What’s immediately striking is the song’s sense of lived experience. The production glows with 80s warmth, yet nothing about it feels nostalgic for nostalgia’s sake. Oledude and Lindsey Wilson move through the melody with a kind of shared urgency, their voices carrying the weight of stories shaped by real workers, real exhaustion, and real demands. Their harmonies don’t soften the message; if anything, they deepen its resonance.

“TURNING TABLES” speaks with a clarity that cuts straight to the heart of economic struggle. It sketches families stretched beyond their limits, paychecks that dissolve before the week is done, and a system that treats labor as disposable. But the track never collapses into despair; it rises. Each line feels like it’s meant to be shouted in rhythm, held up collectively, sung back with conviction.

The groove itself becomes its own form of protest. A tight rhythm section anchors the track while guitar lines flicker around the edges, giving the arrangement a sense of steady, purposeful motion. It’s music with a stride: confident, unhurried, but undeniably pressing forward. Oledude channels decades of musical lineage and political memory, yet spins it into something distinctly his own.

“TURNING TABLES” doesn’t simply ask for justice; it insists on momentum. It frames resistance not as an abstraction but as a dance of determination, a chorus built to be echoed in rooms far bigger than the studio that birthed it; and as a doorway into PREACHER MAN – VOL. 1, this track feels like the ignition spark: fiery, grooving, and anchored in purpose. Oledude isn’t just telling a story; he’s summoning a collective stance.

The message is unmistakable: tables must, indeed, be turned!

Anchored by a bassline that bounces with swagger and drums that snap like a livewire, “Jumping Around” rides on a rhythm section that refuses to sit still. The groove is irresistible, tight but unforced, slick without losing its raw, live edge. There’s a natural chemistry between the musicians that makes the track feel alive, like it’s unfolding in real time.

On top of this rhythmic bedrock, Gianfranco’s guitar glides and stings in equal measure. He doesn’t just play, he converses with the music. His tone is clean yet bursting with personality, offering playful licks one moment and soulful phrasing the next. It’s a masterclass in control and flair, where melody doesn’t just accompany the groove, it dances with it.

The electric organ and keys layer in a dreamy shimmer, bringing warmth and spaciousness to the sound. One moment you’re vibing to earthy funk, the next you’re floating through jazz-tinged stardust. Subtle touches of percussion color the background, while a bold trumpet line slices through with bursts of brass brilliance, never overdone, just enough to make the track sparkle.

What’s striking is how fun this all feels. There’s nothing calculated or over-produced here. Instead, Gianfranco offers a snapshot of joy in motion. No lyrics, no gimmicks; just finely tuned musicianship that lets the instruments do all the talking. And the story they tell? It’s one of freedom, movement, and groove-soaked happiness.

“Jumping Around” is a promise of what’s to come in Gianfranco’s upcoming Giomané album, due this June. Thirteen tracks, all grounded in live instrumentation, all radiating this same DIY charm. For those who crave music that feels human, textured, and joyful: this is it! 

“Jumping Around” is mood-shifting, soul-lifting, body-moving Giazz. If this track is the preview, the album is bound to be a full-on celebration of rhythm and liberation.

Stream it. Dance to it. Let it soundtrack your commute, your kitchen dancing, or your spontaneous groove breaks. And if it moves you? Head to 96gfn.ch, support the artist, and keep this independent musical force thriving! 

Based in the English town of Loughton, Georgia Crandon is a singer and songwriter whose screeching megaphone yelps are displaying her as a flamboyant diva, a charismatic, soulful troubadour pouring her whole heart out for us to watch, woo, and weep. ‘Relapse’ brandishes a retro cinematic feel that’s further amplified by the song’s dusty and vintage-feeling production. With a booming and roomy drum sound, vocals distorted through a megaphone, as intense as Matt Bellamy’s similarly distorted vocal antics, and a composition that drips with a venomous catchiness.

‘Relapse’ is a short and densely packed piece of music, having space in its 3-minute runtime for multiple song sections, each with its own, unique harmonic structure, and twisting chord progressions, and each equally competing for the spotlight, which ultimately is reserved for Crandon’s world-class vocal performance and the song’s frantic and sublime guitar solo.

One of the most stand-out listens I’ve heard recently, Georgia Crandon’s vocal talent sure deserves a massive amount of attention. Also, her songwriting prowess, making ‘Relapse’ into one of the year’s most engaging and fulfilling musical rides, is worth a ton of appreciation.

Using colorful melodies and a groovy flow is how Gianfranco GFN welcomed his fans to Sunshine as he takes them on a beautiful, mood-adjusting journey. His bright sound and chill, fluid structure send elevating cheerful vibes with every note and beat, led by his bluesy guitars going hand in hand and in perfect harmony with Claude-Alain Biedermann’s keys and Vladimir Crabone’s powerful vocals, creating a mellow stream of melodies that smoothly and gracefully carry the listeners throughout Sunshine’s uplifting twists and turns. Gianfranco GFN‘s clever arrangement is pretty interesting, he managed to produce a warm-sounding tune with a captivating flow while maintaining a catchy dynamic structure that keeps the listeners hooked and moving without overdoing or compromising his mood.

Sunshine is an authentic, heartfelt tune with an organic flow and touching melodies that can turn your day around by playing it with your morning coffee. Looking forward to more from Gianfranco GFN, keep on rocking. Cheers!

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“Live It All” takes the listener on a literal lyrical journey of living it all. With themes about difficult and frustrating relationships and finding meaning in life. With a glimpse of hope in the last few tracks, the album takes a more optimistic theme of self pride, self love, self discovery and changing for the better.

Bre’s amazing, soulful and flawless voice is going to stun you making it impossible to skip any song. It’s an instant charm I have never felt before, while her ability to hit every high and low note perfectly will leave you speechless. The melodic and groovy guitar lines complete the picture while complementing the magnificent melody section. Backed by groovy and dynamic bass and drum lines that keep everything intact, the listener is forced to groove and dance to the euphoric experience. It is a well-written and composed piece of art that displays the band’s harmony and synergy that encourages the listener to attend their shows and have the experience of a lifetime. Featuring the incredible Hammond organ talent of Steve Swatkins and Beth Wood’s amazing backing vocals, these two are an excellent addition to the album’s sound and add depth to the overall atmosphere. “Live It All” is a hell of a way to start the year and it will stay with me for a long time.

“Layers of ¡BAS!” is a versatile record that mixes a lot of influences freely with no strings attached in a purely creative process. ¡BAS! has a way of creating upbeat moving tunes either by mixing groovy guitars with electronic beats as we can hear in the hyper opener “Own Time” which has a lot of energy with that dynamic groovy riff and bass over an electronic beat or by using a purely electronic approach as we can hear on “My House” and “Right Reasons” that have a super dynamic structure and groovy earworm beats with the latter having multiple vocals that gave it a different texture. Using funk was another tool that ¡BAS! used perfectly in creating hype and you can hear this in “Soul” with its cool funky guitar melodies, “Zone” with its funky bass and beat mixed with some Hendrix like guitar melodies and nice keys, and “Bring the Funk” with its dynamic structure and mix of funky guitars, bass, trumpets, and 100% fitting effects and beats that elevated the mood. Upbeat songs are not ¡BAS!’s only focus as the record has some chilling mellow good tunes too. Starting with “Soul” with its nicely layered clean guitars over a groovy beat and on “Roll On” with its dreamy, sunny morning vibes and lovely melody. While “Navigate (feat. Jonny Se)” took another approach as ¡BAS! used subtle melodies and beats to give its fluid vocal melody some space, “For You” kept the chilling mood going with relaxing guitar work and chilling vocal melody, and “Nightride DUB” with interesting effects experimentation pushing his sound boundaries. ¡BAS! decided to shake things off and end the record on a high note with “Funk-U-Later”, retrieving his refreshing funk elements creating a rocking intro that moves into a groovy verse and progresses until it explodes into a hyper moving tune that’ll send you off your seat.

“Layers of ¡BAS!” is a perfect name for this record, it has so many layers and music approaches all fused into one complete creative sound. It’s a journey through various sounds and compositions that says a lot about what ¡BAS! has to offer and will leave you wondering where can he go next. Looking forward for more, cheers!