Music

These Brittle Bones Begins New Era With Mesmerising Single ‘Postscript’

These Brittle Bones shares the first taste of a new era of releases in the form of ‘Postscript’, a tapestry of shimmering, hazy synthesiser loops, grounded by swells of lo-fi piano and octaved reverb. This is ambient, instrumental music but not as we know it – as the Welsh-Singaporean producer and musician pulls from different artistic realms of literature and poetry, interpreting the words with powerful, emotional instrumentation. With his eye on the creative detail, each track is accompanied by a stunning piece of looping modernistic digital artwork by US artist Cale Peeples.

Speaking on the release, These Brittle Bones says: “Postscript is the first song I’ve released in about three years, and I’ve taken my time to find the exact sound I was happy with. I found that I was limiting myself when trying to fit words to a melody, and instead wanted to explore the expressive capacities of instrumental music, which can communicate in often very powerful ways. In some senses then, Postscript is literally a ‘post-script’ – beyond words – but also a ‘P.S.’ – a retrospective statement, after the event, a few years after I last released music. In other ways, it’s also inspired by a striking Seamus Heaney poem of the same name. Heaney’s poem is rich in images of experiences that one will only encounter once in their lifetime, and I wanted to try and create a sonic landscape capturing the emotion of that poem. To translate it beyond words.”

The musical project of Welsh Singaporean Chris Jones, These Brittle Bones is back with a new sound. Having spent the time locked inside during various lockdowns in Wales, Singapore and London reflecting on his ultimate musical purpose, Chris combined his study of English literature, the influences of notable poets and writers including Ezra Pound and Virginia Woolf, and his love of crossover ambient/classical music. The result is a body of work of astute ambient instrumentalism, with synthesiser and piano lines swimming in calm tranquility, all sounds breathing and dovetailing together. If ‘Postscript’ is anything to go by, we can’t wait to hear the other new tracks he’s been busy cooking up.

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Artist Spotlight

D. Edge drops irresistible new single “GO T.S.F.G.”

D. Edge is back with a bang! With his latest release, “GO T.S.F.G.,” the dynamic artist continues to impress with a catchy melody, infectious rhythm, and a living and breathing sound evolution that gives us plenty of reasons to keep an ear out. This track proves how D. Edge is a rising force in the new music scene, presenting a perfect balance of addictive beats with outstanding vocal flow.

The music has a driving energy but a laid-back feel, allowing the track to breathe and groove effortlessly. The hypnotic cadence of the melody keeps listeners moving and numbers vibrating at the same time. It’s a perfect demonstration of how D. Edge understands how to combine energy with ease, making every moment feel seamless and effortless.

But this is not only about the beat. But what makes “GO T.S.F.G.” stand out is D. Edge’s flawless melodic flow. His delivery rides effortlessly over the instrumental, carving every phrase easily and in style. It’s a performance with a sense of freedom throughout a single song. His voice hits sweet, almost ethereal notes and confident, nearly commanding ones, and he captures in his notes every turn.

Artist Spotlight

Peter Wilson breathes melody into Utah Phillips’ legacy with haunting new single “Old Man”

“Old Man,” Peter Wilson’s newest song, is a raw intergenerational dialogue steeped in empathy and aching humanity. Written in collaboration with the now-deceased Utah Phillips, a legendary folk musician known as the “Golden Voice of the Great Southwest,” this song presents a moving narration through the eyes of someone society too often neglects.

With lyrics by Phillips and music by Wilson, “Old Man” unites two poets in time. The effect is a gorgeously stripped-down folk ballad that comes across less like a performance than a moment of authentic listening, like a man on a park bench finally telling you the truth about his life, and you can’t help but lean in. Wilson’s acoustic music is spare and stark, letting the story do the heavy lifting. Every chord sounds intentional, as if he’s allowing room for the words to breathe, not speeding them up, just allowing them to speak. His tone is steady and gentle, almost reverent, echoing and channeling the spirit of Phillips’ storytelling. Every note carries the respect you can hear.

However, what makes “Old Man” land so much harder is its unvarnished honesty. There’s no fancy version of homelessness here. No over-dramatization or overproduction. Just quiet, contemplative music that puts you in someone else’s frayed shoes. It’s the kind of song rarely written, inviting you to rest momentarily contemplate. The track feels timeless, rooted in classic folk, and has fresh emotional resonance. It resonates with today’s audience as incisively as it may have decades ago, reminding us that tales like this still play out on every street corner daily.

By combining Utah Phillips’ words with his musical setting, Peter Wilson has created more than a song. He’s made a vessel for compassion, memory, and our oneness as humans. “Old Man” has no interest in working for your attention. It quietly earns it.