Ian Ureta

“I’m my biggest fan,” Trueclaw admits, and honestly, fair enough. If I wrote something this pretty, I’d probably be insufferable too. That line isn’t bravado; it’s survival. When you’re an independent artist from Uppsala, Sweden; writing, producing, mixing, and probably spiritually communing with your DAW at 3 a.m, self-belief isn’t a luxury. It’s a fuel […]

When I reviewed Michellar’s “Never Say Sorry,” I called it a diary entry set to music; a song that quietly refused to play by the rules of modern pop vulnerability. It was small, deliberate, and human in all the ways streaming culture tends to erase. But with “Truth Over Lies,” Michellar flips that intimacy outward.

Lisa Lim’s “Lucky One” is one of those songs that sneaks up on you. It doesn’t hit you over the head with drama, and it doesn’t drown in sentimentality. Instead, it just breathes; slow, steady, confident. The kind of song that sounds like it’s been sitting by a river for an hour, thinking about life

Imagine you’re listening to a song about famine and instead of despair, it gives you hope. And not, like, Coldplay hope. Actual, data-driven, Steven Pinker-style hope. That’s “Great Escape Famine,” the second track on Transgalactica’s upcoming album Onwards and Upwards, and the middle child of their “Great Escape” trilogy which, by the way, sounds less

There’s a certain type of rapper who doesn’t need to scream about how authentic they are because the authenticity is baked into every syllable. Black Silver, better known as The Navigator, falls squarely into that camp. His new single “It Was Written” doesn’t so much announce itself as it does loom into view, slow and

Every once in a while, a love song sneaks up on you, not because it’s saying anything particularly groundbreaking, but because it’s delivered with such brutal sincerity that you’re forced to sit down and reckon with it. Enter Cydan’s “falling 4 u,” a track that feels less like a song and more like the emotional

Breakup songs are a dime a dozen. Half of Spotify’s indie playlists are padded with them, and most sound like someone opened GarageBand, whispered into a USB mic, and called it “vulnerable.” But “terminal”, the new single from Ottawa duo Wotts, does something different. It doesn’t cry at you. It doesn’t romanticize collapse. Instead, it