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Jonah Connock enters the recorded music landscape with I Kept Your Secret, Saoirse, a debut album that prioritises intimacy and tonal cohesion over structural experimentation. The UK-based artist presents a collection of eight songs built around acoustic foundations, soft vocal delivery and a deliberately restrained production style. Across the album, lyrical focus remains consistent, with recurring themes of emotional memory, personal reflection and resilience. Tracks such as “Fly Away” and “Clandestine” demonstrate a preference for mood-driven songwriting, where lyrical phrasing and melodic repetition establish atmosphere rather than narrative progression. This approach aligns the release with a modern strain of introspective folk that values emotional immediacy. From a production standpoint, the album maintains a low-dynamics aesthetic, with minimal instrumental layering and an emphasis on natural acoustic resonance. The lack of pronounced peaks or stylistic shifts creates a unified sonic environment, though it occasionally limits contrast between individual tracks. The consistency of tone, however, reinforces the album’s reflective intent. In the context of emerging UK singer-songwriters, I Kept Your Secret, Saoirse functions as a clear introductory statement. It establishes Connock’s core artistic tendencies, restraint, lyrical focus and atmospheric cohesion, while leaving ample room for future expansion. The album reads less as a definitive artistic arrival and more as a carefully observed first chapter in a developing catalogue. Connect with Jonah Connock: Spotify, Instagram, YouTube, Website

There are collaborations that feel engineered for cohesion, and others that feel like two distinct artistic worlds colliding in productive friction. “Stoned,” the new single from NMDA and Isabelle Rose, belongs firmly in the latter category. It doesn’t smooth out its contradictions; it builds its identity from them, fusing electronic experimentation with deeply rooted soul traditions. NMDA’s evolution as a producer is key to understanding the track’s structure. Emerging from a background in punk and jam-fusion performance before moving into self-taught electronic production, he carries a musician’s instinct for dynamics and improvisation into digital space. That background is audible in the way “Stoned” unfolds, refusing rigid structure in favor of gradual emotional escalation. The production palette is expansive but controlled. Elements of downtempo, funk, ambient, and electro-acoustic composition are layered without overwhelming the core emotional thread. Rather than aiming for club functionality or background atmosphere, the track situates itself in a cinematic middle ground where rhythm and texture serve narrative progression. Isabelle Rose’s vocal performance anchors the entire composition. Her voice moves with a dual sense of discipline and abandon, shaped by formal training yet charged with raw emotional volatility. At moments she sounds almost conversational, pulling the listener close, before expanding into full-bodied, gospel-inflected intensity that reshapes the track’s emotional horizon. What distinguishes “Stoned” from many genre-blending releases is its thematic commitment. The song engages directly with difficult subject matter; trauma, abuse, cyclical harm, and accountability without reducing these ideas to metaphor or abstraction. Instead, it frames them as lived psychological realities, shifting perspective between survivor experience and broader systemic patterns of damage. That conceptual weight is matched by the arrangement’s restraint. Rather than overwhelming the listener with constant sonic density, NMDA uses space as a compositional tool. Silence, decay, and negative space become as important as melodic elements, allowing emotional moments to land with greater force. Matt Spencer’s percussion work provides a subtle but persistent grounding presence throughout. By the time “Stoned” reaches its final stretch, it has fully established itself as more than a collaboratio, it becomes a shared artistic statement about confronting uncomfortable truths through sound. NMDA and Isabelle Rose don’t offer resolution or comfort, but they do offer clarity in intention: a willingness to explore emotional complexity without dilution. The result is a track that lingers not because it resolves, but because it refuses to. Isabelle Rose: Spotify, Instagram, TikTok | NMDA: Spotify, Instagram, Apple Music

There’s an immediacy to the feeling behind “Slowburn” despite the song’s deliberately restrained pacing. On the latest single from Gab Gordon, emotional tension simmers beneath dreamy production, creating a track that feels intimate, cinematic, and deeply human all at once. Taken from her EP The Pretty Bazaar, “Slowburn” explores the uneasy beauty of connection evolving into vulnerability. Gordon resists obvious emotional climaxes, instead allowing the song’s atmosphere to carry its weight. Slowly layered synths and nostalgic pop percussion create a warm sense of movement without ever overwhelming the track’s emotional core. The production feels especially refined in its restraint. Inspired by romantic 80s textures and contemporary indie pop minimalism, Gordon crafts a soundscape that feels immersive yet featherlight. The arrangement unfolds patiently, rewarding close listening as harmonies and subtle sonic details gradually emerge. Vocally, Gordon delivers one of the song’s strongest elements. Her soft, airy performance perfectly complements the track’s themes of longing and uncertainty, capturing emotions that often exist more comfortably in silence than direct expression. There are moments that recall Weyes Blood in tone and emotional atmosphere, though Gordon’s approach remains distinctly personal. That individuality becomes even more impressive considering Gordon handled every aspect of the release herself, from writing and production to mixing and mastering. “Slowburn” feels fully realized in both sound and emotion, marking Gab Gordon as an artist capable of turning subtle feeling into something quietly unforgettable. Instagram, Website, Spotify | PR: Decent Music PR

Some records arrive at exactly the right moment, perfectly soundtracking life’s strange periods of uncertainty. Dayfiction’s Divine Intermission is one of those records; a tense, cathartic, and beautifully restless EP that captures the disorienting feeling of being stuck between what was and whatever comes next. It’s their most complete and affecting release to date. The Virginia five-piece have been steadily making noise since their formation in 2024, quickly evolving beyond their garage-rock beginnings into something sharper and far more emotionally resonant. After a breakthrough year that included Diplomat and support slots for everyone from Bass Drum of Death to Native Sun, they’ve returned sounding fully locked into their vision. At the heart of Divine Intermission is Evan Solomon’s songwriting, which reflects a period of creative discipline born from emotional uncertainty. Rather than waiting for inspiration, Solomon committed to writing daily, and that consistency shows. These songs feel intentional and deeply considered, confronting repetition, isolation, and change with lyrical precision and unflinching honesty. The band match that emotional weight with a sound that feels both immediate and immersive. Twin guitars crash and shimmer in equal measure, the rhythm section driving everything with urgency while allowing enough breathing room for atmosphere to build. It recalls the emotional heft of The Cure and Fontaines D.C., but there’s also something rawer and more intimate at play. What makes Divine Intermission so compelling is its refusal to offer easy resolution. It sits with discomfort, finds beauty inside instability, and lets its tension remain unresolved. In doing so, Dayfiction have made a record that feels startlingly honest, and announced themselves as one of post-punk’s most promising new voices in the process. Instagram, TikTok, Spotify | PR: Decent Music PR

“The Emperor’s New Clothes” arrives as both a compelling single and a statement of intent from Gianni Ferraro, an artist whose creative instincts have been shaped by decades spent in close proximity to the heartbeat of Toronto’s live music scene. Launching a monthly release schedule accompanied by visual storytelling is an ambitious undertaking, but Ferraro approaches it with the assurance of someone who understands that artistic identity is built gradually, through consistency and evolution rather than spectacle alone. The song captures a persuasive blend of indie-rock urgency and pop craftsmanship. Ferraro’s songwriting demonstrates a keen appreciation for melody while preserving enough rough edges to maintain emotional weight. There are echoes of contemporary alternative influences throughout, yet the track avoids feeling derivative thanks to its understated confidence and carefully balanced production. Every element serves the song’s emotional centre, creating a listening experience that is both immediate and quietly resonant. Perhaps most impressive is the sense of momentum surrounding the project. Ferraro’s history with the band Ferraro, combined with years of performing across Canada, has clearly informed his understanding of audience engagement and musical storytelling. “The Emperor’s New Clothes” succeeds as an introduction because it leaves questions unanswered in the best possible way; not incomplete, but intriguing enough to encourage listeners to return for the next chapter. In an era dominated by fleeting releases, Ferraro is making a persuasive case for patience, continuity, and artistic world-building. Instagram, TikTok, Spotify | PR: Decent Music PR

The Songs of Butler & Cupples continue their impressive run of releases with ‘Frequency’, a vibrant new single that further reinforces the project's commitment to putting songwriting at the forefront. Following the momentum generated by their first two releases of 2026, the duo once again demonstrate their ability to craft compelling music unconstrained by genre boundaries, commercial expectations, or conventional band structures. Created as a songwriting-led platform, The Songs of Butler & Cupples emerged from a desire to shift attention back to composition in an era where image and perception can often overshadow musical substance. Led by two seasoned industry songwriters, the project thrives on collaboration and creative freedom, allowing each song to dictate its own direction. With ‘Frequency’, that philosophy takes the duo into jazz-infused R&B and alternative pop territory, adding another intriguing chapter to their growing catalogue. Lyrically and conceptually, the single explores the unpredictable highs and lows of human connection within nightlife culture. Centred around the idea of finding yourself on the same emotional wavelength as those around you, ‘Frequency’ captures both the exhilaration and unease that can emerge when those connections either align perfectly or fall apart. The result is a track that feels equally euphoric and unsettling, echoing the dreamlike tension of a late-night cinematic experience. Musically, ‘Frequency’ thrives on contrasts. Warm, expressive vocals and memorable melodies sit alongside inventive production that feels both organic and futuristic. There is a palpable sense of spontaneity throughout the arrangement, with the energy of a live performance woven seamlessly into a polished contemporary framework. The balance between accessibility and experimentation gives the track a unique identity that rewards repeated listens. As The Songs of Butler & Cupples continue to evolve, their refusal to be confined by stylistic expectations remains one of their greatest strengths. ‘Frequency’ is another confident step forward, showcasing a project that prioritises creativity, emotional resonance, and strong songwriting above all else. In doing so, the duo continue to carve out a distinctive space within today's increasingly crowded musical landscape.

London’s summer events calendar will gain a fresh and meaningful addition this year with the arrival of East & Southeast Asian Pride UK. Hosted at Electrowerkz on 24 July 2026, the inaugural gathering will bring together members of the East and Southeast Asian LGBTQIA+ community alongside friends, family and allies for an evening dedicated to culture, creativity and connection. The event begins with a community market fair from 7pm, offering attendees the opportunity to meet charities, organisations and independent vendors working within East and Southeast Asian communities. Designed to encourage conversation and networking, the opening hours will provide a welcoming environment before the evening’s performances begin. At 9pm, the spotlight shifts to the main stage, where an eclectic programme of entertainment will showcase some of the most exciting queer East and Southeast Asian talent working across multiple disciplines. From live music and dance to drag, cabaret and burlesque, the performances are intended to celebrate both artistic excellence and cultural identity. The event is being presented by Carlos Gu, The Bitten Peach and Kakilang, three names united by a shared commitment to increasing visibility and opportunities for East and Southeast Asian creatives. Together, they hope to establish a landmark annual event that reflects the richness and diversity of queer Asian experiences in Britain. As midnight approaches, the focus turns from stage performances to the dancefloor. DJs will take over two rooms and keep the energy flowing until 3am, ensuring the evening ends on a high note. For attendees, East & Southeast Asian Pride UK offers a unique combination of community, culture and nightlife unlike anything currently on the UK Pride calendar. TICKETS: https://www.outsavvy.com/event/36425/asian-pride-uk-2026#anchor

Across Jazmine White's journey, music has never been separate from memory, grief, and lived experience. From early recordings made with her grandfather—who worked at a radio station and first introduced them to the process of capturing sound—to fulfilling a long-held promise of completing an album in his honor, her path into music has been shaped by both personal history and a deep sense of continuity. That sense of intention carries through into her debut album Innocence of Youth, created in close collaboration with Jacob Ehrlich and developed across unconventional creative spaces, including a remote cabin in Idaho where much of the project came to life. Since relocating to Los Angeles, she has continued to refine her sound through recording sessions and live performances, building a growing artistic identity rooted in storytelling and emotional honesty. In this conversation with MeloDrift, she reflects on her musical beginnings, the experiences that shaped her songwriting, and the personal meaning behind standout track “Zion Hotel,” while looking ahead to the evolving direction of her music and career. Welcome to MeloDrift. Can you tell us a little bit about your musical background? Hi, thanks for having me! I’ve been singing for as long as I can remember. As a kid my grandpa was my biggest inspiration within music, he worked at a radio station and we would record little songs on his recording setup at home and sing at church together. In 2014 he was diagnosed with stage 4 pancreatic cancer and ended up passing away, but I made a promise to myself that I would continue his legacy and record an album in his honor one day. At the time I had no music connections (I was 12), but I’m grateful to be able to say I was able to actually fulfill this promise. I also used his last name as my artist last name to carry on his name. In 2023 I met a songwriter and producer that changed my life at a creative retreat and after 3 days of knowing each other we decided to move in together in a cabin in rural Idaho for 2 months to work on recording my entire album “Innocence of Youth” which released in March 2025. Since then, I’ve moved to LA to further pursue music and have been recording and playing live gigs out here for the past 2 years! If your life had a theme song, what would it be? This is such a good question but a very difficult one to answer! It really depends on the day. A song I’ve really been liking right now that embraces my hopeless romantic side would be “Truth of Pursuit” by Sarah Kinsley. My overall all-time favorite song would be “Close your Eyes” by The Backseat Lovers, which relates to growing up and learning more about yourself through that process. Who or what have been the most impactful influences on your musical style and sound? For my first album I was very inspired by Bon Iver, because I also recorded my album in a remote cabin in the woods like he did. Other artists that helped to shape my sound and style were Lizzy McAlpine and Noah Kahan. Recently I’ve been really inspired by Sydney Ross Mitchell and Goldie Boutillier How do your life experiences shape your songwriting, and what emotions or ideas do you hope listeners connect with in your music? Everything I write about comes from a personal experience in my own life, which can be kind of scary to share sometimes. But I also hope that someone else can connect with the emotions I sing about in some way and relate it to their own lives. I want listening to my music to feel like a safe space to feel any and every emotion. I really hope my songs give people the courage to move forward while still holding on to the things that have shaped them. Each phase of music-making—writing, recording, rehearsing, and performing—has its own unique rewards. Could you share a memorable moment from each stage? I always think it’s really cool when a song just flows out of me so naturally and I’m able to say everything I can’t necessarily put into words all of the time. That’s one of the coolest things about songwriting, and being able to offer people a perspective that provides a window into another way of thinking or feeling. For recording, I’ve been enjoying recording with my producer Jacob Ehrlich with my past album and present projects. Some of my favorite memories working with him are recording in the cabin in Idaho together, it was just such a special place where we were fully immersed in nature and finding our sound. For rehearsing, this story also kind of goes with the performing aspect for me. It’s been really fun getting to collaborate with other artists and musicians and bring songs to life live for people. LA is a really fun place to network and meet new people; for this last gig I had I met my bassist at a karaoke bar and now we’re friends and want to continue to play together! I love collaborating and working with other people and I hope I get to do more of that. For performing, it’s been fun getting to play different venues and reaching different audiences. One of the most memorable shows I’ve had was my album release show last year at The Woodbridge, and some of my friends flew out and surprised me which was really special and meant a lot to me. It was also my first time playing my songs with a full band which was just really cool hearing them all come to life. Is there a song of yours that holds particular personal significance? We’d love to know more about the story or the inspiration behind it. Definitely Zion Hotel. That track means so much to me; it’s the first song we finished for my album “Innocence of Youth”. It’s about new chapters closing and opening and learning to let someone go even if you’re not really ready to. There’s this sense of wanting to move forward but also holding space for the past or a particular person. Probably the most hopeless romantic gesture I’ve ever done was send a postcard with no return address to this person the song is about- I was trying to find closure to the relationship for myself, but also simultaneously trying to give one last shot at connection. One of the hardest things for me to learn is the phrase “if you love someone let them go” and if it’s meant for you it will come back to you. So this song definitely goes through the internal conflict I felt about that, and I wrote it with a friend in Zion National Park right after dropping off the postcard at a random post office during my road trip. But so many good things came from that experience; I ended up meeting really great people to work on that album with me, and eventually moving to LA. I always come back to this song when I want to center again around what I want to be as an artist. If you could swap lives with any musician for a day, who would it be and what would you do? I would love to go back in time and swap lives with Stevie Nicks during her performances with Fleetwood Mac, specifically singing the iconic “Silver Springs” What’s a guilty pleasure song you secretly love but might surprise your fans? I’m not sure if this would necessarily surprise people, but I love Taylor Swift’s older albums like “Speak Now”, “Fearless”, etc. She was the first artist I was really drawn to as a kid and made me want to be a singer Looking ahead, what are some goals or dreams you have for your music and career? I want to travel EVERYWHERE and I think the coolest way to be able to do that would be being able to go on tour and getting to play at different venues and getting to experience new places and meet lots of different people. I also want to continue to develop my sound and create a body of work that people want to listen to over and over again. I feel like I have direction with music, but am really open to any opportunity that comes my way with it, and the opportunities feel promising so far. Finally, is there anything else you'd like to share with our readers before we close? I just released a single called “€3.19” on May 15, which is the first song I’ve released since my album last year and I’m excited to be working on some new projects! I would love if you gave it a listen!

Julian Hacquebard has spent years building immersive worlds through music, whether with his long-running band Send Medicine or, more recently, through his writing. Now, under the moniker Pyrenees Love Triangle, he’s unveiling Babylon—a six-track debut EP that blends psychedelic rock, alternative dance, sophisti-pop, and electronica into something both nostalgic and forward-looking. Packed with hypnotic grooves, dreamlike narratives, and sharp observations about contemporary life, Babylon captures the tension between escapism and excess, movement and introspection. We spoke with Hacquebard about the evolution of the project, balancing rhythm with lyrical depth, and the influences that shaped one of the year’s most intriguing genre-defying releases. Welcome to MeloDrift. Can you tell us a little bit about your musical background? I grew up playing the drums. My father was sort of a drummer for a while. Then I started taking guitar lessons around 9 or so from a Spaniard who as you might imagine was well versed in the classical persuasion. I just wanted him to teach me power chords to rudimentary pop rock songs that were popular in the late 90s and early aughts. He rolled his eyes and acquiesced, but I picked up some good finger picking skills from him along the way. Started playing in bands in high school. Everything from Punk to Post Rock. Started the Psych Rock outfit Send Medicine in my early 20s which still exists to this day. The experiences of the latter could and will someday fill a book. Scooped up the basic particulars of the piano at 30 at Pasadena City College as an elective. Have been exploring the back alleys of many obscure music genres and artists for as long as I can remember. If your life had a theme song, what would it be? Mele Kalikimaka by Bing Crosby Who or what have been the most impactful influences on your musical style and sound? It changes regularly, but there have been some standouts that never leave the table - The Clash. The Velvet Underground, Bowie, Miles Davis… How do your life experiences shape your songwriting, and what emotions or ideas do you hope listeners connect with in your music? Life experiences play a HUGE part in shaping the songwriting, but more often than not, the lyrics are driving the bus and they come out masked and anonymous. Sometimes it will be months later where I’ll discover the agenda they are trying to unearth. I hope listeners find little nods throughout the material that feel like an invitation. Each phase of music-making—writing, recording, rehearsing, and performing—has its own unique rewards. Could you share a memorable moment from each stage? Writing can have an alchemical air about it, which sounds pretentious AF but its 100% true. Recording can take on an air of invoking spirits. Rehearsing can be full of massive left turn surprises which can frequently elevate a song. And performance is where you can be liberated away from the boredom of the mundane and get away with being an unbridled freak if you want to. Is there a song of yours that holds particular personal significance? We’d love to know more about the story or the inspiration behind it. “Boulevard St-Laurent” is technically a street in Montreal which I’m sure I visited in my early twenties but cant remember it specifically. Montreal as a whole does live in a somewhat mystical place in my head, because there was a time where other musicians would come back from there (to Toronto) and speak like it was the new holy land of the music scene. I experienced this vicariously through other people. Flashes of these memories went into slices of this song, but like a lot of songs I write, this memory might only hold significance for a moment, or a phrase, and then it might fold into another direction of a threaded tissue, where it gets hijacked into another plane of existence. That didn’t really answer the question so much… If you could swap lives with any musician for a day, who would it be and what would you do? Bowie. Return to the mothership. What’s a guilty pleasure song you secretly love but might surprise your fans? “Never give up on the good times” by The Spice Girls Looking ahead, what are some goals or dreams you have for your music and career? I’d love to take the live project to all the continents and record along the way, all the while, making a little guap - that sounds pretty alright to me. INSTAGRAM, APPLE MUSIC, SOUNDCLOUD | PR: Decent Music PR

There is something quietly magnetic about Slowdive, the new single from Tibo Step. Drawing listeners into a world of nocturnal reflection and emotional vulnerability, the track captures the feeling of wandering through a sleeping city while searching for connection. Released through Bagheera Records, it demonstrates a remarkable ability to transform deeply personal emotions into something cinematic and expansive. The song's atmosphere is exceptional from start to finish. Layers of modulated guitar tones drift through the mix alongside vintage synth textures, creating a dreamlike quality that feels both nostalgic and contemporary. Rather than relying on obvious hooks, Slowdive pulls listeners in through mood and detail, rewarding close attention with an abundance of subtle sonic discoveries. The production feels organic and immersive, reflecting a clear commitment to craftsmanship. What makes the track especially compelling is its emotional authenticity. Tibo Step explores themes of isolation, longing, and self-reconnection with refreshing sincerity. The song reflects on those moments when life appears full on the surface yet feels strangely empty underneath. Instead of offering easy answers, Slowdive embraces uncertainty, finding beauty in vulnerability and strength in stillness. Tibo Step's musical pedigree is evident throughout the release. His training at Guildhall and JazzCampus Basel has clearly informed his sophisticated approach to arrangement and texture, while his extensive collaborations across London's creative community continue to shape his evolving sound. Yet despite this impressive background, the music never feels academic; it remains deeply human and emotionally immediate. As his profile continues to rise through notable collaborations, playlist support, and growing industry recognition, Slowdive arrives as another significant step forward in Tibo Step's artistic journey. Thoughtfully produced and emotionally rich, it is a track that lingers long after it ends, leaving listeners eager to hear where his creative path leads next.

Welcome to MeloDrift. Can you tell us a little bit about your musical background? I’ve always had a strong love for music. I wrote my first song at 7 years old after watching an episode of American Idol. I saw so many people being discouraged which turned into my first song called Don’t Let Go (of Your Dreams) and I’ve been writing ever since! I’ve dabbled in playing instruments here and there, piano, guitar, and clarinet but I intimately realized that my real passion was with singing so I focused on developing my own instrument. If your life had a theme song, what would it be? Three Little Birds by Bob Marley Who or what have been the most impactful influences on your musical style and sound? Beyoncé and Michael Jackson How do your life experiences shape your songwriting, and what emotions or ideas do you hope listeners connect with in your music? I love writing my songs about real world experiences whether they’re mine or something that I’ve heard through friends. I rarely write from fantasy. I hope that when people listen to my music, they feel a sense of warmth and the inspiration to fully be themselves. Each phase of music-making—writing, recording, rehearsing, and performing—has its own unique rewards. Could you share a memorable moment from each stage? My favorite part of making a song is layering harmonies. I love getting to build and build until it feels magical. With performing, it’s always heartwarming when I see people in the audience singing along with me. That lets me know that they’ve really connected with the music and there’s nothing better than that feeling! Is there a song of yours that holds particular personal significance? We’d love to know more about the story or the inspiration behind it. My latest song, Worst Enemy, has so much significance for me because it’s a declaration to myself to stop playing small. It almost feels like a full circle moment from the first song that I ever wrote because it reminds me to keep going and give it my all. When I wrote it, I was deeply reflecting on my life and wanted to make sure that I would no longer stand in my own way and “be my own worst enemy”. After writing it, I started living more for myself. If you could swap lives with any musician for a day, who would it be and what would you do? Beyonce! Her performances are next level and I’d love to see how it all gets put together. What’s a guilty pleasure song you secretly love but might surprise your fans? The Thong Song by Sisqo. It’s so over the top and so fun! Looking ahead, what are some goals or dreams you have for your music and career? Lots of new music! I would love to be able to do more live performances and connect with my listeners in person. Finally, is there anything else you'd like to share with our readers before we close? I’ve got lots of new music planned for the year so definitely stay tuned in and don’t forget to show up for yourself every day!

There’s something refreshingly fearless about Beverly Hell’s Alice In Underland. The LA-based artist’s debut EP doesn’t just flirt with fantasy; it dives headfirst down the rabbit hole, emerging with six tracks that fuse moody electronics, alternative R&B, and cinematic storytelling into a project that feels entirely her own. More importantly, it sounds like an artist stepping fully into her identity, embracing both experimentation and vulnerability without compromise. The EP’s conceptual backbone draws inspiration from Alice’s Adventures in Wonderland, but Beverly Hell avoids the trap of turning literary references into gimmicks. Instead, symbols like roses, rabbits, mirrors, and tea parties become emotional signposts guiding listeners through a surreal personal journey. The result is a record that feels immersive and imaginative while remaining grounded in genuine self-expression. Every detail contributes to a larger narrative without overshadowing the music itself. Musically, the project thrives on contrast. “Roses” introduces listeners to a softer, melodic side before “White Rabbit” injects a dose of dark electronic energy. “My Water” floats somewhere between dream and reality, layering hypnotic production beneath evocative vocal performances. Throughout these shifts, Beverly Hell demonstrates an impressive understanding of pacing and atmosphere, allowing each song to occupy its own space while contributing to the EP’s overarching mood. Lead single “Jezebel” stands out as a defining moment. Sharp, confident, and emotionally charged, it captures the balance between accessibility and artistic ambition that runs throughout the record. Elsewhere, “Drug Opera” and “Alice” showcase her affinity for R&B-inflected songwriting, bringing moments of warmth and groove to the project’s darker sonic palette. These tracks broaden the EP’s emotional range and reinforce Beverly Hell’s versatility as a performer and producer. For a debut release, Alice In Underland feels remarkably complete. Beverly Hell’s decision to self-produce the majority of the project pays dividends, giving the music a distinctive personality and coherence that’s difficult to manufacture. The EP may mark the beginning of her journey, but it already reveals an artist with a strong creative compass and a fascinating world to explore. If this is the genesis of Beverly Hell, the chapters that follow promise to be captivating. Instagram, Spotify | PR: Decent Music PR