Music
Micah Edwards Introduces Texas Soul Sound with New Single “Girl from the Valley”
Critically acclaimed retro-pop singer-songwriter Micah Edwards just released his nostalgic single, “Girl From The Valley,” out October 15. This track is a perfectly tender, groovy love song dripping in Rio Grande Valley pride. As the lead single from the artist’s upcoming debut album, Jean Leon, this track offers the perfect introduction to Edwards’ Texas soul sound. Recent recognition from major publications – like Parade and Huffpost – have caught the attention of thousands; with Spotify followers and stream counts on the up and up, all eyes are on this emerging artist.
Despite his almost 130k monthly listeners on Spotify, and editorial support from Spotify’s Nu-Blue, Summer Party, Fresh Finds, and Fresh Finds: Pop playlists, the raw artistry on this track speaks for itself. Edwards pushed himself to create the sound “his heart has always wanted to hear” on this record. The result is an authentically-Micah, signature style. With musicians like Edwards – that pour their already loveable personalities and effortless talent into every project – it is hard not to fall in love with their music. The Houston native is generating plenty of buzz, and rapidly building a loyal fanbase all while doing things his way.
Steeped in complexity—disappointment, failed relationship, maturity, and underlying it all, hope—Jean Leon is the first studio album from “Mr. Texas Soul” himself, Micah Edwards.
Having explored a spectrum of neo-soul, jazz, lo-fi, and pop over the last two years, Micah’s smooth vocals lend themselves to many different styles and genres. But for his debut full-length project, a story about his personal testimony during one of the hardest years of his life, Micah sought to create his own sound. This sound was specifically inspired by his story—an amalgamation of what he loves: Jesus, his wife, Texas, piano, pedal steel, and his mother…mixed with things he’s sought to understand: brokenness, forgiveness, reconciliation, and his relationship with his father.
Micah’s family values were largely shaped by growing up in a large, mixed-race family on the West Coast. As Micah grew older and his family moved to Texas, that view started to be challenged on a regular basis, forcing Micah to reconcile what he thought he knew about the man he wanted to be. What do you do when the man you looked up to as the leader of your family isn’t who you needed him to be? When your family has been let down and hurt, time and time again? And how do you stop yourself from becoming that same man for your own family?
Bitter, yet uplifting—Jean Leon is a healing, soulful exploration of faith from Micah. Searching for answers from God while searching his own heart, you will understand who Micah is as a musician and artist from the unique blend of up-front vocals driven by bass and drums, supported with piano and retro-soul guitar, and embellished with soulful horns and twangy steel guitar.
This debut album is a nod to the artists before him, as a young virtuoso who understands not just the heart, but the musical precision of retro-soul and country music. Someone who pays homage to Curtis Mayfield’s brilliance of guitar in early Impressions records and Etta James’ almost conversational vocal expression, while embracing his classic country songwriting influence through calculated storytelling employing the fiddle and steel guitar. Someone who respects and honors Leon Bridges, Nathaniel Rateliff & The Night Sweats, Marcus King, Durand Jones & The Indications, Aaron Frazer, Michael Kiwanuka—but leans heavily into the sounds of this particular moment. This is a daring explorer who has created a unique fusion of retro and contemporary elements to defy what has been done before and craft a new genre: Texas soul.
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“Happy People Won’t Hear” by Arn-Identified Flying Objects and Alien Friends unmasks blissful melody on the edge
Arn-Identified Flying Objects and Alien Friends explore the complexities of societal awareness in their latest single, “Happy People Won’t Hear.” The composition effectively combines an upbeat, melodic soundscape with starkly dark lyrics, offering a critical commentary on society’s inclination to navigate a world fraught with difficulties while remaining oblivious to its underlying issues. Initially featuring harmonies reminiscent of the Beach Boys, the track invites listeners with an aura of familiarity, only to gradually reveal poignant truths as the irony within the lyrics becomes increasingly evident.
Listeners are exposed to a genre-blending experience co-produced by the esteemed David Myhr of The Merrymakers. “Happy People Won’t Hear” seamlessly integrates elements of power-pop, folk, and indie rock, all while maintaining a focus on lyrical depth and insight. As audiences believe they have comprehended the song’s rhythmic framework, the arrangement takes a whimsical and somewhat unsettling turn, transitioning into a 19th-century waltz that echoes the carefree essence of the 1960s and 1970s. This shift deepens the irony in the piece, highlighting the privilege of those frequently insulated from the turmoil around them.
This genre transition serves as a calculated commentary on how the affluent often retreat into comfortable spheres, largely unaffected by external chaos characterized by oppression and violence. Repeated listening intensifies the contrast, compelling listeners to look beyond the cheerful melodies and confront the often-ignored aspects of reality.
The composition is bold, multilayered, and incisively sardonic, addressing the collective tendency toward silence and illustrating how melodies may unintentionally function as masks for underlying chaos. The track operates as a cautionary tale, intricately disguised within the framework of social entertainment, prompting reflection on whether any individuals in the audience are genuinely attuned to the message beneath the surface.
CLICK HERE TO STREAM Arn-Identified Flying Objects and Alien Friends‘ “Happy People Won’t Hear“ on Spotify.
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Artist Spotlight
Sunset Salore unleashes the brilliance of love as the inner demon slayer with her debut EP, “Love Kills The Monsters”
Melbourne-based singer-songwriter Sunset Salore steps into the spotlight as a noteworthy talent with the release of her highly anticipated debut EP, “Love Kills The Monsters.” This profoundly introspective seven-track odyssey brims with eclectic narratives centered around heartbreak, healing, and self-discovery, all cohesively interwoven through dynamic basslines, sultry rhythms, and an unmistakable Alternative Pop charm. From the initial note, Salore engages her audience in an intimate auditory adventure, peeling back the layers of personal demons and reflecting upon the trials of recent years with unfiltered authenticity.
The EP commences with its title track, “Love Kills The Monsters,” a euphoric exploration of love’s duality, encompassing its joyous aspects and darker nuances. Salore’s lyrics evoke an emotional tug-of-war, articulating the moments when love not only heals but manifests as a haunting force igniting them. It encapsulates the central thesis of the EP’s overarching notion that perhaps love has the potential to triumph over our deepest internal monsters. Her keen eye for life’s intricacies is evident, painting vivid portraits that resonate on multiple dimensions.
Subsequently, the second track, “Hope,” shifts gear in tone to provide an uplifting perspective, presenting a soul-filled anthem that wraps listeners in a sense of warmth and validation. This piece highlights Salore’s versatility while serving as a poignant reminder of the presence of light amid adversity. Tracks like “Call It“ deliver a compelling assertion of self-worth, capturing that defining moment when you recognize the necessity to exit a toxic relationship. With lyrics like “You just don’t seem to communicate” and “You shouldn’t have left me here,” Salore effectively conveys a potent dose of an alluring vibe on relatable themes grounded in authenticity, empowerment, and resilience.
The fourth track, “Feel,” continues to explore the therapeutic nature of music. Salore’s vocals harmonize beautifully with the rhythmic piano and a timeless fiery guitar, each note resonating sincerely.
“Mystery and Magic“ introduces another dimension to the EP with its upbeat approach to romance, reveling in the excitement of discovering someone new. Conversely, “Potential“ echoes a more confidential vibe, emphasizing inherent potentials unintentionally unleashed in tumultuous circumstances. The concluding seventh track, “Don’t Owe You Pretty,” acts as a powerful assertion of self-respect, highlighting Salore’s unwavering confidence while rejecting toxicity and reveling in resilience, thereby culminating the EP with an empowering sonic finish.
Produced by Spud Thompson and composed by Louise Acheson, “Love Kills The Monsters” is an exceptional debut that showcases Salore’s raw emotional honesty and talent for turning vulnerability into sonic strength as introspective as liberating. It reminds listeners that love, despite its complexities, may assist in confronting, slaying, and conquering their inner “monsters.” Sunset Salore’s masterful storytelling and musical artistry establish her as a vital new voice in pop, making this EP an essential listen for those seeking profoundly personal and universally relatable alternative pop music with substantial revelation.
For more information about Sunset Salore, please visit [website].
CLICK HERE TO STREAM Sunset Salore’s EP “Love Kills The Monsters“ on Spotify.
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