Back in 2023 we wrote about Somethinghood by A Box of Stars, an album which saw “the Burlington outfit weave what is best described as a sense of complete attention,” as we put it, “a focus which elevates what might seem ordinary situations into something almost sublime.” Now Macaulay Lerman and co. are back with Walnut Street, a brand new record which doubles down on the style to capture both the beauty of life’s smallest details and the implicit sadness which stems from the knowledge that everything will one day fade away. Single ‘Remain’ is the ideal place to jump in, a typically lo-fi and authentic track which carries a flame of love despite the looming threat of loss around.

Alden Hellmuth – Microfictions

“Tether is a fitting name for the release,” we wrote of Alden Hellmuth‘s new album on LEITER back in May, “speaking to both the connection between Hellmuth and her supporting cast—bassists Logan Kane and Miller Wrenn and drummer Justin Brown (Thundercat, Aja Monet)—and how group, and indeed the audience, act something like a leash within the spontaneity of improvisation. The musicians might play themselves out into unexpected territory, but there’s always a line to bring them back into the heart of the group.” After single ‘Face the Wall’ kicked things off, Hellmuth has now shared latest track ‘Microfictions’. The opening number on the album, ‘Microfictions’ wastes no time in pitching the audience into the depths of her adventurous approach, drawing on Anthony Braxton’s Ghost Trance Music to create a style of improvisation centring on melody. Scurrying percussion adds a sense of urgency, while Hellmuth’s trademark sax skates over the surface with virtuosic personality.

Tether will be released on the 26th June via LEITER and you can pre-order it now.

Cheekface – I Don’t Work Here

LA trio Cheekface have made a name in recent years with mischievous brand of indie rock. Their music combines post punk angles and playful pop bounce with a droll talk-singing style of vocal delivery to create something sometimes caustic, often irreverent and always dialled into the ridiculous age we call the present. For anyone left uninitiated, latest single ‘I Don’t Work Here’ bundles up the Cheekface aesthetic into a tidy three minutes, railing against everything from the surveillance state to the steady creep of the corporate into civic life with equal parts swagger and seethe. A world where everyone is watched yet perpetually lonely, and unrealistic demands come from bosses and customers alike.

Dog Shaped – Please Hold

In part rising from the ashes of former band Sue Your Landlord, Dog Shaped is songwriter Emily Cabarle alongside Nicholas Djukic Cocks (lead guitar), Michael McCanna (lap steel), Matt Shuham (drums), Angelo Ross (keys, backing vocals) and Freddy Haug (bass). With an EP slated for release next month, Cabarle and co. have shared single ‘Please Hold’ to introduce their sound. A song described by the band as “a power ballad about wanting to be close and connect with friends/lovers but being scared of what happens when you’re vulnerable,” it confronts the needling doubt of fearing you are too much for those around you while pining for acceptance and connection. Watch the video produced and directed by Mars Alba below:

‘Please Hold’ is out now via streaming services.

Jacob Brodovsky – Kids

Back in April we introduced Tell The Kids We Tried, the forthcoming full-length from Winnipeg songwriter Jacob Brodovsky, describing how the album “meditate[s] on themes of community, connection and family within the tumult that is the present moment,” with a set of characters “attempting to build a life within a world where the future seems unwilling or unable to materialise.” Latest single ‘Kids’ addresses this style more directly than anything on the record, written while Brodovsky was wrestling with what it meant to have a young child and another on the way while the future of civilisation seems so bleak. “For me, having children has been a massive source of both optimism and dread,” he explains. “Being around children and watching them discover themselves is such an incredible gift to behold, while also terrifying to realize all the ways they could hurt themselves and the limits of my own abilities to protect them.”

Tell The Kids We Tried will be released on the 10th July via Make My Day Records and you can pre-order it from Bandcamp.

Kate Prascher – Jubilee

Later this summer, Memphis-born, Hudson Valley-based songwriter Kate Prascher will release new full-length Sunday Afternoon. The follow-up to 2024’s Shake the Dust, the record sees Prascher build upon her distinctively honest, unguarded style of folk. Lead single ‘Jubilee’ embodies both the atmosphere and emotional clarity of the release, the sound with one foot in the past but always looking forward, allowing memories and hopes for the future to sit side by side. “I wrote it while walking on an old train trestle in Rosendale, New York, a town ringing with the eerie history of a stone quarry, carrying memories of my hometown across it,” Prascher explains. “By the time I climbed down from the track, the song was mostly written. It’s a lyrical exploration of the word ‘jubilee’ as both a signal of celebration and of forgiveness.”

Sunday Afternoon will be released on the 28th August via First City Artists.

MEGGO – just my luck

Following on from 2025 EP eavesdropper ;; death stories, Montreal-based songwriter MEGGO is returning this summer with the next chapter of a trilogy of releases, with lead single ‘jaws of life‘ giving a taste of what to expect earlier in the year. Now she is back with new track ‘just my luck’, a song which allows repressed anger to bubble the surface, not only as a form of simple catharsis but also to clear the ground in order for the process of healing to begin. “There’s a part of me that needs to yell and scream. I don’t call on her that often, but she’s in there!” MEGGO explains. “‘just my luck’ is what comes from that inevitable explosion. It’s about letting go of grudges and making room inside yourself for forgiveness. It acknowledges where there is pain, looks right at it, and lays it bare so that it no longer needs to be carried. What’s left is compassion and peace in its wake.”

Two Runner – Strawberry Rhinestone

Described by label Gar Hole Records as “a warm reassurance for anyone who’s gotten dressed up just to come home alone,” ‘Strawberry Rhinestone’ is the lead single from Two Runner’s upcoming new album Porchlight. The Northern Californian duo, songwriter Paige Anderson and fiddler Emilie Rose, have lived a life steeped in folk music, growing up in the mountains and playing from a young age, and the experience shines through in the Two Runner sound. The single is a slice of lively barroom bluegrass, equal parts wistful and reassuring as it delivers a message both wise and world weary. “”Love is in your favor if you can outlast the bad ones.”

Some lovers are like the mountains
Some lovers are like the ocean
Some of them stick like velcro
And some leave in mysterious ways

‘Strawberry Rhinestone’ is out now via streaming services.

W. Y. Huang – Born To Lose

We last wrote about Singapore-born, New York-based singer-songwriter W. Y. Huang back in 2024 with the release of the EP Knots. The release possessed “a fluidity and ease suggestive of an artist who has spent time exploring their tastes and honing their craft,” we wrote. “One ready to share something intimate.” Fast forward a couple of years and W. Y Huang is preparing to release his debut full-length On Stranger Hills, and lead single ‘Born To Lose’ suggests the album will be even more honest and personal. With a lo-fi sound which owes a debut to both Daniel Johnston and Adrienne Lenker and drawing on his own immigrant experience, Huang “explores the loneliness and anxiety of what it means to be invisible in a foreign land,” as the album notes explain, “tracing the edges of belonging, where memory and place begin to blur.”

‘Born to Lose’ is out now and available from the usual places.

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Over the last decade, Portland-based songwriter Alela Diane has established herself as one of the most interesting and consistent songwriters in contemporary folk music, putting out sixth full-length albums since 2003 debut Forest Parade. Next month will see the release of the seventh, Who’s Keeping Time?, with Fluff & Gravy Records and Loose Music. The album sees a return to a more collaborative style, and latest single ‘Dusty Roses’ highlights the compassionate sound which results. “I wrote this song about a dear friend of mine whose path took a wrong turn a number of years ago,” Diane explains. “I think she’s still alive, but no one knows where she ended up. I believe that we all have the capacity to lose ourselves along the way. I’ve seen it happen again and again, whether through mental health struggles, drug use, addiction, trauma, depression, or grief. So many of us have seen someone we love lose the light in their eyes, and become a stranger to themselves. It feels like we’re all just teetering on the edge, and some just don’t have a sturdy enough footing to get back on track. This one is for all the lost girls.”

Watch the video Diane herself below, with direction and camera assistance by Soraya Kim (aged twelve):

Who’s Keeping Time? 22nd May via Fluff & Gravy Records and Loose Music and you can pre-order it now.

Alex Zhang Hungtai – Mother / Sidewinder

You might recognise Taiwan-born, Canada-based artist, musician and actor Alex Zhang Hungtai from a number of different things, be it acts like Dirty Beaches, Last Lizard and Love Theme, the composer behind themes for films like Hlynur Pálmason’s Godland, or as part of one-night-only-at-the-Roadhouse band Trouble in Twin Peaks. But now he is now pursuing a more improvised style of music under his own name. This June sees the release of double album Orion/Mother via American Dreams, and Hungtai has shared a single from each of the records to give an indication of the singular, visionary sound which awaits. “Both tracks share a common theme,” as he expands. “An exploration of the primordial state within the unconscious that leads to a confrontation with what is unspoken and hidden. The symbolism is neither negative nor positive, but a guide that snakes its way across the psychogeographic terrain of the mind.” An ideal entry point to a double album which layers a variety of instruments, an ensemble of collaborators and indeed an array of time periods over one another, recombining a patchwork of past and present to conjure something entirely new.

Orion/Mother will be released on the 19th June via American Dreams and you can pre-order it now.

Brittany Ann Tranbaugh – Wissahickon

We last wrote about Brittany Ann Tranbaugh back in 2023 with the release of single ‘We Could Be Comets‘, a track which saw the Philadelphia-based songwriter portray love from different angles. Embracing both the intense yearning of the early days and the slow burn yearning upon reflection, the result painted something rooted in the real world, too complicated for romantic epiphany yet no less magic for it. “In her compassionate and always controlled tone, [Tranbaugh accepts] that a happy ever after might not be possible,” we wrote, “instead parcelling the feelings into brief moments which burn bright if only for a moment.” Now Tranbaugh is back with ‘Wissahickon’, a track no less authentic in tone, though one unafraid to embrace romance unapologetically. One in which playfulness and humour do not preclude sincerity, lending the whole thing a distinctively Prine-ian vibe.

My girl’s a redneck with a PhD
She don’t condescend to me
She took a lot of hits and a lot of heat
She came out tough and she came out sweet

Now we’re waist-deep in the Wissahickon
Like her so much let her take me fishin’
Didn’t know what I’d been missin’
Sunlight making the river shine

FAITH PLATES – Fever

Born in Germany to Romanian-Hungarian immigrant parents, FAITH PLATES might have grown up in various places around the world, spending time in South Carolina, China, Germany and the UK, but her music is marked by a clear fondness for the US of the early 2000s. Take latest single ‘Fever’, a decidedly nostalgic track built from the simplicity of vocals and guitar which pines for a time and place now left behind. Or perhaps one which never quite existed, the song evoking an idealised version as remembered from afar, packed full of striking details amid an otherwise hazy warmth (“Spanish moss and / magnolias in / the summer breeze / remember me”). However, there’s also a melancholy built into such a style, the implicit knowledge of having lost the thing so dear, and worse, knowing it can never return.

‘Fever’ is out now and available from the usual places.

Henry Nielsen – Beginning Of The End

Part of the current folk rock revival, North London songwriter Henry Nielsen follows in the footsteps of contemporaries like Brown Horse, taking the rustic charm of classic country tunes and adds a decidedly seventies-style polish and warmth. Ahead of debut full-length Hollyhocks next month, Nielsen has shared latest single ‘Beginning Of The End’. Described as “the story of someone who can’t meet the people in their life halfway,” the song follows a narrator towards the impending realisation of the title, its easygoing rhythm tracing an accumulation of regrets in real time. So though the sound is assured and romantic, the situation it brings to life is anything but. A snapshot from a relationship that’s ultimately doomed, the protagonist gradually opening their eyes to the consequences of actions.

Watch the video directed by Lawrence Dodgson and Will Thomson below:

Hollyhocks will be released on the 29th May. ‘Beginning of the End’ is out now.

MEGGO – Jaws of Life

We last wrote about MEGGO back in 2024 with the release of EP eavesdropper ;; death stories. “‘brooklyn, pt. 1’ has a lot more going on beneath the surface than you might glean on first listen,” we wrote of the lead single. “Each layer carries its own shade and meaning, accentuated by [Megan] Ennenberg’s warm and soulful delivery, [and] there are other dimensions to the track too. Stylistic choices which go beyond tone and structure and into its execution, as though MEGGO is inviting us not only into Brooklyn but also the song itself.” Now MEGGO is back with a new single ‘Jaws of Life’ and the result is similarly nuanced, Ennenberg using the duality of the titular equipment (where hydraulic force, almost violence, is used to rescue and comfort a victim, and ultimately return them home). “This song means a ton to me. Writing it helped me imagine my future and appreciate my past,” she explains:

There are a bunch of little secret sonic nuggets throughout the song that infuse it with good vibes, like the sound of my love coming in and out of the room while I was recording vocals, my dear big brother slaying the harmonica, and a roommates choir made up of a bunch of the friends I’ve built homes with throughout my 20s. Their voices singing together sound like a hug. So much is uncertain and spooky these days but this message feels simple and clear and unwaveringly true, a reminder of what’s good and important, that love is the strongest stuff.

Swapmeet – Sand

“Pairing jangle and fuzz with a buoyant energy, the track represents the very best of the project,” we wrote of Swapmeet‘s ‘I Know’, the Aussie four-piece’s first single having signed with Winspear. “A sound able to encompass both sardonic slacker bite and cathartic alt rock release, rising from sly, taut beginnings into something with serious size and heft.” Now Swapmeet have announced their new album Mount Zero, and new track ‘Sand’ shows off a different dimension to the band. A more reflective and earnest track which mourns that which is lost within contemporary youth, where a thousand distractions rob some of the magic away from the experience. The dual vocals only ramp up the emotional resonance of the sound, though while the style might seem more restrained than its predecessor, the conclusion still whips itself up into something of a cathartic release.

Watch the video directed by David Milan Kelly below:

Mount Zero will be released on the 17th July via Winspear and you can pre-order it now.

Thin Lear – Healing Alone

We’ve featured a number of singles from Thin Lear‘s new album Many Disappeared in recent months, from the Mothman-inspired ‘Silver Bridge‘ (“the song uses the myth as a way to investigate grief and its accompanied challenges, pushing deeper than the usual cheap thrills of the story to probe at the weightiest of issues”) and personal trauma-tale of ‘Witness‘ to the supremely ambitious and evocative ‘A Cherished Man‘, which followed a trio of dysfunctional characters as they searched for human connection in a world which seemed set against it. With the record now out via First City Artists, Thin Lear has shared the closing track as a final single. A suitably haunting number which again teases a narrative to life with careful details and an enveloping mood, while Matt Longo’s vocals add a very human compassion too.

Friend, can you hear the call?
From deep in a tomb
Oh, I see ‘em now, the sad eyes
Fixed to the stone
Oh, I can see ‘em now, the sad eyes
Fixed to the stone

Many Disappeared is out now via First City Artists and you can get it from the Thin Lear Bandcamp page.

Tory Silver – Your God

“There’s a healthy dose of existential dread sure, but there’s also enough garage rock crunch for it to feel rousing too. An anthem for the masses forced to drag themselves out of bed every morning to keep on keeping on.” So we wrote of Tory Silver‘s ‘Microwave’ back in March, a single from their new album In Through the Front with Lasers forthcoming via Michi Tapes. A fitting introduction to an album which deals with, as per the artist, “chronic pain, losing a friend to a cult (at least I think?), jealousy, overthinking death and the jobs that make everything worse. The stress that compounds daily. The realization that the world doesn’t stop being painful just because you need it to.” Digging further into this headspace, Tory Silver’s latest single ‘Your God’ sets an exploration of friendship (or rather, the lack thereof) and religious bigotry to an upbeat, almost carefree sound. How you interpret this style is up to you, and both have thematic resonance: A Trojan horse where difficult subjects are broached under the guise of having fun? Or an attempt to sand some of the sharp edges from these difficult subjects so it is possible to talk about them at all?

I thought we’d always be friends
And where’s the compassion
From a God who is love
I don’t need to compare your God to mine, but mine never judged me at all

Watch the video below, edited ‪quiet sports‬:

In Through the Front with Lasers will be released on the 29th May via Michi Tapes and you can pre-order it now.

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Like any story worth your time, ‘brooklyn, pt. 1’ has a lot more going on beneath the surface than you might glean on first listen. Each layer carries its own shade and meaning, accentuated by Ennenberg’s warm and soulful delivery, but there are other dimensions to the track too. Stylistic choices which go beyond tone and structure and into its execution, as though MEGGO is inviting us not only into Brooklyn but also the song itself. A notable error catches the ear near the conclusion. A slip which seems to unintentionally allow the listener into the truth of its creation, though of course is anything but unintentional.

“It’s been a long journey of experimentation, “Ennenberg continues. “At the end, you’ll hear a raw moment of me working through the song in real time–a reminder that the creative process isn’t always polished. It’s exciting to me to release a song that has an obvious mistake in it. I want people to ask themselves ‘Why does hearing someone make a mistake make me uncomfortable?’ MEGGO is about taking risks and being real, and sharing what that looks like.”

Photo by Flavie Lemee, edited by MEGGO

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