Music

Swimming Pool’s debut single “Calling” echoes like a dream at dawn

The new duo out of The Hague Swimming Pool arrives on its debut single, “Calling,” with a calm that quiets a room and insists upon its own intimacy. There is a certain magic in restraint, and Swimming Pool appears to know it all too well. “Calling” is a lo-fi ballad that exists between night and morning, between silence and sound, and between genre and mood. Built upon bowed bass lines moaning like distant sound and spare electronics that feel barely there, the track cleverly nods at minimalism without ever feeling empty.

But what lingers is the vocal harmony, which is fragile and timid and covered in just the right layer of reverb to make it feel as though it’s coming from behind glass. There’s vulnerability here that falls in on you, like a cold light through the windowpane. Swimming Pool falls between post-rock’s atmospheric sprawl and experimental pop’s fractured beauty. “Calling” grows around the choruses quietly. The song suggests the weight and softness of early hours, with soft-hearted, heavy thoughts, and the whole world slowed down more felt than seen.

But the most notable thing about “Calling” is how secure it is in quiet. It’s a debut that doesn’t feel the need to prove itself. Rather, it allows you to get closer and lean in with each repetition. You don’t listen to this track as much as inhabit it. As initial statements go, “Calling” says a lot about where Swimming Pool could potentially be headed, and that’s into the atmospheric, emotionally complex terrain, where the atmosphere and the feeling do all the talking. This is headphone music for windows streaked with rain, headphone music for empty rooms, headphone music for letting go.

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Artist Spotlight

E.G. Phillips explores cosmic escape with “Please Don’t Make Me Come Back from the Moon”

E.G. Phillips’ new release, “Please Don’t Make Me Come Back from the Moon,” is a track that drifts effortlessly between genres and atmospheres. “Please Don’t Make Me Come Back from the Moon” is an experience that feels suspended in time and space.

Blending alt-folk with jazz-fusion touches, the track creates a dreamy and unpredictable wave of radio-static textures that ripple beneath the verses, giving the impression of floating through an unfamiliar yet comforting universe. There’s a sense of detachment here, as if reality has been left behind entirely.

Just as listeners settle into its hazy rhythm, the bridge shifts gears into a jazz-rock groove, complete with trumpet lines that subtly nod to a fusion-inspired legacy. This transition feels organic, enhancing the track’s exploratory nature rather than disrupting it. “Please Don’t Make Me Come Back from the Moon” is a beautifully strange offering that invites listeners to step outside themselves and embrace the unknown, even if only for a few minutes.

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Artist Spotlight

Captain Iron and the Windrift Band put on a sci-fi pop show with new release “Ultra Sound”

Captain Iron / Windrift Band opens a vivid portal with “Ultra Sound,” a bold, creative dance-pop song that fully embraces cinematic storytelling. From the outset, the track establishes itself as more than just a catchy club-ready anthem, it’s a narrative-driven experience wrapped in glossy, futuristic production.

“Ultra Sound” is a great track because of its unique idea, a sexy fembot synth lures astronauts into a trap, then uses an ultrasonic tractor beam to steal their ship. It’s fun, a little strange, and very different from what you usually hear in pop music. This lets Captain Iron show off his unique lyrical style. The story feels like it’s moving forward with each beat, like it’s a movie.

It’s easy to see how “Ultra Sound” could grow even further with full-scale production or collaboration, since its foundation already offers plenty of possibilities. Captain Iron / Windrift Band gives us a song that is both fun and smart. “Ultra Sound” doesn’t just want people to dance, it wants to take them to a colorful, imaginative world where stories and sounds come together thrillingly.

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