Nathan Bryce and Loaded Dice, ‘Drunk Dial Baby’

Nathan Bryce

Nathan Bryce and Loaded Dice return with a fresh twist on their signature sound in the shape of “Drunk Dial Baby,” out now. Known for their gritty blues-rock punch, the Kansas City trio ease off the throttle this time, trading heavy stomp for a slick, late-night groove that feels equal parts confessional and carefree.

“Drunk Dial Baby” dives headfirst into a scenario most listeners will recognise instantly: the glow of a phone screen after midnight and the loaded simplicity of “You up?” Rather than wallow in self-pity, the band lean into the humour of it all. There’s a smirk behind the lyrics, but also a flicker of vulnerability that keeps things grounded. When Bryce delivers lines about whiskey-fuelled calls and fleeting affection, it’s with a knowing tone, as if he’s shaking his head at himself while reaching for the phone anyway.

Musically, the track marks an evolution. The rhythm section locks into a tight funk pulse, giving the song a fluidity that contrasts with the band’s more hard-hitting catalogue. The bass line carries a confident swagger, while the drums sit deep in the pocket, letting the groove breathe. Over the top, Bryce’s guitar work shifts between restrained, melodic phrasing in the verses and explosive bursts in the chorus, lighting up the track without overpowering its laid-back feel.

What makes “Drunk Dial Baby” resonate is its balance. It’s witty without being throwaway, and bittersweet without becoming heavy. The bridge, in particular, distils the emotional push-and-pull of a connection that only surfaces when inhibitions fade. It’s the kind of songwriting that acknowledges the sting but chooses to laugh through it a blues tradition reframed with a modern, relatable lens.

After spending the past few years touring extensively including dates alongside Australian guitar sensation Taj Farrant, Nathan Bryce and Loaded Dice sound more cohesive and confident than ever. “Drunk Dial Baby” feels like a statement of intent: proof they can stretch stylistically while keeping their core identity intact.

Julia Thomsen, ‘I Love You’

Julia

With “I Love You,” Julia Thomsen proves that piano music can speak louder than words. The track opens with bold, commanding chords that immediately pull you in, establishing a sense of confidence and purpose.

What follows is an intimate journey through warmth and feeling. Julia’s touch on the keys is precise yet deeply personal, each phrase brimming with sincerity. The music manages to be both tender and strong at the same time, capturing the full spectrum of emotion.

It’s the kind of piece that invites you to pause and truly listen, letting the melodies fill the space and resonate long after the final note. Thomsen’s skill lies in making every chord feel meaningful, turning a simple declaration into a captivating experience.

With “I Love You,” Julia Thomsen proves that piano music can speak louder than words. The track opens with bold, commanding chords that immediately pull you in, establishing a sense of confidence and purpose.

What follows is an intimate journey through warmth and feeling. Julia’s touch on the keys is precise yet deeply personal, each phrase brimming with sincerity. The music manages to be both tender and strong at the same time, capturing the full spectrum of emotion.

It’s the kind of piece that invites you to pause and truly listen, letting the melodies fill the space and resonate long after the final note. Thomsen’s skill lies in making every chord feel meaningful, turning a simple declaration into a captivating experience.

philojain, ‘Riff Raff’

philojain

“Riff Raff” is an instrumental track by philojain, and within the first few seconds it makes absolutely clear that it doesn’t need words to get its point across.

The guitars hit immediately and they hit hard. Jain layers riff after riff until the whole thing becomes this enormous wall of sound that somehow manages to feel both aggressive and completely absorbing at the same time. It’s the kind of listening experience where you catch yourself just sitting there staring at nothing, fully taken over by what’s coming through the speakers.

Then there’s the bass. And I want to be specific here because it genuinely deserves its own mention. The sub bass on this track is not doing backup duty. It is a presence. A physical, room shaking presence that sits underneath everything and makes the whole track feel heavier than it has any right to. If you’ve got decent speakers or headphones, clear your schedule.

What I kept coming back to while listening was how unpredictable it stays throughout. You settle into a groove, you think you’ve got the pattern figured out, and then Jain pivots. Fast, technical runs give way to slow, crushing chords that feel like they’re being played through concrete. It never lets you get fully comfortable, and that tension is exactly what makes it work.

Jain pulls influence from Pantera, Lamb of God, Faith No More and Pink Floyd, but “Riff Raff” doesn’t sound like a tribute to any of them. It sits somewhere in the overlap between post rock, progressive metal and genuinely experimental territory, which is a harder place to find than it sounds.

The fact that Jain handled everything himself, all the instruments and all the production, makes it even more impressive. There’s a freedom in this track that you can actually hear. It moves like something that has no interest in being categorized, and honestly that’s the most interesting thing an artist can do.

Go find a good pair of headphones and give this one a proper listen. You’ll understand!

Julia Thomsen Earns International Recognition With Los Angeles World Entertainment Award Nomination

Julia Thomsen

Julia Thomsen’s composition “Romantic Embrace” earned her a nomination in the Best New Age Song category at the Los Angeles World Entertainment Awards, placing her among an international field of artists recognised for their work across the entertainment industry. The awards, which cover a wide range of genres and disciplines, drew entries from around the world, making the nomination a considerable achievement for a British composer working in the contemporary classical space.

The nomination marks another significant milestone for the London based composer, who has spent years building one of the most distinctive catalogues in contemporary piano music. With over 18 million streams on Spotify, her work sits at the intersection of neoclassical and new age composition, drawing listeners in with arrangements that feel considered and unhurried. Her pieces carry a warmth that is immediately recognisable, and her approach to blending structure with a more open, reflective sensibility has earned her a following that continues to grow.

Her music has found a home on BBC Radio London, BBC Radio 3, and BBC Radio 4, and has appeared across flagship broadcasts on Sky Sports Italia, Channel 4, and Apple TV. It is the kind of reach that speaks to how broadly her compositions have connected, not just with established classical audiences but with people encountering this style of music for the first time.

As one of the UK’s leading voices in contemporary classical and neoclassical composition, Julia has built a body of work that draws on tradition without being defined by it. British composers are too rarely represented at international award platforms of this scale, and her nomination in the Best New Age Song category puts her work in front of an audience and an industry that is paying close attention.

Julia begins 2026 with “Forever,” a composition for piano and live strings that continues the direction she has been building toward. It is a strong opening to what looks to be another important year in a career that is clearly gathering momentum.

Ervin Munir, ‘When I Think’

Ervin Munir - When I Think

A folk record arriving in February just feels right. The bleakness outside matches the mood, and you find yourself more willing to sit still and actually listen. When I Think caught me at exactly the right moment, and I think that timing coloured how deeply it landed.

This is Ervin Munir’s third album and it’s the one where everything starts to feel intentional rather than exploratory. There’s a confidence here that’s hard to fake. The Norfolk based songwriter has always had a knack for writing lyrics that feel like they came from somewhere real, and this record doubles down on that without becoming navel gazing.

“Lifeline” opens things up gently and sets the tone perfectly. It’s the kind of opener that doesn’t try to impress you, it just invites you in. From there the album moves at its own pace, and the best thing I can say about the sequencing is that it never feels like filler. Each track earns its place. “Rainfall Memories” is a particular highlight early on, the kind of song where the piano does most of the emotional heavy lifting and Munir wisely stays out of its way until the moment is right.

“I Don’t Care” surprised me most. I wasn’t expecting the rocky edge it brings, and it works precisely because the album has lulled you into a quieter headspace by that point. It’s a well placed jolt that shows just how much range Munir is working with here. “One Step Beyond” does something similar later on, shifting the mood just enough to keep you fully engaged rather than letting the record simply wash over you.

“Perfect Moment” and “Should’ve Known Better” sit comfortably at the heart of the record, doing exactly what their titles suggest. They’re warm, assured songs that give you room to breathe before “Voices” lifts things into a different gear entirely.

The title track sits at the centre of the album and also at the centre of something far more personal. When I Think is dedicated to Aeron Z Jones, Ervin’s producer and close friend who passed away recently. Knowing that before you listen changes the weight of the whole record, and the title track in particular. You can hear the grief in it without it ever being spelled out. The animated video that accompanies it is a thoughtful touch and adds another layer to what is already one of the more emotionally loaded moments on the album.

Aeron’s influence across Ervin’s previous work is something fans will know well, and his presence is felt throughout in the care and texture of the arrangements. The dedication feels earned rather than performative, and it gives the whole record a deeper emotional resonance that stays with you long after the final track.

“Live And Learn” closes things out with exactly the right energy. It doesn’t try to resolve everything, which is the correct call. Life doesn’t do that and neither should the album that’s been wrestling with it for the previous 40 odd minutes.

Cloud, The Interview Series.

Cloud

What inspired the concept of “In My Dream” and the contrast between dreams and reality?

The concept of “In My Dream” is to express the frustration of introverted energy exploding outward when it reaches its limit.

The contrast between dreams and reality stems from the fact that I had big dreams but was constantly frustrated.

How did working with Luis Gerardo Moreno and Alex DP shape the sound of this track?

Luis Gerardo Moreno plays an important role in this song. He plays guitar throughout the entire song, from the intro to the explosive section. My guitar is only in the explosive sections. His contribution is particularly to the melancholic sound in the quieter parts.

Alex DP also brought incredible power to this song. An average drummer wouldn’t have been able to make this song as powerful and captivating. I believe the power of his playing is comparable to that of Dave Grohl.

The song builds in intensity, how did you approach arranging the guitar across the three sections?

In fact, the guitar volume remained constant from beginning to end. I think the increasing intensity comes from the three of us naturally building tension and power as we approached the climax. It’s proof that we successfully reflected emotion and power in our performance.

You mentioned influences from Nirvana’s contrast between stillness and movement, how does that show up in this song?

This song isn’t just a Nirvana imitation. It’s a perfect blend of the beautiful melody often associated with hard rock and the explosive power of grunge. Both Luis and Alex understood my intentions and delivered an intense yet beautiful performance, which resulted in an incredibly wonderful song. Their performance stands out even compared to many other musicians and is truly worthy of praise.

What do you hope listeners feel or take away after hearing “In My Dream”?

I want to assure all listeners who have listened to this song that, like everyone else, big dreams come with big setbacks. However, big setbacks are never wasted, and by sublimating them into art, they can create incredible energy. Just like Nirvana of the past, music can embrace even setbacks and despair, and sometimes give rise to incredible power and movement. I hope to continue to create compelling music that will help listeners overcome the difficult and uncertain times we face together.

Photo Credit: Cloud.

I Musici Gemelli, The Interview Series.

I Musici Gemelli

What inspired you to transform the Gospel narrative into a musical journey for two violins?

This cycle of twelve pieces for two violins represents a meditative and spiritual journey through the main episodes of the life of Jesus Christ, from the Nativity to the Resurrection. The atypical formation (only two violins) evokes an intimate dimension, encouraging listening and reflection.

How did you approach capturing the intimate emotions and sacred moments of Christ’s life through instrumental music?

We approached this work by reviving the madrigal style of the ancients, where every musical element is designed to shape an experience that combines faith, art, and intellect. Instrumental music thus becomes a vehicle for intimate emotions and sacred moments, capable of spiritually suggesting what cannot be expressed in words. This is accompanied by strong graphic and musical symbolism: in the pages of the score, the melodic lines draw the cross, Mount Calvary, or the ascension, making visible what the music evokes internally. A further distinctive element is the cyclical structure of the work: every three pieces there is a canon, like a Trinitarian breath that marks the rhythm of the entire journey. It is a tribute to the great Bach tradition and the art of counterpoint, understood not only as a compositional technique, but as a form of meditation and spiritual order.

The album draws from centuries of sacred music tradition, which influences shaped the compositions most significantly?

The composition of the album has been significantly influenced by the great masters: Bach, Handel, Palestrina, etc. Alongside these historical roots, the album also features contemporary influences linked to the musical sensibility of our time. Modern languages, timbres, and modes of expression intertwine with tradition, creating a dialogue between past and present.

What were the biggest challenges of conveying such a profound story using only two violins?

Playing Jesus of Nazareth means immersing oneself in the narrative of the Gospel through the language of sound, seeking to bring out not only the melodic lines and counterpoints, but also the light, the tension, the breath of what is being told. From a technical point of view, it was delicate to reproduce certain sound effects on the violin and make each picture coherent from a timbral point of view. The fusion between the two instruments must be perfectly balanced to keep the harmony alive and bring out the emotional tension of each passage.

What do you hope listeners take away from “Jesus of Nazareth” on both a musical and spiritual level?

With this album, our goal is to reach people and artists by telling a story of love and hope. Because, after all, the essence of the Christian message is simple and powerful: “do not be afraid.”

Photo Credit: I Musici Gemelli.

Film Festival Recognition for Music Videos

Marsha Swanson

Marsha Swanson’s music videos are making the rounds at film festivals across the globe, proving that the marriage of music and visual storytelling can find audiences far beyond traditional music video platforms. Her video “Like an Angel” received an honorable mention at the New York Short Animation Festival, a recognition that places her work among some of the most creative animated content being produced today.

The New York Short Animation Festival has become a destination for animators and visual artists looking to push boundaries and experiment with form. An honorable mention at the festival signals that Swanson and her collaborators are doing something noteworthy with the medium. The video for “Like an Angel” uses animation to create a visual landscape that complements the song’s themes, offering viewers an experience that goes beyond simply watching a performance.

Earlier in the year, “In Touch” was screened as an official selection at the Portobello Film Festival’s 30th anniversary celebration in London. The Portobello Film Festival, which takes place in the vibrant Notting Hill neighborhood, has spent three decades championing independent filmmakers and artists who create outside the mainstream. Being selected for their milestone 30th anniversary programming put Swanson’s work in front of London audiences and festival programmers who appreciate boundary pushing creative work.

Most recently, “Generational Transmission” has been named an official selection at the New York Films Screening Festival. This marks the second festival selection for this particular video, which has clearly struck a chord with festival programmers. The video, created in collaboration with longtime visual partner Sam Chegini, showcases the innovative visual work that has become a hallmark of Swanson’s releases.

Chegini has worked with Swanson on multiple projects, developing a visual language that feels consistent across her body of work while still allowing each piece to have its own identity. The collaboration between musician and visual artist has created something that feels more like a true partnership than the typical director for hire relationship that characterizes many music videos. Each project builds on the last, with both artists pushing each other to try new approaches and techniques.

The festival recognition highlights how Swanson’s approach to combining music with compelling visuals is resonating with audiences and programmers worldwide. In an era where music videos often feel like afterthoughts or simple promotional tools, Swanson is treating the form as an opportunity to create something that stands on its own as a piece of art. The fact that film festivals, not just music video competitions, are recognizing her work suggests that she’s succeeding in that mission.

Julia Thomsen, ‘Wonderland’

Julia Thomsen

Julia Thomsen’s new single “Wonderland” is out now, and it’s just the kind of track you want around the festive season. From the first notes, it feels cinematic and magical, the sort of music that immediately pulls you in and doesn’t let go.

The strings rise and fall in a way that feels effortless, building tension and warmth without ever feeling forced. Listening to “Wonderland” is like wandering through a Christmas market at dusk—the lights twinkle, the air smells of pine and cinnamon, and everything just feels a little bit magical. That’s exactly the feeling Thomsen captures here.

The song manages to feel both grand and intimate at the same time. There’s real emotion behind it, a sense that it’s made to be enjoyed, savored, and returned to. It doesn’t try to impress with flashy production—it just does what it sets out to do beautifully. By the time it ends, it leaves you with a cozy, contented feeling, like stepping inside from the cold and wrapping up in something warm.

“Wonderland” is one of those rare festive songs that actually feels timeless. Big enough to make an impression, yet personal enough to feel like it’s just for you. It’s easy to imagine it becoming a seasonal favourite.

Cloud, ‘In My Dream’

Cloud

“In My Dream” builds in a way that keeps you guessing where it’s going next.

Cloud, the Japanese guitarist behind this track, has put together something that understands dynamics. It doesn’t blast you from the first second. Instead, it moves through three distinct sections, each one raising the stakes. By the time you hit that final section, the guitar work has gone from controlled to completely unleashed, and it feels like a natural progression rather than a calculated move.

What caught my attention was how the song plays with this idea of someone existing differently in your head than they do in real life. We’ve all been there. You build someone up in your thoughts, create this version of them that might not match reality at all. Cloud captures that disconnect without spelling it out too obviously. The lyrics shift between “in my dream” and “in my head,” and that simple distinction actually says a lot.

There’s a contrast here that reminds me of what made Nirvana’s quieter moments so effective. That push and pull between stillness and eruption. Luis Gerardo Moreno’s guitar work complements Cloud’s playing really well. They’re not stepping on each other. And Alex DP’s drumming knows when to hold back and when to drive everything forward. That kind of restraint is harder to pull off than just going full throttle the entire time.

The song touches on how dreams can lift you up or completely wreck you, sometimes both in the same night. Cloud doesn’t pick a side or wrap it up neatly. The track just sits in that uncomfortable middle space where most of us actually live.