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

03.27.25

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.

Listen in here:

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.

03.07.25

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

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.