Shoegaze warmth and dream pop elegance converge in Celestial Bums’ “The Letters” Barcelona’s Celestial Bums unveil The Letters, the second single from their forthcoming album Minutes From Heaven, out February 2026 via the Italo-American label We Were Never Being Boring (WWNBB) — home to some of today’s finest dream pop and neo-psychedelic acts.
This second chapter reveals the band’s most seductive pop side, carried by lush synth textures and shimmering guitars drenched in delay and reverb. Its catchy vocals and expressive leads showcase the group’s signature melodic flair, before giving way to a fuzz-soaked finale — a wall of distortion as hypnotic as it is cathartic, tailor-made for lovers of shoegaze and modern psychedelia.
Celestial Bums return in 2026 with Minutes From Heaven (WWNBB, USA/IT), their long-awaited fourth album. Formed in 2010 as a cult collective in constant evolution, the band has carved out a reputation across the European psych scene, touring extensively and performing at both festivals and underground clubs. Along the way, they’ve shared stages with acts such as The Black Angels, A Place To Bury Strangers, Holydrug Couple, and The Warlocks.
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| Photo - Luke Rogers |
Nashville-based indie/rock group The Brook & The Bluff have shared their new single “Baby Blue.” The track is the latest to release off their upcoming fourth studio album Werewolf, due out March 6th through Dualtone Records. With delicate arrangement and gentle grooves over a bed of fingerpicked guitars, “Baby Blue” features tight three-part harmonies woven throughout every verse and chorus, a technique the band had never used before.
“‘Baby Blue’ is mostly about devotion, maybe almost to a delusional level,” stated the band. “It’s a bunch of ways to say I'm not interested in going anywhere, that I’ve been on all the roads and they have the same destination. It's the feeling of certainty you can stay tethered to when you feel like you may start drifting.”
“Baby Blue” follows the release of the lead single “Super Bowl Sunday,” an anthemic, amphitheater-worthy banger with crashing guitars and earworm hooks anchored by reflective lyrics about masculinity, ego, and the ties that bind. Upon its release, Atwood Magazine called it “Fun, radiant, and irresistibly spirited” while Melodic Magazine raved “True to form, the bright, driving energy of the music contrasts sharply with the bittersweet ache of the lyrics.”
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Los Angeles indie-pop vocalist and songwriter KiKi Holli returns with her latest single “WISH,” the first release under her expanded artist title KiKi Holli & The Remedy. This evolution marks a new creative chapter for Holli— one that captures the dynamic energy of her live performances while staying true to the emotive storytelling and lush, cinematic sound she’s known for. The addition of “& The Remedy” reflects Holli’s growing focus on live performance and collaboration, capturing the vibrant, soulful energy of her band on stage and working with her 2x Grammy nominated Producer, Ethan Allen in the studio.
“WISH” is an atmospheric, soulful anthem that explores longing, transformation, and the beauty of vulnerability. Driven by sweeping melodies and Holli’s radiant, emotionally charged vocals, the track evokes a sense of yearning and renewal, channeling the timeless influences of artists like Stevie Nicks, Bowie, Prince & The Cure through a modern indie-pop lens. It’s both intimate and anthemic—a reflection of Holli’s continued growth as an artist and the powerful synergy of The Remedy.
The new single follows the success of Holli’s electrifying Nu Disco track “WIN U OVER,” which earned critical praise from Billboard for its infectious groove and fearless energy. With “WIN U OVER,” Holli invited listeners to embrace joy, connection, and movement—a vibrant contrast to the introspective tone of “WISH,” yet both driven by her signature authenticity.
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From the heart of Toronto's indie-rock scene, Cut Flowers emerge with "Until It's Time" – a rollicking and heartfelt meditation on impermanence, regret, and making amends. Rooted in pastoral harmonies and driven by vibrant, live-off-the-floor energy, the song blends the ache of folk storytelling with the grit of vintage rock and soul.
"It's a song about regretting not being there for people you love when they need you," says vocalist Kevan Byrne. "And sort of trying to make amends before we die — saying this time I'll be there for you, and will stay there until it's time for me to go."
Inspired by the timeless melancholy of 60s and 70s British folk and the raw earthiness of contemporary American folk-blues artists like Jake Xerxes Fussell, "Until It's Time" finds its own space between promise and resignation.
The song was written in an unusual tuning — a discovery that unlocked its distinctly open, ringing sound. "I read about something called a black key tuning that Curtis Mayfield used for a lot of his songs," Byrne recalls. "I put my guitar into that tuning and right away I was struck that I had no idea how CM was getting chords and voicings out of it for songs like 'Move On Up.' But it was great for chiming, droning stuff in the key of G. That's the tuning I used to write 'Until It's Time.' In the end you can play the song in standard tuning with basic cowboy chords. But sometimes you have to get outside your habits to hear a tune differently."
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Acclaimed Michigan indie pop heroes The Legal Matters are about to release “Everybody Knows,” the band's latest single and their first new music in over four years. Out December 5, it's an early preview of their forthcoming fourth album (and their first for BSR), due out in early 2026.
“Imagine if a sound could take you back to the place where you came from,” goes the aching, harmony-laden chorus to “Everybody Knows,” and it's an instant signature moment for The Legal Matters. Over a decade after the band Keith Klingensmith, Andy Reed and Chris Richards coalesced from the lineups of three already-esteemed Michigan indie pop outfits, their mutual love for the music that shaped them still resounds throughout their material, never more so than on this track.
The band may be named in tribute to an early track by The Who, but it's big early '7os rock that informs “Everybody Knows,” so it's no surprise when Chris Richards names a key power pop progenitor band when discussing the writing and recording of the tune.“I had this verse/chorus bit for quite awhile, dating back to sessions for out last album in 2021, but couldn’t land on a lyrical hook and always just moved on,” says Chris.
“When I brought this one to the guys, we went down a Badfinger route, and the result became the lead of track on the new record. I wrote the melody to the bridge the day before the session, as I’d been trying to ft a middle eight in there for some time but always hit a very thick brick wall. It all came together right then and there, as is so often the case with The Legal Matters.”
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