Amana Melomé closes out the year on a bright, soul lifting note with “Con C.ALMA,” a track that feels like both a celebration and a gentle exhale.
It’s the kind of song that fits perfectly into that reflective space between years. It’s upbeat without being frantic, warm without trying too hard and grounded in a sense of gratitude.
Listen here:
After several years away from releasing music, Melomé returns with a sound that’s joyful, relaxed and quietly confident. The groove carries an easy bounce, while her vocals glide with a calm assurance that suggests she’s exactly where she needs to be. Rather than pushing for attention, she lets the song’s energy speak for itself.
The title translates from Spanish as “with calm,” hints at the song’s deeper intention. By highlighting alma, the soul, Melomé frames the song as a reminder to move through life at your own pace, especially as the year winds down and reflection sets in. It’s an upbeat message delivered with softness – stay present, trust the timing and don’t let the noise rush you.
Jazz pianist Deron Johnson adds an elegant sparkle to the track, his playing light and responsive, giving the song lift without overwhelming its relaxed mood. The collaboration between Melomé and Johnson feels effortless, even more impressive knowing it was recorded across continents. Together they create a sound that is open, sun-touched and quietly celebratory.
“Con C.ALMA” works beautifully as a year end release. It’s a track that invites dancing and introspection in equal measure. It’s hopeful without being naive, joyful without being loud. As the first single from Melomé’s upcoming album Recalibration to be released in the new year, it sets the tone for what feels like a new chapter rooted in balance, ease and intention.
Italian singer songwriter Daniele Odasso has always moved through music with a rare blend of emotional honesty and refined musicanship.
His new single, “Living in Between,” marks a turning point for Daniele, shaped by a period of deep personal transformation and a return to the landscapes of Tuscany that have long anchored his sense of self. Recorded in Viareggio and brought to life through an intimate collaboration with producer Amira, the song drifts between electronic pulse and soulful warmth, mirroring the emotional space it was born from.
What makes this moment in Daniele’s career so compelling is the clarity with which he speaks about the connection between voice, body and environment. Water, reflection, memory and nature all play a role in the sound and visuals of “Living in Between,” forming a world where music becomes a form of inner exploration.
The accompanying video, shot between underwater frames, pine forests and the glowing dunes of Lecciona doesn’t just illustrate the song. It lives and breathes with it.
We sat down with Daniele to talk about the making of “Living in Between,” the sensory world behind his vocal work, the unexpected joy of shooting underwater and how returning to Tuscany helped him rediscover the path forward.
1. Tell us the story of this song, why did you choose to visualize this song specifically in this way?
“Living in Between” was recorded while I was living in Viareggio, Tuscany—a place that carries deep meaning for me because of my mother’s family roots there. During that period, I reconnected with nature in a way that shaped the entire sound of the song: the pulsating electronic groove, the layered vocals, and the fluid movement of the electric guitar all echo that sense of being suspended between states.
Water became a central metaphor throughout the making of the record. Living so close to the sea in Tuscany deeply influenced the emotional atmosphere of the track, and it was something I asked Amira to keep in mind while producing the record—this idea of fluidity, immersion, and constant movement between light and shadow.
That’s why the visual concept also begins with water as a symbolic entry point. It represents the emotional space from which the song emerged: a place of introspection, depth, and transformation. As the video shifts into the landscape of pine trees and dunes in Viareggio, it mirrors the song’s inner journey—from being enveloped by the element of water to resurfacing in the brightness of the natural world that inspired the music.
2. What was the inspiration behind this new video (visuals, storyline, etc.)?
The visuals were inspired by my daily proximity to water in Viareggio and the sensory relationship I developed with it through swimming every day. Because my vocal research is rooted in the Lichtenberger method, which focuses on acoustic perception and proprioception, being immersed in such a fluid medium gave me a new way of experiencing sound in my body. That liquid, tactile connection to water deeply influenced how I approached singing on this record, and Amira’s production supported and expanded that direction.
I wanted the video to reflect this whole sensory world, so I created an initial storyboard centered on an immersive water state and shared it with director Francesco Quadrelli. After exploring underwater imagery with photographer William Petriccioli and scouting the dunes of Viareggio together, the visual arc became clear: starting within the layered reflections and depth of water, gradually moving toward the sunlight near the beach, and ultimately returning to the sea. The visuals mirror the full cycle that shaped the music—nature, body, voice, and sound flowing back into one another.
3. What was the process of making the video?
The process of making the video was truly one of the best experiences I’ve ever had. I first met the incredibly talented art director William Petriccioli, who also shot the cover and instantly grasped the imagery and intentions behind the project. Shortly after, I met Francesco Quadrelli, a visionary and evocative director who immediately understood the concept and the different technical possibilities for shooting underwater. His visual language aligned perfectly with what I had envisioned and pushed the concept even further.
Shooting the underwater scenes was unexpectedly fun. I had trained myself to move from different directions while keeping my eyes open and staying in constant dialogue with Francesco’s camera. That allowed us to play with the surface of the water from multiple angles, creating those mirrored layers of light that shift with my movements.
We then moved to the “outside world.” The first scenes were filmed in my grandmother’s house in Tuscany—a room I literally grew up in—before heading to the pine forest near the beach of Lecciona in Viareggio. That location has an extraordinary sunset between the dunes and the water, and it became the perfect place to let go and immerse myself at the end of the day.
William and Francesco are an extraordinary team, and because they’re close friends, their trust and synergy made me feel completely embraced and understood throughout the shoot. We filmed in the exact order of the narrative, starting with the morning water scenes and ending with the sunset and my return to the sea. Experiencing that progression in real time felt both powerful and deeply cathartic.
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.
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.
In a world where social media amplifies every trend and grifting scheme, Alex Thomen stands out as a songwriter unafraid to mix sharp cultural critique with wit, musicianship and a touch of irony.
The Nashville based composer, producer and multi-instrumentalist began his musical journey playing piano before earning his Bachelor of Music in Composition at Kansas State University and a Masters in Commercial Music Composition and Arranging at Belmont University. Over the years, he has scored commissions, produced cinematic trailer music, and released a solo piano album all while building a reputation as a studio minded artist with a keen eye for contemporary life.
His latest single “Where Did They Go Wrong?” which is accompanied by a striking music video, showcases that narrative precision and sly humor brilliantly.
In this exclusive interview, Thomen talks about the song’s ironic roots, his decision to “perform” it via video rather than on stage, and the full circle collaboration with longtime friend and director Chase Bartholomew.
1. Tell us the story of this song, why did you choose to visualize this song specifically in this way?
“Where Did They Go Wrong?” explores themes that have become increasingly prevalent in the social media age. In essence, it’s an “anti-grifting” song, but it’s disguised in irony instead of strict, polemic writing. During the writing phase, I approached the lyrics, composition, and pacing as if it were to be performed for a live audience. There’s a minute and a half of setup before the first “punchline” hits – that kind of misdirection is characteristic of live comedy. The problem is I consider myself a studio musician more than a live performer, and I enjoy producing studio recordings of my songs.
My solution, therefore, was to make a music video that essentially captures the visuals of a live, in-studio performance. Those moments where the lyrical delivery is communicating something ironic, facial expressions and body language help drive that point. Irony is best communicated with the eyes – I believe this is why jellyfish are famously unfunny.
2. What was the inspiration behind this new video (visuals, storyline, etc.)?
Each topic addressed in the song (manosphere movement, MLMs, alternative medicine) warrants its own in-depth conversation, because the reasons for each one’s existence is culturally complex. My goal was to critique these different trends/movements, pointing out some of the flaws in their ideology. While making it rhyme. While it’s inspired by real conversations and real people, all of the specific characters in the song are made up. I did not have a boyhood friend named Danny.
The lyrics are a self-aware, reductive type of argument – a thorough rebuttal of these beliefs would require more words that I can fit in a song. But I did my best to make it as thought-provoking as possible while keeping it entertaining. Plus, I got to put in lots of words that I’ve never heard in a rock song before. What the song lacks in brevity it makes up for in affectation.
3. What was the process of making the video?
The video was shot at Colorado Sound Studios in Denver, Colorado. It was directed/produced/edited by Chase Bartholomew. He’s one of my best friends from high school (he is also not a self-proclaimed alpha male, not involved in an MLM, and not a practitioner of alternative medicine). In fact, we used to spend our weekends scripting and filming videos – either for school projects or just for fun (we would do this while other guys were getting invited to parties). He ended up studying film and is now a professional videographer. It was kind of a full-circle moment to collaborate again on a creative project. We have also improved in our video-making skills since high school.
I gave him creative control over the video – I’d give thoughts/suggestions here and there, but he’s the expert when it comes to the visual component so I wanted to let him run with his ideas. I think his vision for framing/editing/coloring helps amplify the message of the story. There’s a whole science of how different colors can evoke certain emotions. Chase is a bit of a perfectionist, so he focused on how small details could change the final shot. He focused a lot of his energy on subtle lighting changes to best capture the performance. For Chase, it was a long video shoot with tons of lighting changes. For me, it was a relaxing day sitting at the piano.
Modern Mystery 