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A stirring album that captures the immediacy and conciseness of power-pop, Louder Than Sound comes via Blake, a Wiltshire, UK-based singer/songwriter and multi-instrumentalist. Citing Badfinger as a notable influence during the album’s creative process, Blake achieves a sound that aims to be “catchy three-minute, hook-laden guitar-led songs.” Mission success. “She’s Inside My Heart” opens with resonating immersion, centered around a title-touting refrain and infectious guitar stomps. The ensuing “Lighting Up For You” balances jangly approachability and more erupting hook-friendly vigor, with the “I’m safe and sound,” comforts arising into the fervent “it’s not enough for you,” remarking. The album kicks
An immersive album with stirring thematic concepts from Saucers Over Washington, American Cosmic explores the UFO phenomenon within an eclectic rock prowess — spanning from lush intrigue to distortion-friendly invigoration. The album successfully captures the various emotions embedded within the UFO phenomenon — from the dark rabbit holes of self-searching within “Charlatan” to representations of otherworldly encounters, from the opening track’s UFO-sighting narrative to the anxiously gripping “Abduction.” “Intro (Space Planet)” opens the album with intrigue, resembling a variety of sequences that shift between paranormal-forward news reports of glowing objects in the sky. “It was late at night, and I
WORLD MAKING is a stirring new album from Made-Up, impressing across both serene ambient-forward soundscapes and vocal-laden rock nostalgia. The project crafted the album over the span of five years, initially beginning as folk/acoustic demos and expanding spontaneously into creative, stimulating productions. I’m excited to be one of the first people to hear the album — and it’s a fantastic listening experience. A single — “All the Mothers” — is out now, and the album is out February 7th, 2025. “Male” opens the album with a whirring effervescence, intertwining synth glimmering and click-clacking rhythmic playfulness. Its lush enticement traverses seamlessly
A beautiful piano-driven mystique takes hold on “Pashley Princess,” a stirring classical track from Hayley Morton, a classically trained artist based in Brighton, England. Her upcoming album, A Chequered Past, releases on November 24th — and is preceded by several singles; “Pashley Princess” represents the fourth. The album itself takes inspiration from beloved possessions and the memories they inspire, whether it’s an old piece of clothing or vintage book. The passing-down and exchange of such items evokes the cyclical, transient nature of life. An elegant, wintry tonal disposition takes hold initially. Gentle piano pulses align with a frolicking, free-spirited flow
A captivating debut album from Irish band Under Starling, Murmurations enamors with a heartfelt variety of songwriting — from the introspective folk of the opening “Hawthorn Tree” to the heavy alt-rock grittiness within “Rat King.” A melodic immersion is apparent throughout, in addition to strong thematic inspirations; “Hawthorn Tree” and “Selkie” stir in the folk realm, and take influence from Celtic folklore, while other pursuits like “The Laundry” explore the atrocities of the Magdalene asylums, also paying tribute to Sinéad O’Connor in the process. “The Hunger” is another standout. A heavy rock ardency blasts off into blistering distortion, as eerie
Disappear Here is an impactful new album from Tempest Euphonic, traversing realms of dreamy pop and infectious alternative within poignant themes — particularly, the search for meaning in a tumultuous 21st century. Environmental, economic, and technological crises inject ample anxiety into the collective, and the album tactfully navigates the ensuing uncertainty within a consistently melodic sound. A lush folk enticement opens the album via “Flowers,” complemented by twangy guitar adornments and lyrics referring to a sense of search and exploration; the album’s thematic context on the search for meaning enamors throughout in artful form. “Magik Spell” follows with further atmospheric
New York-based artist Carter Brady unveils a consistently strong rock sound across his new album Shopping Cart, deriving influence from the past three decades — from the string-touched grunge of “Invincible” to the fuzzy alt-rock distortion within “Suppressed.” An impressive display of hooky structural reveals and heartfelt thematic drives persist throughout the album, which also boasts a music video for each song within. “We’re Talking” opens the album with a harmonious power-pop ardency, intertwining melodic guitar pulses into the “now we’re talking,” vocal momentum. The fuzzy guitar riffs pair with Brady’s confident vocal lead for a familiarly inviting sound, with
“Survival” plays with a spirited rock appeal amidst themes of perseverance. The compelling track comes via Jason Lyles, an artist based in Chattanooga, TN. Crafted with longtime producer and collaborator Andrew Preavett, “Survival” stirs in its meaningful themes and soaring instrumentation, melding charismatic guitars with touches of strings, courtesy of violinist Stephanie Brooks. The track was written as a direct response to the difficulty of getting by in today’s world. “The price of everything is going up, and people have less and less support,” he says. “You don’t even have to turn to the news to feel this.” Bursting guitars
Black Ocean Blue Sky is a memorable new album from Berlin-based band Mann de Hu, depicting a wide range of emotions and tonal dispositions — from the spacey electronic introspection of “Black Ocean” to the initial piano-laden haunts of “Blue Sky.” The project represents the work of artist and multi-instrumentalist Oded Korach, who leads the songwriting, compositions, and various instrumentation, in addition to collaborations from Omer Yosha and Roi Tsaadi. Its light/dark dynamics represented in the album title, Black Ocean Blue Sky also stirs in its eclectic array of narratives — different on each track. For example, “The Wrong Party
A hypnotic sound permeates throughout “Don’t Speak,” a recent single from Glasgow-based artist Arkle that cohesively melds trip-hop nostalgia with an atmospheric electronic immersion. Described as an ode to lost love and the breaking down of a relationship, “Don’t Speak” dazzles in its balance of ethereal vocal introspection, steady percussive movement, and dynamics between serene and dark synth tones. The former DJ derives inspiration from a variety of scenes, from club culture and jazz to ambient, glitch, and drum-and-bass. “Don’t Speak” is also representative of Arkle’s first song with vocals. The main refrain — “don’t speak, better not to say
Bristol-based artist Ryan McMurtry has caught our ears with a lush folk charm across two recent tracks, “Summer Rain” and “Full Picture.” Those efforts and the enveloping track “One More Night” comprise McMurtry’s Ashes EP, released today. Deriving inspiration from the psychedelic elements of soft-rock and classic folk, the EP stirs with a sound that proves impactful in both sparser acoustic-laden beauty and more expansive orchestration, like on the opening track “One More Night.” A title-touting vocal proclamation stirs on “One More Night,” achieving a sweeping immersion with the initial array of strings and horns. The yearning lyricism, counting down
An engaging track out today from Nashville-based artist Jesse Lynn Madera, “Make It Out” stirs in its range of heartfelt piano and ascending guitar twangs — set amidst a captivating vocal presence, calling for unity in striving for an improved world. Marking the first single since Madera’s sophomore album Speed of Sound, “Make It Out” dazzles in its overall evolution, expanding cohesively from the piano-set introspection to string-laden chills and melodic guitar additions. Lyrical references to division and a hope for peace resonate initially, as Madera’s vocal presence alternates seamlessly between serene introspection and invigoration statements — “could it be
Another State is a gripping new album from London-based band Seafarers, thematically following “people in transit,” as they navigate life — moving to a new locations in a physical context, and also emotionally. The act describes the characters depicted as “each one stuck somewhere between a strange sense of liberation and abandonment.” The production stirs in its frequent developments from quainter, lush pop and folk intertwining, into cathartic rises with rock-friendly edges. An initially piano-driven ascent into chirpier guitars compels on the opening track “Bedwetters,” the melodic vocals aptly letting out: “And each story she tells is a story that
A dynamic electro-pop sound shows on “White Glass,” a new track from Manchester-based artist Sophro that excels in both glistening effervescence and bass-y momentum. The single comes via her upcoming EP, out next month. The project represents the work of artist Deimante Pranckeviciute, originally from Lithuania. She notes that “‘White Glass’ always reminds me of the importance of slowing down and giving time to yourself.” “White Glass” wastes no time in conveying a sense of momentum. Whirring synth pads emit a buzzing invigoration, with sporadically clanging effervescence culminating in a melodic vocal unveiling. The dreamy tonal disposition and bass-y intrigue
A lush soft-rock entrancement stirs on “Mezzanine,” a new single from Bronze, a trio with roots in Chicago and Los Angeles. Releasing alongside their self-titled sophomore album, “Bronze” is a melodic treat — leading with serene instrumentation and vocal harmonies, invoking the sophisti-pop appeal of Prefab Sprout in the vocal work especially. “Reflections of a past, could this be meant to last?” the stirring vocals lead into the title-touting remark, concluding with a “we were meant to be,” affirmation within trickling guitar chills. “Mezzanine” is a powerful success from Bronze. — This and other tracks featured this month can be
A soaring rock gem about the personal freedom, “Surrender” is a new track from Orangepit!, a band based in Santa Barbara, CA. Bursting guitars lead into a twangy radiance, as serene vocals open with a compelling “the open road can hold no one,” intrigue. References to a shining morning sun continues the commencing immersion, culminating in the re-emergence of those pulsating guitars as the vocals attain a cathartic “home again,” exultation. A bass-y thumping leads into a resonating second half, where the vocals maintain an invigorating celebration of personal freedom. “Surrender” is a captivating rock success from Orangepit!. The band
Irish producer duo Somewhere North impress with their second single “In Elegy.” The musical partnership of Geoff Warner Clayton and Gary O’Neill results in a thoroughly compelling sound here, traversing seamlessly from panting percussion and wintry piano into a powerful melding of vocal steadiness and guitar-driven momentum. An invigorating ascent takes hold past the one-minute turn, with a title-referencing lyrical prowess exuding an artful precision as swipes of strings converge with the bursting guitar work. “In Elegy” is an emotive, dynamic success from the talented duo. — This and other tracks featured this month can be streamed on the updating
A stylish rocker fit for the Halloween season, “Witches Brew” is a track from The Joe Vollaro Project, featuring the haunting vocals of Frances Hope. The instrumentation builds steadily amidst the lush vocals, with crawling guitars and bell-chiming leading into a blissfully effervescent hook — “once you tasted the witches’ brew.” A string-laden undercurrent pairs with Hope’s escalating vocals, stirring in their evident melodic prowess and intertwining of dreamy pop and darker foreboding. “Witches Brew” is a melodic treat fit for any Halloween playlist. — This and other tracks featured this month can be streamed on the updating Obscure Sound’s
The debut album from Chicago-based singer/songwriter A.D. Kessler, Cobalt Blue captivates with a serene jazz-inspired rock sound, set amidst poetic lyrical prowess and laid-back vocal immersion. The release also features Peter Mack on drums and Jake Gordon on upright bass. “My Rome” opens the album with a lushly contemplative intrigue, combining a jazzy bass crawl with lush guitar pulses amidst Kessler’s understated croon. “I can always find my Rome,” the vocals let out past the two-minute turn, delighting there with a slight melodic shift in the guitar lines. A brisker rhythmic pace takes hold on the subsequent “The Spins,” while
A dreamily nostalgic synth-pop production captivates on the Bed of Memories EP, a gripping release from Party Pencil, a duo from St Leonards-on-Sea, England. Pulsing bass and synth cohesion enamor on the opening track “Bed of Memories.” A melodic synth-pop lingering pairs with initial lyrical reminiscences of falling in love with a particular song, driving into the title-touting central hook with infectious dazzling. The variety of memories invoked throughout, eliciting a warming nostalgia, plays aptly within a retro-friendly synth-laden tonal range. The duo says the track “was half composed in a dream and then finished in the waking state.” “Crayon
Representing the first single from the upcoming album Lucky, “Throwing Stones” unveils a dazed rock immersion from Reece Myers. Previously a member of the band Dayglow and formerly using the alias 8BIT WIZRD, Myers excels with “Lucky” — which balances twangy excitement and steady, contemplative acoustic pulsations. Its aesthetic reminiscent of Alex G, the lyrical admissions — “I was holding on too strong,” — proves hypnotic amidst the heavy guitar pulses and sporadic doses of soaring distortion. “Throwing Stones” is a replay-inducing charmer from Reece Myers. — This and other tracks featured this month can be streamed on the updating
A memorable new track from Los Angeles-based solo project Miracle on Film, “The Invitation” casts a lush sophisti-pop spell in its calming guitar tones and serene vocal harmonizing. The project caught our attention last year with the stellar EP, Twisting the Knife, and “The Invitation” continues the knack for quality songwriting from multi-instrumentalist and producer Alex Pace. Twangy guitars and illuminated synths intertwine beautifully in the approach to the two-minute turn, cementing the track’s strong atmospheric hold. “Gaze into the silence, of the open azure sky,” the vocals let out, mesmerizing with a hypnotic glow and soft string-laden reflections. “The
Conjuring a nostalgic prog-rock and power-pop appeal, “Gee-Lane” is a recent track from the trio Brighter Suns. Playful, clanging piano and steady vocals lead into a resonating “is it true?” questioning — stirring in its melodic ascent and title-touting punctuation. The piano works proves particularly effervescent and magnetic as the two-minute turn approaches. An assortment of twinkling keys and suave rock momentum — apparent in the “gee-lane,” vocal — make for a climactic, melodic success from Brighter Suns. — This and other tracks featured this month can be streamed on the updating Obscure Sound’s ‘Emerging Singles’ Spotify playlist.
True Sleep Waits by ferrn Fusing sharply melodic keys and guitar work, “True Sleep Waits” is a new single from Ferrn, described by the Chicago-based artist as a “trippy dance pop song about staying up all night (in a bad way).” References to “restless thoughts,” venture hypnotically amidst twinkling keys, expanding into the “colors,” lyrical output as glistening guitar twangs glide alongside the vocal caressing. The drive into the two-minute mark is enjoyably dynamic, spanning from effervescent keys to blaring guitar distortion — and cohesively succeeding all the same. “True Sleep Waits” is a melodic stirrer from Ferrn. — This
Stockholm-based band Aggressive Soccer Moms unveil a gripping sound on “The Doppler Effect,” a track from their upcoming album, Naw Yuck City, out in December. Alt-rock and post-punk intertwining enthuse across this standout track. Initially, jazzy percussion and quaint guitars craft a lounge-friendly soundscape to start. An abrupt yet cohesive turn into a fervent garage-rock appeal takes hold, fully brought in as suave vocals recollect “crying on the train,” amidst buzzy guitar distortion. Sequences of thumping bass dexterity adds to the momentum past the one-minute turn. “Nothing is so fragile, it can’t go away,” the suave vocals continue, sounding like
A consuming EP from neoclassical pianist and broadcast composer John C. Buttigieg, Piano Odyssey shows a melodic and affectingly atmospheric sound. A myriad of emotions are expressed in artful, piano-driven form throughout the EP, which Buttigieg recorded at his home studio in Shepperton, UK. “Close Call” opens the EP with a compelling intrigue, melding nocturnal piano haunts with a subtle backing pit-patter. An ardent shift past the two-minute mark captivates, with booming lower-pitched piano furthering the sense of momentum. “Journeying Across A Mist” follows with a more glistening pace, trickling with steady illumination and vibrant color; the opening one-two punch
A lushly atmospheric electronic pop appeal shines through A State of Mind, a recent album from RBLN, an artist based in Palm Springs, CA. Introspective lyricism and mellow vocals combine with a dynamic array of electronic tonal pursuits, from club-friendly house to nocturnal ambient intrigue. The album’s title track opens with a spacey mystique, melding lush synth layers into hypnotic percussive ruminations. Dreamily subdued vocals and trickling acoustics take hold thereafter as the synths fade, re-emerging again amidst the acoustics at mid-point. Right away, the album showcases a strong grasp of atmosphere, a tendency that continues throughout. The subsequent “Everything
An invigorating rock sound persists throughout “Illusions of Truth,” a track from Jari Salmikivi, a Swedish-Finnish guitarist, composer, and producer. Taking inspiration from acts like Dream Theater, an engaging aesthetic finds a melding of progressive and throwback rock vigor. Per the artist, the track addresses “disinformation, propaganda, ‘alternative facts,’ and sometimes blatant lies presented to us on social media and other media platforms.” A whirring exhilarating emanates from the track immediately. Swelling guitar distortion and prancing synth illumination combine amidst percussive fervency for a sound unbridled in its passion. The soaring vocal emergence, letting out that “no one believes you,”
A dynamic rock sound enamors throughout Fine Machines, a melodic new album from Saves the Witch, an artist based in Southport, NC. The solo project of Eric Maynes excels with a largely instrumental sound, presenting an eclectic array of soundscapes that span from the buzzing, harder-rocking distortion within “She Dances With Knives” to the gentle, serene jangling of “Your God is Dead.” Many of the tracks within cohesively navigate various tonal twists and turn within, as well — resulting in a consistently rewarding listening experience steeped in atmosphere. Another highlight arises in “Abeam the Intrepid,” which takes inspiration from the
MP3 is the resonating new album from Toronto-based act Madame Psychosis, whose sound successfully ranges from dreamy emotiveness to distortion-heavy rock vigor. Thematically reflective of life’s ebbs and flows, their productions often stir with dynamic tonal pursuits and satiating structural evolutions. Madame Psychosis first caught our ears last year with tracks like “Concrete Streets” and “Kapow” — and MP3 continues to showcase the band as consistent crafters of quality songs. Exemplary of their building rock tendencies, the single “Lucky” shows poignant lyricism — referencing artificial tendencies in society — within driving guitars that excite in their range from twangy introspection
New Orleans-based singer/songwriter Devin Johnson envelops with a relatable, melodic sound across his new album The Future Is So Near. Captivating from acoustic-forward love songs like “Love You More” to the layered rock gem “Painting Pink,” The Future Is So Near is a consistently rewarding listening experience. All instrumentation and vocals on the record are by Johnson, with the exception of “Are You Sad?” which features Sean Spada on some keyboard parts. “Haircut” opens the album with a steady, warming jangly quality — admitting “I need a haircut to keep my day job,” into mellow vocal harmonies that punctuate with
The fourth album from Swedish–American duo flora cash, behind every beautiful thing enthralls with an eclectic range of pop and folk appeal. From heart-tugging orchestral balladry to anthemic pop swells, the release invigorates in its stirring contrasts of light/dark and colorful production, spanning seamlessly from fervent string arrangements to nostalgic synths. The release features Djordje Milanovic on violins/viola and Yoed Nir on cello, in addition to flora cash, which comprises Shpresa Lleshaj and Cole Randall. Opening track “Should’ve Dressed for the Event” weaves haunting piano and ghostly vocals with a strongly emotive impact. The title-touting rise sends chills, lyrically exuding
Stirring piano and emotive vocals carry throughout the powerful new single “In A Vacuum,” a standout from Jenny Räisänen. The Finnish singer/songwriter — based now in Limerick, Ireland — explores themes of isolation within the track, with artful precision. “No one can hear me, I am sound-proofed. I am shouting,” the vulnerable vocals let out amidst prancing piano, firmly capturing a sense of trapped isolation and starving for connection. Her enthralling vocal work is also accompanied by guitar and programmed drums from Juhani Konttinen. Melancholic and reflective, with a hint of dystopic intrigue in the visions of people passing by
Stockholm-based band Marble Mammoth preview their upcoming EP, Misty Days, with the new single “Glitch” — building seamlessly from jumpy rock intrigue into blistering distortion. Twinkling keys add a debonair chilliness to the escalating vocal fervency, pondering on the pursuit of validation amongst many in society today. “Conceptualize your brand, to keep you in demand,” the vocals let out. “We’re caught up in a glitch,” they further, eluding to how one can lose themselves in this relentless pursuit of acceptance and social reverence. The two-minute turn captivates especially in its shifting to thumping bass and melodic guitar tones, moving cohesively
Chicago-based artist Nikho unveils a compelling tech house sound throughout “Enough (Original Mix),” strutting a club-friendly danceability in its pulsing percussive radiance and crisply nocturnal synth tones. Rhythms take sole focus initially, as clanging percussion and bass gallop with an infectious fervency. The rumbling bass ferocity intensifies thereafter, joined by a sharper synth-laden edge as the one-minute turn approaches. The suave vocal injection escalates with melodic intrigue thereafter, feeling initially somewhat submerged prior to the upfront rhythmic expanse. The three-minute mark is especially inviting in its blaringly sporadic synth pushes, while the vocal element remains consistent in its replay-inducing repetition.
Woodstock-based artist Matthew Hayes Jacobs shows an enveloping sound throughout “What Wonders,” melding brisk acoustics with touches of synths and electric guitar infusions. The track represents the first release from Hayes under his own name, following several impressive releases under the name Sage of New England. “What wonders will pour from our hearts,” Jacobs’ vocals reference with heartfelt immersion, enthralling within thematic visions of discovering joy within the human experience’s challenging nature. “Here comes a renaissance — exhale, relax, and do your part,” the vocals continue, expressing a sense of renewal and imploring visions of greater community: “burning down the
The self-titled EP from Brooklyn-based artist Late Blooming impresses with a range of hypnotic dreaminess and invigorating pop emotiveness, firmly showcasing Rose Rutledge’s enveloping songwriting. Opening track “Everytime I” wastes no time in its assembly of enchanting woodwinds and prancing piano — adorned radiantly within soaring vocal layers with a title-touting initial momentum. “Prelude (My Dreams)” follows with a more meditative spell, infusing woodwinds and vocals with a caressing pace that steadily unravels with a beautiful glow. Exploring hope and insecurity, “My Dreams” is another standout — building upon effervescent vocal backings into bright rhythmic propulsions and an expressive lead.
Rollicking guitars, fervent vocals, and lingering organs enamor throughout “I Hate LA,” a recent track from Make Believe Love. The Los Angeles-based project of multi-instrumentalist Lucas Berman caught our attention with the track “Trapped in a Maze” a few months back, and “I Hate LA” continues to showcase Berman’s impressive songwriting and all-out enthusiastic sound. The track’s “I gotta get away,” vocal aspirations meld with bursting guitars and organs for a cathartic effect into the title-touting call. The electrifying guitar work at mid-point pairs with bouncy piano for a retro-friendly rock allure, then moving into “it’s overcrowded, but no one’s
A hooky fusing of melodic guitars and synth-laden danceability stirs across “Gold Eyes,” a newly released single from Juno Empire. The project represents the work of Emmy Award-winning composer Alexander Thomas, who wrote, produced, recorded, mixed, and mastered the track. Described as a “day dream about someone you can’t forget,” “Gold Eyes” induces ample replays with its enamoring central hook — invoking shades of The Stokes and ’00 indie rock in its tonal disposition — and doses of synths, excelling especially in approaching the two-minute turn with buzzing bounces. Twinkling keys drive into the title-touting chorus, enveloping in its twangy
Brooklyn-based trio Marvelle Oaks showcase an introspective rock captivation on new single “Photo Real,” melding twangy guitar layers with lyrical insight on “how our eyes can speak,” per the band. Whether one gets a side-eye glance, elicits an eye-roll, or is the reason for downcast eyes — it’s a marvel how eyes can tell a memorable story on their own. The contemplative nature of Alex Demir’s lyrics pair with an enjoyably driving rock pulse, concluding with a fervent “I can’t look away,” vocal that concludes with a satiating abruptness. — This and other tracks featured this month can be streamed