“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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Honningbarna has already had a relatively long and productive career, evolving album by album into an increasingly unique and innovative group. Up until the 2017 album Voldelig lyd, the band made relatively pure hardcore punk, characterized by rock energy, melody, and a hefty dose of aggression. Their previous album Animorphs retained much of the band’s original style but also took steps in a completely new direction, introducing more experimentation, at times even a mechanical feel, and a greater sense of unpredictability.

Soft Spot strongly continues down this path. The album is full of surprises and unusual rhythms that are oddly difficult to grasp, yet at the same time incredibly intriguing and inviting. Schäfer, which kicks off after the intro, is probably one of the heaviest tracks the band has ever produced, both in sound and arrangement. The album is clearly built on the foundation of experimental hardcore rock laid by Refused. Each instrument shines in its own way, and the vocals sound absolutely amazing. Still, it’s the drum arrangements and groove on Soft Spot that stand out the most—they’re simply phenomenal.

Here and there, Soft Spot introduces even more machine-like effects and soundscapes, at times evoking a distant industrial vibe. The band really seems to be delivering their strongest and boldest performance yet with Soft Spot, without worrying about what traditional hardcore fans might think. This is a major strength that sets Honningbarna apart from many other hardcore groups today.

Amidst all the experimentation, the album still features accessible, so-called old-school Honningbarna bangers. All in all, the band sounds and feels stronger and more relevant than ever. I’d be lying if I said Soft Spot wouldn’t be on my end-of-year best albums list.

Release Date: February 28, 2025

Honningbarna – Soft Spot

Album of the Month by Cuberat

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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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“For New Age radio audiences, Wayo Hogan’s story is an invitation to slow down, listen deeply, and embrace the calming spirit found within Montana Stillwater—and every note he composes.”

So let’s have a listen …

“‘Flathead Lake’ flows with shimmering synths and tranquil melodies that evoke wide-open water and sky.” The track starts off with a nice arpeggiated piano vamp, then the keyboards come in supplying the atmosphere, bass, and drums. The song is a nice listen, very contemplative and serene. There’s a nice instrumental break in the middle of the song, followed by more of a folksy vamp. The song fades out on the lovely piano vamp. Very chill song, I like the composition, but am left feeling that it doesn’t really have a memorable hook, but it is very pleasant to listen to.

“‘Bigfork Bay’ adds a rhythmic undercurrent, capturing the cozy, artsy vibe of the lakeside town at sunset.” This song also starts off with a lovely piano piece, then the strings come in adding a very nice texture to the piece. When the drums come in, so does a very chill acoustic guitar; the keyboard string section definitely adds to the chill mood of this track.

“These instrumental tracks are ideal for chill, downtempo, and ambient-focused radio shows with an ear for innovation and place-based inspiration.” After listening, I would have to agree with that statement. These are very chill New Age instrumental music tracks, well composed and recorded. The mix and master sound wonderful. I like the vibe.

SCORE/Good: While I like the vibe of both songs, I’m left feeling that the songs don’t particularly have a strong hook or melody. The EP is very well-produced. And the performances on the recordings are also very nice. I liked listening to these New Age tracks, and you will too! Much love, Beth

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

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The album’s inception initially hints at this anarchic sound that feels so textural and physical due to its omnipresence. Surprisingly, the album isn’t rooted solely in gritty, raw sounds—instead, it aims for a seismic yet very polished vibe.

This record certainly could be divided into two separate parts, with the first one having “Higher Ground” and “New Messiah” that aim for this dark, snarling sound, which is much closer to usual hard rock. The artist opts for a dreamlike sound, particularly on “Higher Ground.” During the chorus part, the catchy and captivating vocals with the ominous instrumental present to you an unhinged yet perfectly rhythmic song. What is probably the highlight of this specific track is the outro, where the artist gives you such a dynamic and cinematic experience with his guitar solo closing the track perfectly.

When it comes to “New Messiah,” which is also more chaotic and rapid in its delivery, East of Anthony balances between rough and storytelling-heavy delivery. The sound throughout the track shines the most when you hear an artist getting into the zone closer to the chorus, where you can hear all of the intricacies of the sound with smooth and crisp grooves. 

In regards to the 2nd part, which includes the next two tracks, “Free” and “Fake Faces,” the tracks opt for a more emotional type of delivery, putting a stronger emphasis on this grunge feel that stays hazy. If the previous tracks remotely give you a feel of dystopian chaos that is purely controlled by the artist’s tempo, these upcoming tracks rather represent your hallucinatory aesthetic. With the mind-bending mixture of instruments, epic entrance on “Free,” and a mysterious, slow-paced “Fake Faces,” the record truly achieves an immersive feel. 

Throughout the album, I recognized how well-balanced it sounds. You are not purely getting these mayhem-like sounds but also a mixture of sincere and dark soundscapes. 

Score/Excellent: I really enjoyed this EP. Higher Ground is an extremely balanced and concise release. It truly delivers impressive rock tracks that combine grunge with elements of shoegaze. The tracks mix chaos with a high degree of polish and professionalism. Great EP.

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

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“DESTINY 4HELL” delivers a neon-soaked, bass-driven soundscape, embodying the essence of modern electronic music. Working alongside top vocalists and hardcore beatmakers in the industry, BujuRocks has created what is already being called one of the most iconic EDM releases of 2025.

For BujuRocks, music is more than just beats—it’s a movement. Drawing inspiration from legendary names in the industry, the artist continues to redefine electronic music with each release.

Stream “DESTINY 4HELL” now on Spotify and Apple Music.

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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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Azucaribe is a live band that brings traditional Cuban music to life in an authentic and handcrafted way. Their music combines the vibrant rhythms of the Caribbean with the passion and energy that make Cuban sounds so unique.

With pieces that invite listeners to dance, dream, and enjoy, Azucaribe brings the spirit of Cuba directly to your audience. Their music is perfect for shows that celebrate world music, Latin American sounds, or lively live performances in the cuban way.

Azucaribe would be delighted to become part of your program and share these special sounds with your listeners. They are happy to provide their tracks or organize a live interview to tell you more about their work.

The song is Mixed and mastered by José Gregorio Mendoza, it’s a celebration of love and the power of music.

Stream “Tu Amor Soy Yo” now on Bandcamp.

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“Co-writers like Anais Preller, Suzanne Kiss, Heather Joseph, Carla Zipa, Sylvia Jones, Sheila Fabrizio, Vita Rose Taytro, Bonnie Lee Panda and Alex Bach bring the theme to life while adding layers of emotion and depth with either their voices and/or lyrics. The harmonies are further enriched by Kevin Monroe’s direction of the backup vocals and Devotion’s talents.”

“The recording sessions … at Horizon Music Studios in West Haven, CT, were overseen and produced by Vic Steffens and co-producer by Matt Oestreicher, who also handles the orchestrations. With music provided by The Collaborations Band, featuring notable award-winning musicians such as Bobby Torello, Scott Spray, Al Ferrante, Jon Peckman, Tim DeHuff, Bill Holloman and Dave Eggar on strings. Together, they bring each piece to life with skill and passion.”

As their bio reads, “In an era where the essence of music often gets lost amidst the cacophony of modern sounds, ‘Collaborations’ emerges as a beacon of hope for fans of profound lyrical narratives set against the timeless backdrop of the 60s, 70s, and 80s.” Sounds quite interesting.

So let’s have a listen …

The first track Let The Love In starts with a drum shuffle, then comes in a funky R&B progression and lovely vocal by Anais Preller that truly captures a classic 60s Motown vibe. Nice! I’m really digging the vocals and lyrics. Nice flute solo halfway through into the bridge and again at the end of the piece. Very well constructed song. I’m impressed.

The next song Time For You also features Anais Preller on the lead vocals. I love the classic horn section that kicks off this song. The vocal mix really stands out, everything sounds so good, great mixing, editing, and mastering. The vocals are very clear and understandable, which is often missing in a lot of what I hear and review. Very classic Motown type vibe. Loving the sax solo in the bridge. Anais does a great job singing this one.

The third song Running Out Of Tomorrows begins with an African vibe then with a nice background vocal chorus and then quickly transitions into another classic Motown vibe. This time a male and female vocalist duet featuring what I’m guessing is Ed on vocals with Anais. The male vocalist sounds fantastic, a really nice voice for this type of song. The song has a big distinctive chorus. I love the message of the lyrics in this song. Reach out, make a difference, come together, and equality, … we’re running out of tomorrow to change things, it’s up to you and I. I find the breaks and bridges in the song well constructed from a songwriter’s perspective. The song falls out to a vocal part sparsely populated with instrumentation and then kicks back into the power chorus full band. The mix is excellent.

Better get ready, Ready For Love the next song begins and I’m already loving the funk guitar riff that carries the song. And the horn section. New female vocalist Sheila Fabrizio singing this tune. She has such a classic Motown voice. It reminds me of Gladys Knight. The songwriting is tops.
Very tasty lead guitar solo before the last verse and chorus. If you’re reading this you better get ready … for Ed Daniels and Sheila Fabrizio bringing the love to you and your ears!

The next song I Wanna Know starts with an acoustic guitar strum. Very nice orchestration kicks in against the guitar. This time the female vocalist is Suzanne Kiss. Loving the string section parts in this song. Nice vocal, if not my favorite, but still really nice. Loving the background vocals. I love referring to God as “she”. This song has more of a religious vibe.

The next song Don’t You See features Sylvia Jones on the lead vocals. Again giving me a very 60s Motown vibe. The voice reminds me of Barbara Lewis (Baby I’m Yours). Loving the background female vocalist choir. Again the songwriting is excellent, just when you think the song needs a bridge, it delivers an interesting bridge. The vocals are clear against the mix. The song ends with “set yourself free”, the message of the song.

Doing Fine is another song sung by Suzanne Kiss. I like the syncopation in this song. Very nice piano part carries this tune, the playing is very lovely, and even throws in a few atonal chords that capture your ear but stay within the key of the song. I think the lyrics in this one could be better, it’s like they’re too straight-ahead and simple in their rhymes and word choice.

The next song Got A Feeling starts off with a horn section and gives off a Blues Brothers vibe, a barroom band vibe. This song features Heather Joseph on the lead vocals. The song itself reminds me of Tina Turner singing Proud Mary, but the arrangement of the song in this case is more interesting than that classic song. Loving the lead guitar solo in the bridge. This band is really tight. The vocalist reminds me of The Shirelles.

The ninth song is Think About It featuring Vita Rose Taytro on the lead vocals. Another classic Motown vibe song with a lovely string section. This album is packed with R&B gems, then comes in a very ear-catching lead guitar solo. I’m really liking the lyrics in this one. Very memorable hook.

Already There features Sheila Fabrizio again on the lead vocal. Starts off with a nice R&B electric guitar strum. I’m really digging Sheila’s voice, truly next level for this kind of music. The lyrics are fun and engaging in this song. Another nice funky lead guitar solo that perfectly fits the mood then back into the pre-chorus and chorus. The band is locked in the whole album. Some nice performances, mixing, and editing on these songs.

The final song Where We Belong starts with an acoustic guitar strum. This song features Carla Zipa on the lead vocals. Another really nice song. Loving the horn section, wish it was a bit louder. Another really tasty lead guitar solo in the bridge. The Carla’s vocals carry the tune. Nice way to close out this album of great songwriting, arranging, and performances. 

“‘Collaborations’ invites listeners to experience music that is not only crafted with skill but also imbued with meaning. It’s a journey back to when songs told stories, evoked emotions, and inspired change. For those who believe in the power of music to unite and uplift, ‘Collaborations’ is a project that resonates with purpose and passion.” It truly does. Give it a listen.

SCORE/Outstanding: The performances, editing, mixing and mastering on this album are top-shelf. If you love classic female vocalist R&B, this album is truly outstanding, and I don’t say that lightly. We get a lot of good and some not so good albums to review here at Music Review World, but this album is truly superior to most of the material that we receive. Virtually every song on this album could get radio play on an R&B format station. Even if you’re just casually into that classic Motown vibe, you should definitely buy this album, or at least listen to it. You’re guaranteed to dig it. Much love, Beth

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

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