Single Release Date: 28th August 2026

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About The Shimmering Carnelians

Adam Michael is a songwriter from Tucson, AZ, releasing music as The Shimmering Carnelians. In ancient times, people used stones as carnelians to build memorials for important events and show gratitude. Adam hopes to use music as a platform to share personal experiences and express gratitude for the opportunity to create music for others.

About Pass The Parcel

Pass The Parcel is an alternative rock song featuring heavy, shoegaze-influenced guitars, melodic male vocals, and lyrics about being shuffled among different relatives during a parents’ divorce. Influenced by grunge, alternative, and goth rock, the song describes the pain of this experience and the hope of finding comfort.

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Summary Details

Artist Name: The Shimmering Carnelians
Song Title: Pass The Parcel
Release Date: 28th August, 2026
Genre(s): Alternative Rock, Shoegaze
Release formats: All streaming platforms

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Single Release Date: 4th September 2026

Pre-save the single here.

About Nobody’s Uncle

Nobody’s Uncle fuses the anthemic rawness of ’90s alternative, the emotional resonance of second-wave emo, and the reflective spirit of folk storytelling into songs that wrestle with doubt, loss, and Gospel hope while still inviting the listener to sing along.

About The Shameless Swoon

The Shameless Swoon is the first single from Nobody’s Uncle’s upcoming LP Kiss The Son. Musically, the song blends the upbeat melodiousness of your favorite power pop songs with the driving rawness of late ’90s emo and indie rock. It’s catchy and energetic on the surface, but there’s a melancholic urgency underneath it that gives the song weight. Bright melodies and infectious hooks are paired with a raw, guitar-driven sound that feels both nostalgic and immediate. Think Jimmy Eat World meets The Posies meets The Brother Kite.

Lyrically, “The Shameless Swoon” reflects the struggle and outpouring of the singer’s own heart in the light of a crumbling world around him. In his words,

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Summary Details

Artist Name: Nobody’s Uncle
Song Title: The Shameless Swoon
Release Date: 4th September, 2026
Genre(s): Indie Rock, Alternative
Release formats: Bandcamp, all streaming platforms
Credits: Written, arranged, produced, recorded, mixed by Nobody’s Uncle. Mastered by Iain Thomas of Soundtopia Studios.

My Thoughts

Since discovering Nobody’s Uncle last year, I have been convinced that this project is one of the best things to happen to the Christian indie rock scene in the last couple of years. The appeal of the music for me isn’t just the sound, but the clarity of the message and the creative ways we as listeners can reflect on Christ through the lyrics. This song isn’t any different, hitting on the assurance we have of Christ’s love with poignant lyrics like “...if you’re for me, who can judge me…,” acting as a callback to passages of Scripture that remind us of God’s love despite our imperfections. It’s the exploration of themes like these that have unfortunately been relegated exclusively to contemporary worship music that makes bands like this stand out. And I love it.

Pre-save the single here.

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I hope you had a great weekend and a lovely month. Let’s close out the month in style by looking at the releases we were blessed with.

Top Albums From August

It’s been a really good month. Here are some reasons why.

1. As Long As I Am In The Tent of This Body I Will Make A Joyful Noise Pt. 2 by John Van Deusen {Indie Rock, Devotional, Alternative}

2. Mad Big World by Terrian {Gospel, Pop, CCM}

3. Maritime Forest by The Riverside {Traditional Folk}

4. Evergrowing by Faith Kayrooz {Singer-Songwriter, Indie Folk, Indie Pop}

5. separate from the noise (side b) by threetwenty {Neo-soul, Alternative R&B}

6. Abide by The Jonah Project {Acoustic}

7. Make It Out Alive by The Arcadian Wild {Indie Folk, Bluegrass}

8. NO HALO by Ryan Ellis {Alt Pop, Alternative R&B}

9. LOOKING FOR WATER by Mark Barlow {Alternative Soul, Devotional R&B}

10. Dice by Braden Drake {Psychedelic Pop}

11. Strong Beginnings by Weak Sheep {Indie Rock}

12. Alli O’Donnell and the Dead Silence of the Upper Room by Alli O’Donnell {Indie Folk}

13. Everlight by Salt of the Sound {Ambient}

14. Close-Up by Duane Caleb {R&B}

15. The Prince Of This World And Death Are Fleeting (444Hz) by Eternal Gaze {Black Metal, Blackgaze}

16. AND FLY by Jon Keith {Pop, Rap, R&B}

Top EPs

1. REVIVAL: PART 1 by Galactus Jack {Electronic}

2. Nostalgia by Marija Clara {Indie, R&B}

3. The Wayfarer Journals v.iii: Hillside by Dear Gravity {Ambient}

4. Reflection Internal by Datin {Hip-Hop, Rap}

That’s it for today.

Catch you at the next one!

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Just in case you missed it, I restarted an old series that aimed to find new and creative ways to recommend fun albums to you. Last week, I shared one titled "Green," and today we’re going to look at "Red."

As I shared last week, I have a few guiding principles. The first is that the album has great music, obviously. Also, I understand there are different shades of colour, and I’m currently not interested in being extremely granular. Case in point, I know there are different shades of green. I won’t obsess over things like that as long as the colour is prominent in the artwork. Finally, I will keep things at the original artwork and not expanded editions, deluxes, remixes, or reissues. For this colour, I’m also ignoring Christmas-themed albums, for obvious reasons.

Let’s get to it.

End of Silence by Red (2006)

Alternative Metal, Post-Grunge, Nu-Metal

Starting this list with Red is a bit tongue-in-cheek. Regardless of how it may seem, there is no question about Red’s debut album’s place in the hierarchy of top Alternative Metal albums in the Christian scene. It’s 2026, and there is a tendency to over-index how special or unique some old albums were, simply because of the nostalgia factor. This is not one of those instances; this record is worth the hype.

Absence by Paper Route (2009)

Indietronica, Indie Rock

Albums like this are the reason I decided to write this type of recommendation list, because I’m not sure I’d have had many reasons to talk about this gem in my usual content buckets. Paper Route’s Absence is their best record to date, and it came out at the time when Indietronica was experiencing a weird rise in the secular space (with bands like Phoenix and Passion Pit). It was just really nice to find bands on the scene in that time that were putting out quality stuff in that soundscape.

People With Dreams by John Mark McMillan (2020)

Atmospheric; Indie Rock; Alternative Rock

This is one of John Mark McMillan’s most underrated records for me, and I think it’s partly due to the season it was released. It’s a pandemic-season album, and that year was pretty stacked with music releases. As a result, it took me a couple of years to get around to digesting it. Nonetheless, there’s no denying that it is a stellar record with thematic lyrical consistency and standout tracks.

Revelation by Third Day (2008)

Southern Rock, CCM

I’m fascinated by the subtle ways my love for Third Day has been coming to the fore over the past month. Thankfully, there are things about Mac Powell’s voice that I cannot resist, and once again, we’re faced with a situation where an album I didn’t think I’d fall in love with became one of my favourites in a little over a year. This is probably the album from this band I have listened to the most, and that says something.

Murdered Love by P.O.D (2012)

Reggae Rock; Nu-Metal; Alternative Metal

At the time, this album’s release was extremely controversial, particularly because of some controversy surrounding the closing track. Regardless, I don’t think it’s possible to ignore the sheer quality of the record and the spirit and heart that drives the overall narrative. Anyone who has been reading this newsletter for a bit knows I have a soft spot for this band, and it’s for good reason. They are simply a cut above the rest, and their early works are some of the best the genre has to offer.

LET YOURSELF BE LOVED by Laity (2020)

Dream Pop, Synthpop, Synthwave

Sometimes, I have to admit that I give dream pop and synth pop representation a bad rep in the Christian scene because I tend to write like it doesn’t exist at all. That isn’t true, especially when albums like this exist. Laity’s 2020 album was one of my most played records during the pandemic lockdown, and it is a blueprint and reference point when I want to speak about albums that perfectly balance devotional and artistic sensibilities.

In Times Like These by Praise Lubangu (2023)

Alternative Pop; Alternative R&B

Praise Lubangu’s debut record is pretty cool, and it’s a collection of songs I’d gladly recommend to anyone who loves pop music that isn’t formulaic and boring. Across the 14 songs, her influences are on full display. Her heritage and artistic origins are also clearly evident, resulting in a project that remains etched in the mind. I like it a lot.

As The World Bleeds by Theocracy (2011)

Progressive Power Metal

Beyond the fact that this record opens with an eleven-minute progressive power metal epic that is easily one of the most magnificent tracks I have encountered, the true brilliance of Theocracy lies in their reputation. They possess a level of respect and artistic standing that extends far beyond Christian music, and even lovers of the genre in secular spaces cannot help but respect them. I think they are inevitable, and I am always brimming with pride when I get the chance to recommend them to someone.

The Consequence of Being Alive by Gable Price and Friends (2022)

Indie Rock, Alternative Rock

Sometimes an album suffers from the greatness of its predecessor, especially when that predecessor is a debut record as strong as the one that Gable Price and Friends released. Now that we’ve had some distance, I can admit that this album is definitely better than the band’s debut, especially in its musicality, regardless of the deep emotional connections I have with that first record.

Dark Flag by Phinehas (2017)

Metalcore

I’m already workshopping another list that this album may fit into a bit more, but I feel the need to show Phinehas some love, and so here we are. When you consider their longevity, I think they are genuinely the most underrated band in Christian metalcore. They have been around long enough to see many of their contemporaries move away from the Christian scene; somehow, they remain one of the most technically proficient bands who haven’t shifted their core creative beliefs and principles. They are one of those bands that I am always in the mood for. Even when I feel like stepping back from heavier sounds, the second Phinehas appears on my queue, I am instantly drawn right back in.

That’s it for today.

Catch you at the next one!

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Release Date: July 28th, 2026

Runtime: 31 minutes, 13 seconds

As some may already know, I have a fairly complicated relationship with pop music in the Christian scene because of its repetitive and formulaic nature. In the same vein, I have a positive bias towards concept albums, and so hearing about Aryn Michelle’s new record had me curious. To the uninitiated, Aryn Michelle is a singer-songwriter who creates music within the alternative pop soundscape. The first album I heard from her came out in 2024, titled Wild Beautiful Dangerous; however, for the sake of this review, the album that shares the most thematic similarities is her 2022 offering, PARIAH (songs of biblical outcasts), a record that very much feels like a predecessor to this one.

BLOODLINE (women in the genealogy of Jesus), as the title suggests, thematically follows the lives of eight women in the bible. On “A New Thing (Eve)”, Aryn paints a picture of Eve’s relationship with her creator after the fall. The lyrical perspective really captivated me, primarily because the narrative of Eve’s journey following her exile from Eden is so frequently overlooked in our contemporary reflections. Yet in scripture, we have a clear picture of a God who is present with her after the mistake of sin. I like the way the song deliberately shines a light on that and also points out that Eve (and of course, by extension, Adam) had no reference or history for wisdom or insight. They were literally the first of their kind, which is a sobering thought that also calls to mind a sense of great faith. Musically, the song has a simple structure and is mostly acoustic in its approach; however, it has a steady build that I like, and I enjoyed the surprising descending key change towards the end.

“Inside Out (Sarah)” sounds like a callback to the classic pop tunes of the early 2000s, complete with repetitive emotional riffs on the verses and the explosive choruses. It has three narrative verses that reference Sarah’s abductions, her reflection on her old age, and the fulfilment of the promise by the coming of Isaac. I love the chorus, and it does a good job of exploring what faith looks like even in the midst of crippling doubt.

It’s also a nice touch on the final chorus where the penultimate line changes to “Who everybody’s cheering on”. Simple choices like this in a song reflect a sense of intentionality that I always appreciate.

“Upper Hand (Tamar)” and “Red Cord (Rehab)” are gems on the album because they tell the story of two biblical characters I’ve always admired and have been fascinated by. Musically, they are also two of the most interesting tunes on the album. While the former is a straightforward pop-rock tune, the latter has strong chamber-pop qualities with an enthralling string section that gives it an anthemic feel.

On her 2022 album, she had a song about Naomi & Ruth, and “Holding On to Hope (Ruth)” feels like a B-side to that tune. Every song on this album is about faith sung from a different perspective; however, if I were to pick one that treats it as a central theme, it would be this one. It’s also the song where Aryn is at her most vocally expressive, which is great to hear. “Line of Fire (Bathsheba)” is my favourite song on the album for a couple of reasons. The first is that it is the most millennial-coded tune on this project, and anyone who grew up listening to pop music from the late 90s into the early 2000s would connect with it musically because it wears its influences on its sleeve. The other reason I find it endearing is that we do not have narratives that explore the Biblical incident between David and Bathsheba from her point of view. Some people may accuse a song like this of taking creative liberties, but I would push back that viewpoints like this bring a rare richness to stories we may have become overfamiliar with.

“Glory Days (Jedidah)” is a fun electropop song that references a lesser-known woman in scripture, whose greatest accomplishment was being a mother to one of Judah’s good kings, Josiah. I admire the intentionality behind including such a figure in the album’s overarching narrative; her absence likely would have gone entirely unremarked upon by the listener, so it’s great that she is here. “He Lifts the Lowly (Mary)” brings the album to a close, with a song about the mother of Jesus, and it’s significant that the album starts in the garden and ends with a story that eventually leads to the cross. It’s a warm ballad that speaks of God’s faithfulness, especially to those who are seemingly undeserving of it.

The greatest compliment I can pay to this album is that it is engaging and reflective enough to stir curiosity about the stories and lives of the principal characters in each track. Even someone like me who is quite familiar with them found myself going back to scripture and looking up references as I listened to each tune. On that front, I think this record is a triumph. It doesn’t do anything groundbreaking in a musical sense, instead relying mostly on established pop arrangements, particularly those that evoke nostalgia for a bygone era.

Nonetheless, I don’t think there can be any denial of Aryn’s quality or the heart she put into this project, and I’m sure I’ll find myself coming back to this over and over again.

Genre(s): Alternative Pop

Listen to BLOODLINE (women in the genealogy of Jesus)

Streaming Links

Connect with Aryn Michelle

Instagram

Open to reading other reviews, you can check out:

Contrast by Sower (Indie Rock)

Thine by Delaney Young (Chamber Folk, Singer-songwriter)

That’s it for now.

Catch you soon!

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Streaming Links/Linktree

Band Name: Diatheke

Album: …And The Word Was God

Genre(s): Progressive Death, Metalcore

Year: 2025

Diatheke is one of the handful of bands that I discovered because my algorithm decided to give me something I actually wanted. I remember listening to “Magnify”, “Day & Night” and “Splendor” and thinking to myself, “I need to keep an eye on these guys”. Among the 3 aforementioned songs, “Splendor” was the song that really solidified Diatheke’s place in my heart. They put out several singles, culminating in the 2025 release of “...And The Word Was God.”

This album, comprising just 6 tracks, is actually 1 hour in length. To top it off, it’s a concept album. Personally, I am not a big fan of concept albums, especially those that are narratively driven. I tend to have a tough time following these narratives. Moreover, it’s usually easier for me to follow stories in genres like Hip-Hop, Pop, and R&B, but this album was surprisingly easy to follow.

This comes from the core narrative being rooted in foundational Christian theology: the creation of humanity and the universe, the fall, Christ’s sacrificial atonement, redemption, and the second coming. The track list alone across all six songs makes this overarching theme remarkably clear.

As far as the quality of the music goes, it is objectively good. Everything from the lyricism to the composition and production is well done. You do not even have to be laser-focused to notice that all the songs transition into one another when you listen to it track by track. The tracks consist mostly of unclean vocals. Everything from mid-range growls to high shrieks and guttural low growls is in here, keeping the vocal soundscape fresh. Now and then, clean vocals make a solid and memorable appearance, adding even more diversity to the soundscape as you journey through the album. The delivery of the varying vocal styles can honestly not be faulted. Every line yelled or sung is delivered succinctly and clearly with great passion and ferocity.

The instrumental arrangements also feel quite dynamic, from Progressive Death Metal-sounding segments to Metalcore and Deathcore-type breakdowns, with the occasional symphonic element sprinkled throughout the songs. There are even melodic segments in different parts of the album that are throwbacks to my favorite song by the band, still, “Splendor”. “The Redeemer” has my favorite callback, with the melody in the closing segment being an almost 1-to-1 rendition of the opening riff of “Splendor”. Noticing this almost made me feel like a die-hard fan, which I do not mind.

The only thing I hoped they included was more segments with clean vocals as a motif on one or two of the songs. The harsh vocals were very welcome, no doubt, but I believe some of the songs could have benefited from more vocal melodies to make them even more memorable. Other than that, I can definitely say that this album was one of the highlights of last year for me, especially as it isn’t common to find Christian bands in this subgenre.

Tracklist

1. The Creator (4/5)

2. The Deceiver (3.5/5)

3. The Promise (4/5)

4. The Redeemer (4.5/5)

5. The Empowerment (3.5/5)

6. The Coronation (5/5)

Streaming Links/Linktree

Bandcamp

That’s it from me.

Bye for now.

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Two years ago, I wrote the first part of this series, which is a little ridiculous to type. The idea was to have creative new ways of recommending some of my favourite albums to you, and colours just seemed like an obvious low-hanging fruit. Regardless, I am thrilled to resurrect this project! Starting with Green felt like the natural choice, given that it is the main color scheme for Still Small Voice.

I have a few guiding principles for my choice(s). The first is that the album has great music, obviously. Also, I understand there are different shades of colour, and I’m currently not interested in being extremely granular. Case in point, I know there are different shades of green. I won’t obsess over things like that as long as the colour is prominent in the artwork. Finally, I will keep things at the original artwork and not expanded editions, deluxes, remixes, or reissues.

Alright, I think I’ve waffled enough. Let’s get to it.

Remedy by David Crowder Band (2007)

Alternative Rock; Electronic Rock; CCM

Kicking off with a DCB record feels natural. Within their discography, it holds a unique and intriguing place for me. It might not capture the band at the absolute peak of their creative powers, but it is easily their most approachable and accessible work. Very few bands can produce a “minor” album that still stands up as such a reliable, well-crafted project packed with memorable highlights.

Future Forever by Jonathan Ogden (2022)

Indietronica; Chillwave; Bedroom Pop

It’s a little unfair to call this album a debut record, considering the wealth of experience Jonathan Ogden has and the richness of his musical catalogue. Still, if we’re looking at his solo projects and ignoring the beat-tape project of 2020, this is his solo debut, and what a debut it is. It’s one of the most well-rounded albums in the indie soundscape, especially the ones with DIY/bedroom-esque creative tendencies.

Leveler by August Burns Red (2011)

Metalcore

For a band with a discography as rich as August Burns Red, it’s difficult to point at an album as the absolute best. However, in my personal experience, this album will always be one of their rare, not least because it was the first one I ever heard. Objectively, it’s not their best record, but it’s certainly in their top five for me with a few songs that make my all-time ABR tracklist. I’ve been listening to metalcore for a long time now. There are too many bands who would give anything to have an album as good as this in their catalogue.

All the Houses Look the Same by Deas Vail (2007)

Indie Rock

This entire list is probably just an excuse to highlight this album, and it would be completely worth it. I discovered it sometime in 2008/2009, and I still credit it as the first record that made me realize that there was such a thing as indie rock on the Christian scene. Deas Vail was unique, being one of the silent champions of a sound that is still pretty rare in the industry.

m us eum by Citizens (2025)

Indie; Alternative

I’ve run out of things to say about this album, but I don’t think it would be fair to send you to one of the many mini-reviews I have written for it in the last few months. Ultimately, it takes a lot for an album to make my top 5 of any given year, and this album did. Enough said.

Garden Heart by We Dream of Eden (2022)

Ambient

Kirk Smith’s We Dream of Eden is one of the best ambient projects out there, and he was one of my earliest discoveries that Christians made music like this. Every project is a little different, and this one has a bit of a gardening theme, as the title suggests. I’ll always be intrigued by how these artists manage to capture specific moods, emotions, and feelings without words and make every album sound very different.

Testify by P.O.D. (2006)

Nu-Metal; Alternative Metal; Reggae Rock

As most millennials who love heavy music can relate to, my love for metal began with nu-metal bands. When I started listening to these guys, I had no clue they had any religious undertones or inspirations in their music; I was there simply for the love of the art and to listen to a group of musicians who were one of the best I had heard. I was already familiar with the rap infusions of nu-metal bands; however, the reggae elements in their sound elevated them from a great band to a stellar band.

Tooth of the Lion: A Spring Perennial by GRAND MOTEL (2026)

Midwestern Emo

I tried to avoid 2026 albums for this list, but sometimes, a project is too good to ignore. If you’re a lover of emo music, especially favouring the musical sensibilities that were a mainstay of the scene in the early 2000s, this may be an album you will get very fond of. This newsletter exists partly to celebrate quality music, hence why we are talking about it again.

Ghost by Sam Bowman (2023)

Electropop

Creative electronic projects on the Christian scene are not nearly enough, so when we get one that is very good, consistent, prolific, and knows how to put together a concept album, I think that project deserves some appreciation. That’s how I feel about Sam Bowman and most of his records, and that’s what gets him a place on this list.

Ataraxia 1 & 2 by Vials of Wrath (2023)

Atmospheric Black Metal, Blackgaze

Rounding out this list, we have this gem from Dempsey “DC” Mills (the man behind the Vials of Wrath moniker), a brilliant album from an outstanding instrumental black metal project that the scene will greatly miss after he called it quits in April 2026. I love it when there are artists on the scene who have honed their skills for as long as a decade, whose expertise is on full display in their music irrespective of how known/unknown they may be. VoW fit this description perfectly, and everyone who loves this genre has no choice but to respect them when they find their music.

That’s it for today.

Catch you at the next one!

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We’re at that time of the year when we pause and take stock of what has been released so far. I like to do this using a genre format, and in this newsletter, we’re checking out what hardcore/metalcore has given us in 2026.

If you’re looking for a debut post-hardcore/metalcore album inspired by real-life events on a missionary field in Myanmar.

MiDaSu by floodlit

Stand-Out Tracks: Ama; AKo; Apho

If you’re looking for a metalcore album with killer grooves and breakdowns from seasoned veterans.

Season of Surrender by August Burns Red

Stand-Out Tracks: The Nameless; Den of Thieves; Whispers like Splinters

If you’re looking for a chaotic hardcore/mathcore with dissonant sounds and top-tier aggression.

Hell Hole by Pipe Bomb

Stand-Out Tracks: Choke; Hell Hole; Concrete

If you’re looking for a melodic post-hardcore album with strong alternative rock and emo sensibilities.

You’ll forget the sun by Idle Threat

Stand-Out Tracks: passing shadows; evermind; you'll forget the sun

If you’re looking for a post-hardcore album with noise rock sensibilities.

Glory Be by NRWHL

Stand-Out Tracks: Praise; All; Be

If you’re looking for a melodic hardcore album with worship and alternative metal sensibilities.

lament by amen

Stand-Out Tracks: Acts of Piety; i am doing a new thing; Psalm 40

If you’re looking for a metalcore album with an early-2000s feel.

The Sins We Keep Alive by Unbroken Reign

Stand-Out Tracks: Fighting With Flesh; A Death Like His; Before the Throne of God

That’s it for now.

Until next time!

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One intriguing thing about many of my favourite bands back in the day was that sometimes, a member would release a solo project. More often than not, it was a vocalist, and even more fascinating when it was an instrumentalist like a guitarist or drummer.

For Switchfoot, I was drawn to lead singer Jon Foreman’s solo projects. As a band, they functioned more like storytellers, and it was difficult to identify clear references to faith beyond a few songs. On the whole, I had no problem with that, but Jon Foreman’s openness regarding his faith in his solo work was key for me. Another feature that works in favour of these projects, which rings true on this song, is how fundamentally different they are from Switchfoot projects. A downside to some solo breakout albums or EPs is that they can sound like watered-down versions of the original band’s works. This is definitely not that.

“My Coffin” is a track on The Wonderlands: Shadows EP of 2015. Jon Foreman released a four-part EP series in 2015, and they are still some of the best music in Christian alternative folk today. The first thing you may notice about the song is the unique time signature. It is mainly in a 7/8 rhythm, apart from a brief bridge segment in 5/8. This creates an unsettling, chaotic listening experience that is part of its charm.

Another thing you may notice after multiple listens is that the song is extremely poetic, employing themes and imagery tied to “death” to convey its core message. It is reflected in the line: ‘...resurrection comes, but death comes first…’ A lyric that not only reflects a principle of the Bible, but hits at the heart of what this song is saying. It took me a few years to come full circle and to finally connect with this song on an experiential level. Still, having spent over a decade listening to it, I can really connect with the many ways habits, traits, choices, and affections in my life have had to die for me to discover real peace and genuine health.

I don’t listen to many artists with Jon’s incredible ability to expound on deep-rooted issues in life with the nuance, understanding, and emotion that he brings to the table. It’s why, no matter where I land on Switchfoot as a band (and it’s been a rough couple of years before their most recent album), I will always respect Jon Foreman’s solo efforts.

That’s it for now.

Until next time!

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Streaming Links

Band Name: OM53

Album: Letting Go Of Yesterday

Genre(s): Psychedelic Pop; Synthpop

Year: 2025

Sometimes you listen to an album that shifts your perspective on things. OM53 (originally stylized ØM-53) is an indie alternative and synth-pop project from New Jersey that I started listening to sometime in 2020. They’ve gone through slight line-up changes since their 2018 inception, but I’ve been relatively happy with all that they have released in their discography.

What drew me to their sound in the first place was how heavily they incorporated psychedelic elements throughout their work. Last year, I happened to be in Kenya when this album was released, and it inadvertently became the soundtrack of my time in the country.

It’s a 7-track album, roughly 20 minutes long, making it perfect for repeated listens. As someone who is extremely passionate about multiple genres of music within the Christian space, one thing that brings me joy is finding a band that has a deep understanding of the sonic elements that define their chosen genre and can execute at a high level.

When it comes to music with psychedelic expressions – specifically psychedelic pop or neo-psychedelia – the emphasis is usually on the synths and mods. However, anyone who listens to these genres would know those things fall flat and can be completely worthless without stellar bass progressions. That’s what really elevated this album and, by extension, what makes OM53 such a special project as a whole.

I don’t think we are at the point where we can expect Christian acts to break new ground in this genre pocket, and I’m not saying that OM53 does anything unique. Unfortunately, way too few artists are attempting to do stuff like this, and without some level of saturation, I’m not sure if it is fair to expect experimentation at this stage. However, I believe the first step is to have artists who can create in whatever space they choose at a level that does not make them look inferior to others. OM53 has already achieved this benchmark and gone beyond it.

Tracklist

1. Too Late (5/5)

2. Call Me Friend (4/5)

3. Holden Caulfield (4/5)

4. Where Are You? (3.5/5)

5. Letting Go of Yesterday (4/5)

6. Property Tax (4.5/5)

7. Persevere (5/5)

Streaming Links

Bandcamp

That’s it for now.

Catch you soon!

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A little over a month ago, specifically on Friday, the 10th of July, I headed down to Chesterfield, Missouri, to listen to Caroline Cobb and Graham Jones. Graham was scheduled to play a show in St. Louis on the last weekend in May, but had to cancel last minute due to a car accident (thankfully, he and his family were fine and only sustained minor injuries). And so when Caroline Cobb announced that she’d be coming over here with him, it felt like the perfect opportunity to kill two birds with one stone.

So as I’ve often done, I dragged a friend along, and we drove for about an hour and 45 minutes to the Chesterfield Presbyterian Church for the event. As we found our way to a decent seat, it wasn’t long after I got settled in that my eyes caught Sam Bowman, another creative and artist on the scene I know and love. I didn’t expect to see him on this tour, and I was meeting everyone for the first time, which was really cool. So I said a brief hello to him and Graham just before the show started.

Graham Jones

Graham played an acoustic set, kicking off with “When I Am Afraid (Psalm 56)”, one of the songs from his Eyes Renewed album of 2025. He also played older tunes like “Wonder” from Good News, Great Joy (2021) and “Resurrection Song” from The Story’s Still Alive (2020). If there’s anything that surprised me, it was his proficiency and skill on the acoustic guitar. On the album, with all the other instruments in the mix and all the polishing in mastering, there are things you can easily miss until you have an opportunity to see a live performance. It was a great experience, especially hearing “Theseus In Oklahoma” and “Grateful” in that live setting.

Caroline Cobb

Caroline Cobb’s set structure was pretty simple: She and Graham on acoustic guitars and Sam Bomwan on the grand piano, and I loved it. One tiny detail I have failed to mention is that there was a thunderstorm watch alert on my phone for Chesterfield as we started our journey to the venue; the thunderstorm became one of the major characters of this event, especially during Caroline’s set.

She kicked off the set by explaining the idea and inspiration behind the “Telling The Story: Mini Tour,” that the primary driving force behind playing these shows was to reflect the gospel of Christ in a narrative format through music. She played “Tell That Story”, “Like A Tree (Psalm 1)” and “He Has Made A Way (Exodus)”. One thing I enjoyed was how collaborative she made her entire set, encouraging the audience to join in and even teaching some parts ahead of time to cue us into the sections she wanted us to participate in.

“No Place Better (Psalm 84)” and “Like A Child With Its Mother (Psalm 121)” are two of my favourites from her, so it was very nice to hear her play them live. There was also a section for unreleased songs, where she unofficially announced that she was working on a new project that will be more personal and played two songs from it, namely “I am getting older” and “Wherever You Go”.

She then played “Pave Every Road (Isaiah)” and “Joy (As Far as the Curse Is Found)” which were fun to listen to. An especially touching highlight was their acapella rendition of “Find Rest (Matthew 11),” performed alongside Heather, a member of the church congregation. I love moments like that because they further highlight the collaborative and communal heart that permeates events like this. It was a nice touch. The night ended with solemn renditions of “There Is A Mountain” and “Behold Behold”, two staples from her catalogue that most listeners would be familiar with.

After the event, we had to wait out the rain a bit; I spent the time catching up with Sam and Graham, and it was also nice to meet Caroline for the first time and to tell her about Still Small Voice. We still had a few bumps on the road on our drive back, as the rain was still pouring at different spots, but if I had to do it all over again, I would. It was worth it.

That’s it for now.

Catch you soon!

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We reach certain points within a year when I think it’s time to take a pause and take stock of what has been released so far. I like to do this using a genre format, and in this newsletter, we’re checking out what various other rock genres have given us in 2026.

If you’re looking for great punk rock/pop punk full of nostalgic moments while still wrestling with mature themes.

Formerly Known As… by Jason Dunn

Stand-Out Tracks: Divided States Of America; Dear Hawk; Never Gonna Let Go

If you’re looking for a mature art rock project that explores biblical themes with real-life stories that carry weight.

Home by Muntjac

Stand-Out Tracks: Heartbeat; Woman at the Well; Rise

If you’re looking for an energetic alternative rock album that asks questions about the meaning of life and what really matters when we peel back all the layers.

Forever Now by Switchfoot

Stand-Out Tracks: Darkness; Absolution; Two Twins

If you’re looking for a progressive rock album with art and neo-classical infusions.

L.I.F.T. by The Neal Morse Band

Stand-Out Tracks: Fully Alive; Hurt People, Reaching

If you’re looking for a Midwestern emo album that explores biblical themes in creative ways.

Tooth of the Lion: A Spring Perennial by Grand Motel

Stand-Out Tracks: I Can Count All My Bones; Wept; Alive Without Breathing

If you’re looking for a concept album with post-hardcore roots steeped in atmospheric alternative rock flourishes.

Wither | Grow by So Much Hope, Buried

Stand-Out Tracks: Falter; Lament; Heaven Knows

If you’re looking for an alternative rock album with a real classic '90s feel.

7 by 77s

Stand-Out Tracks: Saddle Up; Hand To God; Be Still

That’s it for now.

Until next time!

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I started a series inspired by a write-up by Josh from . If you love Christian music, recommendations, lists, and learning about the evolution of the Christian music scene, he is incredible at those things. Anyway, he wrote a piece (featured below), and I decided to write about my favourite alternative album from 2011 to 2020.

Christian Music Archeology

A Brief History of Contemporary Christian Music: The 2010s

Worship rules. Hip-hop isn’t far behind. CCM goes primarily “safe for the whole family” causing a rise in the independent artist that would only grow as the 2020s rolled around. For me, the decade was one of a cross-country move, a season of youth ministry, and parenting four young kids…

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4 months ago · 10 likes · 6 comments · Christian Music Archeology

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#Bonus Blue Mountain by Brandon Heath

Country Rock, Bluegrass, Folk

So I know what you may be thinking: Brandon Heath? All I can say is that sometimes the truth is much stranger than fiction. On this album, Brandon Heath bleeds out most of his CCM inspiration and replaces it with country rock and acoustic folk/bluegrass sounds. I mean, the songs here are still pretty simple in their construction, but I remember appreciating the changes and falling in love with the title track and a few other tunes on this one.

#Bonus Welcome To Daylight by Luminate

Pop Rock

As I relistened to some of these albums while compiling this list, I realized I had no problems with the balance between contemporary and rock/pop sensibilities on many of them. If anything, I think my problem is that bands abandoned the creative synths and energetic electropop influences that made records like this stand out in the CCM zeitgeist in later years. In the case of Luminate, they quietly disappeared after this record without much of an official disbanding message.

#10 The Heartbeat by Bellarive

Indie Rock, Worship

This album is something special, and I’m still blown away that many of these bands didn’t survive into the 2020s. As far as debuts go, this is a special one; it is essentially a worship album that is wrapped in atmospheric indie rock goodness. Every song is well-produced and well-performed, with enough variety in songs that it does not feel repetitive or boring. It’s just a really solid project that I wish we still had today. The lead singer, Sean Curran, ended up joining Passion City Church and the Passion movement, but if you ask me, it just wasn’t the same.

#9 Loud Harp by Loud Harp

Indie Rock, Atmospheric

When it’s all said and done, I think Asher Seevinck and Dave Wilton’s Loud Harp will continue to be one of my favourite indie worship projects ever. This album is as great a debut as any with indie rock and atmospheric rock tunes used as a vehicle to communicate biblical truth. When I return to albums like this, I wonder how and why the direction of Christian worship music shifted in such a monotonous fashion; there were clear signs within the scene even at this time that there was room for experimentation.

#8 The Struggle by Tenth Avenue North

Alternative Rock, Pop Rock

Tenth Avenue North are legends in the CCM scene, and I still regard them as one of the best things to come out of Christian music from the late 2000s. Still, I maintain that their best album is, without a doubt, this one. It’s not even close when I try to compare it to other records in their discography. It’s not that the others are bad, but there’s something about the alternative rock/pop rock application on this one and the direction of the lyricism that grabs me every time.

#7 Echo Of Love by An Epic No Less

Synthpop, Electropop

I’m sure I have spoken about these guys at one time or another, and I still don’t think I have done them enough justice. This album was one of the earliest I heard which convinced me that there was a place for heavy synths and electronics in devotional music. I mean, it was over a decade ago, and I did not know the things I know now or have the resources to explore bands from the 80s or 90s to see that it had been done before. I was just blown away that some of the newer artists on the secular side of music did not seem superior to a Christian band I had just found because they sounded just as good.

#6 Miracle by Third Day

Arena Rock, Southern Rock, Pop

I’ll be honest, even with the gripes I have with CCM, I love me some Third Day. It’s difficult to hear a voice as unique and commanding as Mac Powell’s and not be drawn to it, especially if you are already a fan of Southern Rock. What makes this record stand out to me is its sonic accessibility. I remember listening to the first track in a car with a friend back in University and commenting that it felt like arena rock. This sentiment resonates throughout the project; it genuinely feels tailor-made for massive stadium performances, yet it never loses sight of the fundamental message and identity that define them as a band.

#5 Posters by Strahan

Folk

On this album, I don’t have a lot to say. Simply put, I think this is one of the most influential/important albums of acoustic folk music for the 2010s on the Christian scene. Especially for artists who create devotional music, whether they have heard it or not is hardly relevant; I believe it is simply too good to ignore once you have the chance to experience it.

#4 Cold Hard Want by House of Heroes

Alternative Rock

Lists like this are hardly fair because I completely forgot about this masterpiece when I started my list, and as soon as I remembered it, I knew an album was headed for the chopping block. Such is the greatness of this band and this album particularly, as it, alongside bands like Switchfoot and Anberlin, shaped most of what I have grown to love about Alternative Rock music today. It’s a stellar record, and if you have not experienced it, I highly recommend it.

#3 A Boy And His Kite by A Boy And His Kite

Indie Rock

This is a solo project by Dave Wilton, whose two-piece band has already made it on this list via Loud Harp. While the former is a worship project, this one takes a more storytelling approach in its delivery. Still, it’s quite clear that the creative pulses behind both projects are similar, and it was this album that proved to me that Dave’s understanding and appreciation of indie music is as good as the best that we have on the scene.

#2 Give Us Rest Or A Requiem Mass In C (The Happiest Of All Keys) by David Crowder Band

Alternative Rock, Arena Rock, Electronic Rock, Experimental, Folk

This album has become my quintessential reference point for any band or artist that decides to release a goodbye project. I can’t quite put into words how hurt I was by the announcement that DCB was calling it quits. Nonetheless, I will always be grateful that they released a two-disc, 34-track album as a farewell gift to us. It’s their most comprehensive album ever, and even today, it cements them as one of the best Christian Rock bands we have seen.

#1 Vital by Anberlin

Alternative Rock, Synthrock

Have you ever listened to the first five seconds of the first track on an album and just known you were in for something incredible? That’s how I felt when ‘Self-Starter’ played in my ears for the first time. When it comes to Anberlin, I think I will always have a soft spot for Cities (2007) because it was the first album I ever heard. But I don’t think I would be exaggerating if I said this album changed my life. Something about this record completely shifted my expectations for what this band could be and what Alternative Rock within the scene could become. I must admit it ruined many albums for me, including some of their more recent works with Matty Mullins, because Stephen Christian’s vocals are synonymous with this band, and “Vital” is when they were simply at the peak of their powers.

Music Videos

Once again, for the love of music videos. Here’s a throwback.

That’s it for today.

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We reach certain points within a year when I think it’s time to take a pause and take stock of what has been released so far. I like to do this using a genre format, and in this newsletter, we’re checking out what folk has given us in 2026.

If you’re looking for an indie folk album that captures the rhythms of everyday life through a devotional lens.

River of Gladness by Ethan Nathaniel

Stand-Out Tracks: Always Been You; Hurricane; Every Now & Then

If you’re looking for a soothing alternative folk/folk rock album with relatable stories and gorgeous vocals.

Through Line by Skye Peterson

Stand-Out Tracks: I Love That Girl; Made For; Never Not Been Okay

If you’re looking for an indie folk album with strong Americana sensibilities and campfire energy.

A Good Word by William Toll

Stand-Out Tracks: I'll Follow You; Storm at Sea; Heard About A Murder

If you’re looking for a gentle acoustic indie folk album that feels perfect for a road trip.

Take My Hand by Zach Webb

Stand-Out Tracks: Losing Sleep; I Knew It Was You; Without You

If you’re looking for a folk pop record about walking with God through life.

In Process by LOVKN

Stand-Out Tracks: Flying Kites; Silver Lining; Brighter Days

If you’re looking for a folk album that expertly balances artistry and worship.

R.VI.VI by Jimmy Clifton

Stand-Out Tracks: Waves; Yellow Lines; Wonder

If you’re looking for an alternative folk album inspired by great loss, exploring heavy themes with honesty and truth.

Alli O’Donnell and the Dead Silence of the Upper Room by Alli O’Donnell

Stand-Out Tracks: Ex Nihilo; An Angel Is Landing; I Confess

That’s it for now.

Until next time!

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Album Release Date: 7th August 2026

Duane Caleb returns with ‘Close-Up’, his sophomore album and most personal project to date. Released on August 7, the latest offering from the Croydon-based artist hosts 8 eclectic songs, featuring a guest appearance from fellow artist Jonathan Ashenafi, and a fresh take on a classic hymn that is sure to appease the ears of many.

Describing the album, Duane says:

Since his 2017 debut with the single ‘More Like You’, Duane Caleb’s musical journey is one that has seen him continue to become a recognisable and prominent figure in the bubbling UK Gospel Scene. With his inspiring message of life through faith, and his blend of R&B, Pop, Jazz and Hip-Hop, it wasn’t long until his sound would quickly begin to attract the ears of many listeners worldwide. Further exposure would come with features on popular YouTube platforms, Gospel Hydration and BLSSD Music.

The evolution of his artistry and sound would continue with his self-produced 2019 debut album ‘One Eighty’. Now at 1.1M+ streams on Spotify, the album further showcased his versatility and garnered acclaim from audiences and critics alike. Building on this success, he released his EP ‘Maps’ in 2021, which featured his most popular and AStepFWD Awards-nominated single to date, ‘Come Through’ feat. Saint CJ.

‘Close-Up’ is out now and available on all streaming platforms. Physical copies soon to be announced.

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Summary Details

Artist Name: Duane Caleb
Album Title: Close-Up
Release Date: 7th August 2026
Genre(s): R&B, Gospel
Release formats: Available on streaming platforms.

Connect with Duane Caleb

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That’s it for today.

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We reach certain points within a year when I think it’s time to take a pause and take stock of what has been released so far. I like to do this using a genre format, and in this newsletter, we’re checking out what hip-hop/rap has given us in 2026.

If you’re looking for a well-rounded rap album featuring various expressions of hip-hop performed at a very high level.

WHO DO YOU SAY I AM? by indie tribe

Stand-Out Tracks: LOCATION!; JUDGES SIXTEEN; SECOND SAMUEL

If you’re looking for an album that captures the old-school sensibilities of hip-hop, shining a light on creative lyricism and impactful deliveries.

Sober Minded by Braille & YP Aka Young Paul

Stand-Out Tracks: Free Sons; Prowler; Itchy

If you’re looking for high-energy hip-hop, brilliant lyricism, and southern and trap influences.

THIS CANNOT BE SOLD by KB

Stand-Out Tracks: GOT A REASON; KEANU'S SONG; BLOOD 2

If you’re looking for a conceptual, artsy hip-hop project that packs a punch with great flows and beats.

MAGIC & BIRD 2: WHAT A RUSH! by Andy Mineo & Wordsplayed

Stand-Out Tracks: YEAR OF JUBILEE; ABOVE IT; BENNY HIM

If you’re looking for gritty street rap with fast high-energy flows and trap beats.

All God, No Rap Deal by Richanfamous

Stand-Out Tracks: Southside; Play This At The Revelation; Twin I Know The Voice

If you’re looking for some UK Grime and Drill music with top-tier lyricism and beats.

I’m A New Man 2 by Vonte Grace

Stand-Out Tracks: Warfare Freestyle; Bar So Much; Road Man

If you’re looking for a fun hip-hop record with West Coast sensibilities that blends in pop/R&B infusions.

Somersville by Miles Minnick

Stand-Out Tracks: WHERE HE AT?; ELEMENT; LIFT YOU UP

That’s it for now.

Until next time!

We reach certain points within a year when I think it’s time to take a pause and take stock of what has been released so far. I like to do this using a genre format, and in this newsletter, we’re checking out what indie rock has given us in 2026.

If you’re looking for surf rock infusions in your indie rock, with emotive and energetic applications and great storytelling.

77 (Pt. 2) by Colony House

Stand-Out Tracks: Life Goes On; Burn In The Rain; Taking a Fall

If you’re looking for an album that blurs the lines between indie rock, indie pop, and folk pop sensibilities.

The Space Between by Dâmares Gomes

Stand-Out Tracks: When I'm With You; Straight Line; Let Go

If you’re looking for indie rock that leans heavily into scriptural inspiration while bringing some of the best punk-infused musical expressions.

Contrast by Sower

Stand-Out Tracks: Doubt; Cost; Fear

If you’re looking for anthemic indie rock with deep surf rock and skate rock roots.

The Art of Letting Go by Hopeful.

Stand-Out Tracks: Get Me Outta The Way; Everything Is Better; Nothing To Lose

If you’re looking for stream-of-consciousness indie rock with lush sensibilities and dreampop/shoegaze applications.

Strong Beginning by Weak Sheep

Stand-Out Tracks: Alien; Otherside; Can't Be The Only One

If you’re looking for indie rock that takes a more experimental approach, balancing synth work with acoustic undertones.

There Is A Way That Seems Right To A Man, But In The End It Leads To Death

Stand-Out Tracks: Delight; The Purge; Leave It

If you’re looking for some DIY-sounding indie rock within conversational songwriting and atmospheric acoustic sensibilities.

My life is a small protest by Real Face

Stand-Out Tracks: My life is a small protest; This is how I built my soul; A person caught in mystery

That’s it for now.

Until next time!

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Release Date: July 31st, 2026

Runtime: 38 minutes, 44 seconds

At the start of 2026, long before any major announcements, if I could place a wager on an artist or project I was sure would release an album sometime in the year, it would have been SOWER. Since he burst onto the scene in 2024, he hasn’t shown any signs of slowing down, and I’m coming to regard him as one of the most hardworking artists in Christian indie rock.

Still, I suspected that any follow-up to his debut album, I WANT TO SEE CLEARLY, would be something conceptual. As the release cycle for Contrast began, I had a vague idea of what to expect from whatever he would release next, and so we’re here to talk about it.

Contrast is a 10-track album that presents songs with two seemingly opposing ideas as a connected narrative. It’s a simple enough concept to unravel, and what we have here is a 5-part album with two songs each wrestling with different ideas.

The album kicks off with “Fear” and “Courage”. Fear features Descriptor, bringing their post-hardcore sensibilities to the table. When you pair that with the urgency of punk-infused indie rock, the result is a song that reflects the emotional turmoil that fear brings. As is always the case with Eric Tuffendsam’s (SOWER) lyrics, the beauty of the song is the hope it carries straight from the Scriptures.

Courage carries on the ideas of the closing portion of its predecessor, with a song that is a testimony of the faithfulness of God. I particularly enjoy the simplicity of this song and some of the synth work. It’s not as lyrically dense as Fear, and I think that in some ways, that is the point. Even though the enemy rages fiercely, the simplicity of God’s truth is more than enough to defeat Him.

“Apathy” and “Zeal” make up the second block. Apathy is one of the most relatable on the album, addressing something that tends to affect Christians over time.

It reminds me of Christ’s letter to the Ephesian Church in the book of Revelation and certainly reflects some of the struggles I have had at different portions of my life. Musically, it’s quite progressive, starting calmly and slowly building into a steady, energetic atmosphere that still carries the air of desperation a topic such as this requires. Zeal, on the other hand, pulls you in immediately with its driving pop-punk mannerisms and anthemic chorus. Honestly, it’s musically the kind of tune that I least expect from SOWER because of how “church youth-group-esque” it sounds; however, the key difference is that he is lyrically on a different level than many of the songs I am referencing. So it works.

“Sorrow” and “Joy” are exactly how you may imagine they sound. The emo sensibilities are on full display, and it’s so potent that I felt like I was listening to a song from the early 2000s. One thing that I appreciate about his lyrical approach, beyond the subtle references to various Psalms, is that he does not focus on a specific event or disaster, which allows the listener to see their own experiences clearly reflected within the lyrics. It also gets a bit shoegazy towards the end, which I really appreciate, and I believe that the scene as a whole could do more. Joy features Zambroa (another artist that I believe everyone should be listening to), and I love that it does not try to sound happy. Don’t get me wrong, it’s pretty upbeat and has a fun chorus; however, it feels like the source of joy in the track isn’t in the musicality but in the truth of scripture that is being spoken about. It’s a subtle observation, and I’m not even sure if it was a conscious or deliberate choice, but I appreciate it nonetheless.

In “Cost” and “Reward”, we have my favourite lyrical/message block of songs on the record. It may have something to do with where I am right now in my life, but the reference to Christ’s words in Matthew 16:24 and Paul’s words in Philippians 3:8 are just things that I have spent a few years considering deeply, and it was really nice to hear them reflected so well in song. I love how Eric acknowledges the hardships in the life of someone who has chosen to follow the Lord, while still communicating the eternal truth that Christ is absolutely worth all of it.

Reward builds on this and speaks about what we have to give up for the sake of Christ, using His parables of the hidden treasure and the costly pearl (see Matthew 13) as a backdrop for the narrative. I believe the reasons I really resonate with this block of songs are because they touch on some seemingly ignored realities of the Christian life that I believe are necessary for growth and needed more in our music and worship.

The album ends with “Doubt” and “Faith”. Doubt is my best song on the record, and it’s completely due to my heavy post-punk biases. It has an infectious bass guitar progression, a secret sauce for many of the best post-punk songs out there, where the lead guitar relinquishes control and lets the bass sit in the driving seat. It’s infectious and urgent, while addressing arguably the toughest topic on the album. Frankly, I’ve reached a stage with Sower’s music where its brilliance washes over me, and I rarely notice how good he is anymore. This is one of those moments I am forced to pause and acknowledge the dedication and endless hours of application required to pull this off. Faith draws the curtains on the album, and it’s less of a song and more of a prayer, if we’re being honest. It mirrors a conversation between man and God, with Eric expounding the words of Christ. It ends with worship as he sings words of adoration to God, with the phrase “this is forever” vamped in the background.

It’s been a few years of listening to Sower now, and it is not an exaggeration to say that he is one of the champions of what has come to be called Biblical Indie Rock. Nevertheless, what repeatedly draws me to his music is a dedication to continuous growth rather than complacency. I’ve always believed that the problem the Christian alternative scene has had over the years has never been a lack of creativity but a reluctance to experiment and push the boundaries of what the music could sound like without compromising the message. As long as he continues to do this, I will listen to whatever he has to say.

Genre(s): Indie Rock, Alternative Rock

Listen to Contrast:

Streaming Links

Connect with Sower

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Open to reading other reviews, you can check out:

A Simple, Holy Life by Eliza King (Devotional Indie, Folk, Singer-songwriter)

Thine by Delaney Young (Chamber Folk, Singer-songwriter)

More SOWER on Still Small Voice:

That’s it for now.

Catch you soon!

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Welcome to August. I hope you’re having a good Monday.

For July, I’m here to keep it light and breezy because I have a lot going on at the moment. Here are some of the best music releases we got.

Top Albums From July

Admittedly, it has been an incredibly fun month.

1. Contrast by SOWER {Indie Rock}

2. A Good Word by William Toll {Indie Folk, Americana}

3. Will we remember the pain more than his kindness? by Jeremy James Whitaker {Electronica, Experimental}

4. HONGDAE by PORT DUO {Instrumental, Electronic, House}

5. The Art of Letting Go by Hopeful. {Indie Rock}

6. When Did I Move The Goalposts? by MUCH MORE {Alternative, Indie}

7. In The Ears Of The People by Bond of Iniquity {Death Metal}

8. LOST IN THE U.S.A. by IMRSQD {Alternative, Indie}

9. Sunbloom by Christopher Galovan {Ambient, Neo-classical}

10. Hymns, Vol. 1 by Ordinary Time {Folk}

11. THIS CANNOT BE SOLD by KB {Hip-Hop, Rap}

12. EP by Jem Pryse {Alternative}

13. Z1 by ZASHER {Hip-Hop}

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Top EPs From July

1. Remains by Then It Ends {Melodic Metalcore}

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Favourite Singles

1. Get a clue by Christian Singleton

2. Origami by Claudia Isaki

3. Full 180 by Claire Leslie

4. Since When You Met Me by Mogli The Iceburg

5. Bless The Lord by Zambroa

6. How The Mighty Fall by Sam Bowman

7. The Run by Jonathan Allen Wright

8. Romae Factum Est by Trébuchet SDG

9. In My Heart by Cether

10. 9 Crimes by Sherwood Forest

11. could it be love by threetwenty

12. ROTATION by Andy Mineo, nobigdyl.

That’s it for today.

Catch you at the next one!

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