Slow Cooked has today released their double-single titled ‘Vest Poets’ and ‘Gammon’. The dream child of Louie Barby, Slow Cooked delves into the wild and wicked world of electronica by infusing their flair and originality with an original brand demanding a listen.
Not carved from the same wood, the two tracks are merged with a reprise that fits them together like musical bookends that fuse the yin and the yang with little effort and even less dissonance. I love it when a band or an artist shows their creative diversity with only a couple of songs. It makes me want to listen to more and research their background.
While ‘Vest Poets’ dives into the deep end with a trance feel and dance beat, ‘Gammon’ goes dark and deep into the feels with an almost obscure sound and underground movement. This is what music should go back to.
About Slow Cooked
Hailing from Holmfirth, West Yorkshire, but now well and truly nestled in South London’s creative sprawl, Louie Barby, AKA Slow Cooked, has established himself as a central figure in the city’s music scene. Bringing his unique brand of cello playing to a range of projects, he’s supported artists such as King Krule, Black Country New Road, Nourished by Time, and Katy J Pearson and collaborated with the likes of Goat Girl, heka, and Skydaddy.
Marbling the grit, gristle, and gloom of punk with his background in classical training, new double A-side release ‘Vest Poets / Gammon’ – lands today (22nd July) via Plum Cuts (Rosie Alena). United in their critiques against the sickly sincerity of online personas within self-promotion, together they reveal the broad Slow Cooked musical spectrum, brawny and baleful at one moment, exquisitely tender the next.
Produced by regular Dan Carey collaborator, Adele Phillips – a member of Miss Tiny, and who has worked on records by Grian Chatten, Royal Otis, and Sailor Honeymoon – the tracks were originally written using only a cello and loop pedal, later utilizing glitched samples to create an air of restless energy and experimental fervor.
Discussing more on Vest Poets, Louie says: ‘Surrounded by the sickly sincerity of online life coaches and artists, you boil with hatred and frustration until you realise you’re becoming the very thing you love to hate. A ballad wrapped up within a punk song.’
Offering more on its companion track, ‘Gammon’, he adds: “‘Though the messages are ones you hold dear, confusion and bitterness exclude from you and your skin turns gammon pink in allergy to weaponization of sincerity by online influencers. ’
Releasing his debut EP Plastic Values last April, this past year has seen Louie play at the legendary Crows Nest stage at Glastonbury and tour across the UK and Europe. Winning comprehensive 6Music radio backing from New Music Fix, he has also won the favour of Emily Pilbeam at BBC Introducing, who named his debut single as a ‘Track of the Year’ in 2024.
Curating ‘Cello Sunday’ alongside the legendary booker of the Brixton Windmill, Tim Perry, Louie has also founded his night Hard Drive, blending drag art and live music to highlight the beauty of the London creative scene.
Seattle’s Acapulco Lips’ signature cocktail of psych, surf, and garage rock gets a sparkling refresh on this latest release, with thicker grooves, sharper hooks, and even more attitude. For over a decade, the band has been a staple of the Pacific Northwest underground, blending ’60s girl group charm with blown-out guitar licks and reverb-drenched abandon. Now doesn’t mellow with age. It snarls with intent, while reaching into deeper emotional terrain than ever before.
From the woozy swirl of “Fuzzy Sunshine” to the frantic pulse of “The Flim-Flam,” the album crackles with restless energy and reckless cool. Maria-Elena Herrell’s vocals remain the radiant centerpiece, equal parts haunting and honeyed, while her basslines hold down the chaos with a melodic strut. Guitarist Christopher Garland lets loose in all directions, adding a tanpura drone here, a wild tremolo run there. Jordan T Adams joins on drums and percussion, bringing punch and personality, while Stefan Rubicz’s keys offer occasional glimmers of retro shimmer.
But beneath all the shimmer and fuzz lies a quiet meditation on time — how we lose it, spend it, waste it, and sometimes try to outrun it. “I’d say pretty much every single song on Now goes back to the theme of time,” says Herrell. “There’s an urgency that comes with understanding you can’t get it back, and you don’t know how much you’ll get.” That urgency pulses through tracks like “Everyday,” a frustrated observation of history repeating itself, and “Slowly Disappearing,” a slow-burning elegy for fading places and people. Written in part after seeing photos of the now-abandoned hospital where she was born, the song captures a feeling of slow erosion — of personal and collective memory — with a gentleness that suggests deeper loss. “It can feel like you are disappearing along with them,” she says.
Produced by Killroom co-founders Ben Jenkins and Troy Nelson, Now was recorded at their Georgetown studio, then mastered by Pacific Northwest punk legend Kurt Bloch. That analog warmth oozes from every corner of the album, especially on standouts like “Welcome to the Other Side,” a psychedelic handshake into the band’s glittering world, or “Pas d’échappatoire,” a swaggering, surreal detour into French-laced cool. The band’s devotion to the garage-psych lineage is palpable, but never derivative. This is music made for today, by lifers who know their history and know how to rip it up.
If Acapulco Lips’ past work flirted with nostalgia, ‘Now’ is where they claim the present tense. It’s a record of movement, of circles, of patterns that return whether we want them to or not. These songs don’t just echo the sounds of another era — they dig into what it means to be here now, feeling joy, uncertainty, grief, and hope all at once. For fans of Shannon and the Clams, Thee Oh Sees, Jefferson Airplane, or anyone who thinks rock should be a little messy, a little dreamy, and always loud, Now is exactly the right time.
Harry Hudson Taylor has today released his new video and song titled ‘Dear You, It’s Me’. As much a poem as it is a memorable piece of music, we get a glimpse of a diary entry set to a score with a feeling of life and a penchant for social purity.
While musically intriguing, the music adds to the message with a subtle fluctuation that follows the lyrics emotionally and phonetically, adding that punch to the nuance. This is the strength of ‘Dear You, It’s Me’, both as a song and as a concept.
About Harry Hudson Taylor
Harry Hudson Taylor is an Irish singer-songwriter and visual artist, formerly one half of the folk duo Hudson Taylor. After the band parted ways in 2022, he began carving out a solo path, first under the moniker Lady Bird Lad, and now relaunching under his name. His solo work blends folk roots, ambient textures, and lyrical storytelling, with a focus on connection, compassion, and vulnerability.
Known for his poignant storytelling and harmony-rich songwriting as one half of Hudson Taylor, Harry’s solo work leans further into introspection and experimental form. Now based in Berlin, he continues to expand his sound with heartfelt lyricism, ambient textures, and visual storytelling.
‘Dear You, It’s Me’ began as a private journal entry and evolved into something quietly cinematic, a message from a mentor, a guide, or perhaps one’s future self. The accompanying short film follows Harry through Berlin’s streets and ends in a wordless embrace with an older man, symbolising guidance, tenderness, and reflection.
The single artwork features a portrait of Harry surrounded by handwritten text, the original diary entry that became the lyrics ‘Dear You, It’s Me’. “It felt important not to separate the message from its origin,” Harry says. “The words came from a very real moment, and I wanted to honor that.”
The track was self-produced and mixed entirely by Harry, capturing the immediacy and intimacy of the message. An instrumental version is also available – created not just for fans of cinematic music, but for those who might want to use the piece as a backdrop for meditation, journaling, or their creative work. It’s an offering of space, a canvas for others.
On the piece, Harry says: “I wrote this as a diary entry during a break at the café where I was working. I was writing along to the instrumental hip-hop beats my boss always had playing. It started as something I needed to hear — a quiet conversation with myself. I figured, if I needed it, maybe someone else might too. That’s why I’ve included the instrumental version as well — something grounding and spacious. I like the idea that it can hold people without words, just as it did for me.”
Danny Kuttner weaves her multicultural background into a rich musical tapestry defined by lush soundscapes, soulful vocals, and genre-blending production. Her new track ‘Friendzone’ continues her exploration of emotional storytelling through a fusion of 90s neo-soul, ECM-inspired contemporary jazz, and electronic left-field output.
With a minimalist feel to the production of the new single ‘Friendzone’, the vocals have an edgy quality that helps deliver the personal message. Speaking of the new single, she says, “‘Friendzone’ is that one track on the album where we just had pure fun creating. The melodies came quickly, and the chorus had this cheeky meaning that set a light, playful tone for the whole song. It’s about that one friend where you know there’s something more — that grey area that can so easily go wrong. There’s jealousy, love, and real friendship behind the lyrics. It’s not a topic I find easy to talk about directly, so I sang it instead”.
Kuttner made waves with her previous EP Purple, which offered a raw and honest look into personal introspection, pairing poignant lyrics with beautifully layered instrumentation. Her growing body of work showcases not only her distinctive voice and artistry but also her depth as a producer and arranger. Getting support from the likes of Wonderland, Live Nation’s Ones to Watch, and Soho Radio, Danny Kuttner is back to continue that trajectory with new music and UK dates.
Making music is a sacred, transformative space for Kuttner, a process of healing and self-reflection. Her forthcoming debut album (TBA) promises to expand on this ethos, blending influences from Norah Jones, Hiatus Kaiyote, James Blake, and Billie Holiday into an atmospheric sound that is uniquely her own.
Produced by Paul Miner (Buzzbomb Studios), “Documentation” explores the emotional highs and lows that define the human experience—moments of joy and despair that converge into something universally relatable.
Frontman Josh Linden explains:
“‘Documentation’ was written about the juxtapositions we come across as we travel through our lives. There are moments of triumph and overwhelming joy that are consistently met with times of desperation and unbearable pain. These all coalesce into a singular human experience.
With Jeff Antons directing, we used the Port of Los Angeles, a booming hub in our home city, as a backdrop representing the ebbs and flows of what we as a band, and as individuals, go through. It ties in with the rest of the record as each track represents an individual journey that we all encounter as we move ahead.”
Blending classic Americana Folk, and Bluegrass with the Southern California punk rock they were raised on, Hoist the Colors has carved out a sound as diverse and dynamic as the city they represent. Having shared stages with legends and taken part in Flogging Molly’s Salty Dog Cruise, the band now steps confidently into the next chapter of their career.
Throughout her kaleidoscopic career, Doe Paoro has made her music into a vessel for transformation of all kinds: catharsis, awakening, the deliberate shedding of old patterns and worn-out beliefs. In creating her new album ‘Living Through Collapse’, the Costa Rica-based singer/songwriter embraced an even deeper intentionality and dreamed up a body of work aimed at catalyzing collective healing—an undertaking informed by her longtime experience in apprenticing with practitioners of shamanic plant medicine in the Peruvian jungle, as well as her work in leading sound baths and guided meditations.
Built on her most unbridled and expansive output to date, ‘Living Through Collapse’ ultimately serves as both sanctuary and sustenance, providing the clarity of mind and radiance of spirit needed to navigate an increasingly precarious world.
“This is a record about grief, repair, and possibility,” Paoro says. “It’s about the karmic responsibility of being born, and a call to action to fight for the sacred life of what is not yet born.” She continues, “It’s a sobering look at the unsustainability of where we are as a human and more-than-human family with our intersecting injustices and inequalities, wars, ecocide, and empirical collapses, and it’s an ask that we don’t give up but join in the prayer and action of working towards collective liberation for all. This is a record that holds space for duality, paradox, contradiction, and transcending all of it. I hope it will serve as a salve, guide, and space holder for the times that are coming.”
Alongside the release, Paoro has shared the project’s lead single + video “Forgiveness Is,” a collective prayer for forgiveness.
“We are all witnessing so much horror in the world, and I have learned from my own experience that forgiveness can be a very powerful unlock out of the incomprehensibility of darkness,” Paoro explains. “I think part of what it’s going to take for us to evolve out of this place we are in collectively is some sort of radical forgiveness practice, which also includes what we have inherited from those who came before us and what we have contributed to. Forgiveness is such a high frequency to seek counsel from.”
“In recent years, I’ve been consumed by an awareness of how the world seems to be in collapse—not just the environment, but also the intertwined systems and legacies of power, colonialism, capitalism, racism, and structural inequity, all driving us toward unsustainable and life-denying futures,” she says. “This album came from asking myself how we show up for that collapse, and how music can hold space for repair as well as the birthing of new possibilities.”
The first full-length from Doe Paoro since 2018’s Soft Power (a soul-leaning LP produced by Amy Winehouse collaborator Jimmy Hogarth), Living Through Collapse marks the latest entry in a sonically adventurous catalog that also includes 2015’s After (a moody convergence of R&B and synth-pop, made with members of Bon Iver’s creative circle). This time around, she assembled an eclectic mix of producers including Jonathan Wilson (Angel Olsen, Father John Misty), Chris Sholar (Esperanza Spalding, Solange), Lagartijeando (an Argentinian luminary known for inventively merging Latin folk and electronic music), and Liam Fletcher (a UK-based musician whose credits include Swiss singer/songwriter Danit). Co-produced by Devin Gati (who also helmed production on Doe Paoro’s 2022 EP Divine Surrendering) and partly recorded in Costa Rica with a lineup of local musicians, Living Through Collapse embodies an earthy yet resplendent sound that perfectly mirrors its globe-spanning origins.
“The way we made this record was very mycelial,” notes Kreitzer, referring to the underground networks of filaments that enable complex communication among ecosystems. “Devin and I started these songs together and then reached out to people all over the world to come up with the best possible offering to meet this moment.”
We Are Scientists have today released their new album titled ‘Qualifying Miles’ via Grönland Records. While We Are Scientists have long ago established their original and vibrant sound, ‘Qualifying Miles’ is the next step in their evolution of revolution, so to speak. Such a sound and original style deserves to constantly be tweaked and honed into what it could be. What we hear with ‘Qualifying Miles’ isn’t so much a ‘more of everything approach, we hear everything and anything in the right places, as well as that nudging forward into new territory.
‘Qualifying Miles’ is an album to fall in love with. To listen to long after the next album, and the one after that, drops, and this fades into nostalgia. Maybe nostalgia is a bad word, because I can imagine dusting this off in 2035 and getting that same refreshed feeling I am getting now.
Vibrant hooks amid ambient and even orchestral sounds, topped with tube amped guitars and signature vocals singing hitting lyrics, We Are Scientists take a beautifully scientific approach when it comes to making their music and friends out of their fans.
Check out our other features with We Are Scientists HERE.
About ‘Qualifying Miles’
Qualifying Miles is a stripped-down, emotionally expansive record that sees We Are Scientists embracing the ‘90s guitar rock influences that first lit the fuse back in their early Brooklyn days. Tracks like “Dead Letters,” “At The Mall In My Dreams,” and “What You Want Is Gone” lean into themes of memory, impermanence, and the haunting weight of lost connections. But there’s levity, too – the band’s self-effacing humor and melodic swagger remain front and center.
Recorded with a “band in a room” ethos and a let-it-rip energy, Qualifying Miles finds longtime duo Keith Murray and Chris Cain pushing themselves toward something looser, louder, and more instinctive than anything they’ve done in years. For a band celebrating 20 years since their breakthrough debut With Love and Squalor, Qualifying Miles doesn’t feel like a victory lap – it feels like the start of something urgent and new.
We Are Scientists will support the release with an East Coast North American tour this fall, kicking off September 4th in Philadelphia and wrapping September 13th in Toronto (dates below).
About We Are Scientists
The band’s origin story has become the stuff of indie rock legend. Murray and Cain met in 1997 while attending Pomona College in Claremont, California, bonding over a shared love of comedy, film, and music, after meeting at a Dawson’s Creek viewing party. After graduation, they formed We Are Scientists in Berkeley in 1999, taking their name from the gentle barbs of a U-Haul inspector who, after assessing their appearance, asked whether they were scientists.
The two friends relocated to Brooklyn in 2001, enticed by free housing at Keith’s grandfather’s Bensonhurst duplex and whispers of a burgeoning indie scene. After three years of uninterrupted dues-paying, a sapling We Are Scientists was put in the room with a producer at the time nearly as green as they. Ariel Rechsthaid (Vampire Weekend, Charli XCX, Usher) recorded their debut album, With Love and Squalor, in 2004, and then W.A.S. was signed to Virgin Records. The album dropped in 2005 (UK) and 2006 (US), and catapulted the band to international acclaim.
Singles like “Nobody Move, Nobody Get Hurt,” “The Great Escape,” and “It’s a Hit” captured the zeitgeist of the post-punk revival scene while establishing We Are Scientists’ signature sound: taut, danceable rock with razor-sharp hooks and thoughtful, witty lyrics rendered in Murray’s unmistakable vocal. The album sold over 100,000 copies in its first six months in the UK alone, certifying the record’s gold status and establishing We Are Scientists as legitimate players in the dance rock scene. Appearances like Late Night With Conan O’Brien, The Late Show with David Letterman, and Later… with Jools Holland followed.
We Are Scientists returned in 2008 with their second EMI release, Brain Thrust Mastery. Propelled by the single “After Hours,” which reached #11 on the UK charts, the album further elevated the band’s profile, landing them main-stage slots at some of the world’s biggest festivals, including Reading & Leeds, Glastonbury, and Coachella, and tours with legendary acts such as R.E.M., Pixies, Arctic Monkeys, Kings of Leon, Au Revoir Simone, Art Brut, Metric, and Wolf Parade. “U2 supported us once at a show in London,” Keith notes. “But they were surprise guests, so maybe it didn’t count.
After parting ways with EMI, Murray & Cain embraced independence with 2010’s Barbara, released through several distributors via their own Masterswan Recordings, and featuring the drumming of British icon Andy Burrows (Razorlight). The album’s success fueled nearly two straight years of touring that saw them perform for the first time in countries like Russia, Thailand, Indonesia, and Colombia, significantly expanding a global fanbase.
The 2010s saw We Are Scientists solidify their status as indie rock mainstays while continuing to experiment. TV en Français (2014), produced by Chris Coady, was followed by Helter Seltzer (2016) and Megaplex (2018), each showcasing different facets of the band’s sound while retaining a core identity. By this time, Keith Carne had joined W.A.S. as their regular touring and studio drummer, completing the lineup that continues today.
Anyone who’s attended a We Are Scientists show knows that the music is only part of the experience. Murray and Cain have distinguished themselves through sharp, improvisational comedy during performances, never rehearsed, always genuine. “With apologies to professionals everywhere, the thought of rehearsing or reusing stage banter makes me cringe,” Murray has said.
This sensibility extends to their music videos (many self-directed); their 2009 MTV series Steve Wants His Money; a pandemic-era, music-and-desperation-themed podcast called Dumpster Dive; and their communications with fans, nowadays focused through their Substack Slow Descent Into Radness.
The band’s creativity continued to flourish through the self-produced albums Huffy (2021) and Lobes (2023), records beloved by fans and critics alike for their ambitious experimentation with studio production and expanded sonic palettes. Keith describes this studio-centered approach fondly: “We’ve generally been more interested in making the recorded versions of our songs their pieces of art rather than a simple reflection of how they’d sound live. Those two records are my favorite in our discography. Until now.”
In time for the 20th anniversary of their seminal debut, We Are Scientists will release their ninth studio album, Qualifying Miles, on July 18th. This record finds the band revisiting childhood roots, embracing the raw immediacy of guitar-driven indie rock they were weaned on. “Every producer we’ve ever met has pitched us a ‘band-in-a-room’ recording approach,” Keith explains. “We always found that uninspired. But this group of songs seemed to call for exactly that kind of stripped-down energy.”
The band didn’t initially plan for thematic unity on Qualifying Miles, but found it anyway. “We chose these songs primarily because they had a certain ’90s guitar-rock sensibility,” Keith notes. “But once we started working through them, I realized a lot of the lyrics kept circling back to nostalgia, loss, and the bittersweet ache of the past.” Tracks such as “Dead Letters,” “Don’t Change,” and “What You Want Is Gone” dwell in this melancholic range.
Says Murray, “I’m not sure why so many of these particular songs found me looking at the past, dissecting this achy sense that when things are in the past, they’re gone and can’t be regained — that old ‘you can’t go home again’ chestnut, I guess. Maybe it’s because we’re celebrating the 20th anniversary of our debut album this year? Maybe it’s because of the friends we’ve recently lost, or the health issues that people we know and love have faced? Or maybe I was just overdue for a little self-reflection?” Last year, W.A.S. reissued Brain Thrust Mastery, which had Keith revisiting old correspondence with forgotten friends and collaborators. “It was wild to remember people who were part of my day-to-day life back then, people I haven’t even thought about in years,” says Keith, describing the germ of “Dead Letters.” “They’re just lost to me, and it’s crazy to think about how little I know of any of these people‘s lives anymore and how little they know of mine.”
His introspection into this album’s formula continues: “As has been the case with us for the past few records, the songwriting process involved a couple of years of just cranking out as many songs as possible, pumping out tunes without over-analyzing them or putting too much pressure on them in the moment; not caring whether or not they would actually be used or ever see the life day with the public. It’s just a very free and fun way to write music. There was a stretch early in our career where it felt like every song we even thought of was do-or-die for us, and that sometimes took the pleasure out of songwriting. So, now we just write all the time and have a blast, writing shitloads of songs just for one another. Once a big pool of new songs is comfortably amassed, we go back and see which ones shine through and which group creates a unified collection.”
Twenty years after their breakthrough, Murray and Cain continue to approach their craft with the same blend of intelligence, wit, and musical adventurousness that put them on the musical map. As they wrote to fans at the close of last year: “Although we aren’t getting any younger, but are rather simply staying the same age, we plan to keep this entertainment company afloat for a long time yet.” With Qualifying Miles and a busy 2025 touring schedule, there’s much more to come from We Are Scientists, drawing thoughtfully from their past while charting a course for musical territory they’ve yet to explore.
Scenius has today dropped their new video for the track titled ‘Swift As Light’. Guising itself as a solid dance track, the beat is beautiful, and the rhythm is solid. The hidden gem within the track is the mixture of vocals and melody within the music. While the music chugs along, the vocals make the song what it is. Almost in a ‘storytelling’ tone, ‘Swift As Light’ feels like a dance club in a haze. Feeling the beat and longing for the rhythm, the wait is over, and the heart is full.
Swift As Light stands on the more pop, radio-friendly side of our music. As you’ll hear, it’s got a pulsing, uptempo beat and a cheering chorus. Probably not all summery and lively though – the verses have a darker shade. On the whole, it’s us still mixing dark-wave, synth-pop, and post-punk in our way, aiming to make it accessible without sacrificing the edge and contrast we dig.
KillJoy has today released their new album titled ‘Dream and Violence’ via Mottow Soundz. Starting the album with that concept album vibe, KillJoy adds flavor to the dream and takes flight with a bastion of sonic brutality mixed with subtle electronica, cinematic soundscapes, and every other kind of trope that I can think of inserting for word count.
While the intensity of the album is in your face, the melodic counterpunches and angst-laden hooks throughout each track are the incentive and enticement of ‘Dream and Violence’ as a whole.
The guitarwork is that initial grabbing into the void that gets me. It’s all over the place, in a good way, and takes you in with beautiful brutality while you get sucked in with everything else. This is aggression as an algorithm.
About KillJoy & ‘Dream and Violence’
Based in Brussels and newly signed to the capital’s own Mottow Soundz, heavy rock duo Killjoy are redefining the boundaries of modern rock with the release of their debut album, Dream and Violence.
Fusing blistering guitar riffs, intricate drumming, and electronica, they craft a genre-defying sound that is both ferocious and cinematic – a visceral blend of screamo, metal, electro, and psychedelia.
Formed by guitarist Kilian Naofs and drummer Joachim Poitevin, Killjoy is driven by a shared vision to push creative boundaries. Having met while studying music in Bordeaux, France, the pair later relocated to Brussels to launch a project that channelled raw intensity and emotional depth. Their music thrives on duality – beauty clashing with brutality, structure clashing with chaos – and Dream and Violence embodies that ethos with searing precision.
Following on from 2021’s The Beast EP, across seven tracks, their bold debut showcases the duo’s unique interplay. From Naofs’s explosive guitar work and emotive vocals to Poitevin’s complex rhythms, the result is a sonic landscape that feels as introspective as it is confrontational. It’s an unpredictable journey through aggression, atmosphere, and catharsis.
Co-written by Chris Markey, produced by Paul Whalley, and mastered by Christian Wright at the iconic Abbey Road Studios, the song captures the freedom and peace Janet experiences when she’s alone, particularly in rural, isolated settings. Once overwhelmed by emotions, she’s now found strength in her independence. The song builds with rhythmic handclaps, searing guitar solos, and vocals delivered with a gravelly rawness, creating an enthralling listening experience with a fresh honky-tonk edge. All the while, Janet stays true to her distinctive interpretation of the genre, rooted in heartfelt, emotionally charged storytelling that adds new depth to her Americana repertoire.
Janet shared the inspiration behind the track: “I wanted to write a song that would sum up the freedom I feel when I’m on my own. Be it solo horseback riding around the countryside or just anywhere far away from where the people are. As someone who has too many feelings and they used to bleed into most avenues of my life, emotional detachment, in this way, is a great and freeing thing. For some, the concept of being in the vast unknown, away from civilisation, is scary. The old me would’ve probably agreed. Now, for me, it feels peaceful. I enjoy my own company, some may say a little too much. I feel like super-rural living in a lot of ways is like being in outer space. Both are on the fringes of civilization and reality. Houston, I got so many problems” references the famous “Houston, we have a problem,” but it’s ironic. There is no mission control. Just me, alone. No panic. Just embracing relying on myself.”
“This song is for the people who enjoy their own space. Especially in this world where we’re connected 24/7. It’s a party song for those of us at our solo parties. Yes, we may be a little bonkers – but who isn’t? We’re not lost, unless we’re trying to be. It’s not loneliness if we’re liberated. I promise you, we’re doing just fine.”
Janet has embarked on several live dates throughout the year. After supporting country star Corey Kent in February, she kicked festival season off in March with performances at the iconic C2C (Country to Country) festival in Belfast, London, and Berlin. As anticipation builds for the release of ‘Not My First Emotional Rodeo,’ she’ll be bringing her signature fearless spirit to The Long Road Festival in Leicestershire on August 22nd and 23rd, followed by a show-stopping headline slot at The British Country Music Festival in Blackpool on Sunday, August 31st. Rounding out her live run, the artist will take centre stage for an unmissable headline show at Colours, Hoxton, on Thursday, October 16th, promising a special night of electrifying new music.
Emotional Rodeo was a major success, cementing Janet’s prominent place in the country-rock scene. The album reached #1 on the iTunes Country Chart, #4 on the UK Official Country Artists Albums Chart, #5 on the UK Official Indie Breakers Chart, and #21 on the UK Official Independent Albums Chart. Janet appeared for a session on The Scott Mills Radio 2 Breakfast Show ahead of C2C Festival and has received praise from the likes of Russell Crowe, who previously took her on tour and continues to applaud her talent, comparing her to Stevie Nicks and admiring her ability to be both “ethereal” and “very direct” on stage.
Her singles also saw strong chart success, reaching #31 in the Big Top 40, #15 in the UK iTunes Charts, #4 in the iTunes Country Charts, in addition to national radio play on Capital & Heart, Absolute Country, New To 2 with Scott Mills, placements on the BBC Core playlist and over 110 regional radio playlists. Singles “Red Flag” and “Best Life” landed coveted month-long positions on the BBC Radio 2 B List Playlist, the latter peaking at #38 in the UK Radio Monitor Airplay Top 100. The album also saw press coverage in the likes of Daily Express, Daily Mirror, Daily Mail, The Sun, OK!, Record Collector, The Irish Post, The Irish News, Wonderland, CelebMix, ATC, VIP Magazine, and Record of the Day. Other notable recognitions include a special appearance on The Late Late Show Country Music Special (the world’s longest-running live chat show), an interview with Ray D’Arcy on RTE 1, and the “Red Flag” music video featured on Sunday Brunch.
About Janet Devlin
Born and raised in Gortin, County Tyrone, Devlin’s musical journey took off after she secured fifth place on The X Factor in 2011. Earning widespread acclaim, her debut album, Running With Scissors, reached #1 on the Indie Breakers Chart and entered the Top 50 of the Official UK Charts. Enchanting fans worldwide, her cover of The Cure’s “Friday I’m In Love” has garnered nearly 20 million plays on Spotify alone.
Devlin’s second album, Confessional, was a brave, ambitious project released alongside her autobiography, My Confessional. The release culminated in a headline UK tour in 2022, and the album hit the Billboard Top 100 in America. In 2023, amidst the whirlwind of touring alongside Russell Crowe and his band across Australia and Europe, Devlin travelled to the prestigious Blackbird Studio in Nashville to begin Emotional Rodeo.
In addition to her musical endeavors, Devlin was the subject of a powerful documentary aired on BBC One entitled “Janet Devlin: Young, Female and Addicted.” During the program, she confronts her addiction to alcohol and meets other young women affected by problematic drinking. It became one of the platform’s top-streamed documentaries. Devlin is a passionate ambassador for the equine therapy charity SLTH (Strength and Learning Through Horses).
Panic Shack has today released their new video for the track titled ‘Pockets’ from their upcoming debut album. How else to start this than to just give a monumental and honest ‘FUCK YEAH’ to Panic Shack. This is what rebellious rebellion and anthemic assertiveness are. This is rock. Period.
Musically, ‘Poclets’ harkens to the bands of the ‘golden era’ of punk, post-punk, and three-chord jam bands; the kind that mattered. I also hear the personality of the band in every note and lyric. This is a quartet of quartermasters. Giving you what you need and showing you the way on how to live like they live. One note at a time.
About Panic Shack & ‘Pockets’
‘Pockets’, a fizzing and vitriolic rager that leaps out of the gates with a chant of its oft-repeated refrain”VAPE! PHONE! KEYS! LIP GLOSS!” is emblematic of so much of what makes the five-piece’s debut album so special. It takes an underrepresented but very tangible issue affecting women today, laces it with biting humour and a knowing wink, and packages it in a danceable-punk blinder. The politicisation of the pocket has begun.
Of the track, the band explains: “‘Pockets’ is about an unspoken bond between women, something men will never quite understand. If you’ve ever worn women’s clothing, you’ll be far too familiar with the plight of… NOT HAVING ANY POCKETS IN YOUR CLOTHES. It’s a fun, tongue-in-cheek song in classic Shack style, describing something a bit silly but with a deeper social commentary on a bigger issue: inequality and patriarchal control. We had never heard the topic in a song before, so we thought it was our duty to spread the word to the masses. Hopefully, fashion brands take note and pockets production will make it to women’s clothing by 2026, we are fed up of always having to carry a bag!!!”
‘Pockets’ comes accompanied by an eye-popping video documenting Panic Shack’s largely sold-out Don’t Quit Your Day Job tour across the UK this May, dive into it for a brief glimpse into the live mania that’s made them one of the hottest tickets on the UK live circuit this year.
The Telephone Numbers have established themselves (without the help of algorithms or social media) as a crucial part of San Francisco’s fertile indie music scene, sharing members with The Reds, Pinks & Purples and The Umbrellas and sporting a musical palette that takes in everything from the rootsier end of Byrds jangle to Lemonheads-tinged power-pop to the pop sophistication of bands like The Go-Betweens and The Church.
Scarecrow II is their second album and a massive step forward for the band. Recorded by Alicia Vanden Heuvel at SF’s Speakeasy Studios, this set of songs is deeper and richer, foregrounding their crafty tunes and lovely melodies, adding just-right bits of trumpet, violin, and organ to the mix. With Scarecrow II, The Telephone Numbers have created a record overflowing with warmth, an earnest exploration of traditionalist pop that feels fresh, vital, and essential.
San Francisco’s Telephone Numbers are making music inspired by mid-80s to 90s American college rock, a sonically sunny detour from seemingly endless 90s shoegaze and alt-rock revivals. Thomas Rubenstein’s signature bright jangle is tempered by heady literary lyrics and surrounded by harmonica, violin, and mandolin arrangements. Songs on their forthcoming record, Scarecrow II, harken deep Minneapolis and Athens vibes from a time when you found your favorite bands by taping late-night college rock stations, sent a S.A.S.E. for a catalog, and listened to one song over and over again until the mail came.
After an LP and a few singles on the Meritorio, Fruits and Flowers, and Paisley Shirt labels, their sophomore effort is out October 10 on Slumberland Records. Scarecrow II shines with tape-off-the-radio gems that echo back to a time before gentrification took our favorite spots and when making indie music didn’t demand constant self-promotion and branding. “Battle of Blythe Road” is a slow jangler that maps the claustrophobic competition of a music scene onto the infamous-among-literature-majors mystical showdown between Aleister Crowley and William Butler Yeats. “Be Right Down” features Rubenstein’s earnest lyrics boosted by Morgan Stanley’s heavenly backing vocals and guitar jangle on repeat. Mid-tempo “Ebb Tide” works similarly, with ghostly slide guitars and organ supporting a pleading chorus that harkens a bit to early Gin Blossoms on “Alison Road.”
On this record, core band members include Morgan Stanley (The Umbrellas), Phil Lantz (Neutrals, Chime School), and Charlie Ertola. Mixed by Chris Cohen and recorded with Alicia Vanden Heuvel (The Aislers Set) at her Speakeasy Studios space, the band is supported with a best of the SF bay roster, including Anna Hillburg (trumpet), Andy Pastalaniec (organ), K. Dylan Erdich (violin and mellotron), Tony Molina (guitar), Vanden Heuvel (bells), and Lewis Gallardo (slide guitar).
The magic of the full bay crew is cemented on “Pulling Punchlines,” a rocking jammer that swirls with anxious nostalgia and is lightened by Hillburg’s trumpet bursts and Stanley’s and Rubenstein’s singsong back-and-forth vocals. A listen to the album’s ten tracks might conjure a similar effect to the world weary– an important pop music intervention that doesn’t seek to escape what worries us, but wraps us in the honest admission that we’re all feeling it and maybe we can get through it together.
Connecticut’s self-deprecating noise rock entity Intercourse is set to deliver their crushing new full-length, How I Fell In Love With The Void, on September 12th via Brutal Panda Records, today unveiling the hilariously disturbing new video for “The Ballad Of Max Wright.”
How I Fell In Love With The Void was recorded by Chris Teti (The World Is A Beautiful Place And I Am No Longer Afraid To Die) at Silver Bullet Studios in Harwinton, Connecticut, and mastered by George Richter (Thy Will Be Done). The photograph on the album cover was shot by Sherilyn Furneaux (Portrayal Of Guilt) and features exotic dancer Clementine.
The new video for “The Ballad Of Max Wright” was directed by Nathaniel Shannon.
Intercourse vocalist Tarek Ahmed reveals, “I fell into a heavy Alf binge on Tubi and ended up Googling the cast, where I learned Max Wright hated being on the show, mostly due to his being resentful over being a Broadway-caliber thespian who was now most famously known for playing the straight man to a Muppet. To me, it was prime Intercourse song material. Around this time, we also made a shirt with him on it, and when I posted it, my friend, Nathaniel Shannon, replied to a post of said shirt, saying he owns an Alf costume, and we should do a video. Fast forward two years, and the song is written/recorded, so I just hit him up and told him to run with whatever he wanted. His treatment was Surviving The Game, with Alf, which was cool with us. He nailed the vibe 100% and we couldn’t be happier with the video. The dude who plays Max Wright kills it, total immersion!”
“I have no life. I don’t fucking do anything else. I don’t have any hobbies. I don’t play video games. I don’t do fantasy football. I’m just obsessed with making music and writing.”
That’s Intercourse vocalist Tarek Ahmed explaining how the acclaimed Connecticut noise rock band has averaged a release per year since forming in 2013. From their eponymous debut and 2018’s Everything’s Pornography When You’ve Got An Imagination to 2023’s Halo Castration Institute and last year’s Egyptian Democracy EP, Intercourse has kicked against the pricks, power brokers, and pissants who make America “great” while tempering their outlook with a self-deprecating look inward.
Which brings us to How I Fell In Love With The Void. Ahmed and his bandmates—guitarist Sean Prior, drummer Caleb Porter, and bassist Pete Stroczkowski—spent more time and money on their fourth full-length than on any of their previous releases. “Usually, we record in a basement home studio, or they’re done super quickly,” Ahmed says. “This time, we figured it was a really good investment to book a full week of studio time and challenge ourselves to write better songs.”
In fact, Ahmed ended up rewriting his lyrics three times. “I fucking wrote my ass off, and then I do this thing about two months out where I’m like, ‘Everything I wrote sucks, so I’m going to rewrite all the lyrics.’ Then, a month before recording, my wife and I decided to split, so I tried to punch up the lyrics and make them funnier by throwing some divorce stuff in there. But I think I made it more depressing.”
Marital bliss aside, the lyrical themes on How I Fell In Love With The Void aren’t dissimilar from those on Intercourse’s 2016 EP, Pissing Into The Abyss, which features a cover illustration of a woman and a giant insect having sex while an alien watches. “On the new record, there’s definitely a lot of talking about the void and that emptiness that a lot of us try to fill with food, booze, or sex,” Ahmed explains. “Pissing Into The Abyss was about being so comfortable with the void that you’ll just piss there. Unfortunately, I’m super acquainted with it. But once you realize that nothing will ever fill the void, it will no longer rule over you.”
Ultimately, How I Fell In Love With The Void is about being on the outside looking in. “We’re music for weirdos and freaks,” Ahmed says. “I grew up as the only Egyptian kid in a little white town. I’m an outsider, and we make music for outsiders. Every time we play a faraway place that we haven’t been to before, there’s always one person there who has followed us for years and is there specifically for us. They are always the weirdest person in the room, and I love that. Those are my people.”
Following the critical success of their 2022 album ‘Accidents’ and breakout single ‘Settle’, British-American electronic duo Ready, Steady, Die! return with their first release of the year — ‘WYSIWYG’, a gripping, genre-bending single that lands as a powerful celebration of International Drag Day.
The track, an acronym for “What You See Is What You Get,” sees Morgan Visconti (based in New York) and Sam K(UK) pushing their collaborative process even further. Continuing their unique remote songwriting method, this time the pair reversed their typical approach — building the song around a pre-existing concept and script provided by director Max Clendaniel and DP/writer Matt Riley. The result is a short film scored by electronic pop/rock, rather than a video simply supporting a song.
The emotionally rich video tells the story of a man returning from his mundane 9-to-5 to embrace his true self in drag for an online fan base — an allegory for identity, societal masks, and freedom of expression. With surreal and often humorous moments, including awkward run-ins with people he knows and doesn’t, the visual offers an honest reflection of modern duality.
Sonically, ‘WYSIWYG’ blends cinematic new wave, gritty electronica, and pop-rock punch, driven by heavy bass guitar and industrial electronic drums. Sam K’s serene, emotionally aloof vocals deliver piercing lines like “We are survivors, you and I… we are the same,” amplifying the song’s core message of shared pain and hidden truths. A Zeppelin-esque post-chorus wall of sound gives the track a dramatic, crashing climax.
At its core, ‘WYSIWYG’ captures the tension between mechanical grit and raw vulnerability — a duality that has become the signature of Ready, Steady, Die!’s sonic identity.
As their most accessible and pop-rock leaning release to date, ‘WYSIWYG’ marks a bold new chapter for the duo, expanding their sonic palette while staying true to their emotionally incisive roots.
Q&A
This is an anthem honoring authenticity, identity, and the fierce beauty of being exactly who one is. Where did you first get the idea to release ‘WYSIWYG’ as music to score a short and impactful film?
Sam:Actually, for the first time since we started working with Max Clendaniel, he came to us and told us that he and his director of photography, Matt Riley, had an idea for a short film, and asked if we would be interested in writing a track for it. Of course, even before we saw the script, we thought it was a great idea.
What did director Max Clendaniel and writer Matt Riley provide you shell-wise, and how did you add your artistic touch(es) from there?
Sam:Initially, it was a storyboard with an idea of some of the script, so we knew whatever they ended up with would be quite dark and gritty, and we were totally on board for matching that.
How did creating ‘WYSIWYG’ feel versus, say, your 2022 album, Accidents? If you had to assign a color or feeling to each, what would you choose?
Sam:Accident’s front cover features a broken dummy in the snow, and so it’s a very clean white/off pale blue cold feel. WYSIWYG is a celebration of being whoever the hell you are, and that means color! We’ve chosen a very vibrant pink and yellow logo against a bright canary yellow background, so the two are very different.
You mentioned that this release is a celebration of International Drag Day (the same day as your song drops). For each of you, what was your first experience with drag, and how did it inspire you creatively?
Sam:I grew up in Camden and have seen this world for a long, long time. I find it glamorous, beautiful, and powerful in that it can be a form of expression, protest, and joy. I would like to think that my creativity and writing offer a nod to that unapologetic, bold energy.
Morgan:Rocky Horror, the most rocking of all musicals, and it works because of the breaking of literally all norms. All of the musicians I grew up admiring, from Bowie, T. Rex, and Boy George, brought the idea to the mainstream. I have worn a dress and/or makeup on occasion, and it’s an amazingly liberating feeling.
How did you get that sort of seamless, dual-vocal type sound in the introductory lines of the song?
Morgan:Although I sometimes add vocals to our songs, this is 100% Sam, and I used a pitch shifter to lower her into a male register. At first listen, she thought it was me! It wasn’t intentional at the time (it’s an effect we’ve used a few times in the past), but it does provide another perspective on gender and shifting.
There are a lot of different waves of genres in this; a noir sort of pop-punk, a touch of synth-wave/80’s, and gothic feeling moments. Was this the sound you planned to create? How did it emerge or unfold through the songwriting process?
Morgan:This song went through possibly more iterations than any other we’ve done from acid house, trance. There was a version we did like, Rock On by David Essex, but ultimately we went for a sound you could just nod your head to. We both love the eighties, and it’ll always come through in our work, but I also wanted to write the ultimate rock bass line, so … we tried!
Why did you choose to end the music sonically/cordially unresolved?
Morgan:The ending was very much inspired by the way the initial cuts of the film were taking shape. The protagonist’s conflict is over, and they’re back into it, just enjoying it, another day at the gig. It felt like having a “cliff hanger” ending to the super heavy post-chorus felt appropriate and a little bit comedic too.
‘WYSIWYG’ seems to encompass life… Paying rent, feeling ‘over it’, enjoying oneself, and little, comical, unexpected moments. What is your secret to making such a realistic/life-like art piece?
Sam:Thank you for the recognition, because exactly, life is messy and comical and dark and beautiful. We hope that our lyrics and music match the visuals that Max and Matt had in mind for this short film. Both the video and the song demonstrate the fact that life isn’t always dramatic; we just do what we need to do, sometimes just to survive. So hopefully the song feels raw and real whilst also being a celebration of who we all are.
Thanks for having us,
Sam and Morgan
Video Credits
Directed by: Max Clendaniel Written by: Matt Riley DOP: Matt Riley VFX: Jack O’Dowd
Nick Cain has today released his new video for the track titled ‘One More For The Road’. To say this is a country song is a misnomer of epic proportions. It’s not, at least to me anyway. It’s an homage to a life experience. Musically, there are country leanings, but not enough to sway those who go out of their way to avoid it because they love to say that they hate country. This is a musically accessible track meant for the masses and recorded for the ones that never got away.
Touching on that certain experience that we’ve all had but never talk about, either because we’re too embarrassed or never learned anything from it, ‘One More For The Road’ feels its way through the lyrics and listens to the heart for that queue to give you that feel moment, leaving your arm hair standing on end.
About ‘One More for the Road’
Opening with melodic guitar, Nick Cain’s resonant vocals call upon memories of finally holding the gaze of the woman he has waited for. This anticipated experience is relatable for anyone who has thought to themselves, “I’ve asked you out 100 times, you had excuses for the 99,” as he phrased in this single. Cain’s remarks, mixed with a sentimental undertone, create an honest and uplifting summer anthem. This track transports listeners to sentimental stolen moments spent with loved ones. “I wrote this song thinking about those feelings you can’t shake, that person who’s always been in the back of your mind, and the hope that maybe this time, they’ll stay a little longer,” says Cain. With production by Brandon Bell (Brandi Carlie, Dierks Bentley, Zac Brown Band), this ballad showcases moments of opportunity that come with flawless timing.
Nick Cain jumpstarted his career in country music at 39, after making the fateful decision to begin playing guitar and writing his own songs. The idea to forge a music career began for Cain when attending the Watershed Music Festival at The Gorge Amphitheater in George, WA. After this weekend of inspiration and the pause the pandemic placed on his real estate career, it was the perfect time and opportunity to unleash creativity. Despite his untraditional entrance into this industry, Cain has tremendous drive and passion for creating music with purpose.
With a predominant focus on his various life experiences, his music features authentic stories of heartbreak, family, and enjoyable experiences. His background in business and hard labor has also contributed to his success as the owner of a live music venue in Washington. This position has allowed him to tap into other musicians’ journeys by providing a professional stage for artists to perform, collaborate, and share their craft. Capitalizing on these same themes of time and opportunity, Cain delivers “One More For The Road,” following singles “Out Of The Blue” and “Pumping On The Heartbreaks,” which received praise from Wide Open Country, Americana Highways, and Holler.
About Nick Cain
At 39 years old, Nick Cain’s life took an unplanned but welcome detour that changed everything he knew about passion and determination. It began at The Gorge in Eastern Washington, at a country music fest – Watershed – that strummed the strings of his heart just as much as those of the guitar he would pick up following the event in 2019. With no musical background to speak of, Nick dove headfirst into the melodies and rhythms of country music, dedicating every possible moment to self-taught sessions that echoed through the basement of his home.
His regular life as a real estate developer was put on a pause by the Covid-19 pandemic, a break that proved to be a silver lining for Nick’s budding musical aspirations. With building permits on hold, his basement became a sanctuary where he nurtured his newfound love for music, strumming and studying with relentless enthusiasm.
The year-long confinement cultivated in him a desire not just to play guitar, but also to sing and craft his songs. His unyielding resolve led him to Los Angeles, where he had the good fortune of being mentored by celebrity voice coach Roger Love. It was Love who introduced Nick to the acclaimed songwriter Drew Lawrence. “Spending a week with Roger was a pivotal moment. Writing with Drew has been a great match.” Nick reflects on the experience that escalated his journey into the realms of music creation.
Malthusian has dropped their new single titled ‘Eroded Into Superstition’, from their upcoming album ‘The Summoning Bell’, set for release August 8th via Relapse Records.
A taste of the doom and decadence that is to come, ‘Eroded Into Superstition’ piles the meaning of filth and fury in its truest form. ‘The Summoning Bell’ is not for the faint of heart, but for those in the know and the ones that got away, this is the ‘it’ sound for a forgotten generation. The ones that never left.
About Malthusian & ‘The Summoning Bell’
On their highly anticipated new album, Malthusian’s fetid hallmarks are ever present: truly unforgiving, unrelenting death metal. Swirling chords and ominous cymbal swells give way to the band’s opener, “Red, Waiting.” What follows is a flurry of murk and madness – blast beats pummel against churns of distortion. The sonic atmosphere cultivated by Malthusian’s palpable fury is suffocating; each riff is carefully crafted to push and pull on the momentum behind their music. The Summoning Bell is undeniably a pitch-black take on the genre.
The Summoning Bell is a lighting of the pyre – each of the album’s tracks explores themes of true nothingness, condemnations of superstition, and a profound descent into darkness and time. The result is a record that seemingly reconciles with a dimming – internal and external, a true end of everything.
Singer/songwriter Daniella Binyamin is back with the vulnerable EP “Poetry 1992”, including the song “Without Breaking Apart ” which is now rotating on Swedish national radio p3.
The EP is a collection of songs based on feelings and events the past couple of years. Her upbringing inspires the music in both the Swedish countryside and the vibrant cities of the Middle East, where she grew up with two distinct worlds. The result is energetic yet fragile, where samples and acoustic elements meet harsh electronic sounds, with her intimate vocals and storytelling in focus. The music has been acclaimed by the media and featured in PSL, Notion Magazine, and C-Heads, and was nominated for the Gaffa-prize in the category “newcomer of the year”.
Inspired by the likes of Lykke Li, Anna Ternheim, and Regina Spektor, Daniella has found her expression where her intimate and vulnerable side meets the playful and powerful.
This summer, Daniella is heading out on tour with her incredible band, featuring a drummer, guitarist, bassist, and trumpet player – a group of talented musicians who play with her both in the studio and on stage. The live shows promise to be both intimate and full of energy, with soaring guitar and trumpet solos.
“I love being in the studio writing, but the best part of releasing new music is getting out there and performing. Meeting the audience, dancing together – to me, that’s the most beautiful and magical part of making music. Creating and sharing a special moment together. And I feel incredibly lucky to play with such amazing musicians.”
Over the past couple of years, Daniella has had great success as a singer and songwriter for other artists, such as Lukas Graham, Zara Larsson, and Dillon Francis. She had a #1 song on the US dance charts with “Don’t let me let go” by Dillon Francis ft ILLENIUM, songs in top 3 on German and UK radio, and co-wrote a song on Lukas Graham’s latest album.
Brother Venus has dropped their new video for the single titled ‘Hit the Ground’. For those who say that guitar rock is dead, I give you this as an official f*ck you. That awesome grit-filled guitar rock, not the glam shit that those not in the know think is said guitar rock.
A perfect mix of mud and melody, think Smashing Pumpkins meets ELO. Think alternative when alternative was the alternative. This is that air guitar sitting in the corner waiting to be played, almost not caring if anyone walks in. Please pick it up and play.
About ‘Hit the Ground’
Prepare to Feel Every Note – Brother Venus’ “Hit the Ground” Hits Hard with Grit, Emotion, and Sonic Depth
Alternative rock gets a shot of raw emotion and musical sophistication with “Hit the Ground”, the newest release from Brother Venus. Fusing grunge grit with soaring alt-rock melodies, this track is an emotional deep dive into heartbreak, healing, and hard truths.
At its core, “Hit the Ground” is about the painful clarity that comes when a one-sided relationship finally collapses. The lyrics are a poignant blend of vulnerability and realization, as the narrator acknowledges their struggle, yet clings to a glimmer of hope for the future: “Good things are waiting, I believe.”
Musically, the song is a tour de force. From the opening 3-over-4 guitar ostinato to its dynamic choruses and lush harmonic layers, Brother Venus showcases their ability to balance technical finesse with gut-punch emotion. Expect sparkling chord textures, polyrhythms, melodic interplay, and a rhythm section that locks in with purpose. The final chorus bursts with harmonic richness before resolving into a haunting final chord that leaves tension hanging in the air.
Brother Venus isn’t just playing music — they’re telling stories, exploring the space between heartbreak and hope. “Hit the Ground” doesn’t just resonate — it lingers.
About Brother Venus
Brother Venus is an alternative hard rock band hailing from Belgrade, Montana. Formed in 2019 by vocalist Cody Lindblom and guitarist/backing vocalist Kurt Binder, the lineup was later completed with Nick Newville on bass and Clayton Damjanovich on drums.
Their debut album, Woodgrain Ocean, dropped on December 8, 2023, showcasing 11 powerful tracks that set the tone for the band’s genre-blending approach. While rooted in alternative hard rock, Brother Venus weaves in elements of funk, metal, Latin rhythms, and classic rock to create a sound that’s both fresh and familiar.
Citing influences like I Mother Earth, King’s X, Big Wreck, Stone Temple Pilots, Soundgarden, Alice in Chains, and Thin Lizzy, Brother Venus delivers massive riffs, soaring melodies, and dynamic grooves that appeal to a wide spectrum of rock fans. With new singles already rolling out in anticipation of their next full-length release, the band shows no signs of slowing down.
Neutral Snap has dropped their new video for the track titled ‘Waltz’ from their upcoming EP ‘I Hardly Know Her’. Hailing from New Orleans, Louisiana, Neutral Snap is the pop punk powerhouse of the southeast. Their energy can best be described as a 2005 Gusher’s commercial, bringing catchy hooks, hard riffs, and nostalgic breakdowns to Louisiana and beyond. Recently, they stepped into Audio Pilot Studio with Rob Freeman (Hidden in Plain View) and created the “I Hardly Know Her” EP. The collection of songs perfectly captures the nostalgic pop punk sound with a little extra energy and production.
These songs marked the first time Neutral Snap collaborated with other artists, with contributions from Tom Denney (A Day to Remember), Fred Mascherino (Taking Back Sunday, Say Anything, The Color Fred), and others in the songwriting process. “I Hardly Know Her” is a fresh take on a re-emerging sound that immediately grabs you and sucks you in.
The first single off of their forthcoming EP “Danny ACOG” was co written with Tom Denney, A Day To Remember, and is a timeless story of unrequited lust packaged in a sugar-coated explosive musical missile with punchy rhythms, sharp hooks and raw but melodic vocals, hitting that emotional sweet spot between angst and youthful optimism.
Their new single “Waltz” highlights that all too relatable “situationship” often found in romantic relationships. The band collaborated with Fred Mascherino (Say Anything, The Color Fred, Taking Back Sunday) and Rob Freeman (Hidden in Plain View) for the riveting release. “Waltz” features melodic hooks culminating in a chorus exploding with unfiltered emotion and a frantic energy that is uniquely theirs.
‘The White Wolf’ is the third single from Namazu’s upcoming EP, ICE 800, and it’s nothing short of a blistering love letter to Geralt of Rivia, the iconic Witcher himself. From the first strike of its infectious riff, the track lunges into a frenzy of churning rhythms and explosive vocals, conjuring imagery as brutal and fantastical as its inspiration.
A tempest of metal and mythology, ‘The White Wolf’ is a nod to The Witcher lore, imploring all that listen to become a towering Witcher on a mountain of skulls, hurling boulders and shooting fire from your eyes.
Following the success of their previous singles, Namazu are quickly establishing themselves as a force to be reckoned with, blending high-octane energy with immersive storytelling. ‘The White Wolf’ is their most visceral offering yet – a track that bites down and doesn’t let go.
ICE 800 is the upcoming EP by Memphis heshers Namazu to be released later this year. Recorded and mixed by Alan Burchum (Deadbird, Korroded, Autolith) and Mastered by Ryan Boesch (Fu Manchu, Whores, Foo Fighters, Norma Jean), the EP is 15 blistering minutes of pure riffage, taking their cues from the three blacks—Black Sabbath, Black Flag, and the Man in Black. NAMAZU delivers five songs of heavy riffs and shout-along choruses.
20-year-old Lil Man J grew up in the small town of Clover, South Carolina. He started recording his songs on GarageBand at 13 and began posting his music online at 14.
His breakthrough came around his seventeenth birthday, when he graduated from high school and dropped his song “Cap Freestyle” that soon became a viral sensation, reaching the Top 5 on Spotify’s US Viral chart. Several successful hip-hop songs followed.
Deciding to dive back into his small town roots, in 2024, J teased “Whiskey For The Wine”, which immediately went viral with 50 million views on socials and then 20 million streams across the DSPs. His fans loved this new direction for his music and commented that he had “found his lane”.
So, J followed up “Whiskey for the Wine” with more great music, including the viral hits “Pick You Up”, “Culdesac Kids”, and “Way Out”. Then, in the summer of 2025, J released “Sippin Country”, which combined his country and rap talents in a whole new way. Fans loved this style from J, and now “Sippin Country” is on its way to being his biggest song to date.
J has accomplished all of this despite having four major physical disabilities, namely scoliosis, a cleft palate, bilateral clubfoot, and distal arthrogryposis. J says, “My disabilities helped create my relentless drive, so I am forever grateful for them.”
J is currently working on his debut album, which is set to be released late 2025.
Undercover Cameo has today released their new single titled ‘Hands’ from their upcoming debut album, dropping soon via Bigger Beast Records.
The type of song that can quietly bring a tear to your eye, not because of what it has, but because of what it lacks. It lacks that centric self-centeredness and quasi narcissism that we all encounter every single day from almost every single person. From a world of Karens, we gently glide into a universe of kindreds. The warm and subtle hand on our shoulder that no one else gave us, yet here it is in the form of a song. This, to me, is ‘Hands’.
Musically, the song is exactly what it should be: unassuming and thoughtful. Meant for us by those who are a part of us, because they are like us. Kinship and solitude now have an anthem.
“Hands is a song born out of a hopeless moment. A moment where I felt small, powerless, and pathetic. The writing of this song, while sitting in the sun with my guitar in my hands, and every performance of it, is a reminder to myself of the love that is within me, around me, and ever before me in the form of people, places, and experiences.” Undercover Cameo
About Undercover Cameo
Lucas Neil, Olivia Charlotte, and Sandy Allen are the creative force behind Undercover Cameo. With a beautifully ambient sound, poignantly poetic lyrics, and subtle yet powerful arrangements, this multi-generational folk collective is crafting a new brand of stomp-and-flutter indie folk with Mozart-esque compositional precision. Their music, steeped in melancholia yet rich with hope, will steal your heart.
Undercover Cameo is an acoustic musical group based in Westerly, Rhode Island, that plays uplifting, engaging, and emotionally profound folk music.
With Lucas Neil on guitar, Olivia Charlotte on piano, Sandy Allen on mandolin, and Elizabeth Beisel on fiddle, the group is widely considered to be one of the best rising folk groups in New England. Known for their ethereal sound and superb musical harmonies, Undercover Cameo is intent on cultivating an environment of loving and healing energies for every audience they encounter.
Undercover Cameo is on a mission to spread love up, down, and all around through music, poetry, and hugs. The band’s newest release, the single “Hands”, launches the next phase of the band’s sonic presentation and establishes a beautiful groundwork for the band’s highly anticipated full-length debut album.
Janus 4-14 is a three-piece indie rock band based in Mount Airy, North Carolina. Their latest single, “Blue To Infinity,” from the E.P. of the same name, echoes the spirits of artists like The Replacements, Elvis Costello, and Sebadoh.
Reflecting on the track, singer/guitarist/songwriter Chad Barnard said…
“Blue to Infinity is about having to look in the mirror and face the fact that you’re the problem. You’ve finally seen through all of the pretense and artifice that you’ve built around your fragile ego and are disgusted by what you find. Now that you’ve come to terms with yourself, anything seems possible.”
“Looking back through some old idea tapes, I found the kernel of Blue To Infinity. At its inception, there was just the intro, the first verse, the pre-chorus, and the chorus. I had forgotten that it existed. I immediately set about finishing it: adding more verses and creating the bridge. It’s songs like this that make me thankful that I have recorded and saved every idea since I started writing songs.”
About Janus 4-14
The Janus 4-14 live show can be a force of nature. Marathon three-hour sets. Punk ethos and arena energy in small rooms. Wide-open antics. Guitarist Shane Mauck has seen vocalist and guitarist Chad Barnard break two or three bars. Formed in 2009, the band’s energy and intensity built like severe weather. Then, one day, Barnard’s anger was gone. Maybe it was age. Maybe it was quitting his desk job. Whatever it was, the rage that had driven his songwriting evaporated. “What am I gonna write?” he wondered at the time.
The answer: more nuanced music representing a broader emotional spectrum. Sitting in Fallen Trees Recording Studio, which he runs, Barnard explains that he still writes music constantly. It’s the lyrics that take more attention and time nowadays. On top of that, Barnard, Mauck, and percussionist Brett Beardsley have enlisted the help of esteemed producer John Agnello (The Hold Steady, Dinosaur Jr, Sonic Youth) to help evolve the long-standing band.
They’ve built a reputation for memorable live shows in the region. They’ve grown their monthly Spotify listeners from 40 to 1,000. Now, Janus 4-14 is releasing an ongoing series of Agnello-produced EPs. This Mount Airy, NC band wants to reach even more ears.
“Why not us?” Barnard wonders matter-of-factly. Growing up in Mount Airy, Barnard was always a music nerd with a penchant for niche indie bands. He collected LPs and recorded songs on little microcassette recorders as a teenager. By his thirties, however, Barnard had become painfully shy about his songwriting. At his wife’s suggestion, Barnard finally played out. He and Mauck’s kids played together, so the two got together to do one show. “I loved it and kept going,” says Barnard.
Barnard grew up on Sebadoh, Guided by Voices, and Pavement, while Mauck adores Foo Fighters, Hendrix, and Zeppelin. Add Beardsley’s prog approach, and Janus 4-14 is the coherent result of unlikely ingredients. Live, Barnard plays his parts like clockwork, while Mauck rarely plays a song the same way twice. Sometimes, Mauck won’t even play the same instrument.
“I’m gonna play a classic rock solo in the middle of a droney indie song,” Mauck says with a laugh. “It works so well for us.”
Tom Morello has today released his new video for the track titled ‘Pretend You Remember Me’. That rare occasion where Tom adds his vocals as well as his voice to an important message over his signature music and original depth of poignant attitude, and fearless poetic protest.
Beautifully crafted and encompassed in an anthemic and memorable hook, Tom creates something as timeless as it is timely. Music is a stamp on our history as well as a chapter in the book of us that we are constantly writing. Let this be the start of a new chapter.
About ‘Pretend You Remember Me’
“Pretend You Remember Me” features Tom’s haunting voice and always searing guitar riffs. The song was written by Morello, produced/mixed/mastered by Zakk Cervini, and written in solidarity with immigrants after the recent militarization of ICE against immigrant communities & supporters in Los Angeles.
Tom says, “This song is written for all the families torn apart by the recent immigrant purges and kidnappings. Children torn from their wailing mothers’ arms by masked government thugs, people coming home to find their loved ones abducted by the state. Folks who worked, suffered, and struggled for decades just to make a decent life for themselves and their family were violently separated with an uncertain future. “Pretend You Remember Me” is for them and for all those who are finding the courage to stand up against racism, tyranny, and injustice.”
The release of “Pretend You Remember Me” is in partnership with the Coalition for Humane Immigrant Rights of Los Angeles (CHIRLA), a nonprofit organization that has served and protected the Los Angeles immigrant community since 1986. CHIRLA aids immigrants in getting the legal defense teams they need as well as fighting against wage theft, discrimination, and harassment in the workplace regardless of immigration status.
Last June, Tom released the single “Soldier in the Army of Love”, a guitar-driven track that showcases Morello’s signature sound, skillful riffs, and a powerful solo penned by his son, Roman Morello. Anthemic and commanding, Morello passionately declares, “Who needs a weapon when you were born one?”
Most recently, Tom was honored to head the musical direction of the “greatest day in heavy metal history”, “Back to the Beginning”, the farewell show for heavy metal icons Black Sabbath and their legendary lead singer Ozzy Osbourne. Tasked with coordinating this 10+ hour bash spanning performances from Metallica, Guns N’ Roses, Pantera, Slayer, Tool, Alice In Chains, and star-studded supergroups, Morello paid the ultimate respect to the music that made him love music.
Tom continues to tour the world, and after a stretch of sold-out US and Australia dates, he begins the next leg of his 2025 tour tonight in Vancouver with three more sold-out headlining Canadian shows and various festival appearances, including Ottawa Bluesfest.
About Tom Morello
Grammy-winning, Harvard-educated, Rock and Roll Hall of Fame inducted artist, songwriter, and activist Tom Morello, renowned for his innovative guitar solos and thunderous chords, is living proof of the transformative power of rock’n’roll. He is a groundbreaking solo artist and is a founding member of the critically acclaimed, iconic bands Rage Against the Machine and Audioslave. Both bands continue to be lauded for their musicianship, songwriting, and powerful live performances, with Tom’s incendiary guitar playing instantly recognizable to fans. RATM and Audioslave received multiple Grammy Awards and boast combined worldwide LP sales of 30 million albums.
Tom’s trademark style was a crucial component of Rage Against the Machine, helping launch Morello and the band to multi-platinum success – which in turn led to his recognition by Rolling Stone Magazine as the 18th “Greatest Guitar Player of All-Time” and subsequent inductions into both the Rock & Roll and Metal Hall of Fame. He has made music history over his decades-long career, including touring for six years with Bruce Springsteen and the E Street Band, where his signature playing style can be heard, as well as forming the supergroup Prophets of Rage. In between all of that, Tom found time to tour and record as a solo artist known as the Nightwatchman and has released four LPs under that moniker.
Morello is well-known as a vocal political activist and can often be found at the front of picket lines, strikes and protests around the United States: solidarity with United Mine Workers of America in Brookwood, AL, the United Farm Workers of America in Sacramento, CA, and the Star Garden Strippers Union in North Hollywood, CA to name a few. In 2023, Tom received the Music Will Humanitarian of the Year award for his efforts in sponsoring multiple music education programs across the country for schools in need, and is an ACLU Artist for Smart Justice for his advocacy work.
Additionally, Tom can be heard every week on SiriusXM curating his playlists and hosting his show, “One Man Revolution.”
Apollo Brown & Bronze Nazareth have today released their new video for the track titled ‘Banshee Walk’, from their upcoming album ‘Funeral For A Dream’ dropping on July 25th.
Lessons learned and love for the lessons, Apollo Brown & Bronze Nazareth drop a soul bomb of things to come with ‘Funeral For A Dream’, staccato vocal rhythms amid retrotastic beats present a lyrical beatdown with truth and wisdom from those in the know and the ones who lived it before. Life hidden in the art and truth apparent in the form, ‘Banshee Walk’ fills the heart through the ears and shoes that the voice can be a virtue.
Check out our other features with Bronze Nazereth HERE.
About Apollo Brown & Bronze Nazareth, ‘Banshee Walk’ & ‘Funeral For A Dream’
Apollo Brown and Bronze Nazareth’s new single, “Banshee Walk,” builds a dense, textured atmosphere that reflects the weight of endurance and creativity forged through experience.
The track carries an emotional undertow that speaks to resilience and transformation without leaning on obvious signposts. “Banshee Walk” offers a clear signal of what to expect on the upcoming album Funeral For A Dream, due out Friday, 25th July.
They say the death of a dream is the best funeral. This implies that when a dream becomes a reality, it’s like saying goodbye to the dream itself, as the goal has been achieved. It’s a symbolic farewell, as the dream is now laid to rest.
Well, cue the procession music…
The obituary of Apollo Brown & Bronze Nazareth writes itself. It’s a bond, a brotherhood, and a lifetime friendship of ups and downs that has spanned almost 4 decades. Growing up in the same neighborhood, shaped by the same environment, it was in their mid-teens that they started their musical journey side by side.
Over the years, though, both have carved out their paths, finding success in ways they never imagined—inside and outside the music. And now, after all the chapters they’ve lived—victories, losses, silences, and celebrations—the long-held dream of making an album together can finally be laid to rest.
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