(SAN DIEGO, CA) — PRAYERS, the project of artist, musician and cultural provocateur Leafar Seyer, have released their new single and music video, “No Tengo Calma.” The track is available on Spotify, Apple Music and all major streaming platforms alongside a cinematic new visual that opens the door to the next chapter of Seyer’s world. In support of the single and upcoming new music, PRAYERS has also announced four Southwest dates for November, including a performance at the much anticipated Darker Waves festival with Morrissey and Smashing Pumpkins.

Eddy Mann’s “Thank You Lord,” arriving November 6, 2026, belongs to that quieter tradition.

The Melbourne, Florida-based singer-songwriter has spent years navigating the intersection of contemporary Christian music, folk, gospel, and Americana. His career includes chart-topping singles, international recognition, and industry awards. Yet his latest release, the first from his forthcoming Dreaming with God album, demonstrates that artistic maturity sometimes means knowing when to resist complexity.

The story behind the song is almost as compelling as the spiritual message it carries.

During the summer of 2009, Mann’s mother filled her journals with prayers, observations, and reflections on her relationship with God. Four years later, she passed away. Recently, Mann began revisiting those handwritten pages, discovering that her particular way of communicating with the Creator possessed a musical quality all its own.

Her language had rhythm. Her phrasing suggested melody. Her personal vocabulary carried the unmistakable fingerprints of an individual spiritual journey.

Rather than translating those writings into familiar worship conventions, Mann allowed their natural character to guide the composition.

That decision matters.

One of the challenges facing contemporary Christian music is its tendency toward uniformity. Songs written for congregational accessibility can sometimes sacrifice the distinctive personality that makes art memorable. There’s nothing inherently wrong with musical simplicity, but simplicity becomes powerful only when it communicates something authentic.

“Thank You Lord” demonstrates the difference.

Its lyrics offer straightforward expressions of gratitude for the blessings, wonders, grace, favor, and mercy found in everyday life. A recurring prayer for God’s loving care provides the composition’s spiritual center. The repetition is intentional, recalling devotional traditions where familiar words become increasingly meaningful through meditation.

It’s worship music designed to encourage reflection rather than manufacture excitement.

The biblical inspiration, Psalm 118:24, is familiar territory, but Mann approaches its message through a deeply personal lens. The passage’s celebration of each day as God’s creation becomes something more intimate when connected to the handwritten prayers of a mother whose earthly life has ended.

In this context, gratitude becomes an act of remembrance.

What’s especially interesting is Mann’s description of the recording process. He entered the studio with a skeletal arrangement and evolving harmonies, capturing the song at a particular stage of its development rather than treating it as a rigidly finished product.

There’s a theological resonance to that creative philosophy. Faith is rarely static. Prayer evolves. Understanding deepens. The spiritual life is continually being shaped by experience, memory, and grace.

The same can be said of meaningful art.

Of course, “Thank You Lord” isn’t without potential limitations. Its restrained lyrical vocabulary and recurring phrases may leave listeners accustomed to more narrative development wanting additional dimensions. The song asks its audience to embrace stillness, something increasingly difficult in a culture conditioned toward constant stimulation.

But perhaps that challenge is part of its purpose.

The Christian music tradition has always been strongest when it allows artists to bring their complete humanity into their work. The best songs of faith don’t merely communicate theological statements; they reveal what belief looks like when lived through ordinary circumstances.

Mann’s latest single succeeds conceptually because it understands that distinction.

His mother’s prayers weren’t composed for an audience. They weren’t crafted for radio programmers, streaming playlists, or commercial recognition. They were personal expressions of a relationship with God. By transforming them into music, Mann preserves their intimacy while inviting others into their meaning.

As the opening chapter of Dreaming with God, scheduled for September 2027, “Thank You Lord” points toward an artistic journey rooted in listening, reflection, and spiritual inheritance.

In a musical landscape frequently driven by trends, Mann offers something refreshingly uncalculated: an invitation to recognize God’s presence in the ordinary rhythms of life.

And perhaps the most profound aspect of the song is that its original author never intended to write one.

She was simply praying.

Her son was listening.

And somewhere between those two acts, music was born.

Built around lust, obsession, dependency, and that familiar rock-and-roll feeling of knowing something might be bad for you and wanting it anyway, “Crave” is unapologetically direct. There’s no coyness here, no tortured attempt to disguise desire as something more sophisticated. This is a hard-rock song about wanting somebody so badly that reason starts losing the argument.

And that’s exactly why it works.

From the opening lyric, “I was born to love you baby / You were born to drive me crazy,” St. Over makes it clear that subtlety has left the building. The song is written in the language of classic hard rock: oversized emotion, physical attraction, danger, temptation, and guitars that are meant to be played loud.

The central idea is simple—love as addiction—but St. Over pushes the metaphor hard enough to give it genuine momentum. He isn’t merely attracted to the subject of the song. He is consumed. The craving becomes emotional, physical, and almost chemical, and the repeated imagery of dependency gives the track an edge that separates it from a standard love song.

Musically, “Crave” sits comfortably in the space where classic hard-rock attitude meets modern production. The guitars are thick and aggressive without swallowing the melody, and the rhythm keeps things moving with the kind of steady punch that makes the song feel built for a stage. There’s muscle in the arrangement, but there’s also discipline. Every part is there to support the hook.

And make no mistake: St. Over understands the importance of a hook.

The chorus hits quickly and stays with you. That may sound obvious, but plenty of modern rock songs spend so much time chasing atmosphere that they forget listeners need something they can actually remember. “Crave” avoids that problem. Its title becomes the focal point, and the repetition feels appropriate because obsession, by definition, doesn’t know when to stop.

St. Over’s vocal performance gives the song much of its personality. He doesn’t sound detached or overly polished. There’s a roughness and urgency in the delivery that fits the subject. You believe that the narrator is genuinely caught in the grip of what he’s describing.

That intensity also keeps the song from drifting into parody.

Let’s face it: hard rock has built an entire history around sex, temptation, excess, and unhealthy relationships. The line between swagger and cliché can be dangerously thin. “Crave” survives because St. Over doesn’t treat the song like a joke. He commits to it completely.

The accompanying visual concept fits that mood perfectly. A dark, nocturnal world of shadows, neon, fleeting images, and a woman who seems perpetually just out of reach reinforces the sense that the real subject isn’t romance at all—it’s obsession. She becomes less a character than an idea, the object of a fixation that grows more consuming as the song moves forward.

That darker psychological edge gives “Crave” more depth than its initial hard-rock swagger might suggest.

Underneath all the bravado is a song about losing control.

That’s always been fertile territory for rock music.

Michael St. Over isn’t trying to rewrite the rulebook with “Crave.” He’s doing something arguably more important: remembering why those rules existed in the first place. Big guitars. Strong vocals. A memorable chorus. A little danger. A little sex. A feeling that somebody might regret all of this tomorrow.

That combination has worked for decades.

On “Crave,” it still does.

Turn it up, close the blinds, and make your own bad decisions.

There is something endlessly fascinating about Los Angeles. Beyond its palm-lined boulevards, glittering neighborhoods, and celebrated entertainment industry lies a mythology that has shaped American popular culture for generations. It is a place where dreams are manufactured, personalities are reinvented, and appearances frequently carry as much significance as reality. On his latest single, “She’s So LA,” Denver-based singer-songwriter and multi-instrumentalist ARGYRO, the musical identity of Scott Argiro, explores this cultural fascination through the lens of romantic attraction.

The result is an engaging, thoughtfully constructed pop-rock recording that demonstrates Argiro’s understanding of both musical craftsmanship and the complexities of human perception.

At its heart, “She’s So LA” is a character study. The woman who inspires the song represents more than an attractive romantic interest. She embodies the confidence, glamour, sophistication, and carefully cultivated mystique associated with Southern California. Her personality becomes inseparable from the city itself, creating an intriguing relationship between geographical identity and individual character.

It is a clever premise, particularly because Argiro avoids turning the subject into a simplistic criticism of superficiality. Instead, he recognizes that attraction often involves a complicated mixture of genuine admiration and personal projection. We are drawn not only to who people are, but also to what we imagine they represent.

Musically, the single embraces the accessible traditions of melodic pop-rock while maintaining a distinctive artistic personality. Argiro demonstrates an appreciation for strong song structure, memorable melodic ideas, and arrangements that complement rather than compete with the central narrative.

His considerable instrumental versatility is especially noteworthy. Written and recorded in Denver, “She’s So LA” features Argiro performing all studio instruments and vocals except lead and rhythm guitars, contributed by Damon Wood.

Wood’s guitar work adds an important dimension to the recording, introducing a complementary rock sensibility that reinforces the song’s musical identity. The interplay between Argiro’s instrumental foundation and Wood’s contributions creates a cohesive presentation in which the individual elements serve a common artistic purpose.

The mixing and mastering, completed by Denver’s Jesse O’Brien, further support this approach. The production favors clarity and balance, allowing the melodic character of the recording to remain prominent.

Yet the significance of “She’s So LA” extends beyond its musical construction.

The song belongs to ARGYRO’s broader Glitterati project, which explores fame, personal identity, romantic idealization, and the increasingly complicated relationship between authenticity and public image. Within that context, “She’s So LA” offers a particularly accessible examination of how cultural expectations influence personal relationships.

In contemporary society, individuals frequently construct carefully edited versions of themselves for public consumption. Social media has expanded the influence of celebrity culture into everyday life, encouraging people to present their experiences through images, narratives, and manufactured impressions.

Argiro’s central character exists comfortably within this environment. She represents a recognizable cultural ideal, but the song also suggests the emotional uncertainty that can accompany fascination with appearances.

That underlying tension gives the recording its substance.

Argiro’s background as an actor contributes another important element to his songwriting. He approaches music with a cinematic imagination, developing characters and situations that feel visually recognizable. His songs frequently suggest larger narratives beyond their immediate lyrical content.

The accompanying music video, directed by Denver filmmaker Elgin Cahill, reinforces this connection between musical expression and visual storytelling.

There is also an appealing irony in the song’s origins. Although its inspiration comes from Los Angeles, “She’s So LA” was created in Colorado. That geographical separation perhaps allows Argiro to approach California’s mythology with a combination of admiration, curiosity, and perspective.

Ultimately, the single succeeds because it balances its cultural observations with the fundamental pleasures of melodic songwriting. It does not attempt to provide definitive answers about authenticity, romance, or the nature of celebrity. Instead, it acknowledges that human attraction is rarely governed by logic alone.

We respond to appearances, personalities, possibilities, and the stories we construct around other people. Sometimes those stories reveal as much about ourselves as they do about their subjects.

ARGYRO’s “She’s So LA” captures that universal experience with intelligence, musical confidence, and an engaging sense of romantic possibility. Beneath its California-inspired imagery lies a thoughtful observation about the human tendency to fall in love with an ideal—and the enduring power of music to make that ideal feel real.

Written by Michael Stover, the track takes the familiar rock-and-metal mythology of “selling your soul” and reverses it completely. Instead of a bargain associated with temptation, fame or destruction, Stover presents surrender to Christ as the transaction that ultimately leads to freedom.

It is a simple idea, but it gives the song an instantly memorable identity.

The opening lyric establishes the message immediately: “It was a deal that changed my life / The day I let my savior take control.” From there, Ashes Awaken wastes little time establishing the track’s spiritual center. This is not a song that relies on vague references to faith or hides its Christian message behind generalized language. “We Sold Our Souls to Heaven” is direct, intentional and unapologetic.

That confidence gives the single much of its power.

The chorus is built around the title phrase, and it functions exactly as a strong metal hook should: concise, provocative and easy to remember. “We sold our souls to heaven” sounds almost contradictory at first, which is precisely why it sticks. The phrase invites listeners to reconsider the traditional meaning of surrender and the cultural baggage attached to the idea of “selling one’s soul.”

Here, surrender becomes an act of liberation.

Throughout the song, Stover returns to themes of fear, pain, uncertainty and second chances. “When you are lost what will you do?” the lyric asks before pointing toward Christ as the source of healing and direction. The writing is straightforward rather than abstract, allowing the song’s emotional impact to come from conviction instead of complexity.

That approach should connect naturally with listeners in the Christian rock and metal communities, particularly those drawn to music that addresses struggle without minimizing it.

One of the song’s strengths is that it does not present faith as a guarantee of an easy life. Darkness still exists in the world of “We Sold Our Souls to Heaven.” So do regret, brokenness and personal battles. The difference is that Ashes Awaken frames faith as the force that makes those battles survivable.

That distinction gives the track more emotional weight than a conventional inspirational anthem.

Musically, the song sits comfortably within the project’s established Christian metal identity, pairing a forceful, dramatic atmosphere with explicitly faith-centered songwriting. The heaviness is not there merely for contrast. It reinforces the idea that redemption can be intense, difficult and transformative.

In a broader sense, “We Sold Our Souls to Heaven” also demonstrates why Christian metal remains such a durable niche within contemporary heavy music. Metal has always been drawn to questions of mortality, judgment, spiritual warfare and the eternal. Ashes Awaken simply approaches those themes from a perspective of hope rather than nihilism.

The result is a single that understands its audience while still finding a distinctive angle.

There is also an undeniable marketing strength in the title itself. “We Sold Our Souls to Heaven” is the kind of phrase that can spark curiosity before a listener hears a single note. But importantly, the song delivers enough substance behind the title to prevent the concept from becoming a gimmick.

By the final chorus, the contradiction at the heart of the phrase no longer feels contradictory at all.

Ashes Awaken has taken one of rock music’s most familiar ideas and rewritten the contract.

This time, surrender isn’t the price of losing everything.

It’s the beginning of getting something back.

What the band describes as a promising collaboration has, by their account, deteriorated into a prolonged dispute involving undelivered and defective CDs, repeated failures in communication, contradictory information about manufacturing arrangements, a demand of €2,800 to release their contractual rights, and — most recently — serious questions about the identity of the individuals claiming to represent the label.

Antiquus Infestus has reached out not with unverified accusations, but with documented evidence they are making available for independent journalistic examination. They have noted, as many bands before them have noted in this publication, that they are not alone — and that other artists have reported similar difficulties with Darkside Records.

Below is a detailed account of what happened. If you do not have a lot of time to read a long mail to judge whether it’s worth investigating, please scroll to the bottom of this mail for a bullet point timeline summary. If the summary is interesting, the whole story will definitely appeal you.

1. The agreement and the album release

In 2025, Antiquus Infestus entered into a five-year agreement with Darkside Records for the release of our self-titled album.

The contract identified Darkside Records as a company headquartered in Tangier, Morocco, legally represented by Saïd Chebacheb.

The agreement covered one album and included commitments concerning production, distribution, promotion, physical copies, accounting, and other services.

Among the contractual obligations were:

• Delivery of 150 CDs to the band free of charge, with 100% of the revenue from those copies belonging to us.
• A promotional budget of $500, divided between digital advertising, traditional media outreach, and playlist placements.
• Provisions concerning recording, mixing, mastering, merchandise, and community management.
• Semiannual royalty accounting.
• A five-year contractual term, with a termination clause referring to 90 days’ notice and mutual agreement.

The album was released on 31 October 2025 and distributed digitally through CD Baby.

We acknowledge that Darkside Records performed certain activities, including arranging digital distribution and some promotional work. Our position is not that absolutely nothing was done.

The problem is that several important obligations were not fulfilled, and our attempts to obtain explanations and solutions repeatedly led to delays, contradictory information, or silence.

2. The physical CD problem

One of the clearest issues concerns the physical release.

Under our contract, Darkside Records was required to deliver 150 CDs to us.

We began following up on the physical copies as early as December 2025.

After months of waiting and several requests, on 9 March 2026 we finally received 50 CDs.

Unfortunately, those copies were defective. The songs had been burned in alphabetical order rather than in the correct album sequence.
For a concept album, where the track order is essential to the narrative, this made the copies unsuitable for sale as the intended release.

Darkside Records acknowledged the problem.

We were repeatedly assured that the situation would be resolved. At different stages, we were told that replacement copies were being arranged or that additional stock was available.
In particular, we were led to believe that another 50 CDs were ready or available through the manufacturer.

After weeks of getting no answers, we contacted CDClick, the manufacturing company involved in the production, to verify the situation.

According to the information CDClick provided to us, they could not confirm there was a corresponding stock of those additional copies or replacement order matching what we had been told.
This raised serious questions about the accuracy of the information we had received.

In subsequent correspondence, a representative of Darkside Records acknowledged that the replacement order had not been properly followed up.

The label later confirmed in writing that the physical production had not been handled properly and that the replacement process had not been completed.
As of 21 October 2026, we have received no usable contractual allocation of 150 CDs. All the CDs we’ve sold so far, were made out of our pocket, only the jewel box remained usable.

3. Our attempts to prevent unnecessary expenses

An important aspect of this story is that we never demanded Darkside Records to spend money on our project.
On several occasions, we actively tried to prevent unnecessary expenses and encouraged the label to verify arrangements before committing funds. We provided several screenshots proving this and if necessary, we can share our e-mails screenshots for verification.

We wanted the release to succeed, but we also wanted the label to avoid wasting money on unnecessary or poorly planned decisions.
Later, when Darkside Records claimed that our album was one of its most expensive projects, we sent a lengthy email addressing this issue.

That email included screenshots of earlier conversations showing instances in which we had tried to help the label save money, reconsider expenses, and make absolutely sure of arrangements before proceeding.
We considered these exchanges relevant because the label was now using its alleged investment as a justification for demanding money from us.

The response did not resolve our concerns. Instead, Darkside Records maintained that substantial resources had been committed to the project and disputed the conclusions we drew from the communication and production failures.
Regarding the replacement CD issue, the label explicitly acknowledged the existence of communications in which a member of its team had promised a replacement and subsequently admitted that the order had not been properly followed up.

Its response included the statement:

“We do not dispute that communication.”

However, the label disputed our conclusion that this failure demonstrated a broader lack of investment or contractual performance.

We do not deny that Darkside Records may have incurred legitimate expenses. Our objection is that we were being asked to accept substantial financial claims without receiving the supporting documentation we requested, despite having provided evidence of our own efforts to avoid unnecessary spending.

We can provide the original screenshots, and corresponding replies for independent examination.

4. Repeated communication failures

The CD problem was not an isolated incident.
Throughout the collaboration, we experienced repeated difficulties obtaining clear answers concerning production, contractual obligations, and the status of promised services.

Messages often went unanswered, deadlines passed without updates, and explanations changed.

At times, we were left waiting for information about matters that should have been straightforward, particularly the manufacturing and delivery of the CDs.

In April 2026, we first communicated our intention to end the contractual relationship.

Nevertheless, we continued attempting to find a workable solution.

During subsequent discussions, certain contractual conditions were revised or relaxed by written agreement (through chat), including provisions concerning international live booking exclusivity and promotional branding obligations.

Our intention was to give the collaboration another opportunity rather than immediately abandon it.
Unfortunately, the underlying problems concerning the CDs, communication, and transparency remained unresolved.

Eventually, the loss of trust became irreversible.

In September 2026, we formally reiterated our position that Darkside Records had failed to fulfill important contractual obligations and that we considered the agreement terminated on those grounds.
In the meantime, all the email addresses associated to the domain “darksiderecords.ma” and the personal gmail address of Mr Chebacheb, said.chebacheb@gmail.com became unavailable and non existant.

After the collecitive statement made on social media, a post from darkside records appeard on their facebok page, providing a new email address to communicate with “management@darksiderecords.site“

Despite our attempts to communicate with them through the new address, “Darkside Records” disputes the effectiveness of unilateral termination and maintains that the contractual provisions concerning the five-year term, mutual agreement, and recoupment remain applicable.

This disagreement has not been resolved.

5. The €2,800 demand and the changing explanation

Following our request to terminate the relationship and regain control over the album, we established correspondence from individuals writing on behalf of Darkside Records, through the new email address provided above (management@darksiderecords.site).

The label proposed an amicable separation but demanded €2,800 in exchange for the early release of our contractual rights.
Initially, this amount was explicitly justified as corresponding to costs and investments allegedly incurred by Darkside Records in connection with our project.

We therefore requested supporting documentation, including invoices, receipts, supplier orders, payment confirmations, and evidence demonstrating how the amount had been calculated.
We considered this a reasonable request.

If the label claimed to have spent €2,800 on our project and expected us to reimburse that amount, we wanted to understand exactly what had been paid, to whom, and for which services.

This was particularly relevant because we had already experienced contradictory information concerning CD manufacturing and had documented our own attempts to prevent unnecessary expenditure.

However, rather than receiving the requested financial breakdown, the explanation of the €2,800 demand shifted.

The amount was subsequently presented as the financial condition under which Darkside Records would agree to an early contractual exit and the transfer or reversion of the applicable rights.

The label expressly stated:

“This amount is not presented as a penalty.”

It explained that the figure represented the financial basis on which it was prepared to agree to an early termination, rather than requiring the parties to remain bound by the existing contractual term.

This distinction is central to our concerns.
The amount was first justified by reference to expenses and investments allegedly made in our project. When we asked for documentation supporting those expenses, the emphasis shifted toward a fixed amount required to obtain an agreed release from the contract.

The figure remained €2,800.

In its written position, Darkside Records also made the proposed separation conditional on a formal termination agreement and a public clarification concerning allegations made against the label.

The proposed resolution therefore involved payment, a written agreement, and a public statement concerning the dispute.

We have not agreed to those conditions.

Our position is that we should not have to pay to regain control over recordings when the dispute arose from obligations we believe the label failed to fulfill.
We also believe that financial claims should be supported by appropriate documentation, particularly when they are initially justified as reimbursement of expenses.

6. Other bands and the collective public statement

During September 2026, we became aware of other artists reporting problems in their dealings with Darkside Records.
Together with several other bands, we participated in a collective public statement describing concerns about the label’s management, communication, and contractual practices.

Our intention was to make our experiences known and encourage transparency, since the label was unresponsive and all email addresses were gone.

We can document our own experience directly. We do not claim to possess every contract or all the supporting evidence concerning the other bands.

In subsequent correspondence, Darkside Records requested that Antiquus Infestus publicly dissociate itself from allegations made by other artists that the label considered inaccurate or unverified.
We believe artists should be able to describe their documented experiences publicly, while allowing each case to be assessed independently.

7. Attempts to remove our recordings from streaming platforms

Following our decision to end the relationship, we began contacting the distributor and streaming platforms to request the removal of the recordings uploaded under the label’s distribution arrangements.
We contacted CD Baby repeatedly but did not receive a satisfactory resolution to our requests.

We also contacted Spotify, Apple Music, and YouTube.

Spotify removed the recordings following our requests.
Apple Music directed us toward the distributor/provider process, while YouTube initiated copyright-removal procedures concerning the uploaded material.

Darkside Records has expressly opposed unilateral takedowns and maintains that it retains contractual rights until the parties reach an agreement or the relevant contractual provisions are otherwise resolved.

Our position remains that the label’s failures justify termination and that we should regain control over our recordings.

The dispute concerning those rights remains unresolved.

8. The disappearance of previous communication channels

Another concerning development occurred in September 2026.
The email addresses previously used to communicate with Darkside Records, including addresses associated with Saïd Chebacheb, were no longer functioning when we attempted to contact them.

We subsequently found a different address being used to communicate on behalf of the label:

management@darksiderecords.site

The messages were signed simply as “Darkside Records Legal Team.”

This raised an important question: who was actually communicating with us?

We had previously dealt with identifiable individuals, including Saïd Chebacheb and Nora El-Mansouri (a person we never actually talked to, only through chat).

Now, we were receiving formal contractual and financial demands from individuals who did not provide their names or professional capacities.

During our correspondence, the purported legal team indicated that we were not communicating with Saïd personally, but with individuals appointed to handle the matter.

We therefore requested their full names, professional capacities, and appropriate confirmation of their authority to represent Darkside Records.

We did not request confidential legal advice or privileged communications. We simply wanted to establish who was corresponding with us and whether those individuals were authorized to act on the company’s behalf.

9. The unanswered request for identification

On 13 October 2026, the individuals corresponding under the designation “Darkside Records Legal Team” acknowledged our request.

Their reply stated:

“Please allow us 5 business days to come back with the requested documentation.”

The five-business-day period expired on 20 October 2026.

As of 21 October, we have received neither the requested documentation nor any further explanation. A last email was sent to that address stating that there will be no further communication with anyone claiming to be associated, owner or appointed by Darkside records, since we cannot trust the legitimate actions of whomever is behing that address.

We consider this particularly concerning because the individuals involved have been discussing contractual rights and financial demands while their identities and authority remain unverified.

We want to make one point absolutely clear:

We are not claiming to have proven impersonation or fraud.
At present, we cannot independently establish whether the correspondence genuinely originates from authorized representatives of Darkside Records.

If the correspondence is genuine, the failure to provide identification is another example of the lack of transparency and cooperation we have experienced.

If it is not genuine, the circumstances raise a different concern: the possibility that someone has been communicating with us while misrepresenting their identity or authority.

We have therefore decided to stop direct correspondence and seek independent verification through appropriate channels, including official authorities and law enforcement where warranted.
Local authorities have been already warned and we are currently awaiting for a response on the matter.

10. Verification of the company’s identity

We have also begun examining publicly available Moroccan corporate records.

Our contract identifies Darkside Records using Moroccan business identification number ICE 003764433000013.
Public corporate information identifies a company named Darkside Records Maroc, registered in Tangier in August 2025.
The existence of a registered company is not, by itself, evidence of wrongdoing.

However, it is important to distinguish the existence of that company from the separate question of who is legally authorized to represent it.

The available information does not establish that the individuals currently corresponding with us are authorized representatives.

We have also made inquiries concerning the history of the label’s previous domain and communication channels.

Our purpose is to establish a reliable chain of identification and understand who has been communicating on the company’s behalf.

We do not intend to make accusations without evidence, and we believe independent verification is now preferable to continuing correspondence with unidentified individuals.

Furthermore, it is possible to use any Domain Name Owner Details Checker online to confirm that Mr. Chebacheb does not own the domain “darksiderecords.ma“.
The person owning the domain, claims to not being associated with Darkside records and when was proposed to join the company, decided to step out, because “things were not clear enough”.

11. Where the situation stands today

As of 21 October 2026, the situation is as follows:

• We have not received the 150 usable CDs promised under our agreement.
• Darkside Records has acknowledged that the physical production and replacement process were not handled properly.
• We dispute the label’s continued control over the recordings and maintain that its contractual failures justify termination.
• Darkside Records disputes our termination position.
• The label has demanded €2,800 for an agreed early release of rights, initially justifying the figure by reference to its expenses and investments.
• We requested supporting financial documentation but have not received a satisfactory breakdown.
• We provided screenshots documenting our attempts to help the label avoid unnecessary expenses.
• The identities and authority of the individuals currently claiming to represent Darkside Records remain unverified.
• We have decided to discontinue direct correspondence and pursue independent verification.
• The contractual and distribution dispute remains unresolved.

12. Why we are sharing this story

We are a small independent band.

We invested years of work in this album, and what should have been a straightforward release has turned into months of correspondence, unanswered questions, and attempts to recover control over our own recordings, possibly damaging our reputation.
The most frustrating part is that we repeatedly tried to resolve the situation.

We waited for the CDs, requested explanations, suggested solutions, tried to prevent unnecessary expenditure, accepted certain changes to the working arrangement, and continued communicating long after our trust in the label had been damaged.

Even when we decided to end the relationship, we continued asking for documentation and clarification rather than making unsupported accusations.
Now, we find ourselves in a situation where we cannot even verify the identities of the people corresponding with us on behalf of the label.

We believe this experience illustrates the difficulties independent musicians can face when contractual obligations become disputed, communication breaks down, and transparency disappears.

We would be willing to provide relevant documentation for your independent review, including:

• The signed agreement and relevant contractual provisions.
• Correspondence concerning the defective CDs and replacement arrangements.
• Communications with CDClick.
• Screenshots documenting our attempts to prevent unnecessary expenditure.
• Our termination notices and subsequent correspondence.
• The €2,800 proposal and our requests for supporting financial documentation.
• The subsequent correspondence concerning the identity and authority of the purported legal team.

Timeline of the main events

• August–September 2025: Antiquus Infestus signs a five-year agreement with Darkside Records for the release of one album. The contract includes the delivery of 150 CDs to the band.
• 31 October 2025: Our self-titled album is released through Darkside Records, with digital distribution handled by CD Baby.
• December 2025: We begin following up on the physical CDs, which have not yet been delivered.
• March 2026: We finally receive 50 CDs instead of the agreed 150. The tracks are burned in alphabetical order, making the copies unsuitable for sale as the intended concept album. Darkside records is immediately notified.
• March–April 2026: Darkside Records acknowledges the manufacturing error and promises a solution. We receive repeated assurances about replacement copies and additional stock, but no usable replacements arrive.
• 2026 – CDClick verification: After being told that additional CDs were available or being arranged, we contact CDClick directly. The manufacturer provides information inconsistent with the label’s assurances about stock and replacement orders.
• April 2026: Following continued problems and communication failures, we first notify Darkside Records of our intention to terminate the agreement.
• Following months of 2026: Despite our concerns, we attempt to preserve the collaboration under revised conditions. Certain booking and promotional obligations are relaxed by written agreement.
• August–September 2026: Antiquus Infestus joins other bands in publicly expressing concerns about Darkside Records’ management, communication, and contractual practices.
• September 2026: We discover that previous email addresses associated with Darkside Records are no longer functioning since July 2026. Correspondence continues through a new address, signed by an unidentified “Darkside Records Legal Team.”
• September 2026: We formally reiterate our position that Darkside Records has failed to fulfill important contractual obligations and that we consider the agreement terminated.
• Late September 2026: Darkside Records disputes our position and demands €2,800 for an agreed early release of the contractual rights, initially justifying the amount as reimbursement of expenses and investments. We send Darkside Records a detailed email, including screenshots of earlier conversations demonstrating that we repeatedly tried to prevent unnecessary expenditure and encouraged the label to verify arrangements before spending money.
• September–October 2026: We request invoices, receipts, supplier orders, and other evidence supporting the €2,800 figure. Rather than providing a satisfactory breakdown, the label emphasizes that the amount is the financial condition for an agreed early termination, expressly stating that it is not a penalty.
• September–October 2026: We contact CD Baby and streaming platforms to request removal of the recordings. Spotify and YouTube removed the music; requests involving other platforms remain under review or unresolved.
• 13 October 2026: We request identification and proof of authority from the individuals claiming to represent Darkside Records. They acknowledge the request and ask for five business days to provide the documentation.
• 20 October 2026: The five-business-day deadline expires without the requested documentation being provided.
• 21 October 2026: With the identity and authority of the correspondents still unverified, we decide to end direct communication and pursue independent verification through official channels.

Current situation: More than a year after the album’s release, we have received no usable allocation of the 150 contracted CDs. The €2,800 demand remains disputed, the contractual rights have not been resolved, and the identities of the individuals currently claiming to represent Darkside Records remain unverified.

Finally, we extend our special thanks to Antiquus Infestus for their trust in us.

We continue to stand in solidarity with every artist who has come forward — and we remain committed to giving documented evidence the platform it deserves.

That is not a small claim. Fiona Amaka has been building one of British independent music’s most diverse and consistently compelling catalogues throughout 2025 and into 2026. But the feedback on “Sometimes Forever” has been something different — the word catchy coming up again and again, alongside exciting, alongside the kind of enthusiasm that doesn’t get manufactured. Fans are calling it her finest work. And when your own audience says that, you listen.

“Obviously, that kind of feedback is an absolute delight for a songwriting artist like me. I hope your listeners will love it too. Let’s send this one viral!” — Fiona Amaka

⇒ Read our review for “Sometimes Forever” here.

“Sometimes Forever” sits in the rich intersection of folk-rock, Americana, and classic rock — warm, melodically strong, and carrying the kind of hook that arrives on the first listen and stays considerably longer than that. It is a departure in tone from some of Fiona’s more intense recent releases, but fully consistent with everything that makes her voice distinctive: the bluesy quality, the emotional directness, the sense of a real songwriter at work rather than a formula being followed.

For listeners who have followed her across “No Daylight,” “Cowards and Shadows,” “Honesty (Psalm 139),” “Desert Flower,” and the June 2026 release “Justified,” “Sometimes Forever” represents a new peak — the sound of an artist finding her range and expanding it.

Fiona Amaka entered 2025 with a clear artistic identity and has spent the year proving how much territory that identity can cover. Her 2025 singles “No Daylight” and “Cowards and Shadows” brought raw, soulful indie-rock energy to the themes of betrayal, trust, and ghosting. “Honesty (Psalm 139)” added a spiritual dimension and a folk-rock sensibility. “Desert Flower” shifted into chirpy indie-pop and earned significant radio play — marking Fiona as genuinely versatile at a moment when most artists are trying to pick a lane and stay in it.

“Justified” in June 2026 continued that evolution. And now “Sometimes Forever” arrives as the next chapter: folk-rock and Americana from an artist who has already demonstrated she can move across blues, rock, soul, pop, and the spiritual without ever losing the thread that makes her distinctly herself.

Influences ranging from Stevie Nicks to the Smashing Pumpkins have always shaped Fiona’s sound — and in “Sometimes Forever,” both the acoustic warmth of the former and the driving guitar instinct of the latter find a natural home.

It is exactly the kind of Christmas song the season needs: warm, honest, and capturing all three dimensions of what December actually feels like. The excitement building toward Christmas Day. The stress that comes with it. And the romance that, when it lands, makes the whole chaotic thing worthwhile.

“I hope my song ‘It’s Getting Near Christmas’ captures the excitement leading up to Christmas Day, the stress and the romance!” — Mick J. Clark

“It’s Getting Near Christmas” joins Mick’s already celebrated festive catalogue as a fresh addition for 2026 — a song that speaks to the universal experience of the holiday season with the warmth and accessibility that has defined Mick’s songwriting throughout his career. Pop sensibility, genuine heart, and a knack for writing the kind of song that stays with you long after you’ve heard it: that is Mick J. Clark’s signature, and it is fully present here.

The single adds to a Christmas body of work that has already racked up over 300,000 streams across Mick’s Christmas EP Mick’s Christmas Mix and its three festive offerings.

⇒ Read our full review here.

Mick J. Clark is not simply a songwriter. He is a musician who uses his platform with purpose — and has the track record to prove it on every level.

His single “We Know It’s True” reached No. 3 in the UK and No. 2 in the USA on the iTunes Top 100 Rock Chart. His album Causes made it through to the 64th Grammy Award nominations. His Box Set Song Catalogue now contains 63 songs spanning Pop, Rock, Ballads, R&B, Dance, Latin, Country, and Christmas. He has appeared in the iTunes Singles Chart six times and the Album Chart once with Brand New Love Songs. His summer anthem “Anuther Sunny Hulliday” — complete with its famous Parrot Dance video — has passed 200,000 streams, as has his birthday song “Blow Those Candles Out.”

Beyond the chart success, Mick’s work has reached the places it was most needed. His empowering children’s anthem “Me My Body And I” — designed to help children resist bullying and self-harm through positive, empowering language — was placed into every school in Croydon by the Croydon Education Department. His anti-smoking and anti-drugs song “You Don’t Look Cool”, performed by students from the Brit School with kids speaking directly to kids, was similarly distributed across Croydon’s schools.

Over 1,000,000 Spotify streams across his catalogue. A multi-instrumentalist across guitar, drums, and keyboards. A man who has always believed music can do more than entertain — and has repeatedly proven it.

The three bring long résumés, according to the band’s bio. Bennett, a singer, songwriter, and preacher, founded the StarSong recording band Sacred Fire and toured the U.S. with Petra and Mylon LeFevre & Broken Heart. Davis, a Berklee-trained guitarist, founded Last Generation and For You Brother, and Miranda joined the Brazilian rock group Oficina G3 at twenty-one. The sound they bring to this single sits in an 80s and 90s rock pop mold.

The first thing that caught my attention was how crisp the production is. This is superb and incredibly satisfying to listen to. There is an undeniable gospel influence here, not just because of the contagious positive vibes of the narrative and the lyrics themselves, but because of the execution itself and the choir backup vocals. Speaking of the narrative, the song carries a beautiful message that love is out there for all of us in all forms, and the form that never fades is God’s grace. Faith is the purest form of love, and one should open themselves to it because no human can love you more than God.

The band is currently working on bookings and festival appearances, and it describes “When Love Walks In” as the start of a new chapter for the trio. No dates have been announced yet, so for now the single is the best way to hear what three experienced players sound like when they have the time and space to get it right.

How the album was made deserves a plain statement up front. According to the artist, the concepts, lyrics, structure and creative direction are human-written and human-directed. AI was used as a production tool for the musical performances and arrangements, with repeated revisions, instrument choices, and careful selection of renders shaping each final track. Genre follows the idea: he says each song is left to find the sound that best suits its story, which helps explain why the record covers so much ground.

The album starts out with “Set-Back Out Back,” which immediately sets the vibe that this will be a different kind of album than typical albums that use AI production tools. There is a real character to this music, actual artistic integrity that remains mostly consistent throughout the album. The rhythm section feels alive and not flat like a lot of AI music, and serves to create an energetic base for this catchy and very melodic pop country tune. The strongest element in this song is definitely the melodic hooks, which is what Mogipbob is best at after listening to the whole album.

“Walking Bass” is surprisingly soulful. Every element here feels purposeful; the arrangement is stellar, but the pacing is what’s really extraordinary here in this piece because it’s very dynamic. Usually, AI-produced songs are very flat, but here you can see there is a level of attention to detail that really brings this to life, and lyrically it’s a very fun song.

“As Is Where Is” is a warm ballad that invokes the 80s sound with those Phil Collins-style drums. It is a blast to listen to; it fuses that 80s sound with classic Country-style bright textures for a familiar but ultimately fresh sound. My favorite part was those muted acoustic guitars with a chorus effect; they add to the movement and the width of the sound beautifully.

“The Fleas of Hercules” is one hell of a funky and witty jam. The interplay between the instruments is very fun and rhythmically sits in the exact correct pocket you’d want it to. There is a bit of gospel here as the retelling of Hercules’ story is brought to life in a hilarious new garb. As a fan of puns, Fleece and Fleas is an all-time classic.

“Umpire Vampire” is even more humorous, and I really enjoyed how funny it is, but texture- and production-wise, it’s less consistent with the established style and feels more like what other AI songs feel like.

The album ends on the two strongest songs, in my opinion: “It’s the Little Things That Matter Most” and “Anything but Me.” The former is a warm song about celebrating the little things and expressing gratitude for them. If one takes something like the summer rain for granted, then one can never be satisfied with anything in life. Every moment is a chance to feel love, and if a moment is painful, then that should make us feel more gratitude for the beautiful moments. The latter, however, is a painful and dark foil to this warmth. It’s a song about feeling like an alien, an outcast, a person that just doesn’t fit quite into the boxes. Its execution is very soulful; it does feel like a standard blues song, but it is exactly how it’s supposed to be.

The press materials point to more territory than these tracks cover, including “Hell’s Bell Bottoms,” “Modern Person, Ancient Solutions” and reflective songs such as “The Old Me Was the Young Me,” so there is plenty left to explore across 16 tracks. Mogipbob says this record reflects a growing willingness to follow an idea wherever it leads, and the distance between the playful songs and that last stretch of the album backs the claim up.

His main goal for the release is radio airplay. He says there is something uniquely rewarding about hearing one of your own songs turn up unexpectedly on the radio, and he is especially hoping to reach independent, college, community, roots, Americana, soul, folk and country stations. For a record this eclectic, those are sensible places to look, and Anything But Me is best taken in one sitting.