Step into Weekly Discover 54 — where sound becomes sensation.

This isn’t your average playlist. It’s a handpicked dive into the textures, moods, and movements shaping the future of music right now. From intimate ballads to genre-bending grooves, every track here was chosen with purpose—to make you feel, reflect, and maybe even rethink what music can be.

What defines this edition? Discovery. Raw artistry. Forward-thinking voices. These artists aren’t just making songs—they’re crafting stories, experimenting with identity, and reimagining tradition through their own sonic lens.

You’ll hear echoes of the past layered with fearless innovation. You’ll hear vulnerability, boldness, and rhythm colliding in unexpected ways. Most of all, you’ll hear the pulse of a global creative wave that refuses to stand still.

Weekly Discover 54 invites you to pause and press play—on what’s next, what’s now, and what’s still unfolding.

Curated by 1111CR3W, where every drop is intentional and every beat leads somewhere new.

Michael Paul Brennan – “Boxes”

Rooted in life’s rhythms, wrapped in twine and truth.

In "Boxes", Michael Paul Brennan unpacks a life’s worth of memories, milestones, and musings—one metaphorical box at a time. Released in May 2023 and recorded at Underground Recording Studio with producer Mike Machaby, the single is a quiet triumph of raw sincerity and country craftsmanship. It’s the kind of song that doesn’t shout for your attention, but rather earns it—through its lived-in lyrics, a gently weathered vocal tone, and a musical sensibility that nods to legends like Kris Kristofferson and Jason Isbell without ever feeling derivative.

At first listen, Boxes feels simple. But behind its unassuming surface lies a layered meditation on time, identity, and the way we sort our lives into compartments: houses, cars, memories, regrets. Brennan, armed with only an acoustic guitar and his voice, delivers lines that feel like they’ve been pulled from the folds of a handwritten letter—honest, unpolished, and deeply personal. The production, courtesy of Machaby, is tastefully sparse. There are no studio fireworks here—just the song, the story, and the space between.

A Massachusetts native with roots that stretch into Nashville’s songwriting soil, Brennan is no stranger to heartfelt Americana. Nominated for Male Performer of the Year (2023) and Americana Band of the Year (2024) by the New England Music Awards, he’s shared stages with the likes of Mike Cooley, Priscilla Block, and Jon Latham. But it’s in songs like Boxes—and in small, almost cinematic moments, like a chance encounter with Bob Seger’s former bus driver—that Brennan's true strength reveals itself: an artist who understands that the most powerful stories are often the quietest.

As Brennan himself puts it, “Good songwriting and strong production can make a great song. It does not need to be overproduced with bells and whistles.” Boxes stands as living proof. A stripped-down, deeply human piece of music that doesn’t ask for much—only that you listen with your heart wide open.

Highlight:

In “Boxes,” Brennan turns everyday objects into soulful metaphors, creating a track that feels like a postcard from the past—stamped with dust, memory, and quiet grace.

Robin Shaw – “Shuffle Your Feet”

A sun-soaked, groove-laced invitation to move

Robin Shaw has always been something of a musical chameleon. Hailing from the village of Bressingham in South Norfolk, he’s taken listeners on sonic detours through hip-hop, rap, folk, and pop. But with “Shuffle Your Feet”, Shaw trades introspection for celebration, landing squarely in the realm of dance-pop with a record that’s as vibrant as the festival fields that inspired it.

Created alongside long-time collaborator and producer Chris Hall, “Shuffle Your Feet” is a love letter to the multisensory experience of outdoor events—those magical summer days where the scent of food trucks lingers in the air, laughter drifts between beer tents, and the rhythm of music seems to sync with the sun’s warmth. Recorded at Pirate Studios in Shepherds Bush—a hive of creative energy tucked into a corner of West London—Shaw crafted the single not just to be heard, but felt. His lyrical imagery evokes straw hats, floral shirts, and spontaneous movement, echoing the real-world festivals where he road-tested the track in 2023.

There’s a buoyancy to this release that feels deliberate. It’s clear Shaw set out to create something that wasn’t tethered to heavy themes or emotional weight. “Shuffle Your Feet” is all about joy—pure, unfiltered, communal joy. The track carries the DNA of long, golden evenings and the freedom of letting go, driven by an infectious beat that does exactly what its title commands. While Shaw doesn't cite a specific musical influence behind the track, there's a clear sense of rhythm and mood that places it alongside the likes of Rudimental or Calvin Harris’ early festival anthems—sun-drenched and movement-ready.

The accompanying artwork, illustrated by Hayley Sayers, mirrors the tone of the track: carefree, colorful, and rooted in real relationships. It’s just one example of how Shaw’s work remains grounded even as it aims to uplift. And it’s in that balance—between local authenticity and universal energy—that “Shuffle Your Feet” finds its shine.

In Shaw’s own words, this isn’t music made to impress friends and family—it’s for strangers, dancers, dreamers. And with this release, he might just be convincing a few more of them to shuffle along with him.

Record Review: Memorial by Diamadis

By 1111CR3W Editorial

In a musical landscape often saturated with borrowed inspiration and digital saturation, Memorial, the latest release from Diamadis, feels like a whisper from something older, deeper—almost elemental. Composed and recorded entirely in the solitude of his own home, Memorial isn’t just an album—it’s a personal monument in sound, a deeply intimate cartography of memory, nature, and human presence through time.

Diamadis, a self-taught composer who began creating music just a day after purchasing his first synthesizer, moves through composition with instinctual clarity. There are no collaborators here—just Diamadis, his synthesizer, and the profound silence he requires to capture what he calls “the first sounds of creation.” That silence becomes sacred space in Memorial, where each melody blooms patiently into life, seemingly untouched by outside influence.

Interestingly, Diamadis asserts that no other artist influenced this work—a rare claim in today’s remix-heavy, reference-rich music culture. Instead, the emotional gravity of Memorial emerges from internal visions of “historical monuments with positive value.” You can feel this reverence throughout the album’s architecture, where each track feels like a sonic sculpture shaped by time, atmosphere, and spiritual presence.

Take the piece “Pantheon,” for instance. With sweeping synth lines that build slowly into cathedral-like resonance, the track conjures not only the grandeur of ancient structures but the emotional stillness they evoke. The listener is transported—not to a specific place, but to a shared memory of wonder.

Then there’s “Marble Echo,” a minimalist standout that feels like standing in the ruins of something sacred, where even the smallest tone seems to bounce forever in the mind. Diamadis’ ability to match his track titles to their emotional imprint is uncanny; the melodies don’t just accompany the themes—they embody them.

The album’s artwork, though minimalist, adds to the immersive experience, helping guide the listener into Diamadis' universe. You don’t just listen to Memorial—you walk through it, room by room, echo by echo.

Memorial was entirely recorded at Diamadis’ home, which has become not only his creative space but his personal temple. He doesn’t rely on flashy production tricks or external gear; his only tools are a synthesizer, silence, and intuition. It’s a refreshing return to the purity of composition—the belief that something profound can emerge from very little, if the intent is strong enough.

Though Diamadis has yet to perform this material live—due to the complexity and ambient demands of his music—the absence of performance doesn’t diminish the impact. His work exists less as spectacle and more as sacred offering. As he puts it: “I have characterized my journey as an artist so far as a journey that has been influenced by nature and the universe.”

That influence is etched into every note of Memorial, a meditative, poignant release that invites the listener to slow down, listen deeply, and reflect.

In a world of noise, Memorial dares to speak in silence.

For fans of ambient, neoclassical, and conceptual electronic music, Diamadis offers a journey inward—an album that listens back.

BARCLAY’S – “Comatose”

An urgent, basement-born dispatch from a world on fire

From the depths of suburban basements in Louisville, Kentucky, something potent is stirring. BARCLAY’S, the six-piece band spearheaded by songwriter Alex McGrath, enters the scene not with fanfare, but with forewarning. Their debut single “Comatose,” released May 21st, 2025, is a shivering, anxiety-soaked track that sounds like a slow panic held under water—and it’s the first pulse from their upcoming EP To a Candid World, due out June 21.

The inspiration behind Comatose is as intellectual as it is visceral: a quote from 12 Monkeys that references the “Cassandra complex”—the mythic idea of knowing the truth but being doomed never to be believed. That sense of helpless clarity runs through every inch of the song. McGrath isn’t claiming prophetic status, but he’s keenly aware of the voices—activists, scientists, artists—sounding alarms about fascism, climate collapse, and the decay of truth. Comatose is their anthem.

Sonically, the track leans into contrast: warm, analog textures smeared with digital unease. The band’s use of in-the-box production tools like Ableton might be considered DIY, but nothing about the song feels unfinished or amateur. If anything, it’s this self-made aesthetic that gives Comatose its tension—the feeling that something delicate is about to snap.

McGrath cites King Krule’s moody chords and the raw vocal grit of Show Me the Body as influences, but the final result is deeply BARCLAY’S: layered, unpredictable, and disarmingly human. There’s beauty here, but it’s frayed. Melodies emerge like flickering streetlights through fog, while the vocals carry the weariness of someone who’s shouted into the void long enough to realize it might not shout back.

Recorded in homes rather than studios, Comatose doesn't chase perfection. Instead, it trades polish for atmosphere. The band embraces the limitless potential of digital tools while keeping their feet firmly planted in real-world grit. Think of it as the difference between painting a protest sign and coding a digital simulation of a riot—both powerful, both valid, both necessary.

There’s a quote the band returns to: “It’s a plague of madness. Sick of witness!” It feels less like a lyric and more like a diagnosis.

With Comatose, BARCLAY’S hasn’t just made a song. They’ve issued a warning. Whether we listen—like the Cassandra of myth, they can’t control. But we’d be foolish not to.

Review: sammy. /REVERSIES — “Dead of Night”

An Intimate Collision of Grief, Grit, and Growth

Emerging from Japan’s underground scene with a voice that speaks across borders and identities, sammy. /REVERSIES offers more than music—it’s catharsis. With the release of the new single "Dead of Night" (May 17, 2025), this one-person project once again proves how raw vulnerability and sonic intensity can intertwine to devastatingly beautiful effect.

sammy.’s work has always lived at the edges—of genres, of languages, of identities—and “Dead of Night” is perhaps the clearest encapsulation yet of what that edge sounds like. Rooted in the stylistic lineage of emo, grunge, and early 2000s pop-punk, the track doesn’t just echo the past; it drags its scars into the present.

The song opens with a gut-punch: "diving from a dark and high cliff." It's not just a lyric—it’s an invocation. A moment of suspended breath before the fall. What follows is a tightly coiled burst of guitar-driven chaos and emotional weight, a chorus where distortion becomes exorcism. Lines like "I couldn’t be the one you once dreamed of" land like bruises, delivered with a voice that trembles between defiance and collapse.

But what sets “Dead of Night” apart isn’t just the stylistic execution—it’s the emotional architecture. sammy. masterfully blends languages, weaving in Japanese toward the climax in a way that feels organic, intimate, and necessary. It doesn't feel like a gesture toward cultural duality—it feels like a personal truth laid bare.

Where earlier tracks like “MESSY DAY” leaned into explosive catharsis, and others like “Unwaking Dream in the Forest” reflected sammy.'s quieter introspection, “Dead of Night” exists in the space between—a balancing act of chaos and control, self-doubt and survival. There’s a maturity here, a refining of emotional rawness into something sharpened, urgent, and honest.

More than anything, “Dead of Night” sounds like it was made for those late-night hours when the world goes quiet and the mind refuses to do the same. It’s for anyone who’s ever felt like they’ve missed their moment, yet still reach for another.

sammy. /REVERSIES doesn’t just make alternative rock—they craft emotional lifelines for the unheard. “Dead of Night” doesn’t seek to uplift through cliché, but rather offers solidarity in the shadows. A song not just about loneliness, but for the lonely—and in doing so, it finds a kind of redemption in the noise.

A must-listen for fans of contemporary emo, post-punk, and grunge revival—but especially for those seeking a mirror in the music.