Rising Star #67

Welcome to Rising Star 67 — a bold tribute to the sounds shaping tomorrow.

This latest chapter brings together a wave of fresh voices and visionary sounds, offering a powerful glimpse into the future of global music and creative expression.

Rising Star 67 isn’t just an event—it’s an experience. One where artistry takes center stage and every performance tells a story, full of emotion, truth, and raw talent. From soul-stirring ballads to high-energy anthems, each artist brings their world to life, note by note.

Here, the stage transforms into a vibrant canvas—alive with rhythm, color, and feeling. Every act is a reminder of how music moves us, connects us, and reveals new ways of seeing the world.

Celebrating innovation and individuality, Rising Star 67 is all about discovery. It’s a space where emerging talent is not only heard but felt—where diverse perspectives and untold stories shine with clarity and purpose.

This is where future icons begin their journey—and where audiences witness the spark before it becomes a flame.

Let yourself be moved, challenged, and inspired.

The future of music is already here. Welcome to Rising Star 67. 🌟🎤

Record Review: Pilgrim of Love – Julia

Released April 2, 2025

Some songs don’t just arrive — they grow quietly in the background of a life, ripening until they’re finally ready to be heard. That’s exactly what happened with Julia, the debut single from Pilgrim of Love, a London-based project spearheaded by musician and producer Manuel La Malfa.

First imagined over a decade ago in the form of a wistful guitar riff, Julia has taken its time to reach listeners. But what arrives on April 2, 2025, is not just a song — it’s the culmination of years of evolution, patience, and emotional honesty.

At its heart, Julia is a love song — not the sappy kind, but the kind that lingers like a memory you can’t quite shake. The lyrics tell a story of a love that once was, now finished, with the narrator drifting through flashbacks of what used to be. There's a gentle melancholy woven into the fabric of the track, a warmth that balances out the sorrow — much like the feeling of flipping through old photos on a rainy day.

Sonically, Julia is a beautiful paradox: raw yet refined, minimal yet lush. La Malfa recorded the entire song in just four hours at Brutus Vox Studios in Turin — a spot known for its dedication to analog gear and sonic authenticity. The result is a track that feels both timeless and intimate, like it was meant to be heard on vinyl with the volume turned just loud enough to catch the nuances of every note.

The production — handled solely by La Malfa and polished by mixing/mastering engineer Claudio Caroli — leans into vintage textures without sounding retro for the sake of nostalgia. There's a clear reverence here for the likes of Eric Clapton, especially his 1998 Pilgrim album, but you’ll also catch flickers of James Bay, Ed Sheeran, and even the soul of Hendrix tucked into the guitar work. The solo midway through the song is a quiet showstopper — played on a black Stratocaster from the 2000s — and might just be the most honest moment on the entire track.

It’s clear that La Malfa isn’t just trying to make music — he’s trying to make lasting music. The stripped-back production, the textured guitar tones, the ambient touches, and the cello swells (which hint at the sonic direction of his full-length debut) are all intentional, never excessive. It’s music with patience and purpose — a rare thing these days.

Verdict: Julia is a tender, skillfully crafted introduction to Pilgrim of Love’s world — a world where emotion is king, every note matters, and the long road to release was more than worth the wait.

Record Review: Rebecca Anderson – In the Beginning

There’s something undeniably rare about a song that doesn’t just speak to the soul, but sings from one. Rebecca Anderson’s “In the Beginning” isn’t your typical R&B track—it’s a deeply personal, spiritually-charged offering that feels more like a revelation than a recording. The Los Angeles-based singer, a classically trained artist with roots deep in contemplative faith, delivers something here that transcends genre and defies trends.

Born out of a two-month spiritual retreat in the fall of 2024, “In the Beginning” carries the weight of that sacred silence. Anderson, who intentionally stepped back from the noise of life to seek divine clarity, doesn’t just tell us about that journey—she invites us into it. The result is a song that pulses with a kind of reverent urgency. Lush strings, warm harmonies, and a beat that hums with understated confidence form the backdrop for Anderson’s rich, emotive vocal. But it’s her delivery—vulnerable yet assured—that truly captivates. You can feel the sincerity behind each lyric, especially as she leans into the chorus, which seems to wash over the listener like a wave of peace.

“In the Beginning” explores the eternal character of God—not the filtered version passed down by culture or institution, but something raw, intimate, and deeply personal. This isn't about religion; it's about relationship. Anderson doesn’t preach—she testifies. And that subtle shift makes all the difference. Her phrasing, the ebb and flow of her dynamics, and the sacred quiet between the lines all feel divinely timed.

It’s hard not to draw comparisons to the greats—Anderson’s vocal tone carries the warmth of India.Arie, the soul of early Lauryn Hill, and the spiritual gravitas of CeCe Winans—but there’s something uniquely Rebecca here. Something unfiltered and beautifully sincere.

As a lead-in to her forthcoming debut album Citizen of Heaven, “In the Beginning” sets the tone for what could be one of the most spiritually resonant projects of the year. And if this track is truly just the beginning, then we are witnessing not just the emergence of an artist, but the unfolding of a calling.

With monthly releases on the horizon, Rebecca Anderson is not just writing music—she’s chronicling a divine conversation in real time. For those willing to listen with their hearts, In the Beginning is not just a song. It’s an invitation.

Record Review: RIVERLABS – Fractured Truth

In an era where attention spans flicker and algorithms flatten creativity, RIVERLABS dares to move differently. Their latest record, Fractured Truth, doesn’t just ask for your attention — it immerses you in a world where emotion and abstraction collide. This isn’t background music. This is a cinematic experience for your ears.

From the first track, it's clear that Fractured Truth isn’t trying to conform. The project opens like a slow camera pan across a shattered future — all ambient swells, ghostlike melodies, and pulses of static that feel as if they’re breathing. There’s an unspoken narrative running underneath the distortion, a kind of digital poetry stitched together with glitched-out textures and intimate, aching tones. Riverlabs doesn’t just make music — they build sonic landscapes.

What makes this record truly resonate is its emotional weight. Despite its futuristic palette and experimental edge, there’s a real sense of longing threaded through the noise. You can hear it in the way silence is used — not as absence, but as a tool to create tension, reflection, even release. Fractured Truth feels like the soundtrack to a memory that hasn’t happened yet.

RIVERLABS is crafting their own universe — one that’s both alien and achingly familiar. Think: if Blade Runner had a heartache. This is music for the seekers, for those who find clarity in abstraction and solace in the strange.

With Fractured Truth, RIVERLABS isn’t just making a statement — they’re carving out their own lane in the digital ether. And if this record is any sign of what’s to come, it’s a journey well worth following.

Record Review: KaiserKillers – Heavenly in Black

From the heart of Huddersfield’s post-punk legacy, KaiserKillers crash back onto the scene with Heavenly in Black, a searing slice of PowerPopPunk that wears its leather heart on its paisley sleeve. It’s an anthem cloaked in velvet melancholy – celebratory in spirit, but unmistakably threaded with the ache of a love lost. If euphoria and heartbreak had a house band, it might well sound like this.

Born from the ashes of 90s outfits The Isolationists and Martin’s Dad, the band’s resurrection in the 21st century is more than just a nostalgic nod – it’s a reawakening. Johnny Zero (vocals/guitar), Cristi Mac Seáin (bass), and the ever-smouldering Stix McIntosh (drums – yes, the one with the infamous flammable fringe) bring a reverent nod to punk’s melodic vanguard. Think Buzzcocks urgency with Byrds jangle, topped with a Lennon-esque lyrical wink. Their name, KaiserKillers, a wink to the Beatles’ Hamburg stomping ground – the Kaiser Keller – suggests the scale of their ambition: deliver killer sets with classic sensibility.

Heavenly in Black itself is a bittersweet ode to Beverly, the sort of girl you meet in a flash and remember in flickers. Dressed in noir and sounding like a midnight confession wrapped in reverb, the track balances stadium-ready hooks with that quintessential British blend of stoicism and soul. Recorded at Strawberry Field in Colchester, mixed and mastered by Francis Gorini at London Mastering Studio, the track shimmers with intention. And yes – that curious chime? Not a triangle, but a wrench suspended on wire, struck by a toffee hammer. Rock and roll, eh?

The KaiserKillers’ sound – or as they brand it, PowerPopPunk! – has found fans across the airwaves, from Boogaloo Radio to Punk Rock Demonstration. Their raw, melodic energy has even crossed the pond via the Jiggy Jaguar Show. But radio play only scratches the surface. This is a band with stories: pyrotechnic hair mishaps, late-night recording epiphanies, and a commitment to channeling grief through noise, nostalgia, and undeniable charm.

What makes Heavenly in Black so affecting is its ability to be both massive and intimate. You’ll want to dance. You might cry. You’ll definitely hum that hook long after the track fades. And while Beverly may have long left the room, she lives forever in this song.

As Johnny himself quips:

“KaiserKillers were thawed out of a cryogenic trance to create sumptuously layered guitar magic with an intricate lyrical overlay to define their signature PowerPopPunk! sound. Either that, or we did a bit of strumming and got lucky; one or the other…”

Luck or legacy, Heavenly in Black is the kind of track that makes you believe in the romance of rock and roll again.

Record Review: Ken Woods and The Old Blue Gang – Ride the Rails

There’s a certain kind of electricity that courses through a song when history, heartbreak, and musicianship collide. Ride the Rails, the blistering debut single from Ken Woods and The Old Blue Gang, doesn’t just tell a story—it grabs you by the collar and drags you through it, boots skidding on gravel and all. With their roots sunk deep into American soil—musically and thematically—this track is more than a tune. It’s a reckoning.

Set against the backdrop of a shameful and largely forgotten episode in American history—the 1893 mob-led expulsion of La Grande, Oregon’s Chinese community—Ride the Rails is unflinching in both its narrative and its sound. From the first few bars, a relentless train-beat rhythm sets the wheels in motion. It’s locomotive, almost trance-inducing, but with an underlying sense of menace, like you’re heading toward something you can't quite stop.

Beneath that, the bass churns with menace while ticktack guitars paint a sonic image of dust-blown streets and chaos in the shadows of the old La Grande station. Layered across the track are dozens of guitar lines that twist and turn like smoke in a windstorm—some whisper, some scream, all echoing with the ghostly resonance of a town in upheaval. When the two fiery guitar solos finally arrive, they don’t feel like mere showcases—they feel like a scream, a confrontation, a testimony.

Stylistically, the song draws heavy from Bakersfield country, psychobilly, and raw roots rock, but it doesn’t sit quietly in any one camp. There's a reckless jam-band energy at times—like early ZZ Top got into a bar fight with Crazy Horse, and Hendrix just nodded in approval from the sidelines. It’s Americana, sure, but with the edges sandblasted raw.

Ken Woods isn’t just fronting a band—he’s on a mission. As he reclaims the name “The Old Blue Gang” (originally associated with a band of violent racists behind the Hells Canyon Massacre), there’s a powerful symbolic gesture at play: wresting history from the hands of hate and putting it to work for something better. That same ethos permeates the upcoming concept album Silent Spike, which Ride the Rails is ripped from—an ambitious, sweeping meditation on the legacy of Chinese railroad workers and the deep scars left behind by racial violence and erasure.

But here’s the thing: despite the heaviness of the history, there’s nothing didactic or overbearing about the song. It’s not a lecture—it’s a storm. A lived-in, played-hard, sweat-on-the-frets kind of storm. This is a band that knows its instruments like old friends and isn’t afraid to let them speak when words fall short.

Verdict:

Ride the Rails is brutal, beautiful, and necessary—an explosive debut that sets a new bar for concept-driven Americana. Don’t just listen. Feel it.

David Munoz – Close to the Vine

There’s something magnetic about an artist who wears their heart on their sleeve, and with Close to the Vine, David Munoz doesn’t just do that—he builds the whole song around it. The Miami-born Argentinian artist brings a soulful honesty to his latest single, creating a deeply personal track that pulses with faith, resolve, and a raw passion for music.

Released on December 31st, 2024, Close to the Vine is more than just a song—it’s a statement. Written, produced, and performed solely by Munoz, the single is an unfiltered reflection of his spiritual journey. From the very first note, listeners are drawn into a world where perseverance and trust in something greater shine through the noise of everyday life. It’s that emotional clarity—rooted in scripture, yet universally resonant—that gives the track its power.

You can feel the fingerprints of TobyMac and CK throughout the production, but Munoz makes the message his own. While the melodies are uplifting and the beat rides with a steady confidence, it’s the lyrics that cut through. His voice, rich with conviction, doesn’t just deliver words—it delivers testimony. He doesn’t shout to be heard; he speaks to be understood.

“I produced it, wrote it, and sung it,” Munoz says. It’s a bold declaration, but one that makes perfect sense after hearing the track. Nothing about Close to the Vine feels filtered or polished for the sake of trends. It’s handcrafted—recorded in South Florida with the kind of creative independence that allows an artist to truly say what they mean.

When asked what inspired the song, Munoz reflects: “It was my testimony, rooted in faith and perseverance, that became the cornerstone of my relationship with God.” That authenticity is the song’s heartbeat.

There’s no elaborate rollout or overhyped tour schedule here—just more music on the horizon. And maybe that’s exactly the point. For Munoz, the journey isn’t about chasing spotlight moments; it’s about staying close to the source, staying close to the vine.

As he puts it: “Ability can get you anywhere, but it’s character that sustains you.” With this release, David Munoz proves he’s got both.

Tatted Ru – “Lemon Talk” feat. Marwentviral

Released April 5, 2025

There’s something magnetic about an artist who wears their scars like medals and finds poetry in pain. Tatted Ru, an emerging voice out of Whiteville, North Carolina, delivers exactly that in his latest single, “Lemon Talk,” featuring his cousin and longtime creative partner Marwentviral. Released on April 5th, 2025, the track captures more than just a sound—it introduces a whole ethos, wrapped in resilience and raw honesty.

From the first few seconds, “Lemon Talk” strikes as different—not just for the sake of being different, but because it feels like a product of genuine experimentation. The rhythm doesn’t follow the usual formula, and that’s its power. There’s a looseness in the delivery, an unpolished grit in the production, and yet it’s deeply intentional. The track doesn’t just sound mixed—it feels lived in.

The collaboration between Tatted Ru and Marwentviral isn’t just convenient; it’s rooted in a familial bond and a shared passion that traces back to countless casual “what if” moments. Those moments turned into something tangible here, and it shows. There’s an unspoken chemistry between the two that breathes life into the song’s unique cadence and reflective tone.

What makes “Lemon Talk” stand out isn’t some grand backstory or high-concept production trick—it’s the authenticity. There’s no manufactured mystique here. Tatted Ru is the kind of artist who’s still figuring it out, but doing it with heart and style. “Smile at the pain,” he says—a line that resonates as both mantra and mission statement. It’s a quiet declaration of self that anchors his journey as a musician.

Tatted Ru might not be on tour yet, but he’s clearly setting the stage—figuratively and, soon, literally. With plans to bring his sound to live audiences down the line, it’s only a matter of time before the buzz builds. His music draws from a well of influences, blending the soul of older generations with the edge of today’s sound. The result? A fusion that’s hard to box in, and even harder to ignore.

At its core, “Lemon Talk” isn’t about perfection. It’s about process. About showing up as yourself and letting the music reflect that truth. And in a world of algorithms and overproduction, that honesty might be Tatted Ru’s greatest weapon.

Verdict: A raw, refreshingly real debut that shows promise and purpose. Tatted Ru is one to keep an eye on—not because he’s chasing trends, but because he’s carving out his own lane.