Baja, California-based artist Sia Shells invites listeners to dive deep into their strength and surrender with “Riding The Wave” – an ethereal, ocean-inspired pop anthem that captures the power of resilience, transformation, and trust in the tides of life. Blending her signature mermaid pop aesthetic with dreamlike production and soulful vocals, Sia Shells conjures a sonic spell for anyone struggling to stay afloat.
“‘Riding The Wave’ is all about keeping your head above water throughout the current of life, especially when it pulls you down and it’s hard to see the surface,” she explains. “It’s about resilience, change, and finding the strength to overcome it all while evoking the mysterious and beautiful imagery of the ocean.”
Crafted to mirror the ocean’s ebb and flow, the song’s composition moves between whispering vocals – representing the wind – and a swelling, powerful crescendo that embodies the sea itself. Produced with a touch of nostalgic warmth, the track feels like a safe, familiar space for reflection and renewal. “I wanted a nostalgic feel to the song, so it feels like a familiar, safe space for people to hold onto when they’re feeling like they’re drowning or carried away by the tides of their life,” Sia Shells shares.
“Riding The Wave” continues Sia Shells’ exploration of the mystical and the mindful – a reminder that, like the sea, we are vast, deep, and ever-changing. “Open your arms as wide as the horizon meets the sea,” she says. “You are strong enough to ride the wave.”
American folk artist Dan Pallotta returns with Working Man’s Son, a deeply introspective new album spanning themes of love and loss, childhood experiences that shape us, the dignity of work, and the inner voices that tell us we’re never enough. Anchored by the nostalgic lead single, “24 Kenmore Road,” the record traces the intimate stories of everyday people, reminding listeners of the beauty and heartbreak inherent in ordinary life.
“Working Man’s Son is a collection of songs I’ve recorded over the last 16 months,” Pallotta shares. “Each song is deeply introspective, some directly and some through the lens of characters. It’s about the heartbreaking beauty of the human condition – the inner battles we fight with ourselves that the world doesn’t know about, even though everyone else is struggling with a battle unknown to us.”
“A construction worker who never felt he was enough because he sacrificed career dreams for his family,” Pallotta continues. “The school bus driver who lost her husband just as they were about to retire. The trash man who sees robotic arms taking away his livelihood and is scared to death of that.”
“24 Kenmore Road” draws from Pallotta’s own childhood in Malden, Massachusetts and the two-family house his parents bought to raise four kids. “I wanted to capture a deep appreciation for the innocence and beauty of the neighborhood community that existed in 1960s America. Sometimes the literal is more poetic than any metaphor – everyone remembers the address of the house they grew up in.”
Recorded mostly in his personal studio, Pallotta captured guitar, vocals, harmonica, percussion, and synthesizers with minimal takes, preserving the intimacy and authenticity of the performances. “Pretty much everything is a first take, even if there are some warts. I wanted to keep it that way. It’s very hard not to get self-conscious on your second, third, fourth takes, and then you lose the intimacy.”
With each new release, George Collins continues to refine a songwriting voice that is thoughtful and deeply expressive.
His latest single “Houston” takes that craft in a striking new direction, trading autobiographical detail for metaphor, and finding emotional truth in the vastness of outer space. Originally written during a creative retreat in Spain and then later transformed into a piano and cello ballad under the guidance of Grammy nominated producer Jeff Franzel, “Houston” explores the slow drift that can occur between two people who once felt close.
To accompany the single, Collins has released a visually striking video created in collaboration with graphic artist Nancy Razk. It’s a striking blend of imagery and emotion, pairing stark lunar landscapes with the quiet desperation of a relationship losing oxygen.
In this interview, Collins reflects on the unusual origins of “Houston,” the creative partnerships that brought it to life, and the process of translating a song about distance and communication into a powerful visual.
Tell us the story of this song, why did you choose to visualize this song specifically in this way?
Many of my songs have an autobiographical element, but fortunately my haunting new single, “Houston,” does not!
I co-wrote this song with two extremely talented songwriters, Kelsey Grant and Pete Bonne, on a retreat in Spain sponsored by The Songwriting Academy – we were fortunate to be mentored by multi-platinum songwriter Paul Statham.
We were given a brief to write a song about “space,” and after kicking around a number of possible themes we stumbled across the idea of using the ill-fated Apollo 13 mission as a metaphor to describe a relationship on the rocks.
It’s hard to believe that such a dark, harrowing song was written in a beautiful, bougainvillea-filled garden in a tiny white washed village in the hills above Malaga in sunny Spain!
What was the inspiration behind this new video (visuals, storyline, etc.)?
Although “Houston,” was originally written on acoustic guitar, I thought it would make a lovely piano/cello ballad.
So I reached out to one of my mentors, Grammy-nominated composer and producer Jeff Franzel, who did an amazing job arranging the song for piano and cello and producing the track – that’s him on piano and well known classical musician Peter Sachon on cello.
In keeping with the metaphor of outer space and theme of a relationship on the rocks, I knew the video would need a dark vibe, so I reached out to a gifted graphic artist named Nancy Razk. (Follow her on Instagram here
She has made several excellent videos for me in the past, and she has a bit of a darker palette than some other graphic artists I have worked with, so I knew she would be perfect for “Houston.”
What was the process of making the video?
Nancy and I had an interactive and collaborative approach to making this video. I knew that I wanted to video to be Black & White, to have images of outer space and lunar landscapes, to show black holes emphasizing danger and canyons emphasizing separateness, to show a lonely man and lonely woman frustrated and on the verge of breaking up, and also to feature a pianist and a cellist to match the musical accompaniment.
Nancy miraculously found the video footage to illustrate these themes, and through an iterative process we placed the clips to match the lyrics, so the visual and the audio were perfectly lined up. Nancy did an expert job stitching everything together, based on my detailed comments to her extremely creative drafts – she was full of wonderful ideas, and it was a delight to work with her once again. Apart from being grateful to my co-writers and the world class musicians who performed on this track, I am extremely proud of how the video turned out and beautifully brings this dark, haunting song to life.
//
George Collins is a singer songwriter whose work carries thoughtful storytelling with finely crafted melodies. His musical catalogue has steadily grown to include pieces that explore connection, vulnerability and the quiet shifts that shape human relationships.
Collins continues to collaborate with respected producers and musicians who help bring his vision to life. His newest single, “Houston,” adds another compelling layer to his evolving artistic journey.
Keep up with everything George Collins on his Website
KiTe’s new single, “I See You Cryin’,” is the kind of song that slips into your evening without asking permission. It’s gentle, and there is no big dramatic punch or sweeping climax but instead just this steady, slow ache that settles in and doesn’t leave.
The production is the first thing that grabs you, mostly because it is sparse in a really intentional way, like he cleared out everything unnecessary so the emotion could hang in the air.
Soft chords, a pulse of a beat and KiTe’s voice sitting right in the middle of it is all just enough to hold the feeling in place without crowding it.
And his voice is understated, almost conversational at times. He is not trying to show off but is just telling the truth the way you do at 1 a.m. when you are too tired to perform for anyone.
What gives the song its atmosphere is how naturally it came together. KiTe said the melody just arrived. This effortlessness shows because the whole track has a dreamlike quality, inspired by a film about unrequited love that stuck with him emotionally. It makes sense – “I See You Cryin'” is almost like a half remembered story you are trying to piece back together.
The simplicity of the song works in its favor. It manages to capture that strange mix of wanting to comfort someone while quietly realizing that you have lost them already. It’s a lonely feeling.
There’s a touch of influence from artists like Keshi and DEAN, but KiTe is very much carving out his own lane. His sound is cleaner, a bit more airy and a lot more emotionally up close.
“I See You Crying'” is just honest. And it succeeds in this. If KiTe keeps leaning into this softer, more introspective side of his writing, he is going to build a catalogue of songs that stay with the listener.
About KiTe
KiTe is a Singapore born, Melbourne based R&B/Pop artist with a talent for turning small, intimate moments into spacious atmospheric songs. He started producing music at sixteen from a dining table setup, long before he left his engineering studies to pursue music full-time.
KiTe is influenced by artists like Keshi, ASTN, DEAN and Bryson Tiller. When he’s not releasing his own work, he is writing and producing for others – even pitching songs for K-pop groups. With each release, he sharpens a sound that feels both contemporary and quietly timeless.
Ottawa-based singer-songwriter Heliara returns with “I Know That You Love Me,” a refreshingly honest and heartfelt pop track about the beauty and complexity of loving – and being loved by – your opposite. As the newest offering from her upcoming EP Everything’s a Love Song, the single captures the contradictions of real-world relationships, embracing both their joy and imperfection with wit, vulnerability, and irresistible rhythm.
“Falling in love with your polar opposite has its beauties and challenges and this song documents the journey of a very real long-term relationship,” Heliara shares. “It may not be your typical love song, but it is a love song nonetheless, infused with the vulnerability, quirkiness and authenticity that typically characterizes my songwriting.”
Originally written and performed live in 2024, the track took on new life nearly a year later when Heliara revisited and rewrote most of its lyrics, sharpening the focus on authenticity and emotional contrast. Produced by Steve Foley at Audio Valley Recording Studio, the final version brings together lo-fi textures and pop polish – a sonic reflection of the song’s dualities.
“Steve suggested adding this cool lo-fi beat to the verses, which gives them such a neat colour before ascending into the more traditional pop beat of the chorus,” Heliara explains. “There’s also this rhythmic ‘push’ in the chords which gives it an energetic, danceable and interesting flow. The bridge has a more hip-hop style beat under it, which provides a marked contrast to the verses and chorus.” Balancing vulnerability and confidence, the single continues Heliara’s mission to make music that feels real – songs that mirror the full range of the human experience, from messy to magical. “As a songwriter and creative, I feel that my music gives a voice to those who may see themselves reflected in my own humanity, vulnerabilities and struggles,” Heliara says. “Life can be a wild ride, and we are all in it together!”
Vancouver-based harpist, vocalist, and composer Elisa Thorn unveils her highly anticipated album, xiik, a carefully crafted exploration of melody, expression, and generosity in music-making. Whimsical, curious, and intimate, the album blends experimental indie, folk, and ambient influences while foregrounding Thorn’s harp and voice as the guiding instruments.
“xiik reflects a long pursuit of figuring out how to make the harp express melodies without being overly verbose,” Thorn explains. “I’m pretty hell-bent on getting the harp out of the ‘ornamental’ category of music. It’s tough, due to the nature of the instrument, but also because of people’s expectations.”
Recorded over the past eight years, xiik represents nearly a decade of creative exploration, beginning with Thorn’s first carbon fiber lever harp and her desire to create music that is both solo-performable and expansive in the studio. The album was co-produced by David Vertesi, who understood the nuances of the harp and helped capture its warmth and versatility, and features contributions from Dan Gaucher on drums. An alternate take of the record’s “Lullaby” was produced by LA-based ambient artist Tristan De Liege, further expanding the album’s sonic palette.
Album opener “Idle Talk” is a math-folk track inspired by the history of the word ‘gossip’ and the way female relationships have been perceived throughout history. “The earliest known origin of the word referred to a midwife, then to women who supported a new mother during childbirth, then more generally to women who were friends/supportive of each other,” Thorn explains. “Eventually, it ended up being a derogatory term during the Middle Ages and Renaissance times when the patriarchy started to see female friendships as a threat to its agenda.”
“Idle Talk” also showcases Thorn’s experimentation with unusual time signatures and instrumentation. “My favourite part of this track are the drums, played by Dan Gaucher. I’m also proud of my use of melody in this song – I have been working for a long time with getting the harp to express melody in a direct and succinct way and I feel like that really works here. It’s so fun to play!”
Modern Mystery 
You must be logged in to post a comment.