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    donny. – claim the kill

    By
    Ryan Martin
    -
    donny.
    donny.

    donny. has today released his new single titled ‘claim the kill’. Taking the vividness and artistic hyperbole that only a poet can infuse, he then mixes that with music of such caliber that you can’t help but let the music play all the way through.

    This is a song for songwriters and a message for the masses. You won’t be able to guess where the music goes with each turn, but the aftermath makes every bit of sense. An anthemic dose of what modern music should be, donny. takes what he’s learned and becomes a teacher of everything you need to know about how to live through art. This is music.

    About donny.

    donny. has swiftly ascended to become a standout force in the Irish music scene since his explosive debut in 2022. His remarkable talent has captured the attention of influential tastemakers, including District Magazine, Genuine Irish, Hot Press, Gig Noise, and Void Magazine, as well as Dylan Murphy of Mabfield. Recently, donny. graced the Main Stage at Forbidden Fruit, delivering a captivating performance alongside KhakiKid and his longtime collaborator Niall Tarmey. This summer marked a significant milestone in his career with the release of his electrifying collaboration ‘SHOREDITCH’ with CARSTEN2X, followed by the critically acclaimed track ‘dreemr.’ featuring Filmore! With each new release, donny. continues to solidify his status as a formidable talent in the industry!

    Hailing from Hungary and currently residing in Galway, donny. has reached extraordinary heights in his musical journey. His mesmerising tracks have graced prominent Spotify Editorial playlists, including the highly coveted New Music Friday UK, New Music Friday Sri Lanka, and New Music Friday Bangladesh. With a unique sound that pushes creative boundaries, his artistry is making waves in the industry and enchanting listeners across the globe. Today, donny. has just released his latest single, ‘claim the kill!’ produced by Tristus Boyd.

    Speaking about the track, donny. states, “I initially just made the instrumental bits, not knowing what it’s going to be about. After receiving the guitar parts at the start of the song, everything began to fall into place with the lyrics and vocals. I wrote it just for fun, but it became something bigger.”

    This song was mixed and mastered by long-time collaborator Tristus Boyd. donny. says on working with Tristus, “Most of this song was produced by me except the guitar parts at the start. Tristus Boyd came through as usual. And he also mixed and mastered it, so he put in a great deal of work on this, too!”

    donny. believes the song can be interpreted in various ways, saying, “With this one, I want to keep it as vague as possible to let the listener have their conclusion. It’s about all of us, and it vaguely talks about something that hits close to home for me. I’d say the song will decide for you. I wouldn’t say I want anyone to think of something certain. Just listen and draw your conclusion. Or don’t think about it and enjoy the song.”

    Since the release of his debut album, I bleached my voice in psychedelics, in June 2022, donny. has become one of the most sought-after names in the Galway music scene, both for his recorded work and live performances. Drawing inspiration from a wide range of genres, including indie rock, post-punk, and hip-hop, donny. combines these elements with his exceptionally powerful vocals to create a unique sound that has garnered significant attention. His songs are characterized by powerful dynamics and catchy hooks.

    Alongside his releases, he also formed a live band called monotypes., which features a mix of donny.’s solo music and original compositions created by the band. This new formation has elevated donny.’s popularity in the local Galway scene, resulting in many sold-out shows at venues such as Áras na Gael, Roisin Dubh, and The Loft.

    In 2025, donny. released his single “hot head.” and a collaborative EP titled What Comes After Saturday. with Niall Tarmey. The EP includes tracks such as “gasoline.wav.” “madelyn.wav.” “nevada.wav.” and “comatose.wav.” It has received significant support from both fans and the press, accumulating 20,000 streams so far. Currently, donny. is working on exciting collaborations and upcoming releases, with his debut UK dates in the pipeline. He says, “I’ve got a lot more music to come and visuals to match it. So stay tuned because I have a lot more to show you.”

    LINKS:
    https://www.instagram.com/donnysworld24/
    https://www.tiktok.com/@donnysworld24
    https://open.spotify.com/artist/0beHEfLkJtL1hpfypHSTqp

    Gina Zo – Fuck Me Then Leave Me

    By
    Editorial Team
    -
    Gina Zo
    Gina Zo

    Gina Zo, a powerhouse vocalist hailing from the suburbs of Philadelphia and now making waves in LA, is not just a rock-pop singer-songwriter—she’s a beacon of authenticity and empowerment within every performance, song, and beat. With her bisexuality boldly declared in her 2023 anthem “Faking It,” Gina has transformed her personal journey into a powerful narrative for the LGBTQIA+ community, proving that true identity is a form of rebellion against conformity and that the tribe you ride with is where you truly belong. Her journey was further shaped by her time on The Voice as a member of Team Blake, where Gwen Stefani’s mentorship led her to discover a unique authenticity within herself—so profound that it brought her to tears after their first meeting, as Stefani challenged her to be more genuine.

    Her musical influences, from the soulful strains of Norah Jones to the mystical allure of Stevie Nicks, shaped her artistry from a young age. Family moments with her grandparents in her youth were spent dancing with flashlights as strobe lights and singing into makeshift microphones—laying the foundation for a passion that would later ignite her career. Gina’s early days were a whirlwind of homemade videos and impromptu performances, a testament to her unyielding spirit.

    At just 18, Gina signed with an indie label in Philadelphia, where she soon faced the harsh realities of the music industry. Disillusioned by its darker side, she stepped away, only to feel an undeniable pull back to her true calling after a breakup that left her reaching for her lost identity. Reuniting with her original band, she forged Velvet Rouge, a rock band that embodies defiance and the pursuit of artistic freedom.

    Velvet Rouge’s debut EP, released in 2024, is a visceral journey through Gina’s soul. From the haunting truth of being with someone you never loved in “Lonely Since The Day We Met” to the deep conflict of not knowing who you are or what you should be in “I Don’t Know Why,” the EP resonates with raw, unapologetic emotion. Produced by the esteemed Brian McTear and Amy Morrissey (The War on Drugs, Dr. Dog, Sharon Van Etten), it channels the gritty essence of early 2000s rock and ‘90s grit, offering a soundtrack to the struggles and triumphs of self-discovery.

    Gina’s return to the industry was not just a comeback but a revolution. With Velvet Rouge, she’s leading a charge against the systemic barriers faced by women in music, advocating for change both on stage and behind the scenes. Gina’s focus is to champion young artists in all mediums: her 2023 Grammy dress, designed by Lauren Schuler, embodied her fusion of elegance and rebellious spirit, making a statement that transcends fashion.

    Honored as Best Rock Band in Philly in late 2022 and celebrated in Philly Style Magazine as “Philly’s Hottest Rock Band,” Velvet Rouge’s impact is undeniable. Their powerful performances at festivals such as XPoNential Fest, MusikFest, and Beardfest, along with features on NPR’s National Public Radio Day and WXPN’s Free At Noon, showcase their role as trailblazers in the rock genre.

    In 2025, Gina released her first solo single, “Dirty Habits”, a rock-pop ballad all about how our dreams are better than reality. Produced by Grammy-winning talents Justin Miller (Jazmine Sullivan, Zach Bryan) and Tim Sonnefeld (Usher), the track received rave reviews and amassed over 30,000 streams within its first week of release—solidifying her voice as one that resonates far beyond genre. As LADYGUNN put it, “With Dirty Habits, Gina Zo lays the foundation for a career that doesn’t play by the rules. It’s bold, messy, deeply felt, and that’s the point.” The single marks a bold new chapter in her artistry, one where vulnerability meets anthemic power.

    Her second single, “Only Bad Men Make Me Feel This Way,” is a reflective breakup anthem that’s equal parts strength and vulnerability. Gina leans fully into her singer-songwriter roots on this track, showcasing the lyrical depth and emotional clarity that have long set her apart. Blending warm acoustic guitar with shimmering synth textures, the song captures the rollercoaster of post-breakup freedom, those moments when you know you’re better off, yet still feel the sting of what’s gone.

    Gina Zo’s “I Need to Cry” is a synth-soaked summer anthem about finding your people, embracing who you are, and letting the emotions flow. Co-written with Grammy winners Tim Sonnefeld and Justin Miller, it’s a bold and joyful release from bisexual artist Gina Zo. This is Gina Zo’s second Pride anthem since coming out in 2023.

    Her single “Fuck Me Then Leave Me” is “focused on the feeling of going back to someone over and over because you know that forbidden just tastes so damn good,” she shares. The anthemic and sing-out-loud worthy chorus will make the song your next favorite addiction.

    Living in LA, she finds solace in cooking from scratch, strolling around Silver Lake Reservoir, and immersing herself in murder novels (she promises she is not plotting to kill an ex). For Gina Zo, music is more than a career—it’s a platform to inspire young women to embrace their true selves and to reject any mold that seeks to confine them in their identity, sexuality, and career. Through her fearless artistry and unbreakable spirit, Gina Zo is rewriting the rules and leading a revolution in the world of pop-rock music.

    SOURCE: Official Bio

    LINKS:
    https://ffm.bio/ginazo
    https://www.instagram.com/ginazo/
    https://www.tiktok.com/@ginazo
    https://www.facebook.com/Ginazomusic

    The New Citizen Kane – Subconscious

    By
    Ryan Martin
    -
    The New Citizen Kane
    The New Citizen Kane
    1. Subconscious (Primordial Radio Mix) The New Citizen Kane 03:29
    2. Subconscious (Reason Radio Mix) The New Citizen Kane 03:14

    The New Citizen Kane is set to drop their new single titled ‘Subconscious’ from the upcoming project, ‘PSYCHEDELIKA’, releasing this fall.

    Two sides of the same coin with a pair of remixes showing the polish and petina of both sides of said coin. The brilliance and resonance of The New Citizen Kane is but a peek of what is to come with the release of ‘PSYCHEDELIKA’. Kane Luke, the artist behind everything that is The New Citizen Kane, spins the wheels of all the feels with a bookended pair of sounds and interpretations of an emotion set to a soundtrack.

    While both versions live in their own universes, each track will find its own audience that will crossover into the other realm out of admiration and curiosity. This is what a true remix is: individuality mixed with originality.

    Both versions of the single will be available to stream and download on all major platforms from August 29th, with the EP following.

    About ‘Subconscious’

    The New Citizen Kane returns with a warm, late-summer release. “Subconscious,” the third single from the upcoming PSYCHEDELIKA project, set for release this Fall, captures the thrilling, disorienting experience of falling for someone unexpectedly. It’s about the battle between control and surrender, the vulnerability of exposing our subconscious desires, and the exhilarating (and perhaps terrifying) realization that we’re losing ground.

    It’s a sonic journey into the heart of those messy, beautiful, and utterly human emotions that reside just beneath the surface. This isn’t just a song; it’s a confession whispered from the depths of the psyche, a sonic exploration of those unexpected feelings that ambush us when we least expect them. And the single is a song in 2 parts: one situation, two points of view: The Reason Radio Mix – the more restrained, logical internal voice… the mind.

    The Primordial Radio Mix – the voice of instinct, urgency & uncontrollable desire… the heart.

    LINKS:
    https://www.facebook.com/TheNewCitizenKane/
    https://www.tiktok.com/@thenewcitizenkane

    JayDon – The Way You Move

    By
    Editorial Team
    -

    Creating buzz in the R&B world with his prodigious talent, Cali-born JayDon is a polished triple-threat at just 18 years old. The mega/gamma.-signed artist returns with “The Way You Move,” an uptempo R&B banger designed to bring fans to the dancefloor. Produced by Blaq Tuxedo, “The Way You Move” is propelled by insistent snares and wobbling 808 bass, providing a launching pad for JayDon’s flirtatious verses, delivered in his pure high tenor. The video makes use of JayDon’s charismatic camera presence, honed during his years as a child actor. The tall young artist drives around L.A. with his friends before he spots a group of baddies who catch his eye, leading to a tightly choreographed interaction that shows off JayDon’s impeccable footwork.

    “The Way You Move” continues JayDon’s hot streak, as he continues the run-up to his debut EP, Me, My Songs, and I. The Zoo/mega/gamma.-signed artist’s run started last fall with “Ah! Ah!” ft. 310babii, continuing in 2025 with the romantic ballad “Lullaby” ft. Paradise and the USHER-sampling “I’ll Be Good.” “Lullaby” is especially connected in South Korea, where it reached the top of South Korea’s Spotify Viral 50, remaining at the top of the chart for multiple weeks, and has made an impact in other Asian markets, including China and Taiwan. “I’ll Be Good” earned praise from Billboard, BET, Rated R&B, and more, and inspired a choreography-heavy music video (1.3 million views). JayDon switched up his style for “Boujee Baby,” a collaboration with NY rapper Zeddy Will, which took inspiration from dance music genres like juke and Jersey club. Earlier this summer, JayDon was interviewed by Billboard, who named the young prodigy Billboard’s R&B Rookie of the Month for June 2025.

    Born JD McCrary, JayDon might be young, but he has a remarkable resume–he’s been captivating audiences as an actor, dancer, and singer for over a decade while cementing himself as an artist for any era. JayDon broke onto the scene with performances on NBC’s Little Big Shots and collaborated with Childish Gambino on the iconic album Awaken, My Love!, which they performed together at the 2018 Grammys at the tender age of 9. With viral covers like his rendition of The Jackson 5’s “Who’s Loving You,” JayDon has quickly earned fans worldwide. At 10 years old, he was the youngest male solo artist to sign with Disney/Hollywood Records, leading to his role voicing Simba in the 2019 live-action The Lion King. Later on, JayDon starred as Kenny Payne in the hit TV series The Paynes.

    Though he has a skill for acting, which he demonstrates in many of his music videos, music has remained his passion. In the new chapter of his career, JayDon is determined to blow up and become one of his generation’s most vital artists. Stay tuned for Me, My Songs, and I, JayDon’s debut EP, coming later in 2025 via Zoo/mega/gamma.

    SOURCE: Official Bio

    LINK:
    https://linktr.ee/jaydon

    Lucinda Poy – Liar

    By
    Editorial Team
    -
    Lucinda Poy
    Lucinda Poy

    What happens when someone you trust shows you a side you never expected? Rising indie-pop artist Lucinda Poy unpacks this haunting question in ‘Liar’. Blending her pop-rock roots with glowing synths and electronic textures, the track pulses with emotion that is restless, bittersweet, and unshakably honest.

    Since her 2024 debut, Lucinda Poy has been making a name for herself, with her debut release ‘Just Fine’ racking up over 16k streams on Spotify, opening and collaborating with Gina Williams and Guy Ghouse, and her performance of Silent Night with Eurovision performer Dami Im at her sold-out Christmas Songbook Show in Meanjin.

    Despite its driving beat and electronic sheen, ‘Liar’ is a quietly devastating intimate reckoning wrapped in shimmering sound. The track swells with atmospheric synth layers and heartbeat-like drums, grounding Lucinda’s dynamic vocals as they oscillate between airy falsetto and impassioned pleas. Her vocal agility captures every twist of emotion, from confusion to sorrow to reluctant understanding.

    The song doesn’t shout in anger. It whispers the kind of heartbreak that lingers when someone you love breaks your trust. Subverting expectations, instead of condemning, this song pleads for an answer as to why. Lucinda Poy states,

    “Sometimes the people you trust aren’t who you think they are. What made them lie to you, and why did they keep you in the dark? Does it make them a bad person? Seeing another side to someone is terrifying, and it can happen in a heartbeat.”

    Lucinda will bring ‘Liar’ to life with a special launch show at Lyric’s Underground, Perth, on Wednesday, September 25, joined by Pareidolia and Rosalie Chilvers. Expect an emotionally charged set filled with new material and Lucinda’s signature vocal power.

    About Lucinda Poy

    Lucinda Poy is a rising indie-pop rock artist, producer, and multi-instrumentalist based in Boorloo (Perth) and raised in Meanjin (Brisbane). Blending elements of pop, alternative, and indie, her sound is shaped by influences such as Maggie Rogers, Lizzy McAlpine, and Spacey Jane.

    Lucinda has recently performed alongside Gina Williams and Guy Ghouse, duetted with Dami Im at her sold-out Christmas Songbook Show in Brisbane, and headlined her debut shows in both Meanjin and Boorloo. She also composed music for and featured in Third Space, a short film centred on North Perth Town Hall and its local community.

    Her debut single Just Fine (produced by Charles Heinrich) garnered over 16,000 Spotify streams, followed by Selling Out (produced by Dylan Ollivierre), which was featured on Apple Music’s ‘New in Alternative’ and ‘New in Indie’ playlists. In 2024, she joined the Busselton Music Artist Tour and performed her original track Breakaway solo across four nearly sold-out shows at the Heath Ledger Theatre.

    Currently studying a Bachelor of Contemporary Music at WAAPA, Lucinda is trained in classical violin (AMEB Grade 8 in progress), piano, and voice (both AMEB Grade 6), as well as guitar. She recently performed with WAAPA’s Defying Gravity Percussion Ensemble under Fiona Digney and has played first violin with the WAAPA Symphony Orchestra.

    Featured image by Jenna Elson.

    SOURCE: Official Bio

    LINKS:
    https://www.facebook.com/lucipoyy
    https://www.instagram.com/lucipoy/
    https://www.tiktok.com/@luci_poy
    https://open.spotify.com/artist/2C9cfAkExY8U2k2sYbmn3Q

    Wild Wild Wets – The Mutations

    By
    Editorial Team
    -
    Wild Wild Wets
    Wild Wild Wets

    Psychedelic rock collective Wild Wild Wets return with their highly anticipated fourth full-length album, Time Mutations, out today via Salton Sea Sound System. available on limited edition “Mutation Isle Splatter” vinyl and as a special bundle with FUZZ Coffee’s Guatemala Cubulco roast—a bold, curated brew designed to pair perfectly with the record’s immersive sonic trip.

    Recorded live at Earthling Studios in El Cajon, CA, and produced by the band, Time Mutations marks the group’s most expansive and conceptual work yet. Engineered, mixed, and mastered by Mike Kamoo, the album weaves fever-dream psychedelia, gritty funk, and experimental art rock into an otherworldly listening experience.

    Frontman Mike Turi, who also created the album’s striking artwork, describes Time Mutations as “stepping into another world—a narrative about building your own society, bending the rules of humanity, and teetering between dream and dystopia. Imagine Dr. Moreau meets Ziggy Stardust.”

    About Wild Wild Wets

    Formed in San Diego’s fertile psychedelic scene, Wild Wild Wets are known for their swirling, high-energy live shows and mind-bending studio recordings that fuse psych-rock tradition with fearless experimentation. With Time Mutations, the band continues to evolve their sound into bold new territory, offering listeners an escape into a strange, cinematic soundscape where rhythm, melody, and imagination reign supreme.

    SOURCE: Official Bio

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

    The Planet Smashers – On The Dancefloor

    By
    Editorial Team
    -
    Michael Crusty
    Michael Crusty

    After more than three decades of two-tone swagger, punk grit, and horn-fueled joy, Montreal’s beloved ska lifers The Planet Smashers are back with On the Dancefloor, their tenth studio album and one of their most energized releases to date. The record is packed with 13 new tracks that swing from break-up anthems to protest tunes to all-out party bangers. It’s a full-spectrum celebration of the band’s signature sound—melodic, rebellious, fun as hell, and built to move.

    On the Dancefloor was crafted with the band’s famously chaotic live show in mind. From the swaggering brass of lead single “Meet Me On The Dancefloor” to the walking bass groove and cheeky hooks of follow-up “Things You Do,” the album captures the raw joy and connection that have defined The Planet Smashers since day one. Songs come fast and tight, laced with self-deprecating humour, a healthy dose of cynicism, and a whole lot of heart. Whether it’s love, loss, burnout, or late-night release, the record taps into the emotional fuel that keeps people coming back to ska punk, decade after decade.

    “This was the funnest of our 10 albums to record. Who’d a thought?” says frontman Matt Collyer. “I can’t wait to play these songs live. The process was rad from start to finish. All of my bandmates got their hands in there, plus we had the pleasure of teaming up on a couple of tracks with Neville from The Specials and Charley ‘Aitch’ Bembridge from The Selecter, as well as having Sara from Bran Van 3000 sing a bit. Fun times!”

    About The Planet Smashers

    Formed in 1994 and still going strong, The Planet Smashers have built one of the most consistent careers in ska punk, with a global fanbase and a reputation for sweat-soaked, horn-blasted shows. They’ve played to packed crowds across North America, Europe, and Japan, shared stages with genre legends, and racked up over 30 million Spotify streams. Their music has appeared everywhere from MTV’s Undergrads to cult Japanese animation, all while remaining proudly DIY. Collyer also co-founded Stomp Records, home to some of Canada’s most respected alternative acts.

    On the Dancefloor is a reminder that ska punk doesn’t need a revival—it never left. With tight songwriting, serious pedigree, and zero pretense, The Planet Smashers are still making music for people who want to move, laugh, sweat, and feel something real. Whether you’re a longtime skanker or just landing in the scene, this album is a welcome kick in the pants. Turn it up, grab some friends, and meet them on the dancefloor.

    Featured image by Michael Crusty.

    SOURCE: Official Bio

    LINKS:
    https://planetsmashers.ca/
    https://twitter.com/planet_smashers
    https://www.instagram.com/theplanetsmashers/
    https://www.facebook.com/ThePlanetSmashers/
    https://www.youtube.com/@StompRecordsCanada
    https://open.spotify.com/album/2EN5cDuC39fYOqeKOpbKoJ

    Serj Tankian – Electric Dreams

    By
    Ryan Martin
    -
    Serj Tankian
    Serj Tankian

    Serj Tankian has today released his latest single titled ‘Electric Dreams’ from his upcoming album ‘Covers, Collaborations & Collages’, dropping October 24th via Serjical Strike Records and Create Music Group.

    Dissonant and inviting, somewhat keeping in line with System of a Down’s musical style, there is a clear break as to what was and what is to come. This is an evolution of a musician’s music. Serj has his own style of eloquence and execution that holds the listener tight, becoming a sonic embrace from an artist who’s not all there but completely intact.

    With ‘Electric Dreams’ released today as the first of ten to be released week by week, ‘Covers, Collaborations & Collages’ already feels like the first chapter of something memorable.

    About ‘Covers, Collaborations & Collages’

    Visionary musician, poet, and activist Serj Tankian returns with a stunning new project, Covers, Collaborations & Collages—a genre-spanning collection that celebrates artistic unity, reinvention, and storytelling.

    This starts a ten-week cycle in which will see Serj will launch a ten-week release schedule where a new track will drop each week, culminating in the full compilation album, releasing on Oct. 24, 2025.

    This deeply personal and eclectic body of work features Tankian’s powerful reinterpretations and remarkable collaborations. Among the highlights is a beautifully haunting cover of Chris de Burgh’s “I’m Counting On You,” reimagined with Tankian’s unmistakable emotional intensity.

    Covers, Collaborations & Collages showcases striking creative partnerships with some of today’s most innovative artists. Tankian joins with lauded producer Deadmau5 on the hypnotic “A Seed,” New Zealand singer/songwriter Bic Runga’s ethereal voice weaves with Tankian’s in the duet “Things Unspoken,” and acclaimed composer Lucas Vidal creates a sonic canvas upon which Tankian vocally illustrates a scene of the devolution of civilization and the end times, bellowing “There are no more empires / Just burning campfires” on the powerful and cinematic “Apocalyptic Dance.”

    Rounding out the collection, Tankian’s cover of Armenian songwriter Ruben Hakhverdyan’s “When Death Arrives” is a poignant reminder of the reality of our mortality, musing through the eyes of the departed and reminding listeners of the undeniable importance love and truth hold in this world.

    Adding a visual dimension to the music, each single’s artwork, and the album’s evocative main cover, has been created by artist D.S. Bradford, who also contributes lead guitar work on the soaring track “Kneeling Away From The Sun.”

    With each weekly release, Tankian will share the inspirations, stories, and artistic intentions behind the songs, inviting listeners into the creative process like never before.

    “Similar to Foundations, these are pre-existing archival recordings, some of them from way back,” says Tankian. “I wanted to put out a record of collaborations I haven’t released before, along with covers, which I haven’t done. The rest, the collages, are parts that fit the puzzle in the same tone, the same vibe.”

    ‘Covers, Collaborations & Collages’ Tracklist

    'Covers, Collaborations & Collages' cover.
    ‘Covers, Collaborations & Collages’ cover.
    1. Electric Dreams
    2. A Seed (ft. Deadmau5)
    3. I’m Counting On You
    4. I’m In Heaven
    5. Things Unspoken (ft. Bic Runga)
    6. I Found You
    7. Kneeling Away From The Sun
    8. Apocalyptical Dance (ft. Lucas Vidal)
    9. Sonic Expulsions
    10. When Death Arrives

    Featured image by Travis Shinn.

    LINKS:
    https://serjtankian.com/
    https://facebook.com/serjtankian
    https://youtube.com/serjtankian
    https://instagram.com/serjtankian

    Bones Ate Arfa – It’s All Good

    By
    Editorial Team
    -
    Bones Ate Arfa
    Bones Ate Arfa

    Building on their growing momentum of national UK coverage, packed out live shows, and growing following (130k followers on TikTok alone), Bones Ate Arfa deliver a high-octane burst of defiant noise with ‘It’s All Good’ – a snarling, fuzz-laden anthem of emotional catharsis and self-aware chaos. Layering their stylistic, as they say “junkyard dog riffs”, the band brings thick distorted bass riffs with grungy guitars, snarling vocals, and pounding drums. The track is a raw outpouring that showcases more of the band’s blend of high-octane, intense instrumentation and infectious melodies.

    Talking about the track, Arfa (bass/vocals) explains: “It’s All Good is about how everything in the world seems so messed up, but you just carry on like everything’s ‘all good’. It’s introspective on realising our own privilege as well, like we’re out here doing what we love and playing shows all the time, even as a small band. And it’s like, damn, we are so lucky to be able to do this.

    We wanted to be able to channel the sound of some bands we’ve been getting more and more into recently, too, like the 2000s skater sounds of Deftones, Slipknot, Rueben, Paramore, and more modern bands of the same vein like South Arcade. All while staying true to our blown-out bass tones and gritty production.”

    Accompanying the single is a gritty DIY music video shot in Shoreham Skatepark – a nostalgic nod to the golden age of punk skate culture, a celebration of the town and community that shaped them, but also a nod to the band’s recent link up with skate brand Wasted Paris.

    Bones Ate Arfa – made up of Bones (guitar), 8 (drums), and Arfa (bass/vocals) – have quickly carved out a loyal following, hitting over 130k TikTok followers and earning nods from Muse, Fred Durst (Limp Bizkit), SOFT PLAY’s Isaac Holman, Royal Blood, and more. With a sound described as “psychedelic street punk desert rock,” the band fuses the grit of 2000s alt-rock with melodic hooks and explosive live energy.

    The new single comes as the band rides a wave of critical acclaim, with growing support from tastemakers including Dork, Clash, Louder Than War, Notion, Ones To Watch, Notion, Total Rock, New Noise, BBC Radio 6 Music, Radio X, and Amazing Radio (A-List). Live, the band has played multiple headline UK tours, appeared at festivals including The Great Escape, Lakefest, and Homegrown, as well as opening for the likes of Snayx, Hotwax, ARXX, Ditz, CLT DRP, and Welly, to name a few.

    SOURCE: Official Bio

    LINKS:
    https://www.facebook.com/bonesatearfa/
    https://www.instagram.com/bones_ate_arfa/
    https://www.tiktok.com/@bones_ate_arfa
    https://www.youtube.com/@BonesAteArfaVEVO

    John Calvin Abney – Transparent Towns

    By
    Editorial Team
    -

    The songs on John Calvin Abney’s upcoming new album, Transparent Towns (available September 19 on his own Tin Canyon Records, via Well Kept Secret / Secretly Distribution), focus on how we remember, and ultimately accept, though he is not always certain, the memories we carry adequately mark the moments that make us.

    “This record is wrapped around the passage of time, whether or not we can trust the memories that we swear on, how we forgive ourselves and others as seasons turn, and how we define what is important as we roll the boulder back up the hill,” Abney says of Transparent Towns. “We build these routines and live our stories, we rely on our histories and our memories – spoken and recorded. Now, we’re relying on copies of copies, memories of memories, all packed like sardines into our phones, and we’re losing the ability to tell our own stories. I have to constantly remind myself, as well as redefine what matters at the end of a day.”

    Transparent Towns is the seventh studio album for Abney, and his first since 2022’s Tourist, which he crafted after spending the pandemic as an itinerant writer. In contrast, Abney penned most of the album’s 10 tracks during a period of introspection and convalescence while recovering from vocal cord surgery in 2023. The time to himself – “I didn’t sing for nearly a year, and after surgery, I couldn’t talk for a month, and couldn’t sing for over three months,” he says, left him contemplating how to trace his experiences in the silence.

    The album’s title track is Abney’s take on the inaccessible past, witnessing loss and grief through the years, damning the “days we let go left unsaid”, and accepting the uncontrollable circumstances we are sometimes placed in. “The troubles and the joys exist vibrantly in your memory, but you’re wondering if you remember correctly,” Abney remarks. “I’ve sometimes had this sort of confusion between memory and dreams – you crafted this ideal in your head of how things were or might be, to soften the blow of a harsher reality.”

    The places we inhabit dictate how our memories form, and for Abney, there is one place to which he is constantly drawn: Oklahoma. Although he was born in the biggest little city in America, Reno, Nevada, he grew up learning guitar and piano in Tulsa, playing bars and DIY spaces from Norman to Stillwater. His affinity for the land that raised him is evident in the production of Transparent Towns.

    Abney self-produced the record, tracking most of it at Cardinal Song outside of Oklahoma City, with Michael Trepagnier handling mixing and engineering. The band was comprised mostly of Sooner State musicians, too, along with Lydia Loveless and John Moreland contributing harmony vocals. His signature vulnerable voice and lyrical handiwork come through in each of the songs, along with his penchant for alternative pop melodies set against colorful chords and subtle soundscapes.

    Having toured for years backing up artists like Moreland, Wild Child, Ben Kweller, and S.G. Goodman, Abney embraces a lead role again, as he presses forward with the loving lament and defiant joy throughout Transparent Towns, calling us to leave behind the pressures we place on our ourselves and recognize that just because there is an ending, it doesn’t mean it’s the end.

    SOURCE: Official Bio

    LINKS:
    https://www.johncalvinabney.com/
    https://johncalvinabney.bandcamp.com/
    https://www.instagram.com/johncalvinabney
    https://www.facebook.com/johncalvinabney
    https://www.youtube.com/@johncalvinabney
    https://www.tiktok.com/@johncalvinabney

    Abbey Lane – Bigger Man

    By
    Ryan Martin
    -
    Abbey Lane
    Abbey Lane

    Abby Lane has today dropped her new single titled ‘Bigger Man’ from her upcoming EP, releasing September 25th. All of the hooks and more of the feels, Abbey is an artist in touch with her inner self and an overall songwriter. ‘Bigger Man’ is a track that can’t be secured into a single genre. It is what it is. A beautiful song showcasing beautiful poetry.

    Like a rush of blood to the head, this is a song that consumes you while giving you an intense feeling of embrace. The hook is a massive mix of rhythm and melody. A ride that takes you anywhere.

    About Abby Lane

    Abbey Lane is an indie pop/rock singer-songwriter from Sydney, fusing Aussie female pop influences with indie rock tendencies. Her sound has been developed over 10 years of musicianship, influenced by an amalgam of Australian artists such as Middle Kids and Gretta Ray.

    Abbey has been evolving her craft since 2015, co-writing with acclaimed writers such as Yung Bleu and Tenille Arts, and has also had her co-writes picked up by the US National Hockey League for the Nashville Predators. In the local scene, Abbey Lane has been gathering support nationally from various radio stations, including airplay on Triple J, Triple J Unearthed, FBI, 2SER, 4ZZZ, and SYN, as well as recognition from outlets such as Rolling Stone and AU Review.

    She is also no stranger to the live music scene, having performed across the Australian east coast, featuring on line-ups with Ula, Eskimo Joe, Surf Trash, Kim Churchill, and Diesel, along with large-scale event appearances at Old Bar Festival, Rockhampton River Festival, SXSW Sydney, and Never Had So Much Fun.

    Recently, Abbey Lane has been honing in on her indie pop/rock influences, recording new music with multi-ARIA award-winning producer Dave Petrovic, which was released through her debut EP in July 2024, accompanied by a 6-stop tour. With many tracks in the works for 2025, Abbey Lane shows no signs of slowing down.

    LINKS:
    https://www.facebook.com/AbbeyLaneMusic1/
    https://www.instagram.com/abbeylane_music/
    https://www.youtube.com/channel/UC0HUVBSGNFYC3YCV6b_vlMg
    https://www.tiktok.com/@abbeylanemusic

    Tiana Major9 – Shook One

    By
    Editorial Team
    -

    With her signature blend of soulful vocals and raw honesty, Tiana transforms the classic into a modern R&B confessional—exploring heartbreak, vulnerability, and the frustration of loving someone too afraid to reciprocate. The single finds her weaving piercing lines like: “I just wanted you to say when I say that ‘I love you’ / But you run / Like a shook one”—delivered with the emotional depth that has become her trademark.

    Accompanied by a Benji Allen-directed video shot in black and white across New York City, “Shook One” captures the timeless spirit of the original while showcasing Tiana’s artistry. From subway rides to summer streets and a powerful mural tribute to Mobb Deep, the visual grounds her homage in the city where the classic was born.

    “Shook One” follows her acclaimed singles “Money” and “Alone”—earning praise from The Guardian, Billboard, CLASH, Essence, COLORS, and more. Earlier this year, Tiana also held an NTS Radio residency and delivered a standout BBC Radio 1Xtra Live Lounge performance, highlighting her vocal precision and range.

    With over 200M streams, collaborations alongside Stormzy, EARTHGANG, Bryson Tiller, and Unknown T, and a GRAMMY nomination for “Collide” from the Queen & Slim soundtrack, Tiana Major9 has already cemented herself as one of the UK’s most compelling voices. Now, with “Shook One” and a debut album on the way in 2025, she begins a confident new chapter—blending her love of R&B, jazz, and hip-hop while staying true to the vulnerability and honesty that set her apart.

    About Tiana Major9

    Born in East London to Jamaican parents, 28-year-old Tiana Major9 was immersed in music from an early age, influenced by jazz, praise and worship, and the neo-soul sounds of Erykah Badu and Lauryn Hill. Their journey into music saw debut releases establishing their soulful voice as one of the UK’s most enticing, featuring with Stormzy, Bryson Tiller, Smino, and Unknown T, support slots with Victoria Monet, Jazmine Sullivan, and Adele, as well as a GRAMMY nomination for “Collide” from the Queen & Slim soundtrack.

    After two years of self-discovery, Tiana is set to release their long-awaited debut album in 2025; a rich tapestry of love, loss, and growth, recorded in LA, the UK, and Jamaica, filled with luxurious melodies, featherlight floating production, and raw, grounded storytelling. As a queer Black femme artist, Tiana reclaims the term “diva” on the project, embracing it with pride in the spirit of icons like Beyoncé and Whitney Houston, and approaches this next chapter with a focus on classic artistry, longevity, and self-expression.

    SOURCE: Official Bio

    LINKS:
    https://www.instagram.com/tianamajor9
    https://www.tiktok.com/@tianamajor9

    Sofia Lily – Montana + Q&A

    By
    Editorial Team
    -
    Sofia Lily
    Sofia Lily

    Rising acoustic and indie pop singer-songwriter Sofia Lily follows up her stunning debut single ‘All We Have Is Now’ with her deeply moving new track, ‘Montana’. Known for her raw lyricism, stripped-back melodies, and a voice that lingers long after the last note fades, Sofia once again delivers music that feels like a personal conversation with the soul.

    Blending the tenderness of country storytelling with a pop sensibility made for heartfelt sing-alongs, Montana captures the bittersweet emotions of losing a friendship — a kind of heartbreak rarely spoken about but universally felt.

    Drawing comparisons to Kacey Musgraves, Gracie Abrams, and even touches of Miley Cyrus, Sofia Lily’s ethereal yet grounded vocals glide over delicate acoustic guitar and layered melodies, building into a chorus that feels both intimate and anthemic. With just her second release, she continues to showcase limitless potential, cementing her place as an emerging artist to watch not only in the U.S. but globally.

    She shares, “‘Montana’ is about the kind of heartbreak no one prepares you for—when a friendship ends. It’s about learning the truth, letting go, and realizing that not everyone who walks with you is meant to stay.”

    With ‘Montana’, Sofia Lily continues to carve out a unique space in today’s indie pop scene. Her ability to transform deeply personal experiences into universally relatable music has already begun to resonate with listeners worldwide. The single showcases her growth as both a songwriter and performer, proving that even early in her career, she possesses a rare emotional depth and authenticity that few artists manage to capture.

    Sofia Lily has this effortless ease to craft emotional landscapes. ‘Montana’ is a testament to her gift for storytelling, pulling listeners in and refusing to let go until long after the note ends.

    Q&A

    Your lyrics to “Montana” are very striking: Was this the first part of the song you wrote?

    I actually started with chords on the piano, and the lyrics came right after I liked the chords I played.

    What inspired you to make the intro to this release a rich and melancholy piano? Who played that instrument on this single?

    I first started playing some chords on the piano and singing exactly how I felt at that time. The piano felt dark and melancholy, like how I was feeling, so it just worked and flowed. Later, I asked my brother Jamie, an amazing pianist, if he could help me make my piano chords more interesting, and he did a beautiful job. Actually, the beginning piano you hear was my mom’s idea, and then Jamie and I worked on a cool intro, and that’s what we came up with. I’m so happy with how it turned out.

    What is the key to creating songs with such a down-to-earth, real, and conversational nature?

    I would say that creating a song that came from something in my life that I felt super passionate about sharing, helped with that feeling and made it more real because it actually is. I just hope it can remind listeners to feel powerful and know their worth no matter what other people say or do.

    You mentioned that your other release, “All We Have Is Now,” was your first music video. What was this experience like, and do you plan to release more works with Jack Wes or other collaborators?

    Shooting that music video was such a fun experience, especially having my siblings involved in it, which made it that much more enjoyable. I felt so comfortable during those two days of filming and was so excited to bring our visions to life. Yes! I plan on releasing more songs with Jack Wes very soon, and I couldn’t be more excited!

    What was the first song you wrote with this sort of indie-pop-with-a-tinge-of-country type sound?

    “Montana” is the first release song with that type of sound, but I do have an unreleased song that I play on the acoustic guitar that has that sort of vibe to it as well.

    Was “Montana” based on a real experience you had with a friend? If so, does it feel freeing to have written and released it?

    Yes, “Montana” was based on a real experience, and it does feel freeing but also a little nerve-racking. Being very open with my emotions about something so personal is a feeling I’m still getting used to.

    If you could score any film with this song, what movie/moment would you choose and why?

    That’s a hard question, but I think “Gone Girl” would be interesting when Nick, the male lead, starts becoming super paranoid and begins to question everything Amy, the female lead, has ever told him.

    What was the moment when you realized “Montana” was polished and ready to release to the world?

    My producer had sent me one of the final versions of the song, and I knew I wanted the end to be super dramatic, and when I heard that he perfectly captured it, I knew it was ready.

    Lastly, do you think friend break-ups hurt just as badly as romantic break-ups? Worse sometimes, even?

    I think they hurt just as bad or sometimes even worse. I never expected that to happen to me, and trust me when I say it hurts.

    LINKS:
    https://www.instagram.com/sofiaaliily/
    https://www.tiktok.com/@sofialily_

    Lane Lowder – Good Song + Q&A

    By
    Editorial Team
    -
    Lane Lowder
    Lane Lowder

    At just 16 years old, Lane Lowder is proving that age is no barrier to depth, authenticity, and staying true to the roots of country music. Hailing from the red dirt roads that shaped his upbringing, Lane’s music draws from the timeless influence of George Strait, Garth Brooks, and Merle Haggard, while embracing the heartfelt modernity of Riley Green and Parker McCollum. The result? A sound that blends tradition and innovation in equal measure.

    With his latest release, ‘Good Song’, Lane steps confidently into the spotlight with his most irresistible track to date. Built on the foundation of a stripped-back yet dynamic country band arrangement, the song opens with a warm familiarity before Lane’s rich, commanding vocals take center stage.

    In ‘Good Song’, Lane sets out to break free from the overplayed tropes often dominating the airwaves. Instead of leaning on clichés of whiskey and fleeting romance, he focuses on something pure and universal: the joy of a well-crafted country tune that gets people dancing, smiling, and living in the moment.

    “‘Good Song’ is about wanting to hear a song that has meaning and makes you feel good. A song that is something other than the same cliche that is commonly heard on the radio.”

    The production strikes the perfect balance between fresh and timeless, delivering the big, anthemic country-rock energy fans love while leaving room for Lane’s storytelling to shine. Already gaining momentum on TikTok and other social platforms, Lane Lowder is fast becoming one of the most exciting young names to watch, not only in country music but across the broader Americana landscape.

    With ‘Good Song’, Lane makes a statement with another stunning track to his growing discography. He’s here to honor the music that raised him while carving out a path that’s all his own.

    Q&A

    When you first imagine or come up with an original song, do you hear it fully orchestrated, or just a melody (or something else entirely)?

    Normally, I have a one-line hook that pops in my head. I usually base the song around that one hook.

    What was your first favorite country song, and how did you discover it?

    The first one I could remember was Amos Moses by Jerry Reed. My dad played it in his band.

    How did you approach the vocals to your most recent single, ‘Good Song’?

    I wanted it to highlight my country voice and accent.

    You mentioned that this release is about wanting to escape the cliches of radio songs. What cliche in songwriting do you dislike the most, and why?

    I wish more songs would talk about real-life experiences, like where you grew up, your grandparents, or real-life events, rather than glorifying alcohol abuse.

    How has Oklahoma flavored your music?

    I’m from a small town in Oklahoma, and the area and people have heavily influenced my music.

    What kind of workflow were you in during your song “The Last Thing He Told Me”?

    I was actually on vacation with my family and saw a book my mom was reading called “The Last Thing I Told You”. The title gave me a great idea for a song. I wrote that song in about 10 minutes once we got back home.

    What does it feel like to perform “I Found Mine” live, with couples dancing in front of you?

    It feels good to have everyone enjoy a song that means so much to me. I wrote this song about my girlfriend, Hadleigh Clifton. It’s very rewarding to watch people sing along or dance to my songs.

    What makes music authentic and important to you?

    A song should tell a story. I feel like a song that tells a story resonates better with the listener. I write with the hope that other people can relate to the stories that I’m trying to tell.

    When did you first begin playing guitar?

    I started playing guitar in the second grade when I was 8 years old.

    Lastly, you seem like an old soul (I’m sure you’re told this often!) What life experiences made you want to express yourself so deeply and wisely through music?

    When most people face hard times in life, they usually want to talk to someone about what’s going on. It helps me to pick up a pen and paper and put my feelings in a song. I spent a lot of time with my grandparents when I was young. I like to write songs about their stories and my experiences with them as well.

    LINKS:
    https://www.facebook.com/thelanelowderband
    https://www.instagram.com/lane.lowder.music/
    https://open.spotify.com/artist/1KfFViUDv5kMb1ImknENRR
    https://www.tiktok.com/@lane.lowder.music

    Joan & The Giants – The Five Stages of Grief

    By
    Editorial Team
    -
    Joan & The Giants
    Joan & The Giants

    Joan & the Giants have carved out an international reputation, sharing stages with P!NK and Tones and I at Perth’s OPTUS Stadium, captivating crowds at SXSW in Texas and Sydney, and making their mark at BIGSOUND with their powerful sound and electrifying live energy. Now, alongside the release of their new EP, they prepare for a completely sold-out support slot for The Fray’s ‘How To Save A Life’ 20th anniversary tour this December and their headline tour.

    Their 6-track EP was written and recorded during one of the most difficult times that Gracie Newton-Wordsworth had ever experienced, resulting in a narrative arc that captures the process of mourning her turbulent 9-year relationship with the band’s now-former guitarist, Aaron Birch. With some songs written together and some apart, this EP truly reflects its namesake, ‘The Five Stages of Grief’.

    The first stage: denial. ‘Feels Like Heartache’ begins the EP with the feeling of being caught in the purgatory of a relationship one can’t bring themself to leave. This song begins with a slow and melancholic melody played on acoustic guitar and tender vocals packed with yearning and pain, and builds to a peak, with the kick-in of drums forging an unforgettable buildup and a release of sorrow.

    The second stage: anger. ‘How Could You’ is a track straight out of a coming-of-age movie, with its up-tempo drums and bittersweet tune that crescendos with rage and pain as it sheds the analogue quality the song begins with and becomes utterly visceral and unapologetic. Written by Gracie when she was putting up a front of her internal life, this song is the embodiment of how the attitude of “the show must go on” can result in chaos.

    The third stage: bargaining. This song was written by Aaron after the decision to part ways was made. ‘All I Know’ is built on painfully honest and self-deprecating lyrics that long for another chance, the writer thinks he doesn’t deserve. Slow piano paired with vocals that bleed with emotion makes this song a heart-wrenching affair.

    The fourth stage: depression. A song that weighs heavily on the mind, ’When You Were Mine’ is a soft, stripped-back, and poetic song that reflects on the fallout. Written when Gracie and Aaron were touring together, every day was a reminder of the relationship that had just ended, and even though they were living a dream they’d had since they were teenagers, they couldn’t help but drown in sadness.

    The final stage, acceptance, is a little different. This stage offers two tracks, the first of which is ‘Still Breathing’, a song that acts as a farewell to Aaron as he and the band part ways. Born from a jam session, this song captures the tragic passion of their separation in its free-flowing nature. With two tracks of guitar, one percussive and one melodic, it straddles the line of soft pop and kicked-up rock.

    The final track on the EP and second stage of acceptance is ‘Part of Me’. First written on a cheap guitar by Grace while on tour, this song marked the point where she’d accepted that she’d hit rock bottom, and that all the light that had bloomed between them, encouraging their creative energies to bloom, had finally dulled. With a more upbeat tempo and vocals that soar, this song marks the album’s end with something hopeful for the path that lies ahead.

    Gracie Newton-Wordsworth shares her feelings behind this EP, stating:

    “For a long time, I felt like a butterfly trapped in a cocoon, not being able to see the light —but that is changing and I’m starting to spread my wings and find peace, joy, and freedom. This EP is an embodiment of grief, love, and survival — a painful chapter transformed into music and now healing.”

    Featured image by Brittany Long.

    SOURCE: Official Bio

    LINKS:
    https://www.joanandthegiants.com/
    https://www.youtube.com/channel/UC6lhCT5VLtq6ZW3omIZsZow
    https://www.facebook.com/joanandthegiants/
    https://www.instagram.com/joanandthegiants/

    Fischer-Z – PUNKT! + Tour Dates

    By
    Ryan Martin
    -
    Fischer-Z
    Fischer-Z
    1. Conclusision Fischer-Z :30
    2. Wonder Fischer-Z :30
    3. Moonlight on a Lake of Diamonds Fischer-Z :30
    4. One Is Still One Fischer-Z :30
    5. Can’t Undo Fischer-Z :30
    6. When Love Goes Wrong Fischer-Z :30
    7. Supermoon Fischer-Z :30
    8. 100 Wised Up Monkeys Fischer-Z :30
    9. Too Much Fischer-Z :30
    10. PUNKT! Fischer-Z :30

    Fischer-Z is set to drop their new album titled ‘PUNKT!’ on September 19th via So-Real Records. The creative nest for singer/songwriter John Watts, Fischer-Z has long ago cemented their music in the annals of creative rock history with their original stamp and sojourns into the genres they dominate.

    With ‘PUNKT!’, Fischer-Z shows that physical experience can live in harmony with mentally driven youth and eternally fresh minds that culminate into an album of world-fresh music and eternally lucid dreams that make music from multiple muses.

    While the songs are diverse from one another, they make a collective book of ideas that no one could have ever put to this music except Fischer-Z. Timeless in scope and mesmerizing in character, these are songs that transcend time and leave that space between your ears a little bit fuller.

    About Fischer-Z

    John Watts entered pop music after studying to be a clinical psychologist in the 1970s at an experimental facility that didn’t use any drugs or restraints.

    “I’d be doing a shift there from 8-4 pm and then get in a van and go to do a gig in Derby, or something. I’m not aggressive naturally, but, you know, I’d literally dealt with raging psychos all day, so I wasn’t afraid of the punk crowds. You’ve taken somebody in during the daytime, someone who’s cut themselves open with a broken bottle, you’re holding their stomach together and taking them to hospital and then you go out and play in Wolverhampton to some snotty little 17 year olds who threaten to put a cigarette out on your leg and you think, ‘Well, come on then!’” This helped Fischer Z gain a reputation for a confrontational style of performance. They were also recognised as a white band that could really play reggae. They got very busy and toured with Dire Straits and played festivals with Bob Marley.

    When the hits started to come – third album Red Skies Over Paradise was shifting 30,000 copies a week in Germany in 1981 – the band concentrated on their most successful territories. Their inexperienced management pushed them through almost five years of relentless recording and touring, after which Watts, who was responsible for all the material, interviews, and artistic guidance, was completely burnt out. “I should have just taken six months off, but I hit the self-destruct button and declared I was now a solo act.”

    Having torpedoed the brand name, Watts was fated to focus on where he was best known, though he’s always lived in Britain and raised children here. But over decades of touring in Europe, he crafted a solo mode that mixed social commentary, poetry, and his sharp songwriting into impressive, wide-ranging two-hour shows. But the demand for Fischer-Z never went away. So, after a long dormant period, Watts revived the band and these days straddles parallel careers, as the front man of Fischer-Z, under which banner he releases all his new music, and as Fischer-Z Solo, lone guitar-toting wordsmith and polemicist.

    A recent onrush of inspiration has coincided with Watts deciding to shift focus to see if he can make a bigger impact back home. “I find it frustrating not to be able to work as much as I’d like in Britain, in fact, in all the English-speaking countries. I love this new project, PUNKT! But it’s just one brick in a huge wall. I’d like people in Britain, Australia, and America to know that I’ve built that wall. I’m 70, but I intend to produce stuff in the coming years that’s as good as anything I’ve ever done. I want to keep the standard high, visit places I’ve never been before, and show people what I can do.”

    LINKS:
    https://www.facebook.com/fischerZmusic
    https://open.spotify.com/artist/3fRV5Jo7lNKhRSx4C3sLMZ
    https://fischer-z.com/

    On Seán’s Turntable: Rainer Trüby – The Lost Tapes 2008

    By
    Seán Crossey
    -
    On Seán’s Turntable: Rainer Trüby - The Lost Tapes 2008
    On Seán’s Turntable: Rainer Trüby - The Lost Tapes 2008
    1. Schoko-Bolla Rainer Trüby 1:29
    2. Hausmacher Latino Rainer Trüby 1:29

    I’ve always had a massive soft spot for chuggers. A chugger can be a DJ’s best friend when played at the right moment, and I’ve not played out for a while now, so this release makes me want to do just that.

    ‘The Lost Tapes 2008’ is the latest 12” release on DJ Miche’s ‘Daybreakers’ label, and the title refers to an album DJ/Producer/Musician Rainer Trüby ‘lost’ when his MacBook crashed back in 2008. There were only two tracks left for him to save, and luckily, they’re finally available on wax.

    ‘Schoko-Bolla’ is the A side and the standout track for me. A looping Brazilian vocal sample sets off what turns into a magnificent groove and chugs along perfectly with Latin rhythms and a steady percussion running right through the centre of it.

    B side ‘Hausmacher’ is more of a Tribal House vibe with more Brazilian sampled vocals, sure to get anyone moving.

    File under: BANGERS.

    About Seán Crossey

    Seán Crossey
    Seán Crossey

    Seán Crossey has been part of the Manchester music scene for over a quarter of a century, whether that be deejaying, hosting events, artist management, journalism, presenting radio shows, or running his own successful PR business.

    It’s quite clear that music runs through his veins. This is Seán’s chance to chat about records he’s recently bought, some may be new, some not, but they’re all on his turntable.

    Emmi Iida – Tell Me (Tobias Bergson Remix)

    By
    Editorial Team
    -
    Emmi Iida
    Emmi Iida

    Rising melodic house producer Tobias Bergson has stepped in on remix duties with internationally recognised Finnish visual artist, holistic interior architect & musician EMMI IIDA’s single, ‘Tell Me’, released via EFG Records. The evocative remix premiered on acclaimed publication Electronic Groove. The original track is taken from EMMI IIDA’s debut album, The Eye. Tobias Bergson boasts a whopping 180 million streams across platforms and has previously been released via major labels Armada and Universal Music Austria. His tracks have landed features on notable publications YourEDM, DJ Mag, 10001 Tracklists, Mixmag, When We Dip, and House Music With Love. He has also received airplay from the likes of National Canadian radio station CBC Music, the Irish RTÉ 2XM, and renowned Californian station KCRW’s Metropolis show, as well as being added to Spotify editorial playlists Electronic Rise, Chillout Lounge, Chill Tracks, and Deep House Relax, to mention a few.

    EMMI IIDA is a multidisciplinary artist who weaves together sound, space, and design into immersive, creative experiences. Based in the Finnish countryside, she draws inspiration from Nordic nature and her international background to create art and music that awaken new perspectives. Her EFG Method integrates spatial design and energy flow to support creative alignment—a philosophy mirrored in her musical storytelling. This year, EMMI is showcasing her visual art in art fairs with MONAT Gallery in Innsbruck, Paris, and a group exhibition in Madrid, as well as with Van Gogh Gallery in Munich and Miami. Her debut album, The Eye (2024), received recognition from distinguished publications and radio stations, including Wonderland Magazine, Notion Magazine, METAL Magazine, CLASH Magazine, NOCTIS Mag, Earmilk, BBC 6’s Craig Charles, RTÉ 2FM, Triple J, as well as secured her an interview with MTV Finland.

    ‘Tell Me’ is an ethereal work blending downtempo and ambient sensibilities, with EMMI’s celestial vocals floating atop spacious, twinkling instrumentation. The track embodies a dialogue between the self and the universe—an invitation to clarify your desires, release limitations, and step into alignment. This theme reflects the philosophy of EMMI’s EFG Method, which merges energy flow and spatial design to support creative expansion. The track “‘ invites the listener to reflect on what they truly desire and how aligned they are with their inner truth,” EMMI IIDA shared. “The song is about peeling back limiting beliefs and co-creating your reality with intention.”

    Tobias Bergson reimagines ‘Tell Me’ for the dance floor, infusing it with driving elements of progressive and melodic house while retaining the original’s magical spirit. The remix pulses with atmospheric synths and deep grooves, perfect for fans of Eli & Fur, Tinlicker, Yotto, and Ben Böhmer.

    Tobias told us, “I instantly liked EMMI’s voice and felt inspired to speed up the vocals from 90 bpm to 120 bpm. I think I produced about five different versions until I finally felt, “Okay, this is the one.” With the final version, I think the vocals and the chords harmonize beautifully. It’s a relaxed track, but thanks to the second build-up, it’s also meant for DJs looking for something for their warm-up sets.”

    SOURCE: Official Bio

    LINKS:
    https://emmiida.world/
    https://www.instagram.com/emmi.granlund/
    https://www.facebook.com/emmiefg/
    https://www.youtube.com/@EMMIIDA

    Jehry Robinson – Better

    By
    Editorial Team
    -

    ‘Better’s’ creaky guitar brushes up against bouncy verses punctuated by a smooth reggae-style inflection. This time around, he leans into the buoyant groove with swagger and delivers a clever and catchy chorus: “I know you could’ve done better, I know you still feel all alone, I know you think I’m pathetic, you never fail to let me know.” It serves as both a moment of confidence and an appropriate send-off to anyone undeserving and unappreciative who brings negativity into your life.

    The visual seamlessly brings this story to life as we witness a femme fatale dispatch two men. Meanwhile, Jehry looks on in disapproval, singing from the stairs and inside of a freshly dug grave in the woods.

    Regarding the song, he commented, “Better” is my sarcastic letter to that one person who treats life like a constant competition — the sibling who manages to casually remind you they ran a marathon — during a conversation about soup. It’s about the mental gymnastics of thinking, ‘Wow, maybe they are better than me,’ before remembering the truth: nobody’s better than anybody. We’re all just trying to get through this life — some of us make it look a little too polished for our good.”

    Robinson has earned acclaim from Folk N Rock—”Jehry Robinson’s ability to fuse melodic elements with his unique style effortlessly speaks volumes”—and from V13, which stated, “We love to categorize music and musicians, but what do you do when you come across one who defies all categorization? Enter Jehry Robinson.”

    His discography reflects his versatility and continuing growth as an artist. Notable releases include his debut album under Strange Music, 20/Twenty, featuring the collaboration “Daddy Issues” with Jelly Roll (2020). The Name Is Not Important (2021) is an introspective project that delves into personal themes and highlights his lyrical prowess, and Drink More Water (2023)is an explosive genre-jumping album.

    SOURCE: Official Bio

    LINKS:
    https://www.instagram.com/jehryrobinson/
    https://www.facebook.com/jehryrobinsonmusic

    The Bad Actors – Offside Clarity

    By
    Editorial Team
    -
    The Bad Actors
    The Bad Actors

    Following a barrage of headline shows and tour support slots this year, including the Fun Lovin’ Criminals, Huey Morgan on his May ‘25 tour, The Bad Actors announce the release of their new single, Offside Clarity. The second part of the heavily anticipated debut E,P titled ACT YOUR AGE is to be released in full later this year.

    Taking Sheffield by storm, funk rock duo The Bad Actors are making a name for themselves as “the men in orange”. Scissor-kicks and stage tricks are the MO of“kinetic” frontman Khalil. His voltaic stage presence helped secure slots at Tramlines Festival 2024 and at this summer’s YNot Festival 2025. Whilst Jay’s laid-back drumming, matching his personality in feel but not in introversion, forms the springboard for Khalil’s antics. This high-energy dynamic duo plays with a nease and synchronisation that can only be attributed to a lifelong friendship.

    Making waves on social media, The Bad Actors’ strategy is a recipe for virality, with over 350,000 Instagram accounts reached, 170,000 TikTok, and 190,000 YouTube views per month on their trademark ‘mini’ music videos during the previous release campaign.

    “We’re taking a lot of inspiration from bands like Living Colour and The Police, as well as Sly and The Family Stone.”
    Jay, drummer

    OffsideClarity conjures visceral imagery of the lonely midnight drive with only the radio for company. A darker, more introspective track, this second single from The Bad Actors’ upcoming EP presents as a perfect addition to a late-night drive vibes playlist.

    SOURCE: Official Bio

    LINKS:
    https://www.instagram.com/thebadactors
    https://www.tiktok.com/@thebadactors
    https://www.youtube.com/@thebadactors
    https://www.facebook.com/TheBadActors
    https://open.spotify.com/artist/5GGoXqBxcI4LJ0X6cEEHOi

    Black Sands – Making Memories

    By
    Ryan Martin
    -
    Black Sands
    Black Sands

    Black Sands (the brainchild of Andrew Balfour) has today released their new single titled ‘Making Memories’ from their upcoming album, dropping soon. While Andrew’s roots are clearly in country and acoustic rock, I have to ask: “Is country really country anymore?” The days of the original troubadours like George Jones and Hank Williams are long gone, but artists like Black Sands and others within the last decade or so have transformed it and molded it into something totally different.

    Admittedly, I’ve never been a fan of country music. Having said that, ‘Making Memories’ is not a country song. It picks and prods the roots of country and fuses them with a little bit of everything while filtering all of that through the mind of a true artist. The end result is a song that gives you a peek at what is to come with said artist’s upcoming album. This is a genre for the new millennium.

    Black Sands is that magic moment where an artist can reach across genres and unite people that would normally not be caught at the same shows and places them together in perfect harmony with their phones set to record.

    About ‘Making Memories’

    “Making Memories” is the first single from Black Sands’ upcoming album, as well as the first song from their new chapter —a reintroduction to the emotional core of Black Sands’ songwriting, rooted in Americana and acoustic storytelling. Produced alongside Davide Russo (The Chainsmokers, Marshmello) and featuring Brandon Chase on vocals, “Making Memories” is drenched in warmth and summertime optimism, making it a perfect end-of-summer song.

    “It’s about carefree nights out—locking eyes with someone across the room, falling in love, getting drunk, dancing, laughing, making unforgettable memories. It feels good. It’s nostalgic, it’s cinematic, and it’s how I hope people end their summer,” says Balfour. The track blends quintessential pop-country sounds with evocative, fun lyrics such as, “I’ma fill my cup, put some whiskey in the bottom, babe, Singing all night, giving that achy breaky Billy Ray. Feel like I’ve known you for all my days,” resulting in something fresh yet familiar.

    Trading his previous soaring synth-pop maximalism for grounded Americana sounds and lyrical intimacy, Balfour’s latest track is a “return home,” an homage to remembering positivity and light when reflecting on loss and departure. “Making Memories” was co-written by Balfour and Ryan Lawrie (BTS, TxT, Enhyphen) and features guitars from Giacomo Pasquali.

    At its core, Black Sands is a creative refuge, not just for Andrew Balfour, the project’s mastermind, but for all its collaborators. “I wanted to give people space to try things they hadn’t done before. To step outside the constraints of genre or expectation. That freedom led to some of the most experimental, immersive work I’ve ever made,” explains Balfour. Black Sands built a reputation on genre-bending soundscapes that drew comparisons to alt-pop icons like The Weeknd, The 1975, and Post Malone.

    But with his newest work, Balfour turns the volume down and the vulnerability up. While the first few years of Black Sands sound like someone trying to outrun their pain by building beautiful things, their latest chapter is different. These songs were born out of immense personal loss after Balfour experienced the deaths of his two siblings. These tragedies marked a turning point in both Balfour’s personal and musical journeys. His latest writing shows the other side of grief: the part that still wants to live fully. It’s not about escape anymore, it’s about arrival.

    “This isn’t a reinvention. It’s a homecoming,” Balfour explains. “It’s a return to the kind of music that feels lived-in and real. A shift from sound design to soul work. I’m still writing from contrast—but now, I’m letting the light in.” With over 4 million streams, press in outlets like Wonderland, Rolling Stone India, and Atwood Magazine, sync placements with JetBlue, UFC, and the London Olympics, recent nominations at the Hollywood Independent Music Awards, and 2nd Place in the Unsigned Only Songwriting Awards, Black Sands has already made a name for themselves in the music scene.

    About Black Sands

    Black Sands is the musical project of LA-based songwriter and producer Andrew Balfour, a veteran creative whose work exists in contrast — a collision of cinematic beauty and emotional honesty, of darkness and light. For the past five years, Black Sands has built a reputation on immersive, genre-bending soundscapes that drew comparisons to alt-pop auteurs like The Weeknd, The 1975, and Post Malone. But with his newest work, Balfour turns the volume down — and the vulnerability up.

    The new chapter of Black Sands trades experimental synth pop maximalism for stripped-back songwriting rooted in Americana, pop-country, and acoustic storytelling. It’s not a reinvention. It’s a homecoming.

    Born out of immense personal loss — the deaths of both his sister and brother, each tied to addiction — this new era is more grounded, more centered. The music was written on a guitar in quiet moments, after the noise had settled. It explores the emotional tension between grief and growth, memory and momentum, love and regret. But it also makes space for joy, summer nostalgia, and the strange optimism that lingers even in broken places.

    “Making Memories,” the first single of the new era, is a radiant, feel-good anthem — a love letter to carefree nights, shared glances, drinks that blur into laughter, and the kind of moments you wish you could live in forever. It’s cinematic, sun-soaked, and tender. Other forthcoming tracks explore different shades of emotional duality: the reckless charm of “Rock Me”, where Bacardi-fueled escapism masks loneliness; and “Our First Night”, a modern love story wrapped in timeless warmth and quiet wonder.

    While the new sound leans into the textures of country-pop and folk, Black Sands remains unmistakably modern — cinematic in spirit, emotionally layered, and lyrically intimate. Think guitar-forward storytelling filtered through the lens of someone who’s lived through contrast: former touring guitarist, global creative leader, brother, and wanderer.

    With over 4 million streams, press in outlets like Wonderland, Rolling Stone India, and Atwood Magazine, sync placements with JetBlue, UFC, and the London Olympics, and recent nominations at the Hollywood Independent Music Awards and 2nd Place in the Unsigned Only Songwriting Awards, Black Sands is no stranger to acclaim. But this chapter is different. It’s quieter. Truer. More human.

    “I used to build sonic worlds to better understand or outrun my pain,” says Balfour. “Now I’m building something to live in — something that feels like home.”

    Featured image by Red Gaskell.

    LINKS:
    https://www.blacksandsmusic.com/
    https://www.facebook.com/black.sands.official
    https://www.instagram.com/black.sands.official/
    http://www.youtube.com/@BlackSands
    https://open.spotify.com/artist/0b8blQos0fx43NVNfeyYDq

    Hail The Sun – War Crimes + Tour Dates

    By
    Editorial Team
    -

    Legendary independent New York-based rock label Equal Vision Records and Hail The Sun are excited to announce the Friday, October 24 release of ‘cut. turn. fade. back.’, the forthcoming studio album from the acclaimed experimental California-based rock band.

    Produced & engineered by Pete Adams and GRAMMY® Award Winner Johnny Kosich of Beach Noise (Kendrick Lamar), and mixed & mastered by Zakk Cervini (Blink-182, Bring Me The Horizon, Coheed and Cambria), cut. turn. fade. back. truly finds Hail The Sun going the distance, encompassing the complete cycle of life with its four monosyllabic words. An album touching on topics such as military atrocities, humanitarian crises, addiction, lost love, and death, the 11 songs presented here capture the cyclical nature of all those things, as well as life itself in general.

    A frenetic and politically-charged emotional juggernaut, the album’s new single, “War Crimes,” aims to highlight the damaging, harrowing effects of colonialism and imperialism, but is tied in with deep, probing questions about destiny and providence. Simultaneously, it serves as an affirmation about the strength of the human spirit.

    Hail The Sun frontman Donovan Melero had the following to share about the track:

    “Like clockwork throughout modern human history, we attack each other to control each other. To rule over each other. To own each other. We do horrific things in the name of ‘liberation’ and making the world a ‘better’ place … saving the virtues of the world. This only works when we are made to pick a side and be divided amongst ourselves. But who gains from these wars of carnage and death? Who always comes out on top?”

    Hail The Sun will also be making North American appearances on its co-headline tour with Between The Buried and Me throughout September and October. Kicking off on Sunday, September 14, at Union Transfer in Philadelphia, PA, the tour will feature support from Delta Sleep and The World Is A Beautiful Place & I Am No Longer Afraid To Die in select markets through Thursday, October 30. The band has also announced its headline appearance at Kill Iconic Fest in San Antonio, TX on Sunday, October 5, which will also feature performances by Head Automatica, Between The Buried and Me, Makari, Omerta, Murals, Resilia, and more. Tickets for all shows are on sale now via the band’s official site HERE, and a full listing of dates can be found below.

    About Hail To The Sun

    Anybody familiar with Hail The Sun will know there’s always a great deal of meaning beneath the surface. Theirs are songs probe the very nature of existence, that strive to find the answers to the fundamental questions that being human raises, and don’t flinch away from any form of self-reflection whatsoever. That’s been the case since the band—lead vocalist Donovan Melero, guitarists Shane Gann and Aric Garcia, bassist John Stirrat, and drummer Allen Casillas—formed in Chico, CA in 2009, but it is especially the case on the cut. turn. fade. back, their seventh full-length.

    For the first time in their career, Hail The Sun worked with the production outfit Beach Noise, whose experience is much more steeped in the hip-hop world—most notably, they worked on a good chunk of Kendrick Lamar’s acclaimed 2022 album, Mr. Morale & the Big Steppers. On paper, it seems like a drastic shift, but the reality is less dramatic—the band went to college with a member of Beach Noise, so they’ve been in each other’s orbits for a while now.

    Yet at the same time, Hail The Sun wanted to return to their roots of being a band in a room and jamming live. To do so, they went to Pus Cavern recording studios in Sacramento with Beach Noise in tow to craft the songs that had mostly been written already. So while cut. turn. fade. back. doesn’t see the band flip genres or anything, the production team had an active role in the creation of these songs, as well as their final product.

    From the moment the post-hardcore lilt of “The Drooling Class” kicks this record off until the passionate intensity of “War Crimes” brings it to an end in a cacophony that emulates the violent conflicts that inspired it, cut. turn. fade. back. becomes part of the band’s cycle—re-establishing who they are while simultaneously (but subtly) reshaping their identity. Just listen to the spiteful, coruscating energy of “There’s No Place In Heaven For Fakes”, the shapeshifting, surround-sound production of “Insensitive Tempo” and “Blight”, and the almost constant crescendo of “I Can Tell By The Scars” and it’s clear that Hail The Sun are as intentional and fervent about their art as they ever have been.

    “It doesn’t matter if people take away the intended message from these songs,” says Melero, “and I’m certainly not going to police it, but we do, as always, want to encourage critical thinking. Fifteen years in, I love that we’ve been allowed this fan base to speak to. I feel very grateful and fortunate, and I hope that it keeps carrying us forward and continues to be the thing that we can sustain life from.”

    Hail The Sun will be making the following appearances in 2025. Dates below with more to be announced soon.

    Featured image by Alex Bemis.

    SOURCE: Official Bio

    LINKS:
    https://hailthesun.com/
    https://www.facebook.com/hailthesun
    https://www.instagram.com/hailthesun
    https://open.spotify.com/artist/0XblvrTo6mnHOxWIP1t5T6

    Ashes and Diamonds – On A Rocka

    By
    Ryan Martin
    -

    Ashes and Diamonds have today released their new video and single titled ‘On A Rocka’, from their upcoming album ‘Are Forever’, dropping October 31st via Cleopatra Records.

    Featuring legends Daniel Ash (Bauhaus, Tones on Tail, and Love and Rockets, check out our exclusive interview HERE), Bruce Smith (Public Image Ltd and The Pop Group), and Paul Spencer Denman (Sade and Sweetback), this supergroup, for lack of a better term, shows that the eclectic can define the electric with varied styles and lucid originality. Retro-electric fun in a video that acts as the visual aid to all of that sonic goodness, ‘On A Rocka’ is ‘on-a-point-a’ with a road trip feel that takes the listener for a ride, whether it be shotgun or in the trunk.

    An audio artpiece in the truest sense of the term, the ‘no discernible lyrics’ approach focuses on the music and the essence of what the song is truly about. This tells me that this is a much a project as it is a band, and that’s a good thing. This lends way more to interpretation and keeps them less in a box and more orbiting the box. This frees any reins that not only the confines of a style put on a band or artist, but, in this case, anything the members’ history leads anyone wanting a listen to assume that Ashes and Diamonds are anything but original.

    About ‘On A Rocka’ & ‘Are Forever’

    “When I met Bruce for the first time (I had known Paul since way back), we were all renting a very humble rehearsal space in Los Angeles at the same time,” recalls guitarist/vocalist Daniel Ash about the genesis of Ashes And Diamonds, the new band he formed with Bruce Smith (drums, programming, background vocals) and Paul Spencer Denman (bass). “Paul and I had already been discussing working together, but it was Paul’s wife, Kim, who suggested Bruce for drum duties. It all started with the standard, ‘Hi, I’m Bruce / Hi, I’m Daniel’. About an hour later, the three of us were making a noise putting something together.”

    With each of these storied musician’s experiences in vastly impressive histories (Daniel from Bauhaus/Tones On Tail/Love and Rockets bringing his signature post-punk, glam and experimental style; Paul from Sade/Sweetback delivering smooth, rhythmic low-end that anchors the band’s cinematic feel; Bruce from Public Image Ltd./The Pop Group adding textured percussion and atmospheric electronics, balancing the band’s classic roots with an experimental edge), Ashes And Diamonds launches their new outfit with their powerful debut single “On A Rocka” which is released today, August 14, 2025 via Cleopatra Records. The accompanying video for the song which Brooklyn Vegan calls “a glammy stomper that revels in its simplicity with a killer signature riff from Ash” was directed by Jake Scott, son of acclaimed film director Ridley Scott (Alien, Blade Runner) and director of music videos by Oasis, U2, Radiohead, The Rolling Stones, among others.

    Taken from their upcoming album, Ashes And Diamonds Are Forever, which will be available digitally and in stores on October 31, 2025, “On A Rocka” is gritty rock and roll with a pulse set firmly in the late ‘50s but with a modern rock twist. Chugging along with a series of repeated stabbing, staccato guitar chords a la Daniel, the propulsive track is launched forward through Bruce’s steady rock-solid beat while Paul holds it precariously together with an embracing melodic bassline.

    “We wanted to start with something hard and fast for major impact regarding the first single,” says Daniel. Adds Bruce, “It’s a killer piece of music. Super fresh, it doesn’t sound like anyone else. What else can you say?”

    ‘Are Forever’ tracklist

    'Are Forever' cover.
    ‘Are Forever’ cover.
    1. Hollywood
    2. Teenage Robots
    3. On A Rocka
    4. ON
    5. Boy Or Girl
    6. The A Listers
    7. Plastic Fantastic
    8. Ice Queen
    9. Setting Yourself Up For Love
    10. Alien Love
    11. Champagne Charlie
    12. 2020

    About Ashes and Diamonds

    While their originating bands seem miles apart genre-wise, their singular focus is creating tenaciously infectious songs, adhering to the brain like taffy to teeth, and musically adept and highly skilled. Beginning pre-COVID and developed since then, ‘Are Forever’ is an album carefully built and heavily curated. “The first few songs we wrote in the studio together, but then Covid landed, so several songs were written long distance,” explains Bruce about the songs that took a few years to complete. Eventually split by geography when Paul departed Los Angeles for the U.K. and Bruce for Vermont during lockdown, writing for the album was completed virtually, with each band member emailing their ideas to each other.

    Further explains Paul, “We taped what we had done in LA in the early days, and then went away with it. Bruce put some beats down, I played bass, and we sent what we had done to Daniel.” Meanwhile, Daniel adds, “I use newspaper headlines as a starting point for my lyrics, so by the end of the first day, there were clippings all over the floor… and the rest is history.”

    Eventually, the three rejoined in person to record the album in Los Angeles. Holed up for ten days with engineer Robert Adam Stevenson (Queens of the Stone Age, Jane’s Addiction, The Kills), they recorded and mixed 12 songs, banging it old school. What they ended up with is a chef d’oeuvre, each song bubbling with potent anticipation and erupting with adrenaline, fortified by each band member’s notable histories.

    “For me, it’s been one of the most fulfilling recordings I’ve ever been involved in… and I’ve made a lot,” says Bruce. “The songs are realized, the production is dope with no tracks you wanna skip over.”

    “I am incredibly proud of what we have done,” continues Paul. “When we first got together, we didn’t know if it was going to work out, and we had to see if things gelled, but working together was a breeze! I’m a big fan of Bruce and Daniel. They are both exceptional musicians, but in a rather non-musical way. They always play things that surprise me, and I find that exciting.”

    “It took seven years instead of seven months to finish,” reflects Daniel about the lengthy gestation of this band, which all three are extremely proud of. Like the time it takes for coal to turn to crystalize, …Are Forever may have taken a while to develop, but finding a diamond amongst ashes is a great find indeed.

    The single “On A Rocka” is available through DSPs today. The album Ashes And Diamonds Are Forever will be released via Cleopatra Records on October 31, 2025, and was produced by Ashes And Diamonds with some co-production by James Salter and Joe Dexter. It was mixed, engineered with additional production by Robert Adam Stevenson.

    Ashes And Diamonds are:

    Daniel Ash – Lead Vocals / Guitars / E-Bow / Saxophone

    A founding member of Bauhaus, Tones on Tail, and Love and Rockets. Daniel brings his signature post-punk, glam and experimental style to Ashes and Diamonds.

    Bruce Smith – Drums / Programming / Backing Vocals

    A veteran of Public Image Ltd and The Pop Group, Bruce contributes textured percussion and atmospheric electronics, balancing the band’s classic roots with an experimental edge.

    Paul Spencer Denman – Bass / Backing Vocals

    Best known as the bassist for Sade and Sweetback. Paul delivers smooth, rhythmic low-end that anchors the band’s cinematic feel.

    LINKS:
    https://www.ashesanddiamonds.net/
    https://www.facebook.com/ashesanddiamondsmusic
    https://www.instagram.com/ashesanddiamondsareforever/

    Leafblower – Ghosts

    By
    Ryan Martin
    -

    Leafblower has today dropped their new video and single titled ‘Ghosts’ from their latest album ‘Burn Cruise’, out now via Max Trax Records. Corporate-branded rock fit for the FM radio of the mid-80s, Leafblower takes the mainstream back to Main Street with assembly-line bravado. Okay, if you read this far, then you know I am totally fucking with you. The only thing Leafblower would take to the mainstream is a sick, steamy, corn-filled dump. This is actually a call to arms. A demand to burn down the mainstream and take every penny and give it to those who can do something creative with it. This is an experimental jam band’s response to American Idol.

    ‘Ghosts’ is that fecal smear to the face of everything conformist. The Sanchez is dirty, and his name is Tim.

    ‘Ghosts’ is one of those that you can’t turn away from. That car wreck you walked past and noticed the ambulance, and now you wonder with curiosity. Leafblower is the answer to the question, and that question is individual. This is one of those bands that fills that void.

    About ‘Ghosts’

    Taken from their latest album Burn Cruise, which was released in June 2025, the song had an appropriately ominous origin. “The lyrics for the song were written in the wee hours of the night,” confesses vocalist/guitarist Danny Maxwell. “I couldn’t sleep, so I got up and watched some TV. I thought I saw something out of the corner of my eye, then I felt a warming presence near me, though I didn’t feel threatened.”

    While the supernatural often ushers in dread and fear, for Leafblower, it was instead embraced not only with open arms but with a seat at the writing table. “My first thought was ‘What’s all the fuss about?’ My second was to scribble it all down.” Taking a breather from the paranormal, Maxwell grounded himself and fleshed out the rest of the lyrics in a more earthbound mindset. “I came back to that thought later and was able to bridge it with another lyric about feeling bottled up with scattered thoughts and emotions until it all comes to a head for the second half of the song.”

    Adding the words to drummer Tab Tworek’s music, they created a track that couples a powerful rhythm section of Tworek and bassist/theremin/vocalist Craig Fort with Clark Jahn’s searing guitars and Maxwell’s ice-piercing vocals. The result is a gritty power jam of ace musicianship in lockstep.

    Accompanied by a surreal video starring their aged octogenarian mascot “Tim” who had been a common star of their social media presence, going about his everyday activities, like delivering babies, jumping in puddles, taking the baby above on errands, fastened in a BabyBjörn, and, in a rather meta sequence, using a Leafblower. “When we first started, we posted daily shorts of our guy, ‘Tim,’ doing everyday things,” laughs Fort. “He gained a decent following and we did it for a few years, but his appearance in the videos started to peter out.” Instead of letting Tim’s memory languish in the annals of social media archives, they mined their old vids and used excerpts for the “Ghosts” video.

    'Tim' the mascot.
    ‘Tim’ the mascot.

    “Tim is our mascot,” continues Maxwell. “We had a run of 200+ consecutive posts on Instagram and Facebook featuring these little 7-second skits of Tim doing anything from everyday activities like skating, preparing meals, and landscaping duties to extraordinary moments like doing the wave at an empty ballpark and lying still enough to feed a wild fox a chicken leg.”

    The result is a haunting and somewhat surreal montage of sped-up vignettes with Tim in the foreground. “Life is gonna come at you no matter what your plans are, and there’s nothing you can do but put your head down, bulldoze through, and you might as well have a good time while you’re at it,” says Fort metaphorically. “I didn’t set out with a theme when I started the video, but I think it developed into a picture of a very hectic example of our daily lives and finding ways to make the best of it.”

    About Leafblower

    A fixture in the Omaha rock scene since 2016 as a fun side project while each member focused on their primary bands, Leafblower is proud to be part of their local scene. “Omaha has had a powerful influence on all of us,” contends Maxwell. “We came together as a band in Omaha, with three of the fellas eventually moving here from nearby cities for school, work, and family.”

    “Omaha is full of amazing creative people,” agrees Fort, who also credits the city’s fertile music scene. Having been employed at O’Leaver’s Pub, where he worked multiple shows a week for both local and touring bands, he also cut his teeth running a “D.I.Y. basement venue called Fort House for years, which was a place for local bands to get their feet wet in a comfortable, inviting environment. It’s been very easy to stay entertained in Omaha as far as music goes.”

    The band’s amalgamated sound coalesced into the post-rock masterpiece that is their album Burn Cruise. “Burn Cruise is made up of a collection of songs we’ve written over the last couple of years,” concludes Maxwell, proud of their debut. “The album has taken on its own identity through the scope of our shared experiences. Like taking a moment in traffic to take a look inside. Focusing on oneself amongst the noise.”

    Featured image by G-Knee.

    SOURCE: Official Bio

    LINKS:
    https://www.maxtraxrecords.com/leafblower
    https://www.tiktok.com/@leafblowermusic
    https://www.instagram.com/leafblowermusic
    https://www.facebook.com/blowleafmusic

    MEGGS – IDC

    By
    Editorial Team
    -

    Fresh off the most surreal summer of her career, LA-bred alternative punk artist MEGG caps her Vans Warped Tour run with the release of the music video for her latest single, “IDC.”

    Filmed on a shoestring budget and an even tighter schedule, the video channels the rebellious energy of the track into a whirlwind of nostalgia and chaos.

    “We pulled this music video off with like zero time or budget, and the result is a fast-paced, nostalgic, chaotic ride,” MEGG shares. “It was such a team effort led by Rio Noir—he’s an insane talent. It is a blast to watch, and I think you can feel how much fun we had making it.”

    Co-written by Brian Wight, Sophie Shredz, and MEGG, and produced by Wight and Rob Nagelhout, “IDC” is a snarling, anthemic statement piece—equal parts Joan Jett swagger and early Green Day grit. Mixed by Nagelhout and mastered by Grammy-winner John Greenham (Billie Eilish, FINNEAS), the single’s chorus all but dares you not to scream along.

    The video’s release arrives just as MEGG wraps an unforgettable Warped Tour experience.

    “Being on stage with my best friends at Warped Tour this year was the most insane experience of my life,” MEGG reflects. “My band and I grew up attending this festival when we were kids… to play our music in front of thousands of people as probably the smallest act on the bill… I’m still speechless. Thank you, Kevin Lyman and Warped Tour! Grateful is an understatement.”

    A graduate of USC’s inaugural Popular Music Performance Program, MEGG has built her reputation on genre-bending songwriting, powerhouse vocals, and a relentless DIY spirit. She’s shared the stage with KISS, The Used, and other rock heavyweights, while headlining iconic Los Angeles venues like Saint Rocke and performing the National Anthem for the Dodgers, LA Galaxy, and LA Sparks.

    Now splitting her time between Nashville and her California roots, MEGG is riding the momentum of “IDC” toward her upcoming EP, due this fall. With sand still in her Vans and a middle finger still raised, she’s primed to keep delivering the raw, unfiltered anthems her fans have come to love.

    SOURCE: Official Bio

    LINKS:
    https://www.instagram.com/meggmusic/
    https://www.meggmusic.com/
    https://open.spotify.com/artist/3eKpew8ptsrQSOPtPg9hAJ

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