Just days ahead of their debut UK headline tour, London-based indie quartet False Futures return with their third ever single 'Under The Same Sun' today August 26th. Bathed in sunlight, the track is a reflective meditation on youth, ambition, and the timeless search for belonging—marking the band’s transition from underground darlings to a rising power in the indie scene.
Recorded in a cramped 9ft x 9ft room in North London, 'Under The Same Sun' belies its humble origins with an expansive sound that recalls the angular precision of Television and the lo-fi authenticity of Pavement. Self-produced with the kind of DIY ingenuity that echoes Mac DeMarco's bedroom recording ethos, the track transforms spatial limitations into sonic intimacy. The track's stripped-back musicianship allows frontman Mathew Conner’s distinct Northern tinged tones to permeate every line, delivering lyrics that speak to anyone who's ever felt the pull between conformity and self-expression.
The song began life eight years ago as an instrumental demo, written during Conner’s first summer in London when he was "obsessed with The Beach Boys" and experiencing the intoxicating freedom of city life. But it wasn't until a moment of inspiration at Peckham Plex cinema that the words finally came together, transforming a long-dormant idea into a fully-fledged anthem.
"This track is a pat on the back to my younger self; a reminder to do as you please with your time on earth," he explains "The good, the bad, the alright, everything that has ever happened has done so, under the same sun, and that's all the guarantee you're getting."
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Risley - Halah.
Portland, Oregon's Risley is a four-piece band that can be described as dreamy and nostalgic indie-rock with a twist of 80s British influence. A web of guitar melodies often sit atop a driving rhythm section to stage the backdrop for soaring vocals and thoughtful lyrics. As such, you can imagine the band is heavily influenced by Mazzy Star, and to pay homage to them they have covered Mazzy Star's "Halah" and will release it nationally on all streaming platforms today August 26th.
Of the song, frontman Michael Deresh says: “We had learned ‘Halah’ to play at a show, with the intention of it being a one-time thing, like most songs we cover and occasionally throw into a set. What can I say? We grew attached and didn’t want to say goodbye, so quickly. It felt like we had really reminded a lot of people of a song that they loved but had forgotten. So, we decided to record it and share it more widely. We’ve never released a cover song as a single, but it just felt right. Why not? It's such a wonderful song and singing Hope’s parts is like putting on a velvet robe. I just want to stay there and linger.”
Risley released their latest album, Umbra Penumbra, this spring at Mississippi Studios (Portland, Oregon). This June, the band was honored and thrilled to share their live session in the KEXP studios, where they had charted for six weeks. The record also notably features a guest appearance on the song "Walls" by Dave Abbruzzese (Pearl Jam) on drums.
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On their third single Don’t Mind, A Better Place drifts into dreamlike territory—led by a hypnotic guitar line and a slow-burning build that erupts into a hazy indie rock climax. Clocking in at just under two minutes, the track captures intimacy, longing, and fleeting connection in one tight, powerful swoop.
Like a half-remembered dream or a whispered confession, Don’t Mind leaves its mark before slipping away. Catch them live, because once you do, you’ll be hooked.
Even amidst the success of HALF CAB, Joris Ras, singer and guitarist, felt a burning desire to create something different. Less pop-punk, more indie rock. That’s when A Better Place was born. What started as a side project quickly took center stage after HALF CAB came to a close, and with that shift, the creative energy skyrocketed. New songs are flowing in at a rapid pace, and the band wasted no time hitting the studio.
Crystal Jacqueline and The Honey Pot have been Fruits de Mer ‘regulars’ for many years – as close as you can get to being the label’s ‘house band’; their blend of psychedelia, folk, originals and covers has made them firm favourites of followers of the label; ‘Smoke Road’ is Jacqui’s new project – a double LP (on sale September 15th) containing all original songs. Featuring guest appearances from Leo O'Kelly, Icarus Peel and Mark McDowell amongst others, 'Smoke Road' has lyrics by David Greygoose, which have dark, gothic undertones, so expect a mysterious rural psychedelia-meets-acid folk feel to the music
Over to Crystal Jacqueline to explain….
“During the summer of 2023 there was some conversation evolving between myself, Icarus Peel and the author David Greygoose; he had been following our music and supporting us for a while, sending us a few of his books and some poems to read so that we could write some cover notes for his next book ‘Crow Dark Dawn’. It soon became clear that there were similarities in the style and subject matter between his lyrics and Icarus’s, so the idea of a collaboration between us was all but inevitable. Many of David’s poems reminded Icarus of Mervyn Peake’s ‘Gormenghast’ in style and thought; the words would lend themselves to his music very well. We were, in fact, equally impressed with one another’s qualities and that would go on to contribute to this rather special album. We arranged a few songs to start with and all agreed that the sound was good, so we kept the project going and invited some friends along...
The first musician we approached was Leo O’Kelly from Tír na nÓg, with whom we had been planning to work for a while, but hadn’t quite got a suitable set of songs together; his playing brings an exciting, atmospheric dynamic especially to ‘The Tides That Turn’. We had also been looking for an excuse to work with Mark McDowell for some time, and this was the perfect opportunity. He does a fine job singing on ‘Smoke Road’ and ‘The Grey Light’. Icarus was already working with Rob Gould and Jay Tausig on other projects and they were happy to join in with this. Jay plays drums and also sings as well as contributing some wonderful flute. Rob contributes his excellent keyboard playing on ‘The Greygoose Lament’ amongst others. Equally impressive is the Mellotron playing from Mordecai Smyth, which can be heard to best effect on ‘Dreamwalkers’. Dick Terry, drums and vocals, and Django Manglunki, glissando guitar, both members of The Honey Pot Collective, contributed beautifully along with Maria, Irish whistle, and Phil Townsend who played jaw harp.
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