Ian Ureta

A tenured media critic known working as a ghost writer, freelance critic for publications in the US and former lead writer of Atop The Treehouse. Reviews music, film and TV shows for media aggregators.

Philmac’s “Live My Life” Starts as a Deeply Personal Declaration and Then Grows Into Something More Encompassing

At some point in every dream, it loses its shine. Most people aren’t interested in talking about that point. Most people are interested in the dream. The initial momentum. Late-night idea sessions. Inspirational quotes overlaid on stock photos of mountains. The dreams where you wake up to it all working out, then do a magazine […]

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X-ANONYMOUS Couldn’t Have Picked a Better Title Than “CLAIM IT ALL”; They Absolutely Do

This is a weird time to be involved with music; it demands we all be content creators, influencers, amateur marketers, compulsive oversharers, and, when we have time, musicians. All the songs now come pre-packaged with personalities, branding, carefully manicured online identities detailing everything the artist had for breakfast and their subsequent thoughts and feelings and

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“Kinda Love It” Doesn’t Attempt to Gloss Over the Mess or Make the Situation Feel Anything but Chaotic, and That Is What Makes It So Amazing

You know the modern crisis that is only really a modern crisis is one that begins when someone who you were so easily labeled as ‘just a friend’ sends a totally mundane text that somehow your brain insists is a world-altering event? And then you hear a song capturing that? It’s not a love song,

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“Promise to Love You” Is Tender Without Becoming Sentimental, Intimate Without Becoming Suffocating

Love songs are difficult to write. Music has been churning them out for centuries with varying degrees of sincerity and alarming levels of acoustic guitar, but because to make one now, in an era where emotional vulnerability is often filtered through layers of irony or buried under overproduction, requires a certain willingness to be painfully

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The Vault 2 by C’batch Rewards Patience, Attention, and a Willingness to Sit With Repetition

There’s a particular kind of music release that doesn’t really care whether you experience it as an “album” in the modern, tightly curated, playlist-optimized sense, and instead behaves more like someone opening a vault and saying: here, this is everything, take your time. The Vault 2 by C’batch is exactly that kind of project; a

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Blueprint Tokyo Aren’t Trying to Convince You That Everything Will Be Okay on Dark New Days EP

There is a very specific emotional space that rock bands love to gesture toward but almost never commit to living in, and that space is the middle of things. Not the cinematic beginning where everything is charged with meaning, not the triumphant or devastating ending where everything finally makes sense, but the long, ambiguous stretch

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C’batch’s “Trapped (I’m Doing Fine)” Isn’t a Track Trying to Overwhelm You With Contrast

C’batch’s “Trapped (I’m Doing Fine)” returns not so much as a remix but as a kind of technological séance; an instrumental from another era summoned back into the present and politely asked to develop a personality. It obliges. Where once there was groove, now there is groove with intent, which is always a dangerous upgrade.

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