The artists describe their new offering – ‘a love letter to disco and house’ – as follows: ‘It’s about love, romance, dancing and all the best things in life. It’s about blocking out negative energy and believing in love’.

The track opens with a heavy, rhythmic kick paired immediately with jumpy, driving strings. This initial tension is quickly established as the kick continues under the arrangement, often feeling like it’s in competition with Inaya Day’s powerful vocals. Since the beat remains relatively simple at this stage, the focus is immediately drawn to the lyrics and the dynamic vocal performance.

Inaya Day grabs attention with her deep and commanding voice. Her delivery is highly varied: she sings, she hums, and at key moments, she elongates her notes for dramatic effect.

Lyrically, the song adopts a tone of brutal realism. The persona she portrays directly addresses the listener, admitting to being emotional but quickly turning the exchange into a lesson about playing the game better, with ‘the game’ being love. The responsibility is placed squarely on the addressee; the persona warns them not to bother asking around, stating clearly that they already know the name of this game is love.

This declaration culminates in the track’s infectious hook and chorus, where Inaya Day repeats the simple yet powerful phrase: ‘My name is love,’ drawing out the final word for maximum impact.

SCORE/Good: Iyana Day’s voice is remarkable. It feels to me that she can gain one’s attention without trying to do much. The relatively detailed lyrics are commendable. Ultimately, the lyrics speak to a bitter, undeniable truth.

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The 49-year-old describes her music style as ‘infectious melodies over layered over crisp production that screams “festival headliner”’.

When a musician tells you something like this before you review their music, you go in looking to find exactly that. Listening to the song, it’s clear the hype is deserved. This is music that’s likelyto have anyone dancing. The instrumentation is what truly impresses me, even more so than the varied vocals.  It’s worth noting, however, that the vocals are the kind that grow on you with repeat listens.

The song begins with a rapid, echoing wood percussion effect. The arrangement then introduces a three-note, synthetic ‘bleep’ motif. The motif is defined by its final step: the third bleep is perfectly layered with a sharp, metallic knock. This motif establishes the core of the arrangement. Introduced early on and often repeating to establish the groove before receding and reappearing strategically, it punctuates the track’s structure.

Female vocals make their entrance during this motif, immediately establishing the theme by repeating the phrase, “Nothing I can do,” twice. The vocals vanish just as a sharp, driving kick drum enters the mix. Moments later, the male vocals arrive, delivering the lyrical message: ‘Round and round in the underground, you’re lost. Now you’re found. Now in full swing, the kick is underpinned by a sharp metallic hi-hat accenting the rhythm.

Next, a rhythmic, humming female vocal enters the mix, adding a melodic pulse that sounds like ‘bump-bump-bump’. The earlier ‘bump-bump-bump’ vocal pulse reappears, but now the texture has sharpened into a quick, repeated ‘yuck-yuck-yuck’ articulation.

Following a few more vocal textures, the mix introduces a horn blast alongside a sharp, but short-lived, bleep or piano accent.

SCORE/Excellent: Ultimately, the single’s instrumentation lives up to the hype. What slightly dampens the mood, however, are the lyrics. Furthermore, while the vocal delivery is certainly varied and experimental, it takes time for a listener to fully appreciate its unique textures. My only fear is that, even with repeat listens, the vocal texture may still fail to fully satisfy.

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The compilation opens with ‘Hop Through Time Vortex (Hyperdrive Version)’. The track features crunchy synths and twangy instrumentation that evoke old 8-bit sounds. The rhythm is minimalist, punctuated by a single-hit kick pattern that appears at spaced intervals.

Following this is ‘Prime Directive Initiated (Midnight Version)’. The song opens with plink-like beeps, gradually building into a steady four-on-the-floor rhythm that occasionally hints at a hip-hop feel. The track is dynamic, featuring various percussive accents. A weighty drum kick later appears, creating a deep, resonant feel.

Next up is the first part of the album’s title track, ‘Under The Same Dark Star, Pt. 1’. The track also starts with staccato synth sounds, but here they sound more refined than the game-like sounds heard previously. The plucks are accompanied by thick steel drums. The brighter synth plucks give the track a cheerier atmosphere overall.

The transition to ‘Breakout Sequence (Alien Stowaway Mix)’ is marked by two spaced kicks, progressing into a successive pattern; however, the main kick pattern that follows is surprisingly sparse. While the usual synth plucks are present, some of the metallic plucks are also used sparingly.

‘Go Back One More Time (Symphony of the Ashen Citadel Version)’ follows. As the title suggests, the track achieves a symphonic feel through its use of plucks. It’s a departure from the album’s earlier energy, taking on a low tone to produce an ethereal sound. Beats are absent here.

The rhythm returns with ‘Embraced By The Flow (Collapsed Utopia Version)’. The weighty kick at the beginning is delivered in a rhythmic pattern reminiscent of Michael Jackson’s music. It is, however, accompanied by plucks that provide the track’s primary melodies.

‘Shadow Frequency (Cosmic Resonance Cut)’ follows. The plucks are at their most piercing here – almost harsh – and occasionally threaten to drown out the subtle kick patterns.

‘Brand New Day (New Horizons Version)’ begins with high-energy plucks, but this intensity quickly fades. The video game-style sounds return, though they function as an inspired rhythm rather than a parody.

The second part of the album’s title track, ‘Under The Same Dark Star, Pt. 2’, features successive drumming that produces a metallic feel. The metallic drums are the standout element of this dynamic track.

Returning to a low tone, we have ‘Forgotten Transmission (Gentle Drift Mix)’. This song has an ‘ice cream truck’ sound to it. Without drums, bleeps run the show. My praise here is that Buried Echoes has successfully created a song entirely from bleeps rather than having them play a minor role. What’s also remarkable is that the producer makes one of the song’s instruments produce a vocal-like timbre.

The tone is also low in ‘Dreams Turned to Lead (Somewhere Else Version)’, the album’s closing song. You get keyboard pads and synth plucks that rise and fall. This track is almost an ambient sketch, similar to the earlier symphonic piece.

SCORE/Excellent: The synth plucks and bleeps make up the majority of the sound on this compilation. If you enjoy bleep-heavy IDM, you’ll likely find this album satisfying. However, if you’re looking for greater sonic variety, you may find the album monotonous. But kudos to Buried Echoes for producing a strong album entirely without vocals.

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The song starts off with a very nice soundscape, loving the arpeggiated guitar runs and the sweet female vocals. Then at the :50 second mark, wham! we’re into a new song, completely different with a male rapper with a more middle eastern feel. The song from this point sounds a bit like the hit song “Cradles” by Sub Urban. I like the incorporation of news reel audio in the track. Not sure about the male vocal or what it’s supposed to be saying.

Finally, “talk to me, don’t leave me” the female vocalist returns, this time with the news narrator on board. And we’re back to the middle-eastern feel with the male rapper singing words that can’t be understood but sound rhythmically interesting. The female singer enters again with the narrator, “you have now mastered the basic skills, it’s time for your next challenge.” End of song.

The song is constructed well, with lots of interesting progression changes and use of instruments. The female and male vocals both stick to the script when they enter the song, and the narrator uses the same sound clips throughout the song. I think this track is made using AI and that there likely is no real artist to wow crowds with their killer live performance, if not the artist can let us know and maybe send us live performance video to share!

I have looked up the artist BuJuRocks up on YouTube to try to find any actual live performance video or artist interviews, anything to show me this is a real person, and what I found is that all the videos have a static AI-generated photo of a gorgeous blonde girl but no actual live person. I have an issue with this because in the one sheet for the song, they write phrases that make the artist sound like a real person, instead of the AI it is. That should be, and I think it is, unethical. Food for thought if they resubmit.

SCORE/Good: The song is musically interesting, reminded me in parts of the song Cradles by Sub Urban in the musical feel of the track. I’m rating this good instead of excellent because the song lacks staying power, there’s no real engaging hook, the song lacks real emotion, but it is pleasant enough to listen to. Let’s see the real artist in a live performance (even in the studio) on video next time! Much love, Beth

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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“BujuRocks is the electronic music project of composer and producer Burcu Akan. Creating a unique blend of electronic dance music with contemporary production techniques (perhaps meaning AI?), BujuRocks has been releasing high-quality tracks since 2024. All music is self-published under the BujuRocks label, maintaining complete creative control over the artistic direction and production quality.”

Though I’m still not sure what this artist stands for, if their images are real or AI, or whether their song is real or AI-enhanced. We can only use our eyes and ears. No doubt, it’s a nice presentation and musical package to unwrap.

So let’s have a listen …

My first impression of this Single is that it goes on too long, although it’s an EDM dance track which does occasionally go long. I’m not particularly digging the distorted bass which is driving underneath the whole song. The notes are fine, just not the distortion. I do like the clear vocals that come in occasionally, “Hey Boy!” “Do You Love Me?”.

Nice fade at the song end. I don’t find this song to be quite as hypnotic or entrancing as CALLNOMORE, the last song I reviewed from this artist and ranked as Excellent. I like the siren like keys/strings riff which comes in later in the song. It’s a very danceable beat, don’t get me wrong, just not digging it as much as the prior song. Might make a good album track though.

SCORE/Good: An extremely well-produced track, no issues with the sound of this track in terms of mixing and mastering. I think the song arrangement could be more inventive and less repetitive. Definitely falls in the EDM genre and would nicely fit on an album from this artist. Much love, Beth

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“With all these thoughts running through my mind I decided to listen to the album again the day after the election and the album felt beautifully different. It is alive in all the ways I want to be alive. When I got to “Living Life…” I started to cry because the lyrics had been written and performed in a silly sorta way, almost as a joke, but on that day it felt real: this is how I actually feel about being gay in this country right now… and it can be scary, very scary.”

“Why I made this album: “Sweaty Yeti” specifically was meant to end the album with a beautiful upbeat celebration of being queer, you can literally feel the joy when it starts and it moves around in an almost physical way; immersing the listener in the absolute joy of being fully free to be your truly authentic self without fear. That (song) is exactly what I needed to hear to give me the courage to not back down in fear, to keep the release date of this album as it was originally set, and to try to promote the fuck out of it.”

“I obnoxiously tell everyone about it, and I hope that all the queer and queer allies that read this will join me in spreading the word about my celebration of queer freedom. We must continue to fight for our rights to live authentically in this world without the fear of being oppressed, we must fight for the rights of anyone who is out there in the world living life Supergay.” – Johnny Stubbs (Yeticomplex), Tampa, Florida, USA.

I just hope that the Trump Administration doesn’t read this review and decide to ship Johnny off to Guantanamo. The struggle is real.

So let’s have a listen …

The album kicks off with the song Yeti That Walk. Appropriate title for an artist named Yeticomplex. This is a dancehall record with transcendental beats designed to make your body and feet move. The kind of music you might hear in a gay nightclub. Make that, should hear in a Supergay club.

Back to the track, the first thing you hear on the album is someone walking into the room and giving a very sassy “mmm, hmmm”. Then the hypnotic beat kicks into the vocal “Yeti That Walk”. I love the bass groove that picks up in the middle of the song. Some interesting keyboard riffage closes out the song, which ends with more footsteps.

Hats, Gloves, Shoes are the title and lyrics of the next song. Very strong keyboard riff. Sounds like programmed drums. “Hats, Gloves, Shoes”. I like the change in the bridge of the song and the Japanese sounding keys riff. The track fades out “Hats, Gloves, Shoes, You can never have enough!”

The next track is called Homosexual, which is also the lyrics. Fun song. I like the keyboard vamps on this song, interesting vocal rise in the song. I again really like the bass line that picks up in the middle of the song. Nice. This song will definitely get you up and dancing. Which is likely the point.

There’s not much in the way of lyrics on this album so far, but the dance beats are fun. It’s nice EDM genre music. Should come with it’s own light show! And poppers! 😉 This would be a good album for your next hometown rave.

The next song is Sugar Candy – Rewind Mix. The is the first song with any real vocals. I like the lyrics, but I’m not digging the voice. Which is not entirely true, I like the effected and reverb heavy vocals in the background. Not my favorite track. I do like the way the track ends.

The next track is Man on Man. Which starts off with a groovy bass line and an old move clip stating “at this time the penis is in a state of erection.” The track comes complete with its orgasm sounds. I love the drum mix that comes in later in the song. “Ready for ejaculation” says the movie announcer. The strong bass line makes this song very danceable. Nice.

The sixth song is titled Queer. Starts off with a steady drum beat, and enters the bass. Not digging this bass line as much, too muddy. Eventually, the keyboard riff comes in staccato bursts. “I’m queer, don’t like it? Steer clear.” I like the cheeky vocals on this song, very non-heterosexual. LOL

Meow – Kitten Mix starts off with a reference to “Miss Kitty”. This strange song almost has a Wizard of Oz feel about it. Very trippy bass line when it finally enters the song. Nice funk jazz guitar or keyboard riff in the middle straight into a brief Middle Eastern vibe. “Meow!” Very cinematic track.

The eighth song Glitter starts off with a bit of a spiritual vibe, but then a very interesting bass line enters the song, accompanied by space robot sounds. I like the ever-rising keyboard riff in the middle of the song. A song about glitter being everywhere, even “there’s glitter on my dick.”

Living Life… starts with a spoken word story. Just 0:49 seconds, just long enough to introduce the next song.

The tenth song on the album is the title cut Supergay. I love that it kicks off with a funk guitar riff. Then keyboards are added on top of the lyric “Supergay”, making it sound like the Curtis Mayfield song “Superfly”. Totally digging the vibe on this track, definitely my favorite song so far.

The album’s final track Sweaty Yeti starts off with snaps and a chordal keyboard riff, a steady drum beat. The keys reenter with a different vibe. Very nice funk single note guitar riff being played over the drums and keys.
The bass finally enters about halfway through the song. Low and rounded. I’m a sucker for any song that includes a funk guitar riff, aren’t you?

Well, overall, I liked 10 of the 11 songs on the album, which is very nicely constructed and fits squarely within the LGBTQ+ Dancehall EDM genre.

SCORE/Excellent: This album nails the LGBTQ Dancehall EDM genre! Yeticomplex has compiled an album of dope dance beats with a gay flair! The album is nicely produced and I really appreciate the funk guitars being included on the final two songs. Creates quite a danceable vibe. If you need an album for your next dance party or rave, grab this one! Much love, Beth

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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He hopes to seek to relate with everyone through his music, appealing to people’s senses and seeking common ground with their feelings and moods. Part of his methodology involves the belief that if his music comes from him personally with his authentically lived self-experiences, he can connect with people with the same level of authenticity through originality and personal touch as well.

Adding to his repertoire is his newest single titled ‘Come Back To You’. It is described as a dance EDM track which he has extremely high hopes for. It is a melancholic yet energetic track that is about the passionate burning love you feel for a specific person in your life. It’s intended to be relatable but still deliver with its classic EDM punches and emotional arc.

The song starts off promising and positive, with tender and shiny synth nodes in position with the arrangement of the kicks. The melange of synths that follows through is extremely intense, but bears a huge positive motif- I want to categorise it akin to the sounds of uplifting trance, but unfortunately, it stays within the realm of generic EDM.

I understand the hypersaws and the ‘eruption’ associated with songs like this, but it really comes off as a homogenous electronica track.

There is not much motivic variation or depth within this song, besides the slight modulation in the hypersaw’s chords and the vocals of the vocalist. It reminds me of some of the stock songs created for the ‘electronica’ section of the radio on Sims 4. It’s not an offensively bad song, by any means, but I feel like I’ve been spoilt with the depths of electronic music to where this seems almost superficial and soulless, contrary to what it is marketed to sound like.

I think this song would do well with people who typically favour music from people like Alan Walker. It bears the same level of positivity within the scope of his songs. If you’re used to songs with more depth, I don’t think this would appeal to you.

I think the artist should focus on adding more sonic depth to his music and also amend the mastering a little bit more, as the synthesis was a little murkier, sacrificing clarity for volume. Either way, it’s a great start to a long career in electronic music ahead, and there’s always time for him to hone his craft.

SCORE/Good: ‘Come Back To You’ is a typical EDM song that you would hear out in the mainstream these days. It has a definite positive motif to it, but it needs a little bit more dimensionality and depth. If you’re a fan of Alan Walker or NCT, you’d definitely adore this track.

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