We Talk About Music

September 26th at Italia Square in Tirana marked the explosive launch of this year's Check In Festival, and one of the undisputed highlights of Electronic Night was a masterful DJ set from none other than Trentemøller. A legend in the electronic music scene, his presence alone electrified the crowd, but it was the way he curated the night that turned his set into a defining moment of the festival. Even better, we had an interview him backstage which you can check out below!

From the very first notes of their latest release, In Balance prove why Bakersfield might just be harboring one of the most exciting punk bands in the scene right now. Their new 7” record, Unforgivable, out via Transcendental Revolution, may only carry two tracks, but it punches well above its weight. Limited to just 100 copies pressed on translucent California Clear vinyl, the project feels less like a routine drop and more like a love letter to the urgency and spirit of modern punk.

With his latest release, “Jumping From So High” (out September 2th), Leo Sawikin cements himself as one of indie music's most compelling rising voices. It's a euphoric, dream pop–leaning track that glows with optimism and bursts of color, but at its core, it also reveals a songwriter with rock roots and a keen sense of craft. Produced by Seattle legend Phil Ek, the single feels expansive, cinematic, and effortlessly uplifting, a signpost of bigger things to come for Sawikin as he maps out an ambitious run of singles, an EP, and a full album rollout stretching into 2026.

With their latest release, First Stage Separation, University Drive prove they're not just a band to watch, they're a band that's gonna make you feel what they're serving up. Dropped on May 2nd, 2025, the Scranton, Pennsylvania rockers' six-song EP is a thunderous ride, clocking in at just under half an hour. The record is a perfect storm of the band's collective energy, with every member lending their hand to the songwriting and arrangements, creating a sound that'll have you shook by the record's end.

With “Time Thief,” rising singer-songwriter My Life As A Moth has crafted an alternative anthem that feels both deeply personal and gloriously unhinged. It's the first glimpse into her forthcoming album The Parade Of The Starlet & The Broken Hearted, and it lands like a jolt to the system. It's a dark, genre-defying piece of art that wrestles with the way anxiety can warp time itself, stealing moments that should be ours to live fully. The result is a brooding, beautiful storm of sound that cements her as one of the most exciting experimental voices in indie music right now.

With Elatseyi, Old Trees continues its mission to blur the line between disorientation and delight. The new four-track EP, crafted by Zachariah Watson, former frontman of Time Pilot and the restless mind behind this project, feels like a passport to a universe where folk traditions, electronic experiments, and global pop mutations coexist in harmony. It's a record that thrives on contradictions: earthy yet otherworldly, chaotic yet carefully composed, playful yet deeply moving.

Sam Wrangle has long been one of the more intriguing voices in Australia's indie underground, blending indie rock grit, neo-psychedelic haze, and the melodic charm of eighties guitar pop. But with his latest single “Delicious Delights”, the Canberra-born, Brisbane-based songwriter takes a refreshing leap into synth-driven territory, proving once again that reinvention is part of his DNA.

Dorsten have made a name for themselves as one of the most compelling sibling duos in modern folk-pop, and their latest single, “Hush”, arriving October 1, 2025, proves just how much they've sharpened their craft. Equal parts haunting and cathartic, the track is a masterclass in emotional storytelling, carried by Sophie Dorsten's powerhouse vocals and Alex Dorsten's restrained yet evocative instrumentation. Together, they create a song that doesn't just play, it lingers, unsettles, and ultimately transforms the listener.From the opening notes, “Hush” establishes itself as more than just another folk-pop ballad. Alex builds the foundation with instrumentation that is sparse but intentional, weaving mystery into every strum and echo. There's a sense of quiet dread simmering beneath the surface, giving Sophie the space to unleash a vocal performance that's as raw as it is commanding. Her delivery channels the wounded vulnerability of someone trapped in a toxic relationship, yet there's a fire burning at the edges, a refusal to stay silenced.

In an era where polished, formula-driven singles dominate playlists and algorithms dictate what we hear next, The JB Project arrives like a sudden jolt of electricity to the system. With “Consumption”, an immersive six-minute psychedelic rock anthem, JB, who writes, performs, records, mixes, and masters every note, lays down not just a song, but a manifesto. It's raw, hypnotic, and brimming with an urgency that feels ripped from the veins of both the past and the present.

Vân Scott has been making the rounds in Hollywood for years now, lending his voice to countless projects. But with “Turn Off the Tears,” the latest release from Scott Oatley under his artist moniker, he proves that his stories are just as compelling as any blockbuster he's sung behind. What emerges is a soaring, deeply personal anthem of resilience and catharsis, one that takes private heartbreak and transforms it into something universally uplifting.

Prince Philippe has always carried himself like someone meant to blur boundaries. Raised in Verona in a family of musicians, formally trained in both modern and jazz, and later tempered by the grind of Atlanta's R&B scene, his trajectory is anything but conventional. That mix of worlds comes alive in his latest single, “Hour of Need”, a vibrant pop-R&B track that not only grooves effortlessly but also signals a new era for the young artist as he prepares to roll out his ambitious project TGT through 2025 and 2026.

Alex Otey has long been a shape-shifter in the world of modern jazz, but Darwin AI: Survivor Choice might be his most ambitious statement yet. It's a dazzling 37-minute set that redefines what jazz fusion can feel like in 2025. Known as an award-winning pianist, singer, trumpeter, and composer/arranger, Otey's career has been threaded with collaborations alongside giants like Grover Washington Jr. and Richie Cole, as well as GRAMMY®-nominated and winning projects. This record distills that pedigree into something simultaneously reverent and refreshing.Across seven tightly woven tracks, Otey blends the harmonic sophistication of classic jazz with the sleek accessibility of pop, creating an atmosphere that feels both intricate and effortlessly inviting. The album's foundation is Otey's virtuosity, notably his trumpet playing crackles with warmth and precision, while his piano and keyboard work bring an intoxicating mix of groove and lyricism. The basslines, always alive, always inventive, lay down rhythms that keep the record in constant forward motion. It's modern jazz at its finest, splashed with radiant pop flourishes that never water down its depth.

Camilo EG has always thrived at the crossroads of intimacy and grandeur, and with his new EP Accidental Baroque, he delivers a concise but powerful statement that highlights his versatility as a songwriter, singer, and performer. At just four tracks and 17 minutes, it's a tight listen, but one that lingers well beyond its runtime, creating an experience that feels both personal and cinematic, woven with rock warmth and alternative edge.The EP opens with a bold reimagining of Queen's “Teo Torriatte (Let Us Cling Together),” and it's no exaggeration to say it's one of the most striking renditions of the classic we've ever heard. Where Queen's original soared with a kind of stately optimism, Camilo leans into a darker, more rock-focused interpretation, using textured guitars and shadowed atmospheres to uncover new emotional depth. It's not simply a cover, it's a transformation, reframed through his artistic lens. During our interview with Camilo, he spoke about the challenge of approaching such an iconic piece with reverence while still making it his own. That balance comes through brilliantly, a true feat that sets the tone for the rest of the record.

Brielle Brown isn't just a songwriter, she's a storyteller who carves deep into the dirt of human experience and gently brings out the light. With In Art & Soil the Same, her highly anticipated full-length debut, Brown cultivates something quietly seismic: a roots/folk record that doesn't scream to be heard but instead invites you to listen. It's tender, defiant, and beautifully honest. It feels like the kind of album that's not just released—it's lived in.

Cayden Penner's Fun Times Good Vibes is a debut album that wears its heart on its sleeve while refusing to let the weight of the world dull its color. Released July 1st, 2025, and crafted entirely by the Alberta-born artist himself, from writing and production to composition, it's a vibrant self-portrait painted in bold strokes of optimism, rhythm, and emotional honesty. In a world addicted to irony and detachment, Penner's approach is refreshingly earnest. This is an album that dares to feel good without apology.

Sydney's Northern Beaches have long been a quietly influential breeding ground for Australia's most thoughtful, genre-defying artists — and with their debut album Dope Folk, Sky Juice Duo not only continue that tradition, they elevate it. The collaboration between Alby Gibson-Healey and Matthew Trapnell is a masterclass in atmosphere and intimacy, weaving a rich tapestry of ambient folk, singer-songwriter confessionals, and contemporary acoustic grooves laced with experimental touches.

Gogol Bordello has never been a band content with just raising the roof—they raise the entire damn village. This summer, frontman Eugene Hütz is leading the gypsy-punk collective into a blazing season of chaos, community, and continuity. Touring with a crew of handpicked artists from his label Casa Gogol Records, Hütz is not only reasserting the band's legacy as live legends, but also highlighting the next wave of genre-busting artists redefining what New York sounds like in 2025.

There's a kind of music that doesn't ask for your attention — it coaxes it gently, like a warm breeze off the ocean, wrapping around you until you realize you've been entirely swept away. That's the magic of Palooza Beach, the debut album from singer-songwriter Stephen Mugford, a record that first quietly landed in the fall of 2024 and has since become a favorite for those who appreciate their music with a side of salt air and soul.Now, nearly a year later, Mugford's shimmering, sun-baked debut is enjoying a well-deserved second life, and it's easy to see why. The eight-track album is the sonic equivalent of an endless summer, an easygoing blend of jazz-infused '70s and '80s textures, acoustic pop warmth, and richly woven live instrumentation that feels both nostalgic and refreshingly modern. From the moment you press play, you're not just listening — you're stepping onto a sun-drenched shoreline, the faint cry of pelicans and the rustle of palm fronds lingering at the edges of every melody.

With Postcards, lifelong musician and indie ukulele rock trailblazer Winchester 7 delivers what might be his most personal and affecting work to date — a heartfelt solo record brimming with character, craftsmanship, and emotional honesty. Known for his work with The Runners and a string of charmingly DIY videos and performances, the Georgia-based artist has long been a champion of the independent music spirit. This time, stripping back the band setup to go it alone, he's crafted a collection of songs that are equal parts vulnerable reflection and inventive, ukulele-led rock revival.The premise of Postcards feels fitting for an artist like Winchester 7 — songs as letters, each capturing a moment, a memory, or an unshakable emotion, penned and sent out to anyone willing to listen. There's a travelogue quality to it, not in a literal sense, but as a journey through heart and headspace, punctuated by his signature jangling ukulele tones and richly layered vocal harmonies. The result is an album that feels handmade, lived-in, and deeply personal.

Coming hot off the momentum of her breakout run on American Idol Season 23 — where none other than Carrie Underwood declared her “perfection” — Amanda Barise wastes no time carving out her own lane with “Cute and Deadly,” a stunning, self-assured EP that cements the New Jersey native as one of 2025's most compelling new voices. Dropped on June 25th, just weeks after her Idol journey, this collection of tracks marks a powerful creative rebirth, one that embraces vulnerability, confidence, and a genre-bending spirit that feels undeniably fresh.From the very first track, it's obvious Barise has no intention of playing it safe. Co-produced alongside Grammy-winning engineer Max Faigen, the EP melds sleek alternative R&B grooves with shades of neo-soul, pop, and alt-pop grit. It's a heady mix — one that spotlights her powerhouse vocals while offering the kind of daring, modern production choices that recall the boundary-pushing work of artists like H.E.R., Jorja Smith, and Fousheé. Yet for all its stylistic touchpoints, Cute and Deadly is unmistakably Amanda's own.

In a summer already heavy with anthems vying for dancefloor dominance, “Abena”, the collaborative single from rising Afrobeats artist Maye and London's genre-bending Trunkie, stands out not for its volume but for its effortless grace. It's a smooth, sun-soaked track that feels like a shared secret between friends—the kind of song you stumble upon during a twilight drive and immediately add to every playlist you have.At its core, “Abena” is a celebration of cultural connection and the magnetic pull of summer love, but what elevates it is the way it seamlessly weaves together two distinct artistic voices. Maye, with his Nigerian roots and unmistakable Afrobeats cadence, brings warmth and rhythmic sway, while Trunkie, ever the sonic chameleon from North West London, threads in elements of romantic pop and modern Afro-fusion, adding texture and shape to the track's breezy pulse.

There's a rare kind of electricity that surges through a debut single when a band knows exactly what they stand for — when every note, lyric, and chord feels lived-in, fought for, and hard-won. That's the undeniable pulse running through “Fractured Fragments,” the powerful inaugural offering from 22 Rising, a group carving their own legacy out of grief, hope, and sheer rock ‘n' roll resilience.The band's name isn't just a catchy moniker. “22” represents balance, perseverance, and deep personal meaning for frontman Bradley Mangrum. It's a tribute to his late daughter Leighanne, whose name holds 22 letters and whose tragically brief life both began and ended on the 22nd. The number is woven into the band's DNA, a constant reminder of why they play and who they play for.

Monterey's own Todd Siff has crafted the kind of single that feels like a much-needed exhale in a world that rarely slows down. “Keep Dreaming”, the title track from his upcoming album due this July, is a beautifully sincere, effortlessly melodic reminder to hold onto hope — and it might be one of the most quietly affecting songs you'll hear this summer. With his warm, easygoing vocals and a sound that gracefully bridges folk, pop, and mellow rock, Siff proves once again that you don't need to shout to be heard.Produced by Matt Johns, the single is a masterclass in restraint and atmosphere. The arrangement is deceptively simple: acoustic guitar carries the weight of the verses, a gentle percussion pulse keeps things moving forward, and tasteful swells of ambient keys and subtle electric lines give the song an ethereal glow. It's clear Siff and Johns weren't chasing trends here — this is timeless, classic songwriting with just enough modern polish to feel fresh.

Some songs feel like time capsules — tiny sonic spaceships hurtling through decades, landing in the present with a burst of nostalgia and a wink to the past. Michelle MaxiNe's latest single, “Milky Way”, is exactly that: a shimmering, irresistibly fun homage to the glitter-soaked, heart-on-your-sleeve era of ‘80s disco pop, reframed through the lens of a modern romantic. And the result is pure starlight.Born in Baku, Azerbaijan, and raised in the Netherlands, MaxiNe's creative trajectory is as multifaceted as her cultural background. A former classical singer turned fashion model, stylist, and now rising pop auteur, she's been steadily building a sound that's as eclectic as her resume. And while her earlier works hinted at this expansive artistic curiosity, “Milky Way” feels like the moment everything clicks into place.

There's a kind of record that feels less like a collection of songs and more like a conversation with a trusted old friend — honest, unhurried, soulful. Turning Magic On Its Heels, the latest full-length from Atlanta's own Graham and The Band Upstairs, is exactly that. It's a record that, in the best tradition of Americana's great storytellers, captures life's tender, restless, and triumphant moments with disarming clarity and warmth.Led by singer-songwriter Graham Waldrop, the band has long been a beloved fixture of the Southern Americana scene. With this record, they've delivered what feels like the culmination of years of playing smoky bars, front porches, and late-night festival stages — a collection of songs that wear their influences proudly while forging a distinctly personal identity.

With the imminent release of her latest single “Kiss,”  Isabella Chiarini breathes new life into her 2020 track “Kissing the Good Times Goodbye,” transforming it into a vibrant, dance-infused anthem just in time for summer. This remix not only showcases Chiarini's evolution as an artist but also her commitment to exploring diverse sounds within the pop genre.

Imagine if Eddie Van Halen and Rahzel had a musical lovechild, and you might get somewhere close to Beatbox Jake's jaw-dropping solo effort, Dichotomy—a relentless, high-octane fusion of shred guitar wizardry and next-level vocal percussion. Clocking in at 53 minutes across 12 tracks, this album is a one-man sonic demolition derby—a bold, genre-defying statement that cements Jake as a musical innovator.It's easy to throw around words like “innovative” and “unique,” but Dichotomy actually earns them. Every single sound on this album—every drum hit, every bass groove, every searing guitar solo—comes from one person. There's no drum machine here; Jake's mouth percussion is so tight, so textured, and so powerful that it rivals a full kit. At the same time, his guitar playing is absolutely unhinged—a thrilling mix of technical shredding, bluesy grit, and metal ferocity. It's the kind of playing that makes musicians stop mid-conversation and ask, Who is this guy?

In the ever-evolving landscape of underground hip-hop, few artists manage to blend raw emotion with theatrical flair as effectively as Klep. Emerging from Michigan's vibrant scene, Klep's sophomore album, Chatter in the Skull, offers a compelling exploration of overthinking and internal conflict, all wrapped in a soundscape that's as haunting as it is captivating.​

Michelle Fabre has long been a force in the indie pop scene, but with her latest single, “Never Goodbye,” she dials down the sparkle and lets the soul shine through. Known for her glossy production and dynamic vocal range, the Long Island native now delivers something achingly intimate—a heartfelt tribute that captures the essence of grief and the quiet resilience of love lost.

Angel Dweh is not just an artist—he's a force. When we sat down with him to talk about his latest project, Scorpio EP Delights, and his upcoming music film, I quickly realized that his passion for storytelling extends far beyond the studio. Dweh, a Liberian-American singer, songwriter, and actor, is an artist on a mission—to create, innovate, and push the boundaries of Afrobeat, R&B, and cinematic storytelling. His new EP and film are both testaments to that vision, brimming with originality, energy, and an undeniable sense of purpose.

Wildcat Hawkins isn't here to follow the rules. With a title as explosive as Don't Mind the Sellout Train When I Dynamite the Tracks, the 2024 single from the boundary-pushing artist is anything but conventional. Stripped down yet deeply evocative, the piece is pure, unfiltered piano improvisation—lush, expressive, and brimming with emotion. It's not just a song; it's an experience that unfolds moment by moment, as unpredictable and mesmerizing as the rainstorm that set the scene for its accompanying music video.

Some artists write songs, and some bleed them onto the track. With RED TO BLACK AND BLUE, lilqueen—born Tayler in Hattiesburg, Mississippi—delivers his most personal and cathartic release yet. A defiant anthem of moving on, the single isn't just about heartbreak; it's about reclaiming one's sense of self after enduring the weight of past experiences. With a genre-blurring sound that fuses trap beats, rock intensity, and alternative pop sensibilities, lilqueen proves that his music is not just a form of self-expression—it's a lifeline.

Brixton-born rapper Political Peak kicks off the new year with "Make It," a powerful, high-energy hip-hop anthem that is equal parts introspective and motivational. The track, recorded in a studio setting alongside his trusted team, showcases a fresh side of Peak's artistry—one that leans into intricate lyricism while maintaining his signature raw energy.

Josh Westover is no stranger to introspection, but on Songs of Reflection, his latest five-song EP, he turns that gaze deeper than ever before. Known for his indie/alt-rock sensibilities and DIY ethos, Westover wears his influences—Radiohead, Muse, Coldplay, Massive Attack, and Pink Floyd—proudly on his sleeve, yet molds them into something uniquely his own. The result is an atmospheric, deeply personal record that balances melancholy with hope, darkness with light, and raw emotion with meticulous production.

Rapper lilqueen continues to delight his listeners with surprises, revealing himself with a new side in his new track “Ghost in My Bed”, which is like an emotional journey through heartbreak and the haunting memories of lost love. Breaking away from his signature sound, this track showcases a raw, introspective side of the artist, blending elements of Rap, Alternative Pop, and Hip-Hop into a vibe that resonates deeply with anyone navigating the aftermath of a breakup.

With his ambitious debut, Voice of One Crying in the Wilderness, Valley of Salt has delivered a progressive rock opera that feels both timeless and cutting-edge. Helmed by composer, guitarist, and lyricist Brian Stemetzki, this album reinvents the story of John the Baptist in a sweeping, emotional journey that marries intricate storytelling with masterful musicianship.

Isabella Chiarini is a name you'll want to remember, and her latest single, “Gotta Be,” cements her place as one of Canada's most exciting emerging pop artists. With masterful production, introspective songwriting, and a chorus that practically demands to be sung at the top of your lungs, “Gotta Be” is a radiant blend of pop sensibility and emotional depth. In our above interview with Isabella, she opened up about the inspiration behind “Gotta Be.” For her, the song represents a journey of self-discovery and reflection, a theme that resonates strongly in both the lyrics and the musicality. Co-written with Teresa Nocita and Brian Melo, the 2007 Canadian Idol winner, the track is as much about personal empowerment as it is about connection. --- Support this podcast: https://podcasters.spotify.com/pod/show/wewriteaboutmusic/support

Kane Luke, better known as The New Citizen Kane, has emerged from the Dublin theatre scene and a whirlwind of international artistic endeavors to deliver a captivating one-two punch: a shimmering new single, Lonely Christmas Lights, and the emotionally rich EP Could Have Been. These releases reveal an artist deeply connected to his roots while boldly pushing the boundaries of his craft, blending lush alt-pop soundscapes with heartfelt lyricism and an evocative nod to 80s new wave. --- Support this podcast: https://podcasters.spotify.com/pod/show/wewriteaboutmusic/support

JOCELYN's album MISSING RIB is a transformative journey through faith, love, and self-discovery. Rooted in her personal relationship with God and a deep commitment to spreading His Word through music, the project masterfully blends genres and showcases JOCELYN's extraordinary vocal and lyrical prowess. This collection isn't just an album; it's a declaration of purpose and a heartfelt invitation to listeners from all walks of life to connect with something greater. --- Support this podcast: https://podcasters.spotify.com/pod/show/wewriteaboutmusic/support

Pete Lacey and Alison Steele have crafted a song that feels more like a tribute than a single. “Home,” released on October 18th, 2024, draws on the harrowing experiences of the 2020 California wildfires, which ravaged the landscape, upending lives and altering the very essence of the valley's natural beauty. With its poignant lyrics and memorable melody, “Home” is a soulful expression of resilience, honoring the memories of what was lost while celebrating the collective strength of a community that's begun to rebuild. --- Support this podcast: https://podcasters.spotify.com/pod/show/wewriteaboutmusic/support

Truenemy, Detroit's hard rock torchbearer, has conjured up an electrifying experience in his latest EP, Curse of the Lightning Ball. With a title track inspired by the elusive natural phenomenon of ball lightning and covers ranging from classical to video game lore, Truenemy has pulled off something bold, blending metal's intensity with imaginative, Halloween-ready soundscapes. We spoke with lead man Paul Vuocolo about this unique release, where he shared insights on the EP's creation, his song choices, and his vision for Truenemy's genre-blending future. --- Support this podcast: https://podcasters.spotify.com/pod/show/wewriteaboutmusic/support

Jordan Anthony and Mackenzie Sol, known now collectively as J+M, have captured hearts with their single “Don't Ya.” Released on October 25, this collaboration brings together two of American Idol season 22's most promising talents in a track that's an excellent hybrid of dreamy, atmospheric pop and soulful, expressive melodies. It's a smooth, irresistible tune that spotlights both artists' unique strengths while creating a seamless, captivating blend. --- Support this podcast: https://podcasters.spotify.com/pod/show/wewriteaboutmusic/support

Finis Smith is riding high on the success of his debut single, "Ain't Love Grand," but he's proving that he's not a one-hit wonder with his latest release, a stirring cover of J.D. Souther's 1979 classic, "You're Only Lonely." The original song was a Billboard Top Ten hit, and Smith's rendition pays beautiful homage to Souther's songwriting while infusing it with his own unique style. For fans of classic country, this track is a welcome reminder of the genre's roots, but with a modern twist that makes it feel new and vibrant all over again. --- Support this podcast: https://podcasters.spotify.com/pod/show/wewriteaboutmusic/support

Kalamazoo-based musician Alix Heffron emerges with his debut album The Moon Is Looking at Me..., a brooding, atmospheric concept record that dives deep into the psyche of an artist spiraling into madness. This dark rock opus took four years to craft, with Heffron handling nearly every aspect of production in his home studio. The result is a haunting, introspective journey through the mind of an unraveling protagonist, where Heffron's talent as a multi-instrumentalist and storyteller shines. --- Support this podcast: https://podcasters.spotify.com/pod/show/wewriteaboutmusic/support

Wildcat Hawkins' 2021 album Pre-Copernican marks a striking departure from his usual acoustic piano-driven compositions, showcasing his versatility and passion for sonic exploration. This time around, Hawkins dives headfirst into the world of hip-hop, blending his innate melodic sensibilities with beats that are fresh, upbeat, and remarkably well-produced. It's a bold move, but one that pays off, giving listeners an infectious, genre-bending experience that reflects Hawkins' adventurous spirit. --- Support this podcast: https://podcasters.spotify.com/pod/show/wewriteaboutmusic/support

In a world where conformity often reigns, XOLEX—aka Alexis Curran—is unapologetically carving out her own path in country music. Her latest single, “Rebel Child,” reflects the fire and grit of a woman who refuses to fit into anyone's mold. With its stripped-back arrangement and raw, emotional vocal performance, the track showcases XOLEX as a true non-conformist in the genre, blending her soulful country roots with pop sensibilities and a rock 'n' roll edge. --- Support this podcast: https://podcasters.spotify.com/pod/show/wewriteaboutmusic/support

In their longest and most ambitious track to date, “The Oak,” Graham and The Band Upstairs take listeners on a sprawling sonic journey that encapsulates everything great about Americana music. At 7 minutes and 48 seconds, the Atlanta-based band, led by singer-songwriter Graham Waldrop, weaves a tapestry of introspective storytelling, lush instrumental layers, and a sense of timelessness. It's a deeply personal song for Waldrop, but like any great folk narrative, it's left open for interpretation, inviting listeners to find their own meaning in its winding lyrics and meditative mood. --- Support this podcast: https://podcasters.spotify.com/pod/show/wewriteaboutmusic/support

The Lehigh Valley has birthed a lot of musical talent, but few acts have shown the relentless work ethic and creative dynamism of Smooth Retsina Glow. Their latest album, Through the Needles Eye, is a testament to the band's resilience and evolution, having survived lineup changes, a global pandemic, and countless obstacles along the way. What emerges from the other side is not just a collection of songs but a refined, genre-bending piece of indie rock that's full of surprises. --- Support this podcast: https://podcasters.spotify.com/pod/show/wewriteaboutmusic/support

The art of the cover song has always been a creative playground for musicians, allowing them to put their personal spin on iconic tracks. But New Jersey-native The Ajjancy takes this concept to the next level with his debut album, To Be Arranged. What could have been a collection of familiar remakes instead transforms into a genre-bending, era-spanning exploration that reimagines classic rock and pop tracks with a unique twist. This seven-track mashup album is nothing short of a chamber-rock masterpiece, drawing listeners in with surprising combinations and inventive arrangements that make these songs feel both fresh and familiar at once. --- Support this podcast: https://podcasters.spotify.com/pod/show/wewriteaboutmusic/support

James Robert Webb's latest single, “Lost in Vega$,” is an infectious blend of upbeat country and pop-rock that delivers far more than its title might suggest. On the surface, it's an energetic love song with irresistible warmth, drawing you in with Webb's inviting vocals and a super catchy chorus that sticks with you long after the first listen. But beneath the glitz and glamour of its Vegas-inspired façade, Webb captures something deeper—the essence of a place where reality blurs into illusion, and life's highs and lows are only as real as you make them. --- Support this podcast: https://podcasters.spotify.com/pod/show/wewriteaboutmusic/support

Wildcat Hawkins is no stranger to experimentation, and with his three-year-old indie dance track “Can't Stop It With You,” the artist offers an infectious groove that feels timeless yet bold in its simplicity. In our recent interview with Hawkins, we discussed the process behind the track's creation, its unexpected meaning, and how it fits within the broader evolution of his sound—a transformation that, three years later, has veered toward more updated genres. But in this minimalistic gem, Hawkins finds magic in restraint, producing a track that's impossible not to dance to. --- Support this podcast: https://podcasters.spotify.com/pod/show/wewriteaboutmusic/support