Sparkle Glitch is an electro-pop artist born of classical choral music from Los Angeles, whose various music attractions-like EDM, dubstep, fantasy folklore, and spirituality-have been woven into an unclassifiable tapestry of sound. “Battle Maiden” is a record that juxtaposes demure vulnerability with grandiose, almost cinematic melodrama.

October 31st, 2024, is when "Battle Maiden" was released, but to me, that was Sparkle Glitch planting a flag firmly in her very own corner of the musical landscape. Rarely has intense emotion been so tastefully married to experimental production as on this record, though Sparkle Glitch appears almost unwittingly to have created something deeply personal, with the intimate and the otherworldly combined into one work of immersive music.

“Battle Maiden” leads off the EP with pure power and grace, the essence of a warrior descending into battle. Underlying this track is a pulsing synth bass that provides the foundation of the song, with layers of glitch-generated percussion, soaring vocal harmonization, and an all-but-hypnotic tension. 

“Utopia” is at an even more dreamlike and intensive stage. Sparkly synth arpeggios atop a driving beat open the track and immediately send the listener off to some opulent, futuristic landscape. Effects courtesy of Sparkle Glitch are striking here; they're layered with slight distortions giving way to something otherworldly, like a guiding voice through enchanted terrain.

"Bluebird" is a tender homage to Sparkle Glitch's mother. Birdsong field recordings weave in and out of the mix, coming in and going out while injecting a natural beauty into the whole work. Her voice is delivered very sparingly and very much from within, somewhat akin to intimacy and conversation.

"Immortal Dryad" is where the fantasy of the EP comes to the fore. It's a buzzing, organic rhythmic loop-driven track, in constant shift, that over time develops a feeling akin to a forest full of breathing. The synths sound rich and full, forming a lively soundscape. During the drop, the chorus becomes euphoric-layered textures of waves, rising and falling, sucking the listener into the magic of the track.

"Elementals," which closes out the EP, is a coming together of all Battle Maiden stands for. This is all based on Sparkle Glitch's love of experimental EDM, with trap beats providing a solid foundation for the soaring synths. The vocal processing here is pretty eerie, with Sparkle Glitch's voice echoing like a distant realm, very much in line with the expansive soundscape that unfolds.

This work brings into relief the impeccable production job exhibited on Battle Maiden, arguably one of the defining points of the release. Every sound has a purpose: from crackling textures buried within the mix to the soft alterations in reverb and delay giving the EP its immersive properties. Combining analog synthesizers courtesy of Makro Music with a warmth so starkly juxtaposed to the cut-glass sharpness of their digital brethren. Other nature sounds, like bees, birds, and rustling leaves, further provide an organic foil to the synthetic parts of the EP.

An album that presents itself as an experience, Sparkle Glitch calls for listeners to enter a world of healing, dreams, and strength. The EP doesn't mark a milepost for Sparkle Glitch; instead, it pushes the panorama of what is possible in electro-pop. An emotional journey, experimental production, or pure imagination-whatever, Battle Maiden is something worth it, you can find it right away on Spotify.

Karen Salicath Jamali is a multi-award-winning composer, pianist, and visual artist. She is a force in the contemporary instrumental music and meditation scene. Born in Denmark but now splitting her time between New York and Florida, her way into music is rigidly unconventional, not to mention inspiring. Her awards include the prestigious Clouzine Music Award for Best Instrumental Work in 2024, First Prize in the Golden Piano Talent International Competition in 2023, and being inducted into the Akademia Music Award Hall of Fame in the same year. Surpassing 16,339 followers on Spotify and 10,522 monthly listeners, she continues to enthrall hundreds of audiences across the globe, constantly wooed by her deeply spiritual and meditative compositions. Her latest album “Dreams of Angels," released on November 22, 2024, vindicates her fantastic vision through which she successfully connects her listeners with an ethereal angelic realm employing music.

Each track was entirely improvised and recorded in one take in the early morning, a time when she claims to feel deeply connected to angelic energies, and there was no post-production on these tracks; they were rather purposely done to capture the raw essence of what emerged in those moments of happiness. Mastered by the incredible Parma Records, each composition is an homage to a particular angel, drawing on their specific attributes to inspire a broad spectrum of emotions, from courage and healing to peace and divine wisdom.

The album opens with "ArchAngel Metatron (the Angel of Life)" a beautiful composition dedicated to the Angel of Life, establishing an ambient feel to the work via its ringing and cascading arpeggios and light and ethereal textures that shimmer like sunlight. "Angel Uriel (the Angel of Truth)" weaves gentle piano melodies that intersperse with deep, resonant notes, while "Angel Raphael," dedicated to the Angel of Healing, boasts warm, sustained chords interspersed with delicate melodic runs that seem to mirror the soothing, restoring characteristics of its namesake. 

"Angel Gabriels Halo" is that sound of stable calmness, reminiscent of a tranquil, timeless day. "Angel Raziel (the Angel of Clarity)" features enchanting and vibrant piano lines, gently inciting a sense of reflection and contemplation. Among the standout pieces on this album is White Angel, an award-winning composition based on Salicath's sculpture dedicated to those we've lost. Its poignant flowing melody may reflect the duality of loss, as well as hope, a fitting summary, perhaps, of the themes of spiritual transcendence and human bond that suffuse this album and which have won this piece awards, including two from the Charleston International Music Competition.

" Angel Michael (the Angel of Courage)," shifts the tone to one that is triumphant and uplifting and which embodies the fortitude of the Angel of Courage. It evokes an image of great progression, wherein the narrator seems to lead one through some sort of battle and emerges victorious. Dickson has composed a piece imbued with gentle pastoral resonance: "Angel Ariel (the Angel of Nature)." The lilting melody and softly rolling accompaniment summon images of peaceful landscapes and interconnections among all living beings.

"Dreams of Angels", by Karen Salicath Jamali, is a transcendent experience that allows listeners to connect to divine essence through the universal language of music. With its freshness, tenderness, and spiritual depth, the album stands as the culmination of Salicath's extraordinary journey as an artist and her unfaltering mission to share love, compassion, and healing through her work. “Dreams of Angels” is an album worth hearing, so don't miss it; stream it on any major music platform like Spotify.

There have been only a few singles that run this interestingly intriguing balance between nostalgic infectiousness and forward-thinking innovation. It's been almost too easy for Jamcie's "In The Clouds" to walk this tightrope. Based on the humble city of Exeter, UK, Jamcie (Jamie C) has produced a work both a tribute to UK Garage, harking back to the intimate corridors of memories, alongside generous introspection and lyrical poignancy. The production was handled by Saynoz (Oscar Almaraz) and polished into shape by the deft hands of Dustin Miller and Stuart Hawkes, serving as more than just a catchy song.

From the very first kick drum, this piece exhibits its UK Garage ancestry. With a skittering and shuffling 2-step beat, syncopated hi-hats, and deep compressed bass lines in homage to the genre's heyday in the latter part of the 1990s and the early 2000s, it feels much contemporary-nature, housing spacey pads while complemented by shiny synths, thus making its title truly fitting.

The instrumental strikes that balance between being rhythmically propulsive and melodically introspective. The lush chord progressions carry the dreamy, euphoric vibe, while the low-end grooves keep the energy in the realm of gravity. This duality of floating and driving is what makes "In The Clouds" so captivating.  

On the mixing side, which was done by Dustin Miller, things sound very clear so that every element has its own space in the sonic field. The highs of hi-hats are sparkling, the bassline is warm, and the vocals are super-clear. And there's the mastering from Stuart Hawkes at Metropolis Studios, a name synonymous with excellence. 

While the lushness plummets into the UK Garage tradition, the song does not sound restrained within any style. A mixture of rap style along with the uplifting instrumental leans toward the recommendation of enjoyment for listeners not privy to garage or hip-hop. Jamcie delivers so effortlessly and plainly that he just undoes any presumption of genre elitism.  

The connection Jamcie has with the music comes through loud and clear, and he has been forthright in asserting that the dreamy, euphoric vibes of the instrumental guided his academic writing. 

"In The Clouds" is just a glimpse of what will become quite a promising chapter for Jamcie. As he gears up for the 2025 UK leg of his solo tour, the genres will mingle from UK Garage, Drum and Bass, to Rap. The first mention of his forthcoming collaboration with Abi Flynn is buzzing, and if "In The Clouds" is anything to go by, Jamcie is beyond capable of delivering on that promise; a dreamy production, lyrics, and casual delivery all coalesce into something special.  This is one of the best new songs I've heard, and I can't stop listening to it. Listen to this one, I mean, drop everything you're doing right now and stream this track.

Zachary, a 27-year-old musician from Guildford, UK, has been building a catalog of work since 2021, combining deep lyricism with a melodic ear and production that flits across genres. With some 200 demos in his pocket to show for his efforts, Zachary has made himself a prolific and flexible artist. From Spain's *Rolling Stone* to Bay FM, and even into the esteemed playlists of sync companies such as YTINIFNI Pictures and Relva Music, Zachary's music has reached those who embrace songs as sincere as they are crafted. 

Zachary's latest release is a slight turn into introspection: "Fathers," now with its seventh single and twelfth track overall, is a touchingly folk-influenced track, like a letter to fathers everywhere. 

At a basic level, "Fathers" is very much stripped down once again, but this time, it lends itself to evoking an emotion behind the mix. Leaning on plugged-in acoustic guitars, easy-to-follow keyboards, and vocals that don't shy away from delivering the track's emotional weight, the production remains minimalist. The acoustic guitar is at the heart of it—not overcomplicated but giving steady and consistent rhythm and warm, loose sounds that embrace the listener. A nice little interaction builds up, wherein the strumming patterns play against the soft chord progressions of the keyboards, managing to create a completely spacious atmosphere.

However, what stood out the most in this production was the restraint. Unlike many folk-inspired contemporary songs, which drown in layers of reverb and overblown crescendos, "Fathers" opts for lucidity and simple lines. 

The tempo sets a bit of a calm, almost meditative approach, knowing the pace to develop without urging towards some level of ear-piercing climax. It's an invitation for the listener to sit with the emotions, the thought of their fatherhood, or their very own relationship with their father. The production choices are, in effect, clean, simple, and without unnecessary flourishes, akin to the song's thematic core: the beauty of simplicity and the deep life hidden in commonplace moments. 

For fathers, sons who think about their relationship with their fathers, and anyone mourning the absence of that connection, "Fathers" is a different kind of balm. 

Importantly, Zachary has made it clear that this release is a slight diversion from the more direct path he intends to take. While he has promised his fans that he'll steer more towards rock shortly, "Fathers," as he has said, just had to be released, and it's not hard to see why. 

“Fathers” is, in every way, worth your while, whether you're an old fan or a new visitor to Zachary's work. Put on your headphones, find a minute alone, and let "Fathers" wash over you.

French pop-rock outfit ÉTATS D'ÂME have always walked a delicate tightrope, balancing introspection with universal appeal. Their name feels like a mission to a kind of manifesto promising an emotional authenticity often missing in today's hyper-polished industry. With their latest, "The World of Technicolor," the group promises to deliver and expand the promise, offering a song that is new. "The World of Technicolor," stands out as a kaleidoscopic voyage of existential ruminations and unabashed happiness, delivered with the graceful flair of seasoned musicians who know exactly which strings to pull both literally and emotionally.

The first thing that catches your attention about "The World of Technicolor" is the thick arrangements. It immediately gives you buoyancy with opening guitar motifs which firmly set the mood. The violins layered over a clean reverberating guitar line provide an almost scoring nature, it's like getting dropped in the opening credits of some movie about breaking free from routine lives. The guitar is central to the structure of the song, creeping in and out of the mix like a guiding thread leading the listener toward the peak moments. The filling of the vocals through blending harmonies is a heavenly experience that increases the emotional enormity of the song.

From a structural point of view, "The World of Technicolor" is a master class in dynamic evolution. Driven by a syncopated bass linel and light drum work the verses provide a steady pulse for the listener to sink into the narrative of the song.

The guitar work is laden with emotion and avoids flashy technicality that feels like an extension of the song's core theme. The production of Émotions Vives is neat and meticulous, unquestionably owed in part to the band's long-time collaborators. 

In “The World of Technicolor,” everything presents the evolution of ÉTATS D'ÂME as a band. If their earlier compositions were heavily anchored in the French chanson tradition, Émotions Vives might be seen as certainly broader, and many-movement-influenced. There are references to the melodic treatment of 70s rock, a more, thoughtful lyricism of modern-day indie, and even something somewhere close to electronic textures. It feels like this is a song designed not only to be heard but meticulously crafted for that rare gift of shared experience between artist and listener.

“The World of Technicolor” is a song born by ÉTATS D'ÂME for bringing in connections and sheer joy. This ties everything beautifully together in “The World of Technicolor.” It beckons us to look upwards, to step outside our boundaries, to simply soak up the surrounding exuberance. And, in doing this, it further reminds us of the one big reason that makes music so powerful: that it makes us feel alive. A band worth looking out for—because, in a black-and-white world, ÉTATS D'ÂME paints with all the colors. Stream the single today on Spotify, and check out more about the artist online.

Sometimes out of nowhere, a song comes up that feels like a sonic jigsaw puzzle, a puzzle in which all slices, no matter how unassorted fit in a most astonishing and at the same time logical manner. Now, “Jet Set Trash” is one such song. It was released on Flak Records. This audacious single which features the name TexasMike, Mike Stewart who is a multitalented producer, artist, and songwriter is somewhat predicted to push the boundaries of genres, sounds, and creativity.

It is a work of tremendous energy, it is an adventure that is set in the future and tries to blend post-modernist, stoner, and groovy music all into one album which is nothing like anyone ever envisioned. 

As soon as one starts listening to “Jet Set Trash” one will completely be captivated. The treble kick that can be heard at the start of the song when mixed with the low beats and cold feeling sends shivers down your spine. It has been used as a bass – it is far too captivating to be understated.

The bass helps stabilize the tone, allowing other fragments to construct freely without feeling overwhelmed. The low-structured bass, flat strings, and muffled percussion seem and sound quite haunting – as they have been perfectly suited to that type of setting. 

While "Jet Set Trash" is undeniably the product of Stewart’s vision, it also owes much of its vibrancy to the collaborative spirit that defines Mike Stewart Theory. Stewart has built a global network of musical allies, and their fingerprints are all over his work. From Sean Read (Dexy’s, Beth Orton) to Kevin Russell (The Gourds, Shinyribs) and Susan Voelz (Poi Dog, Smashing Pumpkins) work, his work feels like a tapestry woven from countless threads, each one adding its unique color and texture.

This collaborative ethos isn’t just a behind-the-scenes detail; it’s central to the track’s identity. There’s a sense of dialogue happening within the music—a push and pull between the organic and the synthetic, the individual and the collective. It’s a rare thing to hear a song that simultaneously feels so personal and so communal, but "Jet Set Trash" pulls it off with composure.

The very title ‘Jet Set Trash’ carries some playful irony to it. It is a picture of opulence and indulgence, but the music is more grounded in a storyline about relationships, traveling and change. I love the energy and emotion in Mike Stewart’s song. I’ll be adding this one to my streaming playlist - I can see myself playing it on repeat.

I have something special to share today: a magnetic and surprising reimagining of a traditional song. The Pulltops, a dynamic duo with an astonishing knack for crossing genres, take a wonderfully refreshing step forward with their latest single. For those new to them, this is a band that bends musical conventions. The Pulltops boast an impressive 6.9k monthly listeners on Spotify, and their sound occupies a distinctly personal space that feels old-school but with a certifiably modern blend. 

Mark Pierret on drums and Tom Crowell on guitar weave their respective influences; Pierret's love for old country and soul, and Crowell's love for experimental and underground music into a sound that is organic and electric.

Their newest? A pop-punk reinterpretation of the classic Christmas carol, On Christmas Day (I Saw Three Ships). The roots of "I Saw Three Ships" can be traced back through history, and this simplicity is part of its ever-lasting charm. It is often classified as a British carol, its melody lilting and almost hypnotically repetitive. Once formally arranged, its sparse instrumentation evokes the purity of the season: peace, hope, and a sense of wonder.

In a nutshell, the Pulltops' version of "On Christmas Day (I Saw Three Ships)" is electrifying. A guitar riff on the first bar reveals it to be something entirely different. The intro, crunchy, overdriven power chords, hits you in the face like a snowball. The rhythm of Pierret and Crowell galvanizes them into an energy that would fuel an entire Christmas party.

Set at a noticeably faster tempo than the original, the driving rhythm section powers the song along. The drums punch and pop, Pierret applying a generally snare-centered beat fine-tuned as quintessentially Pop Punk. Syncopation in the guitar work adds to the scope, supplying a definition of urgency without falling into chaos. The refrain of "Oh oh oh," laid out with harmony behind, makes a modern hook out of a traditional tune. 

The holiday music genre is notorious for being oversaturated and that's when the cover becomes either stale or a gimmick. The Pulltops sidestep both pitfalls by equally being sincere with their excitement and having a clear vision with On Christmas Day (I Saw Three Ships). 

With that, the Pulltops join a lineage of artists who've successfully reimagined holiday standards. "On Christmas Day (I Saw Three Ships)" fits snugly into this, providing buoyant energy against more standard fare. It's a good one. 

I can honestly say I love this cover. I couldn't resist putting it back into repeat mode. This one has majored in smashing it, perfect for ramping up an already-frenzy holiday season! Don't forget to stream "On Christmas Day (I Saw Three Ships)" on Spotify. 

"Purgatory Road", an album by Ryan Tobin, released November 1st, 2024, is an open nerve: a testament to the hard work of coming from the depths of addiction and trauma toward the light of redemption. Tobin has a very visceral and intimate record of his struggle, with a grittiness and authenticity that pierces deep. There are echoes of Chevelle's brooding intensity and 10 Years' melodic angst, but Tobin sets out on his sonic pathway, paved with wisdom gained through tough living.

The title track, Purgatory Road, sets the mood and drops the listeners into Tobin's inner turmoils with dizzying jumps. The distorted guitars create a certain claustrophobia of sorts, which represents the crippling hold of addiction. The hope that flickers dim and gentle, just beneath the surface of Tobin's weary yet yearning voice, drives sharpness into the land of darkness.

"Wrong Side Down" is an excellent showcase for the writing of Tobin. The song speaks of the nature of recovery, throughout its varied sections from quiet reflection to full-blown release.

Throughout "Purgatory Road", Tobin expands on using musical devices to subtitle the emotions in his lyrics. The way "Running Away," rides on syncopation incites a feeling of discomfort that reflects the scattered nature of feeling torn and running away. Throughout the album, all the tempo and dynamic changes keep the listeners on their toes, parallel to the ups and downs of recovery!

The musical language of the album is based on alternative metal and hard rock, but its lyrical content firmly places it in the category of Christian rock. The whole backdrop is sewn together with themes of faith, redemption, the unabating presence of a higher power, and continues from warm to cool. That liminal space is indicated by the very title of the album: "Purgatory Road".

The vocals take center stage, peeling back layers of unutterable truths. The songs play out a story of Tobin's willingness and courage to dive deep into the darker corners of his life. By that, I mean he doesn't hesitate to get ugly: he doesn't shy away from addiction, the pain of relapse, or even the feel of the perpetually open wound of trauma. That kind of brutal honesty, along with his enduring faith, propels an epic narrative of hope and survival. "The Purgatory Road" is not a tidy portrayal. It's all raw, a work in progress, facing up to where the human spirit wins at last.

"Purgatory Road" is a natural progression and a fresh breath of air for a genre often maligned for music in a certain formulaic mold. Tobin's wonderfully unvarnished musicality and one-hundred-per-cent earnest bleeding-near-the-muse, lyrics give the mix an atmosphere of challenge and goodness. This is more than an album for fans of Christian rock; it is an album for anyone who has ever struggled, anyone who has ever attempted to find hope through the ruins of disaster. "Purgatory Road" stands as a testament to music's powers of healing, and inspiration, and of giving us the ever-ready wallop of keeping us hopeful in some of our darkest days. Enter into the emotional and redemptive journey of "Purgatory Road". Stream it now and feel the power of music to heal and inspire.

Christopher Parris is a storyteller, a quester, and an alchemical apprentice to sound who walks the thin line between folk tradition and cosmic exploration. Emerging as a progressive folk artist with a distinct spiritual resonance, Parris’ work is deeply inspired by the societal evolution of human consciousness, weaving ancient philosophies with modern introspection to create what he dubs as “higher vibrational music.” 

On occasion, a song comes along that does not feel like something straight out of the composer; rather—and truly—is a door, a portal to enter and explore some loving, eternal, resonant materials. Christopher Parris's "Golden Sunrise of the Summerlands," the standout single off Living Through the Twilight of the Kali Yuga, is precisely one of those gems. "This new album I've made is so exciting and I'm completely in love with it," he shares, and it's easy to understand why.

On top of layered detailed acoustic guitar tunings, the hypnotic harmonic framework of the song is produced on open-tuned guitar double-tracked alongside its natural tonal overtones, forming a massive blanket for the rest of the instruments. The fingerstyle is relaxed, with melting melodic motifs over the chord progression creating a beautiful unfolding, much like a storyteller unwinding the threads of an ancient myth.

The song's sound, produced by composer and producer Billy Jupp, draws the basic structure into the realms of subtlety and liaises with ease between flourish and subtlety. Each aspect of the arrangement breathes freely while being musical and cohesive, showcasing Jupp's deft touch. Michael Hurst plays the bass, a superbly played Warwick Series 2 from Africa, providing a low-ground feeling without overdriving; its woody timbre and syncopation grant a fuzzy earthiness along with the ethereal slide guitar work by Paul Rippengal.

The slide guitar playing glides through Americana, blues, and jazz influences, lending a shimmering, celestial quality to the song. The interplay between his slide lines and Parris's acoustic guitar delivers a tension that has a pulse alive and, in constant motion, shifting and evolving.

Jennifer Lee Ridley's backing vocals are another highlight, casting a hauntingly beautiful counterpoint to the lead. There is an almost sacred quality to her harmonies, a sense of worship that makes evident some empowering and spiritual themes of the song. Miss Ridley's voice is not just a supportive backing for Parris: it levitates him in a magic stroke, lending gravitas to the track. Rhythmically, the song is driven by the drums of Robin OKeeffe, with the aid of textures from Ben Killick. 

The momentum behind "Golden Sunrise of the Summerlands," is already building, with the artist fielding numerous collaboration offers from across the industry. With Golden Sunrise of the Summerlands, he revives in us the belief in the transforming powers of art. Here is what high-vibration music sounds like when it is at its best—timeless, universal, and very much needed. Dive into the Golden Sunrise of the Summerlands right now by streaming it on Spotify.

Hailing from Dartmouth, Nova Scotia, now residing in Clare, Peach on a beach, or Larry Peach, is an established electronic artist making waves with his sounds. His music is inspired by the vibrant energy of the '80s and '90s and blends new wave, synth-pop, hip-hop, and even a touch of comedy rock. By day, Larry Peach works to champion his community as the tourism manager with the Municipality of Clare and the marketing coordinator for Gran Fondo Baie Sainte-Marie—Atlantic Canada's biggest cycling event. 

His latest single, "Charlie Brown Christmas Tree," stretches out the pale of the usual celebration jingle to come out as a medley of memories, transience, and the lasting presence of things that hold the sentiment. "Charlie Brown Christmas Tree" homes in with a certain emotional core cutting through with a distinct synth-driven surround sound.

The track opens with a driving jingle arpeggio that sets the nostalgic atmosphere. Its layered synth textures, create a festive, spectacular backdrop for the vocals. The delivery is awesome, necessitating the listener into the narrative of a young man navigating a snowy Christmas, wrestling with life's uncertainties while finding solace in the festive season.

The music video for "Charlie Brown Christmas Tree" embodies the nostalgic themes of the song quite well. The VHS filter plastered on the tapes of houses throws the viewer back to the good old days, inciting that warm and fuzzy feeling of childhood Christmases. Scenes of Peach decorating the title Charlie Brown Christmas tree in his home interspersed with Polaroid photos of him with Santa and family give an interestingly personal touch. The general atmosphere is undeniably Christmassy, giving warm, comfortable feelings of nostalgia. The simplicity and genuineness of the music video enhance the emotion of the song into a touching and memorable visual experience.

The structure of the song is simple, based on a repeating pattern of verse-chorus, but the slight shifts in instrumentation and arrangement make it not monotonous. Again, with the chorus comes the subtle addition of chime-like bell tones and chords, warming it and adding depth to the festive theme. The production is clean and modern, though it has a certain warmth, analog-wise. The synth sounds thick and textured; while programmed, the drums swing and groove naturally which adds up to give the song an overall organic feel. Where "Charlie Brown Christmas Tree" really shines is in its lyrical content. As the tree in the Charlie Brown Christmas becomes a touchstone to memories accumulated over decades. The song follows the tree's progress from one location to the next, as the life changes go on, while the tree remains a constant amidst time.
With this, Joelle Peach adds background vocals, bringing an all-new dimension of depth to the emotions in this song, portraying mutual understanding and acceptance of what that tree means within a family circle. The bridge, "I wanted to toss it away / But you soon realized it just had to stay," is the point where the narrator recognizes his urge to throw it away only to surrender to its permanence. This is even further sealed by the repetition of the chorus with slightly different words to hammer the theme of acceptance, the circular nature of memory.

Peach on a Beach has given the world a song full of emotional depth and sonic richness, showing great development as a songwriter and producer. His previous material proved he was coming, but with "Charlie Brown Christmas Tree," he's undoubtedly proved himself an artist ready for the big time, capable of music both catchy and yet infinitely meaningful. Stream "Charlie Brown Christmas Tree" on your preferred platform, and follow Peach on a Beach for updates on his upcoming releases.