Following in the lineage of songwriters such as Lana Del Ray and Ethel Cain, april june is a Madrid-based artist whose Gothic brand of synth pop muddies the line between desire, fantasy and reality. With a full-length edging closer, april june has been releasing a steady stream of singles in recent times, and the latest ‘it’s all my fault’ serves as the ideal introduction for those not already onboard. Shimmering nostalgia, heartbreak and loneliness marble into something enveloping, with a melodramatic gloom that is nevertheless shot through with shining longing.

ARXX – Baby Uh Huh

Earlier this year, Brighton duo ARXX released their album Ride Or Die via Submarine Cat Records, a record which saw Hanni Pidduck and Clara Townsend push the garage rock sound which made their name towards polished, soaring power pop. To close out the year, ARXX have returned with another evolution, this time of single ‘Baby Uh Huh’. Developed in collaboration with trans collective charity We Exist, the reimagined version collects a bunch of friends to celebrate the Queer community’s communal power, taking an already affirming track and elevating its joyous spirit even higher. “We were looking at the world around us, at all the attacks on Queer lives and in particular Trans lives and we wanted to do something to show our support with our Queer community,” the duo explain. “‘Baby Uh Huh’ is about finding the right people to surround yourself with to make you a better version of yourself, which is a very Queer experience.”

You can grab the charity single on Bandcamp. Ride Or Die is out now via Submarine Cat Records.

body / negative – sleepy (feat. Midwife)

Back in October we introduced body / negative‘s forthcoming album everett, with multi-instrumentalist and vocalist Andy Schiaffino enlisting the help of Midwife to create an incredibly personal memorial to her parents. “An attempt at communication through planes of existence and accumulated time,” as we described of the title track, “reaching across seemingly impassable gaps to ensure the line between loved ones remains open, regardless of how distant they might come to seem.” Latest track ‘sleepy’ is no less poignant, its sparse arrangement and layered samples playing like an evening in an empty room. Only within the stillness something else stirs, echoes of past days returning to dispel the apparent solitude, as though time is not a straight line but a stack of superimposed snapshots.

everett is out on the 8th December via Track Number Records and you can pre-order it from the body / negative Bandcamp page.

Haley Heynderickx & Max Garcia Conover – How Does The Horse Go Home?

Both Haley Heynderickx and Max Garcia Conover have been regular fixtures here at VSF over the years, so it was a real treat to have the pair join forces for Among Horses III, one of a series of collaborative releases from Son Canciones. “Whether writing confessions about themselves or imagined fictions about others, 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.” To celebrate the fifth anniversary of the EP, the pair have returned with a new extended edition, featuring new songs like the ‘How Does The Horse Go Home?’—another deft, striking contemplation on love in all of its changing, persistent forms.

Land Dweller – Losing Touch

Having previously recorded under the moniker Varsity Dad, Denver‘s Dan Harvey has now taken up the name Land Dweller and is preparing to release the project’s debut full-length Past Life. With Harvey on bass, guitar and vocals and Larry Shaw lending drums, the album establishes the Land Dweller MO—a blend of slacker and garage rock which melds bright rhythms and nostalgic textures. Take lead single ‘Losing Touch’, where the sound’s fatalistic reflection is counterbalanced by a rising rhythm, allowing for something at once despondent and cathartic.

Luah – To Relate

Luah is the recording project of Brendan Paul Sullivan, a Florida-born, Baltimore-raised and Kingston, New York-based songwriter, alongside an assortment of friends. The first taste of a forthcoming album, new single ‘To Relate’ is a slow unfurling of a song. Downbeat vocals bob along a meandering arrangement, so what might at first appear to be a morose mood is gradually revealed to be something more varied and natural. As though in committing to the flow, Sullivan not only accepts the changeable currents but finds beauty in every small eddy and pull.

Other Suns – To Adrianne

The cornerstone of debut full-length album Songs About Death, ‘To Adrianne’ introduces the hushed, introspective sound of Other Suns. Opening with the gentle lap of the tide, the song uses a spare folk sound to conjure something both warm and searching. A space outside of normal things in which to voice questions or share sentiments in the aftermath of loss. Or perhaps just to listen, to attune to the quiet sadness inherent in all things in an effort to sense the connection which exists between them. As the final line offers: “If everything dies, I’m not alone.”

Touch the Clouds – Dissolve

“A study on retrospection itself, calling attention to the artifice of memory and the rose-tinted fictions it has us believe.” That’s how we described ‘Gordie and the Cruisers‘ by Detroit‘s Touch the Clouds back in 2022. A bright indie rock anthem which held a more ambiguous message underneath. New track ‘Dissolve’ is no less dichotomous in style, its driving momentum and impassioned vocals detailing a headspace altogether less certain. As though only in leaning into forward motion can one shake free of the baggage of modern living. “I’ve been goin’ through a lot / trying to find a little peace / in all the yuck / racing around inside of me,” as the song opens. “Like dogs on the loose / running the street / howling a tune / into the moonlight.”

The Wolf In Our Own Backyard – God Help Me

The songwriting project of Kevin Gigler, The Wolf In Our Own Backyard is a Providence, Rhode Island-based outfit that works within folk’s best traditions. New album Stuck in Useless Country is full of wry humour, self-deprecation and dissatisfaction, all delivered with an upbeat and often scrappy folk rock style which twists and bends conventions as it sees fit. Single ‘God Help Me’ is perhaps one of the more traditional tracks on the album, though is shot through with the same spirit. Think John Prine’s ‘Paradise’ updated for a slightly later stage of capitalism, where the citizens of said useless country are left with no recourse but to mourn its perpetual decay.

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After a childhood in an oilfield town south of New Orleans, Wilson spent a decade or more in various bands across the country, as well as a period in divinity school. But it was upon moving to New England in 2018, cut off from any musical community, that he asked the serious questions of his work and began to find his voice. The self-titled debut Convinced Friend album, out next month via Relief Map Records, channels this development to map other journeys toward convincement. Serving as a space in which to work through the available evidence, and moreover a sincere attempt to reposition personal difficulties as a source of meaning.

Today we have the pleasure of sharing the latest single, ‘Taken Apart’, a track Wilson describes as the record’s personal centrepiece. “Thematically, it captures a lot of what I was turning over in these songs as a whole,” he explains, describing how writing it triggered the rest of the record to pour forth. As though ‘Taken Apart’ was the seed from which the other songs germinated, the granule around which everything else coalesced. And it is easy to see why. With an intimate and attentive sound in the lineage of Jason Molina and David Bazan, it sees Convinced Friend push beyond the melancholic surface so common to indie rock, looking instead to explore the deep possibilities beneath.

Because more than describe the accumulated regrets and resentments of life, ‘Taken Apart’ is the beginning of an attempt to repurpose their weight. To use the mass as a kind of ballast, a grounding force which holds Wilson closer to a shared reality amid the alienating nature of existing in a society driven by work, algorithms, competition and money. All in the hope of earning, as he quotes from Jack Gilbert’s poem ‘A Brief For The Defense’: “the stubbornness to accept our gladness in the ruthless furnace of this world.”

Which is to say, in its attempt to fight the alluring power of self-pity in a genre too-often beholden to its charms, ‘Taken Apart’ encapsulates the central intention of Convinced Friend. To open oneself up to the world in spite of pain and suffering. To live with fondness in spite of it all. “If we deny our happiness, resist our satisfaction,” Gilbert continues in the same poem, “we lessen the importance of their deprivation / We must risk delight.” Life might not be fair, and it is almost always hard, but to cast yourself into your own suffering is to throw yourself into an empty well. There is nothing there but damp shadows and the sounds of your own voice brought back to you, echoing from the cold stone walls.

Convinced Friend is out on the 11th November and you can pre-order it now from Bandcamp.

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Opening track ‘George Through the Window’ sets the tone, combining winding pedal steel with synthesizers that sparkle like a 90s science documentary. It captures something intangible, this synergy of glittering wonder and the sawing ache of something altogether more poignant. These twin forces of wonderment and reflection are the album’s key thematic motifs too, as Wenc meditates on the people who have touched his life in a variety of ways. “The album in general is centered around an acknowledgement of the impact and forces of figures both close and distant in my life,” Wenc says in a piece with Backseat Mafia. “My aim was to honor the composition of these people in shaping my existence (the album name acting as a directive to myself to investigate these forces further).”

From the jerkily robotic opening of ‘Karen’s Ride With Grace’ to the zen-like stillness at the centre of ‘Bob’s Peace in West Texas,’ Cut Into Your Own Dimension never settles in one place, experimenting with molding the constituent parts into new shapes. There’s an uneasy sense of surrealism on ‘Ira Arrives for Purim’, opening with screeched glitching and a clipped vocal sample, before cutting immediately to another garbled sample, this time supported by melancholic swells of subdued synths. The effect is one of a collaged dreamscape, a juxtaposition of harsh and oddly subdued of which David Lynch would be proud.

Cut Into Your Own Dimension is out now on Noumenal Loom and you can get it on cassette or digital via Bandcamp. 50% of the proceeds will be donated to Pa’lante, a restorative justice program based in Holyoke, MA working to build youth power and dismantle the school-to-prison pipeline.

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Today, we’re delighted to share a third track, ‘Whose Taxidermy Horse’. Slowing the tempo from the previous singles, the track drags and shuffles with an exhausted air, as though occupying a place too warm to bother, the surroundings slowly melting into a viscous swirl that bubbles of its own accord. Eventually, the vocals kick back in, this time with a renewed sense of energy, making the song seem like a piece of taffy that has been stretched thin, the middle portion looping and spooling in abstract patterns. Take a listen below:

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Vio/Miré are a band from Providence, Rhode Island, led by Brendan Glasson. Their fourth album, You Will be Spending Time Outdoors, in the Mountains, Near Water, came out last September. Their music is a mixture of folk and ambience, with reed organ, cello, chorals and synths used to create lush soundscapes upon which Glasson’s poetic vocals float. Think Sea Wolf mixed with an orchestral Sufjan Stevens, folk songs written over the top of cinematic compositions.

The album is one of contradictions, somehow sounding intimate and expansive, gentle and harsh, poetically abstract and beautifully simple. In this way it manages to mirror nature in all of its guises – spellbindingly beautiful and callous and cruel and innocent in a way humans are no longer able. For example on ‘Dogs 1′:

dogs are barking in an alley way
they’re fighting over bones
I love the moment till I curse the day
breaking bottles over stones
and I have seen the grass’s easy sway
under spruces overgrown
and I have known the near to move away
how the wind was overblown

As with anything related to the natural world, mortality and death is a major theme. Much of the beauty and sorrow on the record can be traced to the transient nature of life, something that manages to be bleak and comforting and harrowing and joyous all at once. Much of this is barely explainable, much better felt through the music than explained by words, but it is something similar to the curious mixture of wonder, satisfaction and melancholy felt when looking at a range of mountains or rugged coastline. ‘Snakes’ closes with a contemplation of life:

sent to hell to stir and swelter,
I returned and sought my love

but if the way were many days,

if present passed as present does,

how would you ask someone how his journey was?

You would be forgiven for thinking this all sounds a bit New Age-y but it is anything but. You Will be Spending Time Outdoors, in the Mountains, Near Water feels less like a 45-minute album than a landscape, a world which existed long before the album was recorded. Vio/Miré offer a way into this place, and you would be a fool not to take their hand and experience it for yourself.

You can buy the album from the Vio/Miré Bandcamp page.

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Listen to the song in the player and download it for free via Soundcloud or Bandcamp. The track also has an official video which you can see on the band’s Youtube channel.

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