“This Is What It Feels Like” serves as an intentional exploration by Ed Silva to refine Cries of Redemption’s distinctive sound. While past comparisons to Evanescence and Lacuna Coil have been appreciative, they have occasionally constrained efforts to establish a unique identity. Preserving the project’s NuMetal foundation, this release incorporates theatrical elements through Duque’s session work, including choruses with a “six-voice harmony” ensemble overlaid on a string arrangement, blending Broadway-inspired grandeur with intense emotional delivery.

⇒ Don’t miss our thoughts and check it out here.

Ed Silva, responsible for all music and lyrics, guitars, bass, and instrument programming or sequencing, managed the production with precision. For this track, Duque provided her powerful natural voice across multiple harmonies, potentially indicating a direction for future vocal collaborations. The screamos, disclosed transparently, employ advanced voice modeling tools such as Audimee alongside other production techniques.

The song’s core message holds profound significance: “This song is a raw, unflinching exploration of long-term sobriety, revealing that even after years of abstinence, the internal ‘wreckage’ of addiction remains. It’s a journey from the haunting, permanent scars of the past to a defiant, yet fragile, choice to ‘live again,’ recognizing that healing is not erasure, but acceptance and conscious forward movement. It’s the profound, often unspoken truth that sobriety isn’t just about quitting; it’s about learning to live with the ghost.”

Established in Savannah, GA, Cries of Redemption adheres to a “music-first” ethos, favoring artistic integrity over promotional efforts. Silva upholds complete anonymity and avoids personal social media, allowing the work to stand independently. Rooted in the Atlanta music scene—where Silva performed at venues such as Smith’s Olde Bar and Dark Horse Tavern, featured on 96 Rock’s “Locals Only,” and engaged in over 800 Kompoz collaborations (700 initiated by him)—the project documents 19 years of sustained sobriety. Influenced by figures including David Gilmour, Adrian Smith, Billy Duffy, and John Frusciante, it functions as a digital archive for those navigating adversity.

This single represents the initial release featuring Duque’s session vocals, accounting for only 1% of their joint recordings. Silva anticipates the involvement of two-time Grammy-winning producer and former lead guitarist Billy Babcock to professionally oversee the extensive unreleased catalog. Historical highlights include the 2007 EP “From A Drunken Heart,” engineered by Kevin Rose at Elevated Basement Studio (limited to 10 promo copies), and the 2015 self-titled EP on Bandcamp.

Cries of Redemption employs a hybrid production method with matching studios in the United States (Georgia) and Colombia, utilizing specialized gear such as a custom Telecaster for Drop A, Schecter Demon for Drop B, and advanced software including Amped ROOTS, Waves Amplifier, Guitar Rig RX7, iZotope, and Reaper for mastering. No live performances are scheduled, though Silva remains receptive to future engagements with session musicians.

• JustFolk began in 2012 as a studio project in Saint Paul, Minnesota, with you as the primary songwriter and vocalist, supported by professional collaborators Steven Gores and Manolo Díaz. How did this remote, transatlantic recording process—spanning Minnesota, Helena, Montana, and Ibiza, Spain—shape the band’s sound and creative dynamic over the thirteen years?

I started collaborating with producer and keyboard player Steven Gores in 2012.  We both lived in the same city: Saint Paul, Minnesota.  We would have meetings at a local coffee shop or work things out on the fly  in the studio.  But then in 2015 I moved 4,600 miles away to Ibiza, Spain and this changed everything.  It required letting each musician, some I would never meet personally, to give their best shot with almost no input from me.  It required that I let go to a higher power.  This dynamic change offered many dividends in terms of artistic creativity and independence.

• Your influences are clearly rooted in the classic rock lineage of The Beatles, Neil Young, Jeff Lynne, and Tom Petty. In what ways did these artists guide your approach to melody, vocal delivery, and lyrical honesty, particularly in balancing emotional vulnerability with accessible hooks?

I cut my musical teeth with the Beatles, live on the Ed Sullivan Show.  The most obvious Beatles’ references in my music are the major to minor chord changes.  And the double tracking of my voice can sound Lennon-esque at times in my dreams.  Neil Young’s release of “After the Gold Rush” (1970) was such a seminal and coming of age album for me.  I was literally 15 years old with all the longing and desire.  My tune “Protest to Survive” has Young’s muffling of the acoustic guitar strings with my strumming hand.  Jeff Lynne’s compositions with ELO and with his solo record “Armchair Theater” are every songwriter’s guide to song structure with melodic hooks.  I live for hooks.  The more the merrier and repeat them if possible.  The Traveling Wilburys with Tom Petty, George Harrison, Bob Dylan and Roy Orbison were the perfect delivery device for Lynne’s genius.  I hav always strived to emulate his wall of sound.

• The compilation Best of JustFolk 2012-2025 presents a chronological selection of essential tracks from your four albums and singles. What criteria did you use to choose these thirteen songs, and how does sequencing them in order reflect the evolution of your songwriting and thematic concerns—from love and life to mortality and hope?

It wasn’t rocket science.   I picked my favorite songs.  They were usually the first and second tracks of each album but not always.  The first two albums were more stripped down with my acoustic guitar. These early albums featured the electric guitar of my friend Dean Branshaw, a studio musician in Las Vegas who had worked with Pure Prairie League.  The second two albums were recorded in Ibiza, Spain and these featured the Santana-esque playing of longtime family friend Manolo Díaz.  Taking a snapshot of the 4 records, I see an  unfiltered idealism that bent toward a more sober realism.  In the fall of 2009, I had reunited with my high school sweetheart in Ibiza after 36 years of absolutely zero contact.  Barbe Lix caused a tsunami in my life.  It was the ultimate accident and pushed my music in new and never imagined directions.

• Your previous album, Grounded, was a concept record centered on death and dying, described as hopeful. How does this final compilation serve as a capstone to that exploration, and in what sense does it offer a broader retrospective of the universal human experiences you’ve addressed across the catalog?

Since I was a young boy, I was cognizant of the quick passage of time.  There was a specific chair in the living room of our family’s rambler in Smithtown, Long Island where I pondered how quickly my life had unfolded.  Lo and behold, I grew up to become a ‘dweller’ about all things, including death and dying.  This final compilation brings together a lifetime of expecting too much from others and coming to terms with what the Spanish say, “Es lo que hay.”  While recording “Grounded” our bass player had a heart attack at an airport and was dead for 20 minutes.  His first song after he completed rehab was “Don’t Turn the Lights Out.”  Can’t make this up.

• You have described yourself as the “amateur” in the group, with the rest being seasoned professionals, and noted your John Lennon-inspired double-tracked vocals and pursuit of unpolished authenticity. How did this contrast in experience contribute to the band’s distinctive spirit and chemistry?

I was absolutely the thin-voiced amateur in the band.  I knew only the most basic rhythm guitar chords and staying on tempo was not my forté.  This meant that the pros brought the songs to life.  And they did.  The sum was always greater than the individual parts.  I loved this part of the process.

• After releasing four albums and several singles over thirteen years, JustFolk has now officially retired with this compilation. What prompted the decision to conclude the project at this point, and how do you feel this body of work stands as a complete statement?

I had run out of gas, though I prefer to say I ran out of battery.  It’s less polluting.  I felt like I had exhausted my best chords and lyrics.  It was clearly time to give it a rest and spend the rest of my days enjoying the music of others.  I have now revisited vinyl records and am loving it.

• The press materials express pride in what JustFolk accomplished, while acknowledging that the music reached only a limited audience. In assembling Best of JustFolk 2012-2025, what motivated you to provide “the world a second chance” to discover these songs, and what response have you hoped to elicit from new listeners?

I always believed that I had a good body of work, even some hits.  I decided on giving one last push in the hopes of finding someone with a much bigger following than me to cover my songs.

• Having written seventy songs across seven decades—including your earlier work with the Daddy-Doo Band—this compilation marks the end of JustFolk’s chapter. Looking ahead, do you anticipate continuing to write or record in any form, perhaps solo or in new collaborations, or does this feel like a definitive close to your recorded output?

I am very proud of the work of my first band: Daddy-Doo Band.  It also has a compilation record living in complete obscurity: “Daddy-Done: 2003-2009.”  Who knows, maybe I’ll try  one day to find a promoter for this one too.   As for JustFolk, this is the end of a wonderful ride.  The last stop.   I am so grateful to all who have worked with me, especially to Steven Gores who always encouraged me.  Steven did it all.

Falling Apart is more than just a debut—it’s a fully realized artistic statement. The track unfolds like a dream turning into a nightmare. Airy ambient textures and lush reverbs pull the listener into a hazy, introspective space, only to collide with waves of raw energy: distorted noise passages, rich harmonic layers, and thunderous guitar riffs. The result is a dynamic, deeply expressive soundscape that captures the experience of emotional unraveling in vivid sonic detail.

The band’s distinctive blend of heaviness and melody, chaos and structure, invites comparisons to genre legends while carving out a unique identity of their own. It’s a sound both haunting and cathartic, pushing boundaries and challenging expectations.

From the ethereal vocal drop at 2:07, through the explosive guitar solo at 2:52, to the mesmerizing shoegaze verse at 3:21, Falling Apart takes listeners on an unforgettable ride.

Undergone handled every element of the release themselves—from recording and mixing to visual design and promotion—staying true to their independent roots and creative vision.

Whether you’re a fan of shoegaze, noise rock, or simply looking for something fresh and emotionally honest, Falling Apart is a must-hear debut that marks Undergone as a band to watch.

Direct band contact

Email them at undergone6@gmail.com or dbestry.contact@gmail.com 

Phone: Kamil Orszulik – +48 782 740 742 or Dawid Bestry – +48 535 003 697

The American pop-rock duo Laughing Cats has unveiled their fourth single, “Cool Hand Lucy,” a song that encourages reflection on past experiences while expressing appreciation for different journeys. Discover more details below.

Groome grew up playing bass in bands and collaborated on a number of singles before forming JBNG, but never thought to take up the mic as a vocalist. Diagnosed with bipolar disorder earlier in life, however, Groome was always looking for ways to calm his anxiety when it hit. In 2023, he found there was something soothing in singing. “I learned it helps, switching the nervous system out of fight or flight mode,” he admitted in a recent interview.

It turned out that doing his own vocals was the key to the cohesive sound Groome was looking for in a project. Once he found his musical cohorts in Alejandro Yoshizawa on lead guitar, Jonathon Goldie on Rhythm, Tim Charman on bass and Matt Koopman on drums, it seems that sound has now just flowed forth from JBNG.

Said sound is a true mix of many indie genres with a grunge edge. While Groome names his influences as diverse as Buddy Holly, Zepplin, Hendrix, Nirvana, Stone Temple Pilots and The Pixies, JBNG‘s actual sound swings the pendulum even wider, with indie pop tones that will invoke the Goo Goo Dolls or Urge Overkill all the way to conceptual post punk a’la Tom Waits or Nick Cave, and everything in between. Far from being limiting, Groome’s distinctive heavy, raspy vocal timbre has opened up a world of possibilities for the band, as it pairs with any style they can come up with and give it an edge that will draw all sorts of music lovers from all sorts of genres.

JBNG have taken this creative license on their first two albums, churning out an already rich discography that’s both personal to the band and relatable to their fans. It’s no wonder they’ve become popular so quickly, as rock fans have been clamoring for music like this as grunge and hard rock make a resurgence. With their creativity now flowing in earnest and Run set to release as singles over the next year with videos in the works as well, fans will get to watch this unique band reveal itself as it goes in even more directions, anchored by a unique voice that was originally used as a healing technique for its vocalist.

Independent Music Promotions

JBNG are based in British Columbia, comprising of Groome on vocals, Alejandro Yoshizawa on lead guitar, Jonathon Goldie on Rhythm, Tim Charman on bass and Matt Koopman on drums. It was the brainchild of Groome, who’s a lifelong musician and skilled bass player. Playing in bands and working on collaborations until recently, Groome found his own voice initially as a coping skill when he found that singing helped him manage the more manic symptoms of his bipolar diagnosis.

I learned it helps, switching the nervous system out of fight or flight mode.
It also helped fit something into place in terms of a defining style for Broome and his bandmates, and it seems the music just poured forth from there. A raspy mix of Tom Waits and John Rzeznik from the Goo Goo Dolls, Groome’s vocals give a distinctive edge to the many and sundry styles he and the band created for their debut in Meh, experimenting with everything metal-tinged grunge a’la Soundgarden and The Replacements to more poppy, funky bubblegum punk.

Meh quickly garnered JBNG a strong following, with nearly 30,000 followers on Spotify, but it’s the anticipation of Run that’s really got fans on the edge of their seats. “Barely Know You” already has nearly 100,000 streams on Spotify, so interest can only grow from here. Groome has become even more confident in wielding that unique voice as well, and as the band refines its style, it’s become even sharper and more interesting. Far from becoming samey, said style has become even more diverse, folding even more styles into the mix. “Barely Know You” is a crunchy shoegaze ballad, for example, whilst “Brutus” is a post punk call to action, politically tinged and more spoken word set to music than song.

The creativity and range JBNG have may have initially made their sound hard to define, but grounding it with Groome’s unique voice and creative lyrics means they can really go in any direction and still have something distinctive for the fans. The grunge-heavy “So Nice” dropped on October 1. More videos are on the way as well.

Independent Music Promotions

The London-based rock outfit has been leaving a rather positive impact on us at Rock Era, with each song we listen to being uniformly unique and confident in its musicality and panache. Fronted by the extremely talented Bri Macanas, The Silent Era create songs that are bombastic but dark, extravagantly brooding, and filled with a sense of danger that give the songs a really effortless gravity. The pounding grooves and hypnotizing riffs on ‘On The Run’ and ‘Vendetta’ open the album with ample representation of what The Silent Era do best. Heavy handed beats, industrial, dystopian atmospheres, and hypnotizing songwriting. 

‘Vendetta’ showcases capable musicianship through its rock-hard groove and thick, fuzzed-out guitar riffs. An infectious piece of alt rock that takes its time, climbing steadily to its explosive later third that lets go of all pre-conceived rhythms and riffs for something totally spectacular. ‘Matter of Time’ is massive. A glorious, slow-tempo cacophony of post rock environs and Macanas’s addictive wails, this 6-minute symphony takes its good time building the encroaching atmospheres that eventually swallow all the light, leaving a delicious sense of brooding gloom that we just couldn’t get enough of. From the slow-burning chaos of ‘Matter of Time’ to the syncopated, horror blues of ‘Strange to Me’. ‘Strange to Me’ features a harrowing melody and some electronic wizardry that make it a standout piece amongst its album peers until this point.

‘Peur’, an interlude, is drop dead gorgeous, terrifying, and challenging. Running less than a minute and half, this eerie moment of respite is a perfect moment of calm before the album’s second half ensues. ‘Dead of Night’ features one of album’s darker chord sequences, alongside one of the album’s most distinctive beats. A fantastic mix of old school and novel, ‘Dead of Night’ carries a dynamic momentum through its beat and vocal delivery that makes it one of the album’s most engaging and enjoyable offerings. The gargantuan bass and open-ended composition of ‘Paradise Beach’ make it one more stunner on the album’s second half. Cavernous and loaded with a sense of darkness, ‘Paradise Beach’ is a piece of music that is deep, multifaceted, beautifully written and executed.

‘Cliffs’ is groovy, featuring a chic and impactful bass line courtesy of Nicolas Zappa. Macanas’s reverb-drenched vocals are as characterful as ever, and Jo Eiffes’s steady-handed beats are driving and energizing. The album’s penultimate track is the previously featured ‘Oscillations’, still maintaining its spot as one of the album’s most immediate and enjoyable offerings. The chorused bass is cooked a-la Joy Division’, offering a moment of distinct change on the album, alongside the truly arresting chorus and Macanas’s soaring vocals, all making for a wonderfully immersive musical journey. ‘Raining Again’ is a gorgeous and moody finish to a rather distinctive album. The album’s deep blue and black color palette is explored to its fullest on this synth-led and ominous piece of ambient music. 

Exploring a plethora of moods and navigating through its concept of the ocean and its vast openness and depth, The Silent Era’s Wide And Deep And Cold is a beautifully orchestrated collection of songs that showcase a band with immense range of talent. For songwriting and for atmosphere building, The Silent Era’s quartet is capable of painting gorgeously harrowing sonic landscapes using thick and lush guitars, a rhythm section that is capable of terrific restraint, leaving a ton of space for an extremely expressive frontwoman, all delivering songs that drip with sonic maturity. An engaging fears for the senses. 

JBNG are based in British Columbia, comprising of Groome on vocals, Alejandro Yoshizawa on lead guitar, Jonathon Goldie on Rhythm, Tim Charman on bass and Matt Koopman on drums. It was the brainchild of Groome, who’s a lifelong musician and skilled bass player. Playing in bands and working on collaborations until recently, Groome found his own voice initially as a coping skill when he found that singing helped him manage the more manic symptoms of his bipolar diagnosis.

I learned it helps, switching the nervous system out of fight or flight mode.

It also helped fit something into place in terms of a defining style for Broome and his bandmates, and it seems the music just poured forth from there. A raspy mix of Tom Waits and John Rzeznik from the Goo Goo Dolls, Groome’s vocals give a distinctive edge to the many and sundry styles he and the band created for their debut in Meh, experimenting with everything metal-tinged grunge a’la Soundgarden and The Replacements to more poppy, funky bubblegum punk.

Meh quickly garnered JBNG a strong following, with nearly 30,000 followers on Spotify, but it’s the anticipation of Run that’s really got fans on the edge of their seats. “Barely Know You” already has nearly 100,000 streams on Spotify, so interest can only grow from here. Groome has become even more confident in wielding that unique voice as well, and as the band refines its style, it’s become even sharper and more interesting. Far from becoming samey, said style has become even more diverse, folding even more styles into the mix. “Barely Know You” is a crunchy shoegaze ballad, for example, whilst “Brutus” is a post punk call to action, politically tinged and more spoken word set to music than song.

The creativity and range JBNG have may have initially made their sound hard to define, but grounding it with Groome’s unique voice and creative lyrics means they can really go in any direction and still have something distinctive for the fans. The grunge-heavy “So Nice” dropped on October 1. More videos are on the way as well.

Independent Music Promotions

JBNG are based in British Columbia, comprising of Groome on vocals, Alejandro Yoshizawa on lead guitar, Jonathon Goldie on Rhythm, Tim Charman on bass and Matt Koopman on drums. It was the brainchild of Groome, who’s a lifelong musician and skilled bass player. Playing in bands and working on collaborations until recently, Groome found his own voice initially as a coping skill when he found that singing helped him manage the more manic symptoms of his bipolar diagnosis.

I learned it helps, switching the nervous system out of fight or flight mode.

It also helped fit something into place in terms of a defining style for Broome and his bandmates, and it seems the music just poured forth from there. A raspy mix of Tom Waits and John Rzeznik from the Goo Goo Dolls, Groome’s vocals give a distinctive edge to the many and sundry styles he and the band created for their debut in Meh, experimenting with everything metal-tinged grunge a’la Soundgarden and The Replacements to more poppy, funky bubblegum punk.

Meh quickly garnered JBNG a strong following, with nearly 30,000 followers on Spotify, but it’s the anticipation of Run that’s really got fans on the edge of their seats. “Barely Know You” already has nearly 100,000 streams on Spotify, so interest can only grow from here. Groome has become even more confident in wielding that unique voice as well, and as the band refines its style, it’s become even sharper and more interesting. Far from becoming samey, said style has become even more diverse, folding even more styles into the mix. “Barely Know You” is a crunchy shoegaze ballad, for example, whilst “Brutus” is a post punk call to action, politically tinged and more spoken word set to music than song.

The creativity and range JBNG have may have initially made their sound hard to define, but grounding it with Groome’s unique voice and creative lyrics means they can really go in any direction and still have something distinctive for the fans. The rest of the next singles will be released on the first of each month until July, with the next one, the grunge-heavy “So Nice” dropping on October 1. More videos are on the way as well.

Independent Music Promotions

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