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.

“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

02.19.25

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