Belgium-based composer and producer Jean-Philippe Ruelle draws on a rich kaleidoscope of influences from synth-pop to cinematic electronica to ambient soundscapes. Ruelle deftly fuses the emotional heft of storytelling with the detailed craftsmanship of electronic music. He inherits the torch of luminaries like Jean-Michel Jarre, Air, and Vangelis, while his sound remains distinct, personal, and 100% his own. With his latest single, “Impulsein,” Ruelle moves forward boldly to make a piece that feels wide, expansive, and so modern.

At the heart of “Impulsein” lies one of the greatest collaborations. Micheline Van Hautem's entrancing voice converts this track into something unforgettable, removing it from the mere realm of synth-pop experimentation. There's something exquisitely expressive about her voice that flips over an ethereal style and outward vulnerability with complete fluidity. In her tone is an agelessness, as if her ancient melodies waited in purgatory to be unearthed when Ruelle had crafted the surrounding production.

Sequenced immediately with heavy, colorful synth patterns, a clipped, deliberate kick drum begins to play under the piece, anchoring the introduction of the track with a heartbeat-like rhythm. This throbbing percussion seemed relentless, expressing physical sensations of excitement, movement, and anticipation.

Jean-Philippe Ruelle's arrangement comes into the foreground; the gentle swirling arpeggiation melds in, mimicking spoken words, as the midrange synth starts to act as an ostinato, with its movement cleverly mimicking the tides.

Your heart begins to thump again with the first movement, as Micheline Van Hautem's vocals explode from a brilliant rhythmic base, her voice flying like a strike of lightning with the finesse of an expert fencer. A series of sprawling melodic phrases build upon each other in the first movement, introducing more and more variation, all the same remaining inviting.

But where “Impulsein” gets transcendent is in the second movement. No longer is the jabbing pulse from the frontal assault of the opening; it is almost like breathing after surfacing, after being underwater for so long. Her control over her instrument is truly astonishing, artfully executed, and the product of years of mastery.

The bustling rhythmical first half captures the moment when the two share a more primal acquaintance, while the sorrowful melodrama of the promise begins in the second half and continues to rise because the impulse fades.

Listening to “Impulsein” will throw you into a whirlpool of emotion, memory, and sound. If you have not yet added “Impulsein” to your playlist, now would be the time. Jean-Philippe Ruelle will make you feel the power of music. Do stream “Impulsein” today, and you will be in undiluted enchantment.

Wilhelm, the solo project of the enigmatic Murnau and lead singer and guitarist of The House Flies, has quietly made its mark in the lo-fi folk world. Following the release of his 2023 single "The Creek," Wilhelm's third full-length album, Wake Me in the Sunrise, is an eagerly awaited release that promises to immerse the listener in a world of personal memory, emotions, and reflection.

Written and recorded with care, the nine tracks seek to serve as a sonic diary, recorded entirely on a 4-track Tascam digital multitrack. This minimalism gives the album a lo-fi warmth that is oddly reminiscent of the songs: Wake Me in the Sunrise is all about stripping away the fleshy embellishments that peppered Wilhelm's previous releases and returning to the starting essentials-acoustic guitar, throaty vocals, and lingering melodies.

The album opens with the atmospheric "Midnight Caller on the Moon," immediately setting up expectations for things to come. With its hypnotic melody, the listener is dragged into an analysis of the nocturne. This song feels like the tires on a long drive under a quiet star-inscribed sky; it is every bit fragile, intimate, and otherworldly.

"Obituary Page" slows the pace down, a samurai of a slow meditation, with such deliberate slow chord progressions that there is some room for the listener to breathe and contemplate. The guitar within sounds somewhat restrained, bordering on deep emotionality within each strum, deeply resonant and sighing back in shy resignation.

“Upon the Thinnest Lips” takes another step towards the experimental realms of the album. Layer upon layer of vocal harmonies entwine throughout the track to create a dreamlike, shimmering ambiance. The acoustic guitar is thick with reverb, adding a weightless, floating feel to the song. “All Things I Need to Say” puts a light-hearted moment into the album. The melodies are more tenacious, with a refreshing coating of pop sensibility that still ties into another genre.

“One to Keep You Warm” breathes as one of the finest songs while still being a tantalizingly sleepy sonic hug. With the nod of an acoustic guitar caught distinctly, the strum creates an almost cordial feeling. Some subtle percussion touches are entwined with the bone simplicity of the song without overwhelming it. “Hopeless Drifting Afternoon” might be the most representative lo-fi track on the album. It is purposely left untouched; to bring out this lost, aimless feeling off of the song. The track wanders in the best way possible, encapsulating the feeling of languishing in thought. It's a whispered gem, bringing great depth to the overarching narrative of the album.

Rounding out the album is "Hold Your Head Now, Baby," a song synonymous with the whole emotional circuit of Wake Me in the Sunrise. Sparse yet powerful, the song's exposition falls to Wilhelm's voice and guitar. The last harmonics fade out gradually, leaving the listener in deep contemplation.

With “Wake Me in the Sunrise,” Wilhelm has put together an album that feels ageless in simplicity and immeasurable in emotional weight. Employing naked honesty, he welcomes the listener into a very personal space, where every syllable and each note feels intentional.

Listening to "Wake Me in the Sunrise" was like finding some treasure unearthed and an indescribable one that dealt with my soul. I think that each song is very beautiful in itself, with melodies much like after the music dies. If you're a person who appreciates music for the soul, please start streaming that album online today and delight in its beauty.

Raw Soul’s album, "Journey // Destination" comes with a heavy sigh; this album feels as much like therapy as it is a celebration of one man's journey toward self-actualization. Based in Vancouver but proudly rooted in the duality of his Libyan background and Canadian upbringing, Raw Soul creates a body of work that can truly be regarded as nothing less than a tribute to self-discovery. Moreover, the development of the project puts great emphasis on the process that one goes through when unearthing oneself.

"Journey // Destination" places a focus on the tension between striving and arriving-ceaseless characters that Raw Soul exudes with aplomb. Drawing on his inspirations from icons such as Kendrick Lamar and Nas, Raw Soul leads it with storytelling metaphors. The sonics range from soulful, jazzy-type grooves to punchy minimal beats, all stitched together by Raw Soul's seamless flow with a keen ear for dynamic contrast.

"Terra" sets the tone with its spatial production; a layered bed of synth washes, a subtle bass hum, and a beat that switches between invitingly spacious and urgent. Raw's delivery is well-planned: something meant to infiltrate but never overwhelming.

The album then flows easily into "To The Top," an upbeat yet grounded song with a warm bassline and a snare-heavy groove that is infectious. The hook here shines bright with melodious exuberance; it is catchy and dripping with optimism. 

"How That Sound?" knows how to juxtapose clear, soulful samples against heavy basslines, pushing and pulling like the confidence that oozes out of Raw Soul's bars.

In the middle of the album, Raw Soul shows his versatility with "Monk"; the production gets minimal, sustained by a looming kick pattern and some keys eerily shadowing the music. Whereas, "A While..." is an audio shout-out, with its jazzy texture sounding like a reminiscence of the golden age of hip-hop.

"2012" presents itself as an exquisite, nostalgic, cinematic cut-in that stops between open strings and subtle hat-like shuffling. This is maybe the kind of song that sticks around long after it's done; a modest victory from an album that revels in grandeur. The title track "Journey // Destination" ties everything together, bringing the thematic and sonic strands into one coherent whole that serves as the stronghold of the album. 

Production is one of the immense strengths of the album, making a tight record, while a special note for mixing and mastering, goes to Raw Soul himself: Not an element could be said to lack intent, not a sound is left to chance.

With "Journey // Destination", Raw Soul presents an album that feels timeless and makes a case for multiple listens, revealing new layers and detail on each spin. It marks a huge milestone, a step in the promising and evolving artistic direction of Raw Soul, a grand celebration of what has been achieved, and a signal of future promise.

"Journey // Destination" by Raw Soul is a journey not to miss, a rich, detailed journey through various effects in music. Stream the album now to witness her amazing talent. Don't forget to follow Raw Soul for any new projects and shows.

Joel Hills, known by his stage name Agent Of Kaos is a feat of artistry, a Denver-based producer and DJ who thrives on defying conventions. With an unstoppable 13k monthly listeners ascending on Spotify, this free-form electronic innovator is composing a space for himself. From DJing on and off the East Coast to establishing Church Of Us Records, a record label of his design, AOK has been on a relentless quest to push borders. His last release, "Fire Is Dangerous A DnB PSA," is, in a way, an ode to that idea: an energetic, mixing-manifest funk-based record accurately idiosyncratic of rock and funk genres intertwined together, displaying all of his technical genius with humor.

The track "Fire Is Dangerous A DnB PSA" is a sneaky, exhilarating trip through AOK's signature sound; a fusion of drum and bass, half-step breakdowns, and a peculiar mix of sound. This track features Smokey The Bear delivering playful jingles, just what the audience ordered for a track that is a cocktail of splendid engineering and joyousness. Layers that explode with beats ingeniously decorated with wobbling bass lines and dynamic breaks keep the listener on the edge of their seat.

Half-steps provide a tiny bit of air before plunging right back into the relentless energy of the main groove, making it so compelling to keep a hold of the listener from start to finish.

The artist calls it “an absolutely authentic piece of my musically” and that honesty exudes through the track. It's not just a dancefloor banger; it's a representation of AOK being playful in his musical approach.

AOK's story is just as rapturous as his music. After 14 years of DJing under a different name, in 2022, he created the Agent Of Kaos project, focusing purely on production for a year and a half. It was that deliberate decision that allowed him to refine his sound while building a final strong front before taking his music live. The result has been a collection of works that marries harmony with adventure, of which “Fire Is Dangerous” is the shining epitome of the status of his evolution. Through Church Of Us Records, he is providing up-and-coming artists with a platform to share their talents amid the tsunami of new releases in the industry.

Beyond its buoyant energy and easy-going charm, "Fire Is Dangerous" is the perfect balm for a winter dance in your living room or completely stomping out the music at a live show. Be sure to check out and stream "Fire Is Dangerous" now with Agent Of Kaos's exuberant creativity. Crank it up, let it go, and allow AOK to take you into a wacky electronic ambiance.

Not too many voices capture the whimsical essence of a full-bodied manifestation of Free Spirit and Rebellion. With Nick Anastasakis, who goes by 'the afro nick' this soulful troubadour scarcely masks under the weight of his roots; his hair is wild and unkempt, a fitting representation of his music: lively, unbound, and staunchly free. With numbers of 1,246 on Spotify and 13,858 monthly listeners growing almost every day, Nick’s music dives straight into the heart of the voiceless and the seekers of comfort that rest in the uncut corners of existence.

Crete is where he began to be bathed in the golden light of gypsy guitarists strumming on the Venetian cobblestone streets for shillings and pennies. Music was instilled in his veins and later formed the nucleus of the sound that emanated from him.

Jazz-fusion experiments colored Nick's upbringing, while indie-rock's hands were tied behind its back, and only in Los Angeles, where he is now based, did Nick come to find himself distinguished amid the real orchestra of indie rock after with his band, Stray Blue, which was the first touch of a movement on the island was.

A voice for the marginal, his most recent single is "Get There Before Noon." Originally conceived and recorded in NYC, then re-recorded at his home studio in Los Angeles, it encompasses that endless striving that signifies Nick; the never-ending unwillingness to do anything else but take life—complete in its glorious chaotic imperfection. With smooth electronic synths and keys, "Get There Before Noon" opens up as textures invade the piece in soothing contrast. 

Rhythm strings thickly distorted with glorious richness blend into the steady groove set in by George Athanas' smashing bassline. The long-time collaborator from Nick's Stray Blue days, Athanas commands with nimbleness on the low end, one hand rocking against a surefire anchor while maintaining fluidity.

Meanwhile, Grammy-winning synth smith Leo Genovese adds just another layer of sonic subplot. The guitar seems to grow more prominent as the song builds, with thunderous, distorted power chords erupting in the chorus. There is an earnestness to his delivery that makes you believe his words. The last chorus leaves the listener with an inviting feeling long after it has faded out.

Offering a nice change for fans of The Black Keys, and Kings of Leon, The Afro Nick is unlike anyone else. His connection brings breathing space for those out of sync with the repressive structures of modern society. Click through to listen to "Get There Before Noon." Follow The Afro Nick online and join the growing community of listeners finding a soul mate in his music.

Atlanta-based artist Terrell Journey carries the music world by storm with his latest hit, "Superpower." Known for his compassionate storytelling, blended with motivating and attractive melodies, Terrell has established himself as one of the names to watch out for in the music business. From his earlier releases, Terrell has laid witness to his eclecticism and ability to touch one's soul on an unusual level.

Spurred on by some legends, such as Kenny "Babyface" Edmonds and Michael Jackson "the King of Pop", Terrell's sound combines old-school charm with modern-day edginess. His music is timeless since it accentuates the intellectual and emotional influence of his idols while still keeping a finger on the pulse of what's cool and on-trend.

"Superpower" opens with a banging beat that instantly thumps you in the chest. The production is very tight and grooves with funk, R&B, and hip-hop vibes. The bass line, heavy percussion, and clean synths shimmer with a nearly cinematic quality.

"Superpower" is about self-motivation and confidence well beyond simply having a catchy hook that says, "Boss up, floss up, cross me up and get tossed up / Superpower, superpower"; this line will be ringing in your mind after the song is through. It's more than just a gentle and smooth refrain; it is their mantra. Terrell paints living, as we know it, like a superhero's transformation, reminding everyone that we all have those secret powers, just waiting to be unleashed, like Clark Kent transforming into Superman. Another great moment comes from Terrell with this line: "Never under estimate my super upper duper power
/ When I turn this rizz up you be eating like it happy hour." The wordplay is fun, showing how Terrell gets humorous and charming with his lyrics while not losing in any way that emboldened message of self-belief.

The production is almost always second to the vocals, letting Terrell's vibrancy come to the fore. His voice moves beautifully from smooth and melodic lines to zip-fast phrases, making it exciting throughout. The bassline propels the song up with a funky and infectious groove, while the gentle sprinkle of synth pads gives some sparkly texture. The drums are tight and born to play; they set the tone without being supremely mechanical. 

"Superpower" is like plugging in and charging your internal battery. What resonates most with me about "Superpower" is its homage to everyday heroism. You do not require a cape or extraordinary powers to be powerful; you need to believe in yourself. This message is something all of us could do with a little more of, and Terrell delivers it with flair, panache, and sincerity. If you haven't, give yourself a treat and stream "Superpower" on the platform of your choice.

The Sea at Midnight has unleashed the adventurous anthem of ecological desperation in their new, ghostly single, "Wait For Rain". Marrying post-punk's bleak aesthetic with synth-pop crystallinity, "Wait For Rain" is an exploration of climate change and all of its devastating ripple effects that have come to fruition; the single was released on Aug 2, 2024, and already has over 17,817 listeners on Spotify. Penned and sung by Vance Grant, with Chris King from Cold Showers and Kai Tak acting as producer, the song is not only a musical experience but an almost seriously contextual commentary-feeling urgent and frightfully relevant.

"Wait For Rain" seduces right from the start, darkly atmospheric with its arrangements dancing between jangling guitar lines and ensorcelled synth textures. The crispness of the beating drums approximates the dark inevitability of the theme: the slow, smothering march toward environmental collapse.

The delivery is like Vince Grant intoning words laced with world-weariness and resonance, carrying the weight of their message with subtle intensity. It's a performance that is neither overwrought nor achingly removed from the listener, treading an impeccable balance between contrived emotions and reality. But still, embellishments of reverb imbue the essence of ghostliness into the vocals while amplifying the themes of loss and helplessness explored within the song.

What separates "Wait For Rain" from the rest of the pop-post-punk revivalists is its actual subject. Where so many bands in this genre touch on abstract or existential themes, The Sea at Midnight tackles head-on the tangible and immediate crisis that is climate change, doing so with arresting specificity. Phrases like "dires so intense you can / see the smoke from space" paint imagery that hits the gut right. It is not some poetic despair, but a piece of reality staring back cold and unblinkingly.

The refrain, "feel so helpless, what can we do? / wait for rain", is devastationally simple. It encapsulates the collective frustration and inertia that so often accompanies any discussion of climate change. The song offers neither false hope nor solutions, only a mirror held up to humanity's hubris and the consequences of unchecked growth, as expressed with such biting clarity in the lyric, "endless growth we can't sustain/hurtling down the path to a world of pain."

 It is a rare music example that manages to reverberate with an audience far beyond the normal limits. The production here is courtesy of Chris King; the layering of instruments is quite involved- one does not outplay another. The guitars have become more atmospheric, moving throughout like tendrils of smoke through the mix. These are sparse and restrained verses from the beginning to give all the prominence to the soft-cut lyrics. The message comes across as urgent at that time when record droughts and wildfires were witnessed in that particular release year.

"Wait For Rain" is a hauntingly beautiful piece of music; a melody whose final note lingers forever in one's mind. Not to be missed by fans of post-punk, synth-pop, or anything in between with a great love for substance in music. Such a song developed by The Sea at Midnight is worth listening to, and check it out on the streaming sites today.

An artist making an unexpected stylistic swing may, at times, feel a bit forced or uneven. With charliecityy’s new album,  "In Another Life," he is ditching the bright hyperpop almost completely and venturing into an introspective journey into alternative indie. Recorded entirely in his university bedroom in solitude and late-night sessions, the record is fresh, personal, and honest. Merging acoustic textures, processed vocals, and reduced production, "In Another Life" is an achievement that feels like the very soundtrack one might find themselves listening to after a sleepless night of self-reflection.

At only nine songs long, the album is concise and cohesive; however, it carries unlimited emotional weight. The Birmingham-born and Liverpool-based artist, charliecityy strips everything to the bare essentials.

He opens with "Flashback," a punchy acoustic start. A contemplative transition lays the backdrop for charliecityy's haunting vocal performance. His voice, just subtly processed, hovers over the mix and captures the pang of nostalgia. 

"Mirror," a high point, affords the token a few moments of introspection. The instrumentation is spacious and serenely lovely, piano chords twinkling peacefully shimmering away while the rhythm section feels as though it conducts its heartbeat. His processed vocals effectively countenance.

There's a reason why the fourth single is called the "denial" track, one that adds a decidedly experimental twist to the album. Things kick off with glitchy fragmented beats that feel erroneously chaotic, while layers of reverberate-soaked vocals are washed over lifted synths: a hazy background tone that evokes an emotional freefall. A daring, almost disorienting moment that sets the pace of artistic fearlessness on the record. Appropriately named, "Heartstrings" plays with your emotions, threading melancholy and some measure of hope through a plaintive script. Gradually swelling and layering harmonies and textures until released euphorically into gentleness. Urgent breathing of scintillating synths and layered harmonies propels this one. 

The title track drips is built around a looping acoustic guitar riff, the song feels like a farewell letter. charliecityy's vocal lines are harmonized and layered to yield a choir feel that’s expansive. Imagining a parallel universe where things did not have to work out this way, the lyrics come out resounding with peace.

"In Another Life" is a magnum opus with a compelling debut that places charliecityy firmly on the map. Almost entirely produced by charliecityy himself, yet never screams "bedroom project" in the slickness of the final cut, the emotional weight is hard to ignore. 

charliecityy carves a space for himself somewhere between Frank Ocean's emotional vulnerability and MK.Gee's boundary-breaking approach to genres.  This record blows my mind. It's so rare to hear something that touches so close to home, right in the gut. You need to stream it so you can take it with you long after it's over.

I love it when music is given vocality, poured directly from the depths of a man’s soul, with a fine line separating artistry and therapy. Cargocastle, latest single, "Truth and Reconciliation" is a prime example of this. The one-man project led by Cory Wayne Dell feels less like an artifact polished within a studio, and more like a living breathing document of self-discovery and healing.

"Truth and Reconciliation" is an utterly intimate approach to trauma and recovery, with Dell translating his own experiences with PTSD and childhood abuse into a sprawling five-minute journey of sound and emotion. The track metabolizes it, turning back the pain into something strangely beautiful, with layers of thrumming guitars, atmospheric synths, and a defiant vocal hook.

Drawing from influences as disparate as Devin Townsend's progressive metal tomes and David Gilmour's soaring guitar work, the song weaves elements of ambient electronica, post-rock, and even shades of thrash metal into its song.

The first moments are deceptively quiet, as a wash of reverb-drenched guitar chords floats above a bed of ambient synths, giving it an almost meditative feeling. When the chorus does burst forth, what was up till this point a restrained vocal performance erupts with force, riding a wave of guitars and thunderous drums. This juxtaposition between delicate verses and gargantuan choruses gifts the listener with a stunningly visceral experience akin to the peaks and valleys of Dell's healing journey.

What I love about "Truth and Reconciliation" is that every single note of the production was recorded in Dell's home studio in Altoona, PA, so there is an organic and unfiltered quality to the entire record that fits perfectly into the subject; it feels so intimate you could be sitting in the room with Dell as he bares his soul. That being said, it doesn't in any way feel unprofessional, as one might expect from such DIY creations. Rather, every nuance in its mixing is a testament to Dell's scrupulous attention to detail, down from the perfect rapport in the choreography of the guitars to the synth to those harmonies rising just to add a little nuance to the chorus. The very fact that it was conceived during his PTSD flashbacks only adds to its authenticity; this is music born of need, how Dell processed his hurt and took back control of his narrative.

"Truth and Reconciliation" symbolizes an individual milestone not just as a musician but, even deeper, as a human being. It is his true expression as an artist and a cannonball into the deep end after years of merely dipping his big toe into vulnerable waters. To listeners, it stands as a class reminder of the kind of miracle music can be to connect the unheard, heal, and transform.

Cargocastle may still be a pretty underground project but with releases like this, the time for Dell's name to start being synonymous with fearless, emotionally charged music is just around the bend. Truth and Reconciliation is a song meant to be felt as much as it is meant to be heard. Go ahead and press play on "Truth and Reconciliation" today on Spotify.

It's an all-too-infrequent occurrence in today's oversaturated musical landscape to come across an artist able to strike just the right balance between icy exposure, but such is the case with "Drain the Swamp" by Jerome Pawl.  Released on November 8, 2024, this six-track collection feels less like a series of songs and more like a journey.

But let's get technical: "Drain the Swamp" is a master class in sonic diversity, blending intricate wordplay, memorable melodious hooks, and vital production, where each track stands to carry an entity in and of itself, contributing to an overarching theme of purging and renewal.

EP opener "Limo Tints" demands attention from the very first snare hit, a busy, deliberately abrasive affair built around distorted 808s and a syncopated hi-hat pattern that's nearly claustrophobic but undeniably energizing. As he delivers, Jerome cuts his flow sharp and declarative, setting himself squarely in the role of somebody unapologetically there to shake things up.

"Ain't No Switchin' Sides" is the centerpiece of this EP, and this song exemplifies Jerome's knack for striking a hooky catchiness. The beat is based around a punchy kick and a melancholy piano loop that recalls the earlier work of J. Cole or Kanye. Jerome is relentless with his flow here, not only doing internal rhymes but also nailing multisyllabic cadences easily. The live audience “gang vocals” layered into the outro give this track an electric finish, almost as if you’re hearing it performed in a packed venue.

Probably the most experimental track on the EP, "Stay Close" really blurs the lines between hip-hop and neo-soul. The beat consists of a jazzy chord progression played on an electric piano with a syncopated drum pattern, meaning that the listener is left slightly off balance. 

"My Everything" makes a stark shift into far more melodic territory, proving Jerome's comfort while singing and rapping. The song is constructed on top of a lush R&B-tinged instrumental with shimmering synth pads and an unobtrusive bassline that showcases the vocals wonderfully. Having a quite minimalist production, it is in the layering of the vocals by Jerome that real depth and texture are brought to this particular piece.

The last track, "By Myself," is a declaration of independence—sonically and lyrically. With its reverb-drenched pads and sparse percussion, the production leans toward atmospheric territory and conjures up a sense of isolation that resonates with the theme. The beat is dynamic; it bounces between rugged trap sections and more melodic, introspective passes, while the hook manages to be catchy without trying too hard. The layered background vocals only make it richer.

Recorded in Jerome's studio and mixed/mastered by Darrius Porter of Golden Impala Recording Studio, the sonic detail is impeccable. The decision to incorporate live elements, like the gang vocals on "Ain't No Switchin' Sides," adds a human touch that's often missing in today's hyper-polished music landscape.

With Drain the Swamp, and as Jerome gets back into performing live and building his audience, there can be little doubt that this EP is more than just another release. So make sure you stream it today on Spotify.