This is something fearlessly original at present, and yet it’s also broadly appealing, creatively engaging, and instantly recognisable. That’s an uncommon fusion of qualities, and as such, Ivano Bersini has crafted something rather profound with Poems.
Rebecca Cullen
“I feel as though it represents a calming energy that lies within myself. A way to display that something doesn’t always need to be said for it to be expressed.”
Building up beautifully as it gathers momentum, dropping in for an infectious hook that’s fully loaded and wholly contrasts the intimacy of the verses, Want Me Dead is both familiar and unorthodox in its blending of the standard pop-rock set-up and this fearlessly gritty conceptual journey.
Following the simple strum of largely just two chords rising and falling, as well as some humble backing vocals when the energy grows, Icarus builds up unexpectedly after these opening folk-pop moments. The resounding chorus is distinctly catchy, “oh I know, I know, I know” appearing with volume and fluidity; a nostalgic nineties-esque twist that quickly elevates the entire sound and memorable style of the track.
Producer and songwriter Simone Contin captures attention beautifully, with the creatively balanced fusion of rock traits that is Nella mia testa.
Coming in at a fairly standard three-thirteen, the make-up and concept of Life’s Sweet Caress is decidedly familiar, but the vocal stylings, the meandering and often unpredictable melody, leans somewhat towards the freedom and piercing artistry of acts like Asaf Avidan.
“The only mindset I had was to make myself feel happy by doing what I love to do, and that hasn’t changed. Songwriting truly does that for me. It quickly cures any feelings of being down or stressed.”
Adam Layne Fisher is the man behind Kings of Men, a musician blending traditional instrumentation with generative AI, resulting in a fascinatingly successful take on what AI can mean for the future of music.
From ambient and atmospheric hyper trap through a series of emotional deep-dives in relation to self-destruction, pain and hope all intertwined – producer Axtronomical intoxicates listeners, throughout the sixteen-track album DYSPHORIA.
Piano and acoustic guitar meet for a classic four-chord ballad set-up, alongside Pete Byrd’s shaky and expressive leading voice – a distinct tone that naturally meets the interesting bar set by these deeply revealing lyrics. With artwork and a title as artistic and intriguing as this, the music and performance simply had to follow suit, and I’d say the rising emotion and energy of Sally It’s Raining Again absolutely does.
Coming in at over six minutes of exploration, Time Irrelevant sees its listeners plunged into a web of multiple layers of distorted guitars and classic eighties rhythms. At the same time, subtle waves of synth and electronic instrumentation meet with organic, acoustic ones, to craft something that’s both a looping realm of comfort, and a consistently evolving delivery of rising anticipation.
Introducing an intoxicating balance of high-octane rhythms and euphoric production – Child of SP fuses genres with relevance and fluidity, for the boldly thought-provoking single Halo.