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Where has the year gone? That’s the driving thought behind Tally Spear’s latest single “August 31st”, a deeply introspective track all about lingering on the speed that the days have passed by with. Reflecting on what she calls “birthday anxiety”, it’s that feeling of wondering how the year has slipped past you and all of a sudden you’re back at your birthday. Highlighting both beginnings and endings, happiness and sadness, this track exemplifies the strange emotions that come with what is supposed to be a happy day– and yet, it’s so hard not to reflect on the time that is now gone. The song is decorated in all your classic pop rock and alternative influences, bringing the energy and thoughtful lyricism at the same time. Obsessed doesn’t even describe a fraction of how I feel about “August 31st”. The soundscape is undeniably packed with pop rock stylings, with its gritty guitar and passionate percussion forming its soundscape’s backbone. If you love alternative or pop rock, you’re going to absolutely love this song– just like me. Everything about it feels like a cathartic confession, like you’re shouting your feelings to the sky with no one to judge you for it. And to add to that is the track’s lyrics, which speak of how time passes without us even realizing it. I especially love how the song’s title reflects its message in a subtle way, describing the end of summer and the beginning of fall. “August 31st” is filled with dichotomies and juxtapositions– can you be happy while sad? Can things end while others begin? The answer is yes and yes, but that doesn’t make moving on any easier. If you also suffer from birthday anxiety– or just linger on the past more than you probably should– then “August 31st” is for you. Tally Spear is a singer-songwriter who is making energized alt-pop songs. With themes of social commentary and personal conflict in her music, her relatability and honesty makes her tracks feel like they’re speaking directly to you. Her debut single “What Do I Want” dropped in 2020, and was followed that same year by her debut EP Tally . She has enjoyed support from BBC Introducing London, Radio 1, and Kerrang!. Her powerful vocals and distinctly precise songwriting make her a fresh face in the world of pop and alternative music. If you loved “August 31st”, be sure to drop Tally a follow on her socials! Written By Alexa Leung FOLLOW TALLY SPEAR: Instagram | Spotify  | Facebook  | SoundCloud

"At Least It's Something" by Coria is an evocative indie pop dive into self-reflection after a breakup. The speaker of this song uses tantalizing lyrics to express the lasting impact they know they made on their ex. Words like "get it out, let it linger" urge the speaker's ex to give them the validation they both crave and know they deserve. Through this confidence bleeds a sense of doubt with lyrics like "say I'm fine, cross my fingers" as echoes of intimacy and longing pulse through repetition throughout the tune. In a breakup, there is no clear-cut correct way to feel, and this track beautifully tackles the sleepless nights and confusion that comes with romantic loss. Acoustic guitar starts the track, giving an intimate warmth to the song that lasts throughout its entirety. A testament to the vulnerability of post-breakup emotion, Coria's throaty vocals feel personal and expressive. The first verse hits the ear conversationally, with singing that borders a whisper in its fluctuations. Through the pre-chorus, the song builds in energy and Coria's articulation grows melodic as strings and a high whistling melody pepper their way into the song. From that point, drums emerge, emphasizing the strong wave of emotion felt in the lyrics. Layered vocals bring an all-consuming feeling to the song. Coria is a musician from Sweden whose talents as a singer, songwriter, and producer with a newly released EP. Her expressive, soulful vocal style and emotionally resonant lyricism meets listeners where they are in there feelings as her songs tackle themes of love, loss, and growth. Fans of First Aid Kit and Clairo will love her indie pop style and the way her voice carries the emotional weight of her words. She is a multi-instrumentalist with skills on the banjo, the keyboard, and more. Coria has performed at venues including LYKKE NYTORGET and will perform at the upcoming Debaser Selects 2025 music festival on December 12th alongside fourteen other Swedish artists. Check out the links below to explore her music. Written By Hanna Kowal FOLLOW CORIA: Instagram | Spotify

On Wednesday, November 19th, 2025, I had the honor of witnessing the most nostalgic pop-punk show of the year, if not the decade. Hosted at the UPMC Events Center in Moon Township, Pennsylvania (Pittsburgh), three bands who have been active for over 20 years came together to give us a show of a lifetime; starting with heavy rockers Four Year Strong , emo icons Mayday Parade , then of course, headliner and stars of the show, All Time Low. Named after their latest album release, the "Everyone's Talking!" Tour was clearly crafted for the fans. From the choice of openers to the setlist , we were really in for a trip down memory lane. The stage was designed to look like a retro talk-show set with every color you can think of taking space somewhere. It radiated positive energy. The show began with a video introducing everyone in the band, in a silly TV-show intro fashion. The front-man, Alex Gaskarth, then came out alone with an acoustic guitar with the stage lights down, singing the first track off of "Everyone's Talking!", "[cold open]", which in my opinion was the perfect way to start the concert as the song features the lyrics, "just sit back and enjoy the show". As Alex finishes up, he leaves the stage, lights start flashing, and the whole band (Alex Gaskarth, Jack Barakat, Zack Merrick, and Rian Dawson) come out together for "Oh No!" and "SUCKERPUNCH", hit songs off their new album. It was at this point that the rest of the night took me by surprise when they played the widest range of songs off of their discography possible. No matter what era you became an All Time Low fan in, they catered to you during this show. They played classic hits like "Monsters", "Weightless" and obviously, "Dear Maria, Count Me In". But they also played fan favorites like "Damned If I Do Ya (Damned If I Don't)", "Lost In Stereo", "Dirty Laundry", "Sleepwalking" and so much more. The most important thing that I noticed during this show is the chemistry that All Time Low still has with each other after all these years. You can tell that they genuinely like each other not just as bandmates, but as true friends in life. They love being up on that stage together, and really enjoy performing for their fans. Their stage presence is out of this world, as well. The way they interact with the crowd to get them excited and to make every individual feel special and like a part of the moment is so incredible. For example, they brought up football and how since we were in Pittsburgh, they'd forgive us for being Steelers fans since they were Ravens fans (They're from Baltimore). The whole entire arena started chanting "Here we go Steelers, here we go!". It was such a personalized, special moment for our concert. There were also a few impromptu moments where they started playing covers of songs during moments of banter. Like when they said how last year when they were in Pittsburgh, the band Motion City Soundtrack was also having a concert the same day. They asked how many people skipped their concert last year to go to the other concert, and then started playing a Motion City Soundtrack song together by ear. In my head at the time I just thought, wow, this just goes to show how incredibly talented they are that they can play a random song together out of nowhere like that. And they didn't just do it once - they did it THREE TIMES! - Later they night, they randomly started playing "Mr. Highway's Thinking About The End" by A Day To Remember song and then "Don't Stop Believin'" by Journey , just messing around having fun. The energy and connection between the crowd and the band was wholesome and spirited. Everyone knew the words to every single song, even the deep cuts. Everything the band asked them to do, they did. From jumping, to waving, to clapping, to screaming. The crowd even took it upon themselves to crowd-surf and mosh during some of the more hardcore songs. However, in Alex's own words, they did it in a respectful way so that no one got hurt and they took care of each other, which was really so great to see. During "Glitter & Crimson" everyone held their lights up on their phones, solidifying the beautiful moment we were all getting to share together. Seeing All Time Low was a humbling experience. They're a group that clearly not only love what they're doing even after over 22+ years together, but they take the time to learn where they're going and truly love their fans. They don't just rush through their setlist; they take their time to stop, become aware of their crowd, talk to people and take in the moment. They put effort and energy into their performance, and their talent is so through the roof. Even if you're not an a avid listener of All Time Low, I can promise you've heard one of their songs before and that if you saw them live, you'd absolutely enjoy it. For the last encore song, Alex said "you already know what we're going to play" as a girl jumped up and down in the crowd holding a photo for him to grab. He said, "oh, you have my picture?!" and took the picture from her. Four, giant, colorful wacky inflatable tube guys came up and started waving at the back of the stage as they played their final song, "Dear Maria, Count Me In". Even after the show was over, Alex lingered on the stage to throw guitar pics and their leftover setlist papers into the crowd for people. READ OUR "EVERYONE'S TALKING!" ALBUM REVIEW HERE! Written By Kaitlyn Nicole FOLLOW ALL TIME LOW: Instagram | Facebook | Spotify | YouTube | Website *copyright not intended. Fair use act, section 107.

Ren Martinez has returned with her single, “Take Touch.” One of the tracks off of her debut album Fingers Crossed , Martinez reflects on the insomnia she would have throughout the Covid-19 pandemic, saying that “[‘Take Touch’] is definitely a song about that feeling, trying and failing to fall asleep, and fantasizing about being anywhere except in your own bedroom, alone, for what feels like the millionth night in a row.” Written during the time when lockdowns were rampant across the globe, Martinez felt as if everything was normal during the late-night hours, imagining touch from another human being other than her roommates, saying that she “doesn’t take touch for granted anymore,” something we all felt throughout the pandemic. “Take Touch” reflects the loneliness of the pandemic, whether it’d be through isolation due to having symptoms of Covid-19 or through lockdowns where it felt as if our world’s got smaller due to the lockdowns set for our safety. With raw and vulnerable lyrics set to an upbeat production, Martinez’s experiences are relatable to new listeners and old fans alike. Martinez’s vocals throughout “Take Touch” are rampant and solid to listen to, as her vocals deliver the desperation throughout the song that reflect the lyrics at hand. “Take Touch,” although a song written five years earlier, still reflects listeners' experiences throughout life. Ren Martinez is a singer-songwriter based out of Los Angeles. With song placements on shows such as Hacks , New Girl , and more, it’s no secret Martinez’s experience in the industry shows throughout her stacked discography. With her new album, Fingers Crossed , out on all platforms now, “Take Touch” is just a sampler for how great of a time they will have listening to the album. Produced by Brian Robert James, Fingers Crossed  shows Martinez’s growth and reflection through songwriting and vocals. With Fingers Crossed  showing that Martinez has left an impact on the industry as a whole, listeners are eagerly awaiting for what she will do next. If you’d like to keep up with Ren Martinez’s new releases and show dates, you can follow her on her respective social media, linked down below.  Written by Abby Mornhinweg FOLLOW REN MARTINEZ Instagram   | Spotify  | TikTok  | Facebook  | YouTube

Child plays with the proverb, “when life gives you lemons,” in “Lemonade.” It’s hard to balance life. When the pressure’s strong, it’s easy to collapse. But Child reminds her listeners that they don’t have to fall. Add a little sugar to the situation, and things will get better. To Child, nothing is a waste. Sometimes the traffic jam leads you to the scenic route where you can watch the sunset. Sometimes the heartbreak leads to a spectacular poem. Entrepreneurs start with a problem that needs to be solved, and it leads to a grand solution. Child unfolds the recipe through her music, showing listeners that creativity saves the day. “Lemonade” is the extra tablespoon of sugar in the mix. The electric ‘80s synths paired with the warm melody brings the light of a summer day as you stroll through the neighborhood. The textures are closely tied to the ‘80s glam, as if you swiped your hand across the television, you could feel the static spark. Child’s voice is smooth and airy like Maya Hawke. Her vocals give a sense to relax and keep calm despite the pressure. She takes the absurdity of situations and stirs it into something better. The punchy snare and rapid hi-hats add that extra kick to put a pep in your step. Next time life hands you lemons, you’ll be skipping down the street to Child’s lyrics. Child is a Bernese singer-songwriter who creates folk, pop, and indie music. She creates catchy melodies with lyrics that dive deep into her life. Every experience is a plant in her life’s garden and through her music, she opens the gates to share the seeds. In November 2021, she released her self-titled debut EP. In August 2023, she received the Music Loft Award. Now, in 2025, she continues to create music and perform with a band. You can check out her recent EP, Human, on streaming platforms. Written By Taylor Sheridan Lempke FOLLOW CHILD: Instagram | Spotify  | Facebook  | YouTube

JOA's song "Feel Sorry," released on her EP "Feelings You Don't Say Outloud," is as masterful as it is relatable. The song's lyrics are honest and raw, coupled with a sound that makes the lyrics have a note of acceptance. The song feels like a goodbye to a lover and a previous relationship. JOA's lyricism pushes singers into her headspace, giving us a feel of the emotion-laden lyrics. Lyrics like "And maybe you ain't scared to be lonely / But baby, this ain't what I deserve / And tomorrow you can drown in your glory / But tonight I hope to God you feel sorry" convey both sadness and confidence. While morning the loss of a relationship, JOA makes it clear that it won't consume her. As she reflects, the lyrics point to a mindset of self love, acknowledging her worth and what she deserves. "Feel Sorry" touches every listener's heart by leaning into feelings that often go unsaid. "Feel Sorry" is a multi-layered synthpop song that is sure to send yo on an emotional journey with just one listen. When the song starts, you are immediately greeted by angelic vocalizations that beautifully linger. It creates a dream-like sound that feels like its luring you into a whimsical world created by JOA. The backing vocals and music adds to the whimsical vibe, making it feel as if you could float away. The more you listen to the song, there is another layered element that can surprise you and sweep you away. JOA's vocals are distinct. Her voice possesses a special quality that makes it so unique and unlike anyone else's. "Feel Sorry" has a dreamy sound that is absolutely mesmerizing and reminds me of another singer-songwriter Sarah Kinsley. With each listen, "Feel Sorry" never fails to deliver incredible emotions backed by JOA's beautiful musicality. At 20, this Oslo-born artist has been honing her skills since her early teens. She blends her theatrical background with a talent for crafting relatable, heartfelt songs. Fans of Phoebe Bridgers and Julia Michaels will find much to love in JOA's narrative-rich exploration of growing up. JOA is poised to engage a wide audience with her stunning music and visually captivating content. Her recent song "Feel Sorry" was released on November 13th, 2025. "Feel Sorry" was released alongside "Lose You," "Even If Its A Lie," and "Before" on her latest EP "Feelings You Don't Say Outloud." Follow JOA to stay updated on her next projects! Written By Kyler Griggs FOLLOW JOA: Instagram | Spotify  | TikTok  | Facebook  | YouTube

"Need Somebody" by Chris de Sarandy explores the unique burdens and truths that people go through by themselves, with the speaker of the song sharing a heart-warming message of support. Expressing the reality that sharing ones experiences is the best way to be seen is to be open, the lyrics share wisdom: "no one knows the truth until you let it all out." The track illustrates a scene of support, expressing an in-the-moment picture with the words: "we'll go driving; cigarettes and trading stories." Chris wrote this song about masculine friendships, and lets belonging and connection bleed through his honest lyrics, "home is where the heart don't feel rough; home is where you're just enough." This evocative song hits the ear like a warm hug, its tune offering comfort, passion, and authenticity to listeners. Resonant acoustic guitar strumming opens the track before Chris' powerful, gravelly vocals join in the mix. His singing carries a soulful texture and depth that encompasses authenticity and hope. This indie folk song uses percussion and string instrumentals introduced in the second verse to emulate the sensation of budding hope. A storied emotion comes from this track as the singing ranges from belting out to breathy highs. Layered vocals create a truly immersive sound. The tune of this track hits hard for fans of emotional acoustic pop. Chris de Sarandy is an indie folk pop musician with deeply resonant lyrical talents. Two years ago, he released his first EP, "Know Your Worth", a collection of songs that explore themes of love, heartache, self-reflection, and introspection. His newly released EP "Trading Stories" tackles themes of breakups, loss, and self-acceptance, diving further into the realm of relationships in his beautifully melancholic and powerfully raw style. He has collaborated with other artists like Glockenbach , twocolors , and Safri Duo . Check out the links below to keep up to date with his music. Written By Hanna Kowal FOLLOW CHRIS: Instagram | Spotify  | Facebook  | YouTube

Photo Credit: Courtesy of Christopher Omenihu Chloe Jane's most recent release, "Shut Up," is reminiscent of early 2000s dance pop. Her accompanying music video, directed by Corece Smith, embodies that same iconography through visuals. The singer/songwriter states that her intent behind the single was to create a "female empowerment anthem" inspired by a time when she experienced a turbulent romance in her personal life. She sums up that "I just needed to give him a friendly reminder to shut up." Written from a firsthand experience, the song conveys a fervent, energetic message supported by its confident pop sound and lyrics to match. Through the evocative single, Chloe Jane establishes herself as self-assured and collected in the face of disrespect. Chloe Jane cites Nelly Furtado, Timbaland, and Destiny's Child as the Y2K musical influences on her most recent genre-blending anthem. Heavily percussive and rhythmic, Jane unleashes the first taste of her newest era of pop-R&B. Strategically using stacked vocal harmonies in the song creates atmospherically rich textures and a fuller sound. Flyana Boss dominates their powerful verse masterfully after Jane delivers her 'friendly reminder'. The bold lyrics are forward and unafraid, matching the energy of the pulsing synth-driven beat. "Shut Up" is another playful, empowering track from Chloe Jane, saturated with command. Chloe Jane was raised in New York and Ibiza, where she landed her first gig as an opening DJ for Paris Hilton at just 13 years old. A trained pianist, vocalist, and DJ, Chloe Jane has been making music for years. Her first album, Dance Floor Emergency, a blend of "pop and 2010s-inspired EDM into a melodic, high-energy album," debuted in 2024. In the past, Chloe has collaborated with renowned DJs such as Lenno, Crush Club, and Teddy Cream, among others. Her sophomore album, Princess of the Night,  is set to come out in 2026 . The song's featured artist duo, Flyana B oss, is made up of multi-instrumentalists Bobbi LaNea and Folayan. Following their breakout singles, the duo embarked on their debut tour with Janelle Monáe, followed by a special guest appearance on KE$HA’s “The Only Love” Tour. Unsurprisingly, together, they were able to create a fresh, fun single inspired by the iconic Y2K sound. Written By Azalea Withrow FOLLOW Chloe Jane: Instagram | Spotify  | TikTok  | Facebook  | YouTube FOLLOW Flyana Boss: Instagram   | S potify

“Ego Death at a Bachelorette Party” is the third solo album from Paramore frontwoman Hayley Williams, and includes some of her most raw and heartfelt lyrics to date. I haven't shut up about this album since it was first released in late July, and I’ve listened to it too many times to count.  Originally released as 17 individual audio files uploaded to her website, Williams soon released them as singles on Spotify before releasing the album in full on August 28. She then teased three final tracks, which were released in late October and early November. Every song on the 20-track, genre-bending album delves into some of the most personal aspects of her life. From starting her music career as a young teen, growing up in the Deep South and experiencing the trials and tribulations of great love and even greater heartbreak, she bares her soul for all to hear. Tracklist Ice in My OJ Glum Kill Me Whim Mirtazipine Disappearing Man Love Me Different Brotherly Hate Negative Self Talk Ego Death at a Bachelorette Party Hard Discovery Channel True Believer Zissou Dream Girl in Shibuya Blood Bros I Won’t Quit on You Parachute Good Ol’ Days Showbiz Ice in My OJ “Ice In My OJ” is a jolting introduction to this project that captivates listeners from the first note. The chorus erupts into a cacophony, demanding full attention to her words and dropping Easter eggs left for longtime Paramore fans. The first one can be heard almost instantly as this song interpolates “Jumping Inside” by Mammoth City Messengers, a Christian CD/comic book series Williams voice acted for in 2003.   This song is widely interpreted as being about William’s beginnings in the music industry, when she moved from Mississippi to Franklin, Tennessee, at the age of 13. There, she met founding Paramore members Josh and Zac Farro at a weekly group for homeschooled teens. She soon met founding Paramore bassist Jeremy Davis, and together they joined the funk cover band, The Factory.  Paramore was officially formed by the Farro brothers, Davis and guitarist Taylor York, while Williams was scouted and signed to Atlantic Records as a solo artist at 14. At this time, label executives aimed to turn her into a pop singer with a backing band, which she rejected in favor of playing alternative music with an equally represented group. In the second verse, she talks about a “lotta dumb motherfuckers that [she] made rich,” clearly referencing record label executives who tried to take advantage of her naivety and desire to create music as a teen. As any longtime Paramore fan can tell you, there have been many disputes over the years about Williams’ perceived popularity over other members, and the legal and financial aspects of each member’s label contracts. Williams has avidly rejected the notion that Paramore is a one-woman show since the beginning. Throughout “Ice in My OJ,” she can be heard in the background repeatedly yelling, “I’m in a band! I’m in a band!” Upon first listen, this immediately stood out to me as her way of further affirming that Paramore is  a band, not a solo project. Glum “Glum” explores the lonely nature of mental health struggles and how standing in the light of another person’s happiness can make feelings of depression feel even more isolating. Williams refers to herself as "moonlight," her shine not reaching quite as far as those around her who seem to be made of sunshine. This song came out when I was at a particularly low point in my personal life. In a way, it was a bit of a relief to hear someone I’ve looked up to for so long speak to also feeling insecure and unsure of her path. She questions if the way she is feeling is normal, and if other people are experiencing the same struggles she is. “Glum” is the perfect song to play on a late-night drive or while lying face up on the floor, staring at the ceiling, while a million thoughts run through your head. It feels like a hug and a gut punch all in one. Kill Me “Kill Me” was on repeat the moment I first listened to it, and it remains in heavy rotation months later. While this song is written about the undue burden of being an eldest daughter, it also resonates with those of us who have complicated relationships with our siblings and have always felt like an only child.  Bearing the weight of breaking unhealthy family cycles while “carrying [her] mother’s mother’s torment” is a thankless job that she never asked for, but it is one she must do anyway. While she may try to run from this responsibility, it will always live in her blood. Williams plays off of the adage, “God gives his hardest battles to His strongest soldiers,” stating that she is actually not a soldier, and she would rather the battle “go ahead and kill [her].”  Whim “Whim” is a reminder to trust your intuition when it comes to love and be open to new possibilities, even when your heart has been bruised. There will always be some risk when it comes to love, but eventually, you will find someone who doesn’t make you feel like you need to be looking over your shoulder all the time. The lyrics are beautifully visual as she describes searching for a metaphorical blood stain where there is only a clean bandage, symbolizing her instinct to search for a wound where there is none. She is learning to trust that her current partner won’t hurt her, and in the end, she “wants to believe in [the relationship], sans sabotage.”  This song is perfect for the overthinkers who have been burned before but are relearning to think with their heart. Mirtazipine “Mirtazapine” was another instant favorite of mine. Now nominated for “Best Rock Performance” at the 86th Grammy Awards, taking place next year, this track takes me back to the early 2000s pop punk and punk rock era.  Dedicated to her relationship with the antidepressant Mirtazapine, Williams personifies her prescription as a “genie in a screwcap bottle.” She praises it for granting her temporary solace from her struggles and allowing her to dream again. Though I’ve never taken any kind of medication for my mental health, this song is still extremely relatable as she describes depression and the feelings of hopelessness that come along with it.  It is difficult to classify this as a “happy” or “sad” song, but perhaps it is a bit of both. While the subject matter is heavy, there is a hopeful note to it, paired with an incredible set of instrumentals to headbang to. Disappearing Man “Disappearing Man” is about the horrible feeling when the person you’re in a relationship with begins to distance themselves from you before they leave entirely. Williams describes a person who is slowly disappearing as he detaches emotionally, leaving her unsure of her place in his life. There was a depth to this person that she couldn’t get to the bottom of, and eventually she had to break free and return to the surface or risk drowning. In the end, she realizes that begging this person to stay is actually driving them further away, and she must let them go as a final act of love.  This song is particularly cathartic for those who have loved someone they felt like they couldn’t help. Although you may truly care for someone and want to alleviate their pain and vices, you can’t do all the hard work for them. Love Me Different “Love Me Different” builds upon “Disappearing Man” by exploring the aftermath of the relationship. Williams can recognize that she gave her very best to this relationship, but her former partner failed to meet her halfway.  She knows that this person probably doesn’t see it the same way and is likely telling themselves that no one will love her the way they did. However, she doesn’t want someone to love her that way again if the outcome is the same. Even though she is mourning what was, “the potential greatest love of all time,” she has to remain hopeful that something better will come along. She also realizes that while this person didn’t love her the way she needed to be loved, she can still do it herself. Maybe one day she will find someone who will love her properly, but for the time being, “[she is] the one that needs to love [her] differently.” Brotherly Hate “Brotherly Hate” is another track for those of us who have complicated familial relationships. While we may often be at odds with our loved ones, there is still a part of us that wishes the relationships could be repaired.  The lyrics play with the term “brotherly love”, arguing that sometimes the feelings and actions of love and hate between two siblings can feel like the same thing. When there is a toxic dynamic with someone as close as a family member, it can be difficult to know when to hold on and do everything you can to repair the relationship and when to finally let go. She refers to the two parties as “Siamese twins headed two ways,” symbolizing the close bond between the two parties and how taking different paths will rip them apart.  Sonically, this song has a bouncy quality about it that feels like a racing heart. It’s an anxious feeling, like waiting for the other shoe to drop. As the song progresses to the climax, Williams’ voice becomes a distorted yell, adding to the tense feeling of this track. Overall, this song is unsettlingly honest, which is exactly what it aims to be. Negative Self Talk “Negative Self Talk” describes the intense loneliness that happens after a breakup with someone you spent so much time with. In this case, Williams laments the loss of someone she was also living with and the silence that comes with their absence. She reminisces about the loudness that comes with sharing a space with someone, and how she and her partner would sing down the hall.  Now, in the wake of her lover’s absence, she is hyper-aware of how quiet the space is and how loud her dark thoughts can become. Williams has been open about her struggles with self-sabotage and states that she is a “veteran, self-taught” when it comes to thinking negatively about herself. This song also makes references to the story “La Loba,” a Mexican folktale about a “wolf woman” who collects skeletons and sings over their bones to bring them back to life. She is most keen on singing over things that are in danger of being lost. In this case, she sang over the bones of this relationship in hopes of resurrecting their connection before it was lost forever. Her vocals and instrumentals have a rather haunting effect, amplifying the feeling of being in the empty house the lyrics describe. Ego Death at a Bachelorette Party The title track of this album makes a bold statement in the middle of the record that shines light on Nashville’s iconic Broadway, full of honky tonks and celebrity bars. Beginning with the line, “I’ll be the biggest star at this racist country singer’s bar,” Williams doesn’t shy away from some of the darker parts of her home city. The music video shows important Nashville landmarks, including the Cumberland River, the Nashville skyline and “bachelorette party bars” on Broadway. The video ends with her in the still iconic but less touristy Santa’s Pub karaoke bar. Also featured in the video is progressive Tennessee State Representative Justin Jones. This was an important cameo, as Jones is committed to fighting against the attacks of gentrification and racism that are damaging the fabric of Tennessee’s character.  The song itself describes her grappling with a low point in her life after having an overinflated sense of self-importance while living in California. She faces the difficult reality of not being able to find her footing there and ultimately returning to Nashville. She uses the concept of an ego death at a bachelorette party to express how she had to experience rock bottom to return to her roots. In the end, she can “only go up from here.” Hard “Hard” is about the difficulty of letting in new love after your heart has been hardened by past trauma. In the first verse, Williams describes having her first kiss with someone who makes her feel safe, but quickly remembers that nothing is a given. She sees a glimpse of herself as a person who can let her guard down, but remarks that her hopefulness makes her look almost pitiful. This song also makes a direct mention of Williams’s wedding to New Found Glory member Chad Gilbert in 2016. The couple has since divorced, and in an interview following the demise of the marriage, she admitted that she wore combat boots on the day of her wedding because she subconsciously felt like she was going into battle by entering that union.  In this state of survival, she had to harden herself to make it out the other side. This has since impacted her ability to soften with lovers and allow them inside. She knows that this cycle is unhealthy and recognizes that, “armor’s heavy, never suited [her] at all // but it’s the devil [she] know[s].” Discovery Channel “Discovery Channel” is a filler track for me, but it’s definitely not a skip. It interpolates the hook from Bloodhound Gang’s 1999 hit “The Bad Touch,” though the instrumentals are much slower than the original song, with a melancholic acoustic guitar. In an interview with the New York Times Popcast, she stated that the song is about growing pains Paramore have experienced as a band, and how they, as a collective team, have needed to tear down and rebuild the band’s structure to evolve. This track subverts the comedic nature of the track it interpolates and creates a much deeper storyline that fits perfectly in the context of the rest of the album. True Believer “True Believer” is a track that instantly hit home for me. Inspired by Williams’ home in Nashville, Tennessee, this song eloquently addresses the issues that plague the country, particularly the South. It tackles issues of racism, gentrification and Christian nationalism. Sonically, this song is haunting as she speaks about the soul of her city dying over spooky instrumentals. Her passion for preserving the heart of her city is heard in every line. In the first verse, she reminisces on former independent music venues that have been gentrified into apartments and restaurant chains. While Nashville is known as Music City, the independent artists, labels, and venues that exist there still struggle while businesses “kill the soul, turn a profit.” She also criticizes the bigotry of some Christians in the Bible Belt, who “say Jesus is the way but then they gave him a white face // so they don’t have to pray to someone they deem lesser than them.” The lyrics also reference specific Nashville landmarks, including tourist shops on Broadway, the Cumberland River and the “Batman Building” downtown.  I love the South with my entire heart and soul, and it is heartbreaking when people from more progressive areas mark the entire region out as a “lost cause.” This sentiment completely erases the hard work of progressives who live here and fails to see the humanity of people whom we should also be fighting for. This song is a love letter to those of us who love the South and believe in the power of positive change in our region.  Zissou “Zissou” references the fictional oceanographer from Wes Anderson’s 2004 film “The Life Aquatic with Steve Zissou.” Hardcore Paramore fans know that this film is a favorite of the band’s, as it inspired the creation of the Parahoy! cruise that occurred biennially from 2014 to 2018. This song is one about companionship and devotion to a lover. Set over a synth beat, the chorus repeats, “I don’t mind // wasting my time // in my mind // you’re always mine.” This song is another filler track for me and not one I gravitate towards, but I do think that it enhances the album by showing the range in Williams’ lyricism. Dream Girl in Shibuya “Dream Girl in Shibuya” plays off the “manic pixie dream girl” trope with Williams wondering if her partner liked her more when all he had was the idea of her. Set over a soft, dreamy arrangement, this song is one of the slower tracks on the album. It is reminiscent of a song from a coming-of-age film soundtrack, and it takes me back to riding the metro with my first love in a foreign country. This song takes clear inspiration from films like Sophia Coppola’s 2003 film, “Lost in Translation,” which follows two Americans who meet by chance in a hotel in Tokyo and share a brief but intense love connection. The track follows what may have happened if she and her partner had shared that same connection without taking it deeper. If she had stayed mysterious, instead of letting this person see “every bad side of [her],” how would things be different between them now? Blood Bros “Blood Bros” is backed by a soft acoustic guitar and gentle synth, evoking the feeling of floating as you listen. Like many of the tracks on this album, the lyrics are the highlight. Similar to “Brotherly Hate”, this song explores an intense bond between two people that endures despite the struggle between them. These individuals love each other unconditionally, but ultimately cause each other great pain, leaving them both to wonder if their love is even worth it. She writes, “Now we’re just blood brothers, covered in paper cuts // With a bond like no other, was it ever enough?”  Though the two part ways in the end, she vows to continue loving this person, and wonders if this person might return to her if given the option. This song is haunting and beautiful, and evokes images of loved ones lost by circumstance. Though you may always care for someone and think of them fondly, some connections are not meant to last forever. I Won’t Quit on You “I Won’t Quit on You” continues to describe unconditional love for another person, even sometimes at the cost of your own peace. She uses different examples of outer space imagery to signify feeling distant from someone. The song opens with the line, “Stranded here on Mars // What’s the odds you’d get stuck here too?” symbolizing the isolation she is feeling in this relationship.  However, her partner may also be feeling distant from her, thus making them both feel like aliens to each other. She further describes herself as a lonely astronaut, though she admits that the “view,” a metaphor for the good times she shares with this person, is unbeatable. She acknowledges that her efforts may be for a lost cause, but she vows, “Come Hell or Heaven, angels or devils”, she won’t quit on this person.  Parachute “Parachute” is one of the most talked-about songs on this record, and also the most heartbreaking. Throughout the song, she describes the vision she had for her life with her former partner that will now never come to fruition. The first line opens with her speaking of an imaginary daughter she believed they could have together as she writes, “Yes, I saw her // her spiraled hair // and I could see it // our life in a movie.” She describes the slow burn of falling for someone you’ve known and trusted for a long time, only for them to let you down. The lyrics describe different instances where this person is making their attraction to her known throughout the years, going as far as to say they’d waited for her to return their affection. However, they end up letting her fall without being there to catch her.  She also mentions specific moments she shared with this person, including the day of her wedding to someone else. She was so devoted to this person that she would have run away from the marriage and done anything they wanted so they could be together. Still, she finds herself heartbroken in the end. Now believing she has learned her lesson, she sings, “I thought you were gonna catch me // I never stopped falling for you. // Now I know better, never let me // Leave home without a parachute.” The lyrics are brutal, and you can hear the rage and devastation in every word. This track is made for anyone who has ever had their heart shattered by someone they believed in wholeheartedly. Good Ol’ Days “Good Ol’ Days” is an upbeat, funky track that has a major danceable quality, despite the gutwrenching lyrics about love gone wrong. Similar to “Dream Girl in Shibuya”, she uses this track to ask her former lover if they only wanted the thrill of a new relationship rather than wanting her for who she truly is. This person seemed to love her when they were keeping their relationship secret, and lost interest when it came time to become more serious and make things official. Still, she can’t tame the desire she still holds for this person. She asks if they can “Go back? Stay friends? Keep all the benefits?” like they did at the beginning of the relationship. Even if she can’t be with them in the way she wants, she is willing to bargain and take what little they may give her to keep them in her life.  One of the most iconic lyrics of this album comes during the first pre-chorus, as she sings, “We could sneak around like we’re on tour // even if that’s all you want me for. You could call me Miss Paramour.”  Paramore was named after the maiden name of an original bass player’s mother, originally spelled “paramour,” which also translates to “secret love.” She later goes on to sing, “What’s in a name? // Fate’s got a funny way baby,” acknowledging that when Paramore was founded and named nearly 20 years ago, she had no idea she was fated to become the “secret love” in someone else’s life.  This song also makes clear references to Paramore’s “After Laughter” era, as she mentions the hit song “Hard Times” as being part of the “Good Ol’ Days”. This implies that the relationship was at its peak during the time of the album’s release and the subsequent tour. She longs to return to those moments of “blissin’ out to music [they] made” and relive those memories. As a longtime Paramore fan, I listened to this song with my jaw on the floor the first time. This is a true storytelling track that fans have latched on to and have continued to take meaning from. Showbiz “Showbiz” opens with a dreamy-sounding intro that soon launches into an upbeat guitar and drum tempo. The song follows Williams’ reflection on a relationship that occurred with someone in the music industry, and her grappling with how their careers might have negatively impacted their dynamic and led to its demise. She’s not sure if what they had was true love or just a part of an act. Was the thrill of their romance real, or just a result of two people grasping at any connection while working in an isolating industry? Did this person want her for her, or for her fame? As referenced earlier in “Negative Self Talk”, the curtains are drawn on the relationship, but she is still waiting in the wings, wishing to go back to the beginning. I heard this song at “Ego Nite” a few days ahead of its official release. Ego Nite was an in-person listening party held at record stores worldwide, as well as an opportunity to buy vinyl and CD copies of the album early. After listening to the full album in the store while I waited in line to buy my CD, “Showbiz” began, and I was stopped dead in my tracks. This song strikes something deep in my soul, and I just can’t get enough of it. “Ego Death at a Bachelorette Party” is sure to dominate my Spotify Wrapped this year. This is the kind of album that comes out once in a generation, and I will surely pass it down to loved ones in the future. From the initial rollout, the album art, merchandise, marketing strategies, and, of course, the music itself, everything about this album is a stroke of genius. While 20 songs may feel like overkill for some, I wouldn’t change a thing about any of them. Hayley Williams has been my hero since I was a little girl, and she just keeps proving herself worthy of that title. Written By Tessa Brainard Instagram | Twitter | Facebook | Spotify | TikTok | YouTube *copyright not intended. Fair use act, section 107.

Cover Art: Anona Orban “Don’t Let A Boy Ruin Christmas" is the newest single from Teghan Devon , a song that takes place around the holidays were things are meant to be magical and full of fun, and are not to be wasted on someone that is the opposite of that. In this case, it’s a man who’s behavior attempts to spoil the fun of Christmas. Devon reminds everyone in her song to not let this happen, as you shouldn't let someone’s silliness and immaturity take away something that means a lot to you, like the festiveness and joy of a beloved holiday. This not only applies to Christmas or just all holidays in general, but also to everyday life; don’t ever let man drain you of your happiness. In classic Christmas music fashion, “Don’t Let A Boy Ruin Christmas” pulls from different periods of time that iconic holiday-themed songs were released. As you listen to the joyous production, you can hear inspiration ranging from modern pop Christmas music to 80s pop-rock Christmas music, and from 90s Christmas pop to even the jazzy Christmas music of the 50s when it comes to the instrumentation. The song is very musically diverse and distinct to other kinds of music, which showcases the heaps of creativity that went into this cheerful holiday single. Devon also has amazing vocals, and she adds lots of personality to the lyrics with her singing style. Teghan Devon is a multi-award winning singer, songwriter, and musician that has been pursuing music as a career for years and studied at Berklee . In June 2018, she debuted with the song “Half Moon Smile”, which was the leading single for her debut album Fingers Crossed , which was released a month later. In April 2020, she released her debut EP Little Lion . In addition to this, she has released other amazing singles since then, including songs like “How Does It Feel?”, “I Don’t Wish You The Best”, and “Shadow”. Also an incredible live performer, Teghan Devon is an extraordinary and multitalented music artist! Written By Ashley Adams FOLLOW TEGHAN DEVON: Instagram | Spotify  | TikTok  | Facebook  | YouTube

Trigger Warning: Emotional Abuse/Suicidal Ideation Estella Dawn’s latest release explores a darker, more sinister theme than her previous tracks. In “You Didn’t Text Me,” Dawn describes the devastating truth about a toxic relationship she once found herself in. Every lyric truly happened, delving into the details of the fateful night her ex-boyfriend was unfaithful to her while under the influence of heavy drugs. However, instead of taking accountability, he told Dawn, “he’d lost his mind and that he was going to kill himself, so cheating ‘didn’t matter.’” This is textbook emotional manipulation that is all too common. Dawn eloquently utilizes her sharp lyrics to break free from the abuse and not let her empathy and compassion bring her down with him. She knew he was bluffing to avoid admitting he was wrong and to keep Dawn on his hook. In the prechorus, she sings: “You know that I don’t make light of other people’s demons // But you’re making it kinda hard to believe them,” before going into the fiery chorus. Her rightful anger at this man, who tried to take advantage of her kindness to flip the script, shines through in these lyrics. “You Didn’t Text Me” is an empowering anthem that implores listeners who have experienced the same abuse to escape their toxic environment and step away from the false responsibility imposed on them by their abusers. You are not alone, and there are resources out there to help you. National Domestic Violence Hotline: 1-800-799-7233 | Website Suicide Hotline: 9-8-8 | Website “You Didn’t Text Me” by Estella Dawn contains a dark, moody soundscape that matches the scornful lyrics. The artist is known for her powerful yet sultry vocals, and her new song showcases this through the soulful production. A subtle wave introduces the track before Dawn’s iconic vocals kick off the verse, immediately propelling the listener into the storyline with the lyric: “Called me on a Sunday, said you fucked up // Shot a couple holes in the ceiling // Then you wrecked us.” The singer instantly paints the gruesome picture for the audience, illustrating the evil that has occurred. The verses contain a more R&B, melodic rap soundscape that complements the vivid storytelling. Then, the pre-chorus transitions to a more dream-pop instrumentation, shifting the focus to the lyrics. When the chorus hits, the beat drops and returns to the soulful R&B sound with Dawn’s strong vocals. The production throughout the track drew emphasis on the candid lyrics and the delicate storyline, making “You Didn’t Text Me” one of the most intricate and clever songs in the artist’s discography.  Estella Dawn is a singer, songwriter, producer, and multi-instrumentalist from New Zealand, now based in San Diego. Her music does not stick to one style but rather mixes the sounds of multiple genres to create her own unique sound. In 2018, she made her debut with her first single, “Feet". She released several singles leading up to the onset of the global pandemic. During quarantine, she took the time to hone in on her sound and capture her true essence within her music. That year, she released 10 original singles every six weeks, defining her impeccable ability to keep audiences engaged with anticipation of her next masterpiece. Dawn continues to regularly release incredible singles that reel in hundreds of thousands of listeners. Her creativity shines through every single one of her releases, and she shows absolutely no signs of slowing down. Written By Karlee Skipper FOLLOW ESTELLA: Instagram | Spotify  | TikTok  | Facebook  | YouTube

Echo The Screen’s debut single, Frankenstein, is an indie pop song about an on and off relationship. Picture this. You find yourself in an unrelenting pattern. They come crawling back. You fall for their pity party. You end up in bed. You’re fighting (probably over something meaningless). They run away. You cry. Just when you’re thinking of moving on, they come crawling back and history repeats itself. It’s a classic case of ignoring red flags. Same story. Same vicious cycle. It's not real love. It will always be toxic and it will never be worth the headache. Frankenstein is upbeat, catchy, and bright. Lyrics like “Love me when you need me but you throw it all behind and I don’t know if I could ever learn to turn and read the signs” highlight what I was saying earlier about ignoring red flags. I like the vibe. I like the feeling it invokes in me. When I listen to it, it makes me feel like I’m at the beach catching a wave in 70 degree weather with a nice summer breeze. If you disregard the lyrics, you would think it’s a happy song. That’s the work of a good songwriter. It’s a strong debut and a great start to his music career. Echo The Screen is a solo artist and student in the Professional Music Program at Toronto Metropolitan University. He is influenced by Beach House and Dick Dale. Music is how he copes with ADHD, anxiety, and self-doubt. He uses it as a way to make sense of his feelings and identity. Listeners will find vulnerability, introspection, melancholy, and nostalgia in his songs. He is not just an artist, but also an idea. His mission is to carry the creativity, ideas, and curiosity from behind the screen into the real world where real stories can thrive beyond their reflection. Written By Jazz FOLLOW ECHO THE SCREEN: Instagram | Spotify  | YouTube