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Kiran The Nomad continues prolific run with “HIGHWAY TO HEAVEN”

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Friko’s “choo choo” balances chaos and catharsis ahead of sophomore LP

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Boston indie rockers Happy Just To See You return with raw new single “Last Week’s Horse”

Boston-based indie rock outfit Happy Just To See is back with a raw, cutting single, “Last Week’s Horse,” which dropped on Feb. 11.

Over heavy guitars and punchy drums, frontman Evan Benoit delivers an unfiltered confession:

“Sense of self-worth in the trash, you laugh it off but get real mad / How can I not see what you see?” Benoit muses, his words carrying the weight of a somber sigh.

The track also serves as the title song for their upcoming album, set for release on May 15.

Benoit explains: “The song captures the energy and statement of the album as a whole — an evaluation of the human condition and the battles we have within ourselves to love who we are, warts and all. Lyrically, I wrote it shortly after starting therapy. While on first blush it might seem like a romantic breakup, it’s really a break-up with oneself — a stubborn, necessary step toward self-acceptance.”

As the song winds down, the guitars fade, the cymbals shimmer one last time, and Benoit is left alone with the thoughts still trapped inside his head.

Listen to “Last Week’s Horse” Here: https://open.spotify.com/track/51RB4V77tjpbVcaoalqHYd?si=tOtIbPDmRVW0zsmHR93o6A

(Photo credit/Alex Ilyadis)

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Ro Moore drops silky new single “SMBDY”

Chicago R&B artist Ro Moore doesn’t need an introduction. A staple of the local scene for years, he has collaborated with everyone from D2x to other Chicago hip-hop mainstays like Kayo and Ausar.

Now, Moore returns with his latest single, “SMBDY”, a silky-smooth love jam released just in time for Valentine’s Day.

Over a grumbling, bouncing bass line and sparse piano chords, Moore’s light yet commanding vocals glide effortlessly:

“Tell me you don’t need nobody, when everybody needs somebody,” he croons.

Clocking in at just over two minutes, “SMBDY” is short, sweet, and undeniably effective—a concise showcase of Moore’s signature blend of intimacy and groove.

Listen to “SMBDY” Here: https://www.youtube.com/watch?v=MVMtZZgXfaE&list=RDMVMtZZgXfaE&start_radio=1

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“Licking My Wounds”: Chloe Jobin sings herself back together

Over dreamy guitars and misty, kaleidoscopic cymbals, singer-songwriter Chloe Jobin lays her pain bare.

On her new single “Licking My Wounds,” Jobin stages a quiet fight for growth and personal healing, set against an intense battle with grief and heartbreak.

“You and me, we weren’t built to last/Time moves slow, but also fast/Do you feel the love that I’m sending?” she asks with a hushed plea.

Across the track’s brief runtime (just under three minutes), Jobin keeps telling herself that everything will eventually be fine — even if she sounds only half-convinced.

The instrumentation leaves plenty of room for Jobin’s ethereal vocals to breathe. The guitars begin with a soft hum before cascading into a pronounced crescendo in the final minute, mirroring the emotional swell beneath her delivery.

“Licking My Wounds” pulls no emotional punches. There’s no sense of closure here. Instead, Jobin finds a fragile self-acceptance amid the wreckage:

“It’s okay that the world is ending,” she sighs in one of the song’s opening lines.

Listen to “Licking My Wounds” here: http://tinyurl.com/4be63z9u

(Photo credit/Abigail Mueller)

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On ‘black sheep,’ Brittney Carter moves like a confident outsider

On the opening bar of her new EP black sheep, Chicago lyricist Brittney Carter refers to herself as, well — just that: a black sheep.

“Feelin’ like a black sheep, feelin’ like an outcast / And I ain’t got nothin’ to prove ’cause look who I’ll outlast / not to brag, just a simple observation,” she spits on the opener “pinksweater.”

It’s not entirely clear why Carter views herself that way, but one thing is obvious: she’s creating from a place of confidence and artistic control.

Across four tracks and a brisk 11-minute runtime, Carter delivers a heavy dose of butter-smooth flows and keen, self-aware lyricism over a series of mid-paced, sample-driven beats.

The second track, “doit4less,” is a perfect snapshot of that approach. Over swirling strings and prancing bass, Carter reflects on her headspace at this stage of her career:

“Might just go on a run, might just blow up tonight / I was focused on a show and they was focused on likes,” she rhymes in the song’s first verse

The final two cuts bring more of the same. “urgency” leans into dramatic strings and heavy bass, while closer “untitled” rides an echoey vocal loop and descending piano line.

Carter’s lyrics remain potent throughout:

“And when I step outdoors, headphones on, I’m just tryna block that noise / Tryna filter out the things that I’ve seen so I’m still pure,” she raps on the EP’s closing verse.

Listen to black sheep here: https://tr.ee/AsIVldPRFQ

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Maris O’Tierney finds solace and space on Park Hills Circle debut “Sight of the Moon”

Chicago singer-songwriter Maris O’Tierney has introduced her new solo outfit, Park Hills Circle, with the release of her debut single “Sight of the Moon,” which arrived on Dec. 17.

Formerly a co-leader of the indie-folk outfit Maeve & Quinn, O’Tierney’s move into a solo space finds her expanding her sound rather than retreating inward. On “Sight of the Moon,” she marries Midwest emo–tinged guitar work with Americana-influenced string arrangements, quietly complemented by sparse, deliberate percussion.

O’Tierney weaves the storytelling traditions of her Irish heritage with the vast, mountainous atmosphere of her home state of Alaska, while subtly drawing on her background in classical music. The result is a sound that feels both grounded and expansive, intimate yet windswept.

“‘Sight of the Moon’ is a tender unfolding — a return to myself, and a re-awakening to daily wonders, as my perspective slowly shifted through a disorienting period of change,” O’Tierney said. “I was living alone for the first time, understanding my needs and desires, learning to make a home. The song bridges parts of myself: origins in opera and classical guitar, layered with a loop pedal and nested harmonies. I’ve always centered my spirit through quiet walks in the cold night air, as I did growing up in the Alaska mountains. The song began there.”

Her lyrics are soaked in sorrow and quiet reflection. “I still have the leaf you gave me, the autumn that you left / I still have the grief you gave me, but that’s not all I kept,” she sighs, her crisp, legato vocals stretching effortlessly over the song’s nocturnal instrumentation.

“Sight of the Moon” serves as the lead single from Park Hills Circle’s debut album, All of a Sudden, set for release this spring.

Stream “Sight of the Moon” HERE.

(Photo credit/Maren Celest)

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Friko announce upcoming project ‘Something Worth Waiting For,’ drop “Seven Degrees”

After nearly two years away, Friko is back.

The Chicago indie rock outfit has returned with a poignant new single, “Seven Degrees,” alongside the announcement of their sophomore album Something Worth Waiting For, due out April 24. The record follows their pensive debut, Where We’ve Been, Where We Go From Here.

Built around a melancholy, descending guitar riff, “Seven Degrees” finds lead vocalist Niko Kapetan at his most poetic. “We’re souls in a line, waiting to meet / Waiting for that summer breeze to throw us in each other’s arms,” he belts on the chorus.

The song’s emotional weight swells in its final minute, as a key change ushers in crashing drums, pushing the track toward a cathartic, slow-burn climax.

Stream “Seven Degrees” Here: https://tr.ee/oLhsT5NhJ9

(Photo credit/Adam Powell)

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Sozi drops new EP, teases upcoming studio album

For Sozi, championship season has arrived once more. 

The Chicago-born, Detroit-based emcee is back with a soulful, concise four-track, nine-minute project, Table For One EP, released on Jan. 21. 

The project kicks off the rollout for Sozi’s next full-length album, Championship Season 2, which is slated for a 2027 release date. 

Both aforementioned projects are companion records to Sozi’s 2020 album, Championship Season. 

Across these four tracks, Sozi delivers smooth yet boastful raps over unwound, sample-driven backdrops. 

“Neighborhood Superstar” utilizes a squeaky, smokey saxophone loop while the intro track, “Stay Clear/Devil Is A Lie” is built on a theatrical string section before transitioning into a vocal loop that coos and stretches. 

As per usual, Sozi’s pen game is on point:

“I guess I’m prime Sozi so I gotta three-peat, “ he spits on “Neighborhood Superstar.”

Stream Table For One EP here: https://tr.ee/q95ukbrjv3

(Photo Credit/Paisley Sutton)

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Review: Sugar Bomb brings the funk on ‘Sweet + Explosive’

For Asheville, North Carolina jazz trio Sugar Bomb, 2025 has been a coming out party of sorts.

In May, the trio released their debut EP Sweet, a four track effort centered around spaced out melodies and slow-burning grooves. In September, they released a companion EP EXPLOSIVE, a funkier, more upbeat effort than its predecessor.

Now, the trio — made up of bassist Eli Kahn, drummer Joe Enright and keyboardist Jacob Bruner — has re-released both EP’s as one project, Sweet + Explosive, a debut album that pairs the somber, lyrical lead writing of the first EP with the head-knocking, improvisational focus of the second.

The intro track, “Rubber,” kicks off with some breathy legato synth chords and steady brushstrokes from Enright. It’s a gentle, eery start to the record, easing the listener in with a pleasant kiss on the eardrums. Let us not forget Kahn’s contributions, whose grumbling, pulsating bass lines lay down the perfect backdrop that ties it all together.

The slow cooking feel continues on the second track, “IDK,” which has a guest feature from saxophonist Dylan Hannan, whose earthy, moaning saxophone lines float perfectly over the relaxed instrumental grooves laid down by the trio.

The next two cuts bring more of the same. “Kerosene,” despite its title, is a moody, mid-paced number driven by Bruner’s dreary synths, while “Lullaby” closes out the first half of the project with some more spacey keyboard work and some rhythmic percussion lines from Enright.

The vibe of the project completely changes in its second half. Track five, “Frenzy,” abandons the slow-paced, melodic focus from the first half, pushing the tempo with its driving, off-beat drum patterns and pressing lead melodies that eventually cascade into utter chaos near the end of the song.

The next two tracks, “Issa Vibe” and “Eli Special” are both funky dance numbers, erected upon nifty staccato bass work and some heavily technical improvisational chops from Bruner.

The project closes with “Dance Tune,” which is perhaps the biggest ear worm on the entire record. Alternating between a moody, stripped back melodic riff and a fast-paced dance riff, the trio slowly builds momentum in the song’s closing moments before a satisfying release of tension that closes out the record.

While Sweet + Explosive is essentially a tale of two halves —one half moody, the other half funky — what brings this project together so nicely are the catchy melodies, airy soundscapes and demonstrably high level of musicianship from everyone involved.

Photo credit: Camilla Calnan