The album kicks off with the song In My Time of Need. It starts with a trippy lead electric guitar riff, psychedelic in nature. Then Frances comes in on vocals. Singing about “how life goes”, I like how she uses “oohs” and “aahs” to develop the melody. The structure of the song is simple, but I’m really enjoying the lead guitar work. I guess that’s “how life goes”.

The Place Where I Need to Be is the second song on the album. Starts with a fast country-type lead guitar riff. The acoustic guitar strums out a simple and straightforward 4/4 rhythm. The vocals are very pleasant. Very atmospheric, this track. I wish the lead guitar was a bit louder in this mix. I really like the “aahs” at the end of the track and how it strips down to just the acoustic guitar and voice, then the full band comes back in to finish.

This Haze, the third song on the album, starts off with a heavy acoustic guitar strum against a simple, but solid, drum beat. I like the vocals on this one, sailing above the mix. It’s a nice melody. The lead guitar should be more present in the mix. The chord changes keep the song interesting. I love when the backing vocals kick in and play with the lead guitar later in the song. “One tiny step at a time.” The lead guitar is has a jazz approach.

The fourth song on the album is Self Love. The song starts with a “doo – doo – ooh” vocal riff, very enchanting. The lyrics are like a self-therapy session. I find the pre-chorus to be a little clunky, compositionally. I like when the backing vocals come in later in the song and the lead guitar solo among the “doos”. The lead guitar player is very talented and tasteful.

The One Left Standing, the fifth song on the album, starts with a quirky lead guitar intro. The arrangement sounds like a classic ’50s song. This whole album is exceedingly eclectic. Full of ambiance. “I’m the one left standing”. I think the lyrics are pretty direct on this album, not a lot of guessing about what she’s talking about; the melodies are simple. I’m digging the lead electric guitar on this album. Ending with “this is real”.

No More Judgments starts with a lead electric guitar soloing over a very nice acoustic strum. I like the rhythmic feel of this song. The lyrics are very straightforward. “I don’t have time for this” with a chorus of “Let’s like ourselves right now”. A song about being judged harshly by the one you love. I find the lyrics and vocal melodies to be a little too straightforward. Loving the electric lead guitar work on the album.

Living With, the seventh song on the album, starts with an interesting lead electric guitar run, then the vocals kick in “it’s been a long day, it’s been a hard day.” A song about inner-strength. A nice composition. I like the tasteful drums and percussion on this song; the beat makes the song. “Tired of always falling down”. Another tasty lead guitar solo in this song.

The next song is Doing the Best I Can. It also starts with an interesting lead guitar riff. Frances comes in with her simple, straightforward vocals. I like the arrangement of this song and the tasty lead guitar work. Very minor-sounding tune. I like the incorporation of “oohs” and “aahs” in the mix. And when it drops down to just vocals and the acoustic guitar strums.

The final song on the album is When That Day Comes, which starts off with a very country-sounding lead guitar riff. The vocals come in, very bouncy, against the acoustic guitar playing a very syncopated rhythm. Simple, but effective. A song about hoping and finding your true love.

My only real issues with this album are the simplicity of the lyrics/vocals and the straightforward nature of the song arrangements. Too straightforward, but that is the nature of folk music. I guess I was just hoping for a bit more mystery since the album is already leaning in that direction. I find the lyrics are a little too simplistic for my ears/tastes.

SCORE/Good: Frances Ancheta delivers a strong performance on her new album “Saving Graces”. Solid songwriting, simple, but effective. She has a very pleasant voice and I love her tasteful use of “oohs” and “aahs”. I love the overall ambiance in the mix and the excellent lead guitar work on this album. Much love, Beth

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

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Rien de Faire, a trio of musicians comprised of keyboardist Vic Martin, vocalist Mike Sebbage and guitarist Steve Summers, originally formed in the 1980s in the UK before disbanding only two years later. After pursuing various other solo and group endeavours, the three eventually decided to reform during the 2020 Covid 19 lockdown and release their first group album All Good Things in the same year.

Their newest release Here Comes The Freak Show is a dreamy treat for seasoned and new listeners alike; the group’s rich sound filled with genre-bending surprises and an overall chill vibe easily appealing to fans of a classic pop, jazz and blues sound. The album contains nine tracks of impressive quality and production value, likely as the result of the three musicians’ extensive experience working both in underground music scenes and alongside major international artists.

The album’s first track is the smooth introductory ‘Here Comes The Freak Show’, which bursts to life with a lively saxophone solo courtesy of guest musician Joe Difiore, whose addition in the album greatly contributes to its debonair sound. A groovy bass line leads listeners into the suave track, which is soon lent an extra edge through Mike Sebbage’s melodious vocal performance; his gravelly vocal tone winding itself through enticing melodies while echoing the track’s chorus lyrics (“You can run but you can’t hide, from supernatural suicide…Here comes the freak show”). It’s an intensely alluring start to an album full of charmingly stylish jazz and blues-infused pop jams.

The second and third tracks, ‘A Fool To A Clown’ and ‘Leave A Light On’ see Sebbage delving deep into exploring vulnerability through love and loneliness. The former track, which pleasantly serenades listeners with its languid tempo and Steve Summers’ delicate guitar licks, sensitively examines rejection and feeling shunned by a lover through Sebbage’s mesmerisingly melancholy vocals. Similarly, ‘Leave A Light On’ carries a profoundly introspective tone with the help of Vic Martin’s refined keyboard accompaniment, Sebbage’s wistfully sung lyrics pointing towards guilt at falling into bad habits (“Cause when the bogeyman calls, just leave a light on”) and a hypnotising outro characterised by an electric guitar solo beneath Sebbage’s mournful calls.

The soft notes of a harmonica greet the audience’s ears in ‘Tell Me I’m Not Crazy’, before the track’s mellow instrumental melts satisfyingly into the singer’s deeply emotive vocals. The vocalist surprises by transitioning into a breezy falsetto at the end of the track, which only appears to add weight to his desperate pleas of “Tell me I’m not crazy…Tell me I’m still strong” as the song’s somnolent soundscape lures listeners into an ambience that feels both tender and sombre.

The band seem to kick into the next gear with ‘Slow Ride’ and ‘Missing Out’ which are sure to delight listeners with their swaying mid-tempo beats and ear-worm vocal melodies. From the beginning of ‘Slow Ride’ Sebbage’s vocals seem even more crisp and stylish than usual, as he matches the carefree flow of the bass guitar and keyboard to great effect. In contrast, Difiore’s return on sax in ‘Missing Out’, which is the album’s only single, allow this lulling blues-pop number to stand out with Rien de Faire’s signature soothing genre fusion that will keep audiences in rapt fascination. Indeed, every element of the track down to its composition and production seems to enchant with the group’s polished performances and their thoughtfully meditative music style.

‘Spooky’ bursts with jazzy charm with its low-key keyboard-led intro and its memorably moody chorus (“Love is kinda crazy with a spooky little girl like you”), delivered in the singer’s gritty croons. Martin’s numerous keyboard solos further allow this track to take off with its light and airy tone; luring listeners in with the track’s laid-back and easy-listening style.

The final two tracks of the album ‘Fool When It Comes To Love’ and ‘What Would I Do (Without Me)?’ are the perfect songs to end this smoothly accomplished album; both tracks delivering infectiously rhythmic keyboard, drum and guitar accompaniments as well as Sebbage’s soulful croons. With the two songs lamenting over the complexities of personal relationships and the solitude that life sometimes brings, the tracks’ blues-inspired compositions make for pleasantly tranquil listening material for winding down after a hard day.

Score/Excellent: Here Comes The Freak Show is a wondrously accessible exploration of lush jazzy soundscapes and quiet introspective moments sure to appeal to fans of many different genres. It’s also clear from the easy flow of the album and the well-melded skills of Martin, Sebbage and Summers into each track, that Rien de faire overflows with both talent and artistic vision, which is something that any true lover of music will appreciate.

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His debut poetry book, ‘Love Letters To The One That Got Away: An Illustrated Collection of 30 Love Poems, Volume One’ is now out – available on Amazon, Barnes & Noble, and other major online booksellers.

His work intends to transform personal reflection into ‘universal resonance’. Each track offers a cinematic atmosphere- where every line is intentional, every silence meaningful, and every emotion raw but thoughtfully held.

Christopher’s poems are not meant to compete for attention, but to offer space for healing, for honesty, and for being human.

If you’ve ever felt too much, loved too deeply, or remembered what you tried to forget- you’ll feel at home here.

His latest release, Volume Two (I Miss You) Reimagined, is a bold and heartfelt sonic rebirth of the original album that was released in January 2025. Far more than a remix, it’s a complete transformation—each track has been carefully re-envisioned with a fresh perspective, deeper emotional layers, and elevated production. The result is a lush, immersive experience that both honors the essence of the original and expands its creative reach.

Spanning 11 meticulously reworked songs, the album retains its emotional core while evolving everything else. Expect extended arrangements, richer textures, and refined sonic detail that add new depth and dimension. Whether you’re revisiting these tracks or hearing them for the first time, Reimagined delivers a powerful listening journey that feels both nostalgic and entirely new.

The first track, ‘I Miss You’, is a wonderfully emotional track that tugs on my heartstrings with how deeply emotional and revolutionary the track is. I have honestly never heard anything as innovative as this track before, especially the way of the syncopation of the drums and the synths. It blows my mind.

The second track, ‘Whispers of Memories’, draws you in with the onomatopoeia of a distant bird, building up tension with murky vox synths in the background. It is extremely original and all-encompassing. The lines of poetry made me pause and think about how life was temporary, as this song was quite hard-hitting.

The third track, ‘You Mean More To Me Than I Let On’, had an introductory piano piece that sounded like postmodern postclassical music. It had emotional complexity and heartfelt sentiment that could bring almost anyone to tears. The song has cross-R&B appeal, so this could be a good alternative for people who think they need to constantly be on the Chris Brown train regardless of his actions. The humming at the end just caressed my ears in such delight, it definitely explores love and the way it feels with a lot of gusto.

The fourth track, ‘You Don’t Know How Hard It Is To Let You Go’, begins with a reimagining of DJ Snake’s vocal chops- this time, with a more surreal and emotional tone. I absolutely adore how the snare in this track hits super hard, almost overpowering every other instrument in the instrumentation. The lyrics blend really well with the arpeggiation.

The fifth track, ‘You Don’t Realize How Perfect You Are To Me’ takes the album back to the mid-2000s with its ballad style. It is a heartfelt ballad with a wonderfully encapsulating drum beat and non-embellished singing. It is so relatable and I think a lot of people would absolutely love to sing along to this song as they realise how perfect the central figure of their affection is. It’s a song that makes me feel good as I listen to it. 

The sixth track, ‘I’m Waiting For A Sign From You’ is a delectable mid-tempo electronic ballad that also furthers the devastatingly wonderful and gut-piercing vocals that are littered throughout this album, with a sonic soundscape different from Yiruma’s piano pieces. It is another well-done and beautifully produced ballad, making sure that you connect to it in every way possible as the lyrics of the song play out.

The seventh track, ‘The Love Of A Time Traveller’, takes a more hardened vocal approach as it entirely humanizes the feel of a person deep in the gutter. It is so emotional. The electronic style of this ballad also makes me feel so excited as the track goes on. The combination of so much pain and hurt in the vocals and the syncopation of the drums almost brings me to ecstatic tears, as I feel like this song really understands me- or understands us all.

The eight track, ‘Aún Te Amo’, is a highly flamboyant and unique track that blends a fusion of somewhat Latin-esque influence with a bit of Romanian generic-electropop, with lyrics that once again resonates with the wonderful world of love, and since Spanish is the language of love, this song is truly spicy and sexy.

The ninth track, ‘I Wish I Could Share My Good News With You’,takes us back to the usual mode of the album, presenting a stripped-down almost 2010s minimal R&B ballad to bring the listener to an equilibrium of expressing their wonderful emotions of wanting to share something with someone but they can’t, almost like a sense of unrequited love. The exciting soundscape matched with the revolutionary poetic lyrics makes this track so new and unique.

The tenth track, ‘Why Ghosting Hurt So Much’, brings a return of the ‘la la la’ ad-libs in the previous song, this time delving deeper into severe injustices that break through the human mind when they feel neglected and deceived, even betrayed. It presents itself as a minimal R&B track once again with beautiful emotions that can definitely be felt as the song goes on.

Last but not least, ‘Second Chances’ ends the album on a slightly cheery note, taking the same soundscape from the previous few tracks, breathing life and hope into a new destiny to unveil in the scope of love paired with a frilly piano soundscape, going into a ballad style overall.

It is such a wonderfully emotional body of work, as evidenced by the emotions expressed in this album that can only be felt by the wonderful effort and emotions put into each and every one of these tracks. It takes you through all kinds of topics under the umbrella of love, aiming to be relatable and simple. 

SCORE/Good: ‘Volume Two (I Miss You) Reimagined’ is simply a safe album that combines what you’d typically expect from the Top 40 charts without necessarily diving into something too offensive or atonal. If you’re looking for something ordinary and melodic enough, this is the album for you. It also has just enough emotion to not sound completely void of humanism.

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

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In May 2013, INES gained widespread recognition with the release of a duet featured as the soundtrack for the documentary Tounsi w Khalli Iqoulou Hbel, produced by Coca-Cola and screened in Tunisian movie theaters. This milestone propelled her career, leading to performances at concerts, festivals, and prestigious private events, including embassy receptions in Tunisia. INES enjoys exploring the fusion of musical genres, with a deep appreciation for Jazz and Pop music.

Aiming for international recognition, INES developed a multilingual repertoire, performing in English, Spanish, French, Italian, and Arabic. Confident in her ability to excel in Western music, she moved to Los Angeles in May 2018 to pursue a global career in the heart of the entertainment industry.

In April 2023, she released Attention, the first single from her upcoming EP—a Pop/R&B track co-written and produced by Jamelle Adisa. In December 2024, she followed up with Dance, a Pop/Dance anthem, also co-written and produced by Adisa. As she continues to evolve as an artist, INES remains dedicated to pushing creative boundaries and making a lasting impact on the international music scene.

So let’s have a listen …

After a first lesson, INES new song reminds me of the song “What a Feeling” by Irene Cara from the hit movie Flashdance (1983). It’s definitely a dance club feel-good song. The song starts slowly with just a heartbeat.

“It’s oh so tempting to get close to you.” The verse kicks in fairly quickly. INES has such a smooth professional voice, like Irene Cara. The song then explodes into the chorus. The mix and the production are excellent. The song then falls back into the middle bridge. “I’m going to dance the night away.” The mix thins out with an arpeggiated keyboard riff, then goes back to a short verse or pre-chorus, and then the heartbeat chorus kicks in again.

The intensity of the song increases. Very nice keyboard mix. “There’s no way to escape.” I like the computerized voice that comes in during the second bridge, which, like the first, has sparse instrumentation. Then the chorus kicks in again. I really like the lyrics in this song. “You take my breath away, blood rushing through my veins.” The drums stand out in this track. Lots of ethereal backing vocals. Very nicely constructed song.

SCORE/Excellent: INES’ new single “Heartbeat” is a very solid adult contemporary dance track. INES has a lovely sounding professional pop voice reminiscent of Irene Cara (What a Feeling, Flashdance). The song is masterfully constructed to get you singing along and up on your feet dancing. Excellent performances, mix and production! If you like modern dance music, pick this one up today. Much love, Beth

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

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Upon the six member group’s inception on the 2023 reality show Dream Academy, Katseye had already started turning heads with their diverse lineup and bold personalities: the group consisting of Latin-American Daniela, Indian-American Lara, Hawaiian-born Megan, Filipino Sophia, Swiss-born Manon and Yoonchae from South Korea. Containing members proficient in professional dance, singing and modelling from a very young age, the girl group seemed set for stardom from the very beginning. Indeed from the bright and irrepressibly catchy 2024 debut in the SIS (Soft Is Strong) E.P, the only way was up for the group.

While Beautiful Chaos may only be the girls’ second E.P offering, many devoted listeners may agree that it serves as a shock to the system after the bubble-gum playfulness of early tracks like ‘Touch’. The reason for this is that the E.P’s five tracks embody the members’ swaggering confidence, forward-thinking style and unadulterated personality to a T, like none of their music has before.

The first track is the incredibly impressionable ‘Gnarly’ – an unabashedly loud and proud hyper-pop track that hits far harder than any song Katseye have previously released. Unsurprisingly, upon its April 2025 release as a single, the song quickly went viral for its bizarre music video visuals, eccentric lyrics and addictively hard-hitting bass track. Playing upon the slang ‘Gnarly’ describing either something cool or repulsive, the lyrics are outlandish on their own and yet sound perfectly thrilling when uttered in the Katseye members’ animated deliveries. Indeed the chorus itself is something to behold; the girls’ fevered chants of “I’m the s***” over a bombastic bass track cementing the band’s unwavering confidence in their skills and will to dominate the charts.

Next comes ‘Gabriela’, a satisfyingly stylish Latin-inspired R&B song that opens with a Spanish-tinged guitar riff and a swaying mid-tempo beat. The lyrics concern someone trying to defend their lover from the clutches of a seductive woman. The main line in the chorus “Back off Gabriela” also serves as a message to fans of the group that pit members against each other to stir up imaginary drama; letting them know that nobody and nothing can stand in the way of the close group connection they have formed. The smoothness of the track also allows for singers Lara and Manon to show off sleek and seductive vocal tones and for member Daniela to include a part of her culture in an alluring Spanish-language verse.

The Katseye members change it up again with the breezy pop offering ‘Gameboy’, where the singers’ airy vocal runs and subtle vibrato mesh pleasingly with the song’s easy-listening yet trendy vibe. Lyrically, the girls poke fun at a love interest that plays hard to get (“You, you keep on pushing my buttons”) and sing about the playful back and forth of their relationship through sugar-coated harmonies and teasing calls. To some fans, this song may align more so with the sound of the group’s previous hit ‘Touch’, which employs a similar upbeat pop formula to deliver a feel-good track that may arguably appeal to a wider audience.

The fourth track ‘Mean Girls’ is the closest that Beautiful Chaos gets to a ballad; the song contains a pointed message toward the people who continually spread targeted hate towards the group. A sombre vocal melody (“God bless the sweet girls, God bless the dream girls…”) starts off this introspective pop track, which is led by a glitchy string sample and an understated beat. That’s because to Katseye, ‘Mean Girls’ is by no means a hate anthem, or even them being hung up on past difficulties, but a determination to move forward by spreading love, kindness and positivity in the face of adversity. This self-awareness to the dark realities of the entertainment industry and unwavering resolve to remain close-knit as a group will surely continue to endear Katseye to fans as an unshakable unit set to conquer the global music industry.

The girls can’t resist ending their EP on the irresistible bass-heavy dance track ‘MIA’, which from the start captivates listeners with the members’ commanding calls of “I’ll go MIA” and a thumping instrumental that will get audiences bopping in no time. This is undoubtably Katseye at their most comfortable and formidable, delivering powerfully upbeat jams that show off their well-balanced combination of sultry and sweet vocal colours. The pre-chorus line “No, you won’t put a leash on a b****” is probably the most suggestive of all by highlighting that Katseye are here to stay and will not be contained.

Score/Excellent: 2025 has already turned out to be a massive year for Katseye, with their swaggering style cementing their viral status. It doesn’t take a genius to figure out why the boost in popularity – these girls, while bringing together diverse cultural backgrounds, are immensely talented and stand out for their ability to unite listeners from all around the world to let loose with their empowering music.

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The song opens with an ethereal beat that instantly transports you to another world. It’s light, spacious, and full of possibility. As lush, sweeping strings enter, subtle darkness creeps in, adding an ominous undertone that feels right at home in a fantasy or adventure film. It evokes the image of characters navigating forgotten temples or unlocking ancient mysteries; it’s mysterious yet cinematic.

Then, the real surprise: the vocals. A clear, emotive pop voice steps in, offering a tender promise of eternal love. There’s a contrast between the softness of the melody and the darker undertones in the vocalist’s delivery, a slight edge that adds emotional complexity. It’s almost like a dream that’s beautiful but tinged with melancholy.

Even for someone who’s not particularly drawn to pop, there’s no denying the quality and intentionality here. The track manages to toe the line between mainstream and ambient, between dream-pop and cinematic score. The production is polished, and each sound feels purposeful, and layered with care and precision.

While the track is captivating throughout, the ending feels noticeably abrupt. A slower fade-out, mirroring the dreamy intro, might have served as a smoother exit from the dreamscape 5eija so skillfully creates. Still, “Dreaming a Dream” stands as a compelling blend of ambient storytelling and pop mystique, an evocative soundtrack for dreamers and seekers alike.

SCORE/Good – Despite its sudden ending, the journey is undeniably worth it as the vocalist drives you through the story. 5eija has crafted a sonic dreamscape that’s hard to forget. Go give it a listen!

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

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Tony Aye! is a vibrant pop/soul artist from Baltimore with roots in Albuquerque. The artist has already been known for his blend of R&B, soul, funk, EDM, house, and reggaeton. Over the last several years, Tony has crafted a sound that is both dynamic and sincere in its storytelling.

Back in 2014, Tony transitioned to a pop/soul direction after stepping away from gospel. The debut record Call Me Tonyand the breakout single “Nobody But U” solidified his industry position, paving the way for his sophomore album, Retrograde, which developed recurring themes of authenticity, life, and love.

As you can see, Tony Aye! has been on this path for a while, and with his consistency, accolades naturally followed. He runs his own nonprofit organization, Tony Artistry Foundation Inc., which brings light to underground artists—and even received recognition from the Mayor of Baltimore and the Governor of Maryland. In 2023, Tony embarked on a 20-show East Coast tour following Retrograde, which landed three tracks on the Indie Chart.

After that tour, the artist took a two-year hiatus before releasing his third studio album, LUX.

LUX isn’t just Tony’s next career step; it celebrates his ten-year journey as a recording artist. In 2025, it won Best Album of the Spring Season and was nominated for Indie Artist Awards for Best Album and Best Pop Album.

With so much praise from critics, let’s revisit the album nearly a year after its release.

LUX isn’t merely a continuation of Tony’s discography—it reminds you why he’s one of the most dedicated musicians out there. From intimate, slow-paced interludes, Tony jumps into catchy, upbeat dance tracks like “LUX.” The self-titled track ideally sets the mood for the rest of the record, nodding to Kanye’s 808s & Heartbreak—still one of the best synth-pop/pop-rap albums to date. Through its rhythms, Tony shows how calculated he is with production, and the song’s pacing delivers one of the most genuine, exquisite tracks on the record.

The album continuously showcases Tony’s ability to create immersive, brooding bangers that feel hypnotic—almost sucking you in. “Crossroads” illustrates this perfectly, with grand, atmospheric sounds, lush textures, and punchy drums. Despite the track’s sincerity, Tony crafts one of the most head-nodding cuts on the record. The build-up to the chorus feels so rewarding when you finally reach it.

Even when Tony explores unreciprocated emotions, the sound remains light and airy. At times, tracks hug their form, showcasing the artist’s silky, expressive tone. His velvety, deep vocals refresh familiar sounds—like on “Last Call”—into something elegant and new. It’s clear Tony knows his craft: blending fusion, afrobeats, and pop to illuminate an uplifting tone.

When I mention familiar sounds, I’m referring to influences from artists like Chris Brown and Beyoncé in their sensual textures. Yet here, it never feels like an interpolation—more like an artist’s unique vision. These sultry sounds, mixed with signature synths on “Skyline,” sum up the record sharply.

What I strongly appreciate is not just the album’s effervescent production, but Tony’s rhythmic, calculated approach. Before the record even reaches its halfway point, you’re captivated by his exceptional singing—handling both short and long melodies with masterful control. An artist uses that to his advantage. I’m usually not the biggest fan when vocals are overshadowed by dominant melodies—but that’s not the case with LUX. Tony Aye! is a great singer, and he knows it.

I’m also fond of how dreamy and starry the record sounds. “Till Dawn” features a dreamlike bridge flowing into Tony’s free-flowing chorus. His metronomic accuracy really builds tension within the song—and resolves it just as neatly.

However, like every record, LUX has its weaknesses—not with Tony himself, but with some guest spots. Many appearances feel forced and disrupt Tony’s carefully crafted pacing. Guest verses sometimes land off-beat, signaling a lack of mastering or mixing.

Score/Good: Despite those critiques, LUX is truly a great record. It’s warm, slightly vulnerable, and extremely catchy. Its seductive notes deliver unfiltered, dynamic, and emotional sounds that highlight the artist’s lush approach.

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

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I’d assume reaching this age and putting your all into such a project would lead to a more fruitful result, filled with the sparks and regrets of wisdom and a life well lived. And who knows, life may have more to give. Meet Steve Berman.

He is a 78-year-old singer and songwriter living in Portland, Oregon. He has been writing and performing his original songs for close to 60 years. The culmination of his experiences, as well as being a father, grandfather, and in a 50-year relationship, gives him a definite edge over people who simply haven’t lived life this fruitfully. His material resonates with a more mature sensibility.

His most recent album, ‘Mortality Play‘, marks his first official release in a consolidated album format. Several of the songs date back 30 years or more, while tracks like ‘This Day‘ and ‘Holly’s Song‘ reflect a more mature perspective.

From the beginning of the album, starting with the track ‘Racetrack’, it is clear that this album is a gem. Steve Berman has an ability to compose songs that are generally unpredictable and folksy at the same time, which I think is a gift. The whole album even puts me in the mind of David Bowie as a corroborator of instruments and in terms of Steve’s vocal tone- the wispy, emotional depth between every word he simply utters.

I am very impressed with the mastering and the arrangement of the songs, to say the least. There was not a level missed, with the guitars and the drums equally having the time to shine. The drum beat in these songs form the backbone to the stiffness of the groove, with necessary build-ups and a groovy flair to them as well. The songs can range from ‘feel-good’, to simply emotionally palpable, and I think that’s a plus point to this body of work. There is not a minute where the songs are boring or low-quality at all.

There is a slight issue with the mastering of the vocals, but that can be easily rectified but turning the vocals up a little bit more and tuning the background vocals better. Songs like ‘Love Sucks’ bear an impressive and unexpected electric guitar solo, all while lamenting about the ill-willed feelings one can have towards the tumultuous nature of the pursuit of some types of love.

In comparison, the track ‘All My Love’ bear a lighter and fresher tone, offering a more innocent tone while still maintaining some sort of complexity, this time through the use of the drumming techniques and the subtle, flowing but dynamic bass.

I’d have to say, kudos to the lyrical songwriting as well. There’s a lot of depth and intent in these lyrics, which I think is very necessary to point out. In fact, I wish there was an official lyric list to these songs! They’re extremely well-written not just compositionally but also lyrically.

To throw some spontaneity into the mix, the track ‘What’s A Girl To Do‘ bears the vocals of a female vocalist, which is pretty apt considering the title and the lyrics. It’s extremely wholesome, with a more folksy and stripped-down approach to the instrumentation. It’s simple, but the melody and the arpeggiation in the background keeps my attention as the song goes on.

All in all, I think this is an excellent body of work filled with emotional intensity, purity, and a definite ear for proper music. This is not a vanity project, Mr. Berman, this is definitely a creative renaissance in its own way. I think, regardless of genre-bias, this body of work passes the test of musical universality and can be appreciated by most in a sincere way.

SCORE/ Excellent – ‘Mortality Play’ is a deeply personal and sincere body of work with great mastering and arrangement. The songwriting in it is excellent. I think there’s not a single song in here that someone can subjectively say is ‘boring’ or ‘bad’, with its intent shining through each composition, even if it is not ostentatious. There’s certainly a charm to this album.

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

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However, with this new record, Kali seems to continue what she started, yet to evolve in a new, unique way.

What is precisely that unique way?

Sincerely, is something that is not similar to Red Moon In Venus, nor her critically acclaimed Isolation; rather, it finds itself in its own soft, smooth loop.

The record commences with Kali’s usual lushness of vocals, which grants you that immersive sincerity that she teases with the title. What Kali usually showcases on her records is the sense of mystery — whether it is the uncertainty mixed with amour or her touch on psychedelic soul — but here it just plays out a different picture with a bigger angle on her vulnerability.

In some of her later works, her charisma and captivating confidence were the attractive factors within her singing, like on last year’s track “¿Cómo Así?” Here she fully embraces the angelic aspects of her singing that are so euphoric and simply scream Kali’s distinguished feminine energy. While you may think that, the album just dives into her nocturnal side, filled with nighttime tracks that feel slightly zoned out.

While, to a certain extent, the album does give you the chill music mixed with smoothness throughout it, it also demonstrates some hypnotic soul aesthetics. The instrumental accompanying the album is simply breathtaking, mixing the warmth of Kali’s vocals with distant, trance-like sounds that feel breathy.

Talking about Kali’s known strength — vocals — they are lush, expressive, and uplifting. She felt the most emotional to me on this album in the way her heartfelt vocal style completely overshadowed the seductive side of ORQUIDEAS. It feels dramatic, intricate, and very poignant.

Kali is also usually familiar for using synth sounds here and there, and while Sincerely, is no exception, the aesthetic of crisp and slightly murky instrumentals creates a new aural feel on the album. On the “For: You,” we hear how the artist’s usual synth style is incorporated into this looped groove that feels so fluid.

When I mentioned the loop part in the beginning, it was not unintentional. The more I listen to the album, the more it feels as if the whole record revolves around Kali’s unique universe, which speaks to you with unresolved tension, adding a hopeful, jazzy structure. Somehow, she manages to amplify this crystal-clear sound with a velvet welcome and transport you even more into Sincerely,.

A track like “It’s Just Us” perfectly catches on where “Lose My Cool,” left off, enhancing and speeding up the tempo with soft, elegant drums. Those small moments where Kali perfectly captures the pacing — making it seem more restrained on tracks like “Heaven Is a Home…”, then later developing into a more driving, heart-wrenching sound — will impress you again and again as you progress.

Most importantly, this pacing doesn’t purely feel languid like a slow album. It picks up when it needs to and stops when it needs to. Examples include “All I Can Say” and “Fall Apart,” which sit at opposite ends of the record. With “Fall Apart,” she jumps into a more driving rhythm, developing an emotional build-up with a vocal crescendo in the end. Whereas “All I Can Say” slows things down, releasing tension and creating an improvisational form of soul with Kali’s usual dreamlike qualities.

If Red Moon In Venus felt cinematic to me and ORQUIDEAS slightly more high-energy, Sincerely, feels perfectly rhythmic and yet incredibly human. Its intricate structure, mixed with Kali’s free-flowing performances, adds a touch of surrealism and something deeply emotional.

It is certainly not something I have heard from her in a long time. When I first heard Kali, her confident, seductive, omnipresent voice was felt and intriguing, but did not lean into fragility. This new persona — melancholy as another instrument — delivers an ethereal experience that is still mystical but more mature now.

In my opinion, she presents not her most “artistic” work but her most well-written one, intentional from every angle. The seamless transitions and Kali’s sincerity (no pun intended) produce one of the gentlest and most impressive pop records of 2025. The starry atmosphere and soulful sounds really do their job here.

Score/Outstanding: Sincerely, is definitely a concept album that is transportive, meditative, and, to an extent, healing. It presents a space where you step in with a touch of vulnerability and softness and enjoy it as a state-of-the-art. The record creates great thematic cohesion and sticks to it without ever feeling boring or overdone, developing incrementally song by song and sometimes introducing improvisational influences here and there.

If I had to describe it in one word, it is “charming.”

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

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The core trio, Bill Newton (vocals, guitar), Phil Sorrell (multi-instrumentalist, producer), and Isabelle Sorrell (vocals), are joined by guest vocalists James Walsh (on Five Thousand Feelings #1) and Steve Smiley Barnard (on Remains), both of whom also took on production duties for their respective tracks. The remaining songs are produced by Phil Sorrell, maintaining a cohesive yet diverse sonic palette throughout the record. Worth a special mention is the evocative album cover by British pop artist Iain Bolton, whose visual style perfectly captures the melancholic glow of the music within.

Minor Exit Wound opens with Long Time Dead, where a classic guitar tone lays the groundwork for a moody, Depeche Mode-esque track. Overlaid vocals weave in and out of each other, creating a layered conversation that’s as catchy as it is brooding. The guitar solo soars without showboating, setting the bar high from the outset.

On Five Thousand Feelings #1, the band taps into a different energy. The vocals lend a Bowie-esque charm, floating over a riff that wouldn’t feel out of place in a Prince or Greta Van Fleet set. This track hums with ‘70s soul, the kind of song you have to hear live in a smoky, dim-lit venue to fully appreciate.

Someone (With Nothing To Say) leans towards brighter pop without losing the band’s darker undertone. Think Bleachers but moodier, perfect for a hazy summer afternoon. It’s radio-ready, infectious, and a clear standout.

Psykobilly then slip back into their darker side with Distance, carried by Isabelle Sorrell’s beautifully restrained vocals. While slightly repetitive, the emotional pull remains undeniable, offering a reflective Sunday soundtrack.

Lose Yourself brings a rougher edge back with its intense guitar and rock-driven energy. It might be the album’s least immediately gripping track, but it highlights Psykobilly’s range and refusal to play it safe.

Isabelle steps into the spotlight again on Violescent, offering a gorgeous, nostalgic vocal performance. The song’s lightness provides a refreshing contrast to the heavier moments, marking another album highlight.

(Kerouac Said) Everything’s Fine is a lyrical triumph. As always, Psykobilly’s knack for creating unforgettable hooks shines, with a dynamic rise-and-fall structure that sticks in your head long after the final note.

(She’s An) Emotional Athlete initially hints at darkness before blooming into a sweet, summery melody, punctuated with evocative ocean sounds, a subtle but beautiful production choice.

The Sky Is A Canvas brings an unmistakable ‘80s pop flavour, with sparkling vocals that feel tailor-made for open windows and endless skies.

You’re Not Coming Back From This keeps the momentum alive, infectious enough to have you dancing around your room, yet still carrying the emotional weight that runs through the entire album.

Then comes Remains, arguably the emotional heart of Minor Exit Wound. With its stark piano and aching lyrics, it feels almost like a personal monologue, one of perseverance through pain. It’s a devastating yet hopeful track that perfectly sets up the finale.

The album closes on The End (Déjà Vu), a slow, reflective piece that suggests a bittersweet cycle, hinting that all the emotions stirred throughout the album will keep echoing long after the final track fades out. In their own words, Psykobilly “don’t like to be pigeonholed into one genre,” and Minor Exit Wound is proof of that. It’s an album that could just as easily have been made in 1985, 2005, or today, a rare quality that few bands achieve. If this is truly their final statement, it’s a fittingly beautiful, genre-bending, and emotionally resonant one.

Rating/Outstanding  – Whether you are getting old or just turned 18, this set of tracks brings nostalgia back to music; it’s longing, brooding, but also hopeful. This could be their final album coming out on May 5th, so get your “I was here first” ticket and go listen!

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

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