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Most country love songs either drown in clichés or feel like they were written from inside a Pinterest board. Alyssa Ann dodges both traps with "Honey," a warm, glowing California-country track that feels like cracking open a jar of sunlight. It's sweet, sure, but not fake-sweet. Not artificial. It's got that slow-pouring, golden-hour sincerity that makes you stop and think, "Damn… I want a love that feels like this." The production leans dreamy and coastal instead of dusty and Southern, which is exactly where Alyssa shines. She's SoCal to her bones, and the track owns it. Airy guitars ripple like heat waves over PCH, while the rhythm sits back in the pocket, giving her vocals all the space they deserve. She doesn't belt to prove a point. She delivers each line with confidence, clarity, and that little spark that separates a singer from a storyteller. "Honey" works because it feels honest, not curated. Alyssa doesn't pretend she's writing about a perfect relationship. It came from a daydream in the middle of pandemic chaos. While the world was unraveling, she imagined a love that soothed instead of stressed. And weirdly, that makes the song hit harder. It's a reminder that even when everything goes sideways, hope still creates art. Her metaphors are sticky and clever without feeling sugary to the point of a toothache. Love is sweetness. Love as warmth. Love is something you can taste, not just analyze. It's classic country storytelling blended with modern pop sensibility, and she threads it effortlessly. That's rare, especially for an independent artist carving her lane without a major machine behind her. This track is for the romantics who refuse to apologize for wanting softness. For the girlies and guys, building standards instead of excuses. For people who need a reminder that real affection should feel nourishing, not confusing. With Josie Music Award nominations, a headlining Hotel Cafe show, and a growing catalog that proves she's more than a one-off moment, Alyssa Ann is stepping into her era with intention. "Honey" doesn't just ask you to feel something. It makes you crave more. "Honey" was born from a daydream, not a real relationship. How did imagining love instead of documenting it change the way you wrote the song? It honestly made everything easier. Dreaming up the relationship I want, rather than picking apart the messy realities of an actual one, felt refreshing. I didn't have to deal with real complications or real history. I could focus on something sweet, simple, and soft for once. I wrote as if this guy already existed, added a little chase because that is always fun, and built the type of love story I hope someone else hears and connects with. California country is its own lane. What sonic choices did you fight to keep the track true to your coastal roots, rather than going full Nashville? There wasn't a fight at all. The sound came naturally. We kept the classic country backbone with the acoustic guitar and traditional elements, then layered in coastal textures. Airy sounds, dreamy production choices, and extra reverb on my vocals helped shape that breezy coastal energy while still keeping the heart of a country song intact. What is one green flag quality you think modern love songs should highlight more?  Honesty, even when the story is unconventional. Not every love song needs to be perfect or pulled from a real moment. Some of the best ones come from imagination or hope. People still relate when you tell the truth about how something feels. If the song means something to you, it will mean something to someone else, too. The metaphors in "Honey" are vivid and sensory. What image or taste sparked the whole writing spiral when you first put words to paper?  It all started with two cravings at once. Companionship and sugar. I have a serious sweet tooth, so comparing love to something sugary made perfect sense. I imagined honey sparkling in the sunlight, warm and golden, giving the song that spring and summer feeling. Everything flowed from that first image. You've had major performance milestones and award nominations. How has stepping onto bigger stages shaped your confidence in telling softer, romantic stories like this one? This year has given me real confidence. Between three Josie Music Awards nominations and performing at the Hotel Cafe, I finally feel like my music is being heard. On smaller stages, I used to feel pressure to sing big and loud just to keep people's attention. Now I feel safe performing the softer songs because the audience actually wants to hear them. There is nothing like standing on a stage and realizing you can sing gently with emotion and depth, and people will still lock in.

Enter the world of Tori Lord, who refuses to play by the rules. With her debut single “ Never Be , she’s not here to write breakup songs for people who want to cry cute. She’s here to talk about the part of heartbreak you don’t post online: the shame, the clarity, the internal drag you give yourself when it finally shatters. Tori’s resume alone demands attention, national theater stages, choral roots, and even singing with Celine Dion on the Let’s Talk About Love tour. Now she’s stepping into her solo era with heavy hitters in her corner: producer Marty Martino (Down With Webster), songwriter Theo Tams, and mentor Rob Wells (the mind behind Justin Bieber’s “Baby”). That’s not a coincidence. That’s a co-sign. Her debut single “Never Be” plants her flag exactly where she belongs: in the lane of pop artists who don’t pretend their heartbreaks were poetic; they call them what they were. The track moves through that gut-punch moment when you realize you weren’t blindsided. The signs were there. The tone changed. The excuses got softer. The energy dipped long before the person did. “Never Be” isn’t bitter or petty. It’s not angry. It’s the lights flipping on after months in the dark. An epiphany disguised as a pop song. Production-wise, it’s sleek and cinematic, piano-driven, harmony-heavy, and open enough for Tori’s vocals to stretch and ache. There’s a choral elegance in her tone, a storyteller’s honesty in the lyrics, and a modern edge that puts her right beside today’s most emotionally literate pop voices. What makes Tori stand out is the precision in her authenticity. She’s spent years mastering brand-building, and instead of hiding that knowledge, she weaponizes it. She knows how to connect without forcing it, how to be vulnerable without manufacturing relatability, how to show the messy parts most artists bury. She documents everything, the wins, the chaos, the insecurities, and people are locking in fast. Her upcoming EP expands that world: self-love, growth, accountability, choosing yourself even when it hurts. “Never Be” is about realizing you weren’t really blindsided; you just didn’t want to hear the truth. What was the emotional turning point that made you ready to write from that level of honesty? After the reality set in that I wasn't going to hear from this person, I turned inward and was really mad at myself for opening my heart to the wrong person. It was from there that I sat down with my notebook and started writing out all my feelings around it. I landed on the one lyric "the only person I'm mad at is me / I felt so strong / but I got it all wrong". With this one line, I felt compelled to create something beautiful from this shitty situation.  You come from theater, choir, and even performing with Celine Dion. How are those worlds shaping the way you approach pop now, especially with a debut this vulnerable? I'd say from my choir days, I've always loved harmony. I remember growing up, any time my friends and I would sing, I'd always "take the high part" or play with the harmonies. You can definitely hear that woven into my music, both with Never Be and the upcoming songs. We stack lush harmonies and even use my voice as vocal pads, too, so there's a lot going on. I think my producer once said there were 18 stacked harmonies in one of my upcoming songs. Kudos to Marty for making sure each one of those sounds tight.    You’re documenting your entire becoming-an-artist journey online. What’s been the hardest part to show publicly, and what reaction surprised you the most? I'd say the most challenging is showing the days when nothing happens. In my world, there are moments when I am waiting for others to get back to me. I don't necessarily feel that creative, so I go into research mode for what comes next, or what content I can shoot next, etc., and all of that is quite boring. I don't share a lot of this because who wants to see someone scrolling down rabbit holes of content production ideas on a couch for two hours? I think that's the hardest - wanting to share but not thinking it's engaging enough.  The reaction to my songs has been really surprising - I've let go of being precious about sharing my songs, which I think has been a really great thing because I am now able to tease little bits earlier and earlier on and bring the audience into the process with me. I think that's been super cool.  The song explores being mad at yourself for believing in something that wasn’t real. How did you navigate the line between self-blame and self-forgiveness while writing “Never Be”? Writing the song was very cathartic. It was therapeutic to write about my honest experience, and it allowed me to lighten up on myself. I released my thoughts about the situation and the people involved (the people being him and me). This was also very early on in the process of me writing songs, so while I had written many previous to this, they had all been about things that had happened way in the past. This was the first song that I was navigating in real time. The feelings were so fresh, so raw. I would say that really helped to create a beautiful piece of art.  Your team includes Marty Martino, Theo Tams, and Rob Wells,  some of Canada’s strongest creative minds. What’s one piece of advice or insight from them that reshaped how you see yourself as an artist? My team is the absolute best. I feel so blessed to build this world with them. The best piece of advice is that this industry is a marathon, and if you come up against roadblocks, simply take them as intel to inform the rest of your journey and always keep going. I understand this could sound stock, but it has really helped me when I am experiencing low moments.

Charmian Devi has never been the type to tiptoe around reality, and “Diamond Hour” proves she is still incapable of playing it safe. This track arrives with the force of someone who has watched the world unravel and decided she is not going down quietly. It is alt-rock with a pulse, a bite, and a conscience, and it hits with the kind of clarity you only get from an artist who has lived more than one lifetime. From the opening beat, the song feels alive and restless. Tony Garnier’s upright bass gives the track a steady, almost ominous heartbeat. Dan Hickey’s percussion pushes everything forward with a sense of urgency that is impossible to ignore. Connor Kennedy’s guitar work slices clean across the soundscape, leaving flashes of electricity in its wake. The arrangement is tight enough to cut glass and raw enough to feel dangerous. Then there is Devi. Her voice carries truth the way fire carries heat. It is textured, emotional, unpolished in the most intentional way, and completely unwilling to dilute itself for comfort. She sings like someone who has seen systems fail, watched people break, and still refuses to let darkness become normal. The writing in “Diamond Hour” is direct and brutally honest. No pretty distractions. No metaphors so vague they lose meaning. Devi talks about rising violence, authoritarian creep, collective fear, and the responsibility we have to resist all of it. Not later. Now. It is rare to hear a track that feels both politically charged and deeply human without collapsing under its own weight. She pulls it off because she means every word. Charmian Devi has decades of credibility behind her, from her early punk roots to her work with legends like Lenny Kaye and Steve Shelley to her celebrated indie singles that continue to rack up streams. “Diamond Hour” feels like the culmination of all of it. It is not nostalgia. It is evolution. It is a veteran artist sharpening her voice for the world we live in now. With a new album recording in London in early 2026 featuring Alex Thomas, Jonathan Noyce, and John Atterbury, this track is the signal flare of what is coming. Charmian Devi is not just observing the chaos. She is confronting it head-on.

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.