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We've all experienced or at least heard of those sweet summer loves. The ones that are so passion filled yet never seem to make it to the fall. Manta's new single, "Clementine" is a vibrant blend of hip-hop, pop and indie that communicates the warmth and romance of the summer and our desire for the season to never end. Manta uses sound and storytelling techniques to transport listeners to a warm, sunny day, spent with a flirtatious love interest. The single's intricate lyricism conveys the overwhelming joy felt when a new romance blooms and the simultaneous fear that surrounds the potential loss of that connection. For instance, the line "I've spent too long in the dark without another lover that I can call home," establishes a prior yearning for companionship and the immense happiness that can be felt when you finally meet someone you can feel safe with. The ethereal vocals, lively instrumentation and creative lyrics make "Clementine" passion-filled, Summertime anthem. Airy acoustic guitar introduces "Clementine" to audiences. An assortment of natural sound is included under the lead instrumentation such as snapping, whistling and vocalizations, giving it that carefree element that makes "Clementine" the perfect Spring or Summer jam. Between Manta's subtle rasp and English accent, his voice has the perfect indie vibe. He has incredible vocal range, using his higher register for effortless singing, harmonizing layers and beautiful vocal runs and his lower register to hit those deeper notes during his rap verses. The single's chorus is fun, energetic and warm, perfectly balanced with the fast-paced rap portion, offering an exciting change in tempo. In preparation for the release of "Clementine", Manta took to the streets of Manchester to break the world record of the most oranges eaten in an hour. The footage of this excursion became the visualizer and lyric video for "Clementine". Born in Japan, raised in Skipton and currently based in Manchester, Manta is a rising singer-songwriter, performer and producer. Starting from his bedroom, Manta has worked to create a successful career in music. In fact, the self-made artist has directed, edited and graded all of his music videos, alongside producing all of his own music. Due to his involvement in every step of the creative process, it's safe to say that Manta's work fully represents his unique artistic vision. Manta's 2022 debut EP, "Confined Spaces" contains five groovy tracks, most notably "Dream World" which has amassed over 132k streams on Spotify alone. "Confined Spaces" was dubbed "undeniably brilliant" by Dork Magazine. After his first EP, Manta released two singles, "F.O.M.O" and "God Complex" both of which were accompanied by beautifully shot music videos. Manta has been taking on live performances as well, from his debut performance at The Great Escape in Brighton to supporting Rejjie Snow on his sold-out headline show in Leeds. Luckily for fans, you can catch Manta live at The Deaf Institute in Manchester on April 27th. Keep an eye out for Manta's highly anticipated, upcoming EP, "Roundabouts in Therapy" set to release on April 28th. Written By Julia Hooper FOLLOW MANTA:

Kenzie Cates is an artist who uses both listening and writing her music as a way to work through her emotions. For many, this is extremely relatable. In her newest single called “Right About Me” Kenzie is addressing the way it appears an ex-lover of hers handled a breakup, and how she fears that they might have been right about her. She is overthinking after everything went down and racking her brain for what actually happened while she also explores how the series of events made her feel. The depth of the song is paired with a very upbeat and catchy tune that makes a listener want to put this song on repeat. A stunning guitar melody coupled with Cates' soft voice in the background is how the listeners begin to get a taste of “Right About Me”. The first verse follows a similar pattern, but Cates' vocals take the foreground as more soothing sounds from the guitar are layered throughout. In the chorus, a very vibey ensemble of guitars and low beats ensures that this tune will be stuck in everyone's head. At the bridge, Cates’ voice is layered in two tones harmonizing with one another as she continues to lament how she feels she is losing her mind and how she wishes she could just go back in time. The chorus once again picks up at the end of the song, reiterating Cates’ procession of emotions with a contrastingly upbeat musical tune. Kenzie Cates was originally born in Kamloops, BC, Canada. Cates has always been very passionate about music, writing and recording her first song as young as eleven years old through her full-ride scholarship to KISSM. Her love of writing and producing songs only grew from here, and she went on to become a finalist in Yangaroo's “New Indie Artist” category at the Canada Music Awards in 2019. Two years later, she was also a finalist in CBC’s Toyota Searchlight annual talent show. On Canadian radio, she even charted at number three on Bellevue Radio’s Indie Chart. Cates has directed, shot, and edited her own music videos in the past, notably for her single “Ruin It”. We are ecstatic to see where her career goes! Written By Molly Schiff FOLLOW KENZIE:

Sometimes no matter how hard you attempt to withstand life’s battles, the hardships stack up and create a relentless feeling of defeat. Michael Blackwell’s new single, “Nothing Makes Sense” captures this feeling of failure and the seemingly everlasting impulse to give up when faced with immense difficulty. Michael's impactful song-writing abilities add immense emotion and relatability to the single. Lyrics such as, "I wanna scream at the top of my lungs, but I just hold it in, keep on smiling" convey the common struggle of maintaining your composure and optimism in times of overwhelming distress. "Nothing Makes Sense" reminds listeners that they are not alone in their feelings of frustration and disappointment. Michael Blackwell's well-constructed lyricism and passionate musical abilities blend together perfectly to create a beautiful sounding song that communicates the important message of trying your best in the presence of failure. “Nothing Makes Sense” is introduced with mellow electric guitar bars containing heavy reverberation. An exhilarating guitar riff and drum beat precede the song’s opening vocals. Michael’s soothing voice beautifully contrasts the hard core, rock instrumentation. The single’s grunge/metal foundation blended with emotionally charged, raw, male vocals is highly reminiscent of the early 2000’s music scene. Michael's voice maintains its clarity, lure and power as he ascends to higher registers throughout the song. The chorus is packed with energy and emotion, begging for audiences to sing-along at the top of their lungs. “Nothing Makes Sense” was mixed by John Catlin (Inhaler, The Killers, Crows, Foals) and mastered by Brian Lucky (Liam Gallagher, Royal Blood, The Last Shadow Puppets, Artic Monkeys). Intense instrumentation, touching lyricism and pure vocal ability make "Nothing Makes Sense" a standout jam, communicating the pressure and uncertainty of life. From County Durham, Michael Blackwell is a talented singer-songwriter, multi-instrumentalist and producer. While “Nothing Makes Sense” is Michael’s debut single as a solo artist, he is no stranger to the music industry. He has made a highly successful career for himself as a session musician, touring with well-known artists such as Lewis Capaldi and Amber Run. Not to mention, he is currently the guitarist for Louis Tomlinson. At just 10-years-old, Michael began playing the guitar after discovering his father’s record collection and connecting to bands such as Led Zeppelin, Cream, The Police and The Beatles. Later his music inspiration shifted to 90’s artists such as Radiohead, Jeff Buckley and Nirvana. His current sound is a blend of classic rock, 90’s grunge, 00’s indie and modern alt-pop. Released on February 24th, “Nothing Makes Sense” has already amassed over 26k streams on Spotify alone. In honor of his first single’s release, Michael held his first headline show on February 23rd. Tickets sold out two weeks before the performance. After seeing the achievements of Michael Blackwell’s debut single, it’s safe to say that his talent, experience in the music industry, passion for songwriting and strong fanbase are all crucial factors pointing him in the direction of great success as a solo artist. Written By Julia Hooper FOLLOW MICHAEL:

Photo credit: Tristian Parks “Baby Come Back” is such a heartfelt and relatable tune – I think at some point each of us has to come to terms with ‘the one who got away’ and are haunted by the memories of what once was. Can you share the story and inspiration behind this song? Thomasina: The writing process for this song was very different from any song I had written before. Most of my songs are very personal and are a way for me to work out my own feelings or deal with something going on in my own life. When I wrote this song I actually wasn’t heartbroken. But I think this gave me a unique songwriting perspective I haven’t had before. It let me build a character from scratch and decide what they are feeling and why and how they act on those feelings. I loved the imagery of being haunted by someone else so while I was creating the narrator’s character, I had to sort of make up this other character. I had to understand why the narrator was so deeply upset and convince the audience this other person is worth being upset over. Overall I learned a lot about myself as a writer with this song and it might be one of my favorites! What was studying at North Vermont University like, and what are some of your favorite memories from that time? Thomasina: I loved my time at Northern Vermont University! I made some really cool friends and learned a LOT from the projects I worked on there. Only one of the songs I created in college ever made it out of Vermont and that is Break My Heart which was part of my final senior project. Creative people thrive around other creative people and being surrounded by people who love music and want to make as much music as they can, was one of the best parts of college. My favorite memory from college was probably every time I realized I had no idea what I was doing. I booked so much time in our campus studio and just messed around with the board trying to figure out how everything worked. I spent hours trying to mix a song before the first semester ended and I wouldn’t have ProTools for a while, just to get in my car and realize it sucked. But what was so fun about that was being hungry to learn as much as I could. Also, my professors were amazing. The most supportive and brilliant people I could learn from! Producing and engineering your music is an impressive feat – do you hope to encourage other up-and-coming female artists to do the same? Thomasina: When I chose to major in Audio Production in college, I knew I mainly wanted to be a musician. But I also knew how easy it is to be cast aside or looked over as a woman in this industry. I decided I never wanted to give someone a reason to look over me, so I would soak up every aspect of the industry including producing and engineering. I love collaborating with other producers and seeing what we come up with together. But I am also a major control freak and want to be in the room for everything. I always want to be able to articulate the end goal or the vision for a song and being familiar with the engineering side of music is vital for this. What was it like working with FLAK on the acoustic version of “Not Over”? Thomasina: I loved working with FLAK on "Not Over!" I had never collaborated with someone before in this way and had no idea how it would go. I sent him a demo of me singing with my piano a song that I had just quickly come up with to see if he liked it. He did and he quickly sent back his spin on it with his production style. After the release of the original he sent over the acoustic version with his piano and I fell in love with it. I love putting lyrically sad songs to fun upbeat pop productions but I also love when you can strip back a song and see what it’s really saying. "Not Over" is actually a pretty sad song about two people desperately trying to make their relationship work and not believing that it’s really over. But you can forget how sad it is when FLAK is making you dance! Photo credit: Christian Kapoukranidis Would you say that moving to LA has influenced your music and sound? Thomasina: I’ve only been in LA for a few months so I don’t think it has changed my sound too much yet. But I am collaborating with more musicians in LA and am starting to pick up on the style for sure. I totally believe “you are what you eat” as it applies to music. If you listen to a lot of one style, you’ll start to notice that’s what you’re creating. Also, if you surround yourself with great music and great musicians, you have to grow and that’s what I am always trying to do. What’s next on the horizon for you, what should fans keep an eye out for? Thomasina: First on the agenda is the music video for Baby Come Back! This music video is a vision brought to life, I am so excited to share it. It’s out now everywhere so definitely give it a watch. I got to collaborate with two of the most talented dancers I know and my close friends, Kirsten and Cam (Kirsten and Cam Creative Duo). The music video lets you into the mind of the narrator of Baby Come Back and it is just the coolest project I’ve ever worked on. There is more music on the horizon! I have so much music on deck that’s ready to go this year, I can’t wait! Interviewed By Vanessa Siebrass FOLLOW THOMASINA:

Congratulations on the release of "FREAK," What was something new you learned from working on this song? Austin: I learned an incredibly valuable lesson, actually. Sometimes you need to entirely scrap a mix - Literally, delete it and start over to get a great result. Sometimes the direction you take a track isn't the direction the artist wants to take the track, and you have to start from scratch with a totally different mindset and approach. At the end of the day, a mixer is only here to serve the artist and their vision. You have to leave your ego at the door and be vulnerable and open to taking direction from the person with the vision for the track. One of the most fun parts of the job is being taken out of your comfort zone in how you "usually" do things and finding ways to accommodate and achieve someone's vision. You moved to Nashville to attend the Blackbird Academy after growing up in Dallas. What is one thing you learned during your time at school that you carry with you today? Austin: There are so many great lessons I learned while I attended The Blackbird Academy. If I had to narrow it down to just one thing that I learned that is still relevant in my daily business, it is this: You don't always have to be the "best" engineer to win the gig; you just have to be the one who is awesome to hang with/most easy to get along with, and who is excellent at what they do. The music-making process is already complicated enough and often incredibly difficult with how many people have to give the green light for a track to even get to the mixing stage. The last thing you want to be is difficult to work or hang with. I read that when you're not in Los Angeles, you're living abroad. Where is the best place you've traveled to for music, and what is the best thing you've learned in your travels? Austin: I have not lived abroad, but I have traveled significantly. In 2017, I was pretty jaded about the music industry. Some friends had planned to go on an extended overseas trip to Southeast Asia, and I decided that maybe that was exactly what I needed to jumpstart my passion for music again. Luckily, it did just that! There are so many great things I learned from that trip. One which seems so simple but yet it's easily overlooked. Creating authentic music is only possible if you are living life. If you do the same thing day in and day out, you are caught in the motions of life, and your music will reflect that. Even as someone who now only mixes, you can tell through my work that I am a storyteller at heart. I do my best to make my mixes feel like they are very cinematic and tell a story more profound than what just the music or lyrics are telling. You've worked with many different artists! Can you share a bit of behind-the-scenes info about any of those projects? Austin: I've worked with so many artists, and each one is much different than the last in terms of their work. There are some songs I work on for artists where I only speak with the producers on the project, like the Maggie Lindemann record, for instance. Cody Tarpley, Josh Murty, and I went back and forth on notes for those tracks. Then there are artists like TiLLie, who like to come into the studio and do notes in person because she knows exactly what she wants and she's a producer on her records. Photo Credits: Cass Huckabay What artists do you plan to work with in the future? Austin: I have so many upcoming releases that I am excited for, and also several I am not able to share just yet that I am excited for. I have a release with a JPop group named SG5 called "Firetruck," Produced by Hudson Mohawke and Bloodpop, mixed by me, and mastered by Joker. I also have releases with Layto, Loren Gray, Niki DeMar, and many more. What can you tell us about projects you have planned for the future? Austin: Great question! I'm currently gearing up to launch my own podcast. I have been steadily building out the podcast room next to my studio. It's been one hell of a process so far, between painting, sourcing furniture, and creating a victorian gothic meets speakeasy-style vibe, all while continuing to mix and master artist's records. I have to develop a new name for the podcast, so keep on the lookout on Instagram to stay updated on the new name and more information about what's to come! Interviewed By Tessa Brainard FOLLOW AUSTIN SELTZER:

One inescapable truth of young adulthood is that fun is never quite as meaningless as we’d like others to believe. Combine total freedom with a particularly tumultuous time of life and you have a recipe for self-medication. On the lead single for her debut EP, Lou Emery battles with this over an ear-worm disco groove holding more beneath the surface than at first glance. Emery’s voice soars over glittering synths, sweet bass chords, and luminescent strings. As the song provides the perfect soundtrack to any night out dancing, the singer-songwriter paints an authentic and complex picture of that experience. The song centers around a fling with an anonymous man at the club, but more accurately, it portrays the charade-like quality of self-medicating fun. From the start, Emery spins meaning to be more appealing: “I’ll regret you in the morning, this I know / So catch it while you can.” Regret becomes a playful challenge to her partner rather than a deterrent. While adamant that this is nothing more than fun, she finds herself sprinkling in allusions to something deeper. The unnamed man is briefly referred to as “just the remedy,” and while she keeps the symptom close to her chest, it ultimately is revealed at the bridge: “Oh, I could use you / ‘Cause my head’s been full of him again.” It’s a highlight moment of the track as Emery’s vocal chops are on full display. Considering this isn’t her first time being plagued by memories of a former love, it also becomes clear that neither is it her first time resorting to the dance floor as a coping mechanism. “Try to remember how to work you right / Feeling like a beggar in the bar light” is contextualized as Emery reveals the transactional relationship she has with these moments. While she may be insistent that this is merely instinctual—there is clearly a lot more going on in her head. Lou Emery is an LA-based, 23-year-old singer-songwriter. Previously her music was released under the name, Lauren Kunkel. Instinctual is the first single teasing towards her yet unnamed debut EP set to be released later this year. Her pop production is blended with arrangements optimized for live performance, making her music ideal for any listening experience. Written By Andy Mockbee FOLLOW LOU:

Articulating the intensity of missing someone is a challenge many artists have tasked themselves with. There must be some way to authentically express such a universal experience to an audience, right? Alternative-dreampop group, Faye Jule, make a convincing case for stripping away the excess and striking directly at the raw emotion. Primarily supported by somber piano, "I Cried All Night" sees Faye Jule reminiscing on a relationship in disrepair as evocative instrumentation surfaces to convey what words cannot. Sometimes there's no metaphor effective enough to communicate your feelings. On their latest single, Faye Jule understand this well, instead finding catharsis in blunt honesty. The most thrilling aspect of this track is the inclusion of unique and well-mixed instrumentation. The first verse begins with singer Chris Bates setting the scene over strictly piano, but the arrangement starts to open up with a melancholy accordion as London Lawhon exposes her coping habits. The song's highlight comes two minutes in, as the gorgeous bowing of an Erhu swoons alongside Chris Bates as he delivers the song's most substantive confession. "Up all night thinking of what I could do to make you stay." Perhaps the most prominent source of his pain is, in fact, himself. Faye Jule is an international collective of four members: Singers Chris Bates, Lawhon London, songwriter Stefan Landauer, and producer Kara Greskovic. The group presents an alternative dreampop style featuring kaleidoscopic textures. "I Cried All Night is the group's first single of 2022, demonstrating the potency of their collaboration through emotional, pop balladry. Written By Andy Mockbee FOLLOW Faye Jule:

As an art form, music can hold a myriad of purposes. Too often artists are limited by the misguided expectation that their art needs to be transcendent in some way. On her debut single, however, Killer Kennedy grabs a proverbial torch to this notion and burns down all conventions. Reminiscent of the 2000's grunge and punk movements, "Disney Bitch" sounds as nostalgic musically as the lyrics often mold themselves towards. Art should reflect life as we experience it, and what's more real than venting your frustration with how that life is going? It's hard to blame someone for being a little bitter about the hand life dealt them. "God I wish sometimes I was just born famous," is a disarmingly blunt confession—but we've all thought it before. It'd be easy to refer to her emotional state throughout the song as 'bitter,' but she often veers into more of a resentment. Disney is referenced as a colloquial allusion to a "squeaky-clean" disposition, but it's also clear that the entertainment giant has had a significant impact on her current state. She peppers in references to Olivia Rodrigo and The Suite Life of Zack and Cody, while juxtaposing them with her reality. Before the bass kicks in during the second verse, Killer Kennedy offers up the song's most stirring declaration: "If only the movies showed the parts where it didn't work out." Killer Kennedy is an LA-based musician active on the tiktok platform. Disney Bitch is the first single she's released. No information is yet known when and what is next for her. Alongside the song, Killer Kennedy released a music video which features the singer riding around LA on a tricycle. Written By Andy Mockbee FOLLOW Killer Kennedy:

As the hi-hats tease the opening of LOVETA's new single, "More Than Fun," I imagine myself strapping on a pair of roller skates. The pink, neon lights and shimmering disco ball of this imaginary roller rink come into view as the tentative plucking of a bass hints at the imminent excitement. I rush onto the rink as an airy synth transports the song into a full-blown banger: drum kits, strings, sugary bass licks, and LOVETA's impressive voice. "Just let it go." Her latest disco groove is a vivid and stirring track devoted to finding what lies at the top of a good feeling. I'd be negligent if I failed to stress just how danceable this track is. In fact, it's more than danceable—it begs you to get up. Even in it's more spacious moments, such as the intro and bridge, there is the unshakeable feeling that the next burst of energy is right around the corner. "I won't stop till we reach the top" she croons before launching into the explosive chorus. This is the moment LOVETA's ambitions become most clear. How deep can you excavate fun before it transcends such categorization? As a rich battalion of instrumentation is waged at the final chorus—a last-ditch effort to wring ever drop of feeling—no imagined scenario can accurately reflect its influence. It's a raw feeling. LOVETA is a pop musician from New Zealand. "More Than Fun" is her debut single, released alongside a stunning music video. Simon Gooding, who has worked with artists such as Dua Lipa, collaborated on the project as a mixing engineer. She is set to release more singles leading up to her debut EP in 2022. Her impressive vocals, production, and songwriting prove LOVETA to be an artist to keep an eye out for. Written By Andy Mockbee FOLLOW LOVETA:

There's a particular thrill to feeling the calloused places of your heart soften. Where joy was once a mere fantasy in your mind, now it is tangibly felt. This is the exhilarating pulse animating Ettie's latest single "Until I Met U." The sound is reminiscent of 90's-00's grunge-pop—such as Liz Phair—wrapping tight hooks in gravelly bass and drums. Though there's a warmth in the vocals and lyrics that feel like opening the blinds and casting everything in a warm glow. The London-based artist uncovers her rougher edges to express the euphoria felt by letting some light in. "I've never had a heartbeat so intense," Ettie remarks before the song bursts into the cadence of a racing heart. It's on this direct, visceral level that "Until I Met U" works so well. On a deeper level, the song argues that there are some experiences that can only be felt. For Ettie, love had been nothing more than "lines in a book that I once read." Perhaps accurate and authentic, but impossible to engage with someone bereft of the experience. It isn't until she falls in love herself that she fully grasps the significance of love and the parts that needed to heal in order to accept it. With this in mind, "Until I Met U" best functions as an experience: butterflies, a racing heart, or sensation returning to a numb limb. You have to listen to feel it. Ettie is a London-based pop-punk musician. Last year, she released her debut single, "Manic Pixie Dream Girl," featuring five spectacular tracks. Until I Met U is her first release of 2022. Ettie's focus as a songwriter is expressing authentic LGBTQ stories through music in bold and honest fashion. The immediacy of her songwriting amplifies the power of each song's lyrics. Written By Andy Mockbee FOLLOW Ettie:

The facade of aloofness is often used as a means of protection: a camouflage to conceal the part of oneself craving intimacy. On her latest single, "Too Close," Sydney Gordon presents her sharpest barbs towards anyone seeking a deeper connection, before interrogating these habits for their vulnerable core. Over trap-pop production, her powerful voice contains both a confident surface and a wounded center. The result is a danceable message to her potential partners that serves as both a warning and an SOS. The song's sharpest edges are put up in the first verse, presenting her distant facade. "I only like to play / so stop before you think it's something more," she warns through a jaded veneer. But as the chorus rolls in, her internal dialogue flips these biting commands into protective measures. "I gotta say / there's a part of my body that wants you to share this space." If previously, her partner was wondering if she even cared, now they're wondering what is holding her back. But we aren't close enough to be granted this knowledge. As the song fades out, Sydney Gordon is left as more of a mystery than when it began—but that's what makes the track so uniquely honest. When we protect ourselves from getting hurt, we hide our truth. Sydney Gordon is a native, New York singer/songwriter. She began singing at the age of 7, starting professional coaching at 12 years old—resulting in her impressive vocals. "Too Close" comes as the third single teasing towards her debut album set to release later this summer. Gordon plans on releasing two more singles before then. In addition, she has founded her own record label, Static Impulse Records, Inc., to release her music independently. Written By Andy Mockbee FOLLOW Sydney:

To believe in something in spite of being alone in that faith is a courageous act of resistance on its own. It can feel much easier to bow your head and accept the cynicism of the world around you. On the lead single, "Don't Say No," for her upcoming album, singer-songwriter Maddisun explores the moments when believing in yourself can be a form of protest. The soft and polished pop production shines like an optimistic and triumphant statement against defeat. Her message is clear and deeply felt: the universe might say no to you, but it only matters if you agree with it. The bounciness of the guitars and percussion provide an elastic ground for Maddisun's gorgeous voice to spring from. As she hollers in the chorus, it feels as though she's soaring through the air. "Let me be all I can be" she warbles, pitch descending only for a moment before a cheer of the song's title lifts her higher than before. The glittering synth overtop plays like a sun at golden hour, casting her in a warm glow. "Inside my mind / I'm bigger than life." Life may be a gauntlet of opposition, but self-acceptance eclipses it entirely. Maddisun is a singer-songwriter from British Columbia, Canada. She released her debut album Self Reflections in 2020, followed by two singles in 2021. "Don't Say No" is the first single teasing towards the upcoming release of Home is Where the Music is . Her music is notably chameleonic in style, ranging from glossier to folksier production. In addition, she is currently on tour in Canada through mid-July. Written By Andy Mockbee FOLLOW ARTIST: