We recently featured Chris Kinkade when he crafted a celestial harp meditation with his sublime and conscious single, She’s in League with Angels, and we previously featured Parked Outside for taking us on a cerebral trip to open neural pathways on Whispers of 1000 Dreams Ago, so when we found out that Chris was back, this time with another Parked Outside release, we couldn’t wait to listen and share our experience.

Sex Cliche’ opens with a bold and industrial guitar soundscape with padded drums, psychedelic textures and an ad-lib of “here we go…”. The track expands with the assertive lyrics, “Hey, I’m no ordinary guy baby…” and evolves into a conversation with a Virgo(!), unfurling as a satirical rock commentary about awkward, overused pickup lines and exaggerated confidence.

Naturally, instead of glorifying this behaviour, the song pokes fun at it. It takes on the perspective of a clueless protagonist whose small talk and pseudo-arrogant posturing become the source of the comedic value. We could imagine this being featured in an Austin Powers movie, in fact, the music video already manifests these vibes. It would also be a great fit for 90s movies like Jawbreaker and Heathers. What is amazing is that we get to witness Chris Kinkade‘s versatility as an artist, from conscious harp performances to this level of unserious subversion.

Chris says, “This song is a satirical look at the timeless and never-ending foibles of trying to pick up girls. The protagonist in this case is the singer who is showing the unaware and unevolved excesses of “cliche’s” of trying to “hit on” a young lady at a bar. The attempts at “small talk” and the pseudo-arrogant posturings of the clueless protagonist make for fun musical fodder with the underlying message of not trying to take any of this too seriously.”

For some background, Parked Outside is a four-piece recording project formed by musicians who met through Houston’s music scene. The band consists of Slayden Clarkson, who developed the song’s concept, Chris Kinkade, who contributed lyrics and lead vocals, Brett Busch, whose epic and trippy guitar style and next-level solos give the track hella character, and Mike Brown, whose epic drumming completes the sound. Together they fuse influences including The Tubes, The New York Dolls, and The Cars, which also explains the Studio 54 style visuals.

We learn that the band produced the video, drawing on Kinkade’s background as a former head VJ at the 1980s music video network Hit Video USA, which helped shape the retro visual style that accompanies the single. Needless to say, we continue to be in awe of what Parked Outside create, and have added Sex Cliche’ to our New Music Spotlight playlist, and our TIMELESS and TRIPPY playlists, whilst we continue to stream Whispers of 1000 Dreams Ago.

The post Parked Outside deliver a satirical take on dating culture with irreverent new single, Sex Cliche’ appeared first on KIMU.

We’ve covered a fair few of Mick J. Clark‘s releases over the years, so naturally wanted to spotlight Anuther Sunny Hulliday in peak summer as it is bright, catchy and packed with feel-good energy. The track is the unofficial soundtrack for a staycation and makes us want to start looking at holiday brochures before the chorus has even finished.

Anuther Sunny Hulliday opens with a warm bassline and upbeat tropical percussion as we experience Mick’s instantly recognisable vocals with layered harmonies bringing to life the title of the track. The 60s harmonies are sublime and manifest with a surf-pop vibe, setting the scene for a holiday adventure. It’s simple storytelling at its finest, and that’s exactly why it works.

The production by Nelson King is flawless throughout, as with Mick’s wider discography, and is helped by some really enjoyable guitar work. There are plenty of nuances that stop the track from becoming predictable too. It’s timeless yet unique and an ode to a hugely underrated part of the United Kingdom.

Whether Mick intended it or not, this song does a fantastic job of putting the city of Hull in our heads. Hull doesn’t always get the attention it deserves as a holiday destination. It has a beautiful marina, plenty of history, great museums and a growing cultural scene.

If the local tourism board has any sense, they should already be on the phone. Mick has done enough free advertising at this point that they really ought to be cutting him a cheque. In fact, we’re starting to think he might be the unofficial face of Hull tourism. Someone get the man on a billboard.

The music videos only add to the fun. Mick has never been afraid to lean into the playful side of his music, and that comes across perfectly here. The colourful visuals are full of personality, while the Parrot Dance gives younger listeners something to join in with. It is impossible to watch without smiling, even if you have absolutely no intention of learning the dance yourself.

You can also picture this song in plenty of films. It would slot nicely into Mr. Bean’s Holiday as Bean accidentally causes chaos at a beach resort. It would work just as well during one of the sunny montage scenes in Mamma Mia! or even a family comedy like Paddington. It has that rare quality of making almost any scene feel brighter.

What we’ve always liked about Mick J. Clark is that he writes music without pretending to be something he’s not. His songs are honest, upbeat and full of character. There is no chasing trends here. He simply writes songs that people can enjoy, and Anuther Sunny Hulliday is another good example of that.

Naturally, we have added Anuther Sunny Hulliday to our New Music Spotlight playlist, and our TIMELESS playlist, whilst we continue to stream Mick J. Clark‘s exquisite growing discography and anticipate future releases from the visionary artist.

The post Mick J. Clark delivers another feel-good anthem inspired by the spirit of Hull on Anuther Sunny Hulliday appeared first on KIMU.

By now, you will know that we featured Andrea Pizzo and The Purple Mice for the conscious tale of fate, sacrifice, and survival on Come Out Lazarus 1 Life Is Over, and the exploration of a near-death experience and existential depth on Come Out Lazarus 2 – Ineffability, so when we heard that Come Out Lazarus 3 – I Was The Universe had finally been released, we couldn’t wait to listen and share our experience.

Come Out Lazarus 3 – I Was The Universe opens with a cosmic frequency, expanding with cerebral prose about coming back after a near-death experience and trying to explain what happened. In the first song, the story was seen from the outside, focusing on a fatal accident and organ donation. The second song moved inside the experience of being close to death. This third song, Come Out Lazarus 3 – I Was The Universe, serves as the moment of return. It is about survival and bringing back a memory that is difficult for others to understand.

Spiritually, the song speaks about unity, peace and transcendence. These are all zeitgeist themes and the energy that our collective needs now more than ever, so for that we are grateful. The main idea is that during the near-death experience we felt completely connected with everything that exists, in essence, becoming one with the universe. The song uses the image of rivers flowing into the sea to explain this feeling.

It taps into the idea that all living beings eventually return to the source. Instead of describing death as something frightening, the song presents it as a state of calm, acceptance, and connection. This is also in line with Vedic philosophies and the descriptions of the astral realm in Autobiography of a Yogi. We are the universe.

The song was created by the Genova-based collective Andrea Pizzo and The Purple Mice. The lyrics were written by Raffaella Turbino, while the music was composed by Andrea Pizzo, Riccardo Morello, and Roberto Tiranti. Tiranti also arranged the song, played all the instruments, and performed the dramatic final falsetto section. We love the cosmic accompanying music video which feels like a trip into the astral realm itself.

Musically, the song mixes art pop and pop with influences from The Beatles, Mike Oldfield, Prince, and gospel music. We learn that the chorus is designed to sound like a shared declaration, whilst the final high vocals represent the emotional climax, almost like a voice rising beyond the body.

As always, we are in awe, and have added Come Out Lazarus 3 – I Was The Universe to our New Music Spotlight playlist, and our TRIPPY playlist, whilst we continue to stream the predecessor singles, and anticipate future releases!

The post Andrea Pizzo and The Purple Mice conclude the Come Out Lazarus trilogy with the transcendent opus, Come Out Lazarus 3 – I Was The Universe appeared first on KIMU.

We last featured Mark Winters when he wanted us to connect with nature and our loved ones on the poetic single, I See You, so when we heard that Mark was back with All In The Rhythm, our curiosity was piqued, and we couldn’t wait to listen and share our experience.

All In The Rhythm opens with astral guitar strums with pizzicato nuances as Mark shares the philosophical title of the track with metaphorical prose, “It’s all in the rhythm of this life… pine needles and blue sky, you’re way up ahead, I’ve got to run to catch up with you and hold your hand…”

We appreciate the sentiment of the song and the cinematic allure that manifests. It serves as a poignant commentary on the ebbs and flows of life, something that we sometimes try to fight, but have to understand that it’s literally our purpose and the reason that we come to this planet – to live and to learn, in unity. The overarching message of trusting this pace and consciously aligning, and it manifests poignantly with the build of the song.

Mark’s timbre is comforting, and we are invited into his reflective universe of human connection. Speaking on the inception of the release, Mark confesses that the song began not as a single, but as a poem. Whilst hiking with his wife through pine needles and blue skies, the visionary artist found himself overtaken by the beauty of the landscape, and then he noticed that he had walked ahead and his wife was no longer beside him – out of rhythm. That realization became the heartbeat of the song.

We love the authenticity and how a small moment can bring to life such a deep and philosophical message. Mark says, “We move through life at different speeds, and sometimes we don’t even realize we’ve stepped ahead – or fallen behind – until the moment has already passed. All In The Rhythm is about choosing to stay in step. So we experience the important things at the same time.”

We learn that All In The Rhythm was co-written with Grant, Amani, and Raycheal, and Mark is currently touring extensively across the U.S. and Canada as part of his Good Vibes Highway Tour. Needless to say, we are in awe, and have added All In The Rhythm to our New Music Spotlight playlist, and our TIMELESS playlist, whilst we continue to stream Mark Winters’ exquisite, growing discography, and anticipate future releases.

The post Mark Winters reflects on life’s natural pace and the importance of moving together on All In The Rhythm appeared first on KIMU.

We previously featured Sonny Southon for sharing her soul with the cinematic, trip-hop-infused delight, I’m In Love, so when we found out that Sonny was back with an album titled Rolling The Dice, we couldn’t wait to immerse ourselves in her universe once again, and share our experience.

Rolling The Dice opens with the title track of the album, drawing us in with a meditative frequency and textured drums. The prose is introspective and self-reflective as Sonny reminisces on her life and traumas that have brought her to this point, to a point where her head is above water, despite the turmoils and challenges. We appreciate the unfolding narrative which is highly relatable. Sonny’s vocals are sublime and full of raw emotion. We connect with her soulful nature and the optimistic message of taking chances with reference to the ebbs and flows of life as we know it.

Next up is Hold Hands, which taps into an almost dark-Americana energy as Sonny invites us to connect in the face of so much division. “Come dance with me, we can make it right, hold hands…” sings Sonny with a reflective tone and a call of unity. The message feels super zeitgeist and important, and naturally, we are in awe of the atmospheric production. The panning, choral chants intertwined with 60s ad-libs manifest in a cohesive anthem of vintage freedom with a contemporary edge.

This leads us to I Am Yours, where Sonny sings, “When the light falls down from the sky, and I am yours, I am, I am…” accompanied by a pulsating beat and cosmic, futuristic production. The song feels like a mantra, detailing with guitar motifs, reminiscent of early Fleetwood Mac, but again with a sentimentality that feels deeply present. We love the psychedelic and conscious energy that comes to life.

Rise Up opens with a reverberating guitar detail as Sonny shares reflections on how she is perceived. “I’m not gonna play small, just so you can stand tall…” sings Sonny assertively as she unveils a message of empowerment with the hook of the track, “I rise up again…”. The artist invites us to own our originality and not seek validation in being liked, but instead be authentic. By this point, it is clear who Sonny is – a conscious, spiritual artist who knows her worth and has created a cohesive body of work which is emotionally tender yet highly empowering.

Next is Oh Oh, which is an ode to her muse – a timeless song that we could imagine being featured in an episode of My Life with the Walter Boys. The chord progressions are sublime and truly tap into our heart’s centre. The hook is highly memorable and fans of Lana Del Rey would absolutely be able to connect with the more whimsical energy of this song.

Trying to Find Home is a reflective piece with a spiritual energy that feels cathartic and healing, inviting us to seek solace in our own comfort. Again, the song is sublime with layered vocals and a cinematic allure. The metaphor of feeling like a river trying to find home is beautiful.

This brings us to I’m In Love, which we previously featured. The song is an atmospheric, dreamy piece about loving someone deeply while accepting that they may need space or a different path. It captures the vulnerability of devotion and self-awareness. With trip-hop influences, Sonny’s signature cinematic production, and emotional vocals, I’m In Love creates a haunting yet intimate feeling of longing, passion and surrender.

Oh My Heart opens with the lyrics, “Tell everyone, go home now, cos I can’t sleep in my brain…”. This track is reflective and one of the most somber moments on the album. The strings arrangement has us in tears with 60s do-wop ad-libs and a gospel-adjacency that we could imagine in a movie like Sinners.

Setting the tone with a delicate acoustic guitar soundscape, We Need Saving feels like an interpersonal reflection as much as a culturally zeitgeist reflection on the state of society. It serves as a universal message of oneness, love and unity at a time when we, as a society, need it the most.

Finally, we experience Always Be Love, which opens with the lyrics, “I don’t care what you say about me, I don’t care what you’re fighting for, I know what I believe in, I know what I stand for, it will always be love…”. The piece expands with ethereal vocals and a captivating beat as Sonny paints a visual picture of society whilst cementing that her message and purpose is love.

All in all, Rolling The Dice is an album that rewards patience. It invites us into Sonny Southon‘s poetic and quietly compelling universe to better understand the beauty that lies in honesty, self-belief and the confidence of an artist who no longer feels the need to prove herself.

We are in awe, and have added songs from Rolling The Dice to our New Music Spotlight playlist, our TRIPPY playlist, our TIMELESS playlist, whilst we continue to stream Sonny Southon‘s exquisite wider discography and anticipate future releases from the visionary, multi-disciplinary artist.

The post Sonny Southon explores healing, resilience and the courage to embrace life’s uncertainties on sublime new album, Rolling The Dice appeared first on KIMU.

Our obsession with Kate Pending and Luke Tangerine‘s collaborative tracks has long been documented. We have featured the pair for their songs ICU, Ipanema Rendezvous, and most recently, Tomorrow’s Dreams of Yesterday, so naturally, when we heard that Kate was back with Luke’s remix of Exoplanet Signal, we couldn’t wait to listen and share our experience.

Exoplanet Signal opens with a dimensional, cosmic synthscape and the introspective lyrics, “How did you do me cold?”, expanding with a boundless bass synth. The opus evolves with a delicate timbre as Kate Pending shares the subversive prose, “I don’t wanna talk about it, no, I’ll do my thing and let my hair fall out…”

We immediately connect with the raw relatability of the message and the dynamics of the accompanying production. It’s cerebral and cinematic at the same time. We could imagine Exoplanet Signal being featured in an episode of Euphoria on HBO, or a film like Forbidden Fruits. The vocal design is ingenious with panning motifs, intertwined with psychedelic synths and an ethereal overarching construct.

There is no doubt that fans of Robyn would be able to connect with what Kate Pending and Luke Tangerine have created together. The echoing glitched nuances towards the end of the track are hypnotic and lead us through to a final synth arpeggio performance which leaves us yearning for more.

The origins of Exoplanet Signal – Remix lie in open creative collaboration, Kate explains, “After completing our album Tomorrow’s Dreams of Yesterday, Luke Tangerine shared his track, Exoplanet Signal, with me and simply said I could do whatever I wanted with it. As someone who hadn’t really explored remixing before, I saw it as an exciting opportunity to reinterpret a piece of music I already loved. Rather than trying to outdo the original, I wanted to take its nostalgic atmosphere and gently shift it into a different emotional space. The remix became brighter, more melodic and more rhythmically driven, while still respecting the mood that drew me to Luke’s version in the first place.”

On her sonic influences, Kate cites both Caribou and Luke Tangerine’s original composition as guiding inspirations. That philosophy shaped every production decision, as instead of chasing bigger drops or heavier club sounds, Kate focused on warmth, melody and emotional movement.

The production itself was deliberately organic, evolving over time instead of following a rigid studio plan. Working from her Berlin home studio gave Kate the freedom to experiment, refine and revisit ideas until the remix found its own identity. As she explains: “The recording process was less about using unusual equipment and more about allowing the music to evolve naturally through experimentation. Since this was my first serious remix project, I approached it with a lot of curiosity rather than a fixed plan. Luke had given me complete creative freedom, so instead of trying to recreate the original, I spent time exploring where it wanted to go. I began by identifying the elements of Luke’s original that I connected with most strongly. Rather than building everything from scratch, I focused on preserving the emotional heart of the track while gradually introducing new layers, rhythms and textures that reflected my own musical style.”

Needless to say, we continue to be in awe of what Kate Pending and Luke Tangerine create, and have added Exoplanet Signal – Remix to our New Music Spotlight playlist, and our TRIPPY playlist, whilst we continue to stream Luke’s original version of the track and the pair’s growing, collaborative discographies.

The post Kate Pending and Luke Tangerine expand their creative partnership with dynamic and psychedelic remix of Exoplanet Signal appeared first on KIMU.

Drawing us in with textured drums, a funk guitar energy with a cosmic, astral frequency and emotive vocalisations accompanied by an 8-bit synth line, Auswan opens Something to Live For with dimensionality and intrigue. The opus expands with shimmering nuances and the introspective lyrics, “I’ve been trying for so long not to face what’s in front of me, but something inside me is telling me I should be with you, I know down deep in my heart, nothing else was meant for me…”

We immediately connect with the raw authenticity of the prose, and the high emotional quotient that Auswan shares. The narrative is relatable and cinematic at the same time. We could imagine Something to Live For being featured in a TV show like My Life with the Walter Boys, or a film like Eternal Sunshine of the Spotless Mind. There is creative depth to what Auswan shares, and a timeless nature that really taps into the sentiment of enduring love.

The funk-infused composition is a masterclass in dynamic music production, keeping us enthralled throughout with intricate nuances. Auswan‘s ad-libs are passionate and add value to the piece that builds with choral motifs after the second chorus. The middle eight feels like a Michael Jackson or Prince throwback and the rising laser synth really builds excitement leading us through to an instrumental outro that leaves us yearning for more.

We learn that Something to Live For is the debut single from Auswan, an LA-based vocalist, multi-instrumentalist, composer, and producer. Auswan created the track’s music and lyrics, and performed all vocals and instruments except drums and percussion. The song was completed with drums, percussion, mixing, mastering, and assistant production by collaborator Oliver Holden. The mesmerizing cover artwork was designed by Sara Begalman with photography by Ellis Allen.

Auswan began playing instruments at a young age before developing a focus on saxophone, eventually studying jazz performance at Northwestern University in 2017. During his time at Northwestern, he expanded his skills across multiple woodwind instruments and performed as a vocalist and saxophonist with pop/soul group Honey Butter throughout the Chicago area and beyond. After relocating to Los Angeles, Auswan built a career performing professionally as a saxophonist, vocalist, flutist, and bassist, drawing inspiration from the city’s vibrant funk and R&B scenes to create his own music. He cites Prince, Cameo, and Jamiroquai as sonic influences, which we can absolutely feel manifest!

Needless to say, we are in awe, and have added Something to Live For to our New Music Spotlight playlist, and our TIMELESS playlist, whilst we anticipate future releases from Auswan!

The post Auswan blends heartfelt songwriting with timeless funk influences on epic debut single, Something to Live For appeared first on KIMU.

Drawing us in with a cerebral guitar frequency and static details, expanding into a playful and intriguing riff with textured drums, ReeToxA open DEMAND PERFECTION with the subversive lyrics, “Wish you had a twin sister so badly, huh, cos I fucked up with you, won’t you take me back, I wanna spoil and make it up to you… got money, I demand perfection…”

We are immediately enthralled by the concept of the song. It feels like a scene from a 90s movie like American Pie, Fear, Cry-Baby, or Cruel Intentions. The lyricism is so unique and the delivery is sardonic with a pitched vocal design. The emotional chorus reminds us of early Placebo and Muse and we are reminded of how brilliant ReeToxA is as a project.

The prose is visual, and lines like, “I’ll make her cum right off the bat…” are extremely memorable. In essence, the track is a sharp, tongue-in-cheek look at modern dating culture. It taps into the zeitgeist notion of the pressure to project wealth, status and an image of perfection. This relates to Instagram culture and the manosphere, alpha male, looksmaxxer vibes more than anything, and feels very current conceptually!

We learn that the song was inspired by frontman Jason Mckee’s encounter with an overconfident gym-goer at a Richmond fitness centre. The man was talking about money, drugs, expensive cars, and relationships, which in turn, sparked questions about what people value in 2026. Beneath the humour and cerebral attitude, DEMAND PERFECTION explores the clash between authenticity and the increasingly polished personas people project.

For some background, the Melbourne-based project is the creative vision of Jason Mckee, backed by a powerhouse lineup of Australian musicians including drummer Peter Marin, guitarist James Ryan, and bassist Kit Riley. The song was recorded at The Avenue Recording Studio in Cheltenham, Victoria, and was produced, mixed, and mastered by Simon Moro.

Needless to say, we continue to be in awe of what ReeToxA deliver and DEMAND PERFECTION really stands out as one of their most unique and subversive records. We have added DEMAND PERFECTION to our New Music Spotlight playlist, and our TRIPPY playlist, whilst we continue to stream the band’s exquisite, growing discography.

The post ReeToxA satirise modern dating culture and performative masculinity with epic new single, DEMAND PERFECTION appeared first on KIMU.

Drawing us in with textured drums, astral inflections, and a dynamic guitar soundscape, Go Like This open I Do with a high-octane energy and instrumental mastery. The opus expands with the lyrics, “I feel alone when you walk in, if you want a fight then let’s begin, I’ll take your company over a win, praying that you’ll come back home again…”

We immediately connect with the raw vulnerability of the prose and the journey that Go Like This are taking us on, tapping into relatable notions and a narrative that many of us have seen play out over time. There is no doubt that I Do holds a cinematic allure, and would be perfect for a multitude of sync placements, notably a TV show like My Life with the Walter Boys, or a movie like Obsession.

In essence, I Do is an emotional reflection on a relationship that is drifting apart. The lyrics deal with the idea of emotional distance and disconnection. It also suggests a situation where commitment might still be remembered as the title plays on the idea of a promise or declaration of love, creating a contrast between a longing for commitment and the reality of separation.

Speaking on the release, the band confesses, “I Do feels like the culmination of something we’ve been unknowingly building towards for years. We’ve been playing music together for fun since we were young, and this is the first time we’re sharing our original music with a wider audience beyond friends and family.”

The instrumental segues are sublime with an ethereal moment before the middle eight, which really taps into a high emotional quotient, further amplified by the vocal harmonies and the climactic finale. The song was recorded and produced by Alex Vinci at Narrow Door Records in Cork, with mixing by Tom Peters and mastering by Stephen Kerrison.

We learn that Go Like This is a trio made up of siblings Seán, Aoife and Rafael from Ballydehob, West Cork. With nearly twenty original songs already written and plans for an album underway, this debut single feels like an important and high quality first step for a much longer creative journey.

Needless to say, we are in awe, and have added the raw and philosophical I Do to our New Music Spotlight playlist, and our TIMELESS playlist, whilst we anticipate future releases from Go Like This.

The post Go Like This explore the fragility of commitment and emotional distance on dynamic debut single, I Do appeared first on KIMU.

Drawing us in with a playful and intricate piano performance and a spoken word introduction, Katie Noir opens I Prefer Jason with the words, “Well, the flowers, the lights, the dress, the whole world watching, Taylor and Travis, this is actually beautiful, wait, is that Jason?…”

The production evolves with a tongue-in-cheek rap verse, which is high octane and dynamic, and an electronic hip-hop accompaniment which is dimensional and camp at the same time. The lyrics detail the recent wedding of pop megastar Taylor Swift to her husband, NFL player Travis Kelce, who tied the knot just over two weeks ago on July 3rd.

The songwriting is brilliant, and is written from Katie’s perspective, preferring the presence of American former professional football center Jason Kelce, Travis’ older brother, as he steals the spotlight. Katie Noir shares, “One brother got the wedding, and one brother got my mind…”. The second verse features epic piano riffs, cheeky giggles and a hypnotic delivery as Katie Noir cements her perspective and the portrayal of hypothetical scenarios based on the characters of both brothers.

In essence, I Prefer Jason feels super zeitgeist by transforming the concept of celebrity watching and the viral wedding spectacle into a relatable narrative about choosing authenticity over perfection. The pop-culture framing is exactly how contemporary audiences consume entertainment, through irony and the social media commentary on larger-than-life characters and a life that we feel that we don’t really have access to.

The song would be perfect for a comedic Taylor Swift biopic and plenty of TikTok memes. It serves well as a confident and entertaining introduction to Katie Noir’s What Is Unseen Still Exists, The Aftermath EP. The rising artist’s satirical approach is super refreshing as Katie balances theatrical humour with the broader themes that define her work.

Needless to say, we are in awe, and have added I Prefer Jason to our New Music Spotlight playlist, and our TIMELESS playlist, whilst we continue to stream the wider discography of Katie Noir, including the entirety of What Is Unseen Still Exists.

The post Katie Noir embraces humour, celebrity obsession and sharp songwriting on poignant new single, I Prefer Jason appeared first on KIMU.