• MONSTA X Reveal Member-Produced Mini Album The Phase Ahead of September 4 Comeback

    MONSTA X Reveal Member-Produced Mini Album The Phase Ahead of September 4 Comeback

    MONSTA X are gearing up for their September comeback with The Phase, a six-track mini album shaped heavily by the members’ own songwriting and production.

    Starship Entertainment revealed the tracklist through MONSTA X’s official social media channels on August 9, accompanied by a concept video built around machinery and exercise equipment being taken apart and assembled again.

    The Phase features six songs: title track “MAGIC,” “Type X,” “SURVIVOR,” “Electric Heart,” “That’s My Girl,” and “Sweet Night, Sweet Morning.”

    Joohoney takes a major role across the record, receiving writing and composition credits on four tracks, including “MAGIC.” He also contributed to the arrangements for “SURVIVOR” and “Electric Heart,” giving him a substantial creative presence throughout the project.

    Hyungwon adds another member-produced track with “Sweet Night, Sweet Morning,” continuing the production work that has become an established part of his musical identity.

    The album arrives during a period of extensive individual activity for the MONSTA X members. Alongside the group’s activities, the members have continued expanding their individual careers through solo and unit projects.

    Their return as MONSTA X brings those separate experiences back into the group format as they enter their 11th year since debut.

    According to the album introduction, The Phase combines MONSTA X’s established musical identity with a more refined sound and a new concept.

    MONSTA X will release The Phase on September 4.

    Photo: MONSTA X Official Social Media

  • KOOLAID Reconnects With Drum & Bass on the Euphoric Rush of “clinic”

    KOOLAID Reconnects With Drum & Bass on the Euphoric Rush of “clinic”

    KOOLAID wastes very little time getting “clinic” moving. The synths open wide, the drums lock into a fast groove, and “clinic” immediately carries the bright, weightless charge that made melodic drum & bass such a powerful club language in the first place.

    For Damien Hendrix, the man behind KOOLAID, that connection runs deep. Years before his work moved through hip-hop, punk trap, digi-core and broader electronic territory, he was part of South Florida’s drum & bass circuit, playing Miami venues including Club Space, Nocturnal, Mekka and Club Cinema between 2009 and 2012. “clinic” brings that history back into focus with the benefit of everything he has learned since.

    The production is clean, glossy and full of forward motion. Layered synthesizers provide the emotional lift while the percussion keeps pressing ahead with real urgency. There is a strong melodic instinct running through the track, with each section designed around elevation rather than aggression. KOOLAID understands the pleasure of contrast here: rapid rhythm underneath, spacious colour above.

    He describes “clinic” as “soul-cleansing music,” and the phrase fits the record’s physical purpose. This is dance music built around release.

  • Georgia VanNewkirk Turns Three Dates Into a Full-Blown Summer Rush on “CRUSH”

    Georgia VanNewkirk Turns Three Dates Into a Full-Blown Summer Rush on “CRUSH”

    Three dates can be enough to wreck your concentration for a week. Georgia VanNewkirk understands that very specific kind of trouble on “CRUSH”, a dreamy indie-pop single built around late nights, overheated imagination and the thrill of meeting someone who suddenly takes up far too much space in your head.

    The song came together during sessions with producer Corey Campbell while VanNewkirk was working through a far heavier batch of material. Then Los Angeles handed her a distraction. A new person, three dates, spontaneous nights out and all the reckless optimism that arrives before anyone has time to define what is happening. “CRUSH” grew from that shift in mood, and you can hear the release of pressure all over it.

    VanNewkirk keeps the production airy and luminous. Her vocal floats across soft electronic textures while the rhythm gives the track enough movement to carry its romantic nervous energy. Recommended!

  • Daniel Leckerman Lets the Past Circle Back on “Karma”

    Daniel Leckerman Lets the Past Circle Back on “Karma”

    Daniel Leckerman has a sharp instinct for the kind of electropop that works best after dark. “Karma” by Daniel Leckerman arrives wrapped in glowing synths, a restless bassline and that particular late-night tension where memory suddenly becomes louder than whatever is happening around you. The production moves with confidence, while Leckerman keeps the emotional centre close, personal and exposed.

    There is a strong sense of motion running through the track. Synths shimmer around the vocal, the rhythm pushes forward, and Leckerman sings from a place caught between memory and change. I like how “Karma” looks at the people, places and earlier versions of ourselves that stay lodged somewhere in the mind, occasionally resurfacing years later with surprising clarity.

    That idea gives the song its strongest pull. Leckerman leaves plenty of space around the identity of the person at the centre of the lyrics. It could be an old relationship, a familiar place, or a former version of himself. So don’t miss!

  • Max Styler Finds the Sweet Spot Between Club Pressure and Pure Emotion on “Love Forever”

    Max Styler Finds the Sweet Spot Between Club Pressure and Pure Emotion on “Love Forever”

    Max Styler has spent years learning exactly how much a dance record needs before the room starts moving. On “Love Forever,” featuring Kuuda, he brings that instinct into sharper focus, pairing the physical pull of house music with a vocal that gives the track its human centre. Released on 7 August as part of Styler’s I Don’t Think I Can Stop EP, the song lands in the middle of summer with impeccable timing.

    The opening seconds already carry that familiar Styler confidence. The groove arrives clean and controlled, built around a bassline with enough weight to take over a club system while leaving plenty of air around the vocal. His production works through precision rather than excess. Every kick has purpose, every small rhythmic accent pushes the body forward, and the spaces between those elements become part of the rhythm themselves.

    Then Kuuda enters and changes the temperature. Recommended!

  • The Wind Turn Teenage Cool Into Their Own Kind of Rock Star on “Party Like A Rock Star”

    The Wind Turn Teenage Cool Into Their Own Kind of Rock Star on “Party Like A Rock Star”

    The Wind have always treated growing up as something worth documenting in real time. On “Party Like A Rock Star”, they catch one of its funniest stages: the moment when teenagers start testing out confidence, building their own idea of cool and behaving for one evening as though the whole city belongs to them

    The drums come in with purpose, the guitars give the production a pop-rock bite, and the vocals carry the bright, open delivery that has become central to The Wind’s sound. Everything moves quickly. The arrangement keeps changing in small ways, adding little lifts and rhythmic accents that keep the song in motion.

    The strongest part is the chorus. It lands with the kind of immediacy this title needs, built around voices coming together rather than one member carrying the whole moment. The group sound matters here. It gives “Party Like A Rock Star” the atmosphere of friends shouting the same words across a crowded room, each voice adding another layer of excitement.

Welcome to SoundVille News, where every note is
a story waiting to be told


About Us

Privacy Notice

Terms of Use

Cookie Policy

Licensing

Careers




Working Hours
Monday — Friday: 1:00 PM – 6:00 PM (CEST, UTC+2)

© 2026 GMF PR Media Services, Soundville News © All Rights Reserved