by Jane Lambert

The Ferocious Revival of Animals In Denial with “Crash Course Volume 3 – Rust Covered Lust”

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With “Crash Course Volume 3: Rust Covered Lust”, Animals In Denial closes the loop on a trilogy of sound, taking long-forgotten demos and raw ideas and forging them into something stronger, sharper and more alive than ever before.

The songs that make up this new EP have been completely overhauled with cutting-edge production techniques, AI assisted enhancements, and a relentless drive to elevate past works into its fully realized form. The result is an album that pulses forwards with electricity, aggression, and a kind of nostalgia that surges forwards with teeth bared.

Listen here:

Opening with “Operator”, this song itself is an impressive evolution, born from a beat that haunted Animals in Denial since age 14 after watching The Matrix. Originally pieced together using a lite version of Ableton Live and a handful of drum samples, “Operator” took on a new life when Steven Seibold (Hate Dept/Pigface) stepped in for additional production and mixing.

His expertise helped sharpen the track’s cold, metallic edges, while subtle tweaks – like a reworked third verse and unexpected backing vocals in the chorus – pushed the song into new territory.

Meanwhile, “Coi” immediately plunges the listener into a world of industrial beats and searing guitars. What was once an abandoned demo has transformed into an undeniable force, with a dark and pulsing energy reminiscent of Pretty Hate Machine-era Nine Inch Nails, fused with the density and controlled chaos of The Fragile. It’s the kind of track that demands movement—whether that’s a rhythmic head-nod or full-body immersion in the beat is up to the listener.

Then comes “Rage”, a track that more than lives up to its name. This is a song that doesn’t just explore anger but embodies it. The layers of heavy guitar, thunderous toms and jagged synths create a soundscape that feels like an explosion caught in slow motion, both destructive and oddly beautiful. Originally conceived as an exploration of rage personified, the final song is raw and unrelenting.

The overall EP has a tension about it, with the songs pushing and pulling between the past and a re-invention, between the person who wrote them years ago and the artist bringing them to life today.

The themes that run through the album – fractured relationships, self-discovery, the scars we carry – are given a new weight through the updated production and evolved vocal delivery.

The title itself, “Rust Covered Lust“, suggests something that was once polished but has been left to decay. And that’s exactly what this album does. Rather than discarding past work, it honors it, stripping away the imperfections while keeping the beating heart intact. Christian Imes is reclaiming the songs, and re-shaping them.

By blending industrial, metal, electronic as well as alternative elements with an arsenal of modern production techniques, “Crash Course Volume 3: Rust Covered Lust” does what all great re-visitations should: it re-defines the past.

Whether you have been following the series from the beginning or you are stepping in to the world of Animals In Denial for the first time, “Rust Covered Lust” is sure to be an undeniable force.

Stay current with everything Animals In Denial on the Website, and Facebook.

Stream music on Spotify, Soundcloud and YouTube music.

03.28.25

by Jane Lambert

DIEMETIC Breaks the Mold with Bass-Heavy Chaos on New Release “Bored”

Following the explosive success of Beat Em, DIEMETIC and Lostrønaut return with “Bored”.

This is a track that takes the heavy, groove driven intensity of its predecessor and warps it into something even more unpredictable.

Listen here:

It’s the kind of sound design that makes Bored feel alive, constantly evolving as it moves forward. Where Bored really shines is in its movement.

DIEMETIC and Lostronaut aren’t content with just throwing out a heavy drop and calling it a day. Instead, “Bored” keeps you guessing with rhythmic switch-ups and unexpected twists that maintain a relentless energy while keeping the listener engaged.

Thematically, the title “Bored” is an ironic choice. This track is anything but dull. Instead, it shows the relentless creative drive of its producers. Rather than re-hashing the same formulas, DIEMETIC and Lostrønaut expand it to innovate, injecting their own personality and unpredictability into their sound.

Andrew Heffernan from Diemetic says:

“After the success of Beat Em, which has amassed nearly 100k streams on Spotify, Lostronaut and I felt like we had tapped into something special – an energy that resonated with fans of heavy, groove-driven dubstep. That track set the bar high, so when we got back in the studio, we wanted to create something that kept that same raw intensity but with a fresh approach.

The track name came naturally because, at the time, we were restless – we were bored of the usual formulas and wanted to break the mold. The result is a track that’s raw, wobbly, and full of movement, hitting hard while keeping the energy fresh. The recording and production process was all about controlled chaos. We experimented with different bass modulations, layering textures to create something that felt alive. Every wobble, every switch-up, was placed with the intent of keeping listeners on edge. This wasn’t just about making a heavy track – it was about making a statement. Bored isn’t just another banger; it’s a reminder that dubstep can still evolve, still surprise, and still hit with undeniable force. If Beat ‘Em showed what Lostronaut and I could do together, Bored is proof that we’re only getting started.“

There is an undeniable swagger to “Bored”. It’s an attitude that says “we’re not here to play it safe.” And it’s exactly this fearlessness that makes Bored stand out in a sea of bass music releases.

In a world where heavy dubstep often falls into patterns of predictable builds and cookie-cutter drops, “Bored” is a refreshing reminder that the genre can still be thrilling, dynamic and, most importantly, fun.

And with this new release, DIEMETIC and Lostrønaut show that the success of Beat Em was just the beginning.

Expect to hear “Bored” dominating festival sets and underground raves alike.

About DIEMETIC

DIEMETIC, the Edmonton-based bass house innovator, has been a driving force in the electronic music scene since 2015, creating high-energy productions and chart-topping releases.

Known for his relentless grooves and hard-hitting sound design, DIEMETIC has performed on major festival stages across North America and internationally, cementing his place as a force to be reckoned with in bass music.

Together, DIEMETIC and Lostrønaut have proven to be a formidable duo, with Beat Em racking up nearly 100k streams and their latest collaboration, Bored, setting a new standard for controlled chaos in bass music.

Follow DIEMETIC on Instagram.

Stream music on Spotify 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.

Listen here:

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.

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.

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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.

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

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