EDIE - DOPESICKFLY - Dani Ivory - J Mau & The Kiss Off - Yea-Ming and the Rumors

Photo - Jenna Elson

EDIE - Fall Of Man.

It is frustrating waiting for someone to change, and even more so when defeat and hopelessness begin to settle in. Perth/Boorloo-based artist EDIE captures that anger and despair as she ushers in a new era on her latest single 'Fall Of Man', out Thursday, March 26. Following her 2024 EP 'unsaid' and the sharp-edged singles 'Bleed' and 'Girl’s Girl', 'Fall Of Man' signals a striking shift in EDIE's sound. Where her earlier releases leaned into indie pop/ alt-rock, she trades guitars for synths in this new chapter. 

Exploring darker, alternative electro-pop, sparse synth lines and a pulsing electronic drumbeat form the foundation, allowing EDIE’s melodic verses and ominous choruses to sit front and centre. The result is an entrancing composition with a dreamlike quality. 
  
Co-written with Calvin Bennett, 'Fall Of Man' pairs EDIE's biting lyricism with hypnotic pop production. Controlled and restrained in its opening moments, the track slowly builds tension as EDIE’s vocals hover over the minimal arrangement. What begins as a slow-burning atmosphere gradually swells into a cathartic final section, where waves of synths surge beneath her voice, releasing long-held emotion.

The track explores the emotional exhaustion that comes from trying to help someone who refuses to change, capturing the moment when hope begins to give way to resignation. Speaking on the meaning behind the song, EDIE explains: “This song explores my frustration about someone who is not willing to change or not willing to listen. It’s that feeling of defeat and hopelessness you get when you realise you can’t fix that person.” 

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DOPESICKFLY - Side 2 Side

DOPESICKFLY’s brand-new single “Side2Side” is a high-energy track that encourages listeners to let loose, get on their feet and move their bodies. The song blends the best of Funk, Soul, Disco, and HipHop to create an upbeat anthem about living life to the fullest and dancing the night away. 

With its unique blend of genres, catchy hooks, and infectious beat, “Side2Side” is the perfect soundtrack for anyone looking to add some excitement and motivation to their daily routine. The lyrics reflect the band’s commitment to living life on their own terms. "We're excited to share this new single with the world," says Ant Thomaz, the band’s frontman. "We hope it brings people together, gets them moving, and inspires them to chase their dreams.” This single drop is ahead of their new EP "I Woke Up On My Good Side” due out Summer 2026.

DOPESICKFLY is a band built on friendship, chance encounters, and a deep love of groove and soul. Frontman Ant Thomaz, a singer-songwriter with Creole heritage, is known for his eclectic musical style. Nearly a decade ago in Glasgow, he met singer Wendy Rae at an open mic and was struck by the power and feeling in her voice. When they sang together, the chemistry was instant. What began as friends playing small shows quickly felt like family, with Ant and Wendy sharing lead vocals and a musical bond that reached beyond the stage.

Dopesickfly · Side2Side

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Dani Ivory - No Other Way (EP).

Dani Ivory is back with her EP No Other Way, a project that reads like a late-night confession you weren’t meant to overhear. It’s intimate, unfiltered, and emotionally relentless. At the center of it all is “Looney Bin,” a track that doesn’t just set the tone for the EP, but defines it. “Looney Bin” is messy, loud, and self-aware in a way that feels intentional. Sonically, it leans bright and almost carefree, but underneath that gloss is heartbreak dressed up as rebellion. Ivory comes in swinging: “I’ve been beating down every single door / I got no good shoes left to throw I’m looking for some more / I just can’t wrap my head tight around the thought / You’ve had enough of my love don’t want me no more”

There’s no poetic cushioning, she says it plain and simple. You feel the exhaustion, the disbelief, the sting of realizing the love you were pouring out is no longer wanted. Then the chorus hits, and the unraveling becomes visual: “I turn into a wreck, a nasty mess / Mascara dripping, big hair flippin’ party bitch / I drink too much wine, I stay up all night / I’m a different woman when you’re roaming / Yeah I’m losing my mind to the Looney Bin” This is the heart of the EP. “Looney Bin” isn’t romanticizing chaos, it’s documenting it. Ivory doesn’t pretend she’s thriving. The “Looney Bin” isn’t a place, it’s a state of mind when love turns into abandonment and the house that once felt like home starts closing in.

That diary-like unraveling flows into the rest of No Other Way. On the gut-wrenching ballad “Anymore,” she trades chaos for clarity: “I ain't got much help / Well, I’ve got myself wrapped in a bunch / When I had a hunch you were creepin' behind closed doors / I'm not yours. No, no no no, I’m not yours anymore” Then there’s “Get Through,” which feels like bargaining in real time: “So, we’re gonna get through / There’s no other way around it /We can’t hop skip or go backward / We looked our whole damn lives and found it / Though all my friends think I’m absurd / For sticking around and watching you drown / But if you go down, baby, I go down”

And when you’re in the trenches of losing the person you love, “Hope” becomes exactly what its title suggests, the fragile thread you cling to when logic says let go. This EP is full of feeling, not just sadness, but anger, denial, devotion, and desperation. Dani Ivory stands brave in the middle of it all, spilling every thought without flinching. No Other Way doesn’t offer easy resolutions. Instead, it offers truth, and sometimes, that’s the only way through.

Dani Ivory · No Other Way

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Photo - Zache Davis

J Mau & The Kiss Off - Poison.

Los Angeles, California’s J Mau & The Kiss Off emerge from what they lovingly call their “beloved hellhole” with their debut single “Poison,” out March 25. Founded in 2025 by Justin “J Mau” Maurer, longtime punk lifer and founder of Clorox Girls, Suspect Parts, L.A. Drugz, and Maniac, the project finds Maurer turning toward something darker and dustier without losing the bite that’s always defined him. “Poison” is a cinematic honky tonk murder ballad filtered through decades of West Coast punk history. It’s the first glimpse of a songwriter who’s always followed the feeling, even when it led somewhere uncomfortable.

Maurer’s story isn’t mythology. It’s messy and real. A CODA raised between Los Angeles and Bainbridge Island by a single Deaf mother, American Sign Language was his first language. Punk became his second. After surviving a turbulent childhood and helping put his abusive father in jail as a teenager, Maurer found autonomy in the underground. By fifteen he was booking shows and touring. By twenty he was releasing records and circling the globe with Clorox Girls. Along the way he built a parallel career as one of the country’s most respected ASL interpreters, working alongside prominent political figures like Michelle Obama, Bernie Sanders, Elizabeth Warren, Gavin Newsom, Kamala Harris, and Joe Biden, stage interpreting for punk legends like Alice Bag and The Avengers, interpreting Deaf actor Troy Kotsur’s historic 2022 Academy Award acceptance speech, and appearing with Kotsur on Curb Your Enthusiasm. His life has always moved between worlds.

After stints living in Madrid, London, and Baja California, and in the wake of a divorce that leveled him, Maurer found himself flat on his back in an East Hollywood apartment, cowboy boots still on, old country records spinning. Hank Williams. Buck Owens. Merle Haggard. Gram Parsons. Kris Kristofferson. Townes Van Zandt. He finally understood it. “Real country music is poetry,” Maurer says. “It’s about failure, heartbreak, and the tragic human condition. Music to laugh and cry and live and die by.” That rock-bottom clarity led him to write “Poison.”

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Photo - Corey Poluk

Yea-Ming and the Rumors - Paper Doll.

Yea-Ming and the Rumors have announced that they will release a new album, titled Residue, on Bay Area label, Dandy Boy Records, on June 12th. Bay Area indie pop band Yea-Ming and The Rumours return with their fourth studio album, Residue. With Yea-Ming’s signature heart-tugging lyrics and Nico-esq voice, she continues to explore the rawness of human experience and emotions. While 2024’s I Can’t Have It All signified a time of change and transition for Yea-Ming, Residue embraces the reset and the examination of reality after a storm, grappling with the overbearing nature of memory (remembering and forgetting) while submitting to the coarseness of love, intimacy and regret.

With the help of long-time collaborator Eóin Galvin (Hoxton Mob, Readyville) on lead guitar and lap steel, Ryli colleagues Rob Good (The Goods, Ryli) on bass and Luke Robbins (Ryli, R.E. Seraphin) on drums, Yea-Ming takes us on a journey of regrowth, with songs like Paper Doll where she admits inauthenticity in a world where one has been taught to please everyone around them to survive. In Treasury of Loved Ones, Yea-Ming explores the permanence of memory, or what appears to be permanent even as time moves on and erases moments out of our lives.

It’s a sweet and sad ode to remembering our loved ones, especially those we have lost to in time and in death. In Fine Afternoon, we are confronted with the reality of a tainted rebirth as Yea-Ming sings “in this life renewed, you’re my residue” (here we find our album title) and we remember that resets are never clean. The Rumours explore a little bit musically this time as well, which you hear in uncharacteristic danceable numbers like in the catchy but vulnerable and sensuous St. Etienne-like Sweet Opiate. While Good served as the band’s skilled recording engineer, Yea-Ming mixed the album at home; her vision realized through exploring texture, rhythm and sound, making Residue a Yea-Ming production through and through. 

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Thin Lear - Carly King - The Sh-Booms - Ghalia Volt - Soft Loft - Benny Bleu

Photo - Anna Rhody

Thin Lear - A Cherished Man.

Thin Lear, begetter of elegant melancholia, opens his sophomore album (out April 24th) with a bridge falling and a brother’s death. What’s the reason for me seeing? / What’s the reason for anything? / Tell me angel, if you will / Do you think of me still? This tossing of hands to the sky, a dizzied surrender to the absurdity of existence, drives every song that follows. On album standout “A Cherished Man,” that loneliness manifests in three, distinctly curious characters. Andy drinks himself into public humiliation on a nightly basis; Annie pokes strangers with pins on crowded urban buses; Charlie consumes gargantuan sums of corks, stones, and live animals for performance. It’s a work of masterful poetry, and a poignant testament to the lengths humans will go in pursuit of connection. “I see myself in all of them,” Longo confesses. “They’re looking for love, they’re just not sure how to broker it.” With a delicate wail of despair—almost as though pricked—he sings: They say, you’re only whole / You’re only true / Long as someone dreams of you / And if you’re just set up to fall / You find a way to feel at all. It’s heartrending and conciliatory at once; Longo goes to the freak show, and sees only humans. 

Longo grew up writing short stories; that narrative instinct pervades his music. He tends towards tragedies—some true, some imagined, and some stuck in between. “I’ve always gravitated to bizarre tales to access my own grief and pain,” says Longo. From “The Mothman” event of 1960s West Virginia which inspired “Silver Bridge,” to the “Mad Gasser” mass  hysteria of 1940s Illinois that backdrops “Mattoon,” Longo collects peculiar lore and studies it for insights into humanity. 

He pairs odd plots with placating melodies, his voice as pure and holy as a bell. The effect is uncanny—lyrics like a nightmare delivered through a lullaby. “I need something supernatural to wrestle with, just to understand my own earthly troubles,” he says. “I write to access a feeling and get past it.” Longo may summon the ghosts to dispel them, but Thin Lear’s music remains vibrantly haunted, full of eerie figures loping along, human or otherwise, hoping to heal. Influenced on a fundamental level by the likes of David Bowie and Karen Dalton, Longo builds a kind of sonic bridge between the two—his emotive folk pop aches and articulates from a strange, starry place. 

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Carly King - Three Martinis.

The highly anticipated debut album from Carly King (Loving You Is Easy), has been recorded at Cloverdale Records with Shane Travis (Evan Honer), and is due out May 1 on First City Artists (Alexa Rose, Coco). 

Born in New Jersey, King lost her father at age 4 to the terrorist attacks of September 11th. Her family moved to Wyoming shortly after, where King grew up with a vivid sense of life's uncertainty and a profound desire to find its purpose. Now based in Nashville, she brings her insights on loss, love, and living freely to her first full-length. In her stark, sandy voice, King sings of dusty floors, school buses, and cowboy boots with the sparkling pop sensibility of Kacey Musgraves, the full hearted howl of Sierra Ferrell: Loving you is easy / It's the world that's hard.

With singles and EPs alone, King has independently amassed more than 20K monthly listeners, been named an American Songwriter Song Contest finalist, landed sponsorship from Gibson guitars, and conducted a merch campaign successful enough to fund her first full-length. King's fans aren't passive listeners but fervent, supportive members of a grassroots community, one she's built with warm and retable, folk country earworms.

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The Sh-Booms - This Is A Test.

Orlando soul-rock powerhouse The Sh-Booms return with the striking new music video for “This Is A Test,” the cinematic title track from their recently released EP This Is a Test, available now on all digital platforms.

Directed by John Taylor, the video expands the song’s cosmic narrative into a vivid, otherworldly visual experience — one that blends performance with a surreal journey through time, space, and survival.

“The concept kind of dances through themes of time and space travel, unexpected journeys that lead to discovery, strength in survival and love, all woven through a dynamic performance,” Taylor explains. “I envisioned an emergency evacuation back to Earth, perhaps at a different time or in an alternate universe of possibilities.”

Drawing inspiration from classic New Wave-era visuals — including the stylized performance energy of artists like INXS — as well as Taylor’s own upbringing during the final chapter of the space program in Cocoa Beach, Florida, the video captures both nostalgia and forward motion. The result is a visually immersive companion to one of the band’s most ambitious songs to date.

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Photo - Eric Johanson

Ghalia Volt - Ride. 

Ghalia Volt doesn’t waste time easing in. On “Ride,” the first single and video from her upcoming album Burn The House Down, due May 15th (Ruf Records,) she delivers a fierce, groove-heavy blast of blues-soaked rock & roll — gritty, immediate and unforgettable.

With Burn The House Down, produced by JD Simo and recorded in Nashville, Volt pushes that sound even further — capturing the immediacy of her live performances while expanding her sonic reach. Her first single “Ride,” is fierce, gritty and hip-shaking, a blast of blues-soaked rock & roll swagger that sets the tone for the album.

Recently featured on 60 Minutes alongside Christone “Kingfish” Ingram, Volt was recognized as part of a new generation carrying blues music forward. It’s a role she’s grown into over the past decade, shaped in part by her move from Belgium to New Orleans in 2016 — a turning point that immersed her fully in American roots traditions while sharpening her raw, instinct-driven approach.

That same year, she released Have You Seen My Woman (2016), a breakthrough that introduced her stripped-down, streetwise sound. She followed with Let the Demons Out (2017), and Not long after, Volt embraced a fiercely independent path, developing her one-woman band setup — singing, playing guitar, and working percussion simultaneously — a format that became central to both her recordings and her reputation as a live performer.

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Soft Loft - Caught.

Soft Loft is a Switzerland-based collective fronted by singer/lyricist Jorina Stamm. From day one, their mission has been to create a space where vulnerability is like oxygen and connecting with another is summer breeze. Their sound is a sticky mixture of ecstasy and melancholy.

After a breakthrough year of headline tours, major festivals & tastemaker praise from BBC 6 to KEXP, Swiss indie collective Soft Loft return with Caught, a high-voltage anthem for twenty-somethings confronting the moment they played it safe instead of fearless. 

Suspended between nostalgia and “what if”, the track builds from introspection into a remarkable scream of release. Written & produced by the band, mixed by Grammy-winner Craig Silvey, it launches the road to an outstanding new album.

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Benny Bleu - When I Am a Fossil.

Pairing timely songwriting with his distinctive instrumental banjo work, When I Am a Fossil is the bold forthcoming album release (due June 5) from New York native Benny Bleu. Ten years in the making and informed by the artist’s prior decade working as a geologist, the project reflects a sustained exploration of humanity’s relationship with the Earth, expressed through original songs, carefully chosen covers, and meditative banjo instrumentals. Both a deeply personal statement and a collaborative studio achievement, When I Am a Fossil pushes at the boundaries of old time music and its intersections with jazz and global rhythms, bridging old time traditions with contemporary sonic exploration.

At its core, When I Am a Fossil is a concept album that draws on geological time. Framed through the lens of a train-traveling, smartphone-rejecting modern-day luddite contemplating reality in 2026, the record offers multiple perspectives on a singular theme: what it means to live on—and within—a changing planet. Geologic ages are defined by their fossils—the preserved evidence of life—and often marked by mass extinctions. Looking ahead, future geologists examining the Anthropocene—the present age defined by human impact—will likely identify another mass extinction event, one humanity both caused (“When I am A Fossil”) and endured (“I’ve Endured”). The album meditates on this paradox while offering shimmers of hope and wonderment in the wistful “Serenity Song” and “All I Want to Be.”

Ultimately, the record suggests that while economies are human inventions sustained by belief, climate change will march on whether we believe in it or not (“March of the Mollusk”). As environmental pressures intensify, future generations may be compelled to live simpler lives with less consumption and greater locality. In that simpler, more grounded world, the album proposes, folk music will not only persist—it will belong.

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The Indie Pea - Guy Verlinde - La Peste - Ben Chapman - Trippers & Askers

The Indie Pea - Staring At The Sun.

While some bands are content to evolve in the shadows, The Indie Pea has spent the last year chasing the light. Following the introspective depth of The Questions and the radiant growth of Reflected Hearts, the band returns with "Staring At The Sun", a sonic earthquake that redefines their boundaries.

"Staring At The Sun" is The Indie Pea magnified. It carries the band’s signature DNA, lush orchestral strings and melancholic undertones, but delivered with a newfound, panoramic intensity. The production is sharper, the mixing more immersive, and the emotional stakes higher than ever. It is a masterclass in "controlled grandiosity"; a track that teases the bombastic, yet masterfully pulls back at the precipice, maintaining that aching, intimate tension that has become their hallmark.

This single serves as the definitive prologue to their upcoming full-length album, "Life Lessons" (arriving December 18). The record promises to be the band’s most eclectic venture to date. Across its tracks, The Indie Pea navigates a vast musical landscape, shifting seamlessly from the rhythmic drive of Bombay Bicycle Club and the anthemic energy of The Killers to the atmospheric noir of The National and the psychedelic textures of MGMT.

Life Lessons is an album of beautiful contradictions: it is a collection that feels diverse yet singularly focused, exploring the complexities of experience with the wisdom of a band that has found its true voice. If their debut was about the search, Life Lessons is about the discovery.

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Guy Verlinde - Best Of Blues (Album).

On March 22, Best Of Blues, the new album by Belgian blues artist Guy Verlinde, was released. The album celebrates his 50th birthday and crowns a career spanning seventeen albums and more than a thousand live shows. It is available on CD, vinyl and digital platforms.

Guy Verlinde is a mainstay of the Belgian blues scene and has built a strong international reputation. Over the years, he has appeared on the same bill as artists such as B.B. King, John Fogerty, Tony Joe White, Santana, John Hiatt, Canned Heat, and Jeff Beck.

Best Of Blues is not a classic compilation of old recordings. All twelve tracks were remixed and remastered; Do That Boogie and Gator Bop were partially re-recorded with a distinct old-school blues feel. Me & My Blues and Heaven Inside My Head were fully re-recorded. The album is also a tribute to Guy’s late blues brother Tiny Legs Tim, with whom he helped lay the foundations of the Ghent blues scene. Their collaboration lives on in the song Goin’ Down to Missy Sippy, which they wrote and recorded together.

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La Peste - Color Scheme.

“Color Scheme” is the last advance single from La Peste’s forthcoming compilation, I Don’t Know Right From Wrong: Lost La Peste 1976 - 1979 Vol. 1 (out 4/17). Here is what guitarist / vocalist Peter Dayton has to say about the track: “Color Scheme”!! Mark and I wrote this together and, wow, we both love this song. To me it was a big step because it really sounded like a complete song with clear intent and great chord progressions ….I felt like it showed we could do a lot of different things. I still love it.

I Don’t Know Right From Wrong tells the full story of La Peste with a presentation of their unreleased studio recordings, demos and the two tracks that were officially released during the band’s run. 

The accompanying book features tons of newly uncovered photos, a long-form essay by music journalist Andy Cush & micro-essays by Greg Hawkes (The Cars), Roger Miller (Mission of Burma), Peter Prescott (Mission of Burma), Clint Conley (Mission of Burma), Pat Place (Bush Tetras, Contortions), Willie Loco Alexander (The Lost, Boom Boom Band), Richard Parsons (Unnatural Axe), Malcolm Travis (Human Sexual Response) and more.

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Photo - Aubrey Wise

Ben Chapman - Feet On Fire.

Nashville-based roots rocker Ben Chapman announces that his upcoming album Feet On Fire will come out on May 22 via Soundly Music. His second collaboration with GRAMMY-nominated songwriter and producer Anderson East, Feet on Fire is an album about leaving old patterns behind, making room for new beginnings and searching for stability in an ever-changing world. Or, according to Chapman, this record is a snapshot of the year he became a man following a marriage to fellow singer/songwriter Meg McRee and the birth of their first child in September. He also shared the album’s title track, a sprawling psychedelia-drenched sonic journey that chronicles the life of a musician on the road. 

On the new song, Chapman shares: “This song hits you in the mouth from the first note. It’s a sonic adventure that reflects my growth as an artist and musician. It started out as a song about always being on the road and not feeling like yourself while sitting still, but as it took shape it gained a deeper meaning. It’s difficult to keep your feet planted in the moment sometimes in a world that places value on whatever comes next.” 

The new LP puts East’s Alabama roots on full display, in combination with the inspiration Chapman takes from R&B grooves, Stax-sized soul, psych-rock experimentation and Allman Brothers-worthy jams. With Feet On Fire, Chapman set out to capture the energy of one of his live shows – free-wheeling, electric and exploratory. Backed by a band of A-list instrumentalists, Chapman and East focused on live-in-the-studio performances, capturing each song with two or three takes. They experimented with fuzz pedals and overdriven guitar tones, too. It was a move that nodded not only to the soundtrack of Chapman's childhood, but to his willingness to step outside the box.  

“I grew up on the Grateful Dead and Dark Side of the Moon, so I wanted to pour some of that inspiration into these tracks,” Chapman shares. “This record asks you to let your hair down. It takes some fun sonic risks. It's cohesive but it's all over the place, too, in the best way possible.” 

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Trippers & Askers - No Coming No Going.

Trippers & Askers today share "No Coming No Going" featuring Chessa Rich from their forthcoming LP Tried To Do's due May 8 via Sleepy Cat Records.  "No Coming, No Going," is the second offering (third on Bandcamp) from Trippers & Askers' forthcoming release. Drawing sonically from Emmylou Harris and lyrically from Thich Nhat Hanh, this gorgeous duet with longtime collaborator Chessa Rich is a trance-inducing meditation on impermanence. 

Hammond and Rich open the track with a shared breath, singing, "When I breathe, I don't breathe; there is no breather," and in that moment, they set the intention for everything that follows. 

I love the way their voices pull my ear in opposite directions—blending perfectly while still remaining distinctly their own. The effect reminds me of the shape-note tradition, where individuality and harmony coexist in the same breath. Rich with meticulously crafted soundscapes, this record is a deep listen that rewards.

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Carrie Clark - Crow and Gazelle - Serafima and The Shakedowns - Sunnan

Carrie Clark - Resistor (EP).

Since the late 1990s, Carrie Clark has been a familiar presence within the Hamilton, Ontario music scene, contributing her bass and vocal talents to myriad albums and live performances by local artists. Most recently, Clark has become a full-fledged member of alt-country outfit Matt Paxton & The Pintos [now simply The Pintos], whose 2023 EP Tornado received international acclaim. However, since 2020 Clark has been creating her own music, and subsequently released her debut EP, Roll Me Up Integrity, two years later. She has now followed it up with Resistor, a six-track collection that highlights her expansive musical range. 

Working with Marco Bressette at Hamilton’s Deadquarters Studio, Clark called upon many colleagues to contribute to the sessions, but despite the variety of musical voices, Resistor adheres to Clark’s distinct creative vision.“I feel fortunate to have so many stellar musician friends,” she says. “We have all played together in so many unique situations, so recording is quite a natural and meditative experience. Marco and I have been friends since we were 16, rocking out in our early original bands.”

Resistor lifts off seductively with the atmospheric and semi-spoken “What Is Water,” which contains hints of the Hamilton scene’s patron saint Daniel Lanois. However, the song’s main inspiration, as Carrie explains, came from a Bruce Lee quote, “be water, my friend.” “The choices we make in any given moment define us, regardless of the choices made in the past, much like the fluidity of water. The calm lake after a storm doesn’t reveal a trace of the waves. You have to look at the surrounding land to discover its effects. The water itself can only be what it is at that moment.”

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Photo - Myriam Riand

Crow and Gazelle - Fall How It Will.

Texas-based duo Crow and Gazelle announce their forthcoming album Truth Be Told, out May 15, with the release of its lead single “Fall How It Will.” A sweeping, spiritually charged concept album, Truth Be Told explores love, power, survival, and the truths buried beneath generations of fear. Across its songs, the duo tells the story of a woman and a man navigating a collapsing world, reckoning with inherited harm, confronting patriarchal control, and searching for a more liberated way to live and love.

“Fall How It Will” is a haunting meditation on religious trauma and return. Framed as a moment of care between the record’s two central characters, the song rejects the lie of original sin in favor of something more expansive: original love. With imagery of a boundless garden and the well of knowledge alive within us all, it becomes a quiet call to recognize one’s own worthiness - to lie down somewhere easy and let the night “fall how it will.”

“We live in a world shaped by shame that was never truly ours to carry,” Lawrence explains. “When you’re taught to believe you are inherently unworthy, that love only counts if it looks a certain way, it creates fear and separation. But love, real love, draws us back to the truth. It reminds us there was never anything wrong with us to begin with.”

Crow and Gazelle is Oklahoma Red Dirt pioneer Mike McClure and multidisciplinary artist Chrislyn Lawrence, whose creative partnership sits at the center of the album’s force. McClure, a founding member of The Great Divide and an Oklahoma Music Hall of Fame inductee, is also a widely respected producer whose work has helped shape artists including Cross Canadian Ragweed, Turnpike Troubadours, and Kaitlin Butts. Lawrence brings an equally vital perspective as a poet, filmmaker, community organizer, and trauma-informed healer. Together, they create work that confronts difficult questions about belief, belonging, grief, and the myths that govern our lives.

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Serafima and The Shakedowns - I’ll Be Around / The Slender Rowan.

BWGiBWGAN just released “I’ll Be Around / The Slender Rowan,” the new double A-side single from Serafima and the Shakedowns. It’s the second single to be taken from the band’s debut album Ride Easy, on May 1.

Clocking in at under two minutes, “I’ll Be Around” is a life-affirming burst of pure joy - a heart-skipping showdown of warmth, colour, and bright-eyed promise that leaves you beaming. Serafima delivers it with a splash of old-time golden charm, kicking up a little dust and letting the good times lead the way. It’s the thrill of catching a face across the room your heart can’t quite forget, and that playful little thought drifting through your mind - “maybe I’ll let you take me out!!”. Cowboy boots filled with swagger, a melody that grins from ear to ear, and the Shakedowns riding an easy, buoyant groove make the whole thing feel like a two-step you didn’t know you needed.

On the flip side, “The Slender Rowan” reveals another shade of the band’s world. An arrangement of the traditional Russian folk song, it finds Serafima singing in fluent Russian while the Shakedowns lean into the melody’s old-world sway. The result feels both playful and timeless - a reminder that the band’s roots run wide, and that tradition can still feel alive on a dance floor.

Serafima’s songwriting sits somewhere between classic storytelling and left-field pop instinct. You can hear echoes of Johnny and June Carter Cash, Joni Mitchell, and Cake - not as pastiche, but as shared DNA. Her lyrics hit you in the heart and stick in your head - wry, time-twisting verses as deceptively complex as the lives they describe.

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Sunnan - Longing To Miss You.

Following their Swedish Grammy–nominated debut, the success of the Cinema Sound System EP, and their latest single “Sail (Lady In Waiting),” critically acclaimed cinematic soul outfit Sunnan recently returned with “Longing To Miss You” — the second single from their forthcoming sophomore album Spaghetti Soul, set for release in Autumn 2026.

According to the band, “Longing To Miss You” was the true spark behind Spaghetti Soul — the melody and emotional core that ignited the vision for the entire record. Written and recorded inside Fårö Church, with Ingmar Bergman resting just beyond its walls, the song was born in a setting deeply intertwined with the band’s cinematic identity.

The band explains: “Longing To Miss You emerged through questions of life, death, and how we all must learn to cope with the fact that loving also means losing.” With their signature Western-inspired sound — arpeggiated guitars, sweeping strings, and expansive arrangements — Sunnan explore loss not as inevitable doom, but as something that gives love its meaning. The result is a cinematic soundscape woven with melancholic lyricism — a testament to the strength, fragility, and enduring vitality of human emotion.

That vision carries into Spaghetti Soul, an album that deepens Sunnan’s cinematic exploration while expanding their sonic palette. If debut album Cinema was the feature film and Cinema Sound System the after party, Spaghetti Soul is their most immersive statement yet: a bold fusion of Italian Western grandeur and classic soul, filtered through a modern lens. The album positions Sunnan at the forefront of their self-defined genre, where orchestral drama meets raw emotional immediacy.

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Office Dog - A Place To Bury Strangers - Sandhouse - Danny George Wilson - Dirk Powell

Photo - Hamish Morgan

Office Dog - Front Row Seat.

Office Dog and Flying Nun Records are pleased to share the indie rock band’s brand new single ‘Front Row Seat’. ‘Front Row Seat’ finds Office Dog confronting the numbing weight of the 24-hour news cycle, a state of quiet paralysis where the sheer volume of bad news makes even the smallest decisions feel impossible. 

The song explores the feeling of being stuck “in the front row” as the world unravels — absorbing everything while feeling increasingly powerless to act. ‘Front Row Seat’ finds the band leaning into that uneasy tension, turning overwhelm and uncertainty into something quietly cathartic.

The music video, directed by Sophie Black and made with the support of NZ on Air Music, applies these feelings of someone's world boiling over to corporate team bonding activities. About the video concept, Office Dog’s front-person Kane Strang says “I could instantly picture it in my head, which is always a good sign.”

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Photo - Holger Nitschke

A Place To Bury Strangers - Where Are We Now.

New-York based band A Place To Bury Strangers release “Where Are We Now,” the third single/video from their new rarities album, Rare And Deadly, out April 3rd via Dedstrange. Following the “full-on sonic attack” (Consequence) of “Acid Rain,” on which “frontman Oliver Ackermann delivers deadpan, near-chanted lyrics about systemic cruelty,” (Consequence)  “Where Are We Now” finds A Place To Bury Strangers reflecting on the past: “Where are we now // Is it too late // Should I reach out // Where we are now // caught in our lives //did our dreams fade.” Ackermann says the song is about “looking back at friends you lost touch with. Wondering where they ended up. Remembering when everything felt possible.” The accompanying video was put together by Ackermann with footage from the Library of Congress National Archives. Ackermann says he made the video because “I think we need to look at people more and see the value and wonder of life so we can be compassionate towards others."

Rare and Deadly cracks open a decade-long vault of raw nerve and sonic chaos from A Place To Bury Strangers. Spanning 2015–2025, this collection of demos, B-sides, abandoned experiments, and forgotten fragments reveals the band at their most unfiltered—caught between breakthrough ideas and beautiful mistakes. Pulled from Ackermann’s personal archive of late-night recordings, blown-out tapes, and half-finished sessions, here the interference is closer, the electricity more dangerous, the edges left jagged on purpose.

What makes Rare and Deadly truly unprecedented is that every format tells a different story. The CD, cassette, vinyl, and digital editions each feature their own unique tracklisting, a fractured release strategy that is almost unheard of. No single version contains the “complete” album. Instead, each format becomes its own window into the archive, revealing alternate paths, missing links, and parallel versions of the band’s inner life. It’s a deliberately unstable document: the album shifts depending on how you choose to hear it, mirroring the chaos of its creation.

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Photo - Hannah Murrell

Sandhouse - Snapdragon.

South London duo Sandhouse just shared the new single 'Snapdragon' and become the first UK act to sign to US label Broke Records. 'Snapdragon' follows the release of their debut EP 'Circus' last year. Consisting of Anna Sutherland and Caspar Holloway, Sandhouse have spent the past year refining a sound that threads together alt-rock bite, 60s psychedelia, trip-hop atmosphere and electronic textures.

Working with renowned producer Ben Hillier (Blur, Depeche Mode), Sandhouse lean into a more direct, guitar-driven sound on new single 'Snapdragon', its lyrics exploring the idea of wilful self-deception: "shark eyes glistened in our bed / licked your lips and kissed me good / you smelt blood and I wanted you." Built around gently chugging guitars and a steady rhythmic drive, the track is anchored by Anna’s distinctive vocal delivery and cool-headed melodic hooks, balancing sweetness with a subtle sense of unease.

Speaking about the track, the band say: "'Snapdragon' flowers symbolise deception, due to the skull-like shape that appears when their petals fall away. This is a song about the excitement of recognising a lie and choosing to believe it, rather than turn away."

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Danny George Wilson - Arcade (Album).

Danny George Wilson has just released his new album 'Arcade' via Loose Music. Wilson, who has been confirmed as special guest on The Handsome Family's forthcoming UK tour, has unveiled his latest single 'Before September'. 

"‘Before September’ is a song about some of the fleeting random moments of pure joy that have stayed with me my whole life," explains Wilson. "Smoking a fag out of my teenage bedroom window at my mum and dad’s house in the summer holidays whilst listening to ‘Astral Weeks’ and watching the sun catch the smoke hanging in the air, free wheeling down a hill on a beautiful spring morning on my red Royal Mail bike when I was a Postman whilst Nick Drake played on the headphones, finally catching a wave body surfing with my dad and brothers, a first feeling of real love on the long walk home from a teenage party. Musically it’s inspired by the wonderful Tony Bennett & Bill Evans album and Sinatra’s genius ‘Watertown’. The stunning string arrangement by Hamish Benjamin and incredible piano by Henry Garratt perfectly capture these feelings. One of the songs and recordings I’m most proud of in all my years of making music."
 
'Arcade' finds Danny George Wilson returning to Hamish Benjamin’s studio in East Sussex - five years on from his startling, post-lockdown solo album Another Place – to construct its sequel. With Lewes-based Benjamin and right-hand man Henry Garratt, again given free rein, 'Arcade' presents a fresh collection of sonically inventive, deeply romantic songs, with atmosphere taking primacy over meaning, and narrative dissolving. As Wilson tells it: 

“The songs are about the ways we deal with losing people, time, place, or don’t deal with it… Looking back, we discover what was always there, or things that are just easier to ignore - different and contradictory perspectives. And I wanted a chance to work with Hamish and Henry again, and this seemed like their thing, and it was”.

Traditional instrumentation meets technology; the majority of tracks feature a string quartet, while Benjamin and Garratt employ synthesiser and mellotron along with a plethora of guitars. Gerry Love again provides backing vocals with cameos from Emma Tricca and Annie Dressner. Fragile, tender, full of uncertainty, ultimately 'Arcade' is a song-cycle in which the premise of each track subverts the previous, and demonstrates most assuredly, we still move in doubt.


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Photo - Karen Cox

Dirk Powell - Down The Line.

Internationally acclaimed fiddler, banjoist, and singer Dirk Powell will release Wake, his first solo album since 2020, on April 17, 2026 via The Last Music Company. A singular presence in American roots music, Powell is widely regarded as a “musician’s musician.” His artistry is grounded in the hills of Appalachia and the bayous of Louisiana, where he learned banjo, fiddle, and accordion from his grandfather and community elders.  Guest appearances include Amelia Powell, Sophie Powell, Rhiannon Giddens, Darrell Scott, Kai Welch, and others. 

The first single, "Down the Line" was shared this weekend. Powell says, “…Softly rolling banjos, stark guitars, and distant fiddles paint pictures of journeys from my home in Louisiana through places that have inspired me to lay everything on the line — and given me settings in which to do so. West. South. I’ll take either one, but both at once makes the blood rise in my chest. To feel the moisture of the Gulf give way to chaparral, then to scrubby plains, and finally to the bright desert. Danger and its opposite.”

Over the course of his career, Powell has toured extensively with artists such as Joan Baez, Eric Clapton, Rhiannon Giddens, Loretta Lynn, Irma Thomas, Jack White, Buddy Miller, and Steve Earle. In film, he has collaborated with directors Anthony Minghella, Ang Lee, and Spike Lee. He has contributed to many Grammy-winning projects across Folk, Country, Blues, and Rock. Since the 1990s, his own recordings have continued to shape a new generation of traditional musicians and songwriters. He remains a sought-after producer and composer. His best-known composition, “Waterbound,” has been recorded over 100 times. 

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