds us that rock ’n’ roll was born out of sweat, tape, and grace. It was meant to be flawed. It was meant to be human. And somewhere in that famous little Memphis room, between the ghosts of Elvis, Cash, and Perkins, another songwriter just bled a little truth onto magnetic tape — and somehow, that’s still enough to feel alive.

– Leslie Banks

Craig Greenberg Brings Boogie Woogie Joy On New Single “Some Peace of Mind”

Rising from the Mud: The Curse of K.K. Hammond’s Gothic Gospel of Defiance

If the blues ever had a séance, The Curse of K.K. Hammond would be the high priestess calling the spirits to attention. Her new single and video, “Ain’t No Grave”—featuring David & the Devil and Kaspar ‘Berry’ Rapkin—isn’t just a cover of a century-old gospel tune; it’s a resurrection. It’s what happens when three kindred souls take a song born from sickness and salvation and breathe into it a kind of cinematic darkness that feels both ancient and alarmingly present.

Brother Claude Ely first sang “Ain’t No Grave” as a boy fighting tuberculosis, whispering defiance in the face of death. In Hammond’s hands, that defiance becomes thunder. The track stomps to life like a ritual in a Louisiana graveyard—slide guitars snarling, percussion pounding like boots on wooden floors, and vocals that sound like they’ve clawed their way through smoke and ash just to testify. You don’t listen to this version so much as you feel it: in the chest, in the teeth, in the marrow.

Hammond’s partnership with David & the Devil has always been a thing of dark alchemy. Together, they make blues music sound dangerous again—raw, spectral, and deeply human. The two share a chemistry that’s equal parts seduction and salvation, the sonic equivalent of a preacher and a sinner fighting over the same soul. Their voices intertwine like smoke—her ethereal rasp and his gravelly growl meeting in the middle, summoning something otherworldly. Rapkin’s production seals the spell, layering swampy slide guitar and atmospheric echoes into a mix that feels like it was recorded in a thunderstorm over an open grave.

The track isn’t afraid of silence, either. Between each pulse of rhythm, there’s space—a haunted stillness where the ghosts breathe. It’s that tension between stillness and explosion that gives the song its spine. It’s faith turned feral, a hymn for anyone who’s been knocked down and clawed their way back up again, dirty but alive.

 https://www.youtube.com/shorts/hxCy-upw9F8 

And then there’s the video—a visual sermon of decay and deliverance. Shot by Hammond, David Hick, Rapkin, and Jellybean Hammond, and edited by David & the Devil and Justin Ramell, it’s equal parts folk horror and poetic meditation. Mud, fog, candlelight, the slow turning of a shovel—it’s as if the song itself is being unearthed on film. Every frame drips with symbolism, from the flickering lanterns to the slow pan across a desolate field. This isn’t a performance clip; it’s an invocation.

K.K. Hammond has built her career on taking the bones of Delta blues and infusing them with Gothic blood. She’s not reviving the past; she’s redefining it. Her previous collaborations—like “Death Roll Blues,” “The Ballad of Lampshade Ed,” and “Walk With Me Through the Fire”—proved she could turn pain into poetry. But “Ain’t No Grave” feels different. It’s heavier, bolder, and more primal. It’s the sound of an artist who has made peace with the dark and invited it to dance.

This Halloween release isn’t just for fans of blues or Americana. It’s for anyone who’s ever stared down the end of something—a dream, a love, a life—and decided to rise anyway. In the hands of The Curse of K.K. Hammond, “Ain’t No Grave” isn’t just a song. It’s a promise.

–Lonnie Nabors

Ghosts, Guitars, and the Great American Dream: Baldy Crawlers’ ‘Bring Me a Flower’ Blooms in the Shadows

Martin Maudal isn’t just strumming chords—he’s conjuring spirits. The man builds his own guitars, writes songs that bleed empathy, and fronts Baldy Crawlers like some unholy cross between a folk preacher and a blues mechanic. Their latest single, “Bring Me a Flower,” released on MTS Records, isn’t your standard protest song. It’s quieter, more haunted—a ghost story about immigration, hope, and humanity whispered through the dust of California’s Santa Lucia Mountains.

This is the kind of song that creeps up on you at 2 a.m., long after the revolutionaries and the cynics have gone home. It doesn’t raise a fist—it opens a vein. Maudal takes the old legend of the vigilantes oscuros—the “dark watchers” said to stand silently on those mountain ridges—and fuses it with the modern myth of America itself: that maybe if you work hard enough, pray deep enough, and suffer long enough, you’ll find mercy waiting on the other side of the border. Spoiler: not always. But Maudal still finds grace in the rubble.

The music drifts in like fog over the canyon—Norrell Thompson’s lead vocals are as pure as a hymn and as weary as a confession. Elizabeth Hangan’s harmonies hover above her like smoke, and Carl Byron’s accordion gives the whole track a kind of sepia ache, as if the song were recorded in an abandoned chapel where the saints all left long ago. And through it all, there’s Maudal’s guitar—one he built himself—growling, sighing, and testifying like it’s got its own conscience. You can hear the wood, the wire, the fingerprints in every note.

https://www.youtube.com/watch?v=RpRsBMSvjS0 

Lyrically, it’s as poetic as anything Bob Dylan ever scribbled on a napkin at 3 a.m. “Bring me a flower, thou dark mountain watcher / I’ll bring you myself and I’ll grant you a boon.” You could frame that line and hang it next to a Goya painting. There’s myth here, and madness, and mercy—all wrapped in the plainspoken cadence of a campfire prayer. The chorus, with its refrain of “High away vigilantes oscuros high away,” feels like an invocation, a chant for the weary.

What makes “Bring Me a Flower” so damn affecting is that it doesn’t preach—it breathes. It doesn’t hammer you with outrage; it whispers endurance. It’s the sound of someone who’s seen the worst of humanity and still believes in the better angels. Maudal’s voice—soft, sardonic, a little cracked—tells you he’s been around long enough to know better but still chooses to hope anyway. That’s punk as hell, if you ask me.

There’s something almost holy about the way Baldy Crawlers blend craft and compassion. Maudal isn’t chasing a trend or a chart position—he’s chasing meaning. He’s the kind of guy who builds his own instruments just to make sure the sound has a soul. In a world of digital perfection, “Bring Me a Flower” feels refreshingly imperfect—human in all the right places.

You won’t find this one blasting from car commercials or curated playlists. You’ll find it in the cracks between genres, where folk meets ghost story, and protest meets prayer. It’s a song for anyone who ever looked into the dark and asked not for answers, but for kindness. And if that’s not worth a flower, I don’t know what is.

–Leslie Banks

Melodic Rockers Little Us Unleash Defiant New Single “Red Handed”

“Red Handed” dives into the storm of being trapped in a toxic cycle of manipulation and blame. The song embodies the pivotal moment when the mask slips, the truth comes out, and you’ve caught someone you trusted playing games. With blistering riffs and impassioned lyrics, the track captures the frustration of being gaslit and the empowering decision to break free. It’s a rebellious anthem for anyone who’s felt used, betrayed, and an urgent need to reclaim their life. The line “Don’t wipe the blood on me, just ’cause you’re caught red handed” expresses a refusal to take the blame any longer.

The music video brings these emotions into the physical world. The setting is a massive scrap yard surrounded by twisted metal and broken remains with drone shots helping to convey the scale of what’s left behind after chaos. With a fiery guitar solo on top of a wrecked car as the climax to represent the breaking point; when you decide to fight and rise from the rubble. It embodies that “left in ruins” feeling, but still finding the strength to get back up and move on. Directed by Alex Kouvatsos of Black Wolf Imaging, the video highlights the defiance and grit of the song, transforming the message into bold and cinematic art.

Powerful guitars, aggressive keys, and relentless drums give “Red Handed” its punch while leaning into the 80’s-inspired sound that has become uniquely Little Us. Mix/Mastered by Elliot Polokoff, influences of Def Leppard, Journey, and Winger bleed through in the instrumentation and harmonies. Pairing their retro style with modern production that nods to bands like Holding Absence, Dayseeker, and Sleeping With Sirens, the result is massive, melodic, and timeless; described as “ready for stadium-sized audiences” by V13 Media.

YouTube (Official Music Video):

Spotify:

Apple Music:

https://music.apple.com/us/song/red-handed/1839626366

How AI Is Killing Music Journalism — and Why Real Voices Still Matter

The music world has always evolved — from vinyl to streaming, from fanzines to blogs. But today, a new force is reshaping the industry at a speed no one saw coming: Artificial Intelligence. While AI promises convenience and creativity, it’s also quietly destroying one of music’s most human institutions — the independent music blog.

⚙️ The AI Content Flood

Search “best new indie songs” or “artist interview” and you’ll find page after page of AI-generated articles. These aren’t written by passionate fans or seasoned journalists. They’re algorithmic mash-ups of press releases and scraped reviews — optimized to rank high on Google, but empty of soul.

This flood of synthetic content buries real blogs under an avalanche of SEO spam. Even authentic outlets like SkopeMag — built on discovery and connection — are getting pushed down by AI-written filler that costs nothing and means nothing.

💔 The Death of Discovery

Music journalism has always been about taste — that instinct to recognize when an artist has something real. AI doesn’t have taste. It has data. It pushes what’s popular, not what’s powerful.

Without real writers curating talent, discovery becomes mechanical. The unsigned band that used to get a shot from a music blogger now gets lost in the noise. The art suffers. The culture suffers.

💸 The Collapse of Traffic and Trust

AI tools like Google’s “AI Overviews” and ChatGPT browsing now summarize articles before readers even click through. That means fewer visits to real music sites — and fewer ad dollars, sponsored posts, and opportunities for artists to be seen.

The tragedy? Blogs that built loyal audiences over decades are being undercut by the very platforms they helped feed with content.

🔥 Why Real Voices Still Matter

Music is human. It’s emotion, context, and culture. That’s something no algorithm can replicate. When a writer interviews an artist, when a fan shares a new band from their local scene — that’s connection. That’s authenticity.

Audiences are starting to notice the difference between AI noise and real journalism. The pendulum is already swinging back toward trust and personality. In an age of automation, the human voice is the new rebellion.

🚀 The Future: Community Over Algorithms

The next phase for independent outlets like SkopeMag isn’t to compete with AI — it’s to out-human it.
That means:

• Personality-driven writing — real opinions, not auto-generated blurbs.

• Podcasts and video interviews that bring artists and audiences face to face.

• Music discovery communities where readers feel part of something again.

AI can mimic style, but it can’t feel passion. The future belongs to those who still care about the music, not the metrics.

MABERRY returns with his indie-pop drenched, and lyrically personal album ‘DUMBO!’

JohnAidan “Maberry” Uribe-Kozlovsky is an alternative/indie-pop singer-songwriter hailing from San Antonio, Texas. While studying and becoming jaded with computer science in college, JohnAidan began writing songs and producing in his bedroom. Thus began “Maberry” as he released a series of lo-fi/bedroom-pop singles and EPs that led up to his first album ‘GOLDEN’, which dropped in December of 2022. In the past five years, he has been featured on the ‘idk.’,  ‘Tear Drop’ and ‘Fresh Finds’ editorial playlists and accumulated over 15 million streams, and 50K monthly listeners on Spotify.

After taking two years to improve his songwriting and production acumen, Maberry has returned with his sophomore album ‘DUMBO!’, an introspective and absurdly self-deprecating alt pop record centered on reckoning with inner dialogue and relationships. ‘DUMBO!’ signifies the culmination of both Maberry’s songwriting and sound as he combines the exuberant production of his personal inspirations with the intimate, melancholic songwriting of his lo-fi roots. With a sound resembling that of Jeremy Zucker, EDEN, keshi, and Between Friends, ‘DUMBO!’ releases on October 3rd, 2025, marking the triumphant return and revitalization of Maberry.

JohnAidan delicately threads personal voicemail notes throughout ‘DUMBO!’, perfectly capturing the feel of the record, whilst reminding the listener of his unique creative style. Thematically connecting the tracks together, the notes will keep the listener coming back to ‘DUMBO!’ time and time again, as they find crucial new meaning with every single listen. ‘DUMBO!’ represents Maberry’s most personal and ambitious work to date: a self-deprecating exploration of inner dialogue, contradiction, and self-reckoning. Its central artwork, a photo of baby Maberry on a bench in downtown San Antonio reading a Dumbo picture book, captures the strange vulnerability of being put on display, a feeling the album expands into sound.

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Circus Mind Unleashes Electrifying New Single “Melt Away” With Guest Guitarist Scott Metzger

New York, NY – Circus Mind returns with their fiery new single “Melt Away” a whirlwind of sound and storytelling that blends psychedelic progressive textures with jam-driven energy. The track includes a blistering guest performance from guitarist Scott Metzger of Joe Russo’s Almost Dead and LAMP whose searing riffs add to the track’s urgency and force.

Melt Away moves at breakneck speed with one foot planted in the realms of psych prog and the other in the improvisational spirit of the jam world. The song feels like a runaway train barreling down the tracks without brakes, an apt sonic reflection of its urgent lyrical message.

Keyboardist vocalist and composer Mark Rechler paints a vivid yet unsettling picture of a world overtaken by rising oceans in the wake of an advanced climate crisis. “Yeah it’s sort of a dark tale of one of the possible futures of this little beautiful world we live in,” Rechler explains. “And I question why most humans aren’t more focused on this reality. I guess it’s a kind of warning.”

The band’s powerhouse rhythm section Mathew Fox on bass Dan Roth on drums and Steve Finkelstein on percussion anchors the track with a driving almost tribal groove building a relentless backdrop for Rechler’s blazing synths and Metzger’s fiery guitar leads. The result is both musically exhilarating and thematically sobering, offering listeners a cathartic journey through sound while holding up a mirror to the dangers of ecological neglect.

ABOUT CIRCUS MIND:

Circus Mind is a New York-based rock outfit and the brainchild of ringleader Mark Rechler. The band’s latest release “Bioluminate”, a delightful mashup of rock and Nola funk mixed with late-Beatles pop, received rave reviews from Relix, The Rocktologist and countless other entertainment news outlets. The band features

Mark Rechler on Keys and Vocals, Brian Duggan on Guitar, Michael Amendola on Sax, Mathew Fox on Bass, Steve Finkelstein on Percussion and Dan Roth on Drums. Circus Mind is able to daringly swing from jazzy grooves to reggae roots then shoot out of a cannon into rock without missing a beat.

The boys deliver a modern take on influences such as Traffic, Steely Dan, Little Feat and Mott the Hoople while mixing in NoLa influences like Dr. John, The Meters and The Neville Brothers. Over the course of their career, Circus Mind has performed at Jazz Fest, The Fat Friday Annual Mardi Gras Ball, Brooklyn Bowl, The Capitol Theatre, B.B. King’s and many other prestigious venues.

Follow Circus Mind:
Linktree | Website | Instagram | Facebook | Spotify

“Someday”: Love’s Last Cigarette Flickers in the Wind

Let’s get this out of the way first — Novai’s “Someday” (written by Michael Stover, released through MTS Records) isn’t trying to reinvent heartbreak. It’s not smashing guitars or shattering the foundations of pop. It’s doing something way more dangerous in this numbed-out, algorithm-fed era: it’s feeling something. This song bleeds, but it doesn’t beg for your sympathy. It just looks you in the eyes and says, “Yeah, love hurts. But I’m still here.”

The thing about “Someday” is that it moves like smoke — curling, haunting, refusing to dissipate. Stover’s lyrics are old-school in the best sense: “Baby if you wanna leave, I won’t hold you.” That’s not weakness. That’s dignity with its heart ripped out and duct-taped back together. He writes like someone who’s watched a lot of bridges burn but still keeps a match in his pocket — just in case love needs rekindling.

Novai sings like she’s standing in the middle of those ashes, voice trembling but steady, burning slow. There’s restraint in her delivery that kills louder than any scream. You can hear the ghosts of Whitney and Mariah in her phrasing, sure, but there’s also something raw and unschooled — like a gospel singer who wandered into a midnight diner and decided to sing her order to the jukebox.

https://open.spotify.com/track/0Erq2fwgs7vJl2pe78aQAT?si=4b909b60ba594bdd 

Production-wise, “Someday” lives in that dusky, cinematic haze where the neon of ‘80s power ballads meets the intimate glow of modern pop confessionals. It’s got a heartbeat — a soft thump under the melody — but it never tries to dance. It just sways. The chorus hits like déjà vu: “Someday our love’s gonna find us / When all of this hurt is behind us.” It’s a line so simple it feels like it’s been written a thousand times before. But that’s the trick — Stover finds eternity in clichés because he means them. The man writes like he’s still foolish enough to believe in happy endings, and that’s punk as hell in 2025.

The bridge — “If you’re lost and you’re lonely, I’ll hold out my hand” — is where it breaks you. It’s not just a lyric; it’s an act of mercy. In a time when everyone’s ghosting, flexing, and performing emotional detachment like it’s fashion week, this song just offers a hand. No irony. No armor. Just humanity.

“Someday” doesn’t chase perfection. It stumbles, sighs, and keeps walking barefoot through the emotional wreckage, humming to itself. It’s that last cigarette after a breakup — bitter, necessary, and a little bit holy.

If music is supposed to remind us that feeling too much is still better than feeling nothing at all, then this one does its job. It’s a quiet rebellion against the sterile, over-polished noise of now.

Final verdict: “Someday” is a ballad for people who still believe the heart can heal itself, even after it’s been left out in the rain. Light one, pour another, and press play.

–Leslie Banks

Marc Daniels Presents “Cougar Town”

You can never know what to expect when country-rock sensation Marc Daniels drops a new single. His latest release, “Cougar Town,” takes the expectations set by his work from earlier this year and flips the script entirely, delivering a delightfully cheeky rock-leaning single singing the praises of dating older women.

The concept of this single itself merits a listen, as desiring mature, confident women is a complete inversion of societal expectations about desirability, youth, and what “hot” is supposed to look like. With its bold concept and provocative lyrics, this one’s a perfect showcase of Daniels’ approach to songwriting.

But there’s a nuance here; despite Daniels portraying older women as being desirable, he never leans into crude sexualization. In fact, the lyrics are quite tastefully done with lines like, “Like a wine, baby, aged perfection / Older women got the bold connection,” going beyond just plain physical attraction.

– https://open.spotify.com/track/7h6PIuiYb6nrtR4psycqWa

Stylistically, the country influences in Cougar Town are apparent, but this is probably Marc’s heaviest rock track to date. The electric guitars are powerful and raw, while the drums hit hard throughout the track. This stylistic choice is clearly not random though, as the texture and tone perfectly support the concept.

As usual, the real highlight performance is Daniels’ vocals, as he delivers lines that are gritty and worn in all the right ways. He sounds playful when it’s time to let loose, and switches to a more grounded tone when the track demands it.

Cougar Town is both entertaining and a statement. It’s not just about turning heads, but also about recalibrating what we think of head-turning in the first place. Marc Daniels uses country rock’s power, edge, and storytelling to challenge the idea that youth is always king. For listeners who like their country loud, their themes a little risqué, and their admiration served with a side of grit and laughter, Cougar Town is hard to beat.

Camille K Embraces Vulnerability on New Single “Let’s Face It” Out Tuesday, October 21st

Rising pop artist Camille K unveils her most raw and honest work yet with her new single “Let’s Face It,” releasing Tuesday, October 21st on all streaming platforms.

At its heart, “Let’s Face It” explores the emotional chaos of diving headfirst into something new, whether it’s a romance, friendship, or life-changing opportunity. Camille K lays it all bare, confronting the fear of vulnerability and the thrill of uncertainty with striking emotional clarity.

Blending melodic vocals, acoustic guitar, soft synths, and subtle sirens, the track captures both the serenity and tension of emotional risk. The result is a hypnotic, cinematic pop soundscape that lands somewhere between reflection and release.

Produced by Dirty Harry Zelnick, Lectriq, and M11SON, “Let’s Face It” builds on Camille K’s growing reputation for crafting intimate yet relatable pop moments. The song is a perfect fit for chill, vibey, emotional, romantic, or edgy playlists, offering a late-night soundtrack for anyone navigating the unpredictable nature of love and life.

With her signature honesty and modern pop edge, Camille K once again proves that being vulnerable might just be the boldest move of all.

Stream/Presave “Let’s Face It” here!

Camille K has been captivating audiences with her unique blend of classic and modern influences. Raised on a diverse musical foundation, her mother’s love for soul, R&B, and classic love songs and her father’s passion for classic rock, she has developed a sound that fuses timeless melodies with contemporary pop production. Her dynamic artistry and compelling storytelling have set her apart as a standout talent in today’s music landscape.

A seasoned performer since the age of 11, Camille has shared the stage with legendary artists such as Gina Schock (The Go-Go’s), Jeff “Skunk” Baxter (Steely Dan/Doobie Brothers), and Barry Goudreau (Boston). She has also opened for major acts including Flo Rida, Ja Rule, C&C Music Factory, Lit, Chris Kirkpatrick of *NSYNC, O-Town, LFO, and Jon Anderson (Yes).

Camille gained national recognition as a featured contestant on NBC’s America’s Got Talent in 2022, where her original song “Still in Love” earned high praise from the judges that day. Simon Cowell described her performance as “beautiful,” Heidi Klum called her “absolutely amazing” and “the whole package,” and Sofia Vergara praised her “spectacular” voice.

Beyond the stage, Camille has also made a mark in the film industry, with her music featured in Finding Christmas and 7th Secret. Her previous maxi-single, “Daydreamer,” reached #2 on the iTunes Top Dance Albums chart, further cementing her status as a rising star. She is currently working with Grammy Award-winning production team Sakred Wolves, consisting of Dirty Harry Zelnick, Lectriq, and M11SON, to craft new music that continues to push creative boundaries.

As Camille continues to tour throughout Philadelphia and New Jersey, “Let’s Face It” marks another milestone in her journey, showcasing her signature blend of raw emotion, powerful vocals, and polished pop production. Camille K is also an endorsed artist of Anatomy of Sound picks and Minarik Guitars.

“Monaco Affair” Sees Painted Dunes Perfect Their Signature Lounge Sound

Atlanta-based lounge duo Painted Dunes return with ‘Monaco Affair’, a sophisticated blend of jazz house and downtempo electronic music that effortlessly evokes luxury and escapism. Known for crafting “house music with a view – and a splash of jazz,” the pair continue to refine their signature sound, layering lush piano chords, sultry saxophone, and vibrant trumpet lines over fluid, hypnotic house rhythms.

The track transports listeners straight to the sparkling coastline of Monaco, balancing meticulous production with a sense of effortless elegance. Drawing subtle nods to jazz traditions while maintaining a contemporary electronic edge, ‘Monaco Affair’ positions Painted Dunes as innovators within the global deep house scene. Fans of dublon, berlioz, and Bolden will recognize familiar touchpoints, yet the track remains distinctly their own.

With millions of streams and international viral chart placements already under their belt, Painted Dunes deliver an immersive listening experience that appeals as much to casual audiences as it does to house and jazz aficionados. ‘Monaco Affair’ is both a sonic escape and a statement of refined artistry, confirming the duo’s place as leaders in the modern jazz house movement.

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