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More in Luv is still very early in their career, but they seem to have already perfectly discovered their niche. The band from Liverpool has hit on a sound that feels both recent and retro, reminiscent of the pop rock scene of the late 2000s and early 2010s. Their music feels familiar, but refreshing, teeming with nostalgic melodies and catchy lyrics. The group’s latest release “23” epitomizes their sound. The mid-level tempo rides the line between upbeat and laid-back, perfectly suiting the approachable, danceable energy of the track. The chugging bass and guitar have an infectious liveliness that can get anybody dancing. The melody is an earworm, paired with screamable lyrics that almost force you to sing along. Click here to listen to 23! “23” begins with a captivating guitar riff, immediately grabbing focus before unfolding into the first verse. The song is heavily influenced by rock, with a standard instrumentation including drums, bass, and guitar, and the addition of a floating synth pattern that rounds out the high frequencies of the lineup. When the song crashes into the chorus, with a long buildup that drags the listener along, there is a palpable release of tension. The chorus is a wistful tribute to an unrequited love, someone you always thought could end up with. The song’s emotional theme contrasts against its upbeat feel, almost celebratorily sending us into a new stage of our lives. Letting go of someone we can’t have, and moving on for the better. More in Luv began releasing music during the UKs covid lockdowns, and in the past two years have been consistently building their resume, making up for time lost during the pandemic. In addition to the release of five singles and their debut EP “Local Celebrities,” the quartet have spent the past two yeas playing shows and festivals across England. Written By Liam Dun FOLLOW MORE IN LUV:

Q: ‘Sparks’ is so upbeat and fun! What inspired you to write the song? Saige: I’d been listening to Olivia Rodrigo’s album Sour, which covers her feelings on teenage heartbreak. It kind of dragged me back to how that felt and how high emotions were - for me it really felt like my world was ending. Inspired, I wrote Sparks about my own experience. He had essentially said I had rose-tinted glasses on about love, and I said to him I’d rather love love than become cynical. Sparks depicts those final conversations and moments and how I try to keep loving love. Q: What does the songwriting process look like for you? Saige: It's a bit strange, I will admit! I write the lyrics first, and build the music around the story. I know typically it's the other way around. I could go weeks without writing, and then I'll randomly get a burst of lyric ideas - I wrote this song on my phone, on a walk home from work, and recorded a rough demo as soon as I got in the door. I'll put a basic melody together, and send it to the band and we'll flesh it out from there, and add production elements once we've recorded. I like to keep live instrumentation where I can, crossed with synth soundscapes. Q: How has living in Ireland influenced your music? Saige: I'm from the countryside (Co. Wexford), so I probably had a bit more time with my thoughts and to get creative to keep myself entertained. I spent a lot of time listening to 80s synthpop/rock, and began writing from a young age, so I'd say this was a factor. I studied in BIMM Dublin and this definitely helped me hone my craft. Q: Who would you say has inspired you the most? Saige: Any independent artist here in Ireland trying to break into the industry. It's tough, and seeing them succeed really does keep me going. Seeing others continuing to push themselves and believe in their music has been an inspiration for me to do the same. Q: Which song that you have written is your favorite? You can only pick one! Saige: Probably Soothe Me. It's the first song I released, so it will always have a soft spot. It was influenced by Kate Bush's "Running Up That Hill", and it was nice to see it get a 2nd lease of life recently when people realized the link. Q: What should we expect next from you in terms of your music career? Saige: More music, more shows. I have a headline show in The Workman's Cellar in Dublin on November 25th, tickets available now on Ticketmaster. I'll have more music out soon, and I've an EP coming early next year. It's exciting - I've been busy! Interviewed By Kendall Koval FOLLOW SAIGE:

Joey Sandak’s latest release “Drugs in the Kitchen” makes a strong case for the most unique song I’ve had the opportunity to review. It transcends genre, a melting pot of influences so eclectic it's hard to label definitively. The song has a driving rhythm section, punctuated by a thumping bass and punchy breakbeat. The rhythm guitar is reduced to a very low-key scratchy riff, run through a thick wah-wah pedal. This prioritization of rhythm over melody is reminiscent of funk, however the use of pads, vocal harmonies, and synth leads all distinctly point towards pop music. Along with this, Sandak’s vocal delivery is fast paced, rhythmic, and doesn’t cover a wide range of pitch. This feels inspired by the contemporary r&b scene, combining hip hop deliveries with soulful vocals. Despite pulling from so many different corners of the music world, Sandak’s wide range of inspirations prove to be this song’s greatest strength. It has a new, refreshing sound that pushes the boundaries of pop music. “Drugs in the Kitchen” starts from ambient sounds of a party with a light guitar riff, until a voice emerges from the crowd, kicking the song off with a four beat count in. The first verse is heavily reliant on the drums, providing a steady, spacious backbone within which the chords and bass can fill in. The pre-chorus sees the entry of the wah-wah guitar, giving an otherwise repetitive riff an element of change as the shifting envelope opens and closes the guitar's tone. The chorus, by far my favorite section of the song, features a massive drop off. The first beat is completely silent from the band, only to reenter on beat two, a perfect delay of gratification after the build of the pre-chorus. The chorus itself doesn't feel like much of a release of tension. It's actually the most sparse section of the song, containing only drums, bass and vocals. But what makes this work is the fact that these are the core elements of the song. By whittling the track down to its skeleton, Sandak makes the eventual re-emergence of the rest of the band that much more satisfying. The guitar, pads, and synths all feel like icing on the cake once we come to realize the song would be as infectious with just the bare essentials. Joey Sandak comes by her music eclecticism honestly. With a love of music at an early age, Joey moved from genre to genre, picking up influences and inspirations from musical theater, rock, jazz, and hip hop. She has channeled this free expression into her releases, refusing to sacrifice her artistic vision in order to fit into a box. Though “Drugs in the Kitchen” is perhaps her most avant garde piece, it is definitely not her first time straying away from pop standards. Her debut single, 2020’s “Chanel & Smoke,” is heavily influenced by jazz, featuring an upright bass and piano riffs over 90s boom bap drums. With notes of Esperanza Spalding or Robert Glasper, “Chanel and Smoke” fits firmly into the new age jazz scene, another interesting niche not often hit by artists still trying to make a name for themselves. Just like “Drugs in the Kitchen,” Sandak’s wide base of influences is her greatest strength. She has all the tools from a wide variety of genres through which she can continue to create freely, and is by far one of the most exciting young artists on the rise today. Written By Liam Dun FOLLOW JOEY SANDAK:

With the common saying "Boys Will Be Boys" taking its place as the title, Maryon King says stop excusing boys for their actions, puts womanizing men into the track's spotlight, and gives them the middle finger. She calls out all of the womanizers and ignites the feminist spirit with this catchy song, both powerful in melody and meaning. The song builds and gives us insight into the toxic part of modern situationships. With "Boys Will Be Boys" we can confidently say it's 2022; we hold boys responsible for their actions, and Maryon King does just that with an empowering track. "Boys Will Be Boys" is a playful and empowering pop track, establishing itself with Maryon King's soulful vocals and irresistible dance melody. The song talks about certain boys taking advantage of girls, telling them they want more than just something physical and then finding out that it was all a lie. King is overcoming the pain of going through these types of relationships, growing more confident and saying, "it's not my fault". They "turn you to toys and play with your emotions" and she writes this song to say, hey, it's never going to be different with them; they'll never change. "Boys Will Be Boys" is the first single from her upcoming debut EP, "Back to Strangers" which aims to give us a collection of King's life, rising from a time of heartbreak with a new confident aura. Maryon King is determined and powerful. Her musical journey is unique; switching from pursuing a traditional career path of studying languages to studying music; she has always worked hard to make her way into the music scene. She's been in love with music since she was young, and now as she immerses herself in the field, she only grows more powerful and iconic. She has heartfelt lyricism, captivating melodies, and a voice like no other-- no wonder she's garnering fans like bees to honey. Her skill and natural musical talent are truly an act to watch. Written by Jane Katryn FOLLOW MARYON KING:

There's a tension that resides between two people who have an unspoken connection. When this connection delves into the range of obsession-- it gets fiery, intense, burning brighter than a wildfire. With the situation, we can see how two people can crave each other, looking at each other from across the room with a heat that can't be matched. So, in a song that talks about this type of interest, Isabel LaRosa brings us a dark club-influenced piece that drives us deeper into the romanticized feeling of young infatuation. Isabel LaRosa's newest track, "HEARTBEAT" is sure to spark a desire in your mind and pull you deeper into the feeling. With a dark beat and growing intensity, Isabel LaRosa pushes the idea of young obsession through this newest track, "HEARTBEAT". She talks about how when two people connect, their pulses race, and emotions are high. LaRosa sings, "We don't talk about it, but we know that you're mine", wonderfully describing the passion between two people and the song. Her voice only stands to amplify the song--breathy and sultry, invigorating with the addition of the pulsing beat. Indeed, a song that makes us feel the hot and heady heartbeat between the two lovers--one that can't be overlooked. The song is fascinating and a good representation of LaRosa's unique electric and alt-pop sound. Isabel LaRosa is made of music--stemming from her jazz musician father and guitar-playing brother. Because of them and her music-loving mother, she's always been surrounded by music of all types. When she was younger, she formed a duo with her sibling called "LaRosa" before they started to release their music as individuals during quarantine. Born in Annapolis, MD, LaRosa still writes her music with her brother--going viral on TikTok with their song "Haunted". The singer has since then released more songs, her newest being "HEARTBEAT" which is growing fast in streams on both Spotify and YouTube. Written by Jane Katryn FOLLOW ISABEL LAROSA:

“Ghost”- a new hit single from Cry Pretty- has listeners hooked to her new fresh pop-punk sound. Immediately taking listeners through her experiences and troubles in the past, she becomes up close and personal. “Am I a ghost, or is that you?”– breaking hearts and allowing listeners to empathize with her as she takes them through this rollercoaster of emotions. The song takes listeners through the journey of a past relationship- one that might’ve never been truly there. There’s frustration, both at herself and her partner. There’s anger, sorrow, and most importantly, there is that feeling that everyone that’s been ghosted can relate to; loss. Through the lyricism, it really emphasizes the memories that are left behind when someone leaves suddenly, and Cry Pretty plays into that beautifully. With her lyrics and production, it all ties together to create this seamless pop song with some rock inspiration tied in. It’s the perfect song for listeners feeling the whole mix of emotions. Cry Pretty is a new and upcoming artist from Utah, having just released her first single this past August. She's relatable, witty, and comfortable sharing her emotions with the listeners in such a bright and beautiful way. She shows great talent, her first single being such a hit– and teasing more music on the way! With more to come soon, Cry Pretty has promise to grow into something extraordinary. Written By Alyssa Gallardo FOLLOW CRY PRETTY:

Infatuation burns like a fire--hot and fast. But just like fire, it can leave you a burning mess when the heartbreak of being infatuated with someone comes into play. Caroline Romano gives her listeners a bliss-filled indie-pop track about this type of interest but from the perspective of anticipating creating these beautiful memories that you'll fondly look back on even once it's over. With "Chopstix" her newest track, she transports us to a vibe of childhood youth-- like with the endless enjoyment in the simplest summer activities, imagining a clean, refreshing feeling of being on the beach with the potential anticipation of a bonfire. It's detailed, intimate, and passionate. With her undeniably sincere voice and gentle melody guiding us into a memory, we can only find the feeling of summery love. She paints pictures with her lyrics, saying things like "castles on the beach, freckles on your cheeks", the imagery imbued with fond memories of a good time. Yet we can see as she continues to talk about how this is more of an infatuation than true love, understanding how it will come with a heartbreak stating, "and I'll watch you play guitar while you break my heart". But even with the heartbreak, there's always something that drags us into the infatuation--and maybe that's enough to deem the hurt worth it because "isn't this fun?" Caroline Romano has garnered millions of streams with her witty and introspective music. The talented singer/songwriter has a hopeful outlook on the modern world and romance-- showing off the best and worst parts of being young with her music. The Nashville-based artist returns with this track, "Chopstix" and shows us why she deserves the attention she's been given. Earlier this year, Caroline Romano released her debut album titled "Oddities and Prodigies" which captured the hearts of fans and gave us reasons to stay for more stunning music. This newest release, "Chopstix" is just one of the many songs the artist has released this year, and with the way she's enamored people, we hope there are many more to come. Written by Jane Katryn FOLLOW CAROLINE ROMANO:

"Headspace" is a wholesome ballad written for Grace's love. While being stuck in a snowstorm in London, she wrote this song as she was feeling an overwhelming sense of homesicknesses having to be away from her love. That situation inspired her creativity and as a result, she wrote this song about how thinking of that one person who is your safe space can save your soul from the depths of loneliness. With ethereal tones and a beautiful sense of intimacy, Grace created this piece which perfectly encapsulates the feeling of being at home. The first thought I had when listening to this song is it feels very intimate and personal. With the soft piano keys and violin notes, the song has an overwhelming angelic vibe to it. There are very minimal noises in this song so it's easy for listeners to distinguish and fully hear every aspect of this song. Because of this, the song feels even more intimate and adds to the sense of calm that this song is portraying. As for Grace's vocals, her voice is so airy and soft. Her voice perfectly encases the peacefulness that she feels when thinking of her love. And with lines such as "I can feel your heart like it's almost mine" and “You keep me occupied, I think of you all the time” this song is what it sounds like to be at home. UK Singer-Songwriter Grace Grundy is best known for her cover versions of songs that have amassed hundreds of millions of streams across streaming platforms and social media. Growing up in the South West of England, Grace spent the majority of her teens and early twenties in the pursuit of everything creative within arts, writing and playing music with her sister, and studying illustration. Newly signed to independent record label AllPoints/Believe in 2021, this is set to be the most exciting year of Grace’s career yet with beautiful signature covers and original songs set for sharing with the world. Written By Melina Darlas FOLLOW GRACE GRUNDY:

Overthinking is a subject known all too well, as we are the generation that is pushing social media to the forefront of our lives. The constant back and forth of wondering whether something is perfect, or at least looks it, can be devastating to the mind of anyone. This is the topic of Molly Baker's new single, "Must Be Nice." Throughout the track, Baker laments to us her annoyance with playing tug of war with her mind on whether things are as perfect as they can be. The track is based around a pretty minimalistic instrumental featuring the sounds of synths, piano, and even a guitar. Throughout the track, a fuzzy almost detuned ringing helps to fill space between phrases. It makes the track feel quirky in a sense. The beauty in the song however, comes from the harmonies that Baker uses at just the right times. They work so well with the vocal that is in the front, and make the song full. The lyrics delve into the idea of overthinking everything you do. For instance, the first line of the song brings this idea of perfectionism to the light, "Covered up my walls in these polaroids // No one has to know that I took 'em twice // The first ones were good, but not good enough to show." Baker even feels this frustration when she's trying to write her lyrics which should come naturally as a musician, "Maybe if I didn't take so much time // Trying to come up with the perfect line." In the chorus, Baker lets us know how she wants to think but it's stuck behind this façade of having to be perfect, "Oh it must be nice, not over thinking // Oh it must be nice letting things be // I wish it was that easy for me." She's longing for a release from her perfectionist mentality. Molly Baker is an up-and-coming pop artist who has been releasing music independently for the past two years. Her new single, "Must Be Nice" was part of a duo release with track "Dive Right In" following closely. Baker also recently just hit the top ten of aBreak58's playlist with her song "Runaway." The playlist, which is run by iHeartRadio and Live 365, showcases songs from independent artists. Baker is quickly creating a discography that feels like a journal, documenting different stepping stones in her life. Baker has a huge future ahead of her, and this song proves she's ready to take off. Written By Kyle Stiver FOLLOW MOLLY BAKER:

A track seemingly crafted for catharsis, "Feeling" features lyricism rife with raw emotion and grit delivered by a vocal performance that sits at the intersection of chilling and comforting. Inspired by the songs of Taylor Swift and First Aid Kit , the new release from Equal demonstrates an apt ability to manipulate energy and melody through impressive range in a flowing soundscape that finds a full-bodied feel in sourcing inspiration from a variety of genres. Listen to feeling here! "Feeling", the fresh new single by Equal , is a vibrant blend of pop melodies and indie rock instrumentation paired with poignant, personal lyricism crooned in an understated yet rich, layered vocal performance that provides serious depth. Crisp percussion and a simple bassline hold the single steady, forming the foundation for the melodic combination of vocals and guitar. The track switches seamlessly between red bursts of energy rife with power chords and percussion to moments of acoustic guitar that instill cool-blue calm, leaving you with beautifully twisted "purple skies" that detail the everpresent complexities of feeling like that about someone. Equal is the moniker for sister-duo Saleen and Chelsea Nolan making waves in indie music spheres. The pair hail from Ontario, Canada where they made a lasting impression in 2018 when they won "Durham's Best Band" at the judgment of Dave Baksh ( Sum 41 ) and Dan Clancy ( Lighthouse ). Inspired by the music of their childhood, the sisters believe they have a moral obligation to use any platform they have to promote social causes and chose the name for their band accordingly, seeking to create a welcoming space for everyone. Check out some of the links below to follow their musical journey. Written By George McSherry FOLLOW EQUAL:

"Hometown" bottles anthemic reassurance and pride in their purest forms. Reassurance of your authenticity as an individual and pride for the people and places that made you who you are. The recent single brought to you by The Underclass is both energizing and calming, seemingly crafted for that one song on the festival setlist that will have some emotionally reminiscing and others jumping several feet off the ground. That being said the track makes for pleasant listening in pretty much any situation you might imagine - an indie rock tune that would be a welcome addition to any playlist. Wasting no time, the five-piece band kickstarts the song with a crash of percussion, guitar, and bass preceding the suitably anthemic vocals by a couple of bars. The driven combination of the drums and bass keeps the song on track, forming the sturdy foundation for the lead guitar to show a range of abilities in delivering enchanting melodies. After the instilling chorus, the song lulls into a stripped-back state of calm as the backdrop for reassuring spoken word before a guitar outro a la Pete Townshend. Driven by a guitar-centric, uplifting sound, The Underclass is a young indie rock group from Stoke-on-Trent comprised of Jorge Wilson (vocals), Matt Trevor (lead guitar), Dillan Ashton (rhythm guitar), Aaron Smith (bass), Adam Badenjiki (percussion). Having established themselves in their "Hometown", the group seeks to take its penchant for authentic vibes on a journey to share it with everyone who is willing to listen. Have a look at the links below to stay up to date with upcoming releases. Written By George McSherry FOLLOW THE UNDERCLASS:

Of the stages of grief, acceptance is by far the hardest point to reach. It requires letting go of a reality that is no longer possible and coming to terms with the loss of something important. Acceptance isn’t something that can be consciously decided upon. Despite knowing it’s against our best interests, despite wanting to move on, the only way to remove the last piece of us living in denial is through time. Enduring our new reality is the only way to grow towards acceptance. In his new single “Yours” singer-songwriter John Townsend (or just “Townsend”) is beginning this process. In the wake of a breakup Townsend is reeling, wishing he could tear himself out of the past but unable to overcome the nostalgia. This lushly arranged track is Townsend grieving his loss, trying to find his way through his new life. “Yours” has a distinct singer-songwriter vibe. Clearly Townsend’s first addition while writing the song, the acoustic guitar is by far the most prominent instrument throughout the piece. Alternating between arpeggiated fingerpicking and strumming, the guitar sets the tone for the intensity of the song as a whole, controlling the song as it builds and releases tension. In this way it acts as an anchor, the only constant outside of Townsend’s voice, giving the listener something in which to ground themselves through the song's ebbs and flows. The chorus is by far the most dense section, featuring vocal harmonies and synth pads, but still dominated by the guitar. It gives way, though, to an exceedingly sparse post-chorus, featuring only legato strums of the guitar. This decrease in momentum leads perfectly into the second verse, which is just as broken down as the first, and gives Townsend space to build towards the release of the second chorus. After a far more luxuriously orchestrated reprisal of the post-chorus, once again everything but Townsend and his guitar drops out, leaving him to restate the chorus one final time in its most simple state. John Townsend began releasing music in 2019, and since then has refused to be contained to one genre. He works almost exclusively off emotion, not trying to emulate any sound by the ones he hears in his head. Outside of his own releases, Townsend is also an avid songwriter, with an extensive collection of songs to which he’s contributed. His following has grown steadily in the years since his debut, and his songwriting and production talent give no indication of that stopping. With two singles plus a host of songwriting credits in 2022, Townsend is clearly someone to keep tabs on as his career develops. Written By Liam Dun FOLLOW TOWNSEND: