“Right Across The USA” by Moon Construction Kit


Brian Wilson of The Beach Boys has influenced countless musicians around the globe, and he is also the main influence cited by Moon Construction Kit, a make-believe band created by Olivier Cornu, a Swiss musician and songwriter based in Lausanne—a place that, oddly enough, shares much of the same breathtaking scenery as California. As someone from the West Coast, I noticed the resemblance almost immediately when I first visited the city two decades ago.


Long story short, even if there’s no ocean in Lausanne, I have a feeling Brian Wilson might have felt right at home there.


Cornu’s latest offering, “Right Across The USA,” is something of an alt-pop gem. While the layered harmonies bear a closer resemblance to ABBA than to The Beach Boys, the arrangement and production are rich with Wilsonesque chord structures and all manner of sonic ear candy. The keyboards and bass, in particular, should sound very satisfying to fans of The Beach Boys’ mid-seventies album Love You, a record often credited with laying some of the groundwork for the synth-pop explosion of the 1980s.


There’s a lot to love here. The vocals are smooth and impeccably produced, and although I’m sure some listeners might disagree with me, I personally love the electric drums. I also don’t want to overlook the song’s coda, which begins around 2:37 and is absolutely breathtaking. It’s a remarkable musical moment—one that leaves us craving more, which is never a bad sign when it comes to pop music.


“Right Across The USA” will be an absolute treat for fans of Brian Wilson and 1980s synth-pop alike. It’s one of those tracks that gets your foot tapping while offering enough musical depth to reward repeated listens.


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Review by staff at MBTM






Sean MacLeod is an Irish singer-songwriter, musician, producer, author and lecturer from Dublin. A lifelong songwriter and performer, he has been writing, recording and performing for more than 30 years. He first came to attention as a founding member of the Dublin band Cisco, whose work, recorded with U2's Paul Barrett, received critical acclaim in Ireland and attracted interest internationally. Following the band's split, MacLeod embarked on a solo career, developing a distinctive sound that combines melodic indie pop and alternative rock with elements of folk, psychedelia and avant-garde music. 


Sean, you’re from Ireland. Could you tell us a little about your childhood?


Yes. I grew up in Dublin, Ireland. I had a very happy childhood—lots of friends and lots of fun. Actually, my childhood was so much fun that adulthood has paled in comparison, but I think that’s how it is naturally.


When did music first become a part of your life?


Music was always part of my life. It wasn’t the main thing in my life when I was very young, but it has always been there. When I was about seven, I had to go to piano lessons, which I didn’t much like, and my older brother and cousins were all into music, so it was always around me. When I was 11, I heard someone singing a Beatles song, and that really struck a chord (excuse the pun). That’s when I really wanted to know more about music and songwriting.


Were your parents musical?


Yes, in the sense that they loved music and wanted me to learn music, but they didn’t really play anything. My mum played the piano a bit, but she wasn’t a concert pianist or anything. However, she had a big family, and they all played music. My aunt could have been a professional musician; she was very gifted. She played at school concerts and Christmas get-togethers and entertained everyone with her playing. She was naturally very talented.


What are the lyrics of “Inside Out” about?


They’re essentially about finding oneself in this world without all the outside influences, or the internal guilt and fear, that can get in the way of being who we should essentially be.


You have a PhD in musical composition. Was it always clear to you that you wanted to study music at university?


No, I never wanted to study music as such. I would rather play music, but I like researching things, so it was a little like combining these two things. My PhD was an arts practice PhD, which is more about your practice than just accumulating theoretical knowledge. So, I essentially wrote songs for six years.


You’re also an author. Could you tell us a little about your latest book?


Well, my latest book was my PhD thesis. Yes, there was an academic side in the form of a thesis as well as the practice side. It is basically a written document about the music I wrote, why I wrote it, what I was trying to explore through the process, etc.


So, I was looking at why we tune our instruments in a certain way and what would happen if we tuned them differently. I explored that idea and then composed pieces in different tunings. One aspect of it was the use of modern technology and how that affects music today and how we engage with it. So, my argument was that it can restrict the musician in terms of the tuning system because, although it can accommodate lots of alternative tunings, it can tend to standardise music because technology has a tendency to do that.


You released an album last year titled New Start. Could you tell us a little about the album’s lyrical themes?


New Start was the result of me getting frustrated with finishing my current album, That’s When the Earth Becomes a Star. It was taking so long to get the songs to a level I was happy with that I thought I would release a few as singles. Then I thought it had been six years or more since I had released an album, despite having lots of material as a result of the time I had spent working on the PhD. So, I decided to put out an album of old singles and new singles. In the last year, I finished this new album, so the new songs are part of this album, but they are actually different mixes—better mixes, I think—which justifies them being on the new album. Also, this album is more cohesive.


What is your philosophy on life?


Love is all you need. That’s all we know on Earth and all we need to know.


What’s next for you?


I have two new albums coming out of the PhD work, and I have also finished recording two other albums, so I plan to release the material throughout 2027.


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Interview by staff at MBTM

 



I was listening to the radio while driving a few weeks ago and moaned to my sons about how meaningful music has all but disappeared from planet Earth. Save for the oldies stations, it just seems like whatever is on these days sounds incredibly generic. To these ears, at least, today’s Top 40 has gotten so bad that I barely notice when one song ends and another begins. And this is exactly why the existence of artists such as Sean MacLeod is so vital. Without them reminding us what authentic pop-rock sounds like, we just might forget entirely.


“Inside Out,” MacLeod’s new single, is a perfect blend of the nineties and the sixties. The hammering rhythm guitars bring to mind The Smithereens, while the catchy chorus is reminiscent of The Rembrandts. And just when you think you’ve been served a platter of delicious nineties nostalgia, the middle eight kicks in and you realise that The Doors and The Zombies are somewhere in MacLeod’s wall of sound, too.


Anyone with a palate for strong vocals that occasionally channel Ian Curtis’s baritone, explosive guitars, clever chord structures, alluring grunge-flavoured melodies and timeless Hammond grooves will absolutely fall in love with MacLeod’s latest offering.


Oh, and before I forget: I really like the bass work. You can hear it particularly well when the song falls into one of its effective diminuendos around the 2:25 mark.


If this were the good old days, I’d encourage you to go out and buy the single. But since we live in the Spotify era, I’ll just ask you to click the link and give it a listen. Do it. You won’t be sorry.


Listen here: "Inside Out (Radio Edit)" by Sean MacLeod


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Review by staff at MBTM

 


“Don’t Waste My Time"/"Get There Before Noon" 

by 4fro Nick


Born on the sun-drenched island of Crete and now making his mark on the vibrant Los Angeles music scene, 4fro Nick — the stage name of Nick Anastasakis — is an artist whose sound is deeply rooted in heritage, experience, and unfiltered passion. His journey spans continents, from the historic streets of Greece to the creative energy of New York City, before ultimately finding a home in Southern California.


Blending heartfelt songwriting with powerful indie-rock arrangements, Anastasakis creates music that strikes an appealing balance between funk-rock swagger and pop accessibility. His songs move and groove with infectious energy while offering memorable hooks that listeners can easily sing along to. Both tracks featured on his new single — also available as a 7-inch vinyl release — are remarkably compelling. They sound fresh and contemporary, yet possess that elusive quality shared by all great pop records: a sense of familiarity, as though you've somehow heard them before.


The A-side, “Don’t Waste My Time (LA Mix),” opens with a hypnotic keyboard pulse that immediately draws the listener in. Once the band kicks in and the vocals arrive, the track transforms into a full-blown celebration. While it doesn't necessarily reinvent the wheel stylistically, it delivers a fantastic slice of funk-infused pop-rock that recalls the best elements of the 1970s. In fact, it feels like the kind of song Lenny Kravitz could release — and that's high praise. The ingredients are all there: excellent guitar work, commanding vocals, inventive and loose-limbed drumming, a cool, driving bass line, and a chorus that's impossible to resist.


The B-side, “Get There Before Noon (LA2 Mix),” continues along the same path of creativity and craftsmanship. While it's a more laid-back and overtly pop-oriented offering than its counterpart, it retains many of the qualities that make the A-side so enjoyable. The vocal melody is, quite simply, outstanding. I was also particularly impressed by the tremolo- and wah-wah-infused guitar break following the chorus, which adds a distinctive touch and elevates the production. If pressed to choose a favourite between the two tracks, my vote would probably go to “Get There Before Noon.”


For Anastasakis, music is clearly far more than a profession — it is a calling, a lifestyle, and a genuine labour of love. If you're searching for something authentic, heartfelt, and expertly crafted, you can't go wrong with 4fro Nick's latest single. Whether you find yourself drawn to the infectious energy of the A-side or the melodic charm of the B-side, chances are you'll arrive at the same conclusion I did: this is a seriously impressive release.


Listen here: "Don't Waste My Time (LA Mix) / “Get There Before Noon (LA2 Mix)"


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Review by staff at MBTM

 


“Love Keeps Burning Still" by ReeToxA

Remember that late-eighties and early-nineties stretch when rock bands started carving out chart space with their power ballads? ReeToxA’s latest single, “Love Keeps Burning Still,” feels like it reaches straight back into that moment and brings it into the present day—and then some.


“Love Keeps Burning Still” is a slow-burner that opens in a deliberately stripped-back arrangement, anchored by a gentle, steady piano line that gives the vocals and central melodic ideas room to breathe. Rather than rushing toward a dramatic payoff, the track moves with patience, allowing emotional weight to build naturally as the full band gradually enters around the one-minute mark.


The vocals stand out right away, with a confident lead performance and a female voice weaving in that gives it a gentle duet feel. It’s one of those songs that grows on you—the more you listen, the more those small shifts in dynamics and texture start to show. A quietly compelling track for anyone who still has a soft spot for piano-led pop-rock with a nostalgic touch.


Oh, and I really like the orchestration as well. It’s another highlight of the track.


Listen here: "Love Keeps Burning Still"


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Review by staff at MBTM

 



“By Design” by Philip Kuehn


For more than two decades, Philip Kuehn has cultivated a multifaceted career spanning performance, composition, production, and education. A bassist of remarkable versatility, he moves effortlessly between the concert stage, recording studio, and classroom, bringing a distinctive musical voice shaped by an expansive range of influences.


A graduate of The Juilliard School, where he studied with legendary mentors Ron Carter, Ben Wolfe, and David Grossman, Kuehn has collaborated with and performed alongside some of the most respected names in contemporary music, including Quincy Jones, Jon Batiste, Wynton Marsalis, Branford Marsalis, Harry Connick Jr., Roy Hargrove, Take 6, Anthony Hamilton, and Cyrille Aimée. His artistry also contributed to the Grammy Award-winning soundtrack for Disney and Pixar’s Soul.


His latest single, "By Design," draws inspiration from the breathtaking beauty and liberating spirit of California’s iconic Pacific Coast Highway. More than a decade in the making, the composition represents the culmination of a twelve-year creative journey—an evocative musical statement that reflects both Kuehn’s artistic evolution and his enduring gift for storytelling through sound.


As a piece of modern jazz, "By Design" succeeds through its elegance, precision, and emotional depth. Every element feels thoughtfully placed, creating a seamless interplay between rhythmic momentum and lyrical reflection. Kuehn’s bass work is the track’s beating heart, delivering both technical sophistication and genuine feeling, while the ensemble performs with remarkable cohesion and sensitivity. The result is nothing short of captivating.


Special recognition is due to featured saxophonist Matt Marantz, whose contribution adds a rich layer of warmth and texture to the composition. His expressive playing elevates the piece, adding just the right amount of sensual appeal to the proceedings to make even the most jaded listener tune in and tap their feet.


What makes "By Design" particularly compelling is its commitment to subtlety. Rather than relying on grand gestures or overt displays of virtuosity, Kuehn allows the music to unfold naturally, rewarding attentive listening with nuance and detail. It is a reminder that restraint, when executed with confidence and artistry, remains one of music’s most powerful tools.


Rather than overwhelming the listener, Philip Kuehn and Matt Marantz invite them into a beautifully realized sonic world—and that invitation is unquestionably worth accepting.


Listen here: "By Design"


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Review by staff at MBTM