Blending elements of ’80s rock, alternative pop and soft rock, the track embraces melodic songwriting and a genre-fluid approach. Craft’s musical versatility comes as no surprise given his background as an in-demand studio drummer, which eventually led him to explore guitar, bass and keyboards before venturing into music production under the mentorship of house artist Pierce Fulton. This eclectic journey continues to shape his creative direction, allowing him to move between different musical styles without being tied to a particular formula.

Beyond its musical influences, “Lay Your Heart Down” reflects Craft’s belief in music as a vehicle for positivity and human connection. Humour also plays an interesting role in the project’s identity, starting with its rather unusual name. Born out of a humorous attempt at speaking Russian during a trip to St. Petersburg, the phrase stuck despite its nonsensical translation, eventually becoming the project’s signature.

The most interesting aspect of Zhenyok Chem Brat is the freedom with which Jeff Craft approaches music, treating genres as starting points rather than boundaries. “Lay Your Heart Down” reflects this openness, offering a melodic expression of a wider creative philosophy built around exploration, collaboration and the simple joy of making music.

And somehow, against all reasonable expectations, the whole glorious mess works.

Released May 26, 2026, Dissolving Through the Rainbow Gate isn’t interested in fitting neatly into anybody’s musical filing cabinet. Nine songs stretch, twist, and occasionally threaten to collapse under their own ambition, but that’s part of the thrill. Love Mischief understands something that too many contemporary rock bands have forgotten: music should occasionally make you wonder whether the musicians themselves know where the hell they’re going.

Founder Brian Curtin certainly knows his way around a guitar. A Berklee College of Music graduate with roots in technical metal, Curtin approaches composition with the precision of a surgeon and the curiosity of a mad scientist. His brother Colin, also a Berklee graduate, brings another dimension to the guitar work and vocals. Alongside keyboardist Neil Heaton, drummer Alan Gamboa, and bassist Bryant Whaley, the Curtins have assembled a quintet capable of moving from delicate jazz textures to full-throttle rock without stopping to ask permission.

Recorded at Q Division Studios in Somerville, Massachusetts, and mixed by Jeremy Bernstein, the album benefits from vintage equipment and an inviting analog warmth. There’s something wonderfully physical about the sound, a refreshing departure from the sterile perfection that suffocates so many modern recordings.

The title itself comes from “Jordan,” the album’s penultimate track, but Curtin sees it as something more profound.

“To me, it represents a portal. A massive shift in perspective, consciousness, or outlook. A true before and after.”

That might sound like something overheard in a dorm room at three in the morning, but Love Mischief possesses the musicianship to make those cosmic aspirations genuinely interesting.

Their next release, the four-track Birthday Suit EP, due in early winter, promises another excursion into the wonderfully strange. Written entirely by Curtin in 2012, the collection features a title track built around an irresistible groove and the delightfully absurd question, “Who’s that wearing your birthday suit?”

Underneath the playful hook lurks an existential riddle about identity, consciousness, and whether we’re anything more than the bodies we inhabit.

Heavy stuff for a song that sounds like it could get a roomful of intoxicated strangers dancing.

But the real laboratory is the stage. The recorded version of “Birthday Suit” reportedly expands by approximately seven minutes in concert, traveling through four separate improvisational sections. That’s where Love Mischief’s debt to the Grateful Dead and Phish becomes obvious, although their metallic aggression and progressive instincts give the formula a distinctly different flavor.

And these guys have been putting serious miles on the odometer.

After an extensive summer tour through California, Oregon, Washington, Idaho, Colorado, and Utah, Love Mischief played Mammoth Lakes’ Liberty Sports Bar & Grill on October 30th before returning to Sacramento’s Torch Club for a Halloween bash inspired by Trailer Park Boys.

Their November Northwest excursion continued with Spokane’s The Chameleon on November 11th, Seattle’s Blue Moon Tavern on November 12th, Portland’s White Eagle Saloon on November 13th, Eugene’s Whirled Pies on November 14th, and Astoria’s Fort George Brewing on November 15th.

It’s the kind of relentless touring schedule that separates genuine working bands from weekend hobbyists.

Love Mischief formed in 2013, but its current lineup solidified in June 2023. That decade-long evolution helps explain why Dissolving Through the Rainbow Gate feels less like a tentative debut than the arrival of musicians who’ve spent years arguing with their instruments and finally reached a gloriously unstable agreement.

This isn’t music for people who demand three-minute singles with predictable choruses. It’s music for listeners who believe rock and roll should still contain danger, discovery, humor, and the occasional spectacular wrong turn.

In a world increasingly obsessed with algorithms, predictable playlists, and carefully manufactured personalities, Love Mischief offers something refreshingly human: five musicians chasing an idea until it either takes flight or crashes spectacularly into the furniture.

And frankly, rock and roll could use a hell of a lot more of that.

Listen: Dissolving Through the Rainbow Gate on Spotify | Love Mischief Official Website

By Jack Morrison 

The track draws from the gritty textures of ’90s alternative punk, hard rock, and classic rock’n’roll. Built around heavy riffs and a driving rhythm section, it carries an unmistakably old-school attitude while maintaining a punchy, contemporary production. It’s the sort of sound that brings to mind dimly lit bars, crowded dance floors, and the kind of live performances where standing still was never really an option.

Founded in Munich in 2021, Kings Of Decay came together during an unusual chapter for the city’s music scene, when venues were closed and stages stood empty. The four-piece consists of Stefan (vocals, guitar), Felix VNA (guitar), Ihsan (drums), and Tim RedSky (bass), bringing together a shared appreciation for the rougher side of rock. Describing their sound as Dirty Rock’n’Roll, the band has maintained a DIY ethos since its early releases, The Plusfit Session (2022) and Kings Of Decay (2023).

Now, the quartet is preparing to introduce its debut full-length album, Outcast Legion, scheduled for February 26, 2027. Produced alongside Andreas Poppek and mixed and mastered by Jakob Braun at The Engine Studios, “Rising Through The Noise” offers an early indication of a heavier and more direct musical direction.

In an era where even rebellion can feel carefully curated, there’s something refreshing about a band that keeps things uncomplicated. Kings Of Decay aren’t particularly interested in reinventing rock’s visual or musical language; with “Rising Through The Noise,” they’re more concerned with keeping its spirit alive. Sometimes, that’s more than enough!

Blending progressive rock, electronica, jazz fusion and symphonic elements, the eight-minute composition unfolds through shifting textures, layered arrangements and dynamic contrasts. Rather than following conventional songwriting structures, “Ascent” gradually draws listeners into an expansive sonic landscape, where each musical transition feels like a new scene or destination. Without lyrics to dictate its narrative, the composition leaves plenty of room for individual interpretation.

The exploration extends into the accompanying music video, which depicts spacecraft travelling through interplanetary space and navigating psychedelic realms. Complementing the track’s atmospheric character, the visuals transform the listening experience into something closer to a cinematic expedition. It is an interesting interplay between sound and imagery, where music becomes the soundtrack to an imagined journey through the unknown.

Based in Cologne, Salaar Masud has developed Project D.S.F as a broader creative undertaking, bringing together instrumental composition and visual storytelling. Drawing from progressive rock, electronic experimentation and psychedelic influences, each release contributes to a larger, planned sequence of EPs, gradually expanding the project’s audiovisual universe.

With “Ascent”, Project D.S.F continues to explore the possibilities of instrumental music beyond conventional structures. More than simply an exercise in genre-blending, the composition offers a glimpse into Salaar Masud’s evolving artistic vision, inviting listeners to venture beyond the familiar and discover what lies ahead.

The Los Angeles-based singer-songwriter and pianist brings a fondness for classic piano-driven pop into her songwriting, drawing inspiration from the likes of Billy Joel and Elton John. That influence is particularly evident in the track’s melodic sensibility and carefully layered instrumentation. Moving between contemporary pop and a more traditional orchestral palette, Paul creates a sound that feels both familiar and distinctly personal. The arrangement opens with melancholic piano passages before gradually introducing lush strings and increasingly expressive vocals, building towards a sweeping, almost cinematic conclusion.

The song takes an interesting turn. Rather than dwelling on the usual narratives of heartbreak and romantic disappointment, Paul approaches relationships from a more introspective perspective, examining her own recurring patterns and the less flattering sides of her personality. As she explains, “Don’t Fall in Love With Me” is a candid reflection on the mistakes she continues to repeat. There is a refreshing vulnerability in this approach, particularly in a genre where romantic narratives often revolve around assigning blame rather than acknowledging one’s own shortcomings.

Marking her fourth release of the year, Kate Paul continues to build a catalogue centred on thoughtful songwriting and expressive musical arrangements. With “Don’t Fall in Love With Me”, she delivers a composition that pairs lyrical candour with an expansive, nostalgic sound. There is an understated charm to a song that begins by warning its listeners against falling in love, only to draw them in through its sincerity, melodic warmth, and emotional depth..

“Nasty” is the first single from the band’s upcoming album, bringing back the unmistakable swagger of Hollywood’s legendary Sunset Strip. Originally formed in Baltimore in 1985, Nasty Passion made its way to Hollywood in 1989, building a reputation through high-energy performances and an uncompromising approach to hard rock. Now reunited after years apart, the band returns with the same appetite for rock ’n’ roll excess and a fresh chapter to write.

“Nasty” wastes little time getting down to business. Driving percussion, resonant basslines, and gritty guitar riffs create an infectious momentum that carries the track forward. The guitars are particularly central to its atmosphere, crawling and twisting around the arrangement while adding layers of raw energy. Meanwhile, Jsin Lynch’s raspy, attitude-filled vocals bring just the right amount of theatricality, balancing melodic hooks with a delivery that practically demands a sing-along.

The band embraces its provocative side, exploring seduction, excess, and late-night escapades. “Let’s get down and dirty / One night and you’ll see why” sets the tone, while the repetitive, chant-like chorus turns “Nasty” into a collective rallying cry. It’s cheeky, deliberately excessive, and entirely in keeping with the song’s personality.

There’s a definite Sunset Strip DNA running through the release, bringing to mind the sleazy hard rock energy of L.A. Guns and Faster Pussycat. Yet, rather than simply recreating an era, Nasty Passion combines seasoned musicianship with a polished production that doesn’t sacrifice its grit. Mixed at the legendary Cherokee Studios with Bruce Robb and mastered by Chris Bellman, the single strikes a satisfying balance between classic hard rock swagger and contemporary clarity.

With “Nasty,” Nasty Passion proves that some things never go out of style: a killer riff, a commanding vocal, and a little bit of trouble. Turn it up and let the night take over!

“Got Help?” is an openly vulnerable song, and musically that is very present; even if you listen to just the instrumental, it sounds like the interior canyons of the mind with how ambient it is. The instrumental is not overpowering because of the nature of the rap vocals they need space to fly over. There are some psychedelic elements which I thought were cool, with how the synth layers interact with the vocals and how, only in key moments, a delay is introduced to the vocal mix some great creative choices here

Lee says his goal is to reach people who may be fighting battles nobody else can see and remind them they are not alone. His background gives the song some context: he has worked as an electrician and served in the military, and in April 2026 he founded his own label, Vision Redemption Records. His bio says he works from a homemade studio in his Mount Holly home, built around just an iPad, GarageBand, one microphone, and a Schecter Diamond Series electric guitar. His philosophy, in his words, is that it all starts with believing.

This is an ambitious EP; every song is an entire movie in itself, with so many moving parts and varied textures and harmonic changes, it’s incredible everyone seems to be stretching their muscles as far as it can go, but it’s not excess for the sake of it. This power metal relentlessness is part of the overall message and narrative; it serves the story for the music to be this rich and detailed.

A great example is “Final Score” The song is a workout for the drummer, as always, but not just because of its fast tempo; no, there are constant groove changes, and the drums have to create spaces for the shifting tapestry of harmonic instruments, from big riffs synced between the bass and guitar to keyboard lines. It reminded me of that one John Petrucci quote about a band being a well-oiled machine. Because yes, in this case, with the theatrical music with chapters and key moments like this, it’s less about spontaneous expression, though that is present in the execution, and more about the execution of certain beats on time to harmonize with others like a sports team and reach that flow state.

Matt Dougherty, whose credits include Megadeth, Disturbed, and Staind, mixed and mastered the EP apart from a few tracks Hunsaker handled himself, including “Final Score.” Hunsaker sings and plays guitar alongside Cliff Chambliss on bass, Mats Eriksson and Tony DelVecchio on drums, Diego Palma and Raymond Hayden on keys, and Sergio Ortega and Joe Gentner on guitar solos. Hunsaker also played in the Dio tribute band Stand Up & Shout in Seattle.

What I like most here is the ambition of the idea. Putting two full songs into a single track is a bold move, and it lets “Workin’ in the USA” and “What’s Left For Me” play off each other as one story about working-class hardship. I’m also a fan of how it was made. Two brothers, one home studio, everything recorded live with no samples or auto-generated parts. With Charles handling the writing, vocals, and production and Dylan taking care of the drums and mixing, it is a proper family-run operation. That hands-on approach is something I always appreciate, and it fits the blues-rooted rock lineage they list as influences, from Cream, Hendrix and Led Zeppelin to BB King, Joe Bonamassa and Stevie Ray Vaughan.

The band says it has passed 200,000 streams on Spotify, which is a solid number for a duo recording on their own. For anyone who likes their classic rock influences worn proudly and their records made by people with real instruments in a real room, “Workin’ in the USA/What’s Left For Me” is an easy one to recommend giving a spin.

Musically, this band clearly understands what really makes a song heavy: it’s not huge hooks or low-tuned guitars but the space between the notes that the bass and drums create after all this song was written 27 years ago, before those trends came to be. This live version feels more ragged, with the bass tone especially being a lot more gnarly; in my opinion, it’s better. The vocals shine here because they manage to cut through the wall of sound of that heavy rhythm section. The band has great chemistry, and I enjoyed the moments where they all sync up, and there is a shared melodic motif between the vocals and the guitar

The band says bringing the song in let it show off Dilorenzo’s songwriting, and that it took on the feel of Bones of Goliath as they worked through it together. The video follows “Face The Flames” and “Blade, Fang, Blood and Claw,” and the band says its sound has become more distinctive, which opens up new ways to approach writing. They have started preproduction on new material and plan to head into the studio soon, so there is more to come from this lineup.