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Project ATKY Tune into Jazz’s Timeless Pulse with Walkman at Night

Posted on 22 February 2025

When Project ATKY lays down beats, they orchestrate a space where nostalgia and modernity dissolve into one another. Their debut single, Walkman at Night, leans heavier on jazz textures and time signatures than traditional hip-hop rhythms, resulting in an instrumental that drifts through organically unpredictable progressions. With the irreplicable magnetism of jazz’s free-flowing pulse, the track instantly disarms, welcoming listeners to imbibe in hazy, warm tones potent enough to abstract them from the weight of the present.

The duo—Andrew and Kuan—channel the soul of Los Angeles into every note, drawing from the city’s irreplicable energy and deep-rooted musical history. While their sound is steeped in the rich textures of lo-fi and West Coast hip-hop, Walkman at Night thrives on its ability to capture the in-between moments: quiet evening walks, introspective solitude, and the lingering echoes of the day.

For Project ATKY, music isn’t just about sound—it’s about connection, simplicity, and comfort. Their debut sets a promising foundation, both in its understated sophistication and its ability to transport listeners somewhere deeply personal. Walkman at Night is the epitome of sublime—it’s only a matter of time before Project ATKY become a playlist staple for fans of laid-back lo-fi jazz.

Stream Walkman at Night on Spotify now.

Review by Amelia Vandergast

Hiram Torres’ ‘Devil’s Work’ Sets Fire to Hip-Hop’s Hollow Facades

Posted on 20 February 2025

 When Hiram Torres raps, he cuts through the smoke and lets the industry choke on the fumes. With ‘Devil’s Work’, the final single from his upcoming EP Otay Mesa, Torres tightens his grip on hyper-rap’s pulse, tearing apart the hollow bravado that fuels hip-hop’s most uninspired voices.

Torres produces as viciously as he spits, ensuring the roaring bass and chopped-up samples do just as much damage as his no-prisoners lyricism. The unrelenting momentum is a wrecking ball swung at the mediocrity he’s been forced to witness in the Los Angeles music scene. From talentless hopefuls who should have picked a trade to the cesspool of pay-to-play promoters, he makes it clear: he’s sick of the game, but too in love with hip-hop to walk away.

At its core, ‘Devil’s Work’ isn’t just a takedown; it’s an unfiltered account of what it means to fight for credibility in a culture that’s been diluted beyond recognition. The bluesy rock-infused middle eight pushes the track into unexpected yet seamlessly executed terrain, echoing That Handsome Devil while proving that Torres isn’t bound by convention. If honesty is the devil’s work, Torres is more than happy to be hell’s mouthpiece.

‘Devil’s Work’ is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

‘Mr. Struggle’ – A Sardonic Sucker Punch from Watch Your Tone

Posted on 20 February 2025

With a name as sharp as their sonic sensibilities, Watch Your Tone proves tonality is no afterthought in Mr. Struggle. The Los Angeles-based post-whatever trio—Andy Hoopes (guitar, vocals), Sam Thorne (bass, vocals), and Jenna Terranova (drums)—tear through rock’s lineage with a fuzz-soaked, sludgy surf punk charge that lands in the future of the genre. Sardonically subversive lyrics amplify the hook-rife hit’s immersive pull, with installations of power pop panache ensuring there’s just as much sugar as there is garagey grit.

Falling for the hype is effortless when a band can hammer out infectious earworms with this level of precision. Fans of Teenage Fanclub and The Wildhearts will find plenty to sink their teeth into, though Watch Your Tone’s ability to weaponise chaos into anthemic choruses is entirely their own.

If they hit this hard on record, the live experience must be nothing short of an intravenous shot of euphoria and adrenaline. Watch Your Tone were never made to be contained by the underground—Mr. Struggle is proof of that.

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

Review by Amelia Vandergast

Conner Eko is the ultimate advocate for defiant resilience in ‘Standing Up’

Posted on 24 January 2025

Conner Eko’s forthcoming single, Standing Up (Live in Studio), is an unflinching testament to resilience and defiance. Penned during a battle with suicidal ideation, the Vallejo, California-based astrophysicist and indie pop singer-songwriter channels his pain into a piano-driven power ballad that dares to shatter the silence around mental health struggles. The release, recorded live and uncut at Oakland’s 25th Street Recording Studios, marks another milestone in Eko’s deeply personal and professional evolution.

Eko’s performance, underscored by his strident piano chords and backed by the soulful harmonies of Marlo Goeller and Angel Syriah, achieves a seismic emotional force. The crescendos are sanctifying, surging with a zeal that carries echoes of Meat Loaf’s theatricality, tempered by gospel-inspired backing vocals. Each lyric resonates with the weight of someone who has faced the abyss and drawn a line in the sand, refusing to succumb to despair.

Filmed by independent filmmaker Aaron Japzon, the live session captures not just the music but the raw authenticity of Eko’s story. A short documentary, set to release shortly after the single, delves deeper into Eko’s journey, exploring his battle with depression and his transformative recovery through psychedelic integration therapy.

With its allegory of strength and refusal to wait for miracles, Standing Up doesn’t just advocate for mental health—it’s a visceral push toward hope.

Standing Up will be available to stream on all major platforms, including Spotify and Bandcamp, from January 24th.

Review by Amelia Vandergast

Breaking Chains with a Beat: Isabella Chiarini’s ‘Gotta Be’ Shatters the Illusions of Toxic Love

Posted on 22 January 2025

Imagine the raw vocal power of Lady Gaga spiritually amplified by the hypnotic aura of Stevie Nicks, and you’ll get close to the visceral impact of Isabella Chiarini’s latest single, Gotta Be. Throw your perceptions of pop anthems by the wayside with the battle cry wrapped in melody, which tears down the illusions of toxic relationships with unapologetic candour and electrifying pop liberation in its purest form.

Chiarini’s ability to project emotional depth with soaring vocal conviction is nothing short of magnetic. The track’s lyrical narrative cuts to the heart of unhealthy dynamics, where manipulative partners masquerade as saviours. In Gotta Be, Chiarini flips the script, transforming her own lived experience into a universal reminder that happiness doesn’t hinge on anyone else. “It’s okay to do what’s right for you,” she affirms, “because, in the end, that’s what will make you happiest.”

Crafted with co-writers Teresa Nocita and Canadian Idol winner Brian Melo, Gotta Be showcases Isabella’s commitment to authenticity. Her influences may be rooted in personal pain, but the result is a fearless declaration of self-worth that uplifts as much as it empowers. The track seamlessly fuses bold pop hooks with subtle subgenre influences, creating a sonic identity that etches its way into the memory and refuses to fade.

From her beginnings at age eight to honing her craft with PCG Universal, Chiarini’s career has been fuelled by resilience. With Gotta Be, she’s sparking a revolution in how we approach love, freedom, and independence. Cast stones with her by hitting play.

Gotta Be was officially released on January 8th; stream the single on all major platforms, including Spotify, now.

Review by Amelia Vandergast

LA’s GiNN 諸葛靖 dropped a darkly debauched dancefloor-scorching electrohop anthem with his mindfully mantric hit, //MHM//

Posted on 10 January 2025

LA’s GiNN 諸葛靖 is back with a swagger-soaked, unapologetically bold new single, //MHM//, dropping on 10th January. It’s a jet-black, body-moving juggernaut that hammers home his mission to bridge cultures and tear through genre boundaries in one fell swoop. The track bristles with a sense of unrestrained hedonism, but there’s an empowering undercurrent too, as GiNN commands us to trust our instincts and slam the door on timid self-doubt.

Charged with grit and fuelled by a pulsing bassline, //MHM// is precisely the kind of track that carves its own niche in Electrohop. As soon as the thundering beat kicks in, it’s clear GiNN has taken care to ensure every element lands like a knockout punch.

Recorded in Chengdu, Sichuan, and spearheaded by GiNN as Executive Producer, Composer, and Lyricist, the single joins a litany of cross-continental influences that shape his bilingual style. He’s deftly woven Mandarin and English hooks into a propulsive arrangement that feels underground-ready and crafted for the main stage.

With creative support from Otomic on arrangement and audio engineering, //MHM// simmers with dark tension before bursting into a thunderous assault of bass. GiNN’s low-slung vocals add an air of edgy mystique; there’s no mistaking his raw self-assurance as he urges listeners to own their choices. Lyrically, it holds true to the mantric backbone, turning a simple “mhm” into a resolute statement of intent.

GiNN’s commitment to celebrating his Han-American roots remains a vital part of his artistic identity. He’s proven he can hold sway both online—racking up more than 50K followers on 抖音—and on monumental stages like 88rising’s Head in the Clouds festival in Guangzhou.

//MHM// will be available to stream on all major platforms, including Spotify, from January 10th.

Review by Amelia Vandergast

KiDD Crash hit hard with his hyper-trap earworm, Fuck with Some Bitches ft Res YaxX

Posted on 6 January 2025

KIDD Crash’s seminal alt-rap track, ‘Fuck with Some Bitches’, featuring Res YaxX, obliterates genre boundaries. This high-octane track from the 2024 LP Partycrasher strikes like a sonic wrecking ball, merging hyper-trap tempos, polyphonic production, and silky vocal lines that tether the chaos. In a frenetic mix teetering on the edge of over-facing, the melody pulls through like a lifeline, steering listeners through the trippy, neon-lit, 8-bit-adjacent soundscape.

Hailing from Cleveland but shaped by Toronto, Ohio, and Florida influences, KIDD Crash (Jamelle Lillard) proves he’s no ordinary upstart. Armed with an honours degree in music production and a grind-hardened work ethic honed since his 2015 debut, Crash fuses raw ambition with the technical chops to rival his idols—Drake, The Weeknd, Kendrick Lamar, and J Cole.

His dedication has seen him crossing borders to film music videos in Negril and Toronto, yet his roots in Sanford, Florida, remain grounded. Having first recorded music in his stepfather’s home studio at age 10 and cut his teeth on an upright bass in his high school orchestra, Crash’s sonic evolution has been a lifetime in the making.

With its acerbic wit and blistering conviction, Fuck with Some Bitches doesn’t just slap; it commands attention. As we step into 2025, KIDD Crash may still be hustling for his chart-topping breakthrough as a criminally underrated artist, but if he keeps on producing hits in the same vein as Fuck with Some Bitches, justice will soon be served.

Fuck with Some Bitches is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

aubreyleighkirk has made her debut with her truth-bleeding wounded ballad, empty

Posted on 30 December 2024

The single ‘empty’ by aubreyleighkirk arrives with lyrics so visceral they resound as though they’ve poured from a raw wound. Confounded with striking minor-key piano chords, filmic orchestral swells and the singer-songwriter’s seraphically melancholic vocal harmonies, the debut single instantly catches you off guard.

With gospel-esque choir vocals adding to the arcane atmosphere of the cinematic vignette—which illustrates the hollowness of loneliness when you’re missing the warmth of the only person capable of making you feel whole—aubreyleighkirk easily distinguished herself as a purveyor of authentic artistry. As the industry waits with bated breath for more of her discography to cascade from her cultivated pipeline, she’s already an indie pop icon to watch.

Aubrey grew up immersed in music. After graduating from the Manhattan School of Music with a BM in Musical Theatre, she pursued the arts relentlessly and proudly joined the Actors’ Equity Association. Her career soared in the cabaret scene, including appearances at 54 Below, The Greenroom 42, and Birdland Jazz Club. To date, she has performed in three original works at the NY Winterfest, the NY Theatre Festival, and a five-week Off-Broadway run at the Players Theater.

After building her film presence in LA through lead roles in commercials, short films, and independent features, she now flies between NYC and LA, forging her music path with ‘empty’ and preparing more releases this winter.

empty was officially released on December 13; stream the single on Spotify now.

Review by Amelia Vandergast

Hover pierced the post-grunge veil with the visceralism nestled within ‘In My Head’

Posted on 28 December 2024
In My Head by Hover

The Cali fourpiece powerhouse, Hover, unchained the gates to the post-grunge pantheon with their seminal single, In My Head. The grungy indie anthem opens introspective floodgates over crunchy overdriven guitar chords; when the reprise of ‘in my head’ pours over the instrumentals, you can’t help but be reminded of the visceralism of Zombie by The Cranberries, yet Hover makes the mantric confession their own through the raw emotive power of the vocal delivery.

With hints of everything from grunge to indie rock to college radio rock to pop punk, and every element riling up the last, In My Head unravels as an anthem of catharsis for anyone who knows how much hostility can be bred within the confines of the mind. In My Head proves that Hover doesn’t just have the technical chops to ensure their recorded material carries immense emotional weight, they also have the ability to take weight from the listener as the burden of rumination is lifted.

The Coachella Valley hailing outfit is easily distinguished from the rest with their attitude-spiked melodic rock. Rather than merely layering fuzz-laden riffs, Hover let raw reflection spill from every sonic seam, adding a welcome blast of authenticity to alt-rock’s current landscape.

In My Head is now available to stream and purchase via Bandcamp.

Review by Amelia Vandergast

GiNN 諸葛靖 Darkened the Sphere of EDM Hip-Hop with His Seductively Entrancing Hit, Dizzy

Posted on 20 December 2024

One hit of Dizzy— GiNN 諸葛靖’s biggest single to date, which has racked up over 141k Spotify streams—slams you straight into a dark intersection between EDM & Hip-Hop.

Fans of both genres have had no trouble clocking the ingenuity behind this dark, reverberant, pulse-commandeering anthem that drags you into rhythmic submission.  GiNN’s bars become a magnetic focal point in the track as they wrestle the thick, pulsative progressions into line, a feat few could pull off without buckling under their own ambition.

Every progression is a juggernaut, hell-bent on stomping its influence onto the dancefloor and sinking into your synapses. It’s seductive but never salacious. Instead, it’s powered by the raw magnetism of GiNN’s enigmatic presence.

As a Los Angeles-born, Chinese American starving artist who grew up drifting between East and West, GiNN 諸葛靖 channels House, Techno, DNB, and ATL influences into his own Electro Hop blueprint. The lyrics may be indecipherable at times, but who cares when the vibe slaps this hard?

Stream Dizzy on all major platforms, including Spotify.

Review by Amelia Vandergast