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Lyre Le Temps unveils a joyful, electrified spin on a classic with “When I Get Low I Get High”

Lyre Le Temps

“When I Get Low I Get High,” a lively reinterpretation recorded in New Orleans with Glen David Andrews, brings Lyre le Temps into a lively mix of cultures. The release comes before the group’s sixth album, New Orleans Club, and gives fans a taste of the fun, genre-blending world they’re about to show off. This album honors the roots of music while also taking them to new places.

This version mixes European electro-swing with unmistakable New Orleans vibes to make a sound that is both nostalgic and new. The brass, rhythm, and swagger in the song make it feel like it’s moving, and it has the unmistakable warmth of street parades and late-night clubs. The production really leans into its hybrid identity, paying tribute to its influences while making something that is completely its own.

The joyful spirit that runs through the release is what makes it stand out. Lyre le Temps doesn’t rely on heaviness or sad sounds; instead, it channels joy, charm, and a sense of playful strength. It’s the kind of song that needs personality to work, and it tells people to let go, relax, and be in the moment. This happy energy makes me think of what’s to come on the album.

“When I Get Low I Get High” by Lyre le Temps reminds listeners of how music can change their mood and mindset. It’s not just a cover; it’s a cultural meeting place, a sonic handshake between continents, and a sneak peek at a project that will get people up and moving. This single starts an exciting new chapter for fans of bold mixes and lively reinterpretations.

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Artist Spotlight

Loris Tils brings funk energy to life with “IKKI”

Loris

Loris Tils comes out swinging with “IKKI,” a single that comes with energy and musicianship right from the opening note. Borne on the unmistakable thump of Minneapolis Funk, the song surges forward with a groove that feels impressively designed and still wildly alive.

“IKKI” is a naughty conversation between slap bass and guitar, and the two instruments impressively craft around each other with both precision and flair, building a high-octane rhythm section that feels as tight as it is explosive.

The magic of “IKKI” is this tension, relentless discipline balanced by acrobats of daring improvisation. The energy never overwhelms the groove. Instead, it expands on it, making this song a celebration of rhythm, creativity, and instrumental chemistry.

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Artist Spotlight

Glass Mansions turn a possible goodbye into “SUNSETTING”

Glass

Glass Mansions return with “SUNSETTING,” a new single that came together during some uncertain times for the project. What began as a mini farewell to music turned out to be among the band’s most authentic and openhearted efforts yet.

The back story of the song’s creation feels almost cinematic. The day the decision was made to quit music altogether, a message came through from some big-time music executive who had heard about the band’s first Ep and wanted to collaborate. The band had agreed to share unreleased demos on request, though they hadn’t prepared any. That urgency caused a combustion of creativity that would shape the song’s trajectory.

“SUNSETTING” was written, tracked, and recorded in a home studio with scratch vocals in roughly two hours. What could have been a thrown-together demo became a surprise breakthrough. Confronted with the prospect of delivering just one last song, the writing became rather reflective, what would you say if it were your final creative curtain call.

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“SUNSETTING,” produced by Zack Odom and Kenneth Mount alongside Orb Studios’ Taylor Webb, captures the urgency of its origin story but colors it with a new reflective emotional depth. The upshot is a song that feels at once improvisational and profound, an affirmation that, sometimes, when we think we’re reaching the end of something, it’s actually only setting in motion the most powerful of new starts.

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