“Breathe” by Aldís Fjóla & Halldór Sveinsson

Some songs demand your attention; others gently earn it. “Breathe” belongs to the latter—a soft, atmospheric track that unfolds gradually and lingers long after it ends.

Halldór Sveinsson keeps the production clean and minimal: piano, strings, and airy textures, all anchored by Aldís Fjóla’s outstanding vocal performance, which forms the heart of the track. Her voice feels intimate and personal, as if she’s singing just for you.

Listeners in search of a catchy hook or high energy may find “Breathe” a touch too subtle, but to my ears it’s a terrific offering—a beautiful piece of art-pop that deepens with each listen and proves that less can truly be more. 

"Breathe" is a calm, rewarding listening experience in a world that often feels too loud.

Listen here: "Breathe"

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Review by staff at MBTM

“Makes Me Happy” by Paul Louis Villani

With his outstanding new offering, “Makes Me Happy,” Melbourne multi-instrumentalist and producer Paul Louis Villani proves, once and for all, that the blues is always in style and never out of fashion. In fact, “Makes Me Happy” is not just a nod to the blues tradition, but a vibrant, contemporary celebration of its enduring power and emotional depth.

The sheer intensity of the performance is breathtaking. Blistering acoustic guitars, outstanding vocals, and great melodies—what’s not to love? It’s brilliant. Most impressive of all is the track’s simplicity: built around little more than the above mentioned elements, it feels complete as it is. There’s nothing you’d want to add.

For fans of roots music or blues, “Makes Me Happy” is a real gem. Check it out—you won’t be disappointed … you’ll be happy.

Listen here: "Makes Me Happy"

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Review by staff at MBTM

 

“Honey Slow Down” by S.K.Wellington

For those of us who remember the ’80s, S.K. Wellington’s latest single “Honey Slow Down” is guaranteed to get your foot tapping. It has all the hallmarks of the era: a driving bassline, bright, atmospheric synth hooks, and an irresistible melody. And if that’s not enough to draw you in, here’s another hook—the song captures the rush of unexpected attraction.

We’ve all felt it: that dizzying loss of control when you fall for someone who upends your expectations. That emotional tension—wanting to hit the brakes while being pulled forward—is intoxicating, and the track captures it perfectly.

What’s particularly intriguing about “Honey Slow Down” is that it began life as a slower acoustic piece. Reworked into this polished, pop-leaning version, it retains Wellington’s introspective songwriting while pushing her sound into bolder new territory.

It’s a fantastic track, and to these ears, reworking it was exactly the right decision. That said, the acoustic version—also released as a single—has its own appeal, offering the same gorgeous melody in a more stripped-back form.

And it’s worth mentioning: S.K. Wellington has an incredible voice.

Listen here: "Honey Slow Down"

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Review by staff at MBTM

“Thrown” by Max Threat

“Thrown” by Max Threat is garage rock through and through. His Spotify bio reads, “Making some noise in a trailer in the country,” and that’s exactly what the new single sounds like—and I love it. Threat isn’t the first artist to embrace a simple, immediate approach to crafting rock records. There have been quite a few others. Bon Iver made For Emma, Forever Ago in a similarly raw fashion, and there’s also Bruce Springsteen’s Nebraska. Stylistically, these works differ greatly from what Threat is doing, but they share one key quality: unlike their overproduced mainstream counterparts, they feel fresh, immediate, and alive.

Max Threat’s vocal delivery is the centrepiece of "Thrown", though the guitars deserve just as much praise. This is music that prioritises punch over polish, and it works because it commits to that approach without hesitation. In fact, everything about “Thrown” feels like a kind of controlled chaos. It flirts with falling into pure noise several times but never quite crosses that line, which makes it all the more compelling.

In the end, “Thrown” stands out as a hard-edged, authentic alt-rock track that showcases Max Threat’s ability to channel intensity into something cohesive and inviting. It’s not trying to be pretty—it’s trying to knock you out, and it succeeds.

It’s a strong showing from Max Threat.

Listen here: “Thrown”

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Review by staff at MBTM

"Humanity (Magic Wands Remix)" by Killing Kind

Killing Kind is yet another example of how many great artists emerged during the coronavirus pandemic. Whether you listen to their debut album or last year’s Being Human, it’s all consistently strong. That said, the remix of “Humanity” is, quite simply, a striking track. To my ears, it stands as the definitive version of the song—not just because it moves and grooves in a way the original doesn’t, but because it amplifies the song’s message, bringing it into sharper focus and turning it into a powerful thesis statement for everything this Swedish outfit is trying to explore: fragility, anxiety, and the uneasy weight of modern existence.

The Magic Wands remix leans into a dark, propulsive groove—a steady pulse of bass and drums anchors the track, while icy synths and shimmering guitars create a cold, cinematic atmosphere. The production is superb, leaving ample space for Björn Norberg to deliver an impressive, Ian Curtis–inflected vocal performance, filled with tension that never quite resolves. It’s a fitting voice for a song that captures a sense of civilization teetering—caught between connection and collapse.

What makes “Humanity” especially compelling is its balance between accessibility and depth. There’s a clear melodic core—memorable, even faintly danceable—but it’s enveloped in a dense emotional fog.

“Humanity” is a moody, brilliant piece of modern post-punk. Give it a spin. You might just love it.

Listen here:"Humanity (Magic Wands Remix)"

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Review by staff at MBTM

“Day Trip” by Sssstephen!

“Day Trip” by Sssstephen! is a beautiful indie-pop track that doesn’t try to overwhelm. Instead, it slips in quietly, settles into your mood, and lingers long after it ends. There’s something deeply compelling about it—it evokes a time when the airwaves weren’t dominated by synthetic pop, a feeling many listeners would gladly welcome back.

The production leans into a hazy, almost dreamlike atmosphere, built on layered textures. The guitars sit perfectly in the mix—sometimes calm and understated, other times delivering a much-needed punch. There are clear echoes of The Velvet Underground in its DNA, along with a hint of Led Zeppelin’s more experimental side.

Vocally, Sssstephen! strikes a balance between distance and intimacy—close enough to feel personal, yet detached enough to remain ambiguous. What stands out most, however, is the cohesion of the production. Nothing feels out of place, even when elements blur together. The track doesn’t build toward a big climax or hook; instead, it sustains a steady emotional wavelength, making it feel more like an experience than a conventional song.

“Day Trip” isn’t aiming to dominate the charts. It’s more like a sonic snapshot—subtle, introspective, and quietly addictive. Love it. 

Listen here: "Day Trip"

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Review by staff MBTM

 

“Boom” by Chandra

I’ve always loved power pop, and Chandra really is the epitome of the genre—with one small exception: his songs aren’t just catchy, they also push the boundaries a bit. His latest track, “Boom,” is a great example. There are all sorts of clever touches in the mix—the Latin rhythm, the chants, and the whistling that drift in and out. It’s a compelling blend of mainstream appeal and indie sensibility.

Beyond the earworm hooks, there are fiery guitars that know exactly when to punch and when to pull back, and lead vocals that practically burst out of the speakers. “Boom” is a hook-laden standout with top-tier production—you can hear every detail.

Whatever “Boom” is, it certainly isn’t subtle—it’s about catharsis. Chandra’s latest offering is more than just another punchy pop-rock track; it’s a reminder that sometimes the loudest thing you can do is feel something fully—and let it resonate.

It's a terrific track.

Listen here: "Boom"

Watch here: "Boom"

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Review by staff at MBTM

“Venom-Laced Tears” by Antoin Gibson

There’s a certain kind of pop song that wants to heal you—and then there’s “Venom-Laced Tears,” which would rather sharpen you into something unbreakable—after tossing you around a bit first. This is a song that has so much punch it’s almost explosive.

With her latest offering, Antoin Gibson takes us on a sonic and poetic journey that feels as unsettling as it is captivating. Production-wise, the track leans into a cleverly crafted dark-pop palette that's deeply alluring. The “serpentine” qualities embedded in the mix—hissing vocal textures and spatial synths that slither across the stereo field—leave you absolutely breathless. But it doesn’t end there: the vocals are just as exceptional as the arrangement. It all works beautifully together.

I'd also like to point out that unlike many electronic pop releases, “Venom-Laced Tears” is an outstanding composition, strong enough to transcend its production—it would work in any form, even stripped down acoustically. And that’s no small feat.

Gibson’s latest doesn’t just tempt you to take a bite of the forbidden fruit; it challenges you to endure whatever life throws your way—on your own terms, and without apology.

What a striking slice of cinematic pop.

Listen here: "Venom-Laced Tears"

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Review by staff at MBTM