Listening to Dead Internet feels like falling face-first into your own phone at 3 a.m. You know, that moment where you’re doomscrolling, half dissociated, half weirdly emotional, and everything you see feels fake but also way too real? That’s this album. Cam Ezra isn’t trying to make something cozy or polite here. This is music […]
“Falling in the Dark” is one of those debut tracks that doesn’t tiptoe into the room; it saunters in, flicks the lights off, and goes, “Okay, we’re doing feelings now.” It’s the first official appearance of Dean RÖK, and honestly, it already feels like he skipped the “shy experimental phase” most new projects have and
“Come Out Lazarus I – Life Is Over” doesn’t behave like a typical opening track. Instead of easing the listener into People Zero, the concept album by Andrea Pizzo and The Purple Mice, it drops you straight into its emotional and philosophical deep end. As the first chapter of People Zero, the song functions less
Come Out Lazarus I – Life Is Over Is Cinematic, Emotional and Quietly Daring Read More »
There’s a specific kind of tension that runs through Sorry Not Sorry, the second EP from London-based singer, songwriter, and producer EL$ON. It’s the tension between wanting to move on and not quite being ready to let go. This project feels less like a comeback and more like a confession. The shift in identity isn’t
“Even Steven” arrives with a grin on its face and a strange little secret under the hood. At first listen, it sounds like a lost single from some alternate late-’70s radio dial; it’s warm, slightly off-kilter and charming in the way only songs with actual personalities can be. But behind that easygoing retro glow is
“Even Steven” Is Playful, a Little Weird and Ultimately Sincere Read More »
Omnesia’s take on “Dirty Love” isn’t just a cover so much as it is a controlled detonation of Frank Zappa’s original spirit, rebuilt with modern tools and a deliberately unstable sense of identity. Where Zappa’s version was sleazy, satirical, and knowingly grotesque, Omnesia approach the song like a piece of “future vintage” art; something dug
What Ultimately Makes Omnesia’s “Dirty Love” Work Is Its Comfort With Contradiction Read More »
I guess the easiest way to explain this EP is to say that Vincent Projects sounds like someone found a lost heavy metal band from the late ’70s, right before they accidentally flew into the Bermuda Triangle, and decided to finish mixing the tapes out of sheer curiosity. Not in a nostalgia-bait, “remember when rock
“Fire Escape” feels like the musical equivalent of standing on your apartment balcony at 2 a.m., staring at nothing in particular, and suddenly realizing you might be okay. Not fixed, not magically transformed into a better version of yourself, but okay enough to keep going. That quiet, hard-earned reassurance is the emotional center of Cooper
“Fire Escape” Stands Out by Being Patient and Deeply Human Read More »
There’s something quietly audacious about releasing a song called “The Crow” and then opening it like you’re trying to resurrect the emotional gravity of a lost Roy Orbison ballad. Arn-Identified Flying Objects and Alien Friends doesn’t just flirt with that lineage; it commits to it fully, leaning into melodrama, loneliness, and old-school romantic despair with
Intercontinen7al has always been less of a band and more of a science experiment that accidentally produced real songs. Their entire premise of “what if musicians from every continent tried to make something together without ever standing in the same room?” began as a lockdown hobby and somehow escalated into a four-year, globe-spanning collaboration involving
“Love Is Everywhere” Lands Exactly as It Should; Gentle, Hopeful, and Quietly Profound Read More »