Search here...

    J’cuuzi – Advance/Decline

    By
    Editorial Team
    -
    J’cuuzi
    J’cuuzi

    Austin, TX based Dadaist punks J’cuuzi return with a fury on “Advance/Decline”, taking both their sonic and emotional intensities to new heights. Vocalist Gorge Bones runs the entirety of her dynamic gamut, channeling such influences as Bjork and Sleigh Bells in her heavily effected vocals to probe the systemic pain and inherent power of feminine rage.

    The instrumentation is J’cuuzi’s heaviest yet: A dramatic bass synth melody pulses to the rhythm of cavernous industrial percussion, haunted by a rotating ensemble of mangled guitars, detuned organs, and stabbing electronic noise. On “Advance/Decline”, J’cuuzi aims for catharsis— because every crash out needs something to turn up.

    “Advance/Decline” is the first single from J’cuuzi’s forthcoming EP Recession Indicator, which follows on the heels of 2025’s acclaimed SLUDGEcontent EP. The Austin Chronicle raved “J’cuuzi’s electric performances have surely contributed to their rapid rise, but their music proves equally captivating. Catchy but noisy, irreverent but ominous”. Both EPs will be available together on 12” vinyl via Spaceflight Records.

    About J’cuuzi

    Describing J’cuuzi as a band is at the very least inaccurate, or worse: incorrect. While they deliver electrifying, borderline acrobatic live performances of high octane, glitchy songs that modulate between serrated post punk guitar and pulsing electro beats, there is a shocking theatricality to them that the word “band” lacks the range to capture. The members wear handmade couture, with bulbous anime-esque proportions and insectile features sewn into drag silhouettes. They often perform while stacked on top of each other, or hoisted over each other’s heads. Their stage is set like a cheap studio apartment: a spinning blue egg chair and a stack of guitar amps sit on either side of a bedazzled ironing board, from which a spinning disco ball hangs.

    Since their inception in February 2024, J’cuuzi’s ferocity has earned them opening slots for acts like Viagra Boys, Stereolab, Tune-Yards, Shannon and the Clams, Upchuck, Snooper, and Warmduscher; and landed them on the cover of The Austin Chronicle, as KUTX’s Artist Of The Month, and with nominations for “Best New Act”, “Best Music Video”, and “Best Rock Band” in the Austin Music Awards. In July 2025 the group self-released their debut EP SLUDGEcontent, along with a drone-shot music video featuring the lead single performed live from the back of a moving box truck.

    Whether you call them a band, a performance art troupe, or a fashion house; J’cuuzi has set a pace of expansion and experimentation that proves theirs is an act worth watching.

    Featured image by Preston Rolls.

    SOURCE: Official Bio

    LINKS:
    https://www.jcuuzi.com
    https://www.instagram.com/jcuuzi_intl/
    https://linktr.ee/jcuuzi
    https://www.youtube.com/@Jcuuzi
    https://music.apple.com/us/artist/jcuuzi/1731789575
    https://open.spotify.com/artist/6ksDpuQVzGmC11y39fISGE

    Kula Shaker – Wormslayer + Tour Dates

    By
    Ryan Martin
    -
    Kula Shaker
    Kula Shaker

    Kula Shaker have today released their new album titled ‘Wormslayer’. Kula Shaker have always sounded like a band chasing ghosts through incense smoke, and ‘Wormslayer’ feels like they finally caught one, shared a drink with it, and recorded the conversation for posterity.

    This isn’t nostalgia cosplay. It’s seasoned psych-rock delivered by musicians who know exactly where the weird corners are and walk straight into them anyway. Sitars shimmer, organs bloom, guitars spiral skyward, and Crispian Mills sings like a man calmly reporting from somewhere between a dream and a late-night philosophy debate you almost remember winning.

    The opener glides in without ceremony, all groove and cosmic shrug, as if the band assumes you already understand the vibe. And honestly, you do. Kula Shaker deal in that warm analog glow where melody matters and songs stretch their limbs without getting self-important about it.

    The album’s best moments sneak up on you. Hooks arrive disguised as jams. Choruses appear after you’ve already started nodding along. Even the longer tracks — indulgent in the best way — feel less like prog exercises and more like wandering conversations that somehow circle back home just as you were about to get lost.

    Lyrically, the band still flirts with mysticism, philosophy, and the occasional wink at cosmic absurdity. It’s clever without trying to prove it’s clever — dry humor tucked into poetic turns of phrase, delivered with a smirk you can almost hear.

    Production-wise, everything feels warm, loose, and alive. Nothing sounds sterile. Nothing sounds forced. The band plays like they trust their instincts more than trends, which in 2026 feels almost rebellious.

    And that’s the charm here. ‘Wormslayer’ isn’t chasing modern relevance; it simply exists on its own wavelength. The grooves are confident, the melodies sticky, and the whole record hums with the comfortable swagger of musicians who’ve learned that the best trips happen when you stop checking the map.

    In the end, ‘Wormslayer’ feels like a reminder: rock music doesn’t need reinvention every time out. Sometimes it just needs soul, a sense of humor, and a band willing to ride the wave a little longer than expected.

    Light the incense, pour something strong, and let it spin.

    About Kula Shaker & ‘Wormslayer’

    Kula Shaker are a rock band that never abandoned wonder, never lost the thread, and never apologized for believing that music can be more than just sound — it can be spirit. That open-minded ethos flows throughout their brand-new album ‘Wormslayer’, a record which brims with adventure, embraces epic, cinematic atmospherics, and is electrified with the irrepressible rush of their renowned live experience.

    Recorded in time-honored fashion – primarily live and analogue – ‘Wormslayer’ echoes all of the great decades of music culture without being locked into anything. Technicolor energy, retro-freakery psychedelia and celestial vocal harmonies are the core sonic touchpoints as vocalist/guitarist Crispian Mills’ poetic lyrics explore fantastical stories which play with metaphor and allegory – all capped, as ever, with his eternally restless spirituality.

    Crispian Mills says, “I hope people enjoy the twists and turns that this new record takes you on. We always loved those psych records that had great songs, great production, great storytelling, and took you on a journey. We dig into that kind of experience, because we’re that kind of band. Kula Shaker has a life of its own. We’re just passengers, watching it happen in real-time.”

    ‘Wormslayer’ was previewed by five singles which heralded the vitality of Kula Shaker’s new chapter. From the exquisite, naturalistic production of “Charge of the Light Brigade” to the starting gun stomp of “Good Money,” they all amplified anticipation for the album to come.

    And the record’s new songs exceed that excitement. The epic title track is both one of the band’s heaviest and most ambitious moments: a three-part adventure through light, darkness and ultimately balance. “The Winged Boy” and “Shaunie” join “Good Money” to create a musical psychedelic opera trilogy that tells a narrative of a classic Faustian pact. There’s also full-blown gothic crooning on “Little Darling,” which conjures Roy Orbison jamming with The Doors, while the closing “The Dust Beneath Our Feet” references Yeats and peers over the horizon towards further stories to be told in the future…

    Physical copies of ‘Wormslayer’ are available to buy HERE. The band’s official store offers a limited-edition smoky purple and blue marble gatefold vinyl with a signed insert; a CD with a signed insert; and gatefold black vinyl. Rough Trade are stocking an exclusive limited edition blue vinyl format with an alternate blue sleeve.

    LINKS:
    https://kulashaker.co.uk
    https://www.facebook.com/kulashaker
    https://x.com/kulashaker
    https://www.instagram.com/kulashakerofficial
    https://www.youtube.com/channel/UCoTrZweaRXMDdY9ItQ3RiZA

    KatzPascale – GBTC

    By
    Ryan Martin
    -
    KatzPascale
    KatzPascale

    KatzPascale have today released their new single titled ‘GBTC’ via Sonic Guck. The track saunters in like it knows it’s cooler than half your playlist and isn’t about to apologize for it. KatzPascale lean into mood over momentum, stacking hazy electronics and bruised melodies into something that feels less like a pop song and more like the soundtrack to a night where everyone’s pretending they’re fine but nobody actually is. It’s stylish without trying too hard — the sonic equivalent of showing up late and still stealing the room.

    Vocals drift through with a detached intimacy, as if the singer’s confiding in you but keeping one eyebrow raised the whole time. Beats flicker, textures swell, then duck away before you get too comfortable. The whole thing rides that sweet indie sweet spot between vulnerability and aloof cool — the emotional equivalent of texting “I’m good” while staring dramatically out a bus window. Every twist in the arrangement feels intentional, refusing the easy payoff in favor of something messier and, honestly, more interesting.

    By the end, the song doesn’t so much conclude as it evaporates, leaving a mood hanging in the air like smoke after last call. “GBTC” feels built for repeat late-night listens — the kind of track that quietly hijacks your headphones while you pretend you’re not in your feelings. In a sea of algorithm-chasing singles, KatzPascale deliver something refreshingly unconcerned with trends, choosing vibe over virality — and somehow making that feel like the boldest move of all.

    About KatzPascale

    Challenging convention in both the indie and classical spheres, the duo’s immersive sound navigates the sonic tension between emotional intimacy and experimental rigor. The release comes on the heels of their debut singles ‘Spill Your Time’ and ‘Mother’, which have garnered over 1 million streams on Spotify alone. The band will also be performing a sold out Public Records show in New York City on February 14th.

    When asked about the release, the duo said “Creating this cover was a year-long process of live experimentation – it was one of the first songs we ever played live. With every performance, the track evolved and grew further into our own sound as we added layers of cinematic texture and new vocal arrangements. By giving the song a distinct emotional arc and a clear storyline, we transformed it from a standard cover into a centerpiece of our identity.”

    KatzPascale, the two-woman cello and saxophone duo of Sammi Katzmann and Jenna Pascale, is on a mission to kill indie-rock. Drawing from neo-classical, ambient music, jazz and ventures with such indie bands as Porches, the duo combines the expression of the cello and saxophone to lay the ground for vocals as an instrument. The band draws equally from Jeff Buckley as they do Arthur Russell to create soundscapes that transcend genre and transform performances into experiences. With each new song provoking a profound emotional response, they have become a viral sensation, boasting over 2 million likes on TikTok, 100k+ followers across social media accounts and over 1 million streams on streaming platforms off their two debut single releases alone.

    The duo is also known for their dynamic performances that blur the lines between listening and immersion. Often beginning in silence, they guide audiences through sensory immersion with elements like dim lighting, evocative spatial design, and an emphasis on listening with more than just the ears. Past shows have featured blindfolded audiences, fog-filled rooms, and lighting that reduces the performers to silhouettes. Their intimate, conversational way of playing has led to their songs evolving on the bandstand, with each rendition different from last and audiences feeling the weight of every note.

    Featured image by Jake Webber.

    LINKS:
    https://katzpascale.com/
    https://www.tiktok.com/@katzpascale
    https://www.instagram.com/katzpascale/
    https://www.youtube.com/@KatzPascale

    Blue Bayou – Carousel Song

    By
    Ryan Martin
    -
    Blue Bayou
    Blue Bayou

    Blue Bayou have today released their new single titled ‘Carousel Song’. Some songs don’t try to grab you by the collar — they just drift into your orbit and quietly take hold. Blue Bayou’s ‘Carousel Song’ spins exactly in that space, delivering a track that feels less like a performance and more like a shared moment caught on tape.

    The song moves with a gentle sway, built on warm guitars and an easy rhythm that keeps things in motion without ever pushing too hard. There’s an unforced quality to the vocals, almost conversational, giving the impression you’ve stumbled onto something personal rather than polished for mass consumption. That relaxed authenticity becomes the song’s hook — the feeling that nothing here is overworked, and everything lands naturally.

    Musically, the band leans into texture instead of spectacle. Subtle melodic turns and understated harmonies create depth without clutter, letting the mood do most of the talking. It’s reflective but never heavy, nostalgic without slipping into sentimentality — like watching familiar scenery pass from a car window at dusk.

    What lingers most is the emotional circularity hinted at in the title. The track captures that looping nature of memory and feeling — how certain thoughts or relationships keep coming back around, sometimes comforting, sometimes bittersweet, but always familiar. By the end, you’re left with the quiet urge to start the ride again.

    With ‘Carousel Song’, Blue Bayou proves they understand the power of restraint. No fireworks, no forced crescendos — just a well-crafted song that trusts the listener to meet it halfway. And in a landscape often crowded with noise, that kind of confidence stands out.

    About Blue Bayou

    Fresh off a festival run and two tours, Oxford based new wave chamber-pop band Blue Bayou have released their third single ‘Carousel Song’.

    Seemingly emerging from thin air in Spring 2023, Blue Bayou took Oxford by surprise when they hosted and sold out a string of debut performances at the Jericho Tavern, Modern Art Oxford, and The Library, developing a reputation as an exclusive, “infamous” live act (BBC) for their eclectic and confounding live performances.

    A UK tour supporting Max Blansjaar and the band’s own headline appearances in London and Brighton followed, with the band consistently welcoming larger stages and crowds: in 2025, they shared a stage with Jacob Alon at Wilderness Festival and played the main stage at Love Trails and in 2024 they headlined Sunday at Riverside, after Beam Me Up. Blue Bayou are currently the in-demand support act in venues in Oxford: they’ve been main support for Brown Horse, warmed stages for European acts the Klittens, New Yorkers like the Jeanines, and locals like Danny Mellin at the O2 Academy 2.

    ‘Carousel Song’, produced by Chris Barker (Willie J. Healey), shimmers with the magic of mid-winter: tracking to tape, and self-producing at a home studio, Blue Bayou eschewed a clean recording in favour of the warm texture of overtones, tape hum, and rack reverb. The opening verse seemingly hosts a world of distant strings and bells, while only a parlour guitar was being played. The bass which then enters evocatively re-harmonises these understated chords. It’s as if the ground beneath you is shifting, while the violin, vibraphone, and makeshift percussion, swirl in the air above. All of this is to situate the listener in an old, familiar, world of wonder, magic, and loss.

    Blue Bayou are also well-loved for their collaborations with artists over merch, posters, and artwork. They became synonymous with Fiona Cameron’s ever-popular Rabbit in a Boat logo, posting it all over Oxford and Brighton and they’ve sold over three batches of t-shirts and tote bags with the design. For the new single release, they commissioned artist Beth Simcock to respond to their music. ‘Carousel Song’ proudly displays the third detail of her painting, to be fully revealed come the awaited release of Blue Bayou’s debut EP. The band will also be releasing a ‘Carousel Song’ live session, produced by Alexander Sokolow (Tugboat Captain) and filmed by Willow Senior’s production team. Blue Bayou are also heading out on a UK to support the single release.

    LINK:
    https://blue-bayou-band.com/

    Sun Wilde – Timeless

    By
    Ryan Martin
    -
    Sun Wilde
    Sun Wilde

    Sun Wilde have today released their new single titled ‘Timeless’. The song arrives like mist rolling in off a quiet shoreline, its opening moments suspended between dream and memory. Soft textures shimmer around a steady, understated pulse, each layer drifting into place with a natural grace that feels almost accidental, yet perfectly timed. The instrumentation never pushes; instead, it floats, carrying the listener through a space where thoughts loosen and emotions surface gently, like reflections catching in low evening light.

    The vocal performance feels hushed and close, as if sung just for whoever happens to be listening in that moment. There’s a fragile honesty in the delivery, giving the lyrics a weight that lingers without ever becoming heavy. Themes of change and emotional distance move through the song like tides themselves — retreating, returning, reshaping the landscape in subtle ways. Rather than spelling out its intentions, the track lets feeling guide the experience, inviting listeners to find their own stories within its quiet currents.

    What ultimately gives the song its glow is the atmosphere it leaves behind — a lingering sense of calm threaded with longing. The production favors space and texture over dramatic gestures, allowing each listen to reveal new details hiding just beneath the surface. It’s the kind of track that slips easily into solitary drives or late-night reflections, wrapping around the listener like a familiar dream, and proving that sometimes the most powerful songs are the ones that whisper rather than shout.

    About ‘Timeless’

    Byron Bay indie surf-rock duo Sun Wilde return with their second single Timeless, continuing their sun-soaked rise through Australia’s coastal scene.

    Blending shimmering electric guitar lines with driving, reverb-drenched rhythms and dreamlike vocals, Timeless leans into vulnerability and emotional openness. It’s a track that reflects on the quiet ache of missing those you love, the fleeting nature of time and the importance of genuine human connection — knowing when to hold on and when to let go.

    “Timeless is about the beauty of being vulnerable and opening up to someone new. It explores the quiet ache of missing those you love and fully enjoying our short time on this planet through human connection,” says Sun Wilde’s Chris del Mar. “It’s also about seeing the world entirely through your own eyes — that fully personal experience of just being alive.”

    The song began life as a collection of voice-note melodies and lyrics during a drive home from the airport, before quickly evolving into a late-night studio demo the very same evening — capturing the immediacy and emotional honesty that defines their sound.

    With Timeless, Sun Wilde solidify themselves as a project built on feeling — honest, reflective and effortlessly coastal — capturing moments that linger long after the song fades out.

    In March, the duo will head to Sonora Studios to record two new tracks with acclaimed producer Jack Nigro, known for his work with Surf Trash, Rum Jungle, The Terrys, and other key names in Australia’s modern surf-rock movement.

    About Sun Wilde

    Sun Wilde is a sun-soaked indie-surf rock project that integrates tasteful electric guitar melodies, driving reverb-laden rhythm and heartfelt lyricism. The duo compose from the heart, encapsulating the trials, tribulations and triumphs of life in captivating waves of guitar, punchy drums and dreamlike vocals.

    While Sun Wilde are still in their grassroots phase, both members bring a wealth of live experience from other projects, including performances at Splendour in the Grass 2023, SXSW Sydney 2025, Spaced Out Festival, and shared bills with Sun Room (USA), Rum Jungle, DICE, Old Mervs, Daily J, The Terrys, Ra Ra Viper, The Grogans, Peter Bibby, Polish Club, and more.

    LINKS:
    https://www.instagram.com/sunwildemusic
    https://open.spotify.com/artist/2L8MyG1wxyAyGU0gFMPyft

    Natalie Del Carmen – Pastures

    By
    Ryan Martin
    -
    Natalie Del Carmen
    Natalie Del Carmen

    Natalie Del Carmen has today released her new album titled ‘Pastures’ via Torrez Music Group. ‘Pastures’ unfolds with the quiet confidence of an artist who understands that subtlety can hit harder than spectacle. Natalie Del Carmen crafts songs that feel lived in, where every melody carries emotional fingerprints and every lyric sounds like it was written in the margins of real experience.

    The album leans into warm acoustic arrangements and unhurried pacing, allowing her voice to guide listeners through moments of longing, reflection, and cautious optimism. There’s a sense of space throughout — as if each song leaves room for the listener’s own memories to settle in alongside hers.

    What gives the album its lasting pull is the way Del Carmen balances intimacy with universality. She writes about friendships, shifting identities, and the uneasy passage from youthful certainty into adult ambiguity without ever sounding overly dramatic or self-absorbed. Instead, her storytelling feels conversational, even comforting, as if she’s letting the audience in on thoughts usually kept private. The instrumentation remains tastefully restrained — gentle strings, understated percussion, and roots-leaning textures add depth without stealing focus — making the emotional core of each track land with greater clarity.

    Taken as a whole, ‘Pastures’ plays like a personal journal that accidentally becomes everyone’s story. The record doesn’t chase trends or attempt grand gestures; it succeeds through sincerity, careful songwriting, and performances that reward attentive listening. By the album’s closing moments, there’s a lingering feeling of having traveled somewhere familiar yet newly understood.

    It’s a reminder that sometimes the most powerful records aren’t the loudest, but the ones that quietly stay with you long after the final note fades.

    About ‘Pastures’

    ‘Pastures’, a patiently developed, well-crafted record, grapples with self-imposed expectations and the tension they create in an artist. The album follows Natalie Del Carmen, now 24, as she navigates the challenges of newfound adulthood and the wisdom that comes with it. Constantly evolving, Del Carmen began to carry a persistent, stinging trepidation that she must find her way or make sense of her career, relationships, and the ties that shape her daily patterns and rituals with urgency.

    Across many of the album’s tracks, Del Carmen imagines herself navigating different pathways in her life from entirely new perspectives, consistently returning to a familiar feeling: restlessness. That restlessness centers on the illusion that, with enough effort, any goal can be achieved, any relationship’s fire can be stoked, and any moment can be transformed into something lasting and powerful. In pursuing it, she finds chaos in quiet moments as they morph into cacophonous pressure points, pushing her to try and produce more potent realities for herself and others. But ‘Pastures’ ultimately reflects a belief system’s foundation cracking, giving way to change. Rather than holding onto that familiar, youthful anxiety, Del Carmen learned how to let go of some weighty expectations she placed upon herself.

    “’Pastures’ is about the strange, quiet in-between that defined my early twenties—where I constantly felt on the verge of something, but never quite anywhere. I’ve been in a long season of transition—nothing’s ever certain, except the pressure to keep moving and prove something along the way,” Del Carmen says. “I’ve always felt a kind of urgency, like whatever I’m after is still way ahead of me. I wanted to write about what it feels like to be drifting between who you are and who you’re becoming.”

    Tracks like “What Should’ve Been (By Now)” reflect the endless wondering of a perpetually moving mind, while “Plans Upon Plans” reiterates how life can unhinge steadfast ideas about oneself. Ultimately, the album navigates the growing pains of continuously searching for a sense of control over one’s life, loosening the leash and instead allowing moments to pass without every step defined and every milestone deeply known. Simultaneously, many of the record’s tracks take a moment to pause and understand deeply cathartic feelings that come and go. Beautifully enriched tracks like “El Cortez” reimagine previously established, cherished memories of loved ones, painting them with the newfound light of age and wisdom. In this case, a family trip with Del Carmen’s father to a Vegas casino reminded her of his presence and ability to continue making memories. “Good Morning From Magnolia,” with its rich mandolin, swirling fiddles, and strong vocal refrains, calls toward a deeper homecoming, vibrating with warmth and passion for family, friends, and the things that bind people together.

    ‘Pastures’ was recorded in just eight days in the backwoods of Kingston Springs, just outside of Nashville, with the help of Tennessee-based musical collective Brunjo. The album bridges Del Carmen’s metropolitan roots with her love for traditional country and small-town storytelling, blending acoustic instruments like mandolin, pedal steel, and her grandfather’s 1930s banjo with modern folk arrangements. The album features mixing from GRAMMY-award-winning producer Brandon Bell (Brandi Carlile, Joni Mitchell, Allison Russell, Alison Krauss) and mastery by highly esteemed music professional Eric Conn (Neil Young, John Prine, Sheryl Crow).

    Raised in Los Angeles and shaped by the city’s cultural diversity, Natalie Del Carmen began writing songs as a teenager and quickly developed a style that weaves vivid narratives with melodic warmth and standout vocals. A Berklee College of Music graduate, she honed her craft among a community of talented peers before releasing her 2023 debut album, Bloodline, which earned critical acclaim for its fusion of American roots music with a distinctive, youthful perspective, with maturity well beyond her years. ‘Pastures’ singles, “El Cortez,” “Plans Upon Plans,” and “June, You’re On My Mind,” have garnered early praise from outlets like The Bluegrass Situation, CMA, Atwood Magazine, Ditty TV, Country Central, Holler, and Saving Country Music, and earned coveted spots on Sirius XM Outlaw Country and Spotify’s Emerging Americana editorial playlist. Following her Americanafest debut with performances at The Bluebird Cafe and Whiskey Jam, Del Carmen is initiating new listeners and inspiring fans as one of the genre’s brightest voices.

    About Natalie Del Carmen

    Raised amongst the pavement and pop radio of Los Angeles, Natalie Del Carmen creates her own musical geography with ‘Pastures’. It’s the sound of a modern-day folksinger narrowing her focus and expanding her reach, funneling the wide-ranging sounds that appeared on her debut album — 2023’s critically-acclaimed Bloodline — into a sharp, singular version of American roots music.

    ‘Pastures’ doesn’t sound like the work of a Gen Z songwriter with metropolitan roots. Instead, its songs are poised and pastoral, filled with acoustic instruments — including the 1930s banjo she inherited from her grandfather — that evoke a landscape far more remote than Southern California. Some songwriters make music that reflects their surroundings, but Del Carmen takes a different path, turning herself into a musical world-builder. At just 24 years old, she’s chased down an Americana sound of her own making.

    “I’ve heard stories about people growing up in small towns, wanting to move to a big city,” she says. “That’s not me. I love living in a city, but I also feel connected to a traditional country sound and a small-town lifestyle. I crave both.” With ‘Pastures’, she builds a bridge between those two contrasts. Songs like the wistful, waltzing “Plans Upon Plans” and the nostalgic “Leanne” make no apologies for their countrified arrangements, but their lyrics tell a more universal story, capturing the zeitgeist of 20something life in all its charmed and contradictory glory. Like her musical heroes — from Brandi Carlile to Gregory Alan Isakov to The Lumineers — Del Carmen embraces her folksy roots without abandoning a wider audience, delivering coming-of-age songs that transcend genre and generation. After all, navigating the twists and turns of early adulthood is hard work, wherever you live.

    Like Bloodline, ‘Pastures’ was recorded with Brunjo, the Tennessee-based musical collective whose members first crossed paths with Del Carmen while attending Berklee College of Music. Two years after graduation, the musicians reunited in a studio on the outskirts of Nashville, where they tracked ‘Pastures’ during eight inspired days. Combining organic instruments with MIDI textures, they created unique soundscapes for each song, from the booming western arrangement of “Heyday” to the cinematic folk of “Good Morning from Magnolia.” With its light layers of mandolin, pedal steel, acoustic guitar, and brushed percussion, ‘Pastures’ ornaments — but never overwhelms — the songs that Del Carmen wrote back home in Los Angeles, dreaming up a world with less freeways, more fiddle, and green pastureland stretching into the distance.

    “To me, a pasture sounds like an open place where you can go anywhere,” she says. “Sometimes, that’s the most freeing thing… but other times, it can be an open invitation for doubt. Sometimes, it can be easy to write about love, because it’s so accessible. But I try to write about things that are harder to talk about, like failing, or trying to live up to society’s expectations, or grief, or the pressure to amount. With ‘Pastures’, I’m letting myself be free to make the music I want to make… and I’m letting myself do it on my timeline.”

    With ‘Pastures’, Natalie Del Carmen joins the ranks of Kat Hasty, Maggie Antone, Noeline Hoffman, Ken Pomeroy, and other empowered artists bringing a female perspective — and a youthful outlook — to the Americana space.

    LINKS:
    https://nataliedelcarmen.com/
    https://music.apple.com/us/artist/natalie-del-carmen/1534096217
    https://www.youtube.com/user/Natalbugs/videos
    https://www.instagram.com/natalie.del.carmen/
    https://www.tiktok.com/@nataliedelcarmen
    https://open.spotify.com/artist/0TMQOD1S7h7Dr86QQWHdiG

    Frankie Silver – Airplane Mode

    By
    Editorial Team
    -

    Five years in the making, starting on the East Coast in New York and finding its final form on the West Coast in Los Angeles, “Airplane Mode” is Frankie Silver’s personal dance with a toxic relationship and that moment of finally deciding to disengage and hit reset. In a way, that journey mirrors the song’s theme perfectly—it’s about the necessary trip inward to find yourself. The lyric, “Trying to be someone that wasn’t me… I just didn’t love me,” is the raw and heartbreaking admission that starts the healing process back to self-love. “Sometimes, the first step to finding your silver lining is being honest about the storm,” shares Silver.

    Driven by a punchy beat and an uplifting melody, “Airplane Mode” pulls people into a quiet corner, detaches them from external pressures, and focuses on personal growth. The repeated line, “Turn on airplane mode, I just wanna be alone,” is a bold declaration of wanting to escape the madness and find peace in the world. “This song is my anthem for digital and emotional escapism. It’s about that overwhelming need to hit ‘pause’ on the noise. Whether it’s a draining relationship, social pressures, or the constant buzz of expectation.” He adds, “Healing isn’t always about pushing forward; sometimes, it’s about pushing pause. It’s in that quiet space we create for ourselves that we gather the strength to face the chaos and turn it into something powerful.” “Airplane Mode” was produced by Matthew Joshua Hall, known for his work with Nicki Minaj and Lil’ Wayne. The mix was crafted by Grammy Award-winning mixer Ken Lewis (Eminem, Taylor Swift, Lady Gaga, fun.).

    Frankie Silver is a dynamic Indigenous artist whose lifelong dedication to performance informs his vibrant, genre-blending pop music. A natural storyteller and master of melody, Silver’s journey began at age six with the Philadelphia Boys Choir, leading to a multifaceted career on stage and screen, to his skilled work as an aerial and acrobatic dancer. In 2013, a life-changing injury threatened to end his piano and dance pursuits, but through years of recovery, Silver turned to songwriting, and his music career reemerged. Since then, Silver has created high-energy, positive, and relatable tracks that evoke a blend of George Michael meets The Weeknd.

    About Frankie Silver

    Frankie Silver is a dynamic Indigenous artist whose lifelong dedication to performance informs his vibrant, genre-blending pop music. A natural storyteller, Frankie’s journey began at age six with the Philadelphia Boys Choir, leading to a multifaceted career on stage and screen—from roles in Gossip Girl and Broadway’s Tarzan to his skilled work as an aerial and acrobatic dancer.

    His path, however, was interrupted at 19 by a life-changing injury that severed his ulnar artery. After years of reconstructive surgeries and physical therapy, Frankie channeled his resilience into music, emerging with a renewed creative drive. He has since collaborated with top producers like Zaire Koalo, Colin Brittain, and 7-time Grammy-nominated Ken Lewis, refining a sound that merges pop, dance, and electronic influences into an uplifting, high-energy experience.

    Under his own label, Silver Studios LLC, Frankie released his debut EP, Coming Alive, and is now preparing to launch his highly anticipated single, “Airplane Mode.” His music is an extension of his philosophy: to find the silver lining in every challenge. “I want to amplify the positive vibes I feel inside myself and heal the world through my music,” he says.

    Beyond his own artistry, Frankie is an active pillar of San Diego’s music community, serving on the board of the non-profit Gallery130.org which provides affordable creative space for local independent artists. With an unreleased twenty-track discography waiting in the wings, Frankie Silver is an artist defined by his talent, his perseverance, and his unwavering positive energy.

    SOURCE: Official Bio

    LINKS:
    https://frankiesilvermusic.com/
    https://www.instagram.com/frankiesilvermusic
    https://www.tiktok.com/@frankiesilvermusic
    https://www.youtube.com/channel/UC0qic-pzNw-i0TRJLndOU9Q
    https://open.spotify.com/artist/0LuWAwOuuNHVne36DCGBux

    Penny Arcade – Rear View Mirror + Tour Dates

    By
    Ryan Martin
    -

    Penny Arcade has today released their new video and single titled ‘Rear View Mirror’, from his upcoming album ‘Double Exposure’, dropping April 17th via Tapete Records.

    James Hoare’s latest turn as Penny Arcade arrives less like a performance piece and more like a captured mood, the video unfolding with a quiet confidence that pulls you in rather than demanding attention. Every shot feels intentional yet unforced, creating a space where the song breathes alongside the imagery. There’s a lived-in quality here, moments that feel observed rather than staged, giving the whole experience a reflective edge that lingers well after the final frame fades.

    Sonically, the track leans into restraint, allowing melody and atmosphere to carry the emotional weight. Hoare’s voice sits comfortably within gently layered guitars and subtle rhythmic touches, building a sense of movement without ever breaking the song’s intimate spell. It’s the kind of arrangement that rewards repeat listens, revealing small details in tone and texture each time through, balancing melancholy with warmth in a way that feels both nostalgic and freshly immediate.

    As a preview of Double Exposure, due April 17, the video suggests an album rooted in nuance rather than spectacle. Penny Arcade isn’t chasing big gestures here; instead, Hoare crafts a mood that feels personal yet widely relatable, the kind of music that slips easily into late-night reflection or long solitary drives. If this track is any indication, Double Exposure looks set to offer listeners something quietly enduring a collection built not on volume, but on atmosphere and emotional clarity.

    About ‘Double Exposure’

    ‘Double Exposure’ isn’t a departure, necessarily, but this new album contains some of the rawest and most deconstructed sounds that James Hoare – of Veronica Falls, Ultimate Painting and Proper Ornaments – has recorded to date. Principally, and for the first time, the guitars take a back seat. It’s not a ‘no guitar’ concept album by any means; it’s mostly just the way it came together. It would also be inaccurate to suggest the guitars have been banished altogether, especially after the dual six-string solo that rips through the speakers on the mighty album opener Regrets. It’s not ‘Skynyrd’ necessarily, but it’s a hairs-on-end experience for sure.

    Following 2024’s gorgeous Backwater Collage debut LP under the Penny Arcade nom de plume, this is a hallucinogenic experience, and the backbone of Double Exposure is the drum machine that informed the songs. It’s also an album of sweet duality. For all the darkness of early highlight Worst Trip – a haunting stagger through “the worst trip I ever had” – the following You’ve Got the Key is a gorgeously knotty workout, so rich in a distinctly English take on psychedelia that it’s hard not to believe it was recorded to tape fifty years ago. The mood then swaps sunny psychedelics for a slice of blue-eyed soul on Everything’s Easy, the soundtrack to melancholic, sunshine-stained car journeys. The album features flashes of guest appearances, but for the vast majority it is an album of solo experimentalism, with gestations that bubble to life across the stereo before fading back out again. Nothing is overthought; this is an album of ideas.

    The drum machines take centre stage on Rear View Mirror, playing out like In Rainbows-era Radiohead channelled through Silver Apples, a trip in three minutes that you can play on an infinite loop. Like so much of the album, it was recorded almost instantaneously, with a simplicity and rawness that heavy overdubs and meticulous arrangements could never achieve. It is an album high on vibe. James explains: “I was preparing to move to the south of France when half of the album was recorded. This fed into the lo-fi feel of the record; it had to be recorded quickly and that does give some of the tracks a demo-like quality.” When one of the album’s many highlights is a hazy two-minute cut called Instrumental No. 1, you know this is about rolling the tape and capturing the vibe.

    Clicking drum machines and oozing organs interplay with different hues of guitar work, from the ragas of the George Harrison-esque Early Morning to the tripped-out, smoke-drenched We Used to Be Good Friends. Double Exposure is an unfussy collection of songs. Closing track Riverside Drive – like so many of the album’s sublimely melancholic highs – appears, fully forms, then dissolves, never out staying its welcome and softly ringing in the ears like a daydream. It is also a fitting title. Double Exposure, named after the photographic technique, is layers of ideas that weren’t written as parts but rather spontaneous melodies that form their own abstract picture. The album harks somewhere between the restless experimentation of Syd Barrett and the uninhibited analogue innovations of Tim Presley as White Fence. It very much is what it is.

    “The record was recorded on a 16-track tape machine, and much of it was captured instantaneously as it just sounded the way it needed right there and then,” James recalls. “Most of the songs feature old, very basic drum machines and organs; trying to recreate any aspect of it is like trying to bottle smoke.”

    Bio written by Rupert Morrison.

    Featured image by Titouan Massé.

    LINKS:
    https://www.facebook.com/pennyarcademusic/
    https://open.spotify.com/artist/2LccQibLSite2i1EB1QRxe
    https://www.instagram.com/pennyarcade_music/

    Lauren Mia – Rhythm of Refuge (ft. Gabrielle Roman)

    By
    Ryan Martin
    -
    Lauren Mia
    Lauren Mia

    Lauren Mia has today released her new collaboration with Gabrielle Roman titled ‘Rhythm of Refuge’ via Halcyon. Some tracks feel designed for the moment; others feel built for the journey. This one lands squarely in the second category, unfolding like a late-night drive where the city lights blur and thoughts begin to wander somewhere deeper than the dance floor.

    From its opening moments, the production establishes a moody atmosphere, leaning into textured synth layers and a low-end pulse that carries both tension and anticipation. The groove doesn’t rush; it breathes. Each percussive element arrives with purpose, creating a hypnotic momentum that feels immersive rather than overwhelming. It’s the kind of rhythm that pulls listeners inward, inviting them to live inside the track instead of simply moving along with it.

    What really stands out is how emotion is woven into the electronic framework. Rather than relying on obvious hooks, the track builds feeling through gradual evolution — subtle melodic shifts, swelling pads, and tonal movements that feel almost cinematic. There’s a sense of searching here, as if the music is tracing the contours of escape and comfort at the same time. Moments of restraint make the eventual expansions hit harder, giving the entire piece a satisfying sense of release when the full arrangement finally blooms.

    Vocals, where they appear, function less as a spotlight and more as an atmospheric layer, adding warmth and humanity without breaking the track’s hypnotic spell. They drift in and out like distant memories, enhancing the emotional weight without dominating the sonic space. It’s a smart production choice that keeps the focus on mood and movement.

    Structurally, patience is the track’s greatest strength. Instead of chasing instant gratification, it takes listeners on a gradual climb, layering sounds and energy with careful precision. DJs will appreciate how seamlessly it can slip into a set, but it also holds up as a standalone listening experience — perfect for headphones during reflective moments or for filling a room with understated intensity.

    Ultimately, the track succeeds because it balances introspection with motion. It’s dance music that doesn’t forget the listener’s inner world, delivering something that works both as an escape and as a moment of connection. Long after the final notes fade, the atmosphere it creates lingers, making it the kind of song you return to when you need both movement and meaning in equal measure.

    About ‘Rhythm of Refuge’

    Multi-disciplinary artist and producer Lauren Mia starts off the new year by delivering her most intimate vocal production to date, “Rhythm of Refuge”, a powerful collaboration between two women – featuring vocalist Gabrielle Roman. Released via her own imprint, Halcyon Label, the deeply personal collaboration explores love as sanctuary, weaving together ethereal vocals with Lauren’s signature emotive production to create a profound anthem on devotion and surrender.

    “Rhythm of Refuge” represents a sonic love story, capturing the essence of a love that saves, heals and anchors. The track illustrates the kind of connection that feels both ancient and familiar – through the marriage of Lauren’s intricate sound design and Gabrielle’s evocative lyricism, the production creates a space where the two artists’ essence find harmony.

    “Rhythm of Refuge is a love story in sound. We tried to illustrate a story about a love which we all want. A love that saves you, the kind that feels ancient and familiar, the kind that pulls you back into yourself when you lose your way,” shares Lauren Mia. “It is about loving someone so deeply that their presence becomes your breath when you are drowning and the fire that warms you when you turn cold. They become the rhythm you return to, the calm you fall into, the water that cools you when you are burning. It is devotion, surrender, and safety woven into two heartbeats that become one. This song is a tribute to that kind of love, I think a love we all want and hope to have in this lifetime.”

    The collaboration between Lauren and Gabrielle emerged from an immediate creative connection, with the two artists forming a deep friendship alongside their musical partnership. The track evolved through countless studio sessions and iterations, with both artists investing tremendous energy into crafting a piece that captured the full emotional weight of their vision.

    “Gabrielle and I are collaborators, colleagues, dear friends and soul sisters. It was love at first sight and I knew together we would create a really powerful piece. And we did,” continues Lauren. “We spent so much time on this record together in the studio and other times separately. So many versions of the track. The track evolved over and over until we came to where it is now, where we all feel this part of the story is whole.”

    Gabrielle Roman brings raw vulnerability to the track, her lyrics exploring the transformative power of finding someone who quiets the internal storm and provides genuine refuge from chaos.

    “Rhythm of Refuge is about the one person who can actually quiet the storm you carry in your heart. The one who makes your whole system stop bracing for impact and who pulls you back to yourself without even trying,” shares Gabrielle Roman. “Being close to them isn’t a preference anymore; it’s the only place where you feel steady again, where everything inside you finally stops shaking. With them, the world stops feeling like a battlefield and starts feeling survivable. I wrote the lyrics because that kind of love reshaped me, and Lauren’s instrumental gave me the world to write it in. Her vision opened the door, and I stepped into it with the story. Underneath all the poetry, it’s the kind of devotion that comes from living through your own wreckage and finally finding someone who doesn’t add to your chaos, but instead anchors you through it.”

    The release continues Halcyon Label’s mission to showcase emotionally intelligent electronic music that speaks to both mind and heart. Following the label’s inaugural release “Sapiosensual” and subsequent releases including “Only You” with REYUS, “Rhythm of Refuge” reinforces the imprint’s commitment to music that creates genuine connection and emotional resonance.

    About Lauren Mia

    Lauren Mia began her journey with music production in 2016, quickly establishing herself as an up-and-comer to watch in driving, and dynamic dance music. Her trajectory from performing alongside icons like Adriatique, Mind Against, Kaskade, Deadmau5, and Stephan Bodzin to launching her own imprint exemplifies both technical expertise and artistic vision. Her debut album ‘RE:BIRTH’ in late 2023 garnered support from industry titans including Tiësto, ANNA, Innellea, Kevin De Vries, Joris Voorn, Camelphat, Tale of Us, Lane 8, Vintage Culture, Above & Beyond, Fideles, and Argy.

    Launched in 2025, Halcyon Label continues to evolve – with “Rhythm of Refuge” standing as a testament to the power of authentic collaboration and the universal human need for connection. With each release, Lauren Mia brings her divine feminine energy to the forefront of electronic music, crafting soundscapes that challenge conventions while creating deep emotional connections with listeners worldwide.

    LINKS:
    https://laurenmia.komi.io/
    https://www.instagram.com/laurenmia
    https://www.facebook.com/laurenmiamusic

    Desert Storm – Woodsman

    By
    Editorial Team
    -

    Oxford, UK’s heavy and melodic sludge metal torchbearers Desert Storm present their stirring “Woodsman” video, taken from their anticipated new album ‘Buried Under the Weight of Reason’ coming out this March 6th on Heavy Psych Sounds Records.

    With ‘Woodsman’, Desert Storm conjures an elemental soundscape that invites listeners to abandon the familiar, embrace the instinctual, and walk deeper into the uncharted wilderness. “’This is a journey into the wild, an evocative blend of crushing heaviness and contemplative stillness where soulful textures and rare, almost ceremonial vocals emerge like voices in the forest. Lyrically, it steps away from the trappings of civilization and into the primal embrace of the natural world. Inspired by reclusive wilderness dwellers of myth and memory, it reflects on renunciation, survival, and rediscovery. The forest becomes both teacher and healer, a place where rage, instinct, and feral energy intertwine with wonder, reverence, and ancestral wisdom. Its dynamic shifts mirror the experience of stepping into the unknown, sometimes violent, sometimes serene, always alive,” the band says.

    On their new album ‘Buried Under The Weight Of Reason’, the Oxford-based foursome carves out a sound that is as primal as it is progressive, melding sludge, doom and heavy metal weight with moments of softness, space, and unexpected vulnerability. Across these nine massive-sounding tracks, Desert Storm summons the wilderness, ceremony, and chaos of the human condition, pushing their sound into new territories while staying true to their instinct for heaviness.

    ‘Buried Under the Weight of Reason’ Tracklist

    'Buried Under the Weight of Reason' cover.
    ‘Buried Under the Weight of Reason’ cover.
    1. Newfound Respect
    2. Shamanic Echoes
    3. Woodsman
    4. Cut Your Teeth
    5. Rot To Ruin Side
    6. Carry The Weight
    7. Dripback
    8. Law Unto Myself
    9. Twelve Seasons

    About Desert Storm

    Desert Storm are a formidable force in British heavy metal. Hailing from Oxford, England, the band formed in 2007 and have since carved out a reputation for their genre-defying blend of stoner, sludge, post-metal, and doom. Now, 19 years deep into their journey, they remain impossible to pigeonhole—constantly evolving, yet unmistakably Desert Storm. If you’re drawn to titanic riffs, intricate sonic textures, and vocals that balance ferocity with raw emotion, Desert Storm deliver that and more.

    Their forthcoming album, “Buried Under The Weight Of Reason”, is the highly anticipated follow-up to 2023’s acclaimed “Death Rattle”. Released worldwide via the renowned European label Heavy Psych Sounds Records — home to legends like Pentagram, Bongzilla, Conan, and Mondo Generator — the record marks a bold step forward for the mighty foursome.

    SOURCE: Official Bio

    LINKS:
    https://www.desertstormband.com/
    https://www.facebook.com/desertstormuk
    https://desertstorm.bandcamp.com/
    https://www.instagram.com/desertstormuk

    The Black Crowes – It’s Like That + Tour Dates

    By
    Ryan Martin
    -
    The Black Crowes
    The Black Crowes

    The Black Crowes have today released their new single titled ‘It’s Like That’, from their upcoming album ‘A Pound of Feathers’, dropping March 13th via Silver Arrow Records.

    There’s a certain authority that comes with longevity, and The Black Crowes wear it without apology on ‘It’s Like That’. This isn’t a band reaching backward for relevance or polishing old trophies for display. Instead, the song arrives with the confidence of artists who’ve already earned their place in rock history and now operate free of expectation. The groove is unhurried but deliberate, rooted in blues and Southern grit, carrying the unmistakable DNA that has followed the band from smoky clubs to arena stages. What stands out immediately is the absence of desperation—this track doesn’t ask for attention, it assumes it.

    Musically, ‘It’s Like That’ thrives in restraint. The guitars don’t scream for dominance; they converse, circling the rhythm with a loose, lived-in feel. There’s a sense of space here that modern rock often forgets—room for breath, for swagger, for the kind of subtle tension that only reveals itself over repeat listens. Vocally, the delivery feels seasoned rather than strained, as if the song is less a performance and more a statement of fact. The Black Crowes aren’t explaining themselves anymore; they’re reporting from experience.

    What gives the track its real weight, though, is how effortlessly it fits into the band’s larger narrative. Since emerging at the tail end of the ’80s, The Black Crowes have stood as one of the last great American rock bands to bridge eras—pulling from blues, gospel, and classic rock while still sounding unmistakably of their time. Their catalog helped keep roots-driven rock alive during periods when trends leaned synthetic or disposable. ‘It’s Like That’ feels like a continuation of that mission, not as nostalgia, but as proof of durability.

    In a genre that often burns bright and fades fast, The Black Crowes endure by staying honest, and this song quietly reinforces why their voice still matters.

    About ‘A Pound of Feathers’ & Tour

    Fresh off a career-spanning resurgence that included a 2025 GRAMMY nod for Best Rock Album (Happiness Bastards) and their first nomination into the Rock and Roll Hall of Fame, the iconic band The Black Crowes will release their unfiltered, heart-pounding new album, ‘A Pound of Feathers’, March 13, before hitting the road, where they’ll continue to deliver the same lawless and swaggering sound that made them one of the most explosive live acts of our generation.

    With fellow trailblazing renegades Whiskey Myers co-headlining the bill, the multi-Platinum independent band’s live show will showcase fan favorites from their robust catalog alongside their latest record, ‘Whomp Whack Thunder’. The critically acclaimed album further sharpens the lyrical focus and raw edge that have long defined the band, reinforcing their reputation as one of the most uncompromising bands in music today.

    ‘A Pound of Feathers’ Tracklist

    'A Pound of Feathers' cover.
    ‘A Pound of Feathers’ cover.
    1. Profane Prophecy
    2. Cruel Streak
    3. Pharmacy Chronicles
    4. Do The Parasite!
    5. High And Lonesome
    6. Queen of the B-Sides
    7. It’s Like That
    8. Blood Red Regrets
    9. You Call This A Good Time
    10. Eros Blues
    11. Doomsday Doggerel

    About The Black Crowes

    Founded by brothers Chris and Rich Robinson, The Black Crowes make music for the mavericks, playing rock ‘n’ roll that’s hip-swinging and heavy, dirty and debonaire, bluesy and ballsy, ecstatic and electrifying, and soulful and soaring. They don’t fall in line, and they never cared to either. Instead, they’re right at home with the outsiders, the drifters, the lost souls, the hustlers, and the hellraisers who inhabit timeless tunes like “She Talks To Angels,” “Hard To Handle,” “Wiser Time,” “Twice As Hard,” and “Black Moon Creeping.”

    No matter where culture went, the multiplatinum GRAMMY® Award-nominated group fearlessly charted their own course, taking flight with the 5x-Platinum Shake Your Money Maker and never coming back down. Their path twisted and turned from seminal records a la the 2x-Platinum Billboard 200 #1 LP The Southern Harmony And Musical Companion and Gold-certified follow-up Amorica to a once-in-a-lifetime jaunt with Jimmy Page and accompanying Gold-certified live record: Live at the Greek.

    The band’s lore expanded with the chart-shaking Warpaint and Before the Frost…Until the Freeze. Another generation fell under their spell as they launched their biggest headline tour yet to celebrate Shake Your Money Maker’s 30th birthday. They lit up the next chapter with 2024’s Happiness Bastards—which garnered a 2025 GRAMMY® Award nod for Best Rock Album. Between widespread critical praise, they even picked up a 2025 Rock and Roll Hall of Fame® nomination. Rather than rest on their laurels, Chris and Rich will embark on their Southern Hospitality Tour this summer, following the release of their tenth full-length offering, A Pound of Feathers, out March 13. Promising uncompromising, urgent, and undeniable rock ‘n’ roll, it’s the sound of unrepentant creative spirits in harmony. It’s the sound of The Black Crowes.

    From thunderous drums, blistering guitar work, and lyrics that don’t flinch, fans can expect a roaring setlist stacked with classics, deep cuts, and the kind of onstage band chemistry and electrifying stage presence that can’t be replicated.

    Career-defining anthems to crowd-roaring singalongs, every night promises to be a full-throttle reminder that rock-n-roll is alive and well and best served up loud, outrageous and a little dangerous.

    LINKS:
    https://theblackcrowes.com/
    https://www.facebook.com/TheBlackCrowes/
    https://www.instagram.com/theblackcrowes/
    https://youtube.com/croweology
    https://tiktok.com/@theblackcrowes
    https://open.spotify.com/artist/5krkohEVJYw0qoB5VWwxaC

    Kenton – Without You Video + Acoustic Version

    By
    Ryan Martin
    -

    Kenton has today released his new video as well as an acoustic rendition for the track titled ‘Without You’, from his latest album ‘Sweetmouth’ via Mostly Human Music. The strength of this song lies in how confidently it lets emotion lead without ever slipping into excess. From the first moments, there’s a sense of intention — not just in the melody, but in the space between notes, where restraint becomes part of the message. The production feels lived-in rather than polished for effect, giving the track a human pulse that draws the listener closer instead of pushing them back with spectacle. Vocally, there’s a quiet conviction at work, delivering lines in a way that suggests reflection rather than performance, as if the song exists because it needed to be written, not because it needed to be heard.

    What elevates the track is its understanding of emotional pacing. Rather than rushing toward a climactic release, it allows itself to unfold naturally, letting repetition and subtle shifts do the heavy lifting. The song speaks in emotional gradients — longing, recognition, resignation — without spelling everything out. This is where it aligns with the kind of storytelling that resonates long after the last note fades. It trusts the listener to bring their own experience into the frame, turning what could be a personal moment into something quietly universal.

    By the time the song concludes, it leaves behind a lingering stillness — the kind that invites replay not out of habit, but out of curiosity. There’s an honesty here that feels earned, not engineered, and that’s increasingly rare. This track doesn’t chase relevance or radio expectations; it simply exists on its own terms, confident that sincerity will do the work. In that way, it feels less like a single designed for consumption and more like a chapter pulled from a larger emotional narrative — one that rewards patience and invites reflection rather than demanding attention.

    The acoustic version of ‘Without You’ reveals a different emotional architecture than the original, peeling back the alt-pop polish to expose the song’s bones in a way that makes the lyrics feel even more immediate and fragile. Where the original marries thoughtful production with a contemporary pop sheen — its layered instrumentation creating a dynamic push and pull that subtly bolsters the emotional narrative — the acoustic arrangement strips most of that away, leaving a skeletal canvas where each vocal inflection hangs in the air with more vulnerability. This is the version that makes you acutely aware of the song’s lyrical heartbeat, letting the quiet imperfections and the warmth of unembellished sound become part of the message itself.

    In contrast to the original’s broader sonic landscape, the acoustic take invites introspection in a more intimate setting. The removal of rhythmic and textural complexity doesn’t diminish the song; it reframes it, turning what once felt like a gentle pop lament into something that feels like a direct conversation with the listener. The space around the vocals feels larger — not emptier, but more resonant — and that breathing room allows the underlying sentiment to settle into your bones with a clarity the original only hinted at. In that light, the two versions don’t compete so much as complement each other: one brings the emotional content into relief through production, the other through vulnerability and closeness.

    About ‘Without You’

    In his latest release, Kenton creates both a sonic and visual foundation to re-navigate ‘Without You’, a track with deep emotional ties for the singer, which appears on his latest album, ‘Sweetmouth’. The singer’s father, who was a lifelong music teacher, had a stroke in 2020, rendering him unable to play music the way he used to. During a Thanksgiving trip to Taiwan to visit his family, the multidisciplinary artist watched his father struggle, as he simultaneously unraveled his own conflicts with the man who raised him. As a young adult, Kenton felt shame, sorrow, and anger over the lost years he had with his parents due to their inability to accept him as a queer man. But in time, he’s come to forgive his father, as he sees his parents as flawed humans trying to do their best. “One of the most universal emotions we humans experience is grief. Whether it’s a partner, a parent, or a pet, our grief is a reflection of the love we share,” Kenton shared. “I wrote this song for my father, who, as his health declines, seems more and more like a child to me. All the misgivings and misunderstandings–they don’t matter in these last moments, fading fast like sand through my fingers. All I really want to remember is the love.” The song was co-written by Kenton, Wrabel, and Eric Cannata of Young the Giant.

    Directed by Matthew Law, the music video stars Kenton, who gazes longingly at the camera while cast in a black-and-white vignette. He mournfully sings, “Dad, you look like a stranger / What’s a father to a son like me.” Grant Chang, portraying Kenton’s father, appears smoking a cigarette and facing away from a troubled Kenton as he reminisces about how his father used to engage with the world. Though his father remains “present,” he never turns to face Kenton, reflecting a relationship that cannot be fully reconciled, but has been forgiven. As the video ends, Kenton imagines his father with him on a beach, and he lets go of their past struggles. Through tears, he takes a final Polaroid photo of his father and accepts the moment he currently lives in. For the song’s acoustic version, Kenton enlists mixer and producer Nick Dorian. Stripping back the song’s foundation, Kenton’s raw pain and acceptance of his father take a more resonant depth, as Brandon Bae’s guitar guides him to a place of peace.

    Both the acoustic rendition and official music video for “Without You” further reflect the anguish of losing someone who is still physically present but already fading.

    About Kenton

    The son of Taiwanese immigrants, Kenton grew up in sunny Irvine, California, a place where he struggled to find his footing as an Asian American. In some of his earliest memories, the now Los Angeles-based artist watched his father teach music in their home, eventually cultivating a fervency for songcraft. As he grew out of his childhood home and became a full-fledged adult, his parents moved back to Taiwan, leaving the actor and singer-songwriter in the States to grapple with his queer identity and how it juxtaposed his traditional upbringing.

    ‘Sweetmouth’, the multidisciplinary artist’s full-length debut, takes its inspiration from a 2022 visit Kenton took to Taiwan to see his parents for Thanksgiving, marking their first time seeing one another in nearly six years. Kenton describes Sweetmouth as his way of “processing the shame, guilt, grief and anger (he’s) harbored over the years, of honoring the heritage of (his) ancestors, and of learning the art of forgiveness so that (he), as an adult, can choose love.” The album navigates tension surrounding religion, queer identity and self-love, all while paying tribute to familial love.

    The album takes its title from Kenton’s childhood nickname, sweetmouth (甜嘴), a Chinese phrase for an adorable and obedient child. It was given to him by his mother for his sweet words that alleviated her pains. “I was really good at placating her and saying what she needed to hear,” he says. “Simple things like, ‘We love you, Mom,’ or ‘Nobody appreciates all the work you do.’ And it’s really hard. I never really processed what that did to me, or how that impacted me emotionally, taking on that caretaker role.”

    Kenton says that while part of his impetus for making the record was finding a way to forgive his parents for not accepting him as he is, he also wanted to honor them with his music. His father had a stroke prior to his 2022 visit, and complications rendered his father unable to play music like he used to.

    Kenton has previously established himself as a sought-after pop-singer, collaborating with projects such as Postmodern Jukebox and Scary Pockets and supporting pop artists including Benson Boone, Billie Eilish, Kesha, Demi Lovato, Portugal. The Man, Cynthia Erivo and Jennifer Hudson, among others. He toured for several years with Katy Perry, while part of her Las Vegas residency.

    As an actor, Kenton has appeared in over a dozen national commercials, and several TV shows: Superstore (NBC), Platonic (Apple), Night Court (NBC), The Rookie (ABC), Perfect Harmony (NBC), and Room 104 (HBO). He recently voiced the character Mogui in Jentry Chau vs. The Underworld (Netflix), and was a featured singer in the animated movies Wish (Disney) and Wish Dragon (Netflix).

    LINKS:
    https://itskenton.com
    https://instagram.com/itskenton
    https://tiktok.com/@its.kenton

    Lucy Frost – Prescription

    By
    Ryan Martin
    -
    Lucy Frost
    Lucy Frost

    Lucy Frost has today released her new single titled ‘Prescription’. There’s a feeling here that suggests an opening chapter rather than a standalone moment, like the song is less interested in resolving itself than in setting a mood that lingers beyond its runtime. It carries the kind of patience you usually hear on records that trust their own arc, allowing space for thought instead of rushing toward impact. Listening feels less like consuming a track and more like stepping into a room where something has already been happening before you arrived.

    What’s interesting is how the song seems aware of its surroundings, as if it’s in quiet conversation with the rest of a larger body of work. The textures don’t compete for attention; they coexist, drifting in and out with an ease that suggests confidence rather than minimalism for its own sake. The vocal presence doesn’t dominate so much as guide, offering just enough emotional clarity to anchor the listener while leaving plenty unsaid. It’s the kind of restraint that feels intentional, even generous.

    Taken in that broader sense, this song works best as part of a continuum, hinting at themes that likely echo elsewhere while standing firm on its own emotional footing. It doesn’t chase immediacy or attempt to wrap itself in a neat conclusion. Instead, it invites repeat listens, not to decode it, but to sit with it. And in that willingness to linger, to let meaning arrive on its own terms, the song earns its place as something more than a moment—it feels like part of a conversation still unfolding.

    About ‘Prescription’

    ‘Prescription’ is a sonically vulnerable song that frames love as both a remedy and a mode of relapse. Comparing belief in her partner to coaxing an ailment, Lucy Frost scathingly describes a brewing, festering fear that triggers body tremors and an eventual breakdown. A gentle pop soundscape sways into a soft, acoustic-driven verse as the clever songwriter pens, “I took your word like a prescription / God, I was addicted, swallowed up your lies.” Frost admits she cut off affection after realizing she no longer liked her ‘prescription,’ an allegory for poor treatment at the hands of others and her desire for a meaningful connection.

    “‘Prescription’ is the sonic form of anxiety and discomfort bubbling up to the surface until it inevitably is released into a freeing flood of emotion,” Frost explains. “Playing this song live for the first time actually shaped how I wanted this track to feel in the studio; very raw and honest, with the intention that listeners will also experience a means of releasing their own pressures trapped inside.” To finalize the track, she brought in producers Nick Schmidt, Mosaic, and Graham Maola. Moving between synth-pop tension and warm guitar strums, Frost creates a catchy pop anthem that hooks listeners in like a vortex.

    A Boston native, Lucy Frost developed an interest in musical composition and songwriting from a young age. Frigid days in New England inspired her relatable songwriting, alongside artists like Elliot Smith, Jeff Buckley, and Bob Dylan, as well as the modern wit of Billie Eilish and Lola Young. Sporting a background in film scoring and multi-instrumentalism, the Los Angeles transplant uniquely blends engaging narratives with cinematic textures. Releases like “D Day,” “Reputation,” and “Angeles” reflected the ebbs and flows of Frost’s life, while containing universal narratives tied to change and internal growth. Frost has honed her live performances, taking the stage at many of Los Angeles’ iconic venues like Hotel Cafe and Harvard & Stone, and Boston’s The Burren and The Village Social Club.

    About Lucy Frost

    Boston native Lucy Frost developed an interest in musical composition and songwriting from a young age. Frigid days in New England inspired her relatable songwriting and powerful lyrics, alongside artists like Elliot Smith, Jeff Buckley, and Bob Dylan, as well as the modern wit of Billie Eilish and Lola Young. The now Los Angeles transplant uniquely blends engaging narratives with cinematic textures to create her own dark-pop, singer-songwriter sound. Her singles “D Day,” “Reputation,” and “Angeles “reflect the ebbs and flows of Lucy’s life, while containing universal themes tied to change and internal growth.

    A graduate of Berklee College of Music, her background in film scoring and experience as a multi-instrumentalist form her unique ability to write and produce in all genres, working for both artists and sync companies. Her recent songwriting and composing collaborations include artists like Natalie Jane, Ari Abdul, Devon Gabriella, and Bluey Thomas, and producer/writers like Tim Myers, Will Van Zandt, Doc Daniel, and more.

    As she continues to develop her artistry, Lucy Frost has refined her live performances, taking the stage at many of Los Angeles’ iconic venues, including Hotel Cafe and Harvard & Stone, as well as Boston’s The Burren and The Village Social Club.

    Featured image by There’s a feeling here that suggests an opening chapter rather than a standalone moment, like the song is less interested in resolving itself than in setting a mood that lingers beyond its runtime. It carries the kind of patience you usually hear on records that trust their own arc, allowing space for thought instead of rushing toward impact. Listening feels less like consuming a track and more like stepping into a room where something has already been happening before you arrived.

    What’s interesting is how the song seems aware of its surroundings, as if it’s in quiet conversation with the rest of a larger body of work. The textures don’t compete for attention; they coexist, drifting in and out with an ease that suggests confidence rather than minimalism for its own sake. The vocal presence doesn’t dominate so much as guide, offering just enough emotional clarity to anchor the listener while leaving plenty unsaid. It’s the kind of restraint that feels intentional, even generous.

    Taken in that broader sense, this song works best as part of a continuum, hinting at themes that likely echo elsewhere while standing firm on its own emotional footing. It doesn’t chase immediacy or attempt to wrap itself in a neat conclusion. Instead, it invites repeat listens, not to decode it, but to sit with it. And in that willingness to linger, to let meaning arrive on its own terms, the song earns its place as something more than a moment—it feels like part of a conversation still unfolding.

    Featured image by There’s a feeling here that suggests an opening chapter rather than a standalone moment, like the song is less interested in resolving itself than in setting a mood that lingers beyond its runtime. It carries the kind of patience you usually hear on records that trust their own arc, allowing space for thought instead of rushing toward impact. Listening feels less like consuming a track and more like stepping into a room where something has already been happening before you arrived.

    What’s interesting is how the song seems aware of its surroundings, as if it’s in quiet conversation with the rest of a larger body of work. The textures don’t compete for attention; they coexist, drifting in and out with an ease that suggests confidence rather than minimalism for its own sake. The vocal presence doesn’t dominate so much as guide, offering just enough emotional clarity to anchor the listener while leaving plenty unsaid. It’s the kind of restraint that feels intentional, even generous.

    Taken in that broader sense, this song works best as part of a continuum, hinting at themes that likely echo elsewhere while standing firm on its own emotional footing. It doesn’t chase immediacy or attempt to wrap itself in a neat conclusion. Instead, it invites repeat listens, not to decode it, but to sit with it. And in that willingness to linger, to let meaning arrive on its own terms, the song earns its place as something more than a moment—it feels like part of a conversation still unfolding.

    Featured image by Kelly Choi.

    LINKS:
    https://lucyfrostmusic.com/
    https://www.tiktok.com/@lucyfrostmusic
    https://www.instagram.com/lucyfrostmusic
    https://lucyfrost.bandcamp.com/
    https://open.spotify.com/artist/68rOPXerz0MYCpK05DYWjo

    Cat Clyde – Another Time + Tour Dates

    By
    Editorial Team
    -
    Cat Clyde - Another Time
    Cat Clyde - Another Time

    “Where is my love?” Cat Clyde howls, opening her new album ‘Mud Blood Bone’ with abandon. Can’t find my love? It’s not the somber lament of a longing woman, but a feral eruption, the roar of an animal on the edge. Her voice crumples with dismay, a swampy croon over romping keys. I got a hole in my chest / I can’t take the emptiness / Where is my love? It’s the essential question of ‘Mud Blood Bone,’ a void eleven frenetic songs sizzle to fill.

    The Canadian songwriter’s fourth full-length and first release with Concord Records finds her at a point of personal evolution. “I wrote these songs at the end of a big cycle,” she shares. “Love was not present in my life and I didn’t know where to find it or how to get it back.” Essential to the search, Clyde discovered, was relinquishing old notions. “In the past, I felt like love chained me, controlled me, put me in a cage.”

    Clyde looked to her Métis indigenous roots and invoked a deep reverence for nature to redefine it, which she expresses through her intentional rendition of Marty Robbins’ hit, “My Love.” My love is the valley / The breeze is its sigh / My love is the mountains / That reaches to the sky. The lyrics resonated with her search for something truer, and far more glorious, than the experiences of her past. The wail of the coyote / The flight of the dove / It’s all creation / And that’s what I love.

    Clyde found solace in the natural world’s cyclicality, the inescapability of time. “Life is constantly moving forward,” she says. “And though I was writing about my past, I was also writing to my future self.” She celebrates this on “Another Time.” I walked a ragged mile / Found myself at your door / But that old road keeps calling me / To walk a thousand more. Clyde relishes the duality of every moment—the presence of joy, made urgent by certainty that it will end, or the weight of grief, softened by knowledge that it will pass. “Everything becomes a ripple in time,” she says. “Real love is a beam that echoes through all times, all spaces, and all realms.”

    Throughout eleven tracks, Clyde’s personal experiences radiate relatable. On “Man’s World,” she tackles the agonizing limitations of patriarchal society over feverish, bluesy guitars. Her raucous and revelatory anthem confronts the inherent dangers—both physical and emotional—of occupying a female body. By “Night Eyes,” she arrives at a satisfying self-liberation, and with due drama. What begins as a soulful ballad builds until it bursts, irresistibly cinematic as she proclaims at the top of her range: Build a fire in the caves of me / But know I’ll never be / A slave again for love.

    “Press Down,” co-written with Courtney Marie Andrews, solidifies that sentiment; it’s an epiphany and an emotional unshackling in one. “I hadn’t done too many writing sessions previously, and really enjoyed my time with Courtney,” says Clyde. “I brought the song in, unfinished and in pieces, and we sat on the floor in her lovely home with tea. It was beautiful to dig into it with her, and to discover the song contained answers to questions I had been avoiding, truths I didn’t want to look at.” Clyde grapples with the weight of an oppressive love through the track, eventually finding the strength to rise above it: If someday you find me / And time has untied me / I’ll be moving like a mountain / Only the sky can press down.

    Produced with Drew Vandenberg (Toro Y Moi, Faye Webster, S.G. Goodman) and recorded at Chase Park Transduction in Athens, Georgia, Clyde’s new collection exists in a sonic overlap; the rockabilly grit of contemporaries like Sierra Ferrell, The Deslondes, or Nick Shoulders, meets the vulnerable, folk rock volatility of Big Thief or Angel Olsen. “Drew was the perfect person to help me assemble the players and bring this collection to life,” says Clyde. “Everyone brought their own unique gift to the studio. I create from a place of instinct, and once we all locked in, it felt easy, and we were able to capture the songs live.” Liam Duncan of Boy Golden was another integral collaborator. “He was there from day one demos to the album’s finalization,” Clyde explains, “as a great friend, musician, and anchor to the original sentiment of each song.”

    Clyde’s foundational relationship with music began through a vent in the floor. “I’d lift the rug up to hear my grandfather playing his fiddle along to cassette tapes in the basement.” This was in North Ontario at summertime family gatherings, the best of which would culminate in impromptu family jam sessions. “I can’t really remember a time when I wasn’t singing.” After a fleeting, childhood stint with the piano, Clyde took on the guitar around age thirteen. “When I discovered Blues music—well—that changed my life.” The riffs of Lead Belly and Robert Johnson were too complicated for her small, preteen hands to master, but they inspired Clyde to write her own songs. She busked through adolescence, joined a punk band called Shit Bats in college, and recorded her first album in a friend’s basement before she graduated. Four full-lengths later, Clyde’s voice vibrates with that ferocious confidence of one who’s been doing this her whole life.

    ‘Mud Blood Bone’ exudes a nomadic independence. Clyde penned some of the songs in her 1973 Boler trailer, parked temporarily on a farm in Ontario, others on a narrow boat in England, and the rest in transit from one festival to another, letting lyrics stream freely from a jetlagged dream state. “Constantly being on the move, having to navigate new environments, it forces me to be present, and to confront my own feelings,” Clyde says. “You can’t hide behind comforts. You have to know exactly who you are, and what you want.”

    The result is uninhibited, raw, pure; it’s the sound of personal truth discovered in real time. Clyde is cracked wide open and what spills out—equal parts despair, invocation, discovery, and celebration—is the love she went looking for. “When I listen to this album, I know that my power belongs to me. Love lives inside of me. I can always find it.”

    Featured image by Julio Assis.

    SOURCE: Official Bio

    LINKS:
    https://catclydemusic.com/
    https://www.instagram.com/catclyde
    https://www.youtube.com/@CatClydeMusic
    https://www.facebook.com/catclyde
    https://open.spotify.com/artist/7oRT0oC3vhUGQJCL6CYYzk
    https://www.tiktok.com/@catclydemusic
    https://catclydeband.bandcamp.com/

    Heart and Mouth – Heart in Mouth

    By
    Ryan Martin
    -

    Heart and Mouth (Flynn Mulcahy) has today released his new video and single titled ‘Heart In Mouth Mouth’. This track arrives without ceremony, unfolding quietly as if it were never meant to be spotlighted, only felt. Its opening textures drift in with a sense of emotional restraint, favoring atmosphere over immediacy, and that patience defines the experience that follows. Nothing here feels rushed or ornamental; each sound is placed with deliberation, allowing space to function as an active element rather than a void. The result is immersive without being overwhelming — a slow pull inward that rewards close listening.

    At its core, the production thrives on subtle tension. Soft, pulsing undercurrents provide a steady emotional gravity while lighter melodic fragments hover above, never quite resolving, never demanding closure. This careful balance between movement and stillness gives the track its quiet power. There’s an intimacy in how the layers interact, as if the music is less concerned with performance and more interested in presence. It avoids the obvious peaks and drops of modern electronic composition, choosing instead to let mood do the heavy lifting.

    What ultimately elevates the track is its understanding of purpose. This isn’t music designed to compete for attention — it’s music designed to accompany experience. It slips seamlessly into moments of reflection, existing somewhere between background and centerpiece, and that ambiguity is its strength. In a landscape crowded with maximalist production and instant hooks, this piece stands apart by trusting the listener to meet it halfway. It’s a reminder that emotional resonance doesn’t always come from volume or complexity — sometimes it emerges from restraint, intention, and the courage to let silence speak.

    About Heart and Mouth

    Rooted in the earthbound musings of folk, but clawing against a cold-blooded urban industry, Heart and Mouth is the emergent project of London-via-Devon artist Flynn Mulcahy (pronounced ‘Mul-Cah-hee)’, flush with intimate textures and brittle sounds that seem ripped, fractured, reshaped or regrown.

    Recorded during an impromptu week-long session at Devon’s Middlefarm studios with Tummyache’s Soren Bryce, debut single ‘Heart in Mouth’ – out today (27th January), is the music that’s made after the music’s been made. The result of various studio outtakes and offcuts being tossed together and stewed into one dynamic sprawl, the track rolls across an experimental-rock hinterland pitched somewhere fleetingly between TAGABOW and Tom Waits. Strange, punchy, and brief, it’s also the track that gave the project its name.

    Already winning early radio plays from BBC Radio 6Music’s Riley & Coe and BBC Introducing, Flynn says more about the single: “When we were at Middlefarm studios, we recorded a bunch of songs that didn’t make the cut, tracked drums, and bass takes that didn’t feel right, so we scrapped them. One day chilling with Soren in her flat, we went back through these offcuts, found a sample from the US Library of Congress, and upcycled them into ‘Heart In Mouth’”

    Featured image by Adeeb Haidari.

    LINKS:
    https://ditto.fm/heart-in-mouth
    https://www.instagram.com/heartandmouthishere/

    Lou Gramm – Young Love

    By
    Ryan Martin
    -
    Lou Gramm has today released his new single titled 'Young Love, from his upcoming album 'Released', dropping March 26th via Stray Notes Music, Inc. and Rhino Entertainment Company.
    Lou Gramm has today released his new single titled 'Young Love, from his upcoming album 'Released', dropping March 26th via Stray Notes Music, Inc. and Rhino Entertainment Company.

    Lou Gramm has today released his new single titled ‘Young Love, from his upcoming album ‘Released’, dropping March 26th via Stray Notes Music, Inc. and Rhino Entertainment Company.

    ‘Young Love’ unfolds with the patience of a song that trusts its own bones. There’s no rush to the chorus, no need for spectacle — just a steady build shaped by melody and intent. The arrangement breathes, allowing space between the notes to matter as much as the notes themselves. It’s the kind of track that doesn’t demand attention so much as it earns it, revealing its strengths through restraint rather than excess.

    Lou Gramm’s voice remains the defining presence, not because it reaches for past highs, but because it understands how to inhabit a song. There’s a seasoned clarity in his delivery, a knowing weight that gives the lyrics dimension. He sings not from longing alone, but from perspective — that rare place where memory and acceptance coexist. It’s a reminder that time doesn’t dull a great voice; it reshapes it.

    The song’s emotional pull lies in its honesty. ‘Young Love’ doesn’t dress itself in rose-colored hindsight, nor does it undercut its sentiment with irony. Instead, it reflects on connection with a grounded sincerity, acknowledging both its intensity and its impermanence. The production supports this balance, staying clean and warm without crowding the song’s emotional center.

    In the end, ‘Young Love’ feels like a conversation rather than a declaration. It sits comfortably within Lou Gramm’s broader musical story while standing on its own as a thoughtful, well-crafted piece of melodic rock. For listeners willing to slow down and listen between the lines, it offers something increasingly rare — a song that values meaning over momentum, and heart over volume.

    About ‘Released’

    A blistering rock anthem with a classic AOR sound, “Young Love” showcases Gramm’s signature powerhouse vocals alongside soaring guitar riffs, capturing the raw energy and heartfelt passion of budding love. Set to arrive on March 27, 2026, Released features ten original tracks co-written by Lou and his former Black Sheep bandmate Bruce Turgon. The album channels the timeless sound that has defined Lou’s career, while also delivering a powerful sense of rediscovery and completion. A promotional tour will kick off this summer, with full headline dates to be announced in the coming weeks.

    Lou says, “My new album Released is a collection of unreleased songs that were recorded in the 1980s during the production of my 3 previous solo albums. These are powerful, heartfelt songs with a great vintage sound taken right from my old multitrack tapes. This new album was a long time coming and it’s a real nostalgia trip. When I pulled these songs out of the vault, I knew I had to finish them for my fans around the world, so they can experience what I did when I first heard them after all these years. It means a lot to me to finally see this album released, to be taken back in time when I hear this music again, to remember working with all these great musicians, and to feel that my catalog is now complete.”

    Produced by Lou Gramm himself, Released features appearances from an outstanding cast of musicians, including Tony Franklin on bass for “Long Gone” and Vivian Campbell (Def Leppard) on guitar for the opening track “Young Love”, alongside long-time collaborators such as Lou’s brother Ben Gramm on drums. The result is a collection that feels both timeless and deeply personal, rooted in the era that made Lou one of rock’s most recognizable voices. The physical album, available in both CD and limited-edition Ruby Red vinyl formats, is now available for pre-order HERE.

    Born and raised in Rochester, New York, Lou Gramm emerged from a highly musical family before forming Black Sheep, whose two albums for Capitol Records have since become cult favorites. A pivotal meeting with Mick Jones in 1975 led to the formation of Foreigner the following year, launching a career that produced a run of multi-platinum albums and hit singles. Foreigner famously became the first band since The Beatles to see their first eight singles reach the US Top 20.

    Alongside his work with Foreigner, Lou enjoyed major solo success with Ready Or Not (1987), featuring the hit “Midnight Blue”, followed by Long Hard Look (1989), which included “Just Between You And Me”. Now, with Released, Lou delivers his third solo studio album, completing a vital chapter in his solo catalogue while standing proudly alongside both his earlier solo work and his defining recordings with Foreigner.

    The album also includes “True Blue Love (Unplugged)”, originally appearing on Long Hard Look, and follows recent high-profile collaborations with Foreigner connected to the band’s induction into the Rock and Roll Hall of Fame in 2024. Lou Gramm will be touring throughout 2026 in support of Released, including solo dates and special appearances with Foreigner. Full tour dates will be announced soon.

    ‘Released’ Tracklist

    'Released' cover.
    ‘Released’ cover.
    1. Young Love
    2. Lightning Strikes
    3. Walk The Walk
    4. Long Gone
    5. Heart And Soul
    6. Long Hard Look
    7. True Blue Love (Unplugged)
    8. Deeper Side of Love
    9. Time Heals The Pain
    10. Word Gets Around

    Featured image by Krishta Abruzzini.

    LINKS:
    https://www.lougrammofficial.com/
    https://www.facebook.com/profile.php?id=100093147949091
    https://twitter.com/GrammLou

    Ben Reilly – Super Buick

    By
    Editorial Team
    -

    Inspired by Ben’s adolescent memories in the city and an early introduction to Young Dolph via a close friend who sold drugs out of his Buick, “Super Buick” is a cinematic cut that feels like a modern, coming-of-age story. “Super Buick” opens with a narrated vignette about three young boys yearning for a baby blue Buick, an image that sets the emotional foundation for a record rooted in forward momentum, urgency, and ambition as they find their way to a city called Heroville. Despite its upbeat bounce, the intro leans reflective, nodding to Rick Ross’ “Aston Martin Music” to set the mood before the track takes off.

    As the track unfolds, that dream hardens into reality. Ben’s rhymes move with the tension of a coming-of-age moment of the three boys taking the car to go steal snacks from the store and hopping in a Buick, where ambition, hunger, and circumstance collide. Ben turns the Super Buick into a representation of motion, escape, and shared aspiration, capturing the moment when youthful wants turn into adult stakes.

    The “Super Buick” video arrives shortly after Ben Reilly kicked off the Walk…Before You Fly! Mini-Tour with a high-energy performance in Brooklyn last Friday (January 16). Next up, he brings to Chicago on February 12, with additional stops in Washington, DC, Boston, Rhode Island, and Los Angeles to follow. Between the new visuals and live performances, Ben continues to solidify his evolution from rising lyricist to full-fledged live force.

    Adding more flair to the video release, Ben also introduces the Jump! Before You Fly! Mini-Game – try to reach 1500 points for a special message from Heroman himself.

    Looking forward to hearing your thoughts! Please let me know if you’d be able to include “Super Buick” in your new music coverage. Ben Reilly is available for interviews also.

    Featured image by BANVOA.

    SOURCE: Official Bio

    LINKS:
    https://savebenreilly.com/
    https://www.instagram.com/savebenreilly/
    https://www.tiktok.com/@savebenreilly

    Micah and the Mirrors – Hungry Hungry Heart

    By
    Ryan Martin
    -
    Micah and the Mirrors
    Micah and the Mirrors

    Micah and the Mirrors have released their new single titled ‘Hungry Hungry Heart’, from the upcoming album album dropping May 1st via Spaghetty Town Records. There’s an immediacy to this track that doesn’t announce itself loudly, but instead pulls you in with a quiet confidence. It opens like a conversation already in progress, the kind where tone matters as much as words. The instrumentation feels deliberately restrained, letting the song breathe rather than overwhelm, while subtle melodic choices create a sense of forward motion that never feels forced. What stands out early is the balance between control and looseness — a song that knows exactly where it’s going but isn’t in a hurry to get there.

    As it unfolds, the emotional weight becomes clearer. This is a track built on introspection rather than spectacle, favoring honesty over ornamentation. The vocal delivery carries a lived-in quality, as if each line has been tested internally before being released into the room. There’s an undercurrent of longing here, but it’s presented without melodrama — more reflective than desperate, more observant than accusatory. The lyrics function less as declarations and more as realizations, giving the song a sense of quiet gravity that rewards attentive listening.

    By the time it ends, the track leaves behind a residue rather than a climax — and that’s very much its strength. It doesn’t aim to dominate your attention so much as occupy your thoughts afterward, lingering in the spaces between listens. In a landscape crowded with songs engineered for instant reaction, this one feels content to exist on its own terms, trusting the listener to meet it halfway. It’s the kind of track that grows more resonant with repetition, revealing depth through familiarity rather than flash, and that patience is what ultimately gives it its staying power.

    About ‘Hungry Hungry Heart’

    The second single release ‘Hungry Hungry Heart’ by Micah and the Mirrors is here, from the highly anticipated solo project from Micah Morris (formerly of Fast Eddy). It is slated to be a standalone powerhouse single. Harkening back to echoes of earlier songs he’s written, he takes it back to his deeper punk and rock n’ roll roots.

    Taking notes off of some 2000s neo-garage inspired The Hives like energy and tone, along with a bit of the punkier side of QOTSA, the song is an energetic blast from the past. That said it still summons a fresh and modern take on an older sound.

    Starting off 2026 with the second single off of the upcoming full length record (releasing May 1st, 2026), Micah and the Mirrors ‘Hungry Hungry Heart’ is a surefire way to satiate your cravings for a strong, blasting, and truly rock n’ roll experience. It may just be a snack, but it will hold you off for awhile longer till you can indulge yourself in the rest of the meal.

    About Micah and the Mirrors

    Born with Texas rhythm and raised on Rocky Mountain grit, Micah Morris has been kicking around the American rock n’ roll circuit long enough to earn every scar. You might know him from Fast Eddy or his earlier Six Shooter days, the kind of bands that smelled like gasoline and heartbreak. Now he’s steering into new territory with Micah and the Mirrors.

    Morris comes from serious stock. His old man played with Austin staples like Christopher Cross and Double Trouble, his mom worked with Carole King, and somewhere up the family tree swings a Monkee named Michael Nesmith. That kind of lineage doesn’t hand you talent, but it sure lights the fuse.

    From busking Denver sidewalks to cranking amps in sweaty dive bars, Morris built his sound on the long road: half punk, half rock ’n’ roll salvation. Fast Eddy gave him a taste of global airplay when Little Steven’s Underground Garage crowned their track “Take a Look” the Coolest Song in the World. But you can tell he’s never been one to sit still, too many ideas, too many riffs buzzing in his head.

    So he packed up, hit Atlanta, and cut his first solo batch with Randy Michael (The Booze, Solid State Radio) behind the board and Dan Dixon twisting the knobs. Tortilla Soup is the appetizer, hot, loud, and dripping attitude, the kind of track that makes you check if your speakers are melting. The debut single is the first taste of his upcoming solo album, to be released on Spaghetty Town Records, the same underground label that’s been feeding garage rock junkies and punk purists for over a decade.

    Micah and the Mirrors isn’t nostalgia, it’s a continuation. The sound of a lifer still chasing that perfect, reckless moment when the needle drops and the night feels endless.

    Featured image by Jarrett Barnes.

    LINKS:
    https://www.instagram.com/micahandthemirrors
    https://www.facebook.com/micah.morris.39
    https://www.youtube.com/@micahandthemirrors
    https://music.apple.com/us/artist/micah-and-the-mirrors/1844102617
    https://open.spotify.com/artist/3e5NhwHnKLXmxDyBZZ8CgS

    Kid Sophie – Love Again

    By
    Ryan Martin
    -
    Kid Sophie
    Kid Sophie

    Kid Sophie has released her new single titled ‘Love Again’. There’s a quiet confidence to this track that doesn’t announce itself with volume or urgency. Instead, it unfolds patiently, like a conversation that only works if you lean in. From the opening moments, the song establishes a mood that feels suspended — not sad, not hopeful, but hovering somewhere between the two, where reflection tends to live longest.

    The production favors atmosphere over spectacle. Textures drift rather than collide, giving the track a sense of motion without ever pushing it into excess. The beat isn’t there to dominate; it pulses gently, almost like a guide rail, keeping the song upright while the emotional weight does the real work. It’s the kind of restraint that suggests intention — nothing feels accidental, but nothing begs for attention either.

    Vocally, the performance is understated in a way that feels deliberate. There’s a closeness to the delivery, as if the words are being tested in real time rather than performed for an audience. That subtle hesitance becomes one of the track’s strengths, reinforcing the theme of emotional recalibration — the idea of reopening something you’re not entirely sure is safe to revisit.

    Lyrically, the song avoids dramatic turns or neatly packaged resolutions. Instead, it lingers in uncertainty, acknowledging that growth doesn’t always arrive with clarity. The writing leans more toward emotional truth than cleverness, and that honesty keeps the track grounded even as the instrumentation remains airy and fluid.

    What makes the song resonate is its refusal to rush. It trusts the listener to sit with it, to absorb the spaces between phrases, the moments where nothing happens except feeling. In an era where immediacy often trumps depth, this track chooses patience — and that choice pays off.

    By the time it fades out, the impression it leaves isn’t one of closure, but of continuation. It feels less like an ending and more like a checkpoint — a moment of recognition before whatever comes next. That lingering quality is what gives the song its staying power, inviting repeat listens not for answers, but for understanding.

    About Kid Sophie & ‘Love Again’

    After several years as bassist and co-composer with Hyphen Hyphen, and acclaimed work as artistic director and arranger with Santa, Line is launching her solo career under the name Kid Sophie.

    Her alternative pop and electronic project is part of a contemporary new wave aesthetic that is both ethereal and introspective. She uses memory, childhood and inner flaws as a means of emancipation through sensitive and haunting music. She is currently preparing the release of her first EP.

    With Love Again, Kid Sophie explores that fragile moment when we hesitate to look ahead after being hurt. Carried by ethereal electronic alt-pop, the track captures a state of suspension, between the desire to feel again and the fear of confronting it.

    LINK:
    https://www.instagram.com/kid_sophie_
    https://lnk.to/kidsophieloveagain

    The Empty Page – Death On Our Side

    By
    Editorial Team
    -
    The Empty Page
    The Empty Page

    Manchester band The Empty Page (Kel – vox/bass, Giz – guitar, Steve – drums) has never shied away from difficult subjects. Writing on themes as diverse as climate-destroying billionaires, panic attacks, bed rot, nightclub nostalgia, victim blaming, and house cats.

    Following When We Gonna Run?, released in November 2025, just 18 months after the band’s second album, Imploding, the new single continues to seamlessly meld punk and shoegaze. It’s gritty and Mancunian, and at the same time a fragile commentary on the realities of life in modern Britain.

    In fields where strange static crackles / you and I climb the pylons

    Small lives are plundered / and underfunded

    But we got death on our side

    This is the second in a series of single releases recorded at Nave Studios, a former church in deepest Leeds, with producer Matt Peel (Eagulls/Dream Wife/Bodega). “We’ve long been fans of Matt’s work, so it was great to work together finally. The studio is so cool, and Matt’s references from Radiohead to Smashing Pumpkins align perfectly with the songs we’ve been writing”, says Kel.

    The artwork is the second in a series featuring older fans of the band in their teenage years. Inspired by the DIY punk 7-inches of a pre-Internet world. The images feel both nostalgic and current.

    About The Empty Page

    The Empty Page don’t write love songs. Instead, you’ll find subjects like bed rot, victim blaming, and the end of the fucking world set to catchy melodies, layered over bleak, shimmering guitar lines and fuzzy riffs. These are anxious, energetic songs for our times.

    The band’s (vocalist/bassist Kel, guitarist Giz and drummer Steve) debut LP Unfolding, recorded with Gggarth Richardson (RATM/Biffy Clyro/Melvins) in Vancouver, Canada, was followed by a trio of 7-inches on Punk Fox records, including the critically acclaimed When The Cloud Explodes. Their second album, Imploding, was produced by Morton Kong at Eve, Stockport.

    The band has toured up and down the UK and beyond. Recent support slots include The Lovely Eggs, Desperate Journalist, and Republica. Festival appearances: Kendal Calling (via BBC Intro) and Rebellion. Their Manchester hometown headline shows always sell out.

    SOURCE: Official Bio

    LINKS:
    https://www.theemptypageband.com
    https://bit.ly/thmptypg
    https://www.instagram.com/thmptypg
    https://www.tiktok.com/@thmptypg
    https://www.threads.com/@thmptypg
    https://www.facebook.com/thmptypg
    https://www.youtube.com/@thmptypg
    https://theemptypage.bandcamp.com

    Brother Venus – Stories

    By
    Editorial Team
    -

    Brother Venus tap directly into the fragile space between people on ‘Stories’, a grunge-leaning alt-rock cut that wrestles with intimacy, time, and the impossibility of ever fully knowing another human being. It’s a song about the things we almost say, the histories we carry quietly, and the conversations that feel urgent precisely because they can never be finished.

    Lyrically, ‘Stories’ unfolds like a late-night confession. The narrator reaches for every hidden fragment, who you were, who you tried not to be, and who you hope others see when all the noise falls away. There’s longing here, but also acceptance: even with perfect honesty, there’s never enough time to truly tell it all. That tension gives the song its emotional gravity, echoing the ache of connections that feel both deeply close and painfully incomplete.

    Musically, Brother Venus translate conversation into sound. The track comes alive through shifting modes, call-and-response phrasing, and dynamic push-and-pull, mirroring the rhythm of two people trying to understand one another. The main riff crashes in with classic rock authority before pulling back to let the vocals breathe, while evolving counter-rhythms and key modulations keep the listener moving forward, just like a dialogue that refuses to stay still.

    As the song progresses, textures thicken, harmonies expand, and urgency builds. A winding guitar solo introduces new emotional colors before the final stretch accelerates, underscoring the pressure of time slipping away. The closing moments dissolve into tremolo-picked tension and a slow fade, leaving the conversation unresolved, not ended, just paused.

    Rooted in grunge and alternative rock but unafraid of musical ambition, ‘Stories’ showcases Brother Venus at their most thoughtful and expressive. It’s a track that doesn’t just ask you to listen, it asks you to reflect on the ‘Stories’ you’ve shared, and the ones you’re still holding back.

    About Brother Venus

    Brother Venus is an alternative hard rock band hailing from Belgrade, Montana. Formed in 2019 by vocalist Cody Lindblom and guitarist/backing vocalist Kurt Binder, the lineup was later completed with Nick Newville on bass and Clayton Damjanovich on drums.

    Their debut album, Woodgrain Ocean, dropped on December 8, 2023, showcasing 11 powerful tracks that set the tone for the band’s genre-blending approach. While rooted in alternative hard rock, Brother Venus weaves in elements of funk, metal, Latin rhythms, and classic rock to create a sound that’s both fresh and familiar.

    Citing influences like I Mother Earth, King’s X, Big Wreck, Stone Temple Pilots, Soundgarden, Alice in Chains, and Thin Lizzy, Brother Venus delivers massive riffs, soaring melodies, and dynamic grooves that appeal to a wide spectrum of rock fans. With new singles already rolling out in anticipation of their next full-length release, the band shows no signs of slowing down.

    SOURCE: Official Bio

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

    Pet Needs – Hey You Hey You (Are You Are You OK OK?)

    By
    Editorial Team
    -

    London-based independent rock label Xtra Mile Recordings and rising Colchester punks Pet Needs have announced details of the Friday, March 27 release of the band’s forthcoming studio album, Elbows Out! This Is Capitalism. Its boldest and most creative album yet, the story of Elbows Out! This Is Capitalism unfolds with a mix of frenetic punk rock defiance, reflective melodic introspection, and beat-heavy party anthems alongside guest appearances by CJ Ramone, legendary auctioneer Eric Olson and friends The Whops and Jess Guise, whose interludes help the story develop.

    “There has to be a reason why people continue to pursue creative careers when on paper the industry is built to break them,” vocalist Johnny Marriott said. “The power of the present — the writing, the shows, and the human connection — supersedes it all. Being a musician right now is an act of defiance.” Marriott adds, “Even with artificial intelligence and late capitalism doing everything they can to force our hands, we won’t stop. We wanted to make an album that people would love to listen to all the way through, so we decided to tell a story. Each member brought their own flair to this record. It feels vital. We’re really proud of it.”

    Elbows Out! This Is Capitalism marks a decade in the life of Pet Needs. The first five years were more a part-time affair, with a handful of single releases and gigs in the back rooms of pubs and clubs as well as house shows and anywhere else that they could play. They signed to Xtra Mile Recordings to release their debut album, Fractured Party Music, in 2021 and were catapulted into a dizzying touring schedule that took them across the UK, Europe and U.S. And their feet haven’t touched the ground since.

    Never staying still for long, the band is driven by their enduring pursuit of being creative, the pull of playing music and connecting with fans. But touring is also a financial necessity. Being a punk band building things up from the bottom is hard graft in an industry dominated by streaming, social media saturation and big marketing budgets. It is fitting then that their new album tackles some of these themes head-on — a satirical look at the pitfalls of trying to make it as a DIY punk band. The album charts the exploits of the band buying a second-hand punk rock career at auction and trying (and failing) to make it work.

    The band’s second album, Primetime Entertainment, was released in 2022 along with Intermittent Fast Living in 2024, its third LP that entered the UK Official Album Chart at Number 17. Pet Needs have garnered plays from Steve Lamacq on 6Music, John Kennedy on Radio X, Kerrang! Radio, BBC Introducing Essex and Total Rock, as well as performing live on The Chris McCausland Show on ITV.

    Having attracted attention with their relentless live shows, Pet Needs have toured extensively supporting Frank Turner, The Lottery Winners, The Bouncing Souls, Flogging Molly, Skinny Lister, The Hives, Art Brut, NOFX, The Levellers, Spike & The Gimmie and Gimmies and Laura Jane Grace. Their own headline tours in the UK have previously sold out including their annual Fractured Party Festival which took place in May 2025 at The Garage in London and The Old Church in Stoke Newington. They’ve played the Main Stage at Beautiful Days and Bearded Theory Festivals and won over fans at 2000Trees, Dot To Dot, The Salty Dog Cruise and many more.

    ‘Elbows Out! This Is Capitalism’ Tracklisting

    'Elbows Out! This Is Capitalism' cover.
    ‘Elbows Out! This Is Capitalism’ cover.
    1. The Auctioneer
    2. Tour Worn
    3. Hey You Hey You (Are You Are You OK OK?)
    4. Ducklings
    5. Some Advice
    6. The Wardrobe Song
    7. Party With A Hard T
    8. Pixels
    9. Listening
    10. Top Score
    11. The Ship Is Still Sinking
    12. Paintballs
    13. Keep Eyes On
    14. Vertical
    15. A Great Deal
    16. Can We Get This Straight

    SOURCE: Official Bio

    LINKS:
    https://www.petneedsband.com/
    https://www.facebook.com/wearepetneeds
    https://www.instagram.com/wearepetneeds
    https://www.threads.net/@wearepetneeds
    https://bsky.app/profile/wearepetneeds.bsky.social
    https://www.youtube.com/c/PETNEEDS
    https://open.spotify.com/artist/5bBMfsANUM0cj5h5MjEdxP

    An Exclusive Interview with Enduser + New Album, ‘Unquiet’

    By
    Ryan Martin
    -

    Enduser has today released his new album, his first in a decade, titled ‘Unquiet’, via Decay Recordings. There’s a particular kind of silence that only exists after movement — not calm, not peace, but the residue of motion still vibrating in the air. ‘Unquiet’ lives in that space. Enduser doesn’t arrive here with spectacle or nostalgia; instead, the album unfolds like a conversation that’s been waiting years to finish its sentence.

    This is not a record that demands attention. It earns it.

    What becomes clear almost immediately is that ‘Unquiet’ is less about genre allegiance and more about emotional architecture. Drum & bass is present, yes — fractured, muscular, deliberate — but it’s treated as a framework rather than a destination. The rhythms feel lived-in, worn down to their essentials, as if every hit has been tested for necessity before being allowed to stay. There’s intention in the restraint, a confidence that doesn’t need to fill every second with sound to remain compelling.

    Enduser has always balanced precision with abrasion, but here that balance feels mature, almost reflective. Tracks breathe. They stretch out and let space do part of the talking. Melodies don’t soar so much as hover — suspended just above the beats, fragile without being weak. When distortion enters, it doesn’t overwhelm; it presses inward, creating tension rather than release. The effect is quietly unsettling in the best way.

    There’s also a strong sense of place throughout the album. You can hear cold light in these tracks — long shadows, muted colors, the kind of environment where introspection isn’t optional. The production feels insulated, as if recorded behind thick glass, with low frequencies rolling like distant weather. Nothing here feels accidental. Even the rough edges are deliberate, placed to remind you that control and chaos are not opposites, but collaborators.

    What’s striking is how ‘Unquiet’ resists the easy emotional payoff. These songs don’t rush toward climax. They circle, revisit, hesitate. They trust the listener to sit with unresolved feelings rather than offering tidy conclusions. In doing so, the album feels honest — not performative sadness, not manufactured intensity, but something closer to lived experience translated into sound.

    The latter half of the record, including its reinterpretations by other artists, doesn’t dilute the vision. Instead, it refracts it. The remixes feel like alternate internal monologues — same source material, different emotional lenses. They extend the album’s world rather than stepping outside of it, reinforcing the sense that ‘Unquiet’ is less a collection of tracks and more a single, evolving state of mind.

    By the time the album reaches its closing moments, there’s no dramatic exhale. No grand finale. Just a sense of having passed through something — subtle but transformative. ‘Unquiet’ doesn’t shout its importance. It lingers. It follows you out of the room and stays just close enough to be felt long after the sound stops.

    This is an album for listeners who value patience, texture, and emotional ambiguity. It doesn’t try to redefine electronic music, but it deepens it — reminding us that intensity doesn’t always come from speed or volume, and that some of the most powerful movements are the ones that never fully resolve.

    In a world that rarely allows stillness, ‘Unquiet’ makes a compelling case for listening closely to what remains when the noise recedes.

    In this interview, we talk with Lynn Standafer, aka Enduser, about ‘Unquiet’ as well as his return to form, his move to Sweden, and the state of the music industry, among other things. Truly a conversation in the guise of an interview.

    About Enduser

    For over two decades, Enduser has been a driving force in the evolution of breakcore and experimental drum & bass – known for fusing punishing rhythms with haunting melodic depth. Collaborator of everybody from Bill Laswell to Justin K. Broadrick, Enduser worked his way earning a reputation for emotional intensity and technical precision, bridging underground electronic subcultures across the globe.

    After relocating to Stockholm, Enduser has immersed himself in the stark atmospheres and shifting moods of northern Europe – influences that pulse through every moment of Unquiet. An album driven by the tension between isolation, sound, and emotional extremity. From this new home base, he continues to explore the balance between chaos and control, merging visceral sound design with a deep emotional core.

    “The tracks are all quite different but they all tell a little story about my life here in Sweden. The moods between summer and winter here are so drastically different, it really affects you as a person – not just due to the cold weather but the extreme darkness (and of course the endless sun in the summer). I think most of these tracks have a bit of both in them, some light and some dark”, recounts Enduser. The result is an album that’s as fierce as it is reflective – a striking continuation of his uncompromising sonic vision.

    2026 marks ten years since the release of Enter to Exit (Hands Productions), Enduser’s last full-length LP. In the time since, he has remained prolific through singles, EPs, remixes, and collaborations, constantly reshaping his approach to rhythm and texture. Unquiet gathers the threads of that evolution into a single, cohesive statement – an album that feels both like a homecoming and a transformation.

    Written and arranged over the course of two years, Unquiet captures its emotional range through sonic contrasts – between minimalism and density, clarity and distortion, control and collapse. That duality runs throughout the record – moments of delicate stillness colliding with waves of intricate percussion, distortion, and bass weight.

    Musically, Unquiet bears all the hallmarks of Enduser’s craft: precision breakbeat edits, distorted low-end pressure, and melodies that shift between playfulness and melancholy. Yet there’s newfound space and patience here – slower tempos, layered arrangements, and extended structures that let each idea breathe. Every track feels personal and deliberate, unbound by expectation but deeply connected by tone and intent. Enduser dwells on the process of creating the record: “I really took a lot of time with these tracks–- both from a creative / composition side as well as technically with the mixing. I had time to learn new tools and techniques, so the overall sound feels consistent throughout and everything blends together well. Each track started as a sketch, and once I had four or five, I began finishing them one by one. After a couple were nailed down, I started more sketches, and it all started to flow together. Once the momentum hit, the record really began to take shape”.

    The album also features three remixes from Homemade Weapons, Nowan, and Scrwz – each artist offering a distinct reinterpretation of the record’s core material. Their contributions add depth and dimension to Unquiet, reframing its sound palette and exploring new perspectives on the themes introduced earlier in the album.

    Featured image by Decay Recordings.

    LINKS:
    https://linktr.ee/lynnenduser
    https://end-user.bandcamp.com/

    An Exclusive Interview with Vamberator

    By
    Ryan Martin
    -

    Jammerzine has an exclusive interview with Vamberator. Vamberator doesn’t so much arrive as it detonates—quietly at first, then all at once. There’s a sense that this band operates just outside the expected arc of modern rock, threading together tension, release, and a certain mechanized unease that feels both deliberate and slightly unhinged. Their sound hums with intent, like circuitry warming up, blending grit and melody in a way that resists easy categorization. You don’t stumble into Vamberator by accident; you’re pulled in by curiosity and stay because something underneath the noise feels uncomfortably honest.

    What sets Vamberator apart is their relationship with atmosphere. They understand that space can be as powerful as distortion, and they use both with restraint and confidence. Riffs don’t just punch—they linger. Rhythms don’t simply drive—they stalk. There’s an industrial pulse beneath the surface, but it never overwhelms the human element. Instead, it frames it, giving the songs a sense of motion, like forward momentum powered by friction rather than fuel.

    Lyrically and emotionally, Vamberator leans into themes of endurance, decay, and persistence without ever spelling things out in blunt terms. There’s a cinematic quality to their writing, the kind that invites listeners to project their own narratives into the cracks. It’s music that feels lived-in, shaped by repetition and resistance, as if each track has been stress-tested before being released into the wild. That confidence—earned rather than assumed—comes through clearly.

    In a landscape crowded with bands chasing immediacy, Vamberator plays the longer game. Their work rewards attention and repeat listens, revealing layers that don’t announce themselves upfront. This is not background music or disposable noise; it’s a slow burn, built to resonate rather than trend. Vamberator may not shout for your attention, but once they have it, they don’t let go—and that quiet certainty is what makes them compelling.

    In the Zoom interview above, we talk with Jem and Rolo about all things Vamberator and more.

    About Vamberator

    From the dying embers of Shelleyan Orphan (Caroline Crawley) Jem Tayle plucks out its heart and along with Boris Williams of the Cure pounding out rhythms they forge the beast that is Vamberator a magical funky hybrid, a frisky colt on a journey to find a meaning in this age of loneliness. This is Schrammel pop to its core!

    LINKS:
    https://www.facebook.com/Vamberator/
    https://www.instagram.com/vamberator/
    https://open.spotify.com/artist/1yyLLT3dhimOujzhRKxTPn
    https://vamberator.bandcamp.com/

    Christian Cohle – Levitate

    By
    Ryan Martin
    -
    Christian Cohle
    Christian Cohle

    Christian Cohle has today released his new single titled ‘Levitate’. There’s a quiet confidence in this track that doesn’t announce itself right away. Instead of rushing the listener, it opens a door and waits. The production feels intentionally suspended — as if the song exists in a moment between motion and stillness — and that tension becomes its greatest strength. Nothing here feels accidental; every sound appears placed with patience rather than urgency.

    What stands out most is how the track treats space. Rather than filling every corner, it allows air to move between elements, letting textures drift and collide naturally. The rhythm doesn’t dominate — it guides, gently but persistently — while the surrounding layers ebb and swell like thoughts that refuse to settle. It’s immersive without being overwhelming, atmospheric without losing its pulse.

    There’s also a sense of restraint that’s refreshing. Instead of chasing climaxes or obvious hooks, the song trusts the listener to stay engaged through mood and evolution. Subtle shifts in tone and density reward close listening, and the longer you sit with it, the more it reveals. This is music designed for headphones and late hours, when distraction is low and attention is sharp.

    Ultimately, the track feels less like a performance and more like an environment. It doesn’t demand interpretation, but it invites it. That’s where its real power lies — not in spectacle, but in its ability to quietly pull you out of the moment you’re in and suspend you somewhere just unfamiliar enough to feel meaningful.

    About Christian Cohle

    Irish artist Christian Cohle announces the release of his propulsive new single “Levitate,” set for release on 23rd January 2026. The track marks Cohle’s most unruly and audacious statement yet, erupting with groovy basslines, four-to-the-floor propulsion, and themes of seduction, moral conflict, and alienation.

    With his signature jet blue-black hair and new-romantic tailoring, Cohle continues his exciting new era, diving deeper into alternative and new-wave territories that channel the spirit of Talking Heads, LCD Soundsystem, David Bowie, and Roxy Music. Known for his cinematic and confessional songwriting, he has built a reputation as a rising voice in avant-pop and alternative music, earning praise from MOJO, Clash, and The Irish Times, as well as radio play on BBC 6 Music, France Inter, and Berlin’s Radio Eins.

    “In my head, Levitate is a Talking Heads/LCD Soundsystem song,” Cohle explains. “Groovy bassline, four-to-the-floor forward-moving. It’s unruly and bold. I had a lot of fun recording it. Sometimes when making music, I hit a vein, and something erupts. Levitate was one of those.”

    The track pulses with raw, untamed energy—street prophets, seduction, moral conflict, fragmented selves, alienation coursing through its veins. “I’m a dog running loose,” Cohle declares, and the imagery didn’t appear by accident. This is Cohle at his most visceral and unapologetically alive, embracing chaos with infectious groove and unflinching honesty.

    “Levitate” follows his striking October 2025 single “Oh It Must Be Nice,” which showcased Cohle singing in a lower, conversational tone—vulnerable and raw, aching with melancholy even as it danced with bass guitar and 80s-infused Roxy Music sounds. Where that track leaned into confessional intimacy, “Levitate” bursts outward—a bold, propulsive statement that refuses to be contained.

    Following his acclaimed album WETLANDS released in 2023—which garnered features in C Heads, Decoded, Kaltblut Magazine, MOJO, Noctis, and Notion—Cohle continues to sharpen his vision: fusing raw band energy with the cinematic touch that has always defined him, whilst pushing deeper into dance floor territory without sacrificing emotional truth.

    “Levitate” represents not just evolution, but eruption—Cohle at his most fearless, channeling street prophet energy through grooves that demand movement and lyrics that cut to the bone.

    LINKS:
    https://www.instagram.com/christiancohle
    https://linktr.ee/ChristianCohle

    123...444Page 1 of 444
    © 2014-2026 Jammunity LLC