We Speak Music
Striking Storyteller Jairic Unveils Electrifying New Video for ‘Don’t Let Me Put A Track On You’
Detroit-born and Cannes-based storyteller Jairic has released his latest single ‘Don’t Let Me Put A Track On You’, and it’s every bit as audacious as the title suggests. Accompanied by a sleek, noir-inspired video directed by Vansh Luthra, the track pairs hypnotic beats with sharp-edged lyricism — like being dared into a dance battle you’re not entirely sure you’ll survive.
The video has everything: roses, shadowy nights, dangerously good suits, and a vibe that says, “I could romance you, or I could ruin you — maybe both”. Jairic stars as the suave antihero, locked in a magnetic push-pull with a mysterious figure who’s just as likely to seduce as sabotage. It’s cinematic, stylish, and just the right amount of unhinged.
Musically, the track slides between chaos and calm: explosive verses burn into a smooth vocal bridge before everything ignites again. It’s hip hop with teeth, a swaggering anthem that practically growls, “try me”.
Jairic explains:
“The video is built around the symbol of a rose. It moves through a dark, seductive world, exploring power, obsession, and how the hunter can quickly become the hunted. The song itself carries that same energy — a warning, a dare, a promise: don’t let me put a track on you.”
If you’ve caught Jairic live, from lakeside villas in Italy to dazzling nights in France, you already know he’s not here to play it safe. Self-written, self-produced, and fiercely independent, his work fuses luxury with grit, swagger with substance. Every release feels like a film you want front-row tickets to.
With ‘Don’t Let Me Put A Track On You’, Jairic delivers a track that’s equal parts dangerous, addictive, and stylishly fun. Consider yourself warned: once you press play, there’s no going back.
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Image Credits: Ansha
We Speak Music
Vinyl Floor’s Balancing Act Proves That Honest Rock Still Matters
“Balancing Act” by Vinyl Floor is a real treat. It is the sixth record from brothers Daniel and Thomas Charlie Pedersen sounds like it was made for right now and how they blend the ’60s and ’70s with modern elements never feels forced.
The production is clear and thoughtful. Every string, every horn, every vintage keyboard has space to exist. “Puppet Laureate” opens strong with real energy, while “The Swan of Eileen Lake” catches you off guard with folk warmth. “Adelaide” might be the best track, built on a lovely piano line with vocals that cut through cleanly. No hiding behind effects here.
The title track closes things out with the reflection the album’s been working toward. The core idea of finding hope in a fractured world could tip into despair easily, but Vinyl Floor stays honest about it. They’re not offering false comfort, but they’re not drowning either.
Progressive rock this restrained is rare. The arrangements serve the songs instead of overshadowing them. If anything, some moments could use more breathing room, but that’s small in a record made by people who clearly care about what they’re saying.
This is for anyone who wants rock that actually wrestles with real ideas. It counts for something.
You can listen here.
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