Truth has today released his collab with Da Beatminerz (DJ Evil Dee & Mr. Walt) titled ‘Truth’, from his upcoming album ‘Nostalgia ThEraPy 2’, dropping November 21st via Animal Military Records.
A combination of homegrown and homeschooled, Truth delivers the truth via a machine gun styled delivery amid a vivid hitting backdrop designed to get the most out of your stereo. DO NOT listen to this with a pair of those pussyfied earbuds; that would be a crime. Blast this shit out of the windows for all to hear and feel that bass permeate and penetrate everywhere with everyone.
I takes a village to raise a child, but it only takes a few to raise a ruckus. This is musical dynamite with a short fuse.
About Truth & ‘Nostalgia ThEraPy 2’
Queens emcee Truth reunites with the legendary production duo Da Beatminerz (DJ Evil Dee & Mr. Walt) for Nostalgia ThEraPy 2, the follow-up to last year’s acclaimed Nostalgia ThEraPy. Once again, the collaboration delivers a potent dose of East Coast boom bap, with seven new cuts packed with dusty drums, gritty basslines, and sharp lyricism.
Truth sounds hungrier than ever, pairing razor-edged bars with that signature Beatminerz sound that helped shape a generation of East Coast hip-hop. The project features an all-star lineup that includes Psycho Les, Tragedy Khadafi, and Royal Flush, with precision cuts from DJ JS-1 on three standout tracks. From the anthemic lead single “Check It Out” to the lyrical fireworks of “Cause for Concern”, every record captures the authenticity and energy of golden-era New York.
Elsewhere, Truth channels raw nostalgia on “Want It Back,” demanding a return to hip-hop’s roots of originality and integrity, while “Redrum Seen” and “Done Did It” showcase his wordplay over sinister horns and pounding percussion, both elevated by JS-1’s signature scratches.
With Nostalgia ThEraPy 2, Truth and Da Beatminerz deliver more than just another boom bap record. It’s a masterclass in timeless hip-hop craftsmanship. The album drops on Friday 21st November via Animal Military Records, following the release of its debut single “Check It Out” due out on Thursday 6th November.
Philadelphia-born and now London-based, Elunia makes ethereal indie-electronic pop that hits like an emotional current — immersive, cinematic, and deeply human. Channeling the ache of isolation and the beauty of self-discovery, she fuses the raw, intimate lyricism of Lorde and Daughter with the expansive electronic worlds of Glass Animals and Rüfüs Du Sol.
Her latest single “Strobe Lights” received mixing by Jamie Macneal (JMAC), whose credits include Sadie Jean, Medium Build, Sarah Close, Haux, and Luz. Originally, the song’s instrumental was composed for a short film, produced, edited, and sound designed by Elunia herself, that will be pitched for use by a mental health charity. The film follows a girl finding safety in her mind, painting with her body across a metaphorical landscape, each brushstroke a representation of the beauty within struggle.
“Strobe Lights” also reflects the pressure to appear ok in a world that glorifies exhaustion. Elunia began writing it while working in London’s fast-paced film post-production industry, where she witnessed the normalization of burnout. “It seemed like a prize to be overworked, to have dark circles under your eyes,” she says. “I tried to convince myself I was fine, but I realized I was losing the connection to my younger self and the version of me who created music just to feel something real.”
That younger self first emerged in the quiet corners of a school music room, where Elunia began writing songs as a coping mechanism for feeling like an outsider.
Classically trained on multiple instruments, she discovered true expression when she started producing in a DAW at the age of 10. Years later, a chance encounter on SoundCloud with producer JMAC led to the creation of her debut single “Borderlines,” which amassed over 30,000 Spotify streams and received praise from Earmilk, Atwood Magazine, 1883 Magazine, and Rolling Stone India, to name a few.
With “Strobe Lights,” Elunia steps into a bolder, more anthemic sound, one that mirrors the strength found in vulnerability. The song glows with cinematic textures, offering a shimmering testament to resilience, individuality, and the beauty of every imperfect brushstroke in life’s bigger picture.
Tres Kings has today released their new single titled ‘My Favourite Letter is K’. The track definitely gives that delicate balancing act between sounded sublime and sounding gritty, all at the same time. A slacker anthem from the outset, ‘My Favourite Letter is K’ harkens back to the mid to late nineties while looking ahead to help define the latter part of this decade.
While the song has that guitar hero vibe for a new generation, the hidden power in ‘My Favourite Letter is K’ is that anthem tinge and addictive hook. This is a track that makes you stomp those feet under the cubicle at work, keeping the beat with the drums and imagining yourself on stage. God help you if you work at home.
About Tres Kings
Tres Kings are the Kent based indie rockers, who quite simply burst onto the scene in 2018 when they made their debut appearance on British television.
That same year, they featured in a Walkers Crisps advert directed by YouTube sensation Colin Furze and were backed by further support from BBC Introducing. The band subsequently built up a strong reputation and loyal fan base, seeing them win the Battle of the Bands competition at the iconic Dreamland stadium in Margate and becoming the first ever band to record at the now-legendary (due to numerous prestigious awards) “Albion Rooms” (The Libertines’ studio and event space), and further lighting up the stage at The Bearded Theory Festival.
Following a short hiatus in which the collective band members sought to pursue individual projects, Tres Kings have now reunited with a renewed energy and purpose. United by brotherhood and driven by a fresh creative spark, the band earned new recognition in 2025 with their singles, ‘Scuba Diver’ and ‘Antenna’, receiving plays and praise from the likes of Radio X and BBC Introducing. Further achievements this year include playing to a packed out tent at this year’s Isle of Wight Festival, major support slots with Huey Morgan (The Fun Lovin’ Criminal) and indie giants Sleeper as well as numerous sell out headline gigs and a week long residency in France.
Tres Kings are undoubtedly adding another string to their bow with the brand new release ‘My Favourite Letter is K’. The new track is a dream fuelled soundscape that really allows front man Wez King’s impressive vocal range to take centre stage and shine. Backed by soaring guitar solo’s, funky bass lines and energetic pounding drums, this track is a pure work of art.
Tres Kings are Wez King on Vocals and Lead Guitar, Lacs Fuller on Bass and Rhu Fuller on Drums.
The track was recorded at The Libertines HQ in Margate, The Albion Rooms, being engineered and mixed by award winning sound engineer Jason Stafford (The Libertines/Trampolene/Jamie T) and mastered by Graham Waller.
Tres Kings are riding high on the successes of 2025 and can’t wait to carry it on into 2026 with more new music planned and two sold out London dates with Trampolene already in the diary for January.
Matt Arbogast of The Gunshy is set to release Hurricane Umbrellas—a deeply personal and lyrically rich folk-rock album on December 5 via his label, Sleep Recordings. Today, he shares a new single and video for “Two Years in Berlin.”
Some folks have a gift for songwriting, for writing melodies that immediately find a home in your head. Matt Arbogast of The Gunshy isn’t one of those people. He has to put in the work. Arbogast spent thousands of hours at his home studio writing, rewriting and tinkering with the songs you hear on Hurricane Umbrellas. The result is a collection of twelve lyrically-rich story songs that may not demand your attention, but do welcome your company.
“I’m barely a guitar player, I can’t sing worth a shit, and I put too many words in my songs, but I really love making music,” says Arbogast. “There are records by Townes Van Zandt, John Prine, Jason Molina, and others that I cherish like a family heirloom. My life’s goal is to eventually make a record that can connect with some people in that way. I think this record is the closest I’ve come to that.
The new album, out December 5, was produced by friend and collaborator Sean Bonnette from folk-punk band AJJ. Bonnette helped Arbogast bring his characters to life, arranging a veteran ensemble of horns, strings, steel guitars, dog barks, and fingerpicked guitars.
“Sean has been one of my favorite songwriters and people since I first heard AJJ in their early days. He lived in my house for almost a year while his partner was in grad school, and we’d spend a lot of time recording each other’s songs in my basement studio. Last year when AJJ came through Chicago on tour, I mentioned that I had been working on these new songs. Sean expressed interest in producing the record, and we got to work. His thoughtful guidance shaped the record into something I’m really proud of.”
Arbogast enlisted some of his favorite collaborates, including Mike “Slo-Mo” Brenner (Magnolia Electric Company, Wild Pink) on lap steel guitar and dobro, Mark Glick (AJJ) on cello, Kara Eubanks on violin, Ben Grigg (Babe Report) on horns and keys, and Max Stern (Signals Midwest) on guitar.
The combination of diligent songwriting and the contributions of the names above makes Hurricane Umbrellas the most approachable album of The Gunshy’s catalog. “I can’t help but smile when I get to certain points in the album and hear Max’s guitar, Slo-Mo’s dobro, or another part I could never come up with. I’m fortunate that these friends were willing to share their creativity with these songs.”
Guitar rock is alive and well with a blues tinged grit and rebel bravado meant for any stage from the smokiest club to the most massive arena. Anthemically diverse and musically pronounced, Eugenio waves the guitar hero flag in ways that were long forgotten about byt holding on to his roots and giving it an entirely new flair.
About Eugenio Sambasile
Eugenio Sambasile says: “Lies, deceit, subterfuge, and betrayal – ‘Fragments Of Light’ is almost a cathartic release about emotional vampirism. It addresses an all-too-relevant theme of people who feed off your energy until they completely drain you, only to move on.”
Eugenio Sambasile is an Italian musician, guitarist, music teacher, and composer. He is the founder and leader of the death metal band, Embryo, for which he is currently composing a new album. He’s performed live on stages across Europe with some of the most prominent artists in the industry. Moreover, he has collaborated with internationally renowned musicians such as Marty Friedman and George Kollias at educational events and seminars. His musical interests range from extreme metal to rock, blues, and country, showcasing his versatile influences.
Indie trio Valley Onda are gearing up to share their debut album Middle Way with focus song, ‘Seraph’ via Valley Onda Records. Since their 2019 debut, the trio has accumulated over 350,000 streams, with their introspective sound earning praise from tastemaker publications and the acclaimed triple j, as well as national tour slots alongside The Money War and Brightness. The band is composed of Jordan Wilson (vocals, guitar), Michiya Nagai (keys), and Galen Sultmann (drums).
As individuals, members of Valley Onda bring heavyweight credits – Jordan Wilson (former member of Georgia Fair) has opened for Paul Kelly, Laurel, and John Mayer, while keys Michiya Nagai has performed with electronic outfit Lamalo to audiences of 15,000+ at The Grass is Greener and soundtracked a TEDx Melbourne virtual event. They have also received a string of features across The AU Review, Happy Mag, Where The Music Meets and Clunk Mag, among others.
The Sydney/Gadigal-based outfit was born from quiet post-tour limbo and forged in a Sydney restaurant, when frontman Jordan met producer Galen Sultmann. Sessions between the two sparked into something more when Galen brought in long-time friend Michiya Nagai, a classically-trained pianist and versatile producer. Together, their sound has evolved into a rich palette of alternative textures, drawing influence from the likes of Radiohead, Alt-J, Mansionair, Bon Iver, Muse, and Gorillaz. Across years of careful crafting, immersive warehouse performances, and cross-disciplinary collaborations, Valley Onda’s music has taken on a versatile sound that spans from Alternative Rock to Indie Electronica.
Middle Way is a project full of feeling and movement, deftly melding organic textures, rock instrumentals and electronic elements into a dreamlike sonic journey. The focus track ‘Seraph’ – sure to ensnare fans of the dreamy indietronica of Feathered Sun and The Acid, with soulful vocals reminiscent of Ian Brown – trades rock riffs for drum machines, airy atmospherics and hypnotic chants, gently intensifying into a vast, celestial piece of reverb-laden electronica, epitomising the album’s sense of wonder and transcendence beyond the ordinary.
Speaking on the album, the band shared: “‘Middle Way’ is the boisterous combination of three unique creative minds. We knew we wanted to harmonise organic instruments with technology and the electric world; a feat as grand as Robert M. Pirsig’s classic novel ‘Zen & The Art Of Motorcycle Maintenance’. Fishin’ screams out like one big om from the universe, whilst tracks like ‘Seraph’ moves with cyclical rhythm and warm synths. There’s certainly an intensity to the album, but one we hope we match with joyous celebration.”
Mommyheads has just dropped their new video and single titled ‘The Beast is Back’ from their upcoming album ‘No Quietus’, releasing this Friday.
A suave and smooth take on society and class structure with a memorable hook and slow burn type of musical style, Mommyheads gives a perfect glimpse at what is to come, not just with their album, but with society. The spotlight they have shining on our class system is as daunting as it is damaging. The first thing I thought of when contemplating the lyrics is how, at least in The United States, the first thing we ask when meeting someone new is ‘What do you do for a living?’. This is how we define each other for the rest of the time we know them. We all do it, to an extent. And what else I realize just now is that money and status have absolutely no bearing or influence on the character of the person. Being decent can be found in the richest of the rich and the poorest of the poor. And, with the issue of the possibility of the non payment of everyone’s SNAP benefits (those outside of the U.S. need to look this up), to argue for and against people going hungry is something that should never be argued, but it becomes the argument when some people defend their status of superiority.
Having said that, this is a song with style and substance that transcends time and cuts to the bone of the matter in a way that is both memorable and inspiring.
The band has this to say about the track: “The Beast is Back” video is our way of holding up a mirror to society and showing its two faces. Every class system has its rungs, and one side can’t exist without the other. The verses highlight the everyday workers—the ones driving our buses, mopping our floors, and policing our streets—while the chorus flips the lens to the other side: politicians, CEOs, and the so-called robber barons.”
“The takeaway? Even though one side might convince you the other is untouchable or disposable, the truth is we’re all pressing against the same glass. And if you look closely, the reflection staring back is often that of a Beast.”
About Mommyheads & ‘No Quietus’
‘No Quietus’, Latin for “No Death,” sets the stage for a record that doesn’t lean on cliché character narratives or overblown rock operatics, yet carries a unifying theme that pulses through every rhythm and strum. Death is the unlikely protagonist of this sonic journey—though the music is far more inviting than one might expect. At its heart, ‘No Quietus’ shows how deceptively simple songs can be both captivating and endlessly listenable: subtly mind-bending, yet irresistibly hummable in true Mommyheads fashion.
The album is a vibrant, genre-blending collage that feels both timeless and urgent. “Triumph and Crash” barrels in like an epic funeral march, reflecting on empire’s collapse through the eyes of a fly. In “Black Veins,” the frailty of the narrator comes into sharp relief: “Take these black veins and turn them blue, I gave all my oxygen to you”—a piercing observation of the co-dependency woven into love. The title track marks a turning point, as the protagonist faces the possible loss of the most important person in his life. “Always Reaching” contrasts philosophical lyrics with danceable energy, perfectly balanced within its 4:40 runtime. Side one closes on a lush, late-’70s Bee Gees-inspired groove, inviting us to imagine how religion fit’s into this sweeping story.
Side Two deepens the meditation with songs like “Finally Free,” “Strong,” and “It’s Only Life.” Here, the band confronts the universal struggle with mortality, offering a musical document that examines death from many angles—society, loved ones, ego, relationships, faith, and personal identity. Much like a prizefighter probing for weakness, ‘No Quietus’ explores each facet with precision and compassion.
Paradoxically, this record about death may be the Mommyheads’ most hopeful work yet. In their long and fruitful career, they’ve never made an album about life’s end feel so alive.
The Complete Trilogy Unlocks a New Realm of Dark Story, Fueling the Best in Modern Synth-Gothic and Industrial Electronic Music. A Complete conceptual work. Three full-length albums (“Let Your Obsessions Run Wild”, “Heirs of the Red Night”, “Nightbreed”) that form one continuous, theatrical narrative. A skillful balance of darkwave, synthpop, and industrial rock, delivering both dance-floor bangers and introspective gothic anthems.
Pure Obsessions & Red Nights, the French darkwave/electro project helmed by prolific artist Philippe Deschemin, proudly announces the final realization of its sweeping conceptual universe with the completion of the “The Night Trilogy”.
Following the acclaimed “Mr. Strangler Trilogy”, “The Night Trilogy”, comprised of the albums “Let Your Obsessions Run Wild”, “Heirs of the Red Night”, and the most recent masterpiece “Nightbreed”, solidifies Pure Obsessions & Red Nights’ position at the forefront of the contemporary dark music scene. This trio of albums represents a triumphant fusion of danceable electro-gothic hooks and a profound, cinematic storyline.
Philippe Deschemin who composed and produced the 3 albums says: “The Night Trilogy is over. Three albums, one story. After the Industrial Rock/Gothic Metal energy of the Mr. Strangler Trilogy, and the Alt-Rock/Postpunk tones of We Are the Stranglings, I dove headfirst into my ’80s roots for this new journey — a 100% synth-driven trilogy. I produced The Night Trilogy using vintage synths and analog gear, aiming for a sound that’s both warm and unmistakably retro. The goal was to find a place between the spirit of my ‘80s influences — Depeche Mode, The Cure, Killing Joke — and the raw power of our Industrial Rock roots. The result: 80s vibes, synthpop grooves, darkwave atmospheres… all pulsing with industrial rock energy. This chapter is now complete. The Night fades, but not for so long! The next cycle begins…”
Musically, the “The Night Trilogy” marks a definitive shift, leaning into a polished, vintage-inspired darkwave and synthpop sound, blending the analog warmth of classic 80’s gear with the abrasive power of industrial rock. Pure Obsessions & Red Nights successfully channels the spirit of the greats of the dark wave, electro and industrial genres, like Depeche Mode and Nne Inch Nails, crafting tracks that are exceptionally catchy while retaining their brooding intensity, perfectly suited for the darkest corners of a dark club.
“In this trilogy, Mr. Strangler returns. The main character from the Mr. Strangler Trilogy was sentenced to death in the final act — “No Monsters in God’s Eyes – Act III.” But in “The Night Trilogy”, he’s no longer quite alive… nor truly dead. Now a shade, a spirit wandering through the night, Mr. Strangler is something else entirely. No longer a killer — he has become a guide. A presence in the darkness, helping lost souls, whispering to those on the edge. He haunts the night not to harm, but to heal. To teach you how to live. How to fight, when you think all hope is gone…” Philippe Deschemin adds!
Four music videos have been produced for this trilogy. The fourth one, “Ghostly Queen”, will be released by the end of the year. All videos were directed by VD Pictures, known for their collaborations with Lord of the Lost, Mono Inc., and Powerwolf. The full ‘The Night Trilogy’ is available now on all major streaming platforms and Bandcamp.
About Pure Obsessions & Red Nights
Pure Obsessions & Red Nights is the brainchild of French multi-talented artist Philippe Deschemin. Formed to create “something like a beautiful, tasty fruit with a razor blade inside,” Pure Obsessions & Red Nights explores the darkest aspects of the human condition through a continuous musical and literary narrative built around the iconic character of Mr. Strangler.
At the core of the band’s profound narrative is the enigmatic character Mr. Strangler, a complex figure who transcends the line between killer and messiah. Deschemin has built an entire literary and musical mythology around this anti-hero, notably across the critically acclaimed “Mr. Strangler Trilogy” and the subsequent “The Night Trilogy”.
With an extensive discography featuring multiple albums and EPs, including notable collaborations and remixes Pure Obsessions & Red Nights has established a powerful international following.
Sugarcane Hangover explodes onto the scene with 1985 (The Revelation), a fierce and electrifying throwback that resurrects the raw power of rock’s golden era with a modern edge. The Norwegian rock outfit channels the energy of a neon-soaked decade when rebellion ruled the airwaves and music was larger than life.
Fueled by roaring guitars, pounding drums, and vocals that strike straight to the heart, 1985 (The Revelation) captures the rush of living for the moment, when the world was louder, faster, and beautifully imperfect. It’s a tribute to those who still believe in the pulse of real rock, and a reminder that true passion never fades.
Every lyric drips with emotion and memory, echoing the fire of the original rock dreamers. The track doesn’t just reminisce, it reignites. From the glittering sunset streets to the smoke of the afterparty, 1985 (The Revelation) takes you on a roaring ride back in time while keeping its eyes set firmly on the future.
With 1985 (The Revelation), Sugarcane Hangover proves that rock isn’t just alive, it’s eternal.
About Sugarcane Hangover
Sugarcane Hangover stands as a dynamic force in the Norwegian sleaze and hard rock scene, delivering a sound that’s as bold as it is timeless. Seamlessly blending the raw, rebellious spirit of ’80s sleaze with a touch of punk edge, the band captures the essence of a party that refuses to end.
Since their formation, Sugarcane Hangover has undergone lineup transformations that have only strengthened their chemistry and musicianship. Their relentless drive has fueled a series of electrifying performances, captivating audiences both in Norway and on international stages. Highlights include unforgettable shows at the iconic Whisky a Go Go in Hollywood and Gaukurinn in Reykjavik.
Beginning with a slow, unfolding intro, the song gradually draws listeners into curiosity and longing for a relationship that has already ended. As the narrative progresses, the emotions intensify, transforming into a torrent of tenderness that flirts with pain. “Hate It When I See Ya” blends Melgoza’s signature alt-pop sound with memorable, addictive lines. “Holding onto what I had with you and me, Hanging onto everything we used to be, Thought I could erase all of these memories, But I hate it when I see ya…” The lyrics capture the agony of conflicting feelings in romance, the struggle of moving forward, but pulling back because of those unfading memories, creating an emotional tug-of-war.
As Sienna Melgoza describes, “‘Hate It When I See Ya’ is literally about being so infatuated with someone that you hate being around them. It hurts too much to know you both live two completely separate lives now, and you know nothing about theirs anymore. This song recalls my experience of dealing with a breakup that ended on good terms, which, in hindsight, made it way harder to move on.” “Hate It When I See Ya” was written by Melgoza, Caleb Hulin (Avril Lavigne, Demi Lovato), Aaron Brohman (Demi Lovato), and Ashley Mehta. Produced by Brohman and Hulin, mixed by Mat Mainhard, and mastered by Dale Becker (SZA, Billie Eilish, Benson Boone). With its unforgettable lyrics and catchy melodies, the track tells a story of hatred born from passion.
Multi-talented singer-songwriter, actress, and dancer Sienna Melgoza is a dynamic performer fueled by her passion for music and the arts. As a young artist, she participated in a triple-threat training program, gaining extensive experience in singing, dancing, and acting. During this time, Melgoza also recorded covers, wrote original songs on her keyboard and acoustic guitar. At just 13 years old, she signed her first record deal, gaining an invaluable background through collaborations with industry professionals.
Drawing inspiration from artists like Ariana Grande and even Billie Eilish, Melgoza has developed a distinctive sound that has earned her features and coverage on noteworthy music outlets like EARMILK, Unclear Magazine, Melodic Magazine, and CLOUT. She recently starred in the short film Morph, for which she won Best Actress at the Indie Short Fest.
About Sienna Melgoza
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 personal 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.
Øyunn has today premiered her new video for the track titled ‘I Know U Can Do It’. To say this is a brilliant track would be a massive understatement. This is one of those tracks that drop your jaw and pick up your boots. Such an injection of originality today. Øyunn has melded genres together, while keeping them separate and, yet, keeping them smooth throughout.
Part rap with bits of pop and experimentation, Øyunn has just broken the mold of conformity and thrown that mold into the garbage of mediocrity.
While the track never ascends or descends, musically, it cascades and caresses along; holding your hand throughout. Adding Øyunn’s vocals and lyrical style: part rap, part pop, all indie, and you have a song that is meant for the masses it creates.
About Øyunn
Following a summer of festival appearances including Roskilde — drummer, rapper, vocalist and genre-defier, Øyunn is pleased to present her electrifying debut studio album ‘I Know U Can Do It’, a powerful blend of breakbeats, rap, raw honesty and soaring vocals, which is being released via Copenhagen-based label Midnight Confessions.
With her dynamic range and unmistakable sound — groove-driven energy and lyrical openness — Øyunn delivers an extroverted yet emotionally nuanced record that pulses with self-reflection and fearless vulnerability. Throughout the album, Øyunn proves herself a fearless songwriter with a sharp ear for catchy melodies with an edge — each track standing strong on its own while forming a compelling whole.
Co-produced by Øyunn and Brian Batz and recorded over four years between Copenhagen, Malmö, and Aarhus, the album is a deeply personal creative vision, with Øyunn leading on drums and vocals. She is joined by longtime collaborators Jens Mikkel Madsen on bass and Kasper Staub on synths, and the result is a warm, organic sound shaped by a tight, intuitive band.
Behind the name Øyunn is Siv Øyunn Kjenstad, a diverse artist born in Norway but now based in Copenhagen. She released a live album ‘Aspects’ in 2023 which was originally a film, performance and concert created for Ultima Festival. The album led to Øyunn winning ‘New Jazz Name of the Year’ at the Danish Music Awards that year. She is also known for being the touring drummer for Danish indie legends Efterklang, as well as drumming for Bugge Wesseltoft, Nils Frahm & Guldimund.
Of the eight songs on ‘I Know U Can Do It’, five were released as singles in a rapid-fire run-up to the album release. Thematically, the album explores old wounds, self-care, relational dynamics, and quiet optimism — marked by both self-criticism and self-compassion. From the explosive spoken-word breakbeat of ‘New Life’ to the intimate and hypnotic ‘Hope That You’ll Sing Again’, Øyunn moves fluidly between extroverted bursts and moments of vulnerable stillness.
Whoman has premiered their new video for the track titled ‘Errance’, from their upcoming album ‘About Honey’, dropping in March via Capitane Records.
Done with an atmospheric flair and a penchant for lush and vivid subtlety, Whoman gives a beautifully quiet performance that changes the mood and creates inspirational reflection to and for whomever listens. I have to say that this song captured me from the start. It’s it’s own thing, and I don’t know how else to say it. Just enough of everything to hit the feels and whet the soul while giving you a reason to be you.
The vocal synchronicity between Lou Wéry and Mira De Schepper take ‘Errance’ to a new level musically and spiritually, making the obscurity of the song prominent and giving interest as much as inspiration. A true sonic work of art.
About ‘Errance’
‘Errance’ is the second single from their forthcoming debut album About Honey (March 2026), the track dives into urban wandering in the face of everyday “monsters” – capturing the fragility and resilience of modern life through the band’s signature dense vocal harmonies and progressive arrangements.
Sung in dual vocals by Lou Wéry and Mira De Schepper, ‘Errance’ blends unease and solidarity, exploring the tension between vulnerability and strength as we navigate city streets and contemporary anxieties. The track showcases Whoman’s unique ability to transform interior emotional landscapes into soaring indie rock that draws comparisons to Animal Collective, Dirty Projectors, and Cocteau Twins.
Composed by Lou Wéry and arranged collectively by the band, ‘Errance’ is accompanied by a striking choreographed video shot at Ultima Vez Studios in Brussels and directed by Lou Wéry herself. The visual piece conveys the physical tension and restless energy embedded in the track, confirming Whoman as one of the most distinctive emerging acts on the Brussels music scene.
Following their September single ‘Damp The View’ – a gentle meditation on time, memory, and the impossible desire to truly understand another person – ‘Errance’ reveals a darker, more urgent side of the band’s sonic palette while maintaining their characteristic intimacy.
Founded in Brussels around Mira & Ambroos De Schepper (Bandler Ching, Mos Ensemble) and Lou Wéry (Stace, Paradoxant), Whoman have been touring across Belgium and France since 2022. Each summer, they embark on a unique tour through mountain refuges, performing reworked versions arranged for three voices and three guitars – an experience that has brought new emphasis to their intricate vocal harmonies.
Their debut album About Honey captures the tension between Brussels’ creative energy and longing for quieter, natural landscapes. Born from dreaming about nature while confined to a small city apartment, the album balances intimacy and audacity, fragility and vitality – themes that pulse through ‘Errance’ with particular intensity.
About Whoman
Whoman is a Brussels-based indie band founded around Mira & Ambroos De Schepper (Bandler Ching, Mos Ensemble) and Lou Wéry (Stace, Paradoxant). Their unique take on indie rock blends dense vocal harmonies and progressive riffs, creating music that exists somewhere between Animal Collective’s experimentalism, Dirty Projectors’ complexity, and Cocteau Twins’ ethereal beauty.
Since 2022, the band has built a devoted following through tours across Belgium and France, including their distinctive summer mountain refuge performances. Their forthcoming debut album About Honey arrives March 2026 via Capitane Records.
Cork-based quartet The Guilteens release their hotly anticipated debut EP ‘Heavy Letters’ (31st Oct via LVP Records).
Recorded by Christian Best (Mick Flannery / Susan O’Neill / The Bonk), mixed by John ‘Spud’ Murphy (Black Midi / Lankum), and mastered by Jamie Hyland (Gilla Band / Mhaol), the EP showcases some of the band’s sharpest and most complete work to date.
Bringing guitar-led soundscapes that combine psychedelic twists, post-punk undertones, and dark alternative rock tones, the four-track EP highlights the band’s growth. From the spacious atmosphere of ‘Born Evil’ to the fuzzy tones of ‘Monolith’ and the theatrical, piano-led darkness of ‘Savour’, the band demonstrates a sense of freedom, a willingness to push the boundaries of their sound and create music that is melodically accessible yet experimental and challenging.
Speaking about the EP, the band explains: “In this band, we’re all into artists that have a variety in their sound. So this EP is very much down that line of mixing it up and keeping it interesting and showing a few of the different sides to our music”
About The Guilteens
Made up of members of previously celebrated Irish bands Ladydoll and The Vincents (who have supported acts such as Pale Waves, The Dandy Warhols, Gary Numan, Billy Idol, and The Telescopes), The Guilteens are no strangers to success and have quickly gained widespread press support.
Formed out of a shared love for dark melodies and jagged rhythms, The Guilteens deliver music that is at once visceral and melodic, songs that strike like a knife but linger like a memory. The band’s sound creates a cinematic atmosphere, blending sharp-edged modern rock with a haunting sense of storytelling. Drawing inspiration from the grit of garage rock, the looseness of psychedelia, and the moody aesthetics of French New Wave cinema, The Guilteens craft a sound that captures a sense of nostalgia with a current immediacy.
The band, made up of Finn Sedas (Guitar, Piano, Vocals), Tomás O’Brien (Bass), Cathal Nally (Guitar, Trumpet), and Shane Murphy (Drums), released their debut single ‘Further Down the Channel’ in March 2025 and have since been building a reputation as a live band, touring Ireland and playing notable support slots with other rising Irish acts such as Cardinals, Therapy Horse, and Jean Pack.
MaveriX have today premiered their new single titled ‘I Hate You All’. Gritty retrotastic guitars amid a flurry of filth with plenty of f*cks to give and get off to, MaveriX shows that punk is not dead and flourishes with the style and bravado it was always known for.
While considered lengthy for a true punk song, at 3:02, the trueness remains to form with a hook from hell and a melody to muse to. It’s the guitars that rule the song, in this case, however. They highlight the slick filth and fury that shows that MaveriX are as original as Coke Classic with the best bourbon mixed in for good measure.
‘I Hate You All’ is as much a kick in the nuts to bands like Green Day as it is a genre returning to it’s roots with a fresh sense of self.
About MaveriX
An explosive blend of melodic punk rock and country influences defines the unmistakable sound of MaveriX — a band already hailed as “the European Social Distortion.” Formed in South Milan by seasoned musicians Nicc, Drago, and Teo, MaveriX has quickly carved out a distinctive presence on the music scene, making a powerful impact in just two years.
Debut MaveriX album, ‘COWPUNK!’, released under the Rocketman Records label, received enthusiastic reviews on many industry webzines and fanzines. But that’s not all: MaveriX have set stages on fire across Northern and Central Italy, Sardinia, Switzerland, and Belgium, even opening for the legendary band Punkreas in July 2024.
New MaveriX single ‘I Hate You All’ is a raw and ironic outburst against conformity and social façades which begins a series of new MaveriX singles leading up to a brand-new EP scheduled for release in Spring 2026. With blistering spaghetti western infused riffs and a raucously infectious group-chanted chorus, the song expresses the discomfort of feeling out of place in a world that looks perfect only on the surface. It’s bold, provocative, and unfiltered—because sometimes hate is just the loudest way to say we don’t want to be like everyone else.
Now, Now have announced their surprise new EP 01. The four tracks found on 01 are the first new music from Now, Now since their critically acclaimed 2018 album Saved, which landed them on multiple year end “Best Of” lists among praise from NPR, Stereogum, Pitchfork, New Yorker, Nylon, FADER, GQ, Billboard and more. The beloved twin cities duo (KC Dalager and Brad Hale) have never been ones to rush a good thing, and 01 is worth the wait.
Now, Now have always taken their time between releases. Retreating to their cocoon after each new album and touring cycle, where they slowly metamorphosize until emerging fully formed in a different and more powerful light. “We aren’t the type of band that can just churn things out for the sake of churning them out,” shares Hale. “We really have to be in a very specific place to start making new music.” In the time since the release of Saved, Dalager and Hale have navigated their own personal pursuits and challenges. Hale leaned in to producing, mixing, and songwriting with and for other artists, and became obsessed with knitting. Dalager released the well received solo album Think I’m Gonna Die as KC Rae in 2023, became a certified sound meditation practitioner, and has been learning how to care for and work with horses while volunteering at an equine assisted therapy nonprofit. “I’d never been able to have a life where I focused on anything other than music and touring as the main and pivotal focal point of existing,” says Dalager.
Taking the time and space for self-discovery and life outside of Now, Now was key to the duo’s path back to the band. The recording process behind the songs found on 01 benefitted from their unhurried and deliberate approach as well. After Saved, they found themselves free from the constraints and sometimes stressful expectations that come hand in hand with releasing music via a label. So when they finally began to record again in earnest in 2023, they did so without the specter of looming deadlines, outsider ideas, and unwanted suggested collaborators to contend with. They returned to their basement studio, just the two of them, back where they began. Albeit with some new toys to experiment with as they huddled in front of the space heater during the colder months of the Minnesota winter. “I’ve gotten a lot of fun gear over the years that we’ve been using,” says Hale, “lately some vintage digital reverbs that have been great to incorporate.” The extended timeline has allowed them the opportunity to really sit with their music as well. “I think we spent more time on the sonic world these songs live in this time around,” shares Dalager.
01 is a bridge connecting Now, Now’s past to the present, and with an eye to the future. The songs on the EP, two of which have been in the works since the late 2010s, have evolved with Hale and Dalager as they better came to understand themselves. This in tandem with their ever increasing well of experience to draw from when it comes to instrumentation and production. “I think these songs are really a great example of the culmination of everything we’ve learned over the 23 years of making music together,” says Hale, noting that the band have swung back towards some of their more analog roots while continuing to push the boundaries of their digital experimentation. 01 is also “another lesson in trusting ourselves,” says Dalager, and it’s an instinct they plan on fully embracing as they figure out what comes next for Now, Now.
Bee Bee Sea has today released their new single titled ‘You’ from their upcoming album ‘Stanzini Can Be Allright’, dropping November 21st via Wild Honey Records.
Hate as an homage as reality inevitably sets in. We’ve all been there, but rarely is there an anthem for that tiny sliver of time that most of us experience but rarely talk about. That part where we wish the other harm and death and refuse to acknowledge those feelings because they’re not what we want to admit to stooping to.
Short, not-so-sweet, and all-to-the-point, ‘You’ cuts to the chase and pulls absolutely no punches showing us that we’re not the only one and feelings are normal and part of the process. The song, however, feels more appropriate being names ‘**** You’.
About Bee Bee Sea & ‘Stanzini Can Be Allright’
‘You’ is the new single taken from the upcoming new album. Love songs can be beautiful — but thankfully, there are hate songs too. “You” is one of them. It’s about that moment when affection fades, when someone you once loved starts to drive you crazy. There’s no big reason why — maybe you’ve just spent too much time together, and all the little quirks that used to seem harmless begin to wear you down. You realize your values aren’t quite aligned anymore. Yet, the good memories remain, and deep down, there’s still a trace of affection — as long as they don’t come too close.
The band recalls” “‘You’ was born almost by accident, during a rehearsal session. After writing one too many four-minute songs with intricate structures, we challenged ourselves to do the opposite: something short, fast, and straight to the point. So we set a timer for 1 minute and 37 seconds and decided to play without saying a word, except for the key. The rule was simple: we had to come up with a song before the alarm went off. Said and done — by the end of the rehearsal, we had ‘You’.”
‘Stanzini Can Be Allright’ is a tribute to the nearly eponymous song by The Gizmos, ‘Midwest Can Be Allright’. Can growing up in the plains of Northern Italy resemble, in some way, the Midwest experience? Maybe, maybe not; it’s hard to say. But Bee Bee Sea saw something in this parallel. And it’s from this conviction that everything was born. The idea of coming from an isolated place, with cold, foggy winters and blazing summers, far from major cultural and economic hubs, doesn’t sound all that appealing. Yet The Gizmos managed to capture this desolation with a sense of irony and genuine attachment to their roots. The band explains: “In our own way, maybe unconsciously at first, we let ourselves be inspired by this, too. And Stanzini is just that: a parallel universe, a creative force born to fill in what might be missing for a few kids from a provincial town. From a garage turned into a rehearsal space, Stanzini took shape—a musical collective that creates and develops projects far from the hype of the big cities”.
The album contains 12 tracks that tell stories of these people and places. If The Gizmos inspired us in spirit, ‘Stanzini Can Be Allright’ goes much further musically. It’s still garage rock, but it expands broadly, embracing diverse influences with a distinctly personal style and plenty of nuances. You’ll hear some egg punk, but also Guided By Voices; hints of Sweeping Promises as well as The Cleaners from Venus. There are loads of melodies and plenty of riffs. It’s a diary of life experiences in a place that may not be extraordinary, but all in all, “can be allright” when you set out to change it. And music can change a lot of things.
Hailing from Castel Goffredo, s small town in Northern Italy, Bee Bee Sea play garage/punk/psych with a power-pop heart — or simply “ROK,” as they like to call it, whatever that may truly mean. The band formed in the early 2010s among the foggy plains of Lombardy, in makeshift rehearsal rooms between Mantua and Brescia. They started off playing 60s classics — Beatles, Stones, The Who — before quickly moving to write their own songs: fast, rough, and irresistibly catchy, somewhere between The Black Lips and The Replacements.
Over the years, Bee Bee Sea have played hundreds of shows all across Italy, then throughout Europe and twice in the United States — including a stop at Pickathon Festival. Their first two albums earned them tours with heroes and contemporaries such as Thee Oh Sees, The Black Lips, King Khan, IDLES, Night Beats, and Broken Social Scene, bringing their chaotic rock’n’roll from tiny basement clubs to major festival stages and even TV soundtracks (Shameless, Ginny & Georgia) and their songs have gained airplay on BBC Radio 1, Radio X, KEXP, WFMU, and were even championed multiple times by Iggy Pop on his BBC 6 Music show.
Ark Identity is the dream pop solo project of Toronto’s Noah Mroueh. A singer/songwriter and multi-instrumentalist, Noah creates immersive soundscapes praised for their “addictively good” melodies. His music weaves dream pop with the boundless realms of psychedelia, offering listeners a passage into spaces of reflection and discovery.
Noah draws inspiration from an eclectic mix of influences, including Tame Impala, Oasis, Bon Iver, Foster the People, and The Beatles. This array of inspirations has shaped his sound. As Ark Identity, Noah invites his listeners into the introspective world he has crafted, one instrumental part at a time.
Intercourse has today released their new video for the track titled ‘Family Suicide Gun’, from their new album ‘How I Fell In Love With The Void’, out now via Brutal Panda Records.
While ‘Family Suicide Gun’ is a good indicator for where ‘How I Fell In Love With The Void’ is as an album, the nuances and not-so-subtle dive into the hardcore void is an angst laden voyage left for the mind and something you definitely do not want to put on infinite repeat for anyone confined to a prison cell.
However you feel about the noise rock elements, you get caught in the moment when you feel that slick power run through your limbs as the music gets you ready for your day and helps define it. Just don’t do anything that will get you fired.
About Intercourse
The self-deprecating Intercourse – vocalist Tarek Ahmed, guitarist Sean Prior, drummer Caleb Porter and bassist Pete Stroczkowski – has averaged a release per year since forming in 2013, and has kicked against the pricks, power brokers, and pissants who make America “great” while tempering their outlook with a self-deprecating look inward.
Intercourse’s ‘How I Fell In Love With The Void’ delivers ten searing new tracks that merge elements of metallic hardcore into an antagonistic foundation of corrosive noise rock. The album was recorded by Chris Teti (The World Is A Beautiful Place And I Am No Longer Afraid To Die) at Silver Bullet Studios in Burlington, Connecticut. It was mastered by George Richter (Thy Will Be Done) and mixed by Chris Teti and Greg Thomas. The photograph on the album cover was shot by Sherilyn Furneaux (Portrayal Of Guilt) and features exotic dancer Clementine.
With the “Family Suicide Gun” video, Ahmed states, “We got really into documenting shows and shit after I bought a Hi-8 camera so we could do the video for ‘Where Losers Go To Die,’ so the natural progression was for us to get a GoPro. Then I got the genius idea to have everyone film themselves tracking with it so we’d have a cheap and easy video. Also, the vibes at Silver Bullet are immaculate, so why not? The song itself is about the hell of capitalism and how people work themselves to death only to retire, if they’re lucky, with the best years of their lives in the rear view. We got the title from a Reddit post about a literal cursed gun that took out multiple members of the same family.”
Intercourse commemorated the album’s release on a tour with Nerver through the Central US in September. The band is now booking sporadic regional gigs, including a show in Medford with Miracle Blood and more on November 22nd and a nasty gig supporting Pig Destroyer and Deadguy in Philadelphia December 13th. Expect further updates to post shortly.
Ailbhe Reddy has today released her new video and single titled ‘So Quickly, Baby’, from her upcoming album ‘Big Kiss’, dropping January 30th via Don Giovanni Records.
Love lost and lessons learned, ‘Kiss Big’ is a testament to that certain stage of the breakup that we all dread but, in the end, is best for us all. Perception of mutual feelings and assumptions meant for the other and thought to be felt alone. That moment of transition that is painful in the road ahead but can be reassuring in the rearview mirror.
Done in a subtle and poetic style with reflection and grace, ‘So Quickly, Baby’ hits all the feels without pumping the breaks too hard, but lets us know we aren’t the only one. The music highlights the emotions and Ailbhe’s vocals hit every heart string with the emotion wrapped in the melody.
About Ailbhe Reddy, ‘So Quickly, Baby’ & ‘Kiss Big’
Reddy describes ‘So Quickly, Baby’ as “the meltdown song, the album’s neurotic heartbeat. A tug-of-war between grace and chaos. The verses attempt to be the bigger person, while the choruses unveil the question at its heart, ‘How are you already fine, and when will I be?’”
“It’s about the push and pull between wanting to be gracious and wanting to scream,” she continues. “That weird neurotic whiplash when someone seems totally fine while you feel like you’ve been dropped in the middle of nowhere without a map.”
‘Kiss Big’ is a breakup record, but not the tidy, acoustic kind. It lives in the messy middle: that disorienting stretch when the life you built with someone collapses and you’re left trying to figure out who you are on your own. It’s a portrait of the aftermath, the numbness, the confusion, and the brief flashes of clarity when identity slips, rearranges, and slowly reforms.
Written between Dublin, London, New York, and the American Midwest, ‘Kiss Big’ traces the full cycle of love, loss, and renewal, the way we swear “never again,” only to find ourselves back at the start with renewed hope. Throughout the album, Reddy builds an emotional world that feels both deeply personal and quietly universal: raw, wry, and wide open, the sound of coming apart and piecing yourself back together.
“It’s about the aftershock of a breakup,” she explains. “That liminal space where you’re equal parts sad, hopeful, terrified, and probably a bit delusional.”
Drawing inspiration from Fleishman Is in Trouble and Sarah Kane’s Crave, Reddy combines diaristic lyrics with soft-spoken intensity, creating music that exists between indie rock and confessional folk, echoing the emotional gravity of Julia Jacklin, Phoebe Bridgers, and Lucy Dacus.
Reddy’s previous albums, Personal History and Endless Affair, earned widespread acclaim and a Choice Music Prize nomination, with praise from The Guardian, Pitchfork, The Times and more. She’s performed at Glastonbury, SXSW, The Great Escape, and beyond, steadily building a devoted audience drawn to her honesty and emotional precision.
With ‘Kiss Big’, Ailbhe Reddy leans further into her gift for making the personal feel universal. These are songs for endings, almost, and the quiet beginnings that come after, a vivid, self-aware breakup album from one of Ireland’s most compelling voices.
When music decides to just show up and strut and rock and roll and stomp with swagger, swing and raw energy all over you, that’s the rarest surprise and Michael Monroe does not disappoint with his brand new studio album, Outerstellar, set for release via Silver Lining Music on February 20th, 2026.
The first video and single taken from Outerstellar, “Rockin’ Horse is a cool, rockin’ song that we made a great fun video for with the fantastic director Leigh Brooks,” comments Michael Monroe. “We got into different characters on the so called ‘Waking Up With Michael Monroe’ TV morning show with me as the host. And it’s the first time ever you can see me without make up(!). Great fun and good times. Hope you enjoy it!”
‘What ‘genre’ is Michael Monroe?’ Oh, go and throw yourself back into the shoebox you restrict yourself to if you need a genre… How about ‘sweet smelling leathery sweat wrapped in one of the greatest rock ‘n’ roll voices?’ How about ‘harmonies and vibes swimming in silk scarves and lounging on a beaten sofa in leather pants, with the AM hours alive and the melodies so, so intoxicating?’ And how about ‘attitude! Which screams carefree not carelessness, confidence not arrogance, a cocksure sense of self-bathed in the sheer joy of playing the religious experience of real rock ‘n’ roll.’
‘Outerstellar’ Tracklisting
‘Outerstellar’ cover.
Rockin’ Horse
Shinola
Black Cadillac
When the Apocalypse Comes
Painless
Newtro Bombs
Disconnected
Precious
Pushin’ Me Back
Glitter & Dust
Rode To Ruin
One More Sunrise
From loud crashing guitars to harmonicas, to gorgeous acoustic moments, you’ll sing, you’ll dance, you’ll shiver, you’ll shake, and you’ll smell this wonderful exhilarating record in all its weathered biker jacket incense-coated glory and you’ll also realize that whatever the hell is going on in the world right now, when you put this album on, it’s an instant escape to carefree days and an emancipation from worries, fears and woes.
It is exactly what rock ‘n’ roll in its truest sense is meant to be, and Michael Monroe is handing you permission to get lost in the love of it. In fact, just stop reading this, get off your ‘Rockin’ Horse’ and go see Michael Monroe on tour at your first opportunity! In support of the release of Outerstellar, Michael Monroe and band will embark on a UK co-headline tour with Buckcherry, kicking off in Southampton on February 24th.
Devon Church has today released his new video and single titled ‘Fall Like Lightning’, from his upcoming album ‘All That’s Solid Melts Into Air’, dropping November 7th.
Signature from that first note, brooding and bashed throughout, Devon Church shows a signature style that is both original and interesting. ‘Fall Like Lightning’ is a prime display of what to expect with ‘All That’s Solid Melts Into Air’, when it drops November 7th.
Lyrically genius, like a beautiful word salad drenched with extra dream dressing, ‘Fall Like Lightning’ careens, clashes, and caresses the lyrics into the music so they fit in a truly artistic and mesmerizing manner. This is as much a work of art as it is a song. Don’t dismiss, digest.
About Devon Church & ‘All That’s Solid Melts Into Air’
On his new single “Fall Like Lightning,” Devon Church attempts a kind of “Subterranean Homesick Blues” for dejected denizens of the internet. A lyrically dense, Dylanesque polemic against social media and surveillance capitalism, it dances between irony and sincerity, tragedy and comedy, to the urgent palpitations of a crackling breakbeat. Recorded to dusty cassette tape, the track seems to belong somewhere in Northern England circa 1997 while the lyrics ponder our extremely 21st century predicament.
‘Is there no alternative, is this how we were meant to live? A price on every molecule and subatomic particle…’ Church sings, recalling Margaret Thatcher’s inauguration of the neoliberal counter-revolution and the subtitle of Mark Fisher’s book, Capitalist Realism. The lyrics do propose a solution to this riddle. Perhaps the alternative is to collectively turn away from the digital spectacle that has commodified everything but our dreams (‘there must be some way to monetize / what you see when you close your eyes”) and take up the cause of human solidarity against the billionaire tech oligarchs (“Zuckerberg, Bezos, Thiel, Ek, Musk / they filled our beggars cups with dust”). Foretelling their defeat, Church employs one of his trademark biblical references, quoting Jesus of Nazareth in a sardonic baritone for the song’s refrain; “I see Satan fall like lightning”…
The video for the song, shot principally in the futuristic ruins of Michelangelo Antonioni and Monica Vitti’s abandoned dome-home, features Church glued to his iPhone in various dramatic Sardinian and Roman locations. It was directed by Church, filmed by his wife, painter Ada Roth (who also contributed vocals to the track), and edited by frequent collaborator Danny Scales.
On All That’s Solid Melts Into Air Devon Church veers sonically and politically leftward. Taking its title from a famous Karl Marx quote – “All that is solid melts into air, all that is sacred is profaned” – Church’s third album contemplates the corrosive effects of 21st century capitalism – impending climate doom, skyrocketing wealth inequality, the predations of the so-called ‘attention economy’, genocide and the specter of world war – and their hallucinatory effects on our collective and individual psyches.
If Church’s sophomore album, 2023’s Strange Strangers, invited listeners to view Death of a Ladies Man-era Leonard Cohen through a psychedelic indie pop prism, his latest offering takes some of it’s dystopian lyrical inspiration from 80’s Cohen classics like “First We Take Manhattan,” and “Everybody Knows.” The album’s sonic palette however, is diverse, and decidedly low fidelity. Sounding as if they were recorded by a lone eccentric in a smoky, wood paneled basement in 1984 (or in some post-digital future), wobbly analog synths, harmonium, digital tamburas, primeval 70’s drum machines, and painstakingly orchestrated surf guitars all blend together with Church’s laconic baritone on these saturated four track cassette recordings.
‘All That’s Solid Melts Into Air’ Tracklist
‘All That’s Solid Melts Into Air’ cover.
All That’s Solid Melts Into Air
Nothing Sacred
Fall Like Lightning
Hungover In The World War
Everything Shivering
Lilies
The Lives Of Poets
Porcupine Shuffling
Working Class Zero
Trembler
Church’s references are wide-ranging, both musically and lyrically. The album’s title track, a song about staying true to the ones you love while the world falls apart, is a woozy synth and CR78 anthem, desecrated by fuzzed out guitars that recall the VU and Eno’s “Needle in the Camel’s Eye.” Another standout track, “Fall Like Lightning,” attempts a kind of “Subterranean Homesick Blues” for dejected denizens of the internet. A lyrically dense diatribe against social media and platform capitalism set to a crackling breakbeat, it seems to belong somewhere in Northern England circa 1997 while making its extremely topical argument. ‘Is there no alternative, is this how we were meant to live? A price on every molecule and subatomic particle…’ he sings, recalling Margaret Thatcher’s inauguration of the neoliberal counter-revolution and the subtitle of Mark Fisher’s book, Capitalist Realism. The lyrics do attempt to answer this riddle. The alternative is to collectively turn away from the digital spectacle that has monetized everything but our dreams (so far) and take action – to ‘shit out’ the billionaires (‘Zuckerberg, Bezos, Thiel, Ek, Musk / they filled our beggars cups with dust’) through the black hole in the center of the galaxy. By way of casting out our demonic tech oligarchs, Church quotes another champion of the poor, Jesus of Nazareth, in the choruses; ‘I see Satan fall like lightning’…
“Hungover in the World War,” meanwhile is a wistful, meditative folk song, whose fingerpicked acoustic guitar and deep, world weary vocals might put one in mind of Blaze Foley if it weren’t for the ominous droning of a tambura and the occasional eruptions of nervously trilling Godspeed! You Black Emperor-esque guitars that somehow evoke the titular ‘world war’. “Lilies” is a Louvin Brothers-style country gospel song invoking socialist revolution. Dense with biblical imagery, slide guitar and the otherworldly trills of an omnichord, the track is propelled by the ‘Swing’ setting on Church’s trusty Korg SR-120 drum machine. Indeed, some of the idiosyncrasies and genre shifts on the album may be reducible to the different presets on that primitive rhythm machine. For example, Nothing Sacred is a surrealist ‘tango’ exploring the mind-virus of right wing ‘red-pilling’ and the derangement of the chronically online that somehow sounds like it should be playing in a resistance speakeasy in WW2 Paris, or in an alternate universe.
Not all the songs are political, but they all reflect Church’s particular obsessions. “Porcupine Shuffling” is a stream of consciousness ode to the Tantric Buddhist meditation deity Vajravarahi, propelled by an explosive 909 beat, angry guitars and the pulsating bass arpeggio of a Juno 6 synth. The lyrics are packed with literary references ranging from the Old Testament to James Joyce to, once again, Marx, all while circumambulating the mysterious central image of a porcupine in the moonlight. “Everything Shivering” conjures, via the Marc Ribot-like lead guitar line, drenched in tremolo, the feeling of a frozen night walk in -30 degree Winnipeg, Church’s hometown. ‘The moonlit trees like nerve endings, everything shivering’, Dylan’s “Visions of Johanna” warping and slowing as the cold overwhelms the AA batteries in his walkman. Another odd little artifact, ‘The Lives Of The Poets,” enumerates the lives (and more specifically, the unusual deaths) of four of Church’s favorite writers, over a soundtrack of late-Soviet synth pop and the tortured dissonance of his beloved Fender Jaguar. ‘Trembler’, a slow and unexpectedly operatic post punk meditation, returns to one of Church’s favorite themes, mortality, as the song’s narrator visited by an angel who explains the origin, end, and eternal recurrence of the cosmos while waiting at a bus stop on another frigid night in Winnipeg.
Born in Winnipeg and based in New York City since 2009, Devon Church co-founded the critically acclaimed (now disbanded) dream pop duo, Exitmusic (Secretly Canadian, Felte). Since 2018 he has been releasing solo music, marrying a love for thoughtful, poetic songwriting to his textural, idiosyncratic DIY production style. J.J. Snowden
Romeopathy “Alone” dives straight into the heart of emotional isolation with a raw and unflinching honesty that defines the UK alt-rock and grunge scene. Blending haunting melodies with gritty, layered guitars, Alone feels like a late-night confession set to distorted beauty.
The track exposes the cracks we hide behind humor, bravado, and noise, a self-aware confrontation with the loneliness that creeps in when the lights go out. Lyrically, it’s intimate and revealing: an acknowledgment of destructive cycles and the quiet wish to change, even when the path forward is unclear.
Romeopathy’s approach to songwriting strips everything to its emotional core. They’ve always championed the art of not taking themselves too seriously, but with Alone, they let the mask slip just enough to show something deeply human. It’s vulnerable, moody, and compelling, a sonic mirror held up to the mind’s quiet corners.
Fans of Foo Fighters, Bush, and Smashing Pumpkins will find a familiar pull here, but Alone stands firmly in its own lane, balancing brooding introspection with the cathartic punch of UK-driven alt rock.
About Romeopathy
Romeopathy pride themselves on not taking themselves too seriously, which gives them plenty of time to craft captivating live shows filled with dynamic riffs, solos, melodies, and (intentionally bad) jokes. Drawing inspiration from a wide range of genres, their sound blends heavy alt-rock riffs with bluesy melodies, hints of Midwest emo, and a dash of 90s grunge. As they gear up for a tour, Romeopathy aim to spread their music far and wide, hoping to win over new fans and share the love along the way.
Mel Denisse is a genre‑bending artist‑producer whose songs land between raw guitar grit and left‑field pop. First hooked on her dad’s acoustic at ten, she spent her teens recording demos in cracked software and, by eighteen, hustled onto a Myspace‑era tour.
Years ping‑ponging between Nashville and L.A. sharpened her writing and production: warped alt‑rock beds under ethereal, classically tinged vocals, spiked with the Eastern scales she soaked up while splitting childhood between Florida and Turkey. Lyrically, she digs into duality, obsession, and the tug‑of‑war between self‑preservation and self‑destruction.
Influenced by everything from Failure and Deftones to Tori Amos, Mel chases what she calls a “controlled collision.” Her voice drifts like smoke, then snarls and cracks on the next beat while jagged guitar loops pulse beneath. “I like to ‘frankenstein’ a track,” she says. “If a heavy riff and a delicate melody look wrong together on paper, that’s exactly what pulls me in.”
Her latest single “Going Nowhere” is a melancholy alt-rock/shoegaze track inspired by the fantasy book ‘The Serpent & the Wings of Night’ (by Carissa Broadbent). With a nostalgic and reflective atmosphere, it ties to themes like survival by staying unseen, loyalty vs. self-preservation, and trying to move forward with nowhere to land. Her new music overall has crossovers with fantasy books and is a large part of her writing, especially on her upcoming highly anticipated EP due early 2026.
Previous releases earned spins on BBC Radio 1’s Alternative Show, placement on Spotify’s All New Rock, and tastemakers from Vanyaland praised the “reckless ambition of ’90s guitar‑rock grit,” while Wolf in a Suit called her debut “hypnotizing… bound to find a home in the deepest corners of our souls.”
When it comes to personalizing the music for her fans: “If the song makes you feel a gentle gut-punch–that’s the point,” she says. “I’m slipping mirrors into the track so you have to sit with whatever stares back.”
In the studio, she’s worked with Carlos de la Garza (Paramore, Best Coast), Ken Andrews (Paramore, M83) , Micah Tawlks (Hayley Williams, Noah Kahan, Ashe), and longtime collaborator/producer Stephen Laurenson. Off the clock, you’ll catch her streaming marathon World of Warcraft sessions or disappearing into fantasy novels.
Following the success of his debut album Storytelling, Swedish-born, LA-based composer and producer Olovson returns with a powerful new statement: ‘Untangle’, the title track from his new album, dropping via 1136 Diamond. The first single released off the album, ‘Things I Could’ve Left Behind’, already received support from the esteemed NPR Music, KCRW and KEXP 90.3 FM.
Known for his emotive piano compositions and Grammy-winning productions for artists like Frank Ocean, Dua Lipa, and Mark Ronson, Olovson now opens a more personal chapter — with his own voice at the center for the first time.
‘Untangle’ is restrained yet resonant — a piece driven by deep, pulsating sub-bass, the quiet rhythm of footsteps, and Olovson’s delicate, intimate and effortless falsetto. The track unfolds like a meditation, filled with emotional contrast — shadow and light, grief and release.
“This song is about untangling the emotions and patterns you carry — and realizing you’re allowed to let go — and coming out on the other side feeling more at peace,” says Olovson.
This is the second single following his 2022 debut album Storytelling, which gathered 3 million streams across platforms, and received praise from Rolling Stone India, Wonderland Magazine, CLASH, PopMatters, BBC Radio 6, NTS, and more. His track ‘Books Are Flying’ was featured in the SHOWTIME series The Man Who Fell to Earth, while the visual for ‘Gyroscope’ was nominated at multiple BAFTA-qualifying film festivals including Encounters, London Short Film Festival, and LIFA.
With ‘UNTANGLE’, Olovson expands his sonic palette — introducing a bold vocal presence while preserving the cinematic sensitivity that defines his sound. Fans of James Blake, Sampha, and Blood Orange will feel at home in this evolving space — where raw emotion and precise production quietly collide.
The result is a track that feels both deeply personal and widely relatable: the quiet sound of transformation.
Greenness has today premiered their new video and track titled ‘Psychopomps’, from their upcoming sophomore album ‘Honeymoons’, dropping November 14th via via One Fern Records.
Well, you learn something new every day. I just found that ‘psychopomp’ (ψυχοπομπός, psychopompós) is Greek for creatures, spirits, angels, demons, or deities in many religions whose responsibility is to escort newly deceased souls from Earth to the afterlife. Listening with that in context, the song takes a new meaning, for me. And, it lends more credence to the music and instrumental choices as well. Having said that, this is a deeply beautiful song with a video that adds texture to the story and flavor for the soul.
Greenness are obviously a band that makes their music around lyrical poetry, but with ‘Psychopomps’, that poetry has a more meaningful depth and finality that some of us embrace and most of us fear.
About Greenness & ‘Psychopomps’
Psychopomps is a driving and dramatic exploration of transition and mortality, blending art-rock energy with folk and orchestral flair. The track is propelled by powerful guitar and cello riffs, showcasing the duo’s taste for lavish, intricate arrangements and dramatic lyrical themes. It is no coincidence that the song is coming out just before Halloween.
“Psychopomps is a pivotal track for us,” explains lead singer and songwriter, Cess. “It’s a mythological reference to soul-guides, who escort the dead to the other side. These spirit creatures exist in many cultures and legends, where humans often try to negotiate with their psychopomp to buy themselves more time, as of course, they’re not ready to meet their death. Reading about these tales inspired the song’s story and lyrics, at a time when death felt close by.”
The track is an integral part of Greenness’ highly anticipated sophomore album, Honeymoons (out on 14th November 2025), which sees the duo expanding their sound by opening the doors of their home studio to a talented selection of session musicians for the very first time.
Guitarist and producer Graham, who arranged, mixed and mastered the record, adds, “We treat our singles as complete visual and audio statements. As such, Psychopomps comes with a cinematic music video shot by Marain Visuals with assistance from award-winning creative Rona Walter DeToriani, starring aerialist Naomi Wood as the psychopomp. We filmed the video with our backing band at the A L P H A B E T venue in Brighton, which is where we will be hosting the album launch party, with Naomi Wood as the opening act. Also joining us on the bill are singer-songwriter Charlie O’Connor and The Coven Choir, plus a DJ set from our bassist, Dom Hall. It’s going to be a very special show!”.
Honeymoons will be released digitally across all streaming platforms + on limited edition CDs, vinyl and digital download via Bandcamp (pre-orders are live) alongside an online listening party on 14th November.
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