Weekly Discover #53

Welcome to Weekly Discover 53. This isn’t just a playlist—it’s a curated journey through the evolving landscape of today’s music.

From smooth, soulful melodies to pulsing, high-energy rhythms, each track has been thoughtfully selected to spark emotion and connection. It’s a mix designed not just to be heard, but felt.

Weekly Discover 53 brings together rising voices and fresh perspectives. These artists push boundaries, weaving classic roots with bold, contemporary soundscapes. The result? A sonic experience that challenges conventions and embraces change.

This edition celebrates creativity, growth, and the thrill of musical discovery. Whether you're a longtime listener or diving in for the first time, there's something here to catch you off guard—in the best way.

Welcome to 1111CR3W. Here, every beat tells a story, and every selection points toward the future of sound.

SIR-VERE – ADORE

After the genre-bending brilliance of LOVESCOPE, SIR-VERE returns from the lab with ADORE—a pulsating, club-ready single that oozes sweat, seduction, and sonic swagger. It’s the band’s first original studio track since their 2023 crossover triumph, and while LOVESCOPE flirted more heavily with rock structures and layered vocal dynamics, ADORE dives headfirst into the hypnotic heat of the dancefloor with no apologies.

From the opening throb of bass to the sly, soulful interplay of vocals by Craig White and Ian McEwan, ADORE is drenched in late-night lust and spontaneous connection—the kind of energy you only find when bodies are moving in sync to something just a little left of center. The lyrics spin a tale of infatuation sparked under strobes, a fleeting obsession with a wild-eyed dancer whose rhythm is as unpredictable as it is irresistible. There’s a celebratory wildness here, but also a quiet nod to the chaos of desire.

Musically, the track sits somewhere between LCD Soundsystem’s sardonic synth-punk charm and Soulwax’s club-savvy bravado, yet still sounds unmistakably like SIR-VERE. Gary Morland’s production is tight and textured, with Stevie Vega’s synth work creating that familiar SIR-VERE signature: raw yet refined, indie yet electronic, with punk sensibility bleeding through every beat.

What makes ADORE feel even more alive is its connection to the broader TRILOGY sessions—a promising hint at what’s brewing next for the band. And if that wasn’t enough to move the underground needle, the single comes loaded with two remixes that expand the song’s reach while preserving its pulse.

The Mind Of Us remix morphs ADORE into a deep house dream-state, layering hypnotic rhythms and progressive soundscapes to offer a version destined for peak-hour sets in Berlin or Tulum. Their touch is elegant and immersive, emphasizing mood without muting the song’s original spark. Then there’s the VODZILLA Club Remix—bold, cheeky, and chaotic in all the best ways. It’s the kind of mix that barrels into unexpected places, staying true to the Manchester producer’s freewheeling ethos and love for the strange and sublime.

Since 2019’s Psycho Ballistic Funk and its sister record Singulus, SIR-VERE have been steadily threading the needle between indie-electro chaos and dancefloor devotion. ADORE is further proof that they thrive where others hesitate—embracing the awkwardness of genreless music, the sex appeal of sweaty nightlife, and the freedom that comes with making music for the moment, not the machine.

With two albums in the pipeline and a remix collection with VODZILLA on the way, SIR-VERE are clearly not content to rest on past glories. If ADORE is a preview of what’s next, the party’s just getting started.

Wattmore – “Romantic Side”

If True Detective had a jukebox and that jukebox could cry into a glass of bourbon, it’d be spinning Wattmore’s “Romantic Side” on repeat.

Wattmore — the Brisbane-based duo made up of brothers Aiden and Kai Boak — doesn’t just flirt with genres. They wrangle them, pour a stiff drink, and dive into some seriously unfiltered storytelling. “Romantic Side,” the lead single from their upcoming debut project, is a gritty, swaggering slice of modern-day cowpunk that winks at nostalgia while kicking the shins of swipe-left culture.

Co-written with Aussie country legend Allan Caswell and produced by Lindsay Waddington (with a top-tier cast of Australian session players), the song walks a fascinating tightrope. On one side, there’s a classic country heart — rich storytelling, steel-string soul, that slow-burn melancholy you can’t fake. On the other: an alt-country snarl, a punk edge, and a smirk that says, “Yeah, we’re talking about you, Tinder.”

Musically, it’s a cocktail — a dirty mix of outlaw country, rockabilly grit, and Americana warmth. There’s something about the way Wattmore layer the twang and the tension that feels raw but intentional, a kind of chaos that’s been carefully arranged. You can hear the sweat in the guitar licks, the ache in the harmonies, the bite in the lyrics.

Lyrically, “Romantic Side” is both a confession and a middle finger. It skewers the plastic polish of modern romance with razor wit, but it never loses its vulnerability. Wattmore aren’t here to preach — they’re here to vent, to laugh, and maybe to heal something in the process. This isn’t heartbreak therapy. It’s a barstool sermon with a beat.

There’s also a refreshing lack of polish — and that’s a compliment. This is not the manicured sheen of Nashville’s mainstream machine. Wattmore lean hard into imperfection, into personality, and into a kind of honesty that’s often missing from genre-bending acts. They’re not trying to please everyone. They’re trying to tell the truth, with the amps turned up and their boots in the dirt.

“Romantic Side” is more than just a single — it’s a statement. It’s the sound of two brothers pulling back the curtain on connection in the algorithm age, armed with sharp pens, sharper hooks, and absolutely zero tolerance for bullshit. If this track is any indication, Wattmore’s upcoming album is going to be one hell of a ride — equal parts heartbreak, humor, and honky-tonk rebellion.

For fans of Lucero, Sturgill Simpson, or the idea of Johnny Cash swapping mixtapes with The Clash, Wattmore might just be your next obsession.

Bottom line? “Romantic Side” proves that Wattmore aren’t just playing dress-up in country clothes. They live in these songs — and they’ve got the scars to prove it.

SOUL by Starry Venus

There’s something quietly revolutionary about Starry Venus’ debut album, SOUL. It doesn’t shout for attention or chase trends—instead, it invites you in. Gently, intentionally, like an open palm offering not just music, but meaning.

From the first track, it’s clear SOUL is not your average pop record. Yes, there are melodies you’ll hum hours later and textures lush enough to swim in, but there’s also a grounded spirituality here that’s rare in mainstream music. Starry Venus, an artist rooted in both jazz traditions and spiritual exploration, blends the digital and the divine in a way that feels completely her own.

Across the album, her layered vocals don’t just carry lyrics—they act as instruments, weaving in and out of shimmering synthesizers, cinematic strings, and the mesmerizing pulse of a digital handpan. There’s something ritualistic in how the songs unfold—each one a sonic offering that seems to open another chamber of the heart.

And yet, SOUL never drifts into abstraction. These tracks are grounded, rhythmic, and emotionally immediate. Songs feel like journal entries written under moonlight—personal, raw, but polished with intention. The duality of the divine feminine and masculine is a thread she pulls on gently but persistently, making each track a meditation on balance and inner alchemy.

Starry’s background as a touring musician with Kira Mele shows in her control and musicality, but it’s her voice as a producer that stands out most here. The sound design is immersive and layered without ever becoming overwhelming. Everything has space to breathe—even the silence feels like part of the composition.

It’s also worth noting the multidimensionality of Starry’s vision. She’s not just a musician—she’s a filmmaker and a storyteller. The promise of forthcoming music videos and remixes feels less like promotion and more like the unfolding of a larger creative world. Her award-winning film Starborn hints at the scale of her ambition: to create not just art, but entire universes.

For a debut, SOUL is impressively confident. But more than that, it’s vulnerable. It pulses with intention, asking the listener not just to hear—but to feel, reflect, and maybe even transform.

Starry Venus has made an album that sounds like Sedona looks—vast, spiritual, glowing at the edges. And if SOUL is her first step into the spotlight, the journey ahead promises to be nothing short of transcendent.

Dr. Evangelos Viazis – Africa’s Heartbeat

In a time when music often races toward the next trend, Dr. Evangelos Viazis offers something far more enduring — a moment of reverence. His latest piece, Africa’s Heartbeat, isn’t just a record. It’s a cinematic pilgrimage into the soul of a continent, delivered with sincerity, weight, and artistry that’s difficult to fake — and impossible to ignore.

Viazis, whose YouTube following has soared past 210,000 subscribers, isn’t a newcomer. He’s a sonic craftsman — a global storyteller who stitches cultures, textures, and emotions into every composition. But Africa’s Heartbeat, released January 6, 2025, feels like a deeper calling. This isn’t about trends. This is about tribute.

From the first few seconds, the track invites you in: warm, earthy percussion taps like footsteps on dry soil, slowly expanding into a lush soundscape that feels both ancient and urgent. The opening verse — “Beneath the sun, where the rivers run, Africa sings, a story begun” — reads like the opening line of a sacred text, and the music carries that same gravity. The vocal presence is rich with emotion but never overbearing, acting more as a vessel for spirit than ego.

What makes Africa’s Heartbeat so compelling is how it balances grandeur with groundedness. One moment, you’re soaring over mountain ranges; the next, you’re dancing with barefoot joy beneath a star-splashed sky. Every beat, every note, feels lived-in — drawn from the well of collective memory rather than manufactured sentiment.

The chorus — “Africa, your heartbeat's strong / Echoes loud, a timeless song” — is infectious not because it’s catchy, but because it feels true. And in a world spinning fast on algorithms and superficial virality, truth is a rare currency.

But make no mistake: this track isn’t just for meditation or academic admiration. There’s motion here — the kind of rhythm that calls to curators, film directors, and lovers of music that feels visual even without a single frame. It’s the kind of song that could just as easily accompany a National Geographic special as it could inspire introspection on a long night drive.

Viazis doesn’t just celebrate Africa; he listens to it. That’s what separates Africa’s Heartbeat from other well-intentioned attempts to pay homage to the continent. This isn’t extraction. It’s elevation.

And while the composition is distinctly African in its heartbeat, its message is global. It’s about heritage, yes, but also about belonging. About remembering that even across oceans and cultures, we pulse to the same internal drum.

In an era where authenticity is both craved and elusive, Dr. Evangelos Viazis offers a track that not only honors a place but invites us to feel its spirit. Africa’s Heartbeat isn’t background music. It’s a reminder — powerful, poetic, and impossible to ignore — that some rhythms live in all of us.

Verdict: ★★★★★

A stunning, soul-stirring tribute that blends heart, history, and sonic brilliance. A must-listen for those seeking music with true emotional and cultural resonance.

Keith Woodhouse – The Planet Who

In an era dominated by pristine production and commercial polish, The Planet Who by Keith Woodhouse is a raw, unfiltered revelation. Hailing from Totnes, England, and recording from the confines of his bedroom in a care home, Woodhouse delivers a debut that’s as much memoir as it is music. It’s a record born not just of sound, but of survival, soul, and straight-up stubborn passion.

At 60, Woodhouse isn’t your typical debut artist. He’s been writing since he was 15, and The Planet Who feels like the culmination of a life lived in verses. Across 14 tracks written in a single month-long burst of inspiration, the album channels the spirit of Bob Dylan’s lyrical dexterity and Roy Harper’s outsider grit. But to box Woodhouse into comparisons would be to miss the point—this is rap poetry drenched in rock, spoken like a man who’s stared down life and turned it into language.

The production, overseen by care home manager Matt Carfrea—who also handled the album’s trippy, textured soundscapes—is a fusion of lo-fi grit and experimental ambition. With a blend of analog warmth and digital delay, the record doesn’t sound like it came from a professional studio. It sounds better: honest, immediate, and alive.

Tracks like “Razzamataz” throb with wild, jazzy chaos, while “Psychiatrik” is a candid dive into Woodhouse’s experiences with the mental health system. They’re songs that don’t just say something—they demand to be felt. There’s an edge of madness in the lyrics, tempered by decades of reflection and a poet’s heart. You can hear Dylan Thomas echoing between the lines. You can feel the smoke, the lovers, the open mics at the pub down the road.

And here’s the thing: Woodhouse only knows eight chords on the guitar. But The Planet Who doesn’t care about virtuosity. It cares about truth. It’s a defiant middle finger to the idea that creativity has an age limit or that great records can’t come out of bedrooms and broken systems.