Rebellious childhood and a funky fit. The first thought that comes to one's mind when listening to Scarlet Teardrops by Dead Skin Project. The song has a teenage dirtbag vibe to it, something which in today's sound world is a rarity to pick onthematically.  The piece is an industrial rock track that also features elements from dark alternative. It is a song that feels aggressive and introspective at the same time. You hear guitars that are heavily distorted, heavy electronic, and vocals that feel claustrophobic in the best possible way. The track aims for impact and succeeds through a strong force. You can sense it from the start: the production is gritty, shadow-soaked. There are low-end electronics and rhythms that create a sense of unease. It is like guitar lines cut through the mix. The track moves with a slow-burning intensity. Each layer feels deliberate, contributing to an overall sense of emotional pressure. When it comes to the vocals, the song walks the line between restraint and eruption. There's a controlled bitterness in the delivery. It is as if emotion is being held back just long enough to sharpen its impact. When you hear the voice, it sounds like it fractures, cracks, and strains. This is something that reinforces the song's themes of emotional damage and unresolved pain. This restraint gives the track its quality. The song is a good fit for a movie like The Crow (1994). It matches the film's aesthetic and tone.

If hope in hopeless times had a face, it would be Southpaw and their latest release- ? Myself is bound to be a soul stirrer! Not much is known about the artist except for the fact that they have quite the hold on musical arrangements.  This new age pop artist/producer is magical and has a style of their own that is embodied with grace and sonic drip. They have managed to create a whole range of songs that goes from rap to pop R&B.

? Myself- performed by ERA 51, is a slow burn of a song. A song that promises not to break your spine in order to make space for others who wouldn’t do the same for you. It questions the idea of the self and yet stands ten toes firm when it comes to accepting who they are. The rhythm is simple yet magical; it stands perfectly in tandem with ERA 51’s exquisite verbal poetry. Her rap drips with so much colorful character that it has their chakras aligned. Southpaw has engineered a wonderful sonic tapestry as backing. The music backing almost weaves and dances with the lyrics with the same amount of swagger and grace. If there is a film that has equal amounts of depth, personality, and comedy, it is The Farewell. Awkwafina breaks away and delves deep into dramatic acting. If you are looking for a song that cleanses you of your bad juju, then? Myself is it. It is a number that tells you you are exactly where you need to be, and sometimes, you just have to trust the process. Southpaw is a wizard of a producer that whips and bends sounds at his will. You can listen to more of their work by clicking on the links attached above.

Lekursi’s latest track “Amarna Letters” feels less like a song and more like a transmission intercepted from another time, another realm. Drawing from synthwave textures and steeped in dark pop aesthetics, the track immediately pulls listeners into a sinister soundscape that hums with tension and mystery. The atmosphere builds patiently, allowing layers of synth pads, distant percussive echoes, and melodic motifs to unfurl like coded messages from a forgotten civilization. The production stands out for its depth and intent. Chill-hop inspired beats glide beneath the surface, giving the track a hypnotic pulse that contrasts beautifully with the ominous tonal palette. The rhythm never rushes; instead, it lingers, letting the listener drift through the sonic haze. What truly elevates “Amarna Letters” is its vivid dynamic range. The track breathes. It swells and retreats with cinematic precision, ensuring that every sonic element has space to resonate. The carefully crafted stereo field enhances this experience, with synth lines and textural effects panning wide and then snapping back into focus, creating a sense of movement that feels almost visual. There’s a strong cinematic quality here. The song would sit effortlessly in the worlds of Blade Runner 2049 or Under the Skin, where mood, tension, and atmosphere carry as much weight as dialogue. Like those films, “Amarna Letters” thrives on suggestion rather than exposition, allowing listeners to interpret its emotional narrative through sound rather than words. Lekursi continues to carve a niche that defies easy categorization within the indie music scene. Inspired by lucid dreams and historical synchronicities, this Blackpool-based artist fuses sitar, rock, and electronic elements into something unmistakably personal. That experimental foundation quietly informs this track, even as it leans into synthwave and dark pop, proving once again that Lekursi’s artistic compass always points toward uncharted territory.

Breathe in and breathe out. There are times when we need a pause. A long day at work, a tiff with a friend, an unsettling conversation, or a burnt toast. Some days blow out the fire in you and push you to spaces where you keep looking for new ways to revitalise. Vishuddha (Throat Chakra) by Antonio Celotto is a song made for just this vibe.  The track is a meditative piece that features atmospheric sound designed to cultivate clarity, calm, and balance. You get the feeling after the first listen that the song is rooted in ambient and healing music traditions. It functions as an environment in itself.  From the opening seconds, you sense the track sounds like one is floating, weightlessly. This is brought in through soft drones, harmonics, and gently unfolding textures. Celotto focuses on tone, resonance, and spaciousness. The sound design feels intentionally unobtrusive. It allows the listener’s breath and inner awareness to become part of the listening experience. This makes the track particularly effective for meditation, yoga, breathwork, etc. What makes this piece different from others is its sense of emotional neutrality: open and non-directive. The layers somewhat remain gentle and suspended. This encourages mental clarity and emotional openness. The subtle movements feel like slow currents. This copies the symbolic role of the throat chakra itself, associated with communication, truth, and expression, without needing lyrical articulation. The Playlist Edit format tightens the experience into a more accessible, curated listening experience.   The song is a good fit for a movie like Eat Pray Love (2010). 

This is a track you would play while getting ready for an outing. The outfit is ready. Your makeup is nearly done. Your friends are waiting outside in the lobby. You have a feeling the night is going to be lit. The song plays on cue in the background: Deep Fuchsia by Ava Valianti.  Deep Fuchsia is a pop track. It is a good showcase of Ava Valianti’s tact of blending confidence, vulnerability, and modern production into a statement. The song feels saturated with feeling. It is bold in tone. Grounded in sincerity. This creates a listening experience that’s intimate.  You sense it from the start itself. The production sounds glossy. It creates a fuzzy, warm effect within you. The synths and the beats push for a forward drive, while the instrumental layers create depth and lift. The sound feels contemporary and polished. There’s a sense of closeness that keeps the song from feeling overproduced. Valianti sings with clarity and presence. Her voice carries strength, and it sounds soft. It is like moving fluidly between introspective moments and more expressive peaks. There’s a natural confidence in her performance. This is what reinforces the song’s themes of emotional boldness and self-expression.  When it comes to the lyrics, Deep Fuchsia sides with intensity. When you hear the verses in your head, you see color and emotional depth. The title itself suggests richness that is way above the surface beauty. The song shows that idea by embracing feeling without restraint. Instead of treating vulnerability as fragility, the track frames it as power.  The song is a good fit for a movie like Clueless (1995).

A long day at work and a bike ride. You ran to places today. The chaos at the office had you ready to jump the gun. Files and fuss. Some days that leave you breathless, gasping for air. After work, you make your way back home. You are cooking, and a call comes through. “Do you want to go out for a bike ride?” “Yes.” You grab your earphones and your jacket and play your comfort album: Out of Obscurity by Bill Barlow.  Out of Obscurity is an album with a capital A, featuring 23 songs, that, at its core, is very emotionally grounded. Within an hour, it takes you to places inside your head you have never been to before. The album is a good showcase of Bill Barlow’s versatility as a songwriter and also as a performer.  The album is a good coffee blend. It features pop, soul, blues, rock, and R&B. The record feels less like a personal statement. Like a body of work shaped by the slow confidence of someone stepping fully into their artistic voice. Across its length, the album plays with vulnerability and momentum. It creates a listening experience that feels very intimate and somewhat outward-looking. The album opens with No Stopping Me Now. The piece is an assertive introduction. It sets the tone with instrumentation and a forward-driving rhythm. It’s a declaration track. Searching follows. It is a groove-driven blend of soul and pop-rock. It is a good show of Barlow’s ease with melody and rhythm. The track’s warmth makes it one of the album’s most immediately engaging pieces.  Pretend Friend is a song that moves inward. It is one of the album’s most vulnerable songs. The production has a silent confessional tone. It is restrained. Barlow looks at ideas like distance and disillusionment with this track. Next in the lineup, Strip Away continues this introspective thread. It leans into softness. The track unfurls gradually. It somewhat mirrors its lyrical theme: emotional exposure and self-examination.  Midway through the record, Frustration brings rawness back into focus. It is a song that has some honest lyricism. Moon on a String follows with a brighter tone. It mixes blues with pop. It feels a lot lighter in comparison to other pieces. The song Endings leans more into the groove. It is one of the record’s more playful songs. I’m Not is simply a dose of rock energy.   One of the album’s strongest thematic moments comes with Don’t Stop Writing Love Songs. It is a track that doubles as both personal encouragement and artistic manifesto. It’s about persistence:  in creativity, in vulnerability, and in emotional openness. It resonates as a quiet thesis statement for the album as a whole. The album is a good fit for a movie like Begin Again (2013). 

North Star Union is kicking up quite the dust with their latest release, Echoes of Decay, a ballad of despair. Between the smoky and dark notes, they tease out stories from their surroundings and wrap them up with character, making songs out of them. This is an Icelandic band heavily influenced by the nature of their surroundings and the many stories it carries. They have found their niche in folk rock and are truly owning and diversifying the genre further. Just when you think they have done it all, they find new ways of expression and experimentation within the genre. The track hits the floor running with the drums, and the notes and lyrical progression do not stop. The Icelandic band has a strong set of storytellers; every note and lyric sets the scene for an image only we can see. The drums seem to be the soul of the track as they pump the song's veins with pure brilliance. The gothic edge, paired with a folk-like ambience, gives us a potent and intoxicating musical concoction. The song is a bewildering state of transformation that is suspended from reality. How to Train Your Dragon has a similar pace of unfolding as the song; the track would work like a charm in the film. What sets North Star Union apart is the way they express vulnerability through electric guitar strums and an almost grunge delivery of lyrics. Through all that stunning music and storytelling, there's a spark of unmatched brilliance that the world must acknowledge. If you like their music, click on the links attached to learn more about their upcoming performances and releases.

Settle for a scintillating live contemporary jazz fusion performance led by pianist Federica Colangelo, 'Forward'!

Led by pianist-composer Federica Colangelo, this special performance features Carnatic percussion master B.C. Manjunath, opening new ideas of groove, time, and interaction.

Truly a track for jazz afficianados, this stirring piece is more about the sum of the parts involved, rather than any individual. Sure, the composition features supremely talented musicians like Carnatic percussion master B.C. Manjunath, Igor Legari on the double bass, Giovanni Nardiello on drums and a delicious performance by Michele Tino on saxophone.

 This is a track that would be apt soundtrack score for the touching 2018 film about the film of Vincent Van Gogh, 'At Eternity's Gate' for a few special reasons.

Federica spent over a decade living in the Netherlands, home to the legendary painter and this track was initially inspired by Van Gogh's fragile, visionary nature. How his highly sensitive eclectic outlook on life and the world translated into the masterpieces we know and admire today. Federica channelizes a similar fierceness and vibrancy to manifest a musical composition that echoes a range of complex emotions.

'Forward' opens on Federica's complex, evocative piano arrangements before layers of elements, percussion and bass mainly, join in ever so fluidly. The saxophone enters gracefully, its vocalizations piercing and expressive.

And then with suprising smoothness, the group flows into the next block section, perfectly rehearsed and co-ordinated by Federica's orchestration. Each block, delicate and expressive, opens a world so spontaneipusly musical only in the way contemporary jazz can.

And just when you think you know what's coming next, you're unearthed by yet another section transition. This is truly a track that rewards patient listening. Once you do so, you're treated a kaliedoscopic sonic journey where colours, emotions  blend into the soundscape.

What we particularly enjoyed is the spontaneous shift and yet pin point precise symphonic exchange between these musicians. Quite unafraid to let the track slow and pick up tempo freely, there's moments of slow-burning deep reflection building up and gathering steam beautifully into a fluid jazz trot.

Towards its conclusion, we're treated to a sublime percussion arragement that culminates in Federica's outro.

'Forward' is a storied, complexl, layered jazz composition that speaks volumes to Federica's artistic evolution and excites for what's to come next from this speical group of performers.

 

You sit back on your reading chair. The book you were reading lies in your lap. A scene from one of the chapters in the book made you pause. The breaths you take remind you of the days when it was the same for you. A song plays from another room: Hug & Hold the Ocean (Cosmo Symphonic Version) by Oxiroma.  Hug & Hold the Ocean (Cosmo Symphonic Version) is a cinematic reimagining of Oxiroma’s instrumental themes. It is a piano-driven piece with full symphonic textures and orchestration. It feels like an emotional journey through sound: one where waves of strings, harmonies, and piano create a sense of ebb and flow. And that mirrors the imagery one gets fromthe title. You can sense it from the start itself, the Cosmo Symphonic Version is for the listeners who have or are developing a very rich orchestral palette. The symphonic elements in the track add depth and grandeur to the original composition. They broadened its emotional depth while also keeping intact the introspective layer from the original version.  At its heart, the track plays a game with serenity and tension. The piano takes a central voice. It is clear, expressive, and the lines work in conversation with the surroundings. There’s a gentle but present movement throughout. It is like a feeling of seeing tides and horizons.  The song is a good fit for a movie like Interstellar (2014), with its symphony and oceanic pacing vibe. 

Think of this: You are at the club. The song that plays next has you jumping on your toes. You look around the room for your friends, and suddenly a sizzle of electricity crashes down your spine. You make eye contact with a stranger on the floor. The tune pulls you in for a dance. The song playing in the background: Rose Garden by Maria Lang. The track is a dance track that brings a very loud energy to the forefront of its production. It is a contemporary style single that blends pop with club-ready beats. The song immediately positions itself in the modern dance genre with a groove that is infectious. From the very start, Rose Garden breaks out into a pulse that invites bodily movement. The production features percussion, synth lines, and a tight low end that keeps everything flowing. What makes the track stand out is how it balances dancefloor energy with accessibility. This is why offering hooks that are as memorable as the underlying groove is propulsive.  When it comes to the lyrics, Lang’s voice reeks of confidence. It is a type of performance that complements the energetic backdrop. Her delivery carries clarity and attitude. It cuts through the electronic layers with presence and charisma. This vocal technique helps the track move into a category that is way above a simple club song vibe. The song is a good pick for a movie like Climax (2018). The energy of the song aligns perfectly with the choreography and movement-driven storytelling.