Ok, so here we go, hit play on this link and listen while you read!

River
Performed by: Kinvara
Written by: Joni Mitchell
Produced by: Nigel Jenkins
Source: Eve Music Ltd.

Kinvara’s version of River is haunting, like wandering through a winter landscape where nothing can be fixed and the only choice is to quietly slip away. The track is simple, but so beautiful in that simplicity. The guitar is gently strummed and the accompaniment delicate, leaving space for Kinvara’s voice to shine. Her voice feels soft and fragile, full of longing that makes you want to pause and breathe. The highs soar quietly but relentlessly, lingering long after each note. The melodies rise and fall with tender hesitation, building just enough tension to pull at you without ever forcing it. There is a lot of space in the song, a quietness that makes you feel the gap between what is lost and what can only be dreamed of. Listening to it feels like walking alone through snow, reflective and suspended, completely mesmerised.

Sounds Like A Deal
Performed by: Alex Little
Written by: Adam Sabla, Alexandra Marie Little
Produced by: James Younger
Source: Light Organ Records

Sounds Like A Deal is pure energy. Alex Little’s voice is quirky, playful, and full of character, matching the track’s offbeat, joyful personality. From the first beat, it pulls you in and refuses to let you sit still. It is not a song to quietly listen to. It makes you get up, throw on your clothes, and just go do something fun right now. The energy feels almost physical, rushing through your body and making you move. The plucked guitar in the middle adds a little contrast, a sharp spark that makes everything feel even more alive. The track is chaotic, playful and anarchic in the best way. The rhythm is contagious, the beats insistent, and the vocals organic and alive. It is ecstatic, frenetic and ridiculously fun. This song makes you feel unstoppable.

It Come Alive – Live
Performed by: Rich Hope
Written by: Adrian Mack, Chris Read, Rich Hope
Produced by: Erik P.H. Nielsen
Source: Planned Obsolescence Recording & Novelty Inc.

It Come Alive hits like a wild explosion. Rich Hope’s voice is full of grunge, screaming and yelling with completely unrestrained energy. The guitar and drums smash together, creating a ridiculous, racing heartbeat that makes your chest pound. You cannot sit still listening to this. You want to jump, shout, move, anything to match the chaos. The raw, gritty instrumentation grabs you, every chord and drum hit jabbing straight at your nerves. Even after the track finishes, my heartbeat would not settle for minutes, still racing from the intensity. It is reckless, loud, frenetic and just pure fun. It Come Alive does exactly what it promises, leaving you breathless and caught up in the wild, unfiltered energy of the music.

Sunday Morning Out of the Blue
Performed by: The Goods
Written by: Rob Good
Produced by: Rob Good
Source: Dandy Boy Records

Sunday Morning Out of the Blue pulls you in immediately. I love the idea of things happening “out of the blue” and yet the song makes you realise that nothing really is. The lyrics about the space between are one of my favourite things. They capture all the tiny, in-between moments that matter more than you think. The drums hold steady, giving structure to the song, while the vocals float above with gentle reflection. The electric guitar does not stop, cutting through with a persistent, driving presence that keeps you on edge in a good way. There is a slightly psychedelic feel to the track, subtle layers that make it dreamy without being over the top. Every note feels deliberate, contributing to this sense of cohesion while still leaving space to breathe. It is thoughtful, immersive and a track that rewards you if you really listen, balancing simplicity and complexity in a way that is quietly mesmerising.

Dragging Dirt
Performed by: Lillian King
Written by: Lillian King
Produced by: Lillian King, Jack Henry
Source: Pronounced Kroog

Dragging Dirt is dissonant and beautiful, in a way that immediately grabs you. Lillian King’s voice carries so much weight, tender, soulful and drawing you into the song like a space you cannot leave. It is conceptual, almost like a song-poem, full of images that linger: “Dragging dirt into the house, I thought I had figured this out. Stretching skin out on my face. Is this aging? Is this grace?” Every line makes you pause, think and feel. The song is about making peace, understanding who you are, where you came from and where you are going. The music and lyrics combine to create a quiet, profound emotional resonance. It is a track that stays with you, leaving you reflecting on life, identity and the small, messy beauty of being human.

Crashin’ In
Performed by: Mason Lowe
Written by: Mason Lowe
Produced by: Mason Lowe
Source: Bubblebutt Records

Crashin’ In by Mason Lowe immediately reminds me of tracks that have stayed with me for years, like Ladies and Gentlemen We Are Floating in Space by Spiritualized from Vanilla Sky or Death Cab for Cutie’s Transcendentalism. It is not about the lyrics or even exactly how the music is played, it is more about the feeling, the textures, the layers, and the emotional weight of the song. The track has this mellow, immersive vibe that slowly pulls you in, with nuances and subtle shifts that make it feel alive and multidimensional. The layers of sound are carefully arranged, creating depth without ever feeling overdone, leaving space for the listener to sink into it. There is a quiet intensity, a sense of reflection that lingers, carrying both warmth and melancholy at the same time. Listening to it feels like drifting gently, noticing little details you might have missed at first, and being completely carried by the mood of the music. Crashin’ In is one of those tracks that sticks with you, quietly resonant, leaving a lasting impression long after the final note fades.

Going Insane
Performed by: Sally Phantom
Written by: Florence Filion, Hugo Mudie
Produced by: Hugo Mudie, Adrian Popovich, Karl Houde, Florence Filion
Source: Bonne Promo

Going Insane by Sally Phantom is ridiculously relatable. I wonder how many women have felt ready to pull their hair out, caught between pure madness and love for someone. The energy of the track matches the lyrics perfectly, pulsing with frustration, desire, and that restless intensity you cannot ignore. My favourite lyric is “I think it’s too late to run away.” It hits like a punch, a mix of not wanting to know the outcome but still wanting something real, something true. I also really appreciate the speed of the lyrics and how clearly they are annunciated, it adds a punchy, urgent match to the music, driving the energy forward and making every word hit even harder. The song feels like an anthem for independence, for standing on your own two feet, even when emotions are overwhelming. There is a sense of tenacity in it, a raw honesty about being alone yet fully present in your feelings. Listening to this track, you feel the push and pull of wanting to escape and wanting to dive in at the same time. It is urgent, relatable, and empowering, a chaotic yet truthful celebration of figuring yourself out while navigating love, loss, and frustration.

What I Need
Performed by: Beta Trip
Written by: Steve Lewin
Source: Having Fun

What I Need by Beta Trip is absolutely heartbreaking. I honestly cannot with this song. There is something in it that just grabs at you, this raw, searching quality that feels like it is asking for something impossible. It makes me wonder if anyone can really have what we need in this life. The voice is scratchy and weathered in the most beautiful way, carrying so much emotion and nuance. There is a ballad tender quality to it that adds warmth and depth, making every phrase feel intimate and painfully honest. The song lingers with you long after it ends, a mixture of longing, hope, and quiet despair. Listening to it, you feel the vulnerability, the searching, and the weight of unfulfilled desire, all wrapped in a voice that is impossibly human. It is a track that hits deep, pulling you into a space of reflection and emotional resonance that is both tender and unforgettable.

Connaught
Performed by: By A Thread
Written by: John Franco, Sean Lande
Produced by: By A Thread
Source: Spartan Records

Connaught by By A Thread is a discordant dreamscape, loud and immersive in its musicality. The instrumentation is layered and intense, pulling you into a world that is both chaotic and captivating. The voice sits perfectly within the storm of sound, accompanying the music in a way that feels natural and deliberate. There is a tension to the track that keeps you on edge, yet it never feels overwhelming, balancing noise and structure with skill. Each note and beat contributes to this feeling of a disjointed, slightly surreal landscape, and the track lingers in your mind long after it ends. It is the kind of song that feels alive, unpredictable, and entirely compelling, a piece that you want to explore again and again to catch every nuance.

Harry Nilsson
Performed by: Octoberman
Written by: Marc Morrissette
Produced by: –
Source: Ishmalia Records

Completely honest, Harry Nilsson by Octoberman literally does not sound like it was written in this time. It feels like something discovered in a time capsule. The vibe of the track is old, and I never want that to be taken in a negative way because for me that type of music, that type of memory, that feeling, and the way the musicality, lyrics, and voice all come together is aged like a refined bourbon, which I genuinely appreciate. Harry Nilsson has so many delicious layers, each one unfolding slowly and making the song richer every time you listen. Octoberman’s voice and the way the track is laid out remind me so much of one of my favourite artists, Banners. The emotional nuance and soaring quality of the vocals give the song a similar sense of intimacy and expansive feeling that lingers long after it ends.  (Needless to say, this is on endless repeat.)

Pretty Dresses
Performed by: Carmen Toth
Written by: Carmen Elizabeth Toth
Produced by: Joel Wasson
Source: Carmen Toth

Carmen Toth’s voice in Pretty Dresses completely reminds me of Martha and the Muffins and Echo Beach, with that same free-spirited energy tethered to it. The steady, almost playful drum pattern is something I appreciate, especially in how it interacts with her singing. The track also has an upbeat, Alanis Morissette-esque edge, a confident and lively energy that makes it feel vibrant and alive. There are even little harmonies sprinkled throughout that remind me of the musical Grease, adding a playful, nostalgic layer. The nature of the song is really sweet, even though I was never one for wanting to wear dresses or skirts. I do appreciate the context of wearing a pretty dress, having pretty things, and wanting to feel loved, cared for, and secure. There are so many layers throughout the song that touch on judgment, appearance, and belonging. I really value the way it explores the tension between something being aesthetically pleasing and not imposing judgment on what someone chooses to wear or how they express themselves through their outer appearance. The song feels thoughtful, layered, celebratory, and full of energy, capturing both the sweetness of desire and the subtle complexity of identity.