@skopemag Review – ‘Postcard From London’ by California™ – feat. Les Fradkin
California™ (feat. Les Fradkin) returns with their latest full-length release: “Postcard from London.” Utilizing 60s/70s pop textures across covers of 9 pop classics and 13 originals, this album arrives as a warm, nostalgia-tinged record that functions both as a tribute and as a modern indie-pop release.
While this nostalgia-suffused collection acts as a great showcase for Les Fradkin’s strengths as a multi-instrumentalist/producer, it does so without ever compromising on California™’s retro-pop aesthetic. With 22 tracks the album reads like a mixtape of sunny jangle-pop, melodic singer-songwriter pieces, and affectionate covers.
The album opens with “Fellow Travelers,” a harmony driven single set to a brisk percussion that you can’t get out of your head. The synths, guitars, and soaring vocals add energy to the track, making it the perfect album opener.
https://californiatm-featlesfradkin.bandcamp.com/album/postcard-from-london
Postcard From London also features a few covers of classics that the Fradkins had also released as singles. Notable examples include Les and Loretta’s covers of “The Mighty Quinn,” “Brown-eyed Girl” and “Good Vibrations.” In each of these cases, the spirit of the song is retained, paying respect to the original artists while Les adds his own twists to the melody and arrangement.
It might be a bit early for the festive season, but the album includes a couple of holiday specials as well with “Christmas Vacation” and “A Christmas Gone Too Soon.” What stands out about these tracks is that they don’t lean too heavily into the Christmas song archetype, and preserve that classic pop sound while integrating elements like church bells to generate that Christmas vibe.
The production on this album is characteristic of California™ and maintains a consistent tonal palette across the record. You get vintage keyboard colors, clean but warm guitar tones, and an overall mix that emphasizes melody and vocal clarity. Even though the Mellotron is Les’ specialty, it never crowds the mix, and instead blends perfectly into layered arrangements.
Postcard From London is a warm, affectionate album for lovers of melodic, retro-tinged pop. Its strength is its ability to balance familiar covers with well-crafted originals that sustain the record’s emotional throughline. Fans of Les Fradkin’s long career and listeners who enjoy tidy, melody-forward production with vintage textures will find a lot to like.
Miss J Presents ‘22424’
Miss J, the force behind The Miss J Experience, has carved out a niche with her self-coined ROCKHOUSE aesthetic; an electrifying mash-up of classic rock’s raw grit and house music’s pulsating energy. Her latest single “22424” arrives as a potent distillation of that formula, and showcases the New York-based singer-songwriter’s skills at their peak.
With its hard-hitting lyrics and upbeat instrumentation, this track is a dance-floor igniter that’s equal parts therapy session and club banger. The chorus delivers the simple yet powerful lyrics: “I thought you were with me/ You used me for release,” that solidify her shift toward more vulnerable storytelling wrapped in high-octane production.
The single begins as a mid-tempo house track, but this is where “22424″ shines as a masterclass in dynamic tension and release. The standout element is a super clean BPM shift that seamlessly accelerates the track into a full-throttle house frenzy, with electric guitar riffs kicking in alongside an energetic percussion.
The change in tempo is matched by a change in lyrical themes as well, as she shifts from a tale of trauma to healing. “I had to heal to recover/ I had to break down to finally find me” is delivered with an incredibly satisfying vocal power that leads into an increasingly energetic final verse.
The production on this track is really well done, with layers of synth stabs, echoing reverb on her vocals, and subtle rock-infused percussion creating a spacious yet immersive soundscape. It’s polished enough for streaming playlists but raw in its emotional delivery.
Overall, “22424” is a solid single that fits right in on your dance playlists. It’s not reinventing the wheel, but spins it with ferocious style, making heartbreak feel like a prelude to the party. For fans of genre mash-ups or anyone needing an auditory hug that slaps, stream it now on your platform of choice.
https://themissjexperience.com/
@themissjexperience
https://www.instagram.com/themissjexperience
@skopemag Review – Bongo Boy TV – Season 14 Episode 9 – “Fall Into Space”
Bongo Boy TV – Season 14 Episode 9 (Aired September 2025, Now Streaming ) – “Fall Into Space” featuring music videos from around the world by award-winning independent artists.
Dirty garage rock rages through with the Ex-Bombers’ “He’s A Bad, Bad Man.” They get into the swing of things, featuring grimy guitar licks over a ramshackle beat. Best of all are the lyrics that speak to the darker side of things.
Meresha blends electro-pop and R&B with the angular “Trouble.” The chords have this glossy, fine finish. Giddiness dominates the vocals as they capture a sense of gleeful abandon from the ordinary.
The gritty rock-infused EDM blast of “We Choose To Go The Moon” has Stonks Bros embody the dancefloor fusion of Justice. Volume is a given, with the whole sounds feeling purely chaotic, as arpeggios scale up and down the walls. Such a physicality and the vocoder usage feel completely on point, nicely rounding off the atmosphere.
An intimacy emerges out of the subdued splendor of Scott McDonald’s well-crafted, timeless grace of “One Mistake I Can’t Repeat.” The lyrics shift the gaze inward, and the self-reflection is soothing. He builds the song up in this glorious way, making sure every single moment counts.
Neon blooms of color explode on “Heartbeats” with Nashville, TN & Estonia. Highly energetic, this feels like a gigantic blur, a speeding through beautiful, green spaces. The triumphant horns are a delicate touch, adding to the peacefulness.
Physicality runs through Matt LeGrand’s satisfyingly sweet “All Good.” Genre-wise, it combines tropical dub influences with dance elements. The resulting mix swirls about in this bold, brilliant haze.
Van Gordon Martin embraces urban living with reggae on the infectious basslines of “Let It Grow.” The low-end has a satisfying cadence, feeling doubly refreshing. Word choice matters, as the verses embrace a sense of quiet contentment.
Sounds fold and unfold to the neo-hip-hop of LBM’s “Stranded.” Syncopated, skittering snares go perfectly with the track’s sense of purpose. A singular guitar adds a lot of soul to the equation, aligning flawlessly with the vocals. This ends the whole experience on a high note.
Bongo Boy TV – Season 14 Episode 9 (Aired September 2025) – “Fall Into Space” featuring music videos from around the world by award-winning independent artists.
In heavy rotation for 4 weeks in the USA on 72+ TV terrestrial TV channels in September 2025. See TVGuide at bongoboytv.com for your local listing. The Premier Date was Tuesday September 2, 2025, on Ch. 29 in Portland, Oregon, and followed with heavy rotation on a total of 72+ Terrestrial TV channels. Bongo Boy Rock n Roll TV Show Series 14th Season.
Summary Listing of Featured Artists – Music Videos:
The Ex-Bombers – He’s A Bad, Bad Man
Meresha – Trouble
Stonks Bros. We Choose To Go The Moon
Scott McDonald – One Mistake I Can’t Repeat
The Winter Sounds – Heartbeats
Matt LeGrand – All Good
Van Gordon Martin – Let It Grow
LBM – Stranded
Maya Mendez Presents ‘Through and Through’
In her latest single “Through and Through,” Maya Méndez delivers a quietly affecting statement of love and self-assurance that reinforces her growing reputation as one of indie pop’s most emotionally articulate new voices. Known for her warm fusion of pop and R&B, the LA-based singer-songwriter pares down the production and pacing here to deliver a delicate and deeply resonant track.
At its heart, “Through and Through” is a song of lost love, but completely stripped of spectacle. Each line feels conversational, as if overheard in the half-light of early morning. Maya’s writing is powerful and full of heart, a hallmark of her emerging style that we saw on earlier singles like “Have you fun” and “Worthy (See a Future).”
STREAMING:
VIDEO:
What’s unique about this single is Maya’s approach, as lines like “ ’cause you’re artificial, unintelligent and / You’ll never really have the guts to let me go.” are uncharacteristically direct and biting. The emotional core comes in the chorus; “I can’t believe I let you hurt me like that/ I can′t believe you didn’t love me right back/ I never thought you′d be okay/ Watching me so far away,” displaying a sense of vulnerability that draws you right in.
But the real kicker is how Maya evolves the narrative throughout the track, closing the song with a smart inversion of the chorus, “I never thought I′d be okay/ Wanting you so far away.” It takes her from being a helpless victim to the point where she’s ready to heal and move on.
The arrangement mirrors the lyrics’ emotional transparency. A softly plucked acoustic guitar sits at the center, joined only by subtle percussion. Rather than crowd the space, the instrumentation breathes, with every element designed to frame Maya’s voice. The gentle vocal layering in the bridge and chorus adds texture without sacrificing immediacy.
It’s the vocal performance carries the song as Maya’s delivery is confident but never forceful. She leans into breathy phrasing during the verses, and opens up in the chorus with a controlled warmth that feels earned.
For listeners familiar with her earlier singles “Through and Through” represents a clear evolution. It may not aim for instant radio hooks, but that’s precisely its strength. The reward lies in its subtlety: the small inflections, the quiet pauses, and the emotional sincerity that accumulates over repeat listens. With this release, Maya Méndez continues to carve out her lane as an artist on the rise.
ONLINE:
https://www.instagram.com/mayamend3z
https://mayamendez.net/throughandthrough.bio
Hi Tide Rolling In with ‘Caribbean Way’
Hi Tide is a dynamic duo that includes Shane Allenger and Sean Hennings and the group hails from the Cayman Islands. That tropical flavor is in full effect on ‘Caribbean Way’, but honestly Hi Tide is a sensational pop act due to the way the duo crafts a song. The vibe is sweet and the music is sweeter, so allow Hi Tide to show you the ‘Caribbean Way’.
Hi Tide is no stranger to the music world with 12, full-length studio albums and 30 years as a group. The connection and camaraderie between Shane and Sean are a beautiful thing to witness on the new release. The listener will sense that Hi Tide is a tight unit immediately and this level of commitment to produce high-quality recordings together is quite evident. ‘Caribbean Way’ is an accomplished record and one that will stand the test of time due to Hi Tide’s hard work and long-standing dedication to the art.
We start with the title track, “Caribbean Way”, and right away snappy, happy notes are hitting your ears. With pleasing vocals and nice harmony, Hi Tide invites you to soak it all in and embrace “Caribbean Way”. Next, we hear “I’ll Be Your Baby Tonight” that is comforting and has a sort of warmth to it that shines through musically. It’s time to set sail and enjoy the “Simple” joys of life note by note. “Simple” offers smooth musical direction overall and one song that stands out for sure. We push play next and get “Lucky” because a catchy beat and tone immediately overtakes you. “Lucky” is massively appealing and will spark your senses from beginning to end. If you enjoy a sweet-sounding pop song with feeling galore, then “High On You” is your ticket. We glide into “Spot Bay Blues” next and this song tells a cool story about a life well-lived. “Spot Bay Blues” is lyrically strong and a well-constructed composition that flows along wonderfully. Moving along, “Don’t Let Me Be Misunderstood” is so lively and a standout performance where Hi Tide is bringing the heat and playing like true champs! “Island In the Sun” is feel-good music for the soul with its chill zone atmosphere, bright vocals and sunny guitar chords. Let’s just sit back, relax and “Daydream” for a bit thanks to Hi Tide’s easy-breezy performance. Prepare for salty notes swimming through your ear canals and a gentle breeze hitting you on “Whiskey Shot”. Just leave your worries at home and enjoy the beachy presence as you throw down a nice, strong “Whiskey Shot”.
With inventive covers and heartfelt originals, ‘Caribbean Way’ has something for everyone to jive to. Hi Tide is the total package with high-level musicianship and a genuine element that can be appreciated by many. With regular play on Kenny Chesney’s “No Shoes Radio” station on Sirius XM, Hi Tide continues to ride a wave of success for multiple singles. ‘Caribbean Way’ is well on its way to gain heavy traction, hit the charts and attract new fans along the way! The duo’s Facebook page describes the style as “soothing pop music with a tropical twist” and ‘Caribbean Way’ is a perfect addition to this ever so popular lineup! Hi Tide has rolled in and ‘Caribbean Way’ is one for the ages!
https://youtube.com/playlist?list=OLAK5uy_l3zkN7hWMlqSvBS7bCxwx2QIT5Ywf1JJY&si=0Awn271xbhhuo2wf
Instagram: @hi_tide_music_345
https://www.facebook.com/HiTideMusic
By Jimmy Rae
RICH SIEGEL Presents “IT’S ALWAYS BEEN YOU”
Over the years, Rich Siegel has carved out a distinct niche as a musician operating in the vocal jazz/piano-songbook space. Continuing with his signature approach of blending musical styles and personal expression, Rich Siegel leans inwards to mood, tone, and interpretation with his latest release: “It’s Always Been You.”
It’s Always Been You arrives in 2025 in a context where many jazz vocalists are returning to more intimate settings, favoring clarity of song over big, flashy arrangements. Siegel places himself firmly in that camp: the instrumentation is spare, the production direct, and the repertoire brims with a mix of originals and familiar jazz standards.
The album’s personal dimension is worth noting, as the liner credits dedicate it to Rich’s late brother, Mark Siegel. The overarching mood is fitting: it’s one of gentle introspection and emotional honesty.
https://richsiegel.bandcamp.com/album/it-s-always-been-you
The album opens with “Spring Again,” a bright number that sets the tone for the rest of the album. It’s lyrical, hopeful, and showcases Siegel’s voice and piano in close partnership. The sparseness of the opening verses lets the lyricism shine before the melody takes over. You can hear right away that this album is about clarity and subtlety.
“Les Feuilles Mortes” (Autumn Leaves), is Siegel’s rendition of the French classic, and a standout track on the album. It’s hard to get tired of being serenaded by Siegel, but the stylistic choice to make the album multilingual is perfect as it keeps the record fresh for newer listeners.
Clocking in at just over five minutes, the closing track, “Bryant Pond,” allows more space for the trio to stretch and for Siegel to reflect. The mood is contemplative, and it’s a great fit for closing an album that feels like a quiet evening’s reflection.
Overall, this is a peaceful and mature album from Rich Siegel; one that doesn’t shout for attention, yet earns it through sincerity, musicality, and taste. For listeners who appreciate vocal jazz done with care, this is a rewarding listen.
Collaborations Releases “You Gotta Know”
Collaborations is all about “crafting songs with a heart” and I feel it all the way on the new single titled “You Gotta Know”! The meaning behind the group name is fitting because its mission is to empower artists by way of creativity and community. The level of creativity is off the charts for Collaborations and that sense of camaraderie is heard loud & clear on “You Gotta Know”.
Collaborations is based in Stratford, Connecticut and this latest project was written by founder Ed Daniels and co-written by Anais Preller. The mastermind behind the music is producer is Vic Steffens who put together a polished record that POPS! “You Gotta Know” offers an inspiring message about the world around us and how we can make it a better place to live in. The single features an impressive lineup of musicians including Scott Spray of the Johnny Winter Band and others. “You Gotta Know” also includes Kevin Monroe/ Simone Brown & Devotion on piano, Matt Oestreicher (Stevie Wonder, Lady Gaga) on lead guitar and arranger, Tim DeHuff (George Duke, Lee Ritenour) on rhythm guitar, Ed Daniels on bass and Tommy Naggy (Lucky Peterson) on drums. The musical richness and pure artistry are put on full display for the entire world to hear and “You Gotta Know” that’s true!
As soon as you hit play, Collaborations will soothe your ears and satisfy your soul and this feeling will continue for the entirety of “You Gotta Know”. This track is vocally strong with pleasant melodies and harmonies that will stick to you like glue. This single has a wonderful sound overall and one that will attract a large audience. Collaborations provides a top-notch performance overall and pristine musicianship and so it’s safe to say “You Gotta Know” is one for the ages!
Collaborations is dubbed “a fusion of purpose and melody” and the listener will receive plenty of that on the new recording. The group puts everything in perspective with this solid statement, “Collaborations is not just a project; it’s a revival of music with a soul, crafted with a deep respect for the art of songwriting.” I couldn’t have said it better myself because the audience will sense the dedication and passion behind every single note and lyric. “You Gotta Know” is a big success for Collaborations and one that people of all ages can appreciate and enjoy. “You Gotta Know” that individuals from ALL walks of life will connect with this tune and that’s the God’s honest truth courtesy of Collaborations.
You can also SKOPE out the official music video for “You Gotta Know” right here: https://www.youtube.com/watch?v=49VoryAbuAA&t=55s.
https://collaborationsmusic.com/
https://www.facebook.com/Collaborationsmusic36
https://www.instagram.com/colaborations36/
By Jimmy Rae
Dusty Edinger Presents ‘Sometimes People Collide’
Following up on his experimental album “Handsome Bully Level-Headed Zombies,” Dusty Edinger crafts a more classic pop-rock moment with his latest single, “Sometimes People Collide.” Polished, hook-driven and emotionally grounded, this isn’t a track meant to shatter expectations, but a smart consolidation of his strengths to craft a piece that appeals to general audiences.
From the outset, the song presents a clean sonic palette with shimmering guitars, measured drums, and clear vocals with a gentle warmth. The production favours immediacy over sonic experimentation: this is the kind of track built to register with the first listen and became a staple on your easy listening playlist from there onwards.
STREAMING:
https://open.spotify.com/track/6cuk49tdvkjXGtbxGleou6?si=4b4fa9756cb545df
VIDEO:
https://www.youtube.com/watch?v=y5K5sdljoqk
The song’s driving force is its melody, as Edinger’s vocal line across the verse rises into a strong, memorable chorus. The backing harmonies and subtle layering are especially tasteful as they enrich the hook. The instrumentation stands well on its own, but it leaves space for the vocal to breathe with the arrangement never feeling cluttered.
The lyrics of “Sometimes People Collide” take us into familiar territory: the emotional tension and bittersweet intersections of connection and conflict. The sense is that people will meet, butt up against each other, sometimes hurt, and sometimes reconcile. Edinger doesn’t go into abstract metaphor here and chooses to deliver a concrete emotional narrative.
Thematically, the song sits somewhere between confession and reconciliation. It contrasts with Edinger’s catalogue as a more focused work. The production is more streamlined, with a radio-friendly sound that makes it perfect for drawing in new listeners.
Sometimes People Collide is a strong, smart single that positions Dusty Edinger squarely where his melodic ambition meets commercial sensibility. It may not reinvent him, but it affirms what he does best: write memorable songs about human connection. Edinger is an artist on the rise, and we can’t wait to see what he does next.
ONLINE:
https://www.dustyedinger.com/
https://www.instagram.com/dusty_edinger
https://www.facebook.com/dusty.edinger.2025
Andy Nevala Presents “El Rumbon (The Party)”
Florida-based jazz pianist and composer Andy Nevala makes an electrifying statement with his latest work, “El Rumbón (The Party).” Nevala has long been a vibrant presence in the Latin jazz scene, and has always shown an affinity for Afro-Cuban rhythms in his work.
From the first notes, El Rumbón stakes its claim: this is Latin jazz full of heart and a willingness to surprise. Nevala mingles respect for tradition with fresh rhythmic daring, as he applies his signature style to a range of classics with ensemble interplay that pulses with energy.
The album opens with a rendition of Stevie Wonder’s “Isn’t She Lovely” that preserves the catchy melody of the original, but rearranges the rhythm into a groovier Afro-Cuban style. This single is the perfect opener, as it delivers bright choruses that can hook even casual listeners, while also featuring a complex interplay between the keys and percussion in the interlude that’ll impress even seasoned jazz enthusiasts.
The title track, “El Rumbón (The Party),” is inspired by Chucho Valdes’ 1998 track of the same name. But in this case, the track is elevated to functioning as the album’s manifesto. It begins almost ritualistically, with subtle percussion and muted chords before gradually expanding, as the piano and congas take center stage.
The standout track is the band’s performance of Dizzy Gillespie’s classic “A Night in Tunisia,” reinterpreted in a delightfully offbeat 7/4-time. This rhythmic complexity adds an extra layer of chaos to an already intense piece, but the performance on this track is flawless. The band never misses a beat and sustains the energy from the first note all the way to the last, making for an incredibly satisfying performance.
El Rumbón works best when taken as a journey. It opens with propulsive energy, explores rhythmic and harmonic terrain, allows you to catch your breath, then pulls you back into the dance. The sequencing is smart, with energetic tracks clustering and then being balanced by lighter, more reflective numbers.
Andy Nevala’s latest work has all the makings of a Latin jazz classic, and for fans of the genre, this one’s a must-listen.
https://www.andynevalamusic.com/
Little King Swingin’ For the Fences with ‘Lente Viviente’
Little King has been going strong since 1996, as a band, and ‘Lente Viviente’ is one of the band’s most highly anticipated releases to date. This new record really highlights the group’s range vocally, lyrically and musically as Little King looks to blow minds & ears! Recorded at a fresh, new music studio, the stage is set for Little King to have massive success with the brand new album titled ‘Lente Viviente’.
The album features seven, standout-tracks with each composition carefully placed and constructed with the utmost precision. The current lineup for Little King includes frontman and vocalist & guitarist Ryan Rosoff, David Hamilton on bass & cello, Tony Bojorquez on drums and Laura Sadie Bette on backing vocals on tracks four & seven. ‘Lente Viviente’ was engineered by Ricky Wascher Tavares at Cimamusic in Tucson, AZ,
Mixed by Daniel Salcido at Command Space Audio in Los Angeles, CA and Mastering by Maor Appelbaum at Maor Appelbaum Mastering. Also, hat’s off to Savannah Maher on the album art because it is eye-catching, to say the least! The cover features a detailed king’s crown on top of an elaborate lens displaying the three Little King members inside. Right away, the listener will be drawn into Little King’s world just based on the creative cover art.
With elements of metal, hard rock, progressive rock and alternative, ‘Lente Viviente’ is melodic rock at its finest! It is now time to embark on one adventurous expedition, so listen closely and prepare to reel in “Catch and Release”. Right out of the gates, Little King is providing an attention-grabbing rhythm and rockin’ riffs that will keep you engaged throughout the musical voyage. “Catch and Release” is a real crowd-pleaser and a perfect way to kick off ‘Lente Viviente’.
Be sure to Skope out the official music video for “Catch and Release” right here: https://www.youtube.com/watch?v=Hgt9U547jbw.
Next, the audience will hear an intriguing arrangement on “Dawn Villa” as Little King truly brings the heat on this enriching number. Track three, “Who’s Illegal?”, is dramatic to the max as the song builds up momentum note by note and lyric by lyric. By the end, the audience will be asking themselves “Who’s Illegal?” and what is the significance? Little King goes with a deep-minded mix on the following song, “Kindness For Weakness”. A sense of sharp intellect collides with human emotions on “Kindness For Weakness” making for one profound listening experience. Track five, “Sweet Jessie James”, is beautifully orchestrated and simply just a well-polished recording and powerful production overall. Little King offers up a very strong performance on “Pass Through Filters” where this song really grabs you vocally & instrumentally. By the end, everything seems to be in full focus for the entire world to hear on “The Living Lens”. All of you music heads enjoy this crystal clear and clean cut because “The Living Lens” fully capture’s the true essence of Little King.
Ryan Rosoff had this to say about the new record, “I think this will be BY FAR our biggest release. The playing, songwriting, and production are our greatest accomplishments. New players on drums and bass, plus a new studio, have really elevated this project. I want people to take a short, mind-blowing journey…like Musical DMT. We are aiming to hit all the notes and emotions…the dynamic range of this record will push and pull from the first note to the last.” Excitement is certainly in the air for this new release as ‘Lente Viviente’ is set to receive major traction! All members of Little King should be very proud of their efforts on this project because ‘Lente Viviente’ is one ambitious record that is a sure-fire hit!
For further reading about the band, check out this in-depth interview I did with Little King last year that chronicled the group’s entire musical catalog: https://skopemag.com/2024/01/26/jimmy-rae-closely-examining-the-entire-catalog-of-little-king.
www.facebook.com/littlekingtunes
www.instagram.com/littlekingtunes
https://ashermediarelations.com/2025/08/21/epk-little-king-lente-viviente-2025/
https://www.youtube.com/@littlekingtunes
By Jimmy Rae
D’Lee Presents “STAGNATION”
When an artist writes from the heart, the result often transcends genre, becoming something universal. This is what Texas-based country artist D’Lee achieves with her latest single “Stagnation” a slow-burning, cinematic rock ballad that takes her well out of her comfort zone.
According to D’Lee, Stagnation was written during what she described as “a season of personal paralysis”. The song’s genesis was a journal entry that was eventually shaped into a reflection on the creative exhaustion she felt from performing and releasing music nonstop. This lived experience helps D’Lee craft a piece that feels both intimate and anthemic, both personal and universal.
Opening with husky vocals and haunting guitar lines, this moody, bass-driven track has the perfect sound for the darker messaging it tries to convey. Gradually, the vocals amp up to deliver a powerful chorus followed by a delightfully heavy guitar solo.
At its core, “Stagnation” is a meditation on waiting; the tension between wanting transformation and fearing it. The lyrics are direct yet poetic, with short declarative phrases that capture exhaustion, self-doubt, and fragile hope.
Lines like “Clock keeps ticking, I’m the one it kills/In this empty void, I’ve lost my will” encapsulate the inertia that defines the song’s emotional landscape. Usually, you’d end with a spark of forward energy, but D’Lee bravely leans fully into the hopelessness delivering a statement of despair that’s incredibly relatable and cathartic for anyone that’s been there before.
Produced by Jacob Kulick, the track’s engineering plays a vital role in conveying its emotional weight. Kulick’s mix uses layering subtly, and the electric guitars grow slowly beneath the acoustic foundation, bass thickens the space, and a faint string pad fills the high end without overwhelming the vocal.
Stagnation isn’t just a song about feeling stuck, it’s an expression of the emotional turmoil that comes with it. With this single, D’Lee demonstrates her maturity as an artist, and her ability to cross genres when the theme demands it. If this is any indication of what’s to come on her upcoming EP “fifty-five”, the release is going to be an absolute stunner.
https://www.instagram.com/dlee.official/
Premik Russell Tubbs & Margee Minier-Tubbs Presents “Oneness-World”
Connecticut-based composer & lyricist Margee Minier-Tubbs, together with her multi-instrumentalist partner Premik Russell Tubbs, delivers not just an album but a thematic, cross-cultural journey with their latest album, “Oneness-World.”
This 7-track, approximately 47-minute work positions itself as a world/jazz-fusion project that seeks to dissolve musical boundaries and evoke a sense of spiritual and social unity. From the opening title movement to the very end, the album tries to balance instrumental virtuosity, lyrical and spoken poetic expression.
The album begins with “Oneness”, a perfect showcase of the album’s theme. It features Margee’s spoken-word introduction layered over chantlike motifs and gradually gives way to instrumental expansion complete with sax and flute lines.
https://margeeminier-tubbs.bandcamp.com/album/oneness-world-2?from=discover_page
https://www.margetoilerecords.com/
“Joie de Vivre” is a French term for the cheerful enjoyment of life, and this track perfectly encapsulates that feeling with its bright passages and catchy drums. This is immediately followed by “Catwalk (A Stitch in Time)”, a 12-minute track inspired by the glamour and shine of the fashion industry. But the start was just a subversion of expectations as the third movement delivers a scathing spoken-word criticism of fast fashion and garment factories.
“Norwegian Dance” adds diversity to the album by incorporating traditional Northern European instrumentation and is actually super interesting if you’re not familiar with Nordic music. The album closes with “The Bells”, a Christmas-inspired single with gentle, yet festive instrumentation. It’s not even Christmas season yet, but given the rollercoaster journey we’ve been on, it somehow doesn’t feel out of place.
What distinguishes Oneness-World is how densely layered it is: atmospheric pads, world percussion, background vocal textures, spoken word overlays. Keeping things coherent would’ve been an incredible challenge in the production room, but this album succeeds.
Oneness-World is a work of deep sincerity and complexity. If you’re a listener who enjoys albums as journeys where you lean in, explore, and revisit the textures, this record is a great fit. A fair warning for more casual listeners; this is not background music; it communicates, critiques, and demands your attention.
Lourdes Pita Presents ‘Soul Dance’
Boston-based singer-songwriter Lourdes Pita delivers a stunning reminder of her musical legacy with her latest album “Soul Dance.” This ten-track record leans into a warm, adult-contemporary sound that mixes pop-soul and soft rock; a perfect blend to showcase Pita’s clear, expressive voice and knack for honest, uplifting lyrics.
Lourdes Pita is a bilingual, cross-genre singer-songwriter whose musical journey was greatly influenced by her mother, the acclaimed Cuban poet Juana Rosa Pita. Her classical flute training and bilingual upbringing are significant influences in Pita’s music, as her catalog stretches across English and Spanish songs and several stylistic lanes.
The album opens with the titular track “Soul Dance;” a theatrical ballad complete with violin backing and a soaring chorus. This melodic single is a perfect showcase of
Pita’s upper register and virtuosity as a vocalist as she effortlessly hits high notes without ever dropping the intensity.
She immediately switches up genres with the follow-up single, “Courage to Live,” which is a guitar and drum-driven track that takes on more of a pop-rock sound. Despite the overall theme of moving on, this single succeeds in being uplifting and energetic, delivering that bittersweet taste that keeps you coming back for more.
“Coming Home” is a standout track with its nostalgic lyrics and gentle rhythm. The drums and guitar take on an almost Latin-pop sound without leaning in too heavily into the genre. It’s this kind of restraint that keeps the entire album interesting, with each track having something familiar, but also something fresh mixed in.
Musically, Soul Dance sits in the intersection of adult contemporary, pop-soul, and light pop-rock with guitars, piano and a steady rhythmic backbone pushing many tracks forward, the arrangements often leave space for Pita’s vocals to carry the emotional weight and the songwriting is poetic while still being accessible to a casual listener.
The production on this record favors clarity, with instruments arranged to support the vocals rather than competing with them. While the album still sounds polished, the emotional content always lands without ever feeling over-produced.
If you enjoy singer-songwriters who favor clear melodies and heartfelt lyrics with a few Latin and rock influences mixed in, Soul Dance is an easy recommendation. It’s perfect for both casual playlists and for emotionally uplifting active listening. This album showcases Pita’s class and experience, and is bound to make a mark on her already impressive discography.
ONLINE:
https://lourdespita.com
https://www.facebook.com/lourdes.pita.3
https://music.amazon.com/artists/B003GF2GXK/lourdes-pita
Blake Red Presents “Out of the Cage” EP
Fans of Blake Red will already know that her music never lacks energy, but “Out of the Cage” kicks things up a notch with a powerful raw metal sound. This tightly focused, snarling comeback EP delivers five tracks that trade subtlety for emotional heat while still being melodically savvy when called for.
Out of the Cage is Chicago-based Blake Red’s first EP in four years, and was positioned as a homecoming release with a Chicago release-show on the same date. dedicated to Red’s late father, the inspiration behind her musical journey, this EP leans hard into themes of survival, and defiance.
The album opens with the title track “Out of the Cage,” a fierce single that makes an impact with its heavy drumming and guitar solos. Blake’s vocals are almost chant-like, giving the song a strangely otherworldly sound.
“Secrets Are No Fun” takes on a more of a punk rock sound and is a narrative track that twists a childhood rhyme into something threatening. The jagged riffs and a propulsive arrangement underpin lyrics about gossip, betrayal, and the damage of weaponized secrets.
But the standout single is “Scorpion,” the EP’s angriest and most immediate track. Distorted guitars create an incredible atmosphere for the venomous chant that is the chorus. Lyrically, it uses the scorpion as a metaphor for predators and toxic people while sonically building it to sting.
Blake Red writes and performs as a multi-instrumentalist, and also produces much of her material herself. The production on Out of the Cage pushes a muscular alt-rock/metal sound, favoring immediacy and impact over gloss.
Out of the Cage is a compact and compact and compelling calling card that has Blake Red returning louder and sharper than before. With its snarling arrangements and ruthless lyrics, this is a perfect collection for fans of alt-rock that wears its scars on the sleeve.
https://www.instagram.com/blakeredrocks/
Bryon Harris Presents ‘Tears Me Up’
Austin-based singer-songwriter and mixing engineer Bryon Harris releases a powerful statement with his latest single “Tears Me Up.” With its warm vocals and restrained arrangement, this indie-rock and soul fusion subverts your expectations only to deliver an ethical jolt with its subtext: you don’t hear animal suffering until the moment you can’t look away.
Tears Me Up was released through Artists & Activists Records; an animal rights-focused record label that aims to drive change through the power of music. Bryon’s rollout was scheduled for the World Day for Farmed Animals, clearly framing the single as advocacy through art rather than a purely introspective ballad.
The lyrics on this track are incredibly powerful, with lines like “Maybe I wasn’t even listening/I was running, now everything’s changing.” and “I didn’t know what you were going through/Then somebody said, ‘It’s just the way it is.” highlighting our almost willful ignorance of animal suffering.
Bryon himself states that Tears Me Up is “about learning to truly see animals, people, ourselves, and to change when we know better.” It’s about moving from a place of benign ignorance to a moral awakening when you finally see suffering and can no longer pretend it isn’t there.
Musically, the track sits in a comfortable indie-soul pocket, and is produced to highlight the intimate vocals and lyrical messaging. Bryon runs his own production outfit, BWH Studio, and handles the mixing and engineering on the track himself. The result is a polished but not over-produced mix with tasteful use of supporting instrumentation, and an emotional rise that’s earned rather than theatrical.
Tears Me Up switches up from traditional manifesto-driven animal rights protest songs, and delivers a carefully written, warmly produced plea for compassion. It’s a quiet, accumulative track that aims to make listeners see what they’ve been turning away from. If you’re moved by music that tries to transform empathy into action, this one’s worth a focused listen.
http://artistsandactivists.org/
Lizzy & the Triggermen Presents “Live at Joe’s Pub”
LA-based jazz collective Lizzy and the Triggermen deliver a joyously theatrical experience with their latest release, “Live at Joe’s Pub.” Covering an entire live swing set complete with lead singer Elizabeth Shapiro’s witty remarks in between tracks, this album captures the band’s onstage electricity and sounds immaculately produced for a live recording.
The first thing you notice is how clean the recording is for a live capture. The mix places Lizzy Shapiro’s powerful vocals front and center without drowning out the rhythm and horns, and crowd ambience is present but never intrusive. This live album is clearly intended to show what the group does best: stagecraft and swing delivered by first-rate players.
https://lizzyandthetriggermen.com/album/3651259/live-at-joe-s-pub
The album kicks off with the electrifying “When I get Low I Get High.” Driven by up-tempo percussion, energetic horns, and rapid-fire vocal delivery, this is an electrifying opener that immediately catches your attention. Lizzy doesn’t shy away from showing off her prowess as an operatically trained vocalist as she sustains long notes and switches between high and low registers with ease.
The band weaves in classics like “I Got a Lot of Living to Do” from Bye Bye Birdie. This is followed by the original “I Know a Man,” which switches up the tone to take on a slower, more reflective energy. The band adapts perfectly, delivering a soft and somber accompaniment that really tugs at your heartstrings.
The band’s interpretation of Britney Spears’ “Baby One More Time,” arranged by Dave Bennett, is a standout moment on the album. Lizzy does a tremendous job of preserving the song’s intensity while the band adds some instrumental solos and jazzy call-and-answer sections that really elevate it musically.
The final track, “I love to Singa,” is the perfect closer to the album. Inspired by a 1936 Warner Bros. animation, this single pays homage to Lizzy’s roots as an opera singer while keeping that lighthearted, whimsical tone that makes the band what it is.
It’s rare to see a live album that nails it on so many counts. The musicianship is superb, the arrangements somehow sound vintage and fresh at the same time, and Lizzy’s vocal performance mixes sultriness, theatricality, and precision.
This album works as both a souvenir for people who saw the band live and as a convincing showcase for Lizzy & the Triggermen’s concept. It’s polished while still being showy and personable. Live at Joe’s Pub is an incredible record, and we can’t wait to see what more the band has in store for us.
https://lizzyandthetriggermen.com/home
Order of Silence Presents ‘Matter of a Fact’
Graham Perry & Brad Cole reunite as Order of Silence to deliver a warm, nostalgic, and well-crafted track with “Matter of a Fact.” With old-fashioned lyrics and an alt-rock sound in the style of Counting Crows, this is a strong comeback single for the reunited duo.
Released on GGP Records in September 2025, the release was born out of a real-life reconnection: Perry and Cole, bandmates from the 1980s, reunited after the funeral of a former bandmate, and decided to finish “the record the band never recorded.”
Musically, the single sits in that comfortable middle ground between classic rock and power-pop. The melody is driven by keyboard and guitar lines that fill out the midrange, while the duo delivers vocal harmonies that lift the chorus. There’s nothing too fancy here, which perfectly suits the material as it focuses more on emotion and storytelling.
SPOTIFY:
BANDCAMP:
https://orderofsilence.bandcamp.com/track/matter-of-a-fact
VIDEO:
The song is an intimate plea, with the narrator seeing the woman he likes making a poor choice and begging her not to “give herself away.” That voice of quiet yearning; “I’ll be lying in the shadows/Will you ever notice me…” is a powerful expression of vulnerability and a slow-burn regret.
The overall production is clean and warm, and is polished enough to feel radio-ready. but it’s clear that Perry and Cole know what they’re doing, as there’s enough restraint for the storytelling in the vocals to remain front-and-center.
ONLINE:
https://orderofsilence.bandcamp.com/
https://www.facebook.com/GrahamPerryandtheAfterthoughts/
“Matter of a Fact” succeeds on melody, arrangement, and emotional clarity. It’s lyrically heartfelt and nostalgic; the perfect formula for a comeback single. There’s a ton of potential here, and we hope Order of Silence follows up with more music that could turn this reunion into a contemporary music powerhouse.
Christina Crofts Presents ‘Best of Bottleneck’
Veteran Australian Guitarist and Singer-Songwriter Christina Crofts delivers a confident reminder of her legacy with the compilation album “Best of Bottleneck.” Spanning 12 singles, this is a tight, well-sequenced compilation that highlights Christina Crofts’ strongest slide-guitar moments from across her catalogue.
The project pulls together Christina’s live staples and favorites from earlier releases, but with a common theme this time. The curatorial idea of giving her bottleneck playing the center stage is precisely the album’s selling point. This is not a concept album, but rather a nonstop ride of electric entertainment from start to finish.
The album starts with one of Christina’s coolest originals, “Voodoo Queen,” which is based on the legend of Julie Brown, a woman from Manchac Swamp Louisiana who reportedly cursed her entire town upon her death. This raucous and heavy track is a perfect opener, as it immediately hooks you with its energy and bold slide phrasing.
The immediate follow-up is “Breakaway,” one of the record’s best-known cuts. Featured on her 2016 EP, this single debuted at #1 on the Amrap AirIt regional charts. With less chaotic vocals and strong guitar solos, this single is ideal to showcase Christina’s versatility and bottleneck prowess.
The closing track, “Escape to Blue,” stays true to the album’s theme as this is a track where the guitar dominates the soundscape. On the one hand it’s a brave choice, because newer listeners might not take well to pure instrumental performances, but Christina is committed to her craft, and makes a tasteful pick for the album’s closer.
What stands out on this album is the tone of its production. Christina prefers a gritty, weathered bottleneck sound rather than sterile precision. The slides are voiced with plenty of sustain and sit on top of the band without sounding harsh. The performances felt live and immediate, almost replicating the energy of her shows.
Best Of Bottleneck succeeds at its aim, presenting Christina Crofts as a world-class slide guitarist. The production and track selection make it a great starting point for newer listeners, and for old fans, it’s a nice remaster that gathers favorites in one place.
https://www.christinacrofts.com/
Gino Amato Presents “Latin Crossroads Two”
Following the success of his earlier project “Latin Crossroads”, veteran pianist and composer Gino Amato returns with the much-awaited sequel: “Latin Crossroads 2”. Amato picks up the idea from the first Latin Crossroads, taking familiar songs and “Latinizing” them by rebuilding grooves, reharmonizing lines to shift the songs’ emotional centers.
The result is a polished, high-concept set of eleven reimagined classics, all steered through Gino Amato’s Latin-jazz arranging lens. It’s warm and expertly arranged; a record for listeners who like their favorites repackaged with fresh instrumentation and thoughtful vocal harmonies.
The album opens with “Me and Julio Down by the Schoolyard,” which reimagines Paul Simon’s 1972 hit of the same name. With its lighthearted lyrics and breezy tone, this is a fun, fiesta-leaning opener that intends to prove the album’s concept by showing that you can make even a Paul Simon pop tune swing with salsa-tinged energy.
Amato’s interpretation of Victor Young and Edward Heyman’s “When I Fall in Love” is a standout on this album as it features the A Capella group King’s Return. The focus on vocal harmonies over instrumentation is a really interesting touch. But on top of that, the arrangement is mesmerizingly beautiful, drawing you in from the opening harmony and never letting go.
The album closes with another interesting experiment, as Amato creates a purely instrumental track inspired by Rimsky-Korsakov’s “Scheherazade.” The mambo/salsa tune suits the original oriental theme shockingly well, and the trumpet phrases blend beautifully with the strings in the background.
These sessions were assembled from top-tier studio players and guest stars, with the likes of Oscar Hernandez, Joe Locke, Doug Beavers, Alex Norris, Itai Kriss, and Samuel Torres joining in. The recording favors live tracking for the instrumental beds with vocals overdubbed, and that foundation helps the charts breathe even when the arrangements are dense.
Overall, Latin Crossroads 2 is an elegant, well-executed project: a curator’s album as much as a performer’s. This is the kind of record that’d be wasted on a passive listening playlist, and deserves to be appreciated with good speakers so you can savor the interplay between horns, percussion, and voices.
https://www.latincrossroads.com/
Billy Lester Trio Presents “High Standards”
The Great American Songbook is a comfort zone for jazz performers and audiences alike. These are tunes we know by heart, familiar melodies that tug at nostalgia while providing a canvas for improvisation. For veteran pianist Billy Lester, however, standards are anything but safe territory.
Recorded in collaboration with bassist Marcello Testa and drummer Nicola Stranieri, the Billy Lester trio’s latest album, “High Standards,” radically reinvents nine classic jazz standards. Lester not only strips these songs down to their bones, but rebuilds them into something daring, unpredictable, and intensely personal.
The setlist reads like a classic jam session. Opening with “There Will Never Be Another You,” the album ventures into upbeat territory, with Lester dancing through complex solos. The original melody is not presented directly, with the theme being explored in fragmented phrases instead.
“What Is This Thing Called Love?” contrasts nicely with the other early entries, bringing a noir vibe to the album. Meanwhile, “Out of Nowhere” stands out as a single that thrives on dissonance. For the unprepared ear, this can be disorienting, but that’s precisely the point: Lester isn’t decorating standards, he’s deconstructing them.
The trio proves to be an inspired match. Testa and Stranieri don’t just accompany; they listen and create space for Lester’s direction. Their understated propulsion on the virtuosic I’ll Remember April turns the tune into a tightrope act, with the pianist bending time and harmony in ways that keep the listener perpetually on edge.
High Standards highlights the boldness and conversational interplay of the Billy Lester trio. Lester delivers a radical reclamation of the Songbook as a living, malleable art form, and his vision may just fly over the head of a casual listener. But for those willing to lean in, it is an absorbing listen.
