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Shrine B’s ‘New Levels’ Is 90s-Rooted Rap with Blazing Guitars and Street-Level Prophecy

In the smoke of charred religious iconography, the hip-hop anthem New Levels rises from Shrine B’s EP, Ashes of a Burning Saint. Joined by 40XL and NAWZ, the New Jersey juggernaut of a rap renegade augments the ultimate hard-hitting rap anthem with the force of an underground artist who understands the difference between impact and empty aggression.

Known as Shrine Bloodjinn, Shrine B carries the East Coast 90s-inspired boom bap lineage into something darker, sharper and more spiritually scorched. The volition in the low, snarled bars growls meta wit into your psyche as Shrine B turns quite literally damning cultural observation into street-level poetry. His multi-syllabic writing gives the track its serrated edge, while the aggressive delivery lands with the clipped authority of someone raging from inside the wreckage.

In the cinematic energy of the production, the wailing rock guitars charge the track in a kind of unchained rebellion; a refusal to remain complacent in a society that is dead set on becoming an international den of iniquity, looked down upon by elite classes watching us turn from being distracted by bread and circuses to deadlier vices.

With 40XL and NAWZ adding extra pressure to the record’s furnace, New Levels feels primed for underground hip-hop heads who still want bars, atmosphere and consequence.

New Levels is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Lost at Sea’s Blood Debt Is Baroque Hip-Hop with the Resolution of Shakespearean Street Theatre

https://on.soundcloud.com/0oUDdNVW4po2RSNEcU

Lost at Sea storms across classical strings in their latest artfully flourished drop, Blood Debt. The Atlanta artist has always carried the weight of introspection through hip-hop and melodic rap, but here, the emotional excavation is dressed in orchestral grandeur, giving reflections on environment, loss, identity and rebuilding the kind of scale usually reserved for theatre.

The symphonically baroque score creates the perfect platform for the trailblazer as they wax lyrical across bass-heavy neo-classical instrumentals, using every chameleonic shift in vocal delivery to amplify the impact of the lyrical poetry. If Shakespeare could throw down in a rap battle, Lost at Sea, with their street-level histrionics, would give him a run for his money.

Blood Debt tears through decades of hip-hop convention like a paper screen placed in front of pure volition. The track makes grandeur feel elemental and revolutionary, allowing every string swell, bass hit and vocal pivot to land with cinematic consequence. Lost at Sea’s songwriting often lands like a journal entry scorched by experience, but there is purpose in the pain here, the sound of someone facing themself while still moving forward.

Blood Debt is now available to stream on all major platforms, including SoundCloud.

Review by Amelia Vandergast

Turbo Knife Laser Starts Here: _whtspce’s railgun redline Is Hip-Hop After the Future Has Already Arrived

_whtspce conjured one of the darkest sonic dystopias yet with railgun redline, a seminal entry point into his latest project, Turbo Knife Laser. The Minnesota-based producer released the project on Detroit Underground, bringing his fixation with futuristic design and broken electronics into a cyberpunk vision of hip-hop that feels engineered from malfunctioning circuitry.

The caustically cut feat of futuristic sound design refuses to polish itself until it would be fitting to accompany another mind-numbing Hollywood blockbuster. The sound of the streets resounds in the corroded architecture of the track; you can almost feel yourself explore dank backstreets under neon lights as you follow the old school synths and drum machine as they utilise discord to set a hauntingly disquiet atmosphere over the production.

Hyper-distorted, almost animatronic vocals drift in, amplifying the harbingering mise en scene of the track that makes the dystopia we are currently living in seem positively utopic. Rooted in hip-hop but mutated through experimental electronics, fractured rhythms and cinematic sound design, railgun redline catches the “high tech, low life” ethos at its most volatile.

Across Turbo Knife Laser, _whtspce explores the tension between precision and imperfection, letting happy accidents become part of the machinery. On railgun redline, that philosophy feels infectiously unstable and fascinating for listeners ready for hip-hop’s next mutation.

railgun redline is now available to stream on all major platforms, including SoundCloud.

Review by Amelia Vandergast

Doomscroll Rodeo: Sam Carlson’s On My Phone (and I Missed It) Is Honkytonk Americana for the App-Trapped Age

Honkytonk breached the 21st century through Sam Carlson’s tragically relatable latest single, On My Phone (and I Missed It). If the twangy Americana earworm didn’t carry its cheeky quintessential charm, it would probably send everyone who hears it into an existential spiral once they realise how much of life has slipped by as they were staring into the architecture of time-stealing apps.

Somewhere between satirical, observational and confessional lyricality, On My Phone (and I Missed It) resounds as the ultimate sign of our mind-frayed times, as Carlson squares up to his digital addiction with enough jovial barroom levity to keep the sermon from becoming sanctimonious. The track has that rare old-country knack of making a joke land first, then letting the punchline brew into uncomfortably potent truth.

Written in Key West with local poet laureate Tortuga Jack Hackett, an 80-year-old kayak guide with ties to Shel Silverstein, the single carries the spirit of folk humour passed through a modern malaise. Updating the premise of Silverstein’s I Was Stoned and I Missed It for the age of phones gives Carlson a perfect vehicle for his plainspoken wit.

With a ten-track album, Any Minute Now, planned for vinyl later this year, and 500 vinyl copies already sold of 2024’s The Second Hand without online promotion, Carlson clearly knows how to reach listeners beyond the algorithm.

On My Phone (and I Missed It) is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Blinding Lights in the Underground: Sco Nixon’s ‘Numb’ Is Retro-Futurist RnB Pop Cinema

The neon lights in Sco Nixon’s latest single, Numb, are even more blinding than The Weeknd’s viral hit. The Indianapolis pop and RnB artist, songwriter and performer locked emotional storytelling into a radio-ready release that carries the shadowy intimacy of the underground.

While the momentum and colour spill from the new wave synth pop melodies and contemporarily hazy production, Sco Nixon locks the amorousness of RnB into his harmonies as they glide across the retro futurist synth lines. You would be hard-pressed to find a more polished hit of RnB pop in the underground, but there is so much more to Nixon than a glossy presence on the airwaves. His voice is a cinematic force in itself, carrying enough control, smoke and sensitivity to make detachment feel dangerously intimate.

Numb is already out on all platforms, with the official music video expanding the tension behind the record through expressive performance and cinematic storytelling. That visual extension makes sense for an artist whose work is rooted in movement, feeling and atmosphere. After performing in multiple cities, including recent London and Los Angeles shows for the Target Concert Series, Nixon sounds ready for a wider spotlight.

Numb is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Iyla Elise Gave the Breeze a Backbeat and Sent Americana Soul Skyward with ‘On a Southern Wind’

The latest single from Iyla Elise sweeps Southern, spiritual soul across the airwaves. If you gave Enya a Southern twang, flooded her production with foot-stompin’ rhythm and the kind of performative power that would obliterate the roof in a dive bar gig, you would be left with a release that echoes the emotive force of On a Southern Wind.

The progressions sweep and drift with the same resolute strength as her powerhouse harmonies, drawing you right into the breezy alchemy of the release. Elise may carry a small-town feel through her narrative singles, but international appeal storms through this roots-ready, bluesy masterstroke by one of the sincerest independent singer-songwriters of her generation.

Raised near the Chesapeake Bay in Virginia, Iyla Elise brings Americana, country and blues into a sound shaped by life-lived storytelling and a soulful tone that feels immediately personal. Her influences, ranging from John Denver and Billy Joel to Norah Jones, Chris Stapleton and Stevie Wonder, can be felt in the melodic generosity of her writing.

With her debut EP Outlier already recognised by the Great American Song Contest, further honours from the Mid-Atlantic Song Contest, and recent attention from EARMILK and Atwood Magazine, Elise has the acclaim to back up every ounce of promise.

On a Southern Wind is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Ede Carried San Francisco Alt Pop into a High-Octane Rush of a Dreamscape with ‘In Between’

Idaho-born, San Francisco-based singer-songwriter Ede has few pop boundaries left to break if her latest single, In Between, is anything to go by. By splicing the evocative drama of a power ballad with blasts of 90s garage in the frenetic beats and augmenting the energy of contemporary dance pop, she has dug the ultimate aural rabbit hole, leaving adrenaline on tap for fans looking for high-octane escapism.

The lush elements are viscerally juxtaposed by the hard-hitting tempos in the progressive single, allowing rushes of momentum to flood the mix before winding back to expose the fantastical dream pop core of yearning implanted into the nucleus of the release. In Between carries the feel of an artist who understands how to let intimacy survive inside large-scale production, keeping the emotional centre alive even as the arrangement races towards a rhythmic detonation.

Originally from Boise, Ede began writing through a lifelong relationship with music, using songwriting as a way to explore creativity and personal growth. Her self-produced alt-pop sensibility gives In Between its distinctive shape, while her forthcoming Heaven Sent collaboration with Jacob Espling is set to exhibit more of her uninhibited melodic ambition. At the very least, In Between may have just coined the neo-classical EDM chamber-pop genre.

In Between is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Dancing in the Fallout by Primordial Alien Carried Good Charlotte Melancholy into Apocalyptic Pop Punk

With a melody that echoes the melancholic weight of Good Charlotte’s The Chronicles of Life and Death, augmented with My Chemical Romance-esque histrionic energy and red-hot guitar work, Dancing in the Fallout by Primordial Alien is the ultimate anthem for anyone feeling the heat of the apocalypse as it approaches.

Answers to ennui feel impossible, so, instead, the single grants permission to loosen your grip on the anxiety attached to our Anthropocene and escape back into emo pop punk as it should be: theatrical and cathartic, with sticky-sweet hooks to pour your heart out to. The riffs carry 00s alternative rock melodrama like a life raft.

Primordial Alien is the alternative rock and pop punk project of Schuylar Holland, professionally known as Infinite, a US Army veteran based in Oklahoma. Since beginning the project in December 2023, Holland has shifted from heavier industrial metal origins into more melodic, narrative-rich releases.

For fans of My Chemical Romance and Green Day, with Panic! at the Disco’s theatrical streak flickering at the edges, Dancing in the Fallout is a cinematic inferno and proof of how seminal Primordial Alien has become to the remit of alt-rock.

Dancing in the Fallout is now available to stream on all major platforms, including YouTube.

Review by Amelia Vandergast

Frank Abraham Sweetened the Golden Hour Glow with his Emotional Electronic Music summer anthem, On a Day Like Today

To see why coining the genre Emotional Electronic Music, EEM, was necessary to encapsulate his dreamily emotive sonic signature, slip into the affecting transcendence of Frank Abraham’s latest single, On a Day Like Today. The California-based producer, DJ and curator has created a release where progressive momentum and ethereally romantic vocals move in complete synergy.

The guest vocalist reaches nirvana with her harmonies as the beats carry the track forwards, yet no single element dominates the euphoria. There is immense emotional freedom to be found within On a Day Like Today, giving you permission to dream and drift through disinhibition, far away from any notions of monotony. The production glows with the melodic uplift of artists such as RÜFÜS DU SOL and Above & Beyond, while still remaining rooted in Abraham’s own EEM ethos.

There are swathes of sync appeal in this sun-bleached masterstroke, which treats the sunset like a bittersweet event, a reminder that perfect moments go on forever only in memory, so make them while you can.

On a Day Like Today is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Alexander Setzko’s Fairy Tale Is a Dreamy Indie Rock Escape from Memory’s Sharpest Edges

Alexander Setzko

Rose-tinted glasses come with thorns -on the dreamy, new wave indie jangle-pop single, Fairy Tale, by Alexander Setzko. The Brooklyn-based multi-disciplinary artist instantly sweeps you up within an ethereal cinematic glow, conjured by spectres of 80s synth pop and the kind of guitar work which made Johnny Marr stake his claim as one of the most influential indie guitarists to ever live and breathe over a fretboard.

Fairy Tale carries the romance of immaterial mythology, but these fables only carry visions of your past as Alexander Setzko’s dramatically lush indie rock opera vocals paint a vignette of wistful passion for what you wish still remained. The track feels suspended between sentimental illusion and the dull dawning of realisation, letting nostalgia shimmer while still exposing the emotional cost of living too long inside it.

Setzko is the powerhouse behind the vocals, instrumentation, recording and final production, giving Fairy Tale the distinct signature of an artist steering every contour of the release. As the cherry on the cake, Alex Blade Silver’s saxophone solo adds a strident timbre to this narratively enrapturing triumph, which we have been blessed with an early preview. If there is any summer single worth waiting for, it is this stunningly evocative tour de force, granting better escapism than navel-gazing into your memories.

Fairy Tale will be available to stream on all major platforms from September 1st. Buy the single on Bandcamp.

Review by Amelia Vandergast