In a relationship, it is typical to lose yourself in the idea of unity and the highs of the relationship itself. This feat can become dangerous when the love turns sour, leaving you defenseless, lost, and alone. Myah’s new release “hide” depicts this very act, explaining the artist’s experience with a romantic connection and how she felt once it turned against her. The song is upbeat and full of pulses and swells that connect to her lyrics. Her voice ebbs and flows with the soundscape, showing how talented of a songwriter she is to be able to link the two. The chorus allows myah to grow in desperation through her words and tone, and the bridge contrasts this with simple piano chords and her longing voice. Along with the technical and instrumental side of this track, the lyrics tell myah’s story so clearly the listeners feel her pain with her. In the second verse, she sings, “Between the lines I lose myself, alright / In your mind I know you’re onto something new / But where we go, no one knows”. These words show how intertwined she feels in this relationship. She has lost herself in his words and mind, and it is sadly not reciprocated. The chorus explodes when she explains “You said it’s not so simple / but you left me stranded in the middle / and your kind eyes, the dark side, those white lies, I saw myself hide”. Despite how devoted she is and how deeply she has fallen in love, she finds herself hiding in his lies, embarrassed to even suggest that he does not feel the same way. Myah truly has a talent with her words, and this song is a clear example of that. Myah is a growing artist from Southern Florida. Along with “hide”, she has released one other single on Spotify, a cover of Louis The Child and Wafia’s “Better Not”. The song is originally an EDM mix and extremely fast paced, and myah puts her own spin on it by turning it into one piano track and one vocal track. This change shows her skillset in the music industry and attention to detail, being able to see a simple yet heartbreaking version of a typically fast and upbeat song. It also highlights her beautiful tone of voice, a clear indication of her talent. Make sure to follow along the social medias below to stay up to date on any new music from myah. Written By Tessa Maddaloni FOLLOW MYAH:

Natalie Barth releases her most vulnerable track yet, “Overthinking.” Natalie uses this song to bravely disclose her battle with depression. In life, we all have our demons. Some demons are louder than others and drown out all the good noise in our heads. Overthinking is inevitable, but it can also be crippling against your will. Some people's minds never stop racing, and they can’t even fathom a world of stillness or silence. Overthinking can be debilitating. You want to have fun with your friends, or be yourself on a first date, but you can’t get out of your own way and your own head. Regret of the past and fears for the future go hand in hand with overthinking. The word “overthinking” can have a negative connotation, but it’s not always bad to be cautious with who you trust and big life decisions. It’s okay to think deeply and often about yourself and the world around you, but you also have to give yourself a little grace, and live in the moment. We all have contrition about past lovers who got away. We all have trepidation about what path we’re on for the future. We all magnify and undervalue the person we see in the mirror. Although it can be the loneliest feeling, no one is ever alone in overthinking. Natalie Barth strives to be honest in her music. She aims to create a safe space in her melodies that can help someone else who has gone through something similar. “Overthinking” has an underline hopeful backtrack that allows her sorrowful lyrics to shine. There is a heavy-hearted, melancholy energy throughout the track that plays like a movie in your mind. Her lyrics are all too relatable as if she took a page from our souls’ inner diary. Natalie exposed her demons in hopes of healing ours. This is her must raw and painfully honest track yet as she details her mental health struggles, and we are so grateful she allowed us into her heart and mind. Natalie Barth is an indie-pop singer/songwriter from North Carolina. She is a self-proclaimed “enigma” who isn’t sure how to define herself. The 21-year-old drinks coffee way too late at night, focuses on the past instead of living in the present, and is incredibly indecisive. She likes writing songs about the worst parts of life - it’s her way of problem-solving. While she’s been writing music for years, she has only recently gained the confidence to share her music and message with the world. Inspired by artists like Lorde and Lennon Stella, she has a deep passion for creating songs that combine raw emotion and desolate lyrics, accompanied by gentle harmonies backed by a soft, indie-pop atmosphere. Natalie Barth is using her craft to make a difference, and let her listeners know they are never alone. Her music is going to make a difference in this world, and we can’t wait to see her light continue to shine! Written By Grace Chapman FOLLOW NATALIE BARTH:

If you’ve ever gone through a breakup that you didn’t want to happen, you know how hard it is to get past. We reminisce on the good times and think about what we could have done to keep the connection alive. Its absence can create an emptiness in our heart and mind, as we tend to give little parts of ourselves to the people in our lives. They can come in the form of secrets and deep emotions, such as sadness or anger. In his new upbeat single, “Smaller Pieces,” Noah Pearce candidly reflects on how hard it is to get over a breakup. Those who are currently going through the same situation will relate to the deep emotion in his words and know that they are not alone. The instrumentation and lyrics of “Smaller Pieces” both work to illustrate how hard Pearce is working to get over the rough patch of a breakup. The electric guitar in the beginning during the first verse had a defiant sound to me. It backs lyrics such as, “Six months on and I can’t stop from thinking up something about you.” The music starts to become more upbeat on the words, “my emotions knocking down the door.” The chorus then reaches its boiling point with the words “I don’t wanna live without it.” The guitar from the beginning is now layered with drums and other elements that give it a sort of disco sound. The second verse and chorus follow a similar pattern as Pearce sings “Fading my memories change from grey to colorful. Can’t work out if we gave up way too fast.” Noah Pearce’s main goal in writing music is to be himself, and I think he certainly achieves it with this song. It takes great courage to show this display of deep emotion. Noah Pearce is a singer/songwriter who was born in Johannesburg, South Africa. He later moved to Luxembourg where he spent the majority of his childhood. When he was younger, Pearce found music to be a welcome escape from everyday life. His talent blossomed into a musical career. “Smaller Pieces” comes off Pearce’s latest EP Domicile. This album also has his other song, “Ballet Dancer.” Similar to “Smaller Pieces,” the track is also an upbeat song about navigating a breakup. It shot up to the #4 spot in the Chartbreaker Chart on Luxembourg’s Eldoradio. I enjoyed reviewing Noah Pearce’s music and can’t wait to see what he comes up with next. Follow all of his socials down below to learn more about him and stay up-to-date on new releases! Written By Kelli Dixon FOLLOW NOAH PEARCE

The stages of heartbreak are: denial, anger, melancholia, and eventual acceptance. But like most things to be endured, this process is complicated. We don’t always experience those stages in sequential order. Sometimes anger can come before denial. Or maybe denial occurs while in the relationship as it heads towards its’ inevitable end. We can even find ourselves going back to a particular stage and reliving through it multiple times. This process is always circumstantial and varies from person from person - the only constant for everyone seems to be the chaotic manner in which the stages of heartbreak unfold. Krrysopher’s latest single, “Gone”, offers a vulnerable glance into navigating through heartbreak and the release that awaits once we’re out of its clutches. “Gone” takes listeners through all the stages of a devastating heartbreak while demonstrating that the overall process is not quite as straightforward as we would like. And this complex process is seen throughout the song. The single opens with whispering voices and a thumping bass that mimics a heartbeat. Showcasing how heartbreak has a tendency to preoccupy the mind and make us feel disconnected from the world surrounding us. We’re then thrusted into the third stage of heartbreak, melancholia, in the opening verses. Within these verses Krrysopher touches on how romantic partners can feel like “home”; which makes separating from them all the more devastating because we’ve not only lost a person we adore, but also a space of familiarity and comfort. The pre-chorus swallows listeners in the second stage of heartbreak as it transforms into a raging fire of anger. The rising temper comes from the disbelief that someone who claims to care deeply for us could be so careless with their actions during the relationship and after its demise. But being able to express this anger in itself can be freeing; getting us a little closer to the stage of acceptance as displayed in the chorus. The chorus’s refreshing concept allows boundaries to be laid down with the former partner through an empowering declaration of “I won’t let you in ”. The time after the end of a relationship requires some personal space. By having the continued presence of a former partner during this period, we’re only prolonging the heartbreak - making it near impossible to move forward. To remain resilient and true to the boundaries laid down, Krrysopher beckons listeners to reflect on the stage of denial. In the third and fourth verses, denial had us convinced that “true love must… hurt”. Although there can be moments of hurt in a relationship, the foundation of the relationship should never be grounded in hurt. Krrysopher also points out something unique; sometimes, recalling an earlier stages of heartbreak can catapult us into the final stage of acceptance. Similar to what transpires in the single's impassioned bridge; there's an acknowledgment of the former partner once being our "lifeline" - that time has since passed and we're more than ready to move on now. "Gone" keeps listeners on the edge of their seats as they wait for the next lyric from Krrysopher. This rich, genre-defying production expertly uplifts the artist’s vocal delivery and in turn makes it the emerging star of the single; Krrysopher’s spirited progressions and emotional sentiments have the mysterious ability to call upon past heartaches to experience them all over again through a fresh perspective. And hopefully the new outlook provides a breakthrough for listeners who find themselves stuck in one of the earlier stages of heartbreak so they, too, can finally “breathe”. Maria Jugănaru, better known by her stage name, Krrysopher, is a singer, songwriter, and musician based in Romania. Jugănaru has quite a flair for percussion instruments; being well versed in playing the piano, ukulele, and both the electric and acoustic guitar. Currently the young artist studies music at the National University of Music in Bucharest while working on their debut EP, ROGVAIV. “Gone” is the second single featured on the upcoming EP, while “Homesick” is their first single. Fans might best recognize the songstress from her time on SuperStar România 2021 – a singing competition similar to American Idol here in the states. Jugănaru blew away judges and audiences alike with her abilities, quickly becoming a fan favorite and eventually placing as one of the show’s finalists. If you’ve been as captivated by the emotional genuineness of Krrysopher’s music as I have, show the artist some virtual love in the form of streams, likes, and follows. Written by Giavanna Gradaille FOLLOW KRRYSOPHER:

Moving away from home is a huge step to take. It's a massive change and can impact several facets in life, including the relationships with the people you grew up with. Luna Bay explores feelings about those changes with their new single, "You." The track reflects on how everyone changes, for better or for worse, and how life goes on even after you move away. "You" is written as a letter to yourself, acknowledging the unchanging feelings for your hometown and the people in it. Deep down, those feelings are still there and you'll always have a bit of nostalgia for where you grew up. Luna Bay's "You" is brimming with a bittersweet, nostalgic energy. The guitar-laden track is animated and anthemic, featuring driving beats and vibrant guitar riffs. Accompanying the song's reflective lines, the lead singer's crisp vocals deliver infectious melodies that feel both happy and sad. The sound created in "You" is reminiscent of The 1975 and Deaf Havana, masterfully mixing pop rock, indie electronic, and indie rock together. Some similar artists to Luna Bay include Bombay Bicycle Club, Corella, Holly Humberstone, and Only The Poets. Between the song's relatable message and irresistible sound, "You" is a compelling listen that deserves to be played again and again. Since their debut in 2019, indie rock band Luna Bay has been steadily on the rise. Their early singles have gained the support from Huw Stephens (Radio 1), Jack Saunders, and John Kennedy (Radio X). With the release of their single, "Little Amsterdam," Luna Bay was added to the Radio 1 Introducing playlist and became one of the most played artists on BBC Radio Wales. Having supported acts like Nothing But Thieves, The Academic, and Declan McKenna, Luna Bay has gone on to sell out headline shows of their own. Some of their popular releases include "Call the Night," "Hometown," "20 Signs," and "Blue." Written By Cheyenne Johnson FOLLOW LUNA BAY:

“Her and I” is a sultry alternative rock anthem that explores the realizations that can come from discovering your sexuality. Deep into the night, a girl grows closer and closer with another girl she has met. As things heat up and clothes disappear, she feels more physically and within herself. Sensations brew within her and she realizes things about herself she never fully understood before this moment. She has been searching her entire life for something more and finds it within another woman who desires her just as much. Everything feels right, but it also as though it is more than that. All that she senses come from something greater than herself. Coming to terms with who she desires and being able to indulge in that feels as though this is who she is. Her desiring women and being desired back by women is akin to heaven for her. She finds paradise within her physical and emotional connections with this woman. Calliope Wren’s latest single is as sexy as it is introspective, with an instrumentation to match its vast array of emotions. The standout aspect of this song is the explicitly LGBTQ+ themes of its lyrics. The lyrics offer bold and proud exclamations of a woman detailing her sexuality. Every handwritten word of “paradise” and “heaven” to describe a girl by her side is paired sweetly with the bold instrumentation. Every hard hitting drum beat and bass note precedes the speaker being outspoken with how life-changing her experience is for her and her sexuality. Wren’s belting voice is ear candy as much as it accentuates the message of this single. Her voice is at the forefront and seemingly takes pride in every self realizing line. She boldly takes pride in every proclamation of admiration for another woman and it makes everything stand out that much more. Calliope Wren is an accomplished singer-songwriter from Long Island and is a proudly outspoken LGBTQ+ and mental health advocate. She has an extensive and impressive music and performing career that spans a number of years. She studied and majored in musical theater under the wing of David Krasner. Wren has opened for many artists such as O-Town and Backstreet Boy; Aj Mclean. She has also performed at well-known musical theaters and venues such as the Amityville Music Hall and The Friars Club. She is well known throughout New York in various musical scenes through networking. She has created her own community; an “Artist Development” community that spreads her knowledge and connections throughout social media for other artists and enjoyers. Make sure to follow her on social media and give “Her and I” a listen! Written By Willow Gray FOLLOW CALLIOPE WREN: *Sponsored Post - Discovered on Musosoup. A contribution was made to help create this article. #SustainableCurator

Photo: Halocene via Spotify Formed in 2008, Halocene is comprised of Addie Nicole (vocals), Brad Amick (vocals, guitar), and Joe Polizzi (drums). Hailing from Phoenix, Arizona, the trio quickly built a reputation, touring the country from coast to coast. Halocene has opened for acts such as Fall Out Boy and Blink 182 and rocked for the audience of Van's Warped Tour. Halocene is unsigned, and the band is 100% self-made, with Brad serving as producer. The band creates and manages its videos, music productions, and social media presence. Halocene has gained a strong following on both YouTube and Twitch, regularly providing content for both platforms. Some of the band's collaborations include artists such as Lauren Babic, Violet Orlandi, and First to Eleven. TRACKLIST Maleficent Unholy Hold Me, Help Me Closer Repent Running Up That Hill The Mirror Halocene is an exceptionally prolific band, with "Maleficent" as their twenty-second release. Although all releases are noteworthy events, "Maleficent's" is particularly poignant, as this is the last foreseeable album that will feature Joe Polizzi. On May 22nd, the band announced they had decided to part ways with the drummer. Refreshingly, neither drama nor animosity fueled Polizzi's departure. The decision was primarily made due to Addie and Brad relocating to Nashville earlier this year. With the band members so far apart, it had become challenging to stream enough on Twitch for it to remain sustainable for Polizzi. Addie has indicated that although Halocene has hired a drummer for the tour, the band has no intention of replacing Joe. Track #1 - Maleficent The EP's title track is a no-holds-barred, original tune that sets the standard for this musical journey. The band shared that this song is meant to help the listener find their voice, be authentic to themselves, and embrace who they are, regardless of the negative feedback from naysayers. That message is made abundantly clear in the song's opening: 'Sit down, shut up, be a good little girl/Hate me, bait me, will I ever fucking learn/Wit's end, revenge, now it's time to watch it burn/Beg me, mercy, but you'll get just what you've earned...' What struck me the most when I first heard this song is how much Brad has grown and improved as an artist - the transformation is remarkable. His vocal delivery and guitar playing are stronger and more polished on this album than in previous Halocene offerings. Track #2 - Unholy (Sam Smith, Kim Petras cover) Putting their familiar melodic rock/metal twist on this Sam Smith hit, Halocene nailed this cover. While remaining true to the spirit of the original, the band also managed to make this tune their own. Superb, clean drum work from Joe and incredible guitar riffs from Brad make this rendition easily identifiable as an offering from Halocene. The musical elements work very well, allowing Addie's voice to take center stage while providing a backdrop comprised of a rich tapestry of sound. About halfway through the track, Brad's screaming vocals offer another layer of depth and additional grit. Track #3 - Hold Me, Help Me Another hard-hitting original track, "Hold Me, Help Me," starts with Addie's alluring, emotion-laden vocals. Written during what Addie refers to as some dark times in her life, this song seems to address an individual from the singer's past. 'I don't wanna make you angry/I don't wanna let you down/I don't know why my mind's so heavy/But I can't take the pain anymore/Confusion, subhuman, never whole/Delusions took their toll and broke my soul...' The thought of disappointing this person became more and more taxing until she eventually had no choice but to sever the relationship to preserve her mental health. Brad's answering vocals, 'My secrets, I can't keep them anymore/My regrets took their toll, my heart's gone cold,' seem to suggest the other party's regret in the dissolution of the relationship. Track #4 - Closer (NIN cover featuring Lauren Babic and Kayla King) Since NIN's "Closer" was a formative song in my teenage years, I initially had some reservations when I saw that Halocene had decided to tackle this iconic tune. However, upon my first listen, I realized my apprehension was unnecessary. Addie, Lauren Babic, and Kayla King deliver impeccable vocal performances here. Each songstress has her unique vocal style and approach, and weaving them together into a song makes for a dynamic performance. In particular, Lauren's heavy, growled vocals add a dimension that rounds out the tune. If you're an anti-cover purist and are firmly, nostalgically attached to the original, this may not be the track for you. However, if you have an open mind regarding covers, I suggest you check out this version. Track #5 - Repent Addie indicates that "Repent" was written for survivors of abuse, those who weren't believed when they spoke up regarding their experiences. Inspired by events endured by Addie's mother, "Repent" is the band's way of extending support and solidarity to those who have gone through or are currently facing similar circumstances. Starting with self-reflective and somber vocals, the song's tone shifts to a reclamation of power, defiance, and rage that provides a cathartic experience for the listener. "Do you regret it?/'Cause I can't forget it/Repent, get on your knees and beg/Somewhere in there, you remember/You know what you did/Repent, get on your knees and beg...' Brad's screamed vocals work particularly well here, serving as the perfect emphasis and enhancement. Track #6 - Running Up That Hill (Kate Bush cover) One of the shining moments on this EP is, without a doubt, this cover of Kate Bush's classic 1985 hit. Written to depict the follies that can occur in communication between people, Bush explains that the song invites the listener to put themselves in another's shoes, to see things from their perspective, and to gain a deeper understanding. There is just something so lovely and vulnerable in Addie's vocals here, especially toward the beginning of the song, that makes this track incredibly poignant. The band's approach to this cover, with its reduced tempo and uncharacteristically subdued music, is phenomenal, allowing Addie's voice to soar and serve as the focal point. The original will always have a special place in my heart, but for me, this modernized take on Bush's coming-of-age tune surpasses the original. Track #7 - The Mirror (featuring Violet Orlandi) The EP's conclusion finds Halocene teaming up with fellow artist Violet Orlandi on this original song. With a video rich in religious symbolism, this song depicts how individuals in positions of authority can disparage, shame, and oppress others for not conforming to what they believe to be 'correct.' This song calls out the behavior of these people, who often abuse their power by using their perceived moral superiority as a metaphorical bludgeon. Opening with, 'Do you bleed?/Take the name of God/You believe/You're above us all/You are not a saint at all/Pushed me up against the wall...' the song's message is impossible to miss. Addie and Violet deliver powerful performances here; their voices work well together. However, Brad's gritty background vocals add another layer of subtle complexity. Despite containing just seven tracks, Maleficent packs an undeniable punch. Its combination of original songs and covers of iconic and beloved tunes creates a satisfying balance for fans. With immense talent, creativity, and seemingly boundless ambition, Halocene knows exactly what their fans want and never fails to deliver. The "Maleficent" tour kicks off September 7th in Columbus, OH - shows are quickly selling out, so snag a ticket while they're still available. (I will attend their September 29th show in Lincoln, NE, so stay tuned for that review in October!) If you cannot attend, or live gigs aren't your thing, I recommend you check out the album and explore the rest of Halocene's back catalog. Written Vanessa Siebrass Instagram | Twitter | Facebook | Spotify | TikTok | YouTube *Copyright not intended. Fair Use Act, section 107.

"Soft Place To Land" is a tour de force of the dancefloor's past and present, showcasing Souvenir's most chimeric and transformative interpretation of synth pop. Michael Fenuccio—the creative force behind Souvenir—brings both a sense of thrill and comfort in his anthem for queer joy and nurturing safety in a relationship. Fizzy synths soak the summery chorus, transforming Fenuccio's promises and devotions into a frehsly popped bottle of champagne. His voice is densely layered, serene falsetto lending the bright hooks an airy quality. The soaring bliss of the chorus is particularly effective coming off the entrancing verses. As Souvenir seeks connection, the deep bass lurches hypnotically under his wispy vocals. As Fenuccio places his heart in love's hands, his voice shimmers like the sun off ocean waves. "Baby my love's underwater, and baby that water's your hands," goes the centerpiece of "Soft Place To Land." Fenuccio feels love as security, protection, and all-encompassing-affection. To love someone deeply, as he suggests, one must provide them with a feeling of unconditional understanding. "Wading in and taking your time," he smiles without concern for time, "I'll show you how deep we can go." The euphoria of the sweeping chorus is no hail-mary plunge into deep waters — it's gently crossing the drop-off without a moment of doubt. "Gimme all of your confessions, lay them next to me," he pleads: a sincere and wholistic devotion. To love deeply and fully, in the world of "Soft Place To Land," is like breathing underwater. The Brooklyn-based artist, Souvenir, has been forging his path in the pop landscape to greater heights each year. Last year's EP, "Human Nature," brought together the immaculate collaboration between Fenuccio and producer Dominic Florio. The two continued to work together after the release of Souvenir's sparkling six-track EP, with Florio producing "Soft Place To Land" in addition to the previously released "Karma." With his blend of classic and contemporary sounds, Souvenir finds wide-ranging appeal without sacrificing boldness. His music stands as a testament to modern queer experiences, from love to heartbreak. Written By Andy M. FOLLOW Souvenir:

I have oftentimes been told by people in my life that I live “chronically online.” I had no idea what this meant for a long time, but after some friends opened my eyes, I realized the hard truth. The internet had taken over my life in a way that wasn’t healthy anymore. Kayls’ new song, “Internet,” perfectly encapsulates all of the thoughts and feelings I held regarding my life online. With stunning vocals and lyrics that made me rethink a lot of things, Kayls has managed to create a song that is not only relatable, but honest. “I need to get off of the internet, I’m losing days to my depression,” is quite possibly one of the hardest-hitting lyrics in the whole song. It perfectly reflected what both myself and other people in my life have experienced. “Internet” is a raw and beautiful ballad that tells the stories of people who lose themselves within the addictive side of the internet. Genuinely, I am obsessed with this song. Kayls somehow managed to make a song sound both haunting and addictive. If the message behind the song alone didn’t break you, then Kayls' vocals probably did. She has an almost ethereal sound in her tone, and every word she spoke I found myself getting drawn in deeper and deeper. And the instrumentals that play behind her give a necessary depth, really making the song sound more haunting than before. This feeling is only elevated when you begin to hear the echoes. Not echoes in her voice, but in the music. It is absolutely stunning, and I can’t help but hit replay once the song ends to keep the music going! Kayls, or Kayla Stewart, is a singer that you might possibly recognize! She is coming back following a three-year hiatus with her upcoming EP, Jasmine , which will feature both “Internet” and her other newly released single, “On the Rocks.” She has two previously released songs, so she is still sort of new to the music scene. However, you wouldn’t even be able to tell based on her talents. It was an absolute joy to get to experience this song. I felt things that, frankly, I haven’t really felt for a song in a long time. As she took a break from music to find her voice on a beautiful journey of self-discovery, the product we were left with will only further help to boost Kayls’ career forward. She has big things coming for her, and I am so excited to see where she goes in the industry. Written By Isabel Mays FOLLOW KAYLS:

Loren Heat takes us through the frustrating feelings mixed signals cause with their new single, "Curiosity." This track is the artist's debut in the music industry, beginning as a university project at Teeside University. "Curiosity" was later produced and mixed by Chad Male and mastered by Pete Maher. Elaborating on the song's premise, Heat explains, “This song is about the ‘will they, won't they’ and the frustrations when the person who makes your skin feel a-light and your mind alive won't be honest with how they feel. You don't know whether they're being friendly or flirting and the feeling is tormenting, more-so when the interactions begin to border on lustful and the answers become hazier. This is that confrontation.” Showing themselves to be a powerful force, Loren Heat's "Curiosity" is a pop anthem like no other. The track combines elements of dance pop, electro pop, and alt pop together to create an infectious debut. "Curiosity" features bold, memorable melodies and Heat's deep, sultry vocals. Intertwining captivating beats with a synth-laden soundscape, Heat constructs a dynamic, compelling single to be played on repeat. Heat pairs this intriguing soundscape with darker lyrics, producing a song that bounces between torment and flirtation, successfully conveying the mixed signals "Curiosity" is about. Hailing from Middlesbrough, Loren Heat is a 20-year-old queer singer/songwriter. The artist enjoys creating dark pop-leaning songs, drawing inspiration from acts like Lady Gaga, Dua Lipa, BEKA, Phoebe Green, and Mabel. Heat got their start by playing numerous open mic nights and recording ukele covers on TikTok. They want their music to be defiant, brave, and unashamedly pop. "Curiosity" is just the beginning of this artist's journey; with the support of Youth Music's Incubator Fund and mentoring from Tees Music Alliance, we can expect to hear great things from Loren Heat in the future. Written By Cheyenne Johnson FOLLOW LOREN HEAT:

"Popcorn and a Smoothie" comes as the latest single by Victor Ray in anticipation of his upcoming EP, i felt. The track is inspired by Ray's younger half-brother that he never got to know, but it also serves as the words that he wished his estranged father would have told him when he was younger. The exceedingly vulnerable lyrics about wanting to get to know someone and explain why you have not been around are delivered between rich, soulful vocals and simple guitar-based instrumentation. Every line felt like diving deeper into Ray's heart, as he bore all his emotions out in the lyrics he penned. If you have ever felt like reconnecting with someone or wishing that someone would reach out to you and explain their absence in your life, this track is sure to resonate with you. "Popcorn and a Smoothie" begins with Ray's soulful voice coming in over a guitar-based instrumentation apologizing for missing a birthday. The heartfelt refrain of "Maybe I could take you to the movies / You could get some popcorn and a smoothie / Sit next to me / Oh, 'cause I just wanna get to know you" elicits the simple desire to get to know his little brother. He continues to ask questions about his life, bring up feelings of regret, and say he wants to explain "why I'm only here sometimes." Through the track, we can hear the utter emotion in Ray's voice. He means and feels every syllable. The song serves as a poignant tribute to the connection that he's lost with his brother in a broken family. Victor Ray was born in Uganda, raised in Newcastle, and now based in London. He started off busking on the streets of London when he moved there, but now has come to be praised for his street performances and amassed a strong following online. "Popcorn and a Smoothie" is the latest release as part of his four-track project, i felt, that tackles feelings of heartbreak and loss. Influenced by pop, R&B, and soul, Ray has crafted a tender and powerful sound that I cannot wait to see continue in his future releases. You can keep up with Victor Ray and his music by following the social media links below. Written By Sydney Gray FOLLOW VICTOR RAY:

Photo Credits: AP News Releasing his third studio album, Hozier takes us on a journey through light and darkness in Unreal Unearth. The 16-track record reflects on Hozier's experiences in recent years, especially during the four gap between this album and his previous album, Wasteland, Baby! Tying in personal experiences with his love for literature, Hozier uses Dante's Inferno to lay the groundwork for Unreal Unearth. The album voyages through the nine circles of Hell, focusing on the story through the lens of modern struggles. Hozier weaves this tale by exploring themes of love, death, and life after death. 1. De Selby (Part 1) 2. De Selby (Part 2) 3. First Time 4. Francesca 5. I, Carrion (Icarian) 6. Eat Your Young 7. Damage Gets Done (feat. Brandi Carlile) 8. Who We Are 9. Son of Nyx 10. All Things End 11. To Someone From A Warm Climate (Uiscefhuaraithe) 12. Butchered Tongue 13. Anything But 14. Abstract (Psychopomp) 15. Unknown / Nth 16. First Light Continuously gracing our ears for a decade, Hozier exploded onto the music scene in September 2013 when he released his debut single, "Take Me To Church." The Irish solo artist had mostly recorded the track in the attic of his parent's house in Wicklow, unaware of the chokehold he'd soon have on the world and the international fame he would achieve. Now, Hozier has garnered billions of streams and many impressive achievements, including multi-platinum album sales, multiple awards, a Grammy nomination, and innumerable sold-out live shows around the world. His previous studio ablums, Hozier and Wasteland, Baby!, were masterpieces in their own rights, but every time it seems Hozier has created his magnum opus, he rises above with something even more breathtaking. Unreal Unearth is an enthralling new addition to the majestic artist's catalog and shows off some of Hozier's best compositions yet. Starting off on a solemn note, "De Selby (Part 1)" begins Unreal Unearth with an ethereal ballad. The track features Hozier's gentle voice over an acoustic guitar and strings driven background, guiding us through metamorphosis and darkness. It's one of several tracks on the album that pay homage to his home country and feature him singing in Gaelic. Following the softer sound created in "De Selby (Part 1)," "De Selby (Part 2)" takes over with a disco-inspired track. The song features funky bass lines and driving rhythms, juxtaposing the prior part's solemnness. "De Selby (Part 2)" also depicts a theme of descending into darkness, but does so with groovy melodies and belting vocals. Both tracks are two sides of the same coin, being based on de Selby from Flann O'Brien's book, The Third Policeman. Moving in a lighter direction, "First Time" showcases a classic, upbeat Hozier sound. While the lyrics are still on the melancholy side, the music is joyful and optimistic. "First Time" is reminiscent to some of Hozier's previous releases, like "Jackie and Wilson." Going back to a darker sound and theme, "Francesca" comes up next on Unreal Unearth. The track ties into the Dante's Inferno theme, drawing inspiration from Francesca da Rimini, a woman condemned to the second circle of Hell (lust) for having an affair with her husband's brother. "Francesca" is an exuberant and boisterous indie rock track, featuring powerful vocals and explosive choruses. The end of the song slows down dramatically and splits into multiple melodic lines, giving the ending a polyphonic feel. It's one of the most gorgeous and impactful moments on the album, making "Francesca" a song to remember. Immediately contrasting "Francesca," the album moves on to the next song, "I, Carrion (Icarian)." The track is soft and acoustic, beginning with lush vocal harmonies that soon shift to Hozier's deep, whisper-like voice carrying the peaceful melody. He's backed by flowing guitar lines and rich strings, making "I, Carrion (Icarian)" one of the most relaxing songs on Unreal Unearth. Inspired by Greek mythology, "I, Carrion (Icarian)" is a retelling of Icarus, a tragic tale where Icarus is so mesmerized by the sun, he flies too close and melts his wings. Shifting again sonically, "Eat Your Young" moves us in a jazzier direction, beginning with an infectious falsetto melody that recurs throughout the song. "Eat Your Young" is upbeat and lively, contrasting the darker subject matter in the lyrics. Lyrically, "Eat Your Young" represents another circle of Hell, symbolizing gluttony. The juxtaposition of the music and lyrics gives the track a cynical feel, revelling in greed. While many of the tracks on this album may be steeped in gloom and somberness, "Damage Gets Done (feat. Brandi Carlile)" gives us a break with a breezy power ballad. The track tells a coming-of-age story, happily reminiscing about the days of being reckless and young. "Damage Gets Done" is a fun duet between Hozier and Brandi Carlile, pairing her soaring vocals with his deep, sultry voice. It's a brilliant collaboration that we all needed to hear. Taking us back to a grimmer mood, "Who We Are" represents the fifth circle of Hell—anger. Hozier passionately belts out his sorrow and heartache in this touching track, reflecting on our destructive natures and how we allow our traumas to impact other people. Giving us a break from the heavy material on Unreal Unearth, "Son of Nyx" is a peaceful instrumental track that serves as the first glimpse toward the light. The cinematic track begins with a contemplative piano, later progressing into lush orchestral harmonies with distant vocal interjections that callback various moments on the album. Bearing a double meaning, "Son of Nyx" is a reference to the Greek goddess of the night, Nyx, and her son, Charon, who serves as Hades' ferryman and guides newly deceased souls across the rivers Styx and Acheron. The song also serves as a tribute to the late father of Alex Ryan, Hozier's close friend and bassist. Getting back to Hozier's soulful vocals, "All Things End" gives us a track with an R&B feel. The mid-tempo ballad tells a story of heartbreak and how relationships can scar us when they end while also representing the sixth circle of Hell—heresy. "All Things End" starts off soft with Hozier's mellifluous voice carrying captivating melodies over piano and light percussion, later ending with a powerful choir that gives the track a gospel sound. The next three entries on Unreal Unearth draw inspiration from Hozier's knowledge of Irish history. "To Someone From A Warm Climate (Uiscefhuaraithe)" is a beautiful, soulful ballad that sheds light on childhood secrets for bearing harsh winters. With the solemn ballad, "Butchered Tongue," Hozier delivers an ode to those who fought and died in the 1798 Irish Rebellion. The somber song also mourns the loss of indigenous languages to colonialism. Brightening the mood a bit, "Anything But" is a peppy track depicting Hozier's daydreams of floating down the River Liffey or being a mayfly on the River Tay. The lively ditty has a contemporary folk sound, featuring Hozier's flawless vocal undulations and lyrics telling a love story. Bringing us closer to finding the light on Unreal Unearth, "Abstract (Psychopomp)" is a mid-tempo ballad that takes us through fleeting moments in life. The line "See how it shines" is repetitive through the song, representing optimism even during hard times. Continuing to reference mythology, 'psychopomp' refers to a being that is responsible for guiding souls to the afterlife. "Abstract (Psychopomp)" seems to be guiding us out of the dark and into the light, intertwining Hozier's powerful vocals with hopeful melodies. Taking us through the ninth and final circle of Hell, treachery, "Unknown / Nth" narrates the story of experiencing heartbreak at the hands of someone you loved and trusted. The track explores repetitive mistakes, thinking you learned from a previous heartbreak to find your heart broken again. "Unknown / Nth" has a sparse soundscape, featuring bluesy guitar riffs and Hozier's belting vocals. Wrapping the album up and bringing us to the light at the end of this tunnel, "First Light" is one of the most striking tracks on Unreal Unearth. Hozier's arresting vocals soar on the stunning hymn-like composition, reaching the album's climax and the moment we've been waiting for. Unreal Unearth has been a daunting journey through Dante's Inferno and the nine circles of Hell, finally reaching liberation in "First Light." Ending the song with feelings of celebration and relief, "First Light" explodes into a triumphant choir, giving Unreal Unearth a breathtaking finale. After listening to Unreal Unearth, it's not surprising this album has been getting overwhelmingly positive reviews. This album has been well-received by critics and fans alike, many claiming it's Hozier's best work yet. While Hozier and Wasteland, Baby! were both incredible albums, Unreal Unearth shows the Irish artist reaching for new heights. This has been some of Hozier's most compelling music, diving into deep themes and refusing to shy away from even the darkest of topics. Through Unreal Unearth, Hozier shows us it's possible to rise from the ashes of pain and overcome whatever may torment us. Written By Cheyenne Johnson Instagram | Twitter | Facebook | Spotify | TikTok | YouTube *copyright not intended. Fair use act, section 107.