“Big Blue Sky” is a track that, from the very first seconds, showcases the experience and passion behind the music. The initial notes of the guitar riff, which sound both dramatic and hefty yet hopeful, demonstrate how effectively KP can evoke deep emotion.

While the track doesn’t necessarily feature any vocals, the main instrumental—the electric guitar—swings from dynamic bursts to more slow-paced, contemplative moments. The track feels extremely crescendo-driven, particularly at the start when the drums begin to pick up, amplifying its steady nature.

I also, quite frankly, appreciate how the drums are utilized throughout the track to bolster its epic and textural feel. They certainly do not take on the role of the main instrument like the guitar does, which intentionally feels overpowering, providing weight. The drums, on the other hand, play a steady yet explosive and punchy role, offering a moment for orchestrated elegance to develop and adding another layer of monumental charm.

“Big Blue Sky” also feels hypnotic and psychedelic to an extent. The track’s sequence slightly reminds you of something you might hear on The Final Cut by Pink Floyd, combining a heavy sound with a sense of resolution. This resolution is evident in the outro, which feels both content and powerful.

I feel strongly about this track. It represents a powerful, wordless, yet vibrant and saturated journey that takes you from one emotional and sonic space to another.

Score/Excellent: “Big Blue Sky” and KP showcase what years of musical experience should sound like. The ease with which the artist evokes emotion is simply impressive. The track demonstrates a level of professionalism that is both artistic and striking.

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

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The song starts off with a nice instrumental guitar and bass riff. The vocals could be louder against the mix as this song is about the lyrics. Nice voice on the rap though. I’ll have to listen again to truly get the lyrics. I really like the instrumental track underneath the vocals, but not your typical track to put under rap vocals, more of an Indie Pop type vibe here.

The vocals rhythmic timing fits nicely over the instrument track, though. The song is very well mixed and produced. I really like the background female and male vocals that come at the end of the lead vocalist’s rhymes. The song is about taking back the power. While the rhymes and vocal delivery in this song are presented very nicely, the song itself seems to lack a more complex or nuanced message.

But the song itself is very nicely produced, even if it will probably not get much radio play in its current Explicit state. Being a professional Radio DJ on commercial FM new music stations, I’d like to hear and suggest the Artist come up with a clean Radio edit version to get more radio play. Really nice track for his fans, though.

SCORE/Excellent: Koine Poetry delivers a bitchin’ sounding rap performance over a well-tailored Indie Pop styled instrumental track on which he played all the instruments. I love the modern sound of the instrumental track and really like the flow of the rap vocals and the word choices in the rhymes. Very well put together, and I’m sure this will get radio play if the Artist decides to put out a Radio Edit version. Much love, Beth

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

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“BujuRocks is the electronic music project of composer and producer Burcu Akan. Creating a unique blend of electronic dance music with contemporary production techniques (perhaps meaning AI?), BujuRocks has been releasing high-quality tracks since 2024. All music is self-published under the BujuRocks label, maintaining complete creative control over the artistic direction and production quality.”

Though I’m still not sure what this artist stands for, if their images are real or AI, or whether their song is real or AI-enhanced. We can only use our eyes and ears. No doubt, it’s a nice presentation and musical package to unwrap.

So let’s have a listen …

My first impression of this Single is that it goes on too long, although it’s an EDM dance track which does occasionally go long. I’m not particularly digging the distorted bass which is driving underneath the whole song. The notes are fine, just not the distortion. I do like the clear vocals that come in occasionally, “Hey Boy!” “Do You Love Me?”.

Nice fade at the song end. I don’t find this song to be quite as hypnotic or entrancing as CALLNOMORE, the last song I reviewed from this artist and ranked as Excellent. I like the siren like keys/strings riff which comes in later in the song. It’s a very danceable beat, don’t get me wrong, just not digging it as much as the prior song. Might make a good album track though.

SCORE/Good: An extremely well-produced track, no issues with the sound of this track in terms of mixing and mastering. I think the song arrangement could be more inventive and less repetitive. Definitely falls in the EDM genre and would nicely fit on an album from this artist. Much love, Beth

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

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From the start, the song pulses with powerful, driving drums, setting a relentless pace that pulls you in. The instrumentation feels weightier, with deeper tones and a subtle edge that sets it apart from their past records. And while the overall mood leans heavier, Jackie Miclau’s delicate moments on the keys shine through like brief flickers of light, one of my favorite elements in any Mt. Joy song. Her touches add an almost ghostly beauty to the track, softening the intensity just enough to keep you hooked.

Lyrically, “Coyote” feels introspective, carrying a sense of isolation and longing that fits perfectly with its namesake. Matt Quinn’s vocals hold a certain urgency and grit, delivering the lines with a quiet intensity that builds as the song progresses. It’s less carefree than some of their past hits, but that shift makes it all the more compelling.

I wasn’t expecting this direction from Mt. Joy, but the more I listen to “Coyote,” the more it pulls me in. It’s moodier and more intense than their usual sound, but that shift feels natural rather than forced. The pounding drums and raw energy make it stand out, yet there are still glimpses of what I love about their music.

It’s a bold move, and I must say I do prefer their lighter, feel-good songs, but I’m excited to see them explore something different. I have a deep connection with Mt. Joy, with them being one of the first bands that I saw live and loved. I went to multiple of their last UK tour shows and am eagerly waiting for them to come back. If this track is any indication, the new album could take us on an unexpected ride.

With the album dropping in May, “Coyote” leaves us wondering what musical path Mt. Joy will take us down next. Will they continue this darker, more atmospheric direction, or is this just a glimpse of a broader sonic journey? Either way, this track proves they’re not afraid to evolve, and that’s something to be excited about.

SCORE/Good: If you enjoy moodier folk music, then this song is for you! Or if you are a lifelong fan and just like to be there for the new Mt. Joy song drops, then you will be interested in this new sonic voice they’ve created.

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

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One of the most stunning aspects of the song is the way he nails those high notes at the end of some of the lines; absolutely beautiful and so full of emotion. Gossett’s talent as both a lyricist and musician really shines through, proving once again that he’s a poet in musician form. The lyrics feel intensely personal and relatable, touching on themes of growing up and still feeling juvenile, craving parental validation even as an adult. 

The line “the streetlights are turning on a little early, I don’t know if I should get home” struck a chord with me. It captures that feeling of uncertainty; wondering whether you still belong to your parents the way you used to, and whether the people who loved you when you were young still feel the same way. He also touches on the poignant contrast between childhood memories and the reality of adulthood, evoking a sense of nostalgia that’s comforting, but also a little heartbreaking. 

I had the chance to catch his free show at Omeara recently and let me tell you; this song does not disappoint live. If anything, the acoustic version was even more powerful and raw than the studio cut. Hearing it live for the first time, well, I’d be lying if I said it didn’t bring me to tears. There’s something about the stripped back arrangement and the way his voice resonates through the room that makes the emotion hit that much harder. It was one of those shows that’s going to stay with me forever. 

If you’re looking for a song that perfectly balances tenderness with a sense of longing, “Like I Do” is it. Dylan Gossett continues to prove that he’s more than just a talented musician. He’s a storyteller who knows how to make you feel every word. 

Overall, “Like I Do” is more than just a song; it’s a vulnerable confession wrapped up in a beautiful melody. Dylan Gossett’s ability to turn deeply personal experiences into universally relatable art is what sets him apart as a songwriter and musician. This track not only highlights his growth as an artist but also cements his place as one of the most promising voices of his generation. I can’t wait to see where this new direction takes him.

SCORE/Outstanding: If you want to feel like you’re in the back of your parent’s pickup truck in summer, looking through childhood photo albums, this song is for you. It’s a little sad, about wanting your parents to want you the same way they did when you were younger, but it’s not an inherently sad song. If you like bittersweet country music, check out this song!

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

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What makes G-Killa an interesting face to look out for is related to the musical acceptance within his family. Coming from a family that doesn’t value or respect music, he still pursued his dream as a rapper, hoping one day to sway their minds to accept his passion for this art.

So, without further ado, let’s get into G-Killa’s new single “Truth”:

From the first seconds of the track, you are immersed in the soulful, southern hip-hop rap style, which doesn’t follow the typical sound of Detroit you might hear from artists like Tee Grizzley. The sound remotely reminds me of Rod Wave’s mixture of pop rap that blends influences from R&B yet dives into lyrics challenging the trust and trustworthiness of those around, amplifying the track’s name.

Additionally, the rapper’s sound reminds me of the aesthetic that Polo G often employs in his tracks, incorporating conscious hip-hop elements while mixing them with soft, pop-like instrumentals that feel lush yet raw.

While it is clear what the artist is aiming for, and considering this is one of his first ventures, the release stands solid; however, at moments, the mixing and mastering of the vocals feel slightly choppy. The track carries the weight of a bit of excessive autotune, turning the artist’s vocals into a chaotic blend with emotionally hollow notes while still aiming for that raw sound. It just feels a bit more like a distraction from the actual message and the track’s soft yet lush style, which the minimalistic and delicate beat brings to the table.

The sound design feels melancholic and soft-toned, introducing the artist’s warmth and the airy coldness he experiences from treachery. In general, the track feels solid and decent, but the vocals—particularly the tightly sequenced transitions between beat’s verse 1 and 2—make the track feel less punchy.

Score/Good: Overall, G-Killa gives you an interesting sound that offers a fresh perspective on Detroit’s mix of pop rap, combining different influences from Rod Wave and Polo G to shape his unique cold and soft-paced style. As I have mentioned before, the only downside of the track is the over-reliance on autotuned vocals, which slightly feel out of place and slow down the dynamic of the track.

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

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He hopes to seek to relate with everyone through his music, appealing to people’s senses and seeking common ground with their feelings and moods. Part of his methodology involves the belief that if his music comes from him personally with his authentically lived self-experiences, he can connect with people with the same level of authenticity through originality and personal touch as well.

Adding to his repertoire is his newest single titled ‘Come Back To You’. It is described as a dance EDM track which he has extremely high hopes for. It is a melancholic yet energetic track that is about the passionate burning love you feel for a specific person in your life. It’s intended to be relatable but still deliver with its classic EDM punches and emotional arc.

The song starts off promising and positive, with tender and shiny synth nodes in position with the arrangement of the kicks. The melange of synths that follows through is extremely intense, but bears a huge positive motif- I want to categorise it akin to the sounds of uplifting trance, but unfortunately, it stays within the realm of generic EDM.

I understand the hypersaws and the ‘eruption’ associated with songs like this, but it really comes off as a homogenous electronica track.

There is not much motivic variation or depth within this song, besides the slight modulation in the hypersaw’s chords and the vocals of the vocalist. It reminds me of some of the stock songs created for the ‘electronica’ section of the radio on Sims 4. It’s not an offensively bad song, by any means, but I feel like I’ve been spoilt with the depths of electronic music to where this seems almost superficial and soulless, contrary to what it is marketed to sound like.

I think this song would do well with people who typically favour music from people like Alan Walker. It bears the same level of positivity within the scope of his songs. If you’re used to songs with more depth, I don’t think this would appeal to you.

I think the artist should focus on adding more sonic depth to his music and also amend the mastering a little bit more, as the synthesis was a little murkier, sacrificing clarity for volume. Either way, it’s a great start to a long career in electronic music ahead, and there’s always time for him to hone his craft.

SCORE/Good: ‘Come Back To You’ is a typical EDM song that you would hear out in the mainstream these days. It has a definite positive motif to it, but it needs a little bit more dimensionality and depth. If you’re a fan of Alan Walker or NCT, you’d definitely adore this track.

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

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“WITHSTAND THA FIRE (Anti-Hetero Anthem)” immediately places itself in the mix of his previously explored style on SOCIAL STUDIES, diving into an infectious, mysterious, and thought-provoking delivery.

K2 Cocky actively gives you the feel of industrial music with a heavy, vocal-driven track that showcases his harsh and choppy vocal execution, adding layers to the aesthetic—though it slightly feels off.

However, what I do admire within the song’s soundscape is the dynamic, quite psychedelic, all-over-the-place beat, reminiscent of something from slowthai’s UGLY. The pulsating, echo-drenched instrumental generally does the job well in creating that bizarre atmosphere, though the looped orchestration during the chorus gives it a prolonged feel.

The song’s sound selection certainly showcases what the artist was aiming for with his emotional and punchy delivery, but the mixing and mastering of the vocals really take away from its potential. The blending of two different cadences—from vicious, snarling rap flow to emotional singing—doesn’t work as sharply as it should. Instead of illuminating the chorus with a dynamic switch-up, the singing part blends in with the dissonant production.

While the thematic context of the song is hypnotic and potent, the noticeable issues in vocal mixing and mastering rob the track of its intended ‘kick.’

I really admire K2 Cocky’s foray into a mechanical and synthetic sound that challenges the usual constructs of industrial hip-hop. However, the lack of clear separation between the vocals and the instrumental meshes all the sounds together, diminishing the charm of the technological flair that K2 Cocky offers.

Score/Mediocre: While I see the artistry in K2 Cocky’s sound and, particularly, his message, the song’s shortcomings in proper mixing detract from its full potential. The strong aspects of the instrumental—its haunting, hypnotic feel—do illuminate the track compared to many look-alike sounds today, but overall, it falls short.

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

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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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“Pack Your Bags” opens up as the first single from the band since their recent “Ford Escort,” which also happens to be their first track in 2025.

My personal first exposure to The Hot Mamas was quirky, funny, yet insightful. What impressed me the most was the chemistry the ladies had between each other, creating that authentic experience and atmosphere. However, while “Ford Escort” found itself in a more relaxed place and introduced itself as a funny standalone track, the new joint demonstrated The Hot Mamas from a different side.

From the tracks’ opening, you can see that the band is going for an absolutely different vibe, giving you a much more polished, epic, yet classy sound. The rhythmic and palpable sound of drums adds another layer to the track, establishing a dynamic yet tense soundscape. Fueled by raw emotions and inspired by a gripping moment from The Handmaid’s Tale, Mallory McKendry clearly channeled her feelings into an anthem that highlights the values of feminism, bodily autonomy, and empowerment.

“Pack Your Bags” doesn’t truly belong to any particular genre, at least not in its usual forms. The tracks I find most adjacent are in the realm of alternative folk that lean into rhythm and blues with a catchy chorus. Speaking of the catchy chorus, the group manages to create and progress it with weight and volume, thanks to their immersive chemistry.

Furthermore, this new single doesn’t only feature The Hot Mamas—it also includes a rap verse from Lady Taij. At first, it might sound bizarre, in terms of how a rap verse would accompany the rhythmic and dynamic, jazz-leaning sound, but Lady Taij nails it. She seamlessly captures the right cadence and beat direction, giving you a concise yet expansive verse. I really like how the ladies capture the feelings of “going to war,” and Lady Taij circles back to illuminate the theme even more with her classy yet ferocious delivery.

All of those emotional and intense track vocals are backed by relentless marching drums, creating a powerful sound with a captivating texture. In comparison to “Ford Escort,” the new single feels mature, flowing through soundscapes and echoes of emotional and physical struggles in the fight for human rights.

The Hot Mamas’ new track has a strong purpose: reminding everyone to fight for their own voice, and for the voices of all. “Pack Your Bags” doesn’t only empower you to stand up—it celebrates strength, unity, and resistance.

Overall Score/Excellent. “Pack Your Bags” is an extremely emotional and powerful single that leaves a pleasant and empowering aftertaste, demonstrating the complexities of the struggle and reminding you that the battle for freedom is continuous. As The Hot Mamas themselves indicate in their message, the fight continues—hand in hand, mother to mother, sister to sister, human to human.

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