Issues #17 Features

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

Issue #17

Lauren Ash – "F.A.F.O"

"F.A.F.O" is a fierce punk track from Lauren Ash scheduled for release in April 2026. Though she is better known as an actress, the song sees Ash make her full-on music debut with a punk-inspired effort targeting misogyny and contempt in the industry. While "F.A.F.O" is not the artist's first track, after the album "Call Me When You Get This," it marks a new direction in terms of tone and production style. Structurally, it uses stark punk elements in favor of more refined arrangements. Verses are kept under control, leading up to a chorus where everything bursts out in both volume and emotion. Ash is humorous in her defiant stance, never descending into melodrama. Her attitude isbalanced out by Robbie Brett and Cindë's work on the rest of the instrumental parts, including drums played by Zoe McMillan. This is a fierce statement of intent, and "F.A.F.O" showcases the artist's unique take on punk music.

---

Zachary Mason – "Sweetheart"

The track "Sweetheart" by Zachary Mason transitions from softness to heaviness in dynamic contrasts. A musician hailing from Guildford, England, Mason is currently developing his impressive portfolio of songs. This track seems to be an important step in terms of control and confidence; it begins with soft melodies and eventually leads to more rocking guitars. Mason writes about love in an uncensored and candid manner, revealing the complexities and contradictions inherent in romantic relationships. Though influenced by classics, such as Neil Young, Dylan, or Lennon, Mason's approach is more contemporary; the rhythm section does not overpower the music but provides a smooth flow to it. In terms of vocal delivery, Mason stays subtle, letting the instrumentation convey the emotion. The track's emotional peak is not immediate; instead, the musician chooses a more measured pace.

---

JESUS THE APOLLO – "HUSH HUSH! lucid dream edition"

"HUSH HUSH! lucid dream edition" is an experimental track by JESUS THE APOLLO, exploring mental and psychological processes using music. It starts off as a lullaby with distorted vocals and turns into a series of disorientating loops. Influenced by the principles of EMDR therapy, this track represents the process of memory processing, where fragments and loops become disintegrated. The vocal performance itself consists of monologues, character changes, and fragmented singing; the lyrics are difficult to make out due to the track's structure and the nature of vocal improvisation. Stylistically, it combines elements of alternative hip-hop, experimental pop, and cinematic sound design, as JESUS THE APOLLO describes it. The track was recorded with improvisational energy and maintains its rawness and disorientation, leaving listeners disoriented and engaged at once.

---

Mister Bith – “Let It Burn”

“Let It Burn” by Mister Bith feels like the kind of rock song that hits hardest when your speakers are a little too loud and the room is too hot. It moves fast, but it never loses control. The guitars push forward with that thick stoner rock weight, the drums stay sharp and restless, and the chorus lands with the kind of hook that sticks around long after the track ends. Some songs ask for your attention. This one grabs your collar in the first minute. What stands out right away is the mix. A lot of modern rock tracks get buried under muddy distortion or overcompressed production that kills the energy. “Let It Burn” avoids that problem completely. Every instrument has space to breathe without losing the raw force behind the performance. The guitars sound huge without swallowing the vocals. The bass carries real weight underneath everything. The drums crack through the middle of the song with real punch instead of sounding flat and digital. 

---

Bellew – "Midnight Fire"

Bellew's "Midnight Fire" combines dance nostalgia with contemporary production that focuses on atmosphere rather than quick impacts. Created in a home studio, with the additional vocals being recorded overseas, this track carries a geographical layer that adds to its appeal. With the influence of early EDM and trance in melodic lines, the track follows a slow build-up and increases its energy gradually, adding elements rather than resorting to drop-style tricks. The key element here is harmonic motion, creating a sense of circularity, where new thoughts appear and progress without repetition. Bellew, whose background in vocal harmonics is visible in all aspects of the track, manages to create something coherent even while making use of layers and fragmentation.

---

Matt Johnson – "Mother's Day Proverb"

A twelve-minute track by Matt Johnson entitled "Mother's Day Proverb" is an improvisational piano and spoken word piece based on Proverbs 31. Using this ancient passage for his composition and improvising around it instead of simply reading the passage, Matt Johnson creates a complex piece combining a pianist's and jazz player's style. His background in classical music, combined with some jazz influence, brings to mind Keith Jarrett and Bill Evans' performances; his vocal part acts as a secondary voice in the performance. George Winston's style is also reflected in Johnson's improvisation. Unlike most modern tracks, "Mother's Day Proverb" is not meant for streaming services because of its length; it is an experience that requires full engagement.

Quinn Waldron — "Not Gone"

Not Gone" by Quinn Waldron is an emotional ballad that conveys the feelings of the artist when he or she feels some kind of emotional connection even when physically separated. At nineteen, Quinn Waldron has chosen subtlety over expressive performance. In this track, he or she uses only vocals as well as some background instruments to support the story and lyrics. The song tells the story of those kinds of relationships that have changed, but not ended; people feel connected in spite of distance, although the track does not feature a clear climax, but a series of small revelations. The influences of indie-pop artists are also noticeable; however, the sound remains subtle enough. The production is clean, and the listener may feel some intimacy. The theme of isolation, which had been discussed in previous works, is replaced with accepting and understanding life's unpredictability.

---

Arn-Identified Flying Objects and Alien Friends  — "Bells of Silver"

From the opening acoustic guitar, the song moves with the patience of someone sorting through old photographs at midnight. There is no rush toward a chorus designed to grab attention in thirty seconds. Instead, the arrangement unfolds carefully, almost conversationally. Andreas Quincy Dahlbäck’s drumming keeps everything grounded without pushing too hard, while David Myhr’s harmonies drift through the mix with unmistakable echoes of late sixties California pop. Not the shiny tourist version of it either. This feels closer to the emotional pull of Pet Sounds, where harmony itself becomes part of the storytelling.


---

Ron Morven — "Paper Sun"

"PAPER SUN" by Ron Morven belongs to the genre of melodic house and features the "transatlantic narrative house," according to the author's classification. In other words, it combines elements of European melodic music with the structure and composition of modern electronic music. The track features such elements of production as layers of warm synth and percussion, allowing the listener to feel a sense of movement and space. The song reflects influences from such artists as Lane 8 or RÜFÜS DU SOL who manage to find a balance between atmosphere and rhythm. This track can be considered both a dance floor hit and a great song for listening in solitude.

---

Peningo Riders — "Pawn Shop Guitar"

"Pawn Shop Guitar" by Peningo Riders is a track created in the style of southern rock. Being a studio recording, it is distinguished by the emphasis on live performance energy and the traditional storytelling method of this musical direction. In this track, the authors try to emphasize the importance of musical instruments, which become symbols of memory and past. For this reason, the song structure takes place slowly during almost six minutes of playback. It includes numerous riffs and vocal melodies, which develop and grow over time. The main influences come from southern rock, outlaw country, and Americana as well as such performers as The Band and the first albums of Skynyrd. The sound of this song remains authentic because it has not been overproduced.

---

Lurcher — "Punchline Blues"

"Punchline Blues" demonstrates the evolution of this band towards more precise and refined sound compared to previous tracks. Despite being created in a similar way as the previous tracks of Lurcher in Newcastle pubs, it has improved in terms of structure. It includes more sharp guitar playing and more refined dynamics of rhythm. The band tries to explore their ability to restrain, making pauses to allow the listeners to understand the meaning of the song and its humor better. Such production and lyrics can be associated with the traditions of British post-punk as well as some other UK musical directions. In this way, Lurcher has improved, although they did not change the style.

---

Ava Fyre — "Every Single Part Of It"

"Every Single Part Of It" by Ava Fyre is a melodic electronic song that should make the listeners feel the atmosphere at a festival event. It includes the elements of production that create an atmosphere and gradually introduce the listeners to the rhythmic structure. Moreover, the song uses a balanced combination of instruments, including bright basses. It also includes the use of vocal performance. Although the melody becomes brighter, the production remains smooth and elegant. It allows the track to include all necessary elements that can evoke positive emotions and convey the story to the audience.