Los Angeles-based dream pop band Nightjacket unveil their latest single, “My Only Heart,” an intimate and soaring love song that encapsulates the glow of devotion. A shimmering blend of ethereal guitars, lush synths, and heartfelt vocals, the track is a sonic love letter, exuding warmth, nostalgia, and undeniable romance.
Written by guitarist/vocalist Jordan Wiggins for his now-wife, Danielle, “My Only Heart” captures the exhilarating feeling of being completely known and loved by another person. With vocalist Andrea Wasse’s expressive voice at the helm, the song marries a grooving rhythm section with rich, swirling guitar textures, embodying both the brightness and grounding nature of true love.
I was trying to capture a glimpse of how Danielle makes me feel. She’s so bright, which I think “My Only Heart” conjures with its resonant, swirling guitars and grooving rhythm section. At the same time, she’s down to earth and comforting, which Andrea’s vocals really drive home. The song got faster and faster in tempo the more we worked on it. The demo was significantly slower, and I think the version you hear is maybe the third iteration of recording. Louie [Schultz] (multi-instrumentalist) brought some beautiful strings to the track late in the recording process, partially inspired by the Eurythmics’ “Here Comes the Rain Again.” – Jordan Wiggins
I think what makes “My Only Heart” unique is that out of our current batch of songs together, this one was born in Jordan’s brain and doesn’t immediately sound like something that came from mine. This is totally Danielle’s song. Even her friends know it as her song. – Andrea Wasse
Hamilton-based punk trio Takes an Army returns with their electrifying new single, “You and Me.” A high-energy track packed with emotional depth, “You and Me” blends melodic punk and ska influences to create a song that’s as introspective as it is infectious.
Inspired by personal hardship and the power of connection, “You and Me” reflects on unexpected moments in life that bring people together. Originally written in a slower ska style, the band reworked it into a driving, anthemic punk song with a chorus made to be shouted back at live shows.
The beginning line of the chorus, “We’re not perfect, even though it seems,” really resonates with us. People assume everything looks perfect from the outside, but life is about overcoming struggles. That’s what Takes an Army is all about. – Tyler Gelderman (bass/vocals)
With M@GIC W*RDS, Toronto-based rock outfit Jordan Venn and the Slizneys pay tribute to the golden era of 90s alternative rock, crafting an album that’s both nostalgic and refreshingly modern. At the heart of the record is the dynamic and lyrically profound focus track “♡WWI>SPQR♡,” a high-energy, grunge-infused exploration of mortality and the weight of history.
Inspired by the viral discussion of how often men think about the Roman Empire, “♡WWI>SPQR♡” flips the script—Jordan Venn realized he thinks about World War I even more. The song captures the inescapable human tendency to reflect on the past, drawing connections between historical moments and personal mortality.
Driven by shifting dynamics—from clean, melodic passages to gritty, full-throttle rock—“♡WWI>SPQR♡” balances weighty themes with the sheer fun of rock ‘n’ roll.
Michael Gutierrez-May’s“Light Still Shines The Same“ is an album that takes listeners on a rich and multi-layered journey, intertwining personal stories with the universal.
From poignant reflections on loss and love to razor-sharp critiques of historical and societal structures, Gutierrez-May’s latest work proves that he is as much a storyteller as he is a musician.
These 12 tracks span a broad emotional range from the somber to the satirical , and represent a mature step forward in his musical evolution.
Listen here:
In the opening track “Destiny,” he contrasts the concept of fate with the notion of free will, telling the story of a woman overcoming adversity and forging her own path. The arrangement is lush and layered, bringing a sense of empowerment.
Title track “Light Still Shines The Same” opens the album with an exploration of colonialism’s aftermath. Focusing specifically on the violent conflict between Native Americans and colonizers in 17th-century Massachusetts, Gutierrez-May sets the tone with a haunting acoustic guitar riff and lyrical imagery that calls for reflection on a history of exploitation that still shapes modern life. It’s a chilling and evocative start.
Equally powerful is “Five Twenty Four,” a delicate ballad that captures the raw sorrow of losing a beloved pet. There’s a quiet, almost meditative quality to the song that allows the pain of loss to resonate deeply. What sets Gutierrez-May apart as a songwriter is his ability to take personal experiences – like the passing of a pet – and transform them into universally relatable anthems of grief and healing. The track’s stripped-back arrangement with soft piano and subtle strings, amplifies the emotion, making it one of the album’s standout moments.
The album’s strength lies in its versatility, as Gutierrez-May deftly moves between humor, introspection, and social commentary. “Apology Song,” for instance, is an acoustic confession to a past lover, filled with self-deprecating humor and earnest regret. The simplicity of the song makes the lyrics even more poignant, and his vulnerability shines through as he exposes the imperfections of human relationships.
Meanwhile, the album is not without its lighter moments. “Hello I Must Be Going” is a delightful nod to Groucho Marx’s signature comedic style. The tongue-in-cheek lyrics and upbeat rhythm offer a refreshing contrast to the more introspective tracks on the album.
Similarly, “Marijuana Gummy Bears Picnic” is a warped take on the childhood classic “Teddy Bears Picnic,” showing Gutierrez-May’s sense of playful absurdity. It’s quirky, unexpected, and wholly entertaining.
Gutierrez-May’s storytelling abilities truly come to life on tracks like “When Dawn Comes To The City”, a somber meditation on sleepless nights with his vocals taking on a dreamy, almost resigned quality as he describes the struggle to find peace in the midst of restlessness.
Produced by Stephen B. Martin and engineered by Joe Clapp, “Light Still Shines The Same” is sonically polished with a mix of folk, indie rock and world music influences that give the album a rich, expansive feel.
What’s most striking about this albue is its ability to blend deeply personal reflection with a broader social consciousness. Whether commenting on historical injustices, exploring the nuances of human relationships or just offering a moment of levity, Gutierrez-May’s writing is always thoughtful and engaging. It’s an album that asks big questions while never losing sight of the smaller, intimate moments that make life worth living.
In a musical landscape where artists often veer towards either heavy introspection or broad social commentary, Gutierrez-May finds a way to balance both, creating an album that is at once expansive and deeply personal.
Find out more about Michael Gutierrez-May on his Website
Some music feels like it was made for dimly lit rooms, neon reflections on rainy streets, and the kind of nights that stretch into something surreal.
My Troubled Days taps into that energy with their debut EP “The Burning Clock – Part 1” blending blues-soaked soul, gritty alternative rock and smoky psychedelia into something deeply evocative.
This five track release is lean, atmospheric and full of unexpected twists, never settling into one mood for too long, always pushing forward.
Listen in here:
It all begins with Endless, a slow-burning statement piece that simmers with bluesy guitar work and effortless vocals. There’s a sense of restraint in the verses; it carries the weight of Detroit grit but with a smoothness that recalls the best of ’90s alt-rock.
Crybaby (Day Dreams) flips the script, bringing a dreamlike bounce that somehow manages to feel both carefree and brooding. This is a track that walks the tightrope between light and dark, with sensual vocals leading the way like a whispered invitation to something unknown. The track never loses itself in the haze but it stays sharp, grounded in a groove that makes it impossible to ignore.
Then comes Always This Way (Broken Slowly), the EP’s moment of pure vulnerability. This isn’t a ballad in the traditional sense; it’s more of a slow unraveling. The guitars are delicate, while the vocals lay everything bare. There is a sense of heartbreak in each note, but it never stops to wallow – there is too much truth in storytelling for that.
With High Beams (Time to Go), there is an unapologetic blast of energy. This track struts with a mix of swagger and farewell, like the last drink before heading out into the night. The guitars shimmer, the rhythm section pulses like a heartbeat and the vocals soar in a way that makes it clear: this isn’t an ending, just the beginning of something bigger.
The EP closes with No Chains (Temptation), the band pulls another left turn, diving into a hypnotic swirl of psychedelia. A bit like a late-night hallucination swirling in echoes of classic ’60s rock, it’s moody, intoxicating and a little dangerous.
It’s clear that with “The Burning Clock – Part 1“, My Troubled Days have created a debut that isn’t just an introduction, but one that makes a lasting impression. This is music for the night owls, the seekers, the ones who crave something raw and real with each track telling its own story.
But, together, they create something larger than the sum of their parts. The clock is burning, and My Troubled Days are just getting started.
Find out more about My Troubled Days on the Website
Stephen Jaymes has a knack for tapping into the creeping, existential dread of modern life and turning it into something you can sing along to.
His new single, “Baby Can’t Be Helped” is no exception – part folk-punk catharsis, part psychological diagnosis, and entirely too relevant for comfort. It’s the kind of song that makes you laugh a little at how doomed we all are before hitting you with the realization that, actually, we might not be.
At the heart of the track isBaby, the part of the human brain that just flat-out refuses to accept help, no matter how obvious, simple or necessary that help may be.
Baby clings to suffering with a white-knuckled grip, resenting the mere suggestion that things could improve. And in 2025, with the world teetering on the edge of what feels like irreversible collapse, it’s hard to shake the feeling that Baby isn’t just some rogue impulse in our own heads. It’s in charge of everything.
Jaymes, ever the sharp observer, delivers this message with a mix of deadpan humor and real frustration.
The song opens with a heavy and brooding guitar progression, played just softly enough to feel unsettling. When his vocals come in, he is almost talking at first, calm and measured, like a doctor trying to explain a difficult diagnosis. And then the chorus hits with its rolling, bluesy ascension.
And then there is the realiseation that, of course, Baby can’t be helped.
It’s an addictive cycle, both musically and thematically – building toward clarity, then crumbling under the weight of that same old resistance.
The structure of the song mirrors exactly what it’s describing – the fight to reason with a world that refuses to be reasoned with. It’s maddening, it’s darkly funny, and, it’s deeply relatable.
But there’s something else happening here, too. Jaymes isn’t just throwing his hands up in despair. This track is part of his larger message entitle “#VISION2025” – a call to recognize those forces keeping us locked in this endless tantrum, and to actually do something about it. It’s a reminder that before we can change the world, we have to confront that part of ourselves that refuses to change.
And the funny thing is that we all know Baby. We have seen it in people we love, in people we can’t stand, and in ourselces. Maybe if we start recognising when Baby is pulling the strings, we can finally start taking the rattle away.
Modern Mystery 
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