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| Photo - James Morris |
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 |
"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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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 |
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 |
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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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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