JVKE is a new pop artist from Rhode Island, and is also a master in the new subgenre Cinematic pop – a kind of pop with a lot of synths and cinematic, lush, strings. His hit song golden hour peaked at number 10 on the Billboard Hot Charts, and his debut album this is what ____ feels like (Vol. 1-4) peaked at 40 on the Billboard 200. It has been at least six weeks since his latest release, so let’s have a listen to his new single.

We can first hear his dreamy voice with a synth guitar at the background. Also noticeable is the tuning – 432hz, which was also used in golden hour and a whole lot of other songs. This gives his music an “old feeling”, or a style more like Tin Pan Alley, with the clinky-clonky piano.

After the short intro, we hear the Verse I. I really feel that his lyrical skills have improved over these years. The Verse I is filled with lush synths, and we can also hear him singing those difficult leaps. The First Chorus is the same as the intro, but adding a few more verses. After that, we can hear an inversion of the accompaniment of golden hour. I really like the mention of golden hour in his songs, and this isn’t the first time he did this.

After this bridge, we can hear the Verse II. This time he added a beat under the new golden hour inversion accompaniment. Then there is the pre-chorus, where he hits some pretty high notes. JVKE is the master of high notes, as you can hear them in this is what slow dancing feels like. His control is just amazing.

Finally, there is the second chorus, which is a mash-up of all the elements in the song. He usually does that in the second chorus. What’s NOT usual is missing of the usual long outro. But I also like how the song just fades away.

SCORE/Outstanding: If you are looking for dreamy and happy songs, you have come to the right place! Pretty will make you “float” after you listen to it!

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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Moe Carter is a rapper based in NC/NJ who recently dropped his new EP called Insert Coin Here 2. Just from the title itself and the cover, we can see that Insert Coin Here 2 is a mesh of gaming and street culture, where Moe draws on his inspirations, ups and downs, and experiences of the concrete jungle and its struggles.

Moe usually gives you a nice mix of East Coast rap with classic Southern hip-hop, featuring hard-hitting instrumentals, nostalgic samples, and crispy drums. I had not heard about Moe Carter before this EP, but the artist has already been around for some time, so without further introduction, let’s jump into Insert Coin Here 2:

After first listening to the tracks from the album’s start, I had some mixed feelings.

When you get into the project with the intro track “Lifeline,” you can’t help but notice the prominent inconsistency in mixing and mastering of the track.

While the rapper’s cadence and flows are certainly sharp, the mixing and mastering issues make it sound extremely off the beat undercutting the rapper’s punch. With those hard-hitting elements on “Lifeline,” where the piano part builds that haunting yet repetitive atmosphere, it’s hard to stay fully engaged. However, later the rapper introduces you to some of the better-mixed tracks, which we will get into later.

With that point out of the way, I must say that the rapper is quite adept at experimenting and trying different sounds. Whether it is the trap-infused “Lifeline” or the heavily Southern hip-hop-esque “Purple Hearted,” Moe Carter offers a solid diversity throughout the record. Additionally, most of these tracks are filled with a certain substance and narratives that deviate from the usual modern repetitive rap narrative.

On a track like “Purple Hearted,” the rapper gives you a nice bridge to the previously introduced piano-haunting atmosphere, reminding me of the hardcore hip-hop style you get from artists like Denzel Curry, which, frankly, the artist mostly nails.

Funnily enough, the further you go into the record, the more melodic Moe Carter becomes—whether it is circling back to a melodic Southern hip-hop influence on “Black Bentley” with a fusion of conscious hip-hop, or the outro track “Speed Bumps” with its jazz influence. However, while “Black Bentley” gives you a lot of familiar elements that people love within this hip-hop lane, “Swahili” definitely remains one of my favorites on this EP.

The 4th track, “Swahili,” is simply exceptional; it gives you that ferocious sound of Moe combined with a snarling delivery and a mysterious beat, which certainly stands out as the most memorable and raw performance from the artist on the EP. It not only finds itself in a space of substantial conscious hip-hop and storytelling but also matches the energy of the build-ups within the beat.

With the outro track “Speed Bumps,” you are in for the sweet and nice touch that wraps up the EP with a melodic, boom-bap-type vibe that finally transitions into jazz rap. If “Black Bentley” only gave you a slight hint of the jazz rap style with its surrealistic sound, “Speed Bumps” fully embraces that sound as its fate.

Insert Coin Here 2 is a solid listen, although it feels as if Moe Carter is stepping into his artistic journey. While some of the tracks definitely have strong elements, the inconsistent vocal and beat mixing lowers the project’s quality and replay value. The rapper clearly has potential and deserves recognition as an emerging talent, but the ups and downs of the mixing and watered-down sound of the vocals keep Insert Coin Here 2 from being the best record by any means.

Score/Good. I believe this record certainly deserves a good score, as the rapper has a solid flow and bars that can immerse you in his narrative—especially in the latter half, from track three to the outro. However, when the album dives into those hard-hitting, dynamic sounds like “Lifeline” or “Purple Hearted,” the echoed-down vocals detract from the album’s stronger aspects.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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Sean Murphy-O’Neill’s voice definitely reminds me of male version of the voice of popular indie rock artist Courtney Barnett. Exit stage left from the compelling verse vocals and you’re into the punchy and driving chorus “I’ll see you around, I’ll always see you around.”
Listen here:

On the new album’s liner notes posted by the band on their Bandcamp page, the band writes that the new album “is centered around duality. The intention is to bring together everything Courting have created thus far into a succinct, direct, record. Each song on the album is ‘twinned’, with another, existing within the same type of world.”  I can’t wait to hear the album and discover the twin for “Pause at You”. Vocalist Sean Murphy recently told Stereogum in a recent interview “‘Pause At You’ is a culmination of everything we’ve been working on over the last few years — an observation on night time paranoia mixed about with night out ecstasy. Light outing, floor filling, tie undressing, rock.” (Stereogum, Courting-Pause at You, 11.20.24). Whatever that means, LOL. Don’t you just love a good mystery?

SCORE/Excellent: Courting returns to continue to drop hot singles on the UK music scene. Their new single “Pause at You” is particularly nicely mixed and mastered. It has a very catchy sing-talk along melody and I really enjoyed the funk guitar riff. It contains all of the excellent points of their recent releases, leaving you with a work full of passion, intensity and soul. This single literally breaks the sound barrier and should be a definite add on your personal music playlist.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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The album begins with the track “Connor McManus”, after the band’s frontman. I don’t see what his name has to do with the song, but it’s damn good nonetheless. It seems to me as if it were a modern sea-shanty, which I found to be intriguing. The vocal harmonies, the slow build-up, and the guitar really make this great; I wouldn’t be surprised if this ends up being one of my favorite intros this year. The track then bleeds into “Princess”, a single that was released back in 2022. When the synth comes up, I immediately thought of One Piece, which I’m sure was the vibe Wisco was going for. It’s certainly a catchy tune with a nice riff, including a bit of surf rock influence. “Pace” is also a nice song, very reminiscent of what you would hear in the early 2010’s. Certainly not my cup of tea, but it’s hard to resist, especially with that synth lead.

Now to what is undoubtedly the best song on here, “Smooth Sailing”. The melody (which sounds like something Twenty Pilots would make) and chorus may not be the most original, it’s a hell of an earworm. I also love the instrumentation, full of tropical flavor (which the Latin in me loves) combined with a punkish attitude of sorts, which will appear in other songs. There’s so much more I can say about this song and why it’s great, but there’s so many cool things going on. I have to shout you guys out, well done on this one!

“Living Room (for jesus)” is where the album gets a little shaky. I’ll just come by and say that the lyrics are a bit cringe with the religious imagery and bars like, “When we Rome across the sea”. I don’t see how the religious theme goes together with the album’s concept, even though parts of that are mentioned in the song. Although, I will admit that the instrumentation on the second half is better than the first, which I found to be quite boring. “Thank God (i’m an atheist)”, which I imagine is the former song’s companion piece, is a little similar. Thought, I will say that this one is better, especially with how the different vocals interacted with each other.

“You, Me, Her” is a song that I usually wouldn’t like, as it isn’t my particular preference, but I cannot ignore the passion that went behind those vocals. I also really like the story-telling in the song, which is a factor that I would say is present in most of the songs on the record. I can’t say the same for “Vomit” though. I get the sentiment behind the song, but it just felt out of place, especially when looking at the grand scheme of things.

Also, it’s pretty derivative, I would say, as I can imagine that “Vomit” could’ve been something that My Chemical Romance left on the cutting room for one of their albums. “Lion/Miss You” is another song I didn’t really care for. Not that it’s terrible, I was just bored for most of it, even in that second-half. At least for me, I don’t find the whole “lion losing his pride” motif all that effective of an analogy, not that it makes much sense to begin with.

However, the album picks up with “Floating On”, which I found to be quite lovely. I love the guitar, especially with the melody that it leads on, along with the overall production that builds up the song’s atmosphere. “Shitty Weather” is similar, a nice song that sounds like something I would’ve heard in my childhood, evident by those drums. I want to point out the guitar and bass work, which make this song what it is. A little generic? Sure, but it’s damn catchy. “NEW Swimming Pool” just kicks ass. Again, not really original, but it’s hard not to groove and have fun with it.

All songs ranked on a scale of 0-4:

1. Connor McManus – 4
2. Princess – 4
3. Pace – 4
4. Smooth Sailing – 4
5. Living Room (for jesus) – 1
6. You, Me, Her – 4
7. B O A T R O C K – N/A (Interlude)
8. Vomit – 2
9. Lion/Miss You – 2
10. Thank God (i’m an atheist) – 2
11. Floating On – 4
12. Shitty Weather – 3
13. B O A T R O C K E D – N/A (Interlude)
14. NEW Swimming Pool – 4

SCORE/Good: My hats off to this band. Even though I necessarily wouldn’t grade this record as an “A-tier”, there is so much potential. Those first four songs are practically immaculate and represent creativity that every artist should strive for. Regarding advice, I would tell you guys to keep doing what you’re doing, just be sure to be more consistent if you’re going to be working with concepts and to maybe rely a little less on your influences. Other than that, I really enjoyed this record and the great production by Josue Diaz. I bid you guys the best of luck and I hope to listen and review your work very soon!

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If this is your first time hearing about Loya, trust me—it won’t be your last. Loya is an electric indie pop musical project founded by an introspective artist who explores self-discovery through sound.

With a focus on creating meaningful and emotive music, Loya’s work offers ear-candy tracks that invite listeners on a journey of self-exploration. His material often features an intriguing mix of electronic indie fused with acoustic elements. For instance, on tracks like “Me or You,” listeners are immersed in an eerie atmosphere where dynamic soundscapes take over, allowing the artist to express raw emotions. On the other hand, “Highway” presents a laid-back blend of summer-inspired electronic sounds that transport listeners into an entirely different vibe.

But let’s take a closer look at Loya’s single “Pocket” and what it brings to the table.

“Pocket” is a unique track that, from the first seconds, evokes some of the influences heard in James Blake’s work. The spacy vocals combined with psychedelic electronic production transport you to another universe. If this was the vibe Loya intended, the artist has far exceeded expectations. The track’s melancholic build-up is captivating, immersing listeners in a mix of sounds that are mesmerizing, disorienting, and welcoming all at once.

The artist has also referred to “Pocket” as the song for introverts, and I believe it perfectly captures the essence of introversion. Uncertainty, hope, and contentment with oneself dominate the song’s atmosphere, but these feelings are constantly challenged by doubt.

The instrumental amplifies these emotions even further as if they are persistently knocking on your door, waiting to be let in. This dynamic mirrors the way emotions beg to be freed while you keep them locked inside.

The track’s mix of darkness and rawness makes you fall in love with its narrative almost immediately. The chorus, with Loya singing and expressing his doubt, is simply stunning. It’s undeniably powerful and keeps the song polished and well-executed. The infectious chorus and its flawless implementation are what elevate “Pocket” to an entirely different level.

The track sticks in your mind from the moment you hear its dark, hard-hitting instrumental, which relentlessly rushes toward a resolution that remains elusive.

Score/Outstanding: This track is simply breathtaking. It evokes a dizzying range of emotions that are both profound and incomprehensible. I absolutely love everything about it, from start to finish, and I’m eagerly looking forward to more material from Loya. It’s been a long time since I’ve been this excited about a track—don’t miss out on “Pocket.”

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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Hailing from Pound, VA, Brayden Mullins began his music journey at the age of 17 in his bedroom. He drew inspiration from a variety of artists, such as Keith Whitley, The Stanley Brothers, and James King. While bluegrass served as a major influence for Brayden, he also listened to artists like Pink Floyd, Korn, Alison Krauss, and Townes Van Zandt, to name a few. According to Brayden, the lyrics and stories behind songs are what makes music come alive.

In his last LP, Brayden aimed to captivate the minds and ears of his audience through his songs. He wanted his music to challenge listeners’ thinking and help them fully grasp the message behind the lyrics. Across the eight tracks of his last album, he effectively highlighted this concept with a vivid emotional palette.

While his style remains quite minimalistic, Brayden doesn’t necessarily reinvent the wheel; instead, he focuses on the storytelling aspect of his music.

So, without further introduction, let’s take a look at Brayden’s new single, “Virginia,” which hit the platform as soon as the calendar turned to 2025.

“Virginia” is a track that sits at the intersection of country music and introspective reflection. Brayden delivers a simplistic soundscape featuring just an acoustic guitar and a fiddle. From the first seconds, you can tell that Brayden has a storyteller’s voice and inflection, which may resonate with fans of the country genre. However, the track leans too heavily on its simplicity.

It feels a bit overstretched—Brayden’s delivery, which aims for emotional and lyrical impact, comes across as somewhat stale. The track doesn’t offer much dynamism, which is where it falls short. While the song showcases a solid structure, the passive yet emotional execution struggles to find balance. Instead, it demonstrates a heavy over-reliance on a slow-tempo, passive delivery.

The song feels somewhat dated. Its staleness makes it difficult to connect with on an exciting level. While the mix of drama and country instrumentation is expected, it comes across as a bit tacky and overused.

On the positive side, Brayden’s strength as a songwriter is evident. He has the potential to create songs that feel more inviting or emotionally resonant. However, “Virginia” misses the mark for me. While the instrumental is nice, as someone who listens to a lot of country music, the track feels too derivative.

Score/Mediocre: “Virginia” has its strengths, but for me, the negatives outweigh them. That said, I’m curious to see where Brayden takes his craft in his upcoming LP, and whether he’ll deliver a fresh emotional perspective.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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I’m sure almost all of us have heard a death ballad at least once in our lives. During the late 1950s and early 1960s, songs like “Last Kiss“, “Tell Laura I Love Her“, “Ebony Eyes“, “Dead Man’s Curve“, and “Leader of the Pack” set the standard for these scenarios. Here, Nashville Phil is going for something similar, delivering an affectionate yet melodramatic story. He draws hints from Marlon Brando and Lee Marvin in “The Wild One“, as well as the iconic Harley Davidson motorcycle ridden by the hell-bound womanizer, Jumpin’ Jim. With all these nods, the narrative easily unfolds with a sense of inevitability.

If you check out the music video for “Panhead Hydra Glide“, it immerses you further into the story. The groovy drums and rock base find a home within the country aesthetic. The death ballad vibe paired with an old-school American country instrumental—dynamic like a Harley Davidson on the road—works perfectly. Nashville Phil leans into the vibe with his charismatic delivery, giving you the feel of an old cowboy storyteller.

What I really like about the instrumental is how it sets the tone—you know exactly where this journey is heading, but you’re still hooked. The cheerful yet devilish accompaniment makes the narrative even more impactful and authentic. Nashville Phil’s delivery ties it all together, adding to the song’s charm.

The narrative itself is one of the strongest aspects of the track. While I wouldn’t call myself a huge fan of Phil’s execution in certain parts—especially the chorus—I can’t deny that his country-tinged delivery suits the song. His vocals don’t blow you away on the first listen, but they grow on you. With sharper mixing and mastering, this could have elevated things even further. That said, the overall execution is solid.

The aesthetic of this track really does it for me. It’s engaging, fresh, and pays homage to older ballads while maintaining its own identity. Nashville Phil’s performance, though not perfect, shapes the story in a way that feels genuine.

Score/Good: I feel good on this one. It gives you a great mix of storytelling, nice instrumental, and charisma on the same track. It is not something mind-blowing by any means but it definitely has its charm. I enjoyed this track. 

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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Let me introduce you to this dynamic group if you’ve never heard of this band.

The Hot Mamas is a U.S. collective of six women wielding a junkyard bathtub of homemade instruments on roller skates. They’re known for their mesmerizing mix of folk, pop, and jazz, all with a touch of irreverent humor. Their music tells stories that resonate with audiences of all ages, drawing from their feminist experiences as hard-hustlin’ musicians. The Hot Mamas aim to create catchy melodies and lush harmonies paired with relatable lyrics. With their new single, the band slightly steps away from their standard comfort zone and dives into a quirky country sound, ready to share yet another story.

So, without further ado, let’s get into it:

“Ford Escort” is inspired by road adventures and real stories, landing in a vibrant place infused with a satirical country influence. On this track, the chemistry between the members shines as they clearly had fun during the creation process. The song begins dynamically yet remains simple, prioritizing the emotions over sonic complexity.

The track was born from lively conversations and the unexpected moments that arise during life on the road. You can hear this authenticity throughout, with snippets of live convos cleverly layered into the background. “Ford Escort” itself came to life after a storm canceled a tour show. Amidst the chaos and disappointment, Maria Leckey took her accordion, parading around while singing a chorus that sparked a creative process among the group.

The song captures the essence of their journey, filled with unforgettable characters and memories that resemble a goofy clown car—a perfect metaphor for the satirical sound. The country soundscape and humor immerse listeners into a vibrant, chaotic, and joyful adventure.

The Hot Mamas transport you to their unique party—packed with guests yet still cozy and welcoming. It’s a mix of chaos, joy, and the shared experiences we encounter on life’s adventures. The storytelling is paired with contagious group chemistry that enhances the listening experience, even if the song works better as part of their collective body of work than as a standalone hit.

While the cocky and light-hearted delivery is attractive, “Ford Escort” doesn’t bring much new after the second chorus. The track tends to stay in its initial lane, offering catchy hooks that linger but don’t progress. However, the song excels in aligning with The Hot Mamas’ signature blend of artistry and humor, making it a fun addition to their discography.

Score/Good: This song is solid. While it falters slightly in progression, the charismatic artistry of The Hot Mamas and their lively execution demand attention. Their music is less about complexity and more about atmosphere, with melodies and vibes that stick in your head and make you smile

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Before we go into the track, let’s quickly run down the crew members to highlight each one of them. So, on the vocal part, we have the starry voices of Isabella Coulstock and Mark Johnson, who also play a responsible part in the instrumental part of the song. For the saxophone part, we have the captivating execution from Angus Cousins, and for drums, bass, keys, and production, we have Paul Midcalf.

Each member is already either a prominent face in the music domain or a rising star. For example, Isabella’s performances on many shows and festivals include opening for Jools Holland and His Rhythm and Blues Orchestra on several tour dates, as well as Nell Bryden, Nick Heyward, and The Who—her first arena show supporting them at London’s O2. Mark Johnson, the group’s second vocalist, doesn’t waste time either and has already started to gain global acknowledgement.

With a small recap, I feel as if we are ready to finally jump into the track, its intricacies, and get the first taste of the MRC release.

As a person who has not heard the original before and was exposed just to the cover first, I must say I am impressed.

Isabella Coulstock’s beautiful balance of vocals, certain charisma, and mystery in her voice captivates the listener from the start. Her vocals are so tenderly balanced on the track that whenever you hear the additional background instrumental, it nicely bolsters her strong vocals. The track’s softness and atmosphere slightly shift to more extravagant elegance when Mark Johnson enters the song, giving it another layer within. Also, it is very hard to undermine Angus Cousins, who accompanies his crew members in the most classy and smooth way possible.

Talking about the instrumental of the track: it is simple. It is distinguished and entertaining. The softness and gracefulness of the drums from the start ideally complement both singers throughout the song. The luxurious sound that we become accustomed to so fast on the track doesn’t stop till the end, as we are continuously exposed to those sophisticated piano keys and stylish saxophones that feel like a nice cherry on top.

Overall, the track’s majestic sound, with the splendid implementation of both vocal parts and melodic ones, makes you instantly fall in love with the band and the chemistry between them.

Score/Excellent: As I said before, I am nothing but impressed. Perfect execution all around the place, from the instrumentals to the vocals. The band aims at this rich and elegant sound, which they achieve seamlessly. I am really looking forward to hearing more from them in the future, as this was lavish.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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Following the cheeky and sarcastic “My Neighborhood,” the British old-school duo returns with the somber and introspective “Call It A Draw.”

After their 40-year break from music, the mates strike the right note for the haunting atmosphere of the track, perfectly complementing the image of somberness.

The entire song structure feels crafted to keep you engaged by continuously foreshadowing the epic resolution with the build-up that the band creates from the start. Foolish Men ideally nail the bridge from the build-up to the resolution, which later transitions smoothly into the outro. With the perfectly tuned guitar bolstered by strong background instrumentals, the song reaches its highest emotional and sonic peak closer to the end.

What I really dig about “Call It A Draw” is how minimalistic and straight to the point its sound is. In “Call It A Draw,” the duo demonstrates the simple nature of human relations without any eccentric instrumentals per se while accomplishing the goal of delivering a strong emotional tone.

The way I feel about this song’s soundscape could be ideally explained by this quote: It is direct yet ambiguous. It is simple but complex. The song doesn’t jump at you with huge alternative shifts and deviations but instead achieves a level of psychological sonic singularity that captivates me.

If their previous single leapt into critiquing the homogeneity of British society, this time, they dive into the indecisiveness and complexity of human relations, where in the end, we simply aim to reach a solid consensus.

Aside from the haunting and memorable instrumentals, the vocalist adds another layer to the track, immersing you in this environment of uncertainty and making you experience a diverse gamma of emotions. With the raw aesthetic and somewhat dry-ish vocals, the singer achieves an ideal mix of rhythm and spoken-word delivery. This mixture not only provides a solid foundation within the song but also gives the vocalist a platform to illuminate his doubts about particular highs and lows in life.

SCORE/GOOD: I really like this venture from the “old dogs.” It feels like a melancholic yet refreshing addition to their catalogue, offering a great mix of haunting atmosphere and solid execution from both sides of the wall. A good track.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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