The Rat Utopia Experiment’s new single “Leviathan”, is as lead singer Phi Lane explains, “The commander of envy. In a world where there is always someone that is more popular, smarter, or better-looking, the lyrics of innocent jealousy turn to resentment and rage, and the listener is left wondering how far it will go.”
Musically “Leviathan” is a riot grrrl rollercoaster and Evan, the band’s drummer, seems to be challenging the rest of the band to keep up. They certainly do, but it is a wild ride!
About The Rat Utopia Experiment
The Rat Utopia Experiment, AKA T.R.U.E
the gerbil society trials? the mouse utopia experience? the rat utopia experiment?
Phia (vocals), Francis (bass), Maddox (guitar), Casey (guitar), and Evan (drums)
from Bellingham to Seattle to Tacoma to Olympia, PNW alternative circus act!!!!!!
The band performed in SoundOff! 2024, the premier 21-and-under music showcase in the Pacific Northwest, has been the KISW 99.9 Loud and Local Band of The Week, while receiving airplay on KEXP and KISW, and is currently featured in a commercial for Puget Sound Energy. In 2025 the group started by playing Treefort Music Fest in Boise Idaho in March and to celebrate the release of their album No Hit Wonders. In May 2025 their new single Creature Comfort came out and in July the band played the prestigious Pioneer Square Fest! Their final release of 2025 is Leviathan.
Kat Robichaud has dropped her new single and video titled ‘M’. Quasi modern tinges with art pop on the fringe and an almost future nostalgic feel throughout, ‘M’ is one of those tracks that puts a smile on your face and glitter in your ear with the reverence of a modern day poet teamed with a pair of optimistic songwriters.
Hints of everything that made rock good and radio rock memorable, there is more to it than that with Kat’s quirky beautiful style and anthemic tone.
About ‘M’
A true art pop neo-wave upbeat bop, “M” is a mesmerizing track that explores the chilling terrain of self-sabotage, positioning the inner critic as the ultimate horror movie villain. Drawing inspiration from classic horror movie tropes and taking its evocative title from the shadowy world of pre-code film noir, the single offers a darkly poetic yet highly danceable commentary on being your own worst enemy.
“M” boasts a powerful and infectious 80s synth vibe that perfectly balances pop exhilaration with dark, atmospheric depth. Listeners will immediately recognize the track’s homage to the iconic sounds of the past, channeling the innocent pop energy of Tiffany’s “I Think We’re Alone Now”, the sophisticated emotional depth of Annie Lennox, and the cool, commanding presence of Siouxsie Sioux. The result is a song that is both instantly catchy and hauntingly resonant.
“’M’ is the soundtrack to chasing yourself down a hallway—it’s thrilling, a little scary, and ultimately, you realize the monster is just your reflection,” says Robichaud. “I wanted to make something that lets you dance through the anxiety and embrace the theatricality of your own mind.”
About Kat Robichaud
Kat Robichaud is an Oakland-based singer, songwriter, and performance artist whose work has garnered critical acclaim for its theatricality, raw energy, and distinctive musical style. Her elaborate live shows and compelling storytelling have cultivated a devoted following, solidifying her reputation as one of the most exciting and fearless voices in independent music.
Robichaud prowls around the stage- a hellcat unleashed, furious to have been confined in southern 90s suburbia stasis. With various wigs and rock warrior whimsy, she shrieks catharsis that at once stops and rushes the blood of anyone within earshot of her siren song. Part Janis, part Bette, part Mama Cass- Robichaud writes murder ballads, Broadway pop songs about anxiety, and neo-wave rock and roll on anything from alien sex to gaslighting puppeteers.
Existing in many forms- sometimes host of her hit musical variety show Misfit Cabaret, sometimes drag artist twirling her pearls in the spotlight of gay sex clubs, Robichaud feels most at home among her fellow queerdos, rattling off current hyperfixations and sipping whiskey with the stunning underground Bay Area artists who survived the gorging promises of corporations in late-stage capitalism. She’s a hell of a show woman and has had 20 years of stage time to prove it.
It doesn’t matter if she’s singing in a southern chain chicken joint, a 1,500 seat theater in Times Square, a painted plywood speakeasy, or in front of 15 million people watching her on The Voice- she will get your attention and hold it like she’ll die if she chooses to let go. And you hope she never will.
Rina Rain is a Bay Area-based meditation trainer with over twenty years of experience in mindfulness, career and personal development. She is also a mantra artist (Rina Rain) and meditation guide sharing peace, devotion, and healing through music. Blending soulful vocals and ancient mantras and modern soundscapes, she creates songs that inspire inner stillness and connection. Her voice carries the essence of tranquility, each chant unfolding like a soft prayer, a return to presence. Rooted in sacred repetition and silence between the notes, Rina’s voice invites listeners to slow down, breathe, and come home to themselves. Through simple, spacious sound and guidance, she channels frequencies of peace, remembrance, and quiet transformation. Her sound is not performance, it is a threshold.
Her debut track “Lokah Samastah Sukhino Bhavantu” serves as the first glimpse of her forthcoming album Whispers of Rain, an album created for contemplation and deep peace. She shares, “‘Lokah Samastah Sukhino Bhavantu’ was the mantra that opened my voice and my heart. This track is my prayer to help ease suffering in our minds, in our hearts, and for all beings everywhere, at all times. My wish is for this mantra to soften what feels heavy and awaken a deeper sense of belonging in everyone who listens. May we remember that we are all connected, and none of us are walking this journey alone.”
Her latest track “Om Tare Tuttare Ture Soha” is a prayer for liberation from suffering and protection from fear. The Buddhist Mantra in Sanskrit invokes feminine Green Tara, the embodiment of compassion in action. Good to practice when seeking protection from fears, inner or outer, and a path toward freedom. Rina shares, “‘Om Tare Tuttare Ture Soha’ is an invitation to return to the gentle nature within all of us. As I recorded it, I felt as though I were being carried by soft waves of compassion – held, soothed, and opened by the repetition of the mantra. It awakened a softness in me I didn’t know I was holding. Though the chant moves with a quicker rhythm, its purpose is deeply healing: to cut through fear, illusion, and inner struggle, and reveal the quiet path to freedom within. My hope is that, as you listen, the sound carries you to the far corners of your heart and mind, shining light where it’s needed most in the moment. May it offer a moment of ease and guide you to meet yourself with gratitude, love, and compassion.”
For over two decades, Rina has held space for healing through mindfulness, coaching, and creative expression. Her music is a meditation. It’s an invitation to slow down, breathe, and return to the heart.
Asylum Road return with Mask of Oblivion, a crushing and emotionally loaded groove-metal assault that dives straight into the reality of internal warfare. Hailing from Northern Ireland, the band fuses groove metal weight, metalcore urgency, and melodic depth into a track that feels both cinematic and confrontational. Fans of Killswitch Engage, Threat Signal, Sylosis, Parkway Drive, and Machine Head will feel immediately at home.
From its tense, brooding intro to its explosive final moments, Mask of Oblivion unfolds like a battle fought behind closed doors. The verses hit with tight, punishing rhythm work, groove metal aggression mirroring the act of holding yourself together while everything cracks beneath the surface. The chorus flips the emotional switch, lifting into soaring melodic lines that feel like a suppressed cry for help beneath the mask society expects you to wear.
The final section pushes the track into full emotional overdrive: a blistering guitar solo that bleeds into a stark piano outro, leaving the listener alone in the quiet fallout of the struggle. It’s a moment that captures exactly what Asylum Road do best, blending extreme heaviness with raw vulnerability in a way that feels human, relatable, and devastatingly honest.
Darryn Mc Cartney’s lyrics cut straight to the core, portraying the exhausting performance of hiding severe mental health challenges behind a façade. His delivery is both visceral and controlled, guiding the listener through suffocating darkness toward the song’s final reveal, the mask shattering, the truth exposed.
Mask of Oblivion marks another bold step toward their upcoming EP Cerca Trova, following a wave of critical praise since their debut EP The Fear. With massive riffs, emotional finesse, and an unfiltered lyrical message, Asylum Road continue proving why they’re one of the most compelling rising forces in modern metal.
About Asylum Road
From the heart of Derry, where grit and intensity collide, Asylum Road is set to drop their powerful new EP, Cerca Trova, in June 2025. Building on the momentum of their hard-hitting 2024 debut, The Fear, and bolstered by a key lineup shift, the band returns with sharpened focus and undeniable fire. Known for their crushing riffs, intricate grooves, and raw, impassioned vocals, Asylum Road has quickly become a standout in the groove metal scene.
Their sound captures the fierce spirit of their hometown while pushing the boundaries of modern metal. The Fear put them on the map, Cerca Trova is set to cement their place. The arrival of guitarist Paul Sandy in 2025 has injected a fresh surge of creativity and complexity into the band’s sonic arsenal. With this solidified lineup, Asylum Road is louder, tighter, and more relentless than ever.
Premiering at Sundance Film Festival in 2026, The Moment is based on an original idea by Charli xcx. Starring Charli xcx, Rosanna Arquette, Kate Berlant, Jamie Demetriou, Kylie Jenner, Hailey Benton Gates, Isaac Powell, Rachel Sennott, and Alexander Skarsgård. In select theaters January 30.
This week, Cook announced a limited time merch pop-up dubbed Cooksonia in Los Angeles, taking place Saturday December 13th following his show at the Hollywood Palladium on Friday, December 12th.
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About A. G. Cook
A. G. Cook is a cultural trailblazer and founder of PC Music who over the past decade at the helm of PC Music has reshaped the landscape of pop music. His influence has reached new heights in recent years with his acclaimed album ‘Britpop’ and Charli xcx’s ‘brat,’ which he executive produced and landed him multiple accolades including a Grammy for Best Dance/Electronic Album and a BRIT Award for Producer of the Year. Since 2023, PC Music has fostered an environment of experimentation and innovative production, shattering the traditional standards of genre and creating lasting impact on the fabric of the industry along the way.
The Dandy Warhols have today released their new video and single titled ‘Kiss Off’, from their upcoming album ‘Pin Ups’, dropping March 20, 2026 via Beat The World/Little Cloud Records.
A total reinvention of the Violent Femmes classic becomes the gateway drug for what is to come this March. And, for all those who thought ‘Blister In The Sun’ was the Violent Femmes only song, this is a reminder that legends can honor legends with their own signature flair and style. Foregoing the acoustic sound of the original, ‘Kiss Off’ takes off into it’s own subterfuged soundscape with a fresh take on a classic make of a track that feels as timeless as it does new.
‘Pin Ups’ is going to be one of those albums that shows The Dandy Warhols’ roots amid the wall of sound planted and watered by their own unique deluge of muse generated music.
The omission (mostly) of the classics (shit everyone knows) from the diverse selection of original artists is a brilliant move in that ‘Kiss Off’, and ‘Pin Ups’, does and will feel like a journey into the minds of mentors guided by mentors. Brilliant.
About The Dandy Warhols & ‘Pin Ups’
““We’ve been talking for years now about getting as many of the covers we’ve done for specific territories together and releasing them for all to hear. It’s finally happening,” says Zia McCabe of Portland, OR’s The Dandy Warhols about ‘Pin Ups’, their new album packed with covers from such legendary and venerable artists as The Cure, Gang of Four, The Clash, Bob Dylan, and The Beatles.
Released today concurrently with the album’s announcement, single “Kiss Off” sees Zia standing in for Violent Femmes’ Gordan Gano, adding a bit of bratty flair against a ‘50s mod backdrop. “I’m especially excited that we’re releasing our cover of Violent Femmes’ ‘Kiss Off’ for the first time,” she says. “I can’t believe this gem has just been sitting in a hard drive for years!” Adds Courtney Taylor-Taylor, “For reminiscing, this record is one of my favorites!”
Among the re-sketches of fabled singles and deep cuts culled from fellow musicians who the band admire and honor are a surf-guitar-flavored “Goo Goo Muck” (The Cramps), a percolating pop version of “Cherry Bomb” (The Runaways), and a faithful and twangy back porch rendition of “You Ain’t Going Nowhere (Easy Chair)” (The Byrds).
Check out our exclusive interview with The Dandy Warhols’ Courtney Taylor-Taylor HERE.
“These are some of our favorite songs, or songs by our favorite bands, or just songs we admired,” explains Peter G. Holmström about their eclectic collection. While some are unreleased gems such as “Ripple” (Grateful Dead) and “Jet Boy” (New York Dolls), others are collected from various tribute records, bonus tracks, and B-sides. “Of course, hours after Michael Jackson died, the phone calls started coming in saying ‘I guess you guys have to cover ‘Blackbird’ now’,” he laughs, pointing out their respectfully hazy and mesmerizingly psychedelic cover of The Beatles signature classic.
‘Pin Ups’ Tracklisting
‘Pin Ups’ cover.
Side One
Cherry Bomb – The Runaways
What We All Want – Gang Of Four
Primary – The Cure
Kiss Off – Violent Femmes
Goo Goo Muck – The Cramps
Rain – The Cult
Side Two
Straight To Hell – The Clash
Sister Golden Hair – America
Lay Lady Lay – Bob Dylan
Ripple – The Grateful Dead
You Ain’t Going Nowhere (Easy Chair) – The Byrds
Blackbird – The Beatles
Side Three
The Beautiful People – Marilyn Manson
Love Song – The Damned
Jet Boy – New York Dolls
She Sells Sanctuary – The Cult
Inside The Outside – Love And Rockets
As much as it is a tribute to the songs they love, it also serves as a love letter to many of the artists who are not only peers but friends as well. “Nearly every band we cover on here are friends of ours or artists we have had a meaningful experience with,” Courtney says. “Looking over all the songs again however, I am noticing that we never met the artists from the ’60s. Weird.”
The last two years have been monumental for The Dandy Warhols. Releasing one of their best received and critically-hailed album ‘Rickmaker (2024) which included guests Slash, Frank Black, and Debbie Harry, and its remade, remixed, and remodeled companion Rock ‘ReMaker’ (2025), Portland’s favorite sons (and daughter) also performed with The Oregon Symphony for a second time, transforming their music into an immersive orchestral experience.
“Playing with the Symphony set the bar for how much emotional and psychological power can be achieved with live music,” says Courtney of the experience. “The Dandy Warhols have toured the world and played hundreds and hundreds of shows. I have learned that nothing… and I mean nothing, compares to us playing with the Symphony.”
With images captured during one of their recent live performances, director Pablo Delpedro sought to highlight the intensity that is so characteristic of Dead Chic. The release of the band’s new single “The Bells and The Fists” was the perfect opportunity to illustrate this: a strange, shadowy track where flesh and steel collide, the soundtrack to a pagan ceremony unfolding somewhere deep in the bowels of the earth.
The video immerses us in the world of the four band members. Through their looks, their movements, their chaos and fury, we find ourselves at the heart of the storm, in the thick, sweaty atmosphere that turns each of their concerts into a dark and intense ritual.
Dead Chic originally formed from the partnership between Andy Balcon and Damien Félix. They met a few years ago while touring with their respective bands (Heymooshaker and Catfish), frequently crossing paths on the road and catching up backstage to discuss music, idols, and the possibility of collaborating. After a few years without crossing paths, they reconnected in the fall of 2020. Before discussing musical influences, Andy and Damien shared visual references, illustrations, and landscapes that would form the foundation and direction of their work. The idea of working together then took a serious turn, and after some exchanges, “Too Far Gone,” their first track, was released in 2022.
They were then joined by Rémi Ferbus on drums (known for his work with Kimberose, Mélissa Laveaux, among others), who had previously collaborated with Andy; and Mathis Akengin on keyboards, a long-time collaborator of Damien in Catfish. Over the years, through tours and travels, the musicians have honed their skills, enriched their cultural knowledge, and defined their individual styles. The combination of the four immediately sparked.
Dead Chic’s debut album ‘Serenades and Damnation’ is out now via Upton Park. “The Bells and The Fists” is something new that is a taster of where Dead Chic are headed for 2026.
Lost Trends are set to drop their new single titled ‘Interest Free’ tomorrow (December 12). The best sounds in rock are the ones that originate from the originator(s). Lost Trends is signature. That suave mix of soul and sanctuary filtered through groove and grandiose.
While ‘Interest Free’ seems to seamlessly chug along, their is an undertone that grabs the mind in a way that you feel like you’re losing time; that you feel like the song could go on forever, which is fine with you. But, in under three minutes the party is over. This is one of those songs that you may want to put on infinite repeat because you don’t want the ride to stop.
About ‘Interest Free’
Hot on the heels of their explosive single “Takedown,” York-based outfit Lost Trends are back and breaking new ground with their latest release, “Interest Free.”
While “Takedown” showcased the band’s signature high-octane rock energy, “Interest Free” flips the script, diving headfirst into a fresh sonic landscape of hip-hop beats, bouncing basslines, funky guitars, and razor-sharp political rap lyricism.
The result is an irresistible hybrid that blurs genre boundaries and demands movement. “Interest Free” is a dancefloor-ready anthem that proves Lost Trends’ fearless creativity and ability to evolve without losing the unmistakable edge that defines their sound.
With “Interest Free,” Lost Trends continue to push forward, experimenting, innovating, and challenging expectations, all while keeping fans hooked and hungry for more.
About Lost Trends
Hailing from York and Leeds, Lost Trends fuse the infectious energy of indie rock with the groove of funk and the swagger of hip hop. Their sound which is upbeat and danceable has earned them national attention, with their debut single “DJ” featured on a Channel 4 television advert and their latest releases gaining critical acclaim and airplay on BBC Introducing.
After a four-year hiatus, Lost Trends return with a revitalized collection of new material that showcases their evolution and creativity. Pushing beyond the boundaries of traditional indie, the band have expanded their sonic palette while retaining that Lost Trends sound.
A seasoned live act, Lost Trends have built a reputation as a dynamic and engaging band, performing across the UK at venues such as O2 Academy Leeds and The Dublin Castle in Camden, as well as numerous festivals. With a proven ability to get crowds moving, Lost Trends are back, refreshed, reimagined, and ready to make you dance.
Courtney Hadwin’s rendition of “Changes” is both reverent and fierce. Known for her standout vocals and magnetic stage presence, she channels the vulnerability and sincerity that made the original so iconic, while imprinting it with her own soul-driven style. The recording captures the tension between fragility and strength, revealing an artist who continues to evolve beyond her explosive beginnings. “‘Changes’ has always been up there as one of my favorite all-time songs,” says Hadwin. “All I see when I go through my social media comments is ‘cover a Black Sabbath song,’ so I gave it a go on tour a couple months back and I’ve had messages since saying ‘record it,’ so I thought yanno what, why not!” The track was brought to life by a stellar lineup of musicians, including Orlando Avalon on electric guitar, Gabrielle Ornate on keyboards and backing vocals, Matt Townsend on drums, and Raj Bumia on bass. It was engineered by Robert Sellens, mixed by Orlando Avalon, and mastered by John Webber. Together, they crafted a version that feels both classic and contemporary, a fitting homage to Osbourne’s legacy and a showcase of Hadwin’s artistry.
At just 13 years old, Courtney Hadwin stunned the world with her Janis Joplin–esque audition on America’s Got Talent, a viral moment that introduced millions to her powerhouse voice and bold stage presence. Rather than conforming to the pop expectations that followed, Hadwin forged her own path, channeling her grit, soul, and lived experience into music that speaks directly to her generation. Now 21, with over 3.7 million followers across TikTok, Instagram, and Facebook, she has grown into a dynamic artist whose sound fuses rock, soul, funk, punk, and R&B. Her debut album Little Miss Jagged, co-written with producer Kevin Bowe (Etta James, Lynyrd Skynyrd, Steve Van Zandt), captures the highs and lows of coming of age through raw storytelling and unfiltered emotion. Praised by outlets like FAULT Magazine, PopDust, and Soundsphere for her distinctive voice and genre-defying style, Hadwin continues to prove she’s far more than a viral sensation; she’s a singular force in modern rock, ready to define her next era on her own terms.
Courtney Hadwin’s cover of “Changes” marks another chapter in her evolution with a balance between her blues-rock roots and a maturing, passionate voice that resonates with authenticity. Since first capturing global attention on America’s Got Talent, she’s grown into one of the most promising young figures in the current rock scene, fearless in exploring new depths while maintaining her trademark fire. In early 2026, she will be embarking on a ten-show tour across the UK, showcasing her new album live.
About Courtney Hadwin
There are some voices that genuinely make you stop in your tracks – Courtney Hadwin is one of them. In 2025, the Durham-born singer-songwriter is unveiling her long-awaited debut album, which will showcase her once-in-a-generation talent for all to hear.
Many will already know of Hadwin thanks to her famed audition on America’s Got Talent in 2018. In what rapidly became one of the most-viewed auditions in the show’s history, the 13-year-old Hadwin – visibly nervous as she stood in front of the judges and a huge live audience – blew everyone away with a fearless rendition of Otis Redding’s 1968 classic “Hard to Handle”. A huge Janis Joplin fan, judge Howie Mandel leapt for the Golden Buzzer after telling her how Hadwin’s glass-shattering voice reminded him of the legendary rock artist.
Six years later, Hadwin has endured plenty of ups and downs. Yet these trials have been poured into the record – songs of experience – making for a phenomenal, and confident, debut. Written and produced with Grammy-winning songwriter/producer Kevin Bowe (Etta James, Joe Cocker) in his hometown of Minneapolis, each track fizzes with her irrepressible spirit. “They’re coming-of-age songs, written either when I was going through the worst of times or when I felt on top of the world,” Hadwin explains. “I’m both nervous and excited to be putting them out into the world, as this is the most personal I’ve ever been in my songwriting. It’s the story so far.”
Single “Spellbound” is dynamite – a punchy punk-rock tune loaded up with snarling guitar riffs and jangling percussion. “Me and Kevin had a couple of extra days left over after recording a bunch of songs, so we decided to use the time and ended up with this,” Hadwin says with a grin. “Before I left for America, I’d been in this situation where I was completely obsessed with someone, and ‘Spellbound’ just kind of popped out.” She howls and hollers, perfectly capturing the messiness of a teenage crush with a tongue-in-cheek bridge and the anthemic, singalong chorus: “I’m spellbound baby and I can’t say no/ Follow you to hell if it’s where you wanna go.”
From a young age, Hadwin demonstrated a curiosity and understanding of music beyond her years. Her dad, Paul Hadwin, whom she fondly calls her biggest supporter, remembers his then-three-year-old daughter belting out “Crazy” by Aerosmith around the house, driving her family, well, crazy. When she was just nine years old, she realized that becoming a musician was her dream, and she began to pursue it with true conviction. “I was that kid in school who didn’t go to parties, I didn’t go out on the weekends,” she shrugs. “I’d be at home, focusing on music – it’s all I’ve ever wanted to do.”
She took up musical theatre, all the while studying the greats on YouTube: Joplin, James Brown, Little Richard, Tina Turner… “I’d sit there for hours at a time, listening to all of these artists who I’d never heard before, then trying to learn the songs and how to sing and dance like them.” It wasn’t just their singing that captivated her – these were entertainers, whose charisma and magnetism were as much a draw as their astounding voices.
It was this drive that led to Hadwin successfully auditioning for America’s Got Talent, having previously made it to the final of The Voice Kids UK. “I wouldn’t necessarily take it back, but it was a very, very young age to be put in the spotlight,” she says now. “I was scared that everyone was going to hate me and it would end up being one of those joke auditions.” When she walked onto the stage, faced by judges Simon Cowell, Heidi Klum, Mel B and Mandel, she was shaking. But then she sang, in that jaw-dropping, freewheeling manner of hers, and everything changed.
“I was in America for about six months and it was just constant TV stuff,” Hadwin recalls. “I didn’t really like it, but I was persuaded to do AGT Champions as long as I could do an original song.” She was put through the ringer once more and signed a record deal, only to discover that executives had no idea what to do with her. “I spent weeks and weeks being put into writing sessions so they could try to find my ‘sound’, but it was always with pop songwriters, which I knew was completely wrong,” she says. By the time she’d even come close to getting a few songs that suited her, it was announced that the label was shutting down. Hadwin found herself out in the cold, two weeks before her 16th birthday.
“It really opened my eyes to the realities of the music industry and who to trust,” she says matter-of-factly. It took some time for her to recover from what felt – to a young girl who just wanted to sing – like a major setback. “When something like that happens, you end up doubting yourself, as though it was your fault,” she admits. “But it also made me work harder, like I had to prove myself somehow.”
She met Bowe, beginning with writing sessions over video call; finally Hadwin felt as though she was working with someone who understood her. One of the songs they came up with together was “You Only Love Me When I Lie”, an extraordinary, soulful blues number that channels the spirit of Aretha Franklin or Martha Reeves. Her opening notes are delivered with a feline purr, illustrating how she knows precisely when to exercise restraint, and when to let rip. Here, listeners are treated to the best of both worlds – over a spooky Hammond Organ and luxuriant ripples of guitar, she yowls like a woman possessed: “Sick and tired of keeping all my thoughts to myself/ ‘Cos I never get a chance to heal/ If you can’t stand my crazy I’ll get somebody else/ So I can feel the way I feel.”
As if any further proof was needed of Hadwin’s artistic dexterity: “DNA” is a sizzling slice of funk-rock, bouncing in with a squelchy synth beat and irresistible hooks. Like Joplin before her, she conveys the impression that she has abandoned vocal control, such is the intensity of her performance. This is one of Hadwin’s most astonishing traits, and one that will no doubt have fans clamouring to see it taking place live on stage. In an age where any voice can be polished and preened into auto-tuned “perfection”, she stands out for her fearlessness – pouring her heart and soul into each note.
Take “Die and Stay Pretty”, a song that, in the hands of another singer, could easily have become a sweet yet straightforward ballad. Hadwin, though, sings like her voice might free herself and anyone else who hears it, channelling both love and anguish: “Acting like you’re in the velvet underground/ You look so good when you’re going down.”
“This one is completely different to every other song on the record,” Hadwin points out. “I’d been feeling pretty down, watching someone I cared about basically screw up their life, which was affecting me as well. I called Kevin and he just said, ‘Well, let’s write a song about it.’” So early on in her career, she displays a talent for writing tracks that are both deeply personal and instantly relatable. Listen to “All the Love Money Can Buy”, a spectacular kiss-off with all the swagger and sass of her heroes, backed by gospel-style backing vocals and a jubilant brass section. Just look at her go.
Beauty In Chaos have just premiered their new video for their rendition of the Joe Strummer and The Mescaleros classic ‘Get Down Moses’, from the BIC two-song EP (embed below).
I consider this a massive departure from everything BIC has done in the past. I’ve always said this was a consistently evolving project ever taking those steps up that ladder of evolution. This signifies the last step and the destruction of the ladder. It can go anywhere at this point with guessing and speculation completely out of the window. This is a different Beauty In Chaos from everything past. Not a new chapter, but a book.
Featuring The Sig Six Horns, BIC honor the reggae roots that Strummer solidified with a twist for the ’20s and a slight return to everything that made the original memorable. The guitars are brought more to the front with the horns and take the track into flight with fancy and fervor meant for the masses.
Michael Ciravolo is brought front and center with lead vocals which, to me, brings an entirely new signature sound to the project that I think should become a more permanent venture for the overall scope of the band. The vocals fit, evoking hints of Strummer and highlight the beat and rhythm in ways a guest vocalist couldn’t have done.
‘Get Down Moses’ isn’t a departure from form, its an eclipse of what was, and what could be.
About ‘Get Down Moses’
BIC’s curator, Michael Ciravolo, who also takes over as lead vocalist on both tracks from their current two song EP, explained. “As with “God’s Gonna Cut You Down”, I felt a spiritual calling to do this particular song. I think Joe’s lyrics are certainly ‘timely’ and just as socially important as anything he ever did with The Clash.
As for this new video, Ciravolo adds, “We filmed this the day after we shot “God’s Gonna Cut you Down”, so it was nice to swing the pendulum to something a bit ‘lighter’.” While this video absolutely looks like it was fun to shoot, Ciravolo clarified, “This shoot was certainly not meant to lessen the sting of Joe’s lyrical attack on governments, oppression and the Catholic church. My ‘1977’ shirt, which I am sure Clash fans will notice is my personal tribute to Joe Strummer”.
Kansas City atmospheric prog-rock band A Light Within returns with their haunting new single “Dying Clock,” marking their first new single since 2024’s “Identity” and the next step in their slow-burning creative evolution. Known for their dark, atmospheric soundscapes and cinematic songwriting, the band remains a must-listen for fans of Porcupine Tree, Failure, Katatonia, Tool, and Pink Floyd.
“Dying Clock” arrives as the band continues rebuilding after a turbulent few years. A Light Within carefully crafted the track throughout 2025 and enlisted Failure drummer Kelli Scott to add his signature sound during the session. The song, clocking in at just over nine minutes, wastes no time and takes the listener on an auditory journey with an ending that even the most discerning post-rock and metal fans will appreciate. Bass on the track comes courtesy of Madelyn Robertson. Their last full release, “Epilogue” in 2018, concluded a conceptual trilogy built from transcribed diary entries and was recorded by respected engineer Paul Malinowski (Season to Risk, Shiner, The Life and Times) and mastered by Acle Kahney of TesseracT.
After a multi-year hiatus, the band regrouped in 2022 with fresh energy, having Josh Bennett transitioning from guitar to bass and the group continuing as a four-piece. A Light Within went on to release a series of singles including “Meteoric Fires,” “Count With Your Eyes,” “Terraform” and “Identity” (2024). During their downtime period, Kyle and guitarist Jeff Irvine revisited the band’s 2013 debut EP “Preface,” revamping the original recordings with upgraded production, clarity, and reimagined parts. The result, “re:preface,” was released August 2 as a gift to longtime fans while the band continued shaping new material.
With “Dying Clock,” A Light Within opens a new chapter. The track showcases the band’s signature blend of introspection, atmosphere, and emotional weight, a continuation of their slow, deliberate evolution. While the band has historically taken its time between releases, new ideas are flowing, and more music is expected to follow.
Earthset have dropped their new single and video titled ‘Shores’. A bit of a departure in experimentation and exploration for a band that set the tone for independent introversion in independent music, ‘Shores’ is a soundtrack to a moment, to me, in that it’s a song that becomes personal on the most intimate of levels.
Defined by the flow of the listener and taken to heart on an individual basis, this is a song that may define Earthset to each person that discovers them. It shows that good music can create an atmosphere, defined by the listener as it flows through the mind and permeates the soul. This song will mean anything to anyone as it is captured by the moment you are in as you take it in.
About ‘Shores’
“Shores” is the newest piece by Earthset, a rock quartet from Bologna. After several years working on soundtracks for silent movies (“The Mechanical Man,” “Nosferatu,” “The Earth,” and “The Adventures of Prince Ahmed”), the band released “Zemlja” in September 2025, a song dedicated to the fears and concerns of younger generations facing the contemporary crisis of modern world.
“Shores,” the new single, represents the ideal continuation of “Zemlja,” being connected to it by a subtle thread: the video that accompanies the song is a montage of stills from Dovzenko’s film “The Earth” (USSR 1930), whose original title is, indeed, “Zemlja.”
The song was inspired by a dream set on the shores of the Strait of Messina. It is built on a crescendo of arpeggios that is pursued by a dancing drum section, creating an atmosphere perpetually poised between euphoria and melancholy.
Two shores, between which everyone’s lives flow (characters on the screen, shadows in the dream, artists and people) until they disappear in the haze of notes that preludes the finale.
Credits
Music and lyrics by Emanuele Orsini, Ezio Romano, Luigi Varanese, Costantino Mazzoccoli
Recordings and mix by Costantino Mazzoccoli at OL – Music Studio
Master by Claudio Adamo at Fonoprint Studios
About Earthset
Earthset are a rock quartet from Bologna, Italy, formed in 2012 by Luigi Varanese, Emanuele Orsini, Costantino Mazzoccoli, and Ezio Romano. Over the course of their career the band has explored diverse aspects of the rock genre, from the more alternative debut (In a State of Altered Unconsciousness, 2015) to indie-rock (POPISM, 2017), finally moving into experimental rock (bound, 2022). Difficult to fit in one specific musical genre, their music is characterized by a blend of noise elements and gentle melodies, where dynamism and mood swings are the norm.
At the same time, Earthset have produced four cinematic concerts in collaboration with Cineteca di Bologna and Soundscreen Film Festival di Ravenna. After “L’Uomo Meccanico”, published as an LP in 2020, they realized musical scores for “Nosferatu” (2020), “The Earth” (2022) and “The Adventures of Prince Ahmed” (2024).
In 2025 they get back with “Zemlja”, a new song in which they return to songwriting, and the instrumental piece “Shores”.
Rising rock band Grayscale unveiled the deluxe edition of their acclaimed 4th studio album, The Hart, with a gorgeous focus track and video ‘Painting Over You (with Cassadee Pope)’. While the original album was released in January, starting the band’s year off with a bang, the Deluxe version dropped on 3 December, 2025 via Infield, closing the year with a release that reinforces their status as a band unafraid to evolve while staying true to their roots.
Boasting millions of streams across platforms, support and interviews in Forbes, Rock Sound, and Good Guys Press (among others), and festival slots at Slam Dunk, Riot Fest, Firefly, Sad Summer Fest, and So What?! Fest, the band has steadily been making an impact in the indie landscape. Their emotive video, ‘Forever Yours’ has alone racked up 1.2 million views. Having previously toured across the globe with the likes of All Time Low, Gym Class Heroes, The Band Camino and Smallpools, Grayscale has a stacked UK/ Europe headline tour scheduled for the rest of 2025.
Hailing from and based in Philadelphia, Pennsylvania, Grayscale was formed by a group of friends in 2016. Known for blending heartfelt lyricism with dynamic, genre-bending alt-rock, the band’s music explores themes of growth, introspection, and personal resilience. Lead singer Collin Walsh was inspired by listening to ’90s rock with his dad and by his great-grandfather, who played in the Philadelphia Mummers Parade band. Drummer Nick Veno discovered his calling at age six when he chose a drum set in a music store, despite coming from a non-musical family. Guitarist Dallas Molster grew up surrounded by music, encouraged by his parents and a lineage that included musicians on both sides of his family, including one who studied at Juilliard.
Fellow guitarist Andrew Kyne was influenced by his great uncle, a jazz saxophonist, and first fell in love with guitar after being handed one as a kid. Beyond their musical impact, Grayscale actively supports causes such as Girls Rock Philly and the American Foundation for Suicide Prevention, reflecting their commitment to community, mental health awareness, and genuine connection both on and off the stage. Drawing from a range of inspirations ranging from The Killers to Kings of Leon, to Bruce Springsteen, to Van Halen, this deluxe version of their album is sure to ensnare fans of Inhaler, Slowly Slowly, The Killers and Cage The Elephant.
The Hart (Deluxe) is a moving expansion on the original, with each track reimagined, remixed or enriched by a fresh collaboration from the likes of Smallpools, Derek Sanders, Slowly Slowly and more. From the vast ambient atmospherics of the titular opener; to the electronica-laced remix of their invigorating track ‘Let Go’; to the reverberantly dreamy angst of synthy soft rock focus track ‘Painting Over You’, featuring the passionate vocals of Cassadee Pope, the album is a triumph, anchored in rock but overflowing with a pastiche of styles and emotions. The accompanying video to ‘Painting Over You’ showcases a moving performance of frontman Colin Walsh and Cassadee Pope duetting in an apartment; offering a slice-of-life visual that is contrastingly intimate compared to the grand passion of the song.
Speaking on the album, frontman Collin shared: “Having our friends all jump on songs that we love, for a record we adore so much, meant the world to us. We haven’t done a ton of features before, so doing this with artists we love and have toured with over the years all in one concentrated album was crazy, chaotic, and so fun. Thankful for all of the talented people we’ve met along our journey, including some we’ve always looked up to since we were kids who gave these songs their touch.”
Hello Cosmos premiere their new album "Come Out Tonight" via Cosmic Glu on Jammerzine.
Hello Cosmos have released their new album titled ‘Come Out Tonight’ via Cosmic Glue. Spending half a decade between albums can make or break any artist or band. The time alone makes them soft or hard, depending on your tastes and what they did during that time off.
‘Come Out Tonight’ is one of those albums that will be played twenty years from now and heard with the same reverence, relevance, and interest it is generating now, because, it’s all downhill from here. A modern classic with classic twists and rebel angst all wrapped up in distorted guitars and warped beats that make modern music sound mainstream and everything else new sound old and tired.
Enough said.
About Hello Cosmos & ‘Come Out Tonight’
‘Come Out Tonight’ is their first studio album proper in five long years, the songs of ‘Come Out Tonight’ are united by recurrent messages of both urgency and hope, as the world we live in spirals beyond recognition. A record that rallies to reclaim love from the clasps of the corporate advertising machine, and idle mind space from the deathly doom scroll of toxic digital spaces; these unconventional, electrifying, amorphous tracks are intended to invoke visceral feelings of real humanity, communal connection, and the unlimited possibilities of unprogrammed passion.
A giant leap for the post/punk cosmonauts, it takes influence from all corners of the globe with studio recording sessions having taken place in New York City, Los Angeles, Kampala, Leeds, Manchester, and their base at the Welkin Mill in Stockport. Produced by Jamie Lockhert, the band’s new look line up features Isaac “Dobbo” Dobson and Alex Beston (of Vacant Weekend), sax/synth whizz Frankie Pigeon (Dilettante/BC Camplight), and harmonica player Oli Brown (of Herelduke), join longstanding members Ben Robinson (Kendal Calling/bluedot) and brother Simon, plus Angela Chan (Placebo/Lanterns on the Lake).
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 Lockhert at Greenmount Studios in Leeds, who has produced all of their studio records to date, it arrives as Hello Cosmos’ first studio album proper in over 5 years, following their acclaimed debut ‘Dream Harder’ in 2020. Of the record, front man Ben Robinson says:
“A lot of the upcoming record is about finding the strength to switch off digital screens and go out and live. It’s 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 unhealthy… We all need to wake each other up, get off the cool aid of digital apps, social media and algorithmic scrolling.”
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 Cosmos’ ‘Golden Dirt’ mixtape).
‘Come Out Tonight’ was produced by Jamie Lockhert, who has produced all of the Hello Cosmos studio records to date, at Greenmount Studios in Leeds.
While it may seem like a 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 ‘Come Out Tonight’ is just the beginning. With two new records and a blissed-out “comedown album” also due for release in the imminent future, an intrepid new chapter for Hello Cosmos is upon us. Hold tight.
Rising IDM producer Textbook Maneuver shared a new single ‘Places’ via his Life Science Records imprint. The track follows a monumental remix of his track ‘Adrenaline Slip’ by the legendary µ‑Ziq. With nearly 150,000 streams across platforms to date, the project has steadily drawn the attention of the global IDM and experimental electronic community. Interviews with Magnetic Magazine, Illustrate Magazine, features on WWAM (We Write About Music), Music For All (Brazil), and Good Music Radar have already highlighted the project’s immersive debut album Adrenaline Slip (2025). It is clear that Textbook Maneuver is emerging as one of experimental electronic music’s most intriguing new figures.
Michael Keane is the Bronx-born, New Jersey-based composer behind the Textbook Maneuver alias. A classically trained pianist with a punk DIY heart, Keane blends cerebral sound design with cinematic storytelling, drawing from a wide palette of influences that stretch from Genesis (Duke era), Rush, and Gary Numan to The Postal Service, U.N.K.L.E., and Phantogram. Under the Textbook Maneuver moniker, his releases balance the intellectual curiosity of IDM with the emotional resonance of ambient and prog-influenced electronica, offering soundscapes fit for film, television, and interactive media. His music thrives on improvisation and sonic experimentation, refusing easy classification while remaining deeply accessible. With critics comparing his sound to Jon Hopkins and Nils Frahm, listeners are sure to hear echoes of Boards of Canada, Aphex Twin, and Autechre.
‘Places’ opens with plaintive piano phrases that unfold into a vast wintery soundscape, steeped in nostalgia. Small, tactile textures adorn and punctuate the spacious synths while sparse, reverberant drums ease the track along to a low, broodingly cinematic outro.
Textbook Maneuver told us: “If you ever have walked through the corridors of a music school, you will hear piano and other instruments resonating from a distance or from behind walls and doors. This past October, I had just finished releasing some projects and took a break to write something new. As I was composing, I had feelings of nostalgia, echoes of the past, places I have been, walking through music school halls, etc and they all came together into “Places”. I used effects and distortion to bring out that nostalgia. I then went through some old photos from places I have been to create the simple collage for the cover art.”
The idea for L.A. came to me during a bout of anxiety whilst watching reality TV set in L.A.. I wrote it as a kind of an ode to wanting to be away from your anxieties. The lyrics contain mentions of typical anxiety symptoms like losing your teeth in dreams, and self-destructive tendencies in relationships like the line ‘I lose a friend every single day’. This is in reference to me having anxiety surrounding my friendships and relationship where I presume that through one action of mine and then ruminating on the subject is going to be the death of all interactions that I ever have that person.
During the chorus the line ‘I drive to L.A. In the dark’ is a plea better times in future but still the ‘shadow of anxiety’ ever present in my mind. The references to ‘I won’t take a side road because I’ll fall apart’ is in reference a severe problem with change and a hope to develop a resolve to this. This 2nd verse has reference to the death of my father which my anxiety grew massively around this time. The final line is ‘I’ll drive to L.A.” Which is referential to a hope of good times without the shadow of anxiety.
If I was to write a letter to myself about what I was going through at the time, L.A. would be that letter.
L.A. really gave us a clear direction to go in as a band. We knew we were a Midwest Emo Band from the start but this track pushed us forward more downs that path than even our fist release. Our first release was centred around pop punk rhythm guitars in the verse and chorus since we had two guitarists at the time. One of the guitarists left after the release, so we focused on influencing the guitar parts around bands who have one guitarist such as Tiny Moving Parts. This allows us to play the song live true to its recorded form, whilst also leaving gaps in the rhythm sections for Midwest Emo leads and twinkly verses.
Since this is our first release as a proper 3 piece, we were a bit worried about how we’d make it work in the beginning. We intended to solve this by working on L.A. to try and craft the sound that would fit well into emerging North West Emo scene, and took influence from bands such as Arm’s Length and Tiny Moving Parts. Through this we learned how we write music our way, and how to keep in those twinkly Midwestern Melodies that we love.
We remember getting the first mix back for L.A. on our drive home from the studio the same night we finished recording. There was a silence during and after the track finished playing that signified how speechless we all were at how huge the song was sounding. For us it felt like we had arrived on the scene as a proper band, and had produced a song we were all extremely proud of. We all felt like the song sounded in a place with all of our favorite bands in the scene at the moment and was a huge stepping stone for us to developing as a band.
Our previous release, Dreaming, was recorded in a day and made us feel rushed and like it wasn’t as good as we could have made it. With L.A. we gave ourselves two days to record and managed to add all of the layers, backing vocals and extra lines to it that we intended to. We are extremely happy and proud with how it has turned out and would love to show it to as many people as we can!
About Hospital Radio
Hospital Radio are a three-piece Midwest Emo band from Manchester UK, weaving sad and painful songs with a raw, emotional edge. Combining intricate, beautiful guitar work with driving energy and heartfelt lyrics, their music captures the intensity of life’s struggles while delivering cathartic, powerful soundscapes.
Madison Margot is a Los Angeles-based pop singer-songwriter known for blending raw emotional storytelling with lush, cinematic soundscapes. A fifth-generation Angeleno, she began writing songs and playing guitar at eleven, turning personal experiences into vivid, unforgettable songs. She holds a bachelor’s degree in Gender and Women’s Studies and works exclusively with female directors to embrace and uplift women through her creative process.
Her debut project The Chronicles of Lovers, produced by Kyle Shearer (Tove Lo, Caroline Polachek, Carly Rae Jepsen), introduced her unique voice and emotionally charged style. Singles like “God Laughs,” “If We Fall,” and her latest, “TOO MUCH!”—a moody, slow-burning track co- produced with Tone Def (Nat & Alex Wolff)—showcase her gift for vulnerability and atmosphere.
After living in England for several years, Madison drew deep inspiration from the music scene there, a lasting influence on her sound and storytelling. Her work has been featured by Wonderland, LADYGUNN, Rolling Stone India, EARMILK, and Ones to Watch. With performances at venues like Madame Siam, The Peppermint Club, and The Viper Room, Madison’s live show blends emotional honesty with undeniable energy—making her an emerging pop voice who creates songs that feel like your own memories.
Her new single “But I Do” is an introspective and dreamy indie pop single filled with Madison’s honeyed-vocals singing cathartic melodies. She shares, “I wrote “But I Do” about emotional relapse. When you’re feeling great and think you’re fully healed, but then something happens that pulls you right back into the place you thought you outgrew. This song embraces that vulnerability and finds the beauty in letting yourself feel everything fully.”
Me The Machine have today released their new single titled ‘War In Silence’. Modern metal with timeless feel, ‘War In Silence’ is a lesson in modern guitar. Slightly industrial in nature with melodic vocals and a polished mixdown, this is a song that spans generations and combines them with the current mix of metal, electronic, and hip-hop.
As collabs go, the track is as diverse as it is immense. Featuring Silent Hill composer Akira Yamaoka and artist Ando San, Me The Machine show that their diversity in music is both limitless and sublime.
About ‘War In Silence’
“War In Silence” was produced by famed Japanese composer and sound designer, Akira Yamaoka, best known for his work with Konami’s Silent Hill video game series. Yamaoka’s pioneering ethereal scores inform some of the light atmospheric touches underscoring the cut, from its industrial ghost notes to its mechanical backing guitar licks. The track’s light groundwork also comes with heavy-hitting, sensational metal instrumentals. A whispering vocal introduces the hard-lined track before a raw, crushing guitar comes into the mix, immediately throwing listeners into a swirling, alternative-metal bliss.
As Me The Machine coils, singing, “The only way to know how high I get/is to let me fall from grace,” he channels the emotive power of Bad Omens and Catch Your Breath. The chorus further echoes, “Silence screaming out / Breaking free from every sin / Silence in a war can betray my heart,” resonating with a profound depth that calls out current political strife due to social deadlock. Grunting riffs and splintering drum breakdowns transition to Ando San’s evocative feature, where he scathingly raps over the nu-metal score, wrestling with policies seeped in oppression. “‘War In Silence’ is fueled by the desire to express how imperative it is to use our time on earth wisely and fight against the ties that bind us,” explains Me the Machine. “How can we love ourselves if we don’t have the capacity to love one another?”
Me The Machine’s music merges underground electronic textures with pop sensibility and dark cinematic influences, creating a sonic environment perfect for both macabre listeners and upbeat metal-chasers. The cutting-edge Latine artist’s forthcoming album, The Flesh of The Innocent, ruminates on the social and cultural disparities between innocence and evil, as well as the juxtaposition between dark and light. Previous singles “Soul Eater,” “Miomantis (SCARS),” and “Lightyears,” further capture the project’s aesthetic motif: emotionally charged yet mechanically disciplined, delivering a tension that’s stirred up listeners across the globe. The electric singer has garnered praise from KTLA and AP News, catapulting him toward more ambitious and audacious collaborations that take advantage of his collaborative strengths.
About Me The Machine
Me The Machine is an alternative-genre musician whose sonic identity straddles the boundary between human emotion and mechanized precision.
Emerging from Los Angeles’ alternative and indie-pop scenes, Me The Machine adopted a moniker that reflects a duality: part emotional storyteller, part cold-wired automaton. That tension runs through the music — diverse vocals and atmospheric textures layered with synthetic beats and digital glitches.
Me The Machine’s sound inhabits the space between alt-pop, electronic and industrial-tinged art-rock.
“Not quite human, not quite a machine. Dive into the dark side of pop music… But be careful, you might get your heart ripped out by the sound.”
That tagline captures the aesthetic: emotionally charged yet mechanically disciplined. Tracks such as “Soul Eater”, “Miomantis (SCARS)”, and “Lightyears” that showcase collaborations with notable composer “Akira Yamaoka”, best known for his role as musical director for the iconic video game franchise “Silent Hill,” cement his commitment to cinematic and immersive production.
Me The Machine’s music merges underground electronic textures with pop sensibility and dark cinematic influences. Driving themes: identity, alienation, transformation, and the intersection of organic and artificial. His cinematic sensibility and his acting background converge: each song invites the listener into a liminal space, where vulnerability meets circuitry.
His self-released work built a DIY ethos in his early years, evolving toward more ambitious collaborations and production value.
Krooked Tongue has today released their new single titled ‘I Don’t Believe In Ghosts’, from their upcoming debut album ‘I Know A Place’, dropping April 24th, 2026 via Wipeout Music.
Taking that ever too touchy subject of death in this haunting and daunting song, Krooked Tongue face the fear of the unknown and all of the prerequisite assumptions and superstitions meant to scare and soothe us by fearing said unknown yet saying there is something after for our own self reassurance. But, do we really know? If you know, you know, but maybe let others find out for themselves.
And this is the strength of ‘I Don’t Believe In Ghosts’. Saying the quiet part out loud and doing so over music meant for the listener in all of us. This alone makes this quite a departure for Krooked Tongue, musically, and forces me to anticipate ‘I Know A Place’ even more. Completely out of left field, ‘I Don’t Believe In Ghosts’ shows us that some of the biggest messages come from the quietest of places.
About ‘I Know A Place’
Bristol’s rock trio Krooked Tongue return with ‘I Don’t Believe In Ghosts’ on December 5th 2025, the latest single to be taken from their debut studio album ‘I Know A Place’ which arrives on April 24th 2026 to limited edition vinyl.
The album’s previous singles saw support from Apple editorial’s ‘Breaking Hard Rock’ and ‘New In Rock’, New Noise Magazine, HEAVY Magazine, CLOUT, Fab UK, Bristol 24/7, Sirius XM, Total Rock, IDOBI, Primordial Radio and Boogaloo Radio, with ‘Nothing Ever Grows’ being used throughout the Bivol vs Beterbiev boxing fight on DAZN Sports and ‘Let ‘Em Loose’ being used to soundtrack Progress Wrestling’s live show at London’s Electric Ballroom.
Recorded and produced with long-time producer Josh Gallop (Sergeant Thunderhoof, Mother Vulture, Phoxjaw) at Stage 2 Studios in Bath, ‘I Don’t Believe In Ghosts’ is unlike anything Krooked Tongue have written before, displaying a fragility not seen in any of their previous works. Delicate, emotive piano keys wrap around Oli Rainsford’s uncharacteristically gentle vocals, lyrically exploring the process of grieving a loved one.
On the single, vocalist and lyricist Oli Rainsford explains, “‘I Don’t Believe in Ghosts’ holds the chalice of uncertainty with the tender grip of an exhausted hand. It’s a song that tries its best to pry open the syntax of death, to make sense of it, but knows there’s no way to categorise or organise our emotions when it comes to losing someone. The idea of ‘ghosts’ or ‘the paranormal’ is one we all know and by the most part reject. I don’t buy into any of that stuff, but ‘I Don’t Believe in Ghosts’ acts as a sort of proverbial notepad. A place to whisper your thoughts out into the open and feel as The song was originally written on piano, as it is on the record, a couple of years ago as part of my Masters dissertation. When it came to start planning our debut album, it just seemed too authentic a song for it to not be included in our first full body of work. It was important for us to keep it authentic.
It would’ve been easy to slap on a bunch of extra stuff, but the song’s strength, we agreed, is in its solemn tone. The artwork for the song was inspired by the visualisation of grief in the film ‘A Ghost Story’. Something about the crudeness of a classic bed sheet ghost adds to the childlike innocence in keeping with the lack of knowing, when it comes to death. I thought the way that movie embraced the silence and space was really captivating, and it had a clear influence in the writing and performing of the song. Death is a weird thing to write about, it’s something so familiar to everyone and yet so alien because it relies on personal experiences. One of the most beautiful things about music is that it often bridges that gap. We want to dedicate this song to everyone who has lost someone, and to everyone who has carried the torch as life hurtles onward. Time heals all. Don’t be a ghost. Stay human.”
About Krooked Tongue
Krooked Tongue burst onto the scene with the release of their critically acclaimed debut EP ‘No Vacancy Hotel’ in February of 2022, recorded with Josh Gallop (Phoxjaw, Mother Vulture) at Stage 2 Studios. The EP has since amassed over 250,000 streams and saw support from publications such as Ones To Watch, HardBeat Magazine and Distorted Sound.
Their second studio EP ‘Deathproof’, released May 2023, saw the start of the band’s evolution, there was a refreshed maturity to their songwriting and an evident progression in their sound. ‘Deathproof’ has been streamed over 350,000 times to date and was celebrated by Louder Than War Radio, Ones To Watch, Sirius XM, BBC Introducing and many others.
August 2024 saw their biggest support tour to date, supporting Kid Brunswick on his final ‘Dead Forever’ tour across the UK. They’ve also shared the stage with False Heads, Virgin Marys, Phoxjaw, Pulled Apart By Horses, The Soap Girls and Mother Vulture and have played slots at festivals such as Icebreaker, Dot to Dot, The Godney Gathering, Estonia’s Tallinn Music Week and Burn It Down. March 2026 sees the band head to the United States for the first time for New York City’s New Colossus Festival.
With interest in the band quickly growing, Krooked Tongue recently signed a publishing deal with Wipeout Music, and have also joined TRUST Artists’ live roster and hope to continue to cement themselves as an emerging band to watch in the UK.
Tracy Bonham has today released her new single titled ‘Un-F*k This F*kt Up Christmas’ via A Woody Hollow. You know it’s a good song when you learn something from the lyrics while you listen, and not merely hear the track.
Parody with purpose, commentary of calamity. This is sure to piss of those of use who live life on that narrow road dictated by judgement, false superiority, and the Dunning-Kruger effect. For the rest of us, this is a humorous pat on the shoulder letting us know that we are not the only ones who see. The ones who still realize that Christmas is a birthday for someone who promoted all inclusion and empathy.
Done with a snarky tongue-in-cheek style, Tracy reminds us that music is a timestamp for, um, the times we are in as well as the societal constraints that most of us misinterpret as “the norm”.
And, if you look at her catalog as a whole, Tracy is all about that. Tearing down the walls that separate us via pride and prejudice by putting it in our face with cynicism and snark, with a bit of humor to add sweet to the sour all wrapped up in monster hooks and memorable melody.
Check out our exclusive interview with Tracy Bonham HERE.
About ‘Un-F*k This F*kt Up Christmas’
As we get ready to shut the lid on the dumpster fire that defined 2025, celebrated alternative multi-genre’d artist Tracy Bonham is ready to pour accelerant on the flames with her festive holiday song “Un-Fk This Fkt Up Christmas.” The cheekily-titled holiday track serves as a single-finger salute to a politically crummy year. “This year I’m calling out the chaos, naming the nonsense, hopefully making people laugh along the way,” she says.
Released today, December 5, 2025, “Un-Fk This Fkt Up Christmas” is a festive jaunty song filled with holiday cheer. “It’s bound to be a f*kt up Christmas / Let’s hope it’s all a dream / A ruse or a hoax, a trick or a joke / Or one obnoxious meme,” she sings, smirking all the way.
While we discovered this year that the bottom of the barrel wasn’t, in fact, the bottom, it proved to be a banner year for Tracy’s creativity. Her album Sky Too Wide (which was released on June 6, 2025) was greeted with overwhelmingly universal and critical acclaim. American Songwriter characterized her “Beatles-melodic” songs as “impassioned messages of perseverance.” Hipster-leaning tome Bearded Gentlemen Music praised that “Sky Too Wide proves Tracy Bonham is an artist’s artist… The lyrics are catchy, the production is clear and rich, and the instrumentation is world-class.” Among other publications lavishing praise include People Magazine, New York Times, Brooklyn Vegan, Boston Herald, Village Voice, Aquarian Weekly, All Music, Riff Magazine, Jammerzine, Illinois Entertainer, Vanyaland, among many others.
Tracy’s smashing live shows this year included a NYC event hosted by close friend/comedian/actor Fred Armisen at the legendary Joe’s Pub and a very special performance in Oregon where her music was conceptualized by Eugene Ballet. “I am feeling more creative than ever,” Tracy beams, looking back at all she has accomplished. “The momentum from 2024 / 2025 propels me as I crave getting out in front of audiences more.”
Continuing to satiate that live performance need, Tracy has a handful of upcoming shows, including a special guest appearance at Joe’s Pub with BETTY (where she will perform “Un-Fk This Fkt Up Christmas” for the first time live), a unique show with strings in New York City at The Iridium, a special tribute to her close friend Jill Sobule for Jillith Fair at NYC’s City Winery and at The Fallser Club in Philadelphia, and two shows in Madison, WI for Joey’s Song, Freezing Man Concerts – a benefit with multiple artists for raising money and awareness for people with epilepsy. “Real life can be scary,” she explains. “The stage is my safe place. I feel like the stage is one of the most comfortable places I have to exist in this world, and it’s the safest place for me to share my voice.”
Tracy’s breakthrough debut album The Burdens of Being Upright (1996, Island Records) spawned the massive #1 alternative chart-topping single “Mother Mother.” A classically trained violinist and pianist, and twice GRAMMY® nominated, she spent the following 27 years evolving as an artist through her albums and live performances. That debut album catapulted her into the spotlight with MTV fame, major radio play, and more, continuing relevance until even recently, when “Mother Mother” was featured in Showtime’s Yellow Jackets (Season 1 Episode 2). In addition, she was one of the celebrated performers on Lilith Fair (which was recently chronicled on the 2025 documentary Lilith Fair: Building A Mystery – The Untold Story, currently streaming on Hulu).
As she looks forward to the New Year, she says, “2026 is going to be an exciting year for me as I celebrate the 30th anniversary of The Burdens of Being Upright. I have so much in store for this year including a new release in honor of the 30th along with a newly developed concept for a rock show with strings,” she hints.
Aside from unf*king Christmas, what are Tracy’s wants and hopes for Christmas and the New Year? “I don’t want anything for Christmas for myself,” she replies thoughtfully. “I want my 15-year-old son to feel good about himself. I also want kids to have better role models in higher positions. I don’t make New Year’s resolutions anymore. Anything I need to change needs to be implemented in a realistic way, not just one grand gesture or declaration. The way to real lasting change is micro steps.”
Tooth Gore is a surf punk solo artist hailing from the seaside town of Newquay, Cornwall. Their music is a combination of shiny, reverb heavy doo-wop music, (inspired by the music of the 1950s) as well as the unrefined punk energy of contemporary bands like FIDLAR, The Frights, PUP and Jeff Rosenstock, embracing the grungy fuzz of heavily distorted guitars.
Songwriter and frontman Kobi Joe aims to capture both the joy and terror that comes with youth, where every emotion feels apocalyptic, in his lyrics; channelling his uncertainties and anxieties into music that often feels on the brink of collapsing in on itself.
His introductory single to radio ‘Spoiled Milk’ surpassed all expectations and received a personal record amount of airplay across the globe, increasing Spotify streams by the thousands and overall visibility for the young artist! This was followed by ‘No Fighting In Doo Wop’, the first single from his debut album ‘For Losers, By Losers’, which was released June 6th. The track continued to elevate Tooth Gore’s rise with further international radio and exceptional reviews.
Previous singles ‘So?’, ‘Firebird’, ‘I Hate My Collarbones’ and ‘Uncomfortable’ showcased the versatility of the young singer-songwriter in comparison to his previous releases garnering further airplay, streams and positive reviews, and in the case of his most recent single ‘The Lighthouse’, generated a personal best in radio play with over a 2500 plays worldwide including the likes of Kerrang Radio, Total Rock, BSBTV, Radio X and BBC Introducing.
Tooth Gore has been promoting his debut album over the last few months across the UK, and with a series of shows across the country already under his belt, he will be performing even more shows throughout the remainder of 2025 in preparation for his first international run of shows, kicking off with a tour of the Philippines in January and then Japan in April.
Big Big Train have today released their new video and single titled ‘The Sharpest Blade’, from their upcoming album ‘Woodcut’, dropping February 6th via InsideOutMusic. Musically steeped in classic lore, ‘The Sharpest Blade’ melds timeless sound with modern tinge with beautifully crafted vocals, all combining to form a bridge from old school indie to new musical direction.
While this is clearly a modern indie track, the prog and classic music influences take new form and flight with poetic storied lyrics in such a way that it becomes as endearing as it does relevant.
While the video gives a film score quality to everything, it mostly defines the underlying meaning of ‘The Sharpest Blade’ and acts as a companion piece to add a punch to the prologue.
About Big Big Train & ‘Woodcut’
Woodcut is a landmark release for the group, whose line-up draws together members from England, Scotland, Italy, the USA, Sweden and Norway, in that it marks their first ever full-length conceptual piece – quite a statement given the musical depth and storytelling qualities of a band formed in Bournemouth way back in 1990. Woodcut is a continuous narrative exploring creativity, sacrifice and the thin line between inspiration and madness and featuring a character called The Artist.
Today they launch a second single from the album, titled “The Sharpest Blade,” a track that sees violinist Clare Lindley sharing lead vocals with the band’s frontman, and ‘Woodcut’ producer, Alberto Bravin.
Lindley, who also wrote the lyrics for ‘The Sharpest Blade’, explains: “Having gone for a walk in the woods and happened upon an amazing piece of heartwood, lit by a natural beam of sunlight, the Artist has taken it home. In the song ‘The Sharpest Blade’, he begins to carve the heartwood. Although he still has doubts and dark inner thoughts, he finds himself carving a wonderful scene. It’s so good that he feels it is perhaps not of his own hand…”
Woodcut feels like a Big Big Train record quite unlike any that came before—an assured union of music, storytelling and visual invention. The album is graced with a striking cover design from Dorset (England) based artist Robin Mackenzie – a black and white woodcut print, of course, derived from a woodcut which the band commissioned from him specifically for the album.
Available as a Limited CD + Blu-ray edition, including extensive liner notes as well as Dolby Atmos & 5.1 Surround Sound mixes by Shawn Dealey of Sweetwater Studios, the album will also be available as a stunning Gatefold 180g 2LP with special embossed cover, Standard CD Jewelcase & Digitally in both Stereo and Dolby Atmos versions.
Featuring 16 tracks across 66-minutes of runtime, Woodcut feels epic without outstaying its welcome. From the intimacy of ‘Inkwell Black’ to the grandeur of ‘Counting Stars’, Woodcut is a defiant analogue statement in a digital age—a handcrafted, deeply human exploration of art, faith and endurance.
‘Woodcut’ Tracklist
‘Woodcut’ cover.
Inkwell Black
The Artist
The Lie of the Land
The Sharpest Blade
Albion Press
Arcadia
Second Press
Warp and Weft
Chimaera
Dead Point
Light Without Heat
Dreams in Black and White
Cut and Run
Hawthorn White
Counting Stars
Last Stand
Additionally the band have just announced a UK/European headline tour for September/October 2026, including their biggest headline show to date at London’s O2 Shepherd’s Bush Empire. Find the full list of dates below:
The GRAMMY® Award-winning Gipsy Kings and their leader / founder Tonino Baliardo broke the mold with their self-titled album back in 1987. It was a time when the US and UK charts were almost completely devoid of non-English language songs, and especially music that was inspired and informed by the rich tapestry of world music from the preceding decades.
Subsequent albums such as Mosaïque and Este Mundo continued their success, leading to 25 million album sales, in excess of 2 billion streams and sold-out shows at prestigious concert halls across the world. Adorning their core flamenco sound with Latin influences, a pop accessibility and touches of reggae and jazz, their cultural impact resulted in them featuring on the soundtracks to Toy Story 3, The Big Lebowski and Entourage. They’ve also played to all manner of legendary figures, including Brigitte Bardot, Charlie Chaplin and Tony Curtis.
All these years later, the Gipsy Kings Featuring Tonino Baliardo family (featuring his sons Cosso and Mikeal) are still burning bright – as shown with their legendary Glastonbury 2024 set. Almost forty years since their breakthrough, their story continues – with music as electrifying and life-affirming as ever – with the news that they will release the new album HISTORIIA on May 15, 2026. They launch the album by sharing the lead single “Señorita.”
The U.S. tour has been announced for Spring 2026. Beginning March in California, the dates hug both West and East Coasts (dates below). Tickets go on sale Friday, December 5th at 10:00am Local Time.
Tonino Baliardo’s inimitable and instantly recognizable flamenco guitar sets the tone in celebratory mood as “Señorita” fires up. That classic Gipsy King sound is defined by a rich, passionate baritone lead vocal as well as rhythms both vigorous and sensual. It’s a song that evocatively transports you to the roots of the gipsy music tradition – a skill that the Gipsy Kings have always delivered quite unlike anyone else.
Tonino Baliardo says, “I am delighted that ‘Señorita’ is going to be the first single taken from our forthcoming album Historia. Music and dance are a fundamental part of Gipsy culture. As a child I spent many hours with Gipsy families and my own, playing our guitars, singing with the young girls dancing, and enjoying that special moment. It has been an idea for a few years to write a song with a strong rhythm and joyful chorus to capture those early wonderful memories of my youth. It fits perfectly into the Historia album as it reflects the many influences and ideas on the new record.”
While the boisterous exuberance of “Señorita” is equaled by other songs such as “El Campo” and “Big Bang,” Historia also pulsates with the eclecticism that is a hallmark of the Gipsy Kings’ experience. The title track translates that frenetic energy into a grandiose, theatrical explosion of sonic influences, yet “La Guerre” is a beautiful ballad that advocates for peace in the face of unnecessary wars. Tonino Baliardo’s guitar work is the highlight throughout the album, hitting a pop-leaning groove complemented by jazzy piano on “Sonador” or sourcing a beatific euphoria on the instrumental “Cielo” which was written in memory of Tonino’s brother Paco who recently passed away. Collectively it keeps the rich, passionate, virtuosic traditions of flamenco music and Catalan gipsy culture alive.
Tonino adds, “I have been recording albums with the Gipsy Kings for over 40 years, so with Historia, I wanted it to have an adventurous spirit. At the same time, Historia is about the story of the Gipsy Kings, and what happened when ‘Bamboléo’ and ‘Djobi, Djoba’ became global hits. We were ambitious. We knew we were good. But we never expected everything that happened.”
Historia is now available to pre-order / pre-save HERE. In addition to digital, vinyl and CD formats, the band’s official store offers an exclusive signed vinyl. Amazon also have an exclusive signed CD and vinyl editions.
Gipsy Kings featuring Tonino Baliardo will end 2025 by playing a New Year’s Eve show in Sharm El-Sheikh, Egypt. Further plans for 2026 include a North American headline tour, and the premiere of an eagerly anticipated documentary on the band which will be released on Amazon Prime.
Wintur has today dropped his new single titled ‘turn a page’. The depth of the music starts from the heart and collides with the soul. This is a song that captivates from the start with a rich chord progression and the vocals entrenched in the hook with a story to tell and a song to sing.
Sadness with purpose. I have to admit, this is a song that is hard to write anything about. It’s simply there to behold and definitely takes more than a first listen to capture it all and take it in. Loneliness now has an anthem. That lonely painting in the gallery yearning for attention but never screaming out to be seen. Isn’t that all of us at some points in our lives?
About ‘turn a page’
Wintur’s latest single ruminates on a desperate need not to write “one more sad song” about a toxic ex who keeps showing up. “‘turn a page’ is a song about that moment when someone you loved walks back into your life like a familiar stranger, and you almost believe they have changed,” Wintur explains. “Until they remind you why you left in the first place.” The song calls forth the haunting realization of this person only showing back up because they are “sad and lonely.”
Wintur sings, “feeling stupid, my friends are angry that for a moment I believed that you were changing.” Wintur gracefully discusses “second goodbyes” and the prickling desire to turn the page towards a brighter future. As the song comes to a close, Wintur sings with soft-hearted resilience, “I can’t write one more sad song about you.” The track pairs harmoniously with the previous single, “writer’s block,” as Wintur captures a delicately curated exhaustion with ethereal piano notes and gentle, swelling guitar strums.
Combined with additional faded horns and audible sighs, Wintur scratches palpable relational fatigue into his notebook pages, something elegantly orchestrated through light instrumentation and his own diary-like warbles.
About Wintur
Wintur, one of indie’s artists-to-watch, began his journey at a young age by filling notebooks with love songs, each page a testament to his search for connection. His music carries an atmospheric ambiance, drawing on the emphatic sensibilities of artists like Billie Eilish, Role Model, Conan Gray, and Sombr, while cultivating its own sonic force that will shake up the music industry.
The Los Angeles-based artist developed an early passion for production and songwriting, studying at Berklee College of Music, where he refined his technical skills while experimenting with intimate, acoustic writing and celestial soundscapes. Wintur’s previous four singles reveal his understanding of love not as something perfect and quintessentially romantic, but as a tangled nexus that leaves emotional scar tissue.
His relatable and honest songwriting style has already amassed an avid fanbase on TikTok and Instagram and garnered praise from Earmilk, Live Nation’s Ones to Watch, Spindle Magazine, Dead Good Music, and more.
Contre-La-Montre marks Chaton Laveur’s return with a hypnotic first single from their second album, Labyrinthe. The Liège-based duo delivers a bold composition where motorik bass and mechanical drums collide with obsessive, repetitive guitars, creating a palpable tension that evokes the relentless passage of time.
Following in the footsteps of Beak>, SUUNS, and Broadcast, Chaton Laveur bridges German Krautrock and contemporary indie pop in a unique way. Captivating keyboard and vocal melodies float above an unforgiving rhythm section, transforming the anxiety of passing time into an immersive and cathartic sonic experience.
Recorded at Studio Claudio in Paris with Vincent Hivert (En Attendant Ana), this track captures the essence of a duo that refuses conventions: minimalist yet rich, repetitive yet captivating, urgent yet meditative. An invitation to accept the passage of time and focus on what truly matters: living it together.
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