FLYAH MAGAZINE

  Album Review: The Book of Pain by Eloah Rating: 8.5/10 If you’re looking for a project that blends the cinematic tension of an action-horror flick with the gritty soul of alternative rock, look no further than  Eloah’s  latest offering, The Book of Pain. This isn’t just an album; it’s a cohesive, "new age" alternative experience that dares to walk through the shadows and come out the other side. The Sound: Guitars as the Protagonist The standout feature of this entire project is the  guitar work . Eloah has managed to place the guitars as the leading element in the mix without overwhelming the listener. They don't just play notes; they "sing." The production value is high, boasting excellent panning and track leveling that creates a wide, immersive soundscape. While the vocals occasionally sit back a bit further in the mix than some might prefer, the overall aesthetic remains polished and intentional. Track Highlights •  "The Book of Pain" (Title Tra...

 The smell of oxidized iron and stagnant oil hung heavy over the Westside scrap heaps. Rellz Tha Postman didn't breathe, but his internal sensors flagged the air quality as "Hazardous." He stood motionless, his hydraulic joints emitting a faint, rhythmic hum that mirrored the ticking of a clock. Across from him sat Arthur, perched on a throne of crushed alternators. Arthur’s eyes were too wide, too bright—the unmistakable glaze of a man who found joy in the sound of snapping bone. Behind him, the neon lights of Storm Valley flickered like a dying heartbeat. "You’re late, Postman," Arthur rasped, sharpening a rusted machete against his own prosthetic thumb. "I don’t like waiting. It makes my skin itch." "The logistics of moving through Pachino territory are complex," Rellz replied. His voice was a smooth, synthesized baritone. He reached into a pressurized compartment in his forearm and pulled out a sleek, encrypted data slate. "The docum...

  "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...