Portland-based KALLAI announced Forever Could Never Be, the follow-up to the band’s debut LP, We Are Forever
Barry J Walsh’s latest single, “Star Ride”, is a supersonic slice of celestial pop, scoring the heavens with soaring harmonies and glammed-up jangly guitar riffage.
Boston songwriter Leah Callahan’s 5th solo album in 6 years, “Our Lady of the Sad Adventure”, out June 1, 2026, is a reverie which dials up dreamy synths, spacey beats, and captivating melodies.
Bay area-based composer Dren McDonald has been releasing music since the 1990s, setting standards with his work scoring video games, and winning gaming industry awards along the way for his efforts.
‘Spike And The Gandy Dancers’ is an American group from Minneapolis, Minnesota, founded by singer-songwriter Peter VanDusartz
Widowspeak sound neither nostalgic nor concerned with reinvention for its own sake. Instead, ‘Roses’ captures a band deepening its existing strengths and discovering new emotional shades within a familiar palette.
The album’s greatest accomplishment is its emotional intelligence: it recognizes contradiction as a permanent feature of human experience and finds beauty within that uncertainty. With this debut, Maisy Owen establishes herself as a songwriter of uncommon depth and sensitivity.
Far from existing as an auxiliary release, ‘Horrorble’ stands as a substantial artistic statement in its own right. It examines the same troubled world as its predecessor but from a different vantage point, replacing direct confrontation with reflection, atmosphere, and sonic archaeology. What emerges is not a diluted version of ‘Horror’ but its mirror image: darker in some respects, more contemplative in others, and every bit as compelling.
Broken Record understand that routine can be both prison and foundation, limitation and necessity. Their debut transforms that contradiction into compelling art, resulting in an album that is emotionally intelligent, musically assured, and remarkably perceptive about the realities of contemporary existence.
‘The Rosy Red World’ refuses to separate political consciousness from ordinary human feeling. Labrador understands that systems of exploitation do not merely destroy economies or governments; they reshape friendships, intimacy, memory, and identity itself.
What singles out ’Felix Culpa: The 30th Anniversary Edition’ from many rediscovered underground records is how little it depends upon historical context for its power. The album does not survive merely because it anticipated future trends. It survives because Poem Rocket pursued emotional and sonic ambiguity with rare conviction.
Throughout ‘Divided By Dusk’, Magda Drozd demonstrates exceptional skill as both composer and sonic storyteller. Her performances on violin, electronics, Lyra-8, and voice form the foundation of a sound world that is meticulously crafted yet emotionally open.
More than two decades into their partnership, Hammock continue to refine a musical language that belongs entirely to them. Categorized variously as ambient, post-rock, shoegaze, or neoclassical, their work has always exceeded such labels.
What makes ‘In Praise of Shadows’ so persuasive is its refusal to treat darkness as either menace or romance. Instead, it approaches obscurity as a necessary condition for perception itself.
The first thing you notice about this Lincoln, Maine-raised and now “nomad musician wanderer” folk troubadour’s fourth LP is his imposing, grandiose voice; Augustine’s eloquent, operatic croon recalls a more classically trained Roy Orbison.
Across his releases, Aaron blends blunt, memorable hooks with lyrical clarity, delivering records that feel immediate and lived-in.
Rooted in a search for authenticity, The Woodsmen emerge from a musical landscape often dominated by imitation and repetition.
Australia’s roving merchant of industrial synth crust, Schkeuditzer Kreuz, releases their next 7” vinyl single, ‘Keep Dancing’,
Citizen Smith, are a band hailing from Norwich, England, with influences ranging from the Beatles to REM and Big Star.
Double-titled disk ResoNation Trio/Ultra Resonance finds Bernstein wandering two different but intimately related paths.
Luna Day is an alternative pop singer-songwriter and multi-instrumentalist with a focus on writing infectious melodies, honest lyrics, and connecting with her audience.
The Gods They Made are a four-piece indie alt-rock band from Geneva, Switzerland.
New single from The Heat Inc, True Romance now out.
Formed in 2009 and featuring members of Hepcat Dilemma, Special Ed, Fuzzy Comets, and A.T.S., this Pittsburgh quartet finally follows up their 2010 debut You Can’t Drink All Day Unless You Start in the Morning.
Dublin-based collective Akrobat return with their new single “Dirty Gathering”, marking a further step in the band’s evolution across indie, new wave and art-rock.
George Collins is a transatlantic storyteller based in Prague and Key West. His writing brings soulful flair to the worlds of rock music, novels, and television!
Euplasia is a Nottingham-based independent artist, songwriter and NHS doctor creating emotionally driven indie pop/rock that balances melodic hooks with honest, real-world storytelling.
Return to 1990 with this saucy slice of Bay Area-meets-Tampa hip-hop (and funk and jazz) that wound its way into mainstream ears through sheer catchiness.
This Alton, IL-born, Denton, TX-based, ex-Moon Festival singer/guitarist has been busy, following up 2022’s Marty Willson-Piper co-produced A Nuclear Winter with these ninth and tenth LPs, recorded with songwriting friend Billy Harvey.
Lurcher’s second EP Bad Gag delivers on the promise of their debut With Love.
“Since Emilia” is the 4th single from “Nu York” Neo-Grunge & Punk band YACOVELLI, fronted by longtime underground veteran Alex Yacovelli.
Forgotten Garden are a Scottish-Portuguese Indie band
Leyla Romanova is a multigenre composer whose work spans nearly the entire musical spectrum — from the grandeur of the symphony orchestra to innovative electronic soundscapes and intimate pop-jazz inflections.
Alt rock artist e.lissa releases “Just Might,” a Pride Month anthem about self-discovery
“Say, I” is the new video/single from Scarlet Ayliz
With Cotton Mather on ice, Robert Harrison returns to Future Clouds & Radar for Big Weather, the combo’s first album since 2008.
The third album from this Woody Allen Sleeper robot-named Mount Airy, NC trio compiles two recent six-song EPs, 2024’s Ghost From Your Past and 2025’s Blue to Infinity.
Like they did on 2023’s Strange Empires, this Portland five-piece combine buoyant, shimmering dreampop with noisier forays into speedy, fermenting indie rock on their second full-length.
The American Boys (The Ballad of Frank Gusenberg and the St Valentine’s Day Massacre) is the latest single from David Omlor.
Artists like BLOCK don’t come along that often. When they do, they act as a sort of benchmark, a backdrop that can bring into sharp focus the fact that most music in the modern age is unadventurous, happy to follow the pack, do more of the same, be, well, whatever the opposite of unique is.
These four are all old friends who interact musically the way siblings do whenever they get together, no matter how long it’s been since the last time.
Tom Tikka teams up with Nolen Chew Jr. of The Star Prairie Project for a killer slice of Americana, Runaway Baby
Spinors is an Alternative Rock band with a Steampunk aesthetic based in London, United Kingdom, founded by Sergie Code, its singer and guitarist.
Tiger Adopt is the studio project of London-based composer, multi-instrumentalist, and singer Sam Bishop
Post-punk desert lullabies and sonic anthems for the downtrodden.
‘La Encantadora Furiosa’ (“the furious enchantress”), is the second release from The SPKtR in 2026,
‘Carousel’ acknowledges the disquiet of existing in a world where personal expression is constantly mediated and quantified, yet it insists on the value of sincerity as a counterforce. The album’s rotating cast of voices and textures becomes a metaphor for this belief, suggesting that meaning is not something to be secured in isolation but something that takes shape through shared experience, however fragile that process may be.
Many records aspire to timelessness by stripping away contemporary markers. ‘Adormidera’ reaches something more profound. It does not sound detached from time; it sounds adjacent to it, as though these songs had been quietly waiting for the precise conditions under which Foster and Herrero could finally give them voice.
What lingers most after ‘Thresholds’ concludes is its refusal to offer interpretive certainty. Anderson does not guide the listener toward resolution or conceptual clarity. Instead, he constructs environments in which memory, decay, natural force, and subconscious imagery circulate freely, colliding in unpredictable forms.
