The Kind Hills Announce two new singles and third Album Little Epiphanies, Cross-Continental Indie Pop for Dreamers and Late-Night Wanderers
Julia Greenberg’s “Leaves” turns loss into something warm, plainspoken, and quietly hopeful, letting memory, humour, and live-room intimacy carry the song forward.
Ahead of their next album, Suneaters V: Heroic Dose, the band have dropped the single and video Johatsu.
Joined by maverick improvisers Tyshawn Sorey (drums), Mat Maneri (viola), and Henry Fraser (bass), Kim refuses to simply layer her instrument into a jazz arrangement as a texture.
Using saxophones, flutes, clarinets, harmonica, kalimba, loops, effects pedals, and his own voice, Greenfield adds layers of drones, riffs, ambient abstractions, and improvisational solos.
“Everybody Bleeds” is a modern rock anthem with a classic core about the hidden struggles people carry.
Heron shares final digital single Something Nothing ahead of limited physical pressing for Underground Sky.
London based dub reggae crew The Hempolics return with A Fistful of Covers, a brand-new EP released on ZeeZee Records.
“Travelin’ Heart” is an indie pop track with strong organic and Americana influences, built around acoustic guitar, mandolin, and pedal steel, and carried by a full-band arrangement that lifts into a dynamic, melodic chorus.
UNDEFY is the solo project of Rafal‚ Biernacki, a musician and producer with over 20 years of experience, previously known from the band Disperse
Formed in 2019, James White & The Wild Fire blend psychedelic folk rock with bluegrass, country, and Americana influences.
Where the Wild Things Are, the new one from Duane Hoover is out now.
‘By the Stars’ is the swooning new pop ballad from San Francisco’s Octavian Winters: a beautifully delicate contrast to the dark, angular post-punk of previous single, ‘Elements of Air’.
It was wonderful to behold the enchanting melodies that enveloped the audience easily and right from the start. Prochet tends to flirt with both pop and psychedelic genres but all the while maintaining an intoxicating sense of chord progressions, elevating the songs to be quite memorable.
Tom Tikka’s new album, Roomful of Strangers, released on May 1, 2026, is his fourth studio album and features the critically acclaimed single “The Day I Found You.”
Rising Hertfordshire indie rock outfit The Pedals return with their latest single, “Halfway,” an energetic and emotionally charged release that continues to cement their reputation as one of the UK’s most exciting emerging guitar bands.
Canadian ambient composers Alaskan Tapes and Portland’s Blu Miles unveil their collaborative seven-track album “Blank Slate, Open Space”,
Rising San Fransioco singer-songwriter Clarity Liao returns with her third solo single, “Love You More,”
Bring Your Own Hammer’s “From The Tombs” turns a harsh historical fragment into polished, melodic indie pop, giving a nearly vanished life movement, colour, and care.
“Melancholia,” Modesty Blaise’s returning album carries its fullness easily, with careful songwriting, odd warmth, and enough detail moving through the record to make the 25th Anniversary remaster feel genuinely worth returning to.
Newcastle-born, Paris-based folk-indie songwriter Tom Hancock has released his deeply personal and sonically adventurous debut album, Innate Subjects.
Post mortem is the new album from Melanculia, the longstanding solo project of Nino Sable.
UK indie singer-songwriter JK Jerome announces his debut single “Profanity,” out now.
Oklahoma City indie rock band Blueprint Tokyo will release their new six-song EP Dark New Days
Omaha-based artist EverWill returns with “Sure Thing,” a high-energy rock and pop-punk single
‘Moon Forces’ occupies a fascinating space between free improvisation, ambient experimentation, psychedelic abstraction, and communal ritual. Yet genre labels seem increasingly irrelevant the longer the record continues.
Rather than framing change as a clean break, ‘Residue’ treats it as accumulation, where traces of earlier selves persist within new configurations. The result is a work that resists closure, favoring continuity over resolution. Yea-Ming and The Rumours offer a record shaped by reflection, where emotional experience is neither resolved nor abandoned, but carefully held in view.
Many artists pursue authenticity through calculated roughness. Hoare arrives somewhere more convincing because he seems genuinely uninterested in controlling every aspect of the listener’s experience. ‘Double Exposure’ accepts uncertainty as part of its emotional vocabulary.
What distinguishes ‘Valence’ is its commitment to sustaining ambiguity without lapsing into opacity. Anderson does not seek to guide the listener toward a singular interpretation; instead, he constructs a space where perception itself becomes the subject.
These songs do not attempt to fix the past in place; instead, they allow it to remain fluid, subject to the same uncertainties that define the present. In doing so, Winter captures the peculiar ache of leaving something behind while carrying it forward, an emotional state that resists simplification and, in its complexity, becomes quietly profound.
Stoltz engages with themes of artistic identity and personal evolution without allowing them to become burdensome. Instead, he filters them through melodies that retain a sense of lightness, even when addressing more weighty concerns. ‘If You Don’t Know Me, Buy Now!’ stands as both a continuation and a refinement of his long-standing approach, a work that affirms his place as a songwriter capable of turning introspection into something quietly resonant.
Throughout ‘Paradise On Planet Popstar,’ Wishy demonstrate a keen awareness of how pop structures can both reveal and obscure emotional truth. What distinguishes the album is its refusal to treat escapism as either naive or inherently suspect. Instead, it presents the impulse to imagine alternate worlds as a natural extension of emotional life, one that can illuminate as much as it conceals.
The Loft once embodied the beautiful instability of early independent music: idealistic, combustible, romantic and fragile. ‘Badge’ revisits those qualities from the vantage point of experience rather than youthful volatility. It is not the sound of a band attempting to relive its beginnings. It is the sound of musicians discovering that survival itself can become a form of artistic evolution.
Kid Ginseng has crafted a release that honors electro’s foundational innovators while asserting its own identity with conviction. ‘My Tascam’ does not merely revisit an earlier sound; it reactivates the imaginative spirit that made electro revolutionary in the first place.
Saul Damelyn releases his second album, Kings, Queens & Dream Machines, a suite if songs of renewal, laughter and imagination.
A young pianist from Maine, Yvonne Rogers is mentored by fellow keyboard warrior Kris Davis, who also owns Pyroclastic and produced this album.
Montreal songwriter Matthew Spreen opens his debut album Particles with a quietly disarming act of irony called “Cheer Up!”
Hallucinophonics’ ‘Frozen Meridian’ maps the coordinates where Iceland’s glacial silence becomes a new language.
Ecce Shnak’s “Vincent” moves with theatrical force, operatic vocal lifts, jagged rhythm, and heavy art-rock bursts, turning a smug antagonist into something strange, sharp, funny, and fully alive
Foam Brewery celebrated 10 years of existence and hosted a show with Built To Spill, whose name graces arguably their best known beer.
Alternative pop artist Me The Machine released his anticipated debut album, The Flesh of the Innocent.
Burnt, a haunting ’90s haze of dark and dreamy alternative rock from Lost Velvet is out now.
Somewhere between insomnia, broken romance, and the glowing machinery of midnight America, John Beckmann has assembled Not Here Not There — a record that doesn’t politely arrive so much as drift through the back door carrying static, perfume, and the strange clarity that comes just before sunrise.
Irish artist Collette Brady-McEntee returns with her latest single “So Long, Solo”, a powerful pop track born from collaboration, connection, and quiet resilience.
“Don’t Stop” stands as a peaceful pause in a fast-moving world — an invitation to slow down and reconnect with what endures.
A companion piece of sorts to Daylight, Shape fills out the minimalist sound of its parent, beginning with the title track.
Sean will release a new album On 5th May 2026 entitled That’s When the Earth becomes a Star
At just 16 years-old, Ava Valianti continues to carve out her own lane in indie pop and poprock with her newest single, “The Conversation,”
Over 10 solo records, Salim Nourallah has crafted a broad catalog of tunes that tend to skew bittersweet yet jangly enough to remain effervescent. With ”Closer As A Star”, he’s as confident in this formula as ever, producing a fresh set of 11 tunes that are gorgeously analog in an increasingly AI-saturated world.
AIMOE, as the opening track from the upcoming EP marks a connection to past Warahenege tracks.
Mahta’s debut EP, Moonlike, is now out, taking its name from the direct translation of her first name,
What defines ‘Graceful’ is not simply its melodic strength or its adherence to a particular lineage of indie pop, but its commitment to balance. Joy and uncertainty, movement and reflection, immediacy and care all coexist within these songs without canceling each other out. Touch Girl Apple Blossom approach these contrasts with a light touch, trusting their material and their chemistry as a group.
What emerges is not just a document of what the Flyboys were, but a tantalizing suggestion of what they could have become, a band whose melodic instincts and restless energy continue to resonate well beyond their brief lifespan.
‘Miracle Drug’ stands as a carefully constructed work that values nuance over immediacy. Draag resist the impulse to clarify or simplify, instead offering a collection of songs that engage with uncertainty as a generative force.
For a group long associated with Japan’s underground, this release does not attempt to reintroduce or redefine Dowser. It simply extends their vocabulary, demonstrating how a project rooted in a specific historical moment can continue to evolve without abandoning its core sensibility. In that sense, ‘Schema 1+2’ stands less as a statement of reinvention than as a reaffirmation of process, one that remains open, exploratory, and quietly exacting.
The interplay between instruments including alto and tenor saxophones, piano, vibraphone, harp, guitar, flute, strings, double bass, drums, and percussion, carries a sense of attentiveness that cannot be easily replicated in isolation.
Evans approaches composition as a process of continual reconfiguration, where meaning arises through juxtaposition and transformation. ‘Daydream Observatory’ invites the listener into a space where perception itself becomes the subject, a shifting field of impressions that reflects the complexities of interior life without attempting to simplify them.
Me At The Zoo operate with a quiet assurance, shaping songs that value proportion, interaction, and restraint without reducing emotional impact. The result is a debut that suggests both discipline and potential, offering a foundation that feels considered rather than tentative.
The Cincinnati lineage of hard-edged garage rock lingers in the background, but SMARM do not lean on it as a crutch. What they offer here feels less like homage and more like continuation, music made with an awareness of what came before, yet unconcerned with measuring up to it.
Canadian’s finest export of tight pop songs are back with a fresh helping.
What distinguished this performance was not spectacle but cohesion. Each member contributed with a clear sense of purpose: Caulfield’s dual role as bassist and supporting vocalist added depth without distraction, Bailey’s guitar work balanced intricacy and restraint, and Newman’s drumming maintained a consistent structural integrity across shifting moods. At the center, Smith guided the performance with a focus that favored subtlety over overt expression, allowing the songs themselves to carry the weight of communication.
Throughout ‘Saw You Out with the Weeds’, Suitor demonstrates a keen awareness of space and density, using the expanded lineup not merely to amplify volume but to deepen the complexity of their arrangements. The live recording context proves essential, capturing a band engaged in active dialogue with itself, each member pushing against and supporting the others in equal measure. The result is a record that navigates the boundaries of post-punk and indie rock with a sense of purpose, offering a nuanced exploration of form, texture, and collective expression.
’In On It EP’ resists easy categorization, not through overt experimentation but through its commitment to nuance and detail. Miller and Matthews craft a work that engages with its materials thoughtfully, privileging texture, structure, and interplay over immediate impact.
What distinguishes this release is not just its compositional ambition but its sense of purpose. The album engages with its moment without resorting to didacticism, channeling urgency through structure and interplay rather than explicit declaration.
What stands out most about ‘Many Disappeared’ is its commitment to ambiguity. It resists the urge to tidy up its themes, instead presenting memory as something inherently unstable, shaped as much by what is forgotten as by what is retained.
Leather Temple is designed to serve as a soundtrack for a dystopian future in 2077, so yes, a concept record that serves as the final installment of his trilogy that began with 2018’s Leather Teeth. This record fits on the outside of goth, industrial, synth-punk, and stylized ’80s horror film soundtracks.
What makes ‘Live at Club 603 Vevey’ compelling is not its claim to greatness, but its refusal to chase it. Idaho, in this configuration, operates without the safety net of a fuller lineup, relying instead on trust between musicians, and between band and audience. The result is a recording that feels more like a shared moment, fleeting yet deeply rooted.
Across ‘Question Mark Upon The World,’ Fleur Bleu·e demonstrate a remarkable control of atmosphere and form. Ranging from the nuanced guitar work and textural layering to the subtle rhythmic frameworks, the musicianship serve the songs without ever overshadowing them.
Costa Rican American singer/composer/writer/visual artist/performance artist Dorian Wood fits comfortably in no box.
Award-winning singer-songwriter Sabina Chantouria returns with a vulnerable pop single
Composer-songwriter-producer Paul Terry unites his three musical modes for the new compilation album ‘Alternative Piano Club’
LP4 features the Chicago legends’ most darkly confessional songs to date, doubling down on the intricate production and complimentary guest roster of LP3.
This release pulls together the first two years of Boilermen’s existence.
As one might infer from that song title, the themes of this project are centered on Native American history, culture, and, of course, sadly, the attempted eradication of both over hundreds of years.
Martyrs 7th in their current run of 10 EP releases, The Church Street EP, is out now.
Kevin Driscoll’s new single, “Someday Got Away” is a deeply felt meditation on regret, possibility, and the life decisions we leave unmade
Moran and Gilmore adroitly navigate the thin but sturdy line between composition and improvisation, while BlankFor.ms sprinkles his synthesized fairy dust across the score.
After a 3 year hiatus; BATBI are back with a new single, P.T.A.B.
The Shrubs are an Indie/Psych rock band from Houston, Texas, “Let Us In” is their latest single.
“Glass” is the lead single from Frank Joshua’s upcoming 5th album.
London-based indie duo Apple Eyes return with “Freaking Out,” a charged and kinetic single rooted in nearly two decades of shared history.
Rather than simply amplifying their previous approach, Tokyo Shoegazer refine it, tightening the relationship between noise and melody until each becomes inseparable from the other. ‘Remains’ stands as a work of compression and release, where intensity is not a constant but a variable, shaped and reshaped across its duration.
Even within the constraints of a broadcast environment, Xmal Deutschland assert a self-contained logic, shaping each performance with unwavering focus. Heard in sequence, ‘The Complete BBC Peel Sessions’ becomes more than a compilation; it is a narrative of artistic evolution, capturing a band testing its limits, refining its language, and ultimately arriving at a sound that balances immediacy with sophistication.
The Denisons present these songs not as milestones but as lived experiences, shaped by time and carried forward through continued engagement. The record captures a band that has learned to trust its own voice, finding meaning not in grand statements but in the subtle, persistent act of making music that reflects the complexities of everyday life.
What distinguishes the record is its disciplined approach to atmosphere. Saunar-Pedersen draws from traditions associated with dream-pop and minimalist guitar music, yet he resists the temptation to overindulge in texture. Each track is shaped with an awareness of proportion, ensuring that the album’s mood remains consistent without becoming static.
With only three tracks, ‘EXIT EP’ does not attempt to offer a comprehensive portrait. Instead, it functions as a concentrated statement, one that suggests a band already in motion rather than one still finding its footing.
What ultimately defines ‘While We’re Dead 3’ is its refusal to present itself as a definitive statement. Instead, it operates as an invitation; an entry point into a network of artists who are still in the process of becoming. The compilation does not attempt to predict where these musicians will go next, nor does it impose a narrative of progress.
Across ‘GLOW: Music for Trio…Add Voice’, the interplay between these four musicians reveals a shared commitment to listening as an active, creative force. The album does not seek to resolve the complexities it engages with; instead, it presents them with clarity and conviction, allowing the music itself to carry meaning.
Sugar Plant have created something that resists easy categorization. It is neither retrospective nor overtly forward-looking, but instead occupies a space of quiet certainty. The album’s strength lies in its ability to articulate a fully realized aesthetic without excess, offering a listening experience that is both immediate and enduring.
Brighton-based indie artist Fierce Friend returns with “Blood Red Hills,” the first single from the forthcoming album Blood Red Hills & The Uncanny Valley
After working with modern jazz stars like Mary Halvorson, Dave Douglas, Joel Ross, and Linda May Han Oh, trumpeter Dave Adewumi makes his debut as a leader.
Heddy Edwards returns with a slice of pop rock in the form of “Dreamcast”
Colorado-based modern rock outfit Dirty Snowman Society returns with their latest single, “Slow Water.”
Rising UK funk and soul outfit Molly Gone Mad return with their latest single, “Got To Go.”
Rising pop-rock artist Maryann Connolly continues to define her own lane with her fearless storytelling and uniquely expressive sound.
The Danphes, hailing from Norwich, England, brings a fresh indie sound to the scene.
Hope in Hell is the second album from Seattle music maker Hot Hail!
Los Angeles–based violinist, composer, and looping artist Chris Murphy here as Seven Crows releases his second instrumental album, Powers of Observation.
Sawtooth Witch is a genre bending band that blends fiddle, fingerstyle guitar, and electronic inspired dance beats
Second album from Minneapolis-based pop-rock favorites The Long Honeymoon
Second single from the upcoming The Pebble EP (2026), following the release of ‘Rapture and Rupture’ in December 2025.
George Collins Band returns with “My Island Life,” an uplifting, reggae-inflected single that captures the carefree spirit of tropical living
Alla Igityan Releases New Single, “Another Monday”
Delivering a mix of rock, soul, melody, punk, and a dash of classic psychedelic sensibilities, The Flavor That Kills released their edgy, genre-fluid album Thunderbird Lodge
Punk-funk band Def Nettle release kinetic new single ‘The Party’ on Friday April 24th 2026, alongside a remix version by GLOK – aka Andy Bell (Ride, Oasis).
While Gifts paid tribute to Duke Ellington’s co-composer Billy Strayhorn, Transcend salutes the man himself, with a similar blend of challenging originals and Ellington classics.
The unique intensities of OOIOO and Lightning Bolt make for a well-paired split LP from two of Thrill Jockey’s most enduring acts.
What emerges is not a conventional city portrait but a layered acoustic map of San Antonio as it is remembered, mythologized, and continuously reinterpreted. Capps does not attempt to simplify this complexity; he amplifies it, allowing contradiction, humor, devotion, and noise to coexist without resolution.
‘Under My Umbrella’ succeeds because it treats emotional complexity as a landscape worth mapping in detail. Miss Grit does not present clarity as a destination but as a fleeting state, one that must be continually renegotiated. In doing so, the album becomes a quiet act of defiance against the pressure to appear resolved.
‘Making Colors’ does not present improvisation as a display of virtuosity, but as a method of inquiry. It asks how sound can be organized without predetermined structure; how three distinct voices can converge without losing their individuality.
‘Dawn Club’ operates as a study in subtle transformation, where shifts in tone and texture carry as much significance as melody or rhythm. Rather than presenting a series of discrete compositions, Osmium House offers a continuous environment, one that invites immersion without demanding resolution.
By revisiting these neglected seeds, David J has cultivated a bloom that is both striking and profound. ‘Tracks From the Attic Revisited’ is a rare instance where the dialogue between an artist and their past results in a future that feels both inevitable and essential.
Rather than resolving the album’s thematic threads, it holds them in suspension, allowing ecological and temporal motifs to coexist without closure.
‘Shop Talk’ does not seek to overwhelm; it persuades through focus, leaving an impression that lingers not because it demands it, but because it earns it.
Hailing from Olympia, Washington, Storm Boy is a post-hardcore collective born where punk urgency collides with sweat-soaked joy. The project combines guitarist/vocalist Chas Roberts, drummer Jeremy Anderson, guitarist/vocalist Charli Beaumont, and bassist Kuba Bednarek — each one bringing their own momentum, muscle, and push to the room. The result is a Pixies meets Fucked Up at a Chuck Ragan hosted birthday party for Ian MacKaye…basically — it’s big.
Paula Boggs Band blends Americana and jazz. With a “Seattle-Brewed Soulgrass” sound, the band has performed across the US and British Columbia since 2008 and released its first album, “Buddha State of Mind” in 2010. 2022’s studio album “Janus.” The band released “Live at Sweetwater Music Hall” in 2024 and just released their 5th studio album, “Sumatra,”in March 2026. Paula Boggs Band is sponsored by Deering Banjo Company, Breedlove Guitars, Radial Engineering, and is an Ear Trumpet Labs Ambassador.
Mt. Kili, the brainchild of Asheville, North Carolina singer-songwriter Rick Sichta, has carved out a distinctive space in the contemporary folk landscape with a sound that defies easy categorization. Drawing from his transformative backpacking experiences through China, Tibet, and his trek to Mt. Everest — experiences that inspired the project’s evocative name—Sichta creates music that resonates with heartfelt authenticity and universal emotional depth.
Minneapolis-based indie rock band THE LONG HONEYMOON has been filling venues and exciting fans for more than 3 years with their high-energy shows, featuring original songs with their signature multi-part harmonies, deft arrangements and tight grooves. It’s members, veterans of a variety of beloved Twin Cities’ bands (The Humbugs, Lee Rude, Atomic Flea, The Bazillions, Charlie Bucket, and The Radio Spares), combine a deep love of classic pop-rock with a modern sound and joyous spirit.
Based in Houston, Texas, A.G. McIntosh is a singer-songwriter who collaborated with Kris Klein (of Squad Five-O fame) and pianist Jon Davis for his latest release, “Better Than the Last”. The single delves into the artist’s journey into fatherhood and introspection. The song reflects on past mistakes and the desire to become a better person. With a stripped-down style and punk-influenced vocals, the track stands out for its emotional depth and pro-family message. This single is a foretaste of the forthcoming 6-song EP to be released in the fall of 2026.
There’s a kind of exhaustion that just sits there and doesn’t leave. “Against the Waves” comes out of that. Not a protest song. Just pressure. Political tension in the background, getting older, things not resolving. Still pushing through it. It opens on a simple 80s leaning line, then widens into something heavier. The chorus feels like distant horns through fog. Vocals are layered and blurred, more about weight than clarity, before everything pulls into a final crescendo.
Bliss Abyss is throwing its self-titled album out there, as shoegazing bends are carried by power-pop and post-punk tunefulness, with head designer Peter Wallner leading the way.
Floating Sheep is a fresh ensemble bringing new, vibrant, and cutting-edge jazz to the stage. The group performs original compositions influenced by contemporary global music trends—blending ceremonial sounds and electronic textures, all rooted in the pure art of live performance and improvisation. At the forefront of their sound is an instrument rarely seen in the genre: a set of Handpans. The unique sonic texture of the handpan leads the ensemble’s identity.
It’s not simply a matter of writing straight jazz melodies and ornamenting them with buzzes, thuds, clanks, and other noises – the nine songs captured here incorporate the clamor.
Darling Black is a minimal wave / synth pop solo project created by artist & community builder, Dylan Hundley. Dylan is also the lead singer of NY based Lulu Lewis, the host of Radar on The Vinyl District featuring conversations with musical artists & leaders, and the curator of Salon Lulu which is a monthly multi-disciplinary music & art series held at various locations in NYC & Brooklyn.
Island Ghosts, the sophomore album from Toronto bassist, composer, and bandleader Alex Lakusta, arrives April 17, 2026 on release guru. Written for a six-piece ensemble, it blends modern jazz detail, post-rock scale, fusion edge, and electronic warmth into a memory-soaked, cinematic arc. Led by melodic, narrative basslines and patient, widescreen arrangements, Island Ghosts extends the promise of 2022’s Transmit Slow into a cohesive, emotionally precise world.
Tabitha Zu originally released “On Reality” on 26 October 1992 (TLF 003, 12” only). The single captured the band at their full force – a driving, energetic and magnetic track that translated their compelling and exciting live energy onto vinyl. Now, over three decades later, “On Reality” is finally being released across all major digital platforms – bringing this long-unavailable recording to a new audience while reconnecting longtime listeners with a vital moment in the band’s history.
As the final single released ahead of the full album Signals in the Dark, “Please Don’t Make Me Come Back From the Moon” finds E.G. Phillips suspended in orbit — broadcasting from a place of distance, quiet clarity, and deliberate withdrawal. Atmospheric, moody, and gently surreal, the track unfolds like a remote transmission, wrapped in waves of static and radio interference that blur the line between signal and silence
‘Rare And Deadly’ ultimately stands as a study in creative flux, a reminder that the most compelling work often exists just outside the boundaries of completion.
Throughout ‘lustre & shine’, Golden BooTs resist the pull of overt statement, instead allowing meaning to accumulate through texture, repetition, and subtle variation. What emerges is a record that values nuance over declaration, inviting close attention while maintaining an unforced, unassuming presence.
The guitars and synths, handled by members whose identities blur into the project’s shared ethos, rarely function in isolation, instead forming a shifting surface over which the rhythm section exerts quiet authority. That foundation allows Diver’s voice to move freely, delivering observations that are at once detached and incisive.
What ultimately distinguishes ‘RIGHTEOUS LIGHT’ is its ability to condense a wide range of ideas into a tightly controlled framework. D.Sablu and collaborators avoid the temptation to overextend, instead focusing on how much can be communicated within clear limits.
Choncy approach punk not as a fixed tradition but as an open question, one that ‘Trademark’ refuses to answer definitively. By dismantling the idea of a singular voice or style, the band arrives at something more fluid, more elusive, and ultimately more compelling.
Taken together, ‘The Closet Tapes Vol. 1’ and ‘The Closet Tapes Vol. 2’ resist the conventional expectations of an archival release. Rather than consolidating a past body of work into a definitive statement, they present a living archive, one that acknowledges the provisional nature of creation and the value of preserving ideas in their most immediate form.
What ultimately defines ‘Hoggar’ is its sense of purpose. It is a work that acknowledges its own lineage while quietly extending it, ensuring that the music remains not only relevant, but alive.
Trujillo’s work here situates itself within contemporary jazz discourse not by expanding its vocabulary in abstract terms, but by reasserting the importance of collective presence, real-time decision-making, and the porous boundary between composition and improvisation.
‘The Ledge’ sustains its focus through interaction rather than assertion, offering a model of trio performance defined by attentiveness, restraint, and shared authorship.
Dan Moore is a keyboard player, composer and producer based in Bristol, UK. He is releasing his debut solo release, Kielder Water Music, on 6th March 2025. Kielder Water Music is a musical exploration of the Kielder Water reservoir in Northumberland, the site of a controversial redevelopment plan dating back to the 1960s.
Skin on Fire is the debut solo EP from France-born, Oxford, UK-based singer-songwriter Camille Baziadoly. The EP features Camille’s 2024 single “Skin on Fire” and follows her acclaimed 2025 collaborative album Fifteen, which saw her working with Oxford producer The Filthy Honey. Skin on Fire EP is a collection of five tracks written by Camille and produced by fast-rising UK producer Sebastian Reynolds.
Margaret Hermant is a Belgian violinist, harpist, producer and composer based in Brussels, Belgium. Well known as founder member of the globally renowned new music ensemble Echo Collective, Margaret’s debut solo album, Freedom, will be released on the Neue Meister label on 17th April 2026. Freedom follows a series of soundtrack films that Margaret has composed including 2025’s scores for films A la Cara and Mallorca Confidencial.
“After Renee Nicole Good’s murder by ICE agent Jonathan Ross here in Minneapolis on January 7, 2026, I began writing songs that more explicitly address the situation we’re in. I find the ‘protest song’ challenging, as it requires a directness that I tend to avoid in my songwriting. This is my third serious attempt as of late and the one with the most rousing, energizing chorus of the bunch. I am so moved and inspired by the bravery, intelligence, and steadfastness of my fellow Minnesotans in the Twin Cities who, against the odds, are acting tirelessly on behalf of our most vulnerable community members. This song is for them.” – Sumanth Gopinath, The Gated Community.
Untold River is the evolving solo project shaped by time spent between Manchester, Seattle and *San Luis Obispo*—three places that continue to inform both the sound and spirit of the music. Each city has left its mark not only in atmosphere, but through the collaborators encountered along the way. This latest song, self-produced, however, is very much about Manchester.
A second chunk of curator/producer Zev Feldman’s Record Store Day releases constitute a trio of veterans at the top of their game.
Lady Nade – one of the UK’s most loved and distinctive voices – returns with ‘Bloom’, the final single before her eagerly anticipated album ‘Identity’, set for release this summer.
On Friday 13 March, the Belgian band ru·is released their debut single adreamwithinadream. The song is a composition built around the eponymous poem by Edgar Allan Poe. What begins as a grounded singer-songwriter piece slowly unfolds into a cosmic death waltz – somewhere between folk noir and a hazy fever dream.
