“Big Blue Sky” is a track that, from the very first seconds, showcases the experience and passion behind the music. The initial notes of the guitar riff, which sound both dramatic and hefty yet hopeful, demonstrate how effectively KP can evoke deep emotion.

While the track doesn’t necessarily feature any vocals, the main instrumental—the electric guitar—swings from dynamic bursts to more slow-paced, contemplative moments. The track feels extremely crescendo-driven, particularly at the start when the drums begin to pick up, amplifying its steady nature.

I also, quite frankly, appreciate how the drums are utilized throughout the track to bolster its epic and textural feel. They certainly do not take on the role of the main instrument like the guitar does, which intentionally feels overpowering, providing weight. The drums, on the other hand, play a steady yet explosive and punchy role, offering a moment for orchestrated elegance to develop and adding another layer of monumental charm.

“Big Blue Sky” also feels hypnotic and psychedelic to an extent. The track’s sequence slightly reminds you of something you might hear on The Final Cut by Pink Floyd, combining a heavy sound with a sense of resolution. This resolution is evident in the outro, which feels both content and powerful.

I feel strongly about this track. It represents a powerful, wordless, yet vibrant and saturated journey that takes you from one emotional and sonic space to another.

Score/Excellent: “Big Blue Sky” and KP showcase what years of musical experience should sound like. The ease with which the artist evokes emotion is simply impressive. The track demonstrates a level of professionalism that is both artistic and striking.

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The song starts off with a nice instrumental guitar and bass riff. The vocals could be louder against the mix as this song is about the lyrics. Nice voice on the rap though. I’ll have to listen again to truly get the lyrics. I really like the instrumental track underneath the vocals, but not your typical track to put under rap vocals, more of an Indie Pop type vibe here.

The vocals rhythmic timing fits nicely over the instrument track, though. The song is very well mixed and produced. I really like the background female and male vocals that come at the end of the lead vocalist’s rhymes. The song is about taking back the power. While the rhymes and vocal delivery in this song are presented very nicely, the song itself seems to lack a more complex or nuanced message.

But the song itself is very nicely produced, even if it will probably not get much radio play in its current Explicit state. Being a professional Radio DJ on commercial FM new music stations, I’d like to hear and suggest the Artist come up with a clean Radio edit version to get more radio play. Really nice track for his fans, though.

SCORE/Excellent: Koine Poetry delivers a bitchin’ sounding rap performance over a well-tailored Indie Pop styled instrumental track on which he played all the instruments. I love the modern sound of the instrumental track and really like the flow of the rap vocals and the word choices in the rhymes. Very well put together, and I’m sure this will get radio play if the Artist decides to put out a Radio Edit version. Much love, Beth

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The album’s inception initially hints at this anarchic sound that feels so textural and physical due to its omnipresence. Surprisingly, the album isn’t rooted solely in gritty, raw sounds—instead, it aims for a seismic yet very polished vibe.

This record certainly could be divided into two separate parts, with the first one having “Higher Ground” and “New Messiah” that aim for this dark, snarling sound, which is much closer to usual hard rock. The artist opts for a dreamlike sound, particularly on “Higher Ground.” During the chorus part, the catchy and captivating vocals with the ominous instrumental present to you an unhinged yet perfectly rhythmic song. What is probably the highlight of this specific track is the outro, where the artist gives you such a dynamic and cinematic experience with his guitar solo closing the track perfectly.

When it comes to “New Messiah,” which is also more chaotic and rapid in its delivery, East of Anthony balances between rough and storytelling-heavy delivery. The sound throughout the track shines the most when you hear an artist getting into the zone closer to the chorus, where you can hear all of the intricacies of the sound with smooth and crisp grooves. 

In regards to the 2nd part, which includes the next two tracks, “Free” and “Fake Faces,” the tracks opt for a more emotional type of delivery, putting a stronger emphasis on this grunge feel that stays hazy. If the previous tracks remotely give you a feel of dystopian chaos that is purely controlled by the artist’s tempo, these upcoming tracks rather represent your hallucinatory aesthetic. With the mind-bending mixture of instruments, epic entrance on “Free,” and a mysterious, slow-paced “Fake Faces,” the record truly achieves an immersive feel. 

Throughout the album, I recognized how well-balanced it sounds. You are not purely getting these mayhem-like sounds but also a mixture of sincere and dark soundscapes. 

Score/Excellent: I really enjoyed this EP. Higher Ground is an extremely balanced and concise release. It truly delivers impressive rock tracks that combine grunge with elements of shoegaze. The tracks mix chaos with a high degree of polish and professionalism. Great EP.

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“BujuRocks is the electronic music project of composer and producer Burcu Akan. Creating a unique blend of electronic dance music with contemporary production techniques (perhaps meaning AI?), BujuRocks has been releasing high-quality tracks since 2024. All music is self-published under the BujuRocks label, maintaining complete creative control over the artistic direction and production quality.”

Though I’m still not sure what this artist stands for, if their images are real or AI, or whether their song is real or AI-enhanced. We can only use our eyes and ears. No doubt, it’s a nice presentation and musical package to unwrap.

So let’s have a listen …

My first impression of this Single is that it goes on too long, although it’s an EDM dance track which does occasionally go long. I’m not particularly digging the distorted bass which is driving underneath the whole song. The notes are fine, just not the distortion. I do like the clear vocals that come in occasionally, “Hey Boy!” “Do You Love Me?”.

Nice fade at the song end. I don’t find this song to be quite as hypnotic or entrancing as CALLNOMORE, the last song I reviewed from this artist and ranked as Excellent. I like the siren like keys/strings riff which comes in later in the song. It’s a very danceable beat, don’t get me wrong, just not digging it as much as the prior song. Might make a good album track though.

SCORE/Good: An extremely well-produced track, no issues with the sound of this track in terms of mixing and mastering. I think the song arrangement could be more inventive and less repetitive. Definitely falls in the EDM genre and would nicely fit on an album from this artist. Much love, Beth

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“Co-writers like Anais Preller, Suzanne Kiss, Heather Joseph, Carla Zipa, Sylvia Jones, Sheila Fabrizio, Vita Rose Taytro, Bonnie Lee Panda and Alex Bach bring the theme to life while adding layers of emotion and depth with either their voices and/or lyrics. The harmonies are further enriched by Kevin Monroe’s direction of the backup vocals and Devotion’s talents.”

“The recording sessions … at Horizon Music Studios in West Haven, CT, were overseen and produced by Vic Steffens and co-producer by Matt Oestreicher, who also handles the orchestrations. With music provided by The Collaborations Band, featuring notable award-winning musicians such as Bobby Torello, Scott Spray, Al Ferrante, Jon Peckman, Tim DeHuff, Bill Holloman and Dave Eggar on strings. Together, they bring each piece to life with skill and passion.”

As their bio reads, “In an era where the essence of music often gets lost amidst the cacophony of modern sounds, ‘Collaborations’ emerges as a beacon of hope for fans of profound lyrical narratives set against the timeless backdrop of the 60s, 70s, and 80s.” Sounds quite interesting.

So let’s have a listen …

The first track Let The Love In starts with a drum shuffle, then comes in a funky R&B progression and lovely vocal by Anais Preller that truly captures a classic 60s Motown vibe. Nice! I’m really digging the vocals and lyrics. Nice flute solo halfway through into the bridge and again at the end of the piece. Very well constructed song. I’m impressed.

The next song Time For You also features Anais Preller on the lead vocals. I love the classic horn section that kicks off this song. The vocal mix really stands out, everything sounds so good, great mixing, editing, and mastering. The vocals are very clear and understandable, which is often missing in a lot of what I hear and review. Very classic Motown type vibe. Loving the sax solo in the bridge. Anais does a great job singing this one.

The third song Running Out Of Tomorrows begins with an African vibe then with a nice background vocal chorus and then quickly transitions into another classic Motown vibe. This time a male and female vocalist duet featuring what I’m guessing is Ed on vocals with Anais. The male vocalist sounds fantastic, a really nice voice for this type of song. The song has a big distinctive chorus. I love the message of the lyrics in this song. Reach out, make a difference, come together, and equality, … we’re running out of tomorrow to change things, it’s up to you and I. I find the breaks and bridges in the song well constructed from a songwriter’s perspective. The song falls out to a vocal part sparsely populated with instrumentation and then kicks back into the power chorus full band. The mix is excellent.

Better get ready, Ready For Love the next song begins and I’m already loving the funk guitar riff that carries the song. And the horn section. New female vocalist Sheila Fabrizio singing this tune. She has such a classic Motown voice. It reminds me of Gladys Knight. The songwriting is tops.
Very tasty lead guitar solo before the last verse and chorus. If you’re reading this you better get ready … for Ed Daniels and Sheila Fabrizio bringing the love to you and your ears!

The next song I Wanna Know starts with an acoustic guitar strum. Very nice orchestration kicks in against the guitar. This time the female vocalist is Suzanne Kiss. Loving the string section parts in this song. Nice vocal, if not my favorite, but still really nice. Loving the background vocals. I love referring to God as “she”. This song has more of a religious vibe.

The next song Don’t You See features Sylvia Jones on the lead vocals. Again giving me a very 60s Motown vibe. The voice reminds me of Barbara Lewis (Baby I’m Yours). Loving the background female vocalist choir. Again the songwriting is excellent, just when you think the song needs a bridge, it delivers an interesting bridge. The vocals are clear against the mix. The song ends with “set yourself free”, the message of the song.

Doing Fine is another song sung by Suzanne Kiss. I like the syncopation in this song. Very nice piano part carries this tune, the playing is very lovely, and even throws in a few atonal chords that capture your ear but stay within the key of the song. I think the lyrics in this one could be better, it’s like they’re too straight-ahead and simple in their rhymes and word choice.

The next song Got A Feeling starts off with a horn section and gives off a Blues Brothers vibe, a barroom band vibe. This song features Heather Joseph on the lead vocals. The song itself reminds me of Tina Turner singing Proud Mary, but the arrangement of the song in this case is more interesting than that classic song. Loving the lead guitar solo in the bridge. This band is really tight. The vocalist reminds me of The Shirelles.

The ninth song is Think About It featuring Vita Rose Taytro on the lead vocals. Another classic Motown vibe song with a lovely string section. This album is packed with R&B gems, then comes in a very ear-catching lead guitar solo. I’m really liking the lyrics in this one. Very memorable hook.

Already There features Sheila Fabrizio again on the lead vocal. Starts off with a nice R&B electric guitar strum. I’m really digging Sheila’s voice, truly next level for this kind of music. The lyrics are fun and engaging in this song. Another nice funky lead guitar solo that perfectly fits the mood then back into the pre-chorus and chorus. The band is locked in the whole album. Some nice performances, mixing, and editing on these songs.

The final song Where We Belong starts with an acoustic guitar strum. This song features Carla Zipa on the lead vocals. Another really nice song. Loving the horn section, wish it was a bit louder. Another really tasty lead guitar solo in the bridge. The Carla’s vocals carry the tune. Nice way to close out this album of great songwriting, arranging, and performances. 

“‘Collaborations’ invites listeners to experience music that is not only crafted with skill but also imbued with meaning. It’s a journey back to when songs told stories, evoked emotions, and inspired change. For those who believe in the power of music to unite and uplift, ‘Collaborations’ is a project that resonates with purpose and passion.” It truly does. Give it a listen.

SCORE/Outstanding: The performances, editing, mixing and mastering on this album are top-shelf. If you love classic female vocalist R&B, this album is truly outstanding, and I don’t say that lightly. We get a lot of good and some not so good albums to review here at Music Review World, but this album is truly superior to most of the material that we receive. Virtually every song on this album could get radio play on an R&B format station. Even if you’re just casually into that classic Motown vibe, you should definitely buy this album, or at least listen to it. You’re guaranteed to dig it. Much love, Beth

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The song sounds like an Irish folk song. It is definitely all about the lyrics – which are anti-Republican and anti-Democrat (for not standing up to the Republicans). An anti-capitalist system protest song. The song is ok, but not great. It reminds me a little of early 60s protest songs in the way it is structured and with the strong cadence of the vocals.

“An all American hate affair!” The message of the song can be captured in the repeating chorus: “The world will not be destroyed by those who do evil, but by those who watch them without doing anything.” Which is also how the song ends. The song is pleasant, but likely won’t get any radio spins. I do like the female backing vocals. However, I think the keyboards sound quite cheesy. I’d like to hear this song with just vocals and an acoustic guitar.

SCORE/Mediocre: While I like the lyrical direction of this protest song. I think the song’s simplistic chord and vocal arrangements set it back. The song has no really memorable musical or vocal hook. It’s a pleasant enough song, but likely won’t get any radio spins. But I could see it put on a compilation album of 60s like anti-war folk protest songs. Much love, Beth

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“With all these thoughts running through my mind I decided to listen to the album again the day after the election and the album felt beautifully different. It is alive in all the ways I want to be alive. When I got to “Living Life…” I started to cry because the lyrics had been written and performed in a silly sorta way, almost as a joke, but on that day it felt real: this is how I actually feel about being gay in this country right now… and it can be scary, very scary.”

“Why I made this album: “Sweaty Yeti” specifically was meant to end the album with a beautiful upbeat celebration of being queer, you can literally feel the joy when it starts and it moves around in an almost physical way; immersing the listener in the absolute joy of being fully free to be your truly authentic self without fear. That (song) is exactly what I needed to hear to give me the courage to not back down in fear, to keep the release date of this album as it was originally set, and to try to promote the fuck out of it.”

“I obnoxiously tell everyone about it, and I hope that all the queer and queer allies that read this will join me in spreading the word about my celebration of queer freedom. We must continue to fight for our rights to live authentically in this world without the fear of being oppressed, we must fight for the rights of anyone who is out there in the world living life Supergay.” – Johnny Stubbs (Yeticomplex), Tampa, Florida, USA.

I just hope that the Trump Administration doesn’t read this review and decide to ship Johnny off to Guantanamo. The struggle is real.

So let’s have a listen …

The album kicks off with the song Yeti That Walk. Appropriate title for an artist named Yeticomplex. This is a dancehall record with transcendental beats designed to make your body and feet move. The kind of music you might hear in a gay nightclub. Make that, should hear in a Supergay club.

Back to the track, the first thing you hear on the album is someone walking into the room and giving a very sassy “mmm, hmmm”. Then the hypnotic beat kicks into the vocal “Yeti That Walk”. I love the bass groove that picks up in the middle of the song. Some interesting keyboard riffage closes out the song, which ends with more footsteps.

Hats, Gloves, Shoes are the title and lyrics of the next song. Very strong keyboard riff. Sounds like programmed drums. “Hats, Gloves, Shoes”. I like the change in the bridge of the song and the Japanese sounding keys riff. The track fades out “Hats, Gloves, Shoes, You can never have enough!”

The next track is called Homosexual, which is also the lyrics. Fun song. I like the keyboard vamps on this song, interesting vocal rise in the song. I again really like the bass line that picks up in the middle of the song. Nice. This song will definitely get you up and dancing. Which is likely the point.

There’s not much in the way of lyrics on this album so far, but the dance beats are fun. It’s nice EDM genre music. Should come with it’s own light show! And poppers! 😉 This would be a good album for your next hometown rave.

The next song is Sugar Candy – Rewind Mix. The is the first song with any real vocals. I like the lyrics, but I’m not digging the voice. Which is not entirely true, I like the effected and reverb heavy vocals in the background. Not my favorite track. I do like the way the track ends.

The next track is Man on Man. Which starts off with a groovy bass line and an old move clip stating “at this time the penis is in a state of erection.” The track comes complete with its orgasm sounds. I love the drum mix that comes in later in the song. “Ready for ejaculation” says the movie announcer. The strong bass line makes this song very danceable. Nice.

The sixth song is titled Queer. Starts off with a steady drum beat, and enters the bass. Not digging this bass line as much, too muddy. Eventually, the keyboard riff comes in staccato bursts. “I’m queer, don’t like it? Steer clear.” I like the cheeky vocals on this song, very non-heterosexual. LOL

Meow – Kitten Mix starts off with a reference to “Miss Kitty”. This strange song almost has a Wizard of Oz feel about it. Very trippy bass line when it finally enters the song. Nice funk jazz guitar or keyboard riff in the middle straight into a brief Middle Eastern vibe. “Meow!” Very cinematic track.

The eighth song Glitter starts off with a bit of a spiritual vibe, but then a very interesting bass line enters the song, accompanied by space robot sounds. I like the ever-rising keyboard riff in the middle of the song. A song about glitter being everywhere, even “there’s glitter on my dick.”

Living Life… starts with a spoken word story. Just 0:49 seconds, just long enough to introduce the next song.

The tenth song on the album is the title cut Supergay. I love that it kicks off with a funk guitar riff. Then keyboards are added on top of the lyric “Supergay”, making it sound like the Curtis Mayfield song “Superfly”. Totally digging the vibe on this track, definitely my favorite song so far.

The album’s final track Sweaty Yeti starts off with snaps and a chordal keyboard riff, a steady drum beat. The keys reenter with a different vibe. Very nice funk single note guitar riff being played over the drums and keys.
The bass finally enters about halfway through the song. Low and rounded. I’m a sucker for any song that includes a funk guitar riff, aren’t you?

Well, overall, I liked 10 of the 11 songs on the album, which is very nicely constructed and fits squarely within the LGBTQ+ Dancehall EDM genre.

SCORE/Excellent: This album nails the LGBTQ Dancehall EDM genre! Yeticomplex has compiled an album of dope dance beats with a gay flair! The album is nicely produced and I really appreciate the funk guitars being included on the final two songs. Creates quite a danceable vibe. If you need an album for your next dance party or rave, grab this one! Much love, Beth

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From the moment the music and vocals kick in you discover this is a very cinematic sounding track and get the feeling there should be a movie to go with this song. Having listened to the song multiple times now, my first impression is that it seems like one long intro to a song that never delivers the actual song and that I do like the way everything fades away to make way for a lonesome piano at the end of the song.

I like Jonah’s voice a lot though, it has a nice sensibility and could do well in this indie pop-rock genre. In my opinion, the main rising washed out keyboard riff of the song repeats too many times until the piano finally kicks in to finish out the song.

Very nice piano playing. I do like the way the song ends. I’d like to hear a version of this song sung over nothing but the regular piano. The tricked out keys sound for the first 2/3 of the song reminds me a little of Stevie Wonder, if you like the keyboard sounds on his records.

SCORE/Good: The arrangement and chord progressions in this song are musically interesting. Jonah has a great voice for this kind of music. I feel like the song never properly resolves into something with meat on the bones, it’s like a long intro that keeps repeating with a promise of something that never delivers. But it’s a good song, well-produced, and emotionally impactful. Worth a listen. Much love, Beth

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What makes G-Killa an interesting face to look out for is related to the musical acceptance within his family. Coming from a family that doesn’t value or respect music, he still pursued his dream as a rapper, hoping one day to sway their minds to accept his passion for this art.

So, without further ado, let’s get into G-Killa’s new single “Truth”:

From the first seconds of the track, you are immersed in the soulful, southern hip-hop rap style, which doesn’t follow the typical sound of Detroit you might hear from artists like Tee Grizzley. The sound remotely reminds me of Rod Wave’s mixture of pop rap that blends influences from R&B yet dives into lyrics challenging the trust and trustworthiness of those around, amplifying the track’s name.

Additionally, the rapper’s sound reminds me of the aesthetic that Polo G often employs in his tracks, incorporating conscious hip-hop elements while mixing them with soft, pop-like instrumentals that feel lush yet raw.

While it is clear what the artist is aiming for, and considering this is one of his first ventures, the release stands solid; however, at moments, the mixing and mastering of the vocals feel slightly choppy. The track carries the weight of a bit of excessive autotune, turning the artist’s vocals into a chaotic blend with emotionally hollow notes while still aiming for that raw sound. It just feels a bit more like a distraction from the actual message and the track’s soft yet lush style, which the minimalistic and delicate beat brings to the table.

The sound design feels melancholic and soft-toned, introducing the artist’s warmth and the airy coldness he experiences from treachery. In general, the track feels solid and decent, but the vocals—particularly the tightly sequenced transitions between beat’s verse 1 and 2—make the track feel less punchy.

Score/Good: Overall, G-Killa gives you an interesting sound that offers a fresh perspective on Detroit’s mix of pop rap, combining different influences from Rod Wave and Polo G to shape his unique cold and soft-paced style. As I have mentioned before, the only downside of the track is the over-reliance on autotuned vocals, which slightly feel out of place and slow down the dynamic of the track.

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So let’s have a listen …

The first track is title cut Back into the River and nicely sets the pallet for this tasty new release. Very Soundgarden influenced. The voice nails it. Everything is in its place and interesting chord changes. I love the acoustic guitar break in the middle of the song. This is the best song on this EP.

The second track Hell of a Lie is the EP’s single. Has a very in-your-face lead guitar riff. Loving the lead guitar solo 2/3 of the way through the song, particularly as the chord progression in the bridge changes, then back into the chorus. Very nice. Still, I think the first song might make a better single.

In the Middle of Two Worlds has a pulsating rhythmic feel, accentuated by the hard eighth note drum beat in sync with the bass and rhythm guitars. Interesting chord changes in this song. The song fades away at the end.

Wake Up, the fourth track, starts off with a funky acoustic guitar then is immediately joined by the rest of the band. I would have preferred the acoustic guitar riff to get more sunlight at the beginning of the song. You can still hear it in the mix, but a bit drowned by the other instruments. The chorus hits at about 1:40 reminding us all to “wake up.” I’m really enjoying the female vocalist singing background vocals in this track. Very epic!

Back into the River II (Alternate Version). This version focuses on the acoustic rhythm guitar. You can hear the vocals better in this version, though I really liked the first version. More of a songwriter’s version. Still a great song. Digging the lead guitar solo on this version and the brain-challenging complex chord progressions and arrangement in this song.

This EP features an impressive lineup of musicians on select tracks:
“Jon Button on bass (Sheryl Crow, The Who), Nik Hughes on drums (Bush), Mike Smith on drums (Chayce Beckhamm, Trapt, Tantric), and Lea Cappelli on vocals (L’FREAQ). The first single, “Hell of a Lie,” was also mixed by legendary producer Gordie Johnson (Big Sugar, Grady).”

SCORE/Excellent: The songwriting and song arrangements on this EP are top-notch. Excellent production and musical performances! I really love the title cut and think it should be its own single. If you like the grungy sound of the early 2000s, get this EP and see if you agree! Much love, Beth

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