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Boy Math turns dreams inside out with poetic new single “I Never Had a Dream”

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With his new single, “I Never Had a Dream,” artist Boy Math takes listeners on a unique journey into creativity that turns the idea of dreams upside down. Instead of the usual approach of dreaming about a goal and striving to achieve it, Boy Math explores a different idea of rewinding and looking at the outcomes of our dreams to understand where they began. He invites us to think about the moments before we drift off to sleep, creating a thought-provoking experience. The song feels personal and deep, unfolding like a story that moves through various thoughts and emotions. The sounds within the track come and go, resembling memories that fade away.

Boy Math’s singing shifts from soft to powerful, capturing the struggle between being awake and falling asleep. A surprising element in the song is its connection to Dr. Martin Luther King Jr.’s famous “I Have a Dream” speech. This creates a striking contrast, while many songs celebrate dreaming big, “I Never Had a Dream” challenges us to consider the silence and possibilities that emerge after those dreams come true. It has elements of hip-hop but is not limited to just one style. The production varies, sometimes being simple and other times rich and layered, mimicking the gentle rhythm of breathing between being awake and asleep. The song has a mesmerizing quality, almost like a mantra that alters our perception of dreams and reality.

What makes Boy Math’s work so intriguing is how he encourages listeners to think deeply. “I Never Had a Dream” sparks conversations about art, time, and what it means to be in or out of a dream. This track is designed to be experienced and explored. It’s part art piece, part heartfelt confession, showing that creative experimentation in music is still vibrant and impactful. For Boy Math, “I Never Had a Dream” represents his commitment to pushing boundaries and rewriting stories. In a music world that often leans towards easy hits, his choice to create something so intricate and thought-provoking stands out as a bold act of creativity.

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Artist Spotlight

Bluridge enters the global scene with debut release “On Top Of The World”

BluRidge

BluRidge makes its mark in the pop world with its first official release, showing that it is very sure of itself. The title “On Top of the World” is music that’s carefully made to lift your spirits, get you moving, and give you the energy you need to party.

The song blends pop, dance-pop, and trap-infused rhythms, but it doesn’t stick to a single genre. “On Top of the World” has a light, free quality, taking you to a place where music becomes a driving force. This piece is meant for people to listen to, as well as sunlight, stage smoke, and the sounds of open fields.

The hook gives you the freedom to believe in elevation again, to feel triumphant, to let go of joy, and to see beyond what seems unimportant. BluRidge lifts others, and their first official release shows this energy in full. BluRidge is making anthem-like songs that make you want to move and give you a sense of power.

This single marks an essential time for BluRidge, and their first release on a label that not only hints at potential but also joyfully conveys it through rhythm, momentum, and evident joy. It sets the tone for both their destination and the height they want to reach.

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Artist Spotlight

Séhkou expresses a sacred pain through light in “Irreverent Beauty (2 Cor. 12:9)”

Séhkou

“Irreverent Beauty (2 Cor. 12:9)” breathes like a physical being in prayer, shaking, remembering, and slowly coming back to life. Séhkou’s work is a spoken psalm full of sadness, an open wound, and a testament that gets its strength from being weak, not loud.

The work has the seriousness of scripture, the softness of confessional poetry, and the gentle confusion that comes with spiritual healing. This is a softness that comes from years of breaking, fixing, breaking again, and realizing that the Divine is always there in each crack.

Séhkou talks about the paradox of divine support amid life’s scars, and he shows the pain as beautiful, even holy, and the track knows where light always tries to get in. “Irreverent Beauty (2 Cor. 12:9)” is like a map of lasting scars, showing a faith that doesn’t get rid of pain but changes it. Séhkou whispers that he is still becoming, and that is, in a way, more triumphant. In a culture that loves polished stories, this work shows the flaws and treats them as sacred.

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