Sir Petrol has today premiered her new video for the track titled ‘Enclosed’, from the upcoming album ‘Evil Design’, dropping October 17th via Elefante Rec. Considering Rebecca Magri’s (Sir Petrol) long and storied musical history (details below), this is exactly what I expect from such a valued artist.
The video is a tech-noir piece filled with an artful, clean dystopia that moves without movement and feels without emotion. Electronic at the core and a resonant stage for Rebecca’s vocals.
Polished but weathered, production in the music as well as construction in the lyrics, ‘Evil Design’ is a near-perfect example of an album that takes you for a ride and never gives you that itch to hit the ‘next’ button.
Musical styles cascade and differentiate in such a way that each track has its own unique and signature sound, yet everything fits together like chapters in a good book. The most impressive part, for me, in this first listen of the album is that, as different as the songs sound from each other, there is a common bond that Rebecca infuses in each track that laces them loosely together and makes the album a solid journey from start to finish. This is what music is supposed to be: diverse and accessible.
About ‘Enclosed’
Enclosed is the second single, anticipating Sir Petrol’s eagerly awaited debut album Evil Design, due out October 17th, 2025, on streaming, vinyl, and CD via the independent label Elefante Rec., with digital distribution by Believe Music Italia.
Enclosed is a classy, edgy, and catchy song, with the powerful voice of Sir Petrol’s founder, Rebecca Magri ( Upupayāma, Kaptain Preemo, Ayahuasca), vocalising “What would you say if I declared it all is mine, enclosed in this shrine?”.
The lyrics are about the will to take a stand, claiming what belongs to us, even when it is denied by the world and others.
A perfect example of Sir Petrol’s sonic universe, blending trip rock, psychedelia, electronica, and alt-pop, leaving room for jazz influences and rough, aggressive sounds, counterbalanced by harmonious, velvety vocals.
The track was produced and mixed by Gabriel Medina, aka The Cosmic Gospel.
About Sir Petrol
Sir Petrol is the alter-ego of Rebecca Magri, musician and composer from Parma (Italy), already known as a member of bands such as Upupayāma (Fuzz Club), Kaptain Preemo, and Ayahuasca, and for her collaboration as sitar player with Boris Williams (The Cure).
Rebecca started Sir Petrol in 2024 as her solo project, developing a polished yet accessible sound built on trip rock, psychedelia, and alt-pop, also incorporating jazz contaminations and rough guitar sounds, all tied up by Rebecca’s expressive and mature vocals, which range from velvety and harmonious to acid and fiery.
Sir Petrol can be imagined like a cosmonaut who, from above, beyond the atmosphere, observes the world and notes its evolutions (and involutions).
He studies them, faces them, and judges them.
Each song on the album sounds like a sentence, describing the mood and the feelings unconsciously triggered by watching the world passing by from a distance.
The introspective lyrics explore those complex feelings and the twisted human dynamics that often put individuals at risk.
Sir Petrol herself explains:
“For me, this album was a form of exorcism and denunciation. A necessary psychotherapy to reach a state of individual evolution and a study of today’s society. Songs like Enclosed, Cuts and Guts, and Made Out of Stone delve into the paranoia and lies we tell ourselves; however, I Wanna Look Good Naked, Swallow and Destroy, and Evil Design deal with the external influences imposed by society, standards, and events.”
Riding a wave of critical acclaim and high profile live shows including main support on a packed out UK tour with The Mary Wallopers, UK and Irish national radio play (RTE 2FM, BBC Radio 6 Music), tastemaker press support (Dork, Clash, Notion, Irish Times, Hot Press, Nialler9 to name a few) and boasting multiple national Irish TV appearances (Six O’Clock Show, Síorstíl), Tadhg is riding a wave of success with no signs of slowing down.
Sexy is a politically charged debut EP that dives deep into the dualities of queer experience – celebrating joy, love, and empowerment while also confronting struggle, stigma, and the need for change. Across its tracks, SexyTadhg balances euphoric anthems like Claim My Love and the Irish-language Ceannasacht with hard-hitting reflections such as My Parade and Ride the Wave, which speak to resilience, mental health, and the power of raising one’s voice in the fight for social justice. It is both a celebration of queer identity and a rallying call for visibility, solidarity, and resistance.
Blending big band jazz with theatrical soul and pop flair, the EP marks a bold new chapter in Tadhg’s artistry. Sexy is an intimate yet defiant collection, its lyricism both vulnerable and unapologetic, charting a vibrant, theatrical journey through themes of sex, resistance, and the ecstatic beauty of being alive and queer in Ireland.
Across the 5 tracks, Tadhg conjures a carnival-like atmosphere that both honours queer identity and challenges convention. The record captures the grand scale and visceral energy of Tadhg’s live performances with lush production and expansive instrumentation. Anchored by their effortlessly magnetic and commanding vocal presence, the EP offers a musically rich, wildly inventive, and euphoric immersion into Tadhg’s ever-evolving sonic world.
Talking about the track, Sexytadhg explains: “Sexy is an introduction to the persona, the drag, the power that allows me to own a stage. The armour that has protected Tadhg. These songs are moments of self-discovery that have strengthened me as a person and now lay the groundwork for my future. Recorded over the last two years, with countless collaborators, musicians, vocalists, brass, strings, it’s orchestral, bold, beautiful, truthful, honest, and above all…SEXY.”
Already hailed across national press and radio, including the Irish Times, BBC Radio 6 Music, Clash, Notion, Dork, Today FM, RTÉ 2FM, RTÉ Radio 1 and with live performances on national Irish TV, including on the Six O’Clock Show, Tadhg has made a big impression in a short space of time. With performances ranging from: The Project Arts Centre stage with their critically acclaimed Fringe show Television, their collaboration with the RTÉ Concert Orchestra, supporting two time Eurovision winner Loreen and The Mary Wallopers at Fairview Park, Dublin, Live at the Marquee, Cork, and The Galway Big Top, Galway last month, and appearances at Electric Picnic, Beyond The Pale main stage, and Other Voices have cemented their place as a vital voice in Irish music.
The new EP Sexy arrives after a wave of momentum that includes a Studio 8 session with Ray D’Arcy, interviews with Louise Cantillon and Tracy Clifford, and widespread media acclaim. SexyTadhg was recently named one of The Irish Times’ ’50 to Watch’ and received the Dublin Fringe Festival’s ‘Radical Spirit’ Award. Their bold commitment to the Irish language, queer visibility, and radical imagination threads through all their work, including their upcoming bilingual single Ceannasacht.
Kula Shaker has today released their new video for the track titled ‘Good Money’ from the upcoming album ‘Wormslayer’, dropping on January 30, 2026.
A time and time again tale of the one that stuck out and got away. That person, whether you witness or keep inside of you, who saw above the bullshit and stayed above it without getting so much as a fleck or speck on them.
Musically ‘extra-retro’ with introverted thoughts leaking out through the cracks we so desperately try to fix and patch, ‘Good Money’ is a good time with tongue-in-cheeky lyrics rising above the audiosplash sonic goodness that makes Kula Shaker what they are: a good time.
“I hope people enjoy the twists and turns that this new record takes them on. We always loved those psychedelic records that had great songs, great production, great storytelling, and took you on a journey. We always dig into that kind of experience, because we’re that kind of band. Kula Shaker has a life of its own. We’re just passengers, watching it happen in real-time.” Crispian Mills
About Kula Shaker & ‘Wormslayer’
Kula Shaker always existed in an alternate reality. Emerging in the midst of Britpop’s lad-culture swagger and retrograde cool, they appeared like a luminous anomaly — flooded with Sanskrit and sitar-drenched feedback as they became one of Britain’s most exhilarating live bands.
Fronted by the spiritually restless Crispian Mills, the band carved out their own mystical counter-narrative, fusing British psychedelia and eastern mysticism that felt less like a gimmick and more like an invocation. Phenomenal success soon followed. How many other artists can claim to have actually headlined Glastonbury twice in the same weekend? Scored one of the fastest-selling double-Platinum debuts of all time, a run of Top 10 singles, and opened for Oasis at their era-defining Knebworth shows?
Now Kula Shaker are set to prove that they’re back at the top of their creative game with the news that they will release their eighth album, Wormslayer, on January 30, 2026. Still consisting of their original line-up – best friends Crispian Mills (vocals/guitar), Alonza Bevan (bass), Paul Winterhart (drums), and Jay Darlington (Hammond organ) – Kula Shaker fuel anticipation for the record by sharing its new single “Good Money.”
“Good Money” is a kaleidoscopic whirlpool of ‘60s psychedelia, sumptuous soul, and retro-freakery funk. The video looks set to make as much of a splash as the song itself.
As Crispian explains, “Our last video was all in camera, real stunts, real props, and epic battle scenes, which people assumed were all AI. So we’ve taken a different approach with ‘Good Money.’ The whole video is entirely AI-generated by two monkeys; we gave them the song and the lyrics, and this is what they came up with. It’s kind of mind-blowing.”
Lyrically, however, “Good Money” is a story of a classic Faustian pact and part of a broader psychedelic opera that emerges throughout the wider record.
As Crispian describes the piece, “It’s a story about a boy in a small community, who grows wings and how the local people come to treat him. Some think he’s a freak, some think he’s a cherub, others cynically see him as an opportunity to make money…. Is it a metaphor for the music business? I’d say it’s a metaphor for life.
The Wormslayer album has already been previewed by “Charge of the Light Brigade” and “Broke as Folk,” which both demonstrate the technicolor energy and celestial vocal harmonies that fans have come to love. But there’s evolution, too, with moments that touch on pastoral folk (the Yeats-referencing “Dust”), full-blown gothic crooning on “Little Darling” that conjures images of Roy Orbison jamming with the Doors, and then there’s the expansive mantra-metal of the cinematic showstopper, the title-track “Wormslayer.”
The Wormslayer album also sees Kula Shaker alchemize their restless, reckless live energy on record for the first time, which makes the prospect of the return of their out-of-this-world live experience with their upcoming tour this month for a handful of headlining dates and then joining The Dandy Warhols on West Coast (boosted by a unique, immersive light display at each show) a tantalizing one.
‘The Seeing House’ sees IRK taking their already rambunctious sound to even more explosive sonic territory. Ten tracks showcase the trio’s abrasive and rhythm-heavy sound, balancing the technical intensity of mathcore with the raw energy of noise rock to create a distinctive brand of angular, unpredictable music. Fans of Chat Pile, Prostitute, The Jesus Lizard, Cherubs, These Arms Are Snakes, KEN Mode, and even Meshuggah must hear IRK.
The Seeing House was recorded, mixed, and produced by Andrew Edwards and Matthew Deamer at Glide Studio in Leeds, UK, mastered by Brad Boatright at Audiosiege in Portland, Oregon (The Armed, Locrian, Deadguy), and completed with cover art by Kazland, and design and layout by Greg Meisenberg. Additionally, the string arrangement on “Lifetime Achievement Award” was handled by Jamie Chambers with cello on the song performed by Jenn Chubb, guitar on “My Life In Bins” was provided by Jack Evans, and gang vocals on “The Great Wasp Of Reluctance” and “Wedding, Berlin” were delivered by Stewart Ramsay, Kerry Ramsay, and Jenn Chubb.
With the new video, IRK bassist Ed Snell reveals, “The music video for ‘Wedding, Berlin’ was created with our long-time co-conspirator John Figler. It’s the third video he’s made for The Seeing House and was filmed in our studio in Leeds. We think he’s done a great job of matching the visuals to the jagged, hypnotic feel of the track.”
Drummer Matthew Deamer adds, “Ed’s bass part in this track is so damn rhythmic and clanky that it felt completely intuitive to cover the arrangement in layers of metallic percussion. We recorded all sorts of clattery rhythms played on giant sheets of metal, stacks of broken cymbals, and even a metal beer keg that was happily sitting outside our studio (no one knows why). When piecing it all together, I was thinking – if ‘Born Under Punches’ by Talking Heads and ‘Acres Of Skin’ by Zs had some sort of awful mutant baby, it would hopefully sound kind of like this.”
Everything Is Noise writes in part, “…nothing shy of a crushing rhythmic excess… With a track that oozes sonic ambiguation, jagged rhythmic textures, and a rich, pummeling bass tone, IRK conjure a bizarre and bewildering world of noise-drenched hostility. The track is carried by a brutish bass tone that drives a minimalistic pulsation, accompanied by metallic percussion that pervades a sense of apprehension and unease in the listener. The unstable vocal lines continue this sense of comfort and tension, sending you on a downward spiral through mounting sonic pressure. The music video’s visuals further match the bewildered and hypnotic feel to the track with the obstruse close-ups on the artists that indicate a sense of shared cathartic perplexion.”
About IRK
Self-described as “Leeds’ normalest weirdos,” IRK was formed in 2013, with their driving sound the work of vocalist J.S. Gordon, bassist Ed Snell, and drummer Matthew Deamer. They released their debut EP, Bread And Honey, in 2014, followed by a split with London sludge outfit Wren in 2015, quickly attracting attention for the wild spontaneity that defines their live show.,” the group continued to hone their craft with extensive touring throughout the UK and Europe, performing at festivals like Arctangent, Wrong Festival, and Strangeforms, and sharing the stage with Liturgy, Dope Body, Pissed Jeans, Blacklisters, USA Nails, Whores, Part Chimp, Frontierer, and many more.
Recipes From The Bible, IRK’s debut album, was released in 2018, showcasing chaotic, snappy tracks contrasted against longer, more progressive songs, as well as the inclusion of guest vocals and saxophone. Recipes From The Bible was the platform the band needed to probe the stranger depths of the subgenres they sit within, capturing an uncompromising sound that makes the listener feel truly estranged and uncomfortable.
Valley Onda has released their new video and single titled ‘Reebok Fantasy’. Enough mainstream to attract the masses with a balance of mainstay to keep the original signature sound of everything that Valley Onda is, Reebok Fantasy has that old-school alternative feel in the style of late 80s’ MTV (120 Minutes) with touches of dark postmodern and modern pop sensibility.
Introspect for introverts, ‘Reebok Fantasy’ is a deep dive into what it means to create a solid song and to create something for the love of the craft as much as the desire for the listeners.
About ‘Reebok Fantasy’
Since their 2019 debut, the trio has amassed over 350,000 streams, with their introspective sound earning praise from tastemaker publications and the acclaimed triple j, as well as national tour slots alongside The Money War and Brightness. The band is composed of Jordan Wilson (vocals, guitar), Michiya Nagai (keys), and Galen Sultmann (drums).
As individuals, members of Valley Onda bring heavyweight credits – Jordan Wilson (former member of Georgia Fair) has opened for Paul Kelly, Laurel, and John Mayer, while key Michiya Nagai has performed with electronic outfit Lamalo to audiences of 15,000+ at The Grass is Greener and soundtracked a TEDx Melbourne virtual event. They have also received a string of features across The AU Review, Happy Mag, Where The Music Meets, and Clunk Mag, among others.
The Sydney/Gadigal-based outfit was born from quiet post-tour limbo and forged in a Sydney restaurant, when frontman Jordan met producer Galen Sultmann. Sessions between the two sparked into something more when Galen brought in long-time friend Michiya Nagai, a classically-trained pianist and versatile producer. Together, their sound has evolved into a rich palette of alternative textures, drawing influence from the likes of Radiohead, Alt-J, Mansionair, Bon Iver, Muse, and Gorillaz. Across years of careful crafting, immersive warehouse performances, and cross-disciplinary collaborations, Valley Onda’s music has taken on a sound sure to ensnare fans of REM, Cage The Elephant, and The Verve.
‘Reebok Fantasy’ sees the band deliver an atmospheric emotional journey that balances brooding tension with exhilarating release. Frontman Jordan’s vocals steer the ship with potent delivery while acoustic guitars and shimmering textures orbit around the lyrics with a dreaminess befitting of a cinematic film scene. The accompanying music video is a dream, featuring colliding alternate realities that blur the lines between what’s real and what isn’t. The video echoes the hazy fever-dream nature of the single, where anything seems possible.
Speaking on the song, the band shared: “Do you know that feeling when you’re walking down the street feeling isolated and everyone else is looking cool in their designer clothing? So you pull into a Nepalese Restaurant and order a tea to hide out for a minute. Maybe open a paperback or meet someone interesting. That’s the vibe of Reebok Fantasy.”
Portland’s Indie rock band Guitar continues to make heavy waves in the underground music scene with their fearlessly experimental, ever-evolving sound and commanding showmanship. Fusing elements of ’90s slacker rock, post-punk, and beatmaking, Guitar accomplishes multitudes, challenging their audience to think harder about what they actually need from music. The answer is that they need more Guitar. In his book The Trial, Franz Kafka said, “From a certain point onward, there is no longer any turning back. That is the point that must be reached.” These words ring true as Guitar releases their second and most powerful LP to date, We’re Headed to the Lake, available this fall from Julia’s War.
Saia Kuli, Guitar’s songwriter and producer, grew up in the outskirts of Portland in a working-class part of town affectionately called The Numbers. There, Kuli cut his teeth endlessly demoing songs, finding his vision and voice, muscling to find a place as an outsider in the tightly-knit Portland scene. After some trial and error, Kuli formed the band Gary Supply, then later joined Nick Normal’s rotating cast of guitar-slingers, carving his place within the Portland punk scene. After riding the rock wave for several years, newly inspired by the prolific beatmaking of producers like MF Doom and Madlib, Kuli withdrew into his Ableton beat lab to explore new modes of songwriting. But no one can escape the power of rock and roll, and Kuli found himself staring at the guitar in the corner of his bedroom. Reinvigorated by bands like Guided By Voices, The Pixies, and Cleaners from Venus, it was time to pick up his Silvertone. Combining his love for making beats and rock n roll, Kuli began to create something new. This was the beginning of Guitar.
Guitar is Kuli’s escape from the classic band-structured songwriting barriers. Using beats and loops, Kuli began to write songs the way he heard them- pushing boundaries and embracing the jangly, discordant 2-note shapes of bands like The Stray Trolleys and The Brotherhood of Lizards- eventually resulting in several singles and an EP. But Kuli’s north star for Guitar was the continued exploration of all shapes and forms of pop, rock, and punk. So, he continued to write and record, resulting in the creation of Guitar’s first LP, Casting Spells on Turtlehead. Released by Philly label Julia’s War, Casting Spells on Turtlehead melds modern fried shoegaze and punk unified by Kuli’s odd harmonies and off-kilter guitar playing. While this record was well-received, ultimately, Kuli has more to say with his forthcoming LP, We’re Headed to The Lake. Kuli returned to the studio with his drummer, Nikhil Wadhwa, his cousin, his wife, and co-producer Morgan Snook in pursuit of a new destination.
With We’re Headed to The Lake, Kuli abandons modern shoegaze conventions and creates something much more akin to ’90s alternative groups like Teenage Fanclub and Guided By Voices. The song, “The Game Has Changed,” sounds like a mushroom-fueled reimagining of a Weezer song with its deeply memorable hooks warped by oblong riffs and atonal harmonies. Songs like “Every Day Without Fail” are positively triumphant, urging listeners to bob their heads endlessly as the locked-in guitarmonies sail over the upbeat rhythms, only to dissolve into a twisted, hulking hardcore breakdown. “Chance To Win” features Kuli’s wife and feels like a love-induced fever dream with its elegant, orchestral arrangements. The rest of the album follows suit with densely arranged, compelling, and surprising tracks. We’re Headed to The Lake is a sprawling and invigorating leap for Kuli. The record is generally more lyrically and melodically positive, giving the Guitar audience something hopeful, a uniquely beautiful response to an often dark world. The record feels like a place that Kuli was headed all along, and now, he has finally arrived. He has finally arrived at the lake.
Blending the grit of grunge, the power of alt rock, and the energy of modern rock, ‘Why Won’t You Wake Up?’ delivers a wake-up call that resonates with urgency and intensity.
At its core, ‘Why Won’t You Wake Up?’ is an exploration of individuality in a world clouded by influence and control. The lyrics push back against conformity, urging listeners to open their eyes, challenge the noise around them, and live authentically. With soaring guitar riffs, hypnotic rhythms, and a chorus that refuses to be ignored, the track captures both struggle and empowerment in equal measure.
“This song is about shaking off the voices that tell you who to be,” says the band. “We want people to ask themselves what it means to live for them, not for everyone else.”
The release also signals a bold new chapter for Die Tired, introducing guitarist and songwriter Matt Orlando to the lineup. His arrival has expanded the band’s sound into more dynamic and textured territory, elevating both songwriting and performance.
“Matt has added a whole new dimension to what we do,” says drummer Brandon Ballantyne. “The music feels bigger, more alive, and more dangerous than ever.”
With ‘Why Won’t You Wake Up?’, Die Tired reminds fans why rock is still a force to be reckoned with—challenging, cathartic, and impossible to ignore.
About Die Tired
Originally stemming from the age-old Marine adage, “You can run, but you’ll just die tired,” one might assume that their music carries ominous undertones and perhaps explores dark themes. However, for Die Tired, it’s a punk rock way of declaring “Carpe diem!”
Hailing from various corners of Pennsylvania, Die Tired’s members each inject their unique flair and personality into their music. While they all have slightly different musical preferences, these diverse influences come together harmoniously to infuse fresh energy into irresistibly catchy alternative and pop-rock melodies.
Die Tired is a versatile band that draws inspiration from a wide spectrum, encompassing classic rock, heavy metal, pop-punk, and virtually anything playable on a guitar. Onstage, their lively and passionate performances never fail to leave audiences craving more. It’s practically impossible to resist tapping your foot, nodding your head, or enthusiastically singing along to their incredibly eclectic interpretation of rock ‘n roll. In the world of Die Tired, every day is an opportunity to seize life’s moments!
“Wrong or Right” fuses downtempo with neo-soul, R&B, and dream-pop for an enticing musical listen. The emotive single features the soulful, honey-drenched vocals of Amelia Rose, who brings both emotional depth and melodic strength to the track. Her seductive vocals glide atop mood-laced beats, funk-fueled basslines, and hypnotic synths for a sound that feels both fresh and timeless. Misha and cocabona craft a warm yet textured production, blending subtle electronic flourishes with organic instrumentation – a seamless backdrop for Amelia Rose’s mesmerizing vocals.
“Wrong or Right” chronicles lyrics of deception, lost love, and the fragile lines between clarity and confusion in relationships. Amelia Rose, who has amassed over 4 million streams across her own self-produced EPs and collaborations, brings her own unique flair to the track. Speaking on her contribution, she shares, “When I heard this track, I initially came up with the chorus melody, which inspired the idea of heartbreak and toxic behaviour from someone. Although the lyrics are alluding to something upsetting and distressing, the beat uplifts the track and allows me to still focus on creating a catchy topline.”
What makes this collaboration exceptional is its seamless balance of atmosphere and emotion. Every element, from the rich harmonies to the understated groove, feels purposeful and alive with a heart-rending edge.
Known for their cinematic soul and genre-spanning production, Misha and cocabona continue to refine their collaborative vision on JOMO. From high-profile collaborations with artists like Lalah Hathaway and Jamiroquai’s Derrick McKenzie to emerging voices like Amelia Rose, the project is a celebration of artistic connection, emotional honesty, and the beauty of stepping away from noise to find meaning — even in the midst of heartbreak.
Manchester music legends Chameleons have today released their new album, their first in almost a quarter of a century, titled ‘Arctic Moon’ via Metropolis Records. To achieve so much within a small repertoire of music is a monumental task in and of itself, but to become a part of music history and a source of influence for those who came after is the best definition of legacy in the making.
Lush guitars amid a strong set of backbeats with glimpses of orchestration and atmosphere that inspire as much as engulf, Chameleons let go of those inhibitions known as conformity and embrace the originality that birthed them in 1981.
‘Artic Moon’ is a glimpse of the different faces of Chameleons. Not in the historical sense, but in the context of the current creativity in the making. To be let in, you have to let go. This is not an album to simply listen to. There is enough of that signature sound for familiarity, but ‘Arctic Mon’ is the next leap in evolution for a band that still has blank pages left in the history book that is Chameleons.
About Chameleons & ‘Arctic Moon’
The legacy of Chameleons dates all the way back to 1981, when the band was discovered by the legendary BBC Radio host John Peel. Following their debut single “In Shreds” for Epic Records in 1982, the band released three seminal albums: the widely acclaimed Script of the Bridge (1983), cited by many sources to be a masterpiece way ahead of its time, and its follow-up, What Does Anything Mean? Basically! (1984) and, for the US-based Geffen Records, Strange Times (1986).
Their unique sound quickly captivated the public through their very own mix of melancholic, yet energetic and powerful tunes, hypnotic ethereal riffs, and the potent, timeless lyrical style. Chameleons are considered to be one of the most influential guitar bands of the 80s and 90s, contributing substantially to the post-punk, shoegaze, and indie scenes, and are often regarded as one of the most underrated bands ever to emerge from the city of Manchester, England.
Chameleons disbanded in 1987, only to re-emerge in 2000 with the independent release, Why Call It Anything, and toured widely across Europe and the United States. However, following the tragic death of their drummer, John Lever, and the departure of another founding member, guitarist Dave Fielding, the group disbanded once more. Chameleons reformed in 2021 with surviving founders and principal writers: guitarist Reg Smithies and bassist, vocalist & lyricist Vox, joined by guitarist Stephen Rice, Danny Ashberry on keyboards, and, on drums, Todd Demma.
Over the decades, the popularity and reputation of the band continued to grow, leading them to share the stage with the likes of U2, Killing Joke, Bauhaus, Simple Minds, Talk Talk, and The Cure, amongst others. Chameleons regard themselves primarily as a ‘live band’, which has earned the fans’ loyalty and respect for decades with their effortlessly intense and emotionally-charged performances. They have been touring extensively in the EU, UK, US, and as far abroad as Australia, South America, and China.
“We are thrilled to be working on our brand-new album titled Arctic Moon, coming out later this year. We’ve been working extremely hard, and we’re really proud of the results so far. We all feel it’s the best work we’ve done so far. Fans might have the chance to hear some of the new songs on the upcoming tour in the United States, Europe, Australia, and South America.”
Whitney Tai has today released her new album titled ‘American Wasteland’. Featuring musician, producer, and songwriter Tommy Hatz, Bassist Chuck Wright, and Multi-Instrumentalist Michael Rozon, this is an album that feels like a concept album, which tells a lucid tale woven into an intricate soundtrack. Conceptual for the intellectual. Smart at heart and young in eternity.
Starting with a track left of center, ‘Perfect Storm’ is that track that hits you with that first note. Not what you would expect for an album opener, but everything you demand from your next favorite album. Taking you into a different universe and straight into the title track. By this time, you don’t know what to expect, and you just let the music take the wheel and let that inhibition drop. Now your ears are open and you are listening and not hearing.
And that is the brilliance of ‘American Wasteland’. By the time it’s over, you feel different. Hopefully better, but definitely fulfilled. ‘American Wasteland’ is not a showcase for Whitney’s amazing vocals. It is a stage for a story that could be yours, yet relates to all.
About ‘American Wasteland’
Whitney teamed up with renowned photographer Joseph Cultice to create thought-provoking images on the eerie beauty of nature needing to reclaim the metropolitan decay for the rollout of American Wasteland. A sensual and haunting music video for one of the album’s recent singles, “Slumber Party,” which American Songwriter elaborates is, “releasing past trauma, grief and taking charge of one’s mind was part of the notion behind the second single”… “her lyrics are blueprints from principles in design and philosophy.”
In recent news, Tai has signed with powerhouse sync agency, Position Music. In June, a duet with South Africa’s leading Goth frontman, Ashton Nyte (The Awakening), and LA’s Beauty In Chaos on their song, “Made Of Rain” (Almost Acoustic Version) surfaced after several collabs with the LA collective. She has also proudly partnered with 1ShotEnergy to educate the public about vocal health and performance products.
“American Wasteland” combines various musical styles to create a unique and immersive listening experience. Her lyrics are seeds scattered across a barren earth, each word taking root in your mind and pushing through layers of doubt and pain. As the album progresses, these seedlings of resilience stretch skyward, unfurling leaves of understanding, transforming the wasteland into a vibrant ecosystem so that even the harshest environments can nurture the most beautiful metamorphoses.
The album features a special collaboration with Oaklands, Nahhdahh on track 6, as well as a reimagining of Alice In Chains’ 1992 song, “Brother” off the Sap EP featuring Jerry Cantrell’s right-hand pedal steel wizard, Michael Rozon. Rozon’s pedal steel work can be heard throughout the album, weaving the dreamy, open road into its eclectic pop-rock aesthetic.
About Whitney Tai
NYC born. Yonkuhz, in fact. Whitney Tai is a songwriter, vocalist, and poet. Her music is inspired by her passion for nature. A lover of dogs, cats, and cows, her music is an aural medicine, healing the emotionally and spiritually wounded. At age 7, her first live performance was the hit by 4 Non Blondes, “What’s Up?” with her father playing guitar. She studied at NYSID and worked in Architectural Design while writing and performing her music in NYC.
After moving to Los Angeles in 2018, Music Connection Magazine named Tai one of the best live bands in Los Angeles after signature performances at iconic Hollywood venues The Whiskey, The Viper Room, The Mint, and The Improv. She was also named Best Vocalist at the 2021 ICMA awards.
Tai has released two full albums, Apogee and Metamorphosis, both of which have a unique symphonic pop-rock sound. Her musical collaborations include several diverse projects, such as Beauty in Chaos, Julian Beeston, Brenda Carsey, Harry Vato, Sunfreakz, and multi-platinum artist Chuck Wright.
In 2023, Tai’s duo project, BLAKTAI, released a cover version of “All Night” by the band Low. After hearing the BLAKTAI version of “All Night”, Alan Sparhawk commented on the cover, “soars to new heights and horizons.”
2025 will see the release of her 3rd full-length album, American Wasteland. Tai wrote and recorded her forthcoming album between 2021 and 24. It was a tumultuous period in her life. She experienced the death of her father and the end of a long-term relationship. American Songwriter remarks on the album, “Tai creates a control tower for the soul.”
What is the Wasteland, you ask? It’s losing your mother when you’re 10 years old. It’s surviving the emotional paralysis of abuse and heartbreak. It’s a jaw-breaking bicycle ride. It’s economic, immoral, and political decay. It’s the exploitation of nature by placing a dollar sign on every tree. It’s human beings being reduced to a commodity. It’s a heartbeat under the pain that refuses to die. We are fatigued, but hopeful as Tai lifts the veil with American Wasteland.
SOURCE: Official Bio
About Tommy Hatz
Somehow, I manage to keep surviving. I see the world as a dark and unwelcoming place. A wasteland beyond arbitrary sovereign borders. But there is beauty and love to be found. I first found that love in music. I have more years to look back upon than life to look forward to, but music has always been there for me, and I expect it always will. While there are people in my life that I love very deeply and dearly, I believe that music is the reason that I survive.
During a particularly dark time in the world, Whitney and I found each other, and together we created what I believe to be a defining body of work. That goes beyond any words that I can say. Tommy Hatz (Tom Hatziemanouel) is a professional songwriter, producer, and musician. Best known as a long-time member of the band Professional Murder Music. Tom’s career began as a guitarist for Michael Graves’ first post-Misfits outing, “Graves”. He has also collaborated with artists such as Chuck Wright (Quiet Riot, Alice Cooper), Patrick Droney, and Jimmy Gnecco (Ours).
Grammy-nominated trumpeter, composer, and producer Theo Croker has released “My Friend” ft. IDK & Sector 202, the latest single from his forthcoming Dream Manifest (Deluxe), arriving October 24 via Dom Recs. The track arrives alongside a cinematic new video, spotlighting Croker’s ability to blur the lines between jazz, hip-hop, and electronic experimentation.
“My Friend” captures the collaborative energy at the core of Dream Manifest (Deluxe) — a bold expansion of Croker’s celebrated 2024 album. The new edition pushes his vision further into future-facing territory with fresh contributions from IDK, anaïs, Theophilus London, Nosajthing, Natureboy Flako, and more. Together, these voices deepen the record’s exploration of connection, chaos, and creativity across genres.
With Dream Manifest (Deluxe), Croker expands the album’s original sonic palette — where jazz, R&B, experimental hip-hop, and electronic textures converge — while amplifying his role as a bridge-builder between genres. “My Friend” offers the first glimpse into this evolution, pairing his horn-driven sound with IDK’s lyrical sharpness and Sector 202’s production firepower.
In addition to the upcoming Dream Manifest (Deluxe), Croker’s original album is now available for the first time on vinyl via Fat Beats, pressed on audiophile-quality 180g with exclusive color variants including Standard Black, a Fat Beats Exclusive White, and a Blue Tour Edition. Hailed by outlets like the Wall Street Journal, LA Times, and DownBeat for its fearless fusion of jazz, soul, electronica, and Afro-futurist storytelling, the vinyl edition offers fans a physical artifact of Croker’s boundary-pushing vision—an intentional, analog experience designed to elevate frequencies and move bodies.
Carter Vail has today released his new video for the track titled ‘Madeline’ via RCA Records. Shot from a world that lies somewhere between the Sun and Quentin Tarantino, ‘Madaline’ has that fresh sound that makes you instantly wonder, “Where the f*ck has that fresh sound been this summer?” Even if that is a stretch, it’s a valid one. This is one of those solid sleeper hits of the summer that stays with us until Christmas.
Carter takes all that makes a song work and mashes it together, builds a quirky character and an endearing video, with the help of a few friends, and makes something memorable. Fellow musicians, take note.
About ‘Madeline’
“Madeline” is Carter’s ode to 2010s indie pop — what he considers to be the “golden age” of the genre. It follows the groove-forward “Stunner” (Carter’s first release with RCA Records) from earlier this summer and a standout debut performance at Lollapalooza, which garnered attention from Rolling Stone and the Chicago Sun-Times.
This all comes on the heels of a banner year for Carter, from the viral success of the Bossa-nova-inspired absurdist bop “Dirt Man”, which garnered over 30M views across platforms and led to a combined audience of 2M followers on Instagram and TikTok, to the release of his sophomore LP 100 Cowboys.
The album was acclaimed by the New York Times, NPR Music, Hypebeast, Ones To Watch, and Rolling Stone, who praised his “airtight instrumentation and sharp melodies” that “have given him the reputation of creating bops out of thin air.” He also appeared on The Zach Sang Show and was praised by Apple Music’s Zane Lowe, who called him one of his “favorite new artists.”
Brocarde has today premiered her new video for her latest single titled ‘Feed My Soul’, featuring Ray Luzier (Korn, KXM), which drops tomorrow.
Haunting, dark, perverse, dystopian, and darkly passionate, the move is in the groove with a sweetly sick and vivid portrait of the world that is inhabited by nothing but Brocarde. The arrangement is as sick as it is heavy. But the real enticement is the originality. A solid groove metal base, building upon the poetic perverseness of what Brocarde’s music stands for: putting the power back into creativity.
Above all else, Brocarde has a way about her music that presents itself beyond what you hear. Almost like there is a movement involved. Roots grow. And, they spread.
About ‘Feed My Soul’
Produced by Chris Collier (Korn, Whitesnake, Mick Mars) and featuring Korn’s powerhouse drummer Ray Luzier, “Feed My Soul” dives deep into the torment and resilience born from toxic relationships. With soaring symphonic arrangements, dramatic shifts, and Brocarde’s raw, dynamic vocals, the track is both a lament and a battle cry.
“‘Feed My Soul’ is about toxic relationships—feeling trapped, stifled, and drained of your power. It’s defiant, sarcastic, and my fight song,” Brocarde explains. “We’ve all met people who hug you with one arm and punch you with the other—this song captures those emotions that can drive you to the edge.”
Ray Luzier recorded his drum parts remotely from Nashville while Brocarde tracked vocals in London and Collier mixed from Las Vegas—proving that even oceans apart, great art can ignite.
“I love Brocarde’s unique vocal style and vibe… she has mass aggression to sweetness and everything in between in her voice! The arrangements and theatrical segments make it a dynamic adventure to listen to. I see great things ahead for her!” Ray Luzier (Korn)
The video, filmed inside a haunted, abandoned hunting hotel in Germany’s Black Forest, heightens the song’s unsettling narrative. Surrounded by taxidermy trophies frozen in fear, Brocarde channels the feeling of being trapped in a power struggle.
“The haunted energy in that hotel—satanic remnants and restless souls—mirrored my own emotions,” she recalls. “Shooting there made reclaiming my power through this song even more visceral.”
Brocarde’s connection to Korn runs deep—she first collaborated with the band, providing the spoken-word intro for their Serenity of Summer Tour, later reconnecting with Luzier at Wacken Open Air Festival. This new single brings their paths full circle.
Already one of the UK’s most intriguing voices in symphonic and gothic metal, Brocarde’s previous single, “Haunted,” has amassed hundreds of thousands of streams and earned her praise. Her theatrical, macabre aesthetic and captivating live shows—equal parts concert and dark cabaret—continue to set her apart.
Beyond music, Brocarde is a paranormal investigator who has explored some of the world’s most haunted locations. These otherworldly encounters fuel her storytelling, blending horror cinema, gothic literature, and metal rebellion into a singular artistic vision.
With “Feed My Soul,” Brocarde solidifies her place as a boundary-pushing force in heavy music, marrying the spectral and the symphonic in a way only she can.
About Brocarde
A one-woman force of dark creativity, Brocarde is a symphonic metal artist and storyteller who weaves haunting aesthetics with passion-fueled lyrics and theatrical soundscapes. Blending influences from gothic literature to horror cinema, her work straddles the line between the ethereal and the macabre. Her artistry embodies the spectral and the symphonic — equal parts Edgar Allan Poe, Tim Burton, and modern metal rebellion.
Natalie Shay has today released her new single titled ‘Do u relate’. This is kind of a trip down memory lane for me. I did an audio interview with a 16-year-old Natalie way back in 2015. It was a different time, back then. And a different Natalie. It’s an awesome thing to see that Natalie is still thriving and to hear how she has evolved a decade later.
‘Do u relate’ is a solid evolution of an artist who has long ago found her sound and developed it into something as recognizable as it is original. Taken from life lessons learned and love lived and possibly lost. Poetry in motion and music in emotion, ‘Do u relate’ relates to everyone and takes a solid look at feelings of love, standing on that balancing line between fervor and futility.
Musically, the song is captivating to the ears as a memorable anthem amid the white noise that is the world of streaming. This stands out and moves forward. Inspiration as motivation. Addes bravado by the band and use of instrumentation, and a standout saxophone.
About Natalie Shay
Natalie Shay is a multi-award-winning indie-pop musician and singer-songwriter from North London. A lyrical storyteller, she has been playing guitar since childhood and writes about love, self-discovery, and the everyday experiences of being in your twenties, recently returning from a writing trip to Nashville. The critically acclaimed artist has drawn praise from notable publications, including Billboard, Clash, NOTION, Wonderland, and The Line of Best Fit, with strong support from BBC Radio 1’s Future Pop. Across her solo work and collaborations on dance tracks with artists such as Grum, Giuseppe Ottaviani, and Kryder, Natalie has amassed over 20 million streams to date.
Her new single, “Do u relate?”, is a bittersweet love song from the perspective of someone still living at home and ready to level up. “It couldn’t be more of a diary entry of my thoughts and emotions around that time,” Natalie shares. “I always write about things I feel, or from observing people close to me. I love to perform songs that tell the story of me… I just hope to be relatable and for people to be like, ‘oh yeah, I feel like that sometimes too.’”
Sonically, the track balances its reflective lyrics with playful melodies, fast-paced, sing-along vocals, and bright, feel-good instrumentation. With live room instrumentation from guitars to saxophone, Natalie explains, “I wanted it to capture that full band energy, and to be a standout moment in the live set.”
On stage, Natalie has sold out the prestigious Omeara and showcased at SXSW in Austin, Texas. In 2024, she supported Shania Twain at BST Hyde Park and joined Gavin DeGraw on his UK-wide O2 Academy tour, with her own biggest headline show to date on the horizon. Festival highlights this summer include Latitude and Isle of Wight, with previous appearances at Reading, Victorious, Y Not?, and 110 Above. Beyond the accolades, Natalie hopes her music encourages listeners to trust their own heart and head, feel seen through relatability, and, especially for the next generation of female singer-songwriter-guitarists, to start their own journey.
Alt.Metal powerhouse The Veer Union is sharing their new single & video for ‘Caught In The Crossfire’. The track is the 3rd single from the Vancouver, BC, Canada-based band’s upcoming album “Reinvention”, which is slated for release on February 20th, 2026, through Arising Empire.
“Caught In The Crossfire” is a sonic onslaught about the chaos of a relationship that’s constantly locked in battle. The song is driven by thunderous drums and staccato guitar riffs, with a mix of clean and roaring vocals that are supported by a very heavy yet melodic tone.
The Veer Union says, “We poured our rage and souls into ‘Caught in the Crossfire. It’s an assault that tears into the chaos of a relationship that always seems to be in confrontation. It’s about the brutal push-pull between love and hate, where our words turn to shrapnel, carving wounds that trap us in an endless war. The savage struggle to hold onto connection through relentless conflict is a raw, unyielding truth that countless people face every day”.
The video for “Caught In The Crossfire”, which was co-directed by Tim Neuhaus and TVU’s Crispin Earl & Ryan Ramsdell, was filmed in Vancouver, BC, and produced by the band and Julien Bouffard. The band explains the concept: “The video for ‘Caught In The Crossfire’ visually explores the emotional battlefield of a relationship — where love and resentment collide, and words become weapons. Instead of portraying a couple in a traditional argument, we chose to tell the story through the lens of war, both literally and metaphorically. Set against the backdrop of World War II, the video follows a soldier fighting overseas, while his wife waits at home. The letters he writes become a lifeline — a symbol of connection, struggle, and emotional survival. The combat scenes reflect the internal chaos and tension that can exist between two people”.
They continue, “The performance scenes were filmed in Stanley Park, Vancouver — our first time shooting outdoors in February. It was a rare sunny winter day, and while we’re proud of how it turned out, we’re not in a rush to brave that kind of cold again!”
About The Veer Union
Known for their hard-driving riffs and lyrics that delve into relatable emotions, The Veer Union is a Vancouver, BC, Canada Hard Rock/Alt. Metal band that released their 1st album independently in 2006. They landed a record deal with Universal Records USA in 2008 and garnered their 1st Top 10 Active Rock Radio Single with their critically acclaimed song “Seasons” in the US and Canada. Since then, The Veer Union has amassed 360,000+ social media followers and has collectively sold over 225,000 Albums and has more than 190 Million Streams Worldwide. They have achieved 12 Top 40 Singles on the Billboard Rock Radio Charts, and have 10 million+ cumulative video views on YouTube. The band has formed an exciting new partnership with independent label Arising Empire, which will take the band to new heights. Their first album with the label, “Reinvention”, will be released on February 20th, 2026.
The Veer Union is a well-established road warrior with a well-earned reputation for their dynamic live shows, averaging 100 live dates per year. They’ve toured with RED, Puddle Of Mudd, The Red Jumpsuit Apparatus, Hinder, Saliva, and Alesana, among others.
Ashes and Diamonds have today released their new single titled ‘Setting Yourself Up For Love’, from their upcoming album ‘Are Forever’, dropping October 31st via Cleopatra Records.
That bravado and swagger in Daniel Ash’s vocals have never let me down. And, here it is, weathered, worn, and wonderful in all of its glory. Driven by eternal youth and staggered by the weight of experience. While Ashes and Diamonds is contrived by royalty from the underground, there is an eternal freshness here.
‘Setting Yourself Up For Love’ is a track that captivates your ears and causes you to listen from start to finish. The transition from the verse-chorus-verse to the breakdown is as subtle as it is amazing. The beginning and the end sound almost like two different songs, but it works.
‘Setting Yourself Up For Love’ is an anthem for the underachievers and a relief from the overbearing.
About Setting Yourself Up For Love’ & & ‘Are Forever’
“I love the way this one builds and builds,” says guitarist/vocalist Daniel Ash of “Setting Yourself Up For Love,” the new scorching single from powerhouse trio Ashes And Diamonds. The follow-up to the critically hailed initial track “On A Rocka” from their upcoming debut album ‘Ashes and Diamonds are Forever’, “Setting Yourself Up For Love” eases up on the gas pedal at the onset, only to build up in momentum. “It occurred to us that we should put something out for the second single that was more in the way of a real song as opposed to a stomping groove that was ‘On A Rocka,’ showing that we are not a one-trick pony. Haha!”
With the reverb set to eleven and drummer Bruce Smith maintaining a momentum-building beat and Paul Spencer Denham’s bass propelling the motion forward, Daniel’s vocals and thick guitars weave through the song like a motorcycle through traffic. “Bruce had this killa loop that I could listen to all day,” adds Paul. “It was fierce. It seemed to me the loop just needed something real low and gritty. I played F and hit the strings really hard, and we put a ‘rat’ (it’s a foot pedal I like to use on it for extra growl). And I just stayed on that one note for the whole song! Keep it simple, stupid!”
“This song started with an idea that I sent to Daniel,” explains Bruce. “It was just the synth part and the drums. He took it and wrote the song, only adding the chord changes at the end. What he came up with was not what I expected at all! The beauty of Daniel’s writing!”
The collective admiration that each of the three storied musicians has for each other’s talents is the glue that binds them together. Bringing the strength of past histories and giving it their all (Daniel – Bauhaus, Love And Rockets, Tones on Tail, Bruce – Public Image Ltd., The Pop Group, Paul – Sade, Sweetback), Ashes And Diamonds is the culmination of three different musical pinnacles, combining forces in a fascinating intersection of creativity.
“Ashes And Diamonds is the sound of three people being honest,” says Paul. “We’ve all been around the block a few times, and I hope some young kids hear this and wanna go smash down some walls, throw bricks, and be inspired like we were when we were young!” Adds Bruce, “That’s what experience gives you,,, the ability to play only what the song needs.”
Ashes and Diamonds Are Forever marinated for a handful of years before being ready for release this Fall. With its beginnings pre-COVID, when Paul’s wife, Kim, suggested to him and Daniel that Bruce would be a killer drummer, the three musicians wrote and collaborated in the studio and remotely for years. Eventually, the three rejoined in person to record the album in Los Angeles. Holed up for ten days with engineer Robert Adam Stevenson (Queens of the Stone Age, Jane’s Addiction, The Kills), they recorded and mixed 12 songs, banging it old school. What they ended up with is a chef d’oeuvre, each song bubbling with potent anticipation and erupting with adrenaline, fortified by each band member’s notable histories. “This album has been in the making for about seven years,” says Daniel. “It should have been seven months tops, but because of Covid and the three of us being perfectionists…” he trails off with a laugh.
‘Are Forever’ tracklist
‘Are Forever’ cover.
Hollywood
Teenage Robots
On A Rocka
ON
Boy Or Girl
The A Listers
Plastic Fantastic
Ice Queen
Setting Yourself Up For Love
Alien Love
Champagne Charlie
2020
About Ashes and Diamonds
While their originating bands seem miles apart genre-wise, their singular focus is creating tenaciously infectious songs, adhering to the brain like taffy to teeth, and musically adept and highly skilled. Beginning pre-COVID and developed since then, ‘Are Forever’ is an album carefully built and heavily curated. “The first few songs we wrote in the studio together, but then Covid landed, so several songs were written long distance,” explains Bruce about the songs that took a few years to complete. Eventually split by geography when Paul departed Los Angeles for the U.K. and Bruce for Vermont during lockdown, writing for the album was completed virtually, with each band member emailing their ideas to each other.
Further explains Paul, “We taped what we had done in LA in the early days, and then went away with it. Bruce put some beats down, I played bass, and we sent what we had done to Daniel.” Meanwhile, Daniel adds, “I use newspaper headlines as a starting point for my lyrics, so by the end of the first day, there were clippings all over the floor… and the rest is history.”
Eventually, the three rejoined in person to record the album in Los Angeles. Holed up for ten days with engineer Robert Adam Stevenson (Queens of the Stone Age, Jane’s Addiction, The Kills), they recorded and mixed 12 songs, banging it old school. What they ended up with is a chef d’oeuvre, each song bubbling with potent anticipation and erupting with adrenaline, fortified by each band member’s notable histories.
“For me, it’s been one of the most fulfilling recordings I’ve ever been involved in… and I’ve made a lot,” says Bruce. “The songs are realized, the production is dope with no tracks you wanna skip over.”
“I am incredibly proud of what we have done,” continues Paul. “When we first got together, we didn’t know if it was going to work out, and we had to see if things gelled, but working together was a breeze! I’m a big fan of Bruce and Daniel. They are both exceptional musicians, but in a rather non-musical way. They always play things that surprise me, and I find that exciting.”
“It took seven years instead of seven months to finish,” reflects Daniel about the lengthy gestation of this band, which all three are extremely proud of. Like the time it takes for coal to turn to crystalize, …Are Forever may have taken a while to develop, but finding a diamond amongst ashes is a great find indeed.
The single “On A Rocka” is available through DSPs today. The album Ashes And Diamonds Are Forever will be released via Cleopatra Records on October 31, 2025, and was produced by Ashes And Diamonds with some co-production by James Salter and Joe Dexter. It was mixed, engineered with additional production by Robert Adam Stevenson.
Ashes And Diamonds are:
Daniel Ash – Lead Vocals / Guitars / E-Bow / Saxophone
A founding member of Bauhaus, Tones on Tail, and Love and Rockets. Daniel brings his signature post-punk, glam, and experimental style to Ashes and Diamonds.
Bruce Smith – Drums / Programming / Backing Vocals
A veteran of Public Image Ltd and The Pop Group, Bruce contributes textured percussion and atmospheric electronics, balancing the band’s classic roots with an experimental edge.
Paul Spencer Denman – Bass / Backing Vocals
Best known as the bassist for Sade and Sweetback. Paul delivers smooth, rhythmic low-end that anchors the band’s cinematic feel.
Self-described “genre-fluid” artist Jean Caffeine unveils her new album, Generation Jean, on the Austin-based Flak Records. Across its 10 tracks, Jean shows off her sharp wit and songwriting skills as the album slides between retro pop, Americana, punk-tinged blues, power pop, and art rock.
If there’s a theme that ties the album together it’s feels and moods: The exuberance and limerence of love on “Love What is it?,” the loneliness and isolation of “Another Crying Christmas,” the irritation and exasperation of “You’re Fine,” the sadness of “I Always Cry on Thursday.”
Side A delivers the earworms (“I Know You Know I Know,” “Love What is it?”), while Side B brings the bite with “Another Crying Christmas,” the PSA-with-teeth “Mammogram,” the catchy but irreverent “I Don’t Want to Kill You Anymore” and the edgy art rocker “You’re Fine.”
Just when you expect Jean to roll out another pop-rock or punk-pop earworm, she surprises you with her attitudinal lead single, “You’re Fine,” which is like nothing else in her catalog.
“You’re Fine” mashes up new wave, no-wave, and Art-rock. With a sparse, low groove, it conjures up early Talking Heads and Brian Eno and then takes a turn and sounds like it’d fit on a playlist with Lydia Lunch, Richard Hell, and the Voidoids. Initially, minimalist and groove-based, the song mutates into a maximalist, Sparks-meets-Queen crescendo – all in protest of the phrase that irritates her the most, “You’re Fine.”
“So often ‘you’re fine’ is delivered with spectacular indifference by a barista or someone I’ve accidentally and clumsily bumped into,” Jean elaborates. “Even though they are saying, ‘you’re fine,’ it feels judgey and dismissive. When you say, ‘you’re fine,’ you are saying that someone is just adequate. Surely I am better (or worse) than adequate! This song is a (jokey) protest to all the ‘you’re fine-ing’ going on out there in the world.”
Recorded with longtime collaborator Lars Göransson (Sounds Outrageous Studio, Austin), the track brims with sonic Easter eggs – a banged frying pan, a mouth-made synth riff run through vocoder, a fake phone sound, wah-wah guitar, and a metal guitar riff that crashes in for the finale. Frequent co-conspirators Josh Robins (Invincible Czars), Jon Notarthomas, (Ian McGlagan, Rubilators) Shannon Rierson (Utley 3 and Flak Records head honcho), and drummer Zack Humphrey (Megafauna) all leave fingerprints on the song’s shapeshifting arrangement.
Logan Taylor emerges with her long-awaited debut album ‘Light Me Up’ — a record that distills over a decade of songwriting into 12 tracks of vulnerability, resilience, and unflinching honesty. Blending Americana, indie rock, folk, and pop, Taylor’s sound is at once genre-defying and deeply rooted in lyrical storytelling, drawing listeners into a sonic world that feels not just written, but lived.
With more than a million streams across her early singles and coverage from outlets including CLASH, EARMILK, and Notion — all achieved independently — Logan has already established herself as a rising voice whose music resonates far beyond boundaries. The release of ‘Light Me Up’ cements her as an artist capable of balancing raw emotion with magnetic energy, weaving heartbreak, self-discovery, and the tension of holding on versus letting go into a cohesive, cathartic body of work.
Lead single “Electric Heart” sets the tone — a driving, pop-infused anthem that channels the bold edge of The Pretenders with the expansive, emotional pull of Angel Olsen, while carrying Taylor’s unmistakably distinct vocal presence. Elsewhere, tracks like “White Wolf” brood with darker Americana grit, “Tequila Sunrise” burns with cinematic intensity, and “Dreams” rises as a sweeping ballad of memory and longing, underscoring the emotional breadth that makes the record so compelling.
Backed by years of honing her craft in the studio and on stage, Logan has developed a reputation for intimate, captivating performances that highlight her gift for storytelling. Her ability to connect with audiences mirrors the emotional pull of her recordings. She not only delivers on the promise of her earlier singles but also lays the foundation for an exciting new chapter — one that positions her as a bold and authentic artist in today’s alt-Americana landscape.
With its sweeping textures and genre-blurring sound, ‘Light Me Up’ is the record that marks Logan Taylor’s arrival and her readiness to step onto a bigger stage. Fans of Americana, indie, and alt-leaning pop-rock alike will find something to hold onto as she steps into the spotlight with a sound that is wholly her own.
Q&A
What was the process of this album like, having been written over the course of a decade?
I wrote most of the album in two waves. After writing the title track and three others in a short burst, I realized I had the foundation of a record. Then, about three years later, after more life had happened, I wrote the bulk of the rest within another concentrated period of time. Once the songs were nearly there, I demoed several and shaped a lot of the direction you hear now. From there, it was a long process of refining, recording slowly, and making small tweaks right up until the very end.
You blend a lot of different sounds together. Is there one that is your favorite?
I’ve always loved a wide range of sounds, but the more atmospheric tracks like Anna and Dreams are especially close to me. I love songs that feel haunted, that almost play like a dream.
Your voice sounds great on “Electric Heart.” What is your process like in the studio for vocals?
I’ll usually do a quick warmup, but honestly, I don’t have much of a set process. I had limited time to record vocals for each track, so my focus was on channeling the emotion and getting back into the headspace I was in when I first wrote the song. That’s what kept the vocals full of feeling.
The lyrics throughout are very cathartic and personal. Do you draw from real-life experiences, or do you sing from the POV of a character sometimes?
A lot of my songs sit somewhere between the two. They’re rooted in my real life, but I don’t write like I’m journaling. I’m more focused on capturing what the song itself is trying to say — sometimes that overlaps completely with my own experience, and other times it bends toward imagination or storytelling.
What upcoming shows do you have to celebrate this new release?
Right now my focus has been on the rollout itself, but I’ll have show announcements coming soon. I’m really looking forward to bringing these songs to life in live shows.
Is there anything we didn’t touch upon that you’d like to mention?
Just that I’m grateful for anyone taking the time to listen to Light Me Up. This album has been with me for so long, and finally letting it go feels surreal in the best way. I’m excited for what’s next.
Pacific Northwest-based Americana duo Duke & Goldie return with “West End Queen (Abattoir)” – a free-spirited, heartfelt track inspired by the chaotic beauty of life in one’s early twenties. Blending warm folk storytelling with a mystical country twang, the single celebrates resilience, self-worth, and the power of community that uplifts us.
“I was living in Montreal, then Toronto, when I met Eric ‘the Duke’ Duquette – figuring out life as a young woman trying to build a stronger sense of self, community, and independence,” says Jena “Goldie” Gogo. “The verses reflect on my own life experiences and meeting Eric as he was also coming of age. The choruses feel like I’m looking back and singing to my friends from that time, as much as to a younger version of myself. It was a time of searching for purpose while also navigating love and desire.”
The song’s original working title, “Abattoir” (French for slaughterhouse), was meant to capture the emotional intensity of those years, but ultimately “West End Queen” won out, in tribute to the vibrant Toronto neighborhood and chosen family that inspired the song’s heart: “It’s a great way to describe how powerful it felt to realize you can lift others who might be struggling to see themselves the way you see them and, likewise, lift yourself.”
Recorded with acclaimed producer Erik P. H Nielsen (City and Colour, Blue Moon Marquee), who also mixed and played bass, alongside musicians Scott Smith, Darryl Havers, and Leon Power, “West End Queen (Abattoir)” almost didn’t make it onto the record. “We weren’t sure it would cut the other tunes we were ready to record with our limited studio time,” Goldie admits. “But when we mentioned maybe not recording it, everyone in the room said, ‘What do you mean we might not do this one? It’s way too fun not to!”
With its mix of nostalgia, humor, and emotional depth, “West End Queen (Abattoir)” encapsulates Duke & Goldie’s signature sound – heartfelt, community-rooted, and impossible not to sing along to.
“This song makes me laugh – thinking back to those early days of partying every night and curing hangovers with a little hair of the dog,” says Goldie. “It reminds me of that chaotic, beautiful time, and makes me want to take even better care of myself, my friends, and my community – looking out for everyone and each other.”
Duke & Goldie’s sophomore EP, Romance and Ramblin’, will be released on November 7th, 2025, and is produced by Erik P.H. Nielsen.
About Duke & Goldie
Vancouver-based duo Duke & Goldie blends the soul of warm folk storytelling with an upbeat, mystical country twang. The musical partnership of Jena “Goldie” Gogo and Eric “The Duke” Duquette—both seasoned members of the roots rock band Blue Sky Miners—has given birth to a sound that feels both timeless and refreshingly new. Often described as a revival of the sun-kissed Laurel Canyon vibes of the ‘60s and ‘70s, their music invites listeners to journey through heartland stories and wide-open landscapes.
Their debut EP, Duke & Goldie (2023), has garnered rave reviews, with Canadian Beats calling it “A masterpiece that skilfully balances folk and country elements while showcasing the duo’s exceptional vocal abilities.” The album quickly found its way onto the airwaves of CBC, College Radio, and even the BBC, earning recognition for its roots yet forward-thinking sound.
On stage, Duke & Goldie weave cascading harmonies over acoustic guitar-laden arrangements, bringing stories to life that travel from the towering Rocky Mountains to the quiet mystery of remote deserts. They explore the complexity of their roles as modern-day settlers, grappling with identity, place, and purpose in the beautiful land they call home. But it’s their magnetic on-stage chemistry—playful yet deeply connected—that truly hooks audiences, making every performance feel like an intimate invitation into their special world.
Duke & Goldie are gearing up to release their new album in fall 2025, produced by acclaimed producer Erik Nielsen (known for his work with City and Colour and Blue Moon Marquee).
Ola Englund has released his new video for the track titled ‘Guillotine’. Electronica, EDM, and electric guitar fuse and form into a bent djent cacophony meant for the masses that conspired the muses. Seamless fusion of genres and styles becomes both discordant and fused to that spiritual gasoline that makes the best minds run.
I’ve long been a fan of Ola’s, and even own one of his guitars, so to watch this while knowing that this is a person who creates music not only via his heart and fingers but with his mind and madness with the actual instruments seems a bit bending to me, but shows the sheer originality and creativity that has no bounds.
Now ask yourself, will this chug?
About ‘The Guillotine’
Written and performed by Englund, “The Guillotine” delivers his trademark mix of razor-sharp riffing and bone-crushing groove. Mixed by Ermin Hamidovic and paired with a striking music video directed by Jason McNamara, the track showcases Englund at the top of his creative game. Exclusive digital downloads are available HERE.
With the release of “The Guillotine” and Solar’s bold step into the traveler/headless market, Ola Englund continues to cement his reputation as both a crushing metal guitarist and an innovative force in modern gear design.
“I’ve always wanted to have a travel-friendly guitar — something I can easily bring with me when I’m on tour or moving between the studio and home. The H2.6C and H2.7C are exactly that, and I’m proud we’re finally releasing them.” Ola Englund
About Ola Englund
Ola Englund is a Swedish guitarist, producer, Internet personality, and founder of Solar Guitars. He’s known for his work with bands such as The Haunted and Feared, as well as his own solo career. He has also played in the bands Six Feet Under, Scarpoint, and Sorcerer.
Born on September 27th, 1981, in Stockholm, Sweden, Ola began playing guitar at a young age and quickly developed a passion for heavy metal music.
In 2007, Ola formed the melodic death metal band, Feared as the lead guitarist and primary songwriter.
The band has released several albums, including “Vinter” (2013), “Furor Incarnatus” (2015), and “Svart” (2017), which showcase Ola’s distinctive guitar playing and songwriting abilities.
In addition to his work with Feared, Ola is also known for his solo instrumental work, where he showcases his technical prowess and versatility as a guitarist. He has released several solo albums, including ”Master of the Universe” (2019) and ”Starzinger” (2021), which feature his signature heavy metal style and lead work.
Beyond his musical career, Ola has also become a popular figure in the online guitar community. He runs a successful YouTube channel, where he provides guitar lessons, gear reviews, and shares his experiences as a professional musician.
Ola’s engaging personality, combined with his extensive knowledge of the guitar, has earned him a loyal following of fans worldwide.
With his impressive musical abilities, engaging online presence, and tireless work ethic, Ola Englund has become a respected figure in the world of heavy metal music and a beloved personality in the guitar community.
It’s Karma It’s Cool has dropped their new video for the single titled ‘Goliath’, from their upcoming album ‘One Million Suburban Sunsets’, dropping soon.
A lucid combination of gainy and gritty guitar rock with an anthemic and somewhat nostalgic lyrical adventure combines to give ‘Goliath’ a storytelling perspective with an old-school guitar rock stomp à la the great indie bands of old. Taking into account the journey It’s Karma It’s Cool has taken so far, as well as their combined musical history, this is hardly a surprise. This is rock and pop and anything else you can throw into a garage band, with inspiration and aspiration pouring from every vein, and it can be accomplished. This is what indie should be.
About It’s Karma It’s Cool
They flit between melodic power punk-pop and indie rock rarely seen this side of the Atlantic as they create their mesmerizing brand of music which seems to melt a heavenly pot of genre-defining acts like Weezer, Green Day, REM, Pearl Jam, They Might Be Giants and even hints of The Allman Brothers into a cauldron of something unique which results in the band It’s Karma It’s Cool.
It could, of course, be one big hot mess. Still, these guys are seasoned pros delivering something incredibly triumphant, leaving the listener keen to stamp them with the time-honoured reward of ‘new favourite band’ at a time when lyrical music heroes are needed more than ever before.
Blood Handsome is the project of Gerren Reach, based in Los Angeles, California. Formed in 2014, he has forged a path of his own since debuting, creating a cult following of listeners from playing festival stages, after-hours events, and DJ nights worldwide. Now joined by NYC-based DJ and producer Mark Cage in the live lineup, their performances have become known for being both high-energy and entrancing.
Having extensively toured the US and Europe, they’ve shared the stage with acts like Kontravoid, Buzz Kull, The Soft Moon, Harsh Symmetry, Twin Tribes, Spike Hellis, and more. The 2022 album A New Calm solidified Blood Handsome’s stamp on the darkwave genre. The new release, Nostalgia Hold on, from Los Angeles-based label Strict Tempo, is highly anticipated as the band’s first new work in three years.
From the beautiful tapestry of Southern California comes the most explosive and diverse rock band known as Kings Of Karma. Combining styles ranging from Led Zeppelin to The Black Crowes, Kings Of Karma is conceived as an outlet of expression for musical freedom. multi-instrumentalists, songwriters, and composers unite into a tasteful modern vintage soul approach on the Blues and Rock’ n’ Roll.
Known for her open-hearted songwriting and catchy melodies, “involuntary twee” singer-songwriter Julia Jade emerges with her (extra)ordinary EP, an expanded collection including previously released singles “missin’ out” and title track “(extra)ordinary.” Exploring all of the awkwardness of growing up and the challenges and feats of living authentically, this seven-track project is an introspective and empowering record with Julia Jade’s signature theatrical finesse. (extra)ordinary is out now on digital streaming platforms worldwide.
Featuring vocals and piano by Julia Jade throughout the EP, (extra)ordinary chronicles the changing perspectives, fears, and goals shaping her outlook on life today over the past 10 years. From first relationships to favorite movies, (extra)ordinary is described by Julia Jade as “a time capsule and an embodiment of my definition of love and my philosophy around life and how it has evolved over the course of the last 10 years.” The EP opens with “Nobody Knows,” where Julia Jade’s cinematic vocals meet an isolated piano, capturing a message of certainty in moments of loneliness and solitude. “‘nobody knows’ is the adult introvert in me that has become at peace with being misunderstood by some, knowing that I am understood by those who matter to me,” explains Julia Jade. Following is “(extra)ordinary,” a sentimental yet grounded reflection on love that doesn’t need to be new and shiny to be, well, extraordinary.
Released alongside a The Office-inspired music video in late 2024, the track features strings by Oleh Mytrofanov, mixing by Brad Fillatre, and mastering by Stephen Trischitta. Its upbeat arrangements and feel-good melodies showcase the larger, buoyant sound of the record. The previously released “missin’ out” comes next, a song Julia Jade wrote at 19 while feeling both awe-inspired and overwhelmed, shaping it around how self-doubt can push you toward greater heights. “Not Optimistic,” featuring additional vocals by Daniel Markus, channels the eagerness and thrill of first loves, focused on the wide-eyed girl Julia Jade was in her first relationship. “ex’s bday,” with guitar and bass by Ivan Krnic and drums by Shannon McArthur, reflects on past experiences—keeping the good, leaving the bad—delivered with Julia Jade’s signature witty edge. “let’s call this what it is (live)” follows, a track she calls her “magnum opus,” explaining it as “the evolution of a relationship that could have been if I had refused to notice what was wrong.” Closing the album is “xoxo charlie,” an instrumental outro with Sufjan Stevens–esque cinematic layering of piano, violin, cello, and clarinet. “‘xoxo, charlie’ is the soundtrack in my head and heart that plays when I think about how pure it is to come of age, to know people, and to get to live this wild and precious life,” says Julia Jade.
Born and raised in a music and comedy-filled home in LA, Julia Jade was immersed in creativity and entertainment from a young age. Channeling the indie and twee pop of the early 2000s and 2010s, she draws comparisons to artists like Ingrid Michaelson, Rilo Kiley, and Bo Burnham, while infusing her work with modern flair and a background in musical theater. Skipping the 11th grade to attend Berklee College of Music after auditioning with her original song “February Flowers,” she honed her distinctive balance of alt-pop sensibilities, theatrical storytelling, and authentically quirky charm.
Her music has been touted by press outlets like Earmilk, Buzzbands LA, and LGBTQ Music Chart. Beyond her solo work, she created and continues to produce and headline the bi-monthly pajama-themed music series Slumber Party Sessions at The Hotel Cafe in Hollywood, underscoring her commitment to inclusion, community, and celebrating individuality.
About Julia Jade
Julia Jade is an LA-based singer-songwriter known for her heartfelt lyrics and catchy melodies. Having lived in the music scenes of Boston, Nashville, and Los Angeles, Julia brings a unique blend of storytelling and musicality to the indie pop genre. A graduate of Berklee College of Music, Julia crafts songs that give voice to universal truths and resonate deeply with her fans. Often drawing comparisons to artists like Ingrid Michaelson, Rilo Kiley, Regina Spektor, The Weepies, and even Bo Burnham, she weaves a tapestry of love, loss, friendship, and simple joys that reflect her beliefs, passions, and humor, from pop culture to social justice. Her latest release, “extra(ordinary)” is a meditation on how the little drudgeries of life (sitting in traffic, going to the DMV, doing taxes!) become magical experiences when shared with someone you truly love. The accompanying music video is an homage to the Jim + Pam relationship from “The Office,” replete with nods and Easter Eggs that Office fans love.
Beyond her solo work, Julia also curates and headlines the popular, bi-monthly, pajama-themed music series, “Slumber Party Sessions,” at The Hotel Cafe in Hollywood, which has become a staple of Hollywood nightlife three years running. With a mantra of, “you’re always invited,” the series encourages a come-one, come-all vibe of intimacy, inclusion, and connection between artists and audiences.
Benya Stewart has today released his new album titled ‘About Oblivion’. Having spent much of his recent past in Ukraine and seeing firsthand some of the things that have been going on there, Benya takes inspiration into motion in his evolution of revolution with ten songs of resilience and the importance of music to both the mind and the spirit.
There is no way I can accurately or effectively write about the war in Ukraine. I’m as distant in experience as I am in mileage. I’ve heard from people who write better than I that our best selves are found at the edge of the abyss. To say the Ukrainians are heroes is something not only always said but also can’t be said enough. Based on that, I feel that ‘About Oblivion’ is a set of ten timestamps. Moments in time lived, learned, loved, lost, and sometimes, left. Benya feels like the perfect person to convey what is being conveyed in ‘About Oblivion’.
“Something I’ve learned during my time in Ukraine is that music, and the arts generally, are anything but trivial. Anyone who thinks so has not been subjected to tragedy. In times of war, music can function like the backbone of the people’s spirit; I see this reality every day. I’ve never experienced so many powerful moments of groups of friends and strangers joined together in song. Through this strange time and place, I have received the unspeakably strong insight that music is an indispensable tool for the survival of a soul in duress.
“About Oblivion” is a snapshot of the last year and a half of exploring Ukraine together, seeing the grief and challenge and richness and connection with people of all stripes who live in the shadow of war. It is a snapshot of our lives as artists making art, despite air alarms, drone and missile attacks, and the loss of so much precious life.” Benya Stewart
About Benya Stewart
My name is Benya Stewart, and I’m a singer/songwriter from the hills of southeastern Ohio. In a strange twist of fate, I found myself pulled towards Ukraine several years before Russia’s full-scale invasion. Now I’ve wound up living in Kyiv, working as a teacher for two years now, and building a musical career across the pond.
The new album “About Oblivion” will capture a lot of the energy that has been swirling about these last few years: it’s about love lost, the grief and cruelty of war, and an attempt to maintain some humanity in a world hellbent on depriving us of it.
“About Oblivion” is the first release from me and my partner, Olha Sterneichuk. Olha, or “Helga Stern,” as is her online moniker, is a Ukrainian folk singer from a small town located between Kyiv and Odesa. The land down there is a bit like the American Great Plains—rich and fertile, but very quiet, and the flatness stretches on for what seems like an eternity. She grew up singing with her grandmother in a church setting, and singing has provided her a lot of comfort and refuge over the course of her life.
To me, our sound falls into the category of indie-folk. In many ways, it is a classic, timeless sound: male and female vocals mixing over the top of an acoustic guitar, and a cello filling in the voids with a rich wash of emotion. We have attempted to create something graceful and sensitive, made with careful attention to detail tempered by a desire for something raw and unfiltered.
Our duo has been very influenced by the fact that we’ve already performed all over Ukraine, at small festivals, at mental health retreats, at bars and restaurants, at residency centers in the mountains, and even in the south and east, closer to active combat, where we’ve performed for kids in shelters and for recovering veterans.
About Oblivion features the boundless creativity of Volo Bedzvin, a cellist based in Lviv, Ukraine. Volo works as a studio musician for many different groups and singers, and is himself a songwriter and composer, and audio engineer to boot.
I’ve been performing with Volo ever since my first trip to Lviv in January 2020. He is an incredibly intuitive musician and artist, and his cello feels more like a third voice than a second instrument. While he’s not a permanent member of our band, given certain technical difficulties of living in different cities, he’s an integral part of our musical life and project, and we are so lucky that he joined us for this project.
The seed of all this was to give myself time and space to explore my own songwriting, and to build up my own repertoire of folk and original songs. After many years of performing in different folk bands and collaborations (Hill Spirits, Chivalrous Crickets, and the Sandy Tar Stringband), moving to Kyiv gave me a great opportunity to explore solo performance. And, in so doing, I began to receive great feedback—at least enough to encourage myself to dust off some of my songs that had been waiting for their time.
But performing with others—the interaction between two or more creative minds—this is really the special magic to me, and something to which I’m happily addicted. Even though there’s something beautiful and pragmatic about the life of a solo musician, it felt lonely and exposed. I wanted to find someone I could sing with, someone with whom I could craft intricate harmonies and sing with both power and sensitivity.
Our story is that we met at a traditional singing event here in Ukraine, in the Poltava region east of Kyiv. Ukrainians have an incredibly rich tradition of folk singing, and our shared passion for this ancient, precious repertoire is something that connected us immediately.
At the root of our sound is the merging and mixture of two very different traditions: those of the Appalachian foothills and the central plains of Ukraine. We both came to our own traditions pretty late—just as we were turning 20 or so—so we both had already been steeping in other sorts of sounds.
Since beginning the project, Olha and I have gone on nearly thirty small tours around Ukraine. We have a ritual of walking twenty minutes to the train station from our apartment, sometimes at the crack of dawn, sometimes late at night, to catch a sleeper train.
Last June, we went on a weeklong tour of de-occupied Ukraine, meaning the region that Russian troops were fully expelled from in the summer of 2023. The people there are still recovering, of course, and the land and villages are all deeply wounded. We organized the whole tour in partnership with a non-profit based in Kharkiv, and brought along an up-and-coming Ukrainian band called Pyrig I Batig. Together we went on a “de-occupation tour” of this region, performing for the civilians in small towns, and sharing many hugs and tears. Benya Stewart
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