Tuesday, 21 July 2026

Mama’s Broke - Scarlet Tantrum - Sheffer Stephens - Mollie Coddled

Mama’s Broke - Build it Up.

Mama’s Broke present “Build it Up”, the third single from the Nova Scotian duo of Amy Lou Keeler and Lisa Maria’s forthcoming album Reunion, out August 28th via Free Dirt Records and Forward Music Group. “Build It Up” is a meditation on memory, change, and the things worth holding onto.  “As roads become highways and forests disappear, we are reminded of the cost of losing what we value most. Communities, traditions, and landscapes, survive only when we choose to nurture them”- Mama’s Broke. 

Like “Build It Up”, the songs on Reunion don’t preach or prescribe; they reflect, holding up a mirror and leaving space for something else to take shape. The album reflects a world coming apart in plain sight, tracing fractured communities, the erosion of shared ground, and the growing awareness that the systems we were taught to trust no longer hold or deliver the promises they were meant to keep. 

Mama’s Broke have forged a style carried across landscapes rather than tied to one. For over a decade, the pair have been in near-constant motion, bringing their folk-without-borders approach to small clubs, DIY spaces, and everywhere in between. This tradition is continued with their biggest tour yet which will see them play across Canada and the US. Speaking on the upcoming dates the pair explain, “This album is named Reunion because it’s so much about coming together and galvanising against the forces that attempt to keep us isolated and afraid. This album is meant to be experienced in a room of people, not on the internet.”


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Scarlet Tantrum - Rumors.

Carthage, North Carolina's Scarlet Tantrum returns with "Rumors," a confrontational slice of alt rock built for anyone who's ever caught a "friend" talking behind their back. This is the sound of receipts being pulled out in real time.

The track digs into betrayal in its most modern form: gossip as currency. Scarlet Tantrum doesn't hold back on the record's defining line, "Spreading rumors for the fame like it's do or die," a direct shot at anyone willing to trade loyalty for a little attention. It's petty, it's personal, and it's exactly the kind of energy that makes for a great rock song.

Musically, "Rumors" leans into Western-tinged electric guitar work that runs through the verses, adding a Southern rock edge that sets it apart from typical alt-rock fare. Then the breakdown hits, and Scarlet Tantrum flips the switch entirely, a gritty vocal fry delivery that trades the song's early bite for something darker and more aggressive.

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Sheffer Stephens - Time Time.

"Time, Time” is a driving, horn-laced rock & roll single from Sheffer Stephens — loud guitars, a hard-charging rhythm, and loose swagger from the first hit. Fast, bright, and full of motion, the track rides a deep rock & roll groove with the lift of a full band in stride. Beneath the surface, the lyrics quietly circle memory and the strange mercy of time

Sheffer Stephens makes roots-forward rock & roll with a loose spirit, a restless pulse, and a classic spark. His songs blend traditional rock & roll charm, glam-rock swagger, hypnotic grooves, and choruses that land quickly, familiar without feeling stuck in nostalgia. 

With loud guitars, vivid melodies, and arrangements that often turn unexpectedly cinematic, Stephens’ work moves between indie rock, stripped-down Americana, and soul-tinged rock & roll while keeping the focus on feel. Recent singles “Magic” and “Time, Time” point toward a forthcoming full-length album built on movement, raw charm, and the strange electricity of the present moment.


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Photo - Georgia Zimmerman
Mollie Coddled - The Art Of Falling Apart.

For Yorkshire (England) songwriter, producer and self-described "glitter-coated bedroom-pop auteur" Mollie Coddled, falling apart has become a productive place to begin. Today, she releases new single 'The Art Of Falling Apart', the first taste of a new project set to be announced later this year.

Reintroducing Mollie Coddled as one of UK indie-pop's most singular young songwriters and producers, 'The Art Of Falling Apart' opens with a spoken-word diary entry before slipping into a shimmery, daydream-like dissociation - weaving together glowing Juno synthesisers, chorus-soaked lead guitars and towering vocal harmonies.

Self-written and produced by Mollie before being mixed by Lee Smith (Holly Humberstone, Griff, Chloe Qisha), the track pairs stream-of-consciousness lyricism ("How is everyone staying sane? / And they're not academically a train wreck?") with bright, synth-laced production.

On the new single, Mollie Coddled said: "I work in cycles of manic to depressive. For me, hitting rock-bottom is the only way to regain my lust for life; it’s the only time I start to feel better. The Art Of Falling Apart isn’t for clean girls who go to the gym and get A’s on their school work, it’s for the people forgetting to eat and shower, bed-rotting until 4am and then going “why the f... am I so tired” every day!” Humour has long been Mollie's way into difficult conversations. Intrusive thoughts, uncomfortable truths and everyday catastrophes are filtered through off-kilter pop hooks, self-deprecating wit and an unwavering refusal to take herself too seriously.

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Monday, 20 July 2026

Michael Antelope - IFULKI - Dead Air Radio Empire - Foglights

Michael Antelope - Calls Out The Window (Album).

Hamilton, ON folk duo Michael Antelope (Doug McBrien and Lenny McGowan) unveil their debut album Calls Out The Window, a reflective collection of songs shaped by youth, friendship, and the passing intensity of early creative life. Rooted in harmony-driven folk songwriting and inspired by the natural world surrounding their hometown, the record captures a period of writing that spans years of late-night sessions, early sketches, and formative live performances across Ontario.

At its core, Calls Out The Window is a document of looking back. The songs reflect a time when music was created instinctively and collaboratively in the margins of daily life: after school, between rehearsals, and in the quiet hours of the night. “It’s a reflection of a period in time when we were younger and going through all the things you experience in your teen years and early 20s,” the duo share. “There’s a general sense of joy that comes through when we play together, even when the themes are more melancholic.”

Recorded across two studios (Gold Standard Recorders with Aaron Goldstein and the Dwayne Gretzky Studios with Ian Docherty), the album was captured over the course of three days using a live-off-the-floor approach. The sessions prioritized performance chemistry over isolation, with Doug and Lenny positioned across from each other to preserve the natural communication that defines their playing.

The album’s focus track, “The Falconer,” expands the duo’s storytelling lens into metaphor and character study. Inspired by Lenny’s time working at Toronto’s Budweiser Stage, where a falcon named Tony Hawk is used to deter geese, the song explores the fragile balance between control and release.


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IFULKI - Something Greater.

Newcomers IFULKI share their debut single “Something Greater” via [PIAS]’s new in-house label SOURCE along with an accompanying visualizer. "Something Greater" is an evocative introduction to the band's world - a song about surrendering to the unknown and trusting that things will ultimately fall into place, whatever the outcome. Dark, atmospheric production meets uplifting, dance-driven rhythms, creating a compelling tension between mystery and hope. It's a powerful first statement that perfectly introduces the band's unique sonic identity.

IFULKI’s lead member Queen Kaltoum adds, “An unsettling and mysterious atmosphere is present in the music, and thematically matched by the lyrics. This energy never leaves, but combines with tones of positivity and hopefulness brought in by dancey rhythms, with the piano ending the song with a bittersweet melody, contrasting the dark and brooding intensity found in the bass and drums.” 

Emerging from London’s vibrant jazz community, IFULKI brings together three musicians shaped by a culture of improvisation, openness and collaboration. Queen Kaltoum who moved to London at the age of 18 to pursue music from Italy of Moroccan heritage, Charlie (bass,synth) who’s English-born with Irish and Ghanaian roots, and Ayman (drums, percussion) who brings his Sudanese background to the mix.


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Dead Air Radio Empire - Stabilise / Meet Me In The Blackout.

Dead Air Radio Empire are a breath of fresh air, something of a juxtaposition with the artwork for this single! Musically they cover a lot of ground genre wise, but everything works, comes together, they keep the listener guessing as to what comes next, which is quite something in todays crowded music industry. The band fill us in on the rest: 'Stabilise' blends shimmering funk indie guitars, baggy trip-hop inspired drums and driving bass with a huge, anthemic chorus built to fill both festival fields and dancefloors. Atmospheric verses give way to an explosive, emotionally charged hook, creating a track that balances introspection with an uplifting sense of release.

The accompanying B-side, "Meet Me In The Blackout", explores a much darker landscape. Built around a haunting rotating piano motif, spoken word passages and a soaring lead vocal, the track reflects on what we see—and what we feel—when the lights go out across a city at war, delivering one of the band's most cinematic recordings to date.

Dead Air Radio Empire are not here to comfort you; they’re here to broadcast from the edge. Formed in the grey sprawl of the midlands UK, the band deliver songs, based on a fictional world, inspired by the chaos of current events, endless conflict, corrupt governments, media noise, and the feeling that the world is constantly broadcasting fear and division. These songs are a reaction to the times we’re living through


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Foglights - The Rain Felt Kind.

Foglights is a new band featuring Eva Cord of The Cords and Archie Ingram AKA Stone Anthem. The debut 4-track EP ‘Nous Deux’ will be available digitally and on cassette. The single ‘The Rain Felt Kind’ is released today 20th July and the full EP will be released on 21st August.

Foglights’ songs channel restless energy into washed-out guitars, hypnotic melodies, and offer a lyricism that cuts straight through the noise.  They combine elements of Eva and Archie’s music: the psychedelia and denseness of Stone Anthem and the pure, heartfelt indie pop of The Cords. The duo reflect their relationship within the music, being two individual artists with the same vision: to create from the heart, with honesty and vulnerability. Shining the lights through the darkness. 

The Cords released their debut album on Slumberland and Skep Wax last year and are currently working on a second long-player.  Stone Anthem released their debut album ‘Solux Rex’ on Glass Modern Records earlier in 2026. 


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Sunday, 19 July 2026

Jont - Aderyn - The Stanford Family Band - Rachel Bochner - John R. Miller

Jont - Another World.

Following the May 2026 release of his latest album, Walk Right Through, Nova Scotia-based singer-songwriter Jont returns with “Another World.” Chill, uplifting, and emotionally expansive, the single traces the full arc of romantic love from connection and separation to reunion and renewal. Blending indie, alternative, rock, and shamanic folk influences, the track feels both timeless and transformative. It captures the beauty of love not as a destination, but as an ongoing journey.

Originally one of the oldest songs in Jont’s repertoire, “Another World” found new life after relocating from the UK to Cape Breton. Long written but never fully realized, the track suddenly revealed itself through the region’s rich Celtic musical traditions. What had once been a straightforward love song evolved into something more communal, celebratory, and alive. “I suddenly felt the 3/4 time signature come through,” Jont explains. “The singalong ‘la da da da da’ chorus outro arrived, and I imagined a heaving, sweaty dancing crowd singing at the top of their lungs.”

At its core, the song seeks to capture the entire emotional landscape of romantic love while refusing to define it as something effortless. “Love isn’t all honey and roses,” Jont says. That reality emerges during the song’s breakdown bridge, where the central couple part ways before ultimately finding their way back to one another. Their reunion is elevated by a soaring synthesizer performance from longtime collaborator George Hoyle, whose contribution became one of the song’s defining moments.



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Aderyn - Please.

Beehive Candy will let Aderyn tell the story for her brand new single 'Please' accompanied by a mesmerising new video. "I have a voice memo of me writing this song, and top to bottom I wrote it in twelve minutes. That's how you know there's a monster of emotion inside you that needs to work its way out.”

"It's built into human nature to love without reciprocation - to pour ourselves into deities or people that don't give us clear answers. Once I started treating religious faith as an allegory for how I felt towards this person, the lyrics poured out.” "The chorus is brutally honest. It's basically saying: I will spend my life being devoted to you, even if I have all these questions. There's insecurity, there's anger - these are the ingredients of love that swirl in with the good stuff.”

“This is my favourite song I've recorded. I'm obsessed with the swirling, grungy intensity we created with producer Gethin Pearson (Charli XCX, Orla Gartland) - it's exactly the type of music I love to listen to. We were inspired by Nineties touchstones like Mazzy Star and Elliott Smith, as well as artists like Lucy Dacus and Du Blonde. I was so excited when Owain Fleetwood Jenkins (Billie Marten, Cate Le Bon) offered to record some organ in his Pembrokeshire chapel. It was the finishing touch the song needed to give the outro a feeling of rapture.”


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The Stanford Family Band - Go Again (EP).

Brighton’s C86-inspired, retro sunshine pop quartet The Stanford Family Band return in radiant form, announcing their sophomore EP Go Again (out July 17th). The Stanford Family Band extends the musical lineage of lost pop music, threading together the bittersweet glow of ’60s airwaves and open-field festivals with the glammed-up intimacy of ’70s singer-songwriters. Their music aches and shimmers in equal measure, carrying a sense of longing that feels both timeless and vividly alive.

Produced by Harry Hayes of Spotted Horses, who also contributes to the songwriting throughout, the record carries a fondness for the melodic charm of Nilsson and McCartney, lending a timeless softness to its more yearning moments. Colourful, vibrant, warmly analogue, and musically inventive, the EP pairs the melodic richness of The Beach Boys with a whimsical, melancholic honesty, recalling the vintage-minded songwriting of acts like The Lemon Twigs and Drugdealer.

With this EP, The Stanford Family Band nods to the sounds of the era while deepening the band's own distinctive voice. Fully embracing their love of ’60s and ’70s music through analogue tape recording and restrained production, the release builds confidently on the quartet’s debut. From moments of heartfelt intimacy to passages of shimmering guitars, vintage synths, and swelling organs, the EP showcases a band with a clear sonic identity and a growing sense of self. 

Speaking about the album, the band explains: “Go again is a sequel - we went for another EP as we felt we had some unfinished business in that area and wanted our last record to have a companion on the shelves. It’s been fab to have Pad and Harry with us this time around and to have more evenly split writing contributions, we think everyone really shines. We’ve tried to cover all bases with this one, Baroque, Sunshine and Power pop galore.” 


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Rachel Bochner - Say That You Don't.

Brooklyn-based artist Rachel Bochner has built a reputation for sharp, emotionally charged indie-pop that cuts straight to the core. Since her debut, she’s carved out a space defined by candid lyricism and an unflinching willingness to explore the messier edges of love, identity, and self-discovery. 

"Say That You Don't" explores the guilt that can follow the end of a relationship, even when leaving feels like the right decision. It's about still caring for someone you've hurt and wishing you could take that pain away.

Bochner shares, "In the wake of my break up, I was consumed by guilt. Staying was not an option, but leaving came with the price of hurting someone I still cared so deeply for - who still cared so deeply for me. I couldn’t help but indulge myself with the inherently selfish fantasy of “Say That You Don’t.” If I could snap my fingers and make all the hurt and lingering love they feel disappear… would it alleviate my guilt? If they looked me in the eyes and told me they barely even thought about me after I left… that they are better off now without me… could I sleep a little better at night?"


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John R. Miller - The Great Unknowing (Album).

One of Americana’s most revered songwriters, John R. Miller, releases his highly anticipated fifth album, The Great Unknowing, via Rounder Records. Arriving to widespread critical acclaim, the album caps a breakthrough chapter for the West Virginia-raised artist, who also announced his Newport Folk Festival debut, where he will receive the prestigious John Prine Fellowship Award, as well as his return to The Grand Ole Opry on July 23rd. Alongside the brand new release, Miller also shared a music video of album standout "Steering Wheel Drums," offering fans an intimate glimpse into one of the record's emotional centerpieces.

Speaking about his excitement over the album’s release, Miller stated, “"I'm very proud of what Adam Meisterhans and I were able to achieve at Leon Russell's Church Studio with a truly stellar group of Tulsa players, and so happy to finally share it with the world!"

As Miller began work on his fifth album, The Great Unknowing, he set out to challenge himself both creatively and geographically. Born in the Washington, DC area and raised in West Virginia, Miller has built a reputation as a thoughtful, boundary-pushing voice in alt-country and Americana, drawing from punk, traditional Appalachian music, and less conventional rock influences. For this record, he left his comfort zone behind and traveled to Tulsa to record at the legendary Church Studio, drawn by the city’s deep musical legacy and its ties to artists like J.J. Cale. 



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Saturday, 18 July 2026

Silver Man - Pet Sounds (VA) - Kay Oz & The Mojo - Nouvelle Vague - Scarlett Macfarlane - HIGHSIGH

Photo - Lawrence Watson
Silver Man - Paint Me In Gold.

Silver Man, the musical alias of music industry veteran David Silverman, returns with his evocative new single 'Paint Me In Gold', released yesterday 17 July via 3 Bar Fire Records.

Best known as the founder of Outpost Media and head of 3 Bar Fire Records, David Silverman has spent decades championing independent and major artists alike. In 2005, he launched Outpost Media, a music PR agency and digital distribution company that has worked with acclaimed labels including Warp, Sony, Def Jux, and !K7, as well as artists such as Diplo, Mr Scruff, Nightmares On Wax, Skream, Example, and Pitbull. Having successfully guided the business through the challenges of the pandemic years, Silverman has since found renewed creative space to return to his first passion: making music.

With his new single, 'Paint Me In Gold', Silver Man opens with atmospheric synth textures and a cathartic spoken-word vocal, gradually unfolding into a compelling breakbeat-driven journey. The carefully curated words sit atop immersive production, creating an atmosphere that feels simultaneously eerie, reflective, and uplifting. As the track develops, moments of tension give way to calm, drawing listeners deeper into the world Silver Man creates through sound. 

Discussing the origins of the vocal, he explains: "I found the vocals randomly on Reddit - a sample CD guy had uploaded them from a Scottish poet called Cass and said they were free to use. They were all jumbled up, and I re-arranged them into some sort of meaning. So there is still a mystery as to who Cass actually is. I would like to meet her!" At its core, 'Paint Me In Gold' explores the transformative power of perception and the stories we assign to our experiences. Through poetic lines such as "the cracks stopped being wounds, they became windows" and "even broken things remember the shape of their becoming", the track reflects on resilience, growth, and finding beauty in imperfection.


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Pet SoundsVarious Artists (Album).

Fifteen pop songs about animals, featuring 15 of the best indiepop bands in the world. Pets Sounds is as simple as that. Ranging from the playful (Sassyhiya, Gay Skeleton Club) to the heartbreaking (Caleb Nichols, Jetstream Pony) to the enigmatic (Railcard, Oh Hippo) to the satiric (The Magnetic Fields, Brian Bilston and The Catenary Wires), there’s more diversity on this album than you can shake a stick at. Or throw a bone at.

Musicians spend a lot of time working at home, with their pets for company. The animals sit around, happy in their own worlds, sublimely indifferent to their humans’ earnest musical endeavours. As familiar as family members, but as unknowable as aliens, pets are the perfect muse.  They can be treated as objects of adoration – ‘Rufus’ by Tugboat Captain is an expression of pure joy – or they can be treated as metaphors.  More reliable than lovers but less dangerous than heroin, pets are a great vehicle for singing obliquely about something else. Swansea Sound’s ‘I Don’t Like Men In Uniform’ is about an ageing, irascible terrier, but it’s also about men striving to maintain their potency as territorial aggressors. The Magnetic Fields’ Fido is a libidinous and unreliable partner, as well as a dog that likes sniffing other dogs’ private parts.

For the most part, animals come off better than humans on this album. In ‘Kings Of The Animal Kingdom’, The Burning Hell dramatise our indulgent love of pets in order to expose our cruelty to other human beings. In ‘Bo’s New Haircut’, The Cords express the injustice and unfairness of an innocent animal having to submit to human demands. In ‘Crayon Potato’ by Sassyhiya, the magnificent Crayon contemptuously rejects the gifts offered by her besotted human owners.

In ‘Lola’, the opening track, Lande Hekt tries to put this enigmatic human-animal relationship into words. And concludes that however much we love our animals, and no matter how much we manage to communicate with them, we can never really know them. A melancholy conclusion maybe, but the music – as with all the songs on this album – is expressive of the wonderment and the joy that comes from sharing your life with a member of another species. The tracks by Brian Bilston and The Catenary Wires, Jetstream Pony and Railcard are previously unreleased.


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Kay Oz & The Mojo - Danse.

This spring, the debut single by Kay Oz & The Mojo was played more than 500 times on indie radio stations around the world. The follow-up comes in the form of “Danse”. On their new single, Kay Oz & The Mojo surprise listeners with a light-footed, swinging sound. “The song is a charming invitation to dance – in French! Drawing on chanson influences, it musically portrays seduction and communication between two lovers. It grooves and swings with a deliberate vintage feel,” the band says.

For Andreas Frei (guitarist and the musical mastermind behind Kay Oz & The Mojo), the song is an opportunity to indulge his love of swing music from the 1930s to the 1960s. Together with Katharina Müller (Kay Oz; vocals and various instruments), he creates moments that recall Hillbilly Moon Explosion.

And as the title suggests, “Danse” is impossible to resist. It is no surprise that the track has already become one of the audience favourites at the band’s live shows. Their musicianship is no coincidence: over the past few years, Kay Oz & The Mojo first earned their stripes as a cover band with an extensive repertoire before turning to writing original songs.


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Nouvelle Vague - Never Let Me Down Again ft. Flavia Coelho.

We don't feature that many specific covers on Beehive Candy however when there this good, then why not? "Never Let Me Down Again" is one of Depeche Mode’s great songs — a dark, hypnotic anthem built on a promise and a threat intertwined. Entrusting it to Flavia Coelho, a Brazilian singer whose voice carries the full light of Rio, was a conscious risk. 

The result is a version that does not betray the original but illuminates it differently: sunny on the surface, tense beneath. Bossa nova and new wave, two melancholies that recognize each other, between Rio and England.  

"Never Let Me Down Again" feat. Flavia Coelho is the second single taken from A Date with Depeche Mode, Nouvelle Vague’s upcoming album out October 30, on Kwaidan Records / [PIAS] Recordings.


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Scarlett Macfarlane - Ever After.

Furthering a string of emotionally rich releases, Scarlett Macfarlane shares “Ever After,” a warm, cinematic pop single that explores the quiet struggle of staying present in a life that always feels one step ahead. Uplifting, nostalgic, and gently anthemic, the track turns introspection into something expansive and hopeful, capturing the beauty of learning to slow down and simply exist inside the moment.

At its core, “Ever After” reflects Scarlett’s tendency to move quickly through life, always looking toward what comes next before fully arriving in the now. The song becomes a personal reminder to pause, breathe, and actually inhabit the experiences she’s spent so long chasing. “I often feel like I’ve never ‘done’ anything because by the time I finish something I’m already thinking about the next thing,” Scarlett explains. “This song is meant to be a gentle reminder to stay in the present.”

The title draws inspiration from Scarlett’s relationship with storytelling and her love of books, particularly the idea of “happily ever after.” Rather than seeing it as an ending, she reframes it as a beginning; a place where conflict gives way to presence, connection, and appreciation for the quieter beauty of fulfillment. “I love books with happy endings,” she shares. “But I hate that they often end right when everything gets good. I think the part when people have achieved their goals and attained happiness can potentially be the best part of the story.”


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Photo -  Matt Mehlan
HIGHSIGH - Don't Crowd the Eye.

HIGHSIGH have just shared their single "Don't Crowd the Eye" ahead of their debut album 'Once Bend,' out July 31st on Joyful Noise Recordings. In early conversations about their new project HIGHSIGH, Ro(b)//ert Lundberg (JOBS), John Dieterich (Deerhoof), and Matt Mehlan (Skeletons) imagined the band as a drum trio made up of non-drummers. "Like the Portsmouth Sinfonia, I love the idea of bands where everyone is trying something outside their area of expertise," Matt Mehlan says. 

While ultimately not how the band proceeded, that rhythmic impulse remains at the core of their music, especially on their single "Don't Crowd the Eye," which is driven by a particular, shifting polyrhythmic sensibility. On this track Matt Mehlan lent lyrics and vocals. "Lyrically, I’m interested in simple moments of revelation – what’s the environment, what’s the feeling?" he says. "Which also feels like a theme across this album."

Their debut album, Once Bend, presents as both disarmingly familiar and a strangely opaque patchwork of mutant pop and abstract polyrhythmic soundscapes. Created in a collage-like fashion, each member brought in deceptively rich musical fragments that had been cast aside from other projects, almost like little question marks for the other members to decipher and interpret. The initial ideas were all rhythmic and percussive. In an early conversation, Ro, John, and Matt discussed the possibility of the three non-drummers making a drum trio record—like the spirit of the Portsmouth Sinfonia, the idea of a band in which everyone is operating outside their area of expertise.


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Friday, 17 July 2026

Resa Saffa Park - Ulver - silt. - Babe Rainbow - Strange Plants - Cinder Well - The Spongetones

Photo - Henriette Sagjord
Resa Saffa Park - Forever as Her Friend.

Oslo-based singer/songwriter and composer Resa Saffa Park has announced her new album 'Kendra' will be released 6th November, and shares latest single 'Forever as Her Friend'. Cinematic indie steeped in jazz and soul, Resa Saffa Park's music occupies a world of its own, sitting in the orbit of Tamino, Michelle Gurevich and Portishead - while drawing from the work of Billie Holiday, Chet Baker, Nirvana, Mitski and Julia Jacklin.

A graduate of Liverpool Institute for Performing Arts (LIPA), Resa returned to her home city of Oslo to write new album Kendra. Written largely in her Oslo apartment over the course of a year, the album finds Resa Saffa Park paying closer attention to the people around her. Across twelve songs, she keeps returning to the same question: how do we understand ourselves through other people?

Produced by Daragh Patrick Wearen and Bård Berg, new single 'Forever as Her Friend' pairs smoky piano and slow-burning guitars, specifically examining the unravelling of a friendship.

Speaking on the song's release, Resa Saffa Park said: "Forever as Her Friend is a song I wrote about a friendship that meant a lot to me, one that changed in a way I still don’t fully understand. It's a story of holding on to something that once felt permanent, and feeling it slowly come to an end without knowing how to accept it. It’s about the longing to be loved, chosen, and kept, and how losing a friend can sometimes hurt more than losing a lover.


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Ulver - Hollywood Babylon.

Norwegian cult act Ulver return again to the track 'Hollywood Babylon' from their previous album "Liminal Animals" (2024) for the best of all reasons: a stunning music video that has been long in the making. Following a fascinating remix by Gazelle Twin aka Elizabeth Bernholz that offered a brooding reinterpretation, the Norwegians now add this beautiful clip to the growing corpus around the original track.

Ulver comment: "Working with our wonderfully mad old friend Christian Mona from the Bogus Blimp days never disappoints", mastermind Kristoffer Rygg writes on behalf of Ulver. "He started to create this video before we released our last album (sorry about that) and he has finally delivered a splendidly grotesque little gem from within his Automated Bathroom. 'Hollywood Babylon' has never looked better! It is a distorted mirror of our times. Please feel free to stare into it a little too long."

The Norwegian visual artist collective AKFF! adds: "2025 marked 20 years since Ulver made the animated music video 'It Is Not Sound' in cooperation with us", Christian Mona states. "It has been a hypnotic journey through the Sea of Sorrows all the way to the Pinnacle of Truth. Thinking back on what a great experience it was to visualise and expand on Ulver's universe, we started wondering why AKFF! hadn't made more videos with Ulver. As it turns out, Ulver had been thinking along the same lines! And so the making of 'Hollywood Babylon' began.”



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Photo - Nicole Osrin
silt. - trauma porn.

Existing between London and the inherited landscapes of the Lake District and Norfolk, silt. emerged yesterday with new track 'trauma porn' the first glimpse of a forthcoming body of work due for release later this year. Neither a traditional band nor solo alias, silt. is an evolving musical project that places the focus firmly on the songs themselves. Its songs explore the realities people build to escape themselves, the traces they leave behind, and the collision between natural imagery and synthetic modern life.

Blending dreamlike ambience, towering guitars and electronic abstraction, 'trauma porn' unfolds through recurring images of flies, bones and artificial flowers. Rather than offering fixed narratives, silt. treats songs as "open systems": works that continue revealing new meanings with every return.

On 'trauma porn', silt. explains: "'trauma porn' is about how hard it is to be alone - and the lengths people will go to to avoid sitting with themselves. It's interested in the realities we build, the emotional loops we trap ourselves inside. It embodies the volatility that comes from flicking through your own emotions and realities as if they’re pieces of content."

Conceived as an evolving musical project rather than a conventional artist identity, silt.'s ambition extends beyond, with songs as living, endlessly interpretable spaces. Named after the sediment from which landscapes are formed, it reflects what silt. describes as "what everything is built on" and "what remains after everything is gone."

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Photo - Jordan Malane
Babe Rainbow - Acid and Honey (Album).

Recording for the latest Babe Rainbow record existed on a Marey Louise houseboat in Amsterdam, which feels fitting to the overall bright and summery aesthetic the album possesses. Finishing touches including mastering and production were completed by Kyle Mullarky at his Malibu ranch, who the band also use as their sound engineer for touring. Out now, the album contains groovy, dance-heavy production backed perfectly with wailing vocals and hard rocking finger funky sounds.

An eclectic, hazy offering featuring eleven country-pop tracks, the release marks a sonic shift for the Australian lads. While they still maintain their beachy stoner aesthetics, the duo become more bold and brazen on the new album, reaching territory they’ve previously never explored. Known for their boogie psychedelia and throwback surf cult imagery, Babe Rainbow are an Australian stoner pop band. 

The group was formed in 2015 by Jack Crowther (aka Cool Breez), Angus Dowling, and Elliot O'Reilly, who lurked at the kiosks around Rainbow Bay. The three of them worked for John Cutts, a local grower near Tropical Fruit World in Duranbah, NSW. The guys at John's farm were churning out kale long before it became trendy.  

While Babe Rainbow's musical style was originally rooted in 60's psych and 70's French surf-pop, it has evolved throughout its career to incorporate woodland bop and folk disco, dub, dance, and international grooves while maintaining an Aquarian quality through Dowling's musical spacemen singing style and Cool Breez's chiming guitar sounds. 


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Strange Plants - What A Time.

Building upon this year’s previous releases, “Lay Your Mind,” “Ground Falls Away,” and “Time Killing,” Strange Plants share “What A Time,” an upbeat and driving alternative rock single that disguises sharp social commentary beneath an infectious, pop-leaning exterior. Balancing propulsive grooves with tongue-in-cheek lyricism, the track examines the accelerating pace of modern life and the growing sense that many people are being left behind economically, culturally, and technologically.

At its core, “What A Time” reflects the strange contradictions of contemporary living. While the music surges forward with energy and momentum, the lyrics paint a more complicated picture: one where endless scrolling, rapid change, and increasing disconnection have become defining features of everyday life. The title itself serves as the song’s central punchline. “It’s slightly sarcastic,” explains songwriter Matt Brannon. “The verses aren’t describing a world that’s super great right now, so the chorus becomes this tongue-in-cheek ‘what a time to be alive.’”

That contrast between optimism and unease became one of the song’s defining characteristics. Strange Plants intentionally leaned into the tension between the verses and chorus, creating a dynamic push-and-pull that mirrors the subject matter itself. The verses ride atop a driving groove inspired by artists such as Fleetwood Mac and Future Islands, while the chorus shifts into a brighter, synth-forward landscape without abandoning the song’s underlying momentum.

The recording process also brought together an impressive group of collaborators. The band connected with producer John Mullane after sharing a bill with a project he was producing, immediately recognizing a creative chemistry that felt right for the song. Drums were performed by Loel Campbell (Wintersleep, Billy Talent), while Robbie Crowell (Sturgill Simpson, Deer Tick) contributed keys and synthesizers that shape the track’s expansive sound.


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Cinder Well - A Blooming Body (Album).

Cinder Well the hauntingly stark musical project of multi-instrumentalist Amelia Baker  new album A Blooming Body arrives today July 17th via Hen House Studios (where the album was recorded with Harlan Steinberger). The album is preceded by the lead single and video ‘While the Womb Screams Silently.’

Since 2015, Cinder Well has extracted dark, rich and tender compositions which nod to, but also stray from traditional musical languages. By comparison to the more diaristic tones of previous releases (2015’s self-titled EP, 2018’s The Unconscious Echo, 2020’s No Summer, 2023’s Cadence), A Blooming Body feels like glimpsing scattered vignettes of a whole world rather than a sequential narrative from beginning to end.

Through richly textured arrangements, A Blooming Body expands the sonic world of Cinder Well, resulting in a more immersive, visceral and unconventional collection of songs than we’ve heard before. The music on A Blooming Body shimmers with clarity, Cinder Well’s annunciation crystal clear, and yet there are heady depths to the stories told here that plunge fathoms beneath the ethereal, acoustic surface. “I find that sonically, pulling back into moments of silence and restraint can be eerie in a way that sometimes we think only loudness can achieve.” says Amelia.


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The Spongetones - Liftetimeline.

The Spongetones continue their series of fresh standalone singles on the way to their first album for their fifth decade as a band with the new track “Liftetimeline” out today July 17 on all digital platforms worldwide. The third new single from the Power Pop Hall Of Famers in 2026 following the indie hits “So Long” and “(I Really Need) To Kiss You,” it joins their three singles from last year as part of a true renaissance for one the genre's leading lights over the past five decades.

 One of the thrills of any new Spongetones tune is discovering which of the band's superb singer-songwriters is stepping to the fore, and on “Lifetimeline” it's bassist Steve Stoeckel, continuing not just his decades of contributing to the band's esteemed canon but also momentum of his 2024 solo debut The Power Of And. It's a personal journey this time out, as Stoeckel explains: “I wrote this song five months after having had a heart attack in April 2025. It was one of those mortality checks (a large one: it could have been fatal) that changed me. 

Each year my wife and I vacation at the Outer Banks in NC in October, and I took a beach chair, my phone recorder, and a uke out to the beach, which was deserted at that time of year. I sang the whole thing into my phone, and when I got home, I made a demo in my studio. The band liked it and as usual elevated the idea with their wonderful playing.”

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Mama’s Broke - Scarlet Tantrum - Sheffer Stephens - Mollie Coddled

Mama’s Broke - Build it Up. Mama’s Broke present “Build it Up”, the third single from the Nova Scotian duo of Amy Lou Keeler and Lisa Maria...