There's something disorienting about music that refuses to settle into one mood. Mosez Jones and Jon Rivera lean into that feeling on PSEUDO TONES, a six-track project that treats contrast like a feature instead of a flaw. It's the kind of release that forces you to recalibrate what you expect from track to track, and honestly, that's the point.

The opening cut "B.Y.T.M." sets the tone with soulful vocals that don't bother smoothing out their rough edges. It's raw in a way that feels intentional, like they're daring you to stay comfortable. From there, the project splits into two modes. Tracks like "FEEDBACK" and "HEAVENZ LOBBY" lean sultry and anthemic, the kind of songs that build heat slowly and don't apologize for it. Then there's "WHITE RABBIT" and "ELEVATOR JAMZ," where things get glitchy and echoey, vocals bouncing off layered instrumentals that feel both familiar and slightly off-kilter. It's groovy, but there's something hypnotic underneath it all. The closer, "OCEAN FLOORS," strips things back to something gentler and more melodic, which shouldn't work after everything that came before it. But it does.

What makes PSEUDO TONES interesting isn't just the range. It's how Jones and Rivera use tension to hold the whole thing together. Each song pushes against the one before it, creating a dynamic that's more about friction than flow. The cover art reflects that same abstract, interpretative energy, adding a visual layer to music that already refuses easy categorization.

The duo didn't stop at the release. They threw a listening party at Velours Studio, a tattoo shop in Montreal, and turned the space into something more immersive than your typical playback session. Projected visuals extended across the room, shifting with each track, and fans became part of the installation itself, snapping photos inside the art. It's the kind of move that shows Jones and Rivera aren't just making music. They're building an entire world around it.

PSEUDO TONES feels like a peek into what Jones and Rivera are capable of when they stop trying to fit into any specific lane. It's bold without being loud about it, experimental without losing its humanity. The contradictions don't cancel each other out. They create something that's harder to pin down, and that's what makes it stick.