Ian Ureta

Let’s be honest: the music world isn’t short on reinventions. Every month some former background character from the ‘90s pops up in an NPR article about their “new sound,” usually involving synthesizers, a leather jacket, and an existential crisis. But Johnny Batchelor is doing something different with Ain’t Nobody. He’s not reinventing anything. He’s simply

You know that feeling when you’re watching the end of the world? Like, the skies are orange, democracy is on fire, your group chat is radio silent… and someone hands you a disco ball and says, “Try to look hot while it burns”? That’s the emotional thesis of Love Is The Revolution, the third studio

There’s a certain kind of silence that follows an old tape hiss. It’s the kind that feels like the room itself is holding its breath. I heard it once in a half-abandoned church where someone had left an old cassette recorder running after choir practice. The reverb, the warmth, the eerie calm; it all stuck

Brandon Mitchell’s GAMETIME is what happens when someone decides that instead of making another playlist-friendly rap project, they’ll drop a motivational playbook wrapped in boom-bap soul and unflinching honesty. It’s not just a collection of songs. It’s a PowerPoint presentation with 808s and scripture references, delivered by a guy who’s clearly done the reading and

Disaster on Neptune is what happens when someone locks themselves in a room with a synthesizer, a few unresolved emotions, and absolutely no intention of making “party music.” This is Mang’s solo debut, and it’s not here to hold your hand. Rather, it’s here to hold a mirror up to your face, dim the lights,

There’s something refreshing about hearing an album that doesn’t sound like it was built in a playlist lab. No chasing trends. No streamlined-for-Spotify formula. Just bars, beats, and a vision that doesn’t care if you’re ready for it. 37, the latest project from John D. Contradiction, isn’t trying to go viral; it’s trying to outlive