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Mr.MoonBunny – I Neon di Shibuya
Mr.MoonBunny Finds Beauty In Shibuya’s Imperfect Glow
On I Neon di Shibuya, Mr.MoonBunny — the project of Samuele Pozzi — translates the glow and motion of Tokyo at night into something intimate and tactile. Inspired by Japanese urban culture and the traditional Edo aesthetic, the track plays with contrasts between lo-fi roughness and hi-fi clarity, framing the city as something to move through slowly. As Pozzi puts it, it is “a walk to be felt.”
That idea carries into the production. Drawing from the loose rhythmic language of Nujabes and J Dilla, Mr.MoonBunny blends hip-hop, jazz rap, and bass-led grooves with a deliberate sense of imperfection. The bass remains central, grounding the track while the surrounding details drift in and out of focus. I Neon di Shibuya is less about spectacle than attention: noticing texture, space, and the beauty hidden in uneven edges.
Montana Joanna – Same Stars
Montana Joanna Finds Cosmic Soul Under the “Same Stars”
On her debut single “Same Stars,” Montana Joanna builds a warm, lived-in blend of soul, jazz, and funk around live bass, horns, clav, and an easy behind-the-beat sway. The arrangement carries the looseness of 1960s and ’70s soul without feeling locked to nostalgia, leaving plenty of room for Joanna’s jazz-kissed vocal and instinctive sense of groove.
The lyric brings a playful cosmic streak: an alien crush, birth-chart curiosity, and a knowing nod to the idea that we are all made of stardust. Recorded with a full band and minimal polish, “Same Stars” preserves the room tone, interaction, and small imperfections that give the performance its character. It establishes Montana Joanna as a singer-bassist drawn to live instrumentation, rhythmic feel, and soul music with a curious edge.
Oslo Green – MaYbe
Oslo Green Threads Classical Roots Through “MaYbe”
Oslo Green’s “MaYbe” opens a window into No Strings Attached, an album shaped by movement, shifting relationships, and a musical identity built across borders. Classical strings meet contemporary beats, while Green’s line — “‘No Strings Attached’ — a promise I clearly couldn’t keep” — points toward the emotional tension running underneath the project: freedom complicated by attachment.
Green’s foundation as a classical violinist remains central, but “MaYbe” stretches that training across jazz, hip-hop, and Afrobeats influences gathered through time spent in places including Nairobi and New York. The result is music that treats contrast as part of its language, pairing formal musicianship with rhythmic looseness and cinematic scale. “MaYbe” captures that push between discipline and experimentation, linking Green’s classical roots to a broader, more fluid approach to songwriting and production.
GIDEON UNNA – Heaven is here
Gideon Unna Finds Heaven In The Act Of Paying Attention
Gideon Unna’s “Heaven is Here” glows with the easy warmth of 1960s harmony pop, but its real charge is spiritual: a gentle insistence that paradise isn’t elsewhere, it’s already in the room. Written on guitar at his kibbutz home and shaped with longtime collaborator Lior Medan’s AI-assisted arrangement, the song folds tradition, modern tools, and plainspoken faith into something disarmingly human. Naomi’s vocal gives it a soft lift, while Yoav Asif’s intimate home-studio recording keeps the whole thing breathing close to the heart.
There’s a clear line here from The Mamas & the Papas to Scott McKenzie, but Unna isn’t chasing nostalgia. He’s using that sunlit vocabulary to ask a more urgent question: what if heaven is a matter of attention? In a world that rarely stops moving, “Heaven Is Here” leans toward stillness, gratitude, and the radical idea that joy can be noticed, not manufactured.
A’shon Galaxy – Save The Last Dance
A’shon Galaxy Keeps Romance Close On “Save the Last Dance”
A’shon Galaxy’s “Save the Last Dance” slides in like the final slow song at a dimly lit lounge: polished, patient, and heavy with intent. Built on warm chords and a hypnotic groove, the track leans into neo-soul’s classic sway while keeping one foot in sleek modern R&B. His silky vocal delivery gives the song its charge, balancing cool confidence with the kind of closeness that makes a room feel smaller.
What makes the single linger is its restraint. Rather than reaching for drama, A’shon lets the atmosphere do the work — the bass hums, the guitars flicker, and the whole thing feels like a private exchange after the crowd has thinned. It’s a fitting glimpse into his wider world, where love, longing, and joy move through vintage texture and contemporary glide. “Save the Last Dance” doesn’t just play like a romance; it breathes like one.
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