Reviews

Montreal artist Chris Quesnel steps into a new era with “ Dance in the Bar ,” an original single released November 7, 2025, born from real-life serendipity and shaped by a team that knows how to bottle nostalgia without sounding dated. Co-produced with Fushi Agato and mixed by Jean-François Vézina, the song carries the unmistakable fingerprints of early-2000s alternative rock and arrives dressed in the polished sheen of today’s indie-pop energy. Inspired by a chance encounte

David Potter , the Whippany-based MMA personality turned satirical rapper, returns with a knockout of a finale in " The Miseducation of MMA Volume 3 ", released on September 26, 2025. Known for pushing the boundaries between combat sports commentary and biting cultural parody, Potter doesn’t pull a single punch here. Teaming up with Broadway singers and musicians from country to R&B, this album spans martial arts and the arts at large. It’s fierce, funny, and fearless, bringi

Some artists decorate the holidays with comfort and joy. Others reinterpret it. Hilgrove Kenrick does something far rarer: he expands the emotional and spiritual scope of Christmastime through choral writing that feels both ancient and startlingly contemporary. His new EP, “ Four Songs for Christmastime ,” marks the second installment of his growing Four Songs series, offering one of his most evocative and cinematic choral statements to date. Written for the newly formed cho

I, Captain return with " The News ", a compact EP that feels less like a headline grab and more like a late-night broadcast tuned just off the dial. Across four tracks, the band stitches together grit, groove, and attitude, creating a release that thrives on its raw edges. It’s a project that doesn’t ask for attention—it earns it through feel, texture, and an unfiltered sense of momentum. Sonically, the EP leans into a looser, more blues-soaked palette than some of I, Captai

The Red Lite District’s “You Were Never In Love ” arrives like a clenched fist through static, brimming with confrontation and emotional fallout. Emerging from Glasgow’s restless punk circuit, the band channel a fierce urgency that feels both street-level and sharply intentional. This single doesn’t ease listeners in; it detonates instantly, announcing itself as a declaration rather than a plea. There’s a sense that the band isn’t just performing a song, but purging something

Harry Bertora’s “You and I ” arrives like a late-night drive through neon-lit streets, where memories glow brighter than the road ahead. Built as an EP, the release immediately establishes its own atmosphere—intimate, cinematic, and gently immersive. Rather than chasing trends, Bertora leans into a timeless emotional space, inviting the listener to slow down and sink into a sound world that feels both familiar and freshly imagined. Musically, the project floats between synthw

Prem Byrne’s “ You’ll Do Fine ” arrives as a quietly powerful debut single, rooted in reassurance rather than spectacle. Framed within the adult contemporary space, the song doesn’t rush to impress; instead, it settles into a comforting presence, like a steady voice speaking at exactly the right moment. From the opening bars, there’s an unforced sincerity that signals this is music born from lived experience rather than calculation. The production is polished yet warm, allow

Karlie ’s " There Will Be Light " arrives like a slow exhale after holding your breath for too long. From its opening moments, the track wraps itself around the listener with a luminous yet slightly restless energy, balancing comfort and confrontation in equal measure. It’s pop music that doesn’t chase instant gratification; instead, it patiently unfolds, inviting you into a space where vulnerability feels brave rather than fragile. The production leans into a sleek retro-fut

Things Change make their entrance with “ Juicy Boom ” like a spark striking dry ground—sudden, bright, and impossible to ignore. From the first moments, the single announces itself as a rock statement with intent, the kind of track that doesn’t politely ask for attention but earns it through sheer presence. There’s an immediacy here that feels timeless, recalling why rock music still thrives when it’s driven by urgency rather than excess. What truly elevates the song is the

Tatum Treffeisen ’s “ Running ” unfolds like an open diary left on a windowsill—unguarded, wind-touched, and impossible to ignore. From the first moments, the song places you inside a restless inner world where motion becomes both refuge and confrontation. It’s not about escape alone; it’s about what surfaces when you finally stop pretending you’re fine. The track carries a visual intensity that feels almost filmic, yet it never leans on grand gestures. Instead, it thrives in

Raised By Rage step into a quieter, more introspective space with “ Remind Me Why ,” a song that feels less like a performance and more like a private conversation overheard at the right moment. Rooted in a deeply personal turning point, the track traces the fragile line between giving up and choosing to endure, capturing the weight of uncertainty with striking emotional clarity. From the opening moments, the song unfolds patiently. The rhythm section keeps a restrained puls

Audrey Saparno steps into the spotlight with “ The One I Need ,” a song that doesn’t demand attention so much as quietly earns it. From the first notes, there’s a sense of restraint and trust—trust in space, in silence, and in the listener’s willingness to lean in. Rather than chasing grand gestures, the track thrives on subtlety, unfolding like a private thought spoken aloud for the first time. At the heart of the song is longing, but it’s expressed with maturity rather tha