Michael himself has shared that the piece was written about a significant person from his past, someone whose memory came alive in the middle of the night, inspiring the very title “Midnite Calls.” This personal background gives the music an authenticity that seeps into every note, blurring the lines between lived experience and artistic expression.

The track is understated yet powerful. A slow electric guitar lick sets the stage, immediately drawing the listener in with a classic rock tone that feels reminiscent of Metallica’s more melodic ballads. The guitar feels patient and deliberate, inviting you into a sound world that is equal parts nostalgic and fresh. From the first strum, it becomes clear that this is not a song rushing to prove itself; instead, it unfolds gradually, letting each moment breathe. The choice of tone is especially effective, balancing a sense of heaviness with melodic clarity. It is both haunting and beautiful, creating a foundation that reflects the mysterious late-night memories Michael sings about.

Lyrically, the song captures the essence of yearning and reflection. Michael’s writing feels deeply personal but still accessible. Lines like “I’m flying higher than a kite without a string” carry a striking sense of vulnerability, portraying the fragile thrill of memory and longing. The themes of fleeting summer conversations, of holding on to something that time has already moved beyond, resonate on a universal level. Even if the listener has not lived Michael’s specific story, the emotions of absence, nostalgia, and the persistent call of memory feel instantly relatable. What makes the lyrics especially effective is their balance between specificity and openness; the references to personal experience are detailed enough to feel real, yet they leave space for listeners to see their own reflections within the story.

Vocally, Michael delivers with passion and sincerity. His voice carries the grit and weight expected of a rock ballad but is tempered with vulnerability that makes the performance emotionally compelling. There is an honesty in his tone that avoids polish for the sake of polish, opting instead for authenticity. His phrasing and delivery feel like they come directly from lived experience, and that quality keeps the listener engaged from the first verse to the final chorus. The emotion in his voice aligns perfectly with the lyrical content, conveying both the intensity of memory and the resignation of time’s passage.

The production deserves special recognition for how seamlessly it ties everything together. The mix is clean and well-balanced, allowing the guitar to maintain its prominence without overpowering the vocals. Every element feels intentional, from the way the guitars fill the space to the subtle support of rhythm that holds the track steady. The production enhances rather than distracts, highlighting the intimacy of the performance while giving the song enough fullness to feel expansive.

Musically, the song maintains a slower tempo, which suits its reflective themes. The pacing provides room for the listener to absorb the lyrics and the textures of the instrumentation. The chorus, simple yet impactful, becomes the centrepiece of the track. Its repetitive quality mirrors the persistence of memory, reinforcing the idea that certain thoughts and feelings return again and again, no matter how much we try to move on. This repetition makes the chorus not just catchy but thematically essential, as it lingers long after the song has ended.

What truly makes “Midnite Calls” stand out is the cohesion of its elements. The guitar work, lyrical depth, vocal emotion, and thoughtful production all serve the same purpose: to bring to life a story of memory and longing that feels both deeply personal and widely relatable. Every detail feels carefully considered, but the result is not overworked. Instead, it maintains an organic flow, giving the impression of a song born from genuine feeling rather than constructed for effect.

Ultimately, “Midnite Calls” succeeds as both a piece of music and a piece of storytelling. It captures a fleeting human experience and preserves it in song, allowing listeners to step into Michael’s reflections while also revisiting their own. The interplay of mystery and clarity, of longing and acceptance, makes the track not just enjoyable to hear but also meaningful to sit with. It is a testament to Michael Wayne Dill’s ability to merge narrative and musicality into something memorable, and it suggests that his collaboration with Andy Henson is a partnership worth following closely.

SCORE / Excellent – In the end, “Midnite Calls” feels like one of those songs that sticks with you, the kind you catch yourself humming because it hits both the heart and the ears just right. Give it a listen.

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The album begins with a track, ‘YouSaidGoodbye’ that waxes lyrical about a relationship ending and one’s unrelenting love for an individual saying goodbye to their lover. The production on the track is quite dated and unfortunately cheesy, with overtly MIDI-sounding strings and percussion that sounds like it’s from a basic pack in a DAW. The rhymes are quite compelling, telling the story of the situation, but I can’t lie about the delivery- I don’t think it’ll appeal to a lot of people in this day and age. The vocalist tries to add some dimension to the song, but her vocals are unfortunately quite flat.

Afterwards, ‘Who Am I’ starts off afterwards with a more promising production, with more dimension and slight percussion syncopation akin to Timbaland’s earlier work. It has more depth, and more potential, but the vocalist’s voice is also not very well-mastered in this particular track. Her vocals have more improvement, reminding me a little bit of Lana del Rey’s monotonous delivery. Slick 2H Rick’s delivery in this track is not particularly impressive, sounding offbeat at times.

‘African Beauty’ saves the album a little bit, with much better production, but the vocalist isn’t very impressive- once again, not entirely mastered perfectly, but with a syncopation okay enough to match the Amapiano-esque instrumental. In fact, this isn’t Afrobeats, this is somewhat of an Amapiano fusion track. The log drums aim to punch, but Slick 2H Rick’s delivery needs a bit more rhythm to it. He improves in this track as the backing is also a bit monotonous, but there’s not much to it. ‘2H’ follows through with an instrumental that informs you that the tone of the track is a bit more serious. The lyrics are a bit more confrontational, cementing Slick 2H Rick’s status as an OG in the industry. I’d say the song ‘Treat ‘Em Right’ afterwards is one of the best tracks on this album, as the rhythm and the composition of the song FINALLY fits the style of rap he’s going for. It sounds like a modern rehashing of hip-hop tracks from the 80s and the 90s, which is where he shines. The track supports the flow of the delivery and it is somewhat harmonious.

The track ‘Higher (Che Che)‘ with Boni Fass once again, takes the Amapiano fusion style that this time, borrows heavily from the Yaba Buluku Boys and DJ Tarico’s style of Mozpiano. Once again, I have no issue with the instrumental, but both the vocalist and the rapper does not necessarily uphold the track to me. I’m sorry, but that’s the truth. As someone actually with contacts in the industry the vocals and the rapping sequence would not necessarily make it out of somebody’s Bluetooth speaker near Aratumi market, let alone Mozambique or South Africa. Kudos to whoever produced the track though.

The tracks ‘Lil Bougie’ and ‘Bounce It’ both support compositional techniques that remind me of the rap scene from the early to mid 2010s. I think there’s a market for people who are into that particular subset of music.

At the end of this, I’m well aware that the artist may get upset with me and use their high number of Spotify listeners to justify their art. At the end of the day, I’m a reviewer, not a promoter, and this is an interpretation of your music. Don’t let my words take you down and keep doing what you do.

SCORE/Mediocre: Slick 2H Rick tries to mix an OG style of rap with newer music trends, and some musical trends from the early 2010s, but he shines best in tracks that honor the OG style of rap because the backing track supports the lyrical delivery. Unfortunately, most of the album suffers from a delivery to instrumental mismatch or nothing necessarily unique in the world of rap besides the poignant attempt at lyricism.

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

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American Grim is renowned for their explosive live performances. Critics have noted their “powerful and polished performance” where they “pour every ounce of themselves” into the show. Their stage show is notably physical, with Ryan incorporating acrobatic elements, including jumping off drum kits, leading to the practical decision to use “a beat-up kit and just trash the shit out of it on stage.” 

American Grim is signed to Entertainment One (eOne) Records.

So let’s have a listen …

I love that the track starts with an alien keyboard/synth sound over a string section. The vocals kick in – heavily effected with the alien soundscape continuing. About 30 seconds in, we get our first metal growling yell. And then the band kicks in. “What really happened in Roswell?” “The secrets their hiding will be kept in the dark.” The drums are epic on this song.

I like that the vocals are clear and easily understood, even over the metal burning edge and the scream/shouting vocals underneath. Nice vocal break in the middle of the song, without the full band. Then the full band, heavy guitars, kicks in with the alien soundtrack still over the top. Nicely constructed song, arrangement, and mix. I would definitely listen to more of this band. The heavy guitars and backing vocals remind me of Korn.

SCORE/Excellent: American Grim hits megahard with their new single “Secrets of Roswell.” Dreamy vocals paired against scream singing. From the first alien soundtrack to the full heavy metal band, the track reminds me of Korn. Which is a very good thing. Much love, Beth

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From the start, the album sets the stage with “Be Ready,” where SteeZ contextualises his name and establishes his presence through tight flows and sharp delivery. The higher-pitched vocals woven into the mix create an added layer of depth, and the production strikes a balance between punch and clarity. That clarity carries through the record. Songs like “Golden Views” feel cinematic, evoking the kind of atmosphere you might hear in Into the Spider-Verse, with a beat that invites head nods and cityscape daydreams. Female vocals appear here for the first time, offering contrast that proves vital as the album progresses. “True Originals” leans into a lo-fi aesthetic, opening with distorted audio before giving way to steady, grounded rapping. By the time “General Speech” hits, the energy has built back up, with SteeZ weaving lines like “I’m doing what I gotta do to get the top dollar” over production that is both clean and commanding.

The album shines when SteeZ balances confidence with vulnerability. “Do You Understand” is a standout moment, beginning with a spoken reflection on sacrifice before opening into an honest account of the grind behind his music career. His voice feels naturally matched to the jazzy beat, delivering an emotional resonance without losing composure. “Ain’t No Lie” also reveals personal layers, addressing doubt and resilience with lines such as “We don’t take L’s, we take lessons,” backed by bass and subtle high-pitched harmonies. On the other hand, songs like “Different” and “Mastermind” showcase the rapper’s charisma and adaptability, though the reliance on repeated phrases can at times verge on excessive. Even so, the beats remain strong and the delivery smooth, ensuring the songs land.

Where LABWØRK truly elevates itself is in the second half. “Ascension” introduces ethereal and almost medieval tones, reflecting its title with lyrics that reach toward higher ground, while “Requiem” deepens the emotional stakes. Here SteeZ is vulnerable, openly grappling with pain and accountability. The presence of Morna on the track adds another emotional register, though at points her performance does not fully align with the beat. Still, the song’s raw passion makes it one of the most affecting on the album. The collaborations continue to stand out, particularly “Move With The MaQ” featuring PEB, where SteeZ and his guest find harmony in a lively track that feels equally suited to a kitchen dance as it does to a live performance.

The project closes with “Labwork,” an outro that captures both gratitude and honesty. With its ethereal production and the direct address of “I hope you’ve been enjoying your ride,” the song blurs the line between the artist’s public persona and his personal self, giving listeners a glimpse behind the curtain. It is bittersweet, reflective, and fitting as a conclusion to a project that consistently balances ambition with intimacy.

LABWØRK is a polished and cohesive statement that positions MaQ SteeZ as a rapper worth watching. The production is consistently strong, the lyricism strikes a balance between motivational and personal, and the musicality reveals both adaptability and vision.

SCORE/Outstanding – While certain refrains could use more variation and a few lyrical moments feel less sharp than others, the album as a whole is both enjoyable and impactful. It proves that SteeZ is not only representing San Jose’s growing rap scene but also carving out a space that can resonate internationally. Go listen!

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The performers of this conception include Cale Moon ‘Hound-Dog’ Dobro with no distinguishable act, Denise Stewart-Baker on backing vocals, JMAN on Drums and percussion, Pipes of Valinor on Gaelic Pipes and Woodwinds, and the elusive Dez Maree on Guitars, Bass, Arrangements, Lead and Harmony Vocals, Composing, Engineering and Producing.

The song presents itself as a mix between country, folk, psychedelia, baroque pop and soul. It’s an extremely eclectic song with depth and emotion that bleeds through even though it has some slight issues with the mastering and the balancing. There is enough motivic variation within the instruments present within the song: the keys, the acoustic section, the strings, the synths, the vocals to keep you interested in the song as you listen to it.

One of the redeeming parts of this song is definitely the emotional structure that goes hand in hand with the chord structure of the song itself, presenting a dynamic but emotionally compelling sequence for one to emote to. In some instances, this song is almost like a neo-Western song, with enough amendments to make the genre modern. It’s exciting, complex, and filled with mini-motifs and solos from each instrument to keep your ears peeled.

The harmonized vocals also provide the song with a strong backing to the main vocals, which have been filtered off to provide an interesting and futuristic effect. It’s a track that definitely passes the test of musical variability, crossing between compositional and presentation techniques to give you a pleasant listening experience that goes beyond a ‘simple song’.

SCORE /Excellent – NIGHT STAR (Because of You) is a compelling track that simply unwinds with more possibilities the longer that you listen to it. It has a complex structure with a lot of motivic variation and a unique form of presentation, giving itself an edge over other releases out today.

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

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The opening track Lucerna Tenebris immediately establishes a more approachable and human tone compared to the debut album. The deep, foghorn-like drones and suspenseful pacing evoke the feeling of waiting in darkness for something to emerge. When the piano and organ-like surges enter, they feel like sudden jolts of terror, as though one has stumbled into a horror film’s climax. It’s ominous, but not abrasive, and it sets the stage for the EP’s balance between dread and restraint.

Ad Libitum follows with a shift toward medieval textures, its strings carrying the listener into a shadowy masquerade scene where something sinister lurks behind the velvet. The whispered voices threaded throughout the piece heighten unease, fading away as if to dissolve into memory, leaving behind a lingering tension.

Ellen Crone turns toward something more intimate, opening with a retro sci-fi synth that soon gives way to layered atmospherics resembling storm winds. Piano enters with surprising emotional weight, grounding the track in grief and reflection. This juxtaposition between synthetic alien tones and human melancholy captures one of the EP’s most compelling traits: the fusion of digital abstraction with visceral feeling.

With Angels, the EP momentarily ascends into something more radiant, at least on the surface. Choir-like textures and organ resonance give the impression of sacred light, yet the arrangement is infused with dissonance that unsettles the sense of sanctity. It feels like stepping into a cathedral only to find something unholy residing within.

Sanguis Iterum plunges into chaos. It is the harshest track on the EP, brimming with distorted growls, mechanical turbulence, and violent layering. The sheer density of the piece conjures imagery of demons rising from beneath, contrasted only by flickers of helicopter-like sounds that could be interpreted as forces of order struggling to maintain control. It is oppressive, but it never loses focus, demonstrating Prunell’s improved sense of balance in sound design.

The quieter Sons of Shadows acts as a moment of desolate reprieve. Hollow drones dominate, occasionally interrupted by shifting foreground sounds and static distortions that suggest unease beneath the surface. The track captures a haunting stasis, evoking the eerie quiet that lingers either in the eye of a storm or in its desolate aftermath.

The title track Makt Myrkranna closes the release with a return to sheer atmosphere. Static washes, droning tones, and alien frequencies build gradually into something oppressive and foreboding, pushing the listener into a state of heightened awareness. It is tense, suffocating, and appropriately final, a descent into darkness that feels both inevitable and complete.

What makes Makt Myrkranna stand out is not only the conceptual depth behind it but also the care in its execution. Where Stridore’s debut often overwhelmed with sheer abrasive noise, this EP demonstrates restraint and control. The mix is clear and layered, textures are given space to resonate, and the imperfections of the live recording process imbue the music with personality rather than distraction. It is more accessible without losing intensity, more atmospheric without losing its edge, and ultimately a testament to Prunell’s growth as a sound sculptor.

SCORE / Excellent – Makt Myrkranna is a deeply unsettling yet strangely captivating listen, a work that succeeds in marrying experimental sound design with evocative storytelling. It captures the unease of myth and the atmosphere of horror while remaining grounded in a very human sense of expression.

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The opening track Black Moon sets the tone with a heavy drumbeat and distorted guitars that rumble beneath quietly mixed vocals. Lyrically, it is a raw exploration of grief and reconciliation following the loss of the songwriter’s father, its imagery of mourning mingled with mundane detail making it strikingly human. “You’re everywhere even though you’re nowhere, you and I forever entwined” captures the paradox of absence and permanence in mourning. While the repetition in the arrangement can occasionally veer toward monotony, it also helps embed the song’s themes and leaves behind a hypnotic aftertaste.

Do You Believe follows with sharper energy, guitars cutting through the mix with precision and urgency. The track, which explores breaking free from the grip of those who inflict pain under the guise of control, balances lyrical vulnerability with instrumental drive. “Here, all at once, I am mine, not for anyone, do you believe?” is both a declaration and a challenge, delivered with conviction against driving guitars that nod to the likes of Joy Division. Its sound is powerful, moving, and among the most immediate moments on the EP.

The EP’s centrepiece, Charles Manson, is not about the cult leader at all but instead about the danger of manipulative ideology and the ease with which it can spread. “And it’s over before it’s begun, switched scripts while you stared at the sun” reflects the suddenness with which deception can take hold. Musically, it boasts some of the clearest vocals on the record and the tightest production, with layers of instrumentation weaving into a rhythm that feels both vintage and sun-soaked. It is deceptively simple, slightly repetitive, but undeniably effective and inviting in its groove.

Reverie lightens the mood with its summery, head-nodding rhythm that still grapples with heavy lyrical themes of loss and imperfect parental love. “Once there was a man who reigned, crowned himself, though by false claim. Love him like a son, teach your children well” shows Etienne’s attempt to reconcile flaws with affection. The vocal layering here adds an unexpected depth, making the track one of the most engaging moments on the record. Its melodic pull and crisp mix make it both replayable and immediately memorable, bridging the introspection of the EP with a more uplifting sonic approach.

Distortions dives back into darker territory, with guitars reminiscent of Pixies and vocals that remain raspy and brooding. “Feelings take over and lie to you, survived another silent coup” captures the sense of spiralling inward, where the mind itself becomes hostile terrain. While the vocal performance doesn’t venture far from the delivery established earlier in the EP, the cohesion between instruments and mood results in a track that lingers with weight and resonance.

The closer Feathers brings everything full circle, tying together themes of depression, isolation, and perseverance through a sharp 80s-inspired guitar lick and rapid-fire vocal delivery. “Are your feathers torn and frayed are you falling under your weight?” frames its allegory of a bird lost and searching for a place to land. The mix occasionally lets the vocals fall behind the guitars, but the overall balance maintains momentum and closes the EP on a strong note, encapsulating the tension between fragility and resilience that runs through the record.

Overall Friction Machine is a well-crafted EP that showcases Dead Parties’ ability to merge classic alternative influences with a personal lyrical lens. The production work across Barcelona, Glasgow, and London has left the songs lush without diluting their edge, and the consistent guitar work anchors the project with strength and clarity. At times, the vocals sit a little too far back in the mix or repeat familiar patterns, yet the melodies and themes remain engaging enough to hold attention across six tracks. The EP demonstrates not only Etienne’s capacity for writing songs that resonate emotionally but also his knack for creating textured, immersive soundscapes that stand alongside his influences while carving out his own voice.

SCORE / Excellent – At its best, Friction Machine feels like the kind of record you want to play loud, lose yourself in, and return to when you need something both raw and beautiful. Go give it a listen!

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Gabe describes his creative process as a testament to his artistic authenticity, with a melody-first approach. This involves denoting each musical phrase as a foundation for the lyrics that give it life. Being an accomplished guitarist and keyboard player, his instrumental skill provides a rich and textured backdrop for his lyrics- introspective lyrics, that makes his sound both emotionally resonant and instantly accessible. The culmination of all of these traits result in a unique and honest musical style that captures the highs and lows of a life lived, set to a soundtrack that is inherently memorable.

With this, his new single is titled ‘Sweet Mama’.

The instruments that lace the introduction of this track are pretty warming and inviting, with an acoustic soundscape that satisfies both the high and the low ends. Gabe’s voice seems to be full of emotion, giving the song an extra lyrical tone that elevates the song. It has a lot of emotional depth to it.

However, the quality and the mastering of the track are quite off, being compressed and sounding as if it were downloaded with a bit of bitrate loss. This compromises the listening experience of the song and honestly detracts from the full range of emotional intensity within the song. If these technical issues can be addressed, this song will definitely appeal to someone who needs a simple, stripped-down song that they can emotionally and lyrically resonate with.

SCORE/Mediocre to Good – The song has incredible potential but falls short on mastering issues that prevent the song from being fully understood and enjoyed. It has a lot of emotional depth mixed into it, with a lot of warmth and invitation, with the vocals being adequately portrayed to fit the theme of the song.

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If you’re familiar with Paul Rodgers, Paul McCartney and Daryl Hall, you’ll definitely appreciate this body of work. He also has stated that he is one of the best vocalists around, with this album serving as proof of that statement. John also singlehandedly wrote and produced all of the songs too.

The lead single from this release, ‘Ruby Red’, was released on August 18.

The song ‘Who’s In Town?’ begins with an exhilarating twist, taking tremolo trends of past rock-pop acts with a bit more mastering and excitation. From the syncopation to the way he delivers his verses, he almost reminds me of a new version of Tin Machine and David Bowie. It has a vintage flair to it, which will definitely enthuse listeners who crave a livelier take on classic rock.

The next tracks on the album follow suit with this pattern, presenting us with more exhilarating soundscapes that are chock-full of character and even motivic variation through the solos, with tracks like ‘Raining’ and ‘Ruby Red’. He also possesses a lot of spunk and character, similar to Aerosmith’s main vocalist, which definitely makes it not hard to believe that John was once a lead singer.

Things switch up in the middle of the album with the heartfelt ballad ‘Seventeen’, showcasing his ability to also be sentimental and explore the segments of his artistry that isn’t so boisterous. It’s extremely emotional, with a wonderful piano piece in the middle, accompanied by strings. In this track, he does have a Paul McCartney-esque tone to his vocals, showing not only his ability to be multifaceted as a composer but as a singer as well. This continues in tracks like ‘Another World’ and ‘Teds’ as well, with the peak of vocal ability being showcased in the track ‘Song For Erin’.

In a strategic manner, the album pivots back to a much more upbeat take with ‘Take The Money’ afterwards, which has a very innovative percussive syncopation that could’ve been elevated with better mastering. It’s a wonderful psychedelic-inspired track, but definitely needs to be rectified when it comes to the mastering in order to enjoy the track in its full capacity. ‘One of the Boys’ then closes the album with a groovier, almost 60s track that is quite easy to vibe to and honestly sing along with.

All in all, the album is competent enough, especially when you consider that the artist did most of the producing besides merely just singing. It falls flat on perhaps 1 or 2 tracks with very minute issues on mastering but frankly, most of the tracks on this album are very well mastered. The album shows two sides of his artistry, and I think people who enjoy the genres within this album would adore this album.

SCORE/Excellent – John Wilson expresses his artistry in Who’s In Town quite well with an interesting mix of rock songs that span his own influences and frankly, beyond. Oscillating between sassy, spunky and heartfelt, it displays his compositional intent and vocal ability quite adequately with minimal issues.

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

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Canyon’s voice is the song’s defining element. His vocals are rich, resonant, and rustic in tone, carrying the weight of lived experience. The delivery is steady and unhurried, allowing the lyrics to land with impact rather than being lost in unnecessary embellishment. He sings with a kind of unforced confidence, the kind that comes from an artist who knows his lane and embraces it fully. There is warmth and grit in his timbre that recalls country greats like Randy Travis and George Strait, but Canyon manages to sound distinctly like himself, which is no small feat in a genre that often rewards imitation.

Lyrically, the song leans into a conversational style that makes it instantly relatable. The refrain “I’m gonna miss her cooking, she makes everything tough, that real strong stuff” captures Canyon’s knack for blending tenderness and truth into a single line. It’s an example of writing that feels rooted in everyday experience yet has enough wit and charm to stand out. The words are not trying to reinvent the wheel, but they resonate because of their honesty and the way Canyon delivers them.

The instrumentation deserves special attention. The interplay between acoustic and electric guitar is clean and complementary, with the rhythm guitar laying a solid foundation while the lead guitar adds tasteful flourishes. The electric guitar solo midway through is especially well executed, providing just the right amount of spark to keep the momentum building without overwhelming the song. Its tone is crisp and slightly biting, contrasting nicely with Canyon’s warm vocals. The presence of feminine backing vocals is another strong choice, adding harmonic depth and expanding the emotional palette of the track. They appear at just the right moments, softening the edges of Canyon’s rugged delivery and giving the song a layered texture.

Production-wise, Real Strong Stuff is balanced and professional. The mix allows each instrument to breathe, with clear separation between vocals, guitars, and rhythm elements. Nothing feels cluttered, and the arrangement is smartly structured to let the song unfold naturally. The gradual build keeps the listener engaged, and by the time the closing guitar lick arrives, the track has said everything it needs to without overstaying its welcome. The fade-out is subtle but effective, leaving behind an aftertaste of nostalgia that makes you want to spin it again.

What makes Real Strong Stuff particularly compelling is the way it straddles tradition and accessibility. Canyon isn’t chasing trends or trying to force a crossover moment. Instead, he leans into what he does best: telling a story with straightforward honesty, supported by strong musicianship and a voice that commands attention. It’s the kind of song that could easily resonate with longtime country fans while still appealing to casual listeners who crave authenticity in their music.

SCORE / Outstanding – Real Strong Stuff feels like the work of a veteran artist comfortable in his skin, bringing together decades of craft and experience into a song that is engaging, heartfelt, and built to last. It’s a track that doesn’t just sound like country music, it feels like it, honest, grounded, and enduring. Go listen!

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