“An introspective view on shame,” was how we described ‘Wave’ from Annie Schultz‘s It Bends Until It Breaks, released via Trailing Twelve Records back in 2023. A song which paired Catholic guilt with a more ecstatic aspect of religious imagery to rise through darkness towards something almost triumphant. Now Schultz is back with ‘MIS’, a similarly evocative track that picks through self-destructive tendencies in something like a lament, swapping guitar for organ to further amplify the sorrowful atmosphere of the Minneapolis-based songwriter’s work. “With ‘MIS,’ I wanted to move away from the guitar-based formula I’m used to,” as Schultz explains. “I filled the song out with Casio organ patches, layered harmonies, and a double bass arrangement, which I later realized was a subconscious influence from songs like ‘Oh Well, OK’ by Elliott Smith.”

‘MIS’ is out now via Trailing Twelve Records and available from the usual places.

Bleary – bug

If Bleary‘s new single ‘bug’ seems to carry a notable sense of depth, then it is with good reason. Featuring on the Nashville group’s full-length Little Brain, coming this May via yk records, the track is part of a larger body of work that was first developed prior to the pandemic. Callan Dwan, Peter Mercer, Taro Yamazaki and Luke Fedorko pushed these songs further in their home studio during lockdowns, before taking them to Joshua Ditty and Mike Purcell to record them in their final, sumptuous form. As ‘bug’ attests, this long gestation period bears real fruit. The Bleary sound packs an emotional punch with its combination of soaring energy and considerable heft. A wall of sound in the truest sense, yet one which boosts the listener up so that they might see further over its height.

Exam Season – Dreaming of a Dog

Ringwood indie pop band Exam Season formed in 2016 and, despite releasing a series of singles and EPs, have never put out a full-length record. That is, until now. The four-piece, Ed Watson (guitar/vocals), Jack Laurilla (guitar), Louis Kneale (bass) and Toby Matthews (drums), have unveiled their first new song in over five years, and with it the promise of a debut record sometime in 2026. You will have to be patient for news on the record, but single ‘Dreaming of a Dog’ should tide you over just fine. It’s a love song, though not exactly a saccharine one. Instead the narrator addresses his significant other and their lives together with all the imperfections left in. “We’re two shards of glass, with a key piece missing,” as he puts it in the final line, “We both feel like dying and that’s what keeps us living.”

The Foot & Leg Clinic – Where did all the fruit go?

Glasgow-based self-described ‘wonk-rockers’ The Foot & Leg Clinic (FKA The Wife Guys of Reddit) are gearing up to release new album Sit Down for Rock and Roll via Bingo Records next month, and the album promises to be something of an inflection point for the band. After a difficult few years of illness, bereavement and general unpleasantness, the quartet (Niamh R MacPhail, Arion Xenos, Angus Fernie and Elise Atkinson) saw the opportunity to re-examine their methods of working and lean into the constraints brought about by change. “We were kind of forced to work at a slower pace, but probably for the better of the final product,” MacPhail explains. And Xenos agrees: “It still feels eclectic, but it’s a little bit more focused. We definitely thought about this as an album project when working on it, as opposed to other things before.” Any fans worried something might be lost in the process need not worry, because lead single ‘Where did all the fruit go?’ finds the band as idiosyncratic as ever. Although the song perhaps represents a newfound sincerity for The Foot & Leg Clinic, some earnest attempt to communicate fighting through the chaotic energy to make itself heard.

GREBE – Insurance

A melting pot of slowcore, shoegaze, alternative and indie rock influences, GREBE‘s 2025 debut EP If You Squint It’s All Soup established the dynamism and versatility of the Atlanta outfit, and now a year later they are ready to let loose full-length Hell Diver to build upon these beginnings and capitalise on the momentum. Coming in April via Indecent Artistry and Rope Bridge, the album sees Kade Whitlark (vocals, rhythm guitar) Logan Neely (guitar) and William Gunnin (drums) match attention to detail with raw energy, practising a tried and tested quiet-loud dynamic to achieve songs of considerable size and cathartic potential. Take ingle ‘Insurance’, a track which simmers with promise before sparking to life periodically, a sound which matches the radical conflagration that’s suggested in the lyrics.

Hell Diver will be released on the 17th April via Indecent Artistry and Rope Bridge.

Hockitay – over/over

Born in Guatemala and now based in Montreal, Hockitay won serious attention with the EP slo mach back in 2025, the release straddling bedroom pop, slowcore, R&B and electronic styles to explore a present moment marked by exhaustion and alienation. Out via Future Gods, latest single ‘over/over’ builds upon these foundations to conjure another very contemporary sound. One where loneliness and restlessness overlap, that curiously digital phenomenon where even an empty room can now be overwhelming. The lyrics dig further into this online world, probing at questions of performance and authenticity (“I haven’t had an opinion / Since high school,” Hockitay sings on one verse. “I wear the jersey / But I’ve never seen them play”), and the result plays like an urgent plea from an otherwise numb persona.

‘over/over’ is out now via Future Gods and available from Bandcamp.

The Montvales – Carolina

Touring in the wake of their successful 2024 album Born Strangers, Knoxville folk duo The Montvales (songwriters Sally Buice and Molly Rochelson) found their journey coincidentally align with the path of a solar eclipse, every stop filled with people gathered for the once-in-a-lifetime event. But that was not the only notable event unfolding at that time—genocide was taking place in Gaza, student protests were being violently quelled in the US, war dragged on in Europe and the cost of living kept on climbing. New album Path of Totality emerged from this period, a picture of an America seized by a variety of spectacles, and haunted by the possibility of a second term Trump. Ahead of release new month via Free Dirt Records, The Montvales have shared single ‘Carolina’, and the single is indicative of the compassionate, unapologetically political brand of songwriting which marks the record. “Written in the wake of Hurricane Helene, ‘Carolina’ explores the creeping feeling that late-stage capitalism has left us with very few places that still feel safe,” Buice explains. “A testament to the folks who forge ahead in beauty.”

Path of Totality will be released on the 20th March via Free Dirt Records and you can pre-order it from Bandcamp.

Nic Panken – Dear Companion

You might know Nic Panken as the lead of Brooklyn folk outfit Spirit Family Reunion, though he has also recorded solo under his own name in recent years, putting out a variety of singles. This spring sees the release of Near Divine or Merely Rhyme, Panken’s debut full-length which makes good on the promise of the initial releases. He enlisted an enviable ensemble of guests to bring the songs to life, with Mat Davidson (Big Thief, Twain), Ken Woodward (Buck Meek, Sam Evian), Austin Vaughn (Cassandra Jenkins, Cass McCombs) and David Christian (Karen O, Curtis Harding) all appearing, alongside others, and the result is every bit as rich as such a line-up suggests. Take the earthy warmth of lead single ‘Dear Companion’, the arrangement wrapping around Panken’s reflective, wistful vocals and elevating the cryptic lyricism into something stirring. “What began as an afterthought became a central part of this record,” Panken explains. “After working through the first batch of songs I brought in, more material was needed, and on a whim I shared an early sketch of an idea with my co-producer Jared Samuel. He grabbed a pair of scissors, directing me to cut out each line, shuffle them all up and piece together something new. In the end we added just a few lines to weave it together, and found a wonderfully mysterious place for it all to land.”

No Spinoza – Airport

The recording project of York-based musician, poet and artist Thomas Pearson, No Spinoza has made a name with an inventive, often conceptual style of music which is more than happy to jump between genres. After Maxim, an album of nursery rhymes recorded together with Drew Worthley, No Spinoza is now preparing to release brand new full-length Jupiter’s Great Hurricane, and lead single ‘Airport’ shows the record is no less ambitious or thought-provoking. “Before leaving for the airport I asked Saint Anthony: how then should I live my life?” Pearson sings in the opening lines over a brooding post-punk/art-rock sound. “He replied: Have no confidence in your own righteousness, your virtue.” The track takes off from this point, continuing its philosophical musings while transporting the listener high above a stark desert landscape via a combination of taut drums, shimmering synths and jazz-adjacent playfulness.

Jupiter’s Great Hurricane will be released soon.

The Same Sky – What’s Left

Based in Montreal and founded by Joseph Simon, The Same Sky is an indie rock outfit which takes elements of shoegaze and post-punk to create what they have labelled ‘outsider pop’. With full-length Haunting in the Mountains coming this April via Casa Joven, The Same Sky have shared new single ‘What’s Left’ to introduce this style. A track where dreamy textures meet an almost mechanical sense of forward motion, and the growing momentum is punctuated by intermittent squalls of noise. Thematically, the single borrows imagery from Greek myth, namely The Odyssey, to explore the experience of a break-up, and the result sits between the real and the fantastical. A voyage forward into the unknown which seems to be both emerging and sailing towards tragedy.

Wendy Eisenberg – Old Myth Dying

Last month we previewed Wendy Eisenberg‘s self-titled album, forthcoming this spring with Joyful Noise Recordings, noting the significance of an experienced, endlessly inventive artist deciding to put their own name as the title of the release, “as though for the first time willing or able to put forward a halfway static vision of themselves within the maelstrom of change.” Indeed, Eisenberg has said the album emerged from a period of self-confrontation, something they liken to “a personal exorcism,” and the result promises to be their most personal and daring record to date. Following the golden classic folk sound of ‘Will You Dare‘ and the Lynch-inspired ‘Meaning Business‘, Eisenberg has now shared new track, ‘Old Myth Dying’. “I wrote ‘Old Myth Dying’ in early 2024 during an insane fever,” they explain. “Although I knew I should have been trying to sleep it off, I wanted to see if I could do this polyrhythmic thing in my right hand and sing over it. Historically, practicing has allowed me to forget that I have a body that feels pain—I disappear into the action, in pursuit of becoming beauty. This time, my lyrics came out straightforward and wary, blunter than usual. They revealed a different pain I was feeling, the pain of actually knowing what you can and can’t control, and what inherited myths have been lies designed to control you all along.”

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With this sense of possibility comes a wider sonic palette, Howard choosing to sacrifice tightness and order so that he might encompass all of the styles which have informed his work over the the previous decade. “I sort of underwent a crisis as I became a more confident producer and instrumentalist,” he explains. “The more I could imitate or recreate a sound, the more I would confront demos I’d made and think ‘this is good, but it doesn’t feel like it’s mine.’ This was a new problem for me. I scrapped two albums worth of semi-finished material, carrying my personal favorites over to this final release. As a result, it’s probably my messiest record, but I grew to appreciate that. It’s a full genre-map of everything I’ve made over the last ten years. I made sure every song meant a lot to me.”

Fittingly, the changeable nature of the sound matches the themes of the record. In Airports was named for a period in which Howard found himself stuck in an airport for almost a week, left with nothing to do but watch people and wait. The surreal experience offered what might be the ultimate image of ephemerality, the people around him constantly changing, his own time ticking down as the delayed flight approached. Orchid Mantis has long employed a dreaminess but here it carries a confessional, reflective edge, as though newly aware of the shifting world around it, and the slow, gradual losses accumulated over time.

The idea is present from the very first track, ‘Generation Loss’, titled after the technological phenomenon where data degrades which each copying process. Howard positions personal memory as a similarly fragile thing, vulnerable to decay. But while there is sadness in the realisation, there is something warmer too. Call it fondness, call it love, the feelings all the more meaningful for the transience of their focus, and the purpose of art only deepened in its conservational efforts. “I know you / in the rearview / passage of time / falls behind you,” as Howard sings in the rich, romantic ‘Comedown Phase’. We’re constantly losing everything we’ve been given, which makes attempt at preservation all the more beautiful.

In Airports is out now via Start-Track and available from Bandcamp.

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Recorded in an old church near the birthplace of lead Daniel Hedin and taking years to bring to fruition, ‘Hideous Form’ is the new single from Det Hemliga Folket, a collaboration between Hedin and Budapest‘s Marton Fogl. The sound feels intrinsically tied to the origins of the track, offering an austere space full of shadow and cryptic weight, Hedin reaching beyond his surroundings and the present mood to re-engage with something more elemental. A song fitting for a project built around Hedin’s desire to connect with heritage, be that the ancestors who walked the land before him or the very earth of Sweden itself. Det Hemliga Folket is “a re-connection with the wild north inside me and the ancestral blues that whispers within the sound of the earth, the whispers in my head of the very fabric of the land,” he explains. “I hear the ocean and the silence of the forests that raised me like mothers and fathers. The darkness that’s been a part of me is an engine that never can die. It’s not just me, it is the earth where I am from, the deep beneath the soil of the north that is always calling me home.”

Dylan Henner – I Used To See Her On The Way Home from School and She Lit Up The Sky with her Beauty

A collection “which explores both the tactile experience of adolescence and the nostalgia of times now past.” That’s how we described Star Dream FM, the new album from Dylan Henner out via Phantom Limb, with previous singles ‘We Ditched School and Climbed Over the Neighbour’s Fence to Swim in their Pool All Day‘ and ‘We Walked all the Way to the Lake and The Water Was So Still We Jumped in Naked‘ “embracing not just a sentimental fondness for the specific moment but one wider in scope,” as we put it, “longing for the kind of curiosity and carefree spirit which marks youth.” With the album now out, Henner has shared another single and the title of the track says it all. ‘I Used To See Her On The Way Home from School and She Lit Up The Sky with Her Beauty’ is “about the frenzy and passion of love in adolescence,” as Henner explains. “About how your crush can change the whole universe with their presence, make everything feel bigger than you could possibly handle sometimes or so delicate you could lose it in an instance at others. The harp was supposed to represent the sort of angelic ascension of renaissance or classical beauty, which is the only lens you can ever see your crush with when you’re seventeen.”

ERIKA DOHI – Myth of Tomorrow

Later this week, Osaka-born, New York-based composer and pianist Erika Dohi will release Myth of Tomorrow, a brand new full-length via Switch Hit Records and Figureight Records. Described as “a sonic meditation on catastrophe, resilience, and rebirth,” the album builds upon the eclectic style of predecessor I, Castorpollux to push Dohi’s sound in new directions, utilising a variety of sensibilities from dance, jazz, ambient and classical modes to create soundscapes as singular as they are striking. The record draws its title from the Taro Okamoto’s mural of the same name, and the title track draws the clearest line between the two artworks. A song concerned with the endless cycles of existence, not only asking what they demand of us but also how we might find peace and healing within the recurring patterns of life. “For me, the song reflects on resilience and regeneration in the face of life’s relentless cycles,” Dohi explains. “Through its lyrics, I explore the contradictions of modern existence—the struggle to find happiness in repetition, the unspoken burdens we carry, and the illusions we chase in pursuit of fulfillment. Yet, amidst all of this, the song also asks us to pause, breathe, and reconnect with the beauty in the everyday: the sun rising without fail, the moon’s quiet waning, the resilience of a dandelion growing through cracks in asphalt. It’s a song of introspection that invites us to confront our disconnection and rediscover what moves us to live and hope for tomorrow.”

Myth of Tomorrow will be released on the 24th October via Switch Hit Records and Figureight Records and you can pre-order it now.

Haley Heynderickx & Max García Conover – Fluorescent Light

Haley Heynderickx and Max García Conover are no strangers to collaboration, the pair releasing Among Horses III back in 2018 on Son Canciones and the anniversary single ‘How Does the Horse Go Home?‘ five years later. “The genius of both Heynderickx and Conover is their ability to draw a relatable emotion from their subject matter,” we wrote, “tapping into a universal sense of nostalgia and longing and presenting it back to us, shaping and polished into its most gleaming form.” Based on the life and work of Woodie Guthrie and this time to be released via Fat Possum, What of Our Nature is a brand new full-length by the pair which builds upon the chemistry they’ve crafted over the years to offer songs as inventive and heartfelt as anything they’ve released to date. After the verbose and sometimes frantic ‘Boar’, latest single ‘Fluorescent Light’ highlights a more delicate, restrained dimension to the record, though true to Guthrie’s spirit, there’s a seam of social commentary running through it too. A tone at once playful, melancholic and cutting, able to take aim at the banalities and cruelties of contemporary life without losing its airy brightness.

Kramies – Goodbye Dreampop Troubadour

Back in August we introduced Goodbye Dreampop Troubadour, the new album from Kramies on Hidden Shoal, with single ‘Hollywood Signs’. The track showed the album’s nuanced nature, the sound following “a newly nostalgic direction, full of dreamlike longing and evening colours,” as we put it, yet one which possesses “something strange and quietly unsettling, full of the mysterious allure which Kramies has always offered.” With the record out now, the title track has been unveiled as a new single, the cornerstone of the record which embodies all of its richness and duality. Blending autobiography with fiction, ‘Goodbye Dreampop Troubadour’ rises from relative restraint into something enveloping, Kramies moving from a spacious, drifting sound into something rich and triumphant, playing like a metamorphosis witnessed in real time.

Langkamer – Crows

Following on from 2024 album Langzamer, as well as lead Josh Jarman’s solo release under the moniker Classic Trucks earlier this year, Bristol‘s Langkamer are preparing to release their fourth album in as many years. Coming early next January via Breakfast Records, No was recorded in the Spanish hills at Zarzalico and carries some of the Mediterranean clarity in its sound, creating enough space to examine the full scale of our frenetic contemporary life. Lead single ‘Crows’ gives a taste of what to expect, a track fired by nervous energy and unanswered questions, barrelling forwards despite its clear desire to stop and change. “’Crows’ is a song about the crazy shapes we contort ourselves into trying to create art in the era of late-stage capitalism,” the band explain. “Working a thousand jobs. Writing songs with the left hand while writing emails with the right hand. Your day is already doomed the moment you open your eyes. Everything’s a bad omen.”

Orchid Mantis – Strange Heaven

Change and evolution are key features in the career of any artist, especially one as prolific as Orchid Mantis. “Over the years, Atlanta, Georgia-based artist Thomas Howard has used the [project] as a space in which to explore a host of musical styles,” we wrote back in March, “each release responding to and building upon that which came before it so that the work was always in flux.” In Airports, the second Orchid Mantis full-length to be released this year, not only continues this process but meditates on the very meaning of such an endeavour. What does it mean to commit to a life making music? And how might it help chart all that is lost and preserved over the years? The result feels like the culmination of everything Orchid Mantis has done to date, returning to old styles and techniques as readily is it breaks new ground, and thus becomes something of a mission statement for the project. A declaration of intent to give the past and future equal billing, full of the spirit which has been pieced together over the years yet open to possibility. New single and closer ‘Strange Heaven’ expresses the sentiment most succinctly:

as it fades away
we could keep drifting
we could form a star
we could be lifted

The Planes – Tear the World Apart (MFLB Version)

We last wrote about New York indie rock outfit The Planes back in 2023, describing ‘First Breath After Mask’, a single from EP Dark Matter Recycling Co., as “a song at once depressed and affirming. As though from with its own inertia stirs some last attempt at catharsis.” Now the band are back with Motel For Lightning Bug, a brand new release which sees them continue their own idiosyncratic mix of rock and pop influences, harnessing some of the energy of their livewire shows without losing a sense of emotion or reflection. It is fitting that opener and single ‘Tear the World Apart (MFLB Version)’ is a reworking of a fan favourite from live shows, what the band call label as “slacker indie rock bubblegum” which deals with loss with equal parts wistfulness and wry humour, not to mention an infectious sense of momentum which only builds across the length of the track.

Sister Wanzala – Now You’re Mine

Back in 2022 we heralded the apparently triumphant return of London sibling trio Sister Wanzala, singles ‘Perfume‘ and ‘Top Drawer‘ appearing after a three-year hiatus which started soon after the release of 2019 EP The Circus and signalling an almost reluctant determination to pursue making music in an age which can often appear to be designed to convince you otherwise. Fittingly, both tracks featured dreams as a central motif, though rather than some inspirational battle cry to all those who which to pursue their passions, they either described these dreams as full of disaster (‘Top Drawer’) or declared a desire to have them removed entirely (‘Perfume’). You can already guess what happened next. The return was a false dawn, Sister Wanzala retreated into their shells again, only… what’s that? A new track, two years later? Another self-deprecating press release declaring their career a failure and promising more of the same? You’ll understand if we don’t call ‘Now You’re Mine’ anything more than another small blip in might otherwise be a pristine half-decade of silence, but as soon as the jazzy opening unfurls with all its nineties daytime TV swagger and the cold groove settles with effortless cool, you’ll be glad you got anything from the project, no matter how alluring and brief.

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A song that she says “comes from acknowledging the type of magic that exists all around us and yearning to get a taste of it,” ‘rosemary’ is the new single from addy (the project led by Philadelphia’s Addy Watkins). Her first new music since last year’s temperance, the song takes indie pop and stripped-back folk and refracts them into a new shape entirely, something warm and fond and all-enveloping.  “I was in love with a witch once,” Watkins describes of the song’s inspiration, “who taught me rosemary hung over my bed would help with my crippling nightmares. which it did and still does whenever I remember to hang it.”

Alice Hebborn – Saisons – Movement 2

December sees the release of Saisons, the debut album from Belgian composer Alice Hebborn on Western Vinyl. Created following a move to the countryside, the record draws inspiration from theories of ecofeminism and environmental harmony and presents a world cast volatile and disordered in the wake of human impacts. Across seven movements, built of piano and electronics, Hebborn imagines a different future. One in which humans cease to throw the natural balance and instead become a key link in a harmonious web of reciprocal relationships. Lead single ‘Movement 2’ is “the starting point of Saisons,” Hebborn describes. “It was written in the spring and draws its inspiration from the captivating images of this season: the awakening of nature and our senses, the great activity of all living things.”

Banti Buli – Hennessy Song

“Refusing to commit fully to irony or sincerity […] as though a song about relationships couldn’t really function without equal doses of heartfelt emotion and tongue-in-cheek humour.” So we wrote of Banti Buli‘s ‘Something Like a Honda Odyssey’ last year, a song which mixed languid rhythms with a distinctively verbose lyricism. Ahead of an album due next spring, Banti Gheneti is now back with ‘Hennessy Song’, a track which see the US-based Dutch-Oromo artist take samples from his surroundings to build an earnest soundscape exploring the transience of even the most steadfast habits. “The closest thing to a home (the Ethiopian corner store) becomes a hole in the ground and your lover leaves you,” as Gheneti says. “Even routines and promises are ephemeral.”

figure eight – 1999 (cherry)

A mainstay of the Bay Area scene, figure eight originated as the experimental noise project of duo Nash Rood and Abby Goeser, starting out with nothing but a distorted synthesizer and acoustic drum kit. However, on welcoming a number of additional members in recent years (including Nicholas Coleman on bass and Nicky Esparza on drums), the band has now evolved into something altogether more full-bodied. Take new single ‘1999 (cherry)’, a song with finds the outfit at their most boisterous and reserved within the same three minutes. The searing opening is indebted to hardcore, though the crushing momentum soon breaks into something almost delicate. These twin threads of lightness and weight weave across the track into what appears to be the spirit of this new version of figure eight—a band aware of the transcendent power available at both ends of the spectrum.

His His – My Friend Wants to be a Freemason

We last featured Aidan Belo’s His His project almost exactly a year ago when we covered the single ‘Ford Econoline’, a song about life in a tour van that we said felt “like the sensation of returning home in your mind as you cruise down an unfamiliar stretch of highway in some faraway city.” The Toronto-based artist returns with a new EP, Good Gold, coming out next month, and has just released the final single ahead of the release. Informatively titled ‘My Friend Wants to be a Freemason’, it’s a track about a childhood friend who became obsessed with joining a masonic lodge. “The idea of joining this secret society consumed my friend, and for a couple of months it was all that he’d talk about,” as Belo describes. Musically the song follows a familiar His His formula, a gentle and folk-inflected indie pop song that wears an air of weary wistfulness like the grain in an old film photograph.

Good Gold is due to be released on 15th November via Victory Pool Records. You can pre-save it now on streaming services.

Kassie Krut – Reckless

Kassie Krut are wasting no time introducing themselves. “K / A / S / S / I / E / K / R / U / T / T / T / T,” goes the opening line of new single ‘Reckless’, a de facto theme song for the new project of Kasra Kurt, Eve Alpert (formerly of Palm) and Matt Anderegg (Mothers, Body Meat). The band have just signed to Fire Talk Records, and new single offers a glimpse at the core of the project. Something undoubtedly contemporary yet possessing a rawer dimension too, as though through the idiosyncratic art pop style comes an altogether more atavistic, primal energy. Directed by Guy Kozak, the video for the song was filmed at the Metropolitan Museum of Art in New York, and offers a visual representation of the sound’s frantic playfulness.

‘Reckless’ is out now and available via the Kassie Krut Bandcamp page.

Mark Trecka – Witch’s Hat (ft. Midwife & An Heap)

The work of Mark Trecka never sits still, the Chicago-born artist and activist utilising sound to explore a diverse set of styles and themes in a practice as inventive as it is ambitious. More recent work has turned towards post-punk as an avenue of exploration, and latest single ‘Witch’s Hat’ continues to plough that same furrow. Recorded between Paris and Colorado, the track is described as Trecka’s “Halloween song,” existing with the common ground between that which is haunting and beautiful. Midwife joins on backing vocals and An Heap on synths to further elevate the dynamic, the song moving from apparent minimalism into a gauzy atmosphere as though pushing through the layers of time itself.

Michael Younker – Bad News

Michael Younker is a Detroit-born, Brooklyn-based production designer who also makes rock & roll music that he says “melds lighthearted cynicism with unashamed big rock motifs.” He has just released his debut EP, Sweet Things, a four-song record that’s brash and chaotic and amped up with bratty energy. “Sonically & lyrically, Sweet Things feels like the kid who ate too much sugar, bounced off walls, and passed out on the floor,” Younker describes. “Music of obsession, excess, indulgence, and…consequences?” ‘Bad News’ is perhaps the best place to start, capturing the EP’s manic motion and carefree bravado. “I can’t make you love me,” Younker sings, before snottily trying his best anyway in the following line – “C’mon, give it a go!”

Old Man of the Woods – Ghost

“A visceral exploration of a villain’s arc, tracing her devolution from possession to obsession to dissolution.” So reads the album notes for Triptych I: Devolve, the latest release from Seattle-based project Old Man of the Woods. The first in a series of EPs, the three-song collection offers a self-described “goth ethereal mycelial” sound to chart a fall from grace in all of its tragedy, majesty and strange avenues of agency. Such as with single ‘Ghost’, where the central character moves from resentment to something closer to power with the realisation that the ability to haunt can represent its own form of control.

Orchid Mantis – Dead Malls (feat. Cathedral Bells)

Following a collaboration with Sign Crushes Motorist earlier this year, not to mention several more singles in the meantime, Orchid Mantis (the recording project of Atlanta‘s Thomas Howard) has returned with a new single ‘Dead Malls’. This time featuring Orlando, Florida shoegazey bedroom pop act Cathedral Bells, the track uses imagery of an abandoned shopping mall to explore emotions altogether more personal. Where past hopes, once bright and shiny and full of promise, have withered on the vine, now little more than empty husks. But the atmosphere is not downbeat, rather wistful and hazy, looking back on old memories as though flickering warm and grainy from an old film projector.

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With the album now out via Strolling Bones Records, we’ve now got the full picture of just how stylistically and tonally diverse a collection of songs it is. “I was playing a lot of chess when I wrote this album, so I started to think about these songs as if they were all different pieces on the board representing varying aspects of my songwriting, personality and experience,” Reynolds explains:

Each piece has its own specific purpose and its own strength to utilize, but you can’t play the game with only your queen or your knights, or whatever. That became such a comforting idea and ethos to operate within – not just accepting variety but finding its inherent value. I went into the studio without any fear of being all over the board. I wanted to be limitless in letting my influences shine through the music in different ways. The throughline of Rose Hotel is my lyricism and my voice, but musically, I wanted to stretch out.”

The chess metaphor comes to the fore on ‘A King and a Pawn’, a country-inflected indie rocker that paints a picture of a relationship at an impasse. It explores the temptation to linger in a situation that has reached its end, the frustration of being caught static in a difficult situation, and the risk of making the next decisive move for fear of being checkmated further down the line. “Cornering each other, avoiding every move,” Reynolds sings, “refusing to surrender, even when it’s the best we could do.” But despite the overall sense of deadlock, the song itself is energizing. Propelled by percussion towards a cathartic chorus.

All we got left
is a king and a pawn
we’re caught in a stalemate, baby
and that’s just what’s wrong

Other tracks on the record explore similarly difficult circumstances. ‘Not Like That’ “explores the dissolution of a friendship in a way which attempts to make personal opinions clear while acknowledging the other person’s feelings too,” as we put it in a preview, while ‘Drown‘ delved into ideas of intergenerational trauma and mental illness in an attempt to reclaim a sense of agency by relinquishing those familial relationships that might never be smoothed over. “[‘Drown’ is] about realizing that the only way to break the cycle is to address it head on and choose to heal instead of continuing the patterns of violence and abuse,” Reynolds explains. “It’s my attempt at claiming power and ownership over my own life by releasing familial relationships that may never heal.”

And that proves to be the take-away sentiment of A Pawn Surrender. It takes the myriad of messy relationships and emotions and attempts to view them not as unbearable burdens but as something that can be figured out and overcome. It preaches the virtues vital to any good chess player—patience, strategy, self-reliance—and applies them to life in general. It’s a reminder to rely on your strengths, to accept and work on your weaknesses and ultimately approach things in a slower, more considered manner.

A Pawn Surrender is out on the  7th June via Strolling Bones Records and you can pre-order it now from the Rose Hotel Bandcamp page.

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Such nuance is a signature of A Pawn Surrender, brought to life by an equally fluid and inventive sound. Indie rock, psych and folk influences are all clearly apparent, Reynolds drawing from each to better capture the gamut of emotions she details. “It’s caused me a lot of anxiety in the past,” she explains. “Even in the studio when we were mixing the new album, Drew [Vandenberg] and I had a conversation about how this is a bit of a gamble, making a record that’s not easily identifiable as one thing, because some people might not know what to do with it.” But with her distinctive vocals as the anchoring thread, the result feels less like a jumble of genres as an artist selecting specific tools for each occasion. Each style can do something others cannot, and Rose Hotel does not want to cut itself off from such possibilities.

Latest single ‘Drown’ pulls some slacker sensibilities into the mix to explore ideas of blissful ignorance. Or as one line puts it: “I won’t drown if I don’t look down.” “Drown is about facing the reality of intergenerational trauma and mental illness,” Reynolds explains. “It’s about realizing that the only way to break the cycle is to address it head on and choose to heal instead of continuing the patterns of violence and abuse. It’s my attempt at claiming power and ownership over my own life by releasing familial relationships that may never heal. The slacker-rock energy feels like my inner rebellious and sardonic teenager finally getting to tell ‘em how I really feel.”

The track also comes with a video directed and edited by Reynolds herself with cinematography and color by Pedro Rocha. Watch it below:

A Pawn Surrender is out on the  7th June via Strolling Bones Records and you can pre-order it now from the Rose Hotel Bandcamp page.

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Perhaps best known as a founding member of legendary left-field hip hop act Anti-Pop Consortium, Beans has been making abstract and poetic rap music since the mid nineties. His latest release is ZWAARD comes out next month, a collaboration with Finnish producer Sasu Ripatti (aka Vladislav Delay and Luomo) that sees a fusion of the pair’s singular and uncompromising styles. Latest single ‘ZWAARD 2’ is a great introduction, Beans hitting his formidable flow over Ripatti’s plinky and ramshackle backdrop which has all the homebrew complexity of a Rube Goldberg machine.

ZWAARD will be released on 13th March and is available to order via the Beans Bandcamp page.

Casters – Lines In The Sand

We last wrote about Casters back in 2023, describing how single ‘Memory’ saw Andrew Strader and a rotating cast of musicians create “a dreamy drift that marbles fondness and regret into sound so rich you could suspend yourself within it.” Latest single ‘Lines in the Sand’, again released via  Like You Mean It Records, sees Casters invoke a trip from Santa Fe to Great Sand Dunes National Park to weave another rich soundscape, this time coupled with a sweeping wistfulness fit for the vast environment in which the first seeds of the track took hold.

‘Lines In The Sand’ is out now via Like You Mean It Records.

 Dinah – Winter Black Lake (Stripped)

Released at the end of last week, Dinah! is the almost self-titled sixth album from Toronto‘s Dinah (FKA Dinah Thorpe). It’s comprised of 17 short sharp jabs of raw emotion, possessing a tactility that you can almost feel sock you around the head. This is thanks in no small part to Dinah’s distinctive voice, full of smoky feeling and tender physicality. Much of the album is made up of restrained electronic pop songs, but my favourite is ‘Winter Black Lake (Stripped)’, a reworking of an early track that comes towards the end. Here, the staccato, mechanical rhythms of the original give way to clear air, allowing the vulnerable side of Dinah’s music to flow in and fill the space.

Dinah! is out now and available from the Dinah Bandcamp page.

Kaycie Satterfield – Jetsam

Following debut EP Sweet Tooth and last year’s single ‘Dog Year’, LA-based songwriter Kaycie Satterfield is back with a new single, ‘Jetsam’. Released via Earth Libraries, the song is at once dreamy and punchy, shifting from bendy elastic guitar and peppy percussion to a soaring, shimmering chorus. Satterfield says it’s a track “for the girls. Specifically, the girls who always stay a little messy, who could never quite get their hair to fall neat.” A duality which shows up in the very sound itself as it shifts from attitude to sweetness and back again, refusing to settle into any tidy box.

I hope somebody on this airplane’s talking to God because
I lost touch, it would be impolite
to show up asking favors after all this time

Minor Moon – Under Beyond

“Well they found us / We were fresh off the bridge / With strange new lives / Oh! and in strangers tongues / They sang a new sound into our minds.” So sings Sam Cantor of Minor Moon on ‘Under Beyond’, the latest single from upcoming album The Light Up Waltz on Ruination Record Co. The title refers to a fictional band who tour the bleak landscape at the end of the world, and the song paints the act in a mythic light as a wider comment on the strange magic of being on tour. “Most of the time, for me at least, traveling around playing music tends to be comically unglamorous and humbling,” Cantor explains, “but within that experience there can be a feeling of intense, private freedom, like you’ve tapped into some collective secret that allows you to transcend the mundane. There’s something endlessly romantic about all of that to me, even if it’s kind of untethered to reality.”

Rose Brokenshire – Habit To Help

Canadian songwriter Rose Brokenshire makes warm and gentle music that is suffused with kindness and patience. Drawing on folk and dream pop, her songs convey powerful messages of healing and self-belief in a whisper rather than a shout. Latest single ‘Habit To Help’ is no different. “This song is about learning to be there for yourself in difficult times,” Brokenshire describes, “the way it is easy to be there for your friends.” The track unfurls with a hushed intimacy, though beneath the hazy croon lies something firmer and fierce. As though under the surface sits an unyielding conviction in the value of empathy, even if we sometimes need to run our hands over it in order to remind ourselves of its presence.

Could you tell me again
what you felt when I said
it would get easier
I know I said it myself
It’s just a habit to help
a friend feel better

Rose Hotel – Not Like That

A Pawn Surrender, the forthcoming album by Rose Hotel (Atlanta songwriter and multi-instrumentalist Jordan Reynolds) on Strolling Bones Records, is an album concerned with relationships in all of their guises. Across the ten tracks which combine folk and indie rock with psych sensibilities, Reynolds considers romantic, platonic and even environmental relations, not to mention the relationship one holds with their own internal self. Single ‘Not Like That’ explores the dissolution of a friendship in a way which attempts to make personal opinions clear while acknowledging the other person’s feelings too. “I’m calling them on their bullshit, but also trying to have empathy for how hard it is for them to see it themselves,” Reynolds explains. “Wishing they could be honest with themselves and the people who love them about who they really are, but knowing that they don’t have the capacity to do so.”

 Scott Lippitt X Josaleigh Pollett – Is This a Good Time?

Across a series of albums and EPs, Salt Lake City‘s Scott Lippitt has made a name with a bittersweet brand indie pop, combining bright sincerity with pensive reflection to produce songs which possess tangible feeling. Upcoming album Me, You, and the Avenues sees Lippitt evolve this style with the help of a whole host of other musicians, with each of the twelve songs a collaboration with a Utah-based artist. The likes of Rachael Jenkins, Yuccas and Maren Gayle are involved, but single ‘Is This a Good Time?’ is the turn of Josaleigh Pollett, whose stellar album In the Garden, By The Weeds won our attention last year with what we described as “an excavation of the present which inevitably tends pastward, tracing a presiding cynicism back to its roots in search of a cause.” The combination is a strong one, with Pollett’s talent for nuanced emotion the perfect foil for Lippitt’s own heartfelt style.

Shaina Hayes – Kindergarten Heart

Following advance singles ‘New Favorite’ and ‘Sun and Time’, which we said “combine whimsy and serious emotion,”  Montreal songwriter Shaina Hayes has released her second album, Kindergarten Heart via Bonsound. As its title suggests, the record explores life’s ups and downs with childlike wonder, its fresh and vibrant sound a reminder that one need not grow cynical and world-weary with age. This message is delivered most directly on the title track, a song of soft piano and bubbling acoustic guitar which captures childhood’s fizzy sense of curiosity and excitement. Its message is clear, these feelings and ways of approaching the world can and should be preserved into adulthood, and in fact are one of the few true paths to meaning and joy.

Sparkle. Sunny days. I get older
In every way that won’t matter
Kindergarten heart in me
Magic. Green and blue. I am wilder
In every way that I choose

Kindergarten Heart is out now via Bonsound. Get it from the Shaina Hayes Bandcamp page.

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ash tuesday is the bedroom pop project of Georgia-based Ashlynn Kilcrease, who has fostered a steady following over the last few years sharing her music on TikTok. Her latest single, ‘No Blood, No Needles, Nothing’ released last week and is the perfect introduction to her emotive songwriting. Whereas previous tracks have been built on electric guitar and percussion, ‘No Blood, No Needles, Nothing’ is stripped back to the bare bones, just acoustic guitar and Kilcrease’s vocals. The raw production values add to the turbulent atmosphere, as the lyrics paint images of broken glass, insecurities and a sense of latent violence. “Thinking you never were really safe,” Kilcrease repeats in the finale, her voice swirled with others that seemingly come from nowhere, like anxious thoughts rising to the surface.

Blue Yonder – Wise Blood

Retreating to an isolated cabin in the wilderness might be a tried and tested way to record a new album, but while the likes of Justin Vernon found romance in the solitude, Blue Yonder had a different experience. While in the woods of upstate New York, they were forced to contend with a variety of trials and hazards, from a potentially haunted tape machine and bad mushroom trips to the escape of their house cat (named, fittingly, Bigfoot). But these experience only furthered the emotional immediacy of singer and guitarist Karalena Fjortoft’s songwriting. The resulting record Wise Blood, out next February via Earth Libraries, is therefore charged with an energy difficult to replicate, the title track hinting at the intimate yet often cinematic style. Check out the Jodorowsky-inspired video below:

Wise Blood is out via Earth Libraries on the 24th February.

Corntuth – F-001

Described as a post-apocalyptic concept record, the forthcoming album Letters To My Robot Son by Brooklyn-based ambient musician Corntuth promises to be a lesson in world building. “Like the analog synthesizers of the mid-80s,” they explain, “robot children are programmed via sequenced sound on magnetic cassette tapes. These tapes, supposedly, can teach a machine to feel.” Lead single ‘F-001’ gives some indication of how such a detailed story can be brought to life in instrumental ambient songs. With slow washes supporting playful details, the track achieves both bright curiosity and meditative grace, with an underlying melancholy too.

Daisy the Great – Time Machine

Fronted by  Kelley Nicole Dugan and Mina Walker, Brooklyn pop ensemble Daisy the Great combine the sincerity of Bridgers/Dacus indie rock lineage with lush folk harmonies, and a sprinkling of bedroom pop vulnerability thrown in for good measure, though latest single ‘Time Machine’ shows off another dimension to their new album, All You Need Is Time. It’s the frantic and cutting tone which marks the Anthropocene, where the sense of impending doom is matched only by a desire to go back to better times, though one complicated by the nagging doubt we’d do things exactly the same over again, no matter how costly. Check out the video directed by Scott Felix below.

The sea is crying
The moon is sighing
It’s terrifying
It’s terrifying

It’s all around us
The end has crowned us
The star has found us

All You Need Is Time is out now and available from the usual places.

Dan Croll – How Close We Came

Following on from the success of LP Grand Plan and EP On Top in recent years, Dan Croll has returned with brand new single, ‘How Close We Came’. A stripped back and compassionate song about the immediate aftermath of a long-term relationship, Croll’s packing his belongings into boxes, kissing the cat goodbye. But far from the traditional picture of regret and longing, the song captures the break-up from an angle seldom offered. One of bright fondness, an appreciation any of it happened at all. “After the initial heartbreak, it was something I felt quite proud of,” Croll explains. “We’d been through so much together and really grew into much better people, and [the song] was about that period of looking back with pride on such a profound experience.”

‘How Close We Came’ is out now Communion Records.

Doom Flower – Telehealth

After the release of the self-titled album late in 2021, Doom Flower are set to open 2023 with a brand new record, Limestone Ritual. Again released via ‘record label’, the album sees Jess Price (Campdogzz), Bobby Burg (Joan of Arc, Make Believe, Love of Everything) and Matt Lemke (Wedding Dress) combine their sizeable experience into something new not out of necessity but the simple pleasure of creating. Latest single ‘Telehealth’ gives a view into the spirit of the record. A hazy, laid back shuffle which simmers beneath Price’s vocals, the words emerging with an almost disinterested gloom, though within the murmured rhythm stirs something hypnotic.

Ian Davies – Stubborn

Back in 2021 we wrote about The King of Bedroom Country by Ian Davies, an album which offered a sound “at once laid back and fatalistic”, capturing something of the classic country spirit in a more contemporary setting to convey how “no matter how painful or dispiriting, there’s some connection to be found within melancholy.” With new releases on the horizon, Davies has returned with a single ‘Stubborn’. It’s a track which delves into the overthinking mind and the illusions it is capable of conjuring, the easygoing seventies style juxtaposed against the torment of the narrator’s position, where various compulsions have obscured the truth of loss.

Kraków Loves Adana – When The Storm Comes (ft. Ruth Radelet & Adam Miller)

We’ve covered the work of Deniz Çiçek’s Kraków Loves Adana several times in the past, each time struck by their ability to weave atmospheric dream pop soundscapes at once human and digital. “A space,” as we described in a review of 2021’s Follow the Voice, “in which the boundaries between physical reality, virtual reality and dreams began to merge and blur.” Ahead of new record Oceanflower out early next year, Kraków Loves Adana has teamed up with Ruth Radelet and Adam Miller of dream pop icons The Chromatics for new single, ‘When the Storm Comes’. A song about finding some strange beauty in present turmoil while also looking forward to some better future. Check out Wesley Doloris’s video below.

Wake me up
When the storm comes
I wanna be impressed
At least for a second or two
Before everything ends

Oceanflower is out on the14th February and you can pre-order it now from the Kraków Loves Adana Bandcamp page.

Steven van Betten – I Didn’t Mean To Do That

Los Angeles-based Steven van Betten is gearing up to release his first solo record Friends and Family sometime in 2023 via Future Gods, and new single ‘I didn’t Mean To Do That’ serves as an introduction as to what to expect. It’s a gentle, warm song which explores mistakes in all of their guises. “Some mistakes (though painful at the time) can age quite well,” van Betten explains. “They become funny, entertaining, and even cherished memories; parables of personal growth shared openly with friends around the dinner table.” But of course there’s kind of mistake too. “The kind that hurt those we love most—can haunt us.” ‘I Didn’t Mean To Do That’ takes stock of both, recognising mistakes as a fundamentally human experience, and using this fact as a path toward forgiveness and compassion.

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Ahead of a second full-length record due sometime in the near future, Pittsburgh‘s Animal Scream have released brand new single, ‘Fires After Dark’, released via American Hermitage as a 7″ vinyl along with b-side ‘Cinnamon Blue’. The song was written during 2020’s turbulent summer of protest, with duo Chad Monticue and Josh Sickels describing the track as concerning “the essence of creating art during twisted up days, even when you feel out of place and at your most insignificant.” What results is something which lives up to its title, a sound undoubtedly dark and a little chaotic, though its energies are channelled into bright sparks of defiant feeling.

‘Fires After Dark’ is out now via American Hermitage and available as a 7″ single from Bandcamp.

Astra Forward – There, There, Here Is Here

Astra Forward is a singer, songwriter, multi-instrumentalist and producer based in London who makes what she describes as “dreamy and intimate songs about the enchantment of nature and the power of human connection.” Latest single ‘There, There, Here is Here’ captures this ethos beautifully, with classic folk stylings as well as a timeless ethereal atmosphere channeling a bond between human emotion and the natural world that feels somehow ancient. It is at once delicate and powerful, existing in a barely-there hush before Pascal Colman’s guitar comes winding out of the shadows with ominous strength. “It feels like this song was written for me, not by me,” Astra Forward describes, “because when my world collapsed, ‘There, There, Here is Here’ was what I needed to hear. My hope is that it can be your medicine too.”

Girlpuppy – I Want To Be There

The recording moniker of Atlanta‘s Becca Harvey, girlpuppy is gearing up to release new album When I’m Alone this autumn on Royal Mountain Records. The involvement of Marshall Vore (Phoebe Bridgers) on debut EP Swan led some to label girlpuppy the heir apparent to the sad girl indie folk crown, and latest single ‘I Want To Be There’ does little to dispel the tag. Centring on the time a landlord kicked Harvey and three friends out of the dream home, only for the friends to up and leave for New York, the song paints a self-deprecating picture of emotional distress. “I felt like I had no friends which made me wonder what was wrong with me,” she explains, “which kind of made me spiral into self-hatred. I like to call this one the ‘self-hate anthem’ of the album.”

When I’m Alone is out on 28th October via Royal Mountain Records and you can pre-order it now.

The Human Fly – A New Perspective

Philadelphia/New York outfit The Human Fly have recently released Thrill of Living, a new album on Dead Definition. Opener ‘A New Perspective’ introduces their blend of alt-country and indie rock, as well as the distinctive delivery and lyricism of lead Robert Mathis. A search for a home, or even just a clearer definition of exactly what that might mean. “I need a new perspective / I need a new directive / been nameless as a comet,” he sings, his tone finding a line somewhere between heartfelt sincerity and Berman-esque wryness. Moving through states, seeking something which might not exist.

Maybe home is just perpetually chasing peacefulness
or maybe home is when you find it
and if I do, I can send you the address

Izzy Oram Brown – Mess

Having spent years honing her craft, be it studying musical history or supporting other musicians, Brooklyn‘s Izzy Oram Brown has recently unveiled her debut album, Mess. Despite being Oram Brown’s first real foray into songwriting and production, and irrespective of the title, the album is a careful, finely-tuned collection. The product of time dedicated to music, all the prior learning put to new use. The title track introduces the record’s themes and narrative, and in turn signals the relevance of the title. The inherent messiness of life, be that within the tangled desires and hang-ups of a relationship or a person’s connection to the wider world.

And the birds they sang, their final breaths
And the Tennessee heat pressed down on my chest
I do not remember making this mess
I do not remember making this mess

Pet Owner – Hi-Res

The recording project of Lucerne, Switzerland’s Lea Mathis, Pet Owner combines pop, folk and electronic styles into a transportive, idiosyncratic sound. Ahead of upcoming debut Natural Behaviour on Red Brick Chapel, new single, ‘Hi-Res’ introduces the inventive shapes such a combination can take. Mathis’s vocals skate over a bed of playful electronics, the whole thing ebbing and flowing to add an organic air to the otherwise digital soundscape.

Rachel Angel – Closer to Myself

Miami’s Rachel Angel is set to release new album Midnite Heart Attack next month on Ruzafa Records, an album born of a difficult time spent abroad. The title refers to “a defining moment of reckoning,” Angel explains, “upon which one is confronted with the decision to change or die,” and single ‘Closer to Myself’ goes some way to delineating the result of such an epiphany. A classic country pop song describing a moment of movement from uprooted confusion to the solid foundation of self-assurance. “Roll around in circles feeling lost,” Angel sings, “Got stuck in the britches on a cross / Ring around the rosie / Paint me true,” though soon a direction forms and with it understand:

I’m getting closer to myself
And less to you

And when I finally close my eyes and see
I find that it was always in front of me

Rich Ruth – Older But Not Less Confused

Earlier this summer, Rich Ruth released I Survived, It’s Over, a brand new album on Third Man Records written at home in Tennessee “amidst the quiet and tumult” of a tornado’s aftermath. This juxtaposition informs the near endlessly inventive sound, the record challenging any distinction between order and chaos, hush and noise, and indeed that between humble domestic beauty and the massive sublime. No one track can be representative of a record so adventurous, but ‘Older But Not Less Confused’ is as good a diving in point as any, and the video directed by Brook Linder goes some way to capturing Rich Ruth’s ability to knit seemingly disparate elements into a cohesive system far larger than its constituent parts.

I Survived, It’s Over is out now via Third Man Records and you can get it from the Rich Ruth Bandcamp page.

Sonic Løland & Simen Mitlid – Everything at Once

Back in February we wrote of And Then the Sun Came Up, the debut album Sonic Løland coming later this autumn on Koke Plate. New single ‘Everything at Once’ invites Simen Mitlid to help create something delicate and heartfelt, though the soft indie folk sound of the first half is changed midway through. The sound suddenly becomes distorted, feedback coming from the guitars, as though some alteration has occurred from which there is no return.

And Then the Sun Came Up is out via Koke Plate in September.

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“A melodic journal recollecting my childhood and study guide to rebuilding the once broken foundation of my spiritual temple.” That’s how California’s Abraham Linkedin describes album New Castle. A collection of songs drawing on chillwave and hauntological styles to conjure the forgotten past and unrealised futures simultaneously. With its rich and textured tones overlaying the languid vocals, single ‘En Garde’ introduces the style, though New Castle’s true value is as a complete album.

Allison Lorenzen – Vale (feat. Midwife)

Back in November we wrote about Tender, an album by Allison Lorenzen on Whited Sepulchre Records. “A subversion of the traditional healing narrative,” as we described it. “A rejection of linear progress, an acknowledgement of the uneven topography of life.” Lorenzen has now teamed up with Jack Manzi’s Silver Island Studios for a series of videos, most recently for the single ‘Vale’ which sees her return to the mountains of Colorado. The landscape changes as Lorenzen walks the road, though quick cuts and close-up shots upend a simple sense of progression and speak to the song’s ethereal strangeness.

Tender is out now via Whited Sepulchre and you can get it from Bandcamp.

chemical club – Hell in a Heatwave

Ontario-based duo chemical club have made their name with a series of lo-fi bedroom pop releases, most recently following on from 2021 EP Arm’s Length with numerous singles on Arts & Crafts. The latest of these is ‘Hell in a Heatwave’, a subdued pop hit simmering beneath the surface with equal parts suffering and desire to change. The track takes “an honest look at who you are and how you can improve upon that,” the band explain. “Leaving unhealthy habits behind and holding yourself accountable for your own actions and behaviours.” Even if this requires a certain degree of discomfort in the immediate moment.

‘Hell in a Heatwave’ is out now via Arts & Crafts and you can get it from their webstore.

Faye – Teeth

Charlotte duo Faye are set to release their brand new record You’re Better on Self Aware Records, and latest single ‘Teeth’ gives an indication of the direction the band have taken since their self-titled EP. A building sense of energy, an escalation, the various elements spiralling in increasingly smaller circles like a spring coiling tighter and tighter, always threatening to explode. “I am the hand, you are the teeth,” sings Sarah Blumenthal, fighting to be heard above the descending noise.

Frankie Cosmos – One Year Stand

This autumn Frankie Cosmos will release Inner World Peace, their fifth full-length record via Sub Pop. In anticipation, the band (founding member Greta Kline, keyboardist Lauren Martin, guitarist/bassist Alex bailey and drummer Luke Pyenson) have released lead single ‘One Year Stand’, the album’s soft and patient centrepiece which proves the perfect introduction to a record which approaches existential questions of selfhood and quantum time with patience and kindness. The track comes complete with a video directed by Eliza Lu Doyle and starring Kline and Bailey. “It feels like an encapsulation of the record in that it’s strange and vast while also being contained and interior,” Kline explains. “Clowning and playing are a huge part of collaborating for me and Eliza. We wanted to perform a dance without dancing — the kind of movements you fall into in private, banal moments, playing without even realizing.”

Inner World Peace will be released via Sub Pop on 21st October. Pre-order it now via the Frankie Cosmos Bandcamp page.

Horatio James – they will have us

Led by singer songwriter James Gable, London‘s Horatio James write folk songs and then bend them into new and interesting shapes. New single ‘they will have us’ was written on bouzouki and takes elements of classic British folk and pop to create something that feels somehow both fresh and timeless. Gable is joined on the track by Marina Ritschel (vocals), Oli Fenton (drums) and Tristan Gable (electric guitar), fleshing out what could have been a hushed acoustic song into something dynamic and subtly infectious, an incense-scented indie pop song perfect for these long summer evenings.

Joyeria – Colour Film

Ahead of new EP FIM out via Speedy Wunderground this autumn, Canada-born, London-based project Joyeria have unveiled brand new single, ‘Colour Film’. A slacker rock gem that sits somewhere between David Berman and Nap Eyes. “‘Colour Film’ is about the mindless daily routine of being alive,” Joyeria explains. “What David Foster Wallace called ‘water’. I apparently have the ability to choose how I feel or think as I participate in being alive just as I can choose how I feel and think when I explain songs.” Of course it’s not as easy as Wallace might have intimated, something Joyeria highlights through his wry and volatile style. Check the video directed by Alex Bischof below:

FIM is out via Speedy Wunderground on 14th October and you can pre-order it now.

Tender Glue – Simple Boys

Tender Glue is the project of New York‘s Tom Gluewicki, who makes indie pop that spans the spectrum, from light and catchy to introspective and emotional. Latest single ‘Simple Boys’ sits at the breezy end of things, a summertime bop that pairs punchy percussion with laidback guitar and Gluewicki’s raw vocals. Lyrically, it’s a wryly humorous ode to the titular “simple boys”, those men who never really grow up and despite being annoying, just want the same simple things as everyone else.

‘Simple Boys’ is out now via Don’t Label Me Records and available from the Tender Glue Bandcamp page.

Thanya Iyer – leave the room and face the waves

“Rest is in many ways a reflection of myself,” explains Thanya Iyer of her latest release on Topshelf Records. An EP which asks, “who am I when it all stops?” Following on from successful debut KIND, the collection finds Iyer amid the slowdown of the pandemic and removed from the communities of making and performing music. The obligatory isolation could be faced in a variety of ways, but Iyer chose to be embrace it and use it purposefully. A period in which to examine what it means to rest in our busy world. With its slinky, jazz-flavoured tones, single ‘leave the room and face the waves’ finds much richness within the quiet, even if dreams inevitably turn toward the outside world. Check out the video Iyer created along with Sophie Grouev and Amanda Stormyr below:

rest is out on 24th August via Topshelf Records and you can pre-order it now.

Upchuck – Boss up

Based in Atlanta, punk five-piece Upchuck were brought together by “connections made in skateboarding, construction, and teenage delinquency.” Next month they will release their debut album Sense Yourself on Famous Class Records, a collection of what the label calls “haunting tales of discrimination, ignorance, and life in a doomed generation.” Lead single ‘Boss Up’ is indicative of the record as a whole, a slice of furious punk intended to empower and strengthen. As the press release continues “Only the wise and relentless will thrive in a revolutionized and radical world, and Upchuck is sternly feeding the fuel for a new gen.”

Where’s Beth – Come Inside

Based in New York, Where’s Beth creates a lush brand of folk able to weave intricate details into a seamless whole. Latest single ‘Come Inside’ is the perfect example, the gentle hushed tones belying the track’s underlying nuance, threads spun to hold the listener within a quiet space. “Come into my quiet,” implore the vocals, “there’s no one else there sometimes,” but by then we need no such offer. They are already held tightly within. Watch the animated video by James Geneser below:

‘Come Inside’ is out now and available from the Where’s Beth Bandcamp page.

Young Jesus – Ocean

Though always orbiting around the distinctive ideas and lyricism of lead John Rossiter, the music of Young Jesus is always changing. Each new release has felt like a new attempt to get closer to essence of what they are trying to say. Different angles, a reframing of things, as though never quite satisfied the last record communicated as completely and efficiently as it might have hoped. Out via Saddle Creek later this year, latest album Shepherd Head is no different, Rossiter again reshuffling the pack and dealing a new hand. He weaves a fine patchwork crafted from found sounds as though life itself lie within its constituent parts. A tapestry both vulnerable and tender, where great loss and transcendence are not so different after all. First single ‘Ocean’ invites Tomberlin aboard, and you can watch the video directed by Stuart McClave below:

Shepherd Head will be released via Saddle Creek on 16th September. You can order it now from the Young Jesus Bandcamp page.

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