REVIEWS

Faith in Foxholes, the project of Albuquerque-based musician Lucas Floyd, presents Zander & the Blue Things as a deeply personal exploration of grief and healing. Crafted in the wake of personal tragedy, the album serves as a tribute to Floyd’s journey through sorrow, offering listeners an intimate glimpse into his emotional landscape.

The album’s instrumentation is characterized by its raw simplicity and emotive resonance. Floyd’s guitar work, both acoustic and electric, lays a foundation that is both gentle and haunting, allowing the melodies to breathe and convey a sense of vulnerability. Subtle percussive elements and ambient textures further enrich the soundscape, creating an atmosphere that mirrors the complexities of mourning and acceptance.

Compositionally, Zander & the Blue Things eschews conventional structures in favor of a more fluid and organic progression. Each track unfolds like a chapter in a diary, with shifts in tempo and dynamics reflecting the unpredictable nature of emotional recovery. The arrangements are thoughtfully sparse, ensuring that every note and silence carries weight and purpose.

Lyrically, the album delves into themes of loss, longing, and the search for meaning amidst pain. Floyd’s vocals are understated yet poignant, delivering lines that resonate with authenticity and introspection. His words paint vivid images of heartache and hope, inviting listeners to find solace in shared experiences of grief.

Zander & the Blue Things stand as a testament to the healing power of music. Through its honest portrayal of sorrow and resilience, Faith in Foxholes offers a sonic space for reflection and connection. It’s an album that doesn’t just tell a story—it invites you to feel

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Michael Kazalski’s Christine channels the spirit of 1980s rock with a distinctive twist. Drawing inspiration from Stephen King’s novel, the song offers a narrative that delves into the psyche of a character often overlooked, providing a fresh perspective on a familiar tale.

The track opens with a rhythmic interplay between bass and drums, setting a groove that is both engaging and steady. Notably, Kazalski eschews the traditional use of guitars, instead relying on a rich tapestry of bass lines and percussive elements to drive the song forward. This choice results in a sound that is both innovative and reminiscent of classic rock sensibilities.

Throughout the composition, the absence of guitars is scarcely noticed, thanks to the dynamic arrangements and the depth of the bass tones. The song transitions smoothly between its various sections, maintaining a balance between intensity and restraint. A standout moment is the bass solo, which showcases Kazalski’s proficiency and adds a layer of complexity to the piece.

Lyrically, Christine weaves a story that is both haunting and compelling. The vocals are delivered with clarity and emotion, enhancing the narrative without overshadowing the instrumental components. The lyrics invite listeners into a world that is both familiar and new, echoing the themes of obsession and transformation found in King’s original work.

Kazalski’s approach to Christine demonstrates a thoughtful blending of storytelling and musicality. By reimagining a classic story through a unique sonic lens, he offers a track that is both nostalgic and refreshingly original. The song stands as a testament to his ability to innovate within established genres, creating music that resonates on multiple levels.

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Michael Kazalski’s Cheap bursts with personality, energy, and musical craftsmanship. Right from the opening bass riff, the song establishes a lively groove that refuses to let go. The bass leads confidently, providing the foundation for a vibrant blend of instruments that join in one by one, creating a rich, funk-inspired arrangement that feels both playful and polished.

Throughout the track, the rhythm section keeps things tight and engaging. The drums complement the bass with a snappy, syncopated beat that adds bounce without overpowering the mix. Organs glide in and out of the spotlight, offering soulful flourishes that lend the song a retro touch, while electric guitar riffs add extra texture and flair. Each instrument is carefully layered, contributing to a sound that is complex yet easy to follow.

Kazalski’s lyrics strike a balance between humor and reflection. With a tone that is cheeky but sincere, the words touch on themes of self-worth and personal value. The repetition of the song’s core hook makes it especially catchy, but the instrumental variations between each verse and chorus keep the song from feeling predictable. After the second chorus, a burst of solos and rhythmic breaks showcases Kazalski’s skill in building momentum without losing control.

What makes Cheap stand out is its ability to mix clever storytelling with musical depth. Kazalski doesn’t just perform; he arranges and shapes every part of the song to create a full experience. The result is a funky, genre-blending track that stays fresh from start to finish and highlights his range as both a songwriter and multi-instrumentalist.

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Michael Kazalski’s Flying Dutchman sails into the realm of folk-rock with a haunting story and a surprisingly lively sound. From the very first beat, the song captures attention with its rich brass section and carefully layered orchestration. The use of trombones and saxophones brings a warmth and fullness that contrasts with the eerie tale of the ghost ship at its core.

Each instrument earns its place in the arrangement. The track opens with a drum roll that sets a dramatic tone, followed by piano, pipe organ, and a steady bassline. As the verses unfold, more instruments gradually enter, creating a growing sense of movement that mirrors the ominous voyage of the legendary vessel. By the time the chorus hits, the music swells into a theatrical, almost cinematic climax where brass, guitar, and percussion work together seamlessly.

Kazalski’s lyrics reflect the mystery and curse of the Flying Dutchman without becoming heavy-handed. His storytelling is clear and compelling, made even more effective by the swing-inspired rhythm that gives the track energy without losing its folk roots. Rather than leaning on volume, the song uses clever dynamics and counterpoint to create tension and release.

Though rooted in the niche “filk” genre, which blends science fiction or fantasy themes with folk music, Flying Dutchman doesn’t feel overly specific or limited. Instead, it invites any listener to step into a vivid soundscape where myth meets music. With this release, Kazalski proves that a well-crafted story, paired with strong musicianship and thoughtful production, can be both entertaining and evocative.

Marc Soucy has released “That Thing You Said,” the thirteenth single in his year-long music series STIR: Soundscapes Evoking Realities Only Imagined. The series, which began in June 2024, is set to conclude with one final studio track, “Through the Quadrangle,” scheduled for release on June 6, 2025.

This latest piece offers a smoother and more relaxed sound compared to earlier entries in the series. Featuring a combination of strings, harmonica, and subtle electronic textures, “That Thing You Said” leans toward a ballad-like structure. The atmosphere it creates is lighter and more reflective, showing a different side of Soucy’s compositional style.

While much of Soucy’s previous work explored surreal and tension-driven soundscapes, this track takes a gentler approach. It focuses on emotional clarity through a simple, melodic structure. The production keeps things direct, allowing listeners to focus on the mood and flow of the piece rather than being overwhelmed by layers of complexity.

This release is part of Soucy’s effort to build a body of work that supports visual storytelling. The music is created with sync opportunities in mind, but still holds artistic weight on its own. With each new track, the STIR series has shown its interest in blending genres and pushing personal boundaries.

Soucy’s music is available on all major streaming platforms. A growing catalog is available for licensing, and his IMDB page continues to expand with new credits.

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Marc Soucy’s “PTSD: Paris-Tokyo Suborbital Departures” is a detailed and creative electronic composition that combines emotion with strong technical skill. The track blends influences from ambient, jazz fusion, cinematic sound design, and vintage electronic music to form a piece that feels both modern and rooted in musical history.

From the start, the arrangement pulls listeners in with its careful layering of synth textures, rhythmic pulses, and sound effects that mimic airport announcements and retro arcade sounds. These elements build a sonic world that reflects the pressure and speed of modern life, while also leaving space for moments of calm. The mix includes lounge-style chords, glitchy percussion, and warm melodic runs, all arranged to keep the track moving without becoming overwhelming.

What stands out most is how Soucy builds emotion without lyrics. The track moves through moods—unease, curiosity, and even brief joy—while staying focused and easy to follow. Nothing feels random. Each part of the track adds to its atmosphere and direction, and the transitions are smooth.

Marc Soucy clearly draws from years of experience. His knowledge of production tools and synthesizers comes through in the track’s detail and clarity. Every sound has a purpose, and the result is a piece that feels complete and thoughtful.

“PTSD: Paris-Tokyo Suborbital Departures” shows that instrumental music can still tell a story. It’s a strong entry in Soucy’s “STIR” series, and it offers a clear example of how personal expression and sound design can work together.

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Odelet’s “Wait For You (Revived)” offers a smooth and thoughtful reimagining of her earlier work. Instead of simply remixing the original, she brings new life and meaning to the track. The result is a calm, emotionally rich piece of music that balances subtle production with expressive vocals.

The song opens with soft, glassy synths that create a reflective mood. These sounds set the stage for a slow, steady beat that gives the track a relaxed but steady rhythm. Echoes and ambient layers fill the space without feeling crowded. Odelet’s voice floats above the mix, delivering lyrics that speak to waiting, longing, and holding onto hope. Her singing is gentle but clear, and her tone carries real feeling without ever becoming too dramatic.

Each part of the production feels carefully placed. The mix blends elements of trip-hop, electronic R&B, and dream pop, creating a sound that feels both modern and timeless. There are no sudden shifts or distracting effects. Instead, the music flows naturally, giving listeners time to sit with each moment.

Odelet shows real skill as both a producer and a performer. She doesn’t follow trends or force her music to fit one style. Instead, she builds a sound that is completely her own. “Wait For You (Revived)” fits perfectly within her larger project, which includes multiple albums and experimental remixes. It reflects the care she puts into every part of her work.

This track invites listeners to pause and reflect. It doesn’t rush. It simply asks you to listen—and maybe feel a little more than you expected.

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“All In Good Time” by ULTAN JP is a song built from personal experience and creative setbacks. Originally sparked by a canceled video project, the track turns that disappointment into something strong and honest. It reflects the artist’s ability to take frustration and reshape it into something listeners can connect with.

The guitars are the foundation of the song. They carry a warm, steady rhythm that supports the vocals without overpowering them. A saxophone adds a bold touch, giving the track a slightly retro feel without sounding dated. The mix is raw but intentional, showing that ULTAN JP values emotion over perfection.

The lyrics focus on the ups and downs of trying to create something meaningful. ULTAN JP does not try to hide the effort behind the song. Instead, he shares it openly. His voice is clear and expressive, making the message feel personal but easy to relate to. The chorus arrives naturally and brings a sense of release, offering a simple reminder that patience often brings clarity.

This track does not aim to be overly polished. That is part of its charm. It feels real because it is real, both in sound and in spirit. ULTAN JP shows that even when plans fall apart, something worthwhile can still be made. “All In Good Time” is a strong example of how music can come from honest moments and still reach others in a meaningful way.

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Dmitri Zouchinski’s “Drug Dealer” brings back the gritty sound of ’90s grunge with a deeply personal twist. The song starts with a slow, heavy rhythm that quickly builds into loud, fuzzy guitar riffs and crashing drums. This shift mirrors the real-life tension behind the song, pulling you into the emotion from the very first note.

The instruments are rough in the best way—grungy guitars and steady drums give the track its raw power. Nothing feels overdone or polished, which fits the story being told. Zouchinski’s voice adds even more feeling. He doesn’t just sing; he throws himself into each word, with a mix of anger, pain, and energy that’s impossible to ignore.

Lyrically, “Drug Dealer” is based on a real experience that shook the artist. The words are simple but powerful, showing just how real the moment was. Zouchinski doesn’t try to dress things up—he tells it like it is, and that honesty makes the song stand out. The chorus hits hard, full of frustration and emotion, as he works through the fallout of the encounter.

As a whole, this track shows how strong personal music can be. “Drug Dealer” blends the rough sound of classic grunge with true storytelling, giving it an edge that feels both familiar and fresh. Whether you’re a fan of the old grunge scene or just looking for music that’s real and emotional, this is a song worth listening to. Zouchinski’s style is raw, honest, and deeply human—and that’s what makes it so powerful.

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Naomi Neva’s Burning opens with a raw guitar hook that immediately stakes its claim. The notes are jagged yet melodic and set a tense mood that mirrors the track’s themes of wildfire and betrayal. This is not a song hidden behind layers of sheen. It stands exposed, just like the landscapes it references.

Vocally, the delivery is unflinching. Neva’s voice carries the weight of childhood memory and present grief. When she sings of smoke rolling in and shy apologies that never arrive, she captures a moment that is both personal and universal. There is no overproduction here—every breath and inflection cuts straight to the heart.

Underneath the guitar, the rhythm section is subtle but steady. The drums hold a quiet pulse that drives the song forward without pulling focus from the vocals. As the track unfolds, you notice small electronic textures woven in the background. These ambient touches create a sense of space and distance as if you are watching flames dance just beyond reach.

Lyrically Burning balances the literal horror of wildfires with the metaphorical blaze of broken promises. Lines about running from the hills and hearing half-remembered warnings become shorthand for every time someone we trusted let us down. The song does not offer neat resolutions. Instead, it sits in that tension between loss and determination to keep going.

Produced in Naomi’s home studio and polished at Abbey Road Studio,s the track combines DIY spirit with professional clarity. It delivers a powerful reminder that music can process trauma and ignite a sense of shared experience. Burning is both a personal reckoning and an anthem for anyone learning to stand in the ashes and rebuild.

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