UK techno artist ADRIANNA continues the rollout towards her forthcoming album ADRIANNARCHY with Power Back Remixes, a two-track EP featuring acclaimed Italian producer T78’s contrasting interpretations of ‘Power Back’. Released September 25 via her TMPL Music imprint, the project launches a seven-week remix series that will see artists including Wehbba, Alex Stein, Christian Smith, Drunken Kong and The Obsessed rework tracks from the album ahead of its October 23 release. T78

Radiola’s Version of Life is the kind of debut that refuses to reveal all its cards at once. The Paisley outfit move through indie rock, Americana, post-punk and experimental guitar music with an instinct for contrast, creating an album that feels exploratory without becoming unfocused. Following their sold-out BBC Introducing showcase at King Tut’s, it’s a strong introduction to a band clearly intent on carving out their own space within Scotland’s guitar scene. The album’s

Atticus Roness makes a spirited case for the enduring power of rock ‘n’ roll on Rock ‘N’ Roll Hit Parade, a 13-track album that embraces the melodic invention of The Beatles, the swagger of The Rolling Stones and the youthful exuberance of The Lemon Twigs without becoming trapped in the past. Years in the making, the record feels less like an exercise in retro revivalism and more like a celebration of everything that makes great rock music so infectious. Roness has a clear af

Some songs have a short life. They are written, recorded, released, and eventually replaced by the next idea. “Streets of Love, Pt. 1” took a very different route. Nearly eight years after Calcutta-born artist weyvir first wrote the song as a high school student, it has finally arrived as a fully realised piece of indie rock songwriting. The track began with its chorus, which came from the emotional confusion of heartbreak and the frustration of feelings that could not quite

There’s something immediately familiar about Sanjay Michael’s ‘Baby Baby’. The Singapore-based singer-songwriter and guitarist taps into the swagger, groove and sheer fun of classic rock, bringing plenty of big riffs and bluesy attitude without making the track feel like a simple trip down memory lane. Drawing on the spirit of ’70s and ’80s rock, the track carries echoes of Hendrix, AC/DC, Guns N’ Roses and Van Halen, but Sanjay gives those influences plenty of room to breath

Wardrobe Malfunction aren’t particularly interested in staying in one lane, and ‘Made 2’ is a pretty good demonstration of that. The latest single from the five-piece jumps between psychedelic rock, funk-jazz and indie pop, throwing plenty of ideas into the mix without ever losing its grip on melody. It’s adventurous and slightly unpredictable, but there’s a playful quality running through it that keeps everything feeling natural rather than overly technical. The band’s story

With debut album Helpless, Danish singer-songwriter Frederik Damhus introduces the wider world of Torrent Sound, a dreamy folk-pop project that finds plenty of room between intimate songwriting and atmospheric production. Across the record, acoustic guitar, harmonica and Damhus’ warm, textured vocals sit alongside synths, saxophone and organic instrumentation, creating a sound that can feel both close and expansive. There’s a thoughtful, understated quality to the album, with

Bristol four-piece Spin Class come roaring back with ‘Rip ‘N’ Dip’, a hefty, groove-led rocker that wastes no time getting under your skin. Fuzzed-up guitars, pounding drums and soaring vocals give the track plenty of weight, but there’s also a strong sense of melody running through the noise. Recorded live with producer Josh Gallop at Stage 2 Studios in Bath, the track is all about building tension. It starts relatively restrained, gradually locks into its central groove and

Kieran McKenna’s “TOO MUCH TO ASK FOR” delivers a confident blend of indie rock, alternative pop and punk, built around gritty guitars, punchy drums and a driving bassline. Produced alongside Max Topelson, Sighmon and Berlo, the track retains an organic, live feel, with deliberately unpolished textures adding character to its energetic arrangement. McKenna’s vocal performance moves effectively between restraint and intensity, complementing the track’s dynamic production while

Sighmon’s REPTILE marks a confident step forward for the Los Angeles-based artist, bringing together his Florida roots with a fluid blend of indie, R&B, alt-pop and hip-hop. Developed through years of DIY experience and collaboration with producers Charlie Hartwell and Jack Pavlina, the album balances organic instrumentation, atmospheric production and contemporary rhythmic elements with a clear sense of artistic identity. “Soldier” establishes the record’s reflective tone, w

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

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

Atticus Kane’s “Love Me Not” is a spirited and sharply observed piece of indie rock that turns an intensely personal experience into something considerably larger. Fast-paced, melodic and propelled by a restless energy, the song explores immigration, identity and belonging without sacrificing its sense of immediacy. Kane takes the unlikely inspiration of persistent political robocalls and transforms it into a thoughtful meditation on what it means to love a country while rema

There is something wonderfully unruly about Scizzorman’s HOW TO GET YOUR LIFE RIGHT WITH WHAT’S LEFT. After stepping away during the post-pandemic period and emerging from a bout of writer’s block, the Australian alternative funk-rock and psychedelic outfit return with a seven-track album that seems determined to resist every obvious definition. Across just over 30 minutes, the band move between funk, glam, psychedelia, stoner rock, swamp blues and trip-hop influenced ambienc

There is something quietly majestic about Melody Briar’s “The Intangible Man,” a song that approaches loss not through grand declarations but through atmosphere, detail, and a keen understanding of memory. From its opening textures, the track establishes a dreamlike world where acoustic guitar and sweeping strings seem to exist somewhere between recollection and reality. Briar’s songwriting gives the music its emotional centre, transforming the experience of mourning into a t

Moon Rocket brings his signature Afro Melodic-Tech sensibility into sharp focus on Just Us Alone, a sleek and hypnotic cut that finds the Italian producer balancing rhythmic drive with a distinctly melodic touch. Released via Moon Rocket Music, the track sits comfortably between the deeper, more atmospheric side of Afro House and the polished energy of contemporary electronic club music, with an understated approach that allows its groove to do the heavy lifting. At the heart

The most compelling alternative rock often comes from artists who understand that the genre's greatest strength is its ability to hold contradictions. Anger can coexist with melody. Vulnerability can sit beside bravado. Humour can make a political point more effectively than outrage alone. Red Head Redemption understand these tensions instinctively on Sunny With A Chance Of Fallout, a compact EP that turns the pressures of contemporary life into an invitation to resist passiv

Chris Arthur’s Underneath The Scar is the sound of an artist finally stepping into a spotlight he spent years standing just outside of. Born from the wreckage of a relationship and shaped by a period of profound self-doubt, the album turns heartbreak into an unexpectedly powerful creative awakening. Arthur did not initially set out to make an album. The songs arrived quickly and instinctively, first captured as voice memos and shared with close friends. What began as a person