Me The Machine – War In Silence (ft. Akira Yamaoka & artist Ando San)

    Me The Machine - War In Silence
    Me The Machine - War In Silence

    Me The Machine have today released their new single titled ‘War In Silence’. Modern metal with timeless feel, ‘War In Silence’ is a lesson in modern guitar. Slightly industrial in nature with melodic vocals and a polished mixdown, this is a song that spans generations and combines them with the current mix of metal, electronic, and hip-hop.

    As collabs go, the track is as diverse as it is immense. Featuring Silent Hill composer Akira Yamaoka and artist Ando San, Me The Machine show that their diversity in music is both limitless and sublime.

    About ‘War In Silence’

    “War In Silence” was produced by famed Japanese composer and sound designer, Akira Yamaoka, best known for his work with Konami’s Silent Hill video game series. Yamaoka’s pioneering ethereal scores inform some of the light atmospheric touches underscoring the cut, from its industrial ghost notes to its mechanical backing guitar licks. The track’s light groundwork also comes with heavy-hitting, sensational metal instrumentals. A whispering vocal introduces the hard-lined track before a raw, crushing guitar comes into the mix, immediately throwing listeners into a swirling, alternative-metal bliss.

    As Me The Machine coils, singing, “The only way to know how high I get/is to let me fall from grace,” he channels the emotive power of Bad Omens and Catch Your Breath. The chorus further echoes, “Silence screaming out / Breaking free from every sin / Silence in a war can betray my heart,” resonating with a profound depth that calls out current political strife due to social deadlock. Grunting riffs and splintering drum breakdowns transition to Ando San’s evocative feature, where he scathingly raps over the nu-metal score, wrestling with policies seeped in oppression. “‘War In Silence’ is fueled by the desire to express how imperative it is to use our time on earth wisely and fight against the ties that bind us,” explains Me the Machine. “How can we love ourselves if we don’t have the capacity to love one another?”

    Me The Machine’s music merges underground electronic textures with pop sensibility and dark cinematic influences, creating a sonic environment perfect for both macabre listeners and upbeat metal-chasers. The cutting-edge Latine artist’s forthcoming album, The Flesh of The Innocent, ruminates on the social and cultural disparities between innocence and evil, as well as the juxtaposition between dark and light. Previous singles “Soul Eater,” “Miomantis (SCARS),” and “Lightyears,” further capture the project’s aesthetic motif: emotionally charged yet mechanically disciplined, delivering a tension that’s stirred up listeners across the globe. The electric singer has garnered praise from KTLA and AP News, catapulting him toward more ambitious and audacious collaborations that take advantage of his collaborative strengths.

    About Me The Machine

    Me The Machine is an alternative-genre musician whose sonic identity straddles the boundary between human emotion and mechanized precision.

    Emerging from Los Angeles’ alternative and indie-pop scenes, Me The Machine adopted a moniker that reflects a duality: part emotional storyteller, part cold-wired automaton. That tension runs through the music — diverse vocals and atmospheric textures layered with synthetic beats and digital glitches.

    Me The Machine’s sound inhabits the space between alt-pop, electronic and industrial-tinged art-rock.

    “Not quite human, not quite a machine. Dive into the dark side of pop music… But be careful, you might get your heart ripped out by the sound.”

    That tagline captures the aesthetic: emotionally charged yet mechanically disciplined. Tracks such as “Soul Eater”, “Miomantis (SCARS)”, and “Lightyears” that showcase collaborations with notable composer “Akira Yamaoka”, best known for his role as musical director for the iconic video game franchise “Silent Hill,” cement his commitment to cinematic and immersive production.

    Me The Machine’s music merges underground electronic textures with pop sensibility and dark cinematic influences. Driving themes: identity, alienation, transformation, and the intersection of organic and artificial. His cinematic sensibility and his acting background converge: each song invites the listener into a liminal space, where vulnerability meets circuitry.

    His self-released work built a DIY ethos in his early years, evolving toward more ambitious collaborations and production value.

    LINKS:
    https://methemachine.net/
    https://www.tiktok.com/@methemachine
    https://www.instagram.com/MeTheMachine/
    https://www.youtube.com/@MeTheMachine
    https://x.com/M3themachine

    Krooked Tongue – I Don’t Believe In Ghosts + Tour Dates

    Krooked Tongue
    Krooked Tongue

    Krooked Tongue has today released their new single titled ‘I Don’t Believe In Ghosts’, from their upcoming debut album ‘I Know A Place’, dropping April 24th, 2026 via Wipeout Music.

    Taking that ever too touchy subject of death in this haunting and daunting song, Krooked Tongue face the fear of the unknown and all of the prerequisite assumptions and superstitions meant to scare and soothe us by fearing said unknown yet saying there is something after for our own self reassurance. But, do we really know? If you know, you know, but maybe let others find out for themselves.

    And this is the strength of ‘I Don’t Believe In Ghosts’. Saying the quiet part out loud and doing so over music meant for the listener in all of us. This alone makes this quite a departure for Krooked Tongue, musically, and forces me to anticipate ‘I Know A Place’ even more. Completely out of left field, ‘I Don’t Believe In Ghosts’ shows us that some of the biggest messages come from the quietest of places.

    About ‘I Know A Place’

    Bristol’s rock trio Krooked Tongue return with ‘I Don’t Believe In Ghosts’ on December 5th 2025, the latest single to be taken from their debut studio album ‘I Know A Place’ which arrives on April 24th 2026 to limited edition vinyl.

    The album’s previous singles saw support from Apple editorial’s ‘Breaking Hard Rock’ and ‘New In Rock’, New Noise Magazine, HEAVY Magazine, CLOUT, Fab UK, Bristol 24/7, Sirius XM, Total Rock, IDOBI, Primordial Radio and Boogaloo Radio, with ‘Nothing Ever Grows’ being used throughout the Bivol vs Beterbiev boxing fight on DAZN Sports and ‘Let ‘Em Loose’ being used to soundtrack Progress Wrestling’s live show at London’s Electric Ballroom.

    Recorded and produced with long-time producer Josh Gallop (Sergeant Thunderhoof, Mother Vulture, Phoxjaw) at Stage 2 Studios in Bath, ‘I Don’t Believe In Ghosts’ is unlike anything Krooked Tongue have written before, displaying a fragility not seen in any of their previous works. Delicate, emotive piano keys wrap around Oli Rainsford’s uncharacteristically gentle vocals, lyrically exploring the process of grieving a loved one.

    On the single, vocalist and lyricist Oli Rainsford explains, “‘I Don’t Believe in Ghosts’ holds the chalice of uncertainty with the tender grip of an exhausted hand. It’s a song that tries its best to pry open the syntax of death, to make sense of it, but knows there’s no way to categorise or organise our emotions when it comes to losing someone. The idea of ‘ghosts’ or ‘the paranormal’ is one we all know and by the most part reject. I don’t buy into any of that stuff, but ‘I Don’t Believe in Ghosts’ acts as a sort of proverbial notepad. A place to whisper your thoughts out into the open and feel as The song was originally written on piano, as it is on the record, a couple of years ago as part of my Masters dissertation. When it came to start planning our debut album, it just seemed too authentic a song for it to not be included in our first full body of work. It was important for us to keep it authentic.

    It would’ve been easy to slap on a bunch of extra stuff, but the song’s strength, we agreed, is in its solemn tone. The artwork for the song was inspired by the visualisation of grief in the film ‘A Ghost Story’. Something about the crudeness of a classic bed sheet ghost adds to the childlike innocence in keeping with the lack of knowing, when it comes to death. I thought the way that movie embraced the silence and space was really captivating, and it had a clear influence in the writing and performing of the song. Death is a weird thing to write about, it’s something so familiar to everyone and yet so alien because it relies on personal experiences. One of the most beautiful things about music is that it often bridges that gap. We want to dedicate this song to everyone who has lost someone, and to everyone who has carried the torch as life hurtles onward. Time heals all. Don’t be a ghost. Stay human.”

    About Krooked Tongue

    Krooked Tongue burst onto the scene with the release of their critically acclaimed debut EP ‘No Vacancy Hotel’ in February of 2022, recorded with Josh Gallop (Phoxjaw, Mother Vulture) at Stage 2 Studios. The EP has since amassed over 250,000 streams and saw support from publications such as Ones To Watch, HardBeat Magazine and Distorted Sound.

    Their second studio EP ‘Deathproof’, released May 2023, saw the start of the band’s evolution, there was a refreshed maturity to their songwriting and an evident progression in their sound. ‘Deathproof’ has been streamed over 350,000 times to date and was celebrated by Louder Than War Radio, Ones To Watch, Sirius XM, BBC Introducing and many others.

    August 2024 saw their biggest support tour to date, supporting Kid Brunswick on his final ‘Dead Forever’ tour across the UK. They’ve also shared the stage with False Heads, Virgin Marys, Phoxjaw, Pulled Apart By Horses, The Soap Girls and Mother Vulture and have played slots at festivals such as Icebreaker, Dot to Dot, The Godney Gathering, Estonia’s Tallinn Music Week and Burn It Down. March 2026 sees the band head to the United States for the first time for New York City’s New Colossus Festival.

    With interest in the band quickly growing, Krooked Tongue recently signed a publishing deal with Wipeout Music, and have also joined TRUST Artists’ live roster and hope to continue to cement themselves as an emerging band to watch in the UK.

    LINKS:
    https://krookedtongue.bandcamp.com
    https://www.facebook.com/Krookedtongue
    https://x.com/krooked_tongue
    https://www.instagram.com/krookedtongue

    Tracy Bonham – Un-F*k This F*kt Up Christmas + Tour Dates

    Tracy Bonham
    Tracy Bonham

    Tracy Bonham has today released her new single titled ‘Un-F*k This F*kt Up Christmas’ via A Woody Hollow. You know it’s a good song when you learn something from the lyrics while you listen, and not merely hear the track.

    Parody with purpose, commentary of calamity. This is sure to piss of those of use who live life on that narrow road dictated by judgement, false superiority, and the Dunning-Kruger effect. For the rest of us, this is a humorous pat on the shoulder letting us know that we are not the only ones who see. The ones who still realize that Christmas is a birthday for someone who promoted all inclusion and empathy.

    Done with a snarky tongue-in-cheek style, Tracy reminds us that music is a timestamp for, um, the times we are in as well as the societal constraints that most of us misinterpret as “the norm”.

    And, if you look at her catalog as a whole, Tracy is all about that. Tearing down the walls that separate us via pride and prejudice by putting it in our face with cynicism and snark, with a bit of humor to add sweet to the sour all wrapped up in monster hooks and memorable melody.

    Check out our exclusive interview with Tracy Bonham HERE.

    About ‘Un-F*k This F*kt Up Christmas’

    As we get ready to shut the lid on the dumpster fire that defined 2025, celebrated alternative multi-genre’d artist Tracy Bonham is ready to pour accelerant on the flames with her festive holiday song “Un-Fk This Fkt Up Christmas.” The cheekily-titled holiday track serves as a single-finger salute to a politically crummy year. “This year I’m calling out the chaos, naming the nonsense, hopefully making people laugh along the way,” she says.

    Released today, December 5, 2025, “Un-Fk This Fkt Up Christmas” is a festive jaunty song filled with holiday cheer. “It’s bound to be a f*kt up Christmas / Let’s hope it’s all a dream / A ruse or a hoax, a trick or a joke / Or one obnoxious meme,” she sings, smirking all the way.

    While we discovered this year that the bottom of the barrel wasn’t, in fact, the bottom, it proved to be a banner year for Tracy’s creativity. Her album Sky Too Wide (which was released on June 6, 2025) was greeted with overwhelmingly universal and critical acclaim. American Songwriter characterized her “Beatles-melodic” songs as “impassioned messages of perseverance.” Hipster-leaning tome Bearded Gentlemen Music praised that “Sky Too Wide proves Tracy Bonham is an artist’s artist… The lyrics are catchy, the production is clear and rich, and the instrumentation is world-class.” Among other publications lavishing praise include People Magazine, New York Times, Brooklyn Vegan, Boston Herald, Village Voice, Aquarian Weekly, All Music, Riff Magazine, Jammerzine, Illinois Entertainer, Vanyaland, among many others.

    Tracy’s smashing live shows this year included a NYC event hosted by close friend/comedian/actor Fred Armisen at the legendary Joe’s Pub and a very special performance in Oregon where her music was conceptualized by Eugene Ballet. “I am feeling more creative than ever,” Tracy beams, looking back at all she has accomplished. “The momentum from 2024 / 2025 propels me as I crave getting out in front of audiences more.”

    Continuing to satiate that live performance need, Tracy has a handful of upcoming shows, including a special guest appearance at Joe’s Pub with BETTY (where she will perform “Un-Fk This Fkt Up Christmas” for the first time live), a unique show with strings in New York City at The Iridium, a special tribute to her close friend Jill Sobule for Jillith Fair at NYC’s City Winery and at The Fallser Club in Philadelphia, and two shows in Madison, WI for Joey’s Song, Freezing Man Concerts – a benefit with multiple artists for raising money and awareness for people with epilepsy. “Real life can be scary,” she explains. “The stage is my safe place. I feel like the stage is one of the most comfortable places I have to exist in this world, and it’s the safest place for me to share my voice.”

    Tracy’s breakthrough debut album The Burdens of Being Upright (1996, Island Records) spawned the massive #1 alternative chart-topping single “Mother Mother.” A classically trained violinist and pianist, and twice GRAMMY® nominated, she spent the following 27 years evolving as an artist through her albums and live performances. That debut album catapulted her into the spotlight with MTV fame, major radio play, and more, continuing relevance until even recently, when “Mother Mother” was featured in Showtime’s Yellow Jackets (Season 1 Episode 2). In addition, she was one of the celebrated performers on Lilith Fair (which was recently chronicled on the 2025 documentary Lilith Fair: Building A Mystery – The Untold Story, currently streaming on Hulu).

    As she looks forward to the New Year, she says, “2026 is going to be an exciting year for me as I celebrate the 30th anniversary of The Burdens of Being Upright. I have so much in store for this year including a new release in honor of the 30th along with a newly developed concept for a rock show with strings,” she hints.

    Aside from unf*king Christmas, what are Tracy’s wants and hopes for Christmas and the New Year? “I don’t want anything for Christmas for myself,” she replies thoughtfully. “I want my 15-year-old son to feel good about himself. I also want kids to have better role models in higher positions. I don’t make New Year’s resolutions anymore. Anything I need to change needs to be implemented in a realistic way, not just one grand gesture or declaration. The way to real lasting change is micro steps.”

    LINKS:
    https://www.tracybonham.com/
    https://linktr.ee/tracybonham
    https://www.instagram.com/tracybonham/
    https://www.facebook.com/TracyBonhamMusic
    https://x.com/tracy_bonham
    https://www.youtube.com/@TracyBonhamOfficial
    https://open.spotify.com/artist/6RaSfqo4f0b42iNouQeAKK

    Tooth Gore – Cold Heart, Warm Skin

    Tooth Gore
    Tooth Gore

    Tooth Gore is a surf punk solo artist hailing from the seaside town of Newquay, Cornwall. Their music is a combination of shiny, reverb heavy doo-wop music, (inspired by the music of the 1950s) as well as the unrefined punk energy of contemporary bands like FIDLAR, The Frights, PUP and Jeff Rosenstock, embracing the grungy fuzz of heavily distorted guitars.

    Songwriter and frontman Kobi Joe aims to capture both the joy and terror that comes with youth, where every emotion feels apocalyptic, in his lyrics; channelling his uncertainties and anxieties into music that often feels on the brink of collapsing in on itself.

    His introductory single to radio ‘Spoiled Milk’ surpassed all expectations and received a personal record amount of airplay across the globe, increasing Spotify streams by the thousands and overall visibility for the young artist! This was followed by ‘No Fighting In Doo Wop’, the first single from his debut album ‘For Losers, By Losers’, which was released June 6th. The track continued to elevate Tooth Gore’s rise with further international radio and exceptional reviews.

    Previous singles ‘So?’, ‘Firebird’, ‘I Hate My Collarbones’ and ‘Uncomfortable’ showcased the versatility of the young singer-songwriter in comparison to his previous releases garnering further airplay, streams and positive reviews, and in the case of his most recent single ‘The Lighthouse’, generated a personal best in radio play with over a 2500 plays worldwide including the likes of Kerrang Radio, Total Rock, BSBTV, Radio X and BBC Introducing.

    Tooth Gore has been promoting his debut album over the last few months across the UK, and with a series of shows across the country already under his belt, he will be performing even more shows throughout the remainder of 2025 in preparation for his first international run of shows, kicking off with a tour of the Philippines in January and then Japan in April.

    SOURCE: Official Bio

    LINK:
    https://linktr.ee/toothgore

    Big Big Train – The Sharpest Blade + Tour Dates

    Big Big Train have today released their new video and single titled ‘The Sharpest Blade’, from their upcoming album ‘Woodcut’, dropping February 6th via InsideOutMusic. Musically steeped in classic lore, ‘The Sharpest Blade’ melds timeless sound with modern tinge with beautifully crafted vocals, all combining to form a bridge from old school indie to new musical direction.

    While this is clearly a modern indie track, the prog and classic music influences take new form and flight with poetic storied lyrics in such a way that it becomes as endearing as it does relevant.

    While the video gives a film score quality to everything, it mostly defines the underlying meaning of ‘The Sharpest Blade’ and acts as a companion piece to add a punch to the prologue.

    About Big Big Train & ‘Woodcut’

    Woodcut is a landmark release for the group, whose line-up draws together members from England, Scotland, Italy, the USA, Sweden and Norway, in that it marks their first ever full-length conceptual piece – quite a statement given the musical depth and storytelling qualities of a band formed in Bournemouth way back in 1990. Woodcut is a continuous narrative exploring creativity, sacrifice and the thin line between inspiration and madness and featuring a character called The Artist.

    Today they launch a second single from the album, titled “The Sharpest Blade,” a track that sees violinist Clare Lindley sharing lead vocals with the band’s frontman, and ‘Woodcut’ producer, Alberto Bravin.

    Lindley, who also wrote the lyrics for ‘The Sharpest Blade’, explains: “Having gone for a walk in the woods and happened upon an amazing piece of heartwood, lit by a natural beam of sunlight, the Artist has taken it home. In the song ‘The Sharpest Blade’, he begins to carve the heartwood. Although he still has doubts and dark inner thoughts, he finds himself carving a wonderful scene. It’s so good that he feels it is perhaps not of his own hand…”

    Woodcut feels like a Big Big Train record quite unlike any that came before—an assured union of music, storytelling and visual invention. The album is graced with a striking cover design from Dorset (England) based artist Robin Mackenzie – a black and white woodcut print, of course, derived from a woodcut which the band commissioned from him specifically for the album.

    Available as a Limited CD + Blu-ray edition, including extensive liner notes as well as Dolby Atmos & 5.1 Surround Sound mixes by Shawn Dealey of Sweetwater Studios, the album will also be available as a stunning Gatefold 180g 2LP with special embossed cover, Standard CD Jewelcase & Digitally in both Stereo and Dolby Atmos versions.

    Featuring 16 tracks across 66-minutes of runtime, Woodcut feels epic without outstaying its welcome. From the intimacy of ‘Inkwell Black’ to the grandeur of ‘Counting Stars’, Woodcut is a defiant analogue statement in a digital age—a handcrafted, deeply human exploration of art, faith and endurance.

    ‘Woodcut’ Tracklist

    'Woodcut' cover.
    ‘Woodcut’ cover.
    1. Inkwell Black
    2. The Artist
    3. The Lie of the Land
    4. The Sharpest Blade
    5. Albion Press
    6. Arcadia
    7. Second Press
    8. Warp and Weft
    9. Chimaera
    10. Dead Point
    11. Light Without Heat
    12. Dreams in Black and White
    13. Cut and Run
    14. Hawthorn White
    15. Counting Stars
    16. Last Stand

    Additionally the band have just announced a UK/European headline tour for September/October 2026, including their biggest headline show to date at London’s O2 Shepherd’s Bush Empire. Find the full list of dates below:

    Featured image by Cécile Lopes.

    LINKS:
    https://www.bigbigtrain.com
    https://www.facebook.com/bigbigtrain/
    https://www.instagram.com/bigbigtrain

    Gipsy Kings – Señorita + Tour Dates

    Gipsy Kings
    Gipsy Kings

    The GRAMMY® Award-winning Gipsy Kings and their leader / founder Tonino Baliardo broke the mold with their self-titled album back in 1987. It was a time when the US and UK charts were almost completely devoid of non-English language songs, and especially music that was inspired and informed by the rich tapestry of world music from the preceding decades.

    Subsequent albums such as Mosaïque and Este Mundo continued their success, leading to 25 million album sales, in excess of 2 billion streams and sold-out shows at prestigious concert halls across the world. Adorning their core flamenco sound with Latin influences, a pop accessibility and touches of reggae and jazz, their cultural impact resulted in them featuring on the soundtracks to Toy Story 3, The Big Lebowski and Entourage. They’ve also played to all manner of legendary figures, including Brigitte Bardot, Charlie Chaplin and Tony Curtis.

    All these years later, the Gipsy Kings Featuring Tonino Baliardo family (featuring his sons Cosso and Mikeal) are still burning bright – as shown with their legendary Glastonbury 2024 set. Almost forty years since their breakthrough, their story continues – with music as electrifying and life-affirming as ever – with the news that they will release the new album HISTORIIA on May 15, 2026. They launch the album by sharing the lead single “Señorita.”

    The U.S. tour has been announced for Spring 2026. Beginning March in California, the dates hug both West and East Coasts (dates below). Tickets go on sale Friday, December 5th at 10:00am Local Time.

    Tonino Baliardo’s inimitable and instantly recognizable flamenco guitar sets the tone in celebratory mood as “Señorita” fires up. That classic Gipsy King sound is defined by a rich, passionate baritone lead vocal as well as rhythms both vigorous and sensual. It’s a song that evocatively transports you to the roots of the gipsy music tradition – a skill that the Gipsy Kings have always delivered quite unlike anyone else.

    Tonino Baliardo says, “I am delighted that ‘Señorita’ is going to be the first single taken from our forthcoming album Historia. Music and dance are a fundamental part of Gipsy culture. As a child I spent many hours with Gipsy families and my own, playing our guitars, singing with the young girls dancing, and enjoying that special moment. It has been an idea for a few years to write a song with a strong rhythm and joyful chorus to capture those early wonderful memories of my youth. It fits perfectly into the Historia album as it reflects the many influences and ideas on the new record.”

    While the boisterous exuberance of “Señorita” is equaled by other songs such as “El Campo” and “Big Bang,” Historia also pulsates with the eclecticism that is a hallmark of the Gipsy Kings’ experience. The title track translates that frenetic energy into a grandiose, theatrical explosion of sonic influences, yet “La Guerre” is a beautiful ballad that advocates for peace in the face of unnecessary wars. Tonino Baliardo’s guitar work is the highlight throughout the album, hitting a pop-leaning groove complemented by jazzy piano on “Sonador” or sourcing a beatific euphoria on the instrumental “Cielo” which was written in memory of Tonino’s brother Paco who recently passed away. Collectively it keeps the rich, passionate, virtuosic traditions of flamenco music and Catalan gipsy culture alive.

    Tonino adds, “I have been recording albums with the Gipsy Kings for over 40 years, so with Historia, I wanted it to have an adventurous spirit. At the same time, Historia is about the story of the Gipsy Kings, and what happened when ‘Bamboléo’ and ‘Djobi, Djoba’ became global hits. We were ambitious. We knew we were good. But we never expected everything that happened.”

    Historia is now available to pre-order / pre-save HERE. In addition to digital, vinyl and CD formats, the band’s official store offers an exclusive signed vinyl. Amazon also have an exclusive signed CD and vinyl editions.

    Gipsy Kings featuring Tonino Baliardo will end 2025 by playing a New Year’s Eve show in Sharm El-Sheikh, Egypt. Further plans for 2026 include a North American headline tour, and the premiere of an eagerly anticipated documentary on the band which will be released on Amazon Prime.

    SOURCE: Official Bio

    LINKS:
    https://toninobaliardo.com/
    https://www.facebook.com/toninobaliardo.official/
    https://www.youtube.com/c/ToninoBaliardoGipsyKingsOfficial
    https://www.instagram.com/toninobaliardo_official/

    Wintur – turn a page

    Wintur
    Wintur

    Wintur has today dropped his new single titled ‘turn a page’. The depth of the music starts from the heart and collides with the soul. This is a song that captivates from the start with a rich chord progression and the vocals entrenched in the hook with a story to tell and a song to sing.

    Sadness with purpose. I have to admit, this is a song that is hard to write anything about. It’s simply there to behold and definitely takes more than a first listen to capture it all and take it in. Loneliness now has an anthem. That lonely painting in the gallery yearning for attention but never screaming out to be seen. Isn’t that all of us at some points in our lives?

    About ‘turn a page’

    Wintur’s latest single ruminates on a desperate need not to write “one more sad song” about a toxic ex who keeps showing up. “‘turn a page’ is a song about that moment when someone you loved walks back into your life like a familiar stranger, and you almost believe they have changed,” Wintur explains. “Until they remind you why you left in the first place.” The song calls forth the haunting realization of this person only showing back up because they are “sad and lonely.”

    Wintur sings, “feeling stupid, my friends are angry that for a moment I believed that you were changing.” Wintur gracefully discusses “second goodbyes” and the prickling desire to turn the page towards a brighter future. As the song comes to a close, Wintur sings with soft-hearted resilience, “I can’t write one more sad song about you.” The track pairs harmoniously with the previous single, “writer’s block,” as Wintur captures a delicately curated exhaustion with ethereal piano notes and gentle, swelling guitar strums.

    Combined with additional faded horns and audible sighs, Wintur scratches palpable relational fatigue into his notebook pages, something elegantly orchestrated through light instrumentation and his own diary-like warbles.

    About Wintur

    Wintur, one of indie’s artists-to-watch, began his journey at a young age by filling notebooks with love songs, each page a testament to his search for connection. His music carries an atmospheric ambiance, drawing on the emphatic sensibilities of artists like Billie Eilish, Role Model, Conan Gray, and Sombr, while cultivating its own sonic force that will shake up the music industry.

    The Los Angeles-based artist developed an early passion for production and songwriting, studying at Berklee College of Music, where he refined his technical skills while experimenting with intimate, acoustic writing and celestial soundscapes. Wintur’s previous four singles reveal his understanding of love not as something perfect and quintessentially romantic, but as a tangled nexus that leaves emotional scar tissue.

    His relatable and honest songwriting style has already amassed an avid fanbase on TikTok and Instagram and garnered praise from Earmilk, Live Nation’s Ones to Watch, Spindle Magazine, Dead Good Music, and more.

    LINKS:
    https://www.instagram.com/bywintur/
    https://www.tiktok.com/@winturscott
    https://open.spotify.com/artist/6XDo22d9pYl4rCs48OnNWg

    Chaton Laveur – Contre-La-Montre

    Contre-La-Montre marks Chaton Laveur’s return with a hypnotic first single from their second album, Labyrinthe. The Liège-based duo delivers a bold composition where motorik bass and mechanical drums collide with obsessive, repetitive guitars, creating a palpable tension that evokes the relentless passage of time.

    Following in the footsteps of Beak>, SUUNS, and Broadcast, Chaton Laveur bridges German Krautrock and contemporary indie pop in a unique way. Captivating keyboard and vocal melodies float above an unforgiving rhythm section, transforming the anxiety of passing time into an immersive and cathartic sonic experience.

    Recorded at Studio Claudio in Paris with Vincent Hivert (En Attendant Ana), this track captures the essence of a duo that refuses conventions: minimalist yet rich, repetitive yet captivating, urgent yet meditative. An invitation to accept the passage of time and focus on what truly matters: living it together.

    Featured image by Julien Trousson.

    SOURCE: Official Bio

    LINKS:
    https://chatonlaveur.bandcamp.com/
    https://www.instagram.com/chatonlaveurmusique/

    Voxtrot – Fighting Back + Tour Dates & New Album Announcement

    Voxtrot have today released their new video and single titled ‘Fighting Back’ from their first album in 19 years titled ‘Dreamers in Exile’, dropping February 27th, 2026, via their own label Cult Hero Records.

    Picking up right where they left off, musically, with their self titled debut, Voxtrot never skip the beat or leave anything unturned with this sweet preview of things to come this February. With such a sparse catalog, Voxtrot’s impression on the indie music scene is even more impressive in that they have that uncanny ability to leave a dark mark within all of that white noise.

    With ‘Fighting Back’, we get that signature sound of anthemic hooks and original musical personality with the style and bravado of legends and purveyors of the sonic arts.

    ‘Dreamers in Exile’ Tracklist

    'Dreamers in Exile' cover.
    ‘Dreamers in Exile’ cover.
    1. Another Fire
    2. Fighting Back
    3. New World Romance
    4. Dreamers in Exile
    5. The Times
    6. Esprit de Cœur
    7. Quiet Noise
    8. My Peace
    9. Change
    10. Rock & Roll Jesus
    11. Babylone

    About ‘Fighting Back’

    After more than a decade apart, Voxtrot has reconvened with a renewed sense of purpose. Dreamers in Exile is the band’s first full-length in nearly twenty years. Written and self-recorded in Lockhart, Texas at bassist Jason Chronis’ Haunted Air Studio, and mixed by Dean Reid (Lana Del Rey, James Blake), the album captures a group both wiser and bolder.

    Where the early records chronicled the wide-eyed tumult of youth, Dreamers in Exile is an album of reckoning and renewal, tracing the passage of time, the distance between past and present, and the hope of connection that endures through it all. It is at once a continuation and a reinvention—the sound of Voxtrot returning not to reclaim their legacy, but to expand it.

    Today the band is also announcing a North American tour in support of Dreamers in Exile. The tour will include shows in Los Angeles, San Francisco, Seattle, Chicago, Toronto, Brooklyn, Washington, D.C. and more. The Bandsintown pre-sale begins today, followed by venue pre-sales tomorrow; the general on-sale is this Friday.

    To mark the album’s release, the band is sharing its new single “Fighting Back” along with a Super 8–shot video directed by longtime collaborator Annie Gunn, with cinematography by Peter Simonite. Inspired by Ramesh Srivastava’s time spent living in Los Angeles, the song transforms a period of uncertainty into something defiant and cinematic, capturing the album’s core themes of self-reckoning, survival, and hard-won joy.

    On the song the band’s Ramesh Srivastava says:

    “I moved to Los Angeles in 2015. Voxtrot had been broken up for a few years by that point, so I decided to throw myself headfirst into the entertainment industry and see what Tinseltown had to offer. On the drive from Texas to California, I caught wind of a room for rent on Rosemont Street in Echo Park and agreed to move in, sight unseen.

    My three roommates were musicians as well: two were in an indie band called Cold Violets (who opened for Voxtrot at the Regent Theater during our 2022 reunion tour), and the third was a bluegrass musician who plays in a band called The Hillbenders.

    For a few weeks I worked for a courier company. It was early spring, so a big part of my job was picking up haute couture from boutiques on Beverly Hills’ Rodeo Drive and delivering it to actors and musicians to try on ahead of the Oscars and Grammys. Having had a bustling career myself not long before, a job like this was obviously a significant blow to my ego, but it catalyzed a long process of coming back to myself.

    In general, those days were bizarrely shapeless. Often I would wake up at 5 a.m. and wander the streets of Los Angeles, stopping in coffee shops to write poetry and stare into infinity. But with that directionlessness came a certain levity, and I relished the nights hanging out with my roommates – drinking, singing, playing acoustic guitar, and listening to records. It was a freedom I hadn’t felt in a long time.

    Musically, ‘Fighting Back’ echoes the catchy propulsiveness of early Voxtrot, but my favorite element is the cornucopia of synths peppered throughout. Jason and I borrowed a Juno and went to town! I love the dark ’80s atmosphere, and whenever I hear it, I picture the crimson-lit bar scenes in American Gigolo, which were filmed at the Beverly Hills Hotel… where I distinctly remember the doorman shouting that I had ten minutes to make my delivery before he was gonna tow my car.

    The video for “Fighting Back” was directed and filmed by our longtime friend and artistic collaborator Annie Gunn. She’s taken many pictures of us over the years, including the majority of our record covers, but this is our first time working with her on a video. Cinematography was by Annie’s partner, Peter Simonite, with whom she previously co-directed Explosions in the Sky’s “Postcards from 1952.” Peter also brings a deep feature-film background, including second-unit and additional photography work within Terrence Malick’s filmmaking world (including The Tree of Life, To the Wonder, and Song to Song), and he has also directed music video work for Spoon.”

    On the video, Annie Gunn adds:

    “I’ve been collaborating with the band since the early 2000s on stills for album artwork. The visuals I’ve made for the band have always been in the analog black and white world so it felt fitting that the video for ‘Fighting Back’ also be shot on film. I wanted to bring some of the grainy, textural, imperfect nature of the stills we’ve done into motion. Peter Simonite as cinematographer brought his 1960s super8 camera and we shot on different film stocks, embracing all the organic the fame lines, light leaks, grain and imperfections we could. I hope the result feels like a moving collage of the band’s performance and I love how it ties into the visual world we’ve been creating for the last 20+ years.”

    About Voxtrot

    In 2022, more than a decade after disbanding, indie heroes Voxtrot reunited. Formed in 2003, the Texas group quickly earned global attention with their EPs Raised By Wolves and Mothers, Sisters, Daughters & Wives, released on their own Cult Hero Records. The band, vocalist/guitarist Ramesh Srivastava, guitarist Mitch Calvert, bassist Jason Chronis, keyboardist Jared van Fleet, and drummer Matt Simon, rode the momentum of the 2000s blog-era to chart success, with 2006’s Your Biggest Fan debuting at #3 on Billboard’s Hot Singles Sales chart and their 2007 self-titled LP reaching #14 on Heatseekers.

    Their 2022 return, including the Early Music EP reissue, the Cut From The Stone rarities collection, and their first tour in over ten years, was met with overwhelming enthusiasm. Energized by that response, the band committed to making new music. “In the green room before the last show of the reunion tour, we decided to make a new album,” says Srivastava. By January 2023, they were recording Dreamers in Exile at Chronis’ Haunted Air Studio in Lockhart, Texas, later mixed by Dean Reid (Lana Del Rey, James Blake).

    The resulting 11-song album feels both like a continuation of Voxtrot’s 2000s sound and an evolution shaped by time. Opener “Another Fire” sets the tone with a gorgeous, wistful rumination on time and history—both personal and political—it’s a wonderful expression of how the past is a constant influence on the present. Songs like “Fighting Back,” “New World Romance,” and the anthemic title track explore hope, disillusionment, and resilience; “Esprit de Cœur” and “Rock & Roll Jesus” deliver pointed social commentary without sacrificing melody; and closer “Babylone,” inspired by Yves Saint Laurent and Pierre Bergé as well as Srivastava’s own past relationship, ends the album on a haunting, cinematic note.

    Though all five original members contribute, Dreamers in Exile centers around the creative core of Srivastava, Chronis, and Simon, recapturing Voxtrot’s chemistry while expanding their legacy. “There’s so much optimism—this bright, happy quality—on this record,” says Srivastava, “and I think the reason is because we’ve learned from everything we’ve experienced in the past. And the most important thing we learned is that we are the people who bring the energy into the room. You can’t wait for it to appear—or for other people in the industry to give you permission. That’s why we’re putting this out on Cult Hero—when you bring your own enthusiasm into the world, it’s truly magnetic. Because it’s absolutely real.”

    Featured image by Annie Gunn.

    LINKS:
    https://www.facebook.com/voxtrot/
    https://www.instagram.com/voxtrot_atx
    https://www.youtube.com/channel/UCZKqnZs7q39yo8teu55iXng

    Modenine & Black Intelligence featuring Maka – My Skin is Black Remix

    UK based Nigerian Hip-Hop legend Modenine, soulful vocalist Maka and visionary producer Black Intelligence join forces for “Thereafter” — a collaborative album built on reflection, resilience and rebirth. Blending razor-sharp lyricism, emotive melodies and lush experimental production, Thereafter delivers a timeless listening experience that transcends trends and speaks to struggle, healing, endings and new beginnings.

    On their latest single and video for “My Skin Is Black (Remix),” Modenine delivers sharp, reflective verses about identity, resilience and pride in Black heritage. Maka adds a smooth, emotive vocal layer that deepens the song’s introspective feel, while Black Intelligence contributes production that blends mellow jazz-soul elements with classic boom-bap. The remix elevates the original with richer harmonies and a more polished, atmospheric sound, turning it into a powerful anthem of self-affirmation and cultural pride.

    SOURCE: Official Bio

    LINKS:
    https://instagram.com/modenine_polimaf
    https://instagram.com/intel360
    https://instagram.com/theofficialmaka

    The Zenith Passage – Fleshbound Reliquary + Tour Dates

    The Zenith Passage have today released their new video and single titled ‘Fleshbound Reliquary’ via Metal Blade Records. Old school metal mixed with modern day precision and timing, ‘Fleshbound Reliquary’ that creates musicians and dominates the ear space.

    Everything done with angst and grace with each note in it’s proper place, The Zenith Passage develop perfection with the awe and grandeur of those types of musicians that we all want to elevate towards, no matter the genre.

    About The Zenith Passage

    Progressive death metallers The Zenith Passage today present their latest single, “Fleshbound Reliquary.” Mixed and mastered by Dave Otero (Cattle Decapitation, Allegaeon, Archspire, Cephalic Carnage) with artwork by Shindy Reehal (Psycroptic, Lamb Of God, Kreator, Angelmaker), the track serves as the band’s first new output since 2023’s critically adored and chart topping Datalysium full-length as well as the first song drummer Max Sepulveda appears on.

    Comments vocalist Derek Rydquist, “‘Fleshbound Reliquary’ depicts a world and existence where resources have been so ravaged that we are forced to look towards ourselves as the means of production for what comes next.”

    Adds guitarist Justin McKinney, “Musically, the track features a series of tightly interlocked rhythmic motifs executed with laser precision, all within a traditional song structure. The piece is primarily in 3, culminating in a grand, climactic resolution of the main motif that transitions into a powerful 4 feel for an epic close.”

    The Zenith Passage is currently wrapping up a successful North American tour which began October 30th supporting labelmates Entheos. “We’re honored to be part of Entheos’ first headlining tour,” offers Rydquist, “Our bands go back over twenty years in some form or another [Derek has been playing shows with Entheos drummer Navene [Koperweis] since high school!] and it’s awesome to continue to be part of each other’s success. We’re playing the new song on this run, our brothers in Fallujah are bringing the shred, and our new friends in Tracheotomy are bringing the heavy, so be sure to show up early and get a taste of everything metal can give you in 2025.” See all remaining dates below.

    Hailing from Los Angeles, California, The Zenith Passage features Justin McKinney (ex-The Faceless), Brandon Giffin (ex-The Faceless, Cynic), Derek Rydquist (ex-The Faceless, John Frum), Christopher Beattie, and Maximilian Sepulveda. Formed in 2012 by McKinney as a small recording project, the band began turning heads after the release of their debut EP, Cosmic Dissonance and ultimately became a full touring outfit.

    Featured image by Vince Edwards.

    LINKS:
    https://www.instagram.com/thezenithpassage
    https://www.facebook.com/TheZenithPassage
    https://x.com/ZenithPassage
    http://www.youtube.com/user/TheZenithPassage
    https://www.metalblade.com
    https://www.facebook.com/metalbladerecords
    https://www.instagram.com/metalbladerecords
    https://x.com/MetalBlade
    https://www.metalblade.com/museum

    Solarrio – Toxicology + Q&A

    Solarrio
    Solarrio

    Berlin-based artist Solarrio returns with his highly anticipated sophomore album ‘Toxicology’. A funk-laced, emotionally charged exploration of love, addiction, and the darker sides of human connection. Built around the haunting concept “Love is dead — this album is the toxicology report,” the record delves into the seductive pull of toxic relationships and self-destructive habits, all wrapped in Solarrio’s unmistakable blend of synthpop, funk, and hip-hop.

    Following his acclaimed debut ‘All the Wrong Places’ in 2024, ‘Toxicology’ pushes Solarrio’s artistry into bolder, more introspective territory. “This album is about accountability,” he shares. “It’s me dissecting my own toxicity and the ways it’s shaped my life — but still keeping it funky.”

    Solarrio’s global rise continues to gather momentum. His breakout single “B the 1” earned MTV airplay in the U.S., while “NLF” featuring Holland Izz appeared on BET Jams. His sound has also struck a chord in Latin America, where he’s received extensive radio play and interviews across Mexico City and Guadalajara. To celebrate the release, Solarrio will embark on a Japan tour in November 2025, followed by a showcase performance at SXSW 2026. With ‘Toxicology’, he cements his place as one of the most forward-thinking artists in modern funk-pop, turning personal chaos into sonic clarity.

    The album’s lead single, ‘Under My Spell’, sets the tone: a hypnotic, funk-driven track that feels both chilled and intoxicating. Co-produced with longtime collaborator Alhassan Sakho and written by Solarrio himself, the song captures the tension between allure and danger. Told from the perspective of the substance, or even fame itself, it’s a haunting reflection on obsession, dependency, and seduction. “I saw you fall so deep, into my twisted game, your heart began to weep, but you called out my name.”

    “This song is written from the perspective of the drug, or fame itself, speaking to the person who’s become addicted. It’s about obsession, dependency, and how something seductive can slowly take control of your life. I wanted it to feel alluring and dangerous at the same time, like a toxic relationship you can’t walk away from.”

    Bridging alt-pop and funk-pop, ‘Under My Spell’ is a mesmerising introduction to Toxicology, an album that proves Solarrio is not only evolving, but mastering his sound with precision and purpose.

    Q&A

    What was going on in your life that led you to writing from a darker place?

    There was a lot of turmoil in my personal life. Relationships with certain people, family problems, business issues, it all took me to a dark place. I started writing songs for this album before the first one even came out and it helped me deal with a lot of these issues and make sense of it. It was definitely therapeutic and also forced me to do some shadow work and start taking accountability for the role that I played in these situations.

    Was there pressure with getting your second album done compared to your first?

    Most definitely, mostly internal. I felt like I was on a roll and knew that writer’s block could hit anytime so I started writing as I was mixing and mastering the first album. I decided I wanted to record at least twice as many songs as I would put on the final album but I actually ended up with 30-40 songs, of which 10 made the cut.

    How are you accountable in the face of toxic relationships and tough life decisions? What songs best exemplify this?

    A lot of times, there are patterns that I may have decided to ignore. A lot of the bad situations could have been avoided because I should have known better, but I might have acted in a moment of desperation, which cost me dearly later down the line. So instead of solely placing the blame on everybody else, it was important to accept the role that I played in putting myself in these positions.

    As far as what songs best exemplify this I would say “Goners”, “Under My Spell”, “See It Burn”.

    You’ve had a lot of world wide critical acclaim, how have you both handled and celebrated this?

    There’s still such a long way to go. I really feel like I’m just getting started. I put out my first full length project in 2024, and everything I did before that was more of an experiment to find my musical identity and my sound. So I don’t really stop to celebrate because I feel there’s way too much work left to do before I can pat myself on the back.

    Besides my own music I have an indie record label, I’m responsible for other artists, I have a recording studio with my business partner in LA, so it’s hard for me to stop and really let it all sink in, even though every once in a while it’s healthy to take a step back and see things from a little distance.

    What are some all time funk and dance records that influenced you the most on this?

    The Gap Band II-IV albums, MJ’s “Off the Wall”, SOS Band’s first few albums, Cherelle’s “Fragile” and of course anything Prince worked on between ’78 and ’92.

    Any touring plans for the 2nd half of 2026 after SXSW and Japan?

    Definitely trying to put something together, just wrapped up the tour in Japan, it was a lot of fun and a great experience, so hoping to maybe put another one together for the 2nd half of 2026, hoping to play some shows in Latin America as well. I love hitting the road and performing these songs for the people and getting real reactions and a real connection, this online shit is cool but it feels good being out in the real world with it.

    LINKS:
    https://facebook.com/solarrio
    https://instagram.com/solarrio
    https://tiktok.com/@solarrio
    https://open.spotify.com/artist/1GqwMM1E15gniqofxJg1A3
    https://youtube.com/@solarrio

    Fenra – Delusional

    Fenra
    Fenra

    Emerging Portland-based producer Fenra released his debut EP, Delusional via 6x Records. The previously-released singles off the EP, ‘Coffee’ and ‘Deepcut’ received support from revered tastemaker publications Magnetic Magazine and CLASH Magazine.

    The EP focus track ‘Chicago, which premiered on tastemaker outlet Electronic Groove, is a footwork-inspired atmospheric breakbeat number that will ensnare fans of Fred again.., Bicep, and Catching Flies. The EP was mastered by Aneek Thapar, whose heavyweight credits include Rival Consoles and Max Cooper.

    About Fenra

    Born in Santa Rosa, California and now based in Portland, Oregon, Fenra is the electronic moniker of producer B Laws, who grew up surrounded by art and first fell in love with harmony while listening to hymns in church with his grandmother. After teaching himself guitar at the age of 14 and later experimenting with synths, vocals, and drums in bands that toured across the US, Europe, and Asia, he is now channeling his experience into a new artistic chapter.

    Drawing inspiration from pioneers like Caribou, Four Tet, Floating Points, Bonobo, and DJ Koze, as well as the minimalist elegance of Philip Glass and the soulful resonance of artists like Gloria Ann Taylor, Fenra crafts music that bridges the cinematic with the deeply personal. With his debut EP, he offers a compelling slice of his genre-blurring sound, sure to resonate with fans of those whom he listed as his inspirations.

    From the restless, kinetic slow-burn shuffling house of opener ‘Deepcut’ to the dreamy dulcimer-laced ambient downtempo of ‘Coffee’ to the upbeat yet chill euphoria of closer ‘Free’, Delusional is a stunning debut project showcasing Fenra’s finesse in crafting atmospheric sound design and production bathed in feeling.

    Focus track ‘Chicago’ is anchored by a shuffling broken beat and a minimal, hopeful synth line, adorned with pads and organic textures that twinkle and soar as heavenly choral vocal samples lift the track into the stratosphere – a perfect slice of FENRA’s flair that exemplifies the expansive emotionality of the EP as a whole.

    Speaking on the EP, Fenra divulged: “I knew from the beginning that I wanted to explore dance music in my own way, weaving in found sounds, ASMR textures, and strings. I started each song from that place, building an atmosphere and mood with a pallet of sounds collected from everyday life. From there I went into the studio with drum machines and synths and the songs grew more dramatic than I first expected.”

    SOURCE: Official Bio

    LINKS:
    https://fenra.world/
    https://instagram.com/fenra.music
    https://facebook.com/fenra.official
    https://tiktok.com/@fenra.music
    https://www.youtube.com/@fenra.official
    https://open.spotify.com/artist/59rqf24QkruinQuOKtTtGc

    Jeff ‘The Fish’ Leroy – The New Religion

    Jeff 'The Fish' Leroy
    Jeff 'The Fish' Leroy

    The New Religion is a song about AI and it’s catastrophic impact on art, entertainment and music. It was sold to us as an infallible tool that would do all the work and allow us time and energy to create and live a life of leisure, but it is already showing itself not to be as accurate or intelligent as we are led to believe and so far it is looking like the original promise is the inverse… soon we will all be working in low paid jobs while AI sings to us… I hope you like it.

    Cheers, Jeff

    A little bit about me

    I’m an independent artist (no label etc). I’m Irish but now based in France and I would describe my sound as contemporary Blues, but with a lot of other influences ranging from Pop Rock, Northern Soul, Country and Rhythm and Blues and I am inspired by a broad selection of artists such as Tony Joe White, JJ Cale, Jimi Hendrix, The Small Faces, Traffic, Fleetwood Mac, Doctor Feelgood, Sly and The Family Stone, Ian Dury and The Blockheads, Luther Allison, Freddie King… the list goes on, it’s a broad sound all wrapped up in my own unique style, an accessible mix of Blues, Rock, Soul, and Funk.

    I have been a Musician and songwriter for quite a long time, but until now always as part of a group. I’ve played Guitar and Harmonica for numerous bands over the years (I was a member of famous Mod Revival band Long Tall Shorty in their Rhythm and Blues period and produced their 2006 album “Women and Trouble”) but “Jeff ‘The Fish’ Lefroy & His Missadventures”, my album which came out in 2023 was my first totally solo project in which I played 80% of the parts myself. Now it’s time for new music and this time instead of an album I will be releasing a single every six weeks for the entirety of 2025 (so stand by!).

    I’ve got some great musicians on board, Matt Cowley on Drums, Bennett Holland on keyboards, Isabelle Durel on backing vocals, and boy, they sound good. I’m totally excited and we are having a lot of fun.

    SOURCE: Jeff ‘The Fish’ Leroy

    LINKS:
    https://inouiedistribution.pro/jeff-the-fish/
    https://www.facebook.com/JeffTheFishLefroyMusic/
    https://www.facebook.com/JeffTheFishLefroy/
    https://www.facebook.com/jeff.thefish/
    https://www.youtube.com/@jeffthefish
    https://www.instagram.com/jeff.thefish/
    https://www.tiktok.com/@jeff.the.fish.lef
    https://jeff-the-fish.bsky.social

    Pink Stiletto – Do It For Me

    Pink Stiletto
    Pink Stiletto

    Pink Stiletto is an analogue synth-driven project fusing 80s new wave, Italo disco, post-punk, and early EBM aesthetics with bilingual lyrics and a seductive, magnetic edge. Fronted by Valery Kvochkova, the project channels the eccentric energy of ZE Records and Eastern Bloc disco, merging glamour, grit, and bold experimentation of European electronica.

    Pink Stiletto has performed sold-out shows with members of The Units, Tuxedomoon, and Los Microwaves, earning praise as one of San Francisco’s most exciting new acts, with a west coast tour ahead and new music in the works!

    Featured image by Felix Denomme.

    SOURCE: Official Bio

    LINKS:
    https://www.instagram.com/itspinkstiletto/
    https://linktr.ee/pinkstiletto
    https://www.youtube.com/@PINKSTILETTO
    https://pinkstiletto.bandcamp.com
    https://music.apple.com/us/artist/pink-stiletto/1721870732
    https://open.spotify.com/artist/5X7aA68MU4iTPy5k2PwJq5

    Chapters of Forever – Lady Moon + Q&A

    Chapters of Forever
    Chapters of Forever

    Chapters of Forever have today released their new single titled ‘Lady Moon’. After years of creative evolution, Chapters of Forever, the visionary project founded by Alex Pazos and Pedro Martínez, unveil their long-awaited new single, ‘Lady Moon’. The track stands as a striking testament to the duo’s artistic bond, originally written in early 2020 and finally brought to life after five years of persistence, distance, and rediscovery.

    Formed in late 2019 in Puebla, Mexico, while both were studying at music school, Alex and Pedro’s musical partnership blossomed from an impromptu end-of-term project into a shared creative journey. Their first composition together, ‘Lady Moon’, marked the inception of Chapters of Forever, but as the pandemic swept across the globe, the song was set aside while both musicians were forced apart. Even during that separation, Alex continued writing and dreaming of the day their music would return to center stage.

    By 2022, the world – and the duo – found their rhythm again. Reuniting in Puebla, they went on to release two singles, ‘Wondering’ and ‘Mary-Ann’, introducing audiences to their cinematic approach to songwriting. While Pedro later pursued other creative paths after graduating, he continued to advise and collaborate with Alex, who now leads Chapters of Forever as a solo performer, carrying the project’s vision forward with heart and dedication.

    Now, ‘Lady Moon’ finally sees the light of day. Recorded in June 2025 in Puebla and produced by Javi Machine, the track features Alex Pazos on lead vocals and piano, Guillermo Espinosa on acoustic and electric guitars, and Javi Machine on drums and percussion. Mastering was handled by Rafael Calderón, rounding out a meticulous three-month post-production process that refined the song’s intricate textures and layered arrangements.

    Musically, ‘Lady Moon’ is an epic journey through avant-garde and progressive rock, rich in modal harmonies, shifting tempos, and theatrical grandeur. With its dynamic transitions and emotive delivery, the song captures the timeless wonder and introspection that have defined Chapters of Forever since its inception.

    “‘Lady Moon’ is a song that feels timeless, it’s almost as if it had existed for centuries. I think about the night that I wrote it, as a songwriter to be, with the fearlessness and rawness of one who meets his ‘opera prima’, and I just remember looking up… staring at Lady Moon, as the words fell into place.”

    With ‘Lady Moon’, Chapters of Forever invite listeners into a world of emotion, experimentation, and sonic storytelling, an unforgettable offering that bridges the past and the future of rock.

    Q&A

    Was the gap in time from writing to release due to COVID?

    It was. In fact, even though the song was pretty much finished all the way back in early 2020, the gap was so large and so much happened in our lives and in the world since then (including the pandemic), that while revising the song this year, we found out that even our music tastes were not quite the same as the ones of those kids in 2019-2020, so we ended up making a number of changes to the lyrics and the structure of the song in order to achieve the version that you can currently listen to.

    How does it feel to have such a gap in release, does the meaning of the song feel different to you?

    For sure, actually, I think the song’s meaning to me has enriched through time; it’s almost as if the words that I wrote in 2019 have deepened and acquired more layers. Still, I don’t think that the overall message or theme of the song has changed; I believe that the words and music, dare I say, have a timelessness to them.

    Do you feel being Mexican plays a role in your music, as opposed to being another American rock band/project?

    That’s an interesting question. I believe that being Mexican has had a major impact not only on my songwriting, but also on my overall music taste. I carry my Mexican heritage with an enormous amount of respect and appreciation, my culture has informed every lyric that I’ve ever written, and every sound that I’ve gravitated towards. And yeah… even though my lyrics are in English, mostly because it’s the language where I find myself most comfortable writing in, Spanish is my first language; and I don’t think there’s ever a bad moment to say that I have a profound love towards not only my language, but obviously my country and my people.

    This track is really grand and creative. Who are some of your favorite artists that are more progressive or off the beaten path?

    Thank you! Well, actually, a few months ago I started listening to an up-and-coming band called “Pacifica”, they are from Argentina, and they are amazing. I wouldn’t call their music “prog-rock”, it’s more like an alternative rock group… but they are just SO good; their single “Fixer Upper” might just be one of the best songs I’ve ever listened to.

    Any plans to play out live?

    Absolutely. I’ve been performing solo for a little while, but I’m actively searching for musicians who’d like to become a part of the Chapters of Forever project; that way we’d have a fuller sound live and we’d be able to perform more complex material, like “Lady Moon”.

    Do you have new music in the works that we can expect after this?

    Yeah! As a matter of fact, I have a lot of lyrics that are waiting for just the right moment to be recorded. We are incredibly excited to see the response of the people towards “Lady Moon”, and if all goes well, I trust that they’ll help us get the momentum we need to keep recording and “make some new chapters”.

    LINKS:
    https://www.instagram.com/chaptersofforever
    https://www.tiktok.com/@chaptersofforever
    https://youtube.com/@chaptersofforever

    TRAITRS – I Was Ill, You Were Wrong + Tour Dates

    TRAITRS
    TRAITRS

    Following their comeback after a near four year hiatus with September’s explosive single “Burn In Heaven”, Toronto coldwave duo TRAITRS return today with their new single “i was ill, you were wrong”, available everywhere now. The track arrives alongside the announcement of their highly anticipated fourth album Possessor, set for release on Friday, March 13th, 2026, and the reveal of their full European and North American Possessor Tour for Spring 2026.

    A melancholic meditation wrapped in gothic electronics, “i was ill, you were wrong” finds TRAITRS exploring their most vulnerable terrain to date. Echoing synths form a spectral foundation beneath surging guitars, while brooding vocals push through the darkness with stark emotional power, recalling the introspective weight of The Cure’s most haunted moments. It is a track that holds the listener close in the cold, balancing raw intimacy with a sweeping cinematic scale. The single deepens the duo’s position as essential voices within modern post punk.

    The song confronts one of humanity’s most universal truths. It examines our denial of mortality and the complicated structures we build to distract ourselves from the fear of the inevitable. Within its hypnotic pulse,”i was ill, you were wrong” reflects on the fear of isolation, the illusion of an endless future, and the fragile bubbles we create to shield ourselves from the reality that unites us all.

    “I felt that song connected me to everything and everyone, it is the one thing we all share and have in common,” says vocalist and guitarist Shawn Tucker. “It is also a wake up call to live the life you want to live. We only have one chance at this so go dance in the rain.”

    The single provides a haunting gateway into Possessor, which Tucker describes as “the most personal record I have ever written.” The album was created during Toronto’s coldest winter months, shaped by storm battered days and a heavy emotional landscape. TRAITRS focused on capturing precise moods, with lyrics serving as the central force while the surrounding soundscapes grew to mirror the bleak beauty of the writing process.

    Formed in Toronto, TRAITRS have built an international following through relentless touring and a discography that blends classic coldwave influences with a modern cinematic edge. Their work has been described by critics as evocative and deeply human, driven by themes of grief, isolation, ecstatic release, and the darker corners of the subconscious.

    To support Possessor, TRAITRS will embark on an extensive European and North American tour throughout spring 2026. The run includes headline shows along with select dates supporting She Past Away, Lebanon Hanover, and Ultra Sunn.

    ‘Possessor’ Tracklist

    'Possessor' cover.
    ‘Possessor’ cover.
    1. Burn in Heaven
    2. I was Ill, you were wrong
    3. Seven Fictions
    4. Cold skin
    5. Selfish Hunger
    6. Prayer Taker
    7. Dream Drowning
    8. Mourn
    9. Japanese Picture Pony
    10. Crawl

    About TRAITRS

    With their cinematic blend of horror-based imagery, anthemic choruses, motorik drum loops, atmospheric synths and angular guitars, Canadian cold wave duo TRAITRS stare unflinchingly at our dystopian present while paying homage to artists from the post-punk past. In the decade since their debut record to now, the Toronto-based TRAITRS went from bedroom artists selling cassette tapes on a small boutique record label to accumulating millions of streams worldwide and performing hundreds of shows on massive stages across multiple continents.

    With their much-anticipated new album Possessor, produced by long-time collaborator Josh Korody (The Beaches, The Dirty Nil, Japandroids, Tanya Taqaq, F*cked Up) and mastered by Matt Colton (The Cure, Depeche Mode, Fontaines D.C., Wet Leg, Dua Lipa, Blur etc), TRAITRS continue to develop their melancholic sound and imagery with the emotional follow up to 2021’s critically acclaimed LP Horses in the Abattoir.

    Featured image by Daniel Cherney.

    SOURCE: Official Bio

    LINKS:
    https://www.instagram.com/traitrsofficial/
    https://www.facebook.com/traitrs/
    https://traitrs.bandcamp.com/
    https://open.spotify.com/artist/3r7VhSKMedZrOa3zCD3e7X
    https://www.tiktok.com/@traitrs
    https://www.youtube.com/@TraitrsOfficial

    An Exclusive Interview With Season To Risk + Tour Dates & Rerelease of ‘In a Perfect World’ for Record Store Day

    Tomorrow, alt icons Season To Risk will rerelease their 1994 album ‘In a Perfect World’ for Record Store Day November tomorrow. Originally released via Columbia Records and released in all of its enhanced glory with extras tomorrow via Spartan Records, ‘In a Perfect World’ retains its relevance and reserves the right to gain an all new fanbase with their accompanying tour, which also starts tomorrow in Kansas City, Missouri with sisters.

    ‘In a Perfect World’ has a bit of personal history with me. You will hear about it in the zoom interview above, as I talk with Duane Trower and Steve Tulipana, the original members and torch bearers of all things Season To Risk.

    In this interview, we talk with Steve and Duane about the longevity and work involved in keeping Season To Risk both strong and relevant as well as the contrasts between the industry then and now as well as the release and the tour (dates and ticket info below).

    Now remastered by Duane Trower (Weights & Measures Soundlab), the 2025 reissue of ‘In a Perfect World’ gains new clarity without losing its raw urgency. The package includes:

    • 12” x 12” handwritten lyric insert
    • New line drawings by Derek Hess
    • Remastered audio and reworked artwork

    Limited edition of 1,500 copies is set for a Record Store Day November 2025. Get more information on Spartan Records HERE.

    About Season To Risk

    In 1994, Season to Risk had been on tour for the past four years, playing as a young opening band on legendary shows with Killdozer, Unsane, Neurosis, Prong and Killing Joke. Their first album had sold well with songs charting on radio and getting music video airtime on MTV and Canada’s Much Music. There was an opportunity to take advantage of the popular wave of alt rock and nu metal dominating the airwaves. Being signed unexpectedly to major label Columbia Records put them in the position that they had amazing support as artists, but also someone to answer to and the machine must be fed.

    Season to Risk decided instead to work with Martin Bisi (producer of Sonic Youth, Foetus, Swans, Cop Shoot Cop) and use their major label money to deliver a punishing post hardcore masterpiece of crushing noise rock. Coming from the first wave post-hardcore bands, Season To Risk have only gotten weirder over the years. Season To Risk decided instead to work with Martin Bisi (producer of Sonic Youth, Foetus, Swans, Cop Shoot Cop) and use their major label money to deliver a punishing post hardcore masterpiece of crushing noise rock. “The experience of living with Martin Bisi for an entire Summer while making this record was an opportunity of a lifetime” – reflects Season To Risk singer Steve Tulipana. Over the course of the past 30 years, some of the songs off ‘In A Perfect World’ became mainstays in live shows.

    “We’re hoping to bring back a few gems that we haven’t done in quite some time, maybe ‘Terrain Vague’, ‘Absolution’, or ‘Vertical Drive’. Bisi, not only a true musical mastermind but also a prolific noise rock historian, brought knowledge to the band putting together what would become one of the 90’s cult classics.

    This is the first appearance of the Paul Malinowski and Jason Gerken rhythm section, who both went on to join Shiner, also from Kansas City. Exploring a darker and more mysterious realm, singer Steve Tulipana mood swings between distorted screams and whispered dreams. Guitarist Duane Trower plays melodies with harmonics and feedback as much as standard guitar, usually favoring more dissonant almost-jazz chords. Discussing the recording process, Duane notices: “Bisi’s studio, which was previously a civil war munitions warehouse back in the day, was a welcome cacophonic room that helped shaped the sound. As was the wool clad ghost that we saw, helping us put the finishing touches and mood of this record.”

    Martin Bisi’s gigantic subterranean studio allowed their more-industrial-than-metal vision to be realized. The band lived in New York City for the Summer of 1994 creating this record, before Gerken had to return to the midwest for Molly McGuire. Artist Derek Hess was hired for the iconic dystopian artwork, a longtime friend who had booked and made posters for many shows in Cleveland. The band recruited a new full-time drummer David Silver and began touring the music of “In A Perfect World” for the last months of 1994.


    LINKS:
    https://www.facebook.com/SeasonToRisk/
    https://www.instagram.com/seasontorisk/
    https://robotswin.com/
    https://www.youtube.com/user/SeasonToRisk
    https://open.spotify.com/artist/78B864EG41ixMzgvDgVNTA

    Rich Hope – Live At The Anza Club

    Rich Hope
    Rich Hope

    It seems the rock and roll gods are looking out for us after all. Canada’s own Rich Hope delivers Live At The ANZA Club, a raw and electrifying testament to the power of a band at full throttle. Out now via Planned Obsolescence Recording & Novelty Inc., the record follows the release of two singles – “It Come Alive” (Sept. 19) and “Looking For Lewis And Clark” (Oct. 17) – that set the stage for a release steeped in sweat, soul, and the reckless joy of live performance.

    “I have always been at my best live, and we wanted to capture what this version of the band is doing,” Rich explains. “Since we didn’t have the luxury of extended touring and recording every show, we decided on finding the best venue and taking two nights to capture lightning in a bottle. The ANZA is a venue where I played some of my first shows in a neighborhood where I lived for many years, so I feel a personal connection to the club.”

    Recorded over two sold-out nights in April at Vancouver’s beloved ANZA Club, the album showcases Hope and his powerhouse band – Leon Power and Erik Nielsen (City and Colour), Scott Smith on electric and pedal steel guitars, and Darryl Havers on keyboards – with production handled by Nielsen and the legendary Howard Redekopp (Tegan and Sara, The New Pornographers).

    The setlist spans Hope’s career, from early John Ford days (“3 Minute Song”) to his solo staples (“Whip It On Ya,” “The Ballad of Black Eyed Suzy,” “Can’t Get No Lovin’”), all culminating in a searing take on The Long Ryders’ “Looking For Lewis And Clark.”

    As Gordie Johnson of Big Sugar puts it:

    “Some would call Rich’s original compositions ‘roots’ music but these live performances are the full green branches laden with blues, country, punk rock and soul. The audience devoured the fruit that night. Hearing this record makes us wish we were there.”

    Live At The ANZA Club isn’t just a live record – it’s a reminder of what makes Rich Hope one of Canada’s most potent live performers. From his Edmonton beginnings in the Taxicrabs to sharing stages with The Black Crowes, The Flamin’ Groovies, and the Jon Spencer Blues Explosion, Hope has built a reputation for shows that are loose, joyful, and just dangerous enough to make you feel alive.

    “I’m just the same guy playing music that I have always been,” he says. “I don’t know if I have undergone any real musical evolution. I have always loved playing live and putting on a show with my friends. So I guess that doing this live album is where I am in the evolutionary process. My main goal was to capture something like Jerry Lee Lewis’s Live At The Star Club – loose, reckless and joyful.”

    For over two decades, Rich Hope has been Canada’s best-kept rock ’n’ roll secret – a preacher of garage gospel and rhythm ’n’ blues revival whose live shows leave sweat on the ceiling and converts in the aisles. In a country known for restraint, Hope delivers pure, unfiltered catharsis – a soulful roar cut from the same cloth as The Jon Spencer Blues Explosion, The Flamin’ Groovies, and Big Sugar, with the grit and groove of a roadhouse sermon.

    Based in Vancouver but forged on stages across North America, Hope has become a legend in Canada’s underground rock scene. His incendiary performances have made him a trusted opener for acts such as The Black Crowes, Social Distortion, Charles Bradley, Reverend Horton Heat, and The Sadies – earning him a reputation as one of the country’s most electrifying frontmen.

    Born and raised in Edmonton, Alberta, Hope formed his first band, The Taxicrabs, christened by Country Dick Montana of The Beat Farmers, before moving west to Vancouver. His debut solo album Good To Go (1998) led to a stint with cult garage outfit John Ford, followed by a string of blistering solo releases that cemented his standing as a modern torchbearer for vintage rock ’n’ soul.

    His most recent studio album, I’m All Yours (2018), released on Planned Obsolescence Recording & Novelty Inc., captured that high-octane mix of rhythm and grit – the sound of a true believer who never left the stage.

    SOURCE: Official Bio

    LINKS:
    https://richhope.bandcamp.com
    https://www.instagram.com/richmhope/
    https://www.facebook.com/richhopemusic
    https://www.youtube.com/@richhope1985
    https://open.spotify.com/artist/2kq6DHIxgfLbFauI1RM2Oc
    https://www.richhope.ca/

    Koncept – Under They Skin

    Koncept has today dropped his new video and single titled ‘Under They Skin’, from his upcoming album ‘Flight’, releasing January 9th, 2026 via Silver Side Productions & Virgin Records.

    Lyrical geniuosity flavored with conceptual originality, Koncept gives another sneak peek at what is to come this January with a poetic assault rifle aimed at the senses and penetrating the soul.

    Living life on your own terms is hard, but possible. Koncept has just created an anthem for just that. While the beat lays the ground work the words give an atmospheric view of what is versus what could be. Letting them know where your existence truly lay: under they skin.

    About Koncept & ‘Under They Skin’

    With “Under They Skin,” Koncept sharpens his edge and delivers his most unapologetic track yet. The record is a fiery statement of confidence, control, and authenticity — the sound of an artist who knows his worth and refuses to shrink for anyone.

    Written, Produced, and performed entirely by Koncept, “Under They Skin” blends hard-hitting lyricism with slick, immersive production. It’s a song that walks the line between cool composure and raw intensity — revealing how success, focus, and self-belief can rattle those watching from the sidelines.

    Following “The Greatest Bounce Back” and “Put It On,” this marks the third single from Koncept’s upcoming album — Flight — a powerful body of work exploring his upbringing, change, journey, and evolution. Where the first two singles celebrated resilience and self-expression, “Under They Skin” taps into a deeper confidence: the moment when growth starts to make noise, and everyone takes notice.

    LINKS:
    https://www.iamkoncept.com
    https://www.instagram.com/champagnekonny
    https://x.com/koncept
    https://www.facebook.com/champagnekonny
    https://www.youtube.com/c/Konceptcinemas

    Morenike – Nobody Knows My Name

    Morenike
    Morenike

    Emerging Italo-Nigerian artist Morenike announces her captivating debut single ‘Nobody Knows My Name’, out November 26th via cult French independent label Kwaidan Records, home to acclaimed band Nouvelle Vague. The track marks the arrival of a singular voice weaving together folk, soul, jazz, and electronic elements into a deeply spiritual and culturally hybrid sound.

    Born in Ireland 24 years ago and raised in Rome, Morenike Vincent brings a unique artistic perspective shaped by diverse cultural roots and rigorous musical training. Classically trained in piano for ten years and cello, she later studied jazz vocals at the conservatory before embarking on a deeply personal artistic journey rooted in cultural hybridity and existential displacement.

    Unable to find the musical space she was looking for in Italy, Morenike relocated to Paris, where she is developing her musical project in collaboration with producer Marc Collin. Drawing comparisons to FKA Twigs, Nina Simone, Ego Ella May, and Greentea Peng, her art attempts to hold together opposing forces: the urge to never be caged by anything or anyone, and the deep desire to belong and feel lost entirely.

    “We can say that the song is divided into two distinct parts,” Morenike explains. “The first is mainly shaped by the voice: its melody draws inspiration from Arabic harmonies and blues chants, marked by rich melismas and a circular structure. It was originally composed while playing on a single guitar string, which was later replaced by a keyboard line, preserving that same hypnotic, minimal energy.”

    “In the second part, the tempo shifts, the rhythm accelerates, and hand-played percussion comes in, bringing a more physical, almost ritualistic dimension to the piece. The song then returns to its initial pace in the second verse, creating a sensation of oscillation, like a wave moving back and forth between introspection and release.”

    ‘Nobody Knows My Name’ explores the idea of freedom within anonymity, in a world that places immense value on visibility and fame. Not finding a single genre to anchor herself in, Morenike weaves together oriental and African percussion, the raw textures of grunge, the haunting depth of trip-hop, and the spiritual resonance of religious and folk chants.

    “Conceptually, the track explores the idea of freedom within anonymity, in a world that places immense value on visibility and fame,” she continues. “I believe there’s a unique kind of liberation in remaining unknown: when we’re not confined by the versions of ourselves that others remember, we can move, transform, and express ourselves more freely. The song also reflects the experience of finally finding a space, both inner and external, where we can exist and create in complete authenticity.”

    Music becomes, for Morenike, a fragile yet vital refuge where contradictions are allowed to coexist, and where identity is something fluid, intimate, and free. Her artistic journey unfolds as a continuous search for desire, resonance, and belonging.

    Featured image by Sibel Kavadarli.

    SOURCE: Official Bio

    LINKS:
    https://www.instagram.com/morenikevt/
    https://www.tiktok.com/@morenikevincent

    Natalie Wildgoose – In The North

    Natalie Wildgoose
    Natalie Wildgoose

    Natalie Wildgoose has today released her new single titled ‘In The North’ via state51 Distribution. Beautifully signature that highlights both a style with substance and an audio atmosphere filled with vivid color and subtle nuance, Natalie Wildgoose feels at home with her style and shows that her music lives in a magical place filled with love and creativity.

    While ‘In The North’ never builds to a crescendo, it does fit comfortable in its skin and takes you for an introspective ride that you will come to endear.

    About Natalie Wildgoose

    Living between London and the moors of North Yorkshire, Natalie Wildgoose spends her time scouring for pianos in remote corners of the Yorkshire Dales, finding them in Victorian mills, grade II listed village halls and isolated chapels, and capturing her music in these unique, historical spaces,

    Recording straight to an Akai reel-to-reel tape recorder inherited from her grandfather, Natalie’s ghostly take on the folk tradition carries the powerful, rarefied qualities of an unearthed archive recording, capturing all the hisses, scratches, and atmospheres of where she records. Slowing down the frantic pace of modern life, her music seeks to uncover the past, to reconnect with and capture the environments of the places and communities that hold her.

    Since entirely self-releasing her Come Into The Garden EP in March 2025, Natalie has won a handsome share of admirers. From sold-out London headlines and Broadside Hacks-promoted shows; from nationwide tours with Jake Xerxes Fussell, to a slot at Green Man Festival, she has also earnt widespread adulation from the likes of Emily Pilbeam (BBC Radio 6Music), CLASH, The Line of Best Fit, Far Out, Songlines, Shindig!, KLOF, Hard of Hearing, Folk London and When The Horn Blows, earning comparisons to the likes of Molly Drake, Sibylle Baier and Jessica Pratt for her trembling melodies and spectral power.

    Coming off the back of a sold-out headline show at St Pancras Old Church last week, Natalie rounds off a breakout 2025 with new single ‘In The North’, recorded with backing from the PRS for Women fund.

    Released today (25th November) via state51 Distribution, the track was recorded in a remote Yorkshire chapel of huge personal significance to Natalie.Offering more on track’s hopeful reflection on loss, as well the unique location of its recording, she says:

    “My mother’s side of the family is from Yorkshire, and I spent lots of time playing in the dales at the foot of the gigantic hills near our house. We had a tremendous amount of freedom because, as a child, you’re never in danger there, swimming in the rivers and hiding in the woods. The song was recorded nearby, in a chapel, which has been the location for friends’ weddings and funerals. I wrote it while reflecting on the loss of my grandad; its sentiment is that those we love are never truly gone, their presence lingers in the heather, on the moors, in the rolling fog.

    On the recording, the land occasionally makes itself known, the waterfall that runs below the church grounds, or an RAF plane tearing through the sky, a regular occurrence in the Dales. It was recorded in late spring on the chapel’s old grand piano, with just the engineer Matt, myself, and Geoff, the organist and caretaker, quietly reading his paper at the back.”

    Featured image by Nina Allmoslechner.

    LINKS:
    https://www.instagram.com/nataliewildgoose/
    https://www.youtube.com/channel/UCL4_iqmU1kzgozk9nDmdPKg
    https://open.spotify.com/artist/6IAyiIhAv2JHGDRzAXllFl

    Michael Monroe – Disconnected + Tour Dates

    ‘Disconnected’ speaks of something that Michael Monroe feels passionately about: that live music is a rare and vital space for people to find each other in the moment.

    “Technology was supposed to bring people closer together, when, in fact, people are more disconnected than ever. They’re looking at their phones and their computers and downloading stuff” comments Michael Monroe. “And, you know, the Internet can’t take away the experience of being at a live show. You’re on stage, and you communicate with the audience who are there, in that moment. That’s where the magic really happens, and absolutely no program or device or computer can reproduce that!”

    The new album Outerstellar, is an experience as much as a collection of great songs, a sweet smelling, leathery, glitter-shimmered, sweat-soaked raunch and punch wrapped in one of the great voices in rock ‘n’ roll. The harmonies and vibes roll effortlessly in silk scarves, lounging in leather pants with liquor and a smile on a beat-up sofa in those small AM hours. And the sheer attitude, which screams carefree (not careless!) confidence (not arrogance!), a cocksure sense of self-bathed in the sheer joy of playing real rock ‘n’ roll the right way.

    The recently released first video and single, ‘Rockin’ Horse’, is a defiant blast against critics and judges and comes with one of the craziest Michael Monroe videos you’ve ever seen. “I am who I am and I’m not going to edit myself for your benefit,” Michael says unequivocally for anyone who might doubt that fact.

    From loud crashing guitars to harmonicas, to gorgeous acoustic moments, you’ll sing, you’ll dance, you’ll shiver, you’ll shake, and you’ll smell this wonderful exhilarating record in all its weathered biker jacket incense-coated glory and you’ll also realize that whatever the hell is going on in the world right now, when you put this album on, it’s an instant escape to carefree days and an emancipation from worries, fears and woes.

    Outerstellar will see a whole burst of life onstage when Michael Monroe and the band bring it to stages internationally over the next year. It is EXACTLY what rock ‘n’ roll in its truest sense is meant to be, in fact, just stop reading this, get off your ‘Rockin’ Horse’ and go see Michael Monroe on tour at your first opportunity! In support of the release of Outerstellar, Michael Monroe and band will embark on a UK co-headline tour with Buckcherry, kicking off in Southampton on February 24th.

    SOURCE: Official Bio

    LINKS:
    https://facebook.com/michaelmonroeofficial
    https://instagram.com/michaelmonroeofficial
    https://michaelmonroe.com
    https://tiktok.com/@officialmichaelmonroe

    First Day Of Spring – Partyzeit!

    First Day Of Spring has today released their new video and single titled ‘Partyzeit!’. Straight from the mind of Samuel Jones, ‘Partyzeit!’ is one of those quirky tracks that mesmerizes itself into your memory and puts the groove into the pocket and just lets you ride the train into the station.

    An anthem for slackers and an ode to kitsch, ‘Partyzeit!’ is a track that brings back the summer if only for a few moments. Retrotastic memories from that era when MTV dictated musical policy and alternative was still the alternative, First Day Of Spring feel like a blast from the past as much as a peek into the future.

    About First Day Of Spring & ‘Partyzeit!’

    Returning with their first single in over 12 months, London-based project First Day of Spring announce single series Human Flesh, and share intoxicating psych-disco cut ‘Partyzeit!’.

    Comprising an ever-shifting live line-up, revolving around the songwriting of London-via-Southend’s Samuel Jones, ‘Partyzeit!’ marks a revitalized new era for the group. With addictive basslines, electro-funk grooves, wailing saxophones and retrograde synths, it’s First Day of Spring, but with the rain clouds parted, and made over in psychedelic day-glo colors.

    Featuring a vocal cameo from Rebecca Gillerion of The Plan, ‘Partyzeit!’ is the first of four cuts set to make up Human Flesh, set for completion in 2026.

    Offering further insight into the track, Samuel says: “The first Volume from the Human Flesh series is ‘Partyzeit!’, a look at the re-learning process and personal growth that can follow from piecing the blocks back together after lengthy periods being disconnected from ‘keeping it in the day’ and how that disconnect had prevented external action.” Partyzeit! is a representation of that authentic, humbling, energizing and uplifting process. It is an energy I wanted to translate into the music’s aesthetic, an aesthetic that The Plan’s queen, Rebecca Gillerion, helped Fully Realize”.

    Following up a brace of EP releases in recent years, the announcement of Human flesh follows a spate of press acclaim from the likes of CLASH, The Line of Best Fit, Wonderland, Far Out, Brooklyn Vegan, Under The Radar, Earmilk and Clunk, as well as radio play from BBC Radio 6Music (Emily Pilbeam) and BBC introducing.

    Featured image by Elliot Davies.

    LINK:
    https://www.instagram.com/firstdayofspringband

    Destroy The Moon – Hyde

    Destroy the Moon detonates another blast of pure volatility with Hyde, a gritty, high-speed eruption forged from the darkest corners of Alt Rock, Grunge, and Hard Rock. Fueled by the band’s signature venom-laced attitude, the track rips forward with feral urgency, channeling the energy of a mind pushed past its breaking point.

    With lyrics that swing between Jekyll-calm and Hyde-chaos, the song captures the exhausting cycle of dealing with a two-faced presence who thrives on turmoil. Every verse spits frustration, every chorus snaps under the pressure of emotional whiplash, and the entire track becomes a cathartic purge of resentment, burnout, and long-overdue confrontation.

    Drawing from the raw, unfiltered aggression of the New York punk movement of the late 70s and early 80s, Destroy the Moon fuses that rebellious spirit with the heaviness and grit of modern alternative rock. Hyde shreds forward at breakneck pace, soaked in distortion, adrenaline, and the band’s unmistakable edge, a sound that’s instantly recognizable as Destroy the Moon and no one else.

    This is the moment where the mask slips, the patience snaps, and the truth hits like a brick to the teeth. Hyde is fast, furious, and carved straight from the nerve-endings of real-world frustration.

    About Destroy The Moon

    After a long-awaited return, Destroy the Moon is finally back with their first new music since 2021. Their latest single, ‘The Midwest’, is a sharp, sarcastic take on the struggles of growing up in post-Y2K America, wrapped in the band’s signature blend of hard-hitting instrumentals and unpredictable time signature shifts. Drenched in tongue-in-cheek nuance, ‘The Midwest’ captures the widening cultural and political divide that has shaped a generation. The track pairs relentless, driving rhythms with moments of unexpected softness, creating a dynamic and immersive experience that highlights Destroy the Moon’s unmistakable sound. Whether you’re drawn in by the biting social commentary or the unique sonic twists, ‘The Midwest’ is proof that Destroy the Moon hasn’t lost their edge—they’ve only sharpened it.

    SOURCE: Official Bio

    LINKS:
    https://www.instagram.com/destroythemoon_band/
    https://www.facebook.com/DestroytheMoonBand
    https://www.youtube.com/channel/UCBKktqUnv31qqSoHMt-Y9VQ
    https://www.tiktok.com/@destroythemoonband