International

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. […]

“Let’s Just Go” opens with the kind of confidence that suggests Sweet Mess are very aware of what they’re good at and more importantly, that they’ve stopped pretending to be anything else. Which is interesting, because this is a band whose identity, until fairly recently, was tied up in being a really good cover act.

When a metal track sounds exactly like an impending doom, you know you’re in for something for something cool and real. Because what is metal without that haunting, thunderous feel? And if you’re into that kind of vibe, Inception Of Eternity’s Mother of Dawn is back in the scene to give you that exact edge.

There’s a particular kind of exhaustion that doesn’t come from doing too much, but from taking in too much. Scrolling, refreshing, absorbing, processing and somehow still feeling like you’re behind on everything. Weight of the World, the newest single from Eddie Cohn is built around that exact feeling and more importantly, it doesn’t pretend there’s

There’s a very specific kind of song that announces itself as Important within the first thirty seconds; not because of anything it’s done yet, but because it arrives carrying a fully itemized list of influences, intentions, and moral positioning. THE CHOICE by Chris Oledude is absolutely one of those songs. And to be clear, that’s

There is a specific, quiet violence to stage fright that most studio-slick pop stars never let you see. We’re used to the polished Pop-Rock aesthetic where confidence is a default setting, but Exzenya’s latest single, The Fans Applauded, lives in the uncomfortable and hyper-specific seconds before the first note drops. It is a soft-rock ballad