Born and raised in St. Catherine, Jamaica, Hector Roots Lewis developed a deep love for music early on, influenced by his mother, the legendary reggae songbird Barbara Jones. Her impact continues to shape his approach to music and the performing arts, enhancing his talent and blending classic influences with modern sounds. The Grammy-nominated artist showcases versatile talents that cross genres beyond reggae, including dancehall, calypso, Latin, Afrobeats, Haitian kompa, and bouyon from Dominica. By melding these genres, Hector has created a unique vibe and style, blending roots, soul, and conscious energy.

Over the years, Hector has played and toured with the likes of Collie Buddz, Chronixx, Mike Love, and Tribal Seeds. It was two years ago, while touring with Tribal Seeds, that movie casting director Avey Kaufman reached out to his management team, inviting him to audition for the role of the late drummer Carlton ‘Carly’ Barrett of The Wailers in the upcoming Bob Marley: One Love biopic.

“I was at the end of the tour when I submitted the audition video electronically in October 2022,” Hector recalled to Loop Entertainment, “then they told me I was shortlisted… about a month later, we got an email confirming I had got the role.” Reflecting on the opportunity, he added, “It was very surreal. I felt a range of emotions—excited, nervous, honored, humbled, happy, and ready to do my best.”

For his latest album, Hector teamed up with producer, artist, multi-instrumentalist, and longtime member of Stick Figure, Johnny Cosmic. A contributor to a Grammy Award-winning album, Johnny Cosmic is one of the most underrated producers in reggae music and an all-around talent. Together, they set out to create an album that is not only great but also meaningful and adventurous.

The album kicks off with “Peace of Mind,” a sweet reggae riddim that sets the tone for the cosmic journey ahead. Hector’s smooth vocals perfectly complement the classic reggae beat, making it an ideal opener. Next is “Strength,” which starts with a California-esque reggae groove and some great guitar work. Hector delivers powerful lyrics that flow seamlessly into a catchy chorus.

Busy Signal and The Movement join Hector and Johnny Cosmic on this upbeat track, with Busy Signal’s signature flow dominating the verses. Josh Swain of The Movement adds a dynamic lyrical flow, changing tempos and taking the song to another level. While Hector shines on the chorus, Busy Signal and Josh undeniably steal the show.

“Battle Cry” features KA$E and brings an '80s vibe to the album. Hector leads the track with a military-like cadence, while KA$E’s unique vocal tone, reminiscent of 1980s Jamaican music, immediately grabs attention. The hypnotic production, with a slight Latin influence, enhances the song’s captivating energy.

“Possibility” follows with a modern-roots riddim, delivering a powerful anthem of hope and determination. The soulful tune “Fire” pays homage to music and the passion it ignites within us. With a rocksteady/lovers rock mood, this track is impossible not to dance and sing along to. J. Boog joins Hector on this jam, bringing a fantastic flow and elevating the song, especially when he picks up the tempo. It’s one of the album’s standout tracks.

The rocksteady/lovers rock vibe continues with “Where I Belong,” a feel-good groove that keeps your head bobbing. Hector captures the joy of music, saying, “What’s life without music to celebrate our festive moments?” The album only gets stronger as it progresses.

“Sound a Beat” delivers another sweet, chill, rootsy groove. Hector mixes up his sound, cadence, and flow, keeping the track fresh and engaging. The album concludes with “Celebration,” a perfect closer featuring a classic roots reggae riddim. Hector’s vocal range shines here, and the classic keyboard in the background takes the song to another level.

What do you get when you combine an amazing reggae artist with one of the top reggae producers? You get Cosmic Roots—possibly the best album of the year so far. Each song offers a fresh sound, an upbeat positive vibe, and incredible lyrical flow. As the album progresses, it becomes more meaningful and adventurous, taking listeners on an unforgettable journey.

Do yourself a favor and check out this strong collection of songs. Find out why it’s the top album of the year.

One Love – Todd M. Judd

For all the downsides that may come with Spotify and how it treats artists, there’s no denying that it has helped thousands of bands reach millions of people they might never have otherwise. I’ve discovered some of my newest music obsessions through the app, and one of those happens to be Honey Revenge. Even though they’re a local Los Angeles band, I’ve somehow never managed to catch them live—until now. They’ve set off on their own headlining tour, The Loving and Losing Tour, making a hometown stop at the famous Glass House in Pomona, CA. The line wrapped around the block before the doors opened, with fans eager to see Honey Revenge, supported by Daisy Grenade, Vana, and Nightlife.

Opening the show was Baltimore soul-punk trio Nightlife. Normally a quartet featuring a guitarist and bassist, they switched up their lineup for this tour. The performance featured Hansel Romero on vocals, Isaiah Walker on drums, and Allan Rafael Romero as the group’s sexy sax man. Kicking off their set with “nightlifetypebeat,” the band strutted onto the stage oozing sex appeal and charisma. Hansel’s smooth, jazzy voice felt like he was singing directly to each person in the crowd. Isaiah kept the beat flowing and danceable, while Allan’s saxophone added an infectious groove that made their sound truly stand out. The audience couldn’t help but grind and sway to the music. At one point, Hansel called for a pit to open up but encouraged fans to turn it into a dancing pit. He even joined the crowd, dancing and singing right in the faces of fans. Nightlife kept the momentum going with songs like “fallback,” “you know,” “fool me once,” “better,” “i/o,” and ended with “new low.” Their sound can only be described as modern baby-making music—put this on in the bedroom, and things are bound to happen.

Next up was Vana, an artist hailing from New Zealand. Vana brought a standout sound to the tour, blending dark pop with the heaviness of metalcore. When she stepped in front of the crowd, all eyes were locked on her alluring presence. Her performance seamlessly alternated between clean, melodic vocals and harsh screams. Her clean vocals carried a hypnotic quality, pulling the audience into a trance before her ferocious roars unleashed chaos. The crowd mirrored her energy, shifting from seductive dancing to raging bodies as the mosh pit opened up. She even called for a wall of death, which the fans at the Glass House eagerly obliged. Vana delivered the heaviest set of the night with songs like “NOXIOUS,” “HARLEQUIN!,” “PLEASER,” “Serpentine,” “BITE BACK,” “BEG!,” and ended with “Clandestine.” For fans of Poppy, who blends pop, metal, and electronic, Vana is a must-listen as she carves her own path in a similar vein.

The penultimate act was Daisy Grenade, featuring the dynamic duo of vocalist Keaton Whittaker and Dani Nigro, who also handled acoustic guitar duties. Their bubbly, playful aesthetic contrasted with the serious themes in their lyrics, which tackled issues like heartbreak, the male gaze, societal pressures, and reclaiming power. Their upbeat singing style often masked the depth of their lyrics, but once you caught the meaning, it opened your eyes to their powerful messages. This realization hit me during “Guts,” when Keaton locked eyes with me while singing about the struggles of being a woman. Daisy Grenade kept these themes flowing with songs like “So Happy,” “Cult Classic,” “How to Hide a Body,” “Are You Scared of Me Yet?,” “Don’t Sweat It,” “Taste,” “Liquor and Kerosene,” “Riot,” “Hypocrite,” and ended with “Sick.” Fresh off the Pierce the Veil arena tour, Daisy Grenade is clearly on the rise, and I can’t wait to see them headline their own tour in the future.

Finally, it was time for the headliner, Honey Revenge, who were thrilled to perform for their hometown crowd. They kicked off their set with their latest song, “Risk.” Though the track had only been out for about a week, the crowd sang along with vocalist Devin Papadol, word for word. Guitarist Donovan Lloyd backed up Devin with grooving guitar lines that created an irresistible beat, sparking a dance session in the crowd. Devin danced between vocal breaks, adding a fun, breezy energy to the show, while Donovan played with a huge smile, clearly enjoying every moment on stage. The joy was infectious, as the crowd sang every song with smiles on their faces and emotions flowing as they connected with the band.

The setlist included fan favorites like “Seeing Negative (Disappointment),” “Recipe for Disaster,” “Sensitive,” “Distracted,” “Favorite Song,” “Rerun,” “Fight or Flight,” “Scapegoat,” “Habitual,” “Medicine,” “Ride,” “Murphy’s Law,” “Worst Apology,” “Are You Impressed?,” and “Airhead.” Honey Revenge even played three unreleased tracks—“Jealousy Monster,” “Loving and Losing,” and “Concentrate”—to fill out the setlist. After playing every song they knew, there was no encore. Instead, Devin shared a quick story about how sound-checking to a hardcore song sparked the meme name “Heavy Revenge.” The band then surprised the crowd with a cover of Knocked Loose’s “Counting Worms.” For a few moments, the dance pit turned into a chaotic mosh pit, with fists and kicks flying.

Tours often try to stack the lineup with complementary bands to maintain a flow throughout the night, but not every tour succeeds. That wasn’t the case for The Loving and Losing Tour. Honey Revenge curated the perfect support acts, with Nightlife, Vana, and Daisy Grenade connecting with the fans just as strongly as the headliner. Each band gave their all, and you could argue that any of them stole the show. This is the kind of tour people will place on a pedestal for how perfectly it was put together. With five weeks left and a show almost every night, do yourself a favor and make sure you’re in the crowd. You’ll regret missing this one.

Testament has quite a legacy in heavy metal. As one of the OG thrash metal bands out of the San Francisco Bay Area, they have not only survived in the music scene since 1983 but thrived, releasing some of the best music of their career in recent years. With 42 years in the business and 13 studio albums under their belt, they remain a touring juggernaut. In 2025, they decided to do something special to celebrate the 35th anniversary of their Practice What You Preach album. Not only did they re-release the album on limited-edition colored vinyl, but they also hit the road for “An Evening with Testament,” featuring no opening act and a setlist that included Practice What You Preach in its entirety, a couple of acoustic songs, and some deeper cuts to close out the night.

On Sunday, May 25, Testament played the final night of this 16-date run at House of Blues in San Diego, and it was an absolute banger. The venue, which holds about 800 people, was either sold out or as close to capacity as it could get. At 8:00 PM, the band hit the stage: the hulking Chuck Billy on vocals, Eric Peterson and Alex Skolnick on guitars, Steve Di Giorgio on bass, and Chris Dovas on drums. They kicked off two hours of thrash madness with the title track, “Practice What You Preach,” and immediately the Testament diehards began moshing and crowd-surfing, creating a chaotic frenzy. The energy only intensified as they launched into “Sins of Omission,” with the band seeming larger than life on the small House of Blues stage.

Billy addressed the crowd next, welcoming everyone to this unique show. Between songs, he and the other band members shared background stories about each track, offering insights into the writing process, lyrical content, and their state of mind back in 1988/89. For example, they discussed the political tone of “Perilous Nation” and the environmental themes in “Greenhouse Effect.” It was fascinating to hear these behind-the-scenes details about how the songs were created.

Practice What You Preach is a strong but underrated Testament album, and it was incredible to hear so many deep cuts from it live. They slowed things down for “The Ballad” before ramping up the heaviness with “Envy Life.” This was likely the last time some of these songs will ever be played live, making it an unforgettable experience.

After finishing the Practice What You Preach set, chairs were brought onstage, and the band switched to acoustic instruments. They performed “Musical Death (A Dirge)” followed by Billy joining in for “The Legacy.” These two songs alone were worth the price of admission.

The band then dove into additional deep cuts, starting with the heavy-hitting “Rise Up” and “Low,” followed by the mid-tempo rocker “City of Angels.” Things slowed down again for “Return to Serenity,” a top-tier thrash ballad. Dovas even treated the crowd to a short drum solo.

The night concluded on a fast, heavy note with the crowd-chosen “D.N.R. (Do Not Resuscitate)” and, of course, “Into the Pit.” The latter ignited a massive mosh pit as the audience caught a second wind, ending the night with a final blast of extreme energy.

Throughout the evening, Chuck Billy sounded phenomenal. His voice remains a unique instrument, effortlessly hitting deep growls and clean notes with razor-sharp precision. Alex Skolnick proved once again that he’s a guitar wizard, delivering blistering leads, while he and Eric Peterson reaffirmed their status as one of the top-tier thrash guitar duos. It was also cool to see Peterson playing a Gibson Les Paul for much of the night, as he typically uses his signature Dean guitars onstage.

The rhythm section was equally impressive. Steve Di Giorgio is one of the most technical bass players in existence, slamming on his fretless bass with unmatched skill. Meanwhile, the young Chris Dovas absolutely slayed on drums—an impressive feat, considering he wasn’t even born when Practice What You Preach was released.

This was a unique live experience that will never be duplicated. Keep those ticket stubs—this was one to remember. Testament is a force to be reckoned with, and we all eagerly await their next masterpiece.

There’s a moment—mid-pit, shirt torn, knees buckling, soul teetering between religious awakening and blunt force trauma—when you realize this isn’t just a show. This is what music was invented for. Last night at The Eastern in downtown Atlanta, Amyl and the Sniffers didn’t play a concert; they detonated one. Three jam-packed balconies and a ground floor that moved like tectonic plates in a bar fight. Punk is alive, well, and sporting hot pants.

Sheer Mag kicked things off, igniting rather than merely opening. Christina Halladay’s voice rearranged ribcages with its hurricane rasp. Their gritty, vintage sound was time-travel punk incarnate. By their closing number, the room was nearing full combustion.

Then came Amyl and the Sniffers, like feral punks tumbling out of a stolen van, launching straight into chaos with "Control." The floorboards groaned under 1,200 people losing their collective minds. Amy Taylor, punk’s prophet, hit the mic like a Molotov cocktail in hot pants and go-go boots. "Security" came next, a pub-rock grenade delivered with a sneer, turning the crowd into a furious chorus railing against modernity.

"Freaks to the Front" transformed the pit into a wave of misfits surging toward their sweaty savior, Taylor. "Doing It in Me Head" followed, a feedback-riddled panic attack driven by Declan Mehrtens’ relentless guitar and Bryce Wilson’s furious drums. Taylor prowled, flexed, and smeared sweat like war paint, launching into the lust-driven "Got You," and somehow the pit grew even more frenzied.

I almost caught a boot to the head as "Do It Do It" landed like a dare. "Chewing Gum" swaggered in next, like peer pressure from a demonic cheer squad. "Some Mutts (Can’t Be Muzzled)" felt like Taylor had carved the lyrics into a bathroom stall with broken glass.

"Balaclava Lover Boogie" shifted gears—slinky and sleazy—followed by the scorching "Starfire 500," where Gus Romer’s bass hit like a trampoline collision. The relentless pace continued with "Guided by Angels," an anthem that transformed the audience into one screaming, unified entity.

Taylor paused briefly before unleashing "Knifey," a gut-wrenching survival story that hurt in all the right ways. Then came a joyous reunion: Sheer Mag joined for "Me and the Girls," turning the night into a punk family celebration.

"Jerkin’" arrived next, joyously flipping off critics, exes, and authority figures. "Tiny Bikini" followed like a tanning-salon brawl—catchy, filthy, and full of heat. Closing in on the finale, "Facts" delivered a fierce punk reckoning, while "U Should Not Be Doing That" erupted like a fire alarm in a boxing ring—bodies airborne, rules defied.

"Hertz," the main-set closer, hit hard—every chorus a riot, every riff a lifeline. It felt apocalyptic in the best possible way.

The encore exploded with "Big Dreams," a defiant anthem for misfits and dreamers. Finally, the blistering "GFY" delivered a final middle finger to conformity.

If you want solid music and an epic experience, skip the overpriced stadium nostalgia tours. Go see Amyl and the Sniffers now—while tickets cost less than your car payment, while rooms still shake, and sweat still rains from ceilings. Because this isn’t just punk’s future—it’s the present. And it’s a bloody, beautiful mess.

Ari Pent is a producer, songwriter, multi-instrumentalist, engineer, and composer originally from Minneapolis. Now based in Los Angeles, Ari brings over a decade of experience across a wide range of modern genres, along with a formal education from Berklee College of Music, all by the age of 24.

Ari has worked with notable names such as Kam Kalloway, Anthony Resta, Ken Valdez, STICKGONBANG, Pritesh Walia, Mohammed Khodadadi, and Travis Marsh, steadily building a strong presence in the world of popular music and earning growing recognition in both the creative and commercial sides of the industry.

Known as a “producer’s producer” and a “songwriter’s songwriter,” Ari brings unmatched value to any session. With fluency on seven instruments and the ability to step into any role from concept to final release, Ari has a rare versatility that makes them a key contributor in any creative setting. Their sharp ear for the bold, the intimate, and the evocative often results in the hook you can’t stop humming.

For music supervisors and creatives looking for fresh, distinctive sounds with commercial appeal, Ari Pent is a rising voice worth watching and bringing into any project.

Hunnypot is proud to be Ari Pent's official sync representative, Masters & Publishing, ask us about LICENSING! 

STREAM/DOWNLOAD (DISCO)    SPOTIFY

Musical genius and jazz master George Benson visited Lincoln, CA, for the “George Benson Celebration.” This special event featured an intimate quartet of shows at venues with limited capacities. The tour included two performances in Las Vegas at the Encore Theatre, the third show at Thunder Valley Casino, and the final performance in Temecula, CA.

The evening began with Nigerian-born Demola, a self-taught violinist whose innovative approach to jazz, Afrobeats, and contemporary covers with his electric violin delivered a stunning performance. He has garnered attention as a heavyweight in the modern music world, seamlessly blending genres and captivating audiences of all ages with his musical genius. Covering classics like Bill Withers’ “A Lovely Day” and Teddy Swims’ “I Lose Control,” Demola’s showmanship shone through his delivery and audience participation. Spending almost his entire set performing amid the crowd, he created an intimate and engaging atmosphere—a perfect way to warm up the audience for the masterclass in R&B and jazz that was about to commence.

Next up was R&B giant Brian McKnight. His musical excellence and emotional depth were evident during his 90-minute set, which spanned his fantastic career. With 16 Grammy nods under his belt, this R&B legend delivered a stunning performance featuring chart-topping hits like “Back at One” and “6, 8, 12.” He also performed a heartfelt tribute to his wife, “Love of My Life,” accompanied by a beautiful video montage of his wedding photos and his intense love for his infant son. His ability to connect with the audience was paramount and deeply emotional, as women of all ages swooned over this smooth R&B icon.

McKnight’s band was a delight to watch, and his musicianship was equally impressive. He opened his set with “Superhero,” showcasing his guitar skills. His setlist was a continuation of the night’s soulful memories, filled with heartfelt ballads and emotional praise to his higher power.

Finally, the moment everyone had been waiting for arrived: the legendary George Benson. The 82-year-old master guitarist and smooth jazz vocalist sauntered onto the stage, looking and moving like a man decades younger. The excitement in the room was palpable, especially among the ladies, as this glorious man took the stage. The 4,500-capacity venue provided an intimate setting for such a giant in the music world.

Benson opened the night with the classic R&B ballad “Feel Like Making Love” and wasted no time diving into his big hits, including “Breezin’” and a heartfelt tribute to the late, great Glen Campbell with “Wichita Lineman.” This tribute was particularly moving, as it’s one of my favorite songs and a nod to one of my favorite guitar players. RIP, Glen Campbell.

The set continued with a classic cover of “Love Ballad,” made famous by Jeffrey Osborne. Benson’s percussionist lent her stunning vocals to “Ain’t Nobody,” while the entire band delivered spectacular performances of jazz classics like “Unforgettable” and “Give Me the Night.” Throughout the evening, Benson played his guitar masterfully, blending technical precision with smooth, soulful melodies. His vocals were sharp and velvety, perfectly complementing his performance.

The audience was captivated not only by Benson’s music but also by his witty banter and the sheer delight on his face as he performed for his lifelong fans. The music brought a sense of nostalgia, transporting us to a simpler time and a happier place.

Benson’s renditions of his original songs and stunning covers of jazz and R&B legends were unparalleled. His attention to detail and enthusiastic audience participation made the evening feel truly special. At times, it felt like I was listening to a studio recording—it was that spectacular.

As the night drew to a close, Benson and his band led the audience into a frenzy with the final song, “This Masquerade.” It was the crescendo we had all been waiting for, and it did not disappoint. This special, intimate show was a testament to George Benson’s enduring talent and his ability to connect with fans on a profound level.

With one more show left on this special run, I feel incredibly fortunate to have witnessed the greatness of this exceptional man and his incredible band. George Benson remains an enduring talent with so much more to offer his fans. What a spectacular evening—one I will never forget.

When most bands celebrate over 40 years of music, they play a past iconic album in its entirety. But The Cult isn’t most bands. Instead, they performed as Death Cult, celebrating a brief but pivotal moment in time as they transitioned into what would become The Cult. Death Cult was formed from the ashes of singer Ian Astbury’s first band, Southern Death Cult, when he teamed up with guitarist Billy Duffy. Their sound evolved from punk to goth to pure rock as they transformed into The Cult.

As big as The Cult became—especially with breakthrough albums like Electric and Sonic Temple—some of the tracks from the self-titled Death Cult EP and The Cult’s first album, Dreamtime, are considered groundbreaking and have remained fan favorites for years. So, Friday night at The El Rey Theatre in Los Angeles was a rare opportunity to see Death Cult in an intimate setting before the band hit the big stage at the giant Cruel World Festival the very next day.

Fans of all incarnations of The Cult packed the venue, ready to be transported by the shaman-like Astbury and the ringing guitars of Duffy. These fans knew what they were in for, bobbing their heads to the music and singing along throughout the night. Even the merch was entirely Death Cult, resurrecting logos and graphics from the early EP and its later re-release.

As intimate as the setting was, the band’s musical power was on full display. Duffy is well-known for his use of the Gretsch White Falcon, and that iconic sound defines much of the Death Cult music. The other defining element is lead singer Astbury. Four decades is a long time to carry the vocal duties, but while his voice now carries more maturity, the passion behind the lyrics remains as strong as ever. Special mention must be made of his tambourine, which was put to work for the entire evening.

Rounding out the four-piece band were Charlie Jones on bass and John Tempesta on drums. Tempesta has been with the band since 2006, and Jones joined in 2020, making them seasoned veterans who provided the powerful rhythm section that anchored the night.

More than once, Astbury mentioned how important Los Angeles was to him. He saluted first responders from the January fires and ended the night by expressing his love for LA. In his words, “You have no f-ing idea.”

The setlist was 16 songs long (compared to just 12 songs the next day at Cruel World) and featured a great mix of Death Cult and early The Cult tracks. They even reached back to Southern Death Cult for “Moya,” which served as the final song of the evening. The encore was the song that, according to Billy Duffy, “changed everything”—“She Sells Sanctuary.” From the opening notes of Duffy’s guitar, there was a tangible release of energy from the crowd. In that moment, Death Cult had fully transformed into The Cult.

You didn’t have to guess at the excitement for the Two Nights of Terror Spring Tour featuring Ice Nine Kills. Arriving at The Fillmore just 15 minutes after doors opened and seeing the line stretching around the Twins parking bay and further up the block, it was clear—this one was going to be unhinged.

It didn’t hurt that Spencer Charnas and company brought a perfect lineup of performers for the evening: the gothic madness of The Funeral Portrait, the sweet-and-sour snap of Melrose Avenue, and the unfiltered intensity of The Word Alive. Truly, what else could you ask for?

When Melrose Avenue took the stage, I’d bet they weren’t expecting a nearly full crowd already waiting for them. The poppy-metalcore Australians, tatted to the nines, delivered a set that defined the intensity of the evening. Vocalist Vlado Saric alternated between smooth, alluring vocals and throat-tearing screams, embodying the theme of duality that carried through the night. While their set was short, it was undeniably sweet. It didn’t take long for the crowd to sing along and scream their throats out, and Melrose Avenue departed the stage to roaring cheers after an all-too-brief performance.

Those cheers carried forward for Atlanta goth/emo rockers The Funeral Portrait. I’d been meaning to catch this band for some time, as their evocative imagery and live footage suggested a set worth seeing. Suffice it to say, their live energy exceeded expectations. Each member was constantly in motion, screaming their heads off and shouting into the crowd. When they weren’t screaming, they showcased their goofy side, grabbing each other’s heads, poking, and prodding one another. While it might sound mundane in writing, the energy they exuded created a vortex of good vibes that left the audience grinning from ear to ear.

The Word Alive were the bomb that truly set the stage for Ice Nine Kills. While Melrose Avenue blended heavy and light, and The Funeral Portrait offered a more emotionally intense set, The Word Alive came out and absolutely decimated The Fillmore. Vocalist Tyler Smith sounded like he was shredding his vocal cords as he screamed the ending to “The Word Alive Is Dead…,” leading straight into a filthy breakdown. That’s when the endless wave of crowd surfing began, with Smith shouting, “Don’t you dare let anyone down for the rest of the night!” That raw intensity was a spark, instantly making the entire room feel crazier, warmer, and more tightly packed.

After a short changeover and intro video, the main event began. With theatrical flair, Spencer Charnas entered center stage through mountains of haze as dueling monitors set up the first song—“Welcome to Horrorwood” (following “Opening Night” to set the scene). Fans familiar with Ice Nine Kills’ live shows knew the chaos that was about to unfold, but as a first-timer, I was (at least a little) surprised when fictionalized versions of Jason and Freddy took the stage alongside Charnas, who bounced around with boundless energy.

Every single song featured some kind of spectacle, with a personal favorite being the dual chainsaw wielders flanking Charnas midway through the set. The band is a unique force in the space, and they take their live show very seriously. That effort shows—it’s completely unforgettable and can only be described as ‘pandemonium.’ Their set covered the entirety of their latest release, Welcome to Horrorwood: The Silver Scream 2, with a few bonus encores to cap off the night.

This was a totally unforgettable show, and I’m already looking forward to catching Ice Nine Kills again very soon.

Before this album, Peter Murphy was just a name I vaguely associated with the term “goth rock”—a genre I never thought I’d dive into, and an artist I had never actually listened to. So when Silver Shade landed on my desk, I had no context, no nostalgia, no expectations. Just curiosity. What I found was a record so sonically rich and emotionally weighty that it felt like being pulled into a world I didn’t know I needed.

The opening track, “Swoon,” wastes no time setting the tone. Murphy’s voice hits you like a bell tolling in an open cathedral—deep, commanding, and oddly comforting. The music isn’t loud or showy, but there’s a pulsing tension beneath the synths and scattered guitar that makes you lean in. That tension continues on “Hot Roy,” which sounds like a futuristic cabaret filtered through a haunted jukebox. It’s moody and theatrical without being overbearing.

What struck me most was how Silver Shade feels more like a film than a collection of songs. Tracks like “The Artroom Wonder” and “Meaning of My Life” are slow-burning, expansive, and cinematic. The lyrics are cryptic, as if they’re meant more to conjure a mood than tell a story. Even as someone unfamiliar with his previous work, I could sense this was a deeply personal album—meditative, maybe even spiritual.

“Silver Shade,” the title track, is where everything clicks. The groove is hypnotic, the vocals slink around the beat like smoke, and there’s a noir-romantic vibe that makes it feel timeless. It’s the kind of song that demands headphones and darkness.

There are playful moments too. “Cochita Is Lame” brings a surprising levity to the record, while “Soothsayer” injects a dose of upbeat weirdness that still somehow fits within the album’s ghostly framework. “Time Waits” introduces flamenco-esque guitar flourishes that caught me off guard in the best way, and “Sailmaker’s Charm” brings it all to a graceful, almost sacred close.

What makes Silver Shade so compelling, especially for someone unfamiliar with Murphy’s legacy, is how confidently it exists in its own atmosphere. It doesn’t care if you’re on board or not—it knows exactly what it is. There’s no desperate reach for relevance, no trend-chasing. Just a singular vision from someone who’s clearly been walking his own path for decades.

In an era full of algorithm-friendly music built to please everyone, Silver Shade feels like a transmission from another world. Strange, beautiful, a little intimidating—and worth the journey should you choose.

With I-Octane’s latest album, God & I, he set out to create a project that explores spiritual conflict, faith, resilience, disloyalty, and success. I-Octane pours his raw emotions into the album, delivering a wonderful mix of booming Dancehall and reflective Reggae. This journey offers an honest, burning real-life experience and a spiritual reflection. “This album is personal,” he says. “It’s me speaking with the Most High—about life, growth, loyalty, and all the struggles in between. It’s not just for fans; it’s for anyone facing their own spiritual war.”

Born Byiome Muir in Sandy Bay, Clarendon Parish, Jamaica, I-Octane is known for integrating positive messages and socially conscious lyrics into his music, drawing inspiration from his personal life experiences and Rastafarian teachings. This album showcases his growth as an artist, proving that he is still evolving and determined to stay at the top of his game.

The album begins with the title track, “God & I,” featuring the signature I-Octane flow fans have come to love. In this track, he asks God not to give up on him, expressing his devotion and need for divine presence. “Thankful” follows with a solid rootsy Reggae vibe, offering a slower groove and showcasing I-Octane’s versatility as he shifts tempos effortlessly.

Up next is “Certified Hustler,” where I-Octane changes his tempo and flow over a beat-driven track, delivering strong lyrics that align perfectly with the guitar. The seamless mix of Reggae and Dancehall continues with “Constant War,” a track that combines powerful lyrics with a compelling message. Shifting gears, I-Octane delivers a sweet love song, “Nothing Without You,” demonstrating his versatility and ability to craft heartfelt tunes.

Vershon joins I-Octane on “Life is a Blessing,” an upbeat riddim celebrating the blessings of life. The two artists complement each other beautifully, trading styles and tempos to create a feel-good, positive track. “Perception” follows with a gospel-inspired roots Reggae riddim, where I-Octane’s vocals shine brightly, delivering heartfelt lyrics. He continues the positive vibes with “Breath In My Lungs,” a song that uplifts and inspires listeners.

The previously released “Opportunist” is a deeply personal track produced by I-Octane’s five-year-old daughter, Nahbi Reign, for NiNi Records. This self-reflective anthem, featuring Shane O, explores resilience in the face of adversity and the importance of cutting ties with negative influences. Good Girl Productions brings us “Walk With A Chip,” an upbeat Dancehall riddim where I-Octane delivers his classic sound and flow, reminiscent of his earlier work.

“Powerful Story” slows things down with a sweet groove, allowing I-Octane’s vocal flow to take center stage. “This Love” follows with a lovers rock riddim, showcasing his voice and delivering a heartfelt message about love. The theme continues with “Love Me More,” a rootsy groove with a double skank rhythm, where I-Octane’s dynamic vocal flow hits perfectly.

“Success” shifts the focus to pride and positivity, with I-Octane celebrating his achievements through another uplifting track. The album concludes with “People Hype,” an upbeat Dancehall groove that ends the journey on a high note, leaving listeners with an optimistic and positive vibe.

For an established artist who has been perfecting his craft since the age of sixteen, staying fresh and relevant while remaining true to oneself is no small feat. Albums have the power to impact audiences in profound ways, and God & I is no exception. I-Octane declared that this project was deeply personal, stating:

“A lot of people turned their backs on me over hearsay and never gave me a chance. I almost lost everything because of how they tried to tarnish my name and brand. It made me shift focus at one point, questioning why I should heal others when they had no compassion for me. But last year, I woke up and realized that if I didn’t speak my truth, I would lose myself. So, I decided to just sing without worrying about who will listen. That’s why I named the project God & I.”

With this album, I-Octane set out to create a project that reflects spiritual conflict, faith, resilience, and success—and he succeeded. This is a perfect combination of his Dancehall skills and rootsy Reggae vibe. His message throughout is not only a healing process for himself but also a source of healing for listeners facing their own struggles and spiritual questions. I-Octane is still evolving, still growing, and still entertaining. He remains on top of his game and at the forefront of the Reggae world.

One Love – Todd M. Judd