Artists
Loveforce International Releases a Song About the Greatest Fear of Many Single Men
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Billy Ray Charles scary new Digital Music Single is entitled “I Don’t Wanna Be Like A Brother”. It is a powerful R&B song with intricate rhythms, a steady beat, and hook filled vocal riffs. Lyrically its about a guy who is not stuck in the “friend” zone, which is talked about a lot, but in the “brother from another mother” zone which is not often talked about but can be even more devastating. It is a situation many men dread, and those who have survived it, never forget. The song attempts to make the listener feel the torment but be too catchy to feel sad.
“This is the third of our Strange Halloween Trilogy of songs released in October,” said Loveforce International CEO Mark Thomas. “The first was Scary, by Anna Hamilton and second was Trump’s Biggest Fear by The Loveforce Collective.
Thomas clarified, “We call the releases “Strange” because they address fears that aren’t always obvious in public media. Anna Hamilton’s “Scary” is about the scary feelings some have about falling in love, The Loveforce Collective’s “Trump’s Biggest Fear” illustrates how even The President can have fears and Billy Ray Charles’ release, about a subtle fear that comes with any romantic relationship.”
Billy Ray Charle’s new single “I Don’t Wanna Be Like A Brother” will be released to Spotify, Pandora, Apple Music, YouTube Music, Amazon Music, Instagram, Facebook, Claro Musica, iHeart Radio, iTunes, Deezer, KK Box, Boomplay, Media Net, Touchtones, Soundtrack by Twitch, Snapchat, NetEase, Anghami, TikTok, Resso, Flo, Audio Mack, Kuack, Pretzel, Gio Saavan, Yandex and Pretzel.
For further information, contact Evan Lovefire at (661) 523-4954.
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SENSANE, a Derby producer and DJ, will launch his upcoming album on 22 October 2026 via AHK Global Records, his own record label, according to the announcement. The album combines prominent voices from Panjabi music, new talent from India, and UK artists, marking SENSANE’s debut appearance as a vocalist.
The album follows SENSANE’s long-running mix of Panjabi and Bhangra traditions with folk, hip-hop, R&B, garage and electronic production, a sound he’s built his name on as both a touring DJ and label head. AHK Global Records, which he founded, has previously put out Punjabi-facing projects, including a five-track EP with vocalist Kulvinder Johal that reportedly debuted at number six and was described by some as the first Punjabi album to reach that position on its chart.
"This album brings together the sounds and artists that have shaped me," SENSANE said in the announcement. "I wanted the album to honour the legends, give new voices a platform and show where I’m going next. Putting my own voice on a track is a big moment for me, and I can’t wait for people to hear it."
Details about the complete track listing, collaborators, and SENSANE’s vocal debut track will be revealed before the album drops, according to the statement.
Studio CarryOnHarry will be watching whether SENSANE’s own vocal debut changes how listeners place him: as a producer stepping forward, or as an artist who’s been building toward this the whole time.
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The release continues a pattern in C’batch’s work: revisiting prior work and reimagining it across multiple versions instead of viewing recordings as standalone pieces. Multiple outlets covering the release have noted that this approach — returning to older ideas and giving them new context — has become something of a signature, with this track functioning as the fourth installment under the “Our Little Pooh Pea (The Last Light)” title.
The piece is instrumental, with the guitar serving as the primary voice throughout the piece rather than functioning as one element among vocals or other lead instruments. Coverage of the release has described the guitar as the connective thread of the piece, tying its texture and tone together in a way multiple reviewers have called cinematic — the arrangement building mood and movement without lyrics to guide it.
Studio CarryOnHarry finds the more interesting story here isn’t the track itself but the method: a musician who views archived material as material for reinterpretation across multiple versions, and building a numbered series out of revisiting it.
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