Very few acts have been blazing their path on the Scottish scene, like Nuclear Club, who have already performed at Glasgow's O2 ABC and festivals including Doune the Rabbit Hole and some other Scottish festivals. Formed in 2014 in Perth, the group, Adam Streets, Ross Fraser, Marc Hill, and Mark Marshall, have honed their alchemical blend of guitars, synths, and percussive elements through their magnificent music.

The band is expanding their songwriting range on their newest full-length, "Black Cats Are Bad Luck," melting post-punk grit with electronic textures to dissect modern anxieties intelligently. 

"Hexavalent Chromium" eases the listener into 'Black Cats Are Bad Luck' with a propulsive guitar theme and shimmering synths. The vocalist calls out the lyrics, his voice floating above the mix with quiet grace. It establishes a ready soundscape embellished with intricately layered guitars, drums, synthesizers, and harmony vocals, certainly a press to a wide palette of sounds. Its follow-up, "Black Cats Are Bad Luck," hurries up the tempo with a propulsive indie rock groove and a sing-along chorus. The lyrics portray environmental activists taking protest into their own hands, hinting at the album's focus on the ideology of acceleration.

The band is excellent at all gear changes, like the dance-ready "It Rests" and the bouncy electro-pop "Lightning Spike." Later, "Skeleton Fantasy Show" tries to warrant some krautrock rhythms on a glitchy production level. 

Epic album closer "Paternoster" is the quintessential of what makes Nuclear Club such an exciting band. As they swirl frenetic rhythms inside cascading textures toward a glorious indie crescendo, the track summarises the sonic palette and ambitious artistic vision of the album. The band's skill and the chemistry driving it work to perfection. They combine polar styles while masterfully treating lofty topics through bright, artistic melodies, and in this fact lies their excellence. 

"Black Cats Are Bad Luck" is full of flowers, as the band approaches everything with syncretism in their seemingly natural attitude toward music. It cements Nuclear Club's status as the head of a vanguard of artists who interpret modern anxieties through an artistic lens. Neither didactic nor nihilistic, the band translates these weighty ideas into songs you lose yourself in. I would say it kept me hooked from one repeat play to the next. While some of those tracks might start sounding like a blur in their echoes of dystopian urbanity, I was impressed by the fact that this band consistently manages to carve special emotional vignettes within its terrain. 

"Black Cats Are Bad Luck" advances its way deeply into your psyche, and I found myself continually returning to rediscover new perspectives within its carefully woven sonic tapestry. For anyone in search of an artfully rendered summary of modern neuroses set to some seriously compelling tunes, I highly recommend they give this stunning album a stream.

Chris Quesnel stands out as a captivating artist, coming from the city of Montreal, this talented artist has arrived on the scene with a single that needs a spotlight. "Cherry Chapstick," Chris' latest offering, is a bold discussion of romantic relationships, delivered with a level of emotional honesty that is incredibly relatable.

 Quesnel is operating on a whole other level with the entrancing guitar riff and pulsating rhythms. The vocals navigate the track's dynamics, elevating the emotional weight of the lyrics to stratospheric heights.

 The opening lines immediately set the tone, as Chris grapples with the push-and-pull of the romance: "You know, I never wanna let you go. But now I won't lie. I think I'm better off alone, yeah." This duality is the driving force behind the track, as he goes through the emotions that arise from the inability to fully let go of a relationship. Lines like "And I don't wanna taste that fucking cherry chapstick no more / Because every time we end up back where we were before" pack a punch, cutting straight to the emotional turmoil at the heart of the track.

Collaborating with producer IOF, he's put together a mix that fuses an of-the-moment track, destined to creep its way into your subconscious and refuse to let go. The driving beats, the cascading guitar lines, and the subtle synth textures all come to keep the track propulsive. 

As the track builds to its electrifying chorus, Chris’s vocals deliver a hook that will have you singing along, regardless of whether you've experienced the pain he's describing. There's an undeniable energy and immediacy to the way Quesnel expresses the lyrics as if he's laying them out there in the corners of his mind.

Quesnel's DIY approach to the entire creative process, from the basement-recorded vocals to the hands-on production, only adds to the track's powerful energy. It shows his dedication and vision. 

As the track draws to a close, Chris’s final words land on a gut punch of emotional resonance. "And every time you end up at my house / We're back again spinning round"  with doubts / So tell me now, what you want, / You say these things, and now you're leading me on." It's a journey that has been exhilarating and heartbreaking.

Cherry Chapstick shows how important music is to a broken heart. Quesnel has taken the materials of personal experience and forged them into a work of art that is intensely relatable. 

I implore you to check out the world of Chris Quesnel's "Cherry Chapstick." This single is a bold declaration of artistic intent; stream it now and get ready to have your world rocked, by Chris Quesnel.

With an impressive 174,092 monthly listeners on Spotify and a growing social media presence, including 58k Instagram followers, Cali Tucker has successfully transformed her musical heritage into contemporary stardom. As the daughter of recording artist LaCosta Tucker and niece of country legend Tanya Tucker, she brings an authentic Nashville pedigree to her Vegas-influenced sound. After bursting onto the scene in Season 6 of The Voice as a Team Blake finalist, Tucker has grown into a force on the entertainment strip of Las Vegas, performing five nights per week in some of the city's most exclusive hotspots, including Delilah at the Wynn, Resorts World, and Aria.

Her latest, "Urban Cowboy," out September 6th, 2024, is the epitome of artistic growth from Tucker in its production and arrangement. The track opens with a stunning dance between humming phrases and very present electronic elements, proudly stating its nature from the get-go. The verse allows the distinctive vocals of Tucker to shine, her tone carrying her warmth and pop precision. As the pre-chorus builds up, it creates a dreamy harmonized backdrop that bursts into a quiet arena-performing-worthy chorus.

This means the production, guided by Grammy-nominated G'harah "PK" Degeddingseze and Tricia Battani, who also act as co-writers with Tucker, extends into a sophisticated conceptual setting that opts not to accept the strictures of genre. The arrangement is thoroughly modernist, mixing country instrumentation with fresh production methods: traditional string rolls and warm acoustic guitars intertwine with silky pop beats and strategically placed reverb effects.

Tucker's delivery shows great dynamic control, going easily from smooth opening lines to high chorales. The production team decided to layer her vocals with airy harmonies, adding depth while keeping the organic feel of the song.

The arrangement of this song continues to build with each section introducing new elements that keep listeners interested. The chorus, in particular, showcases intelligent pop trends, which is a delicate balance that few other acts attempt, let alone pull off with such style.

Influences of Shania Twain abound in the production approach and in the vocal styling of Tucker herself, though she maintains her distinctive artistic voice. 

Right from the moment I hit the play button on Cali Tucker's "Urban Cowboy," I became thoroughly enthralled. Being someone who loves both the authentic storytelling of country music and fresh production, I was completely drawn into Tucker's world. If you haven't already, now's the time to get hip to "Urban Cowboy," one of the most enthralling country-pop releases of 2024. The song is out now on all digital platforms; put it in your playlists, forward the link to your friends, and enjoy it.

Emerging from Austin, TX's exciting indie folk scene, Ella Reid has taken the past years to build up a voice that is confessional in its songwriting and idyllic in its delivery, earning her a very committed following throughout her performances across the country. Following 3 critically acclaimed albums on various themes talking about her as a person, and having over 3k monthly streams on Spotify, Reid here tackles the issues of holiday memory with her newest single, "That's a Holiday." "That's a Holiday" is the latest single from the artist, which we expect more from soon, showing off a groundbreaking development in her capability to turn her experiences into reverberating music. This introspective ballad goes further than the typical festive soundtrack, twisting a rich narrative that explores the emotional terrain of seasonal memory and loss.

The track opens with a soft guitar progression that sets up the mood, its minor chord fluctuations warning of levels of complexity to come. Ella Reid's voice sits beautifully as her timbre is rich with a slight smoky quality, plus an adequate amount of naivety, making this narrative all too real. The production has a pearly clarity that ensures room for each musical element to breathe. Strings are subtly arranged to complement the piano, thus texturing the track while keeping the introspective core.

“That's a Holiday" is a rich appreciation of seasonal emotional layers. Reid navigates that balance between joy and melancholy with precision. The songwriting here sounds mature in its dealing with grief and celebration, understanding that experiences during the holidays can't just be purely joyful or purely sad; rather, it is a mix of both. The rhythmic foundation remains understated, with gentle percussion that offers the movement of the song's contemplative atmosphere. Digital processing is minimal, preserving the organic quality of the instrumentation and vocals.

"That's a Holiday" is one of Ella Reid's most important artistic statements. Her single is outstanding for its genuineness and deep exploration of seasonal emotions. It is a track that lets the moment's soundtrack then create an emotional space for listeners to reflect, remember, and connect.

For those looking for a Christmas music experience above commercial sappiness, Ella Reid provides a serious alternative. "That's a Holiday" is the journey of emotion, an appeal to adopt every shade of human sentiment at a time most people celebrate with a reduction to simplicity.

Stream "That's a Holiday" now and discover an artist who understands true connection in music occurs through perfection and direct and delicate storytelling.

Not too many artists can boast of successfully merging diverse traditions of music while preserving much emotional resonance. Marc Soucy, on his latest offering “Tashkent Club Fire,” does just this sort of masterly synthesis, drawing upon his vast background in classical piano, progressive rock, and electronic music to create something entirely unique.

The unlikely trajectory of Soucy, from classical piano prodigy as a child to versatile producer and composer at Boston's Renaissance Recording Company, has provided him with an astonishing musical toolkit, which is on full display in every precisely placed moment of this composition. It begins with a powerful motif that is a launchpad for what follows: a heady exploration of sound that resists categorization.

The foundation of the composition, in ostinato, carries a hypnotic undercurrent through the fractal-like building of layers: a carefully orchestrated string section and synthesizer layers that grow ever more complex in structure. Each new element enters the mix with purpose, keeping production quality, mixing at the desk, and letting the instruments breathe while adding their part to the greater mix.

The composition of the track follows movements that start from a high point and continue building up, leading the listeners through a narrative arc. Middle Eastern melodic contours weave with electronic elements, creating an exotic song. The song would feel right at home in any high-class club from Cairo to Constantinople.

Maybe most impressive is how Soucy handles climactic moments: where so many acts would lean into obvious crescendos or predictable builds, he gets by with subtle shifts in texture and timbre that give emotional peaks an earned rather than forced quality. 

The technical work here lets Soucy cherry-pick the most effective elements of each: the complexity of oriental music, the atmospheric depth of electronic music, and the structural rigor of traditional composition all play their role; the structural coherence imparts to the piece a satisfyingly rounded feeling.

The seductive effect of “Tashkent Club Fire” is how it nails that perfect sound of Eastern textures. Soucy weaves Middle Eastern modal patterns through the composition and adds a mystical quality to how the melodic lines dance and intertwine. Subtle microtonal inflections and ornamentation respectfully acknowledge a tradition of oriental scales, while modern production techniques and techno elements connect the bridge between two musical worlds.

“Tashkent Club Fire" will be a staple in any person's playlist who enjoys their music challenging and rewarding. It is currently available on major streaming networks, where the multifaceted soundscape and emotional depth invite focused session listening and atmospheric background accompaniment. 

Emerging from Omaha's vibrant independent music scene, Kilravock embodies a singular creative vision courtesy of Steven Wayne Smith, a multi-instrumentalist, producer, and songwriter who resists easy categorization. Much more than a simple musical project, Kilravock's vehicles are deep social commentary, interweaving the personal narrative with wider systemic critique. Smith's approach to making music blasts through traditional boundaries, folding alternative rock, art-rock, and progressive soundscapes into a striking conceptual language that ties in with today's social experience.

The first release, “Incompatibility ][ Working Class Hero," immediately establishes the musical and philosophical terrain of Kilravock. The original song “Incompatibility” is a masterful examination of workplace alienation and personal strife. Instrumental virtuosity is immediately apparent in a guitar performance that crisply and sensitively builds dense emotional fabrics. The song opens with a razor-sharp riff, cutting through layers of sonic texture with breathtaking technical skill. Every chord progression seems to be carefully thought out, revealing intricate harmonic relationships that beg for close listening.
The guitar work is surprisingly sophisticated from the very first note. The delivery flickers and flows perfectly to carry the track's thematic journey of workplace alienation. The immediate sense of vocal delivery is pure and unfiltered, making what should be singular experiences universal, which seems to be a hallmark of great songwriting. The basslines rumble with controlled aggression, adding textural depth and keeping the track solid. It's to Smith's credit as a producer that every instrumental element feels both distinct and cohesively woven together.

Not a companion piece, the cover of John Lennon's "Working Class Hero" is a purposeful ideological continuation. Smith enlists Sean Soucy, Anna Schmidt, and David Dick as he reimagines the protest song classic as a collective statement. This makes for a track with a palpable sense of communal resistance that elevates Lennon's original message for the modern era. In terms of production, the release is remarkably complicated. There's a richness to the auditory palette, but it's controlled; every instrumental and vocal element is in its perfectly judged spatial dimension. The mix is intentional, betraying Smith's background as a multi-instrumentalist producer—nothing feels accidental, and yet the result never descends into sterility.

As a debut, "Incompatibility ][ Working Class Hero" is an intriguing introduction to Kilravock's artistic outlook. It precedes an album entitled "Just Another Wonderful Day," which promises to push the expectations and musical comfort zones of its listeners.
The inner depth that "Incompatibility ][ Working Class Hero" has brought into my life is beyond mere emphasis. Uncompromising emotional honesty, coupled with Smith's brilliance, makes this single a personal epiphany. I implore you, dear readers: to stream Kilravock's "Incompatibility ][ Working Class Hero" on your music platform of choice.

With their reputation for unrelenting authenticity forged in the indie rock crucible, Maverick Smith has emerged as a fast-rising beacon of innovation in the music world. Songs, penned by Sean Boynes, ring with intricate structure combined with technical prowess. Their first album, "With Friends and Imperfections," not only garnered them much critical acclaim but was called "legendary and genius" by WKIM Los Angeles while also securing their reputation as one of the more dominant forces in modern rock. Having over 6k monthly listeners on Spotify, the band has built an international presence among fans and radio stations ranging from Brazil to Japan, continuing to break new ground.

Their new release “Christmas” is a far-out reimagining of holiday music that courses with the insurgent spirit of indie rock. The centerpiece of the EP, "Coal for Christmas," is a total masterclass in musical subversion. From its opening bars, the track marks itself apart thanks to a guitar melody that's at once intricate and visceral. The instrumentation weaves together in a far-from-simple tapestry: delicate piano lines that provide a rhythmical counterpoint to gritty, overdriven guitar work that feels more punk rock than Christmas standard. This is furthered by the real star of the show: vocal delivery in a husky, slightly ragged timbre that injects genuine emotional complexity into what could have been a simple novelty track.

"Kid at Christmas" is the dramatic tonal shift, pure, unadulterated joy taken up a notch with an intoxicating energy that's impossible to resist. The musical sensibility of the band shows in the arrangement of this track, the song making use of syncopated drum patterns courtesy of Jim Courtney that prevent the track from falling into some predictable festive routine.

The musical palette here is particularly full; think the melodic exuberance of power pop head-on with the technical intricacies of progressive rock. Lush string arrangements add depth and refinement, turning what could have been a fairly regular tune for the holiday into a nuanced musical statement.

This reimagining of "Jingle Bells" cements the band's status as musical innovators. This is not a mere rock-infused cover. It deconstructs and rebuilds one of your staple holiday standards. The song rips away the typical jovial veneer of the song and replaces it with a high-octane arrangement pulsating with the urgent energy of punk rock.

That is what makes this EP great: its underlying mission. With the help of the Harmony Health Foundation, Maverick Smith makes this musical project much more, a social statement, so to speak. Music just becomes the medium for a great message, showing how art can entertain and advocate all at once.

The EP succeeds in refusing to treat holiday music as monolithic and sentimental. Instead, Christmas is a complex emotional space scattered with instances of joy, melancholy, and always nuanced. Each track is a separate and carefully constructed narrative invitation to a more sophisticated understanding of the seasonal experience.

I just can't help but evangelize Maverick Smith's incredible holiday release. There's something magical about how they've captured the spirit of Christmas while completely reinventing the sound. I have "Christmas" on repeat, and so should you. Stream this EP now; go to Spotify or your favorite streaming platform and listen to Maverick Smith's Christmas EP.

The award-nominated singer-songwriter, Mick J Clark, who's no stranger to success with his million-plus Spotify streams and chart-topping hits, has always succeeded at bringing a smile to my face.

His journey from independent artist to chart-breaker (hitting #2 on USA iTunes Top 100 Rock Songs with "We Know It's True") reveals his talents from previous ventures into various genres – from Latin to Country, Pop to R&B – illuminating his way to creating unrestricted music. This versatility shines through in his Christmas composition “Sing Glory Glory Hallelujah"

The song's arrangement is a remarkable example of a holiday production. Opening with a characteristic jingle-bell motif that establishes the seasonal context, Clark layers in church bells that resonate with pristine clarity against a backbone of steady acoustic guitar work. The production eschews the typical saccharine overload of many modern Christmas songs, instead opting for a more organic approach that lets the instrumental elements breathe.

"Glory Glory Hallelujah" follows a traditional verse-chorus pattern, but Clark cleverly incorporates two distinct bridge sections that provide welcome dynamic variation. The first bridge, with its reference to the journey, creates a moment of stillness and pause before the rhythm section kicks back in, while the second bridge offers a more stylish meditation on gift-giving that cleverly subverts expectations.

The harmonic progression remains deliberately straightforward, building on true chord changes that support the message. The "jingle jangle" rhythm he employs is a slight pattern that keeps the energy moving forward while maintaining the song's accessibility.

The opening verses acknowledge the Nativity narrative "The saviour born on this Christmas mourn, to every race and creed" while later verses expand into broader themes of unity and peace. This progression from specific to universal helps the song resonate with listeners regardless of their faith background. The recurring "glory glory hallelujah" chorus serves as an effective hook that's impossible not to sing along to after just one listen.

The song's message of unity "let's all join hands, all across the land" might seem simple on paper, but in Clark's capable hands, it carries genuine emotional weight.

Clark manages to incorporate traditional Christmas elements, the religious narrative, the call for peace on earth, and the sleigh bells, without falling into clichés. Each component serves the more wonderful whole, creating a holiday song that is both respectful of tradition and relevant to contemporary listeners.

For those tired of the same old holiday playlist rotation, "Sing Glory Glory Hallelujah" offers a refreshing addition to the Christmas music canon. It's the rare seasonal song that could reasonably be enjoyed year-round, thanks to its underlying message of ending wars and joining hands.

Stream "Sing Glory Glory Hallelujah" on your preferred platform and add it to your holiday playlists – it's exactly the kind of fresh take on Christmas music we need right now. With over 66k Spotify streams and climbing, many listeners are finding something special in Clark's contribution to the holiday season.

Sonomancer has always existed in the liminal spaces of electronic music, a producer always interested in creating the best music out there. Their latest single "Before Dawn" is a song that can still surprise us with how exemplary it is.

The track opens with a thick heavy chord, swimming in reverb, its harmonic overtones suggesting a chord-fitting metaphor for the dawn that gives the track its name. The subtractive synth enters with a dense melody, its filter cutoffs opening and closing like lungs in meditation. The production skills pay off, quantizing the melody to a perfect grid, they allow it to bleed microscopically off-time technique producers refer to as "human feel."

Special mention goes to the backbone of the track-subtle rhythms made from processed field recordings. The percussion can be heard as a manipulated sound of breaking glass, like broken things into beauty. It is impressive, but it reverberates with the track's hope.

By the midpoint, the arrangement expands into something approaching proper ambient techno, through "Before Dawn". The pulse emerges from layers of granular synthesis, beating out a rhythm, while the bass is sculpted with precision, making you still keep notice of the high frequencies.

The final minutes are a masterclass in tension. As dawn does break in the composition, Sonomancer delivers the expected euphoric climax. We get something emerging into the light, marked with a major chord progression, ending everything with a bang.

"Before Dawn" sits with its complexities. It offers something genuine exploration of how light music persists in the spaces between darkness and light. In an electronic music scene that's frequently ruled by either aggressive maximalism or affected minimalism, Sonomancer has managed to carve out a third path: one of full expression through sound design and patient composition.

This is a song that asks for active listening and rich rewards. It is a masterpiece, "Before Dawn" suggests an artist working at the height of their powers, unafraid to let intimacy and technical excellence survive within the same space. It shows that electronic music can still surprise us with its sincerity.

"Before Dawn" is an amazing accomplishment in electronic music that should be in heavy rotation for anyone who loves atmospheric production. Its deftly balanced use of powdery synthesizers, ambient textures, and emotional keys, shows the type of track that discloses something new with every listen. For those who like electronic music, this track will be one to add to their playlists, so add it right away on Spotify.

Proklaim has always proved time and time again that he is genuinely talented at recording virulent, high-energy anthems, and "CALL" doesn't prove otherwise. This song was recorded at Pen Pushaz Studios in Windhoek, one of Namibia's most respected studios, and was mixed to perfection by one of the leading engineers, Wojtek Majewski. 

 "CALL" grabs your attention with its gleaming brass fanfare and propulsive, syncopated rhythms. Proklaim's voice takes the stand as his flow glides freely along the detailed, ever-changing beat. 

The hook on "CALL" is easily irresistible, as Proklaim's vital vocals rise above a thick tapestry of lush, reminiscent keys and harmonious choral layers. The hook gets stuck in your head and refuses to leave, the absolute counterbalance to Proklaim's verses: lines filled with quotable phrases and visceral imagery that paint vivid pictures.

The production on "CALL" is brilliant, where mixing by Majewski brings out every little detail and dynamic shift in the track. The brass fanfares and keyboard pads sound mighty with that cinematic quality, while the bass and drums rock a solid, unshakeable foundation for Proklaim's virtuosic vocal performance.

"CALL" finds Proklaim reflecting on his path as an artist and the lessons he learned along that road. In each verse, this sense of wisdom and self-assurance imbues his words with almost spiritual significance for Proklaim's message concerning self-empowerment and actualization.

It is important to note that "CALL" is not Proklaim's first attempt at creating the type of music described as irresistible and radio-ready. His previous single, "Kingz," featuring Namibia's rap ace Romi, enjoyed massive success, rave reviews, and rotation on MTV Base. With "CALL," Proklaim is set to take his already successful career to new heights and assert his position among the most exciting and compelling voices in African hip-hop.

"CALL" is more than catchy; it's a call to arms, a declaration of artistic integrity, and an earnest reflection of the artist's walk toward self-discovery and growth.

As Proklaim himself puts it, "Stay true to intuition" is a motto on which the ethos of this great single is based. And with "CALL," he has done just that—created a track both commercially astute and artistically brave, a perfect mixture of infectious beats and moving lyrics.

Whether you have been an avid listener to the artistry of Proklaim for many years or are brand new to the scene, "CALL" is one to add to your playlist. This is one of those songs that just calls you to sing along from the very first note but also invites you to reflect on the deep messages and emotions that Proklaim weaves into his songs.

Since first hearing "CALL" from Proklaim, it has been a song that I couldn't bring myself to turn off; it's infectious and undeniably uplifting. Proklaim's flow catches the ear, and the production is bright with pure brilliance. His ability to weave introspective lyrics into such a grand, majestic sound is genius. It's that kind of song that makes you feel motivated and energetic, but at the same time, you start reflecting on your journey. If you haven't heard "CALL" yet, do yourself a favor and stream it online now.