Artist Spotlight
Myriam Bouk Moun finds rhythm in her voice with “Le Groove”
Myriam Bouk Moun’s latest single, “Le Groove,” is very bold and grabs your attention right away. Bouk Moun only uses her voice as an instrument. Most music sounds very complicated, but this is a big change, resulting in a piece that is both simple and interesting, with a single, dynamic groove that flows smoothly from rhythm to texture to melody.
“Le Groove” is magical because it is so moderate, and Bouk Moun takes simple tongue clicks, hums, and harmonies and turns them into a full track. This shows that complexity doesn’t just come from layers or effects. It’s about being there, being quiet, and letting sound echo. The rhythm sounds natural, stylish, and easy, which makes people want to move and give in before they think about the art in it.
Bouk Moun’s a cappella style draws on jazz improvisation and incorporates elements of world music. It makes me think of Bobby McFerrin’s creative singing, Zap Mama’s rich polyphony, and Camille’s cutting-edge vocal experimentation, all seen through her own modern lens. Her voice has a rhythmic heartbeat and a lyrical whisper that is poetic in French and universally moving. Every nuance of her voice serves both as percussion and melody.
“Le Groove” is a celebration of the body as an instrument and the voice as a way to show rhythm and feeling. Myriam Bouk Moun’s writing is both subtle and very confident, stylish and personal. The rhythm only works because she makes it happen. Simple things are powerful, being present is interesting, and the human voice can inspire awe in many ways.
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Artist Spotlight
Loris Tils brings funk energy to life with “IKKI”
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 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.
“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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