Minds Behind the Music News, Reviews & Views

“No Time For Time” by Highway Wolf

“No Time For Time” by Highway Wolf is Americana through and through. Echoing the US pop-rock sound of the late seventies and early eighties, the song evokes nostalgia in the best possible way. It’s a reminder of what’s been lost in recent years as technology has taken over music production. That’s a real shame, because songs like this deserve to populate the charts far more than much of what’s there today.

“No Time For Time” is a finely crafted production, featuring strong vocals, expressive guitar work, and lush harmonies. The mix is well-balanced, allowing the atmosphere to breathe naturally. Rather than relying on dramatic shifts in arrangement, it favors emotional depth and gradual development, maintaining a consistent, almost meditative tone throughout. I’ve always liked the slow-burn approach to music-making—it feels far more effective than relying on too many mood shifts in the production.

Overall, the nearly six-minute-long “No Time For Time” stands out as a restrained and introspective piece—less concerned with instant impact and more focused on creating space for reflection. It’s likely to resonate with anyone who appreciates retro-flavoured, high-quality pop-rock. I know I’ll be coming back to it again.

Listen here: "No Time For Time"

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Review by staff at MBTM

“Shaking Off The Lies” by Dimitri Delakovias

It’s been decades since folk icons like Bob Dylan, Donovan, Leonard Cohen, and Simon & Garfunkel walked the earth and were revered by music aficionados around the world—far too long, if you ask me. While folk and folk rock never truly disappeared, they’re no longer mainstream and haven’t been for quite some time. That’s a shame, because there are still plenty of great folk songs drifting through the musical cosmos.

Dimitri Delakovias is someone with decades of experience in TV and film who has only recently turned to releasing music—and what a smart move that was. His debut offering, “Shaking Off The Lies,” is a compelling slice of experimental folk. It’s an intriguing track: listen only halfway through and you’ll miss the superb coda, though even then you’ll likely be struck by the unusual chord progression, the keyboard flourishes that drift in and out of the mix, and the protest-tinged lyrics. And it’s worth mentioning—the vocals are pretty impressive too.

“Shaking Off The Lies” was crafted by Delakovias with the help of AI to bring new life to lyrics he wrote some time ago. I don’t usually cover AI-generated music, but the words here deserve to be heard. Why? Mainly because they’re excellent—but also because I miss the days when pop-rock lyrics had something meaningful to say. Even if Delakovias brings that spirit back for just five minutes, giving this track a spin is well worth your time.

Listen here: "Shaking Off The Lies"

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Review by staff at MBTM

“Homegirl” by John Arter

We’re bombarded with huge productions the moment we turn on the radio. And sure, some of them are majestic. But there’s another approach to making music—a more subtle one. John Arter’s latest offering belongs to this latter category. It’s acoustic, folky, and strikingly sparse, recalling the 1960s, when all you needed to make a record was an acoustic guitar, compelling vocals, and some intimate, meaningful and relatable storytelling.

What Arter has accomplished here is quite a feat. Beyond his strong vocal delivery, a set of beautifully arranged harmonies, the steady strum of an acoustic guitar, and what sounds like a marimba, there’s very little else in terms of arrangement. And yet, the production feels full and complete. It doesn’t need anything more—it’s perfect as it is.

At its core, “Homegirl” is an intimate folk song with a subtle touch of country. It’s the kind of track that reveals more with each listen—an absolute gem for fans of those styles.

Listen here: "Homegirl"

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Review by staff at MBTM

“Just What Happened” by KER

While it’s easy to forget what made the music of the sixties and seventies so superior to much of what major labels churn out today, you’re quickly reminded when you stumble upon the same level of quality and craftsmanship that once graced the charts. Put simply, it comes down to melodically rich music paired with lyrics that actually mean something.

KER is a British artist who only entered the music scene about a decade ago after a long career in marketing—and we’re all the better for it. The music that has come from that decision is, quite frankly, excellent.

“Just What Happened” is a retro-flavoured indie pop gem that harks back to the late sixties, yet could just as easily have emerged during the Britpop boom of the nineties. It’s a strong indie offering, driven by compelling vocals, crisp guitar work, and—most importantly—a memorable melody.

Anyone who appreciates music from those eras will absolutely love “Just What Happened.” That’s a promise.

Listen here: “Just What Happened”

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Review by staff at MBTM

“Better Still” by Amy Vee

Layered, moody, and driven by subtle electronics and guitars—alongside her outstanding vocals—Amy Vee’s “Better Still” is a striking offering. It evokes the spirit of 1960s experimentation while retaining the kind of elegant vocal melodies that defined that era. The track wouldn’t feel out of place on Butterfly by The Hollies—it’s that strong.

The production is first-rate, and the arrangement is both compelling and beautifully crafted. Still, the true centerpiece is Vee’s voice and her distinctive vocal style, both perfectly suited to the song’s musical direction. Another highlight is the chord structure, which is at times surprisingly inventive and deeply satisfying—something that can also be said of the harmonies. It’s a song that blends mysticism with gorgeous pop to striking effect.

“Better Still” is a mature, introspective piece that showcases Amy Vee’s strength as a singer-songwriter. It’s less about spectacle and more about atmosphere and presence—a reminder that towering choruses and heavy instrumentation aren’t always necessary to leave an impression. Sometimes, all it takes is a voice, a mood, and the space to let them breathe.

Love it.

Listen here: "Better Still"

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Review by staff at MBTM

“I Want It More Than You” by Mick J. Clark

“I Want It More Than You” by Mick J. Clark is a bright, unapologetically upbeat pop-rock track that leans into feel-good energy and simple, clear emotion. It mixes a bit of ’60s and ’70s style with a ’90s pop-rock vibe—which I mean as a compliment, since those were great decades for this kind of music.

The song is all about perseverance and grit. It’s basically an ode to not giving up, and its message feels genuine: the people who want success the most—and are willing to work the hardest—are usually the ones who come out on top.

Musically, the song's driven by a catchy, retro-tinged melody, wrapped in a clean indie-style arrangement. The vocals are passionate and sincere, the guitars sound great, and while the production doesn’t try to surprise you, it knows exactly what it’s doing and delivers it confidently.

“I Want It More Than You” is a cheerful, easygoing track that wins you over with its charm and catchiness. It’s a strong release from Mick J. Clark.

Listen here: "I Want It More Than You"

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Review by staff at MBTM

"Uncommon Sense" by Sbob

There’s a certain kind of release that arrives without a trail—no blog chatter, no critical framing, no algorithmic push. "Uncommon Sense" by Sbob is exactly that kind of track. Yet, despite its quiet release in March 2026 and the near-total absence of surrounding discourse, the song is a standout: one part ABBA, one part ’90s Britpop, and one part new wave—a surprisingly cohesive and compelling blend.

The vocals are strong, as are the guitars, but the true star here is the songwriting itself: an inviting melody, some impressively inventive chord structures, and an arrangement that refuses to follow the obvious path. The ending, in particular, is a pleasure. Just as the guitar solo winds down and you expect a familiar chorus reprise, the track pivots instead into an instrumental outro built around a striking keyboard hook. It’s a gutsy move—and one that pays off.

“Uncommon Sense” is guitar-driven indie pop at its most assured. It feels crafted rather than calculated, confident without being overproduced. In a landscape often dominated by polish and predictability, that alone makes it worth your time.

Listen here: "Uncommon Sense"

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Review by staff at MBTM

“This Life” by Sean Mychaels

“This Life” by Sean Mychaels feels like a slow exhale. It’s not chasing hooks or big moments—it’s built on mood, patience, and emotional honesty. And what a triumph it is. This is one of those songs that reveals more with every listen—a truly compelling offering.

With a catchy chorus, rich guitar work, strong vocals, and a mellow, late-night atmosphere, Mychaels taps into something distinctly reminiscent of the ’90s. In doing so, he reminds us what authenticity really sounds like. This is heartfelt songwriting, rooted in something real. Inspired by the passing of his father, “This Life” explores one of life’s deepest sorrows: the loss of a loved one.

Despite the emotional weight it carries, the song never slips into over-singing or unnecessary theatrics. And while it isn’t built around dramatic sonic peaks, that’s precisely its strength. “This Life” trades big crescendos for something subtler and more lasting—a steady, reflective mood that gently reminds us just how fragile life can be.

I love it.

Listen here: "This Life"

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Review by staff at MBTM