Von Venn ‘Forgetting the Fall’

Von Venn

I’ve been sitting with “Forgetting the Fall” for a few days now, and I keep coming back to it. Gary Cox’s second album as Von Venn dropped today, and honestly, it feels like he wrote it for anyone who’s watched the last few years unfold and thought “this isn’t what I signed up for.” I don’t mean that in a cynical way. It’s more that Cox gets what it’s like to realize the world is messier and more complicated than you thought it would be when you were younger.

The album starts with “Still Falling,” and there’s this innocence to it that sets up everything that follows. You can hear where Cox is taking you from the first few notes. He’s talked about how he used to believe people would always do the right thing, that confidence you have when you’re young and haven’t been let down yet. Life taught him differently, and you can feel that shift throughout these songs.

What I appreciate most is that Cox never lets the album sink into bitterness. Yeah, there’s disillusionment here. Yeah, he’s wrestling with how narratives get bent to serve agendas and how the world often operates on “might equals right.” But he’s also asking what we do with that knowledge. How do we stay realistic without becoming cynical? That tension is what makes this record work.

“Mainstream” hit me harder than I expected. It’s about how bias has become embedded in institutions we used to trust, and Cox handles it without getting preachy or political in a way that feels exhausting. The saxophone solo caught me off guard too. Terry Doyle wrote it and Rebecca Lane performed it, and it adds this layer that shouldn’t work but absolutely does. It’s one of those moments where you realize someone put real thought into every detail.

I’d already heard the three singles before the full album came out. “Be Free” is the kind of rallying cry that could feel cheesy in the wrong hands, but Cox pulls it off. “You Can Talk to Me” deals with relationship stuff in a way that feels mature and thoughtful, not like someone trying to sound deep. And “Only In The Night” creates this atmosphere where it feels like Cox is sitting across from you, just talking. That intimacy is rare.

Cox recorded this throughout 2024 at Soundcaster Studios in Dublin with Terry Doyle producing. The band is Cox on vocals, guitars, bass, and synths; Doyle on keyboards, synths, and vocals; Ciara Henry on vocals; and Mark Wogan on drums. You can hear influences from John Lennon to Radiohead to Phoenix in there, but it never feels like they’re copying anyone. They’ve taken those reference points and made something that sounds like them.

I needed this record more than I realized. Maybe you do too.

Saskia Griffiths-Moore ‘Matter Of Pride’

Saskia Griffiths-Moore

Singer songwriter Saskia Griffiths-Moore has ditched the folk playbook for her latest release, and the results are worth paying attention to. “Matter Of Pride” sees her diving headfirst into blues territory, and she sounds right at home there.

The track is gritty, rhythmic, and packed with the kind of energy that makes you hit repeat without thinking about it. Saskia hasn’t abandoned what made her work in the first place though. That storytelling backbone is still there, just dressed up in a completely different outfit.

What’s impressive is how confident she sounds navigating these blues-tinged melodies. There’s no tentative dipping of toes here. She’s jumped straight in, and the hooks are strong enough to prove she knows exactly what she’s doing. The driving rhythms give it a summer ready quality, the kind of thing that works just as well blasting through car speakers as it does through headphones.

As founder of Talent Is Timeless, Saskia spends plenty of time championing other emerging artists. But “Matter Of Pride” makes it clear she’s not standing still herself. This is an artist pushing her own boundaries while still sounding authentically like herself, just with more grit and groove than before.

Vinyl Floor ‘Mr. Rubinstein’

Vinyl Floor

Danish duo Vinyl Floor are kicking off their sixth album campaign with “Mr. Rubinstein”, and it’s a proper departure from what you might expect.

This one’s got a story behind it. Brothers Thomas Charlie Pedersen and Daniel Pedersen wrote about the moment when an artist and a critic go head to head, when neither one’s willing to blink first. That clash of egos, that standoff? It’s all in there.

They decamped to Studio Möllan in Sweden to record with producer Emil Isaksson, then handed it over to Søren Vestergaard at the Shelter for mixing and mastering. The band didn’t stop there though. They brought in Bebe Risenfors, who’s put in time with Tom Waits, to layer horns throughout. Christian Ellegaard’s string arrangements give the whole thing this almost cinematic darkness.

If you’re expecting the Vinyl Floor you know, reset your expectations. “Mr. Rubinstein” moves at its own pace, slow and deliberate. Piano and organ drive it forward while strings cast shadows over everything. It’s moody as hell and in no rush to get anywhere. The single edit runs 4:13, slightly trimmed from the album version.

Von Venn ‘Be Free’

Von Venn

Dublin’s Von Venn are three singles deep into their upcoming album “Forgetting the Fall”, and “Be Free” might be their strongest statement yet. Following “You Can Talk To Me” and “Only In The Night”, the band have delivered something that manages to be both a rallying cry and an absolute tune.

The message is clear as day: think for yourself, question everything, and stop letting other people do your thinking for you. In 2025, that feels pretty vital.

“There’s so much manipulation out there now,” the band explain. “Information gets filtered, twisted, presented as truth when it’s anything but. We wrote this as a reminder to question everything and form your own opinions. Don’t be anyone’s fool. Don’t play to someone else’s agenda.”

Heavy stuff, but here’s the thing: “Be Free” is a proper feel good banger. There’s this nostalgic rock vibe running through it that’ll hit you right in the chest if you grew up on the right records, but it’s got enough bite to keep it current. Gary Cox’s vocal performance is the kind that burrows into your brain and sets up camp there.

Ervin Munir ‘Voices’

Ervin Munir

Words By Joey Rochert.

Norfolk folk singer Ervin Munir isn’t messing about on his latest release. “Voices” takes aim at mental health struggles and the kind of procrastination that leaves you frozen in place, unable to move forward or back.

“This song is about mental health and procrastination and not being able to make a decision,” Munir says, cutting straight to it.

The track opens with a whistle that lulls you into thinking this might be a gentler ride than it is. Then the piano creeps in, building tension before everything strips away to leave just Munir’s voice exposed. It’s a smart move. When you’re singing about the war in your own head, less is definitely more.

The production keeps things lean. Bass rumbles underneath, guitar lines drift through when needed, but nothing clutters the space. Munir delivers each line like he means it, which is crucial when you’re writing about something this raw.

It’s his follow up to “One Step Beyond,” and it shows an artist who’s not afraid to sit in the uncomfortable stuff. There’s no grand resolution here, no neat ending where everything gets figured out. Just the reality of being stuck, overthinking, and letting those voices win sometimes.

In a world where everyone’s shouting about their mental health journey, Munir just puts it in a song and lets it speak for itself. Turns out that’s more powerful anyway.

Photo Credit: Ervin Munir.

Calm Senses ‘Chill Factor’

Calm Senses

Words By Joey Rochert.

Julia Thomsen and LunaLight return with a fresh instalment of their Calm Senses project, and their new release, “Chill Factor,” might be exactly the reset button listeners need right now. Arriving on Friday, November 7th, the track is purpose-built for those moments when stepping away from the noise feels essential.

“Chill Factor” drifts in with gentle sea sounds that ebb and flow like rolling tides, creating a natural rhythm that immediately soothes. Layered above are serene, spacious synths that open up into a beautifully immersive environment one you can simply sink into without effort. This isn’t a track that asks anything of you; instead, it gives you space, breath, and calm in a world that rarely offers any.

Following their September release “Dreams of Tokyo,” it’s clear that Thomsen and LunaLight are carving out something special together in the ambient realm. Their work transcends the idea of background music; each release feels like a crafted experience designed to genuinely help listeners unwind.

At a time when everyone seems permanently switched on, Calm Senses continues its mission to provide a moment of peace and “Chill Factor” carries that mission forward with confidence and clarity.

Photo Credit: Calm Senses.

Julia Thomsen ‘Here for You’

Julia Thomsen

Words By Joey Rochert.

Julia Thomsen, the acclaimed pianist and composer known for her serene and emotional soundscapes, returns with a deeply moving new single, “Here for You.” Released on October 10, 2025 — World Mental Health Day — the piece forms part of the Keys For Empathy compilation by the Contemporary Classical Collective (CCC), a charity project raising funds for NAMI (the National Alliance on Mental Illness).

True to its name, “Here for You” radiates warmth and compassion through Thomsen’s signature piano touch. Each note feels like a gentle reassurance — a reminder that none of us have to navigate life’s darker moments alone. Her playing flows with grace and stillness, creating an atmosphere of calm that invites listeners to pause, breathe, and reflect.

The Keys For Empathy album unites 17 contemporary classical artists, each offering their own interpretation of empathy and healing. Alongside Thomsen’s track, standout contributions include Lynn Tredeau and Dave Lewis’s “Joy in Every Breath” and “Legàmi di Pace” by Ara_piano with Daniela Spadini — both complementing the album’s message of unity and emotional support.

For Julia Thomsen, this project feels especially fitting. Her music has long been celebrated for its reflective quality and its ability to reach listeners on a deeply personal level. With “Here for You,” she extends that connection even further, offering solace through simplicity and beauty.

Releasing this collection on World Mental Health Day underlines its purpose — to comfort, to connect, and to make a tangible difference. “Here for You” stands as both a musical embrace and a call for compassion, reminding us all of the quiet strength found in empathy.

Photo Credit: Julia Thomsen

Calm Senses ‘Dreams Of Tokyo’

Calm Senses

Words By Joey Rochert.

Julia Thomsen and LunaLight are back with “Dreams Of Tokyo”. It’s one of those rare pieces where you can tell the creators actually care about what they’re making. The blend of lo-fi and classical elements doesn’t feel like a gimmick or some trendy mashup. It feels intentional, like they knew exactly what they wanted to say.

The rhythm is what got me first. It sits there so quietly you almost forget it’s there, then it rises up just enough to pull you back in before fading again. I kept finding myself noticing new details each time I listened, which doesn’t happen often with background music.

I’ve been following Calm Senses since “Tranquility” dropped in April, and you can really hear how they’ve evolved. “Dreams of Tokyo” feels more confident, more sure of itself. There’s a maturity here that makes me excited to see where they go next.

What I love most is how versatile this track is. I’ve had it on during gaming sessions at 2am, played it while cooking dinner, and used it to wind down before bed. It adapts to whatever mood I’m in without losing its core identity. The classical touches give it this depth that keeps me coming back instead of just letting it disappear into the background.

Photo Credit: Calm Senses

I Musici Gemelli ‘The Art Of The Duo’

I Musici Gemelli

Words By Joey Rochert.

I Musici Gemelli, the renowned sibling violin duo from Foggia, return with a new release, The Art of the Duo, via Hunnia Records & Film Production. The album is a testament to their finely honed artistry and the seamless interplay between brothers Francesco Pio Bertozzi and Giuseppe Pio Bertozzi, whose musical dialogue is as instinctive as it is refined.

Rather than simply revisiting the past, the duo offers fresh interpretations of works inspired by the great composers of the 18th and 19th centuries. They capture the essence of tradition while bringing their own perspective, resulting in performances that feel both timeless and distinctly modern. Each piece reflects years of study and a deep respect for the repertoire, yet the Bertozzi brothers’ subtle nuances ensure that the music resonates with today’s audiences.

The album thrives on the duo’s exploration of violin interplay. “Our music focuses on the interaction between the two instruments,” they explain, and this philosophy permeates the recording. The brothers shape each track into a dialogue, balancing melody with harmony in a way that reveals the expressive possibilities of two violins alone.

With experience performing across Italy, I Musici Gemelli have earned admiration for their technical precision and musical sensitivity. Their sibling connection enriches the performances, adding a natural chemistry that can be heard in every note. The Art of the Duo is a celebration of versatility, clarity, and expressive chamber music — an album that highlights not only the brilliance of the repertoire but also the unique artistry of two musicians who share both family and craft.

Now available to stream, The Art of the Duo is an essential listen for classical music enthusiasts and newcomers alike.

Photo Credit: I Musici Gemelli

Marsha Swanson ‘Generational Transmission Video’

Marsha Swanson

Words By Joey Rochert.

I wasn’t sure what to expect when I first clicked on “Generational Transmission” by Marsha Swanson, but within minutes I found myself completely absorbed in what might be one of the most emotionally honest music videos I’ve seen this year.

The collaboration between Swanson and filmmaker Sam Chegini creates something truly special here. Swanson’s background in psychology shines through in how she approaches the complex topic of inherited family trauma. Her voice carries this raw vulnerability as she sings about the weight of what gets passed down through generations, both the beautiful and the broken pieces.

What struck me most was how personal this felt, even though the themes are universal. As someone who comes from a family of immigrants myself, I connected deeply with Swanson’s exploration of carrying forward both gifts and wounds from previous generations. There’s this moment in the song where she talks about taking ownership of what we pass forward, and it hit me right in the chest.

Chegini’s claymation work deserves its own praise. The visual storytelling doesn’t just accompany the music; it amplifies every emotion Swanson is conveying. His background working with established acts really shows in the technical quality, but more importantly, he seems to genuinely understand the heart of what this song is about. The animation moves with this organic flow that makes the clay figures feel alive and deeply human.

The cinematic strings over piano create this landscape that feels both intimate and expansive. I found myself listening with headphones just to catch every nuance. There’s something about how Swanson structures her melodies that stays with you long after the video ends.

What makes this collaboration work so well is how both artists bring their own cultural perspectives to themes that cross all boundaries. Chegini’s Iranian background and Swanson’s British roots, combined with her connection to composer Gustav Mahler, create this rich tapestry of inherited creativity and pain.

This isn’t just another music video. It’s a meditation on how we can transform the difficult parts of our family histories into something meaningful. Both artists have created something that honors where we come from while encouraging us to write our own chapters.

I keep coming back to watch it again, finding new details in both the animation and the lyrics each time. It’s the kind of work that makes you want to call your family and have those difficult but necessary conversations about patterns and healing.

Photo Credit: Marsha Swanson