by Jane Lambert

A Star in the Making – Zoey Madison Glows on Her Debut EP “Electric”

At just 17, Zoey Madison’s debut EP Electric bursts with the kind of energy that only comes from someone discovering the full power of her voice. It’s bright, emotional and impeccably crafted but what really stands out is Zoey herself – a powerhouse vocalist with a four octave range.

The title track, “Electric” sets the tone with a burst of shimmering pop that captures the dizzy rush of new love and the desire to make it last forever. There’s a touch of cinematic romance in the lyrics, a nod to Romeo and Juliet and a pulse of teenage recklessness but it’s all grounded by Zoey’s voice. She sings with a sincerity which, for any artist is a tricky balance let alone one at the very beginning of their career.

From there, she takes listeners deeper. “Scars” is the emotional centerpiece. It’s a sweeping ballad that strips everything back and lets Zoey’s voice carry the story. Opening with the haunting line “Be gentle, I bruise easily,” the song builds to an almost cinematic release, closing with a whistle tone.

“Move” lightens the mood with its more laid back groove and glowing guitar textures. This is the kind of song that is like summer in motion – a gentle push towards joy and possibility. Zoey calls it “a reminder to take action and embrace happiness”, and you can hear this spirit when she sings “I’m no longer seeing in blue, I’ve got technicolor dreams coming true.”

The EP closes with “Lullabies,” which is a soft, introspective track. It’s about holding on to love that’s already slipped away, and it shows a different side of Zoey – quieter and more restrained. The harmonies swell and shimmer, wrapping around her voice.

Electric may be Zoey Madison’s first project, but it is truly a statement of her talent. She is not chasing trends or hiding behind production; she is leading with emotion, honesty and a voice that refuses to be ignored.

Whether she’s belting out joy or whispering heartbreak, there’s an undeniable spark running through everything she sings.

Keep up with Zoey Madison on her Website

Stream music on Spotify and Apple Music

09.26.25

by Jane Lambert

Revvnant’s Brand New Album “Death Drive” – A Dark, Genre Defying Journey Through Human Nature

Revvnant’s brand new album Death Drive is a record forged from emotional intensity, political awareness and something of an unflinching reflection on the state of the world.

Across its eight full songs and one experimental interlude, the album explores despair and rage as well as moments of fragile hope, pulling the listener into its atmospheric vortex.

Listen here:

The tracks themselves are as diverse as they are visceral with each one carrying a specific narrative. The opener “Death Cult” lashes out at Christian Nationalism with ferocious energy, while “Horror” functions as a call to action against the rise of American fascism.

“Rise” is a meditation on climate despair, pairing mournful piano with swirling Mellotron, Moog synths and hypnotic drum programming. “Alien World” reflects on the disorientation of the Covid pandemic, whereas “Neukölln” captures the tension between depression and wanderlusting euphoria. Songs like “Rusted Hearts” and “Damascus” witness urban poverty, addiction and cycles of extreme violence across the globe, meanwhile the closing track “Into the Grey” channels the awe and terror of mountains into a sprawling and immersive sonic landscape.

The production on this album is a careful balance between an expansive sound and something more inwardly intense. Schutzman recorded and produced the majority of the album in his home studio, layering piano, synthesizers, drum programming and vocals with a meticulous ear.

Guest musicians include guitarists, bassists, drummers and backing vocalists who all add a depth and texture that enhances the album without overshadowing its overall core vision. All vocals were recorded and the album mixed by J. Robbins at Magpie Cage Studio in Baltimore, and mastered by Paul Logus at PLX Mastering.

What makes Death Drive particularly compelling is its texture and the way it combines different influences. From the brooding and dark atmospherics of industrial and doom, the hypnotic pulse of trip hop, and the melodic sensibilities of dream pop all converge. There is an overall tension throughout between glimmers of beauty and hope, with chaos and doom, hope with despair, all mirroring the human impulses it explores.

Schutzman explains:

“The underlying theme of this album is in the title – Human nature’s fundamental drive toward self destruction, as exemplified by our current world.

David Lynch once said he didn’t like making films with only one genre. I’m the same way with my music. I love for a band like Radiohead is equally important to the inspiration I take from Black Sabbath. The power of Paul Simon’s songwriting has shaped me as much as that of Trent Reznor.

I let all of my influences bleed together, consciously and unconsciously, until they stew into something I hope resembles like originality. The sound can make ‘industry’ people scratch their heads, but I don’t care. It’s who I am musically, and can’t do anything to hide it.”

For listeners willing to engage, Death Drive is an immersive and truly thought provoking journey. It’s music that demands attention, reflection and shows Revvnant’s commitment to intensity and artistic integrity.

About Revvnant

Revvnant is the creation of Elias Schutzman, formerly the drummer for The Flying Eyes and Black Lung. Moving beyond percussion, Schutzman embraced analog synthesizers, drum machines, Mellotron, fuzz pedals and lead vocals to create a project that draws inspiration from trip hop, dream pop, industrial and doom.

Although this is primarily his solo vision, Revvnant often expands into a collaborative collective, featuring contributors on guitar, bass, drums, keys and backing vocals. The project’s first show was a sold out support slot for Orville Peck in 2019, followed by appearances at festivals such as Freak Valley Festival, sharing stages with Black Mountain, High On Fire, and Red Fang.

Find out more about Revvnant on here

Stream music on Spotify and Apple Music

09.25.25

by Jane Lambert

Lakaff Finds New Heights With “may.Be” and “Jambles”

There’s a reason Washington D.C.’s Lakaff keeps calling his sound “heart music.” This is not a gimmick but a mission. A singer songwriter, multi instrumentalist and producer who started ou on French horn and euphonium before teaching himself bass, guitar and production, Lakaff has been steadily building a catalogue of songs since 2023 that blur the lines between indie rock, hip hop, and electronic music. His latest two singles “may.Be” and “Jambles” show just how far that vision has come.

Released earlier this year, “may.Be” is Lakaff’s first Dolby Atmos release and the kind of track that makes you want to sit between the speakers.

It’s built on a sleek electro groove, layering artful drums, shimmering guitar and silky flute and sax lines from Grammy winning guest Johnny Butler.

Emmy winning engineer Cheryl Ottenritter handled the Atmos mastering. This is a song that defines Lakaff’s “heart music.”

Where “may.Be” is expansive and collaborative, “Jambles” is more stripped back and personal. Lakaff channels the wiry guitar energy of early Strokes records, then threads it through the trap style percussion he admired from artists like Future.

Instead of leaning on a drum machine for thetrap meets guitar vibe, he tracked live, kit oriented sounds, giving the song a punchy and human edge beneath its clattering hi-hats and pulsing bassline. Lyrically, it’s a collage of daily life fragments gathered over time, dotted with sly nods to Oasis, “Sk8er Boi,” and other personal touchstones.

Together the two songs function as a kind of diptych. “may.Be” reveals Lakaff the collaborator, reaching outward with a lush and immersive production.

“Jambles” shows Lakaff the diarist, boiling down his influences into something lean and immediate. Both singles are recognisably his. They are playful, soulful and just a little bit restless, constantly looking for new ways to join the organic with the synthetic.

If these tracks are any indication, Lakaff’s “heart music” is becoming something of a signature sound. With more Atmos mastered singles already in the pipeline and live shows on the horizon, both “may.Be” and “Jambles” show an artist whose sound is emerging and coming into focus – immersive, genre blurring and designed to resonate well.

About Lakaff

Lakaff is a Washington D.C. based singer-songwriter, multi-instrumentalist and producer. Raised on school band brass instruments (French horn, then euphonium), he discovered rock in middle school and taught himself bass while playing along to Aerosmith records, and soon added guitar, vocals, and production to his skill set.

Since 2023 he has steadily released tracks that mix indie rock guitars, trap inspired percussion, dexterous bass lines, horns and other unexpected textures, taking cues from artists as varied as Oasis, Disclosure, Shania Twain, The Prodigy, Kasabian, and 50 Cent.

His singles feature artwork by visual artist Masato Okano, known for designs for Metallica and Murphy’s Law, and collaborations with Grammy winning saxophonist Johnny Butler and Emmy winning audio engineer Cheryl Ottenritter.

With more Atmos mastered singles planned and live performances on the horizon, Lakaff is carving out a distinctive place in today’s music landscape – quirky, playful, and soulful.

Stream music on Spotify and Apple Music

09.15.25

by Jane Lambert

Kenzy Kyx Spins Heartbreak Into Pop Gold on Her Debut EP “Glitter”

There’s a giddy rush to Kenzy Kyx’s debut EP Glitter that is much like a friend pulling you onto the dance floor before you even finish your drink.

Across four tracks she takes the bruises of her twenties – bad love, self-doubt, tiny wins – and spins them into fizzy and defiant pop. It’s pop, but pop with teeth and personality, full of sly jokes and big choruses.

Listen here:

Kenzy’s voice is the glue. It has that grainy warmth that recalls Stevie Nicks in her prime, but she flips it over sleek modern beats that nod to Sabrina Carpenter and Gwen Stefani.

You can hear the path she’s taken. Scribbling lyrics as a kid, falling for poetry in high school, a formative trip to Nashville that convinced her to jump in with both feet. She writes and composes everything herself, which gives these songs a diary entry honesty even when the production is sparkling.

The opener, “Take It Easy” has an easy breezy flow with shimmering vocal harmonies and sets the tone for the EP.

The title track “Glitter” elevates the collection with its shimmering, euphoric soundscape. Layered synths, groovy bass lines and bold melodies create a playful yet empowering anthem about transformation and embracing change. It’s a song that encourages listeners to dance, shine and revel in the beauty of stepping into their own power, blending current pop hooks with subtle nods to timeless disco.

Then there’s Kenzy’s bold cover of No Doubt’s “Don’t Speak.” Rather than a straight copy, Kenzy reimagines the 90’s classic in her own voice – slower, moodier, but still melodic – giving the track a depth that contrasts beautifully with the EP’s brighter moments. Honoring Gwen Stefani’s original while making it fit her sonic world, it reflects the EP’s recurring theme of letting go and moving forward.

Lead single “I’m So Glad” is the obvious standout. It’s a glittery breakup anthem built for shouting in your car with the windows down. But the other songs on Glitter carry the same playful defiance, mixing hooks with a sly wink that makes you feel like you’re in on the joke.

There’s vulnerability here too, but Kenzy has that skill for turning messy feelings into something you actually want to move to.

Glitter stands out and is not a cautious first step by any means. Kenzy Kyx is not just trying to mimic anyone else’s lane. She is building her own, one glitter coated hook at a time, and inviting listeners to come along for the ride.

Connect with Kenzy Kyx:

Website / Instagram / Spotify / Apple Music / YouTube

08.26.25

by Jane Lambert

Leaving Without Regrets in Reeya Banerjee’s Brand New Album “This Place”

On her brand new album This Place, Reeya Banerjee proves that home isn’t always a fixed location. Home can be a feeling, a memory or even a song. The record is equal parts intimate reflection and widescreen arena rock.

The album opens with an immediacy that pulls the listener into Banerjee’s world. Her vocals are warm, commanding and human, serving as the album’s compass and guiding us through songs of transition, loss, resilience and love that holds steady through change.

Standout tracks like “Snow” shimmers with atmosphere, while “Misery of Place” rides a darker, restless energy that nods to Banerjee’s rock instincts. “For The First Time” finds strength in its vulnerability, and the closing track “Upstate Rust” is nothing short of an anthem – its soaring choruses and full band firepower leave the listener uplifted and changed. Each track carries its own weight, but together they form a cohesive narrative about moving forwards while carrying the places and people that have shaped you.

The album fuses indie rock grit with dreamlike textures, bringing in influences that range from R.E.M. to Florence + The Machine without ever losing Banerjee’s distinctive voice. Her longtime collaborators in The Merseyside Darby breathe life into the musical arrangements, their chemistry palpable in every layered harmony and guitar lines.

What makes This Place so striking is not just its richness and emotional generosity. Banerjee doesn’t shy away from complexity. She embraces it, creating a body of work that feels both grounded and expansive. This is the kind of album that grows with each listen, offering new corners to explore and moments to hold close.

This Place is a record about movement, memory and the enduring beauty of connection. It’s like a map of the heart.

Keep up to date with Reeya Banerjee on her Website

Stream music on Spotify and Apple Music

08.21.25

by Jane Lambert

Poems’s “Half-Life” – Wrestling with Anxiety in Sound Form

Emerging from the vibrant San Diego indie scene, Poems have created an EP that captures the complex experience of young adulthood, exploring self-discovery, vulnerability and the quiet battles we face with our own minds.

From the first notes of “Placebo”, lightly fuzzy guitars and nuanced, commanding vocals pull listeners into a world of reflection and emotional honesty. Half-Life conveys a lived experienced, and a sense of wrestling with internal tension and the fragile beauty of confronting one’s own anxieties.

Listen in here:

“NFS (Naked For Science)” builds on this foundation, exploring the interplay between identity, medication and personal vulnerability. Sparse and carefully chosen lyrics leave room for reflection, while the vocals have a cool detached energy reminiscent of early 2000’s UK indie rock.

“Afterparty” is a track that ties the narrative together with more depth. It portrays the inner dialogue of someone navigating anxiety and self expectation, set against shimmering and pulsing guitar lines that underscores the tension inherent in the song. Produced by Billy Foster (Fontaines D.C., Wet Leg), mixed by John Catlin (Inhaler), and mastered by John Greenham (Billie Eilish), Half-Life gives the band’s vulnerability a lot of space to breathe while retaining a crisp and professional sound.

Poems turn personal struggle into music that resonates beyond just their experiences. Each track is a careful balance of tension, reflection and hope, proving that indie rock can be both introspective and captivating.

This is a band growing into its identity, unafraid to explore the messy, complicated terrain of the mind.

About Poems

Poems began releasing music in 2021 and expanded in 2022 with two new members, solidifying their sound as a full indie rock outfit.

The band has performed at venues across California, including Belly Up Tavern in Solana Beach, The Music Box in San Diego, and Brick and Mortar in San Francisco, opening for acts such as The Never Ending Fall.

Their first EP West Coast was released in 2024, followed by Half-Life in 2025. Poems explore themes of anxiety, identity, and coming of age themes blending UK-inspired indie rock textures with personal storytelling.

Connect with Poems:

Website / Instagram / Spotify / Apple Music