We Speak Music
Jenna Louise’s ‘Better With Us’ Is A First-Dance Favourite in the Making
With “Better With Us,” Jenna Louise continues to cement her place as one of the UK’s most exciting genre-bending voices. In teaming up with The Dunwells, known for their emotive folk-pop sensibilities, Jenna brings to life a single that feels destined for wedding aisles and heartfelt photo montages alike. From its opening chords, there’s a welcoming glow that invites listeners to reflect on love in its purest form.
The lyrics are steeped in personal truth, drawn directly from Jenna’s own life, and that sincerity seeps through every note. It’s rare to hear a track so polished yet so vulnerable. Joe and Dave Dunwell’s production brings a warm, textured depth that frames Jenna’s vocals beautifully, delicate when needed, powerful when it counts. Together, they create a sonic space where joy and emotion live side by side.
This isn’t just a good song—it’s a timeless one. The kind of track that finds its way onto playlists for anniversaries, road trips, and yes, first dances. “Better With Us” doesn’t just tell a story—it becomes part of yours.
Cosmos Ray’s debut solo album, The More We Live, doesn’t so much announce itself as it slowly envelops you. After years spent building sonic bridges across Chicago’s experimental underground, Ray steps out of the margins with a 19-track opus that feels both highly curated and defiantly unpolished — a contradiction that ends up being the album’s most compelling feature.
The record’s architecture is unusual in today’s streaming-first landscape: long, nonlinear, meditative. It opens in a haze of ambient swells and emotional density, and refuses to loosen its grip. What emerges is a deeply personal exploration of grief, identity, and rebirth, filtered through a sonic palette that blurs genres to the point of irrelevance. There’s hip-hop grit here, yes — but also the texture of post-rock, the elasticity of dub, and the patient pulse of ambient minimalism. Cosmos Ray isn’t interested in clean edges or easy hooks; this is music as process.
At the center of the record is a willingness to sit in discomfort. The production feels intentionally raw at moments, pulling the listener into the messy, nonlinear space of personal transformation. Rather than smoothing over emotional spikes, Ray allows vulnerability to lead — both in voice and in arrangement. That choice won’t work for every listener. The album occasionally loses momentum in its more meditative stretches, but even those lulls feel like part of a larger, necessary ritual.
The six interludes labeled “Recall” offer brief moments of stillness — or maybe confrontation. They act as checkpoints in a longer journey of self-interrogation, asking the listener to slow down and look inward. The effect is cumulative: by the album’s end, you don’t feel like you’ve heard a debut — you feel like you’ve witnessed an unmasking.
The More We Live is not a record made for the algorithm. It resists your attention span and demands your full presence. In doing so, Cosmos Ray has created something rare: a debut album that prioritizes emotional truth over polish, offering no easy answers, only real ones.
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