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Australian rock trio Vermantics aren’t here to play nice;   they’re here to blast open your ribcage and make you feel something. Their new single, “ Mess ,” is the kind of track that grabs you by the collar and shakes the clarity back into you. It’s loud, unapologetic, and brimming with the kind of emotional turbulence that refuses to stay bottled up. Built from the bones of rock’s greatest eras ,  60s melody, 70s swagger, 90s grit, 2000s indie recklessness ,  Vermantics don’t mimic nostalgia; they weaponize it. Brothers Stefan and Daniel Fedele, backed by their powerhouse cousin Julian Perrotta on drums, grew up on stages, in sweaty pop-punk venues, and ultimately in the chaos of Melbourne’s rock ecosystem. That history shows. This band doesn’t “perform” rock. They live it. “Mess” is Vermantics at their sharpest: a relentless, hook-heavy, guitar-driven uppercut that never loses its grip. It’s built on a riff that refuses to back down, drums that crash like a stampede, and vocals that feel like someone standing in the wreckage of their own mind and finally shouting the truth out loud. This isn’t just a breakup song or an anger song. “Mess” digs deeper into mental fog, into emotional manipulation, into how easy it is for someone to get inside your head and twist the wires. It’s about that moment when you finally realize the chaos isn’t coming from outside forces… It’s coming from the inside. And the only way out is through your own damn strength. The band describes the track as a reflection of being mentally hijacked when one person’s influence becomes so overpowering that you start forgetting what your own thoughts sound like. The clarity comes later, in the realization that you’re not powerless, you’re just lost in the noise. “Follow your gut, you have enough power within,” the band says. That’s the heartbeat of “Mess”: a rallying cry for self-reclamation. Fresh off a hugely successful UK tour,   packed crowds, explosive live reactions, and a whole new wave of fans ,  Vermantics are stepping into 2025 with blood in their teeth and momentum at their back. And with plans to return to the UK in 2026, it’s clear “Mess” is just the ignition point for a much bigger firestorm. “Mess” is the anthem for anyone who’s ever spiraled, gotten stuck in their own head, or let someone else’s voice drown out their own. It’s loud. It’s cathartic. It’s Vermantics,   raw, reckless, and absolutely unstoppable. “Mess” tackles the feeling of having your mind twisted inside out by someone else’s influence. Was there a specific moment or realization that sparked this song for you? There wasn’t a real specific time for me it was more of a slow burn where someone else’s opinions and emotions had started to shape the way I thought myself. The spark came from the moment I realised I was no longer thinking in my own voice. The track sits in that rare space between chaos and clarity. How do you personally navigate that turning point, the shift from falling apart to reclaiming your own mind? I usually hit a point where the noise in my head becomes so overwhelming that I’m forced to ask myself what’s real and what’s just fear. The turning point really feels like when you stop blaming the chaos and start asking what it’s trying to tell you. You need to take your inner power back. You pull influences from nearly every era of rock, but your sound still feels modern and sharp. What part of rock’s past feels the most powerful or relevant to you in 2025? We really feel like the rawness of the 90s hits hardest for us. Bands that weren’t scared to be imperfect. There’s also something about early 2000s alternative music and the energy of classic hard rock that still feels timeless to us as well. We’re on a path of keeping our music as real and as live sounding as possible! Your UK tour was a major turning point. How did being in front of international crowds shift your energy, your confidence, or even your writing going into this release? It honestly blew our minds! Being in venues you’ve never heard of or been in before and just latching onto the energy of crowds, who are new was amazing. It made us braver in our writing too. There’s something about hearing a crowd react in a live room that changes the way you think about structure, intensity, even lyrics of a song. It gives you a different kind of confidence for sure! “Follow your gut, you have enough power within” is a strong message. What’s one time in your career or life where ignoring your gut nearly derailed you, or listening to it saved you? Early on we were getting lots of advice on what music we should be releasing - to be more “safe.” For a minute we almost listened and changed our bands vibe completely. But our gut was telling us that the rawness and the intensity was exactly what made us, us. It just felt wrong not producing the music we wanted to produce.

Most people spend their lives trying to choose one path. Dr. Monica Sliwa chose all of them   and mastered each one with a kind of quiet confidence that feels rare in today’s world. A full-time Community Pharmacy Manager at CVS, a UCSD Skaggs School of Pharmacy alumna, a multi-instrumentalist, a producer, a painter, and now the host of BeYouTalks Podcast , Monica isn’t just juggling careers;   she’s rewriting the script on what a Middle Eastern creative can look like in the diaspora. Born into a culture that values discipline, family, and tradition, Monica has always carried that foundation with her. But she also carried something else, a burning creative instinct she refused to silence. While her days revolve around healthcare leadership, patient care, and community responsibility, her nights and weekends belong to music, art, and storytelling. Guitar, piano, cajón, vocals in multiple languages, she moves through her artistry with a fluency that transcends boundaries. And now, she’s using her voice for something bigger. BeYouTalks Podcast: A New Platform for Middle Eastern Stories Launched in 2025, BeYouTalks Podcast is Monica’s newest leap, a fully Arabic-language show highlighting success stories within the Chaldean, Middle Eastern, and immigrant communities in San Diego, Los Angeles, and beyond. Entrepreneurs, creatives, founders, dreamers, Monica brings them all to the table, creating a space where our communities can tell their stories in our own languages, with our own nuance. The twist? She’s still new to the hosting world. Her first-ever hosting experience was during pharmacy school, via Zoom, no less, and now she’s front and center, guiding real conversations with real people, in Arabic, for an audience that’s been hungry for representation. It’s a bold jump, but it’s exactly the kind of jump she’s made her whole life. Monica isn’t just hosting a podcast; she’s building a cultural archive. A place where younger generations can hear the stories they wish they’d grown up with. A place where identity, ambition, and tradition coexist instead of colliding. The Multidimensional Creative: Beyond the Pharmacy Counter Music has always been at the center of Monica’s personal universe. A self-taught guitarist with a cinematic playing style, she blends Middle Eastern emotion with modern textures, a sound that’s earned her a fast-growing online presence. Her artistry expands even further into production, painting, visual art, and digital storytelling. She doesn’t just play instruments; she builds worlds. Fluent in English, Arabic, and Neo-Aramaic, and learning Spanish, Monica connects across cultures with an ease that makes her work feel accessible to a wide, diverse audience. That same multilingual identity becomes a superpower on BeYouTalks Podcast, where she navigates conversations with authenticity and cultural fluency. Monica is currently recording a new Arabic song in collaboration with a singer she recently interviewed on her podcast, a full-circle moment that blends her musical roots with her growing media presence. It marks her official entry into Arabic music recording, expanding her influence as both an artist and a cultural voice. This is where Monica shines most: she doesn’t silo her talents. She fuses them. She builds bridges between everything she touches, healthcare, music, culture, storytelling, and turns it into something communal. The younger generation of Middle Eastern creatives often feels pressured to choose safety over passion. Monica stands as living proof that you don’t have to. You can be a pharmacist who produces music. A scientist who sings. A community leader who paints. A podcaster amplifying voices that were never given the platform they deserved. Dr. Monica Sliwa doesn’t fit into a box;   she builds new ones.   And with BeYouTalks Podcast, she’s creating space for an entire community to do the same.

Australian songwriter-turned-pop-force delivers a confident, cheeky empowerment anthem that feels both Grimes-adjacent and completely her own. After years of ghostwriting multi-platinum hits around the world, Australian artist Toiz is officially front and center ,  and honestly, it’s about time. Her new single “ Party41 ” is the moment she stops playing behind the curtain and steps fully into her own world: bold, provocative, and dripping with the kind of self-made swagger pop has been missing. There’s a reason early listeners are drawing parallels to Grimes,   not in imitation, but in energy.   Toiz shares that same instinct for cinematic, electronic worlds; that same fearless blending of feminine softness with electronic bite. But where Grimes leans cosmic and chaotic, Toiz is grounded, sensual, and unmistakably human. She’s carving a lane that’s darker, warmer, and rooted in lived experienc e,  a refreshing shift in a genre often dominated by surrealism. “Party41” makes that clear from the first beat. Written, produced, and recorded entirely in her Brisbane home studio, the track is glossy but intimate, polished but mischievous. It’s dark-pop with a pulse,   something you can dance to, smirk to, or fully claim your confidence with. Lyrically, the song hits a sweet spot between cheeky and liberating. Toiz isn’t asking permission, and she definitely isn’t waiting for someone to tell her she’s enough. She already knows,   and she’s inviting you to remember it too. “Party41 is all about confidence, pleasure, and independence,   knowing you can have fun, feel sexy, and be fulfilled without needing anyone else to validate you,” she explains. “I wanted it to sound liberating and a bit naughty,   the kind of song that makes you smirk while you dance alone.” That intention radiates across the production: sultry synths, addictive pop phrasing, and a vocal that feels playful without losing its emotional weight. It’s Grimes’ experimental spirit, channeled through a lens that’s far more personal, feminine, and emotionally accessible. Toiz expands further: “I want people of any gender to feel empowered by it. I want it to be a reminder that you don’t need anyone to make you feel desired or complete, that you’re enough and it’s okay to have a little fun with yourself…under the sheets, dancing at home in the kitchen or out at the club.” If this is the direction Toiz is taking, the pop world should pay attention. “Party41” is a statement,   not just about self-love, but about an artist stepping into her real power. It's confident. It's cinematic. It hits. And it proves Toiz isn’t following in anyone’s footsteps; she’s actively building her own path, one addictive, high-voltage release at a time. “Party41” feels playful, confident, and a little provocative. What personal moment or shift in your life first sparked the idea for a song centered on pleasure, independence, and self-validation? I think getting closer to turning 30, I realised I was sick of focusing on how to please a man. Patry41 isn’t just about pleasure, though; it’s about learning to love the shit out of yourself and your own company. It’s realising I can get everything I need on my own, because really, if a dude comes along, he better enhance my sweet little life, not distract me from it. You know? You wrote, produced, and recorded this track entirely in your Brisbane home studio. How does creating in your own space shape the sound, confidence, or honesty of your music compared to working in industry rooms? There are no limits when it’s just me. I can experiment. I can curse real loud if I mess up. I can take my time with the process and not be swayed by anyone's opinions, and I love that! "My way" of creating is a little chaotic. I know I'm not great at explaining how I want it to sound, so I feel like I can completely release it all in my little studio. There’s a cinematic, electronic edge to your work that hints at artists like Grimes, but with a warmer, more intimate and grounded energy. How do you balance those darker pop influences while still keeping your sound uniquely yours? I think, coming from being a pop music songwriter, I’ll always have that love of pop melodies and typical pop song structure. But I also really love how artists like Grimes don’t box themselves into a genre. It seems to be more about feeling and bringing a euphoric energy to life when you listen to the track, and I want that blend in everything I create. A sound that pleases the ears and makes your mind escape somewhere. After years of writing hits for other artists, what has surprised you the most about stepping into the spotlight as Toiz and releasing music that reflects your stories and desires? I think what has surprised me since making music for Toiz, is realising that saying “good things happens when you least expect it” - it’s legit, because I feel like when I’m not over-thinking, or comparing what I’m creating and just going with what feels good. It feels easy. It’s beyond competitive to be an artist these days. I’d given up more than once too. With Toiz, I really am just making music that makes my heart happy and my soul come alive. I finally feel like I’ve made something unique, that also showcase small pieces of everything I’ve learnt in 10 years as a songwriter.  “Party41” pushes a message of empowerment across all genders. What do you hope someone dancing alone in their bedroom at 2 a.m. takes away from this track that they might not get from a traditional pop love song? Love yourself as hard as you can. Physically. Emotionally. Sexually. Whoever comes into your life after you fall in love with yourself has to be amazing, or you’ll always feel like you’ve settled for less than you deserve. Know your worth and work it.

Newcastle’s teen grunge disruptors PIT aren’t waiting for permission; they’re showing up loud, early, and ready to shake the ground. The 17-year-old trio has spent the past few years turning every gig, skate park, and stage into proof that the next wave of Aussie hard rock isn’t coming, it’s already here. And if you needed a sign, they’re leveling up? Here it is: PIT is playing a FREE all-ages show at South Newcastle Beach Skate Park on Saturday, November 29th at 1 pm, a full 1-hour set. No ticket price, no excuses. Just raw riffs, grit, and that messy teen hunger you can’t fake. PIT is Hamish Sanders (bass), Korby Essex (drums), and Bailey Parker (guitar/vocals), three kids who somehow manage to sound like they’ve lived twice as long. Their sound is this perfect collision of classic grunge dirt and hard-rock punch, the kind of fusion that makes older bands go, “Wait… how are they 17?” Since forming, the trio has barely taken a breath between gigs, tours, and writing sessions. They snagged early attention after being featured on “Indie Sounds From Newy & The Hunter” via Vi-Nil Records, hitting their first tour while most teenagers are still figuring out learner’s permits. Fast-forward to now: PIT is officially signed with MGM and steamrolling toward a massive year loaded with releases, videos, and shows. Their latest single, “ Needed You ,” isn’t coming from a place of polished, label-approved storytelling. It’s ripped from real emotional fallout. Bailey wrote the early pieces of it alone, poetry, fragments, little gut-punch lines you only write when you genuinely feel like the people you counted on vanished right when it mattered. After the instrumentation locked in, those pieces stitched themselves into one of PIT’s most vulnerable (and honestly, most mature) tracks to date. At the heart of it, PIT wants listeners to feel seen.   That’s it. No big marketing spin. The band says they hope “Needed You” becomes that song, the one someone throws on when they’re feeling gutted, alone, or misunderstood. Just like PIT does with the artists they connect to. And the fact that music this emotionally aware is coming from a group barely out of high school? Yeah… that’s what makes people stop and pay attention. You’re pulling a full 1-hour set at a skate park. What’s the energy or chaos you’re hoping breaks out during the show? Well, it’s gonna be an awesome gig, we’re playing right above a massive skate bowl, so there’s gonna be people zooming around and doing tricks while we play, which is dope as fuck. There’s also something different about playing a show outside.. the energy always feels a little more exiting like you’re playing some sort of festival in the 90s or something. So I hope people lean into that and we get some cool footage.  “Needed You” came from a pretty rough moment. How different does it feel performing something that raw in front of a crowd? I have a weird relationship with playing songs, writing Needed You felt kinda lonely, but actually playing it live is the total opposite. I love the feeling of watching people enjoy something so personal to me. Seeing people sing your own lyrics back to you that you wrote by yourself in your room at like 2am.. It’s a hectic feeling.  You’ve been gigging nonstop since you were basically kids. What’s the moment that made you go, “Okay… we’re actually good at this”? I don’t think we ever actually had a moment that we all said we were good, especially growing up in a town like newy, you really have to stay grounded. We all still make jokes with each other about how we suck. But I think if we had to pick a specific moment, it’d have to be our first gig. We were 14 & 15 years old, and we played a mini Battle of the Bands festival in our hometown called Skate Fest. We came third and got $100 bucks, and when we got back home, I think we all simultaneously decided we really wanted to pursue the whole music thing.  Now that you’ve signed with MGM, what’s one thing you refuse to change about PIT, no matter how big things get? Definitely the music and the mate ship. When we first started the band, when we were like 14 & 15, we were all best mates and we all loved playing music. And we really want that to stay the focus point of the band. The music is the most satisfying part of being in this industry, so we don’t wanna let other things that come with being in this industry get in the way of us being best mates and doing what we love.  Even now.. we’re still only 17 but we’re all still really tight mates probably even more than we were back then… and we still enjoy writing and playing music more then ever.  There’s a lot of talk about a ‘Newcastle scene resurgence.’ What do you think makes your generation’s approach to grunge different from the older wave? That’s a hard question because it’s not like us or any other band is trying to be a certain way or different.. But I think the last 20 years or so, the world has slowly drifted away from music that is real and honest in a way that 90s grunge was. Grunge music back then was so popular because people who listened could relate to the songs and their energy. We’re all starting to see a stir of grunge music coming back now, and I think that’s because it’s coming at a time that people really need it. And every day, more and more people are starting to relate to the music, which is awesome.

Marcus Alland isn’t just making music; he’s putting out a full spiritual transmission. His new album plays like a faith-forward chronicle of survival, rebirth, discipline, and divine reassurance. It’s emotional, gritty, bold, and rooted in lived experience, the type of project that doesn’t preach at you, but pulls you into the story and lets you feel the transformation for yourself. From the moment the album opens, Marcus Alland makes it clear this isn’t just a collection of songs. It’s a testimony. A timeline. A before-and-after moment of choosing faith over fear, purpose over ego, and truth over chaos. The opener “UNDEFEATED” blasts out like a live mantra echoed from the heavens, part spiritual rally cry, part fight-club arena where every angel in the room is screaming for you to get up again. Marcus lays it bare: once he started following faith, everything shifted. He’s not shy about it either, firing off declarations like “With Jesus on our side, we can move mountains,” a line that sets the tone for the rest of the album. It’s triumphant, chest-out confidence rooted in something bigger than himself. That theme continues on “THEY DON'T SEE,” a track built around the truth that the work isn’t always visible, and it isn’t supposed to be. Marcus Alland rejects the myth of being “self-made,” pointing out that his journey required God, community, and accountability. The message is simple: people might not notice your transformation, but that doesn’t mean it isn’t happening. Growth is between you and God, not you and public opinion. By the time “STAND ON BIDNESS” arrives, the project slips into a sermon-like energy. Gospel undertones float in like a church choir welcoming you to your seat before Marcus Alland steps up with conviction. He’s testifying about what Jesus has done for him and why he moves with such confidence in his faith. It’s not posturing, it’s alignment. “GOOD PLACE” follows with a warm, radiant feeling, painting spiritual peace like a real destination. Marcus Alland leans into the idea that when you move with Jesus, He places you exactly where you’re meant to be. Heaven-on-earth isn’t a metaphor here, it’s a frequency, and he’s tuned in. “DON'T HATE” shifts the focus to humility and gratitude. He encourages listeners to celebrate themselves, their friends, and the blessings around them rather than falling into comparison or resentment. It’s spiritual maturity wrapped in melody, a reminder that love expands, hate shrinks. “YOU KNOW” dives into the humility it takes to admit you can’t do everything alone. Marcus Alland reflects on the days he tried to run his life solo, only to realize the answers weren’t in his own strength; they were in the Lord’s direction. It’s an intimate moment of surrender. On “RUNNIN,” he shares the darker nights, the ones where he had no choice but to run back to God for clarity, grounding, and light. Marcus Alland is open about the battles: the Lord fought for him, died for him, and continues guiding him every time the world feels heavy. It’s vulnerable and powerful. With “SAFE PLACE” featuring Dell Mac , the theme turns toward refuge. Both artists speak to the protection, comfort, and safety found in Jesus, a spiritual bodyguard in every storm. Marcus doesn’t sugarcoat the past; he’s been through real pain, yet this track radiates gratitude, optimism, and confidence in God’s shelter. “FREE INDEED” brings the fire back. It’s a straight-up rebuke of the devil, a no-games declaration that distractions and temptations won’t win. Marcus Alland sounds anchored, unshakeable, locked into purpose. The trio “I'M GOOD,” “WONDERFULLY MADE,” and “WAIT ON YOU” deepen that energy: acceptance, divine identity, patience, and trust. They feel like the emotional center of the project, grounded, reflective, and spiritually aligned. And then the album closes with “THANK YOU (Outro),” a heartfelt, humble expression of gratitude. It’s Marcus Alland giving credit where credit is due, to God, to the people who love him, to the community that supports him, to his wife, to his church, and to the foundation that keeps him standing tall. It’s a bow, a prayer, and a testimony wrapped into one. As a whole, the album is more than storytelling; it’s a spiritual autobiography. Marcus Alland isn’t presenting himself as perfect; he’s presenting himself as transformed. Broken in places, rebuilt in faith, guided by something higher, and willing to share that journey with honesty and courage. EYES ON YOU” is rooted in Matthew 6:33 but not in a preachy way. What was the moment in your life when that scripture stopped being a verse you knew and became a truth you actually had to live? There was a moment when God told me that I was doing music for selfish gain rather than for the glory of God. And at that point, that's when I noticed that I wasn’t seeking the kingdom first, and I had to make the change.  You said Christian hip-hop doesn’t have to water down the culture. Where have you personally felt that tension, wanting to stay authentic to hip-hop while still walking boldly with Christ? Well, there have been people that I’ve met who have said they would appreciate CHH; that’s not corny or something that they would like. Personally, I feel as though I can bring that to the table. Music is another form of worship to God. So why can’t we enjoy good music in worship to the King?  “STAND ON BIDNESS” hits with spiritual authority. When you were recording it, what were you standing against, or standing for, that made that track carry so much weight? One of the biggest things for me as a Christian is to make sure I stand on what I believe in. And when recording this, I wanted this song to be more of an anthem for us to be proud of and strong on.  A lot of believers struggle with feeling like they have to “tone down” their faith to fit into certain spaces. What did making this album teach you about taking up space as a Christian artist without shrinking yourself? As a believer, we should be bold about our faith. If anything we have to be  ambassadors of Jesus Christ. This is the one who died for us to live and did that for the whole globe. He never toned it down for us so why should we tone it down for Him?  If someone who doesn’t know God at all pressed play on this album, which moment do you hope hits them first, and what do you hope it wakes up in them? What I hope wakes up inside anyone who listens to this album is the fire for God. I pray that it ignites a flame so strong that it’ll open their eyes and see God’s love for their life.

Utah rising artist BODEE is stepping into the spotlight with a sound that hits like a shot of whiskey chased by a sunset drive. Blending the storytelling roots of country and folk with the catchiness of pop and rock, BODEE lands in the same emotional universe as Zach Bryan, Shaboozey, Cameron Whitcomb, Morgan Wallen, and Post Malone, but he’s carving out something that’s all his own. His latest single, “ Drinks On Me ,” is proof. At first listen, it’s a song built for line dancing, bar floors, and that moment when everyone yells the chorus at the exact same time without missing a beat. But don’t get it twisted, there’s a bruise under the buzz. “Drinks On Me” is heartbreak disguised as a party, a soundtrack for anyone who’s ever ordered another round just to keep from thinking too hard about the one that got away. It’s upbeat, it’s fun, and it’s painfully relatable. According to BODEE, that contradiction is the whole point: “‘Drinks On Me’ is a sad song that feels happy, and that’s exactly what I wanted it to be, because sometimes the best way to deal with pain is to share it with friends and raise a glass.” If you’ve ever laughed through a breakup, danced through disappointment, or turned a wound into a toast, you’re already living inside this track. “Drinks On Me” leans into feel-good guitar work, warm folk-country textures, and the kind of hook that sneaks up on you and refuses to let go. It’s the perfect mix of bar-stomp energy and late-night honesty, the kind of track that makes you want to two-step and text your friends “Okay, so I might actually miss them.” And if this is just the opener, BODEE isn’t taking his foot off the gas any time soon. He’s already teasing the next single, “Red Flags,” promising an anthem for every hopeless romantic who thinks they can fix someone who doesn’t want to be fixed. “If ‘I can fix them’ was a song, this would be it,” he says. Yeah… we’re scared and excited. Stream “Drinks On Me” now on Spotify and keep an eye on BODEE because this debut chapter is just getting started, and he’s clearly building a catalog for the lovers, the healers, the dancers, and the ones still pretending they’re totally fine. “Drinks On Me” is heartbreak wrapped in a party anthem. What’s a moment from your life that inspired that emotional contradiction? There’s not one specific moment that inspired that song. Really, it’s a lot of little, mostly unremarkable moments that drew me to writing it. There are a lot of people out there, and we’re all going through something. Personally, I’ve always found that when I’m having a bad day or feeling hurt, company is the best remedy. Plus, a couple of brewskis never hurt! You draw influence from artists like Zach Bryan and Shaboozey. What part of your sound do you think sets you apart from that new wave of country/folk crossover artists? I think that, like most artists, I’m really just a mix of all my biggest inspirations, and that creates a unique sound on its own. I’m constantly trying to make my music bigger, or darker, or just more of whatever emotion I’m trying to feel in it. More than anything, I believe I bring a new perspective to the genre, and that’s really what I hope people can connect with. If someone only heard this song to understand who you are as a person, what would they get right, and what would they get totally wrong? They’d definitely have the right impression that I love to party and have fun. They would be totally wrong about my love life, though. I haven’t had my heart broken in a long time, and I also enjoy Hennessy, can’t stand the stuff… You teased that “Red Flags” is basically the official theme song for ‘I can fix them’ energy. What made you want to unpack that specific kind of chaos next? I tend to feel things too deeply and trust a little too much, which is almost always the reason why I write any of my songs. In this case, I wanted to talk about all of the moments in my life where I’ve decided to give people second chances, only for them to hurt me again. I think this is a universal feeling, though, and I believe a lot of people will resonate with the message behind it.  When people come to your show a year from now, how do you want them to feel leaving the venue after hearing these songs live? I want people to really FEEL something. If you’re coming to one of my shows, then you should be ready to yell, dance, maybe cry once or twice, and by the time you hit the parking lot, you should feel a bit lighter, like you just got something off your chest.

Klaye Creation isn’t asking for a spot in the conversation; he’s taking it. The San Diego-born, ATL-based artist has always blurred the line between rap, soul, and future-leaning experimentalism, but on his new single “ Gravity, ” he’s shooting well beyond orbit. The track, pulled from his new album Time Well Spent (out now), is a cosmic flex: classic hip-hop bravado, Black revolutionary symbolism, psychedelic trap production, and spiritual weight all fused into something that feels both ancestral and razor-new. This is Klaye at his most self-possessed. He raps like he’s carrying history in one hand and the future in the other, grounding his bars in urgency while still letting his voice glide over the beat like he’s meditating mid-flight. “Gravity” hits that rare balance, assertive without ego-rotting, visionary without floating into abstraction. It’s music that moves with intention. Beneath the atmospheric haze and trunk-rattling 808s, Klaye is talking legacy, self-worth, and destiny, bending hip-hop’s core elements into something spiritual. This isn’t posturing; it’s a mission statement. In his words, he wants people to walk away from this release knowing “Klaye Creation is here to be undeniable and one of the greatest rappers of this century.” Say it out loud, and it sounds bold. Hear “Gravity,” and it sounds like a spoiler. The track’s imagery nods to liberation, healing, and the cosmic pull of identity, what shapes us, what breaks us, and what keeps us rising anyway. It’s not just a flex. It’s a reminder: every artist who shifts culture starts off as someone refusing to shrink their vision. And if “Gravity” is the entry point, Time Well Spent makes it clear there’s a full universe attached. With writing and production credits for major artists, three albums, multiple EPs, and stages ranging from Rolling Loud to Hiero Day, Klaye Creation is stacking a résumé that demands attention. This isn’t a lucky spark. It’s a controlled burn. “Gravity” isn’t here for playlist wallpaper status. It’s here to stick, to challenge, and to resonate in the same way Klaye’s influences, those who used hip-hop as testimony, did before him. No gimmicks. No shortcuts. Just an artist becoming exactly who he said he would be. “Gravity” balances confidence, political energy, and spiritual insight. What moment or idea sparked this track first? I never go into songwriting with intent, a lot of times. The way I write is more stream of consciousness. So whatever comes out in my music tends to change depending on the production or just how I’m feeling. You talk about being “undeniable” and one of the greatest of this century. What does greatness mean to you beyond numbers and accolades? Greatness to me means excellence. Knowing that I’ve done something to the height of my ability, and then pushing further beyond that because my goal is to outdo everybody. Psychedelic trap isn’t a lane many artists navigate with intention. What drew you toward that sound for this record? I loved the [Psychedelic trap] sound. My intention, as an artist and a lover of hip-hop, is “how can I combine all these different genres of hip-hop and then take them to their peak level?” and the sound exemplifies that. Time Well Spent  suggests reflection, purpose, and legacy. What experiences shaped the album’s core message? Definitely, my move to Atlanta shaped some of the core messages in Time Well Spent . Being in a different music climate and having different conversations with people in the industry while collaborating with other artists in a new environment. All of that contributed to Time Well Spent and felt like a culmination of everything I have worked towards, not just as an artist but as a Black man too. If a new listener pressed play on your music for the first time, what truth about you do you hope they walk away with? I hope listeners walk away knowing that the passion for the art is what’s most important to me. Not the gimmicks, not the numbers, just pure love for my culture and the audacity to know I can make an impact.

Let’s be real: most “political” songs these days feel like a PR stunt. A tweet in musical form. A safe little chant so nobody loses brand deals or streaming playlist placements. But Adventure Lost ? Yeah, they’re not playing that game. Their new single, “ You Better Watch Your Back ,” is a brick through the window of America’s healthcare hellscape, and honestly, somebody needed to throw it. This isn’t a metaphorical protest track wrapped in cute indie metaphors. Nah. It points the finger directly at the suits who cash in on sickness while telling the rest of us to “take care” and “stay well,” assuming we can survive the premiums and debt collectors. The song launches with a gut punch, warning there’s a “killer on the loose.” Except the twist hits fast: maybe the killer isn’t lurking in the streets, maybe he’s sitting in a penthouse, sipping something expensive, deciding who gets treatment and who gets a funeral. Adventure Lost isn’t parachuting into social commentary for fun. Their history backs the weight of what they’re saying .  Originally formed in 2016 by Jack Faracchio and Larry Iaccio in Philadelphia, the band carved out a lane with their concept album Going Back to Sleep in 2017, toured like their lives depended on it, then came back stronger after the world shut down. Now, with Alex DiPasquale (guitar), Karena Crutchfield (keys & flute), and Tucker Pendleton (bass) joining the force, the resurrected 5-piece is a whole different beast. Indie, rock, rhapsodic, symphonic, and theatrical   genres are too small for whatever this is. They’re building experiences, not singles. Let’s stop pretending that letting people die because they can’t afford insulin is anything short of violence. Adventure Lost doesn’t flinch away from that reality. This song doesn’t try to say “both sides have points,” because… no. Some things aren’t a debate. Insurance companies profiting off preventable suffering is one of them. This band isn’t trying to go viral; they’re trying to build a real-world movement. Their shows are described as theatrical, emotional, connective, people meeting strangers, sharing space, and feeling something other than scrolling numbness. If more bands had this level of conviction, maybe we’d all be a little less tired. Until then, Adventure Lost is carrying the torch, and they’re not blinking. We had a chance to sit down with Adventure Lost to talk about "You Better Watch Your Back." Jack Faracchio (lead vox, gtrs) Larry Iaccio (drums, support vox) Tucker Pendleton (bass, support vox) Karena Crutchfield (keys, support vox) Alex DiPasquale (gtrs, support vox) Your song frames the American Healthcare system as a form of violence. At what point did you stop seeing it as a “broken system” and start seeing it as a system working exactly as intended? Even as a kid, I [Jack] couldn’t wrap my head around the concept that when a person was sick or injured in America, it wasn’t as simple as just finding a hospital and getting help. You had to pay. Which, to a child’s mind (or anyone’s), begs the question: “But what if they don’t have enough money?” The adults would shrug and look away, as if it were implicit. I understood then (and still) that any business’s core goal is to take in more money than it puts out, and that this applies to the business of keeping people alive & healthy. It is not a healthcare system – it is a money-making system built on the fragility of health. As somebody [Tucker] who has worked in health, property, and casualty insurance, getting the inside scoop on why premiums actually rise and reading the fine print of insurance policies changed my view on the whole industry. It was my job to understand the policies inside out, and though (fortunately) I was well-trained by my boss to properly explain these complexities to policyholders, that is not often the case. Seeing ads and internet-only insurance companies infuriates me because their whole business model is about selling lower premiums to poorer/vulnerable people without explaining what they’re buying. The result? When it comes time to file a claim, companies screw over policyholders in their moment of need. The very fact that insurance companies generate massive profits at all while life-saving claims are denied speaks for itself. The purpose of a system is what it does. “You Better Watch Your Back” challenges who we’re taught to fear. Why do you think people are more comfortable blaming each other than confronting corporations profiting off our pain? It’s a natural human tendency to be fearful or suspicious of “the unknown” or “the other”. Corporate media takes full advantage of this; corporations are faceless & formless, yet through their ads & image, they are made familiar, and we’re conditioned in a weird way to see them as a part of our own culture & identity. It’s very easy to convince people that That Guy Over There is a threat because he thinks differently. Fear, suspicion, & division will continue being the message of much of corporate media as long as it is profitable (i.e., as long as we continue surrendering our attention to it). I [Larry] also think there’s this pervasive “pull yourself up by the bootstraps” mentality that still permeates almost every aspect of American culture. The idea that hard work alone is enough to have success (what some might still call the “American Dream”). But MLK said it best: “It is a cruel jest to say to a bootless man that he ought to lift himself by his own bootstraps”. When people don’t understand their neighbors’ struggles, they often resort to judgment. Too many people fall into a competitive mindset, thinking “the other” is lazy or lesser, when in reality these people share a common struggle against the entities that have created & maintained the conditions of their shared hardships. However, we’re starting to witness a complete breakdown of that mindset today. People are seeing how the social contract between the government & its people is being broken. The veil of the American Healthcare system is starting to lift, revealing that the true barriers to our health & welfare have always been the corporations and the politicians in their pockets. You’ve talked about building a real in-person community through your shows. In a world where everyone’s hiding in their phones, how do you convince people to show up and feel something again? By example! Going out, putting our own phones down, and sharing our feelings with people to the fullest extent awakens inspiration & motivation in others, which then ripples outward & onward. The truth is, everyone has to take that first step on their own. But the good news is, everyone already wants to feel something – and Adventure Lost will be waiting for them with open arms (and a bad pun) when they do show up. They might forget what we say, but they’ll never forget the friends they meet, or how that experience made them feel. I [Jack] often find that by expressing the full, wild range of my own silliness, intensity, & imperfection onstage, it seems to draw out the deepest feelings (or at least a smile (or even tears)) out of others. For me, I feel seen & fulfilled, and for others, I think it helps them see that it’s not a big deal to be expressive or “weird.” A generational shift seems to be happening now with how we relate to our phones. Younger people are finding screens more exhausting & less fulfilling, while older generations are falling into traps and believing everything they’re seeing. I [Tucker] think many people just don’t know where to start. Ironically, our phones can sometimes offer that gateway; someone may see reels of our crowds singing & dancing together, laughing with the band, and they may feel that this is somewhere they can belong. Wealth inequality and preventable suffering can feel overwhelming. When you’re writing protest music, how do you avoid slipping into hopelessness and instead turn anger into action? It is difficult for sure. You just gotta let the feelings out. They can’t be buried or ignored. You must sit with them, listen to what they have to say, and give them control over your voice & instrument. The feelings will find their own way into a melody/beat / lyrics, which now has the potential to connect & spread hope to untold amounts of people. It’s very hard to find room for hopelessness when you feel the impact that a simple piece of music can have. The act of creating is an act of hope in itself; you’re bringing something new into this world to live a life of its own. And there are a few keys that really help: Avoid prolonged social isolation, stay focused on the things you can control, and feel gratitude for any & all ways in which you are still fortunate and able to help. For those of us who feel privileged in any way, there is a sense of responsibility to speak out, since our cries of protest (whether it be on the streets, online, or in a song) will be among the last to be punished. There’s a long history of artists being silenced, subtly or not, for calling out powerful institutions. Has anyone tried to push back on your message, and if so, how do you respond without watering down your art? We haven’t encountered much resistance to our message (yet)! I’m sure as we continue reaching more people, that may change, but that would just offer a greater opportunity to start real conversations and force people to think about these topics. To be honest, when we started, we just wanted to write songs about dreams & love & adventure, but the truth is, we write about life, and these issues define the realities of our current lives. Politics has become more personal, and it feels harder to sustain relationships between people with irreconcilable beliefs these days. If someone feel personally attacked by these songs that criticize systemic failures, then that’s their right to feel that way. We’ll keep singing it anyway. But honestly, we’ve been more overwhelmed with the support for our message! With how intensely these songs have resonated with people, seeing how forcefully they sing the lyrics back at us onstage. There’s a sense that these songs belong to everyone, and they sing along in one voice, like a rallying cry. So in that way, you wouldn’t just be pushing back on us, but this whole group of people. There’s empowerment in that for sure. I gotta be honest, if someone tried to push back/silence one of our songs, then we’d prob just write a song about that.

NAVY has always been the kind of artist who makes you feel seen. With " Here For You ," she takes that connection to another level, crafting a bilingual R&B-pop ballad that feels both intimate and universal. Out now via YSquad and Believe, the track is her first release since 2023’s string of hits, and it signals a softer, more spiritual chapter for the Dominican-born powerhouse. From the first note, "Here For You" feels like sunlight spilling through a storm. The production, led by YSquad, glows with warm basslines, breezy percussion, and gentle keys that echo the rhythm of island soul. It’s tender but hypnotic, balancing the pulse of reggae and the polish of modern R&B. And at the center of it all is NAVY’s unmistakable voice, rich, smooth, and layered with harmonies that feel like a conversation between heart and higher self. Lyrically, the song reads like a whispered promise. It’s about two souls caught between friendship and something deeper, choosing to honor connection without forcing fate. NAVY’s writing captures that space beautifully, the quiet loyalty, the magnetic pull, and the calm that comes from just being there for someone who feels like home. “This song is a message to a special person,” she says. “If I’m right about our connection, he’ll know immediately.” What makes "Here For You" so powerful is its emotional clarity. NAVY doesn’t chase the melodrama of love; she embraces the patience of it. It’s love as a sanctuary, not a chase. Her voice carries that message effortlessly, floating through bilingual verses that reflect her roots while inviting the world in. With over 50 million global streams and critical acclaim from Rolling Stone, Complex, and BBC Radio 1, NAVY continues to prove that Caribbean pop isn’t just a sound, it’s a feeling. And with "Here For You" , she’s bottled that feeling perfectly.

Cycamore might be a “new” band, but every member is a Nashville legend who’s been shaping the sound of American music for decades. With their debut single “ The Heart of America ,” these studio heavyweights are stepping into the spotlight, and the result is pure magic. The lineup reads like a Country Music Hall of Fame roster: drummer Eddie Bayers (Vince Gill, Garth Brooks), guitarist Jeff King (Faith Hill, Johnny Cash), acoustic ace Pat McGrath (Dolly Parton, Carrie Underwood), producer and pianist Dane Bryant (Clint Black, Olivia Newton-John), and bassist Mike Brignardello (Shania Twain, Amy Grant). Together, they’ve played on thousands of hits; now, they’re crafting one of their own. Originally written to support Habitat for Humanity’s Hurricane Katrina relief efforts in 2005, “The Heart of America” raised over $100 million to rebuild homes. Cycamore’s revival takes that same message of hope and unity and gives it a folk-rock edge, driving drums, soulful guitars, and a vocal performance by Adam Cunningham that feels straight from the soul. As Bryant puts it, “We want to remind everyone of the threads that connect us all—our shared humanity and love for this country.” The track is a gut-punch reminder that America’s strength has always come from its people. The music video brings that message to life, spotlighting everyday heroes and communities across the country. It’s emotional, it’s honest, and it’s exactly what we need in a time that feels more divided than ever.