Giving us a fresh, hard-hitting industrial pop single, EMM has written and released her new hit, "Delilah." The bold track draws inspiration from a scene in Diary of a Mad Black Woman that depicts the ex-wife of an abusive man finding herself in a caretaker role after he becomes paralyzed. In this position, she struggles to decide whether or not to take revenge for the things he did to her. EMM explains, “The story of Delilah is a bible story where a woman uses her power to drain a man of his strength. I saw a TikTok that said 'most men would leave immediately if they were treated as poorly as women are often treated, and women are far more likely to stay.'” The combination of the scene from the film and the message the TikTok conveyed helped inspire the merciless lyrics present in "Delilah." EMM's message she conveys with the new track is that women shouldn't tolerate things that their male counterparts wouldn't put up with; instead, they should demand justice. EMM shows off with huge, powerful vocals in this vengeful track. "Delilah" is an aggresive combination of dark synthpop and dance pop, featuring a synth-laden soundscape and unforgiving melodies. EMM channels her inner Sia and Rhianna with her rich, resounding pop vocals, flawlessly building the intense, acrimonious energy woven throughout the song. The post-chorus was influenced by an industrial pop version of The Weeknd, ending the song on a haunting note. Between the heavy hitting pop beats and the satisfying plethora of vocal effects, "Delilah" is a nuanced masterpiece that listeners will have playing on repeat. Hailing from Los Angeles, EMM is a self-made multi-instrumentalist, producer, songwriter, and pop artist. She is a force to be reckoned with, embodying the persona of a woman who doesn't cater to the entertainment of others. EMM is an unapologetic artist, rising above stereotypes given to women and other female artists. Being able to stand with some of pop's greatest female vocalists, EMM boasts a 4-octave range and an impressively lyrical voice. She has enjoyed much success so far, amassing over 100 million independent streams. Expecting 2023 to be an epic year for EMM, she has been gearing up for her July 12th performance at the Roxy in LA. She is also set to release her secret project, GENESIS, which is a two-piece documentary and live performance that highlights women's experiences in music, diving into the difficult topic of sexual abuse in the music industry. Written By Cheyenne Johnson FOLLOW EMM:

A mythical creature surrounded by snow and instilled with ice, the Yeti haunts the Himalayan mountains and those that inhabit them. The eerie fables spread about this creature snuck their way into Paris Paloma’s recent release, where she compares the end of a relationship to the dwindling sightings and lost footprints of the Yeti himself. In the chorus, she sings, “We're nothing but myths now / That neither of us believe in”, equating their broken hearts with nonbelievers. Their faith in the Yeti is lost, however they recognise the beauty that they once shared. The song is scattered with mentions of snow and forested lands, adding to the whimsical energy Paloma created with this song. Paloma’s delicate vocals, lyrics and solemn nature are joined with Old Sea Brigade on this track to round out the folk and indie sound. Old Sea Brigade, whose real name is Ben Cramer, is signed to the same label as Paloma, and joins her in their genre of music. He is heard in the chorus of “yeti”, and their voices blend together powerfully to create a haunting ambiance. The light acoustics and soft instruments throughout the background tie the song together and give an all around soundscape of elegance with a touch of sadness. Staying true to the themes of myth and folklore, Paloma’s style of enchantingly mysterious music shines through. Paris Paloma is a singer-songwriter from the UK, who has been releasing music on Spotify since late 2020, and has amassed nearly 3 million monthly listeners. She has released multiple singles, as well as an EP titled “cemeteries and socials”. Her style is consistent throughout these releases, with her whimsical soundscapes and themes of womanhood. Paloma signed with Nettwerk Music Group, a company founded by Terry McBride, Mark Jowett, Ric Arboit and Dan Fraser in 1984, with the goals of helping artists grow their careers. This September, she is doing a small tour around Europe, with dates in locations such as Ireland, the UK, and Poland. Make sure to follow her social media accounts below and stay tuned for more releases from Paloma. Written By Tessa Maddaloni FOLLOW PARIS PALOMA:

Some of us are hopeless romantics. Falling in love has always been the plan but what happens when that comes to an end? Imagining your partner with someone new is torture and finding someone for yourself seems worse. What happens when it all comes to an end? Insult to Injury by Natalie Barth answers this question for us. When a hopeless romantic falls in love it is near impossible for them to fall out of it, hence the hopeless part. So, begging for one last kiss can’t be too bad right? Insult to Injury is one of those songs that sticks with you. Whether it's the powerful vocals or the relatable lyrics. We can’t seem to get enough of the song. The track opens with strums of an electric guitar and Natalie Barth’s sweet-sounding voice. As we shift towards the chorus the instrumental swells. The electric guitar becomes more prevalent and Natalie's vocals rise simultaneously boosting the energy of the record. Natalie sings of being in love with someone so deeply she is doing everything to keep the relationship together. The relationship doesn’t seem to be the best for her but her love for her partner is so strong she can’t let go. She is begging for one more kiss from this person before they go their separate ways. The lyrics are littered with reminders that this relationship isn't the best and one more kiss will do nothing for them yet Natalie needs it. Being a hopeless romantic can sometimes result in a need for any kind of love and Insult to Injury perfectly captures the pain of that. Natalie Barth is a 21-year-old singer/songwriter out of North Carolina. She has been writing for years but has only recently ventured into the music industry. She loves writing songs about the worst parts of life. Making it easier to solve these issues herself and hopefully for her fans. Natalie has a talent for incorporating raw emotion into her music. Similar to Olivia Rodrigo or Lorde her music is jam-packed with honest lyrics and punching emotions. This aspect of her is extremely relatable and is setting her on the path to major success. Written By Kaiana Lee FOLLOW NATALIE:

One thing that I love with music is how it can be used to express powerful emotions and messages. When a song is made right, it can be empowering, inspiring, and catchy all at the same time. Alexandra Fresquez’s new single “Break Free” is a great example of how artists can use their music to convey these messages. The main message of the song comes from self-liberation and understanding that for whatever obstacles in life come our way, oftentimes the biggest obstacle is in fact, ourselves. This is an extremely catchy song, and there are so many things that I love about it! The lyrics are extremely catchy! The lyric, “No more walls, no more second guessing,” translates to how when we are challenged, we often like to second guess the decisions we make. But, now that we are overcoming the challenge, we second guess ourselves less. Click here to listen to "Break Free" “Break Free” has both a catchy and steady beat to it. You know when you’re driving in your car with the windows rolled down? This is the kind of song I can envision listening to at that moment, I love it. Alexandra’s vocals are very similar to musical artist Bebe Rexha’s, but she has a certain breathiness that really pulls me in. It sets her voice apart from others that I’ve heard before, and I can’t get enough of it. I also want to take time to show appreciation for the instrumentals! It doesn’t sound like too many different instruments were used, but the song really let the sound from the drums shine. It’s consistent, but also strong. I could almost feel the drum beats within me, I thought it worked really well! Aside from being a singer, 25-year-old Alexandra Fresquez is also an RN at a hospital in Silverlake, Los Angeles. She released her first single, “Hero”, back in 2016, and since then has consistently worked toward her dream of being a musical artist. From an early age, Alexandra involved herself in choir and dance at school, but she was always pretty shy. So when she made the big move to LA, she met new people who encouraged her to “Break Free” and focus more time on reaching her dream. For “Break Free”, Alexandra worked alongside Abdulla Alhamed, and they also have a music video that is due to be released soon! To wrap thing up, I think I can speak for everyone when I say this song is exactly what I look for in a summer song, and I can’t wait to listen to what Alexandra releases next! Written By Isabel Mays FOLLOW ALEXANDRA FRESQUEZ:

If I'm going to be a mess, why not be a hot one? Ceara Cavalieri exclaims on her new pop-rock track Hot Mess. An ode to all of us who don’t feel like trying to be perfect anymore. This Unapologetic pop rock anthem was made to get you on your feet. It is a call to arms for everyone who wants to flaunt their flaws. Ceara believes everyone is beautiful the way they are and should be unapologetic about who they are. Hot Mess is a track that gives the finger to anyone who thinks you shouldn't love your flaws. The record starts strong with a distorted electric guitar melody that is present throughout the entire track. The track suits the anthemic atmosphere with its lyrics riddled with self-love phrases. Hot Mess is all about self-acceptance and learning to love the aspects of yourself that are uniquely yours. The punching guitar and bass make for a perfect track to scream at the top of your lungs with your friends. Its catchy lyricism is fierce calling out to the bad bitch in anyone who listens to the track. Nobody is perfect and the sooner that is accepted the sooner everyone feels better about themselves. The track is a catchy tune you simply can’t get enough of. With each listen another layer of the track is revealed making it that much more impactful. Ceara Cavalieri is a superstar. With her roots in southern California, the pop-rock singer has made waves with her anthemic sound. Though she has a degree in Psychology from UCLA her passion has been for music from a very young age. At three years old Ceara discovered the power of her voice and never stopped singing from then on. With each track she releases she leaves a peak of the distinct sound she is curating for herself. Her music is defined by its carefree soundscapes and infectious hooks. With eight singles currently out Ceara is gearing up to be the next big name of pop rock. Written By Kaiana Lee FOLLOW CEARA:

Did you miss The Eras Tour? No worries. I’ve got an artist that’ll satisfy all your Swiftie needs without the hefty price-tag, but all the excitement and more. Natalie Livingston serves up a fresh perspective that embraces living your best, untamed summer. An understated part of this carefree mindset means going against the culture of optimization and organization that’s been forced upon us. And the best way to ensure that culture takes the backseat during this hot season is by participating in events that make us throw caution to the wind. In Livingston’s latest single, “Reuben”, our artist showcases how a brief fling does not have to be meaningless while still embodying the elements of a feral girl summer. “Reuben” is a bubblegum-pop single that not only plays homage to long forgotten rom-coms but allows us to bask in main girl energy. Rom-coms like My Best Friend’s Wedding, The Purple Rose of Cairo, and When We First Met are not films that immediately come to mind when we think of the movie genre because they don’t have the usual ending audiences are anticipating. Instead, the endings of these movies make us realize alongside the protagonists that some connections are never meant to evolve into serious, long-term relationships. Sometimes, they’re just meant to be life lessons that force us to grow. And this is exactly the point that “Reuben” drives home; the single allows us to enjoy the moment through sexual liberation without greater expectations. The single immediately begins with an infectious melody while the opening verse highlights stepping away from the culture of optimization and organization. The fixation with being “a good girl” is just not needed when your intent is to have unadulterated fun. Especially when that fun comes in the form of the sexy, British fling, Reuben. In the chorus Livingston gives us charmingly sweet vocals to disguise some of the witty lyricism in this section that pokes a little fun at the typical rom-com formula. This formula involves a chance meeting that entails a night of getting familiar “in the dark” that somehow eventually leads to marriage. It sets up an unrealistic expectation and makes lovers of rom-coms hopelessly yearn for this chance meeting. But “Reuben” brings listeners down to earth. Livingston best sums up their experience with Reuben in the last line in the bridge: “Who knew that loving a tourist could be fleeting”. Not everyone we meet is meant to be our one and only, or to have a permanent presence in our life. By framing all our interactions with people in this context, we rob ourselves of the opportunity to enjoy living in moment – the essence of main girl energy. Natalie Livingston is a singer and songwriter currently residing in New York City. When they’re not getting themselves involved in situations and circumstances that are worthy of being in a 90s sitcom, they’re performing their discography around the metro New York area and New England. When you’re ready to recover and prepare for the next feral girl weekend, you can unwind with singles like “Crying Shame” and “Reprise”. Both songs can be found on Livingston’s 2021 debut EP Still To This Day. Our artist is also a co-producer alongside Caroline McQuaig for the podcast concert series, Siren Songs. Siren Songs showcases women, trans, and non-binary musical artists – detailing what inspires their craft and upcoming releases to be on the lookout for. The linktree in Siren Songs bio not only gives listeners a link to the podcast, but also links to databases for both artists and photographers; artists apply to be featured on the podcast while photographers apply to be connected to artists in need of album cover art and shots of live performances. If you've enjoyed Natalie Livingston's "Reuben" as much as I have, some them some virtual love in the form of streams, likes, and follows. Written by Giavanna Gradaille FOLLOW NATALIE LIVINGSTON:

“Do I Like Him (Or Is He Just Ignoring Me)” offers unique insight into modern casual dating. Once a casual fling begins, it is typical to not get too attached to the person you are seeing. But as time goes on, you may catch wandering gazes and want to spend more time with them. However, you still wonder if he sees you as the casual partner you two started out as or if his feelings have grown into something more than that. Every time you poke at him through frequent dates and communication, he doesn’t seem to respond like you hoped. It is almost like he is playing hard to get...but you keep trying. And trying. You begin to wonder if this feeling, him ignoring you and not taking this relationship as seriously as you are, is the true reality. One day you ask yourself the big question: “Do I Like Him (Or Is He Just Ignoring Me)”? Click here to listen to "Do I Like Him (Or Is He Just Ignoring Me)"! This newest single is a welcome integration of modern and old fashioned musical elements with a unique perspective of a modern situation. Grahn starts out this piece with ambient sounds and a simple, lazed beat in the background. It crescendos into a more upbeat melody that carries throughout the remainder of it. The chorus almost juxtaposes the previous tone, but the new addition of new instrumentation compliments it. But the highlight of this song is Grahn’s lovely vocal accompaniment. She stands out above all other elements of her single and makes sure you want to hear her voice just as much as the instrumentation and lyrics. Every note integrates perfectly with the lyrical style and story she is telling. It is easy to understand and believe every emotion she pours out through her lyrics. Every element intertwining together makes you want to learn more and more about this casual relationship! Kate Grahn is an established up and coming singer, songwriter, and actress from Los Angeles, California. Her mother is well known actress Nancy Lee Grahn and their relationship has had a huge positive impact on her life and her career aspirations. She grew up admiring and taking inspiration from many well known female musicians such as Grace Potter and Alanis Morissette. She grew up practically glued to her little karaoke machine and sang songs all day from musicals such as “Rent”. She has made a name for herself in the live music scene in LA, seemingly being a natural at crowd work and assessing audience reactions. Her time studying at USC’s Pop Program at Thornton School of Music no doubt helped her expand her knowledge on the music and entertainment industries. She has released five singles so far off her upcoming EP, Late Bloomer. She will continue performing across LA and engaging with her fans, both old and new through these live performances. Make sure to follow her on social media and give her newest single a listen! Written By Willow Gray FOLLOW KATE GRAHN: *Sponsored Post - Discovered on Musosoup. A contribution was made to help create this article. #SustainableCurator

Music and dancing have a magical way of swirling us away into a world of joy. When the music takes over, it's kind of like a force that makes us shake off and forget all of the challenges from the day. It causes us to feel lighter, happier, and has us embracing the present moment. Music is an escape, and dancing is the bonus that has us feeling what it's like to be fully alive. FLEECE’s latest single, “ Do You Wanna Party ,” perfectly encapsulates this feeling into a super vibey summer song that’ll have you on your feet ready to “ shake off every sorrow .” This jam dropped just in time for summer. It’s a playful and vibey song with extremely angelic vocals. The song kicks off with someone being invited to a party that's happening down the street. The lyrics explain that canceling whatever plans they had for the day to go to a party will have them shaking off “ every sorrow ” as they move their hands and bring their party pants. We all know that party’s can be fun because you get to meet and dance with a bunch of strangers while also finding new music, but the music blasting can also create an escape for you. The line, “ run away with me, ” is repeated multiple times throughout the song. This is used to say that music can cause you to tune out all of the external; the challenges that happened earlier in the day that were weighing you down. It's also saying to let it all out with those around you that are doing it too. A break from the world is sometimes needed, even if it's by slaying the day away with strangers. FLEECE is an indie rock band from Montreal, Canada. The members are made up of 4 pretty best friends known as Matt Rogers (vocalist/keyboard), Megan Ennenberg (vocalist/guitarist), Jameson Daniel (guitarist) and Ethan Soil (drums). With their debut album, Scavenger , released back in 2015, they have since followed up with two additional albums, Voyager and Stunning & Atrocious , which came out in 2017 and 2021. They currently have over 300,000 monthly listeners on Spotify and have surpassed 5 million streams on multiple songs, one of them being “ Do U Mind? ” from their Stunning & Atrocious album. Keep up with FLEECE with the links below and check out their newest single, “ Do You Wanna Party ,” out now on streaming platforms! Written By Sneet Efrem FOLLOW FLEECE:

Getting past a breakup can be hard. We wanted the relationship to last and may blame ourselves for its end. This is a harmful mentality. The longer it sticks around, the harder it will be to move forward. Rachel White knows this all-consuming feeling, and she tells her story through music. In “FLY” (First Love Yourself), a scream in the car, feel good summer song, White sings about finding self-love again post breakup. I think the track is very relatable because the message can be applied to a variety of contexts. We all go through hard times in life. However, we come out the other side much stronger! The instrumentation takes you on a journey just as the lyrics do. At the start of the first verse, we hear a slow keyboard as White sings “I feel I’m drowning and I can’t swim.” This is right after the breakup when she is trying to pick up the pieces. The music starts to pick up on the words “But I’m not gonna let myself get hurt again.” We still hear the keyboard but it is blended with drums and guitar. This music seems to “fly” on the words, “I just wanna fly.” It almost sounds like a burst. I also like that White sings those words with a lot of emotion. The rest of the song follows a similar structure of looking back on the relationship and leaving it behind. White does a great job of conveying that she has finally found self-love. She knows that she’s strong and deserves better. Rachel White is a singer/songwriter based in Scotland. She wants her music to help listeners get through any and all situations in life. White draws musical inspiration from members of pop royalty, such as Shawn Mendes and Hailee Stenfied. “FLY” (First Love Yourself) is her first single of 2023. If you want to hear more, I recommend her 2021 single, “Crush.” Like “FLY,” it is upbeat. Instead of getting over a breakup though, the lyrics talk about new love. I enjoyed reviewing Rachel White’s music and can’t wait to see what she comes up with next. Follow all of her socials down below to be the first to hear of new releases! Written By Kelli Dixon FOLLOW RACHEL WHITE

With his latest single, Dylan Matthew wields his pristine indie pop like a battering ram. "Killing Me" is a sky-scraping power ballad carved out of resentment, rolling the vulnerable down a hill until it has enough velocity to level a city. Piano and acoustic guitar open the first verse, siphoning the vulnerability of Matthew's voice and lyricism. Even at its softest, the single arranges a lush array of instrumentation: atmospheric synths and echoes of guitar distortion swirling and pulsing. As Matthew lifts into the stratospheric chorus, his voice sits atop a shimmering wall of sound. The second verse carries ornaments of the chorus to maintain the momentum. Where the first verse felt vaguely haunting, the chorus left the lights on for clearer shapes. The bridge delivers a freight train of power balladry, Matthew's most passionate vocal performance soaring over layers upon layers of synths. "Killing Me" reaches its ultimate destination almost elliptically. Cycling around resentments and experiences, Matthew creates a whirlwind out of fresh wounds with little indication of a direction forward. Vivid details create a personal tone to the song, such as his ex-girlfriend's "hair on the pillows" and "perfume ... stained onto my clothes." With its arena-sized sound, Matthew sounds as though he's writing a letter for only her to read. "Is there a piece of me stuck in your head?" He asks, desperate for some sense of impact beyond his own grief. Then he pulls the string that tightens "Killing Me" into a concise knot: "I would've held on through the bleeding, so maybe you finally leaving's what I needed." It's not a resolution with his ex, but rather a reconciliation with himself. In 2019, Dylan Matthew released what would become his first RIAA Platinum-certified single, "Love Is Gone." The 26-year-old singer/songwriter has been riding an upward trajectory since: selling out massive venues, playing Coachella (as well as Lollapalooza and EDC Las Vegas), and preparing his upcoming EP. This fall, Matthew is set to release an indie-pop-centric EP that dabbles in a myriad of genre. "Killing Me," as Matthew states, is the first step along the emotional journey he plans to take listeners on in the coming months. In addition, Matthew will be supporting the record with his first North American tour called "No Rain, No Flowers." Written By Andy Mockbee FOLLOW Dylan Matthew:

Photo Credit: Spotify Making a bold and innovative return, Nothing But Thieves has once again graced our ears with the release of their latest album, Dead Club City. The album comes almost 2 years after the epic extended edition of Moral Panic and is the band's fourth studio album. Launching us into a true concept album, Dead Club City takes us through many stories and tales set in the band's city-sized members-only club. The tracks on the album explore various story arcs and points of view from different characters in and around the city. Using the fictional cityscape as the album's focal point, each song incorporates themes we might experience in the real world, specifically unity, change, internet culture, aging, politics, escapism, advertisement, and the music industry. TRACK LISTING: 1. Welcome to the DCC 2. Overcome 3. Tomorrow Is Closed 4. Keeping You Around 5. City Haunts 6. Do You Love Me Yet? 7. Members Only 8. Green Eyes :: Siena 9. Foreign Language 10. Talking To Myself 11. Pop The Balloon Formed in 2012, Nothing But Thieves has been steadily on the rise and has seen much success over the past few years. The English five-piece group consists of singer Conor Mason, guitarists Joe Langridge-Brown and Dominic Craik, bassist Philip Blake, and drummer James Price. Since the band's inception, Nothing But Thieves has amassed over 1.2 million album sales worldwide, 2 billion global streams, and 250 million video streams. Their previous album releases have put the band on the UK top 10 charts, peaking at No. 2 with 2017's Broken Machine. They have been building quite the loyal fanbase and enjoy a wide following for their unique alt rock sound. Nothing But Thieves describes their sound as "passionate guitar-based rock that balances indie rock artfulness with a pop sensibility." Consistently pushing boundaries musically, the band often experiments with various genre combinations, including blending rock with hip-hop, pop, and, most recently, 80s dance/disco. Dead Club City ushers in a new, progressive chapter for Nothing But Thieves and their ever-evolving sound, setting the band up for their first ever No. 1 album on the UK charts and giving the band four consecutive top 10 appearances. "Welcome to the DCC" is the first up on Dead Club City, giving us an intro into the fictional world the band creates and setting the stage for Nothing But Thieves' latest sound. Intertwining electronic dance beats and a heavy use of synths, "Welcome to the DCC" brims with an upbeat energy and sound that pays tribute to 80s dance tracks. Keeping the 80s energy going, Nothing But Thieves continues our journey through the Dead Club City with "Overcome." Like "Welcome to the DCC," "Overcome" is a synth-laden track that was released prior to the album as a single. The track feels like hope incarnate, tying in the themes of change and escapism through a love song. "Overcome" is filled with uplifting lines, like "Redefine the pain to something more/And we shall overcome as we've done before," making the song a euphoric anthem. Both songs give the impression that this fictional city is the perfect place, advertising with the phrase "all the heaven, all the time." Giving a bit of genre variety to the album, Nothing But Thieves switches things up a bit with "Tomorrow Is Closed" and "Keeping You Around." "Tomorrow Is Closed" brings a more pop-rock influenced track to the album, keeping things lively with catchy melodies and memorable choruses. The song is one of many energetic numbers featured on Dead Club City, but the lyrics behind it present a bit of juxtaposition. "Tomorrow Is Closed" is filled with darker lines, hinting at destruction with the lyrics "Tomorrow is closed/There's no future at all/We've burned it all down, down to the ground." It's a shocking twist to the feel-good energy the song exudes, keeping listeners on the edge of their seats. Following the pessimistic lyrical vibe of "Tomorrow Is Closed," "Keeping You Around" continues to explore the not-so-perfect life the Dead Club City offers, shedding light on feelings of being pulled apart by an outside force. Though "Keeping You Around" is tinged with negativity and empty promises from the city, it's one of the chillest songs on the album. It's a more unique composition on Dead Club City, incorporating a trip-hop sound into the album's mix of genres. "City Haunts" moves us back to a similar vibe as "Welcome to the DCC" and "Overcome," giving clear nods to 80s electronic dance and disco influences. Conor Mason shows off his impressive falsetto on the track's choruses, reminiscent of some of Prince's vocal work. With more aggressive guitar riffs and energetic beats, "City Haunts" is an absolute banger; it features melodies that will persistently haunt listeners' minds (in a good way). Continuing in a similar musical vein, "Do You Love Me Yet?" follows "City Haunts" with an all-out 80s/disco sound. The track has driving, pulsing synth lines reminiscent of Foreigner's "Urgent," and it draws inspiration from the four-on-the-floor beats that are characteristic of disco. Taking a hard look at the music industry, "Do You Love Me Yet?" tackles some of the issues that come with obtaining fame. The song includes some introspective lyrics, featuring the lines "Exploit a fan base and call it love/Be controversial but just enough/It sounds kinda like ELO/Get sued but you'll meet a hero." Bringing us back to a classic Nothing But Thieves sound, "Members Only" is a biting track that combines edgy guitar riffs, hostile vocals, and plenty of distortion. The composition sounds like it could have come from any EP or album by the band, providing a solid track for fans that prefer the band's core sound. As no album is really complete without a great ballad, "Green Eyes :: Siena" gives us just that. The track is a slightly cheesy love song but in a tasteful way. It's filled with lush melodies and vocal lines that will make your heart flutter. Mason's vocals on "Green Eyes :: Siena" are swoonworthy as he delivers the song's sweet lyrics. A brief reprieve from the album's dance club vibe, Dead Club City quickly gets back on track with "Foreign Language." If we were to give out superlatives for songs on this album, I'd have to say "Foreign Language" is the sexiest. The song is laid-back and chill, captivating listeners with seductive melodic material and Mason's intoxicating vocals. "Foreign Language" has an addictive groove driving the track and features an enrapturing synth soundscape with prominent bass lines. Easily the grooviest song on Dead Club City, "Talking To Myself" slows things down again and gives us the last bit of calm before "Pop The Balloon." It's a mellow, almost melancholic ballad, showcasing funky bass lines that sound even more incredible with a bass boost enhancement. "Talking To Myself" is clearly the calm before the storm as "Pop The Balloon" does a complete 180° from the song's relaxed nature. "Pop The Balloon" starts off with some intense dissonance and quickly settles into heavy, distorted guitar riffs and unsettling melodies. The lyrics reflect previous sentiments regarding the truth about the Dead Club City and how things aren't as perfect as they seem. "Pop The Balloon" is a more aggressive exploration into that motif, featuring repetitive orders to "kill the Dead Club City." Harking back to some of Nothing But Thieves' prior releases, the track follows a similar format to "Can You Afford to Be An Individual?" from Moral Panic. Both songs show off the grittier side of the band, infusing sociopolitical critiques of the real world throughout the lyrics. An intense departure from the sounds laid out by the previous tracks, "Pop The Balloon" is an unexpected, explosive end to the album. Though the songs depict the Dead Club City as far from perfect, the album itself is. I'm normally weary of concept albums as some bands have tried and failed with them (sorry, KISS), but this one rose well above expectations. Each time I thought I had found my favorite track on the album, the next one would come on and leave me in awe. Though the songs are tied together with their stories and themes, they are all strong enough to stand on their own and be listened to as the individual masterpieces they are. Nothing But Thieves seamlessly moves through a plethora of genres, providing something for everyone to love. Whether you're a hard-core fan or hearing about the band for the first time, Nothing But Thieves never disappoints, and this album is no exception. The gates to the Dead Club City are open wide, and once you step through, you'll never want to leave. Written By Cheyenne Johnson Instagram | Twitter | Facebook | Spotify | TikTok | YouTube *copyright not intended. Fair use act, section 107.

In “Backwards,” Alexa Cappelli teams up with Nashville-based singer-songwriter, Knox, to deliver an unforgettable break-up anthem. The new single explores the aftermath of a failed relationship where one person is able to move on while the other is still stuck in the past. Throughout the song, Cappelli proudly proclaims that she has healed from the heartbreak and has gotten over her former partner. Meanwhile, her ex-partner continues to rehash previous conversations and open old wounds. The song opens with Cappelli singing the chorus: “I’m moving on and you’re moving backwards// You keep dragging us on// Reliving chapters// Oh, the scars will never heal, if you keep opening the wounds.” The reveal of the clever hook right off the bat immediately lets the listener know exactly what the catchy track is about. It is difficult to find complete closure when someone keeps pulling you down with them. With Knox’s entrance through his solo in the second verse and his vocals in the background for the remainder of the track, his voice adds an additional layer to the storyline. The two singers’ passionately harmonizing symbolizes the couple arguing, transporting the listener directly into the narrative. With the poetic songwriting and vivid details, “Backwards” eloquently tells the story of breaking free from a never-ending break-up. “Backwards” has a beautiful production that effortlessly guides the listener through the poetic lyrics. The song is introduced by an acoustic guitar that utilizes a capo to play in the upper register of the instrument. The chords use hammer-ons on the lower notes while excluding the shriller high-notes to add a unique dynamic to the track. This leads into the initial chorus, before a guitar riff signifies the beginning of the first verse. The synth heavy production begins with the introduction of the bass and beat, while the guitar continues in the background. Light airy synth sounds are added during the pre-chorus before an intense beat drop kicks-off the second chorus. When the chorus returns, the guitar picks up heavy effects with a brief pause in the production near the end. Then in the post-chorus, the synth picks back up for an electrifying soundscape. In the second verse, Knox’s vocals take the forefront with the subtle acoustic guitar from the beginning, bringing focus on the lyrics. After this verse, his vocals transition into flawless harmonies for the remainder of the track. The song maintains the energetic, infectious melody until the very last moment of the song, where the acoustic guitar closes out the track. “Backwards” is an outstanding break-up song that showcases Cappelli and Knox’s impeccable vocals that were made to effortlessly blend together for an unforgettable collaboration. Alexa Cappelli is a singer-songwriter from Southern California. After competing in Season 14 of The Voice as a member of Coach Kelly Clarkson’s team, she chose to commit to her music career full time. In 2019, she released her debut EP, The Colors That Make You. She released several singles that garnered massive attention on TikTok. In 2022, she released her sophomore EP, Confused @ 22. Since this project, she has signed to Arista Records and has been releasing singles from her upcoming debut album. The lead single, “Could’ve Just Left Me Alone”, has over 17 million streams on Spotify alone. She has been featured more than once on the music platform’s New Music Friday playlist and has earned recognition from industry professionals such as MTV, Just Jared, and 1883 Magazine. Cappelli continues to make a great name for herself within the industry and shows no signs of slowing down. Written By Karlee Skipper FOLLOW ALEXA: