Life In The AI Age...
2025 In Review and The Roll of Musical Honour
2025 In Review and The Roll of Musical Honour
There’s an intentional irony in this particular article’s title, which, as rock fans of an age, and taste, will know and note, is a subtly altered, one letter removed line of a song by musician and songwriter/ art-rock composer Bil Nelson, from back in his Be-Bop Deluxe days.
Because while AI runs riot, music writers and music performers who are also music artists, such as William Nelson esquire, are becoming harder to find, or find themselves fighting against an oncoming tide of artificiality where the art in that word has never been more ill-fitting.
To be fair Bill Nelson has been a cottage industry artist these last 35 years and more, and happily snubs any attempts at forced commerciality, but AI and lowest common denominator/ cookie cutter music, across many a genre, is taking an ever tightening grip.
The rise of AI in music (and, indeed, generally) was emphasised last year by, first, The Velvet Sundown, a "band" that emerged out of nowhere sorry, out of music generated software, in June; the artificial construct went on to achieve 1 million monthly listeners on Spotify and hit the top of Spotify’s daily viral charts in several countries.
Secondly, and perhaps more of a tell (as in hard to tell the difference, certainly in digital stream/ playback), the AI country song 'Walk My Walk' by virtual artist Breaking Rust became the first AI-generated track to top Billboard's Country Digital Song Sales chart.
Because while AI runs riot, music writers and music performers who are also music artists, such as William Nelson esquire, are becoming harder to find, or find themselves fighting against an oncoming tide of artificiality where the art in that word has never been more ill-fitting.
To be fair Bill Nelson has been a cottage industry artist these last 35 years and more, and happily snubs any attempts at forced commerciality, but AI and lowest common denominator/ cookie cutter music, across many a genre, is taking an ever tightening grip.
The rise of AI in music (and, indeed, generally) was emphasised last year by, first, The Velvet Sundown, a "band" that emerged out of nowhere sorry, out of music generated software, in June; the artificial construct went on to achieve 1 million monthly listeners on Spotify and hit the top of Spotify’s daily viral charts in several countries.
Secondly, and perhaps more of a tell (as in hard to tell the difference, certainly in digital stream/ playback), the AI country song 'Walk My Walk' by virtual artist Breaking Rust became the first AI-generated track to top Billboard's Country Digital Song Sales chart.
Spotify related, how lovely to note that the company’s founder and now executive chairman Daniel Ek is, as reported by Forbes at the end of 2025, worth $8.7 billion.
That's richer than the net worth of Spotify’s streaming top three Taylor Swift, Rihanna and Jay-Z combined.
In simpler terms, richer than any music artist in history.
That has to warm the musical cockles of every hard-working, every penny/ cent counts, musician.
I’ve said many a time that marketable commodity runs roughshod over musical creativity, and has done since the dawn of the new musical Millennium.
But we have now reached the stage where the phrase "marketable commodity" can be replaced by "synthetic music project," which is already pretty much its own genre, one that will quite possibly get, or need, its own dedicated Spotify Playlist category, to separate it from real music, by real musicians.
We’ve come a long way from "Is it live, or is it Memorex?"
It will be no surprise to those that know me, follow this website or have read some of my written epistles on the subject that while I acknowledge the AI genie is out of the bottle and is very much here to stay (and probably written another two Velvet Sundown albums by the time you read this) I abhor AI music.
I find it inherently wrong, certainly in how it devalues a working musician’s lifetime of efforts.
But for others, I readily acknowledge, it’s a chance to be the musician or lyricist they never could be.
For example, I have a good friend who is a published author and a pretty nifty lyricist, but he is not a musician; he therefore could never have, nor ever has had, any sort of music career.
But his lyrics needed and deserved a home, so, having found himself a leading music AI software tool, he slowly but assuredly created a number of ever evolving AI songs, primarily in the style of British New Wave of the late 70s and 90s Indie (favoured genres of his).
After what were very synthetic, and unoriginal, AI music scrapes, he ended up with a few songs that, if I hadn’t known the artificial source (again, listening only to a digital MP3 file; no digging in to the lack of track and tab depths) would have happily accepted were, indeed, songs from a previously unknown Indie band.
The reality however is a hybrid of very good, human written lyrics within an AI musical construct.
Contrast that with established/ professional bands utilising the same sort of idea to artificially create a definitive sound(alike), vibe or era that can then be learned, played and recorded by said band for their next single or album.
This is already happening; I know of one band who are using AI to hopefully come up with specific harmonies, hooks, middle 8 parts, etc. that will sound like a very famous band they happen to be heavily influenced by, and intentionally nod to.
The results will invariably be, in some future review, that a particular track is "the best song *insert name of that famous band here* never wrote," which is exactly the aim, and point.
AI will have done its job. Worse, it will have done its job for them.
They are far from the only ones, and there are several artists or bands promoting or even advocating, for various reasons, the use of AI in music.
However, while Spotify and the likes of Deezer are happy to receive an estimated 50,000 to 60,000 AI-generated tracks per day (approximately 35% of all new daily music uploads) Bandcamp stands strong against the artificial tide by banning all music that has been entirely or partially created with AI.
Many, myself included, applaud such a stance, but, similar to those who defend or implement AI usage in music, Bandcamp’s stance is not without its detractors.
One singer-songwriter wrote at lengths about the unfairness of the Bancamp, citing the fact that AI is here to stay and that it is an incredible tool, particularly in bridging gaps where the musician’s skills fall short, helping them to "master their craft."
In terms of the former, it is absolutely here to stay, but as regards the latter, if that be the gap-bridging path you choose, it’s no longer your craft, and AI is your master.
And I’d rather write about, support, or promote a semi-decent singer-songwriter who strives to get better through time, experience and their natural skillset than ever write about, or support, a very good singer-songwriter who has achieved that very good status with the help of AI.
But then that last comment also reflects on what has been a conscious shift over the last year here at Fabbers Central, where the more creative, individualistic, independent or art for art’s sake musician has been given more page space than the big hitters, primarily because the former need all the promotion or musically supportive help they can get.
The latter, given their established status and massive followings, don’t need blanket coverage support, but still tend to get just that, from the most popular music media outlets to the smallest blog sites.
And therein lies another issue – the gushing promotional or PR hyperbole, saturation (or monetised manipulation) of the Socials, and the must-keep-in-with-the-in-crowd media attention given to big or household name product, even when said product doesn’t cut the musical mustard.
To be fair, you will still spot FabricationsHQ in that crowd, but usually at the back, querying the adulation as the King’s New Clothes procession rocks and rolls by.
And that leads to the written AI word which, thanks to ChatGPT and similar constructs, now permeates music media as much as it permeates music. It will, no doubt, eventually dominate written proceedings.
ChatGPT is indeed a helpful tool in many a field, but I stand by my own writing skillset (since my teens, on many a subject) and, as regards FabricationsHQ, my musical nous, music knowledge and literary vocabulary to carry me through.
In short, the day I feel I have to look to ChatGPT for even so much as a hint for a clue, is the day I put the keyboard away (although there’s a countdown clock ticking on FabricationsHQ; more on which later).
That's richer than the net worth of Spotify’s streaming top three Taylor Swift, Rihanna and Jay-Z combined.
In simpler terms, richer than any music artist in history.
That has to warm the musical cockles of every hard-working, every penny/ cent counts, musician.
I’ve said many a time that marketable commodity runs roughshod over musical creativity, and has done since the dawn of the new musical Millennium.
But we have now reached the stage where the phrase "marketable commodity" can be replaced by "synthetic music project," which is already pretty much its own genre, one that will quite possibly get, or need, its own dedicated Spotify Playlist category, to separate it from real music, by real musicians.
We’ve come a long way from "Is it live, or is it Memorex?"
It will be no surprise to those that know me, follow this website or have read some of my written epistles on the subject that while I acknowledge the AI genie is out of the bottle and is very much here to stay (and probably written another two Velvet Sundown albums by the time you read this) I abhor AI music.
I find it inherently wrong, certainly in how it devalues a working musician’s lifetime of efforts.
But for others, I readily acknowledge, it’s a chance to be the musician or lyricist they never could be.
For example, I have a good friend who is a published author and a pretty nifty lyricist, but he is not a musician; he therefore could never have, nor ever has had, any sort of music career.
But his lyrics needed and deserved a home, so, having found himself a leading music AI software tool, he slowly but assuredly created a number of ever evolving AI songs, primarily in the style of British New Wave of the late 70s and 90s Indie (favoured genres of his).
After what were very synthetic, and unoriginal, AI music scrapes, he ended up with a few songs that, if I hadn’t known the artificial source (again, listening only to a digital MP3 file; no digging in to the lack of track and tab depths) would have happily accepted were, indeed, songs from a previously unknown Indie band.
The reality however is a hybrid of very good, human written lyrics within an AI musical construct.
Contrast that with established/ professional bands utilising the same sort of idea to artificially create a definitive sound(alike), vibe or era that can then be learned, played and recorded by said band for their next single or album.
This is already happening; I know of one band who are using AI to hopefully come up with specific harmonies, hooks, middle 8 parts, etc. that will sound like a very famous band they happen to be heavily influenced by, and intentionally nod to.
The results will invariably be, in some future review, that a particular track is "the best song *insert name of that famous band here* never wrote," which is exactly the aim, and point.
AI will have done its job. Worse, it will have done its job for them.
They are far from the only ones, and there are several artists or bands promoting or even advocating, for various reasons, the use of AI in music.
However, while Spotify and the likes of Deezer are happy to receive an estimated 50,000 to 60,000 AI-generated tracks per day (approximately 35% of all new daily music uploads) Bandcamp stands strong against the artificial tide by banning all music that has been entirely or partially created with AI.
Many, myself included, applaud such a stance, but, similar to those who defend or implement AI usage in music, Bandcamp’s stance is not without its detractors.
One singer-songwriter wrote at lengths about the unfairness of the Bancamp, citing the fact that AI is here to stay and that it is an incredible tool, particularly in bridging gaps where the musician’s skills fall short, helping them to "master their craft."
In terms of the former, it is absolutely here to stay, but as regards the latter, if that be the gap-bridging path you choose, it’s no longer your craft, and AI is your master.
And I’d rather write about, support, or promote a semi-decent singer-songwriter who strives to get better through time, experience and their natural skillset than ever write about, or support, a very good singer-songwriter who has achieved that very good status with the help of AI.
But then that last comment also reflects on what has been a conscious shift over the last year here at Fabbers Central, where the more creative, individualistic, independent or art for art’s sake musician has been given more page space than the big hitters, primarily because the former need all the promotion or musically supportive help they can get.
The latter, given their established status and massive followings, don’t need blanket coverage support, but still tend to get just that, from the most popular music media outlets to the smallest blog sites.
And therein lies another issue – the gushing promotional or PR hyperbole, saturation (or monetised manipulation) of the Socials, and the must-keep-in-with-the-in-crowd media attention given to big or household name product, even when said product doesn’t cut the musical mustard.
To be fair, you will still spot FabricationsHQ in that crowd, but usually at the back, querying the adulation as the King’s New Clothes procession rocks and rolls by.
And that leads to the written AI word which, thanks to ChatGPT and similar constructs, now permeates music media as much as it permeates music. It will, no doubt, eventually dominate written proceedings.
ChatGPT is indeed a helpful tool in many a field, but I stand by my own writing skillset (since my teens, on many a subject) and, as regards FabricationsHQ, my musical nous, music knowledge and literary vocabulary to carry me through.
In short, the day I feel I have to look to ChatGPT for even so much as a hint for a clue, is the day I put the keyboard away (although there’s a countdown clock ticking on FabricationsHQ; more on which later).
Not only is it lazy, and an easy out, it’s obvious, certainly to writers who know their shit (as opposed to those who know (or don’t know) they’re shit) where ChatGPT or AI assistance has been partially or fully utilised in a review.
There are obvious tells – more technical in its verbiage and no mention, or breakdown, of any lyrics are a couple of examples, and, in musical terminology irony, the rhythm or syncopation of the sentences.
Even more of a giveaway is glossing over reviews by others who, shall we say, are not the most gifted when it comes to the written word. If said writer/s are suddenly putting up much better, and more readable material in a radically different style, the AI game is up.
Perversely however, such AI created or assisted template styled reviews are usually, and fully intentionally, highly praiseworthy reviews that the artist or band, looking for positive critical appraisal to promote their wares, has little option but to use or quote from.
It's Catch-AI 22.
Related, and arguably even more of a scourge, are the now common "great rock stories" fake-bait features on Social Media or YouTube that, incredulously, thousands buy into every day.
My personal favourite from last year was a lengthy, clearly AI scripted article on Robert Plant singing 'Stairway to Heaven' to Dick Van Dyke at the legendary American entertainer’s home on his 100th Birthday.
The problem was it also included an obvious AI created image of the two men together and was published three months before he actually turned 100.
Laugh? I almost considered it.
Nor is it a laughing matter at the grassroots/ club level scene of the music industry (I use the term 'industry' very loosely here).
An area where sites such as FabricationsHQ and, let’s not forget, the largest percentage of amateur, independent, semi-pro and professional musicians ply their trade (and where most of the successful/ household names started), the UK's grassroots scene is in danger of becoming a thing of the past.
The struggle, I should point out, is for all-original touring acts, who are fighting against two equally difficult opponents – Nostalgia and Numbers.
The former, in the shape of tribute acts, era specific covers bands and the big-name Legacy acts, all of whom, by their very nature, deal in nostalgia, are the go-to for those who want to relive their musical past and have little interest in new music, or new bands.
There are obvious tells – more technical in its verbiage and no mention, or breakdown, of any lyrics are a couple of examples, and, in musical terminology irony, the rhythm or syncopation of the sentences.
Even more of a giveaway is glossing over reviews by others who, shall we say, are not the most gifted when it comes to the written word. If said writer/s are suddenly putting up much better, and more readable material in a radically different style, the AI game is up.
Perversely however, such AI created or assisted template styled reviews are usually, and fully intentionally, highly praiseworthy reviews that the artist or band, looking for positive critical appraisal to promote their wares, has little option but to use or quote from.
It's Catch-AI 22.
Related, and arguably even more of a scourge, are the now common "great rock stories" fake-bait features on Social Media or YouTube that, incredulously, thousands buy into every day.
My personal favourite from last year was a lengthy, clearly AI scripted article on Robert Plant singing 'Stairway to Heaven' to Dick Van Dyke at the legendary American entertainer’s home on his 100th Birthday.
The problem was it also included an obvious AI created image of the two men together and was published three months before he actually turned 100.
Laugh? I almost considered it.
Nor is it a laughing matter at the grassroots/ club level scene of the music industry (I use the term 'industry' very loosely here).
An area where sites such as FabricationsHQ and, let’s not forget, the largest percentage of amateur, independent, semi-pro and professional musicians ply their trade (and where most of the successful/ household names started), the UK's grassroots scene is in danger of becoming a thing of the past.
The struggle, I should point out, is for all-original touring acts, who are fighting against two equally difficult opponents – Nostalgia and Numbers.
The former, in the shape of tribute acts, era specific covers bands and the big-name Legacy acts, all of whom, by their very nature, deal in nostalgia, are the go-to for those who want to relive their musical past and have little interest in new music, or new bands.
The latter, the numbers game, is an obvious and unavoidable fact of ageing life – the grassroots industry, particularly the rock and blues genres, taps in to a fan base that has supported those scenes since their teens and the late 60s or 70s.
Each year those numbers, for various, and one obvious, reason, can only diminish.
Without serious help and the interest of the younger generations, who have other attractions to hand, there can only be an inevitable end, as witnessed by the number of grassroots clubs and venues we lose each year.
2025 did however see a couple of significant supportive measures.
In July The Royal Albert Hall confirmed it would become the first 5,000+ capacity venue to commit to the LIVE Trust’s £1 contribution supporting grassroots music.
Implemented on October 1st, all commercial rock & pop concert ticket sales from that date onward carried a £1 contribution, equating to approximately £300K per annum for the Trust in support of grassroots venues, promoters, festivals, and artists.
In August Coldplay donated 10% of the proceeds from their UK stadium shows at Wembley and Hull to the Music Venue Trust to support grassroots venues.
In effect giving back to the very scene where Coldplay started, it’s a contributary move that should, frankly, become a mandatory requirement for every arena tour band, their promoters, the arena venues themselves and major festivals such as Glastonbury. Time will tell.
Each year those numbers, for various, and one obvious, reason, can only diminish.
Without serious help and the interest of the younger generations, who have other attractions to hand, there can only be an inevitable end, as witnessed by the number of grassroots clubs and venues we lose each year.
2025 did however see a couple of significant supportive measures.
In July The Royal Albert Hall confirmed it would become the first 5,000+ capacity venue to commit to the LIVE Trust’s £1 contribution supporting grassroots music.
Implemented on October 1st, all commercial rock & pop concert ticket sales from that date onward carried a £1 contribution, equating to approximately £300K per annum for the Trust in support of grassroots venues, promoters, festivals, and artists.
In August Coldplay donated 10% of the proceeds from their UK stadium shows at Wembley and Hull to the Music Venue Trust to support grassroots venues.
In effect giving back to the very scene where Coldplay started, it’s a contributary move that should, frankly, become a mandatory requirement for every arena tour band, their promoters, the arena venues themselves and major festivals such as Glastonbury. Time will tell.
One highly notable artist who primarily works the grassroots/ club scene is Rebecca Downes.
A fully independent rock/ alt-blues singer with one of the best voices on the circuit (and beyond), Rebecca is one of many who should be doing bigger business, albeit the issues as described above make that very difficult.
Her latest series of Downes Your Way podcasts, which ran through the latter half of 2025, primarily discussed just such issues.
Having artists such as Alan Nimmo of King King, genre fluid singer-guitarist Chantel McGregor and powerhouse blues vocalist Sari Schorr talking about the noticeable downturns and ever increasing costs of club circuit living made for interesting and valuable discussion, but those on the louder side of the PA, including yours truly, promoter Stephen Stanley, Mark Ede of BiGiAM Promotion & Management, and Rebecca’s manager Colin Speller (a man with his finger on the worryingly faint pulse of the club level circuit), were perhaps the most frank, and telling, episodes.
For FabricationsHQ’s part, it will continue to be a truly supportive music website, backed by honest critical appraisal, "putting the AI free words to the music."
But, as mentioned nearer the top of this article, there is an upcoming end date.
In part for the very reasons and topics discussed here (how long can you be expected to swim against the tide?) but more because, from a personal point of view, I feel I’ve done my bit.
From those school and later Record Shop fanzines in the teenage years through to freelance promotional writing, and on to what is now seventeen years of FabricationsHQ (which included early retirement from the Day Job to concentrate more on music support and promotion), it’s nearing the time to enjoy a proper retirement, where my better half and I can kick back, enjoy life and let others get on with it.
As regards the put-the-keyboard-down date (at least Muirsically speaking, I doubt I’ll ever stop writing), that’s looking, right now, like 2028 when the doors of FabricationsHQ will close; I just hope that doesn’t coincide with the club circuit closing its own doors on both itself and the livelihoods of the grass roots touring musicians, and singer-songwriters.
But, while FabricationsHQ has a finite life, music, in all its forms and genres will continue, even in the face of an ever-growing shift to stifle creativity in favour of a homogenised mainstream.
Here, north of the border, the above was painfully underlined by BBC Radio Scotland’s decision at the end of 2025 to cancel four specialist late-night music shows. The move was, rightly, heavily criticised by many, including Stephen McAll of the band Constant Follower, one of our most creative, atmospheric and soundscape-styled songwriters.
The primary reason for this change to what will be a "more mainstream, easy listening" late night on Radio Scotland?
Our old friends, or enemies, (take your pick of the pops) Nostalgia, and Numbers.
"It's grim enough to make an AI robot cry…"
(with apologies, again, to Bill Nelson).
Ross Muir
March 2026
A fully independent rock/ alt-blues singer with one of the best voices on the circuit (and beyond), Rebecca is one of many who should be doing bigger business, albeit the issues as described above make that very difficult.
Her latest series of Downes Your Way podcasts, which ran through the latter half of 2025, primarily discussed just such issues.
Having artists such as Alan Nimmo of King King, genre fluid singer-guitarist Chantel McGregor and powerhouse blues vocalist Sari Schorr talking about the noticeable downturns and ever increasing costs of club circuit living made for interesting and valuable discussion, but those on the louder side of the PA, including yours truly, promoter Stephen Stanley, Mark Ede of BiGiAM Promotion & Management, and Rebecca’s manager Colin Speller (a man with his finger on the worryingly faint pulse of the club level circuit), were perhaps the most frank, and telling, episodes.
For FabricationsHQ’s part, it will continue to be a truly supportive music website, backed by honest critical appraisal, "putting the AI free words to the music."
But, as mentioned nearer the top of this article, there is an upcoming end date.
In part for the very reasons and topics discussed here (how long can you be expected to swim against the tide?) but more because, from a personal point of view, I feel I’ve done my bit.
From those school and later Record Shop fanzines in the teenage years through to freelance promotional writing, and on to what is now seventeen years of FabricationsHQ (which included early retirement from the Day Job to concentrate more on music support and promotion), it’s nearing the time to enjoy a proper retirement, where my better half and I can kick back, enjoy life and let others get on with it.
As regards the put-the-keyboard-down date (at least Muirsically speaking, I doubt I’ll ever stop writing), that’s looking, right now, like 2028 when the doors of FabricationsHQ will close; I just hope that doesn’t coincide with the club circuit closing its own doors on both itself and the livelihoods of the grass roots touring musicians, and singer-songwriters.
But, while FabricationsHQ has a finite life, music, in all its forms and genres will continue, even in the face of an ever-growing shift to stifle creativity in favour of a homogenised mainstream.
Here, north of the border, the above was painfully underlined by BBC Radio Scotland’s decision at the end of 2025 to cancel four specialist late-night music shows. The move was, rightly, heavily criticised by many, including Stephen McAll of the band Constant Follower, one of our most creative, atmospheric and soundscape-styled songwriters.
The primary reason for this change to what will be a "more mainstream, easy listening" late night on Radio Scotland?
Our old friends, or enemies, (take your pick of the pops) Nostalgia, and Numbers.
"It's grim enough to make an AI robot cry…"
(with apologies, again, to Bill Nelson).
Ross Muir
March 2026
The FabricationsHQ 2025 Roll Of Honour
Nodding to (in order): Rock; Celtic; Folk-Americana; Blues-Rock; Instrumental; Ambient; Progressive; Acoustic/ Trad. Blues; Singer-Songwriter; Goth-Glam/Punk; Best Debut Album; Best Live Album.
(Click each artist-album title for the full review)
Nodding to (in order): Rock; Celtic; Folk-Americana; Blues-Rock; Instrumental; Ambient; Progressive; Acoustic/ Trad. Blues; Singer-Songwriter; Goth-Glam/Punk; Best Debut Album; Best Live Album.
(Click each artist-album title for the full review)
Jason Bieler & The Baron Von Bielski Orchestra – The Escapologist
"Ever-creative musician, singer and Saigon Kick guitarist Jason Bieler delivers his boldest and biggest musical statements (rock, alt-rock, metal, pop, vaudeville and theatre are all part of the mix) in his guise as The Baron Von Bielski Orchestra.
The Escapologist is no exception. Lyrically dark and musically adventurous, this is one of those rare beasts that has serious strength in its diversity, and does not have a weak song. More importantly, it’s another work of musically creative art from Jason Bieler."
"Ever-creative musician, singer and Saigon Kick guitarist Jason Bieler delivers his boldest and biggest musical statements (rock, alt-rock, metal, pop, vaudeville and theatre are all part of the mix) in his guise as The Baron Von Bielski Orchestra.
The Escapologist is no exception. Lyrically dark and musically adventurous, this is one of those rare beasts that has serious strength in its diversity, and does not have a weak song. More importantly, it’s another work of musically creative art from Jason Bieler."
Matt Steady – Cairn
"Cairn firmly plants itself in the soil and bedrock of Scotland across eight progressively shaped Celtic-blues themed tracks influenced by some of the most picturesque or famous areas of auld Alba.
Cinematic in scope, it stands strong as a statement to the compositional and instrumentation talents of Matt Steady. Well played, laddie. In both senses of the word."
"Cairn firmly plants itself in the soil and bedrock of Scotland across eight progressively shaped Celtic-blues themed tracks influenced by some of the most picturesque or famous areas of auld Alba.
Cinematic in scope, it stands strong as a statement to the compositional and instrumentation talents of Matt Steady. Well played, laddie. In both senses of the word."
Alice Di Micele – Reverse The Flow
"With Reverse The Flow Southern Oregon based Americana/ folk/ environmental singer-songwriter Alice Di Micele offers hope that we can turn the tide of the tumultuous times we find ourselves in, or at least navigate our way through the deep, and troubled waters, as typified by the woozy and rhythmic title track.
Can we reverse the flow? With Miss Di Micele leading the way, we’ve certainly got a chance."
"With Reverse The Flow Southern Oregon based Americana/ folk/ environmental singer-songwriter Alice Di Micele offers hope that we can turn the tide of the tumultuous times we find ourselves in, or at least navigate our way through the deep, and troubled waters, as typified by the woozy and rhythmic title track.
Can we reverse the flow? With Miss Di Micele leading the way, we’ve certainly got a chance."
Walter Trout – Sign Of The Times
"The rock orientated Sign Of The Times is renowned American blues-rock musician Walter Trout’s best album to date.
Hitting hard on several subjects, including the falsehoods of modern life and the dangers of AI, Sign Of The Times is musically strong, lyrically topical, and the sign of a musician who still has a fire in his belly – and the musical bullets, with ammunition supplied by the current state of the world."
"The rock orientated Sign Of The Times is renowned American blues-rock musician Walter Trout’s best album to date.
Hitting hard on several subjects, including the falsehoods of modern life and the dangers of AI, Sign Of The Times is musically strong, lyrically topical, and the sign of a musician who still has a fire in his belly – and the musical bullets, with ammunition supplied by the current state of the world."
Syrek – Story 2
"Story 2, the instrumental with narration fantasy-adventure sequel to 2021’s Story album from rock-metal guitar virtuoso Terry Syrek, is his most accomplished and adventurous (in both senses) work to date, one that reinforces why he was considered by many to be the fastest guitarist in the west when he received his Bachelor of Music degree from Berklee College of Music back in 1992.
But the fact he complements such speed with technical excellence, impressive melody structures and a great sense of dynamics, is the real Story behind Terry Syrek’s greatness."
"Story 2, the instrumental with narration fantasy-adventure sequel to 2021’s Story album from rock-metal guitar virtuoso Terry Syrek, is his most accomplished and adventurous (in both senses) work to date, one that reinforces why he was considered by many to be the fastest guitarist in the west when he received his Bachelor of Music degree from Berklee College of Music back in 1992.
But the fact he complements such speed with technical excellence, impressive melody structures and a great sense of dynamics, is the real Story behind Terry Syrek’s greatness."
Paul Mallatratt – We Meet At Dawn
"British ambient musician Paul Mallatratt has become quite the prolific composer (three albums in the first half of 2025 alone).
The atmospheric We Meet At Dawn, with a concept based on the fondness of remembrance, is the pick of the 2025 bunch; highlights include the lush, choral ambience of the title track and the synth blanketed, fond farewell of 'We Meet No More.'
Long may his ambient, ‘the pieces write themselves’ prolificacy continue."
"British ambient musician Paul Mallatratt has become quite the prolific composer (three albums in the first half of 2025 alone).
The atmospheric We Meet At Dawn, with a concept based on the fondness of remembrance, is the pick of the 2025 bunch; highlights include the lush, choral ambience of the title track and the synth blanketed, fond farewell of 'We Meet No More.'
Long may his ambient, ‘the pieces write themselves’ prolificacy continue."
Zen Orchestra – Zen Orchestra
"The debut album from Zen Orchestra, who formed back in the mid-90s, has now seen the light of long-awaited day – and lovers of Neo-prog/ creative longform rock should be delighted it has.
It might seem to be a little too on the Neo-prog nose in places, but that’s the point – the album is, as the band say themselves, a love letter to, and exploration of, the music they grew up with.
From that perspective they have absolutely nailed the Zen of Neo-prog, fully orchestrated and contemporised for the 21st century."
"The debut album from Zen Orchestra, who formed back in the mid-90s, has now seen the light of long-awaited day – and lovers of Neo-prog/ creative longform rock should be delighted it has.
It might seem to be a little too on the Neo-prog nose in places, but that’s the point – the album is, as the band say themselves, a love letter to, and exploration of, the music they grew up with.
From that perspective they have absolutely nailed the Zen of Neo-prog, fully orchestrated and contemporised for the 21st century."
Oli Mac Presents Mississippi MacDonald Acoustic - Slim Pickin'
"With Slim Pickin’ Mississippi MacDonald (aka Oliver MacDonald, or Oli Mac, to use his more frequently used radio show moniker) offers up his second acoustic album in as many years.
A bigger sounding album that benefits from his time in Memphis, it might say Slim Pickin’ on the outside, but for the acoustic/ trad blues aficionado there’s rich reward to be found within."
"With Slim Pickin’ Mississippi MacDonald (aka Oliver MacDonald, or Oli Mac, to use his more frequently used radio show moniker) offers up his second acoustic album in as many years.
A bigger sounding album that benefits from his time in Memphis, it might say Slim Pickin’ on the outside, but for the acoustic/ trad blues aficionado there’s rich reward to be found within."
Dean Owens – Spirit Ridge
"Award winning Scottish singer-songwriter Dean Owens has, with latest offering Spirit Ridge, beautifully dovetailed melancholy, melody and the remembrance (and importance) of family with evocative, desert Americana and the Emilia-Romagna hills of Italy.
With a warm sounding production and an excellent Italian studio band, Spirit Ridge is as well written & well performed as it is atmospheric & captivating."
"Award winning Scottish singer-songwriter Dean Owens has, with latest offering Spirit Ridge, beautifully dovetailed melancholy, melody and the remembrance (and importance) of family with evocative, desert Americana and the Emilia-Romagna hills of Italy.
With a warm sounding production and an excellent Italian studio band, Spirit Ridge is as well written & well performed as it is atmospheric & captivating."
Gypsy Pistoleros – Church Of The Pistoleros
"Flamenco-punk glam rock 'n' roll band the Gypsy Pistoleros have, with the highly impacting Church of the Pistoleros, released their best album to date.
With a highly individualistic sound and approach, they may be preaching to the Pistoleros choir, but there is always room for more in the congregation of 'outcasts, the misunderstood, the shy, the quiet, and disenfranchised of society' that the band both welcome and embrace. Amen to that."
"Flamenco-punk glam rock 'n' roll band the Gypsy Pistoleros have, with the highly impacting Church of the Pistoleros, released their best album to date.
With a highly individualistic sound and approach, they may be preaching to the Pistoleros choir, but there is always room for more in the congregation of 'outcasts, the misunderstood, the shy, the quiet, and disenfranchised of society' that the band both welcome and embrace. Amen to that."
Ger Eaton – Season Changes
"Irish multi-instrumentalist & songwriter Ger Eaton has, with his debut solo offering, delivered a set of well-crafted and well-arranged songs that lyrically tell the tale of a long term relationship coming to an end through the seasons.
With an intentional and welcome nod to the psychedelic folk, string-backed balladeering and baroque pop of the late 60s and early 70s, plus a touch of the contemporary, Season Changes is a debut album triumph for Ger Eaton."
"Irish multi-instrumentalist & songwriter Ger Eaton has, with his debut solo offering, delivered a set of well-crafted and well-arranged songs that lyrically tell the tale of a long term relationship coming to an end through the seasons.
With an intentional and welcome nod to the psychedelic folk, string-backed balladeering and baroque pop of the late 60s and early 70s, plus a touch of the contemporary, Season Changes is a debut album triumph for Ger Eaton."
Jon Anderson & The Band Geeks – Live: Perpetual Change
"Following the acclaim for True, their debut album of all original material, and how well their YES sets have been received, it’s no surprise Jon Anderson & The Band Geeks have released a live album of classic YES material.
This is 'YesMusic' as it should be played, with vocal verve, musical aplomb and respect; it thus eclipses the current version of YES, who have become a pale, by the numbers imitation by comparison.
But, for Jon Anderson, the more things perpetually change, the more they stay the same – as vocally and musically effervescent as they were fifty years ago."
"Following the acclaim for True, their debut album of all original material, and how well their YES sets have been received, it’s no surprise Jon Anderson & The Band Geeks have released a live album of classic YES material.
This is 'YesMusic' as it should be played, with vocal verve, musical aplomb and respect; it thus eclipses the current version of YES, who have become a pale, by the numbers imitation by comparison.
But, for Jon Anderson, the more things perpetually change, the more they stay the same – as vocally and musically effervescent as they were fifty years ago."