Co-written by Melissa Sheridan and Anna Vaus and produced by Andy Sheridan, Kitchen Sink delivers a sharp, witty narrative driven by Kat Velasco’s unfiltered honesty about life in a town where everyone knows your business. The track blends a modern country-pop sound with irresistibly catchy, twang-infused undertones. Velasco describes the story behind the song, explaining, “‘Kitchen Sink’ is my new country single, based in a town where rumors travel faster than you can wash it down the drain.”
Getting right to the meaning, Velasco then describes the unique attributes of the song: “A loud and upbeat unfiltered anthem about gossip, karma, and the way we all get caught up in the spin.” At the heart of the story, she continues, “Growing up in a small town in South Carolina, I’ve been the talk of the town more than a few times, and I’ve never been the type to water myself down for anyone.” Others’ opinions can be diminishing, but Velasco perseveres, as she emphasizes, “The wild child in me is constantly inspired by this song, so if you’ve ever been the talk of the town (or started it), this one’s definitely for you!” With purpose being at the forefront of the single, the well-balanced instrumentalization can be attributed to Jared Kneale on drums, Matt Utterback on bass, John Shaw on electric guitar, Sheridan on keys, and mixing by Joel Bruyere. “Kitchen Sink” showcases Velasco’s personable energy and vocally bright tone, outlining the day-to-day life of growing up in a small town, but with a modern pop-country edge.
Check out our other features with Kat Velasco HERE.
About Kat Velasco
Based out of Nashville, Velasco was originally raised in South Carolina, where her passion for music first blossomed out of her background in musical theater. In 2021, Velasco began releasing her original songs, with her breakout single, “Leave Me Wild,” landing her spots on Spotify’s top playlists, including New Music Weekly and Fresh Finds Country. Securing several radio interviews across the U.S., Velasco showcases her distinctive, edgy sound and impassioned vocals.
Her single, “Call Me,” was featured on multiple playlists, with its music video airing on CMT, solidifying her place as an emerging force within the industry. Recent singles such as “Paper Boy” and “Name on my Phone” have been championed by notable outlets like CMA, Wide Open Country, Holler, and Ones to Watch. Velasco has performed as an opener for acts like Love and Theft, BRELAND, David Nail, and Tierra Kennedy.
An Exclusive Interview with Tracy BonhamJammerzine Exclusive48:44
Tracy Bonham has today released her anticipated new album titled ‘Sky Too Wide’ via A Woody Hollow. Having first come onto everyone’s radar with her mega-master hit ‘Mother Mother‘, she is one of those artists that, not only coasted past legendary status long ago under her power, but did it on her terms, song by song, note by note. That is truly nearly impossible to do, especially in today’s music scene. Originality often has a price, and that price is usually a creative compromise. So, to see how Tracy’s career has taken off and long stayed airborne is as inspiring as it is pleasing to see.
With ‘Sky Too Wide’, we get the latest evolution in her revolution of music with a complete album full of originality and grace.
And, in this audio interview above, we get a peek into the mind behind all of that music and a glimpse into the humility and creativity of such originality. This is as much a conversation as it is an interview. Enjoy!
Check out our other features with Tracy Bonham HERE.
‘Sky Too Wide’
‘Sky Too Wide’ is as much an adventure as it is an album. Nine experiments into the depths and breadth of a vast catalogue of influence and artistry that introduces Tracy Bonham to a new era of fans. To those who have never heard her music before, or forget to make the connection to her past body of work, they will be lucky enough to get a wide range of genres and atmospheres with each song.
That, to me, is the inner beauty of ‘Sky Too Wide’. It’s a wide and diverse soundscape. It’s also something that doesn’t stay, or dare I say, feel comfortable in the mainstream. It doesn’t ‘stay in its lane’. It creates a new highway for itself to cruise at its own pace. And that is where its comfort zone lies. In its uniqueness and individuality. It’s accessible because it wants to be.
Tracy shows, more than ever in my opinion, her multi-faceted thinking, planning, and execution of her music. Using her multi-instrumental history and panache for the hook, Tracy highlights the feels and makes them audible. This is what true musicians do.
About Tracy Bonham & ‘Sky Too Wide’
“It took a little while for me to loosen up and allow my songs to breathe,” says accomplished alternative artist Tracy Bonham about her continually evolving sound. Her new album ‘Sky Too Wide’ carries a lovely level of creative freedom that has eluded her in the past. “This album is really about getting back up after some major personal challenges,” she explains. “I am more aware and awake than I have ever been.”
An artful merging of the music that swirls within her (she is classically trained in piano, violin, and voice), ‘Sky Too Wide’ elevates the indie rock foundation in which she first found mainstream success and infuses it with elements of classical and jazz without making it sound pretentious or too artsy. iHeart Radio’s Brutally Delicious described the album as “drawing from the romanticism of classical composers, merging lush harmonies and emotive melodies with her signature quirky songwriting… The result is a captivating blend of genres that feels both nostalgic and refreshingly original, proving that Bonham’s music-old and new-remains as relevant and resonant as ever.” Rock And Roll Globe praises that it “showcases Bonham’s maturity and newfound confidence.”
‘Sky Too Wide’ is a luscious record with upright bassist Rene Hart (David Amram, James Hunter) and drummer Alvester Garnett (Regina Carter, Abbey Lincoln) providing the musical backdrop for Bonham’s exquisite vocals to weave and dive amidst the elevated indie rock for which she is known. Imbuing the immersive and freeform aspects of jazz with the intricate structure of classical music into the raucous nature of indie rock gives her music the freedom to explore and grow.
“It’s like going back to the spark I had as a very young musician, discovering the beauty of Ravel and Debussy, and reclaiming that spark and everything that has happened after that,” she explains of the coalescence of influences on this album. But ‘Sky Too Wide’ is not a snooty record… It’s still primal and visceral with added texture and finesse. The gorgeous piano-led ballad “Damn the Sky (for Being Too Wide)” finds Bonham searching for her “village” after a painful divorce. She explains that the song is about “isolation, loneliness, and a longing for community. My family is 3,000 miles away and, on one very tough day, I wanted to shrink the sky to bring them closer to me.”
Her current single “Jumping Bean” revisits a track that was originally from her Down Here (2000) album and refashions it to suit her current self. While the original was fired up with reckless and spunky rebellion, this new version is more confident and deliberate, displaying a healthy dose of female agency and power. “It is now coming from a place of liberation rather than a feeling of helplessness,” she says.
Not all is serious and measured in tone, however. Her mischievous sense of humor comes out in full display in her playfully theatrical “Dear God, Should I Hit SEND?” which is “a direct rip from Chopin’s Nocturne op. 9 no. 2,” she laughs, adding, “it’s about how people communicate in the 21st century and the negative impact a single text, tweet, X, or post can have on the world or in one’s relationships.”
Bonham’s breakthrough debut album, The Burdens of Being Upright (1996, Island Records), spawned the massive #1 alternative chart-topping single “Mother Mother.” A classically trained violinist and pianist, and twice GRAMMY™ nominated, Bonham spent the following 27 years evolving as an artist through her albums and live performances. That debut album catapulted her into the spotlight with MTV fame, major radio play, and more, continuing relevance until even recently, when “Mother Mother” was featured in Showtime’s Yellow Jackets (Season 1 Episode 2).
“Playing with incredible jazz musicians like Rene and Alvester has opened my mind and is now giving me the support I have always needed to spread my wings and fly,” she says, reflecting on her new music and more realized sound. “I am enjoying exploring the intersections and overlaps of where classical and jazz meet without excluding my alternative rock sensibilities. These dudes can rock, too. The three of us playing together is my happy place”.
The Ultra Violets have today released their new video for the track titled ‘Honeypie’. Shining a needed light on an unwanted social phenomenon, ‘Honeypie’ adds the grit to the narcissistic glamour that is the real pandemic of the age as the masses grasp on for dear life for that precious fifteen minutes of fame.
There’s plenty of angst in this anthem with layers of bass, beat, and bombast that’s meant to hit us all in the feels just to see who pays attention and who just posts about it on their TikTok. Has it come to this? Is this where society is headed? With all of the uncertainties in life right now, are most of us worried more about our clout scores than our credit scores?
The Ultra Violets post this subject in a darkly poetic stance, surrounded by music meant for the stage of any size. This is hopefully that magic moment where the audience listens with their hearts and not just their ears, and lets it all sink in because, unfortunately, we’re on the verge of going from living our lives based on burden of proof to proof of purchase.
About The Ultra Violets
Formed in 2020, The Ultra Violets expertly fuse indie, rock, pop, and soul to create an effortlessly cool, unique sound that is wholly their own. Known for their vibrant performances, the band has been awarded slots at some of the UK’s most renowned festivals, including Boardmasters, Y Not?, and the Isle of Wight. They’ve also supported artists such as The Libertines, McFly, The Lottery Winners, The Pigeon Detectives, Space, Buzzard Buzzard Buzzard, Red Rum Club, and Feeder.
Recorded and mastered with Ross Rothero-Bourge and the band’s Perran Nicholls at The Cube in Cornwall, ‘Honeypie’ is an aggressive wakeup call to the dark side and addictive nature of social media, urging people to stop turning a blind eye to the atrocities we see on our phones in favour of the superficial ‘sweet stuff’.
On the track’s subject matter, the band explains, “The song is essentially about people only wanting the sweet stuff in life, and sugar coating anything and everything that may be a difficult subject. We live in a society where social media is treated like the Holy Bible, simultaneously releasing dopamine hits, a highly addictive drug, when posting pictures for ‘instant gratification’.”
“It seems there’s a lot of wrong in the world right now, but let’s all turn a blind eye and keep posting our best lives, sugarcoating the stark contrast of the disarray. But in reality, you can hear the ‘sirens of hate before the day is dawning,’ waking you as it simmers through the cracks of your windows in the morning.”
Avery Lynch returns today with her new single, “Lasting Effects,” a hauntingly intimate yet ultimately empowering reflection on love, loss, and self-discovery. Building on the momentum of her recent standout singles, “Lasting Effects” offers another vivid glimpse into the emotional world of her forthcoming project, set for release later this year.
The inspiration for “Lasting Effects” came in the wake of a breakup, when Avery was told no one else would love her the way he had. “At the time, I knew he was wrong,” she shares. “But as I got further from the situation, I realized he was right—but not in the way he thought. I realized I don’t ever want someone like him, and I don’t want to be loved like that.” Instead of falling apart, the experience became a turning point, helping Avery rediscover parts of herself that had been quieted during the relationship. “I think it’s a positive and hopeful song,” she adds. “I hope it inspires people and leaves a positive lasting effect.”
Known for her emotionally raw lyricism and understated production, Avery once again invites listeners into her inner world with a song that feels both deeply personal and widely relatable. Built around soft keys, ambient textures, and hushed percussion, “Lasting Effects” is a beautifully restrained track that allows its emotional weight to breathe through gentle melodies and heartfelt lyrics. Co-produced by Jordanlilvee, Michael Blum, and Avery herself, the song marks an exciting step in her evolution as a producer and storyteller.
Originally from Pennsylvania, Avery’s musical journey began at the age of 7, composing piano pieces before evolving into songwriting. Now based in Los Angeles, her signature sound—lush, melancholic piano arrangements paired with her soft, expressive vocals—has become the foundation of her artistry. Every song begins with Avery alone at her piano, crafting intimate, emotionally rich demos that she later refines with her trusted collaborators. Her voice, tender yet deeply evocative, breathes life into her lyrics, making each song feel like a personal confession.
Often described as a “happy girl filled with sad songs,” her music is a masterclass in storytelling, inspired by her life experiences, the world around her, and the media she consumes. With praise from tastemakers like Ones To Watch and EARMILK, and a rapidly growing fanbase that’s helped her surpass 400 million streams, Avery continues to showcase her gift for turning raw emotion into intimate, relatable, and quietly captivating songs.
Haytor has today dropped their new single titled ‘Be Somebody’. This is a track absolutely filled with confidence and bravado, and rightfully so. The hook alone is worth that infinite loop button. But what we get here is a banger of an anthem for the summer and an uplifting musical opus that is destined to become part of a vast legacy.
Almost delivered like a classic wall of sound, there is so much going on here that it’s impossible not to find something to hold close to your heart. ‘Be Somebody’ is about new beginnings and self-forgiveness, the most important kind of forgiveness there is. Letting go and starting over can be difficult, but this track can be used as a how-to guide as well as an anthem. And the music is built for just that. This is what music was meant for.
About Haytor & ‘Be Somebody’
Showcasing more of the band’s infectious indie-pop songwriting that Haytor has become renowned for. Opening with a swell of ambient electronics, ‘Be Somebody’ bursts into a buoyant wall of guitars, punching drums, and grounding bass. Soon introducing the infectious, urgent vocal delivery of the verse, the track’s bright energy is matched by the emotive yet bright and hooky lead melodies.
Gradually building momentum, the track reaches its climactic, anthemic chorus, hammering home an 80s-influenced, The 1975-esque songwriting approach that has seen the band quickly build a following.
Speaking about the story behind the single’s lyrics, frontman Austin Robison shared, “Be Somebody is a big, anthemic shout for anyone tired of pretending they’ve got it all figured out. It’s about chasing the wrong dreams, second-guessing yourself, and getting lost trying to keep up — but also about letting go, starting fresh, and making your own rules. Built for full-volume sing-alongs, it’s a feel-good anthem for finding your way, even if you have no idea where you’re going.”
Building a flurry of press support from tastemakers including Clash, Notion, Ones To Watch, Fame, and radio play from the likes of Kerrang! Radio, Total Rock, BBC Introducing, Amazing Radio, and The Sound Lab, the band has opened for bands including The Snuts and Deco. Haytor have grown a following that has seen them tour up and down the country, including packed out shows in Bristol, London, Exeter and Plymouth, including Rough Trade Bristol and playing across festival lineups including Boardmasters, Lakefest, Bear Grylls Gone Wild festival, and Oceanfest.
In the 19th century, London’s West End area, known as Seven Dials, was notoriously dangerous and disreputable; a perilous place to be after dark. This darkness and danger provided the perfect inspiration for the dusky, foreboding sounds created by the new musical union now known as Sevendials.
Renowned musicians Mark Gemini Thwaite, Big Paul Ferguson & Chris Connelly, uninterested in resting on their collective laurels as members of Killing Joke, The Mission, Ministry, Revolting Cocks, Murder Inc, Mob Research and Peter Murphy, have united to bring you a staggering monolith of melody and malady, volume and velocity and a brace of brilliant songs, reflecting all the tension, angst and spiritual bankruptcy of the times, along with some brighter than neon dance compulsions: It’s all here in ‘A Crash Course in Catastrophe‘, the debut album by Sevendials, released April 4th via Cadiz Music/CreationYouth.
Budapest is set to drop their new single titled ‘Me & Everything’, releasing this Friday (June 6th). The lyrics evoke a sense of home, spinning and turning like a story told by an old friend. Underneath and all around, the music flows and cascades in response to and timelessly highlights that story. Being written 25 years ago, that should be an understatement. But with all good music, it is what it is.
The best parts, to me, however, are the nuances in that music. The off-centered instrumentation that fills the right spaces and brings the right melodies to the forefront. This is what makes the best songs and songwriters. The parts you don’t think you hear but your heart listens for, because it needs them.
A bit on the short side, but, aren’t all good things?
About ‘Me & Everything’
Budapest returns with ‘Me & Everything’, a long-lost fan favourite finally getting its moment. Written 25 years ago, the track is a melodic, ironic reflection on disillusionment, self-pity, and the search for meaning. Premiered to an electric crowd at the 2003 Benicàssim Festival, it became a live staple but was never recorded—until now. The song’s narrator finds themselves at odds with the universe: “They say that everything has a place and a reason… well, me and everything, we don’t get along.”
Blending indie-pop, indie-rock, and alternative textures, ‘Me & Everything’ captures youthful angst with fresh perspective—melancholic yet uplifting, raw yet reflective. As the song itself concludes: “The time has now come for me and everything to start to get along.”
About Budapest
Budapest, the indie pop, alternative rock band from Coventry, UK, rose to prominence in the MySpace era with their cinematic sound, emotionally charged songwriting, and constant stream of demo uploads. Their immersive live performances and deep connection with fans helped the band carve out a devoted following. Their debut album, Too Blind to Hear (2002), produced by Dave Creffield (Embrace, Kaiser Chiefs) and Markus Dravs (Arcade Fire, Coldplay), earned critical acclaim. The single “Censored Memories” became a radio hit in Spain, reaching the Top 10 on the national charts, leading to a headline slot at the Bennicassim Festival, cementing the band’s reputation for creating music that resonated on a profound level.
Tragedy struck when guitarist Mark Walworth passed away shortly after the album’s completion. Determined to move forward, the band brought in longtime friend Matt Parker on guitar. However, tensions with their label began to stall their progress. A U.S. tour was canceled, and their second album, Head Towards the Dawn (2005), was released only in Spain amid ongoing legal battles. Despite its critical success, overwhelmed by financial and legal pressures, the band disbanded in 2005 after a sold-out show in Madrid,
Frontman John Garrison went on to release three acclaimed solo albums and four more with his SATELLITES project, earning placements in over 30 U.S. TV shows. The 2nd SATELLITES album received the prestigious “Album Of The Month” at Rough Trade. John also became a sought-after session musician and songwriter, collaborating with artists such as Ed Sheeran, Robbie Williams, and Lewis Capaldi. Keyboardist Chris Pemberton achieved similar success, performing with James Blunt and John Grant. Drummer Tom Visser went on to start the solo project Tom the Lion.
Yet Budapest’s music endured, with fans cherishing their 70+ unreleased MySpace-era demos. In 2024, as the 20th anniversary of their final Madrid gig approached, Garrison and Pemberton reunited while on tour as musicians in James Blunt’s band. Revisiting their old demos, they re-recorded tracks with Budapest drummer Tom Visser, discovering the music’s timeless relevance and reigniting their creative spark.
Iter, Calgolla’s latest concept album, is an intense and layered sonic journey into the contradictions of the contemporary human condition.
With a musical language that combines alt-rock, post-rock, post-punk, spoken word, and forays into performance art, the group constructs a complex work that defies any simple definition.
The record deals with themes such as migration, inner transformation, social alienation, ecological collapse, and a sense of loss, layering lyrics and sounds into a coherent but fragmented narrative, like the time it tells.
The lyrics are taken and adapted from Viaticus, a graphic poem written by the singer in collaboration with visual artist Giacomo Della Maria, reshaped to adhere to tense, dense, and visionary soundscapes.
The nine tracks of Iter thus form a journey that traverses different languages, styles, and moods, much like the stages of an initiatory path that reflects the precariousness of modern life. An album that refuses to offer answers, but invites immersion, surrender, and transformation through listening.
It is a meditative, multi-layered exploration of transformation, perception, and resilience in the fragmented reality of modern life. With nine tracks and several languages, Iter (‘journey’ in Latin) traverses internal and geopolitical, sacred and profane landscapes, layering spoken words and sound collages into a deeply expressive experience. The guitars weave textures that are now ethereal and now abrasive, while the rhythm section builds a pulsating framework that supports and amplifies the evocative atmosphere of each piece.
Iter does not merely recount the decay of our time, but attempts to bring it to life, immersing the listener in an emotional flow that blurs the boundaries between dream and nightmare, between meditation and chaos. An album that refuses to offer answers, but invites immersion, abandon, and transformation through listening.
Originally from the San Francisco Bay Area, vocalist, multi-instrumentalist, and producer Matthew Nowhere explores the sounds of the 1980s with inspired reverence, his unique music bringing good vibes, poetic lyrics, and gritty new wave beats. Currently residing in California’s Nevada County in the forests of the Sierra Mountains, Matthew Nowhere uses analog production styles in creating deeply authentic and soulful music that speaks to the power of love to overcome all obstacles.
Matthew Nowhere has also unveiled the color-soaked sunlit video for ‘Transforming’ feat. Lunar Twin, directed by Zoey Nguyen with additional footage from Simona Lonardo Cinematography in Italy, where neon-lit electronica mixes beautifully with Boudreau’s emotive, broody vocal style. Nowhere notes that this video “is deeply resonant and captures something ineffable about the experience I was trying to convey with the song itself”.
Dreamgaze mainstays Lunar Twin, made up of vocalist Bryce Boudreau and multi-instrumentalist Christopher Murphy, also feature on the track ‘Persist3nce’, weaving a superb silky layer into the fabric of this retro-futuristic music. Here, Murphy’s darkwave synth stylings are complemented by the angelic choral tones of the Antonio Family Singers.
“I was swept away by the grandeur of Matthew’s music on this song and immediately envisioned a coastal night world populated by dreamers and drifting souls caught between the dusk and dawn of coastal neon. The rest of the story wrote itself. I’m excited to finally be able to share this song,” says Bryce Boudreau, adding, “I relate to this video a lot, having spent so many years living there. It’s like a dream. I love the emotion and images she has used to craft this secret world”.
A self-described “lover and mystic”, Matthew Nowhere’s lyrics on ‘Crystal Heights’ explore themes of wonder, transcendence, and mystery, consistently emphasizing the importance of love. Though some songs are introspective and melancholy, overall, ‘Crystal Heights’ is an uplifting album, following a palpable arc of love, growth, and redemption.
With gritty drum machines and analog synths, ‘Echoes Still Remain’, ‘Crystal Heights’, and ‘Love Is Only What We Are’ recall synthpop greats such as OMD, Depeche Mode, and New Order. Elsewhere, on ‘Ruby Shards’ and ‘Everything’s True’, Matthew Nowhere delivers a more band-driven sound with echoes of The Church or Psychedelic Furs.
“This album takes another look at something beautiful once rejected. I decided to return to the music that was all around during my childhood, and to explore the entire emotional landscape of those incredibly formative years. ‘Crystal Heights’ represents an embracing of a forgotten part of early childhood, and a celebration of all the incredible creativity that was everywhere at the time,” says Matthew Nowhere.
“Music to me is magic. I am transforming feelings into sounds. And if I’m going to do that kind of alchemy, the feelings I want to share are meaningful and transformative. Life is wild and mysterious, and it doesn’t always make sense. But the important things – connection, love – are always grounding, and I can’t think of anything else I want to focus my life on.”
Featured image by Anjali Rivera.
SOURCE: Official Bio
Check out our other features with Matthew Nowhere HERE.
Check out our other features with Lunar Twin HERE.
Rising alternative artist Bea Elmy Martin unveils her spellbinding new single ‘Where We Part’, a cinematic and emotionally resonant offering that marks the first release from her much-anticipated debut album ‘Under the Yew’. Known for her meticulous creative vision and multidimensional artistry, Bea continues to push the boundaries of alt-pop with a sound that is as brooding as it is beautiful.
Following her breakout debut Blue Escape (2021), which gained early support from BBC Radio 1’s Jack Saunders, BBC Radio 6’s Lauren Laverne, Clash Magazine, and Wonderland, Bea stepped back from the fast pace of the industry to fully immerse herself in the creation of her debut LP. ‘Under the Yew’, recorded with longtime collaborator and producer Dominick J Goldsmith from renowned trip hop trio HÆLOS in her native London, is the product of nearly two years of quiet dedication and deliberate craftsmanship.
Leading the project is ‘Where We Part’, a richly layered alt-pop ballad born from personal grief and creative renewal. Written during a period of deep emotional loss, the track captures the quiet devastation of absence while holding space for resilience and rediscovery. Beginning with Bea’s signature piano and stirring vocals, the song swells into an atmospheric tapestry of intricate harmonies and evolving textures, recalling the sonic complexity of artists like Billie Marten, Joy Crookes, and CMAT.
She shares, “This album became a space to process that journey. It’s taught me that even in loss, love endures, and with it, healing begins. ‘Where We Part’ also speaks to the quiet endings we experience in relationships, friendships, and within ourselves. Subtle shifts where paths diverge and we’re left to redefine who we are without someone or something we once held close.”
Produced with a deft hand and striking attention to detail, ‘Where We Part’ stands as a luminous showcase of Bea’s evolving sound – equal parts intimate and expansive, melancholic and transcendent. With crisp, ever-shifting production and emotionally potent songwriting, the track signals a new chapter for an artist unafraid to lead with honesty and depth.
‘Where We Part’ is a striking reintroduction to an artist coming fully into her own. And with her debut album ‘Under the Yew’, Bea Elmy Martin is poised to become one of the most distinctive and enduring voices in contemporary alternative music.
Q&A
I see that your upcoming album, Under the Yew, is titled as being volume 1. When will you begin volume 2, and how will it compare and contrast to pt. 1 of your collection?
Volume two has already been written — it’s in the final stages now, just polishing things and getting everything exactly where it needs to be. You’ll be hearing the first track from Volume Two a lot sooner than you think. If Volume One was about sitting in the thick of grief and letting it move through you, Volume Two is more about what comes after — the stillness, the clarity, and the small moments of light that begin to return. It’s connected, but it feels like turning a page.
What was it like working with producer Dominick J Goldsmith?
Dom and I clicked from the very beginning. We’re honestly so lucky to have such a great working relationship. I think we energize each other well, and that’s such a rare thing to find. We both trusted the process and never forced anything; that freedom is what allowed the songs to become what they needed to be.
Was “Where We Part” inspired by a single life event of yours, or does it express multiple times and feelings?
I wrote “Where We Part” the night my dog, Ike, passed away. He’d been with me since I was little, and the feeling of losing him was instantly crushing, unlike other kinds of grief, which sometimes takes time to settle in. It’s an ode to him, but the song became comforting in other ways, too. I found it grounding to sing during different moments of loss I experienced later in the year. When emotions are that intense, music can be a great way to make sense of things.
Your vocals in this one are more delicate than ‘Blue Escape’. How do you practice achieving different vocal feelings and timbres?
When we recorded Blue Escape, I was 18, so my voice has changed a lot since then. I think I was still figuring out what my sound was at the time. Now, I feel far more connected and confident in where my voice sits and what it can do emotionally. I’m just focused on what feels true at the moment. I’ve had a lot of fun singing in my lower register over this record.
Does the yew tree have any significance to you? I once heard that the Celts saw it as a tree of death and resurrection.
Absolutely — a yew tree fell in my parents’ garden in Rye while I was writing the album. It was HUGE and had an owl house on it that my sister had made for my parents. Somehow, even though the tree came down, the owl house survived completely untouched. Not long after, a family of owls moved in, and now we hear them calling to each other in the evenings. That whole moment — destruction, survival, new life — it just was the album to me. It perfectly encapsulated the themes of mortality and rebirth. I kept picturing those little owls under the fallen yew tree, making something beautiful and joyful out of it all.
The last thing you say in the song is “You are my best friend, and I can pretend that you’re….”. What would the last word have been?
The full line is actually, “You are my best friend, and I can’t pretend that you’re not there.” I guess this part of the song is reflective of the feelings of denial you get when you lose someone. It seems so wrong that you can’t cuddle them! A quiet refusal to let go.
Sidelines has released his latest single titled ‘Sleep Alone’. This is a song that has that ‘sound’. A bit of underground with dabs of mainstream, with just enough production to sound slick but stay in the underground. Walking a lot of tightropes, both sonically and stylistically, ‘Sleep Alone’, in essence, stands alone in a beautiful balancing act between cool and collective to remain solidly in the underground of music while introducing an aspiring artist to the masses.
Way too short, but does it need to be longer to stay memorable?
About Sidelines
Deeply embedded in the Melbourne music scene, Sidelines first emerged as the frontman of beloved pop-punk/emo outfit Snark and now performs as guitarist/vocalist with All Regards.
As a solo artist, he’s making his mark, quickly following up his debut single ‘End of an Era’. Sidelines fuses the emotional rawness of emo with the polished hooks of synth-infused pop, crafting music that feels like a diary you can scream along to.
His second offering, ‘Sleep Alone’, is equal parts comforting and cathartic — a breakup anthem soaked in heartache and clarity. Featuring soft guitars, crisp pop drums, grooving bass lines, and Sidelines’ signature mournful vocals, the track builds from aching verses into a stadium-sized chorus. It’s a song made for long night drives, late-night spirals, or letting it all out at top volume.
Lyrically, ‘Sleep Alone’ explores the instinct to avoid loneliness, even at the cost of staying in something broken. The song begins in denial, bargaining to delay heartbreak, before shifting into quiet acceptance. Sidelines wrote the track inspired by what he witnessed in close friends, using it to voice an emotional truth: sometimes, choosing to be alone is the ultimate act of self-preservation.
“In the bridge, the lyric shifts from ‘I can’t sleep alone’ to ‘we all die alone’ — which is a bit of an emo twist on the chorus (I couldn’t help myself),” Sidelines shares. “In isolation, it’s a depressing lyric, but to me it’s also a truth that kind of sets you free.”
Sienna Melgoza is a multi-talented singer-songwriter, actress, and dancer whose passion for music and the arts has shaped her into a dynamic performer. While her sound is rooted in pop, she seamlessly blends various genres, instruments, and styles, creating a sound that is both fresh and deeply personal.
From an early age, Sienna immersed herself in the creative world, training rigorously as part of a triple-threat program that honed her skills in singing, dancing, and acting. Alongside her formal training, she spent countless hours in her bedroom recording covers, writing original songs on her keyboard and acoustic guitar, and constantly refining her craft.
Her dedication and drive led to a pivotal moment in her career when, at just 13 years old, she signed her first record deal. Working with industry professionals provided invaluable experience, allowing her to develop as both an artist and a storyteller. Now, Sienna is fully embracing her creative vision, writing music that reflects her journey and sharing it with the world. With a deep love for the arts and an unwavering commitment to authenticity, she invites listeners to connect with her music, hoping they’ll stay for just a little while.
Gabriella Zauna encourages listeners to strive for authentic self-improvement and to be a better version of themselves today than they were yesterday, highlighting the importance of self-care along the way. Encompassing her alt-tone with dreamlike ethereal features and darkly captivating instrumentals, Zauna dives into all-too-relatable themes everyone experiences, especially women, in terms of needing to fit a certain image.
Zauna explains, “This track explores emotions of self-loathing and deprecating thoughts regarding life experiences, appearance/physique, and falling victim to the societal time clock. For women in particular, this song dives into the societal pressures that we feel and the thoughts of self-contempt and comparison regarding our bodies, as well as criticizing aspects of ourselves, thinking that it will solve the problem.” Making it a goal to resonate with her listeners’ through her lyricism and give them clarity, she continues, “We have this preconceived notion of when our careers are supposed to take off, when certain landmarks in life are supposed to happen, and when they don’t, you beat yourself up naturally.” There is no rule book in life on when things need to happen.
“This song is a reminder to myself to toughen up when you think you have it worse than everyone else – to push forward, work harder, and stay invincible no matter how hard you may want to give up.” With never giving up in mind and making this the song for those who feel trapped, she emphasizes, “Wallowing about what you haven’t accomplished yet in life will push you back, getting up and making yourself who you’ve always wanted to be will push you forward.” “PINUP” was written and produced by Gabriella Zauna, showcasing her artistry as an emerging force within the music scene, embodying a unique musical landscape with an ominous twist.
Gabriella Zauna, originally from Los Angeles, CA, grew up in a musical family with her father performing in a punk band. Zauna discovered a passion for writing music at the age of 7 and began releasing it at 15, drawing beauty from the darkness and utilizing songwriting as a storytelling outlet for her life experiences and adversities. Zauna stirs the soul and sparks the mind with her authenticity, drawing inspiration from artists like Imogen Heap, Lana Del Rey, RAYE, John Summit, and Fred Again. As a “one-woman band,” she weaves a sonic tapestry that’s entirely her own, crafting music that’s both deeply personal and universally resonant. She’s been championed by outlets such as The Luna Collective, FEMMUSIC, and We Talk About Music.
About Gabriella Zauna
Born, raised, and based in Los Angeles, CA, Gabriella Zauna has proven to be a jack of many trades. At just 19 years old, she has emerged as a multifaceted artist, blending her talents as a singer, songwriter, instrumentalist, and producer in the captivating realm of alternative dark pop, which she describes as pop music with a bit of an unstructured, darker twist. A fusion of pop sensibilities with an evocative edge, she seamlessly weaves together melodies that linger in the shadows, inviting listeners into a world where emotions are raw and experiences are profound.
Gabriella’s journey into music began early, with the melodies of her soul finding expression as early as seven years old. Fueled by personal experience and an inner battle with herself, her art became not only a means of expression but also a lifeline during moments of deep depression. Through her music, she discovered a language that transcended the limitations of words, a conduit through which she could channel her innermost thoughts and emotions.
Embracing the role of a “one-woman band,” Gabriella takes full ownership of her creative process. From inception to execution, she meticulously crafts each element of her music, breathing life into her compositions with a rare authenticity and vulnerability. Her dedication to her craft is evident in every note and lyric, as she strives to create art that resonates deeply with her audience. Drawing inspiration from a diverse array of artists such as Lana Del Rey, RAYE, and The Japanese House, Gabriella is enamored with the power of lyrical writing that transcends the conventional boundaries of expression. She revels in the ambiguity of metaphor, crafting narratives that not only engage the mind but also stir the soul.
Beyond her musical prowess, Gabriella possesses a rare gift: synesthesia. For her, each song is not merely a composition of sounds but a rich tapestry of colors, textures, and shapes. This sensory disorder infuses her music with a palpable authenticity, as she draws upon the kaleidoscope of sensations to breathe life into her creations. The color blue, in particular, holds a special significance in her artistry, serving as a visual anchor amidst the swirling depths of her sonic landscape.
With each song she shares with the world, Gabriella Zauna invites listeners on a journey into the depths of her soul. It is a journey marked by moments of introspection, passion, and unbridled creativity—a journey that resonates with all who dare to embark upon it. As she continues to weave her sonic tapestry, one thing remains certain: Gabriella Zauna is an artist poised to leave an undeniable mark on the world of music.
Emerald Sunday is a Scottish indie/rock band, made up of founding member Alan Hunter (guitar/vocals), with Euan Mushet (bass), Mike Martin (vocals), Matthew Fleming (lead guitar), Mike Juraszewski (drums), and Andrew Taylor (keys). The Scottish rockers have performed on the same stages as some of Scotland’s rock and indie legends, including Big Country and Primal Scream.
With an eclectic mix of influences, ranging from Oasis and Stereophonics to Porcupine Tree and Skid Row, the band’s sound has drawn comparisons to Emerson Lake and Palmer and fellow Celts Feeder. Following a charity event in Leeds, connections were made with Richard McNamara, of Embrace fame, which led to McNamara producing and performing on their album, ‘Willow’.
The band recently joined forces with flowery punk rocker Sandi Thom, releasing the soaring ballad ‘Sitting in the Stars’, which brought them back into the limelight, increasing their visibility, whilst gaining new fans and media attention with global airplay. They ended the year with the festive release ‘I Wish The World Would Sing’ and followed this up with the stunning ‘Losing Ground’ earlier this year, which received further praise and was ‘Track Of The Week’ on BSBTV. They have already announced some highly anticipated major shows for 2025!
“Lyrically, the best thing I think I have ever written! Usually, the focus for me is on the melody, but this time I chose to write a touching story. The song is about a guy who walks by a beautiful woman on the banks of the river in New York. They smile at each other and have a connection, but little did he know that the girl was about to end her life and jump into the water. Then it’s just about how she survives then ends up together, and her life is completely turned round for the better. Originally it didn’t have a happy ending, but I thought ‘f*”k that’, there is enough doom and gloom in the world, let’s put a positive spin on things”. Alan Hunter
802 has today released their new video for the track titled ‘H.I.T.S.’. 802 has such a unique and inviting sound to me. Almost addictive and demanding, that repeated listen. Lush harmonies amid an ocean of contrasting sounds and melodies. One giant hook, in a manner of speaking.
I have to admit that in the middle of my sonic enjoyment, just like that, the video was over. This track is way too short. I felt immersed in a sea of sound without a lifeline and, just like that, the drain was pulled and I was sucked back into my existence. I feel all the better for it, however.
About 802 & ‘H.I.T.S’
‘H.I.T.S’ is the triumphant return of one of the most promising alternative acts on the Nordic music scene, ready to hit international festivals this summer – incl. Sweden Rock Festival, Wacken Open Air, and more. But first, 802 is back with their 5th single – a track powered by an in-your-face attitude of old school rock wrapped in futuristic synths, once again showcasing new sounds from Andreas Asingh, Emil Sørensen, and Kristian Holbæk’s genre-defying universe.
“Even though the world is fucked, you can still believe in the good. Believe that there is a hole in the sky somewhere, where light and good karma are just waiting to pour out and defeat the evil. 802 is a mixture of the dark and the light – the outsider who wants to be part of the community. It’s a constant dynamic that we celebrate in ‘H.I.T.S’,” says Andreas Asingh.
The music video for ‘H.I.T.S.’ cements the story of good versus evil. It’s a grotesque scenario between two young women, a car and a rope, brought to life by 802’s visual collaborator, director Casper Balslev who has made music videos for ALT-J, Iggy Pop and MØ, and cinematographer Sebastian Winterø, known for his work with super stars like Lady Gaga, U2, Sia, Die Antwoord and more.
802 has rapidly become notoriously known for their fuzzy, heavy, and unashamedly catchy wall of sound and even won New Artist of the Year at the alternative Danish Metal Awards, Den Hårde Tone. Their previous singles have also been accompanied by aesthetic and kitsch short films including the dark, postmodern comedy ‘1986 Forever’, the UK Music Video Award-nominated ‘A Heavy Metal Bedtime Story’ and ‘The Curse of the Velvet Vampire’ that took home Best International Short at the American film festival, A Night of Horror.
Sohodolls have today released their new single titled ‘Last Night Was A Mistake’. Trap sensibility with a dark twist into a deep turn, ‘Last Night Was A Mistake’ surrounds emotional realization with a raved-up atmosphere and dancefloor dystopian attitude. Mistake as a muse and mayhem as a masterpiece, Sohodolls pull the feels and brace for impact with their signature sound and crafty cheekiness.
While I’m not too interested in electronic music in general, I have to admit I have a fanboy attitude when it comes to Sohodolls. They pull it off with style. They embrace their electronic and make it electric. Think of a party where everyone is welcome and anyone is cool.
Having recently featured in Netflix’s top 10 series ‘Geek Girl’ with their song ‘Bad’, the new single brings similar St. Trinian’s punk-girl attitude but buried deep within a haze of beats and pulsating electronics, which escalate into an infectious sweaty club banger for all the gamers and misfits who, like the band, also blend between genres.
Whilst on the surface an anthem for regretting the night before, ‘Last Night Was A Mistake’, goes much deeper to fantasize about how things may have turned out, combining dreamy atmospheres with fast-paced, dystopian moods as the story twists and turns from hangover recollections to imaginary future romantic scenarios.
“It’s about that unexpected encounter with someone who has a dream-like quality and never being able to forget them. It’s about an instant connection that completely caught me off-guard”, explains Sohodolls’ Maya von Doll. “Lyrically, I wanted to continue the story the way I wanted it to go before being pulled away from that magical moment.”
Produced by Marcus Andersson and mixed by Austin Leeds, ‘Last Night Was A Mistake’ continues an exciting new era for Sohodolls as they limber up to launch their long-awaited new album this year. Known for their 00’s hit ‘Bang Bang Bang Bang’, which Madonna’s daughter recently sent viral via TikTok, Sohodolls prove once again with ‘Last Night Was A Mistake’ that they are up there with the best alt-pop artists around at the moment whilst retaining their London goth-scene roots.
Scenius has today released the video for their single, also dropping today, titled ‘Beat The Light’, from the upcoming album ’13 Billion Dark Years’, out this Autumn.
Subtly and suavely bringing in the mental state and mood of the moment, Scenius appears with a quiet anthem of apathy and grace with visuals set for the mood in the abstract and feeling for the soul in the momentum.
The visuals embrace the lyrics while the music sets the tone. Scenius has always had a penchant for slightly obscure, emotionally cheeky delivery in their music, in the guise of electronic pop, but there is poetry involved in the details.
And, while some may find this a bit subdued, it is also deep.
Wrapped in lush vocal harmonies, the chorus lands like a soft mantra that lingers long after it fades. The lyrics explore the idea of surrendering to forces that are beyond control, where powerlessness can feel unsettling… but strangely comforting too. Beat The Light is the second single out of a series of 4 leading to the release of a new album.
Cold Silence… Like the silence after another senseless war breaks out. Like the shock after a relationship comes to an abrupt end. Like the silence that can arise after a diagnosis. Like the emptiness that can arise after a shooting or act of terrorism. Like the shock when we are faced with a new world order.
Cold Silence addresses what can be the most difficult thing to face and how it can feel. Describes an emotional nakedness, but also a way forward.
About Östkusten
The Swedish word Östkust translates to East Coast, and the Swedish band Östkusten doesn’t play light-hearted West Coast rock. Östkusten creates dark and melancholic indie rock and pop to make an emotional impact and evoke strong feelings. The band creates razor-sharp guitar rock where big soundscapes are alternated with vulnerable melodies.
Much of the band’s soul is found within the emotional depth of their lyrics. The lyrics deal with heavy topics such as mental anguish, toxic relationships, destructive patterns, and the frustration that our contemporary society often brings out in us. The band members have their own experiences of getting through difficult situations in life.
They aim to set words and music to the darkness and hopelessness that people can experience, while also spreading some hope and light.
Birth(Defects) has today premiered their new album titled ‘Deceiver/Mirror’, dropping tomorrow (May 30th) via Reptilian Records. Timeless music that may seem to have been recorded from a different time, in this case 2017, but seeing the light of day tomorrow, it gives that feeling that maybe history had to catch up to ‘Deceiver/Mirror’ in many more ways than one.
Like a scab on your leg that won’t heal, on the verge from pre-diabetes to post-apocalyptic, these songs stay in your mind like a headrush long after that first listen—examining the traits of humanity via popularity seeking and groupthink, showing us how one can skate the line between burden of proof and proof of purchase, exposing the contrivance in us all with each abrasive note and bruising lyric.
I have to say that this is what music should be. Experimental. Evolutionary. Extraordinary. Accessible.
About Birth(Defects)
Some records are made with grand aspirations. Others emerge from necessity—uncompromising, raw, and deeply personal. Birth (Defects)’ Deceiver / Mirror belongs to the latter, a volatile document of a band that once was, nearly lost to time, but now is finally seeing the light in 2025 through Reptilian Records. Originally recorded in 2017, Deceiver / Mirror sat in limbo as the band unraveled. What should have been a defining statement instead became a ghost, shelved indefinitely. “It’s not all the time—very rarely, actually—that you can finish a work and look back on it almost a decade later and complete it in a way that lives up to your original vision,” says Birth(Defects)’ Sean Gray.
At its core, Deceiver / Mirror is an unflinching examination of lying, not in the broad, political sense, but in the deeply personal, messy, and inescapable way it shapes relationships. “The album is about interpersonal relationships,” Sean shares. “We drew from our own experiences at the time with the intent to explore themes of deception and self-reflection that would appeal universally to any listener.”
Tour Dates 2025
May 29 – Ithaca, NY – @Angry Mom Records
May 30 – North Adams, MA – @Belltower
May 31 – Newark, DE – @The Newark Bike Project
June 1 – Philadelphia, PA – @1026 Space
June 13 – Baltimore, MD – @Holy Frijoles
The band explores deceit from the perspective of the liar, examining how dishonesty not only damages the person being lied to but ripples outward, affecting everyone around them. The two halves of the record—Deceiver and Mirror—reflect different aspects of this theme. “It’s loosely about how anyone can be a liar, no matter how good a person they are,” Sean explains. The writing process for Deceiver / Mirror began in the mid-2010s, culminating in their first studio session in 2017 at Nick Skrobisz’s (Multicult) Baltimore studio. But even that almost didn’t happen—a then-band member, filled with doubt, nearly pulled the plug on the entire process the night before recording.
Despite the uncertainty, the band pushed forward, laying down eight tracks in a single day. Yet something still wasn’t right. Then, in 2019, BIRTH(DEFECTS) imploded—burdened by internal struggles, leaving the album unfinished. For years, it remained untouched, weighed down by both personal and creative baggage. It wasn’t until late 2023—six years later—that they could even consider returning to it. The band comments: “Returning to the project required some emotional work on our parts,” Sean admits. “But we had to cut the session short when Rob got a call about his father going to the hospital. He would pass away a few weeks later. For Rob, this album is dedicated to his dad.”
Determined to see the album through, the band booked Steve Albini at Electrical Audio in Chicago to mix the record—a dream opportunity. But just months before their session, Albini tragically passed away. Instead, they worked with Matthew Barnhart, whose approach honored the band’s vision. Sean recalls: “Every day started with one of Steve’s famous fluffy coffees. We mixed everything through Electrical’s analog board and rack units, adding the final touches we always wanted”.
The final step was mastered by Bob Weston (Chicago Mastering Service), a name synonymous with the sound that had influenced Birth (Defects) from the start.
After ‘Weathering’ and ‘The Big Picture’, acclaimed Lyon-based 4-piece Last Train’s new album is a direct reflection of raw anger. Recorded in a crumbling, unheated chateau, ‘III’ channels frustration into meticulously composed rock. Formed in the 2010s, Jean-Noël Scherrer, Julien Peultier, Timothée Gérard, and Antoine Baschung gained a strong following with their first two albums and toured with Muse and Placebo.
In 2024, they released ‘Original Motion Picture Soundtrack’, an orchestral reworking of their songs, but the new album marks their true return to form as a rock band. Tracks like the first two singles, ‘Home’ and ‘The Plan’, combine rock energy with melody, balancing emotional depth and anger.
With ‘III’, Last Train has produced a radical and authentic third album, far from the aseptic super-productions. With ‘One by One’ – the focus track, you’ll feel right in the band’s rehearsal room: screeching feedback, punchy drums, overflowing bass, and incisive choruses.
Provocative as it is, the track embodies a frantic race: the train will go on, with or without us. Mature, confident, and increasingly daring, these ambassadors of French rock continue their dizzying ascent, no matter how high the wall!
Gina Zo has today released her new video for the track titled ‘Dirty Habits’, from her debut album dropping in 2026. The song was produced by Grammy-winning producers Justin Miller (Zach Bryan and Jazmine Sullivan) and Tim Sonnefeld (Usher). Hailed as the ‘dream girl’s song of the summer’, there is enough accessibility to expose the hook, but the power is in the songwriting, highlighting Gina’s vocals and feel for the music.
Part story, part confessional, the video feels like a smooth and suave interpretation of the music as the song glides through and invites you into the party.
Yes, this is total pop and glitz but, with the right hook and melody, it becomes an anthem.
About 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 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 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.
Gina Zo has unveiled her debut record and first single, “Dirty Habits”, a rock-pop ballad all about how our dreams are better than reality, with Grammy-winning producers Justin Miller (Jazmine Sullivan and Zach Bryan) and Tim Sonnefeld (Usher). She has delved even deeper into the raw truths of love, identity, and perseverance. 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.
In April 2025, Blue Foundation performed their latest single, ‘The Fall’, live at Hotel Cecil in Copenhagen.
Starring Tobias Wilner, Bo Rande, Nina Dahlgaard Larsen, and Rune Lohse, with stunning cinematography by Martin Kobylarz, this new live film is a tribute to presence, imperfection, and the city that showed up. ‘The Fall’, taken from the 2025 album ‘Close to the Knife’, is more than a performance—it’s a memory.
‘Close to the Knife’ showcases the distinctive fusion of electronic music and dream pop that the Blue Foundation has become renowned for. Drawing inspiration from the ethereal nature of dream pop and a moody, introspective atmosphere, the band creates immersive soundscapes characterized by emotive vocals and intricate production. Their music often evokes a sense of melancholy and reflection, resonating with listeners who appreciate ambient, expressive melodies and introspective themes.
Immerse yourself in ‘The Fall’ and you’ll see why many of the band’s tracks have been featured in various popular films, such as Michael Mann’s ‘Miami Vice’, and TV shows like ‘The Vampire Diaries’, with their song ‘Eyes on Fire’ gaining significant fame after being included in the soundtrack of the movie ‘Twilight’. The new live video for ‘The Fall’ is also an exciting taster of the band’s spine-tingling live performances, as Blue Foundation limber up to announce UK dates for this year very shortly.
Check out our other features with Blue Foundation HERE.
About Blue Foundation
Founded in 2000 by Danish singer, multi-instrumentalist, and producer Tobias Wilner, the group was inspired by Mark E. Smith’s method of forming a band (The Fall), with Wilner recruiting a rotating lineup of traditional musicians over the years to fuel creativity. Since 2010, the core members of the band have been Tobias Wilner and Bo Rande, working between Crown Heights, Brooklyn, and Copenhagen, Denmark.
Blue Foundation is renowned for its distinctive fusion of electronic music and dream pop. Drawing inspiration from the ethereal nature of dream pop and a moody, introspective atmosphere, the band creates immersive soundscapes characterized by emotive vocals and intricate production. Their music often evokes a sense of melancholy and reflection, resonating with listeners who appreciate ambient, emotive melodies and introspective themes.
The band has released several well-received albums, including “Life of a Ghost”, “In My Mind I Am Free” and “Blood Moon”. These albums showcase their signature style and have cemented their reputation in the indie music scene. They have collaborated with a range of artists and producers, enriching their sound and expanding their reach within the music industry. Collaborators include Jonas Bjerre (Mew), Erika Spring (Au Revoir Simone), Findlay Brown, DJ Krush, Sara Savery, and Wang Wen.
Blue Foundation’s music has been featured in various popular films, such as Michael Mann’s “Miami Vice,” and TV shows like “The Vampire Diaries.” Their song “Eyes on Fire” gained significant fame after being included in the soundtrack of the movie “Twilight.” Blue Foundation is sampled by Lil Durk featuring French Montana on his track “Fly High” and Young Thug’s song “She Noticed.” They co-wrote the song “Taurus” for Machine Gun Kelly.
Jammerzine has an exlusice interview with Dubh Lee. Dubh is a unique musician in every right possible, to be quite honest. She is one of those who stay with you and become a part of your repertoire, and deservedly so.
Having said that, since our initial First Listen of her latest track titled ‘My Poor Boy’, she has since dropped the music video for said track (embedded below).
With a sound and style that features a world-endearing sound while keeping her vivid Irish roots, Dubh Lee could be one of those ‘once in a generation’ types of artists, mixing poetry and music to create an audio-artform as memorable as it is mesmerizing.
In this interview, we talk about her latest single as well as her insights on the indie music scene and where she is taking her music.
Dubh Lee is an Irish guitarist and singer-songwriter who emerged on the Dublin music scene in 2018 with her lively residency in The International Bar and has since entertained countless audiences across Ireland. With wide-ranging influences from folk, blues, and rock and an unadorned, honest vocal style, she writes songs that examine excess, ennui, heartache, and womanhood.
Dubh Lee has performed at festivals and events such as the Ruby Sessions, Electric Picnic, Fuinneamh, and All Together Now, as well as intimate shows opening for acts such as Alabama 3, Jerry Fish, and Bagatelle. Her song ‘To My Sisters’ won the Night and Day song contest in 2023. She supported jazz band Jimmy’s Cousin on their Irish tour, which included performances in The Set Theatre in Kilkenny, Dolan’s in Limerick, and The Sugar Club in Dublin. Not afraid of experimenting with genre, Dubh Lee’s vocals have featured on the tracks of hip-hop and drum’n’bass artists, and her live shows are dynamic, with earnest acoustic folk tunes building up to intense, electric-guitar driven bangers. In 2020, she released Carousel, a blues-rock stomper with a psychedelic music video and themes of debauchery and despair.
Dubh Lee’s debut EP, Animals and Friends, came out in May 2023. The 4-track EP explores the artist’s internalized misogyny and romantic misadventures, with old and new sonic influences from Aldous Harding to The Band. The release was accompanied by an acoustic Irish tour, with 9 shows across multiple counties in April and May 2023.
‘My Poor Boy’ Video
“My Poor Boy was written two years ago, in 2023, as I was driving home from a date that went poorly. I was looking out the window of my taxi ride home and thinking about various poor choices I had made recently with regards to romantic encounters, and as we drove down Cork Street towards Crumlin (in Dublin city), I incorporated words from different signs and shop fronts into the lyrics.
I had been listening to Marvin Gaye a good bit around that time, and I tried to capture some of the yearning you can feel in his music, in the melody of My Poor Boy. It probably doesn’t sound much like it anymore, but a lot of the initial inspiration for the melody and chord progression for the track came from Heard It Through the Grapevine. When blended with my usual Travis-picking and folk leanings, I ended up with this mellow, lonesome soundscape. My Poor Boy was initially just the working title, but the phrase inspired lyrical ideas around dog imagery – ‘throw me a bone please’ and ‘curl up at your feet’, etc. At the time, I was in the middle of a love triangle with my ex and a new guy who turned out to be a total narcissist. I felt pathetic, and the lyrics are trying to get at that type of feeling, like a dog that has been kicked.
I came up with the western-y electric guitar motif that happens after each chorus on the spot in the studio. I knew I wanted something like that in the interval between verses and choruses, so I drew from the likes of the Fistful of Dollars theme; there’s also a great modern example of that type of guitar tone in Blue Jeans by Lana Del Rey. Once that was in, the song started going in this desert/dusty direction, so I invited trombone player Oran O’Neill to lay down some lines. The percussion is simple – just a shaker and a tambourine.
I knew I wanted that type of organ you hear at baseball games, so my co-producer and studio engineer, John Leader, helped me write the organ line. He also played bass on the track and wrote the string arrangement that gets introduced from the second verse onwards. I love a short song,and it comes in at a tidy 02:46. My Poor Boy is the second track (but the first single) from my upcoming EP, which is called FUFO. The EP ties together folk, rock, and psychedelic elements and is darker overall than my previous release. The cover art for the EP is a collage I made, whereby each quadrant represents a song on the EP. The quadrant for My Poor Boy is the bottom right (which is a picture of my dog Sam, who is now deceased).” Dubh Lee
Singer-songwriter and multi-genre musician Aaron Koenig has released his latest project, ‘Live Now!’. More than just an album, Live Now! combines Koenig’s uplifting, spiritually charged songs with a beautifully designed 60-page book featuring lyrics, chords, background stories, and cover art for each of the album’s twelve genre-spanning tracks
The project’s lead single, “Money with Love,” is a bold and bright power pop anthem with Latin percussion and New Wave flair. The track reframes money as a spiritual tool—”Money isn’t dirty, it means people like what you do”—and champions gratitude and generosity in a time when streaming services pay artists little for their work.
“For a long time, I had a negative view of money, and it held me back,” says Koenig. “But when I started cultivating a grateful, abundant mindset, everything began to change. That’s the energy behind ‘Money with Love.’”
Koenig’s Live Now! includes 12 tracks exploring life’s biggest themes—from mindfulness to mortality, from emotional transformation to AI. Encompassing rock, folk, soul, ska, flamenco, funk, and even bossa nova, the album lives up to Koenig’s mission to make music about spiritual topics that rocks and grooves.
Koenig’s mindful approach has resonated far and wide: since May 2024, his music has been streamed over 500,000 times on Spotify, with standout single “Death” racking up over 90,000 plays and matching views on YouTube. With Live Now!, he’s offering more than just music—he’s creating a full-bodied, tangible product fans can own and cherish.
“Streaming is great, but fans deserve more,” says Koenig. “This book-album is something they can hold, learn from, and be inspired by. It’s about deepening the connection between artist and listener.”
Excuses Excuses bring a ferocious energy and razor-sharp songwriting to the stage, combining introspective lyrics, soaring melodies, and raw emotion to convert every crowd into true believers. Hailing from the Great White North, the band’s explosive live show is both a gut-punch and a unifying force, captivating audiences coast to coast and beyond.
At the heart of their music is a commitment to honesty, tackling important topics like mental health with the message that it’s okay to not be okay. Their debut album, Listen Up!, released via Known Accomplice Records/Cadence Music Group (Sam Roberts, The Trews, Moist, Texas King), is as much a rallying cry as it is a statement of intent, earning glowing reviews across Canada and the UK.
In recent years, Excuses Excuses have toured relentlessly and shared stages with rock heavyweights including Laura Jane Grace (Against Me!), DZ Deathrays, Danko Jones, Big Wreck, Monster Truck, cleopatrick, Fucked Up, and more. With momentum on their side and a fire that won’t quit, they’re just getting started.
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