Scottish progressive metal band Surface Detail have released 'This Lantern', offering another preview of their forthcoming album due this autumn. Built around an unusual 7/8 rhythm, the track combines off-kilter grooves, dissonant guitar work and heavier rhythmic sections with a more theatrical approach to songwriting. Guest vocals from High Voltage frontman Robbie Horn add another dimension to the arrangement. The song was developed after guitarist Adam Anderson and drummer

Summerhouse’s ‘Burn All Night’ lives in that brief, thrilling window before consequences arrive. The second single from Conall Hill’s forthcoming debut EP rewinds the story introduced on ‘All I Know’, returning to the night when attraction still felt uncomplicated and the future had not yet had time to become messy. With blackbird (the alias of French vocalist Angie Robba) at the centre, the track turns flirtation, nerves and barely concealed desire into a rush of indie-pop e

‘Burn the Witch’ begins with an accusation, but herbie the rabbit is far more interested in the people standing around and watching. The first single from Dan Marsh’s new solo project takes aim at conformity, complicity and the ease with which hearsay can harden into accepted truth. But instead of writing a straightforward protest song, he approaches the subject with dark humour and a kind of detached fury, turning our attention towards the uncomfortable space between believi

Loose Goose sound like a band finally done pretending everything is fine. And on their new album 'Going Nowhere Fast', the Gold Coast four-piece take three years of industry pressure, personal fallout, exhaustion and comparison, then throw it all into a louder and more ambitious version of themselves. What started as a four-song session eventually became nine tracks, and that accidental expansion suits an album that thrives on emotional overflow. ‘Achilles Heel’ opens with it

North Jersey art-rock collective Lone Till Payday have released their debut album 'the People and the Places, marking a major first step for a band formed only in summer 2025. The record is shaped by the relationships, family ties and local communities surrounding the group, with collaboration playing a central role throughout. Additional musicians, guest vocalists and relatives all contribute across the album, including a choir featuring multiple generations of family member

Max Swan is no stranger to building big musical arrangements. His previous work has sometimes involved dozens of vocal parts and layers of instrumentation, making the decision to keep “LMK” comparatively lean an interesting one. Here, the piano has plenty of room around it. Swan’s vocal sits clearly in the mix while EWI, sax, cello and bass are used to fill out the track rather than create a dense backdrop. The result puts more attention on the shape of the melody and the det

There's something fitting about Cave Shine calling their new EP 'Memory Serves' as their music already feels like recollection in motion. It's blurred at the edges, emotionally precise at the centre, and constantly suspended somewhere between what has been lost and what still lingers. The North Carolina dream-pop and shoegaze project lean into that tension throughout the release, pairing shimmering guitars with expansive layers that seem to stretch well beyond the songs thems

LARGE TEENZ introduce themselves with exactly the kind of left-field confidence their name suggests. ‘Deal Me In’, the first single from forthcoming debut album 'Burnt Endz', takes the duo’s irreverent worldview and funnels it through an alt-country portrait of Las Vegas excess. Made up of Samuel Huntington and Patrick Manian, the pair arrive with years of shared history behind them through Mobile Steam Unit, but this new project feels deliberately less contained. Their wider

Photo Credit: Aron Cahill Lex Bucha is back with his new single ‘Faithless (Sacrifice)’, and this one feels a little different. It’s darker, more direct and, at its heart, incredibly personal. The Dublin singer-songwriter uses the track to work through the people and institutions that have let him down, while trying to leave their judgement behind. For Lex, that’s closely tied to growing up in Ireland and coming to terms with himself in a country where the influence of the Ch

Talon David is embracing the label of “villain” on her latest project rather than attempting to escape it. Villain, the first half of a fairy-tale themed double album, transforms the experience of being misunderstood into an expansive alt-pop and neo-soul statement. Across eleven tracks, David examines the complicated relationship between personal identity and the stories other people tell about us. The project grew from a specific professional conflict. After David was scape

Call it a genre, a working description or simply a useful way of explaining the music. BRYANT KEITH calls his approach “psychological R&B”, and “IMPATIENT” gives a pretty good idea of what he means. KEITH, an artist, songwriter, producer and psychologist originally from Indianapolis and now based in Houston, approaches R&B from a particularly personal position. His new single is less concerned with romantic fantasy than with what happens inside a person when a relationship st

Joshua Woo’s ‘The Typewriter’ feels like a warning disguised as a piece of dark theatre. As the third single and centrepiece of forthcoming debut album 'Remove The Name', the track pulls gothic rock, orchestral drama and electronic texture into a brooding meditation on identity, authorship and the unnerving ease with which technology can flatten the individual. There's something almost inviting about the central image of the typewriter (physical keys, ink, paper, permanence),

Memory has a habit of editing the past, and MOLTENO captures that uncomfortable truth beautifully on ‘Daydream’. The second glimpse of forthcoming EP 'Element 3' finds the London alt-pop artist looking back at a relationship she knows was damaging, only to discover that distance has softened the edges enough to make it strangely desirable again. Throughout, analogue synths and repeating arpeggios drift in circles, creating the sensation of returning to the same thought despit

Photo: Steven Haddock Weekend Millionaires waste no time making themselves known on debut single ‘Dopamine’. The Sheffield trio arrive with a sharp blend of indie-rock, Britpop instinct and pop immediacy, giving the track enough bite to feel urgent while keeping the chorus firmly within singalong territory. The opening guitar does much of the early work. Drenched in delay, it lands with a slightly disorienting edge before Maisie’s vocal cuts through with a directness that imm

Rusty Reid approaches ‘I Can See Clearly Now’ with the confidence to leave its heart untouched. Instead of forcing Johnny Nash’s classic into a drastically different shape, he preserves the song’s natural optimism and builds around it with a rootsier, more personal touch. The arrangement, shaped with Nashville musician Jed Demlow, keeps the track buoyant and uncluttered, with keyboards, bass, drums and percussion creating a light rhythmic bed for Reid’s vocals and guitars. Th

With Colours in Your Mind, Dutch composer, guitarist and producer Guy Renardeau, better known as The Blues Guy, approaches the blues as a living language rather than a fixed tradition. Across seven tracks and just under 27 minutes, The Blues Guy & The SHADES OF BLUE brings together blues, rock, jazz, soul, R&B, ambient textures and cinematic composition, creating a record that feels rooted in the emotional history of the genre while remaining firmly contemporary. Renardeau’s

There is an unmistakable sense of theatre surrounding Lovisa Altin’s “The End of the World.” Taking the iconic song by Arthur Kent and Sylvia Dee as her starting point, the Swedish artist transforms its familiar emotional landscape into the opening sequence of an ambitious science fiction inspired adventure. Dark, cinematic and ultimately hopeful, the track introduces an artist who clearly has no interest in treating music as an isolated experience. For Altin, a song can be a

‘Caught In A Flashback’ feels like a decisive shift for Stomp Box Choir. Darker, stranger and more immersive than their earlier material, the track places Joe Stratton and Howsie on lead vocals for the first time and uses that change to push the project into more psychologically charged territory. The song begins with a refrain that feels like the aftermath of something we haven't yet heard, immediately placing us inside a loop. And it's that sense of circularity that becomes

Miles Jenson’s “North Star” is an ambitious and striking piece of songwriting that transforms political unease into something deeply human. Orchestrally arranged and produced by Vincent Ott, the track finds Jenson looking beyond personal experience to examine the forces that shape division, resentment and fear in contemporary America. Yet for all its weighty subject matter, “North Star” never feels like a lecture. Instead, it is an emotionally charged invitation to question t

There is an appealing confidence to Lily Franc’s The Fitting Room, particularly given that its subject is the uncertainty of becoming an adult. Across six interconnected songs, the young Dutch singer-songwriter explores the awkward space between expectation and reality, creating character studies that feel intimate without becoming insular. Her approach is refreshingly empathetic. Rather than presenting growing pains as something to conquer, Franc treats them as part of the p