Riot on the Dancefloor

London’s own Calling All Astronauts are back with “Time To Party” — and they aren’t here just to make you dance. They’re here to make you think while you do it. This track, pulled from their acclaimed album Noise Against Tyranny, hits like a lightning bolt made of post-punk grit, electro chaos, and industrial metal swagger. It’s wild, rebellious, and fully aware of its own pulse.

From the first beat, the song feels like an uprising disguised as a rave. David B’s vocals cut through a storm of distorted riffs and high-voltage programming, while Paul McCrudden’s instrumentation keeps the whole thing burning hot and heavy. The production — crisp yet volatile — shows how much control the band has over their sonic rebellion. You can feel the precision, even in the chaos.

But “Time To Party” isn’t your average weekend anthem. Beneath the bass and adrenaline lies a spark of defiance — a call to drop conformity, tear up the old rules, and find freedom in noise. Think The Prodigy meets Pendulum in a dystopian club where rebellion never sleeps.

It’s loud. It’s fearless. And it’s exactly what modern alternative music needs — a reminder that sometimes, dancing can be the most radical act of all.

A Séance in Sound — Miller Tracy’s “With John” Bridges the Seen and Unseen

Miller Tracy’s “With John” isn’t just another folk-rock experiment — it feels like a quiet crossing between worlds. Released on October 31, the track moves like a candle flicker caught between the spiritual and the grounded, steeped in the kind of mysticism that lingers long after the final chord fades.

There’s an unhurried patience in how the song unfolds — the delicate arpeggios pull you in, almost hypnotic, while the rhythm swells beneath like a slow tide. Tracy’s vocals carry a lived-in warmth, neither too polished nor raw, just honest — the kind of voice that sounds like it’s been up late thinking about the meaning of everything. The production holds that balance beautifully, weaving the reflective stillness of James Taylor with a flicker of Buddy Miles’ soulful edge.

What makes “With John” stand apart is how it captures the sensation of reaching inward — like trying to commune with the ghosts of your own past selves. Tracy channels his fascination with transcendence and ego dissolution into something hauntingly accessible, a tune that glows with quiet revelation.

In a world that rushes toward noise, “With John” is an invitation to sit still and listen — not just to the song, but to whatever whispers back.

Dancing Through the Darkness

Anniee’s “Wearing Black” steps onto the scene like a moonlit confession, cinematic, magnetic, and deeply human. The opening track from her EP Night School feels less like a song and more like an awakening, where heartbreak and rebirth meet under neon skies. From the first pulse of the synth, you’re pulled into a dream where emotion and electricity swirl together, and Anniee’s voice glows like a quiet flame in the dark.

Co-produced with Von Hertzog, the track shimmers with meticulous layers of synthpop brilliance — lush textures, hypnotic beats, and that haunting undertone that never quite lets go. Anniee doesn’t just perform here; she transforms. 

There’s a cinematic quality to the production — part retro, part celestial. You might imagine it playing during the closing credits of a film where the protagonist finally finds strength in solitude. Every note feels intentional, yet spontaneous, like healing caught on tape.

“Wearing Black” is more than an anthem for introspection; it’s a reminder that even the darkest nights can sparkle if you dare to look up. Anniee wears her truth boldly — and it fits her perfectly.

Hello, Not Goodbye

LESS’s new single “Instead of Making Love (Say Hello)” feels like a warm embrace wrapped in playful irony. Drawing inspiration from the early 2000s while still sounding fresh and current, the track captures that sweet spot between nostalgia and discovery. It opens with a glow that’s instantly inviting—sunny melodies layered over a steady beat that nudges you forward without overwhelming the senses.

What makes this release stand out is the balance between lighthearted energy and emotional nuance. LESS manages to play with contrasts—ironic undertones in the theme, yet a sound that radiates sincerity and optimism. The production is sleek, shimmering with a pop sensibility that hints at radio classics from two decades ago but updates them with crisp textures and clarity.

Vocally, LESS shines with a delivery that is both confident and disarmingly natural. There’s a sense of growth in her performance—like an artist leaning into her individuality with each new release. She doesn’t just sing; she communicates, as though she’s having a conversation set to music.

By the time the song settles into its groove, it’s hard not to feel uplifted. “Instead of Making Love (Say Hello)” isn’t just catchy—it’s personality-driven, playful, and refreshing, proving that LESS is carving her own lane in modern pop. This is a track that lingers, not because it shouts, but because it greets you with warmth—and refuses to let go.