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Kimberly Morgan York is Back With New EP

If you grew up, like me, cutting your musical teeth on Nashville’s long-lost classic sound, Kimberly Morgan York’s music will hit your sweet spot.

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It isn’t a painfully self-conscious pastiche. I never hear York treating the style like a butterfly pinned under glass, beautiful but untouchable, but instead, she breathes newfound life into the form and gives it peerless relevance. The four songs on York’s new EP Devil Songs and Other Such Nonsense fully embrace their pedigree. Kimberly Morgan York isn’t bashful about flying her flag high as a purveyor of the classic Nashville sound and makes it sound fresh for modern listeners.

The Kentucky-born singer/songwriter has this flowing through her DNA. I hear it during her outstanding five-star cover of Terri Gibbs’ “Somebody’s Knockin’”. It’s a bit surprising to me that someone hasn’t attempted resuscitating life into this stylish early 80’s hit because it has an approach well-suited for the modern country landscape as well as remaining faithful to the genre’s core values. York’s performance strikes a perfect balance between paying tribute to the original and blazing her own path with the song.

“The Devil’s in Durango” mixes abundant classic country song imagery into the track’s lyrics alongside York’s personal heartache. The latter isn’t conveyed without a measure of sweetness accompanying its painful flavor. York has an instinctive feel for these sorts of songs, she knows exactly how much to push and when to back off, and tailors her voice in a perfect marriage with the song’s arrangement.

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 She gets to be much more playful with the song “The Devil Works All Year Long”. There’s a bit of “down home wisdom” packed into this tune, but it’s never remotely heavy-handed and the kick out the footlights pace of the song makes it an ideal live number in waiting for York. She pumps plenty of verve into her vocal performance and the matching steel guitar runs scattered throughout the song answering her singing each step of the way. It’s an excellent choice for this EP release.

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“Other Such Nonsense”, the EP’s nominal title song, doesn’t reveal its message or intentions outright. You must pay attention. York rewards the listener’s attentiveness, I believe, with one of the most individualistic nods to the traditional country I’ve heard in years, and her steadfast refusal to pull her punches with either the singing or lyrics deserves ample kudos.  It’s a perfect song to end this brief collection as well.

If this stuff is passe, let’s be grateful that Kimberly Morgan York never received that memo.

Instead, she sweeps and rolls through these four songs with singular confidence and obvious joy in her chosen art. York doesn’t treat the EP format as a throwaway and addresses herself to each of these four songs as if Devil Songs and Other Such Nonsense, a literal description of the release’s cuts, were a much longer work. It’s an entertaining and illuminating journey that you’ll want to take more than once. I know I did and do and that each pass through these songs proves well worth the time.

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Kelly McKinnon

Artist Spotlight

“Young Man” by Highrise echoes soul-stirring lessons from the flames of his past

Highrise

Produced entirely from his home studio in Kansas City, Highrise crafts chapters of life experiences, transforming into the spotlight with “Young Man,” a song that sparks an open conversation we all recognize but often try to forget. This rap-rock anthem features smooth guitar arpeggios woven together with clean vocals, modern hip-hop drums, and hard-won wisdom that resonates with emotion and intention.

At first listen, “Young Man” radiates like one part heartfelt advice tossed to the wind, a cautionary tale directed at the younger men of the next generation as they navigate chaos. But dig a little deeper, and it’s revealed this song is a mirror reflecting Highrise’s own younger self, haunted by the echoes of choices made and paths taken. The production balances rawness and refinement, giving the track a lived-in yet polished musical quality.

Vocally, Highrise shines with a melodic and emotionally charged delivery, comfortably occupying a sonic space that fans of MGK, Bryce Vine, or Ryan Caraveo will find familiar, yet it feels uniquely his own. The standout bridge hits hard: “Take it from me, I’ve been down this road…” a poetic gut-punch for anyone who’s been too stubborn to listen before learning the hard way.

Inspired partly by his late grandfather, the track carries a weight of generational reflection. It tiptoes through the complexities of enduring legacy and shifting perspectives with age, acknowledging the scars of youthful mistakes while nodding to the lessons passed down. “Young Man” doesn’t preach; it empathizes, and humility makes it particularly impactful. It is an anthem for anyone who looks back at their younger self and wishes they could whisper, “Slow down.”

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Highrise has established his influence in making music and building a legacy, one brutally honest track at a time, telling truths that echo long after the song ends.

CLICK HERE TO STREAM Highrise’s Young Man on Spotify.
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Artist Spotlight

“I AM Good Enough” by TaniA Kyllikki evokes a soaring melodic anthem to liberate self-affirmation

TaniA Kyllikki

TaniA Kyllikki has never been one to shy away from vulnerability as she demonstrates commendable resilience in her soul-stirring new single, “I AM Good Enough.” This composition serves as a melodic awakening and represents a multifaceted artistic interpretation of an uplifting ballad. At its core, it is fundamentally a deeply personal assertion of self-love and emotional rebirth that hits right.

From the outset, TaniA’s voice trembles sincerely, soaring effortlessly through a meticulously stripped-back arrangement that deliberately foregrounds her message to take center stage. Her angelic harmonies envelop the listener, creating a comforting and powerful embrace. The inclusion of collaborative vocal harmonies provided by her husband, Rynellton, introduces an intimate dimension, fostering a collective aspiration for healing that amplifies the emotional significance, enhancing the overall impact of the narrative.

Lyrically, “I AM Good Enough” addresses the psychological consequences of abuse and self-doubt, illuminating the often-silenced struggles of diminished self-esteem. The song conveys a message of triumph, encouraging a reconceptualization of self-worth. With every intriguing note, TaniA affirms that liberation is attainable when individuals cease to accept the false narratives that try to define them as not enough. TaniA channels her experiences into a performance that feels deeply empathetic and human, as though she’s singing directly to the parts of us we’ve forgotten how to love.

The unvarnished authenticity of “I AM Good Enough” distinguishes it within contemporary music. The fourth single from her forthcoming album, ‘Free-Spirited,’ is a pivotal reminder to confront and process past traumas while reclaiming one’s intrinsic worth. Through her artistry, TaniA Kyllikki elevates musicality beyond mere entertainment, forging potent anthems that are essential lifelines for the weary. For anyone seeking validation or needing a sign to love themselves a little more, “I AM Good Enough” provides the necessary and timely sonic remedy for healing. It’s a reminder that our scars don’t define us, and others don’t dictate our values.

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For more information about TaniA Kyllikki, please visit [website]. 
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