Mosaics - Jenna DeVries - Big Fear - Sin Cos Tan - Silva Emilia - Cassandra Coleman

Photo - Jacques Feeney

Mosaics - A Guiding Lie (EP).

Displaying a band hitting their stride as they find their sonic identity and deliver their most complete sounding work to date, the five track release comes fresh off the back of a UK tour with Iglu & Hartly. The EP showcases the quartet’s blend of 90's rock revival with a biting indie edge. Shimmering guitar work, melancholic, observational lyricism and melodies which are both emotionally resonant but also carry a commercial hook, the EP is at once musically vibrant, heartfelt and sincere. 

From the driving, Sam Fender-esque new single ‘Godspeed’, to more intimate moments such as ‘A Thousand Faces’ and ‘Sing Me To Sleep’ the EP showcases the width of the band’s writing through some anthemic melodies and biting walls of guitars, punching drums and splashes of well placed keys and saxophone. Speaking about the EP Owen Castillo (singer & co-writer) explains: "A Guiding Lie, our debut EP, is a maturation of the sounds and themes we’ve been building towards for the past couple of years. It is an exploration of the isolation of modernity, the death of ambition and the universal lies we tell ourselves and each other to make sense of an uncaring world."

Stu Smith (guitarist & co-writer) adds: "The sonic landscape of this EP was largely inspired by the anthemic stadium-rock sound of bands like Kings of Leon and U2. Equally, we weirdly kept returning to Feeder while we were in the studio, who are without a doubt one of Owen & I's favourite British bands of the last twenty years (and so underrated!). These days though, you can’t escape Sam Fender. The way he seamlessly transitioned from 'indie darling' to arena rock between his debut and sophomore albums is impossible not to be inspired by as a small artist in the current landscape and we're huge fans of his writing. Some underlying textures on this EP, especially in the guitars, are my attempt at floaty shoegaze-esque leads to add more of a nostalgic edge, which is all thanks to the Slowdive albums I was spinning on repeat last summer.

We ultimately wanted to create an EP we felt was the sum of all our parts, songs that can stand the test of time that we can look back upon in years to come and still be proud of. Above all, we try to make music that anyone can connect with on a personal level, whatever their age or circumstance, attaching their own story to the lyrics and themes we write about."

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Jenna DeVries - Flat Earth.

Singer-songwriter Jenna DeVries releases hauntingly beautiful new single "Flat Earth" and the single is out now. “Flat Earth” uses conspiracy theories as a metaphor for heartbreak, showing how doubt reshapes reality when trust breaks down. Sonically, the track leans into a cinematic and folky palette — built on acoustic guitar, warm piano, soft textures, and sweeping, intimate string arrangements — while still crossing genre lines in a way that feels fluid and expansive. While some of Jenna DeVries’ past releases have been unmistakably country, “Flat Earth” resists being boxed in, prioritizing feeling over format and letting the emotion lead.

Lines like “Maybe there was no man on the moon / Maybe birds are too good to be true / Powers that be aren’t what they seem / and you never really loved me,” spiral through impossible ideas before collapsing into emotional truth. The chorus lands with, “A flat earth isn’t hard to conceive / If the world’s full of dark mysteries / I’ll believe in the things I can’t see / If you never really loved me,” capturing the way heartbreak distorts logic and belief. The imagery expands even further — “Maybe aliens built the pyramids / and Atlantis is where they all hid / in the depths so nobody believes / and you never really loved me,” — reinforcing the song’s central idea: when trust fractures, even the most otherworldly explanations can feel real.

Already featured on Spotify’s Fresh Finds Country, Spotify’s All New Country, Apple Music’s New in Country, and Spotify’s New Music Friday Country, Jenna DeVries has quickly established herself as a compelling new voice with both industry and audience momentum. She first gained national attention as a Top 24 contestant on American Idol, introducing her powerful voice and storytelling instincts to a wide audience. Since then she has a growing presence across both mainstream and tastemaker platforms. Named an NSAI Songwriter to Watch, DeVries further cemented her arrival by landing a #1 video on CMT with Adam Mac for their collaboration “Chapel,” which held the top spot for two consecutive weeks.

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Photo -  Iona McLeod

Big Fear - Anger.

Rising duo Big Fear announce their explosive new single ‘Anger’ (24th April), as a precursor to their forthcoming EP New Hire. Produced by Charlie Andrew (alt-J, Wolf Alice, David Gilmour), the track showcases the band’s signature fusion of alt-pop dynamism, industrial-tinged synths, and visceral live instrumentation.

Fronted by the asexual, and endlessly expressive Alice Edwards, alongside multi-instrumentalist Jack Wilkinson, Big Fear craft searing narratives that confront contemporary culture with wit, rage, and vulnerability. ‘Anger’ channels a deeply personal, feminine fury, exploring the emotional toll of forced reinvention and unattainable expectations in relationships.

Alice explains: “Feminine rage, y’all. The woman who has to shed her skin between every relationship, forced into changing herself to be what is deemed desirable by the men she is trying to marry. One by one they will reject her, and she will drive herself mad over the failures. She cannot obtain love for who she is because she is never permitted to show herself, crafted into a new persona with each experience. She is forever angry at what the world does to her, she is forever mourning a happy marriage.” 

Following their acclaimed debut EP ‘Career Day’, which surpassed 250,000 Spotify streams Big Fear continue to cement their status as one of the UK’s most urgent new acts. Their theatrical, glitter-streaked live performances have earned sold-out shows and national attention, with upcoming support slots for Dance Lessons in Oslo this April and a UK national headline tour set for September (Southampton, Bristol, Brighton, London, Sheffield, Nottingham, Edinburgh, Northampton).

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Sin Cos Tan - Economy.

Sin Cos Tan continue their Greed album with “Economy,” their fifth single to date. The track sharpens the album’s central themes around money, systems, and control into a clear, focused statement. Produced by Jori Hulkkonen and written by Juho Paalosmaa, it extends the duo’s internationally recognized electronic pop catalogue. The single is featured on Spotify’s New Music Friday and Apple Music New Music Daily, New In Electronic and New In Indie playlist here in Finland and in the Nordics.

Formed by producer-DJ Jori Hulkkonen and singer-songwriter Juho Paalosmaa, Sin Cos Tan are known for their precise, measured approach to electronic pop, where classic songwriting and electronic production exist in careful balance. Their work draws from a distinctly European tradition while maintaining a clear and consistent identity across releases.

“Economy” approaches its subject without abstraction. The title is direct, and so is the perspective: money, systems, and the structures that shape individual choices. As part of Greed, the track sits within a broader exploration of power, ownership, and control, continuing the album’s restrained and observational tone.

Jori Hulkkonen’s production reflects more than three decades of international activity in electronic music, including releases on Laurent Garnier’s F Communications and collaborations with artists such as Goldfrapp, José González, Robyn, Chromeo, Kid Cudi, John Foxx, Lydia Lunch, and Tiga. His work has consistently moved between club culture and electronic pop without losing focus on form.

Sin Cos Tan · Economy

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Silva Emilia - Pretty Little Life / Secret Medicine.

Silva Emilia returns with “Pretty Little Life,” the second single from her upcoming debut album. The song is a tender, intimate ballad about the fragility of life, finding comfort, and learning to breathe through difficult moments. Written by Silva Emilia and released via All That Plazz, it continues the rise of a young singer-songwriter already gaining attention beyond Finland. 

A touching and intimate ballad, Pretty Little Life reflects on the fragility of life, offering a sense of calm and acceptance without overstatement. It is the second single from Silva Emilia’s upcoming debut album, following earlier releases that have begun to build her profile beyond Finland.

Her debut single What If We Could Fly was featured prominently in the soundtrack of the Finnish-Swedish TV series Reindeer Mafia, bringing early international exposure. The previous single Secret Medicine further expanded her reach, receiving airplay on Sweden’s Radio Finska.

“Inspiration for the song came from a moment when I realized how limited life really is, and at the same time how beautiful it is that we get to live and breathe at all,” Silva Emilia says. “We go through so much, and not everything is in our control. Sometimes it’s important just to pause, breathe, and try to appreciate the journey. I wanted this song to feel like a warm embrace for anyone going through something difficult.”

SILVA EMILIA · Pretty Little Life

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Cassandra Coleman - Dying Star.

An emerging singer/songwriter that has already been hailed for her “immense talent” and “an artist who refuses to be defined by any one thing”, Cassandra Coleman has just released her brand new single “Dying Star.” Available everywhere through Warner Records, “Dying Star” finds Coleman with eyes on the horizon as she envisions a prescient visit with her future self. The lush, sweeping instrumentation soars beneath her ethereal vocals anchored by wisdom-seeking lyrics that grapple with fate, longing, and the search for meaning.

“‘Dying Star’ is a walk with the woman that I’ll become,” stated Coleman. “Curious of the knowledge that time has given her, I ask what the future holds. She reminds me that worry is a thief, time is an illusion, and the ones we love make the journey worth walking.”

After closing out a batch of tour dates with The Brook & The Bluff earlier this month, Coleman will hit the road in June supporting AMBLE. The run will take her through Las Vegas, Salt Lake City, Denver, and Kansas City. She will also perform at this year’s Oceans Calling Festival in September along with Mumford & Sons, Gwen Stefani, and My Morning Jacket among many others.

“Dying Star” arrives after a series of new singles that have quickly established Coleman as one of indie-pop’s most compelling new voices. Her debut single “Coming of Age” was produced by Jack Antonoff and recorded with all the members of Bleachers at the legendary Electric Lady Studios in New York City. The gorgeous, soul-searching epic prompted Rolling Stone to call it “a song that both mesmerizes and energizes” and “proves that folk pop can be thrilling.” 

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Telos Vision - Jason Mazzotta - i know her - EYRE LLEW - North Riding - Wormstew

Photo - Milkdrop Studio

Telos Vision - Decisions (Album).

Swedish multi-instrumentalist, producer and songwriter Telos Vision returns on April 24 with Decisions, a sweeping second full-length album that cements him as one of Scandinavia’s most compelling voices in modern indie and psychedelic rock. Released via Icons Creating Evil Art on vinyl and digital platforms worldwide, Decisions finds Telos Vision — the alias of Teodor Boogh — expanding far beyond the intimate psych-tinged songwriting of his acclaimed debut Traces of Light (Manifestgalan-nominated) into something bigger, bolder and more sonically ambitious.

Often compared to artists like The War On Drugs and Jonathan Wilson, and moving in the same emotional universe as Bleachers and The Killers, Boogh blends heart-on-sleeve lyricism with widescreen production and vintage textures. Crucially, he does it all himself: writing, performing, producing and mixing every track, shaping a deeply unified sonic identity.

Over the past few years, Telos Vision has quietly built serious momentum. His singles have earned national radio rotation on Sweden’s P3 and P4, and his live reputation has grown through collaborations and touring alongside bands such as Graveyard, as well as creative exchanges with members of Little Dragon and the masked Swedish psych collective GOAT. That connection comes full circle on Walk Away (feat. Goatman) — a fuzz-drenched, sax-blasted collaboration with Goatman, founder of GOAT. After helping build the band’s new studio, Boogh secured the feature, resulting in one of the album’s most explosive moments.

At its core, Decisions is about risk — emotional, geographical, existential. During the making of the album, Boogh relocated from his lifelong home of Gothenburg to Stockholm, a move that shaped the record’s themes of upheaval, surrender and self-trust. The opening track Tomorrow sets the tone with layered background vocals and quiet optimism, while Nothing Else Matters roars into life with driving indie-rock urgency, questioning modern ideas of independence and intimacy: is love even possible without vulnerability?

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Jason Mazzotta - Jason To Jason (Album).

I have tried to figure out why (& am still trying) that my first reference point for this album was The Beatles mid 1960's with Paul McCartney on vocals. It's not just the sound, its the production as well. Then I read the background notes below & found the answer, Jason Mazzotta references both McCartney & Wings, we are just a decade different in our opinions. It's no copy of either act, rather the crisp, almost pristine at times sound and song structures just leans that way. Finally Beehive Candy would just like to add something about the creativity, this is all new material that stands on it's own merit, it deserves a big audience, something we hope will happen and soon. 

Released by Rub Wrongways Records on April 20, 2026, Jason To Jason is an album by Jason Mazzotta, a singer/multi-instrumentalist living in Ridgewood, New York. The songs are mainly inspired by nature and the many kinds of love. On “Strawberry Moon,” the bouncy acoustic strummer tribute to the summer bloom, Jason says, “I wanted to sound like Donovan goofing around with a drum machine.” And though the meta “Number Four in Norway” imagines an obscure songwriter having an overseas hit, the groovy instrumental middle section teleports the track into unknown galaxies.

The album was recorded and mixed by Scott Amore at Durham, Connecticut’s InnerSpace SoundLabs. The production leaned a little on 1970s pop (McCartney & Wings, Harry Nilsson), and Amore’s warm tones and hazy, psychedelic touches can be heard throughout. The record’s guest musicians help create lush arrangements, with analogue synthesizers, pedal steel guitar, penny whistle, and Gizmotron, the string-bending device created by 10cc’s Kevin Godley and Lol Creme. The vocals and some overdubs were done at home studios, making Jason To Jason a marriage of studio magic and homespun charm. A cassette version will arrive on May 1, 2026 via Bandcamp.

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i know her - Smile On My Lips.

Helsinki-based artist i know her released her new single, "Smile On My Lips," yesterday April 24th. The track is taken from her forthcoming EP, At Least I Know How To Love,  set for release May 22nd. “Smile On My Lips” began life as a living room demo nearly three years ago — just a voice, a melody, and an emotion that hadn't yet found its words. It captures the specific ache of longing for someone you never properly said goodbye to; the weight of things left unsaid and the way that weight quietly takes over.

The inspiration was drawn directly from life. As i know her explains: "I met someone who moved abroad shortly after we met, and I was left with a lot of unexpressed feelings. I tended to be quite nonchalant at the time, so instead of sharing those feelings, I turned them into music — which turned out to be far away from nonchalant. I wanted to capture that emotional tension in the production as well, to emphasize the yearning feeling by moving from intimate moments to a cinematic drop for the chorus."

That contrast is at the heart of the song's design: verses that feel close and confessional, choruses that expand into something vast and overwhelming. Her vocals move effortlessly between the two, grounding the track's more cinematic moments in something raw and real.

The latest single is taken from i know her's debut EP, At Least I Know How To Love, which traces a full emotional arc from toxic relationships and pain, through growth, and toward the rediscovery of love. Romance sits at the centre, but friendship and the kinds of love that endure beyond heartbreak are woven throughout. Sonically, the project balances acoustic warmth with electronic texture — a tension that mirrors the emotional territory it maps. At Least I Know How To Love is the sound of someone being rigorously honest with themselves, and choosing to stay open anyway.

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EYRE LLEW - Bloom.

Nottingham trio EYRE LLEW return with their second album Bloom (September 18), alongside the release of its title track, a record shaped by stillness, reflection and a shift away from constant motion. To mark the release, the band will play their biggest hometown headline show to date at The Nest (1000 capacity) on September 19, debuting the new material live. 

The Nottingham trio, previously hailed by BBC Radio 6 Music’s Chris Hawkins as “Britain’s answer to Sigur Rós,” have spent the past decade building a reputation as a formidable live band, touring extensively across Europe and Asia. But Bloom marks a turning point — written during a period of enforced pause, where movement gave way to reflection. Rather than chasing scale, the record focuses on something more intimate. “It’s about the moment everything slowed down and we chose something real — love, home, and growth — instead of just motion,” the band explain. “It’s the sound of things finally taking root.”

Written across lock down and its aftermath, the album draws from lived moments rather than abstraction — moving cities for love, holding someone through anxiety, imagining futures built on stability rather than momentum. Sonically, the band retain their cinematic scope, but with a new sense of restraint, allowing fragility and space to sit at the centre of the work.

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North Riding - You Gave Up On Us.

International award winning singer-songwriter Hayley Mckay and multi  instrumentalist/producer and singer songwriter David Neil Crabtree combine as ‘North Riding'. North Riding return with their powerful new single, “You Gave Up On Us,” the digital release was yesterday Friday 24th April, accompanied by an official music video launched the same day.

Written by David Neil Crabtree and Hayley Mckay while touring the USA for 3 months, the song began to take shape during a memorable stay in Charleston’s Folly Beach area, where the duo were based for a few weeks. Immersed in the inspiring coastal surroundings, Hayley and David found themselves drawn into the local music scene—spending many nights performing at a nearby venue, Chico Fae.

The creative energy of the area and those live performances helped shape the song’s direction, resulting in a track that blends raw emotion with a bold, anthemic sound. “You Gave Up On Us” explores the breakdown of a relationship, delivering its message through soaring vocals and a dynamic arrangement. Driven by David’s commanding guitar work and the striking vocal interplay between Hayley and David, the single builds into a powerful, resonant anthem.

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Wormstew - Last Days Of Loma (Album).

The endlessly catchy and lyrically fascinating Last Days Of Loma marks what Wormstew consider their “proper” debut album. The band has existed in various forms for over two decades as the main musical outlet for LA pop scene fixture Mike Schnee, whose beloved surrealist comedy alter ego Chissum Worthington also dabbles in tunes of a more humor-centered bent. But something happened in 2024 when Wormstew accidentally evolved into its current and definitive lineup including bassist and vocalist Teresa Cowles (EZ Tiger, Dragsterbarbie, Evie Sands) and drummer, vocalist and producer Michael Simmons (of sparkle*jets u.k. and solo renown). 

Not only did they unlock the chemistry of friends who happen to be ace musicians playing together for the sheer fun of it, the change happened to coincide with Schnee completing a new set of songs which marked a watershed of emotional depth without sacrificing the sly glee and gentle humor of what had come before. 

Accidents just might be the defining factor in Wormstew's journey. On their prior EPs and singles, Schnee had aimed for Paul McCartney, Neil Young, Paul Simon, Ween, and various other heroes, only to (by his own estimation) miss the target entirely. Those experiments, though, established something unique: songs that feel familiar but slightly askew, earnest yet dryly funny, guided more by instinct than polish. 

They were collected on eight homemade albums, handed out to anyone willing to take one. The songwriting and ideas were strong; the fidelity was inconsistent; the looseness was both charming and frustrating, but an organically-growing fanbase was increasingly intrigued. A shift toward coherence began during Covid, when Schnee and Cowles, under the side project alias The Slanket Sessions, reimagined several vintage Wormstew songs and wrote new material, developing a distinct musical and vocal rapport along the way. When Michael Simmons joined in late 2024, he expanded the skeletal tracks with drums, keyboards, and additional instrumentation. It was the same Wormstew, but the new ingredients were awaking hidden flavors, and Last Days Of Loma began to simmer its way toward becoming the rich and hearty main course it is today.

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The Deslondes - Scorie - Tyler Ellis - GrooveGalore MuziK ft. KASTICK & Valentino Music - Conscious Pilot - Maren Davidsen

Photo - Selwyn Figg

The Deslondes - Try Again.

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 more. “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 friends 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.” 

Regarding “Try Again” the band’s Dan Cutler said, “I heard the Kernal and his band play this song for the first time many years ago. It was just this lost, epic soul song, stuck into their set of mostly country numbers. It stuck with me. It’s got a very simple message of persistence, and maybe even redemption. It sounded like a plaintive plea for another chance. You wanna hope he got one." 

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Scorie - Gallodrome (EP).

Scorie is a beef bourguignon where the red wine has been replaced by two bottles of cognac. It’s a sunset drive with one wheel missing. It’s a tank top in the dead of winter and a  100% polyester turtleneck in the middle of a heatwave. After more than a year of meticulous distillation, the band release their first 5-tracks EP “Gallodrome” today via Géographie.

The first single from the EP, "The Leash and The Fury," was released back on June 5,2025. Halfway between a perverse prayer and a political spit-take, the track evokes voluntary servitude and the murky pleasure of being walked all over. With a catchy chorus, hypnotic keys, and a relentless groove, it already showcases a strong, unapologetic identity. 

In September 2025, the band doubled down with the equally sarcastic “Legitimate Violence,” depicting a new, cold-blooded, and violent character, continuing their streak of blending  satire and cynicism. The track is driven by raw instrumentation, oscillating between a frantic urge to dance and an irrepressible need to scream into a microphone. The third single, “Room Full Of Gangsters,” arrives this coming February—a 5:33-minute crescendo set in a stifling Western atmosphere, recounting the confessions of a man staring  his existence and his death straight in the eyes. 

These first three tracks layed the foundation of their aesthetic: a brand of rock that borrows its energy from the current post-punk scene and its love for cinematic atmospheres from the Nick Cave wave. This is an EP with a fierce identity, fueled by a desire to push ideas to their limit and a certain radicalism in both lyrics and sound.

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Artwork - Danika Ellis

Tyler Ellis - Union Song.

Award-winning Toronto singer-songwriter and extraordinary storyteller Tyler Ellis has crafted a new single, “Union Song,” that serves as a tonic for our troubled times. It’s the first single from his ninth album to date, Hardwarestore, coming out in June. “Union Song” is out today April 24th and available on all major platforms.

A heartfelt anthem of unity in the face of division, with a small but powerful choir of voices emphasizing the point, "Union Song" channels the spirit of the late, great Woody Guthrie, as we face current times of hellish late-stage capitalism. As Ellis sings, "I got my brothers and my brothers got me, I got my sisters and my sisters got me," he champions the idea that "there are no others, there's just us," people of "every shade and every hue." He's not only amplifying the idea of strength in numbers but pointing to a path forward for peace on a global scale.

"It's not just about unions and protests," says Ellis. "It's about people in general coming together, and working side by side for the common good. In the end, we're all brothers and sisters. who can stand together and help each other."

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GrooveGalore MuziK - I Could Have Lied (ft. KASTICK & Valentino Music).

A reggae reinterpretation of the rock classic song by Red Hot Chili Peppers, “I Could Have Lied” is powered by the deeply felt vocal delivery from KASTICK and a warm, steady groove anchored by Rudy Valentino Jr.’s soulful edgy guitar, bringing a distinct emotional edge to the track.

Inspired by reflection and reinvention, this track blends reggae rhythm with alternative rock roots, creating something both familiar and newly felt. “I Could Have Lied (ft. KASTICK and Valentino Music)” carries a deep emotional gravity, speaking directly to anyone who understands the weight of regret and the silence that follows words left unsaid.

KASTICK’s vocals cut deep and raw, emotionally present, and fully embodied. Bringing real weight and honesty to the performance. The continued collaboration with Valentino Music strengthens the project’s reggae identity, while Rudy Valentino Jr.’s guitar stands out with an edge... gritty in all the right places, fluid where it counts, and consistently driving the emotional tone of the track.

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Conscious Pilot - Face Down.

While earlier singles like ‘Internet Support’ and ‘Human Poultry’ hit with a heavier, more direct edge, ‘Face Down’ reveals another side of the band—brighter and more energetic, driven by urgent guitars, propulsive momentum, and an unexpected warmth. It’s a left turn that hints at the wider scope of what’s to come on their debut album Human Poultry.

Lyrically, ‘Face Down’ explores mortality through humour rather than despair. Written from observations during frontman Joe Laycock’s time living in Mount Florida, Glasgow, the song turns fear of death into something strangely uplifting, using wit as a shield for deeper anxieties. That tension reaches its peak in the chorus, where the narrator imagines slipping away “in the silence”, “facedown”, “in this grey, old mount” — bleak imagery delivered in a way that feels oddly comforting.

Joe Laycock says: “Inspired by my time living in Mount Florida, it’s a glass-half-full take on dying. It came from a real fear of mortality, but uses gallows humour to cover that dread and insecurity. It’s about trying to laugh through something heavy — which feels true to both Glasgow and Yorkshire. Sometimes people make light of a bad situation to comfort everyone else while hiding how they really feel.”

‘Face Down’ is the final offering from the preview releases leading up to their upcoming debut, Human Poultry—a record shaped entirely by place and circumstance. Written and rehearsed at the ‘Workshop' — drummer Chris McCrory's studio in the heart of Glasgow — Human Poultry documents the band's first two years in the city: the strange, funny, occasionally grim texture of daily life refracted through a set of songs that span employment, crime, religion, sport, technology and art. The connective tissue running through all of it is a particular kind of modern helplessness — the sensation of being quietly reshaped by your environment whether you like it or not. Every song finds a new angle on the same basic feeling — the sad made funny, the mundane made strange, the personal quietly universal.

Conscious Pilot · Face Down

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Maren Davidsen - Tennessee On My Mind.

Maren Davidsen is a singer-songwriter from Stavanger, Norway, whose music blends Nordic americana with country influences, rooted in honest storytelling and an organic, song-led sound. After spending eight years in London, she moved to Oslo in 2023 in search of the space and clarity to write new music. Having picked up the guitar at six years old and grown up listening to artists such as Mark Knopfler, Bruce Springsteen and Willie Nelson, songwriting has long been part of her life, but it was during her early adult years in London, especially immersed in Mayfair’s party district, she began pursuing music more seriously. These experiences, both the vibrant highs and personal upheavals, led her back to Norway, where she found the clarity to write her debut album.

Her new single, “Tennessee On My Mind”, is the first release from her upcoming debut album This Is Where I Leave You, produced by Martin Vinje and released via AWAL. The track captures a turning point in Maren’s life, shaped by distance, emotional exhaustion and the first real sense of leaving a painful chapter behind. Written during a solo songwriting trip to Nashville, the song emerged at a moment when she felt both inspired and completely unsteady, caught between the excitement of somewhere new and the weight of everything she had brought with her.

“I remember arriving in Nashville feeling completely drained, physically and mentally, and suddenly very far from home,” Maren says. “I felt lonely and lost, but also excited and inspired. Looking back, that trip became the beginning of letting go, not just of a relationship, but of that entire phase of my life.”

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Max Aurora & The Southern Lights - Klimt 1918 - Cello - Scarlett Macfarlane

Max Aurora & The Southern Lights - How I Know It's Right.

There is a particular kind of clarity that comes after walking away from a fractured relationship. Naarm/ Melbourne outfit Max Aurora & The Southern Lights capture that sentiment with their indie/ pop-punk anthem ‘How I Know It's Right’, out Thursday, April 23. For the unfamiliar, Max Aurora & The Southern Lights blend their dreamy, bittersweet indie rock with the punch of pop-punk and emo. Winners of Melbourne's Women in Music mentorship for their 2023 debut single, Max Aurora & The Southern Lights promise a stack of new music in 2026.

Blending driving indie instrumentals with the punch and immediacy of pop-punk, 'How I Know It's Right' is loud without losing control, as explosive arrangements meet Max Aurora’s unfiltered take on messy heartbreaks. Produced by Cry Club's Jono O'Tooke, the track is built on a tight, restless interplay between its members. The tune's beating heart brings overwhelming energy and a sense of craziness after a heartbreak as Jack Eden’s heavy, overdriven guitar riffs cut through the mix, grounded by Sonja Down’s punchy, controlled drums and Damon Brammall’s gritty basslines.

Paired with Max’s considered disposition and melodic hooks, the song explores the pull toward connection in the aftermath of an unstable relationship. 'How I Know It’s Right' unpacks these emotions through vulnerable lyricism set against the dynamic, explosive instrumentation. Speaking on the track, Max shares: “'Written in a single night, 'How I Know It’s Right' explores the quiet relief of leaving a fractured relationship and the curiosity of what a wholesome love could feel like. It explores the urgent, wide-eyed wonder of what a truly wholesome connection feels like, and the restless patience in searching for it.” 

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Klimt 1918 - Aventine.

Rome's post-rockers Klimt 1918 present their most introspective, sky-gazing side with the stylish video noir 'Aventine' as the next advance single taken from their forthcoming new full-length "Àmor". The Italians' fifth album has been slated for release on June 12, 2026. The band comment: "If 'Aventine' were a color, it would be a shade of cobalt", frontman Marco Soellner muses. "It would have the cool tones of night and moonlight piercing through the canopy of maritime pines in summer. It is a solitary gaze from the top of a hill. It is the city below, sleeping silently and obliviously."

The burning pulse of the sun's nuclear fire scorching the desert. The smooth sliding of glistening skin over other skin in a throbbing rhythm. The swelling hum of motion in a mass of bodies. Klimt 1918 capture many such fleeting moments in time and preserve them through cascading walls of sound and the elegant drone of guitars.

The Italian's fifth album, "Àmor", represents a climax of their acclaimed previous work into a most melancholic, sensual, and majestic collection of captivating music. "Àmor" was born out of silence, solitude and social distancing. Yet as a deliberate artistic counterpoint, Klimt 1918 decided to have all their new songs revolve around carnality, ardour, physical contact between bodies, and the urgent, compelling feelings that keep people awake at night.

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Cello - We Do What We Want (When We Want When We Want To).

Brighton-based artist Cello has released her defiant second single, “We Do What We Want (When We Want When We Want To)”. Ahead of her forthcoming album ‘Kung Fu Disco’, Cello returns with a raw, high-energy new single titled “We Do What We Want (When We Want When We Want To)”. Channelling that feeling that anything is possible, the track captures the chaos, camaraderie, and freedom of teenage rebellion.

Opening with the defiant declaration, “Hey! We ain’t coming back to the shack, out the back,” the song sets the tone immediately: a refusal to return to the places and expectations that try to hold you in place. Instead, the track plunges listeners into the gritty world of basement handouts and late-night gatherings – cramped, damp spaces where rules dissolve and the night stretches endlessly ahead.

The hook becomes a rallying cry for youthful independence – that fleeting moment in life where the boundaries feel breakable and the future feels wide open. More than just a song, the track serves as a snapshot of a feeling: the rush of youth, the thrill of breaking away, and the belief that for one night – or maybe forever – you can do exactly what you want.

Cello · We Do What We Want (When We Want When We Want To)

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Scarlett Macfarlane - Sorry.

Scarlett Macfarlane shares her latest single, “Sorry,” a deeply personal and emotionally charged pop-rock single that leans into themes of regret, self-reflection, and the complicated path toward forgiveness. Balancing pensive introspection with soaring, cathartic release, “Sorry” captures the weight of late-night thoughts and the quiet courage it takes to face them head-on.

“I wrote the song based on a bad night’s sleep due to some negative inner voices and an overactive mind,” Scarlett explains. “I wanted to be vulnerable about my inner demons and hope that anyone who heard it could feel seen, feel safe to recognize that we all make mistakes, big and small, and join me in the journey of self-acceptance.” Originally titled “Regret,” the song evolved into something more direct and universal. “It was always an apology: to others, to the world, to myself.”

What makes “Sorry” especially striking is its duality: a song that feels both humbling and empowering in equal measure. While it confronts the discomfort of accountability, it also embraces the strength required to be honest without diminishing one’s own experience. That tension runs throughout the track, building from hushed vulnerability into a powerful, full-bodied release.

The recording process itself mirrored that emotional intensity. “I wrote the first draft of this song in my car crying outside my gym,” Scarlett shares. “Recording it was liberating. Making the voices I heard in my head exist in real life was profound.” Those voices remain embedded in the song’s DNA; most notably in the layered, whispered intro where fragments of real, unspoken apologies are woven into the texture as a deeply personal and largely hidden detail.

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Samantha Harlow - Brontës - A-100s - Spencer Krug - Night Swimming - Valo Ato

Samantha Harlow - Ready to Run.

Welcome to the brave, new world of music, performance art, and cinema that is Samantha Harlow’s new project,  By A Thread. Or rather, meet Veronica LaMorte, a dreamy-eyed lounge singer, murdered and then rebuilt by her mad scientist husband. Don’t worry, no spoilers here! As a collection of songs alone, Harlow’s By A Thread, produced by Grammy-nominated, Dex Green, sonically leans into mid-century pop/rock n roll somewhere in the orbit of The Ronnettes and Nancy Sinatra. “I wanted to stretch out beyond Nashville country, and felt more drawn to the sounds of 60s girl groups, beach pop and surf sounds,” says Harlow. 

But it wasn’t until the album was fully tracked at 3Sirens Studio in Nashville, that Harlow had a broader vision to create a companion short film series, where she stars as Veronica LaMorte, and takes inspiration from filmmakers like Ed Wood and Mel Brooks. The result is a Song Cinema collection exploring horror, humor, vulnerability and not being bound by societal norms.

Make no mistake, midwestern Harlow, raised in a suburb of St. Paul, Minnesota, is no typical “girl-next-door.” She may have spent Sunday mornings singing in church alongside a large extended family, but on other days found fascination with 80s hair metal and the oldies station. “I wanted to be Steven Tyler,” says Harlow. An artsy kid that enjoyed dressing up, Harlow went on to study classical and jazz vocal performance in college, followed by an intensive program at Martha’s Vineyard for songwriting and recording. She then moved to Nashville, found disenchanting work at a mattress factory, until one day walked into the legendary honky-tonk, Robert’s Western World and asked for a bartending job. Harlow says this is where her Nashville music education began and grew into working with some of Music City’s finest musicians. 

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Photo - Stephanie Gibson

Brontës - Brontës (Album).

Glasgow band Brontës have released their self-titled debut album via Last Night From Glasgow. Recorded at Beetroot Studios in Airdrie with producer and engineer Stuart MacLeod, Brontës’ eponymous album is a sassy slice of sophisticated pop. Imagine the Tom Tom Club jamming with Chrissy Hynde. A band that has been maturing and building live buzz since their very first single, this promises to be a huge crowd pleaser. 

“Writing, recording and playing this album has been incredible,” the band shared, “Working with Stuart MacLeod at the beginning of the year on the tracks was a special experience, it felt surreal and close to magic. Having the opportunity to use a studio like Beetroot and record with someone who believed in the music as much as we did was truly extraordinary. The album is sassy and jangly, but it is also the most vulnerable we have presented ourselves in our music, which as a band is a big step for us in the new direction. We are ecstatic for people to finally hear what we have been working on together with Beetroot and LNFG, and for what we do next".

Brontës are Eva on vocals/guitar, Amelia on drums/vocals, Erin on guitar/vocals and Katie on bass/vocals. With a brand new look, attitude and sound Brontës have reinvented themselves as a 4-piece rock/pop band influenced by generations of classic pop music such as Sabrina Carpenter, Blondie and The Ronettes.

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A-100s - Too Rad To Be Sad.

Southern California’s A100s are a brand new band nearly a decade in the making from the core songwriting duo of Matt Hensley (accordionist of Flogging Molly) and Sean Wheeler (vocalist of Throw Rag), playing music inspired by vintage ska & reggae with a touch of Conjunto accordion. 

The band have just announced pre-orders for their debut LP Rude and Lovely, co-produced by The Aggrolites’ Roger Rivas, via Pirates Press Records. The LP is scheduled for release on July 10, 2026. The album is available for pre-order from Pirates Press Records (and Coretex Records in Europe). Lead single “Too Rad To Be Sad” is now streaming on all major platforms.

Although their best known projects are known for their distinctive takes on Celtic punk and desert punk, respectively, both Hensley & Wheeler have a deep love of classic Jamaican reggae & ska. Hensley even previously played guitar & keys in the early 90s ska band Spy Kids, several members of whom contribute to A-100s in the studio and onstage. Hensley first pitched the idea for A100s to Wheeler nearly a decade ago in 2017, framing it in the context of vintage ska & reggae sounds with a touch of Conjunto accordion. In the ensuing years, the duo worked on songwriting in between tours by their main bands, and Hensley worked on building a studio.

Over time, an impressive array of collaborators coalesced, and the combined pedigree of the band is truly legendary in the annals of underground music: members of Mariachi El Bronx, Mad Caddies, Smoke & Mirrors Sound System, and folks who have played alongside greats such as Jimmy Cliff, Symarip, Roddy Radiation, and even Tom Petty have all left their mark on this record!

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Spencer Krug - Berserker Mode.

Canadian songwriter Spencer Krug returns with “Berserker Mode,” the second single from his forthcoming album Same Fangs, out May 15 on Pronounced Kroog. Where the album’s first offering leaned inward, “Berserker Mode” shifts the perspective outward. It’s restless, sharp, and a little unpredictable. A song about watching someone move through the world at full tilt, consequences trailing just behind them. Written in the summer of 2024 and first shared as a stripped piano demo, the track went through several iterations before landing in its final form. A synth version came and went. Another piano version reshaped the structure. What stuck was the pulse. A tight, percussive piano performance, locked in with percussion and lifted by the vocal presence of Elbow Kiss, which gives the song its sense of motion and release.

Lyrically, “Berserker Mode” centers on a familiar type. The friend you can’t quite reach, even when you’re right there beside them. The one who keeps blowing up their own life in slow motion, not out of malice, but momentum. They make enemies without meaning to. They move constantly, maybe because standing still would mean facing something harder. 

They don’t really self-censor, and they don’t adjust course. They stick to the version of themselves they’ve chosen, even as it starts to crack. “Your only rose is your own secret rose,” Krug offers, a line that captures both the beauty and the distance at the core of the song. “Musically I love playing this one,” Krug says. “I love the groove. The shapes and patterns on the piano are incredibly pleasing to play, in terms of movement, ergonomics, and tactility. And it’s a fun one to sing.”

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Photo - Derek Bremner

Night Swimming - Nothing Safe Is Technicolour.

UK-based risers Night Swimming share new single 'Nothing Safe Is Technicolour', the final reveal from their forthcoming second EP 'Melting, Sometimes Bleeding', out 22nd May via Venn Records. Following their 2024 breakout debut EP 'No Place To Land', which cemented them as a vital addition to the country’s new wave of dream-pop acts, Night Swimming have since drawn admirers from some of the genre’s original icons and toured extensively with the likes of Heartworms, bdrmm, Miki Berenyi and Pale Blue Eyes.

New single and EP opener 'Nothing Safe Is Technicolour' moves from a shadowy, trip-hop-leaning opening into a surge of crushing shoegaze, anchored by Meg Jones’ soft, close-up vocal - capturing the rush of new connection alongside a creeping sense of disorientation, as questions of perceived identity begin to surface ("Am I real, or a hologram?")

Speaking on the release of new single, vocalist and lyricist Meg Jones said: "‘Nothing Safe Is Technicolour’ is about opening yourself up again to love and also the possibility of being hurt. It is about meeting a person who sparks something in you, and makes you feel alive in a way you haven’t done for a long time. It is laced with unease at the idea of being rejected once the initial glow fades and less desirable parts of yourself are revealed. The song is a commitment to showing up as your full self, and expresses anxiety at the thought of losing yourself in an effort to meet another person’s needs or ideals."

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Valo Ato - 1 & 1/2.

Valo Ato began as a series of loose studio sessions, where Melby's Matilda Wiezell and Lucifer Sunshine's Jonas Persson set out to explore ideas and genres they hadn’t previously had the space to pursue in other projects. What started as an open-ended experiment quickly took shape, evolving into a full five-piece featuring some of Stockholm’s most compelling indie musicians.

Drawing on influences from shoegaze and grunge, Valo Ato’s sound moves between hazy textures and heavier, more grounded passages, something the band themselves describe simply as “stoner indie.” 

Jonas explains that the name Valo Ato is a tribute to his South Sámi family roots, combining Valovardo, the mountain behind the family’s summer house where he spent much of his childhood, and Atostugan, one of the first Sámi-built houses allowed to remain standing after his great-grandmother fiercely defended it from demolition. While the songs do not necessarily deal with these themes directly, the landscapes of Lapland remain a constant source of inspiration in the songwriting.

Debut single "1 & 1/2" is out now via Rama Lama Records. On May 30th Valo Ato plays the Echo Three Fest in Stockholm alongside Cabaret Voltaire, Bo Ningen, Makthaverskan, Ulrika Spacek and more.

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