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

Hazel Gaze bring a raw sense of character to Do As You Please, the lead single from their live project Strung Out: Live & Unplugged at the Brooklyn Conservatory. Rooted in classic rock but stripped back enough to let the songwriting breathe, the track finds the New York quartet trading studio polish for the immediacy of a room full of musicians playing together. Strings add a cinematic edge to the arrangement, giving the song a richer scale without taking away from its rock ’

There is something almost mythological about Candi Carpenter's artistic trajectory. Raised within an evangelical Christian family and introduced to performance through gospel music, Carpenter eventually found their way to Nashville, the Grand Ole Opry, and the country music establishment before turning toward a far more idiosyncratic creative language. Reincarnation draws all of these histories into a single work, not as nostalgia but as raw material. It is an EP concerned wi

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

Rising artist Ava Renn explores the fragile space between self-destruction and survival on latest single ‘Sellout’s Prelude’, an ethereal new release taken from her forthcoming second studio album, You Want Love. Blending cinematic pop, haunting melodies and hypnotic production, the track disguises its darker subject matter beneath shimmering textures and a dream-like atmosphere. At its centre is addiction in its many forms and the moment when the instinct for self-preservati

Photo Credit: Lea Duque London rising star Alysha is preparing for the biggest shows of her career, supporting LANY across four major dates in Japan and South Korea this October, as she introduces a darker side of her artistry with her latest single ‘Take It or Leave It’. Blending goth, new-wave and electronic influences, the track sees Alysha move into a shadowy new sonic world while exploring faith, temptation and personal boundaries from an unconventional alternative persp

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

Photo Credit: Nico Zanzucchi There comes a point in an emerging artist's career when proving you have depth becomes considerably less interesting than proving you can have fun. V1V1D reaches that point on ‘Tongue Rings & Tattoos’, a high-energy detour that swaps some of his usual introspection for spontaneity, confidence and the simple pleasure of making something that hits immediately. Previous releases ‘Timeless’ and ‘Stuffin’ established V1V1D within the atmospheric end of

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

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

Mila Sidhu walks into ‘One Night’ with the kind of confidence that doesn’t need to announce itself. Sensual, sleek and quietly commanding, the track turns attraction into a game of agency, placing Mila firmly in control of the room rather than waiting to be noticed from the sidelines. Built around crisp production, seductive vocals and a late-night pulse, ‘One Night’ finds its sweet spot somewhere between alternative R&B and darker pop. There’s a sense of glamour to it, but n

There are two ways to respond to having your private life become public entertainment. You can retreat, or you can put on cowboy boots, climb onto a mechanical bull and make the spectacle considerably bigger yourself. Nick Hissom, aka Hizzy, chooses the latter on Hot Boy Things. Across five tracks of glossy synth-pop, European dance energy and unabashed theatricality, the UK-born American artist turns the aftermath of a highly publicised breakup into something resembling a li

Photo Credit: Tomm Morton From busking on the streets of Camden to selling out shows around the world, Cam Cole has built his career on following his own path. Now, the blues-rock force channels that philosophy into his latest single, ‘Chasing Dreams’, taken from his forthcoming album Lost In Creation, out October 30th. Driven by a four-on-the-floor rhythm, vintage guitar tones and Cole’s trademark blues grit, ‘Chasing Dreams’ explores the realisation that changing the world

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

There is something quietly rebellious about making people dance to the soundtrack of your lowest point. On ‘Salvation’, Michelle Kash takes the uncertainty of not knowing whether you're about to collapse or emerge stronger and gives it a pulse. The result is dark dance-pop that acknowledges despair without allowing itself to become consumed by it. The New York-born, Los Angeles-based artist has long operated comfortably in the shadows, describing her musical world as a “dimly

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

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

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

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

There is something wonderfully cinematic about The Reach. Not cinematic in the grand, orchestral sense, but in the way its five songs feel like snapshots from different stages of the same emotional night. After Eight, a Dutch alternative indie rock band formed in the aftermath of an impromptu garage show, have built their debut around feelings that are difficult to photograph but easy to recognise: wanting someone, losing someone, avoiding something, needing solitude and wond

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

Losing a friend when you're young can feel less like the end of a relationship and more like the end of the entire world. On ‘Apocalypse Queen’, Wormogenic refuses to minimise that feeling with the wisdom of hindsight, instead returning to the emotional intensity of girlhood and allowing it to be every bit as catastrophic as it once seemed. The latest glimpse of forthcoming EP Bandaids follows debut single ‘Rip Off The Bandaid’, but shifts the emotional target. Where that tra

Some artists invent alter egos; Dull Fantastique has constructed an entire cosmology around his. The self-described mutant from the distant planet Raygonia, transported to Earth through some unspecified cosmic rupture, is an intentionally unstable proposition, part science-fiction character, part performance-art device, part vessel for autobiography. On paper, the mythology risks overwhelming the music. On ‘Mindmap of a Madman’, however, it becomes a useful framework for unde

If you like your alternative rock with big guitars, heavy textures, and a chorus that actually sticks, The Real Anthem’s new single “Coming Home” is worth a listen. The Arizona band, made up of Shawn Helton, Andy Mitchell, and Matt King, have put together a track that sits somewhere between post-grunge, post-punk, and shoegaze. It is guitar-heavy, but the melodies keep it from turning into a blur of distortion. The song also has a more personal side. The band say its heavines

Slay Raché brings a distinctly classic pop sensibility into the present on ‘You Make Me Wanna Dance’, an exuberant new single built around infectious rhythms, glossy production and an immediately memorable hook. Drawing inspiration from the golden era of 80s pop and dance, the track carries a clear sense of nostalgia without becoming trapped in retro territory. Produced at Milkboy Studio in Philadelphia, the song combines bouncy instrumentation with Raché’s commanding vocal d

Clarity Liao’s ‘Lose’ is the kind of song that sounds like it should be breezy on first listen, bright guitars, upbeat drums and an instantly accessible pop feel, until you pay attention to what she’s actually singing about. Beneath that energy is a story of jealousy, insecurity and the slightly irrational thoughts that can take over when you’re afraid of losing someone you never really had. That contrast is what makes the track work. Clarity originally imagined ‘Lose’ as a m

Lala Vale isn't interested in the comfortable version of love. On ‘Just Another Me’, the singer-songwriter steps directly into one of romance's messiest grey areas, exploring what happens when affection becomes divided between two people and there is no decision that doesn't leave somebody hurt. The flagship single from Vale's forthcoming full-length album is appropriately uneasy. Blending alternative pop, indie rock and darker singer-songwriter textures, ‘Just Another Me’ su

Collaborative recording project Hardy Mums from Southern Ohio deliver a masterclass in organic, nostalgia-tinted indie rock with their video-single for "Muldoon," off the album “Return to Doggerland”. Produced by project mastermind Eddie Ashworth, the track hits an immediate sweet spot with its lush, 70s-inspired instrumentation and warm studio air. The dynamic vocal pairing of Ashley LaRue and Benny Coleman anchors the tune, bringing genuine soul and grit to a vibe rooted i

Steve Stinson reflects on the dreams that refuse to disappear on ‘Evergreen’, a warm and quietly affecting blend of folk, blues and Americana that finds the singer-songwriter considering the passions that survive careers, countries and changing priorities. Taken from forthcoming debut album Cocoon, due in October, the single captures the moment when something long kept in the background finally becomes impossible to ignore. For Stinson, that constant has always been music. Bo

Matilda Grace clearly knows what makes pop music fun. Her latest single, ‘Cover Boy’, arrives with plenty of colour, confidence and a healthy dose of nostalgia, bringing together glossy synths, catchy melodies and the larger-than-life spirit of 80s and 90s pop. It’s an easy track to get into, but there’s more going on than simply revisiting the sounds of the past. Grace takes inspiration from pop icons including Madonna and Cyndi Lauper, alongside the sleek new-wave sensibili

Photo Credit: Bryan Caro Heavy Set Woman have never seemed particularly interested in asking what genre a song belongs to. On ‘Girl’, that refusal to follow a predetermined formula takes them into pop-rap territory for the first time, resulting in a bright, buoyant and surprisingly thoughtful single about finding reasons for optimism when life gives you very few. The creative partnership between lyricist and vocalist William “Willo” Serrallés and multi-instrumentalist, arrang

Joseph Trem’s ‘Freud’ doesn’t rush to reveal itself. Instead, it begins in a hushed space of piano and voice, creating the feeling of overhearing a private thought before gradually expanding into something far more dramatic. It’s an effective introduction to a song rooted in anxiety, vulnerability and the difficulty of making someone else understand what’s happening beneath the surface. What makes the track particularly compelling is Trem’s sense of restraint. Rather than ove

Buckle up, because Revived Echoes is taking us on an emotional rollercoaster with "You Never Felt the Same," and it is one hell of a ride. The London producer has created a track that hits all the right notes, both sonically and emotionally, delivering a package that is as satisfying as it is surprising. This is the kind of song that reminds you why you fell in love with electronic music in the first place, combining infectious melodies with a lyrical depth that is increasing

Some songs about grief seek transcendence. “The Intangible Man” is more interested in the awkward business of carrying on. Melody Briar’s new single considers the period after the immediate shock of loss, when the person who has disappeared begins to acquire a different kind of existence inside memory. The title captures the song’s central contradiction neatly. The subject remains emotionally palpable while becoming materially unreachable, a presence that can be felt but no l

The Mighty Pines have always had a knack for making roots music feel inviting, and Good Luck, Nice To Meet You is a great example of what happens when a band knows exactly how to bring different influences together. The St. Louis quartet blend bluegrass, soul, rock & roll and Americana with an easy confidence, creating a record that feels familiar without ever becoming predictable. The title track is an immediate highlight, driven by an infectious groove, warm harmonies and a