Artist Spotlight

Debra Fotheringham shines with clarity on “Bright Eyes”

Debra Fotheringham’s new single, “Bright Eyes,” serves as a glowing reintroduction from the first ray of her highly anticipated fourth studio album, “Valley of Annihilation,” which is coming out on October 24th, 2025. Recorded with producer Scott Wiley at June Audio Recording Studios in Provo, Utah, “Bright Eyes” is the sound of an artist who has learned to transform openness into vision.

Debra comes back with clarity and compassion. The tone of the song matches its title, which is optimistic. With themes of identity, belonging, and hard-earned self-discovery, Fotheringham sings with a wisdom that only tragedy and recovery can teach you. One of Utah’s softly impactful powerhouses and a defining asset for The Lower Lights, she winds through the album with grace and gravity. In “Bright Eyes,” she confides, and it’s resilience written into every line, conveying the feeling of someone who has kicked about some doubt and come out more whole.

On “Valley of Annihilation,” Debra searches for ways to surrender ego and let tenderness take the lead. But it is outside that transformation, also unprotected, and this one shining thing is the passage into it. In a world that hungers for the real thing, “Bright Eyes” encourages you to know wonder once more, to see oneself clearly again, and to remember that when it comes, self-compassion can be as daunting in its own way as light.

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Artist Spotlight

“Empatia” by Aurien & Jab Vix set the tone for an atmospheric new era

“Empatia,“ the stunning electronic debut of Aurien, in collaboration with Jab Vix, is the start of a new creative universe under Aurien’s newly launched imprint Château Bonheur Musique. The track feels like a doorway into a curated emotional space, built from atmosphere, storytelling, and immersive sound design.

“Empatia” is founded upon a contemporary electronic aesthetics that favors texture. The production is sleek and considered, offering up soft rhythmic pulses within roomy layers that breathe. Working with Jab Vix gives texture and dynamics to Aurien’s perspective and sets the sound for the song. It’s more about feeling the music than looking for peaks of high energy. It builds slowly and invites you to sit in the mood.

A highlight is the “Elegant Mix,” which takes the original and gives it a more subdued, slicker makeover. It allows the heart of the composition to come through more intimately, and this duality reinforces the idea behind Château Bonheur Musique as environment, experience, and feeling. “Empatia” is a debut statement and manifesto for the immersive, emotionally intelligent electronic music that works as effortlessly as it does in shared spaces. It’s a thoughtful direction for Aurien, where sound is not just heard, but lived in.

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Artist Spotlight

Saint Escape injects an attitude into a classic for a new generation on latest release “Everybody Wants To Rule The World”

SAINT ESCAPE takes a classic favorite, “Everybody Wants To Rule The World,” and gives it a new twist, transforming the iconic hit into an alternative rock statement full of personality and modern flair.

Rather than just repeating a familiar song, Saint Escape offers a bold vision to the track. There’s a touch of “baddiecore-lite” attitude, married with alt-rock vibes, a feeling that seems tailor-made for those who love nostalgia but want something that speaks to today. The result is familiar, yet refreshingly different.

The track establishes its own identity right from the first moments. The alternative rock styling provides a sharper edge to the song’s timeless themes, making for a dynamic listening experience that feels vibrant and contemporary. With confidence in every note, the performance can stand on its own but still respect the legacy of the original.

While acknowledging the song’s emotional and cultural significance, Saint Escape also celebrates a more rebellious aesthetic. The “baddiecore-lite” influence adds an interesting attitude to the track, making it feel fun, confident and effortlessly cool.

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