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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Chalcedony - Dysmusia - Izzy Oram Brown

Chalcedony - Dollandia.

Chalcedony’s single Dollandia off recent ep “capsule” is a distorted dream state tangle of live-off-the-floor trippy noise, moody yet tempting lead vocals, and haunting doll lullaby backups. 

With the aesthetic and lyrics inspired by cult classic film “Valley of the Dolls”, the song is also a nod (pun very much intended) to mental health and prescription medications for depression, anxiety, insomnia and sleep disturbances such as night terrors, sleep paralysis and hypnogogic hallucinations. Dollandia, being the escape...but with overuse, consequences follow.

The single and ep was recorded and mixed by producer Felix Fung at Little Red Sounds in New Westminster, BC last summer. Dollandia’s single art features an original custom painting by drummer Vanessa Gidden. Cate Whatever, Gillian Callander and Vanessa are also currently self-producing the forthcoming music video for which they will be directing and art directing.

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Dysmusia - Where Does This Road Go.

Dysmusia is an Irish musician whose sound blends the heart of Antrim folk traditions with a modern edge of indie-rock. Based between Antrim and Dublin, he carries the influence of both rural roots and city creativity in everything he creates. Born into a deeply musical family, he picked up the guitar at just eight years old, teaching himself to play while surrounded by the rhythms and melodies of Irish country and show-band culture. His father performed in show bands, one brother took to the drums, and the other to bass—music wasn’t just a hobby in the household, it was the family language

I grew up in a mixed corner of Ballymena, though the wider town carried strong voices and stronger traditions, where difference could feel quietly magnified. On warm, still early‑summer evenings you’d hear drums drifting across the air, part of the atmosphere, even if not our world.

I never felt fully one thing or another, always slightly out of step, a lifelong minoratist. Later in Dublin I was still gently set apart, a ‘Nordy’ by shorthand, as if belonging always came with a small condition. My music comes from that in‑between place, the margins, the echoes, and the quiet ache that settles in as youth slips into memory.

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Photo - Nico Hedley

Izzy Oram Brown - Love U the Same.

released today we have the first single "Love U The Same" from the debut full-length by Brooklyn singer-songwriter Izzy Oram Brown. As a fixture in the Brooklyn indie scene, Izzy Oram Brown has been featured as a collaborator in rising bands such as Why Bonnie and Youbet. Stepping into her own with her full-length, What I Want is full of unexpected surprises and moments of instrumentation and sound design that go way beyond a singer-songwriter affair. 

 “Love U the Same”—a plainspoken, broadly strummed pop ballad and the emotional highwater mark of Izzy Oram Brown’s new LP What I Want—sketches out a journey toward accepting emotional paradox. Singing in hushed but soulful tones that bring to mind Christine McVie, the Massachusetts-born, Queens-dwelling songwriter returns to chords that she reframes in every verse, setting up a resolution that never comes, mirroring the lost promise of a broken compact between lovers who really tried to make it work. 

An ambiguous chord, neither bright or despairing, frames both an admission of hurt and bittersweet statement of re-devotion (“But no matter what I do or say, you’re with me.”) It is only after the narrator accepts that only time can make mutual empathy and acceptance possible that the harmony settles and the arrangement expands: “If we tire of the work/of finding who’s to blame/I will remember/I love you the same.” With its nostalgic, carefully arced melody and lyrics, the song holds pain, contradiction, and a genuine warmth of spirit easily. It’s a combination which often eludes even the greatest artists who write about romantic wires getting crossed.

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Orange Animal - Zach Seabaugh - Shooter Jennings

Orange Animal - Place for Me.

Orange Animal's new single Place for Me, is a song that begins in emptiness and slowly fills with something deeper, warmer, and harder to let go of. It feels like sitting alone in a dark auditorium, staring into a low-burning fire. The air is heavy. The silence stretches. And then, without warning, something shifts. The flames rise. The room fills. Voices return. The people you love find their way back in.

What starts as isolation becomes connection. What sits heavy in your chest begins to move.At its core, Place for Me is a question. A vulnerable one. One that lingers long after the music fades.

“My mind falls down to a lonely place - My eyes no more to see your face - If you feel me near to some degree - Will you hold a place for me?”

There’s a raw honesty here. Regret, longing, and the quiet hope that even when things fall apart, something of us remains with the people we love. But this isn’t just about loss. It’s about release. About taking what sits heavy inside and letting it transform into something that makes you stronger, fuller, more open than before.

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Photo - Emma Golden

Zach Seabaugh - Eastern Time.

Nashville artist Zach Seabaugh has shared a new single “Eastern Time” on Cloverdale Records (Evan Honer, Winyah, Sam Burchfield). Glide Magazine premiered the homesick tune, noting “Steel guitar, gorgeous harmonies, and a triumphant piano serve as a perfect complement to Seabaugh’s heartfelt and soulful lyrical tale of pining for home.”
 
Written on tour somewhere along the West Coast, “Eastern Time” paints a stark picture of a rambling man longing for home. Seabaugh’s soulful vocals glide like honey over a growling electric: Goodbye California / Like the west coast sun / I’m a man-on-the run / She’s living on Eastern Time. As the song unfolds, his ache billows out over impassioned piano, giving way to a howling chorus.
 
“I’m not one to stay in the same place for too long,” Seabaugh shares. “I enjoy travel, the adventure of it, but I have to recharge my battery for it,” he shares. “No matter where I go, where life takes me, I’ll always go home to Georgia.”

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Shooter Jennings - When I'm Stoned ft. Willie Nelson.

Today, Shooter Jennings pays tribute to his longtime friend Jason Boland with a cover of “When I’m Stoned” featuring Willie Nelson. Shooter Jennings explains, “I’ve known Jason Boland for more than half my life. I saw him playing songs in bars. I opened for him the day we got thrown in jail in Baylor County for weed. So naturally, when they asked me to do this project, I enthusiastically agreed and called Willie Nelson to help me out. Boland is a diamond and he’s one of the guys that influenced a lot of what is going on in today’s country music, so it was my pleasure to honor my old friend.”

The cover of “When I’m Stoned” marks the second release in the Hellponies Archives series, named after Boland’s fanbase The Hell Ponies. Late last year, the series began with Flatland Cavalry’s take on “Somewhere Down In Texas” that led Whiskey Riff to proclaim, “While the music [Boland] is creating today is well worth listening to, there is something about the songs on that debut project that proved Boland would be a timeless staple of the red dirt scene. So timeless that new artists are revisiting these tunes and breathing new life into them two decades after their release.”

Last year, Jason Boland & The Stragglers released their Lloyd Maines-produced LP The Last Kings Of Babylon, which garnered widespread acclaim from No Depression, The Tennessean, American Songwriter and Rolling Stone who profiled the “Red Dirt King” in an extensive feature saying, “Nearly every force driving the current renaissance in country music is one that Boland embodies so thoroughly that it cannot be construed in a buzz word.”

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Winona Oak - My Life As A Moth - Maddie Lenhart - Liv Wade - Ok Goodnight - Greg Dread feat. Don Letts

Winona Oak - Breaking Point.

Swedish singer-songwriter Winona Oak has shared her delicate yet powerful new single and video ‘Breaking Point’ alongside the announcement of her second album ‘Bloom’ released on 25th September via Nettwerk. 
 
Following recent singles ‘Do You Hate Me Now’, ‘Horses’ and ‘Stay the night’, new album ‘Bloom’ marks a new chapter for Winona Oak and is a testament to survival, showcasing both her emotional and musical growth and devotion to connection. Allowing herself to slowly open up again with honesty and hope after a period of grief and heartbreak, her new record lets the listener into a deeply personal world where beginnings emerge from endings. 

Winona released her EP ‘Salt’ last spring, which was a poignant personal documentation of her physical and emotional states. Throughout the last year, she has been working on new music and a more organic progression in her raw and unvarnished sound, whilst still writing candidly about the highs and lows of life; loss and repair, heartbreak and love, resistance and patience. Winona says, 
 
“Like a flower emerging after a long winter, blooming isn’t instant - it’s the result of surviving the darker seasons.Bloom reflects the transformation - the idea that even after pain life still finds ways to grow. It’s a gentle but powerful reminder that healing isn’t about forgetting the past, but about allowing yourself to open again to the light."

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My Life As A Moth - The Parade of the Starlet & the Broken Hearted (Album).

My Life As A Moth is the project of a Swedish-born, East London-based artist whose music blends post punk, experimental rock, art pop, industrial textures and alternative guitar music into something immersive, eerie and emotionally charged. The project began during lockdown, at a time when she felt lost and disconnected. Sitting down at a dusty keyboard she had not played in a long time, she found a dead moth between the keys. Struck by how sad and strangely beautiful it looked, she wrote a song called “My Life As A Moth.” That moment became the starting point not just for a track, but for an entire artistic identity.

That instinct to transform difficult feelings into something vivid sits at the heart of her new 12-track album, The Parade of the Starlet & the Broken Hearted. Written during a period of deep personal change and therapy, the record draws on experiences of trauma, manipulation, coercive control and gaslighting, but it is just as much about resilience, clarity and the parts of ourselves that survive. Her writing often takes personal experience and filters it through surrealism, symbolism and world-building, creating songs that feel both deeply intimate and slightly otherworldly.

At the center of the album is the idea of the “starlet” and her “parade of the broken hearted” as figures who carry beauty, integrity and empathy through a harsh and distorted world. The record is rooted in contrast, as the songwriter puts it, the album is inspired by “the rose in the mud, the light in the dark, the growth that comes from hardships, the stars you see above a scrapyard.” There is pain running through these songs, but also strength, mystery and a sense of something bigger than what is happening on the surface.


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Maddie Lenhart - Let Him Fly (Live from the Treehouse).

Nashville country artist Maddie Lenhart releases beautiful live cover of Patty Griffin's "Let Him Fly." Maddie Lenhart’s take on “Let Him Fly” feels less like a cover and more like a quiet moment you’ve been invited into. Recorded live in a single take at Treehouse Studios in Nashville, Tennessee, her version strips everything back to its emotional core, honoring the songwriting of Patty Griffin while gently nodding to the familiarity of The Chicks.

The arrangement is airy and weightless – soft acoustic guitar and pedal steel drift underneath without ever pulling focus, giving the song space to fully breathe. At the center is Lenhart’s vocal – genuine, unmistakably her, and delivered with a honeyed ease that feels completely natural. There’s a quiet confidence in her delivery that draws you in.

What stands out most is the restraint. Lenhart doesn’t try to reshape the song in a dramatic way – she trusts it. That trust allows each line to settle exactly where it needs to be, creating a dreamy, suspended feeling that carries throughout. Raised in the heart of Virginia’s countryside, Maddie Lenhart was singing before she could talk and writing songs long before she could put them on paper. Since moving to Nashville, she has written hundreds of songs, earned over 40 independent cuts, and released her debut single “Sober,” which has surpassed 800,000 organic streams. In 2025, she released eight new songs, all landing on Spotify and Apple editorial playlists.

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Melanie Orr Photography

Liv Wade - Carolina.

After releasing the internationally acclaimed EP Radios and Buffalos in 2024, multi-talented Indigenous recording artist Liv Wade is set to return with a new five-song collection entitled Fur Queen. Overall, it displays Liv’s wide-ranging musical approach, with the latest single “Carolina” being a dramatic ballad that blends traditional storytelling with soaring modern production.

Liv describes “Carolina” as growing out of recent global political agendas that have taken away the fundamental rights of many individuals. As a queer, two-spirit artist with Metis roots, she has long advocated for diversity, equity, equality and inclusion, and the song plainly gets the message across that she is “free to be myself and not afraid to tell the truth.”

Liv says, “We tried to showcase how cruel and calculated people can be, perpetuating lateral violence against each other, while calling out the cowardliness of individuals behind closed doors and screens, passing judgement without understanding layers of complexity and intersectionality. On the flip side we also wanted to highlight those folks pushing back, celebrating diversity, joining in solidarity, healing in community and not letting others’ insecurities determine their worth.”

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Photo - Zack Spence

Ok Goodnight - 22.

Ok Goodnight self-releases their new single “22”. Available on most streaming platforms, the new single contemplates the feelings of betrayal, loneliness, and forgiveness that follow after the bittersweet end of a friendship. Serving as the first single since the release of 2023’s The Fox and The Bird, “22” offers a glimpse into what the next Ok Goodnight record will sound like.

The Boston-based four piece are no strangers to releasing music that leaves a lasting imprint. With an impressive catalog that has amassed millions of streams on digital platforms and a riveting stage presence, Ok Goodnight have turned heads as an act to watch closely. Their new single "22" marks the beginning of a new era for the band, acting as the lead single for their third studio album stop/go coming on June 12th, 2026. With a sonic style and aesthetic indicative of Turnstile, Paramore, or PVRIS, the new single "22" combines heavy guitar riffs with dark, nostalgic synths and carefully integrated samples.

Pairing with the digital release of “22” comes an invigorating visual created by filmmakers Margot Budzyna and Christian Tasiopoulos. Stylized in an atemporal fashion amidst a surreal, dreamlike aesthetic, the new video showcases movers disassembling a room as a metaphor for uncertainty and change.

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Greg Dread feat. Don Letts - Serious Dropout (Album).

For this special release on Echo Beach, London Dub legends Greg Dread and Don Letts join forces with Frankfurt Dub collective Serious Dropout. Greg Dread selected highlight tracks from the collective’s timeless catalogue and fuses them into a thrilling seamless mega mix while Don Letts provides vocal shouts, resembling the atmosphere of a live sound system experience. They combined elderly and brand-new material.

Founded Frankfurt in the mid 90s, Serious Dropout is a collective of producers, DJs and musicians with various projects blending Dub Reggae with different forms of Electronic music reflecting their various musical backgrounds ranging from Techno House and leftfield Electronica to Reggae and Dancehall, Breakbeat and Drum`n`Bass.

Greg Dread is a writer, producer, drummer, dj and founding member of leading UK Dub band Dreadzone, operating since 1993. In the 80s, he was a member of Big Audio Dynamite with Mick Jones, formerly of punk legends The Clash. Don Letts is known for his work as a Grammy-winning filmmaker, creator of legendary music videos and also as an acclaimed Selector since the late 70s, when he helped to form the connection between Reggae and Punk by playing Dub records in The Roxy, London’s first Punk club. He remains a defining voice in British subculture.

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Glazyhaze - Dockstars feat. ΔNØVA - Larissa Grelli - Twayn - Fast Money Music feat. Oliver Marson - Vera Ellen

Photo - Abra Cautero

Glazyhaze - Do You?

Following last year's critically-acclaimed album Sonic, Venice-based band Glazyhaze returns with brand new single 'Do You?'. Building upon their ethereal mix of shoegaze, alternative rock, and dream pop, the track features sweet yet punchy vocals that float above layers of spaced-out guitars and driving bass lines. Distributed worldwide by Hoodooh and Believe Music, the single is now streaming on all platforms. 
 
With a sound that ranges from dark and atmospheric to soft and intimate, Glazyhaze have solidified themselves as a band to watch. Since the release of their debut LP in 2023, they've been named among Europe's Top 15 Emerging Artists in the Music Moves Europe Awards and have toured Europe and the UK extensively, sharing stages with acts like Trentemøller, The Raveonettes, Soft Cult, and Slow Crush. 2025's sophomore LP and follow-up single "Romeo" took the band to new heights, earning praise from the likes of Rolling Stone, Stereogum, Clash, BBC, KEXP, and more.

Glazyhaze is a band from Venice, Italy, influenced by shoegaze, dream pop, and alternative sounds, ranging from dark atmospheres to dreamy and ethereal soundscapes. The band consists of Irene (vocals, guitars), Lorenzo (lead guitar), Francesco (drums, programming), and Vsevolod (bass, vocals). Since the release of their debut album Just Fade Away (2023), Glazyhaze have been active across Europe and the UK, performing in major cities and supporting artists such as Trentemøller, Hater, Film School, and many more.  

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Dockstars feat. ΔNØVA - High Coast High.

NORDIC DRIFT, Vol.1, (High Coast Frequencies) is a cinematic and ethereal interpretive tribute to Sweden’s High Coast in Ångermansland — a UNESCO World Heritage landscape site where the land still rises from the sea after 10,000 years beneath the ice.

A modern songwriting experiment was set aside, until a single question to a producer intern sparked a new production that breathed the very spirit of the Swedish High Coast. Then the remarkable ΔNØVA lent her voice, weaving in hints of alt-pop magic, and suddenly High Coast High held the Nordic genie in its bottle. Forget Rocky Mountain High, Now it is the High Coast High that truly soars.

The album captures the region’s raw beauty, misty fjords, ancient forests and the quiet pull of the Gulf of Bottnia northern sea, blending atmospheric electronica, ambient textures, alt-pop and indiefolk and minimalistic songwriting. Each artist offers a unique reflection of nature’s rhythm, from waves and wind to the stillness of stone. A musical journey and a cinematic postcard from the North.

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Larissa Grelli - Tomorrow.

Larissa Grelli welcomes spring with the soulful pop track “Tomorrow.” This is the young artist’s second single. Toward the end of last year, she tentatively released her first track worldwide and received a lot of positive feedback. A new voice from the canton of Thurgau in Switzerland Larissa Grelli is both a singer-songwriter and multi-instrumentalist.

There's more to come! Not only because her latest follow-up, “Tomorrow,” features a melody that instantly sticks in your head, but also because the melancholic song conveys a message that will resonate deeply with many listeners.

Larissa Grelli explains: “Tomorrow is about perseverance in difficult times—and about realizing that you’re not alone with your feelings. The song is a reminder that every day can be a fresh start, and that hope is often closer than you think. A year ago, I didn’t really know where life would take me. After many reflective hours and with a good dose of hope, this song came into being.”

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Twayn - Wouldn't It Be Better?

Less than three years’ ago the twin sister duo kicked off their music careers, whilst still at school, when they came 2nd place out of over 22,000 entries in the Liverpool International Songwriting Competition (Road to Nashville – 2022) and played the iconic Exit/In, Nashville. The competition was judged by a distinguished judging panel of Nashville and international music industry veterans, including Head Judge Jeff Cohen (Grammy-nominated songwriter/producer), Pamela Lewis (PLA Media and formerly part of the original MTV team), Regie Hamm, Tim Wipperman, and Gary Morris (Broadway and Country music legend who sung ‘Wind Beneath My Wings’).

One week after leaving school, and still only 18 years-old, the girls had even persuaded Tors to let them support at their Newcastle gig! Fast forward to 2024, when they first caught the eye of the legendary Jools Holland and opened for him at The City Hall, Newcastle – their home town. In 2025 they were thrilled to be asked back to join his winter tour at four amazing venues: The Royal Albert Hall, O2 Apollo Manchester, Utilita Arena Cardiff and the Bristol Beacon playing in considerably larger capacity venues and a real vote of confidence that he asked them back.

It’s been a pretty impressive progression for the duo, as one of their latest singles, ‘Spine’, (from their third EP ‘Sadness Is My Sanctuary’ got BBC Introducing North East Track Of The Week, and tTwayn has already had three of their videos played on national TV (C4’s Sunday Brunch).

The siblings are regulars on the festival circuit and, amongst others, played Coast Fest and the Treehouse Stage at Hardwick Festival in 2025 and they have supported the likes of Casey McQuillen (American Idol S13/S14), Oliver Pinder and Tors). 2025 also saw them perform at the Mercury Prize Fringe when it came to Newcastle for the first time. There are lots of great things in store for Twayn in 2026 too!

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Fast Money Music feat. Oliver Marson - Nevermind.

“Nevermind" came together in just a few hours, springing from an improvised bassline, a PS-5 harmonizer pedal, and a playful back-and-forth between voices. Featuring Oliver Marson, the track twists rejection into something wry and immediate - a speak-sung mantra that flips between irony and sincerity. Beneath its wiry groove lies a theme of refusing to please everyone, finding humor in disappointment, and ultimately leaning toward self-acceptance. It's bona fide and tongue-in-cheek, and it’s one of the LP’s most instant songs. 

“Oliver came into my studio one day and the song pretty much wrote itself,” shares Nick Hinman, "Rejection is universal, but pulling yourself up by your bootstraps is unique. Anyone can wallow in the fear, but I admire the resilience of those who can take it with a grain of salt. As our boy Nietzche once said, 'What doesn't kill you, makes you stronger.’" 

‘Some of the best songs come together in just one day and that’s exactly how Nick and I wrote Nevermind,” adds Oliver Marson”, "What I liked about this was it felt so natural and it was like a conversation. It was also just really fun, which is what music should be all about. I’ve been leaning more into co-writing because every session teaches me something new and sparks ideas I wouldn’t have found on my own. My musical journey hasn’t been all smooth, though rejection has been a constant teacher. And that’s what this song is really about. Instead of stopping me, it’s pushed me to write more, collaborate more, and trust that every ‘no’ is just making space for the right ‘yes.’

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Vera Ellen - Thaw.

Two weeks out from releasing her new album, Heaven Knows What Time, Vera Ellen shares her new single Thaw, alongside a dreamy cinematic music video by Daniel Fletcher. The single follows the recently released joyous anthem Gayfever and the sophisti-pop Hemi Hemingway duet When It’s Over. All made with the support of NZ on Air. Aotearoa Music Award and Taite Music Prize winning artist Vera Ellen announces her upcoming album ‘Heaven Knows What Time’ – out on vinyl and CD on May 1st via Flying Nun Records.

Three years on from her last full-length project, Ideal Home Noise; which was awarded the prestigious Taite Music Prize for 2023, Vera Ellen has found herself in a whirlwind of unconventionality - learning to embrace the chaos that comes with being a self-sustained artist in today’s constantly driving culture, and finding meaning and joy in community - all themes that inform her new body of work, Heaven Knows What Time.

Stepping away from the heavy inner-world of Ideal Home Noise, Heaven Knows What Time is less about thinking and more about just being — embracing the masks we wear, but also allowing ourselves to take them off and bare it all; the exhausted, the messy, the fear, the adventure, and all of the joy too.

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