Col Gerrard is a London-born singer-songwriter whose work is rooted in classic songwriting and emotional honesty. Shaped by a life spent moving between places and experiences, his music reflects a deep appreciation for melody, musicianship, and storytelling. Influenced by soul, classic pop and timeless songwriting, Gerrard’s songs feel personal and direct, focused on melody and emotion.
His self-titled debut album is a twelve-track body of work that explores the emotional complexity of relationships and the heaviness they can leave behind in their wake. Written from a place of reflection, the record moves through themes of connection, miscommunication, longing, and the passing of time. Many of the songs sit with uncertainty, tracing patterns that repeat in love and life, the waiting, the holding on, and the slow realisation that some answers never become clear. The songwriter explains, “These songs came from looking back at moments I didn’t fully understand at the time. Writing them was a way of making peace with the parts of love that don’t always make sense.”
Recorded across several London studios including Abbey Road Studios, Metropolis and Kore, the album was entirely engineered and produced by long-time collaborator and Grammy-nominated producer Chris Potter (The Rolling Stones, U2, The Verve). The album delivers a piano-driven, emotionally charged sound, blending soulful, raspy vocals with organic instrumentation. It’s filled with driving guitars, upbeat percussion, and a touch of nostalgia, delivering something that is cinematic yet feel-good. Col shares, “There’s a lot of energy in these songs, but they’re coming from real places. That felt important to me on this record.”
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Rising from the coastal streets of Chichester (England), Viva Los Villains are carving out their own lane in the UK alt-rock scene, and their latest single Hunter’s Moon might be their most magnetic release yet. Blending alt rock grit, indie introspection, and a subtle folk-rock warmth, Hunter’s Moon captures that moment when love slips through your fingers, not with explosive chaos, but with a slow-burning realization. It’s raw. It’s reflective. And it lingers long after the final chord fades.
Built on distorted guitars, driving rhythms, and emotionally exposed vocals, the track walks the line between vulnerability and defiance. Lyrically, it dives into the aftermath of a relationship that once burned bright: “Don’t call me baby / One time it was love…”
There’s no melodrama here, just honesty. The repetition in the chorus feels almost hypnotic, mirroring the emotional loop of going back to someone you know you probably shouldn’t. The phrase “living rent free” hits with modern sharpness, grounding the poetic imagery of the Hunter’s Moon in present-day emotional reality.
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| Photo - Jessica Long |
The Krickets released their third full-length album, 'If You Only Knew' a couple of months back, however it's a really fine collection of songs & Beehive Candy doesn't want it to just pass us by. This album includes 10 tracks, each a different type of love song. For these love-centered songs, Lauren Springs, Emily Stuckey Sellers and Rachel Grubb, draw from their lived experience with all forms of love. Delivered with emotional depth and beautiful harmonies, this collection of songs offers a poignant reflection on the complexity and nuance of love, especially for those fortunate enough to have experienced it in its many forms over time.
If You Only Knew showcases the evolution of The Krickets’ vocal-focused Americana sound, pushing the range within that sound as far as they ever have. Throughout the different iterations of the band, that harmony-driven songwriting style has always been the connecting thread. “On this album, every song is a love song from a different perspective. From romance to friendship, longing to estrangement, your own mind to a hater, it’s an attempt to capture them all honestly.” Lauren shares, “We chose the title track ‘If You Only Knew’ because you could apply that phrase to each of those perspectives and it would only emphasize how big love can feel, good or bad, in all those scenarios."
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| Photo - Derek Bremner |
Brighton five-piece HIGHDRIVE have shared their second single 'Something I Said' via Venn Records (Bob Vylan, Witch Fever, High Vis) - following the release of last year's debut single 'Cherry'.
Forming in 2024 with a mutual appreciation for acts including Deftones, The Jesus and Mary Chain and DIIV, those disparate influences have carved out a unique lane for the Brighton upstarts, with the band quickly becoming a fixture of the South Coast live scene before releasing any music, scoring early shows alongside Marmozets, English Teacher, Do Nothing, TTSSFU, DEADLETTER, Welly and Glare.
Today the band return with ‘Something I Said’ - produced by Coach Party drummer Guy Page. A dissonant burst of alt-rock turbulence that channels the relentless inner chatter of self-scrutiny, the track surges with sheets of wailing guitar and a thick, pressurised wall of noise, locking into a spiralling headspace of rumination and social-anxiety-fuelled tension, as vocalist Lucas Leitch explains:
"The lyrics on "Something I Said" dive straight into my self-made psychosis. It taps into my paranoia of saying the wrong thing. I can be overly self-conscious, feeling stuck in my own head and overthinking every word. I wrote the song whilst playing in an old band. Deep down I knew this was going to be the start of something new - and in many ways 'Something I Said' became the musical blueprint for what would become HIGHDRIVE."
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| Photo - Marthe Thu |
Northern Norwegian duo Konradsen the project of Jenny Marie Sabel and Eirik Vildgren - have announced their new album ‘Hunt, Gather’, due for release on 27th March via Norwegian independent label 777 Music. Alongside the announcement, they share new single ‘What I Aim For’, featuring Australian singer-songwriter Angie McMahon.
Blending cool, house-leaning electronic drums with Konradsen’s hushed, wide-screen indie-folk, 'What I Aim For’ pairs Sabel's intimate delivery with Angie McMahon’s breathy, close-up vocal, complemented by luminous piano contributions from Grammy-winning US songwriter and pianist Bruce Hornsby. The song centres on making space for calm, trust and connection amid the constant noise of everyday life. A reminder to pause, zoom out and recalibrate when life feels overwhelming, inspired by the idea of home as a place where one can gather strength and feel safe.
On the track's release, Angie McMahon said: “Last time I was writing a record, I listened to 'Baby Hallelujah' by Konradsen on repeat. Now, a couple of years down the line, they’re my friends. I got to hear their music on tour many nights in a row, and now I love it even more. I wear Konradsen merch on my head half the time. So while I’m now making my next record, they sent me the one they’re making and offered to let me sing on one of their songs. The highest honour! This song makes me feel tapped into some deeper realm of inner peace which is only accessible through good music. I’m so proud of my friends.“
The release is accompanied by a new interlude from the album 'Jona' - a sound collage built from everyday recordings at Jenny’s home in Hatteng - wind, distant noise, the rooster, and the voice of her son, with Bruce Hornsby’s improvised piano binding these fragments into a fleeting, intimate moment.
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| Photo - Vivian Wang & Fikri Abdurakhman |
Ignore your therapist's advice and stream Fantastic Cat's new single "Don't Let Go," an indie rock song that subverts indie rock cliches and healthy attachment styles to encourage our most toxic instincts. This is the latest peek at the band's third and most likely to prompt a lawsuit from the Meat Loaf estate album yet, Cat Out Of Hell, which releases on April 10 via Missing Piece Records.
“'Don’t Let Go' is a song about perseverance and the stubborn act of never giving up," says Fantastic Cat's Brian Dunne. "For a while, it felt like every new indie rock song was about finding inner peace, going to therapy, and the pleasures of a warm bath. This song intends to be the antithesis of that type of songwriting. It’s about holding onto something long after you should, no matter the cost. It does sound nice in the bath though.”
Featuring the combined talents of four widely lauded singer/songwriters—Brian Dunne, Anthony D’Amato, Don DiLego, and Hollis Brown’s Mike Montali—Fantastic Cat is like CSNY if none of them were famous, or The Traveling Wilburys if none of them were famous, or the Eagles if they really didn’t get along. Produced by the band and mixed by D. James Goodwin (Goose, Kevin Morby, The Hold Steady), Cat Out Of Hell elevates the band's trademark blend of craftsmanship and chaos to new sonic heights, capturing the freewheeling, lightning in a bottle energy of their must-see live show and channeling it into a ramshackle house party full of existential searchers, desperate romantics, and barstool philosophers. Last month, they shared a music video for their debut single "Donnie Takes The Bus," which found the harmony-trading, instrument-swapping four-piece replaced by some surprisingly buff body doubles.
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