GLVS has today released her debut EP titled ‘Belonging’. Alt-pop is a broad term, and I won’t use that to describe what I am listening to at this moment, even though I just did by simply saying that. But GLVS is that ‘wild’ sound, to me. That blend of pop, as an alternative form of music, is an underground sound. Something just out of reach and original, yet accessible to all and welcoming in its own way.
A smooth electronic overall sound, but not in an overwhelming way. Just enough to complement the hooks. Not really a set of dance tracks, because the melodies and music stay firmly in the realm of pop. And, while the music is as original as it is open, it is always designed around GLVS’ vocal style. Sometimes to highlight, and sometimes to foil, but always to entice and cause interest. That, to me, makes this a songwriter’s album. Staying in the lane while adventuring out just enough to tread new ground.
About GLVVS & ‘Belonging’
In a world that often demands hardness, GLVES chooses colour, softness, and truth. Her debut EP ‘Belonging’, out Friday, October 10, is a four-track journey through post-traumatic growth, transforming pain into possibility and scars into blossoms. Each song is carved from lived experience, unearthing stories of identity, ancestry, and healing, and binding them together in an alt-pop landscape that is as textured and visceral as it is empowering.
GLVES, a proud First Nations artist, crafts alt-pop that fuses electronic intensity with intimate storytelling. Her performances have lit up stages from Splendour in the Grass and Dark Mofo to Yabun, Blak Day Out and BIGSOUND 2025, each show a multi-sensory experience that pushes beyond music into something immersive and unforgettable.
Over the course of 2025, GLVES has revealed three of the EP’s tracks: ‘Echo’, a ghostly piece of ambient electronica exploring family bonds and memory; ‘Time’, a lush and luminous alt-pop release shimmering with afrobeat-inspired rhythms and glowing synths; and ‘Honesty’, a drum-and-bass anthem that bursts from stripped-back intimacy into frantic energy.
Now, with the final piece revealed, ‘Lost’, written and produced with ARIA Award–winner Rob Amoruso, she delivers the EP’s most haunting statement. Born in the aftermath of the Voice referendum, it opens in fragile intimacy before erupting into raw, dramatic surges, its spectral shifts between stillness and storm mirroring the ache of rejection at its core.
For GLVES, producing ‘Belonging’ was an act of healing. “For a long time, I rejected flowers, I rejected softness. I thought it was a weakness that I had to lean into masculinity to be taken seriously. But flowers have always been part of my lineage… Through this EP, I’ve come to see that softness is its own strength, and that to bloom, even when you’ve known darkness, is a kind of power.”
Extending beyond the EP itself, ‘Belonging’ will be reimagined through a remix pack featuring First Nations artists AROHA, Moss, and Hylander. Each brings their own distinctive imprint, expanding the project into new spaces while staying true to its spirit of reclamation and resilience. Together, these reinterpretations highlight the strength of community and the power of collaboration.
A natural-born entertainer with elite singing, dancing, and acting skills, R&B phenom JayDon has it all. The 18-year-old artist begins a new chapter in his already illustrious career with Me My Songs & I, his debut EP, arriving this Friday, 10/10. Coming off a string of buzzing singles, Me My Songs & I is a showcase for the 18-year-old triple threat’s emotive tenor and exquisite control, arranging his boundless talent into 10 gems that blend R&B’s past and future into something new and exciting.
The new EP features the viral single “Lullaby,” a collaboration with rapper Paradise, which JayDon recently performed on The Jennifer Hudson Show. Other standout singles that find a home on the new EP include the USHER-sampling “I’ll Be Good,” which earned praise from Billboard, BET, Rated R&B, and more, and inspired a choreography-heavy music video (1.7 million views), and the skittering, Jersey club-inspired “Boujee Baby.”
These singles are joined by new highlights, including the guitar-flecked “Until I Deserve You,” and the luscious, nakedly vulnerable ballad “Jealous Of The Moon.” Songs like “Don’t Hate Me Now” confront the guilt and bittersweet reality of leaving a relationship that no longer feels right, while “Brand New” wrestles with the intoxicating push-and-pull of toxic love and the yearning for a fresh start.
About JayDon
Signed to Usher & L.A. Reid’s mega/gamma. venture, the rising prodigy first made waves last fall with “Ah! Ah!” ft. 310babii, and has since kept the momentum going with the romantic ballad “Lullaby” ft. Paradise and the USHER-sampling “I’ll Be Good.” “Lullaby” especially resonated in Asia, soaring to #1 on South Korea’s Spotify Viral 50 (where it remained for weeks). Meanwhile, “I’ll Be Good” earned praise from Billboard, BET, and Rated R&B and inspired a choreography-driven video with over 1.3 million views.
JayDon has also showcased his versatility on “Boujee Baby” ft. NY rapper Zeddy Will blending influences from juke and Jersey club. The buzz has translated into major support, including features in MTV, ABC News, and TMRW Mag, as well as a Billboard interview that crowned him R&B Rookie of the Month in June 2025. With more new music on the way, JayDon is primed for greatness as he approaches his debut EP.
Parlor has today released their new video and single titled ‘Juvenile, from their upcoming album ‘Tears For Everything‘, dropping October 24th via Source Atone Records.
Harsh to the core and gritty to the bone, Parlor gives you the hard truth with harder music and makes it signature with a stirring and jarring account of the youth of today (and leaders of tomorrow) by not holding back while letting you in.
Music is the great truth teller, and, before we relive the days of censorship and governmental ostracism, we must open our ears to what this new round of music has to say.
‘Juvenile is a breathtaking soundscape of dirt and dirtiness overflowing with realizations and motivations in the guise of dark reality.
About ‘Tears For Everything’
‘Juvenile’ explores the struggles of a disoriented youth, oscillating between uncertainty, anger, and the search for meaning. The song highlights the importance of overcoming the mistakes and doubts of a troubled childhood to aspire to a better future, while capturing the complexity of teenage emotions.
The music video was shot at Studio 89 in France and was directed by Guillaume Quincy.
Parlor’s album ‘Tears For Everything’ unfolds the tale of a character trapped by his conditioning from birth. At the end of a youth drowned in hyper connection, he loses himself in a vain struggle to carve out his own path, frozen in the face of his failures, exhausted by his corporate enlistment and his mental burden.
Faced with this dead end, suffering finds its natural outlet: the quest for self-satisfaction, the use of psychotropic drugs, before the final fall into a mental black hole where alcohol and madness become his ultimate companions.
Make Out Monday has today released their new track titled ‘Back to the Feeling’. Produced by Zack Odom and Kenneth Mount, and mastered by Ted Jensen, the single captures the euphoric rush of revisiting a moment you can’t return to — hopeful, emotional, and soaked in neon nostalgia.
“It’s about trying to return to a time, place, or feeling you can’t get back to,” says vocalist Zack Shada. “We wanted it to sound hopeful even in its melancholy, like rewinding the tape of your life.”
The band will perform “Back to the Feeling” live on October 25th at the Back to the Future 40th Anniversary Celebration at the original Twin Pines Mall location — complete with a DeLorean and a new video homage to the iconic film.
With over 20 million lifetime streams, #1 placements on KROQ Locals Only, and a growing global following, Make Out Monday continues to blend pop punk passion with cinematic flair.
About Make Out Monday
Hailing from Los Angeles, Make Out Monday blends pop punk’s raw emotion with the shimmer of 80s alt-pop. With over 20 million streams and a loyal international following, the band has performed across the U.S., Europe, Australia, and the Philippines — sharing stages with Run-D.M.C. and New Politics, and topping KROQ’s Locals Only chart with their single Twixter. Fronted by actor and vocalist Zack Shada (Lost, Adventure Time), alongside Seth Renken (drums) and Ezra Behrens (guitar), with Nathan Bramsway on bass, the trio continues to expand their sound while staying true to their roots.
With ‘Back to the Feeling’, Make Out Monday reminds us that while we can’t relive the past, we can always bring its energy into the present.
Ways of Seeing have today released their new video and single titled ‘Last Wave’ from their upcoming sophomore album ‘The Inheritance of Fear’, dropping this Friday via Joyful Hour Records.
New music that stays with you and feels like that old friend coming for a welcome visit is something you rarely say or feel nowadays, but, here it is. That song that conveys a feeling, or feeling that conveys a song. Whichever it is, this is one of those rare instances where the music dictates the mood.
As the album titled says, this is a collection of tracks that gives you what you already have but didn’t even know it. It gives you the reason and ways you hide and influence those frightening feelings and inherited anxieties that we know all so well and forget their origins.
‘Last Wave’ is a wall of sound with a door that leads to that spark of creativity we’ve been looking for but have feared lost.
About Ways Of Seeing & ‘The Inheritance of Fear’
Drawing from a rich array of influences–literature, lived experience and the inherent traits carried through one’s lineage– rooted in explorations of fear, James O’Donnell’s excellent second album as Ways of Seeing, The Inheritance of Fear, is an astute meditation on the reverberations of trauma, loss and anxiety. It confronts the psychological weight of inherited anxieties and how we choose to either overcome or bury past traumas. Combining personal experience and storytelling with extensive engagement with critical and academic dissections on this universal topic, O’Donnell considers the lives of those who have influenced the people we are today.
The album is led by the new single ‘Last Wave’, the band explains:
“‘Last Wave’ is about the things we inherit but never asked for—the fear, the darkness, the faults and the complicated legacies of the past. I was especially taken by Doireann Ní Ghríofa’s poem ‘An Experiment to Engineer an Inheritance of Fear’, which reflects on the Irish Famine and its lingering wounds that still remain today.
The song examines our Irish identity; a colonial past and Catholic upbringing – how there are parts of our history so intertwined in our culture that to leave it behind completely would almost seem like a betrayal. That perhaps to live with the darkness is to live more fully, and that without it, we are left with something devoid of meaning… somehow. In the song I’m examining my makeup – what I can let go of and what must I hold dear? Writing it was my way of acknowledging those existential burdens, while also searching for release and healing.”
Ways of Seeing came into being after an unexpected eighteen-month period during which O’Donnell amassed a vast collection of songs developed in his home studio. Before that, having previously been a member of Hush War Cry and Dublin-based outfit Dear Desert, O’Donnell considered taking time away from making music. “Before End Comes to Light, I put music on the back burner and didn’t know if I would go back to it, to be honest,” reveals O’Donnell. “Then, once the pandemic hit, I suddenly had a lot of voice notes and time. Being a songwriter, you are constantly gathering ideas on your phone.”
Eventually, O’Donnell brought a collection of these songs to producer Christian Best to put the finishing touches on Ways of Seeing’s 2022 debut LP, End Comes to Light. Coming off the back of this immensely fruitful creative process, the Cork-based, Kerry-born songwriter and multi-instrumentalist left little time to let the dust settle and quickly set his sights on album number two. It became evident to O’Donnell, enjoying performing live with a band again for Ways of Seeing shows, that he had more to say in his songs and was eager to expand an already impressive catalogue of infectious alternative rock-focused arrangements, bolstered by hints of shoegaze, post-punk and indie rock, by infusing fresh textures and temperaments within the work.
Experimenting with interfaces, plug-ins and virtual amps, The Inheritance of Fear demonstrates a development in O’Donnell’s musical expression as the songs soar with an abundance of captivating guitar motifs against an array of crunchy percussion, sparkling synth embellishments and slinky bass riffs, which culminate in a simultaneously dexterous and cohesive body of work. An accomplished, multi-faceted artistic statement, this latest release announces Ways of Seeing as a vital voice amongst Ireland’s ever-flourishing music scene. What sets Ways of Seeing apart from their peers is a captivating blend of contemporary textures fused with emotive narratives influenced by the work of Philip Larkin on the luminous ‘Cruel, Naturally’, Samuel Beckett on the introspective ‘Godot’ while the visceral imagery synonymous with the work of Francis Bacon heightened O’Donnell’s examination of the fear of death on the psych-drenched brooding opener, ‘Premonition.’
Lyrically, O’Donnell found inspiration from several texts and writers whilst immersed in untangling the various threads of the album tied together by experiences and emotions impacted by intergenerational trauma. O’Donnell says, “Around the time I was starting to write the album, I finished Karl Ove Knausgaard’s autobiographical series My Struggle and was reading The Body Keeps The Score by Bessel Van Der Kolk. I was also listening to a lot of psychology material from Gabor Maté. There’s a Doireann Ní Ghríofa poem called ‘An Experiment to Engineer an Inheritance of Fear’ It’s about how, going back to the Famine, the scent of rotten potatoes has the capabilities to induce fear in us to this day. From spending so much time exploring fear and trauma through those brilliant texts, I thought it would be an interesting concept to thematically shape the album. Some of the songs are explicitly about that, while others hint at it or are linked to me and my own history.”
The period of writing and recording The Inheritance of Fear was punctuated with several devastating blows during which O’Donnell struggled with an illness that impacted his vocals and was coming to terms with the death of close friend and former Hush Cry War bandmate, Eoin French of Talos. In processing his grief and to celebrate his friend, O’Donnell revisited the outline of a song which became the beautiful instrumental, ‘Solat’. “I was writing that instrumental maybe two or three years ago, and I felt that it was something that Frenchy would write,” O’Donnell reflects. “When I was struggling with my vocals, I heard that he was sick, and that prompted me to revisit the track. I wanted to finish that instrumental because, as well as being a nice piece of music, it allows you to catch your breath in the middle of the album. It was important, also, to have something on the album for him, and I wanted to dedicate that moment to Eoin because he was a big influence on my songwriting and we learned how to write songs together when we were younger.”
‘The Inheritance of Fear’ Tracklist
‘The Inheritance of Fear’ cover.
Premonition
Cruel, Naturally
USA 94
Fa Fa Fa
Don’t Feel Right
Solat
Dig Me A Hole
He Who Waits
Idolise
Ancient History
Godot
Last Wave
As his illness cleared and his vocals were restored, O’Donnell collaborated with revered musician and producer Daniel Fox (Gilla Band, Sprints, Silverbacks, Lambrini Girls), who mixed these vibrant and dynamic guitar-steered arrangements. Having admired Fox’s work for many years, O’Donnell describes the opportunity to work with the in-demand producer to mix these masterful songs as the “silver lining” to this ground-breaking creative experience. The instrumentation effectively conjures a darker atmosphere compared to Ways of Seeing’s 2022 debut, End Comes to Light, inspired by a shift in O’Donnell’s listening habits. He found himself spending more time getting lost in the expansive sonic worlds of Deafheaven and Protomartyr, Whipping Boy, My Bloody Valentine and Microdisney. He had also been rediscovering beloved Irish albums via Paul McDermott’s revered podcast, To Here Knows When. Elsewhere, glimpses of The Cure, New Order, and Tame Impala can be felt in the masterful production, layered vocals and bright central guitar licks.
The influence of heavier music was hugely informative in driving both the sound and O’Donnell’s desire to work with Fox: “That was part of the reason I wanted to work with Daniel Fox. He’s worked with a lot of heavier rock bands like Sprints and guitar-focused bands like Silverbacks, which was something I wanted to explore more. There’s always an interplay between the heavy and the intimate, in a way. I was curious to push parts of the album sonically to elevate and expand the compositions even further than before. I wanted to make the songs really big-sounding and fun to play live.”
The pronounced depth in Ways of Seeing’s latest music and lyrical expression invites audiences to step inside these layered worlds to fully engage with this impactful and thought-provoking work, which rewards multiple listens. The Inheritance of Fear marks an exciting moment and maturation in O’Donnell’s idiosyncratic songwriting and ease in expanding Ways of Seeing’s musical sensibility with this vital and enriching exploration into how the past can shape our present, but doesn’t define what lies ahead.
Ways of Seeing have carved a reputation for atmosphere-driven, emotionally expansive songwriting, drawing comparisons to Slowdive, The National, Gilla Band and early Interpol. The band’s previous releases have seen widespread acclaim across national uk and Irish media, including Clash, NME Radio, Earmilk, Nialler9, GoldenPlec, The Thin Air, Hot Press, Notion and Backseat Mafia, as well as radio airplay on RTÉ 2fm (Dan Hegarty), Newstalk (Tom Dunne), and Raidió na Gaeltachta (An Taobh Tuathail) to name a few.
Live, Ways of Seeing have built a loyal following through sold-out headline shows at Whelan’s (Dublin), Mike the Pies (Kerry), and Coughlan’s (Cork), and support slots with Cork icons The Frank and Walters. The band features members who previously performed in Hush War Cry alongside Eoin French, now known as Talos.
“Away” by i is the sonic embodiment of frustration turned art, a gritty, guitar-driven burst of alt-rock energy that channels the urge to push back against constant noise, manipulation, and unwanted voices. Blending the raw edge of grunge with the emotional punch of modern alternative rock, i delivers a track that feels both timeless and current.
Fueled by sharp riffs, pounding drums, and vocals dripping with conviction, “Away” captures that universal moment where patience runs dry. The band takes that sentiment and amplifies it, not with anger, but with clever wit and power.
The new video gives the message a twist of humor, showing a male and female trading lyrical jabs while the band plays on, only to end up performing alone when everyone finally storms off. Filmed in a single, unbroken take, the video turns a relatable emotion into a brilliant piece of rock theater.
Whether you’ve had enough of the media’s endless noise or the people who just won’t quit talking, “Away” is your soundtrack to letting it all out, loud, unapologetic, and undeniably catchy.
About i
Formed in the early ’90s by Paul and Al, i is an LA-based rock band that has carved their own distinctive path in the music scene. After a hiatus, the band experienced a revitalization in 2016 when David joined forces with Paul to complete the group’s lineup, injecting new energy and creativity into their sound. The talented members of i include: Al Granados: A charismatic frontman whose vocals carry raw emotion and captivating storytelling. Paul Lerma: A skilled guitarist whose riffs and melodies intertwine seamlessly, adding depth and texture to the band’s music. Paul Reyes: A versatile bassist who lays down solid grooves, anchoring the songs with a powerful low end. David Contreras: A dynamic drummer who drives the band’s rhythm with precision and intensity, propelling their sound forward.
Drawing inspiration from a diverse range of artists such as Black Sabbath, Pink Floyd, and Marcel Duchamp, i has crafted a unique sonic identity that incorporates elements of grunge, a genre that dominated the ’90s music scene. Their music carries a nostalgic essence reminiscent of the raw and introspective sound that characterized the era, combined with their own artistic sensibilities and contemporary influences. i is known for their introspective and thought-provoking lyrics, exploring themes of personal struggle, introspection, and social commentary. Their songs resonate with authenticity, capturing the essence of the human experience and inviting listeners to connect on a deeper level.
Driven by their unwavering passion for music, I continues to write, record, and perform their original compositions, pushing boundaries and evolving their sound with each new creation. Their live performances are a testament to their dedication and musicianship, as they deliver powerful and engaging shows that leave audiences captivated and craving more. In a world where music is constantly evolving, I stands out as a band that pays homage to the ’90s grunge era while infusing their own unique artistry, forging a path that is distinctly their own. With their heartfelt lyrics, infectious melodies, and captivating performances, I has earned a devoted following and continues to leave a lasting impact on the rock music landscape.
Rusty Santos is announcing a new solo LP, ‘Psycho Horses’, due in early 2026, and shares the first single from it, “Helium Chasms.”
On “Helium Chasms,” an acoustic guitar and a shaker are all the support for Santos’s reverb-drenched vocals on this caustic song about separation. There are a few chords played on electric, as well as a synth bass buried in the mix, and at the very end, a single drum kit smash is repeated and fades out over a delay pedal. The effect is as if Lou Reed joined The Clientele, but the music feels more stripped-down than either of those acts. It’s personal, very big-sounding. This is heartbreaking music to listen to. Santos does not pull any punches.
Rusty Santos’s solo music belongs to a different timeline, one where music moved at its own speed, and artists stand out in contrast to their scenes. His music has often been challenging to listen to. On his new album, for the first time, as an artist, he eclipses his role as producer. Metaphysical lyrics and psych folk textures remain, yet the mood is darker. Here, he is no longer a stranger to the city of Los Angeles, and the work is a conversation with his musical heroes. It’s as art-world-saturated as The Velvet Underground. Like Arthur Russell, he’s in revolt, an outsider amongst the indie pop music of his own time; he sounds like the avant-garde Elliot Smith. Yet, he is all of their artistic cousin, with blood of the same lineage, but walking the alternative path, as these references are only signposts, and his music aims to sound like nobody else.
There are layers of acoustic guitar, backed by minimoog flourishes, drum kits recorded through effect pedals, fuzzy electric bass, and guitar. Still, his presentation of these elements marks a departure point. He performs in alternate tunings, utilizing frequencies that sound unfamiliar. This is an album that could have been recorded in any era, even with the audible influence of acoustic provocateurs like Nick Drake or Leonard Cohen; yet, the DNA is that of indie rock’s golden age. That it might seem familiar is because Santos has worked on seminal music by fellow trailblazers Animal Collective, Panda Bear, Weyes Blood, Black Dice, Dawn of Midi, Owen Pallett, Beach House, Dirty Projectors, DJ Rashad, Gang Gang Dance, and more.
Psycho Horses reveals poetry in the grotesque. These sad songs about isolation, trauma, and betrayal also explore themes of evolution, self-discovery, and ultimately, how ephemeral our time together in this place we call Earth actually is. This scenery may be macabre, but these words are sung by someone who feels cursed by the beauty of the world and is devastated by how determined we are to deny it. On side A, the music transitions from atmospheric to energetic, following a parabolic curve; on side B, the music becomes more precise, and the parabolic curve now descends. Santos’s existential song lyrics guide the listener on their ascent and descent into epistemological oblivion. It is a deceptively short ride, and although this music may be from a different timeline, it belongs to the here and now.
Santos gives more personal context for the album: “This album is my antidote to sleepwalking. I wrote the songs in my dreams and recorded them when I was awake. Now I see a fork in the road. It’s a tuning fork. I left home the day after I graduated from school and arrived at a commune in Washington. I joined a circus and my travels began, on foot across America, and by wing and rail around the world. Since then, I’ve worn many hats while making records and playing shows. Beyond the collective fields of our subconscious minds, I journey towards unity, to the source of all music, where every sound begins and ends in time.”
Thunderor has today released their new video and single titled ‘Cape Breton Home’. A blend of Celtic rock, melodic guitar, and global appeal, ‘Cape Breton Home’ draws inspiration and influence from these elements, melding them together in the great melting pot that is music.
Some people may find this a bit too unconventional. Take note, though, that this is a true exploration of music from a group of musicians in the know and poets in the scene. I love it when musicians experiment and aren’t afraid to take their influences and wear them all on their sleeves. It shows with ‘Cape Breton Home’. Anthemic, melodic, and original, Thunderor takes originality to the stage with unabashed fervor.
About ‘Cape Breton Home’
Canadian rock powerhouse Thunderor returns with a stirring new single and music video, “Cape Breton Home,” a Celtic Rock anthem that pays homage to the island roots of frontman JJ Tartaglia. Known for their electrifying blend of heavy metal, pop punk, and rock opera, the band takes a reflective turn with this release, weaving nostalgia and tradition into their signature sound.
“I wanted to write a song inspired by back home, maybe it’s the time passing by, I felt a bit nostalgic and needed something to reconnect me to the island. What better way than with music! And I think in return, Cape Breton also needs a song like this,” says Tartaglia.
The track features a guest performance by acclaimed fiddler Colin Grant, whose work with Rum Ragged earned a 2021 JUNO nomination for Traditional Roots Album of the Year. Grant’s authentic Cape Breton fiddle style adds a rich layer of heritage to the song, grounding it in the island’s musical legacy.
The accompanying video, filmed on location in Cape Breton, captures the rugged beauty and emotional resonance of the place that inspired the song.
“I had a great trip back to shoot the video. It was a full-circle moment,” Tartaglia adds.
Formed in 2020 by multi-JUNO-nominated musicians JJ Tartaglia and Jonny Nesta (Skull Fist), Thunderor has quickly carved out a global following. Their debut album “Fire It Up” topped Earshot’s National Loud Chart, and their theatrical rock opera “Thunderor the Musical” premiered at the Toronto Fringe Festival in 2025 to rave reviews.
With “Cape Breton Home,” Thunderor continues to evolve, proving that even the loudest bands have a quiet place in their hearts.
About Thunderor
Thunderor is a heavy rock/metal band formed in 2020 by Skull Fist band members JJ Tartaglia and Jonny Nesta, plus Brycen Gunn on bass. Together they deliver hook-driven anthems to the caliber that has come to be expected by a Canadian power trio.
Since 2019, drummer JJ Tartaglia had felt a calling, one which grew stronger each day. Being a member of several prominent metal bands over the last decade and having essentially served as a disciple of heavy metal for many years, the time had come to take his quest even further. A new course was being charted for his musical mission. He would share a vision, a feeling… a message he could deliver only with his own voice.
Fueled by his passion for adventure, JJ began to work on drum arrangements and piano pieces that would become the skeletons of the Thunderor songs.
In 2020, with the addition of long-time band mate Jonny Nesta on guitars, combined with JJ also composing on keys and vocals, song-writing began in full force and quickly yielded an album’s worth of material. Oscar Rangel was then called upon to do bass and the line-up was complete. Thunderous drums, lightning hot guitar licks, dreamy synths and piercing vocals would form the musical storm that is Thunderor.
Fall of 2021 would see the release of the 1st single HOW WE ROLL, immediately garnering a worldwide audience. The debut album FIRE IT UP was released February 25, 2022, which launched the band on tours throughout Canada, Europe, Mexico, and South America, touring with the likes of Airbourne, U.D.O., Enforcer, Night Demon and more.
If you’ve ever felt a longing for escape, a thirst for adventure, wrapped in romance and danger, allow Thunderor to be your soundtrack!
The Reticent. Led by Grammy-nominated music educator and multi-instrumentalist Chris Hathcock, “please” is a concept album that plunges listeners into the harrowing realities of mental illness, suicide, and survival. The album will be available on November 13th, 2025. The first single, “The Concealment (Those Who Don’t Want To Wake),” is accompanied by a haunting music video that captures the anguish of hiding one’s suffering in plain sight.
“The Concealment could be thought of as the thesis statement of the new album. It tries to capture what it is to attempt to carry on with your life while struggling with the crushing weight of mental illness. At work, with family, at school, wherever, we have to don masks and pretend we are ‘just fine’ when inside we may wish to go to sleep and never wake up again. 1 in 4 adults will have a mental health crisis this year, and there are 1.5 million suicide attempts per year in this country. It’s all around us, yet most will not talk about it, most will not get help, and most will suffer in silence. We are not alone, yet we feel intensely lonely because of that disconnection. For me, I have to pretend to be someone else every day as a teacher – confident, smart, strong – whilst inside I often wish fervently for oblivion to end my near constant pain. When the despair and the grief and the hopelessness come, the isolation and hollowness of all things can rob life of any color. For those who know what it is like to live with these disorders, it is indeed lonely here,” says Hathcock.
Featuring ten emotionally driven tracks, the album was written in just six months. Drums were recorded in a single day, all other instruments in two, but vocals took two weeks, leaving Hathcock with a laryngeal injury so severe he couldn’t speak for six weeks. During the filming of “The Concealment” video, Hathcock broke two toes, sprained three others, and tore his rotator cuff. He performed at ProgStorm Festival in Montreal, Canada, just six days later, concealing his injuries behind the band’s emotionally intense stagecraft. “please” is also The Reticent’s first album, engineered almost entirely by Hathcock at his Silent Muse Studio. Only the drums were tracked at The Basement Studios with longtime producer Jamie King (BTBAM, The Contortionist), who also took care of mixing and mastering for the record. This fifth studio album includes subtle nods to clinical psychologist Kay Redfield Jamison, with lyrical references to her books “Night Falls Fast” and “An Unquiet Mind,” and samples of her voice appearing in “Discharge.” Hailed as “prog’s most emotionally gut-wrenching” band, The Reticent began as Hathcock’s solo outlet for personal trauma. Over time, it evolved into a full-fledged progressive metal force, known for concept albums like “On The Eve Of A Goodbye” and “The Oubliette.” Joined by guitarist James Nelson (Nospūn) and bassist Paul McBride (Voraath), The Reticent delivers live performances that are more performance art than concert, intensely immersive and emotionally devastating.
Scarlet Tantrum crashes into the indie rock scene with “Covered in Red,” a raw and relentless new single that blends modern rock intensity with an alt-rock edge. With hypnotic riffs, soaring vocals, and lyrics that dive into obsession, desire, and protection at any cost, the track pulses with energy that fans of Muse, Arctic Monkeys, and Nothing But Thieves will instantly connect with.
Covered in Red captures the moment where passion blurs into danger, balancing vulnerability and aggression in a way only Scarlet Tantrum can deliver. The lyrics carve into themes of loyalty, love, and chaos, promising listeners an unforgettable experience. This isn’t just another indie rock release; it’s a fully immersive ride through the stormy depths of modern emotion, set against a backdrop of crushing guitars and cinematic hooks.
For fans craving music that’s as addictive as it is unrestrained, Scarlet Tantrum delivers a track that demands to be played loud and on repeat.
About Scarlet Tantrum
Scarlet Tantrum is an emerging artist from rural Carthage, North Carolina, and a standout in the local live music scene. The name is a persona crafted by Laura—Scarlet for her natural red hair and bold presence, and Tantrum to reflect the emotional intensity that defines her music. Fusing modern pop with the raw edge of ‘90s and 2000s alt-rock, Scarlet’s sound is shaped by influences like Hayley Williams, Lady Gaga, Miley Cyrus, and Halsey. Her songs feature gritty guitar riffs, catchy melodies, and fearless lyrics that deliver bold, emotional truths. Music has always been Scarlet’s emotional outlet. Though she didn’t grow up in a musical household, her passion for singing led to early vocal lessons. At 13, she taught herself to play the ukulele and soon began writing songs—giving her a voice when she needed one most. A guitar gifted on her 16th birthday deepened her connection to songwriting, transforming it into a way of life.
For years, she kept her talent private, dreaming of the stage but battling self-doubt. Eventually, her desire to perform outweighed the fear. She stepped into the spotlight and began playing at local venues, gaining confidence and a growing fan base with every show. Today, Scarlet Tantrum is a confident, magnetic performer. She’s played across North Carolina and at renowned venues like Nashville’s Opry Mills and The Electric Jane, and has opened for country artist Kim Richey. With a growing online following and music that resonates deeply, Scarlet continues to be unapologetically herself—sharing the same healing power through her songs that she once found in the music she loved.
In a major show milestone, Overstand brought their explosive live energy to Arizona’s legendary Marquee Theatre earlier this summer, supporting hardcore icons Suicidal Tendencies. It was a fitting match for a band that’s spent the past few years building a reputation for unrelenting, classic hardcore fury with a modern edge.
Born during the stillness of the pandemic lockdown, Overstand formed in 2020 when longtime collaborators and veterans of the hardcore scene came together with purpose and urgency. In isolation, they wrote 23 songs, seven of which became their 2022 debut EP — released self-titled in the U.S. and as 24 Hour Catastrophe in Europe via Conviction Records. That record lit the match, and now Take Control is the explosion: ten tracks of pure, unrelenting, no-bullshit hardcore.
With former members of Warzone, Roger Miret and The Disasters, Vision, District 9, Casket Life, and North Side Kings in the ranks, Overstand has quickly become a name to watch, both in the States and abroad. They’ve torn up stages alongside Sheer Terror, Ignite, The Dwarves, Death by Stereo, Manic Hispanic, Kill Your Idols, and more, as well as holding their own at festivals like Within These Walls.
The full-length’s cover art is a collaboration between Mick Lambrou and Steven Huie — two highly respected names in the world of punk and hardcore visual culture. Lambrou, based in Australia, is known for his iconic designs for Murphy’s Law, Slapshot, Shutdown, Agnostic Front, Madball, and many more. Huie, owner of Flyrite Tattoo, is behind legendary artwork for bands like Madball, Crown Of Thornz, and Sick Of It All, adding even more legacy and impact to Take Control’s visual identity.
Bassist Roy Valencia also holds down low-end duties for The Outlaw Vinnie Stigma, a powerhouse lineup featuring Vinnie Stigma (Agnostic Front), Chip Hanna (U.S. Bombs), and Jesse Wagner (The Aggrolites) — along with members of Gogol Bordello, including Eugene Hütz, Sergey Ryabtsev, and Leo Mintek. Roy recently wrapped a high-energy East Coast run with the band, delivering the same fierce intensity onstage that defines his work with Overstand.
Overstand isn’t interested in nostalgia or posturing — they’re here to Take Control, and their new material makes that abundantly clear. Brutal, focused, and burning with intent, this is hardcore done right.
Adult Leisure has today released their new album titled ‘The Things You Don’t Know Yet’. Adult Leisure is a guilty pleasure for me. That bodacious sound that harkens back to the days when the world was simpler and brighter, but also because it’s just good f*cking music. The hooks are massive and the melodies are memorable. ‘The Things You Don’t Know Yet’ is that near-perfect blend of functionality meets funk.
‘The Things You Don’t Know Yet’ is an audio adventure for the mind, heart, and soul. This is a spectacular album. Harking back to memories of the summer and the mall while enjoying something new, recorded this year. I say that because, as much music as comes out today, some of it tends to be white noise. This is a solid set of songs meant for the masses and built for the stage.
About ‘The Things You Don’t Know Yet’
‘The Things You Don’t Know Yet’ has already amassed over 300,000 streams and sees multiple collaborations with longtime The 1975 / Sam Fender collaborator John Waugh. The album’s previous singles ‘The Rules’, ‘Dancing Don’t Feel Right’, ‘Kiss Me Like You Miss Her’, ‘See Her’ and ‘Borderline’ have seen support from BBC Radio 6’s Indie Forever show, The Line Of Best Fit, Pop Journal, Fresh on the Net and multiple Spotify editorial playlists with ‘Borderline’ being used to open an E4 Made In Chelsea episode, their first national TV sync placement.
Their debut, 10-track studio album was recorded and mixed with long-term producer Ollie Searle at Humm Studios and mastered by the acclaimed John Webber (David Bowie, Duran Duran, Coach Party). ‘The Things You Don’t Know Yet’ is a collection of songs about people, love, loss, and the feelings and experiences we carry through life. Each track is instantly memorable, delivering dancefloor energy, warm harmonies, vibrant synths, driving basslines, lush guitars, crisp arrangements, and heart-on-sleeve lyrics. The result is 10 songs that walk the edge of contradiction, it’s ‘happy music for sad people’.
On the creation of the album, drummer Nathan Searle says, “‘The Things You Don’t Know Yet’ is our way of saying ‘this is who we are’. We’ve lived through different moments, felt the same weight. We each have our own voice, but this album speaks as one. It’s not just a collection of ideas; It’s a reflection of where we’ve been as friends, as musicians, and as people trying to make sense of things. It’s about the stuff we carry, the things we hide, and the moments we hold onto. Writing these songs helped us feel more connected to each other. Now we hope they do the same for you. We hope you find something here that feels like it was meant just for you. They were ours for a long time. Now they’re yours.”
Ahead of the album comes its final single, ‘Boy Grows Old’, out on September 5th 2025, their second collaboration with The 1975 / Sam Fender Saxophonist John Waugh.
Discussing the single, guitarist David Woolford explains: “Our music often carries a sense of nostalgia, usually viewed through the lens of rose-tinted glasses. While some of our songs romanticize the past, ‘Boy Grows Old’ doesn’t. The lyrics reflect our genuine experiences of youth and the difficulties that accompany growing older. Young people often face immense pressure, and this can be from their families. As we mature, we come to realize that our parents and guardians are not infallible; they are human, too. They make mistakes, can sometimes be unkind, and are also finding their own way. This song is a snapshot of childhood, with the luxury of hindsight. It’s a heartfelt message to our younger selves, recognizing we can’t change the past, but we can reflect on it and learn from our experiences.”
With standout performances across the UK, the Netherlands, Paris, Sweden, and Norway, Adult Leisure has earned a reputation for their memorable, leave it all on the stage live show, and their debut album tour is going to be no different. The 12-date headline album tour commences at London’s Sebright Arms on October 9th, ending at Liverpool’s Kazimier Stockroom on November 8th, including renowned venues along the way such as Manchester’s Night & Day Cafe, and Bristol’s Thekla, their biggest hometown headline to date. Tickets are on sale now and available HERE.
About Adult Leisure
Formed in 2020, the band released a string of celebrated singles before unveiling their debut critically acclaimed EP ‘The Weekend Ritual’ in December of 2022, streamed over 90,000 times to date and championed by BBC Radio 1, Variance Magazine, The Independent, RTE and more, which soon saw the band embarking on multiple tours of the UK, earning a handful of rave live reviews along the way.
Their second studio EP ‘Present State of Joy and Grief’ was released in November of 2023, supported by BBC Radio 1, Wonderland Magazine, and picked by producer Jake Gosling (Ed Sheeran, Lady Gaga, One Direction, Paloma Faith) to be played in Hotel Chocolat stores worldwide.
Since their sold out debut show in July of 2022, Adult Leisure have gone on to tour the UK four times and have supported the likes of The Family Rain, Afflecks Palace, The Twang, Human Interest and The Luka State, and have played a variety of UK and EU festivals.
Jammerzine has an exclusive interview with David Judson Clemmons. As diverse and earnest as David is as a musician, today is an ultra-special day for David’s musical career with the special edition vinyl releases (details below) of David’s solo album ‘Everything A War‘, as well as the band that put David on the musical map, Damn The Machine, with their vinyl releases of their eponymous debut album as well as ‘The Last Man‘.
Many of you remember Damn the Machine from their original glory days back in the early 1990s. Featuring Clemmons, Chris Poland (Megadeth), Mark Poland, and David Randi, Damn the Machine paved the way for many prog rock and post-grunge bands that followed throughout the subsequent decades.
David’s career since then has been a varied tale of highs and lows, but what really got me in this interview above was how David kept his sanity and soul throughout a life in and out of an industry not known for its sympathy.
In this interview, we talk with David about the beginnings of Damn The Machine, as well as his life from then to now, with the good, the bad, and the ugly serving as lessons learned, life loved, and the music that has been conceived as a result.. This is something every budding musician should see.
About David Judson Clemmons
Coming out October 3, the collection of releases would serve the best possible representation of the creativity of David Judson Clemmons. From metal and prog to blues and singer-songwriter material and beyond, shaping the career of the now-Berlin-based artist.
About ‘Everything A War’
‘Everything A War’ is a profound reflection of David’s personal and artistic journey. “I can honestly say Everything A War captures my lifetime of experience… provoking thought while trying to and still hope and inspiration in the mind of the listener,” shares David. With a silver vinyl edition featuring two inserts, David emphasizes the importance of connection: “I care the most about how people react to my songs, and how it may push them in a positive direction.” With the support of talented musicians and friends, the album was crafted with love and intention. David reflects, “I like to hide behind my songs, and let them work their magic.” As the last notes faded, listeners were left with a sense of hope, inspired by the journey encapsulated in this beautifully crafted collector’s edition.
About Damn The Machine
More than three decades after its original release, Damn The Machine’s groundbreaking debut album returns. For the very first time on vinyl. “Only a few years after I had moved from Virginia to Los Angeles, one thing led to another, and I was in the rehearsal room with Chris Poland, Dave Randi, and Mark Poland. From the first moment this connection of minds was nothing short of an explosion of creativity,” recalls Clemmons. The group’s genre-defying sound puzzled many, sparking conversations about their style. “Chris and I often wondered if we were venturing too far, if we should simplify our writing as we were flying over everyone’s heads,” he admits. Yet, their shared vision was clear: “Let’s make an album that will stand the test of time”.
‘The Last Man’ is described by David as “like a time capsule,” featuring previously unreleased tracks that capture the evolution of Damn The Machine. While reflecting, David stresses: “These tracks were written in our first months of rehearsals, and they carry a spark that was hard to hold on to over time.” Available in Black and Clear vinyl, this album invites fans to experience the raw energy of Damn The Machine’s formative years.
Nottingham alt-rock trio Content Provider, comprised of Tim Brudenell (vocals, guitar), Erfan Ghafouri (bass), and Michael Brown (drums), make their powerful return with ‘Moon’s Gravity’, their loudest and most ambitious track to date.
Blending funk-fuelled basslines, jagged post-punk guitar, pounding drums, and abstract lyricism, Content Provider has carved a reputation for defying genre boundaries both live and in the studio. ‘Moon’s Gravity’ pushes this ethos to new extremes.
Opening with eerie, atmospheric guitars and airy vocals, the track lures the listener into a false sense of calm before erupting into a cataclysmic crescendo. Thrashing guitars, distorted bass, and thunderous drums collide in a soundscape that balances prog-inspired expansiveness with raw alternative rock grit. Lyrically, the song weaves metaphors of space exploration and plane crashes into a haunting meditation on dread and inevitability.
With an ever-growing reputation across Nottingham’s underground scene, Content Provider has built a loyal following for their unpredictable live shows, where songs twist and transform in real time. ‘Moon’s Gravity’ captures that same energy on record; a sonic journey that feels as volatile and electrifying as their performances, and a clear statement of intent for what’s to come on their new album.
‘Moon’s Gravity’ follows last year’s record ‘Exposure Complete’ and offers a thrilling glimpse into what’s ahead. With its brooding intensity, shifting dynamics, and genre-melding energy, the track reaffirms Content Provider as one of the UK’s most exciting underground bands.
Q&A
What are some bands you like that mix genres and sounds in a way that you try to?
A particular reference for me is an album by Super Furry Animals called Guerilla. It was quite formative in my early teens, but I didn’t realize how out there it was until I revisited it much later.
Are you more inspired by prog or alternative? Or is it an even split?
I feel like alternative is more my bag, but a lot of the bands that I see as inspirations probably see a lot of prog as inspiration for their music, so it all drips downstream.
Do you write the lyrics from the point of view of a storyteller, or are they personal?
Writing from different points of view is something I am trying to develop, and not to sound self-pitying in my lyrics. Often, the ‘characters’ I’m writing from are just exaggerated versions of myself, though.
What has been your favorite show to date?
We had one at Rouge Trade in Nottingham when we were launching our first EP, which was personally quite a big milestone. That was special with the timing of finally releasing a complete piece of work.
Do you consider yourself more of a live band or a studio project?
It was originally intended purely as a studio thing, but it’s pretty equal now. I started doing this because I love writing, but when gigs go well, you feel like you’re flying. No feeling like it.
When are you playing next, and what recordings do you have in the works?
We’re playing at Victoria Inn Derby and Rose of England Nottingham on 21.11.25 and 22.11.25. Currently recording an LP – one single is out already, with another forthcoming
Wiltwither has today released their new video and single titled ‘Front Door Phobia’, from their upcoming album ‘Pure Light’, dropping October 31st via 3DOT Recordings.
Pure noise meets originality in a cacphony of blood, sweat, and fears. Modern society is perfectly painted in all of its ugly trueness. Engineered for that sore spot in your ears where tinnitus resides, ‘Front Door Phobia’ feels like a back door intrusion without the lube or the invite, and that’s a good thing. This is pure. This is angst unbound and unchained. This is music.
About ‘Front Door Phobia’
“’Front Door Phobia’ touches on the graphic nature of modern society,” the band explains, collectively. “It unapologetically explores concepts of isolation, political unrest, and the ever-growing tally of daily war crimes in a visceral, adrenaline-pumping track. Relentless low end crushes against you as you’re assaulted by panicked vocals and screeching guitars, reminding you that every moment spent amongst ‘the public’ may be your last. The track also features Andrew Herman of Johnny Booth, a truly special moment on the record for us. He and the rest of the Booth guys have helped shape us into who we are both as creatives and people, and it’s nothing short of a pleasure to have him join us on such an important song for our career.”
“We think Wiltwither is doing something different than most of the bands in their scene and are pushing the limits of heavy music,” adds 3DOT Recordings’ co-founder Misha Mansoor. “Their new songs are a complete step up from their previous work, and we can’t wait for everyone to hear them.”
Building on their earlier DIY EPs, Wiltwither expands their sonic and conceptual scope with Pure Light. The record imagines a government experiment in which test subjects are dosed with a mysterious drug called Pure Light, unlocking telepathic bonds that are exploited and manipulated until the subjects lose their humanity. Across its twelve tracks, Wiltwither narrates this descent with unflinching heaviness, cinematic interludes, and fearless experimentation.
“We took a lot of steps to define who we are musically,” explains drummer/producer Tyler Syphertt. “Much of my background is in hip-hop, R&B, and jazz, so those elements seep through the record. The influences were all over the place—from Kendrick Lamar to Jesus Molina. We got these slight undertones of retro mid-century futurism by researching classified projects like MK Ultra and other historical events. Instead of just being heavy, there’s a ton of ear candy. We took leaps into new territory.”
Vocalist Nick Rendelman adds, “This record discusses the good, the bad, and the ugly of life. It also shows humans coming together and sharing their experiences, thoughts, and perspectives at a level they had never imagined. If you’re experiencing the record as a whole, I’d love for you to walk away caring about your neighbor a little bit more. For as heavy as it is, the message is to be kinder and more compassionate.”
‘Pure Light’ Tracklist
‘Pure Light’ cover.
Act I
New Pain
Front Door Phobia feat. Johnny Booth
Worst Case Scenario feat. Joshua Rendelman
Act II
Can I Live In This Moment Forever
Wiltwither 2
Black Pearl
Act III
Obsolete
Sink Until You Reach The Bottom
Pure Light
About Wiltwither
Wiltwither is Nick Rendelman (vocals), Dakota Brown (guitar), Joshua Davis (guitar), Anna Harper (bass), and Tyler Syphert (drums). The quintet has quietly bulldozed its way out of the Carolinas with a venomous vision. Their previous EPs, The House I Lived and Died In (2023) and The Yellow Wallpaper (2024) drew early praise from Knotfest (“excellent”) and saw them touring with VCTMS, Heavy // Hitter, and more. With Pure Light, self-produced throughout 2025, the band sharpened their concept-driven storytelling while leveling up sonically and emotionally.
‘Out!’ is the title track from BBC 6Music, Radio 2 & Introducing-backed Zkeletonz’ self-produced debut album, which features contributions from Alex Gopher (Daft Punk, Phoenix, Ed Banger) and Sam Wheat (Nile Rodgers, Public Enemy).
A fiercely independent band born from London’s DIY scene, Zkeletonz have grown from self-promoted warehouse parties to commanding major stages and are set to launch the album with a 500-capacity party at Camden Underworld on Friday 12th December.
Perfectly showcasing their electronic but guitar-based fusion sound, “fans of LCD Soundsystem and MGMT will love” (Q Unsigned act of the week), ‘Out!’ is sure to light up Indie, Synth Pop, and Alternative Dance-focused DSP and radio playlists as we head into party season.
It’s impossible not to get swept away in the band’s feverish, diva-ish goodness on this glittering, hard-hitting banger, which shows off the kind of insane party vibes that you’ll be able to expect at the Camden Underworld launch night and the type of mercilessly catchy anthems that abound in the debut Zkeletonz album.
The full LP ‘Out!’ channels the spirits of Breakbot, Phoenix, Daft Punk’s ‘Homework’, and classic Ed Banger French Touch, but from a UK perspective. With a distinctively stylish and ironic edge, the band’s synth-fuelled indie style is at full power on this title track single, which is an intoxicating neon-lit ball of dance energy. Bouncy bass and retro drum machines drive forward relentlessly like an out-of-control rave-powered steam locomotive or a semi-regrettable Camden night out, and the track sees the band fully letting loose. It’s the perfect taster for the album of the same name.
Working independently with no established Manager, Agency or Record Label, Zkeletonz have appeared across BBC radio networks including 6Music (Fresh Finds, Tom Robinson); 5Live (session for Scott Mills & Chris Stark); Radio 2 ‘Sounds of Soul (Tony Blackburn); Introducing (Song of the Week, Band Of The Month – West Midlands) and on BBC-curated Festival stages alongside The Specials, Nile Rodgers/CHIC and the Craig Charles Funk & Soul Show.
They were mentored by DJ Yoda as Wilton’s Music Hall resident Emerging Artists (Dance/Electronic) in 2021 and are alumni of the prestigious MAS Records Artist Development programme (patrons: Rickie Wilson, Kaiser Chiefs; Robert Plant, Led Zeppelin).
The band’s 2025 crowd-funded debut album ‘Out!’, which commences a trilogy of releases set to continue in the following 2 years, is a sonic love letter to live music, London club culture, and late-night events with a focus on the unique and unforgettable experience only live music can provide. The album aims to invoke the adventurous and hedonistic spirit of a bygone but never forgotten time in musical history and the band’s lives. Think 2004’s ‘You’re a Woman, I’m a Machine’ by Death from Above, 2005’s ‘Capture/Release’ by The Rakes, and ‘Fantastic Playroom’ in 2007 by New Young Pony Club mixed up in a cosmic blender with big hitters like The Strokes, MGMT, Empire of The Sun, and more obscure cuts who were always in Zkeletonz’ headphones as young Uni students, like US electroclash legends The Faint and almost unlistenable synth-noise from Crystal Castles.
It Sound has today premiered his new video and single titled ‘Let’s Run Far from Here’, from his upcoming album ‘It’s Called Blood’, dropping October 10th via Seahorse Recordings.
It Sound is the soulchild of Seattle multi-instrumentalist Jesse Damm. ‘Let’s Run Far from Here’ is that subtle introduction into another realm, a world where originality reigns and creativity rains down. A peek at what is to come with ‘It’s Called Blood’. Quirky around the edges with a solid foundation of, well, more quirkiness and experimentation that delves into sections of music that most find obscure and others find sonically distant. But, with Jesse, it’s not only at home, but it’s natural.
A solid rhythm underneath a guitar that chugs the melody, Jesse creates a vision with sound and art with music. Think alternative when alternative was the alternative, then called postmodern, when you had to stay up late to watch on MTV’s ‘120 Minutes’ or ‘Night Flight’. The music was not left outside of the box, but made outside of said box on purpose, waiting for the cool kids to find it.
About ‘Let’s Run Far from Here’
A trance-like jam ruminating on a hopeless romance between a free woman and a man in prison, Let’s Run Far From Here takes a groovy approach to despondency, elevating the claim of “no romance” to a hopeful acceptance of the truth.
The pine box is the casket where the love will end up, while the trees speculate on the woman’s solitary domain.
The song’s texture is created by a bouncy bassline that is punctuated by dragging chains, handclaps, and spacecraft liftoffs draped with the forlorn vocals of It Sound.
The song has the stylistic bounce and jam of early records by The Clean or Belle and Sebastian pressed through a Beat Happening kaleidoscope. It’s DIY, but in an ‘IYKYK’ style. The Monochrome Set or Haircut 100 cut to early Neu tracks.
Let’s Run Far From Here settles on joy and solitude through the lens of the natural world.
The music is complemented by the artwork of Parisian artist Pascal Le Gras, renowned for his striking work, which has provided record collaborations for The Fall, The Jazz Butcher, Jad Fair, Fred Frith, and Alan Vega. The art’s primal beauty perfectly captures the punk heart of It Sound’s sonic rebellion.
About It Sound
It Sound unleashes a visceral new soundscape with his latest LP, ‘It’s Called Blood’.
Steeped in a raw, DIY spirit echoing London’s post-punk heyday, each track plunges listeners into a captivating blend of cavernous bass thumps, colossal electric guitar, and rebellious messthetic cut-ups.
It’s a vibrant tapestry of pulsing colors, where organic meditations collide with hard pop, recalling the distorted elegance of the Velvets, the stoic jubilee of A Certain Ratio, and the dystopian thump of Pink Industry.
Born and raised in Seattle, Jesse Damm’s music echoes the raw, untamed beauty of the Pacific Northwest. The music is complemented by the visual world of Parisian artist Pascal Le Gras, renowned for his striking work, which has provided record covers for The Fall and The Jazz Butcher. The art’s primal beauty perfectly captures the punk heart of It Sound’s sonic rebellion.
Though a one-man band, It Sound’s ‘It’s Called Blood’ LP is further amplified by collaborations: a dub-infused duet featuring Caithlin DeMarrais of Rainer Maria, mastering from avant-garde jazz nihilist Weasel Walter, and vocals from his two children, Yana and Lukas.
Further, dive into a dub version of the album song In Between the Seas, brilliantly remixed by Lectric Sands and recently released on George Chen’s Zum Audio Vol. 4 compilation – available now on Spotify.
With ‘How To Sing For Money’, Andrew cements herself as a rising phenom, fully in command of her expansive pop vision. Through glowing ’80s synthscapes, arena-rocking existential dilemmas, and moments of intimate reflection, she delivers melodies that oscillate between sweet and striking. Her lyricism balances sharp wordplay with unflinching vulnerability, underscoring what sets her apart as a songwriter. The record stands as both a milestone in Andrew’s artistry and a glimpse of what’s ahead.
“I think ‘How To Sing For Money’ offers a clear view into another dimension or chapter of myself,” Andrew says. “It reveals who I am and what I can do if I have the tools and the opportunities.”
One of the opportunities that helped make this record happen was Andrew’s 2024 win in CBC Music’s Searchlight competition, which earned her a recording residency at Calgary’s National Music Centre. Before heading west, she spent a month in Toronto writing and preparing with longtime collaborators Carleton Stone and Kyle Mischiek. “That month helped reignite the magical creative environment I’d been craving,” Andrew says. Their close-knit history—Stone is her partner, Mischiek her ex, and both are frequent collaborators—made for especially fruitful sessions. Except for one song, the ‘How To Sing For Money’ EP emerged entirely from that period of writing.
On ‘How To Sing For Money’, Andrew moves fluidly across sounds and themes: the gauzy synths of “Emotional Touchdown” capture the emptiness of a jet-set life; the title track’s grinding guitars mirror the exhaustion of the music industry; and the hazy melancholy of “Unfinished Business” explores the ache of chasing someone still caught in their past. The EP’s focus single, “Did You Cry,” erupts into distortion-fueled catharsis, while “Father Figure” pairs acoustic strums with reflections on growing up and transcending her past. She denounces the idea of a big bearded guy upstairs with the buoyant, folk-leaning “If God Was Real,” before closing with “Fall Like a Feather,” a stirring anthem of resilience.
Alongside the EP, Andrew unveils the cinematic video for “Did You Cry,” directed by MOOSECANFLY. In it, she embodies a runaway bride escaping a toxic relationship before it’s too late. “I wanted to conceptualize the aftermath of a breakup,” Andrew says. “When you’re with someone and think you’re in love, it’s easy to make promises. The video represents running away from something—or someone—who turned out to be no good. By contrasting stillness with chaos, it captures the wreckage that comes from having your heart broken.”
Call it alternative pop, or call it something else—Andrew’s music resists labels, but its constant is clear: “I embrace my flair and attitude; I don’t give a fuck about external pressure when I’m making music,” she says. “My voice is the thing that makes my sound my own, and the elements around it will always shift and change.”
About Maggie Andrew
Hailing from Nova Scotia, Maggie Andrew brings a creative and rebellious spirit to everything she does. Her musical journey began with a dream and a leap of faith. After sending her first song to her brother, artist and Olympic snowboarder Trevor Andrew, she was encouraged to fly to L.A. to turn her dream into something real. She dove headfirst into the scene, collaborating with industry trailblazers like blackbear, Ash Riser (Kendrick Lamar, Ab-Soul), Doc McKinney (The Weeknd, Drake), and Yeti Beats (Doja Cat, SZA).
With over 6 million streams and glowing praise from Rolling Stone, Billboard, and Alternative Press, Maggie has quickly become a standout voice in the alt-pop space. Over the past year, she won CBC Music’s Searchlight, headlined major stages at SOMMO Festival and the JUNO Block Party, performed at The Great Escape and BreakOut West, and received multiple awards, including back-to-back ECMA awards for African Canadian Artist of the Year (2024 and 2025), as well as Rock/Alternative Release of the Year in 2025. Just this week, she received ANSMA award nominations for Songwriter of the Year, along with Single of the Year and Music Video of the Year for “How To Sing For Money.”
Maggie Andrew’s songs are rooted in lived experience, exploring relationships, womanhood, identity, and the pursuit of confidence through chaos. With a sound that’s vivid, fearless, and unfiltered, she continues to push pop forward on her own terms.
Featured image by Maggie Andrew & Michaela Jessome.
Linda From Work has dropped their new video for the single titled ‘Blood in the Water’, from their upcoming self-titled album, releasing on October 17th.
More of a short film than a music video, the guise is moot in the fact that the video really highlights the music in the track. Retro post punk fusion with original rock wearing the indie cloak, ‘Blood in the Water’ is an anthem for everyone. It is the drive that we need to get back to in a society. Complacency is poison, and poison is death.
Why can’t radio play stuff like this anymore instead of the assembly line ‘hits’ we’re inundated with on a minute-by-minute basis? This is a return to form in so many ways. This is the meaning and muse returning to the music.
About Linda From Work & ‘Blood in the Water’
Linda From Work’s new single, “Blood in the Water,” is a moody rock track with a fierce undercurrent, illustrating the consuming nature of competition and ambition. Strength is power, and the fight for more can be never-ending – “It’s you and me, only one of us can leave”.
Linda From Work’s upcoming self-titled record (out October 17th, 2025) builds on themes from their previous works to push their songwriting and musicianship higher than ever before. A soundtrack for the modern fever dream, this new music shows Linda From Work with a more confident and driven sound, seizing power with defiant spirit. There’s a certain freedom that comes with refusing to break your own rules, and that’s the undercurrent throughout each track.
With this self-titled third LP, Linda From Work has defined and refined what exactly makes their signature sound – a fierce, high-energy blend of rock edge and melodic sensibility that’s angry, fun, and most of all, honest.
Erica Knox is carving a new lane with her vibrant blend of upbeat energy and nostalgic reflection. Her intimate lyrics about love, life, and identity, combined with addictive hooks, call to mind the modern brilliance of artists like Taylor Swift and Kacey Musgraves.
In 2024, Knox was handpicked as one of three artists to record at the legendary Abbey Road Studios in London through DHL’s FastTrack Sessions, where she teamed up with Gold-certified producer Hannah V to create her heart-wrenching single, “Disappointing Me”, along with the incredible Abbey Road engineers to record her newest single, “Kerosene”.
Knox recorded her latest single, Kerosene, live off the floor of Studio 3, with production later completed in Toronto. Originally written in 2018 for a college project, Kerosene quickly became a fan favorite. With warm, melodic guitar and her soft, siren-like vocals, this song captivates all who hear it. The live recording has been shared in NME Magazine, and PR will continue with Auteur Research.
“It’s a full circle moment,” Knox shares. “I wrote it after my first trip to London, and my first heartbreak. Coming back, and recording at Abbey Road, it feels like the perfect time for this song to be heard.”
After being nominated as Canada’s Best Emerging Artist in 2019, Knox is now gearing up to release her highly anticipated debut EP this fall, produced by multitalented musician Tal Vaisman.
Liz Reed has dropped her new single titled ‘Maybe Kind Of World’. Folk as a mindset and lyrics that hit the soul with relatable poetry, Liz gives a heartfelt tug to the strings of life with a track that everyone has lived and everybody needs to hear.
The best thing to do in life is to challenge the challenges and show the world that you can thrive as well as survive with the ones you love and the one you trust, which is you.
Soft and eloquent, ‘Maybe Kind of World’ is a soft spoken and them for the everyone in all of us and the nobody we sometimes think we are.
“Maybe Kind of World” is a song about parenthood. As parents, we guide our kids on the journey of growing up, doing our best to teach them how to navigate challenges and to keep them safe when faced with those challenges. For me specifically, I have a neurotypical son who is entering his senior year and preparing for college. I also have a neurodivergent daughter who is diagnosed with ADHD and Anxiety and is on the autism spectrum. Needing to trust that I have helped my son achieve the independence needed to leave the nest is panic-inducing enough, but trying to teach my daughter (who thrives on structure and predictability) how to navigate an unpredictable and constantly-changing world is a whole other realm of parenting. This new single encapsulates a little bit of the fear I have, but mostly the pride and love I feel watching my daughter grow into a beautiful human being.” Liz Reed
Q&A
Where you’re from, describe your sound, and introduce the members.
I’m from Northeast Connecticut originally. I went to high school in Woodstock and graduated from UCONN in the 90s. I wrote my first song at age 10 and started playing open mics, coffeehouses, and bookstores when I was 16.
Now I live in Central Connecticut with my husband, two teens, and four cats. I have been an elementary school music teacher for many years; my favorite level to teach is three and four-year-olds.
Marisa Bloom describes my sound as a cross between Dar Williams and Emmylou Harris, with a little Jill Sobule thrown in.
Talk about the newest project, and explain the sound in more depth.
My newest (single) release is called “Maybe Kind of World.” It’s my first release on Bigger Beast Records. We worked to create a laid-back, gentle sound to mirror those moments in parenting where you need to pretend you are cool, calm, and collected, even when your heart is in your throat as you watch your loved one head out into the world and spread their wings.
Talk about anything you’ve done of note, and what’s next for the band.
I’ve opened for singer-songwriters Kate Campbell and Lisa Bastoni, as well as for the band Sirsy. Last fall, I was the kickoff artist for the very first 21 Songwriters (CT), a series sponsored by Bigger Beast. I have also led the after-hours All-Are-Welcome song circles at Bigger Beast events such as Shelter From the Storm and 21 Songwriters Holyoke with my co-host, Christina Meadows.
I’ve self-produced six albums of original songs; the first one, a cassette tape, was released in 1994 and called Isa (“Liz” in Spanish, as I’d just returned from a semester in Spain). The latest, Tall Trees & Empty Highways, is now streaming on all platforms (2024).
My husband and I host a yearly summer music festival to raise funds and donations for the food bank in our town. We’ve been running it for almost 20 years and always deliver a pickup truck-load of non-perishables to help serve the over 300 local families that use the food bank. We invite musicians from all over the northeast to perform, and many return year after year to hear other local singer/songwriters and network.
My single release show at Cantean in Hamden is September 27. It is sold out; we are adding a second show (date TBD). I will, of course, be featuring “Maybe Kind of World,” as well as material from my album “ Tall Trees & Empty Highways,” and some new songs. A few songwriter friends (no spoilers!) may be making guest appearances for those shows.
Rikshaw returns with a new track featuring Barrie Lobo McLain titled ‘Hundred Hands’. From his rise as a solo artist to his stint in Rikshaw N’ The Ruckus and return to form with his own music, ‘Hundred Hands’ would have felt like it took a hundred years, but here it is!
With an updated solo sound, or is it his next evolution of revolution? Does it matter? Because we get an updated Rikshaw that hugs the masses yet delivers social commentary in such a way as to let the listener be the judge.
Rikshaw has always had his own unique style. The kind that you recognize with that weathered but hopeful voice. ‘Hundred Hands’ is that next step, almost like a bridge to what is next. Now that the step has been taken, where will it lead next?
About Rikshaw
Rikshaw released his EP, Gem.In.I, in 2019, leading to the formation of Rikshaw N’ The Ruckus. This collective went on to release singles culminating with the music video for “After Hours” featuring Olivia Ortiz.
Now, Rikshaw is working on a book-end to his earlier work, Gem.In.I 2, with the lead single, “Hundred Hands.”
Swim Swim Naked is a Budapest-based electronic-pop duo from Hungary, founded in 2024 by singer Krisztina Nagy and producer Dani Makkay, who take the stage in bold jumpsuits and surround themselves with a tangle of colorful cables. Their project blends melodic pop elements with electronic music, featuring experimental rhythms and a unique mix of unusual sounds, such as splashing water.
Their debut EP, Octopus (February 2024), invites listeners on a shared “swim,” from the first splash to a deep dive. Their message focuses on supporting freedom, creativity, and an open-minded way of thinking. Their latest EP, Sepiida, will be released in 2025 and holds many surprises.
Musically, Cool dives into a funkier sound than previous releases – blending catchy melodies, vocal harmonies, and a fresh twist from an unexpected new instrument: the kazoo. But beneath the groove, there’s a deeper message: “Cool is about staying true to yourself, choosing kindness, and remaining good in a world that often feels upside down. Growing up comes with challenges – we start to see that things aren’t as simple as they seemed in childhood. But even as people, places, and life itself change, this song reminds us to embrace who we are, to value creativity, respect differences, and believe that being kind is still the coolest thing of all,” said the band.
The visual world of the video is dreamy and stylized, seen through a childlike lens with soft pastels and playful details. Everyday objects and small pleasures take center stage in locations like the pool, locker room, showers, sauna, and reception. Characters include a receptionist, a cleaner, a lifeguard, kids, and even a man singing in the shower. Interestingly, there’s only one professional actor in the entire video – ifj. Vidnyánszky Attila, who plays the lead role. Everyone else featured in the video is close friends and family of the band — including Dani’s grandmother!
The duo has also made their presence known internationally, performing at DIY parties in Stockholm and Copenhagen, where they brought their vibrant and experimental sound to new audiences in grassroots, underground settings. The band has played at the international Sofar Sounds project in Debrecen, and has supported popular bands such as Kadebostany from Switzerland and Cari Cari from Austria.
The brainchild of US drummer/multi-instrumentalist Rona Rougeheart, SINE has released a new single entitled ‘Succumb To Me’ on Metropolis Records. Co-produced by Rougeheart with Curse Mackey (Pigface) and mastered by Mark Pistel (Consolidated, Meat Beat Manifesto), the song mixes industrial sounds with dirty disco and rhythmic sub bass to form the perfect definition of what she refers to as her signature genre, ‘electronic boom’.
“While working on my next album, I decided to open a new session and start something fresh just for fun,” Rougeheart recalls. “As another track began to form, I was really loving the vibe, so I anchored it around two deep synth bass hits that pan right and left to give the listener a surround sound experience, especially in headphones. The lyrics seemed to write themselves as I recorded scratch vocals, just letting it flow. The lyrics are cheeky and a little sinister, with a dash of sex appeal. It’s definitely one of my favourite SINE tunes to date!”
SINE signed to Metropolis Records in 2024 and released a single entitled ‘Trauma Bondage’ exactly a year ago. She has recently completed summer 2025 North American tours with Void Palace and Clan of Xymox, and also performed at the Cold Waves XIII Festival tour in her home city on 19th September. She is currently working on a new album for release in 2026.
Rougeheart was born in New York but is based in Austin, Texas. Her musician father taught her how to play keyboards and guitar before she took up drums. She has since been endorsed by Gretsch Drums, Gibraltar Hardware, and Roland.
Having opened for goth legends Bauhaus, their bassist David J invited her to join his Shiva Saves project, which features industrial darkwave artist Curse Mackey and Yeah Yeah Yeahs guitarist Nick Zinner among a revolving group cast. Rougeheart has also collaborated with Adrian Sherwood, Meat Beat Manifesto, Clan of Xymox, Chris Connelly (Pigface, Revolting Cocks), Mark Pistel (Consolidated), Andee Blacksugar (KMFDM, Blondie), Xiu Xiu, and the late Mark Stewart (The Pop Group).
‘Modern Night’ is a vampiric seduction that merges ‘post’: soul, funk, italodisco, and new wave with a noir cinematic aesthetic—linking David Bowie to Gaznevada and David Sylvian, Scott Walker to The Human League and the Style Council. Written, performed, and produced by Fernet himself, Modern Night was recorded at Duna Studio in Ravenna and later mixed and mastered by Maurizio “Icio” Baggio (The Soft Moon, Boy Harsher), whose touch enhances its spectral clarity and analogue warmth.
“I wanted this record to feel like a dark soul album,” Fernet explains. “A place where echoing pianos, rebel angels, and ‘60s ghosts meet minor chords and broken-down synths. Where the funk doesn’t smile—it disappears down an alley in search of something it lost.”
If there’s a narrative thread that binds ‘Modern Night’, it’s the character of the Sunlight Vampire, introduced in the first single of the same name. Half-metaphor, half-ghost, this figure roams the album’s ten tracks, transforming nostalgia into a political act and melancholy into a form of resistance. This isn’t simply hauntology in sound, but in posture: a refusal to accept the shiny surfaces and forced optimism of the present.
Musically, Modern Night defies easy categorisation. There are echoes of AOR radio ballads, post-industrial funk, and soul music stripped of optimism. Think of it as future nostalgia with dirt under its fingernails: a deeply contemporary work that rejects digital perfection in favor of analogue imperfection. As Fernet puts it: “In an era of over-edited sound, the most radical act might be to let things breathe.”
The production choices reflect this ethos. “I wanted a sound that felt current, but produced through old-school techniques,” Fernet says. “Even though many of the references come from the past, their combination and reinvention can still generate something new”.
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