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.

Listen in here:

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.

“Tattoo My Heart” is now available on all major streaming platforms:

Stream on Spotify

Watch the Official Music Video on YouTube

Follow MASSEY on his Website and Instagram

02.27.25

by Jane Lambert

Breaking the Transmission – Animals in Denial’s “Operator” Music Video Is a Cyberpunk Fever Dream

Animals in Denial has never been one to follow convention, and “Operator” is proof of that – a track that pulses with industrial grit, synth-heavy nostalgia and raw emotions.

Now with its newly released music video, “Operator” is something of a cinematic descent into a digital dystopia, where reality warps and emotions twist under the glow of neon lights.

Watch here:

This video is truly gripping with its unsettling and almost nightmarish atmosphere. Christian Imes delivers a haunting performance, as he struggles against unseen forces and finds himself bound and trapped not just physically, but emotionally too.

His desperate attempts to break free mirror the song’s themes of attachment, then detachment, and the realization that love can be just another illusion. Flickering images of his torment intensify which create a sense of claustrophobia that reflects the song’s core.

But it’s not just the human struggle that makes Operator such a striking watch.

The presence of a cobra snake, and flickering frames adds a hypnotic sense of danger. The reptile becomes a symbol of both seduction and control, reinforcing the feeling that this world is a trap. The snake’s eerie presence also suggests that temptation, fear and fate are intertwined in this world of distorted love and shattered connections.

The song itself is born from a beat that haunted Imes since the age of 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 has helped to sharpen the track’s cold, metallic edges while subtle tweaks like a reworked third verse and unexpected backing vocals in the chorus have pushed the song into new territory. These enhancements have also worked to give it a chilling and almost prophetic resonance.

The final result is a high voltage, emotionally charged cyperpunk anthem that carried the sinister energy of Nine Inch Nails with the pulse of The Prodigy and that brooding intensity of Marilyn Manson.

The video only amplifies this energy, immersing viewers in a visually striking world that feels like a cross between a fever dream and a digital prison. The erratic camera work, rapid cuts, and neon-drenched visuals creating a sense of disorientation, as if the viewer is trapped in the same transmission loop as the protagonist.

With stunning visuals and a chilling atmosphere, “Operator” is truly a story of loss, longing and that crushing realization that some connections exist only as echoes in the void.

Connect with Animals In Denial on the Website

02.21.25

by Jane Lambert

“Singing River Blues” – A Poignant Visual and Musical Masterpiece by Ben Killen

Ben Killen’s “Singing River Blues” is a song built on memory, loss and the timeless pulse of the blues.

With his debut music video, Killen transforms these themes into a striking visual experience – one that feels both deeply personal and universally resonant to many people.

Shot, directed, edited, and produced by the artist himself, the video stands out not only for Killen’s raw talent, but also, his dedication to storytelling through music and film.

Watch here:

The video’s aesthetic is rich and layered, blending high-quality stock footage with intimate, close-up shots of Killen himself.

The result is a seamless interplay between the past and present, re-inforcing the song’s core themes of musical heritage and personal reflection. The presence of the steamboat, which is one of the most potent symbols in the piece, feels like a nod to the blues’ deep Southern roots as well as a metaphor for the journey of loss and remembrance.

Killen’s on-screen performance is captivating. Although he is lip-syncing to his own studio recording, there’s an undeniable authenticity in his delivery. Every glance, every frame carries the weight of the song’s emotional depth, making it impossible for the viewer not to be drawn in.

The decision to shoot these sequences simply, in front of a glass wardrobe in his Brooklyn apartment, adds an unfiltered honesty that grounds the video in reality.

From a technical standpoint, Singing River Blues is an impressive achievement. With limited resources, Killen has created a video that looks as refined as any major-label production. His dedication to achieving full 4K resolution, despite the painstaking rendering process, shows just how much care and passion went into bringing this vision to life. The integration of beautifully choreographed dance sequences and historical footage from collaborators like BDKMG and the lloolk agency elevates the video, making it feel cinematic yet also very personal.

What sets this video apart is its ability to make you feel something.

This is not simply a visual accompaniment to a song. It is more of an extension of the music itself, a living, breathing tribute to those we’ve lost and the traditions that shape us.

For a debut music video, Singing River Blues is excellent. It not only highlights Killen’s skills as a musician but also establishes him as a powerful visual storyteller.

Keep up to date with Ben Killen on his Website

02.19.25

by Jane Lambert

Eric Selby – Crafting Timeless Sounds with a Modern Edge in Latest EP “Starting to Sync In”

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Eric Selby’s latest EP, “Starting to Sync In“ is a masterclass in blending rootsy Americana with psychedelic folk and a splash of rock and soul.

Recorded between Virginia and Nashville, and mastered at Abbey Road Studios, this collection is full of music that is timeless and contemporary too.

Listen in here:

Opening with “Issues” Selby immediately sets the tone with a wry and self aware groove that channels ‘70s funk and white soul. The track’s playful yet introspective lyrics, born out of an offhand moment with his wife, capture the everyday struggles we all face but with a sense of humor that keeps things light. The chorus – instantly catchy and endlessly relatable – makes this an easy standout and opening track.

“Wine Stains” takes things in a more psychedelic direction. Drawing inspiration from the experimental textures of Revolver and Pet Sounds. With its swirling tablas, deep cello lines, and a dreamy vocal delivery the song feels like a lost relic from the golden age of studio experimentation.

The lyrics push back against over-intellectualizing life’s scars summed up perfectly in the chorus: “I don’t need a sommelier to tell me, it’s just wine stains.”

It’s a clever emotionally sound track that highlights Selby’s knack for balancing weighty themes with effortless melodies.

Then there’s “Because of You,” a heartfelt love song that leans into shimmering rock territory. A song about connection in an increasingly disconnected world, it offers the listener a real sense of warmth and hope. The lush instrumentation and earnest delivery make it one of the most poignant moments on the EP, a perfect closer that leaves listeners feeling uplifted.

Selby has always had a gift for crafting songs that feel lived – in yet utterly original. “Starting to Sync In” is an EP that shows not only his musicianship but the ability to create soundscapes that transcend genre.

He has already made a name for himself with award-winning albums, but with its sharp songwriting, rich production, and undeniable heart, this EP is a must-listen for anyone looking for music that moves both the feet and the soul.

About Eric Selby

Hailing from a small town in Maryland and now calling Virginia home, Eric Selby is a singer, songwriter, and multi-instrumentalist whose music defies easy categorization.

Blending elements of Americana, Psychedelic Folk, and roots-driven storytelling, his sound is both deeply personal and universally resonant. Nestled near the Blue Ridge and Appalachian Mountains, Eric draws inspiration from the natural beauty surrounding him, channeling it into songs rich with emotion, texture, and thought provoking lyrics.

His fourth solo release for Soul Stew Records, Starting To Sync In, shows his talent for blending genres. Recorded in Arlington, VA, with his band and in Nashville, TN, the EP features an all-star lineup, including Seth Rausch (drums – Keith Urban, Sheryl Crow, Little Big Town), Luis Espaillat (bass – The Guess Who, Trace Adkins, Jim Messina), and Justin Ostrander (guitar – Luke Bryan, Kenny Chesney, Steven Tyler). The final touch came from Andy Walter at London’s legendary Abbey Road Studios, whose mastering credits include The Beatles, David Bowie, and Radiohead, ensuring the EP’s sonic depth and cohesion.

Eric’s previous album, Dang Fool, landed in the Top 10 National Alternative Folk Albums of the Year (2024), according to Roots Music Report (RMR). His past releases, Do, Baby. and Where You Born At?, were also named among RMR’s Top Contemporary Folk Albums of the Year, further solidifying his reputation as a forward-thinking artist with an ear for both classic and contemporary influences.

Eric is a Soul Stew Records recording artist and a proud endorser of SonoTone Premium Guitar & Bass Strings, Canopus Drums, Soultone Cymbals, and other leading musical brands.

Whether behind the drums, at the mic, or producing, his commitment to authenticity and innovation remains unwavering.

For music, tour dates, and more, visit www.ericselby.com

02.14.25

by Jane Lambert

Dan Lowe’s Latest Single “Creatures of the Radio” Is a Rock & Roll Time Capsule

Dan Lowe’s latest single “Creatures of the Radio” is the kind of song that takes you somewhere.

It’s a highway at dusk, headlights stretching out ahead and the radio dial tuned to something that just gets you. It’s a love letter to the days when music crackled through the airwaves and felt like it was speaking directly to you. Because back then, it was.

From the opening bars, there’s an undeniable pull. The guitars shimmer with that unmistakable classic rock warmth, the rhythm section pushes forward with a steady drive, and then there’s that saxophone —rich, full-bodied, a little Springsteen, a little Seger, but entirely its own thing.

Patrick Lamb’s solo tells a story, cutting through like a late-night signal from some distant station.

Dan Lowe’s voice carries the weight of the song. It’s soulful, and with just the right amount of grit. The lyrics capture the magic of growing up with the radio as a constant companion, a lifeline to something bigger. And when the chorus hits it’s anthemic in the best way, built for rolling down windows and belting it out under the stars.

This song is really a reminder of why rock and roll sticks to your bones. And the way it came together makes it even more special.

Lowe recorded “Creatures of the Radio” as part of an “Artist in Residence” program, bringing in students from a digital audio program to be part of the process. That kind of organic, hands-on approach bleeds into the sound; there’s a live energy that makes it feel like it was meant to be heard loud, in a room full of people who just get it.

The timing couldn’t be better for Lowe. He just advanced in Tennessee Songwriters Week after a standout performance at Motif on Music Row, landing himself a spot at the Franklin Theatre showcase on March 1st. If he makes it through, he will perform at the legendary Bluebird Cafe in Nashville. A place where careers are made and stories are told.

“Creatures Of The Radio” is the first of a set of tracks planned to be released monthly during 2025 – capping it off with the release of the full album (also titled “Creatures Of The Radio”) to coincide with the final track release in December.

This is the follow-up to “No Running From The Storm (Songs Of Life, Love, And Loss)” – the previous release by Dan Lowe & The Skeletal Remains.

Lowe is certainly tapping in to the magic of music here, with much more to come.

Keep up to date with Dan Lowe and The Skeletal Remains here:

Website / Facebook / Spotify / Apple Music / YouTube Music