News – Page 6 – RCRD LBL

October 8, 2025

October 8, 2025October 8, 2025 Mew Zikwryder

Your Music, Your Rules: PLAYY. Music Is Here

Something new has just landed in the world of music, and it has been a long time coming. After over a decade in development, PLAYY. Music has officially launched: a first-of-its-kind social music platform built entirely for independent artists, their communities, and the evolving future of the industry.

Unlike traditional streaming services, PLAYY. Music isn’t just another destination to upload your songs. It’s an all-in-one ecosystem designed to give creators complete control over their work, their careers, and their connection with fans.

Within a single platform, artists can:

Sell and stream their music, podcasts, and mixes directly to fans, with fair payouts
License tracks for use in film, TV, or ads—or offer sample packs to other producers
Run ticketing and bookings for live shows and tours
Find and offer paid opportunities via a music jobs marketplace
Raise funds from fans to support new projects
Access real-time analytics and engage directly with their community

At the heart of PLAYY. Music is a simple belief: artists deserve ownership of their music, their data, and their relationships with fans. Artists should be able to manage their creative business without relying on the outdated, exploitative systems that have defined the music industry for decades.

The platform was founded by Warren Morris, Director of PLAYY. (formerly The Playground), the company that helped support artists such as Ed Sheeran, FKJ, and Novo Amor early on in their careers. What started as an idea in the early 2000s, during the heyday of MySpace and the rise of digital fandom, has evolved into something both practical and visionary: a digital oasis of creative independence and community.

For fans, PLAYY. Music offers a space that feels refreshingly human. Devoid of intrusive ads and algorithmic noise, there is a notable emphasis on meaningful discovery, direct artist engagement, and access to exclusive performances, projects, and events. It’s a platform built not around consumption, but connection.

In a landscape that often values clicks over creativity, PLAYY. Music is measured in its ambitions: not chasing trends, but creating the infrastructure for long-term creative sustainability. At its core is a belief that musicians should be able to grow without constantly compromising, where music can thrive on its own terms.

“Building PLAYY. Music has been a deeply personal and challenging journey,” remarks Morris. “Seeing firsthand the hurdles artists face due to limited resources and industry monopolies fueled this project. It shouldn’t be this difficult for musicians to share their work and make a living from it… this has been the most demanding endeavor I’ve ever undertaken, and now, after nearly two decades, we’re finally ready to launch.”

Join the PLAYY. Music movement – sign up today!

Follow PLAYY. :

Website – Facebook – Instagram

October 3, 2025

October 3, 2025October 3, 2025 Mew Zikwryder

Jairic Delivers a Tense Hip-Hop Cut with ‘Don’t Let Me Put A Track On You’ Video

(Jairic / Image Credit: Lucas Merka)

Jairic put out his new single ‘Don’t Let Me Put A Track On You’ last week on September 25 through Rich Air Music, keeping his streak of do-it-all releases alive. The guy got his start in Detroit, where music filled the house from day one, and he spent those early years making tracks for rappers around town before going solo with a sound that’s all his own. He pulls from Nas and Wu-Tang Clan for the weight in his words, folds in the grit of Detroit’s lesser-known spots, throws in some classic funk grooves, ’60s rock bite, and those big film-score swells. Over the summer, he turned heads with low-key sets at Château Les Alouettes in Cannes and Villa Balbiano on Lake Como, and popped up live for the Paris debut of the short film Azur. Jairic handles the writing, the beats, the vocals—everything—then pairs it with visuals that balance sharp luxury against rough edges, landing him right where rap rubs up against cinema and high fashion.

What makes this one stick is the way Jairic layers his delivery: straight-talk bars over a beat that builds from knotted-up chaos to a smoother vocal turn, then kicks back into a full-throttle hip-hop drive. It’s got that forward momentum, the kind his production always carries, making you lean in for the next switch. The video takes it deeper, shot by Vansh Luthra, the Indian director out of Prague who’s built a rep on films like Two Words as the Key and the award-pulling Destination Paradise—it even grabbed an “Honorable Mention by the Press” at the Academy-qualifying Festival Internacional de Cine Lebu. Jairic shows up sharp in a suit, caught in this drawn-out push-pull with assistant director Julie Weber playing the part of someone who drifts in close with a loaded stare. They move through empty nighttime streets, lights carving hard lines across faces, and a single rose keeps popping up as this quiet thread—turning the whole thing into a tight story about who ends up holding the cards.

Jairic shared: “The video is built around the symbol of a rose. It moves through a dark, seductive world, exploring power, obsession, and how the hunter can quickly become the hunted. The song itself carries that same energy — a warning, a dare, a promise: don’t let me put a track on you.“

Watch ‘Don’t Let Me Put A Track On You’:

Follow Jairic:

Website – Instagram – Soundcloud – Youtube – Spotify

September 26, 2025

September 26, 2025September 26, 2025 Mew Zikwryder

Three cities, one strike: the forward drive of ZOCO’s debut “Restless”

The appeal of “Restless” is its engineering of momentum. ZOCO plots a straight line from idea to impact: write a song about killing routine, gather a cast that can play it with feel, and record it where the energy lands on tape. Sessions rolled through Los Angeles (Licorice Pizza Records) and Milan (Massive Arts Studios), with vocals produced and recorded in Nashville—three cities, one coherent picture. Gunnar Nelson produces (and sneaks in harmonies), Kerry Brown oversees, and Stephen DeAcutis mixes for punch and headroom; Howie Weinberg masters with the kind of top-end confidence that survives playlists and broadcast alike.

Players matter: Carmine Rojas’ bass lines are fluid and song-serving; the drum chair is shared—Slim Jim Phantom brings brush finesse, London Hudson adds modern weight—giving the track its dual character of glide and thrust. Marco Zocco’s baritone sits center, guitar work drawing clean lines rather than monuments. The chorus—co-written and sung with brothers Paolo and Matteo—is engineered for participation, the “whoa”s cueing the room.

“Restless” reads as a mission statement for LUMANISTA (Part 1) (January 2026): alternative rock with cinematic side-lighting, pop-scale hooks without the plastic. It’s independent music with professional torque, and that combination tends to travel.

Stream ‘Restless’:

Follow ZOCO:

Website – Instagram – TikTok – Youtube – Spotify

September 25, 2025

September 25, 2025September 25, 2025 Mew Zikwryder

Sam Macdonald Unveils Debut Solo Track ‘Distant Light’ with Northern Roots

Northern singer-songwriter Sam Macdonald dropped his first solo single ‘Distant Light’ on September 23, 2025, taking a big leap into independent territory. Coming from Carlisle, Macdonald has been creating music for over a decade, and has shared stages with heavy hitters such as The Brian Jonestown Massacre, The Telescopes, and Dead Skeletons, while building a name for himself in the indie scene. His sound pulls from childhood staples—Buddy Holly vibes and his dad’s old 50s and 60s tapes—mixed with Scouse and Northern icons like The La’s, The Coral, Shack, Echo & the Bunnymen, Oasis, and The Stone Roses. Add in classics from Neil Young, R.E.M., Teenage Fanclub, The Rolling Stones, plus Motown’s groove and hip-hop’s rhythmic punch, and you’ve got a foundation that’s shaped his knack for blending melody with beat.

The track itself is a quirky fusion of rock, pop, and soul elements, delivered with a melodic twist that’s anything but straightforward. Macdonald channels those varied inspirations into something intimate, sharpening the edges for a personal touch. Lyrically, it weaves themes of chasing freedom, transformation, and glimpses of what’s ahead, all wrapped in a sound that’s concise and punchy with an alternative slant that sets it apart from his group efforts.

This shift to solo work highlights Macdonald‘s drive for self-direction, moving away from team dynamics to own every beat and visual. Sam Macdonald shared: “I have learned a lot about what I want to make. This is a movement towards something that is not driven by trying to appease other people’s ideas of what is right and wrong. The basslines, the drums and everything else is all at my direction. The make-up of everything, audio, visual is all driven by myself.” He wrapped up his mindset with: “Rarely is anything set in stone or black and white I think is certainly one thing. And making the most of what is right for you in an artistic sense, staying true to yourself.”

Stream ‘Distant Light’: