Issue #14 Features

The following features are now included in our online magazine which is also available in print.

Issue #14

A Quiet Goodbye to the Silver Tongued Devil

Kris Kristofferson may be mentioned in these songs, but he can be felt in every pause and every word. Peter Renwood’s “Goodbye Kris” may not be polished but aims to be more human. The song structure is bare and simple: acoustic guitar, harmonica, and the slow pull of John Heinrich’s pedal steel guitar. Joe Romero’s vocals are lived-in rather than performed and carry the song’s weight without overdoing it.

The thing that stands out here is the patience. The song takes its time and lets the space between notes carry just as much weight as the notes themselves. Peter Renwood’s harmonica playing seems to bring everything together. This isn’t an attempt to recreate outlaw country; it’s an attempt to grasp what made it so important in the first place.

The song feels less like a tribute performance and more like a quiet conversation. It’s honest, reflective, and never forced and gets to the heart of Kris Kristofferson.

Late Night Drift: Lee Switzer-Woolf Sits in the Silence

Lee Switzer-Woolf is back with a track that seems to hover between thought and sleep. “I Might Be An Alien” drifts by slowly on electronic haze and a general air of distance that never seems to be resolved. Based out of Reading, he seems to explore more of an introspective side and examines the ways in which routine can erase one’s sense of self.

There are obvious tonal similarities to Radiohead, especially in the use of space as a tool rather than the absence of sound. The production is sparse. It doesn’t fill the space. It allows for uncertainty. It allows each piece to be. The vocal is distant and aware, like the person is observing their life from a step removed. The reason the piece works is its restraint. It never builds to a peak, never forces resolution. It stays in that middle ground, where all the real emotion resides. It is not immediate, but it lingers. It is the type of piece that finds its place late at night, when everything is slightly off and hard to define. One Instrument, Full Weight: Reimagining “For Good” Matt Johnson takes “For Good” from Wicked and works within the knowledge of what to omit. The original, by Stephen Schwartz, works on the interplay of the vocal and orchestral elements. In Johnson's version, the vocal is absent, and there is only the piano. The difference is stark. The melody now carries the full emotional weight. Johnson plays with control and sensitivity. The phrases emerge naturally. The dynamics seem fluid, moving and shifting like the emotional content. The absence of the orchestral arrangement allows the structure to be seen, and it works. It becomes more introspective, less about the dialogue and more about the reflection. It feels closer, almost intimate, like the listener has been invited into the space, not just observing from the outside.

This interpretation does not attempt to redefine the song. It merely reframes the work, proving the depth that was already there.

Luxury, Loops, and Lies: ALEN HIT Rewrites His Role

In “#1 Problem,” ALEN HIT works with the ambiguity of the form by combining luxury and loops. The video, set in Dubai, utilizes luxury within the framework of the narrative. Money, documents, and power all contribute to the narrative, which never fully reveals its meaning. The looping effect, however, brings the video full circle, connecting the beginning and the end. This is representative of the emotional state, where attraction and danger blend together and the viewer is not sure what is reality and what is performance. The song maintains a clean sound, allowing the concept to be the true focus. The choreography further contributes to the narrative, playing on the concept of control and suggestion. It is a departure from the traditional romantic imagery and enters into a more complex and ambiguous state.

It’s a feeling of a turning point. Not so much about clarity, more so about interpretation. This is what will allow this to last beyond one listen.

Midlife, No Filter: Julia Sound Pushes Forward

With midlife, Julia Sound constructs a sense of midlife reflection without losing the sense of urgency within their music. Based out of Vancouver, Julia Sound combines elements of synth, rhythm, and detail within their music.

There’s a sense of urgency within their tracks. There’s a sense of awareness with regards to the direction of the world. However, this never gets overdone. Rather, it remains beneath the surface of their music. This is done through their tone and rhythm.

There’s also a sense of upliftment within their music. This is something that differs from their previous works. The rhythm and beat propel forward. This allows for a sense of movement within their music.

The most notable thing with Julia Sound is their sense of continuity. This isn’t about reinvention; this is about refinement. This is a reminder that creativity does not die; rather, it changes and gets better with age.

More Than a Rescue: Deptford Sound Collective Gets Personal

Deptford Sound Collective gets personal with a track that deals with love, loss, and the emotional impact of losing a pet. As a collective based in Deptford, the song explores the concept of rescue as more than one-sided. Sometimes, it goes beyond itself, offering solace beyond explanation.

The song is low-key, avoiding sentimentality while still being emotionally rich. The composition itself complements the concept, allowing room for contemplation without being overwhelming. It feels authentic, genuine, and personal.

Deptford Sound Collective is known for its more social-oriented concepts, but here, they get personal. The message is low-key but no less impactful. It shows the power of small, personal moments being just as important as more social concepts.

Rewriting the Groove: Salatiel Finds a New Pulse

Salatiel reworks “Weekend” by infusing it with Amapiano rhythms. The song retains its familiar melody but gets a new pulse with the addition of log drums and basslines.

The remix does not replace the original. Rather, it repositions it. This way, the song finds a new rhythmic setting that is contemporary while still maintaining its unique identity.

This strategy speaks to Salatiel’s ability to transform a song while avoiding losing what initially made it connect with an audience.

Between Myth and Reality: The Catchmen Return

The Catchmen seek to bridge the divide between national identity and reality with their song “England.” This song, rooted in their hometown of Stockport, shifts between idealism and modern-day tension.

The references to people like Shakespeare and Zephaniah expand the scope of a nation to include diversity and tradition.

The music also reflects this tension between idealism and reality. It does not provide a solution to this tension. Rather, it reflects it.