Not too many voices capture the whimsical essence of a full-bodied manifestation of Free Spirit and Rebellion. With Nick Anastasakis, who goes by 'the afro nick' this soulful troubadour scarcely masks under the weight of his roots; his hair is wild and unkempt, a fitting representation of his music: lively, unbound, and staunchly free. With numbers of 1,246 on Spotify and 13,858 monthly listeners growing almost every day, Nick’s music dives straight into the heart of the voiceless and the seekers of comfort that rest in the uncut corners of existence.

Crete is where he began to be bathed in the golden light of gypsy guitarists strumming on the Venetian cobblestone streets for shillings and pennies. Music was instilled in his veins and later formed the nucleus of the sound that emanated from him.

Jazz-fusion experiments colored Nick's upbringing, while indie-rock's hands were tied behind its back, and only in Los Angeles, where he is now based, did Nick come to find himself distinguished amid the real orchestra of indie rock after with his band, Stray Blue, which was the first touch of a movement on the island was.

A voice for the marginal, his most recent single is "Get There Before Noon." Originally conceived and recorded in NYC, then re-recorded at his home studio in Los Angeles, it encompasses that endless striving that signifies Nick; the never-ending unwillingness to do anything else but take life—complete in its glorious chaotic imperfection. With smooth electronic synths and keys, "Get There Before Noon" opens up as textures invade the piece in soothing contrast. 

Rhythm strings thickly distorted with glorious richness blend into the steady groove set in by George Athanas' smashing bassline. The long-time collaborator from Nick's Stray Blue days, Athanas commands with nimbleness on the low end, one hand rocking against a surefire anchor while maintaining fluidity.

Meanwhile, Grammy-winning synth smith Leo Genovese adds just another layer of sonic subplot. The guitar seems to grow more prominent as the song builds, with thunderous, distorted power chords erupting in the chorus. There is an earnestness to his delivery that makes you believe his words. The last chorus leaves the listener with an inviting feeling long after it has faded out.

Offering a nice change for fans of The Black Keys, and Kings of Leon, The Afro Nick is unlike anyone else. His connection brings breathing space for those out of sync with the repressive structures of modern society. Click through to listen to "Get There Before Noon." Follow The Afro Nick online and join the growing community of listeners finding a soul mate in his music.

Atlanta-based artist Terrell Journey carries the music world by storm with his latest hit, "Superpower." Known for his compassionate storytelling, blended with motivating and attractive melodies, Terrell has established himself as one of the names to watch out for in the music business. From his earlier releases, Terrell has laid witness to his eclecticism and ability to touch one's soul on an unusual level.

Spurred on by some legends, such as Kenny "Babyface" Edmonds and Michael Jackson "the King of Pop", Terrell's sound combines old-school charm with modern-day edginess. His music is timeless since it accentuates the intellectual and emotional influence of his idols while still keeping a finger on the pulse of what's cool and on-trend.

"Superpower" opens with a banging beat that instantly thumps you in the chest. The production is very tight and grooves with funk, R&B, and hip-hop vibes. The bass line, heavy percussion, and clean synths shimmer with a nearly cinematic quality.

"Superpower" is about self-motivation and confidence well beyond simply having a catchy hook that says, "Boss up, floss up, cross me up and get tossed up / Superpower, superpower"; this line will be ringing in your mind after the song is through. It's more than just a gentle and smooth refrain; it is their mantra. Terrell paints living, as we know it, like a superhero's transformation, reminding everyone that we all have those secret powers, just waiting to be unleashed, like Clark Kent transforming into Superman. Another great moment comes from Terrell with this line: "Never under estimate my super upper duper power
/ When I turn this rizz up you be eating like it happy hour." The wordplay is fun, showing how Terrell gets humorous and charming with his lyrics while not losing in any way that emboldened message of self-belief.

The production is almost always second to the vocals, letting Terrell's vibrancy come to the fore. His voice moves beautifully from smooth and melodic lines to zip-fast phrases, making it exciting throughout. The bassline propels the song up with a funky and infectious groove, while the gentle sprinkle of synth pads gives some sparkly texture. The drums are tight and born to play; they set the tone without being supremely mechanical. 

"Superpower" is like plugging in and charging your internal battery. What resonates most with me about "Superpower" is its homage to everyday heroism. You do not require a cape or extraordinary powers to be powerful; you need to believe in yourself. This message is something all of us could do with a little more of, and Terrell delivers it with flair, panache, and sincerity. If you haven't, give yourself a treat and stream "Superpower" on the platform of your choice.

The Sea at Midnight has unleashed the adventurous anthem of ecological desperation in their new, ghostly single, "Wait For Rain". Marrying post-punk's bleak aesthetic with synth-pop crystallinity, "Wait For Rain" is an exploration of climate change and all of its devastating ripple effects that have come to fruition; the single was released on Aug 2, 2024, and already has over 17,817 listeners on Spotify. Penned and sung by Vance Grant, with Chris King from Cold Showers and Kai Tak acting as producer, the song is not only a musical experience but an almost seriously contextual commentary-feeling urgent and frightfully relevant.

"Wait For Rain" seduces right from the start, darkly atmospheric with its arrangements dancing between jangling guitar lines and ensorcelled synth textures. The crispness of the beating drums approximates the dark inevitability of the theme: the slow, smothering march toward environmental collapse.

The delivery is like Vince Grant intoning words laced with world-weariness and resonance, carrying the weight of their message with subtle intensity. It's a performance that is neither overwrought nor achingly removed from the listener, treading an impeccable balance between contrived emotions and reality. But still, embellishments of reverb imbue the essence of ghostliness into the vocals while amplifying the themes of loss and helplessness explored within the song.

What separates "Wait For Rain" from the rest of the pop-post-punk revivalists is its actual subject. Where so many bands in this genre touch on abstract or existential themes, The Sea at Midnight tackles head-on the tangible and immediate crisis that is climate change, doing so with arresting specificity. Phrases like "dires so intense you can / see the smoke from space" paint imagery that hits the gut right. It is not some poetic despair, but a piece of reality staring back cold and unblinkingly.

The refrain, "feel so helpless, what can we do? / wait for rain", is devastationally simple. It encapsulates the collective frustration and inertia that so often accompanies any discussion of climate change. The song offers neither false hope nor solutions, only a mirror held up to humanity's hubris and the consequences of unchecked growth, as expressed with such biting clarity in the lyric, "endless growth we can't sustain/hurtling down the path to a world of pain."

 It is a rare music example that manages to reverberate with an audience far beyond the normal limits. The production here is courtesy of Chris King; the layering of instruments is quite involved- one does not outplay another. The guitars have become more atmospheric, moving throughout like tendrils of smoke through the mix. These are sparse and restrained verses from the beginning to give all the prominence to the soft-cut lyrics. The message comes across as urgent at that time when record droughts and wildfires were witnessed in that particular release year.

"Wait For Rain" is a hauntingly beautiful piece of music; a melody whose final note lingers forever in one's mind. Not to be missed by fans of post-punk, synth-pop, or anything in between with a great love for substance in music. Such a song developed by The Sea at Midnight is worth listening to, and check it out on the streaming sites today.

An artist making an unexpected stylistic swing may, at times, feel a bit forced or uneven. With charliecityy’s new album,  "In Another Life," he is ditching the bright hyperpop almost completely and venturing into an introspective journey into alternative indie. Recorded entirely in his university bedroom in solitude and late-night sessions, the record is fresh, personal, and honest. Merging acoustic textures, processed vocals, and reduced production, "In Another Life" is an achievement that feels like the very soundtrack one might find themselves listening to after a sleepless night of self-reflection.

At only nine songs long, the album is concise and cohesive; however, it carries unlimited emotional weight. The Birmingham-born and Liverpool-based artist, charliecityy strips everything to the bare essentials.

He opens with "Flashback," a punchy acoustic start. A contemplative transition lays the backdrop for charliecityy's haunting vocal performance. His voice, just subtly processed, hovers over the mix and captures the pang of nostalgia. 

"Mirror," a high point, affords the token a few moments of introspection. The instrumentation is spacious and serenely lovely, piano chords twinkling peacefully shimmering away while the rhythm section feels as though it conducts its heartbeat. His processed vocals effectively countenance.

There's a reason why the fourth single is called the "denial" track, one that adds a decidedly experimental twist to the album. Things kick off with glitchy fragmented beats that feel erroneously chaotic, while layers of reverberate-soaked vocals are washed over lifted synths: a hazy background tone that evokes an emotional freefall. A daring, almost disorienting moment that sets the pace of artistic fearlessness on the record. Appropriately named, "Heartstrings" plays with your emotions, threading melancholy and some measure of hope through a plaintive script. Gradually swelling and layering harmonies and textures until released euphorically into gentleness. Urgent breathing of scintillating synths and layered harmonies propels this one. 

The title track drips is built around a looping acoustic guitar riff, the song feels like a farewell letter. charliecityy's vocal lines are harmonized and layered to yield a choir feel that’s expansive. Imagining a parallel universe where things did not have to work out this way, the lyrics come out resounding with peace.

"In Another Life" is a magnum opus with a compelling debut that places charliecityy firmly on the map. Almost entirely produced by charliecityy himself, yet never screams "bedroom project" in the slickness of the final cut, the emotional weight is hard to ignore. 

charliecityy carves a space for himself somewhere between Frank Ocean's emotional vulnerability and MK.Gee's boundary-breaking approach to genres.  This record blows my mind. It's so rare to hear something that touches so close to home, right in the gut. You need to stream it so you can take it with you long after it's over.

I love it when music is given vocality, poured directly from the depths of a man’s soul, with a fine line separating artistry and therapy. Cargocastle, latest single, "Truth and Reconciliation" is a prime example of this. The one-man project led by Cory Wayne Dell feels less like an artifact polished within a studio, and more like a living breathing document of self-discovery and healing.

"Truth and Reconciliation" is an utterly intimate approach to trauma and recovery, with Dell translating his own experiences with PTSD and childhood abuse into a sprawling five-minute journey of sound and emotion. The track metabolizes it, turning back the pain into something strangely beautiful, with layers of thrumming guitars, atmospheric synths, and a defiant vocal hook.

Drawing from influences as disparate as Devin Townsend's progressive metal tomes and David Gilmour's soaring guitar work, the song weaves elements of ambient electronica, post-rock, and even shades of thrash metal into its song.

The first moments are deceptively quiet, as a wash of reverb-drenched guitar chords floats above a bed of ambient synths, giving it an almost meditative feeling. When the chorus does burst forth, what was up till this point a restrained vocal performance erupts with force, riding a wave of guitars and thunderous drums. This juxtaposition between delicate verses and gargantuan choruses gifts the listener with a stunningly visceral experience akin to the peaks and valleys of Dell's healing journey.

What I love about "Truth and Reconciliation" is that every single note of the production was recorded in Dell's home studio in Altoona, PA, so there is an organic and unfiltered quality to the entire record that fits perfectly into the subject; it feels so intimate you could be sitting in the room with Dell as he bares his soul. That being said, it doesn't in any way feel unprofessional, as one might expect from such DIY creations. Rather, every nuance in its mixing is a testament to Dell's scrupulous attention to detail, down from the perfect rapport in the choreography of the guitars to the synth to those harmonies rising just to add a little nuance to the chorus. The very fact that it was conceived during his PTSD flashbacks only adds to its authenticity; this is music born of need, how Dell processed his hurt and took back control of his narrative.

"Truth and Reconciliation" symbolizes an individual milestone not just as a musician but, even deeper, as a human being. It is his true expression as an artist and a cannonball into the deep end after years of merely dipping his big toe into vulnerable waters. To listeners, it stands as a class reminder of the kind of miracle music can be to connect the unheard, heal, and transform.

Cargocastle may still be a pretty underground project but with releases like this, the time for Dell's name to start being synonymous with fearless, emotionally charged music is just around the bend. Truth and Reconciliation is a song meant to be felt as much as it is meant to be heard. Go ahead and press play on "Truth and Reconciliation" today on Spotify.

It's an all-too-infrequent occurrence in today's oversaturated musical landscape to come across an artist able to strike just the right balance between icy exposure, but such is the case with "Drain the Swamp" by Jerome Pawl.  Released on November 8, 2024, this six-track collection feels less like a series of songs and more like a journey.

But let's get technical: "Drain the Swamp" is a master class in sonic diversity, blending intricate wordplay, memorable melodious hooks, and vital production, where each track stands to carry an entity in and of itself, contributing to an overarching theme of purging and renewal.

EP opener "Limo Tints" demands attention from the very first snare hit, a busy, deliberately abrasive affair built around distorted 808s and a syncopated hi-hat pattern that's nearly claustrophobic but undeniably energizing. As he delivers, Jerome cuts his flow sharp and declarative, setting himself squarely in the role of somebody unapologetically there to shake things up.

"Ain't No Switchin' Sides" is the centerpiece of this EP, and this song exemplifies Jerome's knack for striking a hooky catchiness. The beat is based around a punchy kick and a melancholy piano loop that recalls the earlier work of J. Cole or Kanye. Jerome is relentless with his flow here, not only doing internal rhymes but also nailing multisyllabic cadences easily. The live audience “gang vocals” layered into the outro give this track an electric finish, almost as if you’re hearing it performed in a packed venue.

Probably the most experimental track on the EP, "Stay Close" really blurs the lines between hip-hop and neo-soul. The beat consists of a jazzy chord progression played on an electric piano with a syncopated drum pattern, meaning that the listener is left slightly off balance. 

"My Everything" makes a stark shift into far more melodic territory, proving Jerome's comfort while singing and rapping. The song is constructed on top of a lush R&B-tinged instrumental with shimmering synth pads and an unobtrusive bassline that showcases the vocals wonderfully. Having a quite minimalist production, it is in the layering of the vocals by Jerome that real depth and texture are brought to this particular piece.

The last track, "By Myself," is a declaration of independence—sonically and lyrically. With its reverb-drenched pads and sparse percussion, the production leans toward atmospheric territory and conjures up a sense of isolation that resonates with the theme. The beat is dynamic; it bounces between rugged trap sections and more melodic, introspective passes, while the hook manages to be catchy without trying too hard. The layered background vocals only make it richer.

Recorded in Jerome's studio and mixed/mastered by Darrius Porter of Golden Impala Recording Studio, the sonic detail is impeccable. The decision to incorporate live elements, like the gang vocals on "Ain't No Switchin' Sides," adds a human touch that's often missing in today's hyper-polished music landscape.

With Drain the Swamp, and as Jerome gets back into performing live and building his audience, there can be little doubt that this EP is more than just another release. So make sure you stream it today on Spotify.

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.