Through all of it, Nguyen’s voice stays the center of gravity, dry, tender, quick to swerve. ‘Show Me’ belongs to a writer who has quit managing her own vulnerability and started spending it, a risky trade she makes with her eyes open.
Dummy’s real accomplishment isn’t a futuristic record. It’s a record deeply invested in what music itself can do. It draws on dream pop, post-rock, drone, rave, electronic music and shimmering art-pop without settling into homage. History is something to use, and the present is something to question.
Cole wrote every song, and she seems to understand that honesty works better when it leaves space for doubt. The lyrics avoid neat conclusions and offer observations that get you thinking instead of telling you how to feel. The music falls somewhere between indie rock, folk and thoughtful pop, and the variety always works in the album’s favor.
‘Murphy Horse’ embraces complexity without turning obscure. Murphy trusts listeners to move through uncertainty with him, offering songs that ask real questions instead of handing out convenient answers. It’s melodic, curious and generous, and it shows Smidley can keep reinventing itself while staying grounded in the honesty that has always defined Murphy’s writing.
Through patience, curiosity and sparing sound, Shapiro and Khouja have made something that works as a lullaby, an ambient record and an experiment in perception without being limited to any of them. ‘Music For Babies’ is quiet music with a big imagination, interested in a person’s first encounter with the odd fact of sound.
‘The Leaving Kind’ never fully romanticizes getting away. Majcen knows what the highway gives you and what it takes away. That honesty is what lingers: every mile forward might be a mile back toward the place you left.
This album’s staying power is its sense of a person deciding, in the middle of the worst stretch of their life, to keep reaching toward other people, toward pleasure, toward light. That decision is the real subject of the album, and it’s a brave one to document.
Plenty of protest music announces its politics and forgets to be music. Osmia does the opposite: they build the room first, then let the anger and grief move around inside it. ‘Cult Country’ is not an easy album, nor does it want to be.
Pretend hits from Australia and New Zealand, way back when.
Sacha Mullin is a Chicago-based singer–songwriter and educator noted for his “commanding yet vulnerable” singing style, wide vocal range, and jazzy, intense, and ethereal compositions
Tom Hartman is a singer-songwriter from Holland, crafting his own blend of folk & blues.
The Race releases their four-track EP, FAMILY, on 19th October, alongside its previously unheard closing track and new single, “Where You Go I Go.”
South London folk-punks The Early Swerve release their debut album More People Than Teeth — twelve tracks packed with horrible bastards, dodgy geezers, toxic relationships, dark humour and distinctly British storytelling.
CorMae’s lyrics are reminiscent of a furiously scribbled diary entry, delivered with an unhinged vocal style built on a snotty, punk-infused riot grrrl foundation. Aggressive garage punk supports themes condemning social media toxicity, attacking unrealistic social expectations, and an overwhelming sense of futility one may feel within this divisive, political landscape.
Working together for almost two decades, the work of multi-instrumentalists Paul Elliott and Dan Smith has included composing for TV, film and commercials, as well as writing and performing in both studio and touring bands.
Rev It Up shows the full range of Divergent’s musical identity. Their influences stretch from the Beatles to Queen, Whitesnake, Kansas and Boston, with a strong current of classic ’70s rock running through the record.
Despite making it all up as they went along, Hanson and Hirsh keep the music flowing like two streams meeting as one river.
Forgotten Garden is a Scottish-Portuguese Indie band (duo+guests). Their songs are generally sad, poignant and haunting.
Fire in the Master’s House is a strange brew, unlabelable, unpigeonholeable, unsecond-guessable, and Sheykh Forever is one of the strangest, most brilliant and rewarding talents working under the radar today.
Catie Turner is a 26-year-old singer-songwriter, folk-pop powerhouse vocalist, chronic over-sharer, and stamp collector (not the mail kind, the ink kind.)
HISTORY has made a name for themselves by taking classic Swedish songs and reworking them in their own inimitable rock and roll style. I sat down with the band to find out how things started, their current single and what the future holds for them.
Todd Snider was a hippy provocateur, lackadaisical stoner, and clever AF songwriter that sort of epitomized, at least my idea of “quick with a joke or to light up your smoke” but there was never anyplace that he really needed to be. That’s part of why he didn’t carry a cellphone. This is his last recording.
There’s an appropriate lack of polish at the heart of Diver Through’s new EP, “I Want To Be Disrupted.” Recorded live at Vinegar Hill Sound in Brooklyn over two days in May 2026, the five-song collection was built around a simple idea: disrupt the process
Born and raised in Vermont’s Northeast Kingdom, music has been a part of August’s life since the beginning.
Olympia shoegazers Waves Crashing announce a new single ahead of their first-ever UK tour this November.
Two North Carolina bands – one killer collaboration. Charlotte’s It’s Snakes and Raleigh’s Goddamn Wolves have teamed up to release “Viva El Monstro” b/w “Others.
Eau the Music, the Toronto-born, Montréal raised and now Ottawa-based indie rock and dream pop artist, arrives with her debut album ‘Light in the Dark.’
Berlin-based band Beranger continue to carve out a distinctive space within contemporary rock with ‘Signal’, a dynamic new single that brings together classical piano, alt-rock, indie rock and pop-punk intensity.
Made over a time of intense introspection and transformation and inspired by Celtic folk music, Hoff uses the bass as an expression of emotion, rather than an instrument with which to show off her skills.
Jonivan Jones is a performing songwriter from Arkansas with some roots in South Texas whose music blends folk, Delta blues, early Western sounds, and a touch of psychedelia
St. Divine is a critically acclaimed NYC based punk/Americana five piece band fronted by Will Croxton and Judy Ann Nock.
TALK IN CODE is a euphoric original indie pop powerhouse delivering retro-inspired, synth-driven festival anthems, high-octane live shows, and next-level fan engagement.
Molly Warburton releases her new EP, Eyes Wide Open, a high-energy alt-pop singer-songwriter with a Northern edge and hard-hitting vocals
Thousand Pieces is the solo project of Jamie Smith, a singer-songwriter from just north of London, writing gritty, melodic indie rock about real life and the people who shape it.
Grey & Purple Songbook, hailing from Oslo, Norway, is a musical project under the label Grey & Purple Inc., known for producing harmonious and thought-provoking text-based music stories across various genres.
French Inhaler is a Chicago-based trio drawing on the restrained intensity of Joy Division, the melodic melancholy of The Cure, and the electronic minimalism of Kraftwerk,
Spinors is a steampunk aesthetic Alternative Rock band based in London, United Kingdom, founded by singer and guitarist Sergie Code.
For his latest album Corners, trumpeter Enrico Rava combines two of his recent partnerships: with his ongoing semi-regular collaboration with saxophonist Joe Lovano, and with his latest band Fearless Five.
Rebecca Aadland is a Minneapolis singer-songwriter, bridging styles of folk, rock and blues. She has recently sold out large venues in the Twin Cities with her 8-piece Band.
Formed in 2025, MUTE TV are a raw blend of post-punk, noise pop, shoegaze and alternative rock from the South West, creating noisy love songs about joy, despair and desperation.
Franc Cinelli is a London based singer songwriter, composer and producer originally from Rome. His music draws on folk, blues and acoustic songwriting, alongside ambient and contemporary classical influences.
Across “House of 70’s” and “Bye Bye Johnny Viola,” Chris Connelly moves through two charged moments in Lou Reed’s history, first inhabiting the grease and nervous glamour of 1970s New York, then tracing the colder aftermath of John Cale’s departure from The Velvet Underground.
Twelve-inch, forty-five rpm extended play records aren’t dead! And Hunter Watts should know, cuz he has produced one doozy of an example of one.
Deadlight Dance are a Wiltshire, UK-based ’80s alternative/goth duo comprised of Nick Fletcher and Tim Emery.
Inspired by a shared passion for the sights, sounds, and creative experimentation of the mid-to-late 1960s, The Crystal Teardrop brings you a unique blend of garage rock, psychedelia, and acid folk.
“Forever Remember” feels like the song Oasis forgot to release. A guitar-led indie rock anthem with Britpop swagger, atmospheric synths, warm acoustic textures and a huge, uplifting chorus built for the open road.
DEATĦ B¥ LØVE turn “In Unity” into a dark industrial tribute shaped by Wieloryb’s final work, with Inga Habiba’s voice cutting through distortion, repetition, and mechanical weight.
Soft Science keep “Fade” gentle and guitar heavy, pairing shimmering guitars with Katie Haley’s soft vocal to turn a song about fading memory into something warm, intimate, and quietly propulsive.
Nowhere Flower’s homemade music becomes a quiet form of resistance, a reminder that even in huge destruction, one person can still arrange fragments into something like hope.
The Room let “Temptation Harbour” unfold slowly, with smooth, repeated vocals moving through a story while Darren Brown’s guitar supplies the song’s clearest sense of beauty and movement.
