FLYAH MAGAZINE

  "Eileen Lloyd’s song “Flirting with Santa” stands out in the holiday music landscape for a number of reasons. Framed as a fun, clever, and distinctly humorous tune, it brings a fresh bite to Christmas cheer while still tapping into the familiar warmth of seasonal soundtrack staples. The piece immediately suggests a performance that could belong on a Macy’s parade float or a Broadway stage, signaling both broad appeal and a sense of theatrical flair. Musically, the song leans into an old-school bluesy vibe that gives it a retro texture without feeling dated. That instrumentation creates a warm, variasous groove that’s instantly catchy, making it one of those tunes you’re likely to hum long after the season passes. The blend of bluesy instrumentation with holiday whimsy gives the track a timeless quality: it feels nostalgic enough to evoke classic Christmas records, yet lively enough to stay fresh in contemporary playlists. Vocal performance is central to the song’s charm. Lloyd’s...

  "Fade into you, the track by Jamie Alimorad, arrives with a voice that feels immediately approachable: attractive, smooth, and easy to listen to. That vocal warmth acts as the perfect entry point into a song built on the tension between certainty and craving. The lyrics are concise and memorable, skating along the surface of infatuation with a clarity that makes the story easy to latch onto. The refrain-like quality of the lines helps the listener carry the chorus in their mind long after the music ends, which is a hallmark of a tune that sticks. Musically, the song sits comfortably in the sweet spot between indie rock and pop, a blend that rewards both attentive listening and casual dancing. The mix is described as clean and balanced, with nothing overpowering—an important choice for a track that leans on mood as much as mood. The drums and piano are highlighted as particularly effective, their interaction creating a propulsion that feels organic rather than manufactured. The s...

  "Becky Raisman’s album Earth Goddesses presents a luminous exploration of empowerment, love, and equality through a contemporary lens. Framed as a musical meditation on the feminine awakening happening in today's world, the album weaves themes of freedom, compassion, and resilience into accessible melodies and dynamic production. Each track serves as a vignette in a larger narrative about self-assertion, community, and the joy of staying true to oneself in the face of external expectations. The opening track, Moonlight Goddesses, stands out as a magical anthem that foregrounds Raisman’s voice and tonal approach. Described as “perfect for depicting the great feminine awakening,” it channels a sense of transcendence and solidarity among “compassionate beings.” The guitar work invites reflection while the vocal delivery conveys both strength and vulnerability. The song’s transitions, carefully engineered to elevate the track’s vibration, contribute to a rising sense of momentum...

  Bray   is a Bay Area alt-pop auteur with a flair for cinematic mood and classic songcraft . Across six world tours, 11 national TV placements, and over four million video views, he’s honed a signature lens: Route 66 dust and 70s glamour refracted through modern synth-soul and art-rock. The Last Romantic is the newest album and his most cohesive statement. yet—equal parts noir and neon, zoomed in on the fragile negotiations we make with ourselves and the people we love.  Performed live with his touring band  Bray & The Dens , these songs bloom on stage—proof that mystery and melody still move the needle. Bay Area alt-pop powerhouse  Bray & The Dens  release their long-awaited album,  The Last Romantic , now streaming on Spotify, Apple Music, Bandcamp, and all major platforms. The collection delivers a cinematic blend of synth-rock, soulful hooks, and 70s-inspired glamour — a sound that feels both timeless and sharply modern. Recorded...

  The Masked Professor of Storm Valley Page 1: The Clumsy Shell The air in Storm Valley was a wet blanket, thick with the scent of salt, decaying mango, and distant diesel fumes. Inside the Storm Valley University (SVU) Preparatory High School, the air conditioning was struggling, but Professor Chris Faultly didn’t seem to notice the humidity clinging to his cheap, button-down shirt.   By day, Chris was a study in controlled awkwardness. His glasses constantly slipped down his nose, his short, impeccably neat hair seemed permanently plastered by nerves, and his lanky, muscular frame was hidden beneath ill-fitting slacks and the kind of tweed blazer one might wear ironically, if Chris Faultly knew irony. He was a ninth-grade literature teacher, and his current class—period six, the worst period—was analyzing Shakespeare's Julius Caesar. "So, class," Chris said, pushing his spectacles up with a quick, nervous motion, "when Brutus says, 'Not that I loved Caesar less...