First Day Of Spring has today released their new video and single titled ‘Partyzeit!’. Straight from the mind of Samuel Jones, ‘Partyzeit!’ is one of those quirky tracks that mesmerizes itself into your memory and puts the groove into the pocket and just lets you ride the train into the station.
An anthem for slackers and an ode to kitsch, ‘Partyzeit!’ is a track that brings back the summer if only for a few moments. Retrotastic memories from that era when MTV dictated musical policy and alternative was still the alternative, First Day Of Spring feel like a blast from the past as much as a peek into the future.
About First Day Of Spring & ‘Partyzeit!’
Returning with their first single in over 12 months, London-based project First Day of Spring announce single series Human Flesh, and share intoxicating psych-disco cut โPartyzeit!’.
Comprising an ever-shifting live line-up, revolving around the songwriting of London-via-Southendโs Samuel Jones, โPartyzeit!โ marks a revitalized new era for the group. With addictive basslines, electro-funk grooves, wailing saxophones and retrograde synths, itโs First Day of Spring, but with the rain clouds parted, and made over in psychedelic day-glo colors.
Featuring a vocal cameo from Rebecca Gillerion of The Plan, โPartyzeit!โ is the first of four cuts set to make up Human Flesh, set for completion in 2026.
Offering further insight into the track, Samuel says: โThe first Volume from the Human Flesh series is โPartyzeit!โ, a look at the re-learning process and personal growth that can follow from piecing the blocks back together after lengthy periods being disconnected from ‘keeping it in the dayโ and how that disconnect had prevented external action.” Partyzeit! is a representation of that authentic, humbling, energizing and uplifting process. It is an energy I wanted to translate into the musicโs aesthetic, an aesthetic that The Planโs queen, Rebecca Gillerion, helped Fully Realizeโ.
Following up a brace of EP releases in recent years, the announcement of Human flesh follows a spate of press acclaim from the likes of CLASH, The Line of Best Fit, Wonderland, Far Out, Brooklyn Vegan, Under The Radar, Earmilk and Clunk, as well as radio play from BBC Radio 6Music (Emily Pilbeam) and BBC introducing.
Destroy the Moon detonates another blast of pure volatility with Hyde, a gritty, high-speed eruption forged from the darkest corners of Alt Rock, Grunge, and Hard Rock. Fueled by the bandโs signature venom-laced attitude, the track rips forward with feral urgency, channeling the energy of a mind pushed past its breaking point.
With lyrics that swing between Jekyll-calm and Hyde-chaos, the song captures the exhausting cycle of dealing with a two-faced presence who thrives on turmoil. Every verse spits frustration, every chorus snaps under the pressure of emotional whiplash, and the entire track becomes a cathartic purge of resentment, burnout, and long-overdue confrontation.
Drawing from the raw, unfiltered aggression of the New York punk movement of the late 70s and early 80s, Destroy the Moon fuses that rebellious spirit with the heaviness and grit of modern alternative rock. Hyde shreds forward at breakneck pace, soaked in distortion, adrenaline, and the bandโs unmistakable edge, a sound thatโs instantly recognizable as Destroy the Moon and no one else.
This is the moment where the mask slips, the patience snaps, and the truth hits like a brick to the teeth. Hyde is fast, furious, and carved straight from the nerve-endings of real-world frustration.
About Destroy The Moon
After a long-awaited return, Destroy the Moon is finally back with their first new music since 2021. Their latest single, โThe Midwestโ, is a sharp, sarcastic take on the struggles of growing up in post-Y2K America, wrapped in the bandโs signature blend of hard-hitting instrumentals and unpredictable time signature shifts. Drenched in tongue-in-cheek nuance, โThe Midwestโ captures the widening cultural and political divide that has shaped a generation. The track pairs relentless, driving rhythms with moments of unexpected softness, creating a dynamic and immersive experience that highlights Destroy the Moonโs unmistakable sound. Whether youโre drawn in by the biting social commentary or the unique sonic twists, โThe Midwestโ is proof that Destroy the Moon hasnโt lost their edgeโtheyโve only sharpened it.
Steel & Velvet is a folk-rock band born in 2021 from the friendship of Johann Le Roux (vocals) and Romuald Ballet-Baz (guitar), Breton musicians who both benefited from solid classical training. Soon joined by another guitarist friend (also Breton), Jean-Alain Larreur, more rooted in blues-rock, they offer a collection of songs recorded in a spirit similar to that of Johnny Cashโs American Recordings. Acoustic guitars and vocals. Their sound is minimalist, stripped-down, and authentic. Most of their repertoire consists of covers of North American artists from the worlds of folk, rock or grunge. Nevertheless, they also dabble in composition, releasing their first single, ยซPoppy Fieldยป (Song for the Armistice), in May 2022.
One of the bandโs distinctive features is that they favor concert venues that allow singer Johann Le Roux to remain unamplified, thus maintaining a more organic and intimate connection with the audience. They also attach importance to the visual aspect of their artistic universe, collaborating closely with Brest-based photographer and videographer Loรฏc Moyou, who shapes their visual identity through his photos and videos, as well as the logo he created for Steel & Velvet.
‘Waiting for Some Warmth’ was released in May 2023. This four-track EP is a tribute to Mark Lanegan, who “really loved this type of music, when someone can take a guitar or light instrumentation and a beautiful voice and can transport me somewhere.”
In October 2025, Steel & Velvet returned with a new artistic offering: ‘People Just Float’, two works in one: a six-track EP and a short film directed by Loรฏc Moyou.
The six songs were carefully selected to form the soundtrack for a dreamlike western. Together, they tell the story of Joshua, a man living in seclusion in a cabin who, while hunting, discovers a frightened woman in the forest. Musically, the band maintains the continuity of its previous output: stripped-down acoustic versions with an authentic sound. Some songs remain close to the original versions, while others have been reworked. This is particularly the case for ยซOrphanโs Lamentยป (Robbie Basho), originally played on piano by the American artist and which benefits from a brilliant guitar adaptation by Romuald (Ballet-Baz). A small novelty, however: Johann Le Rouxโs daughter, Jade, sings on two tracks.
Gothic folk metal act Belle Morte is proud to announce the release of the official music video for their latest single, “Jorลgumo.” A masterful blend of dark, heavy metal and traditional Japanese music, the track features an extraordinary collaboration with three highly acclaimed Japanese artists: Hisashi (koto, arrangement of Japanese instrument parts), Reigen Fujii (shamisen), and Souzan Kato (shakuhachi).
Inspired by Japanese folklore, Jorลgumo tells the tale of the spider demon who lures her prey with beauty and deception. Featuring traditional instruments such as koto, shamisen, and shakuhachi, arranged and directed by Hisashi, the track fuses gothic and industrial metal with haunting Japanese textures.
This track takes listeners on a journey through twisted forests and shadowy realms, weaving a tale of temptation, entrapment, and dark enchantment.
About Hisashi
Hisashi is a professional koto player and composer based in Japan.
He has built a wealth of experience playing the koto, both in Japan and overseas. His music career has allowed him to work with clients all over the world, including Japan, the U.S., the UK, Canada, Germany, Norway, and Portugal. He has taken part in several recording sessions for music composers, producers, record labels, an award-nominated composer, and a prize-winning composer.
As a composer, he specializes in a mixed style of modern music and traditional Japanese music. He has composed music for singers, dance projects, promotion videos, art projects, etc. In the 2022 Petrichor International Music Competition, he was selected as a semi-finalist.
His music style was established through his own unique music career. He has been familiar with traditional Japanese music since he was born because his mother is a koto teacher. He also started playing the piano when he was 6, and he started playing the drums in a rock band when he was 13. He has been a member of many rock/metal bands as a drummer and composer. He also has a passion for electronic music and experiments with modern sound-making by sampling traditional Japanese instruments.
About eigen FUJII
A pioneer who established his own shamisen chord theory and adopted new performance techniques to develop innovative approaches to Western music.
In 2012, he won the 5th champion of the national shamisen competition and became the youngest winner ever. He promotes shamisen by holding workshops around the world and has led many students to become prize winners.
Currently, he also often appears on TV shows and radio programs, and collaborates with various artists.
About Souzan KATO
Souzan KATO is a professional shakuhachi player based in Japan. He is a certified master of the Tozanryu Shakuhachi Foundation. He graduated from the Traditional Japanese Music Course at Nagoya College of Music and completed the master’s program in the Graduate School of Music at the same university.
He was awarded the Gold Prize at the Tozanryu Honkyoku National Competition in 2015, 2018, and 2021. Also, he received the Minister of Education Award and the Sankei Newspaper Award.
He engages in performance activities both domestically and internationally, including lectures and performances at universities in Asia, Europe, and North America.
About Belle Morte
Formed in Minsk, Belle Morte combines dark symphonic metal with gothic, progressive, and melancholic elements. After their 2018 EP Game On, the band signed with Wormholedeath in 2021 to release Crime of Passion, a conceptual album inspired by John Fowlesโs The Collector. Their second album continues this global approach, delivering unique symphonic metal experiences for fans seeking something different.
De La Soul has today dropped their first album in almost a decade titled ‘Cabin in the Sky’ via Mass Appeal. After that first set of satisfactions since their last album, ‘And the Anonymous Nobodyโฆ’, ‘Cabin in the Sky’ is both a true return to form and a proper eulogy to Trugoy The Dove and features the talent of Nas, Black Thought, Killer Mike, Common and Little Dragonโs Yukimi Nagano, as well as production from DJ Premier, Pete Rock and Supa Dave West, but this is truly a De La Soul release in proper and glorious form.
And, while this album features The Dove, in a way, I am saddened and wondering if this will be the last we hear from him. While this is a closing of a chapter for De La Soul, I hope it’s not the end of the story. ‘Cabin in the Sky’ feels like a new beginning in their next evolution of revolution.
About โCabin in The Skyโ
โDay in the Sun (Gettinโ Wit U)โ marks a major reunion of sorts as the first time De La Soul and Q-Tip link up on a studio single in years, reviving the spirit of their partnership dating back to the early days of the Native Tongues collective. That original alliance helped define an era of fearless, expressive, boundary-pushing hip-hop.
This single is the follow-up to their current release โThe Package,โ produced by Pete Rock. Both singles live on the groupโs forthcoming album Cabin in the Sky, De La Soulโs 10th studio album and their first full-length project in nine years, set for release November 21 via Mass Appeal as part of the independent labelโs โLegend Has Itโ album release series. The album is the sixth release in Mass Appealโs Legend Has It campaign, celebrating seven iconic artistsโall releasing new musicโincluding Slick Rick, Raekwon, Ghostface Killah, Mobb Deep, Big L, De La Soul, and Nas/DJ Premier.
Cabin in the Sky embraces the groupโs enduring legacy and features a roster of high-caliber producers and collaborators who reflect both respect for the past and a drive toward fresh creative territory. With โDay in The Sun,โ The group blends timeless lyricism with forward-thinking production, by Supa Dave West.
โThis record is about gratitude, joy, and rebirth,โ says Posdnuos. โWeโve been through storms, and now itโs time to stand back in the sun.โ
About De La Soul
De La Soul is a New York-based trio composed of Posdnuos, Trugoy, and Maseo, who created the hip-hop masterpiece 3 Feet High and Rising, initially released on March 3, 1989. Renowned for their eclectic and innovative sampling, quirky lyrics, and contributions to jazz rap and alternative hip-hop subgenres, the group garnered acclaim, including a Grammy win for Best Pop Vocal Collaboration for their song โFeel Good Inc.โ with The Gorillaz in 2005.
In 2015, De La Soul raised over $600,000 on Kickstarter to independently release their album โAnd the Anonymous Nobodyโฆ,โ which topped the Rap Albums chart and earned a nomination for Best Rap Album at the Grammy Awards.
Benjamino has today released his new album titled ‘Cucino’. I never thought I would say this, but, there is now a concept album based on my other hobby: cooking. How odd is that? Not that much, actually. In fact, Benjamino breaks it down into the core elements, and in doing so, shows the similarities there are between the ritual of cooking and the process of making music. You make something that, hopefully, others will love.
A lot of ‘Cucino’ (similar to cincina, or kitchen in Italian) brings me back to the days of AM radio and pre MTV pop, in a good way. Lazy hooks and cheeky takes on the chorus. Memorable and dancable all in one shot.
โThe idea for attaching a concept to the album was born out of the sheer magnitude of the task. Writing, producing and mixing all of this myself was both fun and daunting, so having a structure in place with the ‘Italian Menu’ idea helped to compartmentalize everything.” Benjamino
About ‘Cucino’
โCucinoโ is a concept album built around the rhythm and ritual of cooking. Taking its name from the Italian word for โI cookโ, the record unfolds like a menu, moving through the courses of a meal. It opens with the light and playful ‘Antipasto’, moves through the richness of ‘Primo’ and ‘Secondo’, and ends with a sweet finale under ‘Dolce’. Each section offers a distinct flavour and mood, mirroring how music, like food, can shift to suit the time of day or the feeling in the room.
Across โCucinoโ, Benjamino folds together the precision of a studio craftsman with the instinct of a live performer. The result is a sound that feels both familiar and fresh, laced with vintage textures and anchored by rhythm. Keys, bass and guitar intertwine with warm synths and grooves that shimmer with movement, while his vocals glide between soulful falsetto and conversational ease. Thereโs a looseness to the record that keeps it human, a sense of spontaneity beneath the polish that invites each track to breathe.
Elegantly executed disco bursts with confidence, meeting meditative synths that bloom into shimmering jazz. Lively keys and buoyant basslines carry the charm of 1970s anthems, while piano-led ballads draw the dynamics inward for moments of introspection. Funk grooves and subtle percussion keep everything in motion with flashes of pop flair tying the record together into a vivid, immersive world of sound.
Benjamino leans into the freedom of modern artistry, releasing music in an era where fluidity between genres is celebrated rather than constrained. His love for diverse sounds underpins the albumโs range, moving between styles with a self-described โpoly-Jamorousโ spirit. By framing the record within the concept of a meal, he was able to bring cohesion to its many flavors, allowing each track to complement the next like courses in a shared feast.
About Benjamino
Benjamino is the genre-bending project of Sydney-based artist, producer, and multi-instrumentalist Benjamin Cauduro. Known for their rich blend of alt-R&B, nu-disco and dream pop, Benjamino crafts tracks that are both deeply introspective and made to move. Their music is packed with groove, wit, and a cinematic sense of emotion โ blending intricate production with bold, heartfelt storytelling.
A seasoned audio engineer and lifelong musician, Benjamino has spent the past decade in the studio and on the stage, working with local and international artists and performing all across Australia. After years of writing and producing for others, Benjamino began releasing solo material in 2020, gradually establishing a sound thatโs playful, polished, and unmistakably their own.
After collaborating with fellow alt-R&B artist meadowhip for On Repeat, they set sail on an East Coast tour of Australia, selling out shows in Brisbane, Melbourne and their hometown of Wollongong. The two also united for collaboration shows at the Coldplay event at Sydney Olympic Park in November 2024.
In 2025, they launched their most ambitious project yet: a series of monthly singles leading up to their debut album Cucino, due out in November. Named after the Italian word for โI cook,โ the record is a lovingly crafted sonic meal โ layered with lush production, playful storytelling, and emotional depth.
Producer and multi-disciplinary artist mรฏus is returning with his latest single โWorthyโ featuring the ethereal vocals of HALOSARA, out 21 November 2025 via Thรฉque Records.
Over six albums, mรฏus, the live audio-visual project of Gergely รlmos, has become a mainstay in the European electronic scene, earning acclaim from tastemaker publications such as Mixmag, CLASH Magazine, Vice, DJ Mag Spain, Faze Mag, and When We Dip, alongside airplay on BBC Radio 6, Rinse FM, and KCRW to name a few. Boasting over a million streams on Spotify alone, his highly-praised catalogue has attracted remixes from Brandt Brauer Frick, Vessels, and Robot Koch. With releases on major labels such as Sonar Kollektiv, mรฏus has also landed editorial selection spots on Bandcamp, Spotifyโs TOP 50 UK and TOP 50 GERMANY, and a premiere on Mixmagโs YouTube channel for the video of his track โStrobe and Noiseโ.
The creative vision of architect and film set designer Gergely รlmos, mรฏus blends electronic precision with a visual designerโs sense of structure and detail. Rooted in Budapestโs vibrant art scene, the multi-modal artistโs project merges sound, design, and visual storytelling into a cohesive multi-sensory experience. With a style that would entice fans of the atmospheric electronica of Bonobo, Moderat, and Jon Hopkins, mรฏus crafts compositions that are cinematic and emotionally layered, deftly finding a meticulous balance between organic warmth and digital intricacy.
โWorthyโ is anchored by soft broken downtempo beats and airy synths, interplaying delicately with minimal piano phrases that buoy HALOSARAโs dreamy vocals. The track swells with gentle intensity, rising to a pinnacle that is soothing yet euphoric.
mรฏus shared: “When Sara sent the phone recording of her playing on the piano and singing, its simplicity immediately inspired me. I loved the original draft so much that I kept the phone-recorded chords in the background at the beginning of the song.”
HALOSARA added: โThis song is basically an apology to myself for treating myself badly for such a long period. The song came together in such an organic way โ it almost wrote itself. I had this little voice memo recording โin the drawerโ that I sent to Geri. He took the song to a completely different and interesting level than I had initially thought.”
Nonthewiser have today released their new EP titled ‘Injustice For All’. Punk is alive and well in the form of Nonthewiser, showing that it’s the only genre that can go commercial and come back unscathed and unharmed. Nonthewiser return to the roots with raucous rebel anthemic bangers filled with fire and fueled with fury.
Just tamed enough to lure in the posers, ‘Injustice For All’ is an air guitar nightmare in the guise of that perfect dream with that girl you wished you talked to all those years ago. Well, the chicken switch remains unpressed, so, go for it.
About Nonthewiser
Nonthewiser takes everything they love from the Californian punk rock scene of the โ90s and mixes it with their Scandinavian heritage. The result is fast, fierce, and melodic punk rock that makes you sing along and move your body.
The gloomy lyrical themes paired with melodies that stick for days earned the band great reviews when their self-titled debut album dropped in 2023. The intensity of their songs translates directly to the stage, where Nonthewiser truly shines.
Following several shows alongside heavyweights of the genre in their home country of Sweden, the band toured Scandinavia in the winter of โ23 and embarked on an extensive European tour in the fall of โ24.
Now, Nonthewiser returns stronger than ever with their latest release โInjustice for All,โ out November 20th, 2025 โ a fierce statement against the growing darkness in the world. The four-track EP showcases the bandโs signature mix of speed, melody, and emotion while pushing their sound to new heights. Work on their sophomore full-length album is already underway, proving that the force is still strong with this one as the wheels keep turning at the speed of light in a world that keeps getting darker.
The Ineffectuals crash back onto the scene with National Tragedy, a sharp-edged Indie Rock / Alt Rock crossover that blends pop-punk grit with melodic hooks and a wicked sense of humor. As both the title track and lead single from their new album, National Tragedy captures the absurdity, frustration, and dark comedy of living in a world that never stops spiraling.
Driven by anthemic guitars, cinematic rises, and lyrics that cut straight to the bone, the track turns cynicism into catharsis. The chorus hits like a rallying cry from someone whoโs been through the fire and somehow walked out grinning. Itโs rebellious, reflective, and surprisingly hopeful beneath the ashes.
With biting wit and layered instrumentation, The Ineffectuals transform societal collapse into a soundtrack you can shout along to. National Tragedy feels like scrolling doom-news at 3 a.m only this time, the soundtrack absolutely slaps.
Perfect for fans who crave high-energy rock with brains, attitude, and fearless honesty, National Tragedy proves The Ineffectuals arenโt just observing the chaosโฆ they’re framing it in neon lights.
About The Ineffectuals
The Ineffectuals are a powerhouse melodic rock band with a sound that hits hard and leaves a mark. Formed by two strangers who have yet to meet in person, their music defies physical distance, proving that creativity knows no boundaries. Fueled by the raw energy of grunge and punk, they dive deep into themes of extreme personalities and the universal need to be understood. With driving riffs, sharp melodies, and an undercurrent of unfiltered emotion, The Ineffectuals channel rebellion into every note, forging a connection that transcends miles and speaks directly to the soul.
Slรธtface (pronounced Slutface) have today released their new single titled ‘For The Boys’ via their own label, Dagen er รธdelagt (the day is ruined).
Slรธtface’s evolution of revolution continues with that next chapter of rรธck and pรธp with equal parts meaning giving an internal evolution and spiritual shoutouts taking frontwoman Haley Shea’s vocals into a new emotional high. This song is a catapult, to me, in that it feels fresh while giving Slรธtface a chance to take a chance with a slight change in direction and a subtle shift in focus.
While remaining close to style and true to form, Slรธtface veer slightly off the road with a track that melds emotions and modifies the mold.
About ‘For The Boys’
‘For The Boys’ lyrics reflect the shifting phases of the men in Sheaโs life โ as they become fathers, start going to therapy, grow, change, and struggle. The title says it all โ this oneโs ‘For The Boys’.
‘For The Boys’ was produced and written with some of Slรธtfaceโs own boys โ Simen Fรธlstad Nilsen (Aiming For Enrike, Jaga Jazzist) produced and co-wrote, alongside Tobias Osland (Hammok) and Nils Jรธrgen Nilsen (Honningbarna). The 4-minute track builds through post-rock guitars and Twin Peaks-esque sections, culminating in a massive sonic wall of sound with Sheaโs voice teetering on the edge. This one is sure to become a highlight in Slรธtfaceโs already energetic and emotionally charged live sets when they return to the UK for three UK shows in February.
As if the song wasnโt already wholesome enough, drummer Nilsen has this to say about it: โI just want to say that what this song makes me feel is that Haley sees me where I am and cheers me on. Sheโs a friend whoโs with us in the challenges along the way while celebrating how far weโve come.โ
If that didnโt make you want to listen to it while you cry friendship tears, I donโt know what will.
‘For The Boys’ is the second single from Slรธtface’s upcoming series of releases on their own label over the next year. The vision is a quick turnaround from idea to release, offering a fresh creative start for an unfiltered, energized Slรธtface.
Venting his frustrations with the kind of algorithmic invasions we all find ourselves subject to at the hands of tech-companies on a daily basis, frontman Ben Robinson put pen to page and the poetic lyrics at the heart of โFUK ZUKโ poured out in one. As Ben recalls:
โOne morning on holiday it dawned on me that we were all being terrorized by algorithms, purposefully polarized, enraged, saddened and driven to conflictโฆ All for the benefit of the agenda’s of some tech operators. I think we’re all waking up to that. The track tries to articulate that frustration and in clear language and lay it out in plain sight what is going on. Having a young child has made me think differently about where to draw the line on what’s happening to our minds and very existence as humans. There’s an urgency and boldness to the message, a wake up callโฆ Itโs about the whole cast of tech monopolies and also the general mindset they operate in.โ
Written following a trip to Jack Whiteโs Third Man Records in London and heavily inspired by the fuzzed-up grooves of his โFear of Dawnโ record, Robinson puts the triplegraph octave pedal he purchased that day to formidable use here. Throw in a synth-pedal set to โLazerโ mode, cacophonous drums and bass, some abstract sax courtesy of Anna Hetherington, and some unhinged guitar parts from Alex Beston, and the components were all in place for producer Jamie Lockhert to work his magic on the ground-quaking final mix of โFUK ZUKโ we hear now.
The track is accompanied by a stunning, subversive official video created in collaboration with Tom Redfurn of the Project Z Parkour group the band have shared Stockportโs Welkin Mill with. Directed and produced by Misha Warren, who is part of the Cosmic Glue collective, Ben adds.
โWe wanted to highlight what incredible things humans can do when they put their time into it. The juxtaposition of Tomโs larger than life movements alongside me scrolling on a phone landed perfectly to accompany the message of FUK ZUKโ
Following directly on from recent releases โGig Buddiesโ and โGrind Into The Shrineโ, โFUK ZUKโ is the latest track to be lifted from their fast approaching second official studio album โCome Out Tonightโ.
Celebrating 10 years as a recording project, Hello Cosmos have burst back into being with a flurry of new activity. Alongside new shows, sessions, and singles, the band are also readying the release of โCome Out Tonightโ, a brand new album out 5 December 2025 (via Cosmic Glue).
Confirmed to feature over a long list of collaborators, the album takes influence from all corners of the globe with its studio recording sessions taking place in New York City, Los Angeles, Kampala, Leeds, Stockport and Manchester. Produced by Jamie Lockhart at Greenmount Studios in Leeds, who has produced all of their studio records to date, it arrives as Hello Cosmosโ first studio album proper in over 5 years, following their acclaimed debut โDream Harderโ in 2020. Of the upcoming record, frontman Ben Robinson says:
โA lot of the upcoming record is about finding the strength to switch off digital screens and go out and live. Itโs becoming more and more normalized to stay in, comatose by ultra processed food and algorithms firing shallow dopamine hits, keeping us all hooked on a short wavelength, gradually becoming dumber, hopeless and unhealthyโฆ We all need to wake each other up, get off the cool aid of digital apps, social media and algorithmic scrolling.โ
Reappearing with a new look line-up, Hello Cosmos currently feature leader and creative force Ben Robinson (co-founder of Kendal Calling & bluedot) and his brother Simon (drums), and strings/synth maestro Angela Chan (Placebo / Lanterns on the Lake), performing alongside bassist/percussionist Isaac Dobson (Dobbo) and guitarist Alex Beston of Vacant Weekend, sax/synth whizz Frankie Pigeon (Dilettante/BC Camplight), and harmonica player Oli Brown (of Herelduke, who also notably produced Hello Cosmosโ โGolden Dirtโ mixtape).
While it may seem like eons that the band have been away, behind the scenes Hello Cosmos have been fervently building their own studio, creative space & label: Cosmic Glue. With the fruits of their labors ripe and ready for revelation, new album โCome Out Tonightโ is just the beginning. With two new records and a blissed-out โcomedown albumโ also due for release in the imminent future, an intrepid new chapter for Hello Cosmos is upon us. Hold tight.
School Disco have today released their new video for the track titled ‘Simulation III’ from their upcoming fourth studio album ‘School Disco SDIV’, dropping February 26th via Krautpop!. Simplicity can be mesmerizing, and School Disco take that to the simplistic extremes with their new video for ‘Simulation III’. Add that classic retro indie underground taste to the buds and you have something to behold both physically and sonically.
Reality may be a constant, but so is the day-to-day bullshit we all have to deal with. Obscurity as a muse and originality as a simulation. School Disco take both to heart and emerge with an anthem for the future.
About School Disco
A distinctive fusion of prog and jazz flavors โSimulation IIIโ showcases the distinct musicality of the upcoming album. Infused with the bandโs signature psychedelic sensibilities, the track unfolds through a shuffling 6/8 groove, distant vocals, and intricate guitar work to create a haunting yet buoyant offering. Midway, it transitions into a downtempo swell of fuzzy synths before building toward a sporadic yet climactic guitar solo. Balancing a vivid 1970s character with a sharp modern edge, at 3:33 the single stands as one of the bandโs most concise and direct offerings.
Talking about the track, Laurence Underwood shares: โSimulation III came out real quick. I was meant to put a different song forward, then this one sort of just presented itself. It sounded menacing to me, so I thought Iโd have to match that with the lyrics. At the time, I was seeing a lot of people online talking about โthe simulationโ and thought that the idea of actually believing that is pretty funny. Pair that with rewatching the Matrix movies and there you go, a song about living in a simulation.โ
Recorded at Farm Road Studios with engineering from Jake Smallwood alongside Rory Lethbridge himself, and mastered by Harry Hayes (School Disco, Roebucks) the upcoming LP showcases some of School Discoโs most inventive and complete work to date. Mostly tracked live, with minimal overdubs, allowing its raw intensity to shine through, the album captures the bands natural musical flow, drawing inspiration from the likes of Black Sabbath, CAN, as well as sci-fi and horror, ultimately finding the in a darker, more meditative territory while also drawing from a more tender personal place.
Following a string of tastemaker radio and press support from the likes of BBC Radio 6 Music (New Music Fix), Radio X (X-Posure), Louder Than War, Backseat Mafia, Psychedelic Baby Magazine, Dork, Earmilk, Notion and Clunk, and having subpoenaed for the likes of Wolf Alice, Froth, Lime Garden, Population II (UK tour support), Bo Ningen (UK tour support), Dr. Feelgood and Frankie and the Witch Fingers, School Disco are only deepening their cult appeal.
โHappenโ is the first glimpse into a new chapter – an ambitious first leap into more upcoming material that fuses heavy psych jams, expansive soundscapes, and progressive structures into a captivating and immersive sonic world.
It didnโt take long for Spitzer Space Telescope to establish himself as the pacesetter in Londonโs erupting folk scene. From the intimate fervour of late-night sessions, to leaving audiences of thousands breathless in his wake at high-profile shows across the capital and beyond, his rise has been extraordinarily rapid. And yet โ it also feels inevitable. Having spent the last decade travelling across America and Europe, instigating collectives, delving deep into traditions but unafraid to shake them up, he arrived in England last year armed with the charisma, the intensity, the experience, the power, the presence โ and the straight-up songwriting chops โ to push things to the next level. Then, he went on to do exactly that.
The musician, aka Dan MacDonald, performs the kind of folk music that hits straight to the heart, that grabs you at the collar, that pushes you against the wall no matter how big the space โ ask the thousand-strong crowd at Hackneyโs Earth Theatre who were left thunderstruck by his performance there last autumn, for instance. He establishes, as he puts it, โthis palpable, electric bond,โ between him and his listeners. It makes sense, given that heโs taken the brash, soul-rattling singing of The Clancy Brothers as his model ever since encountering them as a teenager in an isolated Midwestern town. Just a 10-second snippet of the legendary Irish group in a Bob Dylan documentary was enough to transfix him, to teach him how to bombard early audiences at open mics by singing โto the back of the room,โ as he puts it. โThere were all these amateur college kids playing Devendra Banhart, not very well, then I get up there and Iโm just yelling into the microphone โ I remember them all looking around like, โWho is this kid?โโ
Then, moving to Boston and then Chicago, cities rich in existing traditions, he came up against rigid ideas of how things โshouldโ be done, and set to work dismantling them. โThese legacy places are very much gatekeeping. It taught me how to accept the fact that you’re gonna have to fight for every stage you get on.โ Encounters with โhardcore old-time players,โ ploughing their own furrows well outside of the mainstream, also taught him about a career beyond commercial ambition. โIt opened up this whole new thinking about what community can be when itโs not pursuing commerce and stroking ego.โ
Fostering a mentality more in common with underground punk and indie scenes than those staid traditional institutions, he became the central instigator of a thriving left-field Chicago folk scene in the form of the Old Lazarusโ Harp Collective. As that peaked and began to fade, he โknew the clock was ticking,โ and so upped sticks to Dublin, just as Irish folk music was once again beginning to simmer. Working a parallel career as an oil painter and artist that allows him an itinerant lifestyle, now heโs instigating once more in England. He brings all heโs learnt along with him โ the importance of a direct musical attack, the necessity of DIY work ethic, the folly of pursuing commercial ambition, a refusal to be intimidated by the legacy gatekeepers, the value of grassroots community. โIโve accumulated these little wisdoms at every stop Iโve made. Every scene Iโve helped build has strengthened my understanding.โ
It all feeds into his work, although he also refuses to get bogged down in the theoretical. This is music that, like The Clancy Brothers, gets straight to the point. It also shows MacDonaldโs keen ear for an unforgettable hook โ after all, he says, โWeezer taught me everything I know about writing music.โ His first EP since moving to England, Spitzer Space Telescope II, kicked the door down by demonstrating the breadth of his abilities, from bracing stomps to rousing romance to joyous jigs, and now comes another, Spitzer Space Telescope III to consolidate that talent.
As with MacDonaldโs live shows, everything he sings across both EPs โ and the wealth of unreleased songs still sitting in the chamber โ is completely original. โFrom day one Iโve always aspired be a songwriter. All I care about is great songs and who wrote them, and how the hell they came up with an idea out of thin air,โ he says. โIf anybody asks me, where’d you get that song that you played at the show? I can I have one answer. It’s all mine.โ
That fact is more impressive still for the fact that Spitzer Space Telescope III contains such an array of different styles, and that it shifts so elegantly between autobiography and fiction. MacDonald is as comfortable delivering rousing shape note singing as he is a sprawling ballad, a hypnotic sea shanty, or a moment of cracked and tender sorrow. Heโs unafraid of such dramatic shifts in style; in fact, theyโre intentional. โI got introduced to this genre through compilation albums, so I have a lot of affection for a listening experience that jumps around different colours,โ he says.
Opener โThe Great Ascenderโ opens the EP with a rush of stark, bold beauty. A self-set challenge to โwrite a secular hymn, and to celebrate shape note and vocal harmony singing,โ it evokes a power to counter the divine, but โwithout having to endorse religious institution.โ In MacDonaldโs hands, the songโs central power is drawn not from religion but from the heroism of ordinary humans, โand the kinds of heroes we need right now. Even if you donโt get famous, if your deeds are forgotten or overlooked or uncelebrated โ in a way thatโs even more heroic.โ
The next track, โAll You Girls Ashoreโ, even by Spitzer Space Telescopeโs eclectic standards, is an anomaly, โthe only example of a melody I didnโt write,โ the tune taken from a French whaling song called โPique La Baleineโ. โI liked the melody, and I wrote English lyrics to it.โ His words, towing a curious and transfixing line between surrealism and straightforwardness, are not a direct translation. โI donโt even know what the French is talking about. That track is just a blatant love letter to sea shanties, one of my home base music traditions.โ
โVeritasโ, meanwhile, toys with the temporal. Ostensibly, it is the story of Galileo set to a spry banjo tune, telling of his condemnation and imprisonment for refusing to renounce the truth of a heliocentric universe. Beneath the surface, however, โit comes from all the anti-medical, truly medieval stuff that we were seeing during Covid,โ MacDonald says. Then, MacDonald boundaries โ itโs shrouded in a hiss and crackle thatโs uncannily close to that you might hear on a compilation of Alan Lomax recordings from the 1930s.
Then, with โKayne In The Orchardโ, comes the kind of wild, yet deftly executed, stylistic pivot that is typical of a Spitzer Space Telescope record, as the openerโs grand proclamations gives way to a long and sprawling tale of a real-life visit to Cornwall. The transcendence of shape note singing dissolves, as MacDonald shifts into a slow and sprawling ballad form typical of English and Irish traditions. As with so many such songs, not all that much happens beyond drinking and merriment, โbut thatโs whatโs so amazing about those kinds of ballads,โ MacDonald argues. โTheyโre snapshots of everyday life, and placing them in a musical form gives extra emotion to them, and attitude. Itโs a homage to all those songs that I love about nothing really happening.โ Its languid, beautiful ordinariness is irresistible.
โOh Misfortune I Knowโ, meanwhile, is an exercise in zipper songs โ a gospel format where one line changes with each verse while the rest stays the same โ set here to delicate finger-picked acoustic guitar and a cracked vocal lament for unrelenting hardship. As with everything MacDonald does, his ability to craft work indistinguishable from actual traditional music is uncanny, although thereโs a nod to the present in the songโs direct mention of depression. โโDepressionโ isnโt a common word in traditional music, but it is very current,โ he says. โI thought it would be cool to have a song where this topic of mental health was embraced.โ
This modern twist is a subtle one โ a little nod to the listener, indicating that although this record might feel like a compilation of material from a host of different traditions, it is โ and could only ever be โ the work of one man alone. Whether secular shape note hymns, enticing ballads, ethereal shanties, sorrowful zipper songs or searing cross-temporal banjo songs, EP III reaffirms Spitzer Space Telescopeโs status as one of the new folk sceneโs most towering creative forces.
The Overjoyed have dropped their new single titled ‘Joy Vampire’. That bassline had me with the first note, but the guitars with the bass and bombastic drums kept me throughout. This is reclamation of punk from the mass media subterfuge that is the music industry.
Just enough of that retro to claim it’s roots, the rest is where it should be going and going on with a mix of rock and rebel with anarchy as the main course and retribution as a contribution. This is music.
About ‘Joy Vampire’
Blending the unmistakable Bay Area punk aesthetic with anthemic pop sensibility, The Overjoyed craft a sound thatโs both infectiously energetic and emotionally cutting. Their songs may sound happy and vibrant, but as always, thereโs a biting irony lurking beneath the surface – a reflection of the bandโs name itself.
โโJoy Vampireโ started as a diss track to someone we once collaborated with,โ the band explains. โHis narcissistic approach to music and how he treated people around him didnโt align with what punk means to us – being genuine, supportive, and part of a community. Punk rock isnโt about being โcoolโ or โsuccessful.โ Itโs about expressing your truth and standing with good people against a grim world.โ
Musically, bassist Thanos Manolopoulos calls the song his proudest moment in the bandโs history: โJoy Vampire was the one that pushed us out of our musical safe zone. It started the creative journey that shaped our upcoming self-titled album. The bassline just clicked – and when we added that one-note piano in the last chorus, inspired by The Stoogesโ โI Wanna Be Your Dog,โ we knew we had something special.โ
Frontman Leo Overjoyed adds: โAs we grow older, we realize we canโt fit in with everyone like we used to. After a tough experience, Thanos and I poured all that frustration and emotion into โJoy Vampire.โ Itโs about those people who drain your energy: the real-life joy vampires.โ
The track, recorded at the bandโs own Buduzi Studios in Athens, was produced by The Overjoyed, mixed by Marios Adamopoulos, and mastered by Christian Wright at Abbey Road Studios, giving it both grit and polish.
โJoy Vampireโ follows the release of โDonโt Listen!โ, a fast and unapologetic song that marked a raw, instinct-driven shift in their sound. Together, these singles continue the evolution that began with 2023โs Pressurepop EP, expanding on their dirtier, mid-tempo power-pop edge and moving beyond the polished โ90s punk energy of 2019โs Aced Out.
With Vangelis Dimos (drums), Thanos Manolopoulos (bass, backing vocals), Stef Moysidis (guitars, backing vocals), and Leo Overjoyed (vocals, guitars) contributing more equally than ever before, The Overjoyed are entering their most collaborative and creatively fearless era yet.
About The Overjoyed
Formed in Athens, The Overjoyed debuted in 2011 with their EP 32, followed by full-length albums Boomdoggle (2016), Aced Out (2019), and Pressurepop (2023). Known for their high-energy shows and ironic name and contrasting upbeat music with emotionally complex lyrics, the band has toured extensively, playing in the UK, Europe, Japan, Spain, Portugal, and Turkey.
Theyโve previously supported punk icons like Green Day and The Offspring and appeared at major festivals including Release Festival, Ejekt Festival, Manchester Punk Festival, KNRD Fest, and Vive Le Punk Rock Festival.
After years of relentless touring and evolution, The Overjoyed are poised to break bigger than ever. With a new album on the horizon and a dream support slot with Green Day now under their belts, The Overjoyed are entering a new story- and this is just the opening chapter.
Three years in the making, Wrongderful marks a sonic evolution for the Cannes-born artist, expanding his distinctive fusion of yacht rock, funk, and psychedelic pop while maintaining the cohesive audio-visual universe that has captivated fans worldwide.
“I’ve spent a little over three years writing and recording Wrongderful,” explains Mcbaise. “With it, I wanted to build on what I started with my previous album Tubes, moving away from classic guitar-jazz chords and walking bass lines. The idea was to expand the universe while keeping everything under the same roof, making some tracks as punchy and sunny as possible, while others feel more like an introvert wandering through a moody forest.”
The album showcases Mcbaise’s range, from hypnotic late-night grooves like ‘Moon’ to the infectious energy of viral hit ‘Alice’ (over 1 million streams, over 1 million YouTube views). Focus track ‘Never’ continues the artist’s tradition of crafting catchy melodies paired with throbbing rhythms that appeal to fans of Tame Impala, The Flaming Lips, and Mac DeMarco.
About Mcbaise
Mcbaise is the musical nom de plume of Matthieu Bessudo (aka mcbess), originally from Cannes. Building his reputation initially through distinctive illustrations, Bessudo began recording music under the name ‘mcbaise’ as a creative outlet, reflecting on his hometown with the love, scorn, and nostalgia that comes with familiarity.
His releases have found cult success as much for their catchy melodies and throbbing grooves as for the meticulously crafted animated music videos accompanying each track. Videos for ‘Ugo’, ‘Water Slide’, and ‘She’s a Big Boy’ have racked up several million plays, with each taking months to create and immersing fans in his singular vision.
Wrongderful is the long-awaited follow-up to 2021’s Tubes and features the first animated music video since 2021’s ‘Water Slide’. Following cryptic social media teasers, live shows are rumored for later in 2025.
Mcbaise occupies a unique space where music meets visual art culture, appealing to fans of artists like KAWS and streetwear labels such as Supreme, Stussy, and Patta.
After nearly a decade of silence, Trois-Riviรจres, QC’s Hopeless Nation roars back into the spotlight with their new single โSilverspoon,โ a blistering fusion of hardcore grit and modern metal precision. The track marks the bandโs official return and is accompanied by a surreal, AI-generated music video. โ Formed in 1998, Hopeless Nation built its legacy on raw energy, socially charged lyrics, and sweat-soaked live shows. Their 2009 album “Built from Scratch” became a cornerstone of Quebecโs underground scene, backed by over 200 performances alongside acts like 100 Demons, Bane, Lofofora, and Despised Icon. โ In summer 2024, the band reunited for a high-energy show that reignited their creative fire. Revisiting unrecorded material from 2014, they began a new cycle, grinding back up from the roots while staying true to their hardcore and metal ethos. That journey culminates in โSilverspoon,โ a track that hits hard from the first note and refuses to let go. โ โโSilverspoonโ is immediate, layered, and aggressive, with clean vocal hooks that broaden its reach. Mixed and mastered by Francis Perron (Voรฏvod, Decayed Remains) at RadicArt, itโs built to dominate playlists and ignite live crowds. Lyrically, it critiques entitlement while celebrating earned effort, themes reflected in its cinematic music video. โ The video, created entirely with AI technology, fuses 1960s suburban nostalgia with cosmic adventure. A young boy carrying a silver spoon becomes a cult leader, confronting human space invaders and his own inner darkness, symbolized by a red snake. Itโs a bold artistic leap that blends innovation with authentic musical expression. โ The single artwork mirrors this tension: a red serpent coiled around a silver spoon, rendered in a haunting, old painting style. It visually ties to the songโs themes and the surreal narrative of the video. โ โHopeless Nationโs return is more than a comeback; itโs a tribute. The new planned singles to be released in the coming months honour past members Jonathan Houle (bass/guitar, 2012โ2014, 2024) and Maxime Dupont (rhythm guitar, 1998โ2014), whose talent and spirit helped define the bandโs sound. Their legacy echoes through every riff and lyric. โ The bandโs lineup remains deeply rooted in the Quebec scene, and Louis-Simon Bellerose leads punk hardcore legends Genetic Error. Steve DC and Guy Provencher represented Canada at Wacken Open Air 2023 with Strigampire, winners of the Wacken Metal Battle Canada.
Known for their no-backing-tracks, lamp-amp sound, and full crowd interaction, their live shows are legendary, often featuring headbanging, chair-throwing, and immersive visual projections that leave fans breathless. โ โโSilverspoonโ is just the beginning. Four more singles, “Disaster,” “My Curse,” “1000 Miles,” and “Predators,” will follow, leading to a full EP. Each track bridges the bandโs hardcore roots with modern metal sheen, offering pit-friendly intensity and emotional depth. โ For fans of Gojira, Darkest Hour, At the Gates, Lamb of God, and Zao, Hopeless Nation delivers a sound thatโs explosive, raw, and relentlessly honest.
After a year of steady build-up, bold reinvention, and dancefloor resurrection, Warfield – the darkwave/deathrock project helmed by She Wants Revenge lyricist and frontman Justin Warfield – arrives at a pivotal moment. Today marks the release of Deathrock Devotionals Vol. II (out via Black Heathers/Cleopatra Records), the latest installment in Justinโs ongoing love letter to the early Los Angeles deathrock and post-punk scenes that shaped him. Just two weeks later, on November 28, the saga culminates with the release of the full-length album Deathrock Devotionals – an all-encompassing statement piece that merges narrative depth, goth energy, and propulsive hooks into one darkly luminous body of work.
โLike its predecessor, Vol. II is a continuation, and remembrance of, the early years of goth and deathrock in Los Angeles,โ Justin explains. โIโm taking inspiration from 45 Grave, Super Heroines, Rozz Williams, Patrick Mata – all those people who pioneered this thing that not only lives on, but is thriving so many years later it. Iโm just continuing that spirit and making something new, fun, full of energy, and from my point of view.โ
He continues, โIn many ways this project, this band, and this record specifically is really the child of a time in the early โ80s in LA when there was a confluence of art-rock punks, East LA punks, Queer culture, late-night diners and after hours, basement shows, dueling live music venues in Chinatown as the epicenter of the scene, and suburban backyard parties. When Hollywood was dangerous and full of possibility, and before the jocks and bros crashed the punk party.โ
Earlier singles from the Deathrock Devotionals era – including โAll The Fun (Kiss Kiss Kiss),โ โJet Plane,โ โFades,โ and the standalone seasonal anthem โBlack Halloweenโ – have offered glimpses into Warfieldโs soundworld: vibrant, cinematic, and rooted in storytelling. From frenetic hooks to throbbing basslines and haunting synths, the project captures both the pulse of LAโs underground and the sense of impermanence that lingers in its shadow.
Warfield collaborator Thomas Froggatt helped shape the projectโs core sound, co-writing and playing bass on the album, helping shape the rhythm-driven dynamism that underpins tracks like โFades.โ โSometimes itโs the little things that come from out of the ether that give you a spark,โ Justin says. โYou catch something unexpected – a sound, a texture – and suddenly everything clicks.โ
For Justin Warfield, Warfield marks his first proper solo project since co-founding She Wants Revenge in 2004 – โthe only recording and touring project Iโve helmed outside of SWR,โ he says. While She Wants Revenge continues to perform live and record, Warfield allows him to stretch out and fully lean into the creative and aesthetic instincts that have always pulsed just beneath the surface: cinematic melancholy, playful macabre, and rhythmic intensity.
โI feel like as a man whoโs growing older, Iโm grappling with time, regret, mortality, fear, anxiety, and all of these very relatable problems or feelings,โ Justin reflects. โBut also, thereโs a punk spirit that feels very full of hope, of piss and vinegar, and of a sort of hysterical fun. Dancing at the end of the world, if you will.”
Following its Los Angeles live debut earlier this year, Warfield will bring Deathrock Devotionals to stages across North America in the coming months, with more details to follow soon.
โEvery song in this project has been a way of honoring where I come from – not just musically, but emotionally,โ he adds. โItโs about the moments that fade, the things that stay, and the way music helps us haunt the places we love.โ
Deathrock Devotionals Vol. II is available now on Black Heathers/Cleopatra Records, with the full-length album Deathrock Devotionals to follow on November 28.
Megadeth has today released their new video and single titled ‘I Don’t Care’ from their eponymously titled and final album, dropping on January 23rd, 2026 via BLKIIBLK / Frontiers Music Srl.
Feeling like a modern metal rendition of Frank Sinatra’s ‘I Did It My Way’, Dave Mustaine adds a metaphoric ‘so take the fucking highway’. I’ve always loved his style. He took the cards he was given in life and made the ultimate royal flush, and on his own terms. Megadeth was but one culmination of that. It showed in their music and in their style.
The video follows suit with the music in lock step and shows that Megadeth is one of those sets of artists that will maintain their relevance long into their legacy. Made for the time we’re in by a band that is timeless, ‘I Don’t Care’ shows that they actually care about one thing: the people that love their music.
About Megadeth
The countdown to the release of Megadethโs final studio album continues with โI Donโt Careโ their latest single and video out today (November 14). from the groupโs self-titled album out January 23, 2026.
Megadeth leader Dave Mustaine says about the anthemic โI Donโt Careโ: โHow many times have you wanted to say this to someone? I know you want to! Deep down inside, if we had the balls, we would tell more people, โI donโt careโ more often.โ
Musically, Mustaine explains, โPart of the main riff in this track had been floating around in my head since we did TSTD&TD, so I was pumped to start recording โI Donโt Careโ for this LP. I really love the guitar nuances in the track. There is the main rhythm riff, next, a very deliberate down-picking part, next, the octave chords with jump picking on octave notes (while still down-picking!). And the soloing and back and forth between me and Teemu [Mรคntysaari] is magnificent!!โ
The new single follows โTipping Point,โ the albumโs first single and a very special bonus track: a reimagined version of โRide The Lightning,โ which Mustaine co-wrote with Metallicaโs James Hetfield, Cliff Burton, and Lars Ulrich and was the title track from the groupโs 1984 album.
The Man From Delmonte have today released their new album titled ‘Better Things’ as well as their new live video for the track ‘Drive, Drive, Drive’. Filling that niche that we all quietly new we needed, at least musically, The Man From Delmonte is one of those bands that found their sound amidst the sarcasm and quirkiness that is widely renowned yet rarely spoken.
While each track is a story, each story is a step on that ladder it takes to meet The Man From Delmonte on their terms, which, by the way, are mostly your terms as well because they are just like us, and we them. This is the band that we all want to be in.
That sentiment shines throughout their new live video for ‘Drive, Drive, Drive’ as it shows that they sound every bit as original and fresh as they do on their studio ventures.
You can hear how interactive the audience is with the band, like a party at a pub with a bunch of people who grabbed the instruments on stage after they realized the other band wasn’t going to show up. And, this is the charm of everything The Man From Delmonte has to offer. Accessibility.
About The Man From Delmonte
To celebrate the release of their first album in 35 years, The Man From Delmonte are back with a brand-new single. โEvery Timeโ is sure to be another Mike West classic. With Martin Vincentโs trademark guitar and Sheila Sealโs beautiful harmonies, โEvery Timeโ has the same vibe to their classic songs from the late 80โs but with a more mature sound.
On the track, The Man From Delmonte frontman Mike West said- โI wrote “Every Time” just a few weeks before The Man From Delmonte went into the studio this Summer. It was a challenge to write songs for a band I was in 38 years ago. I had to reconnect with the indie kid that I guess is still alive in me somewhere (I’ve been a banjo picking Country songwriter for 30 years. I knew the band didn’t want material like that!). This song fell out with that ease of a pop song with instant nostalgia.โ
The B-side of โEvery Timeโ is a live version of The Man From Delmonteโs first ever single, โDrive, Drive, Driveโ, which was recorded at their recent sell out gig at the Manchester Academy in April 2025. The joy of hearing 1000 rabid fans singing along to the track is infectious.
โI like that โDrive, Drive, Driveโ is on the other side of this single because it was our first ever release, but this version is live, from the Band on the Wall gig, 38 years later and it still sounds fab!!โ, explains The Man From Delmonte bassist Sheila Seal. โThe Man From Delmonte doesnโt fit into an obvious genre (we never didโฆ.), but I love the story of how weโre together again and playing and sounding pretty good. I just want people to get a chance to hear this music and enjoy it,โ she further adds.
Between 1988 and 1991 TMFD werenโt part of any music scene. They were their own movement, sounding nothing like anyone else at the time. Selling out 3000 capacity venues, hitting the top of the Indie charts and having Inspiral Carpets and 808 State as their opening acts. Mike West, Sheila Seal, Martin Vincent and Howard Goody delivered classic pop tunes including โWater in My Eyesโ and โMy Love is Like a Giftโ that were lyrically ahead of their time. Mike wrote and sang about loving men just as easily as he did about relationships with women. The audiences always loved it. The press often treated them with outright biphobia.
After a chance conversation with TV presenter Iain Lee, The Man From Delmonte are back. Their first reunion gig at Band on the Wall sold out in 12 minutes. Their following show at Manchester Academy 2 sold out in days. Over 600 copies of a double CD reissue of the bandโs two albums โBig Noiseโ & โGood Things in Lifeโ have been bought by fans desperate to get their hands on anything TMFD related.
As well as a digital version, there will also be a limited-edition coloured vinyl 7โ of the โEvery Timeโ / โDrive, Drive, Drive (Live)โ. Just 300 copies have been pressed and all profits will go to the Stretford Food Bank. As well as buying the record HERE, everyone that comes to the instore signing event at Fountain Records, Stretford in November 15th and buys the vinyl version of the new LP โBetter Thingsโ will get a free copy of the single.
The bandโs upcoming show at the O2 Ritz on December 21st is the biggest gig of the reunion and will be a double celebration. Itโs 36 years since they last played it and it will also be the launch party for the brand-new studio โBetter Thingsโ album, which sees The Man From Delmonte back and better than ever.
De La Soul has today dropped their new single titled ‘Day in the Sun (Gettinโ Wit U)’, featuring Q-Tip & Yummy, from their upcoming album ‘Cabin in the Sky’, releasing November 21st via Mass Appeal.
Some things in this world are timeless. I’ve always considered democracy, The Wizard Of Oz, and De La Soul in this short list. De La Soul has, in their long and storied history, not only made a name for themselves in different genres of music, but they’ve also made themselves a brand. Not in the way you would think of in the corporate world, but in the way that people embrace them as that special part of their lives.
‘Day in the Sun (Gettinโ Wit U)’ adds to those annuls of future history. Presence without pretentiousness. Poetry with platitude and persistence amid a suave soundtrack. This is everything I remember De La Soul to be and anything that they could ever become all wrapped into one. I feel like summer is still here.
About ‘Cabin in The Sky’
‘Day in the Sun (Gettinโ Wit U)’ marks a major reunion of sorts as the first time De La Soul and Q-Tip link up on a studio single in years, reviving the spirit of their partnership dating back to the early days of the Native Tongues collective. That original alliance helped define an era of fearless, expressive, boundary-pushing hip-hop.
This single is the follow-up to their current release โThe Package,โ produced by Pete Rock. Both singles live on the groupโs forthcoming album Cabin in the Sky, De La Soulโs 10th studio album and their first full-length project in nine years, set for release November 21 via Mass Appeal as part of the independent labelโs โLegend Has Itโ album release series. The album is the sixth release in Mass Appealโs Legend Has It campaign, celebrating seven iconic artistsโall releasing new musicโincluding Slick Rick, Raekwon, Ghostface Killah, Mobb Deep, Big L, De La Soul, and Nas/DJ Premier.
Cabin in the Sky embraces the groupโs enduring legacy and features a roster of high-caliber producers and collaborators who reflect both respect for the past and a drive toward fresh creative territory. With โDay in The Sun,โ The group blends timeless lyricism with forward-thinking production, by Supa Dave West.
โThis record is about gratitude, joy, and rebirth,โ says Posdnuos. โWeโve been through storms, and now itโs time to stand back in the sun.โ
About De La Soul
De La Soul is a New York-based trio composed of Posdnuos, Trugoy, and Maseo, who created the hip-hop masterpiece 3 Feet High and Rising, initially released on March 3, 1989. Renowned for their eclectic and innovative sampling, quirky lyrics, and contributions to jazz rap and alternative hip-hop subgenres, the group garnered acclaim, including a Grammy win for Best Pop Vocal Collaboration for their song โFeel Good Inc.โ with The Gorillaz in 2005.
In 2015, De La Soul raised over $600,000 on Kickstarter to independently release their album “And the Anonymous Nobodyโฆ,” which topped the Rap Albums chart and earned a nomination for Best Rap Album at the Grammy Awards.
Serious Child has today premiered his new video for the track titled ‘Veneer, from his latest album ‘What Lies Beneath’ via Left Feet Ltd. A beautifully crafted and ominous sounding piece of music set to an emotion and proudly disregarding any and all conformity. This is what originality sounds like. Outside of the box and inside your mind, refuting and embracing all at once. Staying with you long after that first listen and making your appreciation for music into something more.
While the video is the near perfect companion to the song, it is the song that is the hero of the day. It highlights the story and definitely sets the mood. One note at a time.
About Serious Child
What Lies Beneath’ is a collection of musical stories about whatโs underneath the surface of our everyday lives and the third single to come from it is โVeneerโ, a story of social camouflage, of a figure who had behaved normally for so long, everyone had forgotten who they were.
Co-written with Neil Connor, โVeneerโ is a lush, almost Floydian piece, where a change in tempo, David Grubbโs sliding violin and My Girl The Riverโs backing vocals take us to a beautiful place of realising who we are. An ode for the outcasts of society, โVeneerโ celebrates finding your own individuality and being proud of it with its layers of comforting and sumptuous introspection.
The new single is another look into West Sussex based Alan Youngโs intriguing world, which he explores with a poetโs ear for emotion and a comedianโs eye for everyday detail. For the new record, Young has drawn from a wide range of sources of inspiration- from Tony Harrisonโs sonnet โBook Endsโ, to Rob McFarlaneโs brilliant book โUnderlandโ and Georgian traditional lullaby โIavnanaโ.
Youngโs previous albums have consistently attracted four and five star reviews, and his last full album, 2021โs โTalk About The Weatherโ (with Andy Ruddy) was shortlisted for Fatea Album of the Year. His most recent project was a charity EP for Save Ukraine, with whom his brother Dave worked as an emergency relief driver. His most ambitious and varied offering to date, the new record, โWhat Lies Beneathโ is the bold sound of an indie-pop artist exploring and confidently fulfilling their potential.
Michale Ducci and Letizia Mandolesi has today dropped their new video for the track titled ‘Follow the Sun’, from his upcoming album and animated film ‘Snail in the Clouds’ on Monotreme Records.
The obscurity of the music matched with animation is the first thing that captures my attention. It’s appealing while staying in the vein of true originality. It takes you somewhere and makes me curious as to what ‘Snail in the Clouds’ is our could be to me.
While the song is drenched in subtlety, there is a powerful hook that said subtlety makes more pronounced. Consider this a musical equivalent of a powerful indie film. It slipped in under the radar and took everyone’s hearts while letting you know it is but a cog in a much bigger wheel.
About Michele Ducci & ‘Follow the Sun’
โFollow the Sunโ is the first instalment from the album and animated film โSnail in the Cloudsโ by Michele Ducci and Letizia Mandolesi.
The album and film tell the story of a planet called Snail, inhabited by hybrids โ primarily a mixture between scorpions, snails and humans โ who lead a life according to the style of Pythagoras, devoted to music. There is also a cloud man named Agostos, a writer of musical operettas, who together with a talking smoke machine called Doctor Subtilis, begins to kill all hybrids, targeting in particular the hybrid musician Diodoros and his band, in an effort to steal the ark of melodies, an ancient ship that allows the whole planet to survive with music and joy.
โFollow the Sunโ is a psychedelic-tinged pop song that evokes a ramble in the sunshine. Joining Michele and Letizia in the studio are Simon Milner (Is Tropical, Ysing), who performs and also recorded and produced the song at his 4am Studios, along with Shane Kennedy (Girl in the Year Above), Lou Jenkins and Bill Morris (Yowl, Ysing). GregoryBeBad also contributed to the lyrics.
The accompanying video focusses on the childhood of Diodoros and his band, with whom Diodoros is rehearsing for the festival called Holy Wood, where they will offer their melodies to immense space. Diodorus was born to a goddess who resembles the Greek mythological character Thetis, the mother of Achilles. In the video we see Diodoros trying to go beyond the curve in which experience flexes to become the experience of something and someone, in search of the source of life, the place where the sun has a home.
About the track, Michele says, โI had been working for a while on Follow the Sun, which I had performed live for the first time at the Nursery for Freedom festival in London in aid of Palestinian families in the West Bank. I was joined onstage by GregoryBeBad who gave me a fabulous hand with a couple of verses of the song. Does the sun have a home? The theme of the song reminded me of Giordano Brunoโs idea of the sun, everywhere and every time at the same time.”
“We recorded the track the following day at Simonโs 4am studio. We started with Simon recording keyboard bontempi and drums and from then on it was a continuous and fantastic flow. Shane arrived for the bass, Lou to help with the lyrics, and Bill on the guitar. It was magic! Itโs as if the song had been the presence itself, and everyone put in their own contribution with the motto โyou do youโ. Itโs my ideal of life I think. In the morning at 6 Simon gave me the mix via WhatsApp and I listened to it again when I returned from perhaps one of the best sleeps of my life.โ
Credits
Michele Ducci – vocals and synths Letizia Mandolesi – backing vocals and synths Simon Milner โ drums and backing vocals Shane Kennedy โ bass Lou Jenkins โ backing vocals Bill Morris โ electric guitar
Music by Michele Ducci Lyrics by Michele Ducci, Gregory Bebad, Lou Jenkins, Simon Milner Video by Michele Ducci and Letizia Mandolesi Recorded at 4am Studios. Produced by Simon Milner
Kiyan Foroughi has today premiered his new single collab with Rachelle Ruby and rapper Jude titled ‘Seas of Space’ from his upcoming album โinner light. OUTER SPACEโ, dropping n February.
In my opinion, collaborations need to focus on the connectivity of the artists involved, and , ‘Seas of Space’ sound like a singular cohesive unit. A band, if you will. Jude’s gritty rap caresses and collides with Rachelle’s pristine and angelic vocals.
With soul as the goal, ‘Seas of Space’ is a hat trick for the masses with subtle hooks and a massive sound set to a slow grind. Beautifully crafted and mastered with the song in mind, ‘Seas of Space’ is that gateway drug for what is to come with โinner light. OUTER SPACEโ.
About ‘Seas of Space’
Born in France to Iranian parents and raised across Paris, Dubai, Boston, New York, London, and now Singapore, Foroughi channels a lifetime of cultural translation into cosmic R&B that bridges East and West. Inspired by the soulful production legacy of J Dilla, Kaytranada, Nujabes, and Questlove, alongside contemporary voices like Anderson .Paak and Jorja Smith, his sound weaves neo-soul, trip-hop, jazz, and boom-bap into cinematic storytelling.
“Seas of Space” is the protagonist’s first step into the unknown โ a moment of hope, optimism, and discovery before the trials ahead. Built on vibrant, danceable production inspired by Kaytranada’s bounce and Nujabes’ soulful textures, the track plants philosophical seeds beneath its catchy exterior.
The title draws from Rumi’s prayer: “Fling me across the fabric of time and the seas of space. Make me nothing and from nothing, everything.”“It’s a plea for ego-death, for the shedding of illusions so the self can be reborn,” Foroughi explains. Jude’s gritty, Kendrick Lamar-influenced flow delivers a warning: don’t fall for the illusion of the new.
Set in a dreamlike future, ‘inner light. OUTER SPACE.’ follows a female protagonist (voiced by Rachelle Ruby) navigating alien worlds and mythic trials. Inspired by Rumi’s philosophy and Carl Jung’s shadow work, the album is a non-linear journey inward โ play it forward for ascension, in reverse for descent. Either way, the destination is the same: remembering who you are.
“I realized the album wasn’t just a story I was telling,” says Foroughi. “It was the story I was living.” A serial tech founder whose startup was named after the legendary Soulquarians collective, Foroughi didn’t begin producing until COVID lockdowns in 2020, working with UK hip-hop legend Funky DL. What followed was a creative flood that became this deeply personal debut.
Collaborators on the album include actor Darius Homayoun (Succession, Tehran), veteran rapper Substantial (Nujabes’ most frequent collaborator), Singaporean female hip-hop icon Masia One, Japanese-American lofi artist Taiyo Ky, and singer George Azzi.
Rachelle Ruby, who anchors the album’s emotional core, grew up performing in Singapore before life made her stop. Years later, a casual mention to her boss (Foroughi) that she used to sing led to her becoming the voice of this cosmic mythology. Her floaty, ethereal vocals blend neo-soul with lo-fi hip-hop โ “Like Erykah Badu meeting Nujabes in space,” Foroughi describes.
About Kiyan Foroughi
Kiyan Foroughi builds worlds in two registers: tech CEO by day, music producer by night. Based in Singapore and fluent in four languages, he’s spent his life bridging cultures, philosophies, and creative worlds across Paris, Dubai, Boston, New York, and London. His music translates between East and West, weaving R&B, neo-soul, and hip-hop into cinematic storytelling.
About Rachelle Ruby
Rachelle Ruby is a Singapore-based singer and entrepreneur whose ethereal, soulful voice anchors inner light. OUTER SPACE. By day, she co-founded tech startup Needle alongside Kiyan. By night, she’s the protagonist of a cosmic mythology exploring self-recognition through soul, R&B, and hip-hop.
South African-born, London-based artist Gareth Haze steps confidently into the spotlight with his spellbinding debut EP โStranger in a Strange Landโ, led by the striking single โStarsโ. Blending the introspective spirit of folk with the raw energy of rock, pop, and blues, Garethโs sound embodies both the warmth of acoustic storytelling and the electricity of alternative rock at its most emotionally charged.
Drawing inspiration from a wide range of influences, from The Smashing Pumpkins and Jimmy Eat World to the atmospheric tension of Radiohead, Haze crafts a sound that feels nostalgic yet distinctly his own. โStarsโ captures this balance perfectly: a hauntingly beautiful alt-rock track thatโs at once eerie, hopeful, and deeply introspective. Its rough-edged vocals and grunge undertones collide with airy synths and shimmering guitars, creating a sonic landscape that feels expansive, cinematic, and deeply human.
That sense of introspection runs through โStranger in a Strange Landโ, where themes of mortality, impermanence, and self-reflection are explored through Garethโs soulful, heartfelt songwriting. His performances carry the hallmarks of a lifelong musician, passionate, unpolished in the best possible way, and rooted in a belief that emotion always trumps perfection.
With its soaring chorus and swirling layers of guitar and synth, โStarsโ feels like a message sent into the cosmos, an anthem for quiet dreamers and restless souls alike. Itโs the kind of track that lingers long after it ends, resonating with both melancholy and a quiet sense of wonder.
He shares “โStarsโ is about how fragile our lives are and how we shouldn’t focus too much on trying to achieve fame and the approval of strangers. It’s more important to leave a loving legacy for those who are close to you. Like all my songs, it is personal to me and reflects much of my own values.”
Whether performing solo with an acoustic guitar or fronting a full band with electrified intensity, Gareth Haze embodies the DIY spirit of the rock and punk artists he grew up admiring. With โStranger in a Strange Landโ, he delivers an evocative debut that feels both timeless and urgently relevant, a welcome reminder that authenticity and heart still matter in modern music.
Q&A
Who are some of your all time favorite folk artists?
I think Johnny Cash was amazing. He just had such a depth to his songwriting, and has such a beautiful darkness to his music, particularly his later works. To have a catalogue that covered such a vast range of topics and emotions is pretty incredible; thinking about songs like “Ring of Fire”, which most people don’t realize is a song describing love, to comical songs like “A Boy Named Sue”, and real, tough, gritty tracks like “God’s Gonna Cut You Down”.
Bob Dylan is also an absolute genius songwriter and I think that just in terms of poetry, we’ll probably see generations to come studying his works.
Moving into more current or modern folk, Frank Turner is a big inspiration to me both musically and lyrically, combining elements of folk and punk rock in a way that just feels natural. I also really enjoy Brandi Carlile, who has such a beautiful soulful feel. Anna Graves is also a newer folk artist, who has a wonderful honest and soulful feel too; her song “Bluebird” is hauntingly beautiful.
Do you bring personal experiences into your lyrics?
All the time. Every single song I’ve written as a solo artist has some element of truth and real-life experience to it. I like to write in a way that is both deeply personal to myself, but can also be relatable to the listener. People who are close to me can often pick up on what or who each song is about and often people have come to me after hearing my songs, commenting that certain songs reminded them of moments in their own lives and people that they know.
What does thinking about mortality mean to you in the context of your music and in your life in general?
I feel like the older I get, the more I realize just how short and fragile life is. I’ve known a lot of people who have lived shorter lives that we would hope for and I’ve experienced loss in my own life too. I suppose it makes you evaluate your own way of life and what you value. I feel that musicians and songwriters in particular are blessed with a gift of finding words and meanings that a lot of other people can’t often find for themselves, so I think that for me as a songwriter, I’m almost compelled to share my values with others through song and encourage them in that way. In a way, the idea that you’re not necessarily guaranteed a tomorrow also drives me to make the most of the time that I have and put some of my fears and insecurities behind me. I think that if you asked me 10 years ago if I’d ever release any music as a solo artist, I probably would’ve laughed at the idea, but I think that I have a greater sense of urgency now to do this.
What current rock or grunge bands do you listen to?
Right now, I’ve been listening to a lot of Jimmy Eat World, All Time Low, Yellowcard, Badflower, Letlive, and Karnivool, to name a few.
You do a bit of genre and sound bending with the synth on this track, do you feel that there are no rules to how you record?
I feel like the only rules I put in place for myself is that the song should be strong enough to stand on its own with just a guitar and vocal melody. That, and I refuse to use Auto-tune. I’d rather sing a part a hundred times than just let a piece of software hit the note for me. In terms of arrangements and instrumentation, I feel that if it works for the song, then it doesn’t matter whether it’s something that I can replicate live or if it doesn’t necessarily fit inside someone’s idea of a specific genre. I feel like my aim is to make music that is authentic and honest, and hopefully enjoyable to people other than only myself.
What do you like better, performing acoustic or with a band?
I primarily perform as a solo artist, using acoustic guitar with a range of effects, as well as a drum sampler running through a looper. It’s a lot of work and there isn’t much room for error trying to play and loop a drum beat and play guitar and sing, all the while switching effects that emulate bass and strings, but it is a lot of fun and I’ve received positive audience feedback about it. I think in terms of not having to worry about anyone else other than yourself, I prefer acoustic or solo performances, but the few times I have fronted a band have been really enjoyable. There is something magical about the energy that you share with three or four other people on a stage. I do feel that the opportunities I get where I’m able to play with musicians who really know their stuff and therefore I don’t have to worry about anything outside of my own parts, I get a definite boost of energy on stage and have a ton of fun performing.
British indie singer-songwriter Jude Lilley (Moreish Idols) unveils Crook Decker, a bold new solo venture that transforms the gritty dissonance of urban life into hypnotic alt-pop. The debut album ‘Graffiti Lagoon’ is out now via all my thoughts (Seb Wildblood’s label), with focus track “Living In Paradise” showcasing the project’s murky yet captivating sound.
Born from lockdown isolation in 2020, Crook Decker emerged as Lilley’s sonic alter egoโa swamp-dwelling persona navigating the chaos of city living. What began as a creative experiment between two old friends evolved over five years into a fully realized world where Peckham becomes a swamp and skyscrapers loom like ancient structures through digital haze.
Following the release of lead single “Beacon” on October 21st, the album has been acclaimed as a bold step forward in Lilley’s artistic journey. “Living In Paradise kinda speaks for itself,” Lilley explains. “It took me some hard truths to realise I’ll never be a better person when my back is turned. It was time to put some effort into embracing my new urban environment and take some accountability by adjusting my attitude and listening to the chaotic beauty around me.”
Drawing comparisons to the slacker-pop sensibilities of Pavement and Mac DeMarco, the experimental edge of Guided By Voices, and the storytelling prowess of Beck and Tom Waits, Crook Decker carves out its own swampy territory in contemporary indie music. The project marks a significant artistic evolution for Lilley, showcasing a more intimate, sample-driven approach that complements his work with Cornwall psych-pop outfit Moreish Idols.
Released via Seb Wildblood’s all my thoughts label, known for championing boundary-pushing electronic and indie artists, ‘Graffiti Lagoon’ arrives as one of 2025’s most intriguing debut projectsโa fever dream born from pandemic isolation that refuses to look backwards.
Produced by Charlie Ockmore (aka Sonny) of South London collective 404 Guild, Crook Decker represents a long-awaited collaboration between two old friends seeking creative liberation from their main projects. Their shared vision transforms lockdown claustrophobia into expansive sonic landscapesโwhat started as a lockdown experiment in 2020 evolved over five years into a fully realized sonic world where Peckham becomes a swamp, skyscrapers morph into ancient structures, and the chaotic beauty of urban life finds its voice.
‘Graffiti Lagoon’ captures the disorientation of modern urban existence through Crook Decker’s distinctive lens: indie sensibilities meet lo-fi production values and swamp-dwelling atmospherics, creating something that feels both intimately personal and universally relatable. It’s music for navigating concrete jungles and finding beauty in unexpected placesโa hypnotic blend of gritty textures and dreamy introspection.
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