Browsing Tag

Neo-Classic Pop

Pam Messer Painted Wistful Waltzes into Indie Balladry with ‘Only This Song’

Pam Messer reimagined indie balladry through a lens of cinematic opulence and spectral artistry in ‘Only This Song’. The South Devon multi-instrumentalist orchestrated a waltz that pulses with soul and sensuality, transforming traditional ballad conventions into a living, breathing fantasia. Messer’s arcane vocal range serves as the gravitational force, her harmonies floating above an arrangement that doesn’t so much serenade as awaken the senses. Each note arrives with the promise of spiritual rapture, the spectral instrumentation lingering like a half-remembered dream.

Messer’s background, shaped in a home studio built by her father and further refined at Dartington College of Arts, infuses the track with decades of creative immersion. The influence of contemporary opera and a painter’s eye for subtlety radiates from the composition; Messer draws beauty from the intersection of joy and sorrow, sound and colour, nostalgia and invention. Through oscillating electronic pulses and reverberant synths, she conjures an atmosphere that straddles the material and the otherworldly, building a single that moves beyond indulgence to evoke decadent romance.

‘Only This Song’ is a rare feat in modern indie—a sensual waltz where Messer’s voice drifts and dances between the lines, never settling for less than transcendence. This is a track for those who believe balladry still has undiscovered territory, where echoes of tradition can spark experimental reverie.

‘Only This Song’ is now available to stream on all major platforms, including Apple Music. 

Review by Amelia Vandergast

‘Ghosts’ by Liz Owen: A Luminous Hymn to the Shadows of Memory

With her hauntingly seraphic ballad Ghosts, the Merseyside breakthrough singer-songwriter Liz Owen delivered an introspective piece, marked by diaphanous instrumentation that cradles her powerhouse vocals, which soar with an ethereal resonance while grounding the listener in the emotive weight of her lyricism. Exploring how the spectres of memory can obscure our clarity, Owens turns a personal reckoning into a universally affecting experience.

Hailing from Wirral, Merseyside, Liz has already carved a name for herself on the national stage, touring with icons like Midge Ure and Joan Armatrading. Her extensive BBC Radio features and reputation for rhythmic, fingerstyle acoustic guitar work lend an air of accomplished artistry to everything she creates. On Ghosts, the neo-classical elegance of the arrangement intertwines with an accessibility that nods to her ability to straddle the mainstream without compromising her craft.

Released as part of her debut LP Beautiful Beasts, which arrived in October 2024, Ghosts stands as a glowing testament to her lyrical and vocal talent, which deserves to be revered as fervently as the works of Tori Amos and the Anchoress.

Between Ghosts and her recently released festive single It’s Different This Christmas, Liz Owen is laying the groundwork for a career defined by her ability to amalgamate vulnerability, technical skill, and storytelling in ways that resonate beyond sound.

Stream Ghosts on Spotify now.

Review by Amelia Vandergast

The Glass Half Empty: Bella Gate’s Live Rendition of ‘Drink with Me’ Overflows with Introspection

With the live version of Drink with Me, Bella Gate candidly revisits the raw vulnerability of her original release, layering it with the visceral intimacy only a live performance can provide. This track, first released as a single in June and later featured on her September album Gateway, is Bella’s most personal work to date.

Accompanied by a string quartet, whose tender arrangements were crafted by Latin Grammy Award-winning engineer Alberto Pérez and Juanjo Fernandez, this version exudes emotional complexity through its neo-classical chamber pop orchestration.

Far from preaching, Bella Gate draws listeners into a poignant chapter of her life, where alcohol became a sanctuary that only stacked the odds and tribulations up against her. Through ornate, jazz-influenced chromatic progressions and intricate riffs, she unpacks the bittersweet reality of seeking connection, be it through partnership, friendship, or chosen family, from a place of painfully honest imperfection.

The depth of this live rendition lies between the lines; it’s a meditation on confronting vulnerability and finding strength in human connection instead of in crutches. With previous features in Wonderland, Earmilk, and Notion, Bella Gate is carving her place as one of London’s most promising singer-songwriters; she deserves accolades in spades.

Stream the live rendition of Drink with Me on Spotify now.

Review by Amelia Vandergast

Kevin Walsh invites listeners into a sonic expanse of theatrical romanticism with his latest single, Ruby

Kevin Walsh’s latest single ‘Ruby’ resonates with a cinematic alchemy akin to the poignant melodies of Leonard Cohen’s ‘Hallelujah’. Orchestrally carved and piano-driven, the production underscores the Cork native’s virtuoso tenor octave range, which has led to the anticipation of him being hailed as a soon-to-be marvel of the West End. The minor-key ballad, delivered through Walsh’s emotive voice, serves not only to showcase his impressive vocal range but also invites listeners into a sonic expanse of theatrical romanticism.

Opening with the disarmingly simple contemplation of modern communication, the single spirals into a soundscape that captures the essence of lost love and longing. The elegiac piano by Dylan Howe, along with Maria Ryan’s string compositions, harmonises eloquently with Walsh’s classically trained vocals. This orchestration, arranged by Aine Delaney and peppered with Sarah Hickey’s background harmonies, encapsulates the nostalgic heartache that imbues the track.

Inspired by the likes of Tom Waits and Randy Newman, Walsh offers a plaintive plea for reconnection which will leave you choking back the tears. Drawing from the acclaimed music video for his reworking of Meat Loaf’s ‘Not a Dry Eye in the House’, which depicts young lovers torn apart, ‘Ruby’ carries forward this narrative of separation and the relentless pursuit of faded dreams.

The release of ‘Ruby’ on November 8th, available on Bandcamp and major streaming platforms, promises to be a touching addition to the modern orchestral pop landscape. Kevin Walsh’s narrative ambition stretches further still, as he plans to weave these themes into an EP that aims to culminate in a full musical film.

As Walsh prepares for an intimate performance at Al Spailpin Fanach, Cork, on November 13th, his journey—from a non-verbal autistic child finding his voice in music to a chart-topping theatrical performer—continues to be an inspiring testament to the power of persistence and the arts.

Review by Amelia Vandergast

All James delivered an instant Christmas classic with the festive neo-classic pop reverie in ‘Best Time of Year’

All James

All James’ latest score, Best Time of Year, carves a niche in the Christmas music scene, an ambitious feat given the competition with time-honoured classics. Right from the outset, the classic strings strike an affecting chord, setting an emotionally heightened tone. As the track unfolds, All James’ affinity for Coldplay is apparent in the poignant minor key piano progressions, yet this influence never overshadows the ornate sublimity of the neo-classic pop production.

The artist’s accoladed musical project, renowned for blending pop with orchestral soundscapes, draws from a diverse palette of inspiration, juxtaposing the signatures of Hans Zimmer, Enya and Kodaline within a bedrock of cultivation that only years of blood, sweat and tears can construct. Best Time of Year is a testament to this rich influence, characterised by lush orchestral arrangements interwoven with contemporary pop nuances.

The single is a canvas of connectivity, inviting listeners to forget the commercialism often associated with the season and reconnect with its true meaning. James’ composition nudges you to rekindle a passion for the festive period’s magic, echoing the emotive power of iconic holiday scores like the closing sequence in ‘The Snowman’.

Best Time of Year will reach all major streaming platforms on November 1st; find your preferred way to listen via All James’ official website.

Follow the artist on Instagram and Facebook to stay up to date with their latest releases.

Review by Amelia Vandergast

Experience the intimate opulence of Jonathan Thomas Maiocco’s cinematic pop ‘Heaven’

Jonathan Thomas Maiocco’s latest single, Heaven, is a cinematic pop production far too arcane to dissect; each element converges and creates a divine intervention of vulnerability, exhibited with aching sincerity, thematic intensity, and profound artistry.

The distinction within his harmonic inflections, his ability to come across as the virtuoso next door and the progressive ingenuity of Heaven ensures the single reaches the epitome of striking an emotional chord.

Using the afterlife as a parable for the degree of separation following the dissolution of a relationship that leaves you feeling beneath your former significant other is a striking ode to the artist’s ability to tune into meta phenomena to bring profound meaning to the most tormenting aspects of our mortal coil.

Heaven is the ultimate paradox for the way Jonathan Thomas Maiocco fuses chamber pop opulence and drama with the intimacy of introspection with neither aspect diminished by the gravity of the other. The Atlanta-born singer, songwriter and producer’s strong foundation in music composition evidently culminated in this expansive tour de force.

He’s come a long way from his Christian music beginnings to producing for the Grammy-Award-winning artist for KING & COUNTRY to releasing his debut in 2019. After moving to LA in 2020, Jonathan Thomas Maiocco has written for hit Netflix and ABC shows, including Russian Doll and Carol and the End of the World. Yet, if you tune into his new album, Religious Trauma Syndrome, you’ll find that’s his biggest achievement so far. It’s stunning enough to simultaneously tear your soul apart and lead you to nirvana.

Heaven was officially released on the 29th of April; stream the single on Spotify.

Review by Amelia Vandergast

Jaina Tang entwined empowerment with vulnerability in her latest single,  No More Tears to Cry

Jaina Tang, a prodigious talent from Singapore, radiated empowerment through vulnerability in her latest musical narrative, No More Tears to Cry.

At just 17, Tang’s journey from a YouTube piano cover artist to a multifaceted musician is nothing short of inspiring. Her ability to play by ear, coupled with her mastery of 17 instruments, songwriting, singing, rapping, and beatboxing, has culminated in a body of work that is both deeply personal and universally relatable.

No More Tears to Cry is a testament to Tang’s artistic evolution. The song is an intricate tapestry of piano pop, interlaced with a profound sense of melancholy, yet it radiates an undeniable strength. This duality is the heart of Tang’s artistry. The piano, played with both precision and passion, lays the foundation for a journey through heartache and resilience. Tang’s voice, delicate yet determined, guides the listener through the emotional landscape of the song.

The way her vocal lines intertwine with the music, evolving into a breath-taking neo-classic score, captivatingly exhibits her skill as a composer and arranger. The song is not just for the heartbroken; it’s a universal call to find strength in vulnerability.

No More Tears to Cry was officially released on December 30th; stream the single on YouTube.

Review by Amelia Vandergast

Emily Manuel is beautifully baroque in her indie chamber single, Live Forever

World-class singer-songwriter and composer Emily Manuel is beautifully baroque in her latest orchestral single, Live Forever. The chamber strings lend themselves effortlessly to the artfully timeless timbre of her silkily demure vocal lines as they explore the theme of perpetual legacy.

After Paul Simon revealed the power of lyricism to Manuel, the Denver-based artist orchestrated her distinctive indie chamber sonic signature, which carries the influence of classical scores, the deconstructed expression of jazz and a touch of Eastern flavour.

So far in her career, Manuel has spilt her sound into theatres, olive groves, and taverns. Her live performance highlight was sharing the stage with the icon Jamie Cullen. Although, evidently, he wouldn’t have been the only icon on stage that night.

Live Forever was officially released on February 3rd. Hear it on Spotify.

Review by Amelia Vandergast

Imelda Gabs sophisticated the pop genre to the nth degree with her mournfully minimalistic neo-classic pop single, RECKLESS

‘RECKLESS’ is the latest intensely compelling single from the pop innovator Imelda Gabs. From a mournfully minimalistic neo-classic prelude of minor piano keys, the contemporary ballad that comes to terms with a disposition of recklessness seamlessly builds; utilising the dynamic vocal range of Imelda Gabs to orchestrate one of the most strident crescendos to ever grace the pop genre.

The pain exhibited borders on primal as the independent singer and producer gave an intimate view of her own shortcomings to universalise the phenomenon of letting our inner saboteur lead us to a position of self-doubt, regret, and inner hostility.

The 24-year-old Belgian and Congolese artist grew up in Switzerland, where she studied piano, violin and signing before evolving as a composer and songwriter. Since 14, she has been gracing prestigious stages amongst world-renowned artists before she started to focus on her recorded music, and my God, the airwaves were crying out for her elevated balletic grace.

Watch the cinematic official music video for RECKLESS on YouTube.

Review by Amelia Vandergast

 

Alex de León counts the ‘Minutes & Hours’ in her compellingly tender piano pop narrative of lost time

London-based Mexican singer-songwriter, multi-instrumentalist and producer, Alex de León has released her captivatingly tender single, Minutes & Hours. The instrumentally minimalist single captures the ephemeral nature of time, where the sands that are always pouring can leave the best of us behind.

Anyone with a proclivity towards burnout will resonate with the lyric, “I wish I could stop and smell the flowers, but all I see are minutes and hours”. It pulls you into the depth of this intimately vulnerable single which blossoms to the tune of the gentle neo-classic piano keys and her soft Tori Amos-Esque vocal harmonies.

Alex de León’s single Minutes & Hours was officially released ahead of her upcoming debut EP of the same title. Stream it on Spotify.

Review by Amelia Vandergast