KING P Shares the fun on “SLIP N SLIDE”

Florida’s own King P, a hip hop artist and multi-instrumentalist who is one of the most crucial creators currently working in the South, will be dropping a brand new music video for his track “Slip N Slide” on May 28th. The song is another incredible blast of P’s dancehall-influenced style on the microphone combined with party vibes that could only come from The Sunshine State. Also known as Phillip Solomon Stewart, King P is not only a rocking vocalist but has major skills on drums, trumpet, clarinet, violin, keyboard, oboe, and all saxophone variations. This brings a depth of knowledge and soul to everything he does that sets him apart in a crowded scene. On “Slip N Slide,” he goes so hard in his own unique lane that you can’t help but be swept along with him. 


King P’s lyrics on “Slip N Slide” reflect the good-time life of South Florida but he’s about so much more than that. He studied music at Florida A&M University, where his roommate just happened to be future Grammy-winning producer Kendall “Ken Jo” Johnson. Ken Jo knew what was up with the level of P’s talent and gave him the opportunity to play saxophone on the track “Woozy” from Ludacris’s Release Therapy album, a massive hit that was recognized as Best Rap Album by the Recording Academy in 2007. The experience fueled his fire to keep the faith and continue pursuing a career in music. That same year, King P knocked down the dream gig of Assistant Head Drum Major for Prince’s Superbowl XLI Halftime Show. This was another sign of greatness yet to come. 

Since then, King P has gone on to achieve big things in both secular and gospel music, racking up hundreds of thousands of video plays and streams and headlining countless concerts and festivals including the Juneteenth Festival in Orlando, the Soul Beach Festival in Tampa, and the Peace in the Park Festival in Tallahassee. “Slip N “Slide” shows King P coming out of the COVID-19 pandemic in fine style with a new track and video that are going to light up the Summer of 2021. Hip hop fans looking for the freshest new music to be found need to start bumping King P and join the party. 

Keep up with more King P HERE.


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Let The SONIC RADIATION reach you with “Roentgen”

Sonic Radiation hits the end of 2020 hard with a brand-new track, “Roentgen,” that’s a monstrously-energetic dance floor banger. Named for a legacy unit of measurement for exposure to x-rays and gamma rays, “Roentgen” pushes against the machine that made it, delivering a relentless EDM beat seemingly meant to drive humans over the edge. Synths and sounds add to the cut’s buildup and keep intellectual interest high. Creator Todd Last’s bass sounds are to die for and he gives his people everything they need to dance into oblivion.“Roentgen” is a perfect example of Last’s signature hybrid of techno and trance ideas and a highly kinetic passport into his unique world.

Sonic Radiation has been emitting rays since its inception in 2003. Musician and producer Last is a true believer in the eternal relevance of electronic music and helps build its future with every track he puts out. Tracks like “Roentgen” keep to the truth of the genre, using a minimal palette of arresting sounds coupled with the power of repetition to achieve a shift in the consciousness of anyone really listening. Last uses the Sonic Radiation brand to fearlessly create that which hasn’t existed yet and bring it to the world. He is an iconoclastic artist who has emerged as a consistently engaging presence on the EDM scene.

“Roentgen” will appeal to fans with an interest in new takes on vintage electronica that moves the genre forward. Sonic Radiation is a DJ and producer to add to your daily rotation whose fresh and expansive music will claim you as its own. “Roentgen” is an excellent track with enough radioactive material to alter your chromosomes and jump you into Last’s tribe. If you’re smart, you’ll let yourself go along with the program.

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Hear the World With Three Eyes

Experimental electronic music artist Three Eyes displays significant amounts of vision and originality on their brand new self-titled release Three Eyes, which dropped November 6th, 2020. The sound is a blend of dream pop, hip hop, cinematic, and psychedelic ideas that flow over and into each other, resulting in a mind-expanding nine-track record that energetically surges forward yet still pays attention to the smallest details. Three Eyes, a.k.a. Jewel Marsh, is a fearlessly creative musician who demolishes genre lines without apology and writes some of the most crucial electronic compositions to be found in the modern scene. As such, Three Eyes is hook-filled, hypnotic, and wildly entertaining. 

The opening cut, “The Value Of Nothing,” begins like a dream but kicks over into a heavier, open-source funk beat overtopped with synths that swirl and speak. The track is emotive, slightly unsettling, and displays Three Eye’s soundtrack-writing ability.

“Death As A Current Event” is more tense and uptempo. It sits on top of a simple, driving bassline and an 80s-ish drum machine type of groove that isn’t afraid of going its own way. This gives the track a moody, unpredictable quality that’s entrancing and unforgettable. Like all the selections here, it’s well-conceived and superbly executed. 

“Foot Reverie” is a floating, psychedelic masterpiece full of gentle, digital bliss. Three Eyes structures the cut’s dynamics to rise and fall at just the right times to envelop listeners in a shared emotional experience. The melodies and beats create an otherworldly vibration together that makes this one of the album’s best moments. Other standout tracks include “Fingers In The Eyes” and “Apostatic Communion.” Three Eyes has made one of the most artistically-important records of 2020 with this self-titled gem. One listen and you’ll want to stick around and see what comes next.

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JOHN LEBANON Has Become The ‘Disco Boi’

John Lebanon sounds like a person but it’s really a band built around Lebanese guitarist and songwriter Roy S and fleshed out by a number of collaborators that includes Matt, Alex, Kat, Olivia, Malabar Buckley, Juliette, Laeticia, Noemie, Wheels, and Soup Wizard. The crew has released a steady stream of singles and EPs that showcase a style that blends progressive folk and experimental pop/rock into quirky, endearing songs that are impossible to forget. The live band is an improv-heavy four piece with Hatch, Habib, and Wolf based in New England that’s drawn Phish comparisons. 

The project began as a creative antidote to Roy’s daytime life as a medical doctor and resident at Brown University in Providence, Rhode Island. He’d been writing music since his teen years in Beirut. Disco Boi is an EP released by John Lebanon in 2018 of collected works written before and during Roy’s residency training and inspired by the loss of a close friend to suicide. He and the rest of JL made the record with a Minimoog, electric bass, and many organic percussion tools like ping pong balls, coins, bicycle bells, and more. 

The title track, “Disco Boi,” gets things off to a cool, moody start and tells a story of love set in Brooklyn, New York. It features male and female lead vocals and a hypnotic bass line that will pull you in and keep you listening. “Get A Cab” is funky indie Euro Pop with artistic overtones and an atmospheric sensibility. As a unit, John Lebanon makes a subtle, smooth noise and never takes anything on Disco Boi over the top, preferring to keep its tracks on a deliberate simmer. The slightly reined-in approach works for these songs and will appeal to those seeking substance over bombast. 

“Petit Jean” is a vibe-filled electronic instrumental cut that feels like movie music. “Propane Co” is directly about Roy’s fallen friend and his ongoing dismay over the cost of gas. It continues the cinematic, ethereal sound the group has established and features some tasty wah-drenched guitar work and well-executed synth parts. All the tunes here are hooky and memorable and demonstrate a high level of songcraft.

Fans of unusual indie-pop will find much to like on Disco Boi and need to give John Lebanon a follow on FACEBOOK.



Americana singer/songwriter/guitarist Ernie Hendrickson delivers a dose of soft-spoken genius to the world with his latest album Roll On. Released on September 24th, 2019 on LoHi Records, Roll On is a set of original roots-inflected songs that aim to address some very current issues in American life, specifically the senses of alienation and commercialization that are overwhelming a great many of our citizens at this very moment. Doing this is an amazingly tricky balancing act between music born of the past and stories told about the present and most songwriters struggle to do it in a convincing way. Hendrickson, however, pulls it off like a boss and displays an innate knack for combining character, setting, and meaning. 

Hendrickson tracked Roll On in his hometown of Chicago with producer Brian Deck and a superb studio band comprised of guitarist and pedal steel player Brian Wilkie, bassist Pete Muschong, drummer Gerald Dowd, and keyboardist John Kattke. The record opens with the horn-laden Dixieland fun of “Do It For Love,” a gently grooving track reminiscent of the late Jim Croce. Hendrickson’s low-key vocals serve the song well and have a laid-back J.J.Cale/Tony Joe White vibe that will immediately draw your attention to his lyrics, which is where it belongs. 

“One Day of Life” is a beautiful Tex Mex ballad that reminds listeners that the present moment is all any of us really have. “There is no other day, don’t give this one away, buy the ticket, take the ride” Hendrickson sings with a soft soulfulness that recalls iconic Texas troubadours like Willie Nelson and Jimmy LaFave. He’s emotive, hypnotic, and genuine and, like the best roots music always has, Hendrickson uses the power of being plain-spoken to his advantage. “Something In The Water” is a delicate country song about the difficult topic of gun violence in America that shows Hendrickson to be a fearless, compassionate lyricist capable of articulating the feelings of many Americans without raising his voice in anger. 

“Should Have Left This Town” is a cool country/rock track about someone stuck in a dead-end small town that he knows he should have vacated long ago. He’s well aware that he’s not the only one there living a life of beer and resignation who could have done better for himself and, when asked why he’s still hanging around, can only mutter something about the beer being cheap. Roll On is packed with these kinds of moments in which many listeners will see parts of their own lives and Hendrickson’s real talent is making them happen. Be sure to also check out “The Losing Blues,” “Dystopian Dreams,” and “New Midwestern Winter Blues” for more of the same. 

Ernie Hendrickson is a real-deal songwriter who clearly knows the difference between sounding meaningful and actually being so. Roll On is a fervent, whispered prayer of an album that takes old-school songwriting and makes it 100% relevant to the 21st Century. Hendrickson is a serious talent in need of a much larger audience. Fans of great lyrical songs won’t be able to stop listening.

Find more from Ernie Hendrickson HERE.


SIMON JACKSON Spreads ‘Love Is Love’

Love Is Love is the latest release from New Zealand-dwelling songwriter and producer Simon Jackson. Jackson is a melodic rock specialist with an evocative sound influenced by The Beatles, Elton John, Tom Petty, John Mellencamp, Southern and Aussie rock. His songs are based around the acoustic guitar and Jackson’s own life experiences here on Planet Earth. The songs on Love Is Love were all written in the last few years and show Jackson to be a fine lyricist and musician who deftly finds the poetry in everyday situations. The title phrase “love is love” was lifted from one of Jackson’s close friends who uses it as a catchphrase, meaning no matter who or what somebody is, we all love the same way. 

“Never Be Friends” is a poignant ex-wife/divorce song that deals with the complicated feeling of being so close yet ultimately so far away from someone you used to love. It’s also a wonderfully-produced bit of contemporary guitar pop that serves as a strong opener for the record and features the prime vocal chops of frequent Jackson collaborator Trav Bryant. Bryant sings most of the tracks on Love Is Love and has a sonorous, soaring set of pipes that fit Jackson’s material well. “Only Man Alive” is about a first love experience loaded down with personal baggage at a young age and how, despite it all, you still end up walking taller just because she cares. It’s a heartfelt and authentic cut that speaks honestly about the emotions of those times. 

“Not Coming Over” is soul-shredding song about sitting with a friend going through a difficult breakup and waiting for someone who isn’t going to show up. It’s just guitar and voice but still hits hard and conveys the bleakness of a dead relationship perfectly. Jackson excels at writing songs like this that translate deeply personal moments into musical monologues that are relatable and engaging. Other great moments captured on Love Is Love include “Wrote It Down,” “We Don’t Fight,” and the title song “Love Is Love” that closes out the album. Simon Jackson is a better songwriter than most and is on a trajectory to have his music heard by a lot of people.

Fans of outstanding lyrical songs are going to want to keep Love Is Love on “repeat” for a good long while. 


MARK WINTERS Blows Us Into The ‘Slipstream’

Texas singer/songwriter Mark Winters is an understated, positive, and smooth artist and performer with a unique take on alternative rock and guitar pop. His debut album, Slipstream, comes out today, September 12th, 2019, and is a strong effort filled with melody and nuance. Winters writes songs that are catchy and engaging that will brighten your day and lift your mood. His music has a gentle quality to it that Winters refers to as “rock with a positive vibe” and that phrase fits what he does very well. His tracks aren’t meant to blow roofs off of roadhouses but to contribute life-affirming ripples to the world at large. 

Slipstream is an 11-song jaunt through Winters’ musical life and each track is important to the album in its own way. Three of the songs on Slipstream, “Be There,” “Copper Queen,” and “Strong,” have already been released as singles so there is an immediate familiarity to the full-length album for those who have been following along. “Be There” is a cool, slightly gritty mid-tempo rock song about being in the present moment and not lost in a phone that puts Winters’ voice and lyrics out front where they belong. Vocally, he’s somewhere between Jackson Browne and Paul Simon and uses a similarly laid-back singing style very effectively. 

“Brothers” is a chill blues/rock song that’s a call for human unity and features some outstanding lead guitar work. It comes across as almost psychedelic due to the way Winters sings it and the reverb-laden guitar parts, which makes the cut even cooler. “Copper Queen” adds a melodic dream pop element to the record and feels like a co-write between Chis Isaak and Brian Wilson which, as you might imagine, is a winning combination. Winters also includes a cover of Tom Petty’s “Free Fallin’” that suits him well and pays respect to a fallen master of the songwriting art. Other must-listen tracks here include “Waiting” and “Life Of 3.” 

Slipstream is an excellent record that allows Winters to demonstrate that well-conceived and executed vocal songs are timeless and will always resonate with a large number of music fans. His aura of quiet cool is refreshing in our current age of noise and will likely connect with a large audience. Mark Winters may be a new player on the scene but is absolutely worth investigating.


WILLIAM BEN BROOKS Tells Us About ‘A Broken Beast’

A Broken Beast is the seventh studio album by singer/songwriter William Ben Brooks, a storytelling 60s child from Oklahoma with a knack for contemplative, emotive ballads and soulful folk/rock. Released in July of 2019, the record is a masterfully written and executed dose of lyrical Americana that features Brooks’ lean and literate songs brought to life by an award-winning crew of musicians that includes keyboardist Kelvin Wooten (Al Green, Macy Gray), guitarist/bassist Jon Gordon (Madonna, Suzanne Vega), vocalist Catherine Russell (David Bowie, Steely Dan), and a host of other ultra-talented players. The result of this combination is a deeply personal, great-sounding album that skews toward the more artistic side of roots music and shows Brooks to be a solid talent deserving of a larger audience. 

Many of the songs on A Broken Beast have a serious sort of vibe and are meant to reveal the secrets and their aftermath of the characters that populate them. Brooks is not afraid to be confessional and raw, especially on his ballads, and exhibits the kind of creative honesty shown by top-tier artists. “And I Heard” is a slow-but-snarling opening cut that does a fine job balancing grit and atmosphere and is reminiscent of 70s Dylan with fewer rough edges and more lead guitar. “Remedy” is a mid-tempo rock song that lives somewhere between the Muscle Shoals Rhythm Section and Tom Petty’s moodier moments that’s instantly engaging and will stick in your head until the end of the day.

“The Beauty Of It All” is an emotionally honest piano ballad that delves into all aspects of a failed relationship and celebrates the shared ups and downs equally. Brooks truly excels in this sort of quiet moment and quickly pulls listeners into the feelings behind his words. Other must-hear tracks on A Broken Beast include “It Is What It Is” and “Too Soon.” William Ben Brooks is an engaging and inspiring songwriter with no shortage of tales to tell. Fans of meaningful words and music will find a lot to like here.