Category: Single Review

Single Review by William Ruben Helms

New Audio: Michael Berman Shares Giorgio Moroder-like “A Masquerade Called Life”

Michael Berman is a Moscow-born, Israeli-based poet, novelist, songwriter and musician. Berman’s creative career began in earnest back in 1998 when he started to get stories, poems and plays in his native Russian published in different newspapers, literary and humor magazines, as well as humor sites.

Between 2005 and 2006, Berman published two books Masquerade of Missing Jokes and a collection of poems, Poems on the Wall — both in his native Russian.

By 2010, Berman had shifted to music and over the course of the next two years, he wrote and recoded somewhere been 25-30 albums across different genres and styles, including instrumentals. electronic music and experiential music.

In 2020, Berman published two collections of English language stories Sad Eyes and Drunk Happiness, a collection of plays 8 plays and a collection of obscene poetry, which he has dubbed literary punk.

By 2023, Berman returned to music, this time dabbling in jazz, bossa nova and electronica.

The Russian-Israeli artist’s latest single “Masquerade Called Life” is a sleek, slickly produced, seamless synthesis of Europop, Quiet Storm R&B and sophisitipop that showcases Berman’s ability to craft an incredible catchy hook paired with a sultry female vocal. Dueling boy-girl vocals appear for the song’s hook. Channeling Giorgio Moroder, “Masquerade Called Life,” Berman’s new single strikes a balance between slick production and thoughtful craftsmanship, club friendliness and grown and sexy lounge friendliness.

Single Review by William Ruben Helms

New Audio: BLXCKFLAMINGO Tackles a Beloved Post-Punk Classic

BLXCKFLAMINGO is a Jersey City-based goth/darkwave duo, who over the course of the past year have released a handful of singles, which saw them quickly establish an urgent and intense sound featuring driving drum machines, thumping ass lines, ethereal shoegazer textures and pain-fueled riffs paired with an eerily cold and brooding baritone vocal.

The New Jersey-based duo begin 2026 with a goth/darkwave-tinged yet lovingly straightforward cover of Joy Division‘s 1980 signature tune, “Love Will Tear Us Apart” that maintains the song’s conflicted, heartache and remarkably catchy hook.

Single Review by William Ruben Helms

New Audio: Moulod Shares Sparse, Hook-Driven “Socialites”

Moulod is an emerging Stockholm-born artist. And for the Swedish artist, his music typically begins with lyrics. He writes constantly, using his lyrics as a way to strip down experiencers and uncover what’s real. Only the rare songs that carry honesty are released, for him about 10% of anything he writes, with each carrying his raw vocal delivery at the center. His words are paired with productions that run the gamut from lo-fi, hip-hop, R&B, indie rock and blues — or whatever best carries the story and song forward.

The Swedish artist’s latest single “Socialites” feat. Rûn is a sparse tune that’s simultaneously menacing and sultry, warmly introspective yet chilly and evasive. And while showcasing an artist, who cab pair unflinchingly honest lyrics with sleek production and incredibly catchy hook.

At its core, “Socialites” feat. Rûn conveys the uneasy contrasts between one’s public image and private life, and the demands and sacrifices that public image requires.

Single Review by William Ruben Helms

New Audio: Naza SYF Teams Up with Zikyre on Breezy “Active”

Naza SYF is an emerging Nigerian artist, who has released a handful of single over the past 18 months or so. His latest single “Active” feat. Zikyre is a breezy, slickly produced Afrobeats bop that effortlessly manages to be club and lounge friendly.

With the bitter cold temperatures across most of the United States right now, this song is a reminder of the rooftop parties, block parties, cookouts and beach hangouts we’ll be enjoying in a few short months.

Single Review by William Ruben Helms

New Audio: Lowly Light Teams Up with Mishell Ivon on infectiously Hopeful “Impossible Possibility”

Matt Gorny is an award-winning, New York-based songwriter and producer, best known as Lowly Light. As a songwriter and producer, Gorny’s work has shown continual evolution, ranging from tunes like “Get Over Yourself,” “Prayin,’” “Candy Lied” and “Down the Coast,” which bounce between nu-disco, chilled out grooves and energetic indie pop, while also collaborating with an growing number of dance music artists, including Ultra Naté, Amanda Lepore, Luca Perra and others.

Gorny’s latest Lowly Light single, “Impossible Possibility” feat. Mishell Ivon is a bit of French touch-like house/nu-disco that’s a much-needed hope and joy bomb in our desperate, uneasy moment. We have to hold tightly onto hope because the regime wants us to feel as though all is completely lost.

As the New York-based songwriter and producer explains, “Impossible Possibility” is a song about holding onto hope, bravely diving for the brand new and reaching for what may be the one-in-a-million shot.

Single Review by William Ruben Helms

New Audio: Atomsmasher Shares Breakneck “Cartoon Violence”

Led by siblings Ed Erenberg (vocals, guitar) and Brett Erenberg (keys), Atomsmasher formed in suburban New York and made its mark with their full-length debut, 1998’s Up & Atom, a cult favorite that saw the band mixing power pop hooks with restless experimentation, anchored around densely layered guitars, stacked harmonies and lyrics that balance absurdist humor with piercing observation. 2004’s All Around the World and 2014’s Each Day Is Better Than the Next saw the band expanding upon their reputation for eclectic yet cohesive rock, while weaving diverse influences from Julian Cope to Pixies into something completely their own.

Over the years, their work has received airplay on college radio and spots on television shows, helping the band amass a loyal following with the New York City Metropolitan Area’s live music circuit.

Last year’s Keep This Secret was the first Atmosmasher album in over a decade. The album sees the band crating material that showcased the band’s signature sound: tight arrangements with sly lyrical turns within songs that are forcefully immediate and catchy.

“Cartoon Violence,” the first single since Keep This Secret is a frenetic, breakneck ripper that’s one-part math rock, one-part Queens of the Stone Age-like stoner rock that showcases the band’s unerring knack for hookiness paired with a playful sense of menace.

Single Review by William Ruben Helms

New Audio: Thundercat Teams Up with Lil Yachty and Flying Lotus on Strutting and HIlariously Awkward “I Did this To Myself”

Acclaimed JOVM mainstay Thundercat will be releasing his fifth studio album — and first album in over six years — Distracted through Brainfeeder on April 3, 2026. Distracted was created in close collaboration with super producer Greg Kurstin with additional production from Flying Lotus, Kenny Beats and The Lemon Twigs. The new album also features contributions from an all-star cast that includes A$AP Rocky, WILLOW, Tame Impala, Channel Tres, Lil Yachty and a previously unreleased collaboration with Mac Miller.

Thematically, the album vividly captures the uneasy tension between overstimulation and introspection. Thundercat is deeply skeptical of technological “progress,” especially the way it has narrowed our collective imagination instead of expanding it. He jokes about Star Trek and childhood dreams of space travel, then pivots to the horrible anticlimax of reality” drones without lasers, phones that only feature upgraded cameras, innovation reduced to spying and access. The disappointment isn’t about just gadgets; it’s about a vision of the world we were promised versus what we got right now. Sure, some forms of deep space travel may be difficult, if not impossible, but we don’t have flying cars or smart-alecky robots. We barely have high-speed trains or anything else.

While the drawbacks of constant distraction are evident in today’s attention deficit economy, a true idiosyncratic like Thundercat can identity the ways in which it used to one’s advantage. You can’t spell “daydreams,” without dreams. “Sometimes you need to be distracted to focus in a different way,” Thundercat says. What the JOVM mainstay wants listeners to take from the album is remarkably, disarmingly simple: “Just enjoy it and have fun and just know that the struggle is real and changes shape, but just to keep pushing forward.”

Rather than instant and constant commentary, the JOVM mainstay offers something quieter, more radical, and maybe something more empathetic: The permission to be confused, tired and distracted — and yet still make something beautiful and necessary out of the noise.

Anchored around a strutting and ridiculously funky Thundercat bass line, thumping beats and twinkling Rhodes “I Did This To Myself,” feat. Lil Yachty, Distracted‘s lead single features the two acclaimed collaborators trying to holler at very busy baddie, who has no time for either Thundercat or Lil’ Yatchy, despite their desperate pleas to be treated better. They feel like complete fools. And at the core of the song, both artists seem acutely aware that they’ve placed themselves in the song’s ridiculously awkward yet all too human predicament. The song also features additional production from longtime collaborator and friend Flying Lotus.

Single Review by William Ruben Helms

New Audio: Nation of Language Shares Tom Sharkett Rework of “Inept Apollo”

Last year was a big year for acclaimed Brooklyn-based synth pop trio and JOVM mainstays Nation of Language. The trio — Ian Richard Devaney (vocals, guitar), Aidan Noell (synths) and Alex MacKay (bass) — signed with Sub Pop Records, who released their Nick Milhiser produced and mixed fourth album, Dance Called Memory, continuing an ongoing collaboration that included 2023’s Strange Disciple.“What’s so great about Nick is his ability to make us feel like we don’t need to do what might be expected of us,” says Nation of Language’s Aidan Noell.  

Sonically, the album is imbued with a subtly shifted palette: On some tracks percussion is smashed through a synthesizer as a nod to early-2000s electronic music. Chopped-up drum break samples also make appearances.

But ultimately, for the trio, the hope was to weave raw vulnerability and humanity into a synth-heavy album. “There is a dichotomy between the Kraftwerk school of thought and the Brian Eno school of thought, each of which I’ve been drawn to at different points. I’ve read about how Kraftwerk wanted to remove all of the humanity from their music, but Eno often spoke about wanting to make synthesized music that felt distinctly human,” Nation of Language’s Ian Richard Devaney says. “As much as Kraftwerk is a sonically foundational influence, with this record I leaned much more towards the Eno school of thought. In this era quickly being defined by the rise of AI supplanting human creators, I’m focusing more on the human condition, and I need the underlying music to support that… Instead of hopelessness, I want to leave the listener with a feeling of us really seeing one another, that our individual struggles can actually unite us in empathy.”

The album features “Inept Apollo,” which continues a remarkable run of nostalgia-inducing 80s New Wave-inspired material that showcases the trio’s unerring knack for crafting slickly produced bops, anchored around earnest lyricism and songwriting.

Recently the JOVM mainstays shared Tom Sharkett‘s bold rework of “Inept Apollo.” Sharkett’s rework retains Devaney’s yearning vocal and some of the original’s New Wave/synth pop-inspired feel but noticeably increases the BPM and adds a strutting disco-like bass line. The result is a something that’s earnest, achingly yearning and yet even more dance floor friendly. It’s one-part Madchester-scene, one-part NYC dance club.

“We’re big fans of WH Lung, as well as Tom’s excellent recent LCD Soundsystem rework, so we were super excited when he reached out saying he wanted to take a crack at a new mix of ‘Inept Apollo,'” Devaney says. ” Our initial enthusiasm only grew when we received the end product a couple months later and were able to test it out in a club environment a few times. Can confidently report it sounds fantastic in a loud and crowded room. Here’s hoping it sees its way to a few dance floors in 2026.”
 
“I had an affinity with Nation of Language as soon as I heard their music,” Tom Sharkett says. “It felt like it came from the same place as the music I was making myself and with W. H. Lung, and the more of their music I heard, the more I felt it. It was hard initially to find a way in with remixing ‘Inept Apollo,’ as I loved the original so much. I knew I wanted to nod to the connection between NYC and Manchester started by the artists and DJs I feel we both love, without even having to name check them. It had to be wonky, and it had to be loose and lively. Hope you enjoy!”

Single Review by William Ruben Helms

New Audio: Bronco Forte Shares Bruising “Obvious Alias”

Los Angeles-based stoner rock outfit Bronco Forte — Chris Klepac (vocals, guitar), All Hail the Yeti‘s Sako Inajaian (guitar), White Forest‘s Jen Glomboski (bass), and Batillus‘ and A Storm of Light‘s Geoff Summers (drums) — will be releasing their full-length debut, Lightning Scars on April 3, 2026.

After years of creative toil and preparation, the Los Angeles-based stoner rock quartet’s full-length debut sees the band stepping into the spotlight as a fully-formed heavy rock phenomenon with roots in the classic heavy music of the 1970s — but with a modern sensibility and sonic approach. Lightning Scars was tracked and mixed by engineer Kevin McCombs at The Steakhouse, the studio where Queens of The Stone Age recorded Era Vulgaris. The album was mastered by Nick Townsend, who cut the album to lacquer on his own personal lathe.

Thematically, Lightning Scars chronicle the uncertain lives of ordinary people of California and elsewhere, with the characters each song depicts desperately striving to maintain their integrity and sanity in the face of a rapidly-changing, increasingly dystopian hellscape.

And as a result, the album’s lyrics balance literary style and kitchen-sink realism. The album’s material is anchored around deep, dirty riffs, hard swinging grooves and song structures that are clever without being cluttered or overly complicated. And this is paired by a pop leaning sense of harmony.

Lightning Scars‘ second and latest single “Obvious Alias,” is anchored around the sort of bruising riffage that seemingly channels Queens of the Stone Age, Dirt-era Alice in Chains and Badmotorfinger-era Soundgarden while showcasing a band with an uncanny knack for pairing catchy, melodic-driven hooks, rousingly anthemic hooks and lived-in lyrics.

Single Review by William Ruben Helms

New Audio: Crá Croí Returns with Brooding and Anthemic “Feeding The Fear”

Deriving their name from the Gaelic word for “heartache,” “vexation of spirit,” County Cork-based duo Crá Croí — RG (songwriting, production, mixing and mastering) and CD (vocals and visuals) — have employed a fiercely DIY ethos while establishing a sound that meshes elements of 1980s New Wave, post-punk and goth, featuring melancholic synths, dark melodies, angular guitars and sharp, hook-driven vocals. 

The Irish duo’s work explores themes of nihilism, love and destruction, dystopian collapsed and nuclear annihilation, often wrapped in irony and paired with post-apocalyptic metaphors. 

The Cork-based duo’s self-produced, 12-song, full-length debut, Tá brón ormis slated for release during the second half of 2026. Deriving its title from the Irish phrase for “sadness” or “sorrow is on me,” the duo’s debut effort will feature the previously released “Radiation Romance,” and “Fires At Dawn,” as well as their third and latest single, “Feeding The Fear.”

Sonically seeming to channel a synthesis of Chain of Flowers and Interpol, “Feeding The Fear,” showcases the Irish duo’s knack for crafting broodingly cinematic, hook-driven material. The duo explain “Feeding The Fear” explores themes of fear, endurance and rising through uncertainty, which seems remarkably prescient and fitting for our current moment.

Single Review by William Ruben Helms

New Audio: Club 8 Shares Lush and Dreamy “Echoes Of Our Time”

Since the release of 2024’s A Year With Club 8, Stockholm-based JOVM mainstays Club 8 — Karolina Komstedt (vocals) and electronic music producer, artist and Labrador Records founder and label boss Johan Angergård — the duo spent last year releasing a single a month over the course of last year, including tunes like “ooo,” “None Of This Will Matter When You’re Dead,” “Staying Alive,” “Born The Wrong Time,” “Sneaky Feelings” and “Daydreams.” 

The duo begin 2026 with “Echoes Of Our Time,” a nostalgia-inducing bop that channels classic New Order and shimmering, 80s pop while showcasing the duo’s unerring knack for catchy hooks and rousingly anthemic choruses. The song touches upon some familiar and deeply universal themes — the heartache, despair and longing for a loved one, who you’re no longer involved with, the dreaminess of northern hemisphere winter and the longing to spend a wintry day in bed not doing much.

Single Review by William Ruben Helms

New Audio: Silverdeer Shares Lush and Yearning “Open Mouth”

Los Angeles-based duo Silverdeer — longtime friends Halsey Bousquet (vocals) and Nika Fazeli — have been centered by a long-held warm, flirty and playful kinetic energy that they first established with their first project saturn 17.

Formed back in 2019, saturn 17 quickly gained attention with their breakout single “could this be love,” which amassed over 10 million streams. But by 2024, the duo found themselves facing unexacting challenges. Bouts of writer’s block and an overwhelming urge to explore new sounds and genres led to a creative hiatus.

Both Fazeli and Bosquet recognized that they were undergoing a personal and artistic metamorphosis that ultimately required a new name for their project that matched it. Over the past couple of years as Silverdeer, the duo have established a sound that melds the spirit of 90s alternative rock with lush, dream pop textures.

The duo’s latest effort, the Casey Lagos-produced House of Devotion is slated for a March 20, 2026 release. The forthcoming EP will feature the previously released “Montauk” and “Drift.”

“Meeting Casey was like finding the missing puzzle piece,” the Los Angeles duo say. “We had been trying for so long to explain our vision to people, and it was so refreshing to find someone who immediately understood it and had the tools and the creativity to push us where we wanted to go. He is such a supportive and sweet person too, we feel so safe being vulnerable and creative with him.” 

“House of Devotion is inspired by the beach house in Eternal Sunshine — a place meant to feel safe and intimate, but one that starts collapsing the moment you step inside,” the duo explain. “It’s built from memories, desire, and the fragile structures two people create together, and it begins to fall apart under the emotional weight of devotion.” And fittingly, the EP’s material explores themes of love, connection, nostalgia and longing. “House of Devotion invites you to reflect on connection — how we relate to people who have entered and exited our lives.”

The EP’s third and latest single, “Open Mouth” is a dreamy mix of dream pop, shoegaze and trip hop, anchored around the duo’s penchant for remarkably catchy, razor sharp hooks — and a palpable sense of yearning and barely controlled desire that feels youthful and explosive.

“‘Open Mouth’ is our most addicting song on the EP,” the duo shares. “It exists as a celebration of sexuality, a snapshot of desire and almost-caught moments.”

Single Review by William Ruben Helms

New Audio: SPDS Returns with Trance-inducing Banger “Like A Word I Never Knew”

With the release of 2024’s full-length debut, SDPS, Copenhagen-based acoustic techno/jazz punks Smag På Dig Selv (SPDS) — Oliver Lauridsen (tenor sax), Thorbjørn Øllgaard (baritone sax, bass sax, vocals) and Albert Holberg (drums) — firmly cemented their reputation as one of most boundary pushing groups in the contemporary Danish scene. With a sound that’s an explosive, party starting mixture of acoustic techno, punk energy, jazz and 90s EDM, the Danish trio have begun to make the round of the international festival and touring circuit, playing sets at Roskilde Festival, SXSW, The Great Escape, Eurosonic, Winter Jazzfest NYC and Capital One City Parks Foundation SummerStage. 

SPDS’s highly-anticipated sophomore album This Is Why We Lost is slated for a March 2026 through Stunt Records. The album will feature the previously released, TMI Tammi-produced “Let’s Go!,” “Vik’s Rawcore,” which sees the trio collaborating with vibraphonist Viktoria Søndergaard, and the album’s fourth and final, pre-release single “Like A Word I Never Knew.”

Arguably one of the darker songs on the album, “Like A Word I Never Knew,” is a trance-inducing and forcefully propulsive club banger paired with a modal-era Miles Davis-like introspective lyricism. Recorded during the final phase of album sessions, “Like A Word I Never Knew,” captures a moment of transition. As summer inevitably faded into yet another autumn and the band wrapped up their final shows of the season, they entered the studio with a noticeably calmer, more introspective energy. And the result is a track driven by focus, restraint and deep emotional weight.

For the band, the song reflects the core ambition behind the forthcoming album: to create music that can exist within a trance or club-orientated setting while still carrying a strong melodic and narrative arc.

Single Review by William Ruben Helms

New Audio: Golden Hours Shares Broodingly Cinematic “Arctic Desert”

Currently split between Berlin and Brussels, post punk outfit Golden Hours — Hákon Aõalsteinsson, Wim Janssens, Tobias Humble and Rodrigo Funtealba Palavacino — features a collection of seasoned players, who have performed as part of Gang of Four, The Brian Jonestown Massacre, The Fuzztones, Tricky‘s backing band and a lengthy list of others. 

The post-punk outfit rumbled into the scene with the release of 2023’s self-titled debut. Their sophomore album Beyond Wires was released last week through The Third Sound/Fuzz Club Records and features brooding album track “The Letter,” and the album’s latest single “Arctic Desert.”

“Arctic Desert,” is a slow-burning, cinematic tune that’s one part post-apocalyptic post punk, one-part Morricone-era Spaghetti Western film score anchored by Hákon Aõalsteinsson’s world weary delivery.

“‘Arctic Desert’ leans into our love for French and Italian cinema from the age of lead,” Golden Hours’ Wim Janssens explains. “The beat and opening guitar pull you in before waves of noise flare up, sounding like the house band on Anton LaVey’s ritual ceremonies at his Black House in San Francisco. Hakon’s weary croon invites you for a walk to fully disappear into the ice cold desert night.”

Single Review by William Ruben Helms

New Audio: Dublin’s Martina and the Moons Share Broodingly Cinematic “Higher Than A Hawk”

Led by Spanish-Scottish frontperson Martina Moon, Dublin-based indie outfit Martina and the Moons can trace their origins back to when Moon relocated to Dublin to study at BIMM University, where she met and quickly connected with her then-future bandmates Ruby Levins (bass), Zahira Ellis (drums) and Sarah Morgan (guitar). 

The Dublin-based quartet quickly established a sound that blended elements of post-punk, indie rock, 90s Brit Pop and the 60s and 70s Laurel Canyon sound while featuring gorgeous melodies and a youthful aggression and angst. In fact, Moon, who cites Paul Simon, Lady Gaga, Catatonia, Radiohead, Bruno Mars and an eclectic list of others as influences, writes lyrics that frequently touch on themes of alienation, being misunderstood, being an outsider, and yearning with a deeply lived-in sensibility and earnestness. 

In a short period of time, the band has played opening slots for Porridge Radio and Thumper. They’ve played Whelan’s Main Stage at Ones to Watch. And adding to a growing regional profile, they played 2025’s The Great Escape Festival, receiving mentions from BBC Introducing and praise from Golden Plec and from Hotpress, who named them one of their Hot for ’25 acts. 

Last year, the band signed to Dublin-based artist development label Rubarb Music, who released recently released their Ruadhrí Cushnan-produced EP Starfish Social Club, which features the previously released “Baby Turtle” and “Laundry Mat.”  

Starfish Social Club EP‘s third and latest single “Higher Than A Hawk” showcases a more shoegazer and post punk-tinged take on their Brit Pop-inspired sound. Featuring swirling and shimmering guitars, an angular and propulsive bass line, forceful drumming paired with Moon’s bold, almost in-your-face delivery, “Higher Than A Hawk” may arguably be the most brooding and cinematic song on the EP, seemingly channeling the likes of A Storm in Heaven-era The Verve, Slowdive, The Church and others, all while anchored around Moon’s earnest lyricism.