Belgian electronic producer and DJ Ghost Jr. continues to build momentum with ‘Back To You’, a high-energy new single released on 30 October 2026 via Steve Aoki’s Dim Mak Records. Blending electro-house and dance-pop with elements of his wider Trance, Techno and Eurodance influences, the release highlights an increasingly refined production identity, balancing immediate dancefloor appeal with a polished, contemporary electronic sound. Running just under three minutes, ‘Back T

After nearly a decade away from music, SKIP-DAWG is back with ‘Lyrical Playboy’, a track that taps into the confidence, charisma and personality that first drew him to the mic. Blending rap verses with a smooth R&B hook and hints of alternative rock, the single has a laid-back swagger, but there’s more going on beneath the surface. At its heart, it’s about the difference between the person SKIP-DAWG is in everyday life and the bolder, more expressive character he becomes thro

Brooklyn-based producer and artist DrewsThatDude knows how to make a track move, and new single ‘Greed’ is a case in point. Blending disco-funk, R&B and electronic club sounds, the track brings together infectious grooves and rich, cinematic production, creating something that feels equally at home on a dancefloor or through a pair of headphones. With two Grammy nominations and credits on projects by Lil Wayne and Mac Miller, DrewsThatDude is no stranger to the industry. His

Leem of Earth return with ‘The Greatest Gift’, a brooding, cinematic new single that finds the alternative dream-rock four-piece exploring the uncertain territory between destiny and self-discovery. Drawing inspiration from George MacDonald’s Victorian fairy tale The Princess and Curdie, the track introduces the narrative world of their forthcoming concept album ‘SEE’, bringing a literary sensibility to a sound rooted in ‘90s alternative rock and expansive dream-pop atmospher

Wormogenic has a knack for making difficult feelings sound deceptively euphoric, and ‘16’ is a case in point. Blending shimmering synths with gritty guitars, driving bass and a darker electronic edge, the Florida-raised artist delivers a dream-pop track that feels as good to sing along to as it does to sit with. Beneath its glossy exterior, though, lies a more complicated story about growing up and never quite knowing how long happiness will last. Written after a birthday tha

Seth Tabatznik’s ‘Infinite Beings’ is a quietly expansive piece of folk songwriting, balancing intimate reflection with a sense of something much larger. Released as the second single from his forthcoming third album, the track finds the London-born, South Africa-based artist turning inward, exploring questions of identity, purpose and acceptance through an arrangement that gradually opens into something more widescreen. At the heart of the track is Tabatznik’s songwriting, d

A Project Called Love continue their exploration of genre-blending territory with “Happy Friday,” a track that combines acoustic textures, indie-pop instincts, and alternative-rock momentum. Its concept is immediately relatable, capturing the strange experience of having a thoroughly miserable day while everyone around you insists upon celebrating the arrival of Friday. Rather than dwelling on the contradiction, the song turns it into an energetic musical punchline. The writi

Malmö duo MAMI UMAMI have never sounded particularly interested in staying within the lines. Across their releases, Jaquelin Elamiri and Leonard Furby have treated hip-hop, pop and club music less as fixed genres than as raw materials, building something distinctly their own from the collision. Their latest single, (Don't) think I like you, continues that approach with a track that is immediately kinetic but considerably more complicated beneath its surface. Co-produced with

Get ready to have your heart gently broken in the best way possible by "honest," the incredible new single from Blue Capricorn and LOREN KOLE. This Latin indie-pop collaboration is an absolute must-listen, a gorgeous and ethereal track that will wrap around you like a favorite blanket on a rainy day. It is easily one of the most emotionally compelling songs you will hear this year. From the very first note, "honest" draws you into its dreamy world. The production is simply st

"A raised eyebrow across a dancefloor." That's how I'm Not From London summed up Daniela's new single 'Dance Alone', and it's hard to find a better shorthand for what the track actually does. SPOTIFY | INSTAGRAM | YOUTUBE Built around Spanish verses that open out into an English hook, 'Dance Alone' folds in Middle Eastern instrumentation that gives it a texture most pop singles don't bother reaching for. The result feels less like a song asking to be liked and more like one t

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

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

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

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 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