“Break The Chains” by Tim Camrose

It’s funny. While the Billboard charts are filled with generic pop music that often lacks real depth—both musically and lyrically—excellent pop-rock continues to be released without ever reaching the masses. It makes you wonder what on earth is going on. What’s wrong with the music industry?


Take Tim Camrose, for instance. His latest single, “Break The Chains,” sounds remarkably like one of my favorite bands from the early eighties, The Icicle Works—and I mean that as the highest compliment.


“Break The Chains” is one of those tracks where everything comes together perfectly: great guitars (check out that solo!), tasteful keyboard work, and strong vocals. I especially love the sixties Motown-inspired beat in the chorus—the classic four-on-the-floor/four-on-the-snare rhythm. From The Supremes to The Beach Boys, countless artists used it, and for good reason: it gives the refrain an irresistible lift.


The production is equally impressive. Producer Andy Ross cleverly captures the spirit of the early eighties in the overall sound—a period before electronic drums and the ubiquitous ’80s gated-echo aesthetic completely dominated music production. What can I say? It works.


“Break The Chains” is a gem for anyone who loves that era of music. And for those who haven’t yet explored this style, give it a listen. Chances are, you’ll fall in love with it too.


Listen here: “Break The Chains”


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Review by staff at MBTM

 


Collete Brady-McEntee is a singer-songwriter from Mullingar, Ireland, whose music blends contemporary folk and pop with classical influences. Known for her expressive vocals and emotionally resonant songwriting, she has steadily built a reputation as one of Ireland’s most promising emerging artists through releases such as “Nobody Knows”, “Out Of Your Control” and “Solong Solo”. 


Her career highlights include collaborating with Eurovision winner Charlie McGettigan on the duet “Valentine” and appearing on RTÉ’s Behind the Music. Alongside her recording and live performance work, Brady-McEntee serves as Musical Director for school productions, bringing her passion for music to both the stage and the next generation of performers. We were fortunate to sit down with Collete and ask her a few questions about her life, music and career to date.


MBTM: You’re originally from Mullingar, Ireland—how would you describe your hometown?


Collete: Full of music of all different genres. Lots of live music and artists . You're never short of it on a night out. 


MBTM: What stands out most when you think back on your childhood?


Collete: Singing. I had a record player given to me and a keyboard up in my bedroom. Singing in a children's choir at mass.


MBTM: Did music play a role in your family growing up? 


Collete: Yes, my father had a gorgeous voice and loved traditional jazz. He would go on all the jazz tours including New Orleans. He never played an instrument, as not given the chance, but he would have been great. Mum enrolled me in music school from the age of 10, and the both of them gave me all the chances and experience of music.


MBTM: When did you first realise you wanted to pursue life as a singer-songwriter, and what sparked that decision?


Collete: As a child. It was something I could see that I was good at and it gave me confidence. From my secondary education, I geared my schooling throughout so I could go to college to study music. It was really the only thing I felt strong at to be honest. 


MBTM: “Solong Solo” was written during a songwriting camp—what was that experience like from a creative standpoint?


Collete: I received the demo after the camp but know how the camps work. I would have loved to be in that camp with such amazing writers lyricists and producers of the caliber that "Solong" had. 


MBTM: What story or emotion sits at the heart of the song?


Collete: Contentment, happiness, resilience and hope.


MBTM: What do you listen for in a great song? Especially when you’re performing material you didn’t write, what tends to draw you in? 


Collete: Oh, the minor sections, piano ,strings and a good beat are usually the two elements. 


MBTM: Your Spotify bio references a background in classical music—how has that training influenced your sound today? 


Collete: I have a degree in music but have been singing a few genres over the course of my career. I suppose the initial vocal and piano training helps with the technical things in music, but I like to think all that I do comes from the heart. 


MBTM: Are you currently working toward an album release? 


Collete: Yes, hopefully. I'll know when the time is right. 


MBTM: Which artist has had the most profound influence on your musical style? 


Collete: Very hard question as I don't have just one but going from my teens probably Celine Dion, Adele ... but there's so many to be honest. 


MBTM: Finally, what guiding philosophy shapes the way you approach life and your work? 


Collete: My guiding philosophy as an independent artist is to stay authentic, passionate, and committed to creating music I really feel and connects with listeners. I believe dreams become reality through consistency, hard work, and believing in your vision even when the journey gets difficult. My goal is to keep evolving creatively, inspire others through my story, and build success on my own terms.


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Interview by staff at MBTM

 

“Solong Solo” by Collete Brady-McEntee

With her latest release, “Solong Solo”, a timeless and exquisitely crafted pop gem, Mullingar singer-songwriter Collete Brady-McEntee continues to establish herself as one of the most promising emerging voices in Irish music. Blending contemporary folk and pop with subtle classical influences, she has steadily built a reputation for her expressive vocals and emotionally compelling songwriting. Following the success of previous singles such as “Nobody Knows” (2024) and “Out Of Your Control” (2026), Brady-McEntee is rapidly cementing her status as an artist to watch.


Drawing inspiration in part from the golden age of 1980s pop, “Solong Solo” has the kind of timeless appeal that would have earned it heavy radio rotation circa 1987. At its core, the song is a piano-led ballad, but its carefully layered arrangement elevates it far beyond that. The dynamics are expertly handled, with each crescendo arriving at precisely the right moment. Rich orchestration, touches of gospel-inspired backing vocals and a strong melodic sensibility all contribute to the song’s emotional impact. Yet the true centrepiece is Brady-McEntee’s remarkable vocal performance. Effortlessly moving between intimacy and power, she delivers the song with a conviction that is both moving and unforgettable, while her soaring high notes are nothing short of breathtaking.


Although “Solong Solo” was written at a UK songwriting camp, there is nothing formulaic or manufactured about it. On the contrary, it feels refreshingly organic, combining polished craftsmanship with genuine emotional depth. While the songwriting itself is strong, it is Brady-McEntee’s performance that transforms the track into something truly special. In her hands, “Solong Solo” becomes more than just a well-written pop song—it becomes something genuinely magical


Listen here: “Solong Solo”


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Review by staff at MBTM




“Losing Faith In Everything And Emptied On I-10” 

by Ambergrove


Ambergrove is an artist collective, and I don’t usually like artist collectives. I’m not entirely sure why—it’s just that the music they make often comes across as pretentious. We all know what happens to the broth when there are too many cooks. That said, none of this applies to Ambergrove. Their new single, “Losing Faith In Everything And Emptied On I-10,” is a terrific offering.


Drawing on both the production values of the ’80s and the sounds of the new millennium, Ambergrove’s latest track is a genuine pop gem. There’s excellent guitar work, some delightful keyboard flourishes, and outstanding lead vocals. The gospel choir that arrives toward the end serves as the perfect finishing touch, while the lyrical refrain, “I don't want to waste my luck,” is the kind of line listeners will find themselves singing along to in the car on the way to work.


“Losing Faith In Everything And Emptied On I-10” is one of those rare tracks with near-universal appeal for pop fans. I know I absolutely love it.


Listen here: “Losing Faith In Everything And Emptied On I-10” 


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Review by staff at MBTM

 

“The Return (Raw)” by Cries Of Redemption

We’ve covered Ed Silva’s Cries Of Redemption before, largely because they’re one of those bands you can always trust to deliver the goods whenever they release something new. And their latest offering, “The Return (Raw),” is no exception.


This time, Silva’s outfit has teamed up with Argentine singer Denisse Ferrara — and they’re all the better for it. Ferrara possesses an incredible set of pipes. If you don’t believe me, just give the track a listen and you’ll immediately understand what I mean. She truly is remarkable.


But the appeal of the song hardly ends there. “The Return (Raw)” features all of Silva’s trademarks: fiery guitars that evoke both Creed and Iron Maiden, adventurous Metallica-flavored drumming, and compelling vocal melodies. It’s a powerful combination, made even stronger by the high production values Silva consistently delivers with every release.


“The Return (Raw)” is another fantastic song from Cries Of Redemption, and bringing Denisse Ferrara on board was an inspired move. More, please.


Listen here: “The Return (Raw)”


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Review by staff at MBTM


“Dissolution” by MatAre


One tends to forget how good music used to sound. I know I do. Then you discover a song like “Dissolution” by MatAre, and suddenly you remember. The track pays homage to the alternative rock of the ’90s, while also offering plenty for fans of new wave and post-punk. You can hear echoes of Joy Division and The Smiths throughout.


The production on “Dissolution” thrives on its ghostly atmosphere, built around a driving bassline, hypnotic guitar riffs, and raw, desolate vocals reminiscent of Ian Curtis. It all works brilliantly. Instead of a stadium-sized chorus, the song leans into a chant-like refrain steeped in alienation — a feeling that defines the entire track. I’m also especially fond of the canon-style ending; it’s a wonderful touch.


“Dissolution” is a strong release from this Atlanta-based post-punk artist. Go check it out.


Listen here: "Dissolution"


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Review by staff at MBTM



“So Moseley” by Dominic Crane

Dominic Crane’s latest offering, “So Moseley,” serves as a reminder of two things: firstly, that some singer-songwriters only improve with age, and secondly, that sixties-flavoured, guitar-driven pop rock remains the finest music in the world.


“So Moseley” evokes echoes of the Fab Four as well as Elvis Costello. Another, slightly more obscure reference point is Louis Eliot of Rialto; the track would not have sounded out of place on one of his more acoustic-leaning solo records.


That said, Crane’s new single stands confidently on its own merits. Its unpredictable yet deeply satisfying chord progression is one of the song’s greatest strengths, though far from the only one. The vocals and harmonies are immaculate, while the understated guitar work adds texture and warmth without ever overplaying its hand. The middle eight arrives with surprising elegance, and the Beatlesesque “ooh-la-la-la” refrain towards the close provides a final flourish of charm.


“So Moseley” is a superb slice of retro-flavoured guitar pop. Check it out — chances are you’ll love it.


Listen here: "So Moseley"


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Review by staff at MBTM