Ally Row - The Bernadette Maries - Some Days Are Darker - Cello - Katie Cruel - Clare Perrott

Ally Row - Adeline.

Gunaikurnai/Gippsland based duo, Ally Row, continue their rise as one of the most talked about & exciting new acts within the Australian music landscape via their brand new single, “Adeline”.

While taking a conscious new musical step alongside producer, Jason Resch (Kylie Minogue/ Pet Shop Boys/ Darlinghurst), “Adeline”keeps all the things you love about Ally Row front and centre. There’s that signature warmth, dreamy banjo, sweet yet strong vocals and honest catchy lyrics.

As Ally Row’s Rowan Sizer explains, “the song is an ode to the lovesick and the ones that got away. It’s a catchy, energetic celebration of loneliness while feeling untethered and missing someone so much that it feels like you’ll never recover.”

“When a relationship ends, most of us wonder what we could have done better. Some of us stay lovesick and broken hearted and it feels like your whole world is caving in”.

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The Bernadette Maries - Soft (Album).

The Bernadette Maries are a band from Brussels, established in 2024, with members Daria, Guy & Romain. Their sound merges post-punk energy, shoegaze's dreamy textures, and indie rock hooks. TBM's music is about love and existentialism, melancholy & meaning of our lives in a world that is slowly falling apart. It is inspired not only by music, but society, books, and movies as well.

Their very first song, "Dream Place", was released in September 2024, quickly followed by "Nouvelle Vague" and "We Know Everything". "LvvV", the band's debut EP, was launched on February 14, 2025. On December 3rd, 2025, they released their first music video for "The Closer You Look", with a second music video for "ESO" set to be released on April 29th.

Continuing to evolve, The Bernadette Maries shape their musical journey with each release and performance. In only a year of existence, TBM already toured in Belgium (where they played 4 times the legendary venue Botanique), France & The Netherlands, and had the chance to share the stage with bands such as Bodega, Ditz, English Teacher, The Ex, Gurriers, Maquina, New Dad, Humour,..

Today their first album, is released (September 18th 2026) on Géographie Records. The record includes the singles "the closer you look", "ESO" and "Missing Bernadette".

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Some Days Are Darker - Memorize You.

Today the new single and music video “Memorize You" from New York based Some Days Are Darker has been shared. The trio draws from the shadowy grandeur of goth, the hypnotic pulse of synth-driven alternative rock, and the intimacy of noir cinema. "Memorize You" is a a dark, feverish rush where desperation and desire become increasingly difficult to separate. Driven by a restless pulse, and enveloped in a darkened atmosphere, the song builds from intimate confession into something increasingly expansive and overwhelming.

In the twilight between romance and ruin, New York’s Some Days Are Darker makes music for the space where longing becomes obsession, intimacy becomes isolation, and beauty begins to reveal its teeth.

What began as the solitary songwriting project of former metalcore guitarist Lear Mason has evolved into a three-piece built around the chemistry of Mason, bassist/guitarist/keyboardist Chris Martin, and drummer/multi-instrumentalist/producer Robbie Williamson — three musicians with decades of experience who share a fascination with the darker corners of human experience.

Some Days Are Darker draws from the shadowy grandeur of goth, the hypnotic pulse of synth-driven alternative rock, and the intimacy of noir cinema, but defies easy categorization. Their songs move fluidly between towering walls of sound and moments of startling vulnerability, creating a world that feels at once cinematic and intensely personal. The result is music that doesn’t simply tell stories of love, loss, lust, and rebirth—it puts the listener inside them.

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Photo - Ben Knight

Cello - Forever.

Independent Brighton artist Cello today releases the new single “Forever” via Barracuda Recordings. Cello returns with her new single, “Forever”, taken from her forthcoming debut album ‘Kung Fu Disco’. Described by Cello as neon-tinged teenage heartbreak, the song finds her contemplating time, life and death, as well as love’s transcendence of it all. “Watching all the seconds as the time just slips away,” she sings over a track that evokes groundbreaking 80s indie-pop stars such as Blondie, The Motels, Wire and early Eurythmics.

Cello is a very focused and determined artist who is keen to be involved in the whole creative process. The music video that accompanies the track was filmed, directed and edited by Cello, who created a dreamlike layered video confronting different reflections of the self and the feelings surrounding them. “You want the moment to last forever whilst looking for the exit,” she explains, “Ripe with bittersweet promise.”

“Forever” marks Cello’s fourth single, following the disco-laden “Like A Tiger”, the more defiant “We Do What We Want (When We Want When We Want To)”, and debut track “Vitamins”. Excitingly, two songs from the forthcoming album have already been picked up for the soundtrack of a major American film release.

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Katie Cruel - Nights In White Satin.

Today Katie Cruel returns with a spellbinding new interpretation of “Nights In White Satin,” the enduring classic by The Moody Blues and the latest release from her ongoing Cruel Covers project. Following her haunting take on The Smashing Pumpkins’ “Disarm,” Katie Cruel — the musical project of Canadian singer-songwriter Kate Boothman — once again steps inside a song that has followed her through her life, reshaping it through her own dreamy, cinematic lens.

“‘Nights In White Satin’ has been rattling around my solo couch sessions for years,” Katie says. “The lyrics have always resonated and it’s easy to play. When I decided to make a cover record, this one was at the top of my list.” The connection runs deep: The Moody Blues’ landmark Days of Future Passed has long been one of Katie’s “desert island records,” making the song an instinctive choice when she began exploring the music that had shaped her. “It came easy and fast,” she says of recording her version. “This version is a little bit Sherwood Forest and a little bit Serge Gainsbourg. We had fun with it.”

Cruel Covers grew out of a period of creative reflection following the release of Katie Cruel’s acclaimed debut album, Lost Vagus. After years spent writing and recording her own material, Katie found herself searching for inspiration without wanting to force another batch of original songs into existence. Instead, she turned toward the records and artists that had moved her over the years, asking what might happen if she inhabited someone else’s story for a while. With “Nights In White Satin,” that approach transforms a familiar classic into something distinctly Katie Cruel: atmospheric, mysterious and a little strange, while preserving the aching romanticism that made her fall in love with the song in the first place.

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Clare Perrott - How Can I Tell You?

Clare Perrott celebrates the strange beauty of life with an ode to her friendships in her new coming-of-age indie-folk number, ‘How Can I Tell You?’, out September 18. Filled with her luminous vocals, Perrott transforms life’s little moments and unsaid feelings into a heartfelt ballad. As she navigates growing pains and the awkwardness of unsaid feelings, the track becomes an expression of gratitude for her friends and the strange privilege of being alive.

With just two singles behind her, the Boorloo-based artist’s unique take on indie-folk has already earned her support from Rolling Stone AU/NZ, Triple J, Triple J Unearthed Spotlight feature, Spotify, Apple Music and more. Perrott’s approach to folk has seen her take stages across Australia this year, playing the Woodford Folk Festival, the National Folk Festival, winning the Emerging Artist award at Nannup Music Festival and supporting Lloyd and the Leftovers on their East Coast Tour. 

Packed with airy vocal flips and cosy folk feels, ‘How Can I Tell You?’ is a raw and sincere ballad soaked in twangy guitar and warm, understated crooning. Playful vocal harmonies weave around expressive slide guitar, gradually building into a rich slice of Americana folk-rock grounded in plainspoken truths and open emotion.  

At its core, ‘How Can I Tell You?’ is about appreciating friendship and loving life while still overthinking, over analysing and coming to terms with growing up. Perrott captures the awkwardness of holding back feelings, biting your tongue, and finding the vulnerability to really express your emotions. As Clare Perrott shares: “‘How Can I Tell You?' is about honest communication and appreciating all the love and light I have in my life. Sometimes it's easy to take love in any form for granted, and you gotta bridge that gap and get over yourself. Tell them how you feel! Feelings are everything, and even though they are ours, they deserve to be shared.”

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Katherine Perkins - Brooke Annibale - V.V. Lightbody - Night Teacher

Photo - Katherine Emery

Katherine Perkins - Swiftly.

“Swiftly” is kind of a cinematic lullaby for the end of an era — it’s last call at the bar of our youth. It's the final single ahead of the album 'Helpless Love' which is due September 25.

Perkins' first solo record, Being Younger, was primarily an album about friendships and getting older; with Helpless Love, Perkins says she was trying to take a step back and look at humans with a wider lens, "because so much of what we do is so baffling to me."

There are elements of the Americana worlds of Lucinda Williams and Bonnie Raitt, flashes of bizarro humor in the galaxy of Aldous Harding, and something higher-octane that’s hard to put a finger on. For this, her second full-length album, Perkins wrote the songs on piano and recorded them on Wurlitzer. Her band brought a host of musical upbringings and influences to the table, from indie-pop to folk to soul to jazz, and the result is an unplaceable hybrid that is both fresh and deeply familiar.

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Photo - Sasha Pedro

Brooke Annibale - Bolder Font (Album).

Indie singer/songwriter Brooke Annibale has released her new album Bolder Font. Her first collection of brand new music in four years, Bolder Font finds the Rhode Island-based, Pittsburgh-native at the precipice of a creative rejuvenation as she rediscovers her self-worth after a series of disheartening and unexpected setbacks. Bolder Font also marks the first time she dove into full creative control of an entire album, including writing, recording, producing, editing, and mixing entirely on her own.

"I learned so much making this record,” stated Brooke. “Not just about recording, producing and mixing, but I learned something quite extraordinary about life in general. The process is the fulfillment. The fulfillment is not the likes, the streams, or any of the visible successes. It’s the quiet moments of making the thing, and making it with my hands, my mind and my whole heart. The release is the celebration of that process."

Capturing the album’s emotional centerpiece is the recently released “Try Again,” which finds Brooke turning the lens on her own complicated relationship with music: the thing that has always healed her is also the thing that has wounded her. The title track “Bolder Font” wrestles with the album’s underlying theme of self-worth and the gap between who we are and the identities that have been placed on us. Additional highlights include the wry and nostalgic “Birthday,” an ode to friendships lost to fading time “wrapping Annibale’s raw, unflinching songwriting in sweet warmth” (Atwood); the electrifying, irresistible “Make You Mine,” as well as “Daily Dose,” a spirited reflection on unfiltered enthusiasm, and “My Favorite Part,” the heartbreakingly vulnerable opening track.

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Photo - Shannon Marks

V.V. Lightbody - Two Swans.

Today Chicago songwriter and multi-instrumentalist V.V. Lightbody is sharing "Two Swans." It's the final advance single from her new LP Period Piece and it comes with a video directed by Robert Salazar. 

Quote from V.V.: Anywhere I saw two swans, it felt like a comforting sign from the universe that I was doing something right. I eventually began to question their cosmic potency when I started seeing them too often and remembered that swans are usually portrayed in pairs. “Two Swans” critiques our society’s tendency towards “magical thinking” while also confessing my curiosity and delight in divinatory practices. I feel like this song feels deeply Chicago and combines many of my musical influences - angular guitars, mixed meter chorus, and raging farfisa. Cate Le Bon, but in a cornfield.  

Vivian has long been an in demand collaborator whatever instrument she's on (flute, guitar, vocals, etc), and the fact that she's sought out by folks as diverse as art-rock group FINOM, International Anthem-signed Panamanian drummer Daniel Villarreal, and Harry Styles indicates how highly regarded and diverse her musicianship is. Her collaborators are largely a who's who of the thriving Chicago indie and new jazz scenes, and her own project has always been a place for her to explore songs that cache intense feelings under self-effacing midwestern humor, breezy Brazilian-influenced guitar picking, and gauzy arrangements with sneakily complex moments. "Cate Le Bon in a cornfield or Gal Costa mowing the lawn" as her bio puts it.

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Photo - Rich Tarbell

Night Teacher - St. Augustine.

Night Teacher has shared a new single produced by and featuring Allen Tate of San Fermin. Brooding and sultry, “St. Augustine” is an introspective ode to the complexity of love, as songwriter Lilly Bechtel’s vocals delicately braid into Tate’s moody baritone. 

Songwriter Lilly Bechtel shares: St. Augustine is about love in its many forms and the tough work of caring deeply for something without holding on so tightly that it doesn’t have room to change. It is about letting go of preconceived ideas of what love looks like, and the painful paradox that any ‘great’ or ‘lasting’ love is ultimately about having the courage to watch that person leave. It’s about the strength it takes to soften and allow that process to occur; to let love wash over us the way it is meant to, which is rarely—if ever—what we had in mind.

Night Teacher released her sophomore album ‘Year of the Snake’ last fall on First City Artists. Produced by Matt Wyatt (Lowland Hum, David Wax Museum), its gritty, propulsive, and off-kilter sound gathered editorial attention from NPR, Stereogum, WNYU, Atwood Magazine, MAGNET Magazine, Northern Transmissions, and many more.

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Margo Mann - Song People - Scaled Alps - Eliza Hull - Detalji - The Goods

Photo - James Morris

Margo Mann - The Worth Of It.

Released today Margo Mann's "The Worth Of It" is a tender, devotional, piano-driven love song. Bare-boned, raw, and timeless, it captures a kind of love that says: whatever comes, I’ll still choose you. Taken from her debut album, Love Is A Dog, arriving October 16 via [PIAS] Recordings.

Margo Mann brings her forthcoming debut album Love Is A Dog to life live, backed by her 5-piece band. The record was written and recorded in France with producer Burke Reid (Julia Jacklin, Olympia, Jack Ladder). It’s cinematic chamber pop with a theatrical edge, bringing hints of the 90’s LA Largo scene to Naarm.

Margo Mann's work lives at the intersection of intimacy and other-worldliness. Drawing on the theatricality of Bowie and Aldous Harding, the layered seriousness of Paul Thomas Anderson films, and the warmth of Fiona Apple's sonic palette, her project creates a world that feels both elevated and cinematic, yet deeply vulnerable.

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Photo -  Ian Maley

Song People - The Cone.

"The Cone," the latest single from Song People's upcoming album Tho I Seem Tame, which drops via Strange Mono on October 9th and is sure to set the indie rock world on fire. "The Cone" is existential croonery at its finest, Shaina Kapeluck's elegant, statuesque vocals brimming with romantic abandon and floating effortlessly over a liquidy, Johnny Marr-esque guitar line. If you can imagine Sandy Denny fronting The Smiths or Yo La Tengo you're halfway to understanding the vibe of "The Cone."

Lyrically, the song was inspired by a trip Shaina took to Brattleboro, Vermont, during what's called "Blackberry winter" - when there's a last sudden cold snap before the weather gets warmer. "It felt as if time were moving in reverse," she says, and therein lies the key to the song: all the rhododendrons, azaleas, and floral images symbolize the passage of time and the often disorienting ways in which we experience it.  

Tho I Seem Tame as a whole is how it doesn't feel quite like any other post-punk album around today. It's music that calls to you from some distant place outside the bounds of modern folk, where dream pop and 80s jangle are overlaid with references to Old English poetry, rabbinical legends, and folk tales all but lost to history.

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Scaled Alps - Let the Alpine Play (Album).

It's an absolute pleasure to feature 'Let The Alpine Play' on Beehive Candy. We are always on the lookout for artists who test musical boundaries without coming across as self indulgent. Scaled Alps recently released album achieves that. It keeps the listener in expectation as each track unfolds, whilst there are enough hooks, moments of audio pleasure and plain simple original "what's not to like" music.  

The band tell us: Scaled Alps is a Los Angeles band built around singer and lyricist James Quentin Devine and instrumentalist Anthony Percoco. On Let The Alpine Play, Sean McCarthy plays drums and Steve Fishman plays upright and electric bass. Stewart Tuttle recorded the album at The Altar Studios in North Hollywood, and we released it through our own BLUHELL imprint.

The record began with two concentrated days of writing and demos, followed by two days in the studio. We arrived with the material fresh enough to surprise us and recorded much of it without a click. The resulting performances retain their natural movement, including the occasional rough edge or unrehearsed turn. The sixteen songs move through heavy rock, electronics, piano, dub space and stranger forms of pop without settling into one fixed arrangement. The voice remains the point of continuity while the machinery changes around it.

Los Angeles enters the album through specific places, objects and encounters rather than as scenery. North Hollywood strip clubs, empty roads, expensive surfaces, temporary lives and overheard language all found their way in. We wanted the record to feel less like a portrait of the city than something the city had done to us.

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Photo - Michelle Grace Hunder

Eliza Hull – Better.

Dja Dja Wurrung Country/Castlemaine-based multi-award-winning songwriter, musician, advocate and writer Eliza Hull just announced her forthcoming album You'd Think We'd Be Used To Change By Now (out 4 Dec independently). The album announcement comes alongside tender alt-pop/indie single plus intimate shot-on-film video 'Better.' 

At its core exploring change and nostalgia, "looking back at who we’ve been while growing into who we’re becoming" - the album moves through relationships, womanhood, desire and the ways we continue to shift and evolve throughout our lives, ultimately a testament to resilience and listening to your instincts steeped in evocative textural production via Hull in her first album co-producer credit alongside ARIA Award-winner Pip Norman (Missy Higgins, Baker Boy, Mia Wray). 

The announcement follows Hull's return to music in June this year, also receiving an O.A.M. in May for her contribution to music and disability advocacy, further cementing her reputation as one of the country's most important voices across both culture and accessibility.

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Photo - Federico Cabrera

Detalji - Dancing (With What's Left).

Today, Finnish alternative electronic artist Detalji has shared 'Dancing (With What's Left)', the latest single to be taken from their new album Imagine Life. The album, a genre-fluid electronic record that moves between dreamlike synths, alternative pop melodies, club influences and 80s nostalgia, is set for release next month on October 16th. 

New single ‘Dancing (With What’s Left)’ captures a period of anxiety and the need to escape. "I was suffering from heavy anxiety when making this song, and I was in a place where I had trouble being alone and wanted to be intoxicated all the time," explains Detalji.  "The lyrics are pretty literal in this case. I enjoyed singing with my more gothic voice and creating the arrangement which is refreshingly straightforward when you compare it to many of my other tracks."

Imagine Life is a record about navigating contradiction, the desire to escape and the need to connect, the pull between nostalgia and moving forward, and the search for identity within the chaos of everyday life. Throughout the album, themes of longing, desire, heartbreak, anxiety, liberation and connection emerge repeatedly.

Written across Helsinki, Los Angeles and Berlin, the album captures a year of transition, exploring love, loss and reinvention. Across nine tracks, Detalji weaves together elements of electronica, trip-hop, house, drum & bass and synth soundscapes into a cohesive journey. “Imagine Life is a glimpse into a year of my life,” explains Detalji. “I was moving between different cities, ending a relationship and figuring out what kind of life I wanted next. The album feels like a mixture of LA sunsets, Nordic melancholy and gritty Berlin basement beats.”

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The Goods - Goodbye Summertime (Album).

Oakland, California power pop outfit The Goods return today September 16 with Goodbye Summertime, the sophomore LP on Dandy Boy Records. Less than a year after Don't Spoil the Fun, songwriter Rob Good delivers the rare follow-up that doesn't simply build on a debut, it blows the walls out around it. Drawing from Beatles-inflected psychedelia, Brian Wilson-esque balladry, sunshine pop, jangling folk rock, and the timeless pull of classic guitar pop, Goodbye Summertime is a record that refuses to sit still, chasing melody around every corner without ever losing sight of the hook. 

For anyone who's spent time around the Bay Area underground, Good has always been there. Playing clubs too small to remember their names. Loading gear into the back of a car after midnight. Watching rehearsal spaces disappear, venues close, neighborhoods reinvent themselves, and another generation of bands figure it out the same way he did. That perspective runs quietly through Goodbye Summertime. It's a record made by someone who understands that places change, people change, and the trick isn't hanging onto the past. It's deciding what deserves to come with you.

Produced almost entirely by Good in his Oakland studio, the album captures an artist trusting instinct over expectation. Songs were written, recorded, rearranged, and rebuilt as inspiration arrived, pulling from every shelf in Good's record collection without feeling trapped by any of it. One minute the band slips into kaleidoscopic psychedelia, the next into sunshine pop or chiming folk rock, before circling back to the crunchy guitars and towering harmonies that have always been The Goods' calling card. Rather than sounding like a collection of influences, Goodbye Summertime feels like the moment they all stopped competing and finally started working together. 

That freedom is heard across every corner of the album. "Summer's Almost Gone" embraces the urgency of living in the present before it slips away. "Minor Key" quietly mourns what's already been lost. "Driving" looks back on the years when an empty gas tank and nowhere to be felt like endless possibility. "Wing" captures the terrifying optimism of new love, while "Sleepytime" closes the record with stacked harmonies and a slow-building swell that feels less like an ending than the first deep breath after everything has settled. Like the album itself, each song is searching for solid ground without pretending life ever really stands still.

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Mollie Coddled - Dwayne Gretzky - Charlie Horn - Jeremy Porter and the Tucos

Photo - Maddie Taylor

Mollie Coddled - Raincloud.

Yorkshire (England) songwriter and producer Mollie Coddled has just shared the off-kilter pop single 'Raincloud'. The new single follows a previous track 'The Art Of Falling Apart', which received early spins from BBC 6 Music and BBC Radio 1. 

The new single 'Raincloud' was inspired by "a suffocation of emotional turbulence and crappy English weather" and written during what Mollie calls "the depths of bed rotting season". Turning emotional shutdown into bright, woozy pop, Mollie's tender vocal harmonies and chorus-soaked guitars are backed by wonky synths, overdriven melodies and reverb-heavy drums.

On the new single, Mollie added: "As someone who pushes it all down in an attempt to avoid spiraling into an emotional mess, I find it pretty impossible to cry. So, I’ve always used listening to sad songs as a way to purge my emotions and give myself permission to wallow; Raincloud is a manifestation of that (I want to cry every time I hear it now, hahaha)."

'Raincloud' teases the release of a new body of work which finds Mollie turning intrusive thoughts, romantic obsession, emotional paralysis and everyday catastrophes into bright, wonky pop songs filled with self-deprecating humour and disarming sincerity.

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Dwayne Gretzky - Dwayne’s World Vol. 1 (Album).

After 16 years, more than a thousand live performances, and a reputation as Canada’s ultimate party band, Dwayne Gretzky is bringing the spirit of their celebrated live show to listeners everywhere. Dwayne’s World Vol. 1 collects 20 standout performances from the band’s wildly popular Dwayne’s World YouTube series into their first-ever live covers album, available digitally September 15 and on limited-edition vinyl September 18.

Recorded completely live off the floor inside a painstakingly recreated Wayne’s World-inspired basement set, the collection captures everything that has made Dwayne Gretzky a beloved live act: infectious energy, remarkable musicianship and an unmistakable joy for celebrating some of the greatest songs ever written.

Among the collection’s defining moments is the band’s rendition of Queen and David Bowie’s “Under Pressure,” a natural showcase for the scale and chemistry of Dwayne Gretzky’s ensemble. Tackling a song built around the interplay of two unmistakable voices, the band approaches the classic with the same philosophy that guides the entire project: honour what makes the original timeless while allowing the personalities and strengths of their own rotating cast of musicians to shine through.

“Under Pressure” sits comfortably within an album designed to move with the dynamics of a Dwayne Gretzky concert. From the euphoric singalongs of “Radio Ga Ga” and “Take On Me” to the emotional sweep of “The Chain,” the collection jumps effortlessly across decades and genres while continually building momentum.

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Charlie Horn - Antlers.

Released today we have "Antlers" from In The Pines front person Charlie Horn's debut solo album Rhythms Unexplained out later this year as a self-released effort. An emotional gut-punch in an album of nothing but emotional gut-punches. “Antlers” is a reverse haunting where Horn watches, immobile from his perch as the antlers on a wall, as another life he could have lived unfolds around him. Lyrics are juxtaposed with a mid-tempo track that employs layers of swirling, twangy guitars and plenty of righteous bass melodies playing ping-pong with each other. Fans of bands like fellow midwesterners Ryan Davis & The Roadhouse Band or Tobacco City will find a lot to love.  

In The Pines is widely known as Cincinnati, OH's next big psych-rock export. Horn's work, however, dials back the bombast of ITP's swelling, spacey songs in favor of stripped-back, emotionally poignant narratives that track some pretty harrowing emotional points in Horn's timeline. Recorded at the In The Pines nerve-centre, a synthesizer repair shop in the basement of a decommissioned Masonic Temple in Dayton, KY, these songs have a world-weary sound of being fully lived in. Fans of Big Star's 3rd, Conor Oberst's Ruminations or the darkness around Kurt Vile's halo of smoke will find a lot to love here. 

"Antlers" is an emotional gut-punch in an album of nothing but emotional gut-punches. The narrative of“Antlers” is a reverse haunting where Horn watches, immobile from his perch as the antlers on a wall, as another life he could have lived unfolds around him. Lyrics are juxtaposed with a mid-tempo track that employs layers of swirling, twangy guitars and plenty of righteous bass melodies playing ping-pong with each other. Fans of bands like fellow midwesterners Ryan Davis & The Roadhouse Band or Tobacco City will find a lot to love.

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Jeremy Porter and the Tucos - Sell Their Souls (Album).

This is a feisty and musically varied rock & roll album from a band that are clearly geared to live performances, however by no means short on the creative front, so what's the background?  Jeremy Porter and the Tucos are an original rock and roll band from Detroit playing classic American style powerpop, rockabilly, roots-rock/Alt-country, and indie/alternative. If you must call it something, call it Detroit Rock and Roll. Their influences include Cheap Trick, Uncle Tupelo, X, Drive-By Truckers, Hüsker Dü, and just about anything else that rocks, swings, two-steps, or staggers.

The Tucos formed in late 2010 in the Detroit suburbs. They've toured the US and Canada many times, and the UK in 2018. They have five full-length albums out and several 7” singles and contributions to comps and collections. They’ve played with several big-name touring bands. The Tucos partner with Lansing, MI-based GTG Records, distributed by Recess Ops Distribution.

Jeremy and his bandmates, Jake and Troy, are easy going, easy to work with, annoyingly punctual (our band tagline), professional, and hard working. They promote like hell and can play any room from the big rock clubs to the corner coffee shops, and adjust the set, volume, and performance accordingly. They can play all night long, or they can fall in on a bill with other bands. They want everyone to feel safe and welcome at their shows, regardless of race, color, gender, gender expression, or anything else.

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Royal Commission - Margo Cilker - The Lumineers - LG Galleon - Lydia Saint George - Black Bordello

Royal Commission - Hard To Defend.

New to Beehive Candy Royal Commission, the alias of Melbourne, Australia musician Dean Robb have been releasing a single each month in 2026,  having listened to a few of the tracks we have to say, there is plenty of originality with a firm emphasis on the 'alt' in alt rock. Going back to the releases most of which make up the debut album ‘Into Rock ‘n Roll’, and will be available from Bandcamp and all the usual streaming services from Thursday, September 24th. 

File under alternative rock, post-punk, DIY, 'noise' occasionally, 'outsider' probably, and there are a few 'nice' ones where a bit of melody or a singalong comes through too. Created on a TASCAM Digital Pocketstudio (DP-006) with some second-hand guitars and pedals, a $13.95 microphone from Jaycar and a drum machine. That all gets loaded into Audacity for a basic mix and master and to export a digital file, but that's about it. Bona fide 4-track recording like back in the old days.

Earning kudos from the likes of Dave Graney and Rob Critchley (The Fods) for their sound and recording technique, Royal Commission have been championed on UK radio by Dandelion DJ Mark Whitby, while Louder Than War called them “a raw and ready burst of irreverence and alt-rock charm.”

‘Into Rock ‘n Roll’ collects the singles released between January and September and adds 3 tracks from the ‘Dossier #1’ EP released in March. ‘The Magyar Dancer’ will be released as part of the album rollout in October, followed by a couple of non-album tracks to finish off the year.

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Photo - Jon Moore

Margo Cilker - Molly and Me.

Acclaimed Western folk singer-songwriter Margo Cilker recently announced her highly anticipated third album, Little White Cross, which is due out October 9 via Fossil Records, a label she formed with fellow musician ISMAY. Cilker previously shared the album's title track as the lead single, and she returns now with album standout "Molly and Me," an unflinching song about the teenage sister of a suspect in a mass shooting, written from the perspective of the sister's best friend.

Cilker recorded the upcoming 10-track set in Lockhart, Texas, with Bruce Robison, the writer/producer behind work by Charley Crockett, Lee Ann Womack, George Strait, and The Chicks. "You could definitely call it a concept record. If that concept is that I got really sad and went to Texas," she offers. "I had some material so dark I didn’t think I’d show it to [Bruce]. Then I remembered this is the man who wrote 'Travelin’ Soldier.'"
 
One of the songs she's referring to is today's single, “Molly and Me." It's an artful and affecting display of human complexity that emerged from an insistent urgency that sometimes accompanies Cilker's songwriting: “I often feel haunted by stories, kept up at night by a kind of external pressure to tell them. I’ll write a song just to alleviate the grip it has on me.”
 
With lines like And her mom did what she could to listen / And it’s true that we sincerely miss him / It’s just a shame they had to die when he did / None of this will ever be undone, Cilker withholds no nuance in conveying the unthinkable, allowing human suffering its due specificity. "Just because something horrible happens time and time again, that doesn’t make it any less horrible," she explains.

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The Lumineers - Isabelle Fly.

Beloved Nashville-based indie label Dualtone Records just announced the release of Keep Pressing On: 25 Years Of Dualtone, a new 17-song collection of rarities and covers celebrating the label’s 25th anniversary. Out December 4, 2026, the album brings together Dualtone artists past and present including The Lumineers, flipturn, Mt. Joy, Shakey Graves, Kathleen Edwards, and Langhorne Slim in celebration of the label’s enduring legacy and the artist-first vision established by Co-founder (ret.) Scott Robinson and the late President and Partner Paul Roper, who passed away in 2024.

As part of the anniversary The Lumineers have released a new song “Isabelle Fly.” “In April of 2012, we had just released our debut album and were on a pretty intense run; every day seemed to involve the trifecta of morning acoustic radio performances, interviews and shows,” The Lumineers reflect. “On the humid Nashville evening of April 27th, we met an angel in the form of our label head, Paul Roper. 

We were about to play the Basement, below Grimey’s record shop, and Paul could see we were truly haggard. Earlier that day, we had done a long photo shoot which felt awkward.  Paul appeared like a mirage in the desert, opening his trunk to us to reveal his bounty of Dominoes Pizza and a 12-pack of Stella’s. As we ate and drank, we felt looked after. And although it was a small gesture, it defined what Paul and Dualtone have done for us all these years. They do the little things and manage to always show up. It’s a rare quality in a label and a person, and I’m grateful for it.

“The song ‘Isabelle Fly’ never actually took flight. It felt like some sort of failed attempt. But I’ve always loved this song anyway, and am glad it’s got a place on this 25 year compilation so we can share this song finally.”

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Photo - Silvia Saponaro

LG Galleon - Paralyzed.

LG Galleon releases “Paralyzed,” his second solo single, via Lost in Ohio. The single comes from Galleon's debut solo full-length, I Am Your Pity, which sees release November 13.

For more than a decade, LG has been the guiding voice behind Dead Leaf Echo, the Brooklyn art-rock collective whose reverb-drenched blend of shoegaze, dream pop, and post-punk have earned them comparisons to Spiritualized, Cocteau Twins, and Deftones, and drew collaborators like 4AD producer John Fryer and designer Vaughan Oliver. He also fronts Brooklyn post-punk outfit Clone, whose Martin Bisi recorded debut CL. 1 trades atmosphere for agitation.

'New face, new wounds, new crimes' is about instantly falling in love with someone on sight alone and then the instantaneous fear you have of losing said person or being hurt by someone you don’t even know," says Galleon. "While the 'no more no more no more' Jim Jones sample in the middle adds to a feeling of past betrayal and disengagement over initial feelings of love.”

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Photo - Elena Cornwell

Lydia Saint George - Lungs.

North Carolina-based singer-songwriter Lydia Saint George has released her new single, “Lungs,” via Gold Ship Records. The track offers the first glimpse of a new collection of music that Lydia will reveal through a series of singles over the coming months.

Blending atmospheric indie pop and alternative music with folk-rooted storytelling and a haunting gothic undercurrent, Lydia writes songs that feel like quiet confessions unfolding in slow motion. Her introspective songwriting transforms deep emotion and lived experience into slow-burning stories carried by intimate vocals, shadowy textures, and reflective lyricism.

“Lungs” captures the emotional exhaustion of giving everything to a relationship while receiving little in return. Gradually building around an evocative keyboard loop, the song turns resignation and disappointment into something intimate, atmospheric, and quietly devastating.

“This song is about giving up on a person and the relationship between the two of you—being tired of the excuses and the constant lack of effort on their part while you gave everything you had,” Lydia explains.

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Photo - Susu Laroche

Black Bordello - Fugue.

Art-rock provocateurs Black Bordello announce their new EP, Midheaven Tempest, due 18th September via AWAL, and follow up the single 'Fugue' with a new video for the track this weekend.

'Fugue' offers the first glimpse into the immersive world of Midheaven Tempest, a collection that sees Black Bordello deepen their singular dialogue between art-rock, post-punk and cinematic atmosphere. Expansive yet intimate, the EP embraces contrast, where ornate arrangements meet raw immediacy, and gothic romanticism collides with moments of striking clarity.

With 'Fugue', the band continue to blur the boundaries of artistic, gothic and experimental rock, while drawing more openly from the dramatic sweep and melodic ambition of 1970s rock music. Threaded with baroque flourishes and taut post-punk tension, the single unfolds as a richly layered introduction to the conceptual landscape of Midheaven Tempest, hinting at an EP that is both emotionally resonant and sonically adventurous.

The romantic Hammond-organ introduction to ‘Fugue’ evokes 1920s picture houses and travelling carnival calliopes, hinting at a Fitzgeraldian world of sepia-tinted nostalgia. But any promise of reverie is quickly upended by the verse’s psychedelic, buoyant theatricality. Dripping with the weary, eye-rolling detachment of Peggy Lee’s Is That All There Is?, the track instead unfolds in a haze of Velvet Underground fuzz, Black Heart Procession gloom, and Nick Cave–esque refrains. It moves through jarring shifts in tempo and melody, each one underscoring the band’s restless drive to experiment rather than settle into nostalgia.

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