Hailing straight out of Michigan’s underground scene, HELLS REDEMPTION is here to shake the foundations of nu-metal with their explosive debut album, Farewell to Benevolence. Set to drop on Halloween 2025, this record is a bone-rattling, heart-wrenching, and beautifully brutal journey through pain, resilience, and redemption. Blending elements of nu-metal, rap, and emotional rock, Hells Redemption creates a sonic experience that feels like the perfect storm—equal parts aggre

Every era has its mirror songs—the ones that stop the noise long enough to ask who’s really staring back. In 2025, amid a culture addicted to identity performance and curated authenticity, Shweta Harve’s “Which One is Real?”, featuring Dario Cei, arrives like a quiet but undeniable reckoning. It doesn’t shout its message. It invites you closer until you can hear the tremor of truth in your own reflection.

Cathleen Ireland isn’t whispering here—she’s bellowing from the roof of a downtown parking garage with a six-pack in one hand and a transistor radio in the other, hollering at the skyline until the echo slaps her back. “In the City” isn’t a subtle record. It’s a lust letter to neon, to fireworks over dirty rivers, to sweaty late-night jams where rhythm is the oxygen and the hook is the heartbeat.

Rock and roll has always been about second chances. About the possibility that when you’ve been brought low—by the bottle, by the needle, by the sheer weight of the world—there’s still a way back up. Ashes Awaken’s “A Better Way” doesn’t whisper that message; it roars it through the distortion and the sweat, grabbing the listener by the shoulders and shaking them until the truth lands. This is redemption music, but it isn’t dressed up in polite Sunday clothes—it’s forged in t

The anticipation is building for the OK AirFest 2025, an exhilarating three-day celebration of aviation, adventure, and community spirit taking place from September 5-7, 2025, at the Canadian County Expo in El Reno, Oklahoma. Nestled along the historic Route 66, this high-energy festival promises a packed schedule filled with exciting attractions and events that cater to all ages. And Keyline Mag will be there to cover all of this.

There’s something refreshing about a song that doesn’t pretend to be anything other than what it is. Dust and Grace’s new single, “Hallelujah,” wears its heart on its sleeve, radiating a sense of unshakable faith and collective joy. At a time when modern country often chases trends, here’s a track that returns to the roots—songs as vessels for testimony, as communal expressions of gratitude.

Country music has always thrived on departures. A car pulling out of a gravel driveway, a suitcase by the door, a love too fragile to last. On their new single “West Virginia,” Arkansas duo Cliff & Susan take that well-worn theme and inject it with a quiet, reflective power that hits harder than most arena-sized heartbreak anthems.

In an era where the lines between pop-country and roots music continue to blur, Robert Ross arrives with a message rooted in grit and unshakable pride. His new single, “People Like Me,” released May 16 via MTS Records, is more than just a blue-collar drinking song. It’s a mission statement, a character sketch, and a celebration of the American everyman, all wrapped up in a boot-stomping, barroom-ready anthem.

Get familiar with MiKE OH!O™, the electrifying Hip Hop/Pop-infused artist, producer, and singer-songwriter rewriting the rules from Cincinnati, Ohio. With an Ohio Music Award for Best Hip Hop/Rap Single, a spot as ReverbNation’s #1 Local & Regional Hip Hop Artist (Top 20 worldwide!), and a Bundesverband Musikindustrie Top Streaming Euro Artist Award, MiKE is stacking accolades as fast as he’s dropping hits.

There’s a certain kind of song that doesn’t try to blow the roof off the barn but instead opens the door and lets the sun spill in. Life By The Numbers, the latest single from Pennsylvania’s Noble Hops, is that kind of song. It’s less a rock anthem and more a front-porch meditation—part gospel revival, part blue-collar hymn, and wholly grounded in the dirt and grace of real life.

There is a kind of beautiful chaos that happens when an artist truly lets go. Not in the careless way of abandon but in the deliberate rebellion against perfection. Canadian singer-songwriter Ed Roman has always walked the margins of genre and expectation, but with his latest release, “Pawnshop Ghettoblaster,” he pushes those boundaries even further, delivering a track that is equal parts protest groove, outsider art, and psychedelic funk manifesto.

Hailing from South Jamaica, Queens, Miss Knockout is an unstoppable force blending music, film, and fierce authenticity. Starting as a battle-tested emcee in NYC's underground, she quickly made waves not just with her rhymes, but with her vision. Her breakout single “No Cappin” (produced by Luis S. Tineo) has already racked up over 70,000 video views and counting—proof that her grind is loud, real, and resonating.

From the sun-soaked streets of Lancaster, California to the vibrant local stages of Colorado, Matthew Klasinski, better known by his stage name Xecronius, is carving out his own lane in hip-hop. Born in March 1996, Xecronius brings a fusion of West Coast vibes and personal storytelling that’s been making waves throughout the Colorado music scene—especially at standout venues like The Wild Goose Saloon in Parker and The Englewood Tavern.

There is a moment in every unraveling love story when the mirror stares back, unapologetic, and all the noise—the excuses, the apologies, the promises—collapses into one unshakable truth: it is over. That is the moment Martone captures in “Too Bad, So Sad,” his latest sonic confessional featuring the ever-fierce Intelligent Diva. But this is not a torch song lit with sorrow. It is a neon flare shot from the wreckage, with a beat that will not let you sit still and a message t

Kelso Beach” is the kind of song that does not give a damn what decade it is released in. It could have fallen out of a bootleg Neil Young tape from 1974 or crawled out of a backwoods barroom in 1998 after the jukebox ran out of Tom Petty and started coughing up ghosts. But no, it is here now, fresh from the frozen shoreline of Erie PA, the result of one man's cabin-fevered musings during a snowstorm with a beer in hand and some miles on his heart. It is beautiful in the way

Edmonton’s own K-Blitz is a dynamic hip-hop and rap artist whose genre-defying style has carved a distinct path in the independent music world. With a fearless fusion of hip-hop, R&B, pop, and electronic sounds, K-Blitz continues to push creative boundaries—a sonic signature showcased in his standout project, Don’t Assume My Genre.

Jeremy Parsons isn’t chasing trends. He’s not dialing into pop algorithms or sonic gimmicks. What he is doing — with unapologetic heart and haunting honesty — is writing the kind of song that pulls your spine straight and your heart wide open. “The Garden” is Parsons at his most unfiltered, a rootsy meditation on memory, mental health, and the sacred dirt we all come from.

On Hollywood Forever, DeathbyRomy turns trauma into anthems, heartbreak into hooks, and survival into a defiant art form. Her debut LP is a fierce, unflinching chronicle of what it means to grow up chasing dreams in the smoke-and-mirror sprawl of Los Angeles — a city that promises everything and delivers just enough to keep you crawling back for more.

The Perfect Storm aren’t shy about wearing their hearts—or their harmonies—on their sleeves. On their newest single, “We Fell in Love,” the Albany-based alt-pop trio lean into vulnerability with open arms and a sound that bridges the tender tones of doo-wop romance with indie rock’s modern pulse.

You know the kind of song that doesn’t knock—it kicks down the door, pours itself a stiff drink, and dares you to look it in the eye? That’s “Me Being Me” by Pamela Hopkins. There’s nothing slick here. No shiny veneer, no calculated swagger. Just the raw, unfiltered confessions of a woman who’s been through the fires of self-doubt and disapproval—and walked out not just unburned, but baptized in truth.