However, I do have some familiarity with sajou no hana through listening to and reviewing “Awaku Kasuka” and “Hydrate.” I enjoyed both of those songs, so when I saw that she has released another anime theme song, I knew I needed to check it out.

Musically, “SHIRUBEKIKOTO” is a mid-to-uptempo J-pop track that incorporates acoustic guitar, strings, and what sounds like a flute into its arrangement. To me, it sounds like the song’s sound combines J-pop with some elements from western pop rock music, and I really like the vibe that this creates. I also think the inclusion of the flute sound helps to give this a bit of a “medieval” feel to the track. The vocal performance is really good on the song, and the delivery is a great fit for what the musical arrangement is going for.

I listened to “SHIRUBEKIKOTO” on Spotify, so I didn’t have easy access to an English translation of the lyrics. However, I did locate an English translation of the lyrics that’s been posted onto the internet. Reading through the translation, the lyrics seem to be from the point of view of a speaker who realizes they have feelings for another person and are expressing those feelings to the other person. I can tell that the lyrics were inspired by the anime that it’s being used for, but they’re written in such a way that they can be given a more universal meaning.

I may not be watching the simulcast for The Warrior Princess and the Barbaric King anime, but if I was, this is a song that I would look forward to hearing each week.

Fans of sajou no hana and of The Warrior Princess and the Barbaric King anime will likely have the most appreciation for “SHIRUBEKIKOTO,” but I think that J-pop fans may find something to enjoy here as well. As for western music audiences, I believe the song could potentially appeal to pop music listeners who don’t mind hearing a song that’s being performed in a foreign language.

(reviewed by Lesley Aeschliman on April 21, 2026)

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In September 2002, Russia’s DJ RAM (going under the name Virtual Server) released the album Installed. This was a project where he collaborated with international guest vocalists from independent synthpop bands. Installed was the first of two albums that DJ RAM released as Virtual Server. This album was released as both a single CD and as a limited two-CD version that was limited the first 1,000 copies. For the two-CD version, the first disc is the album. The second disc, labeled “Installed (Updates),” featured remixes of some of the songs on the album as well as a couple of additional songs. This review focuses on the two-CD version of Installed.

The Virtual Server project came to our attention during the time we were compiling the AeschTunes Top 40 during the early 2000’s. We charted four of the 12 songs included on Installed, and material from the album received airplay during the time the AeschTunes internet radio station was streaming during the early-to-mid 2000’s. While we have a history with this album, I have to admit that I haven’t listened to it in its entirety for years. I decided to take this opportunity to listen to the album again in order to write a review of it.

Installed opens with “You Feel the Same,” a song that features Jason Last from Neuropa on vocals. Musically, this is an early 2000’s synthpop track that has some hints of trance and EDM in this arrangement. Jason sounds great on this, but I have to admit that it’s a little odd for me to hear Jason singing on a song with this kind of an arrangement, as I’m more used to hear him on Neuropa’s warm analog-sounding material. The song is good, though, and DJ RAM does a great job with capturing the electronic sound of the era.

Next is “Why (Would I),” a song featuring Stefan Netschio from Beborn Beton on vocals. This is one of the songs from Installed that we charted on the AeschTunes Top 40, where it peaked at number four in February 2004. This a synthpop track with a bit of harder electronic feel to it, but it still has a catchy sound that you can dance to. Stefan’s vocals are a perfect for the track, as his style fits with this arrangement. He also does a great job capturing the emotional intent of the lyrics. This is one of my favorite songs on Installed.

This is followed by “A Voice,” featuring Nathaniel Nicoll from B! Machine on vocals. This is more of a slow-to-midtempo electronic track, but this is a tempo and style that works with Nathaniel’s voice. From what I’ve heard, B! Machine’s material is primarily in this vein, so having on performing on a track with this kind of an arrangement makes sense. There’s something about Nathaniel’s voice and delivery that isn’t a good fit with more upbeat material. I’m glad to hear DJ RAM include a track like this, as it shows he’s capable of a wider range of the electronic music spectrum. I like the “moodiness” of this song, both with its musical arrangement and the vocal delivery.

“Fallen” is a track that features vocals by Chrissy Franklin from The Echoing Green. This is another song that charted on the AeschTunes Top 40, where it peaked at number one in April 2003. Compared to a lot of the material on Installed, “Fallen” has more of a “lighter” sound. To be honest, this is one of the few tracks on the album that have a “pop” sound to it. I would say this is a lot closer to what people would think of as synthpop, although the arrangement also includes some trance elements to it. Chrissy’s vocal performance is fantastic on this song, and it perfectly complements the sound of the track. For me, “Fallen” is easily my favorite song on the album.

Next is “Divide,” which features Charlie Wollborg from Brave New World on vocals. There is also some whispered female vocals, which I’m not sure if this is a sample or an uncredited female vocalist. This song has some sonic shifts in it, going from a harder-sounding synthpop sound for the intro to a more stripped back feel with just keyboards and vocals before going to a synthpop sound that isn’t quite as hard as what was heard in the intro. However, the sonic shifts aren’t jarring, as they sound natural for the arrangement. I think Charlie sounds good here, especially since his performance is a perfect fit for this arrangement. This is another song that I enjoy on Installed.

This is followed by “Wide Awake,” another song featuring Stefan Netschio on vocals. This is another slower song on the album, and it’s an electronic track with hints of synthpop in its arrangement. What I like about this song is that is shows that Stefan Netschio is capable of performing both more uptempo and slower material. His vocal performance perfectly captures the emotions of the speaker, especially in the chorus. “Wide Awake” is another strong track on the album.

Tim Kramer from Shades Of Grey provides vocal duties for “Face To Face.” Musically, this sounds a lot closer to the EDM of the early 2000’s when compared to the other material on Installed. Like “Fallen,” this is another song that leans closer to the “pop” side. To be honest, this could have easily fit in with the material being played on dance radio during this era if it had more exposure outside of the underground synthpop scene. Tim has a good voice, and his delivery is a perfect fit with the sound of the track, “Face To Face” is another song that I enjoy on this release.

Next is “Hyperspace,” which features Franziska Kalb from No Comment on vocals. Sonically, this electronic track has a harder feel to it. While I wouldn’t go so far as to say it sounds industrial, this is probably the closest any song on this release gets to that feel. Unfortunately, I don’t feel that Franziska was the best choice to provide the vocals on this kind of a track. It’s not that she has a bad voice, it’s just that her vocal performance doesn’t entirely mesh with the arrangement. I would have enjoyed “Hyperspace” more if a vocalist who has a better match with the arrangement had provided the vocals for this track instead. Unfortunately, due to the vocals not meshing with the arrangement, “Hyperspace” is among the weakest tracks included on Installed.

This is followed by “Bullet,” a song that features Philip Noirjean from Carpe Diem (F.A.Q). Sonically, this is a slow-to-midtempo synthpop track with hints of EDM elements in its arrangement. Philp Noirjean has a decent voice, but I have to admit that his vocals aren’t quite as memorable as a lot of the other vocalists included in this project. It doesn’t help that the musical arrangement doesn’t have a strong hook to it, either. “Bullet” isn’t necessarily a bad song, but it just doesn’t grab me or have the same immediacy as most of the other tracks that appear on the album.

“Love Is Only” is another song that features Charlie Wollborg on vocals, and it’s another track that we charted on the AeschTunes Top 40. This song peaked at number five on our chart in September 2003. The song also includes some whispered female vocals that are provided by an uncredited vocalist. This is a synthpop track with a harder feel that also incorporates some elements from EDM. Even with its harder feel, I think the arrangement is catchy. The track has an obvious hook with its chorus, and Charlie’s vocal performance throughout the entire song really sells it. In my opinion, “Love Is Only” is another song track on this release.

Next is “Wall Of Sound,” which features vocals by Ross Carter from Blue October. Musically, this electronic track has a strong early 2000’s EDM feel thanks to the use of particular elements in its arrangement. Ross Carter sounds good on the track, although it seems like in the first verse, his vocals are lower in the mix than they really should be, because it’s hard to understand what he’s singing. After the first verse, though, I can hear Ross clearly. While I like the sound of this song musically, it was a little disappointing to have a section of the song where it was hard to understand what Ross was singing. Also, I think this track runs a little too long and wears out its welcome before it finishes. As the track is almost six minutes in length, I think it would have been stronger if it had been tightened up a little.

The album closes with “Save Me,” which features vocals by Alan Levesque from Voice Industrie and Chrissy Franklin. This is the closes thing that the album has to a ballad, which makes it the right choice to close the album on. This is also the only song on Installed that’s performed as a duet. Both of the vocalists turn in good performances for this track. However, I have to admit that the musical arrangement doesn’t really go much of anywhere and starts feeling like it’s plodding after a little while. It’s not a bad song, but the musical arrangement keeps this from being as strong as it could have been.

The second disc, “Installed (Updates),” includes 12 more tracks. There are two additional songs, a remix of the one of the additional songs, and nine remixes of the songs that appear on Installed.

The first of the two additional tracks is “Virtual Server,” the only song on the entire release that doesn’t have a credited vocalist. Musically, this has more of a “blippy” sound to its arrangement, and seems to include either samples or someone providing some spoken word sections. Considering how different this is compared to the other material to appear on Installed, it makes sense that this wasn’t included on the main album. It’s an interesting track, but it’s not something I’m going to go out of my way to listen to very often.

The other new track included on “Installed (Updates)” is a song titled, “Hourglass,” which features vocals by Patrick O’Connell. Musically, this is a synthpop track with more of a “blippy” feel to its arrangement. However, there are also some other elements to fill out the sound of the track. When it comes to the vocals, I thought that Patrick has an OK voice, but that he’s not as strong as most of the vocalists who appeared on the album. “Hourglass” isn’t necessarily a bad song, but I can hear why this was left off of Installed. Sonically, it just wouldn’t have fit in with the material that made it onto the release.

This disc also includes the Happy Hour Mix of “Hourglass,” which was remixed by Russian remixer Baby Max. This mix slows the track down a little but it also gives the song a bit more interesting of a sound musically. To be honest, I found that I enjoyed this remix more than I did the original song.

The song “Divide” gets three remixes on this disc, which makes it the most represented song on “Installed (Updates).”

The first mix is the Phraze Remix, which tries to give the song more of a sound that would have been popular in the dance clubs back in the early 2000’s. The mix loses the sonic shifts that made the original track a little more interesting, but that just wouldn’t have worked for a dance mix. Honestly, I enjoyed this remix of “Divide,” and I think this could have had some success with the dance crowd if it had been promoted outside of the underground synthpop scene.

The Tecnoman SF Remix is another dance-oriented remix, although this mix retains more of the synthpop feel than the Phraze Remix does. It’s a good remix, but it’s not as mainstream of a sound as the Phraze Remix has. Even so, I still enjoy this mix and think it’s a good interpretation of the original song.

The Technoman Louder Remix has a stronger and louder bassline than the Technoman SF Remix, and it also uses less of the vocals than the other mix does. In my opinion, of the three mixes of “Divide,” this is the weakest of them. It probably doesn’t help that this is a style of remixing that I don’t personally care for all that much.

The song “Why (Would I)” is represented by two remixes that appear on “Installed (Updates).”

The first remix is the Whys And Wherefores V Mix, which was done by Baby Max. This mix slows the track down and gives it more of a “chill” feel. This is a case where I think the drastic change in the song’s sound works and gives the listener another way of looking at the track and its lyrics. In my opinion, this is among the stronger remixes included on this disc.

The other remix is the Hajas Mix, which gives the arrangement a “lighter” feel and an even more dance friendly sound. I enjoy this remix of “Why (Would I),” and I think it’s another good remix that was included here.

“Wide Awake [Remix]” doesn’t have a remixer credit, so I have no idea if DJ RAM did the remix himself or if the remixer was simply uncredited. This remix gives “Wide Awake” a very different feel, and there’s something about the sound of this mix during some parts of it that makes me think of a remix of a Depeche Mode song. I like the sound of this remix, though. To be honest, I think this remix of “Wide Awake” is stronger than the original version of the song.

“You Feel The Same [Cyclone-B Remix]” was remixed by Estonian remixer Cyclone-B. There’s also a credit here saying the mix features Albert Martinez, the other half of Neuropa. This remix gives the song a sound that sounds a little closer to something that Neuropa would have recorded. Unfortunately, effects were placed on Jason’s voice that hampered my enjoyment of the mix. If they had used Jason’s original vocal, it would have been a great fit for the sound of this remix and I would have liked it a lot better.

“A Voice [Outdated Mix]” was remixed by Baby Max. This mix keeps the slower tempo of the original track, but strips down the arrangement quite a bit. This is an OK mix, but it seems like stripping down the arrangement emphasizes the fact that it doesn’t really progress much during its runtime a lot more evident. On the original version, I didn’t notice the lack of progression nearly as much as I do here.

“Save Me [Safe & Unharmed Mix]” was remixed by Michael Balch, a former member of Front Line Assembly. Musically, this remix adds a little more in the way of dynamics to the musical arrangement, as well as slightly increasing the BPM of the original. I have to say that the changes that Michael Balch made to this track help to make it sound a little more interesting. Between the original version and this remix, I’m more likely to listen to this remix of the song.

For the most part, Installed is a pretty decent electronic/synthpop album from the early 2000’s. While it’s not perfect, the majority of the songs are either catchy or enjoyable to listen to. Listening through this again, it’s no wonder we charted three of the songs from this album on the AeschTunes Top 40. Unfortunately, as of this writing, Installed is unavailable for legal streaming.

(reviewed by Lesley Aeschliman on April 21, 2026)

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Musically, “Non-Scenario Etude” is a catchy mid-to-uptempo J-pop track. It’s got the right sound and feel for the opening theme of an anime theme song, but it doesn’t sound generic. This is definitely a track that will get the audience pumped up before each episode. It’s also got a fun vibe to its sound. I can’t forget to mention the bridge about halfway through the song where the arrangement slows down and scales back briefly before continuing on, because I thought this added a nice texture to the arrangement. Sora Amamiya has a “cute” sound to a bit of her vocal delivery, but she does it in a way where it doesn’t sound overly “cutesy.”

I listened to “Non-Scenario Etude” on Spotify, so I didn’t have easy access to an English translation of the lyrics. However, I did locate an English translation of the lyrics that’s been posted onto the internet. Reading through the translation, the lyrics appear to be from the point of view of a speaker who’s fallen for another person but doesn’t know how to communicate their feelings to that person. If the translation is accurate, the lyrics utilize imagery from the stage (monologues, improvisation, rising curtain, etc.). To me, the stage imagery does a great job of getting the song’s theme across.

I may not be watching the simulcast for the fifth season of the Rent-a-Girlfriend anime, but if I was, this is a song that I would look forward to hearing each week.

Fans of Sora Amamiya and of the Rent-a-Girlfriend anime will likely have the greatest appreciation for “Non-Scenario Etude,” but I think that J-pop fans may find something to enjoy here as well. As for western music audiences, I believe the song could potentially appeal to pop music listeners who don’t mind hearing a song that’s being performed in a foreign language.

(reviewed by Lesley Aeschliman on April 20, 2026)

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However, I do have some familiarity with Hana Hope through listening to and reviewing her song, “Two Of Us.” I enjoyed that song, so when I learned that she had recorded another anime theme song, I knew I needed to check it out.

Musically, “blue hour” is a slow-to-midtempo J-pop track with a laid-back sound with an acoustic-leaning arrangement. In some respects, the sound of the song sounds closer to western pop rock than it does J-pop. Sonically, it has vibes that make me think of the female singer-songwriters who were having success in the west in the late 1990’s. Hana Hope’s vocal performance is great on the track, and her delivery is a perfect fit for the feel of the musical arrangement.

Lyrically, “blue hour” includes a combination of Japanese and English and Hana does a great job singing the English lyrics. Reading through a translation of the lyrics, they seem to be inspired by the anime that the song is being used for. However, they’re written in such a way that the lyrics can be given a more universal meaning.

I may not be watching the simulcast for the A Hundred Scenes of AWAJIMA anime, but if I was, then this is a song that I would look forward to hearing each week.

Fans of Hana Hope and of the A Hundred Scenes of AWAJIMA anime will likely have the greatest appreciation for “blue hour,” but I think that J-pop fans may find something to enjoy here as well. As for western audiences, I believe the song could potentially appeal to pop music listeners who don’t mind hearing a song that’s being performed in two different languages.

(reviewed by Lesley Aeschliman on April 20, 2026)

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Musically, “TENSEI!!” is a catchy and uptempo J-rock track that leans a little more toward the pop side of things. It has a bit of a “quirky” feel to its arrangement, but considering the anime series that it’s being used for, this kind of a sound makes sense for the song. The vocalist for shukatsuclub has a decent voice, and his delivery does a great job of complementing the vibe that the musical arrangement is going for.

I listened to “TENSEI!!” on Spotify, so I didn’t have easy access to an English translation of the lyrics. However, I did locate an English translation of the lyrics that’s been posted onto the internet. Reading through the translation, the lyrics are very obviously linked to the concept behind the My Ribdiculous Reincarnation anime. It’s harder to apply these lyrics in a more universal way, and the only way they can be seen that way is if they’re from the point of view of a speaker who’s pondering ideas in their head.

I may not be watching the simulcast for the My Ribdiculous Reincarnation anime, but if I was, this is a song that I would look forward to hearing each week.

Fans of shukatsuclub and of the My Ribdiculous Reincarnation anime will most likely have the greatest appreciation for “TENSEI!!,” but I think J-pop and J-rock fans may find something to enjoy here as well. As for western music audiences, I believe the song could potentially appeal to pop music or pop rock listeners who don’t mind hearing a song that’s being performed in a foreign language.

(reviewed by Lesley Aeschliman on April 20, 2026)

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I was 15 years old and in the 10th grade when “You’re in Love” was released as a single. I had already liked the previous three singles I heard from the album, so it wasn’t surprising when I liked this song the first time I heard it. The three-part harmonies work really well on this song, and the lyrics about being able to rekindle a friendship with a former lover are very relatable. Also, I thought that the vocal performances did a great job of capturing the emotions of the song’s speaker. While I may not have gone through any kind of romantic relationship at that point in my life, the song still resonated with me. Now that I’m older and have more life experience, I find that I appreciate this song even more now than I did when I was a teenager.

Looking back, it’s not that surprising that “You’re In Love” became Wilson Phillips’ third number one single. While “Impulsive” may have missed hitting number one, it still went on to be a top five hit, which helped to keep the group’s momentum going on the pop chart. Sonically, the song’s simpler musical arrangement was a perfect fit for the direction that pop radio was moving in at the time, so between that and Wilson Phillips’ popularity, radio programmers were more than willing to give this one a chance. I think what ultimately pushed it up to number one was the song’s relatability factor.

Unfortunately for Wilson Phillips, “You’re In Love” ended up earning the distinction of being the final number one single of their career. The group went on to release one more single from their self-titled album: “The Dream Is Still Alive.” Not only did “The Dream Is Still Alive” not hit number one, it also just missed the Top 10, peaking at number 12 on the Billboard Hot 100.

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Musically, “Petals” is a slow-to-midtempo J-pop track. It starts with a nice and slow buildup, but then the tempo suddenly picks up. Over the course of the song’s almost three-minute runtime, the song has several tempo and sonic shifts. I have to admit that these shifts kind of gave me some sonic whiplash as I listened to the track. But, I will say that the brief a cappella ending was a nice touch. Overall, Kase gave a good vocal performance, but there is a spot in the chorus where it sounds like she’s trying to hit a high note that’s just slightly out of her range.

I listened to “Petals” on Spotify, so I didn’t have easy access to an English translation of the lyrics. However, I did locate an English translation of the lyrics that have been posted onto the internet. Reading through the translation, the lyrics make a lot of references to spring as well as imagery associated with the season, which makes sense when you look at the anime that it’s being used for.

“Petals” isn’t a bad song, but the multiple sonic shifts during such a short runtime don’t do a whole lot for me personally.

Fans of Orangestar, Kase, and of the Agents of the Four Seasons: Dance of Spring anime will likely have the greatest appreciation for “Petals,” but I think that J-pop fans may find something to enjoy here as well. As for western music audiences, I believe the song could potentially appeal to pop music listeners who don’t mind hearing a song that’s being performed in a foreign language.

(reviewed by Lesley Aeschliman on April 19, 2026)

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However, I do have some familiarity with ZAQ through listening to and reviewing the song “Dramatic Overlay.” I enjoyed this song, so when I learned that she had released another anime theme song, I knew I needed to check it out.

Musically, “Liar Veil” is a mid-to-uptempo J-pop track. After an intro that focuses on record scratches and a male vocal, the arrangement becomes a catchy sounding. Unfortunately, we do get the brief occasional record scratches and male vocal that shows up in the track, but it doesn’t sound quite as annoying when it appears during the actual song. The musical break in the latter half of the track adds a nice texture to the arrangement. ZAQ’s vocal delivery is quite good on this song, and her performance fits the vibe that the music is going for.

I listened to “Liar Veil” on Spotify, so I didn’t have easy access to an English translation of the lyrics. However, I did locate an English translation of the lyrics that’s been posted onto the internet. Reading through the translation, the lyrics appear to be from the point of view of a speaker addressing someone who seems to want to keep their distance, but the speaker wants to get to know them better.

“Liar Veil” isn’t a bad song, and overall I did enjoy it. However, I think this track would have been a little stronger without the record scratch and male vocal intro, as I felt it really didn’t add anything in the long run. While a short intro of some kind is needed to go into the song but I didn’t think what was done here was what was needed.

Fans of ZAQ and of the Classroom of the Elite anime will likely have the greatest appreciation for “Liar Veil,” but I think J-pop fans may find something to enjoy here as well. As for western music listeners, I believe the song could potentially appeal to pop music listeners who don’t mind hearing a song that’s being performed in a foreign language.

(reviewed by Lesley Aeschliman on April 19, 2026)

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Musically, this roughly five-minute track has a slow build up and doesn’t truly get going until well after a minute has passed. Sonically, it’s a slow-to-midtempo dance track, and I swear in the latter half of the track that I’m hearing hints of Donna Summer’s “I Feel Love” in the musical arrangement. When it comes to the vocals, there’s a strong emphasis on Madonna speaking, although she does sing for the chorus. In the latter part of the song, she drops the spoken parts completely and focuses on singing. I have to be honest here and say that while I get what she was going for with the spoken parts, especially with what she’s saying, it goes for too long and bogs down the first half of the song. In my opinion, “I Feel So Free” is a little on the long side and would likely be a little stronger if it was tightened up. Also, I felt that the second half of the song is stronger than the first half.

Lyrically, the song is all about being out on the dance floor and is from the point of view of a speaker who talks about why they like to go dancing. It’s a pretty straightforward lyrical message, which works with the vibe that the song’s musical arrangement is going for.

“I Feel So Free” didn’t really grab me as much as I had hoped on my first listen. I’m not saying that it’s a bad song, but I think this could be a case where the song ends up growing on me with additional listens. I really hope that this song isn’t indicative of how Confessions II will sound like, though. I will give future releases from the album a chance, but after hearing “I Feel So Free,” I’ll be going into them with lowered expectations.

(reviewed by Lesley Aeschliman on April 19, 2026)

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Normally, I share new music that I’ve discovered during the week on AeschTunes’ social media channels (Bluesky, Mastodon, Tumblr, and YouTube), and each Sunday I post a “New Music Discoveries” post to the AeschTunes website that collects all of the songs that were shared on the socials each week. However, I was on vacation during the week of April 12-18, so the songs featured this week were not previewed in advance on AeschTunes’ social media channel.

Check out the songs and see what you think.

Dionne Warwick has released “Ocean in the Desert,” a collaboration with Cynthia Erivo, from Dionne’s final album, Duets.

This song blew me away. It’s an uplifting track with a great lyrical message, and Dionne and Cynthia sound so good together.

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Recently, Paris Paloma released “Miyazaki.”

From what I’ve read, the lyrics were inspired Hayao Miyazaki’s vocal opposition to AI-generated art. I love the defiant and anthemic tone this has, both in its music and in Paloma’s vocal delivery.

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The Greenberry Woods have released “Whenever You Want Me Too.”

This is a very catchy track that reminds me of some of the alternative rock I listened to during the early 1990’s. The vocal performance is a perfect match for the song’s vibe and sells the track.

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Recently, Jorge Wilson released “This Means Nothing (To Me).”

I love the combination of pop, rock, and R&B influences in the music and how catchy this sounds. Jorge’s vocal performance really fits the song’s vibe, and his delivery sells the song’s lyrics.

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Donna Lewis has released “Fall Back Girl,” a collaboration with David Lowe.

The song has a dreamy electronic pop feel, but the arrangement hides the lyrics’ story of heartbreak. Donna’s vocals capture the speaker’s emotions and fit the music’s vibe.

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Pop-folk singer Matthew Holtby has released “Yesterday.”

The song has a very stripped back and gentle feel to its arrangement. Matthew’s vocals express the track’s theme and the speaker’s emotions. This song about growing older resonates with me.

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Recently, Jaclyn Kenyon released “SCARS.”

This song rocks, with a lyrical theme of not being ashamed of the hurt and detours that people have experienced in life. Jaclyn’s vocal delivery is defiant and you can hear that she means the words that she’s singing.

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