It’s an inspiring concept, to not let the struggles of the past weigh us down as we attempt to move forward in life, and it’s one that effectively connects on simply a human level – unconfined by genre or age or background. That sense of possibility shines well in the natural optimism and glow of both the music and performance.

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As always, Eddie Wang refuses to adhere to expectation, and instead remains a songwriter exploring the darker depths and nuances of the human experience. Here we note the emptiness that ensues when love is lost, when even though we’re better off without the hurt, the sense of life and electricity from that experience seems irreplaceable.

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Creating art out of trauma is a painful but ultimately therapeutic process, and if that art or music can in turn provide the same kind of solace and understanding for other victims of abuse, then its all the more rewarding. Johnny Bottos tells his story in a unique and empowering way, with the pure poetry, sheer weight, and musical precision of Crown Of Thorns.

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New music from Canadian songwriter Alex Runions brings the soulful intimacy of acoustic folk-pop and a boldly poetic story that instantly captivates. On An Island intertwines the deeply personal with the broadly accessible and imagery-loaded, for a sense of rising passion and power that consistently tightens its grip.

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Melodically infectious, musically on-point, Travelling Man sets itself up to be a timeless Americana classic, with a welcomed twist of mainstream pop in how catchy the central hook and presentation is. The genre is huge right now, and this one makes for a nostalgic easy contender.

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That’s the intention of much of Irene’s music and performances, to engage and entertain – to get people dancing, to bring them together. It’s a skill that stands tall throughout her career and recording repertoire, and it continues to inspire and uplift with each new chapter and style.

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And what a hook, what a resolve – we’re in a timeless realm without a doubt, a vocal and production style akin to the bigger years of Robbie Williams, in my view; the rhythm and descending melody of the verses furthering that. Otherwise there’s a touch of George Michael to the style – in particular the rise up for this smooth and celebratory hook.

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