Friday saw the arrival of ‘Reebok Fantasy‘ by indie rock outfit Valley Onda, via Valley Onda Records. This follows their recent ‘‘Minacious’‘ single and its video rollout on CLASH Magazine, adding to a catalog that’s pulled in 350,000+ streams since the trio’s 2019 start. Their thoughtful alternative sound has landed nods from triple j and pubs like The AU Review, Happy Mag, Where The Music Meets, and Clunk Mag, alongside tour support from The Money War and Brightness. The lineup features Jordan Wilson handling vocals and guitar (previously in Georgia Fair, supporting Paul Kelly, Laurel, and John Mayer), Michiya Nagai on keys (stage time with Lamalo at The Grass is Greener for 15,000 fans and a TEDx Melbourne soundtrack gig), and drummer Galen Sultmann. Hailing from Sydney’s Gadigal land, the band took shape in a quiet restaurant meetup after tours, with Jordan and Galen jamming until Michiya joined to blend his trained piano and production into a textured indie rock style echoing Radiohead, Alt-J, Mansionair, Bon Iver, Muse, and Gorillaz—resonating with REM, Cage The Elephant, and The Verve crowds.
Valley Onda‘s new track ‘‘Reebok Fantasy’‘ unfolds as a tense, emotive indie rock ride, shifting from low-key strain to a sharp, energizing break. Jordan‘s strong vocal presence anchors it all, with acoustic guitar lines and soft, rippling elements wrapping the words in a distant, smokey haze.
The band shared: “Do you know that feeling when you’re walking down the street feeling isolated and everyone else is looking cool in their designer clothing? So you pull into a Nepalese Restaurant and order a tea to hide out for a minute. Maybe open a paperback or meet someone interesting. That’s the vibe of ‘Reebok Fantasy’.”
From the gritty streets of Detroit to the sun-soaked vibes of Cannes, Jairic has carved out a fierce spot in hip-hop as a self-made musician, producer, and storyteller, blending raw lyrical punch with genre-bending production that draws from icons like Nas and Wu-Tang Clan, alongside Detroit underground edges, classic funk, 60s rock, and film scores. With nearly 2 million streams across platforms from his fully self-written, self-produced, and self-performed tracks—paired with visuals that mix luxury and grit—he’s a rising star at the crossroads of music, film, and fashion, having delivered standout performances at elite spots like Château Les Alouettes in Cannes, Villa Balbiano on Lake Como, and the Paris premiere of the short film Azur, while his work spans France, Italy, Prague, and the U.S.
His latest drop, ‘Don’t Let Me Put A Track On You’, hit on September 5, 2025, via Rich Air Music, premiering on CLASH Magazine and earning props from EARMILK, packing quick-witted bars, chaotic sound design, a Caribbean pulse, and a bridge with warm female vocals that echo his unfiltered energy.
We sat down with Jairic to dive deeper into his journey, influences, and this bold new track.
What’s it like growing up in a musical family in Detroit, and how did that shape your early days in hip-hop?
I’m incredibly grateful I had music around me from such a young age. In Detroit, rhythm was everywhere — every get-together had live music, and I grew up playing drums and piano. That foundation shaped everything I do in hip-hop.
How did you transition from producing beats for local Detroit artists to creating your own independent sound?
I loved producing for others, but I love writing too much to stay quiet. It’s therapeutic and engaging — I had to find my own voice.
Can you talk about the influences from Nas, Wu-Tang Clan, and classic funk that show up in your music?
Part of me is always chasing that standard — a beat as timeless as ‘C.R.E.A.M.’ or lyrics as poetic and hard-hitting as Nas. Classic funk adds the groove that ties it all together.
What’s been the biggest adjustment living and working in Cannes after coming from Detroit?
The toughest adjustment has been being away from family. I was performing and working on a project in the South of France, and ended up missing part of my daughter’s soccer season — that was hard.
How do you blend elements from film scores and 60s rock into your hip-hop production style?
When I produce, I see it like a film scene — every track feels like part of a soundtrack. That’s where the cinematic elements slip into the hip-hop foundation.
Tell us about performing at places like Château Les Alouettes and the Azur premiere—what stands out from those experiences?
I’ve been fortunate to collaborate with incredible people — but at the end of the day, it’s the relationships, the audience connection, and the places themselves that stand out most.
What inspired the lyrics in ‘Don’t Let Me Put A Track On You’, especially that “don’t run up on me” vibe?
Someone in my family was going through a really tough time — they got attacked for doing the right thing, and I had their back. As it started to spill onto me, I thought, ‘Oh no, you don’t want any of this.’ That energy sparked the track, and from there it took on a life of its own.
How did writing this track in the south of France bring in that Caribbean pulse and contrast between smooth and chaotic elements?
I was staring out at the Mediterranean, layering these wild percussion. It felt peaceful and soothing, but underneath it was a fight song — I was missing my family. That ‘manic, full of nonsense and grammatical’ section is where it really explodes. The bridge had been written for another track, but against that ocean sunset, it finally clicked and came together.
Can you walk us through the sound design choices in ‘Don’t Let Me Put A Track On You’, like the stirring intro and the bridge with female vocals?
The intro is actually a king cobra — a subtle nod to danger. I love layering percussion; sometimes I overdo it, but that’s where the beat takes me. The bassline has a reggae rhythm that locks in with the drums, then halfway through the verse it explodes into chaos — my favorite part. For the bridge, I originally sang it myself, but I wanted a female voice to bring contrast. Her harmonies and background vocals really added to the tension and build of the track.
If you could collaborate with anyone from your influences on a future track, who would it be and why?
Nas would be dope. I saw his Illmatic anniversary show in Germany with my son last year — legendary and effortless.
Rising indie folk talent Jan Kalter has stepped up with his evocative single ‘Save Our Souls‘, backed by a touching lyric video through the Cold Skipper Inc. label. Pulled from his first EP No One Bites And No One Barks, which has racked up more than 400,000 streams on various platforms, this marks a strong entry point for the artist, positioning him as a compelling narrator in the indie folk scene. Hailing from Nordhorn, Germany, and now calling Cologne home, Kalter kicked off his musical path with secret piano practice at a neighbor’s place before branching into guitar, trombone, and singing. He cut his teeth in grunge outfits but settled into indie folk, blending stark honesty with subdued power, pulling from acts like Bon Iver, Novo Amor, Lord Huron, and Sufjan Stevens that molded his style.
The track unfolds as a gentle ballad wrapped in authenticity, with light acoustic layers and faint harmonies building a close-knit yet expansive audio atmosphere that allows Kalter‘s voice to cut through with earnest force.
Jan Kalter shared: “‘Save Our Souls’ came from a place of deep reflection on how we connect — or sometimes fail to connect — with each other in challenging times. I wanted the song to feel raw and intimate, so I kept the arrangement stripped-back, letting the voice and acoustic textures carry the emotion. The recording process was almost like a live performance, capturing imperfections that make it human. For me, it’s a call for empathy and presence, wrapped in a folk sound that feels both fragile and hopeful.”
Doja Cat unleashed her latest single ‘Jealous Type’ on August 21, 2025, marking the lead track from her highly anticipated fifth studio album, Vie, set to drop on September 26 via Kemosabe Records and RCA Records. The Grammy-winning artist, known for her genre-blending prowess as the “Queen of Pop-Rap,” has a storied career with 19 Grammy nominations, including Album of the Year for Planet Her (Deluxe), and a win for Best Pop Duo/Group Performance for ‘Kiss Me More’ with SZA. Her 2023 album Scarlet hit number four on the Billboard 200, spawning the chart-topping ‘Paint the Town Red’, her first solo number-one single. Doja Cat also announced her Ma Vie World Tour, kicking off November 18 in Auckland at Spark Arena, with stops in Perth, Melbourne, Sydney, Manila, Tokyo, and wrapping in Kaohsiung on December 21.
‘Jealous Type’ is a vibrant pop-rap track infused with funk-pop and disco-pop elements, crafted by producers Jack Antonoff and Y2K. The song’s retro ‘80s-inspired soundscape, complete with bright synths and punchy programmed drums, delivers a groove-heavy vibe. Lyrically, it dives into the complexities of jealousy and insecurity in relationships, with Doja Cat’s breathy vocals gliding over a slick, danceable beat. The accompanying music video, directed by Boni Mata and shot in Los Angeles, features Doja in bold, neon-lit visuals, embodying an ‘80s femme fatale while confronting her own duality in a striking narrative.
‘Jealous Type’ could mark a turning point for disco-pop’s return to pop’s mainstream. By blending its infectious, groove-driven essence with modern pop-rap sensibilities, Doja Cat taps into a hunger for upbeat, dancefloor-ready tracks that resonate in a post-isolation era. Unlike fleeting trends, this single’s polished yet raw production—rooted in funky bass and sparkling synths—feels like a natural evolution of her sound. With Doja’s massive influence, this release might not just dominate playlists but also inspire a wave of artists to revive disco-pop’s vibrant, communal spirit, redefining pop’s trajectory.
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