Artist Spotlight

“The Deverills” by TYGERMYLK reveals a glittering ode to queer friendship

Hayz Harland, known professionally as TYGERMYLK, returns with something far more precious, “The Deverills,” a track that feels like flipping through a sun-creased scrapbook of inside jokes, questionable travel decisions, and emotional pitstops shared with your closest friends. Co-written with long-time creative soulmate, collaborator, and best friend Laura Reznek, the single is both a love letter and a comedic commentary, offering a tender, chaotic, and sharply self-aware ode to platonic queer friendship.

The track is funny, emotional, and honest. From the very first notes, “The Deverills” envelops listeners in warmth buoyed by the lush harmonies of the KIN Choir and lyrics that are as witty as they are wistful. Harland doesn’t just tell stories; she paints vivid scenes of viral cat museum escapades, hotel bar confessions, and that one time they ended up on the wrong boat (we’ve all been there…right?). Her storytelling shines with cinematic detail, culminating in a chorus that evokes the comforting feeling of returning home after an extended tour of beautiful disasters.

What makes this track potently impactful is its quiet indignities, which serve as an incisive critique of ageism within the music industry, and effectively challenge and dismantle outdated assumptions regarding queer relationships. Harland’s approach goes beyond merely requesting inclusion; she assertively establishes her presence in this domain by artfully combining humor with grace, thereby exhibiting both wit and poise.

In a cultural landscape that often prioritizes romantic ideals and fleeting novelty, “The Deverills” provides a refreshing exploration of the intricate and fulfilling dynamics that emerge from the joyful eccentricities of a chosen family. This narrative serves as a resonant anthem for those who have cultivated profound connections with friends or surrogate family members through shared experiences marked by unconventional road trips, communal living situations, and intimate exchanges of secrets during the twilight hours, discovering moments of joy along the way. The work encapsulates the juxtaposition of playfulness and poignancy, immersing the audience in the complexity and relatability of human relationships. TYGERMYLK’s anthemic creation stands as a noteworthy contribution to the discourse on the beautifully chaotic journey of human connection.

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Artist Spotlight

Teanko embraces retirement, memory, and creative freedom on “Between Two Selves”

Teanko’s rock song “Between Two Selves” sees retirement as an opportunity to reconsider what comes next rather than as an ending, and it carries a quiet sense of release. This track is based on the theme of moving from a busy working life to a more relaxed one. It’s about the emotional gap between the person defined by constant activity and the person now free to decide how to spend their time.

The song’s artistic direction is grounded in reflection, without falling into recollections. Looking again at old photos, we know the past through memories and music but remain open to the present. The balance is a gateway into the emotional heart of “Between Two Selves,” recognizing where Teanko has come from and welcoming the freedom of not having to chase the next opportunity.

The music of the song also helps support that personal perspective as a rock release, with its core mood shaped by calm, acceptance, and thoughtful self-examination. Retiring from working life provides an opportunity to escape pressure and to find a more personal level of creativity.

In “Between Two Selves,” music-making is meaningful because it is fun and adds a pleasing sense of independence to the release. With “Between Two Selves,” Teanko makes a major life change an honest artistic statement. It suggests you can make a new beginning through choice, curiosity, and the sheer joy of making without having to prove anything to anyone else.

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Artist Spotlight

With “Almost Nothing,” NO IDENTITY embraces chaos, experimentation, and DIY sound

NO IDENTITY adopts an industrial DIY approach with “Almost Nothing,” making it loud, chaotic, and impossible to ignore on purpose. NO IDENTITY is a solo artist who wrote, recorded, mixed, mastered, and did the music video, which gives the project a strong sense of personal control.

“Almost Nothing” leans into EDM and electronic textures but also pushes out to a stranger, harder edge. One of its more curious aspects is a simple clapping sound effect that is heavily processed into a bizarre, bass-like texture. The resulting sound is described as an electric bass in a septic tank, an image for the track’s deliberately unconventional design.

That strategy is also closely related to the emotional motivation behind the release. “Almost Nothing” and the album it’s from are born of mental illness and relationship anxiety. Those themes add context to the track’s chaotic presentation, implying that the odd sound and frenetic energy stem from the artist’s motivation to communicate something difficult in a simple, unfiltered way.

The accompanying music video is loud and strange, unlike anything else, just as the track doesn’t present itself conventionally. NO IDENTITY considers the visual identity and the music as part of a single creative statement. “Almost Nothing” finally separates itself by being completely devoted to its own design. NO IDENTITY’s openness to taking on all parts of the project makes this release a complete artistic experiment in its own right.

Photo Credit: Ava trying to frame the music video like a dork

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