Tag Archives: new single

LISTEN: On ‘Flowers (Party Version)’ Liv Greene Shows Us the Meaning of Self-Love

If your Valentine’s Day looked a little more like Singles Awareness Day this year, never fear. Liv Greene’s new Party Version of her song, “Flowers,” is here to give you the shot of self-love you need.

Tracked live-to-tape at Woodland Sound Studios during the sessions for Greene’s most recent album, Deep Feeler, the Party Version of “Flowers” was actually the first version cut for the record. That was before Greene and company re-imagined the song to fit the record’s more solemn tone.

“‘Flowers’ is one of the oldest songs on Deep Feeler, and was without a doubt the hardest to capture, requiring three tries in total. This outtake, ‘Flowers (Party Version)’ was our first attempt, and sort of my ode to country queens like Emmylou and Linda Ronstadt, with a Silver Threads-type intro and shuffly fiddle-heavy rhythm throughout,” Greene noted. “This original version, while undoubtedly the most fun to capture, never quite settled in with the rest of the record. The boisterous intro felt out of step and it slowly became clear there was a certain arc of grief and sadness to the song that felt under-emphasized as it stood.”

Described as “a vulnerable snapshot of hard-won self-acceptance,” Deep Feeler was produced by Greene alongside GRAMMY-Award winning engineer Matt Andrews (Gillian Welch & Dave Rawlings, Trisha Yearwood). Coming on the heels of the full-length record, “Flowers (Party Version)” gives us another snapshot into Greene’s creative process — and perhaps, a feeling of triumph over heartbreak and self-doubt.

“The last lines of ‘Flowers’ have always felt a little aspirational,” Greene said. “‘I am giving myself space, a little love, a little grace, I am buying myself flowers these days,’ so it only felt right to give this song the amount of time and space that it took to get it right, and to love on myself through it all, except maybe instead of flowers, it was studio time. Worth it.”

LISTEN: Katie Mal Gets Us ‘Caught Up’ in Our Feelings

Have you ever experienced a heartbreak so real, that even the smallest reminder prevents you from moving on?

Katie Mal crafted her new single, “Caught Up,” 3-4 years ago, as she was trying her hardest to recover from her first “real, hard breakup.” The raw honesty of the lyrics, paired well with a steady-driving garage rock soundscape, give us all the room we need to process our own pain — even if we’re the ones choosing to hold on to the memories.

“’Caught Up’ came from a really personal place—those moments when even the smallest things, like rain on a window or a box of their stuff, can keep you from moving on,” Katie said. “It was one of those times where writing helped me process what I was feeling.”

The Toronto-based songwriter started with the lyrics, later refining the melody and guitar parts to develop the finished product we’re enjoying today.

“I really wanted to release this song, because I love how the final product turned out,” she said. “It feels raw and real, and I hope people can connect with it.”

LISTEN: On ‘Drown in the Desert,’ Mary Jennings Helps Us Weather the Storm

Following life’s storms, we all have a choice: let go of the pain and find oneself, or stay stuck where we are.

Mary Jennings explores this theme of resilience — even through catastrophe — on her latest single, “Drown in the Desert.”

Building on the socio-political themes of Jennings’ previous single, “Take A Number,” “Drown in the Desert” was inspired by Jennings’ experiences at Burning Man in 2023, which became infamous for the rare, torrential desert rain that caused mass evacuations and many stranded individuals at the festival. The single begins with a calm, ethereal electropop sensibility — meant to mirror the desert landscape’s typical tranquility — before tension builds and washes down on us. Jennings found the desert storm to be an apt metaphor for life’s more challenging moments, when we find ourselves overwhelmed by emotions, circumstances, or both.

“Drown in the Desert” was co-produced by Ryan Youmans, and is the second single from Jennings’ forthcoming EP, set to arrive this summer. Immerse yourself in this one below!

LISTEN: Martyrs (UK) Release High-Powered ‘The View From A Memorial Bench’

At this point, 2025 is well underway. So, let’s take the training wheels off, and let’s rock!

Martyrs grace us with “The View From A Memorial Bench,” a turbo-powered alternative rock single inspired by a conversation the UK-based duo had with an older gentleman at Pegwell Bay, overlooking the sea in Kent, England. The tune touches on “grief, and the way memorials can hold so much meaning — both for those gone, and those left behind.”

“It’s about how we process loss by adhering to the mundane tasks of life, and how this can lead us to realizations and awakenings,” said Martyrs co-founder Michael Hall.

Those who have been following the band for a while might notice that “The View From A Memorial Bench” offers something different from the “fiercely independent” project, leaning on high-octane influences like Queens of the Stone Age and Faith No More.

“It is a huge departure for us, leaving synths and strings to one side and leaning into our formative loves of alternative rock and grunge,” Hall said.

LISTEN: After Love and Loss, Amanda Keeley Finds ‘Better Days’

Acceptance is a vital part of moving on at the end of a relationship. That means coming to terms with everything that relationship was or wasn’t, and everything that it did — or did not — have the potential to be.

Amanda Keeley hits us with that realization with her new single, “Better Days.” The resilient tune paints expired love through an objective lens — an important part of the recovery process.

“The words came to me at a time where I needed help processing the loss and letting go of a longtime relationship,” Keeley said. “I’m grateful for this song finding its way through me as it helped immensely with closure and moving forward from a place of love.”

Keeley’s smoky vocals call to mind the soulful delivery of contemporaries like Sara Bareilles and Brandi Carlile, while the spellbinding, rhythmic folk-rock instrumental of “Better Days” conjures shades of Fleetwood Mac. The song’s steadfast tempo marches us along, akin to the days and weeks which provide clarity following a breakup.

“As a songwriter, I interpret many life experiences through songs. In this case, I found myself with certain lines floating through my mind like, ‘thought we were more than this, let us go, let it die, all the flowers have dried and just dust in the wind,'” Keeley said. “It really felt like the perfect way to clearly communicate how I was feeling. The grief I was experiencing was pretty intense; the ‘flowers’ felt like a representation of the need for a funeral of sorts to really grieve this loss, and once the flowers ‘dried and just dust in the wind,’ this was me coming to terms with it being over and letting go.”

“Better Days” is part of Keeley’s forthcoming album, which will dive further into the topics of loving, losing, and learning to love again.

“(The album) will be a compilation of songs telling stories of love; finding ourselves, our place in this world, and the one’s we’re meant to be with,” Keeley said. Also, stories of loss; heartbreak, letting go, and finally healing.”

LISTEN: Evan Kreutz Watches Love Drift Away Like a ‘Dandelion’ in the Wind

Remember that time you were in love, and it just didn’t work out?

Evan Kreutz does, and he filters that nostalgia through a 2000s pop rock-tinted lens on his new single, “Dandelion.”

Those who find resonance with the emotive alt-rock stylings of bands like Guster and Fountains of Wayne will enjoy diving into this one. From the opening line, “she’s all out of patience,” we can feel a deep sense of longing and regret. With each somber chord, Kreutz wistfully comes to terms with the fact that the love he once held so dear — which provided him with so many beautiful moments and memories — is gone with the wind.

“Dandelion” was produced by Doug Grama and mixed by Ray Martell at Westfall Recording, with Griff McCarthy on drums. Get ready to get into your feelings with this one!

With “Body as a Vessel,” Alis Vibe Reframes Death as the Next Phase of Our Spiritual Journey

Modern society has come to view death as an absolute end; a tragic event met with grief and, in sudden cases, a seemingly futile search for closure.

Alis Vibe (IG | Spotify)– the intentional and international singer-songwriter from Milan, Italy – invites us to reframe death as the continuation of our spiritual journey with her new single, “Body as a Vessel” (out Nov. 8, 2024).

“‘Body as a Vessel’ is inspired by the transformative nature of life and death. This song embodies the uplifting message that our bodies are merely vessels for our spirit and soul,” Alis said. “While death is often viewed with sorrow, I wanted to create a narrative that celebrates it as a powerful transformation; a continuation of our essence, rather than an end.”

Written by Alis Vibe and produced by Dillon Pace, “Body as a Vessel” is heavily influenced by the electronic dance pop of Alis’ home continent. The empowering anthem invites us to release fear and judgment, as we come to understand that our finite physical existence represents a mere snapshot of our soul’s connection to the universe.

“Overall, the song captures a transformative journey toward self-acceptance, mindfulness, and the realization of one’s inherent worth,” Alis said.

“Body as a Vessel” also marks an important point in Alis’ musical journey, as she transitions toward the next phase of her artistry. The Nashville-based pop songstress is preparing to offer new music, fresh perspectives, and exciting live experiences throughout 2025.

“‘Body as a Vessel’ is not only a song that deals with the concept of death, but it’s the end of an era for me,” Alis said. “We’re working on the next chapter of my music journey.”

Mixing, mastering, and sound design performed by Simone “Unsaid” Saparacino.

LISTEN: On ‘Where Are You Now,’ Matthew Ryan Jacobs Captures Life’s Bittersweet Journey

Life doesn’t always wait until we’re ready to make changes.

Kitchener-Waterloo, Ontario-based songwriter Matthew Ryan Jacobs has experienced plenty of growth over the past few years, and he captures its essence on “Where Are You Now.” This bluesy waltz is passed through a gritty alt-rock filter, as Jacobs helps us reflect on the pivotal moments that comprise life’s bittersweet journey.

“’Where Are you Now’ is mostly about making changes in your life, whether you want to or not,” Jacobs said. “A lot of my writing over the last few years has had a lot to do with getting older or growth; and the struggle of leaving certain things or people in your past. It’s not intended to be a negative narrative, just honest. Even if you know you’re making the right — or at least, better — decision, you still second guess yourself along the way.”

“At least I do.”

Produced by Ben Kempel, Jacobs describes “Where Are You Now” as a song that “just kind of happened” — much like the reality that inspired its narrative.

“I didn’t overthink anything in the process. It felt right, so we went with it,” Jacobs said. “I had a pretty clear vision for the production, and Ben did a great job as usual making it happen.“

LISTEN: With ‘Questions I Can’t Ask,’ falllift Finds Closure

Sometimes, the only closure we’ll receive is that which we give ourselves.

North Carolina-based duo falllift explores the topic on their new single, “Questions I Can’t Ask.” The pair — songwriters Micah Cottingham and William Steven Hall — worked in tandem to craft the narrative, which addresses the words left unsaid after love has run its course.

‘”Questions I Can’t Ask’ is a song about closure where there was none,” they explained. “It’s about letting go and wishing someone peace, even when the same grace wasn’t given. This song is full of the things we would say to these people, the questions we would ask, if given the chance.

Listeners can expect a gorgeous, sweeping alt-folk arrangement; one whose impact hits us with a crescendo of both sound and emotion as the track progresses. Produced by Nick Bullock and mastered by GRAMMY Award-winner Kim Rosen, “Questions I Can’t Ask” features the talents of Clark Singleton (bass), Aaron Shafer-Haiss (drums), and Emanuel Wynter (violin).

“We chose Nick to produce the singles we’ve released this year, and we couldn’t be happier,” the duo said. “He took our ideas and transformed them into world-class tunes, while maintaining the artistic integrity we presented. Clark nailed the bass and Aaron added an effortless touch on the drums. Emanuel did what only he could do on the violin, and Kim taught us about mastering with her GRAMMY-winning touch.”

You may be hearing “Questions I Can’t Ask” around much more very soon. The song was picked up for sync placement on the long-running hit ABC series, Grey’s Anatomy.

Not only has falllift found success with this release — they’ve found great artistic and personal fulfillment.

“Although it can be difficult for some to address prior relationships, we felt it was important for us to give ourselves that space.”

LISTEN: David Tucker Has a Hard Time ‘Forgetting Her’

Missing somebody means missing all of them — even the little things that make us crazy.

David Tucker explores the difficulties of moving on with “Forgetting Her,” a spacious pop-country waltz that makes us consider whether walking away is really the right move…

“I’m tired of getting eight hours cause she isn’t keeping me up
I’m tired of not being late cause her hair don’t look good enough
I wish I could still see the face that she makes
When something I did isn’t going her way
If you’re ever thinking that loving her is too much for you to take
Try forgetting her.”

-David Tucker, “Forgetting Her”

Co-written alongside longtime collaborator Jake Saghi and seasoned Nashville artist Qvint, “Forgetting Her” has been making waves on the musical landscape. The single was exclusively premiered by PEOPLE Magazine last month — and, with its heartfelt subject matter and absolutely gorgeous vocal harmonies, it’s easy to understand why this one has gained traction — with listeners and media outlets alike!

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