You will note as you read this review that the tracks start with a mellow vibe, then transition to a harder edge. There is something about music that drips into the veins of our identity and morphs into a myriad of responses. It is fascinating how there are now so many tracks that can be immersed into digital soundtracks rendered to hours of music. I hope you consider adding these artists to your playlists. I should preface, before starting this review, that I only review music that I enjoy; otherwise, I say nothing. And with the tracks from this week, I have plenty today, all complimentary. If you would like to follow along by listening as you read, click this link. And remember to always support, share, comment, and listen!

EMMA SNOWDON, KINGS & QUEENS 

Kings & Queens, performed by Emma Snowdon, Kaan Gun, and The Translator; written by Emma Masters, Kaan Sinan Gun, and Mustafa Adem Gun; produced by Mustafa Adem Gun, the musicality flows into a dream state, and the rhythm between the music and the lyrics complements each other nicely. There is a nice level of call and answer within the track and a consistency throughout the music. The steady rhythm stands alone in how it holds the bones of the track within the lyrics. For me, what stood out the most was the contrast between the crisp instrumental notes and lyrics, and the vocals. The vox is gentle and tender, yet the words carry a strength and readiness to fight that makes the message all the more powerful. Honestly, as I listen, I keep thinking of fantasy novels such as Narnia, The Golden Compass, and LOTR, and how battles are at times quite necessary, and how innocence and carnage seem to go hand in hand. The mix offers a nice balance of clean vocals and well-merged elements, creating an intense, dreamy ambience that enhances the emotional impact of the track.

LAUREN STEWART 

CALIFORNIA

California, performed by Lauren Stewart & rüüdy; written by Lauren Stewart & Rudolf Neuzer; produced by Rudolf Neuzer. The strum of the guitar vibrates with high energy, paired with controlled vocals that convey the sweetest accented tones. I relish how the guitar throughout California offers a vibrant, almost dance-music energy, like the weighted tone of a brisk walk and the energy it takes to appreciate the surroundings. The calibre of songwriting is wonderful; I can hear the accents at the end of each few bars with the emphasised, sliced notes. To me, this track emits a type of loneliness within its tone, written with the smallest piece of dust-encrusted hope. There is also a resonance of relative vulnerability that echoes a silent strength in the quiet moments. The lyric “as I walk into the light” has created an earworm in my mind and makes me wonder what the light refers to. Is it the light of another person, something that one is enthralled with, or simply a sense of peace? This ambiguity adds a haunting, contemplative layer to the track that stays with you well after the song is finished. The mix offers a head-shaking, feet-gently-tapping vibe. One of my favourite things about listening to Lauren’s singing is the careful enunciation of every word, which I think lends to the clean vocals and overall musicality.

SEVENTEEN 

Seventeen, performed and written by Lauren Stewart; produced by Laurence Owen. You know, I don’t know if it is my current age that has transcended into a reflective mood, but my seventeen-year-old self genuinely understands the perspective within the storytelling woven into Seventeen. The amount of self-inflicted violence comes through lyrics that resonate with verity. It is an honest undertaking to comprehend that we have the capacity to hurt ourselves more than anyone else ever could. The gentle strum carries morsels of vulnerability. Formative years entwine difficult, juxtaposed opinions that can be so contradictory within the evolution of a human being and the level of growth. As my friend says, things can be “crazy, cuckoo, bananas, bonkers, insane”; this is the relativity that is ensconced throughout formative years, a year for freedom. I quite enjoyed the mix; the various harmonies and duplicated vocals enhance the track, particularly within the lyrics “maybe I”. There is so much of a powerful position within the lyrics, as it opens a beautiful possibility to forget the pain and just ease into the skin that our teenage selves inhabited.

A WEEKEND AT RAMONA’S, SWEET ON THE EXIT 

HOPING WE CAN MAKE IT

Hoping We Can Make It, performed by A Weekend at Ramona's; written by Ben Nunes and Chris Munro; produced by Keegan Porter. This whole track screams an authentic indie rock vibe. I have to admit, I appreciate the reverb in the mixing of the track and the harmonies. It borders on speaking and singing in the best possible way. The cadence and timbre of the vocals maintain a punchy consistency throughout. Ok, seriously, if you are listening right now, go to 2:00: “slow, down, you’re, too, much” and 2:10: “but now, you’re taking, all of my stuff.” I genuinely relish it when bands use these techniques to create dissonance and breaks in the words. It reminds me of Awakening Autumn, not in sound or lyrics, but in the style of how the lyrics and songs are played with. It sounds like A Weekend at Ramona's enjoys creating word and music scapes that challenge conventional songwriting techniques.

WHO’S TO SAY?

Who’s to Say?, performed by A Weekend at Ramona's; written by Ben Nunes and Chris Munro. Ok, first of all, a 49-second intro is so nice as it creates anticipation for the lead vocals. This track is unbelievably relatable in the realm and scope of love. It just screams, I am here, I am trying to understand, but you have no idea what I need right now. That is what comes to mind when I hear the lyrics. Yes, the rocky vibe is killer, but what really hooks me into this one is how relatable the lyrics are with regard to human relationships. The story is cyclical within the realm of love and comprehension. “I don’t understand, I am not that kind of man.” Sigh, my heart breaks right there. The manner of romance and love is such a true cluster fuck, forcing one to face a massive crater of emotions about why decisions were made and the impact they caused in the long run. The lyrics and music match the energy of retelling the story perfectly.

SWEETNESS 

Sweetness, performed by A Weekend at Ramona's; written by Ben Nunes and Chris Munro; produced by Keegan Porter. Sweetness houses more rocky vibes. One of my favourite things about reviewing albums is when each track does not fall into the same sound or cookie-cutter domains. That is exactly what A Weekend at Ramona’s does throughout. Each track is so different from the others. I think one trap that artists often fall into is that all their songs start to sound alike. A Weekend at Ramona’s is so far removed from that. Sweetness, just as unique as the first two original tracks of their EP Sweet on the Exit, does not disappoint. I like the Ramoneseque feel to this track and the mix of musicality within their techniques, including breaking into almost spoken-word passages. I have to admit, as a poet, I relish it when artists create a narrative that is unique not only within their lyrics but also in the execution of various fusions of vocal commands within their sphere.  I wonder if A Weekend At Ramona’s would be open to an interview I am quite curious about their songwriting methodologies. 

9 to 5 

9 to 5, performed by A Weekend at Ramona's; written by Dolly Parton; produced by Keegan Porter. I never in my life thought I would hear this rocky version of 9 to 5. It is ultimate fun, and I really enjoyed the amplified vocal screams throughout the track. I am truly curious as to what Dolly Parton would think of this iteration of her work. I think the mix is robust, with a lot of big, punchy notes. This song is like being dipped in ice-cold water in the best possible way, but for the ears. I like how the consistent thumb, thumb, thumb of the intro mimics the sound of a ticking clock. It remains consistent throughout and adds a nice depth, creating a “don’t mess with me” kind of vibe.

MAIASAURA, YEAR ONE 

YEAR ONE

The manner in which all of the tracks in Year One are listed is cleverly written. I relate Year One a little to The Grapes of Wrath by Steinbeck, as the album feels like an inside chapter describing its landscape. Most tracks were previously reviewed and reposted for continuity; the only new track reviewed here is Bloodline. Year One, performed by Maiasaura; written by April Kulick and Jacob Kulick; produced by Jacob Kulick and April Kulick. Source: Grow a Pear Records credits.

SUPERFICIAL PARADISE

Superficial Paradise is a full-throttle sonic adventure. The track grabs you immediately with crisp, punctuated notes and high-octane energy, layered with superimposed vocals that shift seamlessly between intensity and melody. April Rose Gabrielli’s voice dominates, relentless, sweet one moment, hardcore the next, leaving no room for predictability. The title resonates deeply in a digital age of AI replications, everything feels manufactured and inorganic, yet this track bursts with authenticity. It’s like plunging down a rabbit hole of verity, challenging listeners to appreciate what is real and reject the artificial. The energy is almost tangible; the mix allows each element to shine while maintaining a manic cohesion that propels the track forward. This isn’t just music, it’s an auditory wake-up call that demands attention.

GIRLS JUST WANNA

Opening with a controlled, meditative pace, Girls Just Wanna immediately pulls the listener into its world. April’s vocals are hypnotic, soft, and siren-like, drawing you in before exploding into crescendos of intensity. The track explores the messy, chaotic, and liberating aspects of a woman’s experience. Vulnerable yet unapologetic, it examines the societal pressures and expectations placed on women while celebrating defiance and self-expression. Unexpected elements, like a mid-track giggle, humanize the narrative, while the seamless transitions from gentle to fierce vocal tones show April’s immense versatility. More than a song, this track feels like a journey, an exploration of inner chaos and empowerment set to a dynamic, ever-changing musical landscape.

HEAD BURRIED IN THE SAND

Layered loops and hypnotic vocals draw the listener into Head Buried in the Sand from the first note. April’s voice acts as a magnet, pulling you deeper with every loop and shift. The track juxtaposes softness and hard-edged instrumentation, giving the song an urgency that mirrors the daily grind and the struggle to break free. The shifts in direction keep the listener engaged, preventing complacency. It’s a raw testament to resilience, acknowledging life’s challenges while simultaneously empowering the listener to rise above. The lyrics cut straight to the core, highlighting the forces that seek to suppress us while affirming the strength we carry to resist, reclaim, and assert our independence. This track is defiance made audible.

MONEY HUNGRY HONEY

Fast-paced and relentless, Money Hungry Honey is an auditory adrenaline shot. April’s voice surges over the instrumentation, weaving hypnotic melodies with near-yelling bursts that convey rage, frustration, and clarity. The track explores the corrupting influence of money with poetic precision: “All the damage that you’ve done is not enough… But all things die at the hands of the money.” Every note, pause, and vocal inflection enhances the message, making the track feel both furious and precise. The call-and-response sections are executed flawlessly, creating tension and release, while the tempo drives forward like an unstoppable current. This is not just a song; it’s an indictment of greed wrapped in frenetic musicality.

EVERYTHING FEELS WRONG

True to its name, Everything Feels Wrong captures chaos, exhaustion, and emotional overload. From the anxious opening notes to the gritty, urgent production, the song mirrors the tension of living through frustration and confusion. April’s vocals cut through with raw honesty, sharing confessions that resonate deeply. Lines such as: “Watch me put on make up/Share this with your friends/Then watch a little child be/Beaten half to death” are gut-punches of reality, relatable to anyone struggling with inner demons or societal disillusionment. The track doesn’t shy from discomfort; it embraces it, balancing despair with resilience. The underlying promise of endurance makes the experience cathartic, a reminder that even when life feels broken, there is a capacity to keep going.

BITE THE BULLET

Bite the Bullet is unflinching honesty and raw emotion. The track dives into the moments when you know you must push through adversity, no matter how unbearable. The instrumentation is punchy and relentless, echoing the urgency of the lyrics. Vocal delivery alternates between defiance and vulnerability, creating an intimate yet powerful experience. Lines like: “Dark and/Cold/A symptom of what/No one knows/Voices screaming” embody the track’s spirit: confront the struggle, own the pain, and find strength in endurance. It’s an anthem for resilience, a declaration that hardship is unavoidable, but one’s response is where power lies.

86

86 is a chaotic, intense reflection on self-doubt and isolation. The relentless pulse mirrors the panic and urgency of someone on the edge, while the lyrics provide brutal honesty:
“You wrote me off just like a poem on a headstone/Another notch that you could carve into your bed post/Turn this up so you can hear me in your headphones/Turns out it’s harder when your target’s got a backbone.” Maiasaura balances despair with subtle resilience, blending harsh instrumentation with moments of introspection. The track is both a confession and a challenge, exposing vulnerability while daring the listener to confront it alongside the music. It’s haunting, cathartic, and immersive, compelling repeat listens.

BLOODLINE

This track begins with such an eerie dissonance. After years of listening to April Rose’s voice, I still get a sizzle in the back of my mind whenever I hear her. The track starts with a lull of hypnosis that tingles my brain with undertones, like a siren calling a ship to crash into the shore. That is what Bloodline feels like, you know when there is an accident in front of you and there is an inherent need to look. How it hooks you, how you feel paralysed; this is exactly how I feel when I hear it. I can hear in the melody the vocal techniques that are vintage April Rose in their execution. I have been listening to this woman perform for years, and this genre suits the dynamic of who she is. Bloodline is relentless, with frenetic nuance that begs for more energy.

LATELY

Lately is quiet, intimate, and haunting. Minimal instrumentation allows April’s vocals to carry the emotional weight, exposing vulnerability and reflection. Lyrics such as: “I’m the new anti-hero/New mouthpiece of the people/You ain’t got nothing on me/That’s how I’m feeling lately” capture raw uncertainty and resilience. The track unfolds slowly, pulling the listener into its introspective space. Subtle crescendos and lingering notes create tension and release, reflecting emotional restlessness. Lines like: “I’m grown but I’m not old/My conscience can’t be sold/With crowns come guillotines” underscore the complexity of growth, responsibility, and self-awareness. Lately is a quietly powerful exploration of vulnerability, patience, and emotional bravery, leaving space for reflection long after the track ends.