We Speak Indie Artist
Solomon King & The Chosen Sounds the Alarm with “Blood on the Streets (In the USA)”
Solomon King & The Chosen’s “Blood on the Streets (In the USA)” hits with the force of a warning siren echoing through a fractured nation. Dark, urgent, and emotionally charged, the song captures the tension, fear, and emotional exhaustion so many people feel when looking at the state of the world today.

The production carries a cinematic heaviness, blending haunting melodies with a pulse that feels almost apocalyptic. Solomon King delivers the track with conviction and intensity, never sounding manufactured or performative. Instead, the song feels deeply personal — a reflection of heartbreak, frustration, and concern for humanity itself.
What makes “Blood on the Streets (In the USA)” resonate is that it avoids empty slogans. It speaks more to the emotional climate than politics, painting a portrait of anxiety, division, violence, and uncertainty without losing its artistic edge. The track feels timely because it channels emotions many people struggle to articulate.

There’s also something fearless about the release. Solomon King leans into uncomfortable realities while still crafting a song that is compelling musically. The result is both provocative and unforgettable — part protest anthem, part emotional outcry, and part cinematic soundtrack for uneasy times.
“Blood on the Streets (In the USA)” is not background music. It demands attention.
Watch the “Blood on the Streets” music video by Solomon King & The Chosen on Youtube here:
We Speak Indie Artist
Americana Newcomer JP Oldfield Makes A Case For Listening To An EP Properly
Music is increasingly consumed one track at a time. A song gets saved, shuffled, clipped, recommended and replaced. JP Oldfield’s Saltwater Gospel belongs to a different tradition.
Out now through Now Listen, it is built around a six-part story, so chopping it into isolated pieces changes what the release is doing. The Ferryman at the centre of the EP is not simply a character appearing in a few songs. His decisions carry from one track into the next, and the consequences accumulate.
That gives the tracklist a useful sense of progression.
“It’s Just Begun” establishes the situation. “The Preacher’s Noose” takes the Ferryman further into revenge and religious conflict. “Wash Me Away” pushes the story towards the water, while “Further from Heaven” widens the picture with the angel and the approaching flood. The final two tracks deal with what follows.
Oldfield is asking the listener to follow a sequence rather than cherry-pick the obvious single.
The subject matter helps. This is a story filled with burial, storms, scripture, punishment and death, so individual songs naturally raise questions that are answered later. Even the title points towards a larger idea, with the sea representing a force that operates according to its own cycles.
There is also no attempt to hide the fact that this is an independent project. Oldfield wrote the songs, created the linocut artwork and developed the mythology himself.
That combination makes Saltwater Gospel feel designed for an audience willing to give the whole release its proper running time.
In a culture that increasingly rewards the quickest possible listen, there is something appealing about an EP that says: start at track one and stay with it.
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