Margaux Regan - Ally Row - Romanie - J.MYSTERY - Anna Smyrk - Winona Oak

Margaux Regan - After Thought (EP).

With almost a year of successful singles under her belt, rising singer-songwriter Margaux Regan released her debut EP After Thought on February 20th.
 
Written almost entirely by Margaux herself mostly composed on her bedroom floor the four-track collection captures the quiet chaos of growing up: the overthinking, heartbreak, self-doubt, and small moments of clarity in between. After Thought maps the transition between nineteen and twenty-one, blending organic instrumentation with contemporary pop sensibilities and country-tinged storytelling. The process wasn't always easy. Halfway through writing, Margaux developed vocal cord issues that forced her to re-evaluate her relationship with music. When she returned, she wanted to be more open, more playful, and less afraid of imperfection.

"The title mirrors my inner world and the way I process my experiences," says Margaux. "These songs are the thoughts that linger after everything else has been said.” Among the EP's deeply personal tracks, "Sob Story" stands out as an emotionally raw ballad that navigates the conflicting emotions of anger and grief that accompany heartbreak. Inspired by the confessional songwriting of artists like Taylor Swift and Olivia Rodrigo, the track showcases Margaux's country-soaked approach to heartbreak, with her vocals effortlessly floating above acoustic instrumentation that feels both intimate and devastating.

"I wrote this with my friend Daniel Haughey, who helped get the words out of me when I couldn't myself," explains Margaux. "After experiencing the kind of love where denial made you ignore the red flags, I wanted people to relate to the emotion rather than just the words. The bridge is almost a furious but devastating word vomit that makes the song just that much more devastating."

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Ally Row - Numb to the Touch.

Gippsland duo, Ally Row, release the final radio single “Numb to the Touch” (via Red Rebel Music / MGM Distribution) from their hit album, “Something More”, on Friday 20th February. The song is a stunning slice of melancholy perfection with both Alice and Rowan taking the reins on lead vocals. The gorgeous melody wax and wanes with lush, layered vocal harmonies, eery electric banjo and strings played ever so beautifully by Robyn Blann - proving they are more than energetic crowd pleasers.

Alice confides, “this song is all about acknowledging my own flaws and reminding myself that relationships take work because they contain two imperfect individuals. But sparks have to fly if you want to start a fire, right?” Rowan says, “when our faults aren’t recognised and accounted for, we start trying to be someone were not. this can be physically and mentally draining. We all just want to be loved for who we are.”

Ally Row kicked off 2026 with a successful stint at the Tamworth Country Music Festival that featured a stellar opening spot for Melody Moko that left people raving. Just hours after walking the red carpet at the 2026 Golden Guitar Awards and running on a few hours’ sleep, they were back in the car driving to Melbourne to perform at the 2026 Australian Open Tennis in Melbourne. Then off to Tasmania to support Shaun Kirk before heading back to Victoria to support Alex Lloyd.

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Romanie - Falling / It’s Not That Funny (Album).

Romanie reveals her impressive second album ‘It’s Not That Funny’ along with an exceptional music video for focus single ‘Falling.’ Arriving as a bold new chapter, ‘It’s Not That Funny’ takes shape as a deeply personal project. Through pure-vocals, tender lyricism and Romanie’s infectious charm, the album transforms powerful reflections into relatable and profound morsels of endlessly playable indie-pop. 

The duality of playful charm and hard-hitting vulnerability is immediate from the album’s title alone: “‘It’s Not That Funny’, which relates to trying to convince your therapist you’re funny and that anything that’s ever happened to you ‘wasn’t all that bad’,”. Romanie explained further; “I think that growing up in Belgium, we’re always told to keep a brave face and to keep going no matter what – which is great for endurance and resilience; but sometimes as humans, we just want to be soft. As women in society I feel like we always have to strive for perfection; but I think that with this album I wanted to seek out the imperfections; uncover what’s behind the jokes.” Over the eleven track body of work, Romanie displays her dedication to artistic honesty and social justice, never shying away from the complex and difficult topics. 

The album's focus single ‘Falling’ is a stand out moment that erupts into catharsis. Sharing more, she shared: “Initially, Falling was written about falling for the wrong people; but after recording it I felt like it was more of an omen of my own breaking down. Falling is the most fun to play live and the music video was shot at my 30th birthday party -I had to pay for a venue hire and was super broke at the time so Young Ha Kim [director] and I joked that we should shoot a music video to be able to claim it on tax. I had convinced all my friends to dress up in a wedding dress, kind of as a joke but everyone pulled up looking absolutely stunning. It’s really a representation of what the album means to me: no matter how rough life gets, my friends are there to hear me sob and pull me through hard moments as much as I want to be there for them.”


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J.MYSTERY - Change.

J.MYSTERY is a singer-songwriter from Portugal. He is an enigmatic artist who defies categorization, seamlessly blending various musical influences to create a captivating and ethereal sound. With a unique approach to songwriting and an unmistakable presence, J.MYSTERY takes listeners on a journey through mystery and introspection. His sound weaves alternative rock, electronic, and atmospheric pop elements, resulting in a beautiful and profoundly reflective sonic landscape.

The enigmatic persona of J.MYSTERY is reflected not only in his music but also in his stage presence and visual aesthetics. His captivating performances create an otherworldly atmosphere that envelops the audience. J.MYSTERY is carving a unique path in the music industry, challenging traditions and pushing the boundaries of sonic exploration. As he explains, “Music was always something deeply personal for me, something I loved rather than something I imagined as a career.”

His brand new single, “Change,” marks one of the most emotionally ambitious moments in his catalogue to date. Written and recorded in Portugal, the song began in his home studio before being developed alongside longtime collaborator and producer Francisco Reis, who has worked with him since day one. Expanding the process further, “Change” became his most collaborative project so far, featuring a string quartet and cinematic arrangements by Nikolai Gimaletdinov and IAN, giving the track a sense of scale while retaining its intimacy. Reflecting on the process, J.MYSTERY describes it as “one of the most beautiful pieces I’ve created to date.”

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Photo - Michelle Hunder

Anna Smyrk - Line by Line.

Leading the way for her debut album, Anna Smyrk returns with gorgeous new single ‘Line by Line.’ Written in the bathroom of an airplane, Line by Line is quietly introspective. It beckons a glimmer of light after darkness and serves as a reminder to take things as they come, one step at a time. Sharing more, Anna said: “I was flying home after a tour around Germany, feeling exhausted and really missing my dad, who had passed away a few months earlier. I watched a sad movie on the plane, then the chorus came into my head while the credits were rolling in the dark. I locked myself in the bathroom for a few minutes, singing quietly into my phone, and that was the seed of the song.”

Line by Line is the final teaser to arrive ahead of Anna’s debut album ‘Spectacular Denial’ which will be out on the 20th of March via Community Music. Shaped by her deeply personal journey with grief and her exploration of the many forms denial can take, the new album sonically sits in a rich space between indie, alt-pop, and folk, drawing inspiration from Blondie, Phoebe Bridgers, Garbage, Angie McMahon and Hozier. Listeners can anticipate a beautifully compelling body of work which looks to be an impressive milestone in Anna’s rise as an indie-pop artist to watch. 

Ahead of her upcoming debut album, Anna has already road tested her unreleased tracks during the recent Community Garden Tour around Australia. Her honest and reflective songwriting and approach to grief has been quietly resonating with audiences. “People have come to talk after the shows about their own losses,” says Anna. “It’s like we can share a little moment of solidarity’.

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Winona Oak - Stay the night.

Swedish singer-songwriter Winona Oak continues to showcase her new era with her candid new single ‘Stay the night’ out now via Nettwerk. Winona released her EP ‘Salt’ this spring, which was a poignant personal documentation of her physical and emotional states. Throughout this year, she has been working on new music and a progression in her raw and unvarnished sound, whilst still writing about the highs and lows of life; loss and repair, heartbreak and love, resistance and patience. 
 
With her new single ‘Stay the night’, Winona unveils a more organic approach by collaborating with renown Swedish producers Martin Stilling and TF, embracing live instrumentation and an emotive sonic palette to deliver a cinematic, deep and personal track. The intimately delicate filmed video by Studio Förgätmigej visually displays Winona being pulled between both strength and fragility.   
 
Winona says, “’Stay the Night’ captures the magnetic pull of desire — the moment you allow yourself to fall again, even while carrying old bruises. With aching honesty, the song explores the tension between surrender and self-protection.” ‘Stay the night is the next instalment in a new chapter for Winona Oak and she will be announcing further new music soon. 

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Joe Pernice ft. Aimee Mann - Bea Elmy Martin - The Foot & Leg Clinic - The Green Apple Sea - Fur Blossom - Chloe Violette - St.Arnaud

 Photo - Colleen Nichollson

Joe Pernice - Deep Into the Dawn (ft. Aimee Mann).

Joe Pernice of the Pernice Brothers and Scud Mountain Boys will release his debut solo studio album Sunny, I Was Wrong on April 3, 2026 via New West Records. The 11-song set was produced by Pernice and features Aimee Mann, Norman Blake of Teenage Fanclub. Rodney Crowell, Jimmy Webb, and includes liner notes written by Warren Zanes (author of Deliver Me from Nowhere: The Making of Bruce Springsteen’s Nebraska). Pernice is also joined by Jim Creeggan of Barenaked Ladies, Mike Belitsky of The Sadies, Mike Evin, and Mike McKenzie as his backing band across the album. Sunny, I Was Wrong follows the 2024 Pernice Brothers album Who Will You Believe. 

This week, Pernice shared the album highlight “Deep Into the Dawn (ft. Aimee Mann).” He says, “Of all of the recordings I have ever made, this is my favorite. The musicians played beautifully and what can I say about Aimee Mann’s singing? As I was writing the song I had her voice in mind. I’ve said a lot already about her greatness as a songwriter, musician and performer. She’s a legit hero of mine. Obviously, I was pretty stoked when she agreed to sing with me. And she sang perfectly. I’m so pleased with how the song turned out. I’m almost able to listen to it as if it were not mine. Almost.” Pernice previously shared the album’s first single, “The Black and the Blue” as well. 
  
For the past 30 years, Joe Pernice has crafted a remarkable catalog that boldly reinterprets and recasts classic American pop. First with the alt-country legends Scud Mountain Boys and then with the indie-pop mainstays Pernice Brothers, he has etched bittersweet stories out of songs that echo Jimmy Webb, Burt Bacharach, and Paul Williams. Instead of the Pernice Brothers moniker, he emerges as a solo artist with Sunny, I Was Wrong, his first studio album under his own name (after two solo efforts home-recorded and self-released during the pandemic in 2020: Richard and the Barry Manilow tribute Could It Be Magic).  “It was always just me and other people, but in this case there’s almost none of those other people. My brother Bob sings one vocal and Patrick Berkery plays one drum track. They’re the only two left who I was playing with regularly. It felt like it was time to move on.”

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Bea Elmy Martin - Anouk.

Bea Elmy Martin is quietly carving out a vital space within the UK alternative landscape. London born and bred, her music is defined by emotional precision, blending ethereal vocals, orchestral intimacy and brooding electronics. Raised on the sounds of classic soul artists like Stevie Wonder, Aretha Franklin and Donny Hathaway, Bea developed an early understanding of melody and feeling, using songwriting as a way to process life, love and loss from a young age. She describes songwriting as her journal, a way of breaking overwhelming emotions into something tangible and manageable, allowing moments of beauty, pain and connection to surface gently rather than being forced.

After the release of her 2021 debut single “Blue Escape”, which earned early BBC tastemaker support from Jack Saunders and Lauren Laverne, Bea began a slow, intentional creative journey alongside her producer Dominick J Goldsmith (HÆLOS). That collaboration led to Under The Yew (Vol. 1), released in May 2025, a luminous, grief-to-beauty infused meditation on loss and renewal. Rather than chasing momentum, Bea allowed the work to unfold over time, sustaining its emotional thread through subsequent singles “Lost” and “Born To Fly” from Under The Yew (Vol. 2), before returning in January 2026 with “Unscarred" a track that continued her exploration of transformation and inner strength.

Her new single “Anouk”, offers one of her most intimate moments yet. Written about her best friend, whom she met at university, the song evolved slowly as their relationship changed and deepened over time. “Anouk is a song I wrote about my best friend,” Bea explains. “While recording it, we were living on opposite sides of London, which was challenging at times, but we made it work. Because the song is about someone I love very deeply, every session I felt a push to make it sound more and more ethereal because she is so special to me.” The track became one she revisited more than any other, its structure and feeling shifting alongside the friendship itself. “In a way, the song moved alongside our friendship as it grew and changed. Going back into a song multiple times doesn’t mean you lack intention. Sometimes it’s exactly what a song needs.”

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The Foot & Leg Clinic - Where did all the fruit go?

Glasgow wonk-rockers The Foot & Leg Clinic (fka The Wife Guys of Reddit) return with Sit Down for Rock and Roll (released March 13th via Bingo Records), a raucous, restless and unexpectedly tender debut album led by the urgent new single ‘Where did all the fruit go?’. The Foot & Leg Clinic — Niamh R MacPhail, Arion Xenos, Angus Fernie and Elise Atkinson arrive at this album following what MacPhail describes as “a bit of a shiter the past couple years.” Written and recorded across illness, close bereavements, and a year-long break from live shows, Sit Down for Rock and Roll is the sound of a band forced to slow down and discovering they benefit from it.

With a new name and a deliberately slower creative process, the album marks a clear turning point for the band, grappling with adaptation — personal, societal, and bodily using humour, surreal imagery, and sharp hook. “We were kind of forced to work at a slower pace,” says MacPhail, “but probably for the better of the final product.” Xenos agrees: “It still feels eclectic, but it’s a little bit more focused. We definitely thought about this as an album project when working on it, as opposed to other things before.”

The lead single ‘Where did all the fruit go?’ distills generational unease into a deceptively simple question: “I’ve got nothing to show”. Breathless, hook-heavy and charged with live energy, it’s one of the band’s most immediate and relatable songs to date, pairing jangling urgency with a chorus that lingers long after the last note. “It’s about getting to a point in your life where you thought you’d have a bit more to show for it,” says MacPhail. “To find that you don't.”

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The Green Apple Sea - dark kid (Album).

The theme running through the episodes on the album "Dark Kid" is Stefan Prange's not always easy childhood and adolescence. The fact that his stepfather nicknamed his father "Satan" only seems a bit strange in retrospect. The fact that his stepbrothers chained him to a stair railing with a bicycle lock when no one else felt like watching him might seem a bit cruel in hindsight. But for 10-year-old Prange, it was nothing out of the ordinary. When he tells these stories and sings lines like "I wasn't afraid to die, I was just waiting to die," it's meant with the same pragmatic naiveté with which the protagonist, "Dark Kid," accepts his surroundings.

"Dark Kid" isn't about making the audience feel childhood trauma or depression. It's about transforming sadness into melancholy, bitterness into a shrug, anger into an outstretched hand. The resulting folk songs are so smooth and gentle, so utterly timeless. The term "indie" is only used because The Green Apple Sea have always played in small clubs, stoically carrying on. They were one of the first bands to make this distinctly American music here in Germany. Long before the hype and long after.

The album titled "Dark Kid" doesn't try to impose itself, but Prange can sing the songs on it hundreds of times without ever growing tired of them. The stories hidden within can be told countless times. As a listener, you can hear the songs a hundred times, discovering small, loving details and finding new meaning in individual lyrics. (We know this because we already have.) The tracks on "Dark Kid" are episodic, like a new season of a TV series. But if "Dark Kid" is a season of "The Green Apple Sea," then the series is rather old-fashioned. One in which the heroine sends a demon back to hell in every single episode. One in which she ends up holding a hand, or strolling in a sunset, or—best of all—laughing with her friends. The Green Apple Sea distills all the album's stories down to a single sentence in the final song. It's a quote from Terence McKenna: "Oh, I know this now. It's all about love. Making someone else's life a little bit better." Freeze frame, end credits.

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Fur Blossom - Goldsmith.

Coming back out of the haze, Melbourne’s Fur Blossom are fronting the evolution revolution with their latest single ‘Goldsmith’, out Friday, February 20. In 2025, Fur Blossom released their debut EP ‘The She Said Sun EP’, a kaleidoscopic exploration of psychedelic rock. Following up with a regional Victorian tour, the four-piece band have taken to the scene with an unrelenting ferocity. This year will see the band make their festival debut, first at Mordi Festival (Melbourne), then in Tasmania this March at Good Gumnuts Festival, before heading up the East Coast in support of their new single ‘Goldsmith’.

Combining classic elements from the pioneers of the 60s and 70s, and the sleek modernness of the 21st century, ‘Goldsmith’ is a zeitgeist in its own right. Musically, it evokes the time and spirit of an era from the past, but lyrically speaks to the ageless conundrum of changing yourself for someone else, or someone from your past.  

An articulated and undulating guitar riff immediately sets the tone for the slow burn of the extended introduction. The subtle fade in of each instrument creates a false sense of security, and before you know it, you are sucked into a sonic vortex. The crisp and contemplative vocal performance from Craig Tees rises above the instrumentation, before fading back in the chorus, creating depth and dimension to allow every part of the arrangement to speak and demand attention. 

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Photo - Emily Dynes

Chloe Violette - Colourfast.

‘Colourfast’ is made to last. A musical narrative of resilience and reflection, ‘Colourfast’ by Chloe Violette is set for release on Friday, February 20. An artist unafraid to champion topics such as mental health, grief, and claiming space, Chloe blends atmospheric soundscapes with captivating honesty in an indie pop and folk style on her upcoming album.
 
Originally shaped between inner-city Melbourne (Naarm) and regional Victoria on Brataualung Country, ‘Colourfast’ traces Chloe’s shift from city life to small-town living. Swapping the No. 11 tram to West Preston for long V/Line journeys, the now Gippsland-based artist captures a recalibration of pace, place, and identity through songs balancing heartache and hope.
 
‘Colourfast’ is an album born out of lockdown, reflecting Chloe’s inner and outer worlds at a time when motivation felt fragile. It explores themes of monotony, heaviness, and hope, tracing a contrasting emotional journey alongside the sweet, simple moments of humanity.
 
Traces of optimism emerge in the title track ‘Colourfast’, which centres on endurance and forward movement. The lyrics chart a story of graduated resilience, while the music weaves folky acoustic guitars, buttery piano, steadfast rhythms, and subtle harmonies.

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St.Arnaud - Midwest Superstardom. 

St.Arnaud, the indie pop project of Ian St.Arnaud, is set to release "Midwest Superstardom," another insight into their upcoming album, St.Arnaud, due out April 10th, 2026 via Cordova Bay Records. The single arrives February 20th alongside two additional tracks, "Blue Paper" and the already-released "Love You! (For Real)."

The title track chronicles the slow-motion fade of a road warrior who's equal parts delusional and self-aware, chasing the sunset of a forgettable career with a grin still plastered on their face. Built on swaggering, country-soaked instrumentation that explodes into full-throated Americana anthemics, "Midwest Superstardom" asks the question every gigging musician secretly contemplates: "What if the best we can hope for is to be the local touring band? Is that so bad? Are we making it?"

Ian expands on the core concept: "This was an old idea that grew quickly in the fertile soil of a band under pressure in the studio. The question of 'what if the best we can hope for as musicians is to be the local touring band?' wasn't a tough sell of an idea for anyone in the room to reckon with." While maintaining St.Arnaud's signature indie sensibility, the track is part honky-tonk heartbreak, part arena-rock bombast—all delivered with a knowing wink. Ian recalls the creative breakthrough: "After a brief, but very loud, jam of us putting on our best Alberta country band impression, we discovered a little bit of Meatloaf that we tried to lean into."

St.Arnaud · Midwest Superstardom

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Shorehaven - Marty Kolls - The Deslondes - Piner

Shorehaven - Oh Baby!

Can work and pleasure coexist? ‘Oh, Baby!’ traces the tension between two artists whose relationship is strained in a creative partnership, seeing cracks emerge when love and professionalism collide. Shorehaven shares the explosive single, complete with a vibrant music video, on Thursday, February 19.

Shorehaven are a Boorloo/Perth-based female-fronted indie pop-punk band, fusing the warmth of Australian indie rock with the punch and nostalgia of early 2000s pop punk. With a sound that captures youthful nostalgia while remaining modern and exciting, they’ve shared stages with Teenage Joans (Creamfest), Sly Withers (Leavers), Rum Jungle, Pacific Avenue (Pollen Fest), Dear Sunday, Drax Project, and more, earning a reputation for high-energy, fun live shows.

A song born out of a frustrating rehearsal, ‘Oh, Baby!’ marks a subtle shift in Shorehaven’s sonic direction. Produced by Matthew Templeman, it moves away from their earlier indie-rock leanings and embraces a more direct pop-punk palette, built on thick and juicy guitar tones, a tight rhythm section, and wry, tongue-in-cheek lyricism. The result is an upbeat, anthemic offering that feels immediate and assured, without losing the band’s melodic core. Hannah Gill (vocalist) explains:

“We really focused on not taking ourselves too seriously with this song, really leaning into the cliches [of pop rock and emo] and allowing the vision to develop with Matt’s guidance”. The release is accompanied by a colourful music video filmed over three consecutive days, featuring a lively cast of extras. Scenes move between a backyard wedding and a punk-rock performance, with a visual nod to Queen’s ‘I Want to Break Free’. The band describes the shoot as one of the most memorable experiences to date.

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Marty Kolls - Drive.

Following years of writing, teaching, and performing music rooted in connection and self-reflection, London, Ontario–based singer-songwriter and multi-instrumentalist Marty Kolls shares "Drive," a hypnotic, consistent pop single that captures the quiet momentum of moving forward through uncertainty. Optimistic yet grounded, the track reflects on awareness, contemplation, and the importance of continuing on even when the road ahead isn’t fully visible.

Inspired by both time spent behind the wheel and her work as a songwriting instructor, "Drive" grew out of a lesson Marty taught her students. Beginning with a steady, driving rhythm, the song came together as she paired it with lyrics written during another class exercise. "I started with the driving rhythm, and it fit well with lyrics I had already written," she explains. "I put myself to the test of writing all of the assignments along with my students. It was a great source of inspiration to be presenting for them at the same time as they presented to me."

What sets "Drive" apart is its rhythmic foundation, where the piano line mirrors the physical sensation of a car in motion. The consistency of the arrangement reinforces the song's message, allowing space for reflection without ever losing forward momentum. "The rhythm of the piano feels like the movement of the car as it’s driving," Marty shares.

As the song unfolds, its final section becomes an invitation rather than a conclusion. Designed as a call-back moment, the outro encourages listeners to sing along, blurring the line between performer and audience. "I want the audience to sing along to the chorus so I can sing the extra lines over top," she says. "I want them to feel like they are a part of the song."

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Photo - Selwynn Figg

The Deslondes - Lawdy Mama.

The Deslondes return with Don’t Let It Die Vol. 1 May 22, 2026 via New West Records. The 12-track set was recorded on analog tape and features renditions of songs by Swamp Dogg, Shelby Lynne, Johnny Cash, Clifton Chenier, and more. It was produced by the band’s John James Tourville and Ajaï Combelic (Sabine McCalla) at the band’s studio in New Orleans and follows their 2024 studio album Roll It Out which was met with wide critical acclaim.

The Deslondes didn’t want to simply exalt their heroes and catalog their influences while recording the new covers album. They wanted to also give their friends a boost as well. The poignant and powerful collection includes new interpretations of old songs by artists who’ve guided the band for years, alongside new songs by peers, tourmates, and collaborators including Nick Woods, Pat Reedy, and the Kernel. “We have so many friends who are songwriters, and we just love their music so much,” says Tourville. “Riley (Downing) and Dan (Cutler) are always kicking around awesome, inspiring old songs for us to do, but for this album we really wanted to play some friend's songs, too.” Downing says “These songs are very much a close part of our lives. They’re all part of our circle, this big organism that keeps influencing itself.” 

“‘Lawdy Mama’ is a song by Edgar Blanchard who played lead guitar in bands all over New Orleans while leading his own band Gondoliers immediately after serving in World War II. He recorded it with a few of the members in 57/58 and it would be his only single recorded on the Chess record label and remain unreleased for over 20 years. I found it on a New Orleans R&B compilation of Chess singles I had picked up somewhere and it was waiting patiently to explode as the very last track with the most ripping one-note guitar solos I have ever heard. Back when the band used to tour without GPS or cell phones, I put it on a mix CD and it stayed in one of our many, many binders of CDs for years and that is how it became a Deslondes family favorite.” 

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Piner - Odelia.

Canadian artist Piner announces the release of her new single, “Odelia,” a powerful pop/rock track rooted in folk storytelling that confronts gender inequality, inherited expectations, and the radical act of self-trust. 

“Odelia” was inspired by Piner’s reflections on the rollback of gender equality, particularly in light of recent policies emerging from the United States. Rather than giving power to the person who causes “Odelia” harm, Piner turns inward, crafting a narrative that emphasizes self-worth and empowerment.
 
“This song doesn’t give power to the person who wronged Odelia,” says Piner. “It’s about putting that energy back into yourself, choosing to believe in your own value, and ultimately allowing yourself to walk away.”
 
Musically, “Odelia” blends folk-rooted lyricism with pop and rock sensibilities, “folk at the roots, rock and pop at the branches.” While the song contains moments of rage, hurt, and vengeance, particularly in its bridge, it ultimately prioritizes reflection over fear, offering clarity instead of collapse.

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Col Gerrard - Viva Los Villains - The Krickets - HIGHDRIVE - Konradsen feat. Angie McMahon - Fantastic Cat

Col Gerrard - Col Gerrard (Album).

Col Gerrard is a London-born singer-songwriter whose work is rooted in classic songwriting and emotional honesty. Shaped by a life spent moving between places and experiences, his music reflects a deep appreciation for melody, musicianship, and storytelling. Influenced by soul, classic pop and timeless songwriting, Gerrard’s songs feel personal and direct, focused on melody and emotion.

His self-titled debut album is a twelve-track body of work that explores the emotional complexity of relationships and the heaviness they can leave behind in their wake. Written from a place of reflection, the record moves through themes of connection, miscommunication, longing, and the passing of time. Many of the songs sit with uncertainty, tracing patterns that repeat in love and life, the waiting, the holding on, and the slow realisation that some answers never become clear. The songwriter explains, “These songs came from looking back at moments I didn’t fully understand at the time. Writing them was a way of making peace with the parts of love that don’t always make sense.”

Recorded across several London studios including Abbey Road Studios, Metropolis and Kore, the album was entirely engineered and produced by long-time collaborator and Grammy-nominated producer Chris Potter (The Rolling Stones, U2, The Verve). The album delivers a piano-driven, emotionally charged sound, blending soulful, raspy vocals with organic instrumentation. It’s filled with driving guitars, upbeat percussion, and a touch of nostalgia, delivering something that is cinematic yet feel-good. Col shares, “There’s a lot of energy in these songs, but they’re coming from real places. That felt important to me on this record.” 

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Viva Los Villains - Hunter's Moon.

Rising from the coastal streets of Chichester (England), Viva Los Villains are carving out their own lane in the UK alt-rock scene, and their latest single Hunter’s Moon might be their most magnetic release yet. Blending alt rock grit, indie introspection, and a subtle folk-rock warmth, Hunter’s Moon captures that moment when love slips through your fingers, not with explosive chaos, but with a slow-burning realization. It’s raw. It’s reflective. And it lingers long after the final chord fades.

Built on distorted guitars, driving rhythms, and emotionally exposed vocals, the track walks the line between vulnerability and defiance. Lyrically, it dives into the aftermath of a relationship that once burned bright: “Don’t call me baby / One time it was love…”

There’s no melodrama here, just honesty. The repetition in the chorus feels almost hypnotic, mirroring the emotional loop of going back to someone you know you probably shouldn’t. The phrase “living rent free” hits with modern sharpness, grounding the poetic imagery of the Hunter’s Moon in present-day emotional reality.

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Photo - Jessica Long

The Krickets - If You Only Knew (Album).

The Krickets released their third full-length album, 'If You Only Knew' a couple of months back, however it's a really fine collection of songs & Beehive Candy doesn't want it to just pass us by. This album includes 10 tracks, each a different type of love song. For these love-centered songs, Lauren Springs, Emily Stuckey Sellers and Rachel Grubb, draw from their lived experience with all forms of love. Delivered with emotional depth and beautiful harmonies, this collection of songs offers a poignant reflection on the complexity and nuance of love, especially for those fortunate enough to have experienced it in its many forms over time.

If You Only Knew showcases the evolution of The Krickets’ vocal-focused Americana sound, pushing the range within that sound as far as they ever have. Throughout the different iterations of the band, that harmony-driven songwriting style has always been the connecting thread. “On this album, every song is a love song from a different perspective. From romance to friendship, longing to estrangement, your own mind to a hater, it’s an attempt to capture them all honestly.” Lauren shares, “We chose the title track ‘If You Only Knew’ because you could apply that phrase to each of those perspectives and it would only emphasize how big love can feel, good or bad, in all those scenarios."

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Photo - Derek Bremner

HIGHDRIVE - Something I Said.

Brighton five-piece HIGHDRIVE have shared their second single 'Something I Said' via Venn Records (Bob Vylan, Witch Fever, High Vis) - following the release of last year's debut single 'Cherry'.

Forming in 2024 with a mutual appreciation for acts including Deftones, The Jesus and Mary Chain and DIIV, those disparate influences have carved out a unique lane for the Brighton upstarts, with the band quickly becoming a fixture of the South Coast live scene before releasing any music, scoring early shows alongside Marmozets, English Teacher, Do Nothing, TTSSFU, DEADLETTER, Welly and Glare.

Today the band return with ‘Something I Said’ - produced by Coach Party drummer Guy Page. A dissonant burst of alt-rock turbulence that channels the relentless inner chatter of self-scrutiny, the track surges with sheets of wailing guitar and a thick, pressurised wall of noise, locking into a spiralling headspace of rumination and social-anxiety-fuelled tension, as vocalist Lucas Leitch explains:

"The lyrics on "Something I Said" dive straight into my self-made psychosis. It taps into my paranoia of saying the wrong thing. I can be overly self-conscious, feeling stuck in my own head and overthinking every word. I wrote the song whilst playing in an old band. Deep down I knew this was going to be the start of something new - and in many ways 'Something I Said' became the musical blueprint for what would become HIGHDRIVE."

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Photo - Marthe Thu

Konradsen feat. Angie McMahon - What I Aim For.

Northern Norwegian duo Konradsen the project of Jenny Marie Sabel and Eirik Vildgren - have announced their new album ‘Hunt, Gather’, due for release on 27th March via Norwegian independent label 777 Music. Alongside the announcement, they share new single ‘What I Aim For’, featuring Australian singer-songwriter Angie McMahon.

Blending cool, house-leaning electronic drums with Konradsen’s hushed, wide-screen indie-folk, 'What I Aim For’ pairs Sabel's intimate delivery with Angie McMahon’s breathy, close-up vocal, complemented by luminous piano contributions from Grammy-winning US songwriter and pianist Bruce Hornsby. The song centres on making space for calm, trust and connection amid the constant noise of everyday life. A reminder to pause, zoom out and recalibrate when life feels overwhelming, inspired by the idea of home as a place where one can gather strength and feel safe.

On the track's release, Angie McMahon said: “Last time I was writing a record, I listened to 'Baby Hallelujah' by Konradsen on repeat. Now, a couple of years down the line, they’re my friends. I got to hear their music on tour many nights in a row, and now I love it even more. I wear Konradsen merch on my head half the time. So while I’m now making my next record, they sent me the one they’re making and offered to let me sing on one of their songs. The highest honour! This song makes me feel tapped into some deeper realm of inner peace which is only accessible through good music. I’m so proud of my friends.“

The release is accompanied by a new interlude from the album 'Jona' - a sound collage built from everyday recordings at Jenny’s home in Hatteng - wind, distant noise, the rooster, and the voice of her son, with Bruce Hornsby’s improvised piano binding these fragments into a fleeting, intimate moment.

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Photo - Vivian Wang & Fikri Abdurakhman

Fantastic Cat - Don't Let Go.

Ignore your therapist's advice and stream Fantastic Cat's new single "Don't Let Go," an indie rock song that subverts indie rock cliches and healthy attachment styles to encourage our most toxic instincts. This is the latest peek at the band's third and most likely to prompt a lawsuit from the Meat Loaf estate album yet, Cat Out Of Hell, which releases on April 10 via Missing Piece Records.

“'Don’t Let Go' is a song about perseverance and the stubborn act of never giving up," says Fantastic Cat's Brian Dunne. "For a while, it felt like every new indie rock song was about finding inner peace, going to therapy, and the pleasures of a warm bath. This song intends to be the antithesis of that type of songwriting. It’s about holding onto something long after you should, no matter the cost. It does sound nice in the bath though.”

Featuring the combined talents of four widely lauded singer/songwriters—Brian Dunne, Anthony D’Amato, Don DiLego, and Hollis Brown’s Mike Montali—Fantastic Cat is like CSNY if none of them were famous, or The Traveling Wilburys if none of them were famous, or the Eagles if they really didn’t get along. Produced by the band and mixed by D. James Goodwin (Goose, Kevin Morby, The Hold Steady), Cat Out Of Hell elevates the band's trademark blend of craftsmanship and chaos to new sonic heights, capturing the freewheeling, lightning in a bottle energy of their must-see live show and channeling it into a ramshackle house party full of existential searchers, desperate romantics, and barstool philosophers. Last month, they shared a music video for their debut single "Donnie Takes The Bus," which found the harmony-trading, instrument-swapping four-piece replaced by some surprisingly buff body doubles. 

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Here Come the Mummies - Marsy - Special Friend - Rosier feat. Safia Nolin

Here Come the Mummies - Road Trip (Album).

The legendary, linen-wrapped lords of funk, Here Come the Mummies, continue their unstoppable groove-march with the release of Road Trip and a National Tour! Leading the charge on Road Trip is focus track “DTF,” a prime cut of the band’s signature “terrifying funk from beyond the grave.” Built on deep-pocket rhythms and tongue-in-cheek charm, “DTF” invites listeners into the Mummies’ mischievous world. As the band explains: “Anagrams can stand for lots of things. Like BDE, or FBI. In this case, we are slingin’ some Down Town Funk your way. DTF.”

Road Trip captures the joy, chaos, and camaraderie of life in motion—those long drives, loud laughs, and spontaneous detours that turn simple travel into unforgettable memories. According to one Mummy, “There's only good vibes on a road trip. We distilled this feeling into a funky-ass groove so you can get that feeling from your futon, office chair or VW bus.” Throughout the record, Here Come The Mummies deliver a full-on funk joyride, from the celebratory title track “Road Trip” to the punchy escape anthem “Rubber Meets the Road,” the sly mischief of “Backdoor” and the unapologetic downtown strut of “DTF.” The result is a tightly packed collection of grooves designed to move bodies, shake rooms, and keep the good vibes rolling wherever you land.

Here Come the Mummies have built a reputation as one of North America’s most electrifying live acts. Their high‑impact performances have made them a major draw across clubs, theaters, and festivals in multiple U.S. markets with capacities reaching more than 2,000 tickets, and they continue to captivate audiences from SummerFest to Jam Cruise. They’ve shared stages with legends like P-Funk, Al Green, Mavis Staples, KC & The Sunshine Band, and Cheap Trick, while igniting festivals such as Summer Fest, Summer Camp, Bluesfest Byron Bay, Musikfest, and Suwannee Hulaween. From rocking the Super Bowl Village to becoming favorites on The Bob & Tom Show and appearing on That’s My Jam with Jimmy Fallon, the band continues to prove that not even 5,000 years underground can stop a truly unstoppable groove.

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Marsy - Changes / Rosé.

London band Marsy (fronted by Hannah Rodgers of Pixx) share two new tracks, recorded with Mike Lynsey (Tungg, LUMP). Rolling in on a completely pure sound - strummed guitars, soft keys, mellow drums and a vocal that sounds like it's moved in from a higher plane. 

"Changes" floats like it's just opened the door on one of your best dreams and invited you back inside. "Rosé" explores trauma, dissociation and the domino effect of acting on intense emotions & being stuck in a pattern of addictive behaviors. Marsy are a London based four piece that combine effortless songwriting with timeless melodies. 

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Special Friend - Clipping.

Paris-based duo Special Friend have just released the gorgeous new single 'Clipping.' It's the second single from their forthcoming album of the same name, out 30 March. We are told that ‘Clipping’ refers to the discipline of pruning growth back, removing the dead wood to create abundant beauty. 

Special Friend have become the masters of weaving elegant and sophisticated pop musical webs while staying true to their DIY roots. The French/American duo (Guillaume Siracusa on guitar and vocals, Erica Ashleson on drums and vocals) manage to create a sound like no other band.  When they play live, audiences marvel at the huge, intricate structures the band construct, while falling in love with the crystal-clear vocal melodies that are threaded in between the shards of guitar and the rattle of the drums.  How can a duo achieve so much?  UK audiences will be able to ponder this question in March: Special Friend are coming over from France to do a substantial tour of the UK. 

The new album is more diverse that the last, with the high-tempo indie pop of first single ‘Breakfast’, the majestic, Yo La Tengo like dream pop of ‘Clipping’ and the country-ish, gentle, homesick melancholy of ‘Isolation’.  Final track ‘OOO’ is a bold piece of Krautrock inspired experimentation; ‘Mold’ is a beautiful slice of slowcore and opener ‘Paint A Picture’ is modern pop at its catchiest and most direct. 

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Rosier feat. Safia Nolin -  Plus d’amis.

Montreal-based collective Rosier releases their gloomy, atmospheric new single "Plus d'amis" featuring acclaimed Québec musician Safia Nolin, available now. The track will appear on the deluxe edition of Elle veille encore, slated for release this Autumn. To mark the occasion, the band has announced a UK/Europe tour launching March 13th.

A dark folk-rock lament sung entirely in French, "Plus d'amis" is stripped-back and distorted, drawing comparisons to Slowdive, Mazzy Star, and PJ Harvey with its grunge-infused, shoegaze aesthetic. Time seems to stand still in this piece drawn from archival folk material, drifting into a gentle lethargy while gracefully exploring themes of boredom and despair. Safia Nolin's voice blends in with disarming ease, creating an enchanting echo of intertwined vocals and hushed, almost spectral textures that linger in space and envelop the listener in deep melancholy.

"This song developed from stories we discovered in the archives—narratives centered on the fear and dread of losing your mother," the band explains. "As it took shape, its vulnerability and deep melancholia reminded us of Québec musician Safia Nolin, whom we're huge fans of. We reached out to her, and were so happy when she agreed to sing on the track."

The track grew out of Rosier's archival research for their album Elle veille encore, during which the band explored mother figures in folk traditions by digging through written and audio archives of traditional texts from Franco-Canada and France. "We kept finding stories with mothers at the center," the band explains. "One recurring theme was the fear and dread of losing your mother, and this song grew out of one of those stories. As it took shape, it developed a deep melancholia and vulnerability that reminded us of Québec musician Safia Nolin, whom we're huge fans of. We reached out to her, and were so happy when she agreed to sing on the track.

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