“Love Sonnet for Mikey” is over almost as soon as it starts, and yet it doesn’t feel slight. If anything, the short runtime sharpens its impact. It arrives, says what is needs to say and then departs.
The song is built around a poem written in 2019 after the death of the author’s brother, Mikey. Instead of rewriting the text to fit a standard song structure, j dylan paul lets the poem take the lead here. The lyrics stay exactly as they are, and that decision gives the songa gravity that is totally natural. One line “to help the grass grow arms to cradle you” is echoed briefly like a thought circling back on itself.
“Love Sonnet for Mikey” lives in a quiet corner of indie and electronic music. Synths hang in the background, guitar slips in without calling extra attention to itself and the drums move steadily underneath.
Its the vocals though where the song really takes shape. Paul has spent years releasing instrumental music, and working behind the scenes as a mixing engineer, and it’s this track that really marks one of their first steps forward as a singer. The voice works because it’s not forced or overly produced. It sounds like someone choosing to sing because the song requires it.
The final recording replaces the demo’s programmed elements with live performances – drums by Tim Stefaniak and recorded at New Alliance in Somerville, MA, with guitar by Sherman Tsui. Those choices give “Love Sonnet for Mikey” a physical presence that keeps it grounded, even as the song itself feels almost fragile.
Where this song started out as a personal gesture, it ends up becoming a complete turning point. Short, careful and quietly affecting, it leaves the listener with the sense that whatever comes next is going to matter more because this exists.
A is For Atom’s latest single “Enola” starts with a strong electronic pulse that is modern in quality without trying too hard. It’s the kind of groove you can imagine in an indie club or on a late night drive.
But this track quickly reveals itself as more than a beat. It’s built on a concept that feels both personal and bigger than one person. It’s a reflection on what we inherit, what we carry and what we can’t leave behind.
The Atomic Age imagery isn’t just a stylistic choice. It’s a metaphor for the way past decisions continue to echo. The title nods to the Enola Gay, a Boeing B-29 Superfortress bomber that became infamous for dropping the first atomic bomb, “Little Boy,” on Hiroshima, Japan in 1945. The aircraft played a decisive role in bringing World War II to an end. But this song is more interested in the fallout, in the emotional residue of growing up in a world that keeps shifting beneath your feet.
Mike Cykoski, the man behind A is For Atom, has vocals that very much sit in the center of the track like a witness to the story. There’s a sense of tension in them as if he is telling you something that he hasn’t fully processed. The lyrics move through scenes that are lived in – cruising through Fort Collins, the guilty of Catholic school upbringing, the adrenaline of rock and roll, and then reframing them inside a country that feels very volatile and unstable right now.
What’s striking about “Enola” is how it balances contrast. It’s nostalgic, but also anxious. It’s loud, but it’s not careless. It’s a song that wants to move you but it also wants you to think. It’s a critique of America, but it’s wrapped in autobiography which makes it that bit more human.
In the end, “Enola” is a strong new release from A Is for Atom because it’s not trying to be anything other than what it is. A thoughtful and bold song that sounds familiar but still manages to carve out its own space.
“Tossed Away”, the latest release from Matt Alter, is quiet, steady and yet painfully relatable. The song is about that moment when you realize that someone has been taking from you without giving back, and finally being able to put that feeling into words.
The music matches the honesty. Both the guitar and instrumentation do not attempt to steal the spotlight but rather allow Matt’s lyrics to really shine:
What really sticks is the writing. The lyrics aren’t complicated, but they are real. You can sense the frustration, the disappointment, the clarity that comes after.
“I was just your stepping stone.
You used me. Tossed away.”
In these striking lyrics you can feel the frustration, the disappointment, and the clarity that comes afterwards. It’s the kind of song that makes you nod and say, “Yeah… I’ve been there.”
Part of what makes “Tossed Away” work so well is the way it was created. Released as part of a single by single rollout, each track got its own space to grow. And you can hear this in the way it is deliberate, punchy, thoughtful but also unafraid to leave some thing unsaid.
About Matt Alter
A lifetime of music has shaped Matt Alter’s journey. From early school bands to picking up his first guitar after high school, music has always been a constant. Even when life and a demanding career as a surgeon took him away from it temporarily.
Returning to the guitar reignited his passion, leading to performances with cover and original bands in Richmond, Virginia, and opening for nationally touring acts.
Now based in Charlotte, North Carolina, Matt Alter has released four solo albums, including The Bitter Pill (2020), Race to the Finish (2021), Did I Offend You? (2023), and an upcoming 2026 release, all reflecting a thoughtful and deliberate approach to songwriting.
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.
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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.
Sometimes, the quietest songs say the most. George Collins’s new single “Houston” is one of those rare songs that sneaks up on you. It’s a slow, steady pulse of emotion. It’s a song about distance, but not just the kind that separates planets, but the kind that grows between two people who can’t quite find the same orbit anymore.
Written during a songwriting retreat in Spain, “Houston” takes its cue from an unexpected place – the Apollo 13 mission. Collins and his co-writers were challenged to write a song about “space,” and instead of leaning into the literal, they turned much more inwards.
The final track is one that uses the language of exploration and crisis – “Houston, we have a problem” – to reflect on something deeply human. Namely, how communication can break down when love starts to drift.
The opening lines “You don’t seem to notice, maybe you don’t really care, I’m lost and lonely, floating around you somewhere”, Collins sets the emotional tone with honesty. There is a kind of accpetance that makes the pain more poignant. He is not blaming, but describing what it feels like to lose a connection one quiet moment at a time.
The production which is arranged and produced by Grammy nominated composer Jeff Franzel, suits the theme perfectly.
Collins originally wrote the song on acoustic guitar, but here it’s transformed into a delicate piano and cello arrangement. The piano moves patiently beneath the vocals, while the cello drifts in subtly and full of texture. Each note echoes the theme of communication across distance.
Collins’s vocals are what truly carries the song. When he reaches the chorus “If we’re ever gonna cross a chasm this wide / We’re gonna have to pass through our dark side” is a quiet revelation. He does not need to raise his voice to make the point.
Overall though, “Houston” feels real. You can see the dim light of the room, two people not talking, and the sense of something beautiful slipping away. Collins turns that small, human moment into something much bigger. His writing shows craftsmanship for language and melody.
By the end, when Collins sings “And time is running out,” it’s recognition – the kind that comes when you finally see how fragile connection really is.
Modern Mystery 
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