by Jane Lambert

Apollo & The Human Nation’s “B****!” is a Pop-Punk Firebomb That Demands to Be Heard

Apollo & The Human Nation’s “Bitch!” is a firebomb of pop-punk angst, a breakup track that spits venom while pulling listeners onto the dance floor.

Written in the raw throes of heartbreak, the track explodes with searing guitar riffs, rapid-fire lyrics, and an unfiltered emotional release that makes Olivia Rodrigo’s GET HIM BACK! feel restrained by comparison.

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What sets Bitch! apart is its paradoxical nature – it’s rage disguised as a pop song. Apollo initially aimed for a snarling punk assault but a surprising catchiness emerged, creating a more intoxicating juxtaposition of fury and groove.

Lyrically, the song is unapologetic. It is packed with F-bombs and raw emotional catharsis. Some might balk at its unfiltered delivery, but Apollo defends the expletives as essential to the song’s visceral punch.

Beyond its breakup-fueled angst, Bitch! also taps into a broader conversation about empowerment.

Apollo cites Jennifer Fitta’s essay on reclaiming the word “bitch” as an unexpected thematic layer, positioning the song as not just a revenge anthem but also a nod to the sexual liberation of modern women. It’s a track that refuses to be boxed in—equal parts personal wound and cultural statement.

“It’s definitely volcanic for a pop song! Gotta a lot F-bombs,a lot of venom to it! Some suggested I pull back off the expletives for POP’s sake. I tried that but it ended up losing it’s impact. Let’s face it sometimes only launching an f-bomb can describe an intense feeling of hurt and rage!

I wanted to write a song that was straight up, real, in your face and how people really talk and feel, as if they could have written the song themselves. It’s like the working man’s pop song! It’s my opinion that Rock has become to homogenized. To me my BITCH is Rock music getting pissed off again!”

At its core, Bitch! is an eruption of emotion, a middle finger to both heartbreak and musical conformity.

If pop-punk has felt too polished in recent years, Apollo is here to rough it up again. Love it or hate it, Bitch! is impossible to ignore.

Follow Apollo & The Human Nation here on the Website

Stream music on Spotify, Soundcloud and Apple Music.

03.14.25

by Jane Lambert

Keyth Jones Releases Gritty New Single “Run To Me”

Keyth Jones has never been afraid to shake things up. Over the years, he has explored everything from the kaleidoscopic harmonies of Fractal Cat to the experimental edges of Plän Pläns, always taking his music somewhere new.

His latest single, “Run To Me” roars in with a different kind of mission, cutting through the noise with a blistering, fuzzed out garage rock rush.

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This track is a raw, high energy homage to the rough and tumble 1960’s garage bands that lit up basement parties and dive bars before vanishing into crates of forgotten vinyl. As soon as the guitars kick in, it’s all speed, sweat, and grit.

There is an urgency; Jones sings like he has something to prove, his voice riding the distortion like a runaway train. The rhythm section is relentless, keeping the pulse pounding from start to finish.

Jones wrote “Run To Me” in the most fitting way possible – jamming with his wife on drums, chasing the thrill of loud, unfiltered rock n’ roll. That energy is baked into every note.

“Run to Me” came from a 2022 jam session with my wife on drums. I had just started playing electric guitar again and wanted to write a rocker that paid homage to the 60s garage bands. My buddy and I used to spend hours combing bargain bins in record stores for those bands. It was like a competition to see who could unearth the most obscure 60s relic. Then we’d go back to his basement and rock out, and we always felt like we were the only people in the world who cared about this stuff.”

But don’t mistake the song’s ragged edges for carelessness. Getting the right balance between loose and electrifyingly tight took serious effort. Jones has said that this was the toughest track to get right in the studio, with producer Miles Gannett helping to fine tune the chaos into something razor sharp.

This is the perfect preview to Jones’s upcoming “Love Yourself” EP, due out in April 2025. While the full project is set to explore themes of self-reflection and romance, “Run To Me” is all adrenaline. Rock and roll at its most immediate and infectious.

Whether you are a fan of The Sonics, The Stooges, or The White Stripes, this one demands to be played out loud!

Listen to “Run To Me” now on Spotify.

Keep up with Keyth Jones on his Website

03.07.25

by Jane Lambert

Michael Gutierrez-May’s “Light Still Shines The Same” is a Bold Exploration of Personal and Social Identity

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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.

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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.

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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

03.04.25

by Jane Lambert

My Troubled Days Ignite a Fire with “The Burning Clock – Part 1”

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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.

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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

03.03.25

by Jane Lambert

Stephen Jaymes and the Tantrum at the End of the World

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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 is Baby, 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.

Stay connected with Stephen Jaymes here:

Website // Facebook // Instagram // Spotify // Soundcloud // Apple Music // YouTube Music

02.28.25

by Jane Lambert

MASSEY’s New Single “Tattoo My Heart” – An Electrifying Ride Through Love and Mystery Featuring Charlie Wooton on Bass

MASSEY’s new single “Tattoo My Heart” is a visceral, no-holds-barred rock ‘n’ roll blast.

It’s gritty and unapologetically electric, taking you into a world where hard-driving guitars meet a mysterious and cinematic narrative.

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The song opens with an urgent riff, and it only intensifies from there. Peter Oravetz and Daniel Groover’s twin guitars cut through the mix, with their dueling solos creating a sense of tension and release that mirrors the track’s voodoo-inspired storyline. Charlie Wooton’s basslines pulse with a deep and powerful groove, while Doug Belote’s drums sound almost like the driven heartbeat throughout.

Each beat and riff sounds like it’s pushing the track forward as it develops into a feverish, all-consuming love story that the song paints. It’s about a relationship all wrapped up in mystery and obsession, where only one touch is enough to be forever marked.

But it’s MASSEY’s vocals that genuinely sell this track; his voice is commanding, direct, and full of emotion, and he has conviction behind each word. It’s the perfect vehicle for the story of a man caught under the spell of a mysterious voodoo priestess.

“Tattoo My Heart” was recorded at the now legendary Dockside Studio in Maurice, Louisiana, and the setting proves to be the perfect backdrop for the song’s swampy and electrified energy.

The production is not too overdone, but it manages to capture the band’s live energy. There is that unmistakable New Orleans vibe, which also has a layer of mystique to the already cinematic feel.

The voodoo theme is reflected in the lyrics. “Tattoo My Heart” explores a love so intense and consuming that it leaves a mark on the soul. It draws the listener into a tale of passion and magic, of danger and allure. It’s the kind of story that is both intoxicating as well as unnerving. It’s almost like falling in love with something you know you have no control over.

Accompanying the single release is a striking music video where the story comes alive with a visual twist.

The video features young women seducing men, with tattoos on their skin glowing with an electric charge that pulses like lightning. This visual effect emphasizes the track’s themes of enchantment, obsession, and the irreversible impact of love. The glow of these tattoos becomes as mesmerizing as the song itself.

In MASSEY’s own words, this track is “Rock ‘n’ Roll alchemy – a spell designed to captivate and spark something deep within.”

And it’s easy to see why. It’s a potent blend of passion, musicianship, and authentic energy. An explosion of sound and emotion fills the space with an electrifying presence.