Australian singer-songwriter Tig (Natasha Lieschke) explores the bittersweet passage of time on her beautiful new single, ‘Ferris Wheel’. Drawing on the emotional honesty of artists such as Phoebe Bridgers, Sharon Van Etten and Angel Olsen, the song is a nostalgic reflection on friendship, growing apart and the memories that keep us connected. Inspired by an annual tradition with friends at a small independent music festival in regional Victoria, it takes its title from a magical moment when the Ferris wheel pauses at its highest point, offering a view of the stars and distant hills beyond the festival lights.
For Tig, that fleeting experience became a metaphor for the desire to press pause on life, holding onto the people and moments that matter before everything changes. As she explains: “That’s the kind of pause button I sometimes wish I had for life, just a few quiet minutes to take in the view before it all changes again.” It’s a wonderfully relatable sentiment, giving the song an emotional pull that reaches well beyond its personal inspiration.
Produced and mixed by Oscar Dawson at Eddie’s Studio in Rye, Victoria, ‘Ferris Wheel’ also represents a significant creative step for Tig. Having performed the song live for more than a year, she finally found the expansive sound she had imagined. Originally written as an intimate piano piece, it gradually developed into something far more powerful, with Dawson’s soaring guitars and drummer Hannes Lackmann’s explosive performance adding urgency and a thrilling sense of release. Tig even encouraged Lackmann to play louder with each take, pushing beyond her usual understated recording approach.
The finished track beautifully balances melancholy and hope, capturing the feeling of missing people while trusting that the bonds we share will endure. ‘Ferris Wheel’ is about the friendships that shape us, the traditions we treasure and the memories we wish we could revisit. Tig has transformed a simple festival experience into a moving, cinematic song that reminds us to appreciate those precious moments while we have them.
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| Photo - Michael Koshkin |
James Felice is set to release Homeworld Blue this Friday, November 13, an ambitious sophomore solo album that takes his songwriting into wonderfully expansive new territory. Produced by Nate Walcott of Bright Eyes and recorded in Omaha, Nebraska, and Los Angeles, the record builds on the intimacy of Felice’s debut with lush orchestration, pounding piano, horns and strings. At its heart remains his fascination with the small, strange and deeply human stories unfolding against the vastness of the universe.
Prior to the release, Felice shares ‘Golden Age’, the album’s final pre-release single, following ‘Let Yourself Live’ and ‘Midflight’. Describing its inspiration, he imagines the song as “a post-apocalyptic self help seminar delivered by a delusional positivist”. He adds that some people simply cannot be brought down, whatever personal or global tragedy comes their way, admiring their seemingly unshakeable optimism. It's an intriguing premise that captures the album's mix of human observation, imagination and humour.
Felice began writing Homeworld Blue in 2022, during a period when touring life remained largely on hold. Working in a modest attic home studio, he spent weeks writing dozens of songs and imagining a record that would take him beyond familiar musical boundaries. That ambition brought him together with Walcott, whose experience as an arranger and orchestrator helped transform the initial ideas into something truly cinematic.
Recording began in Omaha with Felice and a small rhythm section, before Walcott spent the following two years developing the arrangements in Los Angeles. The finished album moves beautifully between intimate restraint and sweeping grandeur, incorporating drums, bass, harp, horns and full orchestra. Felice will celebrate its release with two special January performances: January 23 at Le Poisson Rouge in New York City and January 28 at Sid The Cat Auditorium in South Pasadena, both featuring a ten-piece band conducted and arranged by Walcott. Homeworld Blue looks set to be a remarkable next chapter for an artist unafraid to find extraordinary stories in the everyday.
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Last Relapse have certainly caught our attention with ‘Throw Away the Key’, a wonderfully refreshing indie-rock single that combines infectious musicality with a genuine emotional depth. The band's return is particularly welcome, with singer and guitarist David Holding recently getting in touch with Beehive Candy and putting the group firmly on our radar. Beautifully produced, the track is lifted by its heartfelt vocals, which give its melodic indie-rock sound an extra layer of feeling.
Originally from Georgia, Last Relapse feature David Holding on vocals and guitar, Justin on drums, Adam on guitar and Michael on bass. The band first played together between 2006 and 2012, releasing their album Machine in 2010, before reuniting in 2025. ‘Throw Away the Key’ has an interesting history of its own, having been the first song David ever wrote, back in 2006 when he was just 16.
Recorded in 2008–2009 and finally released on October 23, 2026, the song explores the complicated emotions of pulling away from someone while desperately trying to hold on. That tension gives the track its heart, with David's expressive vocal performance bringing real sincerity to a subject many listeners will recognise.
There is something especially appealing about hearing a band reconnect with a song that has been part of their story for so long. ‘Throw Away the Key’ feels fresh and immediate, balancing an accessible indie-rock/pop sound with genuine emotional weight and excellent production. It's a thoroughly enjoyable return from Last Relapse, and one that leaves us keen to hear what comes next.
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There is something wonderfully refreshing about musicians coming together simply for the love of making music, and that spirit sits at the heart of the collaboration between Adam Wright, Lacy Green and Thomm Jutz. What began with friendship and a shared passion for songwriting has developed into a remarkable creative partnership, resulting in an album that celebrates the joy of playing together and the magic of a great song.
The story began when Wright and Jutz reconnected at a 2023 celebration of life for their mutual friend Peter Cooper. Their renewed friendship soon led to a prolific songwriting partnership, producing almost 80 songs. After Jutz met Lacy Green at a performance in North Carolina, the connection between all three became clear, and a new collaborative chapter began. Gathering at Jutz's studio, they recorded live, capturing vocals and performances with minimal preparation and no expectations. That spontaneous approach gives the project its natural, unforced character.
The album's title track and radio focus single, ‘Shakespeare’s Bones’, was written by Wright, Green, Jutz and Dean Fields during an inspired songwriting session ahead of their appearance at Tin Pan South. Jutz recalls that the four musicians challenged themselves to write as many songs as possible before their gig, producing four in total, with this track coming first. Its central idea is a heartfelt acknowledgement that every songwriter stands in the shadows of those who came before, while hopefully inspiring those who follow.
Both the song and album celebrate the enduring influence of great artists, the importance of creative friendships and the shared experiences that make music so special. ‘Shakespeare’s Bones’ is a fitting tribute to the masters of songwriting, but also a reminder that the best music often comes from simply getting together, trusting the creative process and seeing where it leads. A lovely concept, and one that makes this collaboration particularly appealing.
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Charlie Horn confronts grief with remarkable honesty on ‘High Tide Already’, the fourth single from his forthcoming solo album Rhythms Unexplained. Released just three days ahead of the album, the track is a deeply moving meditation on loss, acknowledging the strange and often overwhelming emotions that arrive in its wake. Yet, rather than allowing the subject matter to become unbearably heavy, Horn wraps it in some wonderfully sumptuous synths, creating a glistening musical backdrop that offers both comfort and emotional release.
Best known as a member of Cincinnati psych-rock outfit In The Pines, Horn takes a noticeably different direction with his solo material. Where the band's sound is characterised by expansive, swirling psychedelia, his own songs favour stripped-back arrangements and intimate, emotionally revealing storytelling. ‘High Tide Already’ is a particularly affecting example, balancing the weight of its subject with beautifully judged melodies and a production that gives every element room to breathe.
Recorded at the In The Pines creative headquarters, a synthesizer repair shop in the basement of a decommissioned Masonic Temple in Dayton, Kentucky, Rhythms Unexplained has a wonderfully lived-in quality. There is a world-weary atmosphere running through Horn's songwriting, reflecting some difficult personal experiences without ever feeling forced or overly dramatic. Listeners drawn to the emotional candour of Big Star's Third, Conor Oberst's Ruminations or the darker corners of Kurt Vile's musical world will find plenty to appreciate.
‘High Tide Already’ is a beautiful piece of work, with its shimmering synths providing a striking contrast to the vulnerability of Horn's lyrics and the emotional territory he explores. Most importantly, it understands that accepting loss doesn't mean diminishing its significance. Instead, Horn finds a way to acknowledge the pain while allowing moments of beauty and light to emerge. It's a compelling introduction to Rhythms Unexplained and leaves us eager to hear the full album.
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