News
Entertainment
Science & Technology
Life
Culture & Art
Hobbies
News
Entertainment
Science & Technology
Culture & Art
Hobbies
Unveiling an effervescent electro-pop momentum, “With You” is a memorable new track from Chris Waters, a singer-songwriter, rapper, and DJ based in Denver, and originally from Milwaukee. The production develops with climactic atmospheric enthrallment — infusing a lush vocal lead and harmonious wordless backings as a spacey, arp-y synth line builds into a buzzing invigoration around the one-minute turn. “Please take me with you,” Waters’ vocals beckon during the central hook, which sits seamlessly between lusher segments of dreamy entrancement — which admit that “we’re all searching for truth / mine brings me back to you.” Stirring in its adoration
Pennsylvania-based artist Yuri Gohen crafts a riveting folk entrancement on his new album, Who Killed Cock Robin? — exuding a classic, no-frills stylishness that represents Gohen’s love for traditional folk, and its lingering relevance in the modern world. Gohen’s previous projects spanned from psych-rock (Meddlesome Bells) to noise-rock (Shaper) and still-active Irish traditional group Oak, Ash, & Thorn. This solo endeavor succeeds fully in the folk realm, here within a warmly inviting folk production that provides satiating interpretations of traditional folk gems. A compelling take on the historic English-origin folk song and nursery rhyme, the album’s title track opens with
Denver-based artist Talon Majors stirs on the affecting new single “Dream Weaver,” the first of three songs set to accompany her upcoming memoir Watch Her Fall — described as a searing exposé on the abusive troubled teen industry. The track was written about a forbidden romance forged inside the notorious Casa By The Sea boarding school (shut down for abuse and fraud). The track pairs raw heart-on-sleeve lyricism with dreamy acoustics and shimmering textures. “How could I be so naive? I was only 17,” her dreamy, introspective vocals let out amidst steady acoustics and shimmering backing textures. Depictions of trying
Impressing across an array of passionate rock and effervescent pop soaring, Wake Up Mr. Kupferberg is the new EP from Jakob The Liar, the project of Jakob Kupferberg. The release precedes the London-based artist’s upcoming LP, The Great Awakening. Consistently melodic productions combines with a contemplative thematic pursuit, centered around Kupferberg’s experiences regarding “survival and self-awareness in a society that ignores suffering and salutes success.” The opening title track intrigues with prancing piano, textural simmering, and a poetic spoken-word immersion. “I was digging for my future, in a cemetery of broken dreams,” they let out, building with cinematic introspection. “Sunchild”
Highway 99 is a stirring new album from Edmonds, WA-based artist Jess Grant, who crafts an array of classic-sounding rock that spans from heartland passion to moodier ruminations. Grant, who began writing songs in the ’70s and released his debut album in 1982, continues to show a penchant for high-quality, heartfelt songwriting throughout Highway 99, which represents his 18th independently released studio project. Amongst the album’s many standouts, “The Tower” is particularly magnetic for its fusing of twangy guitars and stately piano. The organ-laden “everybody has to take the stairs,” enamoring takes strong hold, as does the depictions of a
Two recent tracks from Dan Cousart enamor with a melodic rock immediacy, impressing on both the rock and new-wave intertwining of “Dancing in the Kitchen” and Strokes-esque hookiness within “You’re a Ghost.” The East Nashville, TN-based singer-songwriter and producer shows a penchant for replay-inducing songwriting. “Dancing in the Kitchen” commences with a grooving bass immersion, expanding into a blast of shimmering guitars and lush acoustic undercurrents. “It’s nice to begin again,” Cousart’s vocals let out with airy satiation, intensifying gradually into a synth-shimmering new-wave inspiration as the central hook takes hold. Meanwhile, “You’re a Ghost” channels early ’00s indie-rock nostalgia
An ethereal, beautiful piano piece from Lucas Joaquin Kania, “Luli No. 1” flows with an effervescent lightness — elegant and weightless in its twinkling piano layers, which interact with cohesive serenity. The structural embrace of conciseness and minimalism bolsters the approachably melodic appeal. Kania intended the track as evoking “a sense of introspection and melancholy” — and certainly succeeds in doing so. “I’ve always felt that the most profound emotions can be communicated with just a few notes, and Luli No. 1 is a testament to that belief,” Kania says. Right away, dual piano lines glisten with charming allure; the
After captivating with 2024 debut full-length To Feel Is To Believe, Dutch singer-songwriter Martin Kuiper returns with the excellent five-song EP, Dreaming Of A Sea Of Time. The production expands his sonic palette — dynamic between dreamy intrigue and passionate rock heights — while staying true to his emotionally rich songwriting. From the introspective opener “Dreams,” where steady guitar strums and bluesy piano frame Kuiper’s reflections on memory and longing, to the Nick Drake-inspired warmth of “Hanging On a Pink Moon,” the EP threads lush soundscapes with emotional clarity. A grippingly introspective opener, “Dreams” weaves steady guitar strums and bluesy
Oklahoma City-based band Blueprint Tokyo enthralls with a melodically memorable synth-laden rock appeal on new album Neon Circuits and the Mission of Hope. “This album is a mix of neon-lit nostalgia, hope, and the energy of a live show packed into 16 tracks,” says the act, who were responsible for one of 2024’s best EPs in Blue. Album opener “Say Anything” is enjoyably demonstrative of the project’s tendency for both atmospheric entrancement and hooky vigor. “We’ll keep the fire going,” a dreamy yet perseverant vocal rings out, complemented by a soaring enthusiasm that builds with momentum as sturdy guitars and
“Golden” is a memorable new single from CABIN, enamoring in its twangy guitar expressions and ruminating vocal pining for “those good old days.” A relatable thematic pursuit takes hold — simultaneously lingering on warm doses of nostalgia whilst contemplating on fears of the future; the trials of adulthood are portrayed with clarity amidst a lo-fi garage-rock entrancement. Bass-y perspectives on “golden days” and into adulthood, where one’s measure of success differs greatly from blissful adolescence, consume into bursts of soaring guitar enthusiasm. A melodic rock production charms in melding with lyrics that capture “past summers, future fears, and the golden
A resonating, emotive rock sound is showcased on “Diamonds and Gold,” a new track from Shady Charm. The Venice, CA-based artist describes the release as “about struggling to do the things you’ve always desired for whatever reason that is holding you back, and the pain that’s caused by not pursuing it.” Glistening guitar lines and hazy bass pulses maneuver into a buzzing intrigue, as a more serene psych-friendly introspection takes hold as the vocals emerge. A soaring, wordless backing vocal character emerges during the track’s magnetic title-touting hook, referencing time’s passages as roaring guitars and sharp synths dazzle thereafter —
“Stand & Wait” is a resonating track from Firebird Union, a project comprising two brothers — one based in London, and the other in Los Angeles. The production stirs in its range of heartfelt string arrangements, lush acoustic undercurrents, and beautifully hooky vocal ascents — achieving a classic pop reminiscence with shades of Beatles-esque allure. The brotherly duo of Ross and Matt Churchill first wrote the track around 2005 for another project entirely (the band Cedar). The track then took steady shape over the next two decades. Firebird Union’s 2019 formation kick-started its forward movement, culminating in this fantastic result
Manchester-based artist Ben Heyworth enamors with a magnetic folk sound on his Creatures EP, infusing melodic acoustics and organ-touched textures within poetic lyrical depictions of life, death, and the human experience itself. People, places, and events inspire the tales within — traversing from the Manchester waterways to road trips that blur the line of imagination and reality. Opening track “Narrowboat” achieves an illuminated folk spirit alongside thematic ruminations on life and death. The “anchored down” comparisons between trekking on Manchester waterways, and the twists/turns of life itself, prove artful in addition to depictions of mortality: “they lay me to rest
Scottish act Tom McGuire & the Brassholes fully captivate across their third album, A Name For Everything I’ll Ever Be. Funky rhythmic grooves, passionate vocal swells, and expressive brass converge amidst personal thematic pursuits — especially inspired by the birth of frontman Tom McGuire’s child. The album explores adulthood tactfully in navigations from joy within parenthood to reflections on grief and self-worth. “Life is confusing and hard, but music is fun and great, so let’s talk about it whilst at the same time, getting down,” McGuire says. The album commences with dynamic entrancement. The introduction weaves heartrending strings amidst spoken-word
Balancing dark atmospheric and melodic lyrical introspection, Warming Up: Rogue Freestyles enamors in its heady hip-hop sound — representing another success from Toronto-based artist Rayhan. Catching our ears in recent months with the High Noon EP and standout album uLove: Rayhan’s Version, Rayhan continues to impress with six memorable tracks here. Warming Up: Rogue Freestyles is precisely what its title indicates — a showcase of raw and inventive freestyling that serves as a warm-up to this fall’s release of uDOPE, which represents the second installment in Rayhan’s Untitled Trilogy. “Warming Up is the calm before the storm,” Rayhan says. “It’s
Recorded during a harvest moon amid “blood beeches, bogs, and tawny owls” on the rural estate of late artist Annette Holdensen, Anamnesis is an enthralling success from Copenhagen-based experimental chamber-folk group Homesickness. Their second album, Anamnesis embraces an array of influences that value atmosphere and harmonious mystique — ranging from British folk to the lush intricacies of Laurel Canyon songwriting and the creative spirit of late-era Talk Talk. Lead singer and lyricist Malthe Junge describes the album as “a wish to journey into the heart of our shared humanity,” playing as an exploration of “what we do not always feel
Copenhagen-based artist Zeki Jindyl crafts an enveloping sound throughout his debut solo album, STRETCH//RELATIONS. A gripping atmosphere unfolds, weaving together ambient textures, jazz-laden instrumentation, and experimental rock impulses. A fully memorable listening experience ensues, propelled by the talents of Jindyl, Þór Arnarsson (guitar, vocals), Laust Moltesen Andreassen (guitar, vocals), and Oliver Nehammer (drums, vocals). A climactic showcase in atmosphere, album opener “Stairway Conversation” swells with cinematic flair — eventually maneuvering between pit-pattering percussive intrigue, late-night brass mystique, and key-laden effervescence. Heady vocals, alternating between spoken word and singing, follow an initially sporadic orchestration. The final minutes enthrall with an eclectic
The solo debut EP from Atlanta-based artist Rex Novi, Prologue is a captivating success — seamlessly venturing across ominous pop buzzing, fervent hip-hop precision, and beat poetry headiness. Originally from Memphis, the songwriter and engineer embraces an eclectic array of influences, which span from film composers to sound designers. A drive to perform ignited the release’s creative process. “Prologue came along because I wanted songs to perform,” Rex Novi explains. “I was working on a project named Burial at Sea that was no where close to release, and I felt weird performing songs that were far from done.” The result
Gliding melodically with a synth-laden rock immersion and motivating thematic hold, “We Run” is the captivating new single from Reduction in Force. The project from San Diego-based artist Mike Mills first caught our ears with the excellently soaring track “What’s Next?” a couple months back; he continues to strut a penchant for high-quality songwriting with “We Run.” The latest offering achieves similar moments of spirited hookiness — in the “I will survive…” segment particularly — in between delectably moody book-ends. “We Run” is described as “a song about chasing what moves you—whether it’s something you have to do, want to
A heart-aching, reflective sound stirs on “West Virginia,” the new track from Cliff & Susan. The Little Rock-based duo meld country and folk charms with relatable thematic pursuits — which on “West Virginia” depicts the process of moving on from childhood familiarity and into an unknown future. Specifically, the track focuses on a young man who is leaving his childhood love, a woman named Virginia. “This story isn’t ours, but it is someone’s,” Cliff Prowse says. “I think a lot of people have felt the pull between love and leaving.” Produced collaboratively with acclaimed Nashville-based producer and mix engineer Colt
Montréal-based artist Yves Pilon crafts a chilly electronic intrigue on new track “Travel Memory,” described as “a musical journey through the emotions and impressions collected from distant places and fleeting moments.” The production plays like a soundtrack to a sense of travel — both in the day-set bustle, as rhythmic pulses bolster seamlessly, and more nighttime-set haunts apparent in the lush synth layering. The result is a thorough success, succeeding in both atmospheric captivation and melodic enthrallment. A hazy synth pad builds an otherworldly mystique to start, reminding fondly of Boards of Canada. A spacey, frequency-like electronic takes center stage
Consuming with a melodic, dynamic reach — from jangly intrigue to impassioned alternative and alt-country twang — Through The Static is the fourth album from Super Tuesday. The project is led by singer-songwriter Alex Kisch, noted in the ’90s as a member of alt-rockers Dirty Merchants, and continuing to craft excellent music in recent years with this vehicle. Super Tuesday’s previous album, Future Tense, caught our ears last year with its array of high-quality songwriting — a tendency also shown here with the captivating Through The Static, which is out on June 20th. Commencing the album with a jangling radiance,
A sun-shining, optimistic delight from Pam Ross, “Have a Good Time” infuses a soulful rock groove with lyrical proclamations to “just wanna have a good time,” within a world filled with hecticness and aimlessness. Shimmering guitars and mellowly melodic vocals exude a carpe-diem sentiment in the verses — appreciating how “the sun’s shining down on me today.” A rising vocal passion past the one-minute turn also enthralls, particularly in the punctuating funk-friendly guitar twangs that ensue. The North Carolina-based artist excels here with an excellent mixture of introspective Americana and rousing rock expanses — channeling a blues and funk synergy
A memorably lush and harmonious depiction of love shines on “Angela,” the latest track from Ubiquity Machine. The release represents the latest success from the Washington, DC-based project comprising The Rabbit and Howard Rabach. Catching our ears in the recent past with the EPs I Think It’s Funny and Romeo and Juliet, Ubiquity Machine continue to strut a tendency for melodic, from-the-heart songwriting. “This song is a slow-burning question,” Rabach says. “It’s vulnerable. We’ve all been there — stuck between love, hope, and wondering if they are heading for the door.” “Angela” comes via the duo’s upcoming album. The track’s
Capturing the intensity of boxing and spirited competition in general, “Punch Out” is a rousing rock success from A.D.A.M. Music Project. As the title suggests, the band drew particular inspiration from the classic Nintendo game Punch Out. The track’s enthusiastic, playful music video bolsters the release in exciting, knockout form as well — depicting the band performing in a boxing gym, and with boxers that bear some resemblances to Punch Out characters of the past. An invigorating push of guitar distortion and clamoring percussion complements a motivational vocal ethos, declaring “I gotta win.” “There’s no time to catch my breath,
A moving new track from New York-based artist Alwyn Morrison, “Chained” represents the most personal song he has ever written. An approachable pop/rock production melds with intricate explorations of loving someone with depression and striving to help them through, though with that taking a personal toll in the process. Although personal in its inspiration, the release resonates in a relatability for anyone in a relationship; it’s common for one or both partners to experience struggle at some point, and the journey in being there for them — while sacrificing something of themselves — can be impactful. The track was written
A hypnotic blend of jazz, pop, and psychedelia resonates throughout BEAMS, the new EP from cheapskate. Out on June 29th, the EP fittingly embraces sonic and lyrical references to the sun, and the lulling effect of long summer days in general. A serene yet melodically impactful array of productions result, all firmly showcasing cheapskate’s atmospheric and melodic charms. A sense of warming escapism is conveyed on debonair opener “The Sea,” where chilly keys and illuminated strings traverse seamlessly as a mellow vocal entrancement beckons to escape “to the sea,” — particularly in the context of a turbulent mind, where the
Jangly guitars and heartfelt vocals escalate delightfully across “Now It’s Over,” a memorable track from DEVIN MØRE that captures feelings “of wonder and hopelessness,” following a break-up. Produced by the California band Paloma, “Now It’s Over” enamors in its melodic yet emotive sound — resembling an aesthetical cross between The Strokes and Last Dinosaurs. The production excels in its capturing of post-relationship heartbreak, and the sense of loss that comes alongside. “Lost myself tonight, lost myself again,” vocals lament amidst a bouncy bass pulse and lingering synth radiance. The re-injection of fresh guitar lines coincides with lyrical depictions of personal
Fragmented Night is an enveloping new album from Richard Tyler Epperson. The Salt Lake City-based artist pairs hard-hitting emotions with hooky immediacy throughout, from the anthemic rousing of “Like Everything Else” to the affecting soul-searching within “All My Life,” which he originally recorded as a demo with his father, who passed away recently. The album is an inviting listening experience that deftly balances personal reflection with accessibly melodic rock productions. “December Night” opens the album with a grandiose allure, quickly moving from prancing piano twinkling into rousing guitar-led theatrics. Vocal conveyances of “this feeling haunting me,” amidst a relationship strife with
Come This Far is a riveting new album from Portuguese-Irish duo Hot Air Balloon, whose songs unfold with both emotional and melodic momentum. Their 2016 debut album, Behind the Walls, drew ample praise — being nominated for the Independent Music Awards, in particular. Come This Far comes nearly a decade later, and Hot Air Balloon didn’t miss a beat; they continue to immerse with songwriting that balances melodic charms with lyrical introspection. Reflections on their life journey, including marriage and parenthood, resonate within a stellar production and a tendency for satiating structural build-ups. The album’s opening title track is exemplary
Showcasing a variety of talented hip-hop acts from New Zealand, Next Up: Aotearoa touts a consuming array of vocal precision and magnetic beats. The self-funded project is helmed by Australia-based producer Daz, whose past successes range across a breadth of styles, from hip-hop to house. Working with a talented group of artists whose origins span from Christchurch to Auckland, Daz’s production aids in highlighting the abundance of high-quality artistry emerging from the Aotearoa hip-hop scene — on display across these 10 excellent tracks. Kicking off the release, “Any Means” struts a soulful charisma in its “money can’t buy no love,”
Jangly guitars, spirited synths, and beckoning vocal melodics charm on “Let’s go move around!” — the newest track from San Francisco-based artist Michellar. Catching our ears last month with the psychedelic single “Dreaming,” Michellar embraces a more pop-friendly effervescence with “Let’s go move around!” and its brisker, bouncier amiability. Per the artist, the release captures the spirit of renewal and joyful discovery, celebrating the awakening of spring and the pursuit of personal paradise through an overall uplifting sound. Recorded in San Francisco and produced/mixed by Marius Alexandru in Romania, the track commences with dreamy, wordless vocal gliding and rhythmic pants.
A sound fit for late-night drives in its moody twangs and riveting vocal ascent, “Endless” is the compelling debut single from Lost Velvet. The Reading, UK-based duo of multi-instrumentalist Robert Butcher and vocalist Melissa Morris seamlessly build from nocturnal atmosphere in the verses to an ardent expanse. Jangly mystique and dreamily enticing vocals rouse into a sturdier dose of distortion, where the now-elongated vocal brooding moves alongside for a gripping sense of ’90s alternative nostalgia. There’s a cinematic, Lynchian vibe in the initial guitar traversal — crawling along like a fleeting shadow in the night. Dual-vocal haunts reassure that “everything’s
A guitar-driven ambient enthrallment compels across No Solace in Sleep, the influential debut album from Aarktica, the alias of Jon DeRosa. Originally released in 2000, No Solace in Sleep was remastered this year, providing a strong reason to check out this gripping album on its 25th anniversary, regardless of whether you’re a first-time listener or simply revisiting this gem of a release, whose sounds derive solely from guitar and pedals. “In 1998, I went deaf in my right ear. That’s how it started,” DeRosa says of the album’s creative experience. “The intention was to translate this new version of sound
Smooth soulfulness and pop-ready hooks alike dazzle throughout …letters from my past, the new album from Silja Rós, an Icelandic musician, actress, and screenwriter. The artist’s third album excels with a stylish brand of pop that seamlessly incorporates soul and jazz influences, in addition to a retrospective and personal thematic sense. “When I was writing the songs I went back to old diaries and unreleased songs in search of untold stories from my past, keeping the songs close to my heart and personal,” Silja Rós says. “The song titles flow together forming a chain of thought, when the mind keeps
Minneapolis-based band Stock Market Cinema conjure both emotive punchiness and hooky rock immediacy on new single “Willow Tree” — which captures “the bittersweet reality of growing up and growing apart, all while clinging to the dream of a shared life.” The track builds with an enjoyably heartfelt momentum, from bass-heavy introspection into more expansive guitar-fronted infectiousness. Sporadic guitar pulses and steady percussion get the production underway, as the vocals gear up into admitting “there’s not a single thing that can keep me from wanting you.” An energized saxophone solo stirs past the mid-point, into further artful displays of life’s progressions
An exploration of how a state of fear can stymy an ideally functioning society and locale, “Merit” is a captivating new track from Zurich-based composer and musician Rio Wolta. The track comes via the album Technophobia, which was released today. The album itself is set within a fictional city — impressive in its functionality, though restrained by fear in regard to its next step and potential for innovation. These poignant perceptions of modern threats, and potential complacency, combine with a tactful atmospheric unveiling on the excellent “Merit.” A darkly enveloping synth buzz and subtle rhythmic thumping complement a chilling vocal
A riveting folk album from Canadian artist R Sheaves, MARY SPINS infuses gorgeous guitar work and emerging orchestral aspects within artful lyrical perspectives that capture life’s complex myriad of emotions. From accounts of looming anxiety to hopeful reassurances for brighter days, the album excels with a wholly immersive aesthetic, reminding of Sufjan Stevens’ captivating songcraft. The album’s title track opens with enjoyable intrigue, shifting seamlessly from a subdued vocal presence into a wordless swooning. Quaint acoustics and twangy effects adorn the lyrical drive initially, then giving way to powerful strings and clamoring acoustic strums. Commencing with a hushed invocation to
London-based artist AUNCE crafts a dreamy, emotive enthrallment on new track “Zoo Friend.” Nocturnal synth tones and steady rhythmic ruminations complement a stirring vocal presence, which expands from subdued intrigue into more expressive elements — like the backing vocal flourishing that emanates throughout the track’s mid-point. The second half, in particular, reminds aesthetically of the fantastic collaborations between Jessy Lanza and Caribou. A spacey synth line injects seamlessly as the haunting, wordless backing vocals flow freely, culminating in a satiating finale. “Zoo Friend” is a stirring success from start to finish. Thematically, the release excels in exploring “deep interconnection with
Brooklyn-based artist Dust.e crafts an array of unforgettable soundscapes on the new album dreamsequence, which struts a tendency to expand from nighttime-set mystery into contagious danceability. Traversing across a variety of styles — from jazzy balladry to glitchy pop and ambient dance — dreamsequence presents a captivating listening experience throughout. “Hive mind” enthralls from the get-go, unveiling an electro-folk intrigue in its compelling sonic developments from creaky folk into hypnotic layers of vocal samples and pulsing percussive vibrancy. The “I fall,” vocal refrain is especially magnetic, attaining a dreamily replay-inducing prowess particularly when haunting wordless vocal layers hit toward the