Produced by Sam J. Garfield, the track captures the contradiction of modern life, clocking into a 9-to-5 while your heart is somewhere else entirely. Built on crunchy guitars, punchy snares, and infectious melodies, “Dreamer’s Alibi” channels the colorful swagger of late-90s alternative rock, blending the bright bite of No Doubt with the heavier textures of Garbage.

Lyrically, Fia tells the story of the dreamer hiding beneath deadlines, alarm clocks, and endless to-do lists. It is an anthem for restless creatives, late-night believers, and anyone refusing to let growing up mean giving up. The “alibi” isn’t a crime; it’s the life we build to survive while secretly protecting the dreams we’re still determined to chase.

Deemed “one of the greatest vocalists of our generation,” Fia Nyxx recorded her debut album Everything Girl at the legendary FAME Studios in Muscle Shoals, Alabama, under the musical direction of Will McFarlane (Etta James, Bonnie Raitt, Bobby “Blue” Bland) and Brian Malouf (Michael Jackson, Queen, Madonna), featuring players from the iconic Muscle Shoals Rhythm Section, “The Swampers.” Her follow-up Red Umbrella soared up the charts, amassed over 250,000 streams, and supported multiple sold-out tour dates.

She has toured the U.S. and Asia and earned features on the back cover of Billboard, plus coverage in Rolling Stone, CelebMix, Music Connection, Elicit Magazine, Buzz Music, The Hype Magazine, We Write About Music, and Sinusoidal Music. Radio appearances include 101.5 FM (Los Angeles), LA Talk Radio, The Unstarving Musician, and The Songwriter Show. Singles “Don’t Shame Me” and “My One Forever” remain in regular rotation across U.S. and European stations, were placed in the Top 5 Songs of 2022 on iHeart Radio’s The Arena Podcast, and were nominated for Top 3 Songs of 2022 on Colorado Public Radio. Her video for “Maybe Just Love Me” won a Telly Award in 2018, while “Lost Without You” charted #1 in the global social media contest The Countdown.

With “Dreamer’s Alibi,” Fia Nyxx steps fully into a new era rawer, louder, and more defiant than ever while keeping the powerful voice and emotional honesty that first set her apart.

About Fia Nyxx
Fia Nyxx is a vocalist, songwriter, and artist whose career spans pop, R&B, and now 90s-inspired alternative rock. Known for her powerful voice and authentic storytelling, she has recorded at historic studios, toured internationally, and earned widespread critical and radio support. “Dreamer’s Alibi” signals a fearless reinvention and the start of her next chapter.

“Dreamer’s Alibi” is available now on all major platforms. The full album Dreamer’s Alibi arrives September 25, 2026.

A dynamic, atmospheric introduction unfolds with dreamy guitar twangs and spacey synth frequencies before a warming bass presence ushers in an intimate vocal duet: “I’m a stranger in my hometown / Gone so long / There’s no right or wrong now.” The song settles into an inviting groove as the refrain, “It’s another fine day / In the land of milk & honey,” glides atop mellow piano, comforting guitar flourishes, and lush vocal harmonies. Midway through, a beautifully understated saxophone enters the arrangement, lending the production a sophisticated, late-night glow that recalls the suave, artful sensibilities of Destroyer’s Kaputt era. Throughout, serene instrumentation and rich vocal interplay create a timeless atmosphere that feels both nostalgic and quietly disorienting.

At its heart, “Milk & Honey” is a meditation on displacement and the fragile nature of memory. The song was inspired by Jamisen’s return to Phoenix after spending more than a decade living in Denmark, where the passage of time had fundamentally altered both his perspective and the city he once knew. What he anticipated would be a comforting homecoming instead became an experience marked by distance and unfamiliarity, forcing him to question whether the place itself had changed—or whether his memories had simply become romanticized over time.

That emotional tension is woven throughout the lyrics, where familiar streets and lifelong memories are viewed through the eyes of someone who suddenly feels like an outsider. Rather than offering simple nostalgia, “Milk & Honey” examines how identity becomes intertwined with place, and how returning to one’s roots can reveal unexpected emotional and cultural shifts.

The production reunites Jamisen with longtime collaborator John X Volaitis, the acclaimed Los Angeles engineer and producer whose credits include work with The Rolling Stones, Tracy Chapman, Bonnie Raitt, Michael Hutchence, and numerous platinum-selling recordings. Volaitis co-produced the track, helping shape its polished yet emotionally resonant sound.

The single also features electric guitar from Danny Saber, Jamisen’s former high school bandmate and one of rock’s most versatile producers and musicians. Across a remarkable career, Saber has collaborated with artists spanning Madonna, David Bowie, U2, Seal, The Rolling Stones, Ozzy Osbourne, Korn, Marilyn Manson, Public Enemy, and Busta Rhymes, while also contributing extensively to film scores and soundtracks. His tasteful guitar work adds subtle texture and atmosphere, complementing the song’s introspective mood without overpowering its delicate emotional core.

Following recent releases including “Rock & Roll American,” “All I Am Is You,” “Gotta Do,” “The Coalition,” “This Is Not An Act,” and “Closing In,” Jamisen continues to blur the boundaries between rock, electronic music, jazz, and spoken-word storytelling. Yet “Milk & Honey” occupies a distinctive place within his growing catalog, embracing understated sophistication in service of one of his most universally relatable themes.

Richly melodic and emotionally nuanced, “Milk & Honey” reminds listeners that home is as much a state of mind as it is a physical place.

Stream “Milk & Honey” now on Spotify, YouTube, and Apple Music.

About Allan Jamisen

Allan Jamisen is a Phoenix-based musical composer, painter, and recording artist who defies easy definition. An outsider artist whose ever-expanding range of musical and cultural influences includes Burt Bacharach, The Rolling Stones, The Velvet Underground, Bee Gees, Leonard Cohen, Frank Sinatra, James Brown, Bob Dylan, David Bowie, Iggy Pop (The Stooges), Lee Hazlewood, and many others, he has spent decades crafting work that sits at the intersection of personal storytelling and atmospheric sonic landscapes.

The track opens on a dreamy stretch of twangy guitar and spacey synth before a bass line warms things up and brings in the vocals, delivered as a duet: “I’m a stranger in my hometown / Gone so long / There’s no right or wrong now.” It’s a plain, unfussy way to state the whole premise. From there it settles into a relaxed groove built around mellow piano and clean guitar, with the refrain “It’s another fine day / In the land of milk & honey” landing somewhere between sincere and a little ironic, which fits the subject matter.

The most interesting production choice comes midway through, when a saxophone slides into the arrangement, giving the whole thing a late-night, after-hours glow. It’s understated rather than showy, and it’s the element that pushes the track out of straightforward dream-pop and into sophisti-pop territory, the kind of smoothed-out sound Destroyer leaned into on Kaputt. Saber’s guitar stays in a similar lane, adding texture without pulling focus. The vocal harmonies do a lot of the emotional work, layered and warm enough to keep the track from feeling as unsettled as its lyrics actually are.

“Milk & Honey” follows recent singles like “Rock & Roll American” and “Closing In,” and it’s a quieter, more restrained entry in that catalog. It doesn’t resolve the question it raises about whether home changes or memory does, and that’s probably the point. Some songs about displacement want to land somewhere comforting. This one sits in the discomfort a little longer, and it’s better for it.

The Beast I’m Meant to Be is an album of contrasts and range. It moves from sharp cultural critique to the darkest corners of inner experience, from social commentary to intensely personal grief — all carried on a Metallica-influenced guitar-driven sound that Wolejsza has spent years developing, studying, and making his own. It is a debut that sounds like everything it cost to make it.

⇒ Read our album review here.

The album opens with its most immediate and outward-facing statement. “Stupidity Gone Viral” is a hard-hitting critique of internet and social media culture — a track that names the destructive nature of the online world with the directness and riff-driven force the subject demands. In a media landscape where that destruction has become background noise, the song cuts through it.

The title track, “The Beast I’m Meant to Be,” turns the lens entirely inward. A raw and unflinching examination of depression, lost hope, and the slow erosion of self-worth, it is the album’s emotional core — the song that gives the whole collection its name and its weight. Wolejsza does not soften the subject or wrap it in reassurance. He sits with it, and the result is something that will resonate with anyone who has ever felt themselves losing the fight against their own interior.

“One More Hug” is something different again — and perhaps the album’s most quietly devastating moment. A tribute to his cat Bonnie, it captures the specific, impossible grief of realising in real time that a beloved companion is not coming home. It is a small subject in the grandest sense, and an enormous one in every way that actually matters.

Together, the three anchor tracks demonstrate an emotional range that spans from the communal to the deeply private — and the album’s remaining songs continue that breadth, drawing from both Wolejsza’s personal experiences and his observations of the wider world.

⇒ Read our album review here.

Wolejsza came to songwriting as an adult, looking for a way to express himself — and then looking for the community and feedback that would help him do it well. That search led him to the Baltimore songwriter group led by Diana Hanson-Young, where assignments, peer feedback, and years of dedicated craft development shaped him into the artist who made this album.

It was through that community that the key collaborators for The Beast I’m Meant to Be came together. Brian Feinstein — New York-based, and a presence in Wolejsza’s musical development for years — served as executive producer, providing crucial arrangement guidance and song feedback that helped refine each track into its final form. A fellow group member’s album led Wolejsza to Tim Boate, the Baltimore-based producer who recorded, mixed, and mastered the album while adding additional sonic layers that brought Wolejsza’s original ideas fully to life.

The Metallica influence that has driven Wolejsza’s playing since youth runs through the album’s guitar work — the powerful riffs, the directness, the refusal to be quiet — while the songwriting itself ranges beyond any single genre, following the idea wherever it needs to go.

The opening track, “Stupidity Gone Viral,” immediately throws the listener into the fire. Fueled by razor-sharp riffs and a raw punk-inflected vocal delivery, the song attacks internet and social media culture with unapologetic frustration. There’s a palpable exhaustion beneath the aggression, as though Wolejsza is watching humanity dissolve in real time beneath screens and empty performances. The repeated bitterness behind the idea of “stupidity gone viral” becomes less like a slogan and more like a modern horror story. Musically, the track channels the urgency of old-school thrash while maintaining enough looseness to avoid sounding trapped in imitation.

The title track, “The Beast I’m Meant to Be,” darkens the atmosphere even further. The sinister guitar lead and relentless pacing transform the song into a confrontation with self-worth collapsing under emotional weight. Wolejsza approaches depression without romanticizing it. Instead, the track feels suffocating, almost claustrophobic, as if the “beast” is not some mythical monster but the slow erosion of hope itself. The riffs grind forward with mechanical persistence while the lyrics stare directly into emotional numbness.

Throughout the album, the influence of Metallica remains unmistakable, particularly in the rhythm guitar work and thrash-driven momentum. Yet Wolejsza never disappears beneath those inspirations. Songs like “When A Heart” carry flashes of Ride the Lightning-era intensity while still sounding rooted in his own emotional vocabulary. The guitars slash with familiar metallic precision, but the songwriting remains deeply personal rather than performative.

“The Lion Must Roar” expands the album’s sonic palette even further, blending classic heavy metal grandeur with darker doom-laced textures. Elsewhere, “The Clear Check Blues” delivers one of the album’s strongest riffs: groovy, sharp, and instantly addictive. There’s an old-school confidence to the guitar playing throughout the record that feels increasingly rare in newer rock releases. Wolejsza understands how to let riffs breathe rather than burying them beneath overproduction.

That patience becomes especially effective on “Winding Road,” where dramatic openings slowly evolve into heavier and darker explosions of sound. The lack of rigid structure across the album works in its favor; tracks unfold organically, shifting between tension and release without feeling overly calculated. Even the softer or slower moments retain a certain emotional heaviness lingering beneath the surface.

Perhaps the album’s most devastating moment arrives through “One More Hug,” written about the loss of Wolejsza’s cat Bonnie. In a record filled with loud guitars and cultural critique, this track strips everything down to grief in its most intimate form. The heartbreaking realization that she “would not come home with me” lingers quietly across the song, making it one of the album’s most emotionally effective moments precisely because of its restraint.

The Beast I’m Meant to Be doesn’t flatten itself into one emotional register. It can be furious, nostalgic, vulnerable, theatrical, and introspective all within the same record. There are traces of folk rock, classic heavy metal, doom, punk attitude, and thrash ferocity woven throughout the album, yet Wolejsza somehow holds everything together through sheer sincerity. Nothing here feels manufactured for aesthetic purposes alone.

Through The Beast I’m Meant to Be, Matt Wolejsza proves himself less interested in perfection than in emotional honesty. These songs are built from accumulated years of writing, self-exploration, and persistence, and that weight can be heard in every distorted riff and every exhausted lyric. The Beast I’m Meant to Be ultimately stands as an album where heavy riffs are not just aesthetic choices, but emotional survival mechanisms against a heavier world..

From the opening notes, The Scarlet Room pulses with a sense of urgency and freedom — an invitation to step beyond surface-level listening and into a deeper emotional and spiritual dialogue. Zackwa’s music isn’t just about sound; it’s about awakening. Each track feels like a sermon from the soul, built on groovy basslines, molten guitar riffs, and thoughtful verses that encourage reflection and movement in equal measure.

Lead singles “Heart on Alahayim” and “Keep the Commandments” have already stirred excitement among fans and critics alike. The former is a fiery confession of devotion and purpose, while the latter offers a modern-day call to consciousness — reminding listeners of the power of faith, love, and moral clarity in a chaotic world. Both tracks showcase Zackwa’s ability to balance raw vulnerability with unshakable conviction, creating music that feels both revolutionary and deeply human.

“Love is the greatest commandment,” Zackwa says. “This album is my reminder to the world that truth, love, and unity are still the keys to freedom.” That ethos runs through every beat of The Scarlet Room. The project’s title itself evokes both mysticism and passion — a sacred space where creativity, divinity, and emotion meet.

Perhaps what makes this record even more remarkable is that Zackwa Did it Again wrote, produced, and performed every song himself. That total creative control gives The Scarlet Room an unfiltered authenticity that’s rare in today’s music landscape. It’s the sound of one man following his muse wherever it leads — blurring boundaries between genres, eras, and ideas.

In a time when so much music feels disposable, Zackwa Did it Again offers something lasting — a bold, spirit-led reminder that art can still move mountains.

–Bonnie Blackman

Tracklist:

1. 1. Black and Blue
   2. Go to Hell
   3. Grass is Greener
   4. Ready or Not

Her latest self-titled four-track EP sounds like the earlier works of Kelly Clarckson and P!nk, with singles like “Go to Hell” and “Black and Blue” carrying a very heavy rock undertone with almost growl-like raspy vocals. 

The vocals take a different tone on “Grass is Greener” with a softer sound that leans more towards country. Lastly, “Ready or Not” is pure country! A guitar solo ensues near the end of the song that is epically executed and climaxes with a crescendo that leaves you spellbound.

We can see that the EP is a journey from a heavier sound of rock towards country, which allows you to explore divergent flavors with the same taste of Whit’s evocative vocals. The former Miss Texas (2012) and Miss United States (2013) proves on this EP that she is a force to be reckoned with, and that her talent goes beyond just her breathtaking beauty!

“Her roots and deep love to write and perform original country music dates back to being a little girl in Texas,” reads her bio on her official website. “Listening to acts like Hank Williams, Patsy Cline, Bonnie Rhiatt, and Johnny Cash from her parents’ record collection.”

The starlet has performed with country artists like Chase Rice and Brian Kelley, and she continues to garner attention from across the world as she has been mentioned in People and Forbes magazines. With a story like no other, Whit is surely standing out from the crowd with her latest release!

Ontario JUNO Award-winning rock trio The Dirty Nil are sharing a deluxe digital edition of their 2023 Free Rein to Passions LP via Dine Alone Records featuring a cover of Bonnie Tyler’s “Total Eclipse of the Heart.”

“We were asked to play (drummer) Kyle‘s brother’s wedding as the house band and readily agreed. There was a list of dream covers and this one we laughed at but then learned. From the first time we did it in the jam space, I knew we had a good one. It was probably the highlight of our wedding set and we decided to record it for posterity. Special shoutout to (bassist) Sam‘s amazingly high singing on this one. I find it very difficult to not sing the expletives present in the ‘Old School’ version of the song.” – frontman Luke Bentham

The latest single “Mad LOVE Story” from the American duo Soul Twin Messiah was unveiled on Valentine’s Day. This track is part of their self-titled debut album, which consists of 10 tracks and is scheduled for release on April 12, 2024.

Bonnie smoothly opened 2 Bags with mellow floating melodies and colorful sound, promising an open-sounding uplifting tune to come. Bonnie’s soothing vocals and warm groovy pace created a calming chill mood, as the piano, acoustic guitar, and bluesy electric guitar licks and solos kept the song’s natural flow moving forward towards a bigger, more spacious sound that allowed every element to breathe and be properly heard and digested within 2 Bags‘ laid-back streaming structure. 2 Bags has some subtle dynamic shifts that were cleverly orchestrated to shake things off and keep the listeners hooked, without compromising its mood and extremely emotional vibes, making it a perfect tune to start your day with or end one with a drink and calming setup.

2 Bags is a heartwarming piece that offers good vibes and heartfelt melodies, it shows Bonnie‘s touching writing style and well knowledge of her sound and direction, creating such a beautifully streaming seamless structure while cleverly handling different layers of instruments and melodies. Looking forward to more from Bonnie, keep on rocking. Cheers!