“Train to Nowhere” is a song that moves with purpose, one that understands the weight of its own narrative without overdoing it. From the opening intro, Matt Alter manages to balance reflection and momentum in a way that is deliberate and effortless. And it’s a track that is built on experience.
Sound wise, there is a familiar warmth here for anyone who remembers Technicolor from Race to the Finish. The guitars glide with understated polish, the rhythm section keeps a quiet tension humming beneath the surface and Alter’s vocals have that this lived in quality he has always had.
Lyrically, the song navigates that strange, uneasy space between forward motion and uncertainty. It’s about being on a train and not fully knowing the destination, about the moments when life keeps moving even when clarity feels far away. Here, Alter simply presents this feeling, and it is enough. It is this honesty which he pairs witih exacting musical choices that makes the track a welcome addition to your playlist.
From the forthcoming album I’m Lonely… It’s My Fault, which drops beginning of March, Matt Later promises a record that will continue to explore personal and introspective terrain. “Train to Nowhere” is one of those tracks that is a natural evolution of Matt Alter’s songwriting voice, both for longtime listeners and new fans alike.
About Matt Alter
Based in North Carolina, Matt Alter is a singer songwriter who layers melodic rock with personal themes.
After years of balancing a demanding medical career with his passion for music, Alter returned to songwriting with renewed focus, releasing a steady run of solo albums including The Bitter Pill, Race to the Finish, and Did I Offend You?, the latter produced by Tavis Stanley of Art of Dying.
His work is shaped by real life experience and a commitment to craftsmanship, resulting in songs that are grounded and authentic but which also demonstrate skilled musicianship. With his upcoming album I’m Lonely… It’s My Fault, Alter continues to refine his voice as a songwriter.
With her single “Con C.ALMA” and accompanying video, Amana Melome’ continues to create a space that is both deeply personal and quietly powerful.
“Con C.ALMA” is more than just a song. It’s a reflection of her philosophy on creativity, presence and moving through life at your own rhythm.
Filmed in the flower lined streets of Southern Spain and in her own creative studio, the video captures the calm, colour and intention that define this new chapter of her artistic journey. Rooted in themes of self-trust, patience and inner alignment, “Con C.ALMA” feels like a gentle invitation to slow down and reconnect both with ourselves and with the world around us.
We spoke with Melome’ about the symbolism behind the visuals, the spontaneous process of bringing the video to life and why flowers became the central metaphor for this beautifully unhurried release.
Tell us the story of this song, why did you choose to visualize this song specifically in this way?
Con C.Alma is a song about doing things on your own way at your own pace, without letting the world rush you.
I felt flowers were very symbolic for the sentiment behind the song. You can’t rush a flower to bloom, and you can’t expect one flower to be exactly like another either! Just like people!
The intention was to create a video that felt elegant yet simple, colourful and calming like sunshine.
What was the inspiration behind this new video (visuals, storyline, etc.)?
I intentionally inserted flowers in all of the visuals for this song! I made a wire flower for the cover of the single, I am wearing big flower earrings in the video and I am walking and dancing around the beautiful flower lined streets of Andalusia in Southern Spain.
There is a softness dancing with the boldness of the images, a calm and colourful sultry meets don’t mess with me vibe hahaha! I thought after waltzing around these beautiful streets, orange trees and fountains, ending up in my studio was the perfect ending to the story line.
Lighting my candles and painting, with flowers in my hair. This is my actual studio where I paint and record music, so it encapsulates my essence in a perfect way!
What was the process of making the video?
I had the vision of the vibe I wanted to create, and called in my good friend and amazing makeup artist Kirsten (shoutout to @kirstenpromakeup) who is always game to get creative together!
I pulled the clothes and accessories from my closet. Once I explained my vision, she found a walking map of the flower-lined streets in the area, and off we went!
2 iPhones in hand and a tripod! We walked through all of the areas, I sang the song through once (sometimes twice) at each, and we kept it moving. Once I left her, I drove to my studio…and it hit me: that could be a perfect closing scene! Super unplanned I filmed all of the studio images by myself! Opening the door, to lighting the candles, to painting and dancing in the mirror. I was just imagining fun edits…and I happened to have two big white flowers in my studio (the last of a bouquet gifted to me on my birthday a few days before). I chose my favorite clips and the rest is history!
I am very happy with how the video turned out!
Keep up with everything Amana Melome’ on her Website
NuVoice introduces itself with “My God Don’t Play”, a debut single that clearly defines the project’s direction from the start.
Built as a harmony focused vocal collective, NuVoice leans into R&B and gospel adjacent traditions without positioning the song as worship or testimony. Instead, the track functions as a statement of intent which is measured and very much centered on message rather than personality.
The song’s lyrics frame faith as something steady and ongoing. There is an emphasis on endurance and focusing on trust during uncertain periods, but the writing stays general avoiding detailed storytelling or sharp emotional turns. It’s this approach that keeps the song open and broadly relatable, although it also means the lyrical arc is consistent from beginning to end. Listeners looking for escalation or contrast may find the track overly even paced, while others may appreciate its sense of continuity.
Musically, the focus is clearly on the vocal blend. The harmonies are arranged with care recalling R&B groups where cohesion mattered more than spotlight moments. David Stone’s contribution adds texture and warmth, providing additional weight without shifting the overall balance.
As the first release, “My God Don’t Play” establishes a clear foundation for NuVoice as a creative project built on consistency, tone and intention. The single works as an introduction rather than a defining peak, suggesting a collective that is more interested in long term presence than immediate impact.
“Love Sonnet for Mikey” is over almost as soon as it starts, and yet it doesn’t feel slight. If anything, the short runtime sharpens its impact. It arrives, says what is needs to say and then departs.
The song is built around a poem written in 2019 after the death of the author’s brother, Mikey. Instead of rewriting the text to fit a standard song structure, j dylan paul lets the poem take the lead here. The lyrics stay exactly as they are, and that decision gives the songa gravity that is totally natural. One line “to help the grass grow arms to cradle you” is echoed briefly like a thought circling back on itself.
“Love Sonnet for Mikey” lives in a quiet corner of indie and electronic music. Synths hang in the background, guitar slips in without calling extra attention to itself and the drums move steadily underneath.
Its the vocals though where the song really takes shape. Paul has spent years releasing instrumental music, and working behind the scenes as a mixing engineer, and it’s this track that really marks one of their first steps forward as a singer. The voice works because it’s not forced or overly produced. It sounds like someone choosing to sing because the song requires it.
The final recording replaces the demo’s programmed elements with live performances – drums by Tim Stefaniak and recorded at New Alliance in Somerville, MA, with guitar by Sherman Tsui. Those choices give “Love Sonnet for Mikey” a physical presence that keeps it grounded, even as the song itself feels almost fragile.
Where this song started out as a personal gesture, it ends up becoming a complete turning point. Short, careful and quietly affecting, it leaves the listener with the sense that whatever comes next is going to matter more because this exists.
Fluid, immersive and deeply personal “CHAMELEON” exists in that liminal space between sound, movement and memory. With this release by GAB SAFA, it is a cinematic dance project that unfolds as a three part composition and short film – an exploration of identity, belonging and the power of transformation.
Drawing from her experience as a third culture artist, GABS uses music and visual storytelling to examine what it means to live between worlds, constantly shapeshifting and yet also searching for home.
In this exclusive interview, GABS opens up about the origins of “CHAMELEON”, the inspiration behind its hypnotic visuals and the deeply hands-on process of directing a film she envisioned long before the music existed.
Blurring the lines between artist, filmmaker and performer, GABS invites audiences into a world that is intimate and expansive. One that asks us not just to watch or listen, but to step inside and feel something we may not have words for yet:
1.Tell us the story of this song, why did you choose to visualise this song specifically in this way?
CHAMELEON is a cinematic dance EP (released as a 3-part track + a dance version Radio Edit) about navigating the in-between – the spaces between identities, homes, and selves. Growing up as a third culture kid, I’ve always felt from everywhere and nowhere at once, and I wanted to channel that tension into music. It’s about self-discovery, belonging, and finding power in fragmentation.
I’m an amalgam artist at heart – everything I do, whether it be acting, writing, producing, directing, or singing/songwriting, is just another channel for creative expression.
Directing the film for CHAMELEON felt like the obvious choice and allowed me to merge my skill set into one cohesive experience. The short film is not your typical music video and expands the story beyond sound, letting the audience feel the journey through movement, light and imagery as much as through the music itself. My hope is to always create spaces that feel lived in. I want people to step inside my work and feel like they’ve been there before and felt something similar before, even if they can’t explain why or what it is about it exactly.
2. What was the inspiration behind this new video (visuals, storyline, etc.)?
The inspiration for the video came from my own background and experience, always living and shapeshifting between different worlds, both physically and emotionally.
I wanted to explore themes of identity, diaspora and self sovereignty, while creating a cinematic universe that feels immersive. Visually, the short film combines hypnotic, ethereal lighting, primal choreography and intimate close-ups to reflect the song’s emotional peaks and valleys.
The storyline follows a journey of self-discovery and reconciliation – moving through moments of uncertainty, tension, and liberation. Every visual choice – from set design to camera angles – was intentional, reflecting the interplay between the fractured self and the search for home, between memory and imagination.
By merging performance, music, and film, the video becomes more than just a song accompaniment; it’s a world for the audience to hopefully witness a part of themselves.
Displacement and longing for home isn’t just about geography; it’s an emotional condition. It’s the ache of being close to something you can never fully return to. I create to transform that ache into something communal, something beautiful.
3. What was the process of making the video?
Creating the CHAMELEON video was a deeply hands-on process.
In fact, I saw the film in my mind before even making the song and getting in the studio with my wildly talented music producer and composer, Kate Eberstadt. A version of the shot list already existed – literally moment to moment – as a visual story that guided the making of the music itself. I wrote, directed, and co-produced the short film, with my longtime collaborator and heart sister – director of photography Maria Raad – to ensure every frame told a story.
Pre-production involved storyboarding, rewrites of multiple shot lists, and visual concept development to align the music with cinematic narrative beats.
I love telling stories through visuals, and music adds another powerful layer. Directing my own video let me mix acting, movement, and cinematic shots all together into a seamless narrative. Filming took place over multiple days and locations, and we really got to experiment with camera movement, lighting, as well as different mediums to make the film feel intimate, immersive, and emotionally authentic. Post-production was a beast of its own! From the mixing, mastering, and engineering with my beautifully meticulous post producer, Matthew Tryba, to the video side with my unstoppable editor, Michael Gray—and incredible visual artist, Lucy London McDonald, who stepped in at the last minute to create the collages when they suddenly felt essential. I’m pretty sure my editor blocked me on all devices at this point!
Anyway, we definitely gave it everything, with long hours, work sessions spent editing, color grading, and syncing movement to the music, to create a multi-dimensional narrative experience where audiences can see, hear, and feel the story simultaneously.
Trust me: watch the film first and then make your way to the dance version Radio Edit (shoutout to fierce mixer AX.EL), to get the full intention and heart behind this project.
And reach out to let me know what you think. I always love to hear!
Amana Melomé closes out the year on a bright, soul lifting note with “Con C.ALMA,” a track that feels like both a celebration and a gentle exhale.
It’s the kind of song that fits perfectly into that reflective space between years. It’s upbeat without being frantic, warm without trying too hard and grounded in a sense of gratitude.
Listen here:
After several years away from releasing music, Melomé returns with a sound that’s joyful, relaxed and quietly confident. The groove carries an easy bounce, while her vocals glide with a calm assurance that suggests she’s exactly where she needs to be. Rather than pushing for attention, she lets the song’s energy speak for itself.
The title translates from Spanish as “with calm,” hints at the song’s deeper intention. By highlighting alma, the soul, Melomé frames the song as a reminder to move through life at your own pace, especially as the year winds down and reflection sets in. It’s an upbeat message delivered with softness – stay present, trust the timing and don’t let the noise rush you.
Jazz pianist Deron Johnson adds an elegant sparkle to the track, his playing light and responsive, giving the song lift without overwhelming its relaxed mood. The collaboration between Melomé and Johnson feels effortless, even more impressive knowing it was recorded across continents. Together they create a sound that is open, sun-touched and quietly celebratory.
“Con C.ALMA” works beautifully as a year end release. It’s a track that invites dancing and introspection in equal measure. It’s hopeful without being naive, joyful without being loud. As the first single from Melomé’s upcoming album Recalibration to be released in the new year, it sets the tone for what feels like a new chapter rooted in balance, ease and intention.
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