Throughout the album, the pianist shifts between easy control and almost total abandon.
Fools Arcade is an alternative indie band known for their eclectic sound, driving rhythms, and rich harmonies, hailing from Leeds, UK.
Cable Street Riot is an anonymous solo project from Los Angeles blending post-punk, dark electronics, industrial textures and atmosphere
Raised On Candy let “Pickle Eyes” reveal itself gradually, moving from wiry tension into layered guitars, exposed vocals, explosive drums, and a final surge that makes its opening feel deceptively small.
Grant’s passion is bringing American history (including our native peoples) and culture to life with his music. So far, his AMERICAN STORIES album series has captured the essence of the Dust Bowl, Appalachia, and the Mississippi River.
Francesco Virgilio’s multidisciplinary electronic project explores existence, wonder, adolescence and loss across four interconnected tracks and accompanying films.
Energy Whores, the genre-defying electronic project led by New York songwriter, vocalist and producer Carrie Schoenfeld, release Invisible (Four Ways)
Rising artist Ava Renn returns with her latest single, ‘Sellout’s Prelude’, an ethereal and emotionally immersive release that explores the fragile space between self-destruction and self-preservation.
London-based independent alt-pop artist Zoë Zohar combines live, raw instrumentation with electronic experimentation and a subversive undertone.
Where rhythmic experimentation meets a love for grand, cinematic melody, this three-piece collective mix a technical art-rock precision soulful rawness.
A Sirens call across brooding oceans, ‘Take Me To The Sea’ exists in the haze where the sky meets the sea; an ethereal, whispered longing.
Harley DiNardo’s music lives somewhere between the heartland honesty of The Black Crowes, the swagger of The Rolling Stones, the melodic sensibility of Britpop.
Sean MacLeod is an Irish singer-songwriter, composer, producer and author whose music combines melodic indie pop, alternative rock, folk, psychedelia and experimental influences with thoughtful, philosophical songwriting.
McEwen doesn’t seem interested in proving anything. He’s simply following a set of songs wherever they lead, and the result is an intimate, quietly affecting album that becomes more compelling with each listen.
This is music that prefers sweat to sheen, distortion to precision, and a good getaway plan to another hour of doomscrolling.
Fuel For The Fire works best as a document of an artist returning to his younger self without simply trying to recreate him, and four decades later, Goldberg has given these old recordings room to become something new.
Hailing from High Wycombe, Broken Colours are a four-piece indie outfit who draw on the funked-up, rocky sensibilities to delivery truly electrifying performances.
‘Feasting 2026 (HK Mix)’ releases today as a bold reinvention of ‘Feasting on my friends’, the B-side from The Sway’s very first single.
Luke Haines and Mike Smalle pull an 1887 Irish American song into a tense electronic present on “The Black Maria, O,” where antique criminal slang, synthetic pulse, and gathering metallic chaos make history feel strangely immediate.
Eddie Skuller’s “House Where Nobody Lives” reframes Tom Waits’ abandoned-house ballad through tender melody, live-tape intimacy, and a quietly bruised sense of what love leaves behind.
Formed in Phoenix, Arizona, in 2024, SUNTWIST is an indie rock band that pairs energetic songwriting with catchy melodies and a sound that feels both nostalgic and refreshingly modern.
“Run” is the third single from Tallulah’s seventh album, Only Human.
Alternative dream rock four-piece Leem of Earth is entering a new creative chapter in 2026 with ‘SEE’, an ambitious concept album inspired by George MacDonald’s Victorian-era fairy tale The Princess and Curdie.
New York rock outfit Hazel Gaze bring a distinctly live-driven energy to their latest project, Strung Out: Live & Unplugged at the Brooklyn Conservatory, a recorded and visual performance that revisits the spirit of the classic unplugged sessions of the 1990s and 2000s.
If you’re in the market for a mainstream jazz pianist, Benny Green has a hell of a CV.
I Plead Irony are three long-time friends making alternative rock with punk and blues fringes, pairing dark themes, dry humour and a persistent fascination with contradiction.
Melodic, emotionally raw indie singer-songwriter Brendan Ranney returns after 19 years with Slightly Out of Focus.
Jess Yaffa is a New York City-based alternative-pop artist entering a new chapter in her music, one built entirely on her own terms.
The single carries that worn Americana space beautifully. It brushes against country without dressing itself in full country costume, western in its dust and plainness, but still tied to the folk-rock instinct that has shaped Lapides’ songwriting for decades.
Chris Connelly’s “Nothin’ But A Rock Song” turns Lou Reed’s 1974 voltage into a collage of sneer, glamour, cigarette smoke, media memory, and rock attitude, where surface carries its own kind of intelligence.
Beauty In Chaos and Ashton Nyte return to one another on “Home,” a restrained, intimate single that finds its force in space, recognition, and the quiet certainty of belonging.
Robin Ross and Carmine Gontz turn “Blood Lines” into a heavy, full hearted rock song about family as something inherited, carried, survived, and passed forward.
Longing, emotional distance and unresolved desire lie at the heart of ‘I Could Love You’, the new single and video from Charlotte, North Carolina indie-electronic / synthpop project Midniter.
Lowsunday’s Low Sunday Ghost Machine – Black EP turns their long return into something beautifully exact, carrying shimmer, distortion, loneliness, and melody through songs that make old ache feel newly legible.
Liverpool post-punk veterans The Room pull “Things Have Learnt to Walk That Ought to Crawl” back into motion, turning an early cult track into a sharp, jangling blast of doom-pop momentum.
Ecce Shnak’s “Anna O” pushes psychological captivity into a heightened art rock escape scene, with grunge weight, jagged vocals, and a video that brings the song’s inner conflict into view.
Swaggering in with an indie-rock kind of style and a silver-screen sensibility, ‘RUBBERNECK’ is the amalgam of Robyn Maddox’s acerbic wit, gymnastic vocals and a talent for writing a delicious hook.
GU-RU is the musical project of Leicester-based artist Gurulee, whose adventurous approach to composition channels the golden era of 70s prog and jazz fusion through a distinctly contemporary lens.
Los Angeles-based alternative indie rock duo CA in LA has released their highly anticipated Hindsight (Deluxe Edition), an expanded reissue of their debut album, featuring two new singles released earlier this summer.
‘Shaving A Dead Man’ stands as a persuasive reminder that tradition remains most vital when musicians treat it as ever evolving and never stagnant. JP Harris seems not interested in modernizing these songs for the sake of reputation, nor does he lapse into imitation. He embodies them through performance.
All these songs work together to let out a feeling. The music feels big and airy. The music never feels lost or empty. The music stays smart without losing any of the heart, leaving an impression of having witnessed something that cannot quite be described directly.
Ultimately, the album’s core revelation is also its simplest: just because something is fleeting doesn’t mean it didn’t matter. It makes connections precious. Soft Science transforms that realization into music of unusual warmth and scale, creating songs that shimmer precisely because they know everything around them can shift.
The Buttons, Glasgow’s purveyors of shimmering psychedelic pop, continue their prolific journey with their fifth studio album.
Strange DNA is a dark pop project exploring identity, transformation and the feeling of searching for where you truly belong.
The Tape Sessions brings together ten tracks charting the sound of Lincoln four-piece Sola across the mid-to-late 1990s
CANNING…having been brought up in and out of the Chicago rock scene, has endured to keep true to its roots of authenticity, diversity and individuality.
Although the title is a suitably incendiary choice for artists based in West Coast rap’s most sacred ground, here, in the current age, the revolution is more subliminal and subtle.
The official music video for Rebekah Snyder’s “The Fiddle Player Stays” out now.
Christ and The Machines is a project exploring the space between faith, technology, and human emotion.
FarFarAway is a nostalgic, high-voltage throwback to an era when mixtapes and legendary skate and snowboard videos were the ultimate soundtrack to discovering new artists.
