Establishing the mood with a highly intricate and dimensional piano performance with synth inflections, Jinishi opens Broken People, Break People with a high emotional quotient and the lyrics, “She left for something better, and found out that the grass ain’t always greener, she left for something real, she left for the thrill, things didn’t turn out the way she imagined, she tried to come back but couldn’t undo the damage…”

The opus expands into an Afro-pop-house meets Amapiano vibe as we experience the philosophical hook and title of the track, followed by a super dimensional and cosmic synth performance. The evolution of the song taps into the literal examples of where Jinishi’s muse searched for love, and all in all, the energy is highly zeitgeist and relatable.

In essence, Broken People, Break People is a poignant tale of how pain can be passed from one person to another. Jinishi explores the psychological idea that when people grow up with emotional wounds that have not been healed, those wounds can transmit.

Jinishi intelligently explores the cycle of hurt, and how unresolved pain can have a ripple effect, but with this cathartic track, the artist aims to show us that this doesn’t always have to be the case.

We could imagine Broken People, Break People landing a sync placement in a film like If Beale Street Could Talk, Moonlight or The Photograph. It could also fit well into a series like Insecure, Queen Sugar or I May Destroy You.

Jinishi’s own story makes the song feel even more personal. A self-described bookworm with an interest in sociology and psychology, the artist approaches the subject from both personal experience and curiosity about human behaviour. The rising artist describes using real-life brokenness as a catalyst for something better, with the powerful aim to “take my hurt and minister to someone’s hurt.”

Needless to say, we are in awe, and truly appreciate the message. We have added Broken People, Break People to our New Music Spotlight playlist, and our TIMELESS playlist, whilst we continue to stream the wider discography of Jinishi, including Sparks Are High, and Till Death Do Us Part.

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Establishing the mood with a pulsing low-end bassline and rhythmic impacts, expanding with cerebral, otherworldly textures, Meed / Style opens Final Judgement with subversion. The composition evolves with choral chants, adding notions of ancient drama and cinematic intrigue to the piece.

We connect with the dimensionality and the fierce acid-techno energy that possesses us. We are reminded of a futuristic rave setting in a dystopian world. There is no doubt that the track would be perfect in a future sequel of The Matrix or a film like Blade. We could also envision experiencing this in a club like FOLD or UNFOLD in London, or an episode of Gen V.

The ebbs and flows of the track are sublime. The acid-techno motif pulls out to allow the choir to shine through, whilst glitched vocals and assertive impacts rebuild the track. At 135 BPM, the production has a relentless, high-octane drive, laced with tension and grandeur.

In essence, Final Judgement feels like exactly what its title suggests. The track is designed to represent a final verdict after a long period of tension. The dark choir gives the composition apocalyptic vibes, whilst the pounding percussion creates the sense that something is approaching and cannot be stopped.

This approach fits perfectly within Meed / Syde’s wider musical world. The project has been developing a dark, underground electronic landscape through releases including Stories From the Darknet, The Lurker, Night Shift, Malware and See the Dark.

Needless to say, Final Judgement is a fierce and immersive statement. We are obsessed with the journey that Meed / Style is taking us on, and have added the track to our New Music Spotlight playlist, and our TRIPPY playlist, as we continue to explore the project’s wider discography, and anticipate future releases.

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Drawing us in with a whispered ad-lib of the words, “I’m ready…” in English, Ukrainian, Hebrew and Arabic, expanding with bold percussion like crashing chains, Susan Mohini Kane opens Ready for the Wonderful with intrigue and subversion. We immediately connect with the intentionality and meaning behind Susan’s words.

In essence, the song is about finding hope again after going through something difficult. This feels hugely relatable, on an individual and globally zeitgeist scale. Susan asks whether she will “burn and break or bend”, before answering with a clear decision: that she is ready to believe again, ready to be free again, and ready to find her sanity again.

The multilingual approach makes the message even more powerful. After opening in English, Ukrainian, Hebrew and Arabic, Susan later brings in Spanish, French and Italian. Hearing the same simple idea expressed across so many languages gives the track a feeling of oneness at a time when we need it the most.

Musically, the track builds around stomp-clap energy, group vocals and soaring operatic backing vocals. We can certainly hear Susan’s classical training within the arrangement, but there is also a clear cinematic pop vibe that manifests with a contemporary and experimental edge.

The story behind Ready for the Wonderful gives the track even more emotional weight. Susan originally wrote the words “I’m ready…” in Spanish, but after the Eaton Fire forced her from her home, those words took on a much deeper meaning. We could imagine Ready for the Wonderful in a film like the Oscar-winning, One Battle After Another, The Pursuit of Happyness, Wild or The Secret Life of Walter Mitty. It could also work well in a series like This Is Us or Ted Lasso.

It is no surprise that Susan’s music has been described as “champagne for the soul”, and needless to say, we are obsessed. Ready for the Wonderful has been added to our New Music Spotlight playlist, and our TIMELESS playlist, whilst we continue to stream the star’s growing discography, including Grandma’s Song, and Waking Up in Wonderland.

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Drawing us in with a psychedelic, melodic riff and a vocalization of the title of the track, Venne opens Wherever You Go with intrigue as the composition expands into a subversive, industrial deep house meets techno hybrid energy. We connect with the atmospheric iterations of the words “wherever you go….” and the hypnotic nature of the production.

Whilst the bass repetitions keep us grounded, astral melodies guide us, intertwining and constantly transmuting, keeping us enthralled throughout. By the midpoint of the song, we experience a meditative, calming moment which subtly rebuilds with percussion and bold, cosmic synths.

There is an undeniable cinematic allure that manifests with the track and we appreciate the zen aura fused with the more fierce elements that make the composition unique. We could imagine the track being featured in a movie like Blade, Luc Besson‘s Lucy, or as sequel of The Matrix. It would also be a great fit for a club scene in a TV show like Elite, Euphoria or Heated Rivalry.

What makes this release even more personal is that Venne wrote, produced, arranged and mixed the entire track himself. Everything was created at home in his own studio, with no use of AI. As an award-nominated producer and DJ from Denmark, Venne has developed a clear passion for different forms of electronica. He is also the owner and CEO of his own label, Kreative Underground, whilst having releases and remixes with labels including Black Hole, Magik Muzik, Move Music UK, Progressive Vibes and Ribelle White.

There is something very appealing about the way Wherever You Go turns melancholia into a positive experience. It does not feel like a song about loss alone, but more about accepting change and finding beauty in emotional uncertainty and the spiritual universe.

Needless to say, we are in awe of what Venne has created, and we have added Wherever You Go to our New Music Spotlight playlist, and our TIMELESS and TRIPPY playlists, whilst we continue to stream the wider discography of Venne, including Dimension, Echoes of Tomorrow, and Contact.

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Establishing the mood with subversive, industrial bass textures with cerebral motifs, expanding into dimensional breakbeat energy featuring ad-libs of the question, “who are you?”, SIR-VERE opens NEW AGE GIRL with intrigue. The opus evolves with atmospheric vocals with an assertive energy, introducing us to the concept of the NEW AGE GIRL. She is “swagger” and indeed walking all over us.

We immediately connect with the track’s futuristic vibes. The lyrics and production introduce us to a character who feels mysterious and powerful, but difficult to define. The repeated question adds to this sense of curiosity, like we are stepping into a strange new world. The track definitely seems to explore notions of identity, feminism, technology and the changing relationship between humans and the digital world.

The production is epic and there is no doubt that SIR-VERE and Vodzilla have created a sound that is both catchy and intense. We could easily imagine this song featuring in a film like Luc Besson‘s Lucy or a series like Black Mirror. Fans of The Chemical Brothers, The Prodigy and Justice would also be able to vibe with the track’s electronic edge. What makes the concept all the more interesting is its Japanese manga, anime and cyberpunk inspiration. These influences are not just part of the visual identity but can also be felt in the soundscape too.

The single also introduces the wider world of THE GOD MACHINE, the new collaborative album by SIR-VERE and Vodzilla. What began as a remix project developed into a full album with its own identity. With original songs written by SIR-VERE, lyrics by Craig White, production by Gary Morland and additional production from Vodzilla, the project brings together different creative strengths.

Needless to say, SIR-VERE and Vodzilla have created an exciting introduction to THE GOD MACHINE, and we have added NEW AGE GIRL to our New Music Spotlight playlist, and our TIMELESS and TRIPPY playlists, whilst we check out the full release of the album on Bandcamp.

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Establishing the mood with a cosmic ripple and immersive, meditative synths featuring astral textures and soft percussion, appetiteapple opens Gratitudes with a track called Dark Before Dawn. The opus expands with choral synths and cinematic elegance which taps into celestial notions and trip-hop sensibilities. Overall, the composition feels warm and healing, intricate and yet full of dimensionality.

This leads us to Hello To Strangers, which immediately opens with a 60s, psychedelic edge that fans of William Orbit would be able to connect with. The piece is dynamic and simultaneously hypnotic, we could imagine this being featured in a film like Trainspotting or The Beach.

Nightshift evokes a more nocturnal frequency, in line with the title of the track. What we notice the most is the repeated elements that cement the core sound of each track. With Nightshift, we experience a more ethereal essence. The cosmic motifs here are sublime, and whimsical, reminding us of the moment when Glinda and Elphaba arrive in the city of Oz.

Next up is Matter Of Decision, which opens with a whirring bassline, and creates more drama and deeper tones, perfect for a TV show like The Day of the Jackal. We connect with the brooding motifs, and the production that reminds us of Portishead and Massive Attack. appetiteapple says, “Matter Of Decision mentions some cool actions. Like the man of the will, listeners will think about the strong person or becoming the stronger one by the mood of the tracks.”

Tensions is another trippy and psychedelic experience, manifesting with a kaleidoscopic energy. We love the slurred nuances and the subtle tempo shifts. The track feels like stepping into another dimension, it would be perfect in an episode of Nine Perfect Strangers where more otherworldly experiences take place. The fusion of piano with choral vocal synths give the track a spiritual energy. On this release, appetiteapple tells us, “Hello To Strangers makes to think about the top of green hill which someone can see the town or village nearby, the person knows that someone is waiting for him/her. It is running until the end to say hello to strangers with strange delight.”

This brings us to Beautiful World which is uptempo yet transcendental. The ethereal production and cohesive tapestry of sound manifest in a poetic way, fused with the piano arpeggios which are grounding in their essence. This feels like a scene from a David Attenborough documentary where we experience the world and are overwhelmed by emotion.

Landscapes has a more classical feel almost like a waltz with a slight 8-bit energy akin to a video game. Speaking on the release, appetiteapple confesses, “The album was about my personal story when I say thank you for the people I met during the past times. I had my own times to get this idea for my own and made the album because it is great to recognize myself from the musical interests. It was hard to say thank you when I was young, especially when I was in the school. My teacher told me to say that’s okay and thank you for the people who I meet, and I have been practicing for several decades for the job. Many times later, when I became a man, I was able to speak all of my words including thank you for my own musical purposes. This is great to revise how I became grown up and get some blessings by saying thank you from the people.”

With this context in mind, we deeply understand how the album is coming to life. It is further magnified by the more emotional presence of tracks like Soothe, which taps into a more melancholic energy, but with an undeniable cinematic allure and could easily be featured in a future James Bond 007 film. The trip-hop drums are a definite stand out here, reminding us of Sneaker Pimps.

Monuments has an epic energy with a more cerebral edge tapping into futuristic notions, perfect for the score of a movie like Drive, and something that fans of MGMT, Kavinsky, and Tame Impala would vibe with. The River feels like an 8-bit flow of water, like a river in a video game dimension, whilst Accomplishment feels like a euphoric celebration. Each title really resonates on an onomatopoeic level with the soundscape of each track.

Then we experience The World Turn Around, which harks back to the more psychedelic, Ray of Light notions of the album, and even includes a vocal delivery of the title of the track like a mantra before we experience poetic prowess from the artist. Finally, we experience Afternoon which feels like a blissful, almost vintage and cerebral conclusion to the record. There is a sense of peace and catharsis here, perfect for listening poolside on the roof of Petit Ermitage in West Hollywood where tracks like this often find their home.

Overall, Gratitudes feels like a very personal album. It moves between psychedelic, electronica, trip-hop, classical and ambient sounds, but still feels cohesive as a whole. Each song seems to capture a different memory, feeling or part of appetiteapple’s personal journey. There is a real sense of reflection and growth throughout the record. 

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Drawing us in with a meditative synth and glistening guitar melody with textured percussion, Brain Hops opens Antropic with intrigue and cinematic allure. The opus expands with cosmic keys as we are taken on an intricate and emotive journey. We appreciate the genre expansive nature of the composition and the nostalgic elements that manifest.

There is no doubt that Antropic is a poignant demonstration of instrumental mastery, and we could imagine the composition as the score to a Pedro Almodovar or Luca Guadagnino production. The electric guitar that emerges is transcendental, and taps into an 80s vibe that fans of Dire Straits would be able to connect with. We could also imagine its atmospheric guitar and synth textures working beautifully in films such as Drive, The Neon Demon or Only Lovers Left Alive.

What makes the track even more fascinating is how spontaneously it came together. Brain Hops initially recorded the foundation on a looper whilst waiting for the bathroom to become free. The artist then took the basic rhythm and opening theme and developed every part that same evening. Remarkably, there was no re-recording, with only some cleaning up and rearranging. This gives Antropic a natural sense of movement, and deep authenticity.

For some context, instrumentally, Brain Hops handles almost everything himself, playing the electric guitars, bass and piano, whilst the drums were performed on an electronic kit and shaped further with software. The guitar was recorded both traditionally through an amplifier and directly through amp simulations, whilst the bass was recorded via DI and treated with additional effects. Reverb and modulation help create the expansive quality of the guitar solos, with everything mixed and mastered entirely in his studio in the south of France.

There is also something particularly refreshing about the decision to avoid loops and samples. Every element has been performed, recorded and shaped by Brain Hops, giving Antropic an organic quality despite its sophisticated production. His influences stretch back to rock from the late sixties and early seventies, but the finished composition feels far removed from simple nostalgia, combining those classic instincts with atmospheric synths and contemporary studio techniques.

As the first single from an already completed album expected to contain seven or eight tracks, Antropic feels like an intriguing introduction to a much larger sonic world.

Needless to say, we are impressed by the craftsmanship behind Antropic, and have added the track to our New Music Spotlight playlist, and our TRIPPY playlist, whilst we anticipate future releases from Brain Hops.

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Establishing the mood with a textured topper and dimensional Afrohouse meets jungle-inspired percussion, Saint Kyriaki opens Wild Woman Greek Isles with intrigue and a high spiritual quotient before we experience a melodic synth crescendo. This leads us to cerebral, philosophical spoken word prose which cements the message and intention of the track.

Essentially, Wild Woman Greek Isles serves as a celebration of creative freedom, cross-cultural collaboration and the power of following spontaneous inspiration. We love how the track fuses raw spoken-word with high-energy electronica, which in turn creates a sound that feels personal yet uniquely unconventional. Rather than fitting neatly into one genre, Saint Kyriaki and Athens-based producer Starious intentionally bring together this syncopated and distinctive vibe.

The story behind the release is just as fascinating. Whilst spending time in Detroit with her 96-year-old grandmother, Gia Gia, Saint Kyriaki realised that she was inspired by a performance on the Greek television show Your Face Sounds Familiar. She later discovered Starious online, reached out to him, and sent over her raw a cappella vocals that were recorded in Detroit. Starious then built an entirely new production around her voice, flipping the traditional model of digital song creation on its head.

There is no doubt that Wild Woman Greek Isles holds a strong cinematic allure and would be perfect in a movie like The Neon Demon, Suspiria or a TV show like Sirens or Euphoria. We could also imagine this in a Luca Guadagnino or Sofia Coppola production.

We love the sonic switch-ups, especially the more cerebral vocal production for the middle eight layered with microtonal harmonies. The track would be perfect for the peak of an Ayahuasca ceremony, or perhaps at a beach party at Scorpios in Mykonos. As a side note, Saint Kyriaki opened for 50 Cent and G-Unit and is continuing to release new episodes of her podcast, She’s All Over the Place as she breaks into the fashion space.

Saint Kyriaki‘s Detroit roots are also central to the track. As a Greek-American multidisciplinary artist, filmmaker and podcast host, the artiste also known as Katie Chonacas draws inspiration from Motown, Detroit techno, Greek culture and international electronica.”

As Katie explains, “This track is a living testament to the power of taking creative leaps. Art should have no borders—whether those borders are geographical or generational. When you trust a sudden creative impulse and reach across the globe, you can build a bridge between entirely different generations and musical worlds. I love music, but this time around, I don’t want to do it by myself anymore. The missing piece for me is the collaboration.”

Needless to say, we are fascinated by Wild Woman Greek Isles, and have added the track to our New Music Spotlight playlist, and our TIMELESS and TRIPPY playlists, whilst we continue to stream Saint Kyriaki‘s wider discography, including I Almost Lost My Heart in Monaco, and Paris Fashion Week.

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Establishing the mood with a fierce electric guitar soundscape with affirmative vocal ad-libs, expanding with drums and a melodic riff into a vibrant alternative rock energy, Ohmicron open Above the Sun with dimensionality. The opus evolves with the situational lyrics, “Got a little house on a quiet street, a truck that starts in the winter sleet, a job that pays, some friends that stay, a family that prays I’m headed the right way…”

We immediately connect with the message of the song and the high emotional quotient that manifests. Above the Sun is essentially a song about expressing how important someone is by comparing their love to the things we need in everyday life. This is the biggest compliment ever, and features comparisons to air and sunlight, showing us that love is something essential and truly powerful. It is a super relatable concept for anyone who has felt this way and we learn that it was inspired by Jake Collett‘s relationship with his fiancée. This authenticity really shines through.

For some backstory, the song began as a slower love song before evolving into its current form. There is no doubt that Above the Sun has a cinematic quality. We could imagine it landing a sync placement in a film like The Vow, About Time or The Longest Ride, or a television series like This Is Us.

The single is significant for Ohmicron as it also marks guitarist Jake Collett’s debut as a songwriter. It was co-written with local lyricist Matt Furman, and the track was recorded using instruments laid down in Furman’s home studio, with vocals from Simon Renn captured separately. The band, completed by Trevor LaQuet on bass and Raul Donlin on drums, draws influence from artists including Coldplay, Staind and Counting Crows, which we can totally feel manifest here.

Needless to say, we are excited by the band’s future and are obsessed with Above the Sun, which we have added to our New Music Spotlight playlist, and our TIMELESS playlist, whilst we anticipate future releases from Ohmicron.

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Drawing us in with a cerebral frequency, expanding into an alternative rock guitar soundscape with nostalgic motifs, Chet Nordy opens For You with instrumental mastery and poetic prowess with a high emotional quotient as Josh Paulino shares the lyrics, “Can I hold you close tonight, and for all time, to tell the world that you are mine, for this moment in time, you’re the air I breathe, nothing matters so much, I’m falling over you again…”

We are immediately enthralled by the raw authenticity that the track exudes and the poetic prowess that Chet and Josh share. The overarching message of the song is super relatable, and clearly written from a place of lived experience. In essence, For You is a romantic love song about wanting to be close to one’s partner and expressing a deep devotion. It’s for anyone who has connected with someone that feels essential to their life.

What makes the song even more meaningful is its personal origin story. We learn that it was originally written as an acoustic piece for Chet’s wedding fifteen years ago. For You has now been transformed into a cinematic rock ballad without losing its emotional core.

There is no doubt that For You could appear in a romantic drama like Voicemails from Isabelle, The People We Meet on Vacation, or Past Lives. It could also work beautifully in a television series like This Is Us, or Smallville, as it has that 90s edge. Fans of Hoobastank, Incubus and 3 Doors Down would absolutely be able to vibe with this cut.

Instrumentally, Chet’s work is particularly impressive. He wrote, composed and recorded all the instruments at Nordy Studios, the recording facility he built in his basement in Freeland, Michigan. Chet confesses, “This song helped make me a better musician, producer. This is my first song that I played all the instruments and recorded everything. It is a start to bringing back my passion. For You is about finding your true love and being there through the good and bad times. I think this is especially significant now more than ever when we live in a world where it is so easy to move on to the next person or finding someone new.”

Needless to say, we are in awe of For You, and have added the track to our New Music Spotlight playlist, and our TIMELESS playlist, whilst we continue to stream the wider discographies of both artists.

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