Back in 2021, Brooklyn-based bassist, composer and singer Carmen Quill released Don’t Get Comfy / Nowhere, a debut album which emerged more from personal need than any sense of creative practice. The songs consisted of nothing beyond vocals, upright bass and background noise but were able to tackle the most intimate of subjects, from romantic relationships to the loss of a parent. Quill’s latest full-length Harmless, to be released this November via Ruination Record Co., builds upon this framework, their compositions slowly yet surely blooming from minimalism towards something richer and deeper. As the title track suggests, this is often achieved by way of the mantra or incantation. The song rises out of a simple, repeated set of questions (“Why do I feel so helpless? / Why do I feel so aimless? / Nothing I do is harmless”) towards a considered engagement with themes of agency and complicity in the age of televised genocide and rampant inequality. As Quill explains: “I wrote ‘Harmless’ in a moment when I was feeling acutely the everyday sensation of not knowing what to do with myself when I look around and see so much big shit going wrong.”

Charlotte Greve – Lighter Blue

After ‘Membranes‘ (“considers the multitudes which exist within any one person, and how this array of dimensions is shaped and grown by our immediate surroundings”) and ‘Own Lap‘ (“an eleven-minute epic brought to life with full orchestral grandeur which nevertheless never loses sight of the personal amid the sweeping majesty”), Charlotte Greve continues to introduce her forthcoming album WATERBODIES with the release of latest single, ‘Lighter Blue’. Centering on geological imagery and underlined by a beguilingly rhythmic pull, the track considers the curative potential of art, as though the will to create can illuminate the otherwise shadowy avenues of our lives and allow us to live with newfound meaning. “The silent crater/volcano represents a period of disconnection from making art and feeling out of touch with it,” Greve explains. “Tiptoeing around, feeling lost and ungrounded because something essential is missing. In that state, doubt about all things arises, making space for insecurity to flourish. The moment music arrives again, suddenly everything makes sense, the path is lit and you can just walk on it. The forever torch, showing you the way to live your life, gifting you melodies that carry you through the day with purpose.”

Watch the video, shot, edited, and produced by Annika Nagel, below:

WATERBODIES will be released on the 2nd October via New Amsterdam and you can pre-order it now.

Chloë Ester – Bitter End

Based in Charlottesville, Virginia, Chloë Ester is a songwriter who announced herself back in 2020 with debut EP Dying All The Time, establishing a narrative-led brand of indie rock which was happy to blur genre lines in order to capture a sense of simultaneous vulnerability and empowerment. Now Ester is preparing to return with follow-up EP I Could Be The One to further this style, widening the palette and scope of her sound without sacrificing any of the rawness and heart which makes it so engaging. Single ‘Bitter End’ is an ideal entry point, a reflection on a break-up which pairs personal uncertainty with upbeat brightness to explore the tension between regretful introspection and the desire to let go.

Cloudbelly – Poppa

Described by the band as a “meditation on intimacy, belonging, and the things that complicate them,” Cloudbelly‘s third full-length Throwing The Game promises to take the indie folk formula of its predecessor i know i know i know and push it to the edges of the genre, creating something sprawling and shape-shifting in order to explore the full contours of an emotional landscape which stretches both back into the past and out in the future. After lead single ‘Oh, Antarctica!‘ saw Corey Laitman and co. face down what we called “the dispiriting experience of mourning the future in a present world which seems to be tilting in a bad direction,” follow-up ‘Poppa’ turns its attention in the opposite direction to explore the memories of a loved one, and how dignity can persevere through the trials of later life. Namely Laitman’s grandfather, a man who lived for the wilderness yet ultimately found himself in a high-rise caring for his ailing wife. As the press release puts it: “If there is a contradiction in the coexistence of tenderness and grief, this song doesn’t seek to resolve it. The contradiction itself is the emotional event.”

The Fourth Wall – Future Memory

“Combs through the contradictions of the immigrant experience in order to voice feelings otherwise impossible to convey […] a mixture of hope, denial and genuine love which not only subverts expectations but confounds any attempt to properly reassess.” So we wrote of The Fourth Wall‘s Return Forever back in 2024, Stephen Agustin’s ambitious and confronting writing earning the record a place among of favourite albums on the year. Now the Portland-by-way-of-Hawaii project is back with brand new album Memories of the Future, and the release might somehow top its predecessor in terms of depth and scope. Using Mark Fisher’s Capitalist Realism and Frederic Jameson’s work on sci-fi and postmodernism as starting points, Agustin explores the collective failure of the imagination when it comes to dreaming of the future, and the personal and political stasis which results. What emerges is the apocalyptic vision our present time deserves, where the hyperactive stimulation of the digital age masks a fundamental emptiness. “How long will it take / To see the future as a memory,” asks closer ‘Future Memory’, a fitting conclusion to a fatalistic yet clear-eyed album about a world in crisis.

Watch the video by Agustin below:

Memories of the Future is out now via DevilDuck Records and available from The Fourth Wall Bandcamp page.

Hour – Pearls

Last month we introduced Ghost Bridge, the new album from Hour coming soon via Dear Life Records, with the title track. “A song, clocking in at near ten minutes which must rank among [Michael] Cormier-O’Leary’s most ambitious and thematically loaded to date,” as we wrote. “The level of detail is striking but there is no ounce of ostentation. Lesser acts might be overwhelmed if tasked with exploring concepts of loss and mortality, prone to slipping into maudlin excess, but with a unique blend of compassion and abstraction, it seems Hour are up to the task.” The achievement is made possible by a rich ensemble cast, and William H. Travis’s video for new single ‘Pearls’ manages the unenviable task of catching them all gathered in one place (with the notable exception of flute player Adelyn Strei), offering a rare chance to see Hour in its (almost) complete form. “I think his footage succeeds in demonstrating the love we all share for one another in our large, many-tentacled band,” as Cormier-O’Leary says. “It’s a perfect moment in time, a pearl if you will.”

Ghost Bridge will be released on the 9th October via Dear Life Records and you can pre-order it from the Hour Bandcamp page.

How Strange It Is – Tough Luck

This autumn, Portland, Oregon outfit How Strange It Is will release their new album THERE IS NO EVIL with Disposable America and Pleasure Tapes. Consisting of Jordan Krinsky (vocals, guitar, synth), Caleb Ballard (additional vocals, guitar, clarinet, synth), Annie Miranda (bass), Annie Fifer (additional vocals, guitar) and Kyle Gordon (drums), the band have developed a fuzzy brand of indie rock across a pair of past releases, and the new record only furthers this style. Take latest single ‘Tough Luck’, an atmospheric, almost ethereal track which cycles through the whole gamut of emotions to capture the strange experience of life. “This song leans into the comedy of circumstance,” the band explain. “When you’re going through it and the world keeps throwing cosmic jokes at you. When you meet up to have a post-mortem with your ex and love songs start playing on the radio. It could be a cinematic moment where you realize you’re still in love but its actually over and that’s ok. The rollercoaster of those feelings.”

Watch the video below, directed by Jess Poe and edited by Poe & Jamison Winternintz:

THERE IS NO EVIL will be released on 20th October via Disposable America and Pleasure Tapes and you can pre-order it now.

John Van Deusen – There Is A Way Home

John Van Deusen made a name fronting celebrated Seattle outfit The Lonely Forest for the best part of a decade, releasing two EPs and four full-lengths in the 2000s/2010s. But his solo work is undoubtedly his most ambitious undertaking to date. Released across two years, forty track double album As Long As I Am In The Tent of This Body I Will Make A Joyful Noise confronts Van Deusen’s personal struggles with faith, depression and suicidal ideation, drawing on influences as disparate as The Beach Boys, Deftones, Smashing Pumpkins and Death Cab For Cutie in the process. After the first part was released back in 2025, John Van Deusen is now sharing Pt. 2 to finally complete the project. “What does it mean to be depressed while worshipping God?” he asks in the album notes. “What does it say about being human?” As the title might suggest, As Long As I Am In The Tent of This Body I Will Make A Joyful Noise is able to sit with suffering without reducing the entirety of existence to its confines, and wise enough to contemplate the mystery of God even as the immediacy of pain threatens to obscure our connection to the metaphysical. Listen to single ‘There Is A Way Home’ now:

Kin Hana – Howling World

You might know Hudson Valley songwriter and guitarist Aaron Hodges from his work under the moniker Longshoreman, or as part of the psych-folk band Nighttime, but more recently he has adopted the name Kin Hana to usher in a new era of drone/doom-adjacent folk. Next month, Kin Hana will release Howling World, a new full-length which feels like an embodiment of Hodges’s vision, where personal intimacy is matched by an elemental, almost otherworldly atmosphere (Jason Molina and Béla Tarr are cited as touchstones). The result, as highlighted by the lead single title track, manages to communicate both immediate, instinctive emotion (be that wonder, longing or dread) and genuine thematic depth. “This song came out of René Magritte’s painting Young Girl Eating a Bird,” Hana explains. “I was drawn to the contradiction in the image—she seems to be turning away from the world while at the same time literally devouring a piece of it. There’s something wild and irrational about the act that I felt I understood without being able to fully explain. The ‘howling world’ became both the senseless world she’s turning away from and the one she’s suddenly part of. I realized that feeling ran through much of the record, and the song eventually gave the album its name.”

Kyla Marlena – 21

“To me, this record feels alive. Like it has a pulse,” explains Toronto-based cellist and songwriter Kyla Marlena of her debut album Hold Time. “It’s dynamic within and between songs, it can be unpredictable.” Forthcoming this November via idée fixe, the record is something of a pivot for an artist who started out writing instrumental compositions in relative solitude, offering a rich folk rock sound forged through serious collaboration. Ben Whiteley (The Weather Station), Julian Psihoigos (Georgia Harmer, Katie Tupper), Felix Fox (BADBADNOTGOOD, Jonah Yano), Jasper Smith (Benjamin Dakota Rogers), Karen Ng (The Weather Station) and Noah Williamson (Sonder) all lend their talents, Marlena not so much instructing these musicians as corralling their energies, leading to a sound that’s authentic and organic. Lead single and album opener ’21’ gives an indication of what to expect, showing how Marlena explores themes of memory and time in a manner which subverts expectations, forgoing the hazy dreaminess which so often accompanies such ideas in favour of something more immediate, scrappy and raw.

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Ahead of her debut record, Highways, Denitia has been releasing a steady stream of singles over the past few months. Writing back in April, we described how the title track captured the bittersweet experience of life on the move. The upbeat song “embrac[ing] this nomadic spirit while recognising the value of connection too,” as we put it. “An ode to the road which is nevertheless unwilling to leave home behind.”

Latest single ‘All the Sweet Tea’ offers a similarly wistful atmosphere, as Denitia taps into bluegrass sensibilities to evoke the American landscape in all its nostalgic idealism. “Don’t wanna waste it / All these precious nights,” she sings, the wide-open space of the mountains and sunsets standing in for a sense of as-of-yet unrealised possibility. “We never know the day /
When we’re gonna fly.” The dream might not be as perfect in reality, but in times when outside forces impinge upon what we can have and where we might go, it is always nice to dream.

All the sweet tea in Carolina
All the sun that comes to dry up all the rain
All the mountain peaks in Colorado
They’re waiting there and
Calling out our names

‘All the Sweet Tea is out now and available from the Denitia Bandcamp page.

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Following up their new single, the slightly darker, off-kilter ‘Kosova’, Denmark are back with a brand new double single, I Know / Turn Me On. For the uninitiated, the two songs serve as a lovely introduction, the gentle guitar that opens ‘I Know’ encapsulating their careful touch. The track is a folk song bathed in a diffuse early-morning glow, all rounded edges and golden light.

There’s a hint throughout the track that the lightness will blossom into something brighter and more energized, though it’s not until the second song ‘Turn Me On’ that the rhythm picks up. Still, even with the tumbling piano, the acceleration is a matter of degrees, and in reality Denmark maintain their restrained atmosphere. The decision is inspired, and suggests a real confidence and focus. Slow builds to noisy crescendos are a dime a dozen, and it takes a nuanced hand and vision to craft something delicate yet equally arresting. In short, Denmark are firmly on our radar, and should be on yours too.

I Know / Turn Me On is out now and available from the Denmark Bandcamp page.

Album artwork by Hannah Bevens 

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