Their first new material since In the Garden, and a debut release on Audio Antihero, Josaleigh Pollett’s new single ‘Radio Player’ is both a continuation of this style and something of a new beginning. For one it is the first track made after Watko moved to Japan, the pair deciding to use what might have been a collaboration killer as a kind of creative impetus. “Instead of letting distance dampen our collaboration, we really tried to lean into the chaos and confusion of creating from different ends of different days while an ocean apart,” Pollett explains. “I think a lot of that anxiety and newness mixed with the dedication of friendship drives this new music.” The track also sees the project open up to wider collaboration. Nashville’s Andrew Goldring helps with production and playing extra instruments, and Pollett invited their live band to add their own stamp to the song. The result harnesses some of the energy of live performance without sacrificing the sound’s electronic dimension, and hints at a possible future direction for the project.

Inspired in part by seeing Tobe Hooper’s Poltergeist as a child, ‘Radio Player’ explores ideas of memory and childhood with all the unease of a horror movie, its soundscape strange and suggestive and moving with a kind of dream logic. A place full of images, threat and possibility, the complexities of life reduced to their fundamentals. A meditation on a time we perceive as a kind of heightened experience, one which imprints itself somewhere near the back of our minds and often surfaces without warning. Something that’s a form of haunting in its own right “It is a journey through the hallways of childhood that we leave a light on within,” as Pollett puts it. “A pink light flickers on and beckons the listener through, releasing them changed and covered in ectoplasm five minutes later.”

When I fell asleep, it was dark,
Now a light is coming from the TV

I told you that I saw a ghost
I just need you to believe me.

Photo by PJ Guinto

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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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A release which “accepted this state of things, viewing honesty as the first step towards moving forward.” That’s how we described It’s Been a Long Year Vol. 1, the recent EP by the Montreal-based songwriter Alex Nicol. It was a collection of songs “written in a time when the pandemic only underlined years of chronic neglect and saw once bustling towns pushed further into decay,” which presented a lingering sense of loss with a wry playfulness. This December sees Nicol add a second batch of songs to the EP for a full-length album, Been A Long Year Vol​. ​1 & 2, and new single ‘Working On My Tan’ dials into this mood again to offer sound attuned to both the sadness and mysteriousness of the world we have created.

Watch the video by Jérémie Boivin below:

Been A Long Year Vol​.​1 & 2 is out on the 1st December and you can pre-order it now.

Christopher Tignor – Forms In a Flame

Writing of previous single ‘Ritual of a Thousand Limbs‘, we described how Christopher Tignor’s new album The Art of Surrender “explore[s] instinctive territory, pushing the violin towards an almost atavistic sound which foregoes too much planning or intention to instead embrace raw movement.” The album is out now via Western Vinyl, and final single ‘Forms In a Flame’ is the jewel at the heart of the release. A mammoth, near thirteen-minute collision of poignant classical and urgent electronic styles, fragile, aching violin joined by glitter atmospherics and galloping percussion.

Daneshevskaya – Challenger Deep

Daneshevskaya‘s forthcoming album Long Is The Tunnel, out next month on Winspear, presents a peculiar image of time. One “where the past, present and future are treated not as distinct things but rather parts of an encompassing whole,” as we wrote of single ‘Somewhere in the Middle‘. It’s a fitting device for a record which explores how personal histories and present experiences come to shape the world as we experience it. Latest track ‘Challenger Deep’ is typical of the poetic tone of Daneshevskaya’s work, the wistful fondness of the delivery landing somewhere between lullaby, hymn and love song.

There’s a foxhole prayer I say
A mistake I like to make
Saving you for the end
It’s all pinks and reds
There’s a dog chasing the fence
And now I’ll never see you again

Will you wait for me
Where there is no later on
Will you wait for me at the end, the end

Watch the video filmed by Madeline Leshner and edited by Zach Stone below:

Long Is The Tunnel is out via Winspear on the 10th November and you can pre-order it now from the Daneshevskaya Bandcamp page.

Gilded Lows – Brave

After learning the trade as part of Austin jazz punk outfit Dead Swagger, Spencer Carter has since turned his attention to new project Gilded Lows. Taking some of the croon of the previous band and adding a healthy dose of cowboy attitude, Gilded Lows follows a lineage descending from Johnny Cash, Roy Orbison and Nick Cave. A country style charged by Spencer’s baritone to sound both full of longing and supremely confident. That old cowboy spirit where the wish for a better life is matched only by nostalgia for what was. The result is a present at once fatalistic and self-deprecating. “I’m not brave / I’m not sweet,” Spencer sings at the close of the track, “In fact, I’m the one who’s terrified of feeling much of anything.”

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

Middle Sattre – Pouring Water

“It’s my way of processing internalized homophobia, religious trauma, and shame from growing up gay in the Mormon church,” explains lead Hunter Prueger of Middle Sattre. Writing songs as an act of both confrontation and defiance. The project started as a solo project in Salt Lake City and has since blossomed into a eight-piece in Austin, retaining the intensely personal tone while pushing the instrumentation in all sorts of interesting directions. The result, as captured by new single ‘Pouring Water’, lands somewhere between Sufjan Stevens and Typhoon, where collaboration brings a immersive richness to the sound but never occludes the intimate lyricism at the track’s heart.

Riley Skinner – Dirty

Based in Minneapolis, singer-songwriter Riley Skinner makes music that invites the listener into a world of honest and courageous vulnerability. Next month, she will release new album Surrender, a record that explores queer identity through the lens of the natural world, embracing its inherent chaos to experience the peace and acceptance at its heart. Latest single ‘Dirty’ is a great example, a quietly powerful folk rock song about finding the bravery to be your true self. “When I wrote ‘Dirty’,” Skinner describes, “I was thinking about the ways in which we withdraw from closeness and love because we feel we are not worthy or deserving of receiving it.”

Surrender releases on 10^th November and you can pre-order it now from the Riley Skinner Bandcamp page.

TESHA – Like a man

Back in 2019, we wrote about Growing Pains II by Israeli-born, Brooklyn-based artist TESHA. A collection of songs we called “ethereal yet rooted in personal suffering,” it drew on the likes of  Bjork and Fever Ray to combine experimental electronics with an otherworldly power. Now TESHA is back with a brand new single, ‘Like a Man’, which seethes with righteous anger as it takes aim at the patriarchy and the ongoing unrest in her home country. A dark and pulsating pop song, it urges an end to the masculine posturing and the blind search for power, instead finding strength in compassion and vulnerability.

‘Like a man’ is out now and available from the usual places.

Upper Narrows – My Lottery Dream

While We’re Warm, the upcoming album from Upper Narrows on Repeating Cloud, represents a meeting point between digital and organic sensibilities. “[Tyler] Jackson’s delivery [provides] that human core to what could otherwise be an almost extraterrestrial soundscape,” as we put it in a preview. “His voice [adds] a warmth so often lost in synth pop, and helps the album to live up to its name.” The final single before the album’s release, ‘My Lottery Dream’ furthers this style, leading the listener into a detailed, technological soundscape with the vocals as a guiding hand. But despite the blips and bloops, it maintains a real heartfelt humanity.

Weeper – De Algo Hay Que Morirse

‘De Algo Hay Que Morirse’, the new single from Buenos Aires-based indie pop band Weeper, was written about a recurring dream experienced by lead Mary Craig. “I used to drive people off of cliffs, bridges, etc to our deaths and wake up,” she describes. “When I dreamt the dream with my Argentine partner, he responded, ‘You have to die of something – De algo hay que morirse.’” The song starts gentle and heartfelt as it reflects on the dream’s sense of loss and guilt, but builds in energy as it progresses. “I’m alive and I can’t believe my luck,” Craig sings around the halfway mark as she comes to find a carefree joy in accepting her own mortality.

‘De Algo Hay Que Morirse’ is out now via streaming services.

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With a spacious arrangement brought to life with the help of Jordan Watko, ‘The Nothing Answered Back’ works through these questions with a tangible intimacy. A soundscape of lo-fi textures and flitting details which grounds the listener in a flat melancholy, though one which simmers with gathering momentum. As though regret is a potential energy building within itself, threatening to spill or to break. The resulting mood falls somewhere between mourning and self-flagellation, Josaleigh Pollett evoking the spirit of Jason Molina both directly with the “We’re all supposed to try” motto but also in the fatalistic embrace of self-examination no matter how dark.

Aren’t you grateful for the nothingness?
The way that sparks don’t catch?
You asked for this and here it is –
The nothing answered back.

The song comes complete with video filmed and directed by Ryan Ross, with choreography written and performed by Nora Price. Check it out below:

In the Garden, By The Weeds will be released on the 14th July and you can pre-order it now from the Josaleigh Pollett Bandcamp page.

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Entirely self-recorded, the album strives to create the most fertile conditions in which to explore one’s interior state, blending the lo-fi sensibilities of bedroom pop with elements of ambient to form the bedrock upon which Whit’s lyricism and spoken-word poetry can flourish. While the release is at least in part formed around the dissolution of a relationship, it inverts its focus, rejecting the traditional outward gaze of longing.

“The album is really an exploration into the body,” Jill Whit explains, “It’s about knowing yourself through solitude – gaining a connection to your physical body. It relates to opening up to your inner voice, and connecting the body and spirit through physical and emotional movement; to be ever accepting, shifting, breathing, living, being.”

Today, we’re excited to unveil time is being‘s first two singles, combined into one video by Shey Allen. ‘Touchless’ introduces the solitude of the record, crafting a space made dreamlike in the static aftermath of love. The only sensation is the phantom contact of those left behind, the only movement some residual disturbance that quietly pulls at the air. Whit’s poetry emerges plainspoken, deepened by the subtlest echo that plays like hearing your own words return from tiled walls. If there is coldness or solitude to the track, it is encapsulated in this resonance. The sense that, within such a scene, life can only arise from within.

Though written amid the dying embers of the relationship, ‘Maybe Means No’, is a natural progression from the previous track. Contemplating fleeing the present for new time and space, the song works up the courage to make a decision, growing brighter as it edges over the precipice of hesitancy into freefall. The drop might be sudden, the song suggests, and must be experienced alone, but there is feeling in such a descent. A reminder of your body—in gravity, in resistance, in sheer movement. A rekindling of possibility in the prospect of starting anew.

Through a solo dance performance from Rachel Andes, the video taps into this tactile sensibility and captures the contradictions running through the songs. Starting within the porcelain white confines of a bathroom, and concluding in a desert’s expanse of red rock. Surroundings that mimic the evolving soundscape, where intimacy and loneliness lose their firm divide, and physicality can triumph over empty space.

Cover photo by Joshua Doss

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As part of Whited Sepulchre Records’ split cassette series, Skye-Briggs has adopted the new alias Sabriel’s Orb and teamed up with Sydney’s John Atkinson to produce an EP that delves into a more ambient-based sound. The new direction grants a degree of space that might not be allowed in pop or techno, each song a slow-burning longform piece that is allowed to rise and collapse under its own volition.

Take first track ‘Secret’, the faint yet warm backdrop a canvas across which things can shoot and streak, synths radiating, pulsing and surging, regressing to silence and flickering back once more. The result is something mysterious yet comforting, outside of our existence or else above it, a place or space so timeless that anything might happen there.

‘Holding’ continues the sensation, the lead-on from the previous track near seamless. However, the latter half of the song sees an increasingly sweeping atmosphere as Skye-Briggs’s techno leanings show through, as though, having been lead through a beautiful vastness, we are greeted by some sublime sight or sound that transcends all that came before. The swell recedes back into relative quiet, though the possibility has now been made clear—the supraworld of Sabriel’s Orb could contain anything.

On the other side of the release, John Atkinson offers his own meditative brand of synthscape. Atkinson, who used to play in the hypnogogic Brooklyn band Aa, also creates scores for film, his “uneasy atmospheres” providing the backing for documentaries about contract killers and “listless graduates in arthouse comedies.” The experience might well inform his offering here, as the tracks are immersive and strange, conjuring their own environments of foggy atmosphere. ‘Backwaves // Rye’ unfolds within this misty world, the slow calm of contemplation colouring each drift.

‘First Rain of the New Year’ is equally evocative, though the pensive mood here tends toward a subtle, worming dread, the steadily growing drone portent of some far-off yet ever-approaching tumult. The punctuating calls of birds only serving to heighten the feeling, reinforcing an absence of humanity and grounding the piece within the natural. Whatever might come will be beyond our control, and there is beauty in it.

Sabriel’s Orb / John Atkinson is out now via Whited Sepulchre Records and you can buy it from Bandcamp.

Artwork by Dustin Bowen

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The Meanest Creature Ever Known is Matthew Healy and Oliver Roditi from Edinburgh, and they have just put out their first album, You, Having Fun. Apparently the album is about “being alive and a bit sad.” As you might expect from that description, You, Having Fun is folky slowcore release that brings to mind quite a range of influences, from Phosphorescent to talons’

The album is available on a pay-what-you-can basis over at bandcamp.

Kississippi – I Can Feel You in My Hair Still

Kississippi is a sad girl from Phildelphia. She writes songs that are not mere catchy ditties, but instead full blown poetry. Stuff like this:

“You were swallowing god damning dogmas 
rough palmistry your hands could not align 
unsexed you borrowed callow spit, not lost 
no, looking for a space, just not mine 

redolent with skin of unknown 
unwary hands, nomadic ghost 
levied words from my spiteful throat 
understanding where my thoughts go 
you’d build a boat out of my bones.”

You can buy her album on Bandcamp for whatever you can afford.

James Junius – I’ll Hide Myself/Sleepers

Salt Lake City’s James Junius combines folk, ambient and jazz music to make atmospheric tracks “in an attempt to portray the world as he sees and the people he has met in various late night conversations out under the ferments.” Further details on Junius are few and far between, but you can download both tracks via Bandcamp.

Thad Kopec – Noble Neighbor

I stumbled across Thad Kopec’s cover of ‘Fake Empire’ a few days ago (and included it on our latest mix), and as luck would have it, he has a new(ish) album out right now. If folk music (with a touch of ambient music thrown in) complete with Biblical lyrics is your thing, Thad Kopec is probably your thing too. You can buy the album from Bandcamp, or grab it for whatever donation you can muster via Noisetrade.

Sea Wolf – Song Spell, No. 1: Cedarsmoke

The first release from Sea Wolf frontman Alex Brown Church’s Song Spell series, Cedarsmoke is a welcome reminder of how good Sea Wolf are. My listening relationship with the band is eerily similar to that of Jeremy over at HI54LOFI, and I am very much enjoying catching up with what I have been missing. There will be more Song Spell releases in between the ‘proper’ studio albums, so keep your eyes peeled and ears open for what Sea Wolf have to offer. Don’t make the same mistake we did.

Miss America By Wheary – All is Not Lost

Miss America by Wheary have been whetting our appetite over the past few weeks with singles from the EP All in Not Lost. Well you can stop dribbling and chow down on the full release. They make a brand of Americana that brings to minds acts like Jason Isbell and Water Liars, with an added experimental/ambient lilt which gives the whole thing a nice cinematic feel.

You can grab this one from Bandcamp too.

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