Carly King - Lauren Minear - Mama’s Broke - Chris Pellnat ft. SaKy - Natalie Shay - The Jaws of Brooklyn - Mollie Elizabeth

Photo - Bob Kelly

Carly King - Loving you is Easy.

Nashville’s indie Americana artist Carly King has shared the second single from her forthcoming debut ‘Loving you is Easy’ out May 15 on First City Artists (Coco, Alexa Rose). The song gradually builds from gentle piano flourishes and tender imagery (cartwheels in the kitchen / running down the stairs / talk about it later / if we still care) into combustive percussion and howling celebration (Loving you is easy / it’s a life that’s hard / it’s the world that’s breaking / not my heart); it’s a heartwarming, and undeniably alive ode to finding the right person.
 
Carly King shares: This song is the sound of my heart beating. It’s a love letter, to him, to her, to you, to me. It’s the love song I’ve wanted to write my whole life but never really could until I fell in love with both my fiancé and myself. My music usually works through something heavy or unresolved, and there’s often a heart-wrenching thread running through it. With this song, I faced that head-on and realized love doesn’t always have to be hard—it can be light, it can be easy.
 
Produced by Shane Travis (Evan Honer) at Cloverdale Records, King’s debut full-length is an earthy and emotionally stirring collection of folk country earworms, driven by King’s distinctly sandy vocals and alight with sparkling pop sensibility RIYL Kacey Musgraves, Madi Diaz, Courtney Marie Andrews. Today’s offering follows lead single, “Three Martinis” praised by The Bluegrass Situation as “lovely and tender… full of memories, nostalgia, and lush with imagery of falling head over heels… wrapped in a cozy and gauzy folk-country package”
 
Born in New Jersey, King lost her father at age four to the terrorist attacks of September 11th. She grew up with a vivid sense of life's uncertainty, driven by a search for its purpose. On her first full-length, she discovers that meaning in the humblest details of humanity—dusty floors, school buses, bobby pins, weathered boots—penning odes and anthems to the magic of the mundane. In a life where everything precious is fleeting, King holds simplicity as sacred thread: Loving you is easy / It's a life that's hard.

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Lauren Minear - Bruise (made of glass version).

New York–based alternative singer-songwriter Lauren Minear returns with “Bruise (made of glass version),” a stark and emotionally exposed acoustic reimagining of one of the most devastating moments from her latest album, Boxing Day. Stripped to its bare bones, the track magnifies the quiet intensity of the original, allowing the fragility of Minear’s voice and the delicacy of the guitar arrangement to carry the emotional weight.

Recorded live at Studio 42 in Brooklyn, “Bruise (made of glass version)” captures the intimacy and vulnerability that sit at the heart of Minear’s songwriting. The performance preserves the raw immediacy of the moment while subtly reshaping the song’s sonic landscape. Though Minear often performs the track live in a lower key, the team chose to retain the original key for its lyrical prosody, allowing the guitar’s natural register to mirror the emotional fragility of the vocal performance.

“This live acoustic version is especially lethal and difficult for me to perform or listen to,” Minear explains. “It comes from a deep pain that maybe only a song can express. There’s something to that though, because it’s also the song that my listeners respond to the most.”

The title itself carries a subtle nod to Minear’s broader creative universe, referencing a lyric from another song on Boxing Day. Though simple on its surface, “Bruise (made of glass version)” embodies one of Minear’s guiding artistic principles: radical honesty. Her songwriting consistently challenges both herself and her listeners to sit with difficult emotions and find connection within them.

Lauren Minear · Bruise (made of glass version)

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Mama’s Broke - Heaven.

Mama’s Broke, the Nova Scotian duo of Amy Lou Keeler and Lisa Maria share their new single “Heaven,” out now via Free Dirt Records and Forward Music Group, and announce their ‘Analog Tour’ throughout North America. “Heaven” offers the first glimpse of the pairs’ forthcoming album and fans will be able to purchase physical copies exclusively and hear the new material at the upcoming shows.

For more than a decade, Mama’s Broke have been in near-constant motion, bringing their folk-without-borders approach to small clubs, DIY spaces, and everywhere in between. This tradition is continued with their upcoming tour across the US and Canada this spring.

“Heaven,” the new single from Mama's Broke forthcoming album (due later this summer) is about stepping back from the cycles of distraction and urgency, and devoting time to what you love. Says Mama's Broke:

"We’ve been fed the distant promise that, through diligence and quiet perseverance, we will someday reap the rewards of our labor. In reality, we’ve been left with a system collapsing under the weight of its own greed and corruption. The gap between rich and poor has reached unprecedented levels; a minimum wage no longer suffices to keep both the lights on and food on the table, and our air and water are more polluted than ever before." 


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Chris Pellnat - VRChat の歌 - ft. SaKy.

We are always on the lookout for new music that invites us to explore something a little different, whilst being accessible and enjoyable rather than a test of our patience (I know, it's a getting older thing). Well Chris Pellnat has been featured here before and always well received, so it's a pleasure to explore something a little different, whilst happily enjoying the moment.

Some background: "VRChatの歌" is sung in English and Japanese by SaKy. Why English and Japanese? Because those are the two languages most spoken in VRChat. VRChat is a virtual reality platform where you can explore thousands of immersive worlds created by talented artists, and you meet people from all over the world. This youth-driven ecosystem is evolving organically and has a strong Japanese anime aesthetic.

SaKy is a singer based in Japan who sings in several languages. She is a vocalist, lyricist, and vocal coach. She has been the vocalist for several original soundtracks. Chris Pellnat is an American singer-songwriter who also plays guitar with the Poughkeepsie-based band, The Warp/The Weft.

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Natalie Shay - Atmosphere (EP).

North London born Natalie Shay writes indie-pop for people who feel everything. A multi-award-winning BRIT School grad and lyrical storyteller, she’s been playing guitar and writing since childhood — soundtracking love, self-discovery and the realities of life in your twenties, blending heartfelt honesty with bright, feel-good energy.

Natalie’s new EP Atmosphere, explores the emotional pull of love, self-awareness and the messy space in between. She describes it as a sonic diary capturing the electric obsession of new love, often tangled up in the chaos of trauma bonds. The title track, “atmosphere,” was written with long-time collaborator and close friend Kaity Rae (Remember Monday, The Shires), circling the question of whether the connection keeping you hooked is real love or simply something in the air. Each song reflects a different chapter, tracing the experiences and lessons that have shaped Natalie’s life since her last release.

Natalie explains, “I bookend eras of my life with bodies of work, so it was important to me that ATMOSPHERE contained all the experiences and lessons since my last EP.” She continues, “I want my music to be the soundtrack to my life as a mid-twenties creative who feels everything deeply. I crave love, but I’ve also been damaged by it.” Written across two years of collaboration and late-night solo sessions, the EP gathers together songs she couldn’t leave behind. “Every song is a confession in a way,” she adds. “I write songs to perform them live. That’s my therapy.”

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Photo - Kyle Rothwell

The Jaws of Brooklyn - Up All Nite.

The Jaws of Brooklyn have shared “Up All Nite,” the next single from their forthcoming EP Unstoppable, which is co-produced with Grammy-winner and Alabama Shakes keyboardist Ben Tanner, out May 15. An effervescent dose of ‘60s girl-group glitter and grit, the playful song tells the story of someone caught between two lovers and simply enjoying the fun while it lasts.

Guitarist Bryan Cohen on the new single: “This was the first song written for this new EP. It’s a combination of The Supremes meets '60s frat-house rock classic - ‘Louie Louie’ with a few twists. The intro is inspired by David Bowie’s ‘Let's Dance,’ while the chorus pays homage to The Rolling Stones classic ‘Get Off Of My Cloud.’ Lyrically, it’s a story of having two lovers – being with one and thinking of the other, and feeling guilty but wanting to have fun. The narrator knows there are consequences but damn… she’s also having fun being in the moment.”

“Up All Nite” follows the bombastic “Lie To Me” and the shimmering call-to-the-dancefloor “Where Are You?”, which also appear on the upcoming EP. Unstoppable finds the Seattle-based group blending Motown melody, Muscle Shoals soul and West Coast rock & roll for their signature melting pot sound, which has earned praise from American Songwriter and Billboard over the years. These songs delve headfirst into love triangles, relationships and ride-or-die friendships, all anchored by frontwoman Gretchen Lemon’s powerhouse presence.

Unstoppable keeps the momentum going after the band’s 2025 album Crush On You, which was released during a whirlwind of change. Following the addition of Lemon as the group’s electric new singer, they felt reenergized and in turn, their show-stopping performances cemented their reputation as a must-see live act — booking festival slots at SXSW and Bumbershoot, as well as packing out shows at venues on both coasts.

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Photo - Sophia Schrank

Mollie Elizabeth - The Mirror.

Today, the Pacific Northwest artist Mollie Elizabeth, shares “The Mirror”, a song about the violence of self-perception. The “mirror” isn’t just literal, it’s symbolic of consciousness, ego, and the human tendency to scrutinize ourselves. The repeated line “Lord damn the man who made the mirror” reads like a prayer turned protest: a rejection of the invention (or evolution) that forces us to confront ourselves too directly. “The Mirror” is written by Mollie Elizabeth and Lucas Sim, produced by Lucas Sim & Davin Kingston and coming out via Neon Gold Records.

About the track, Mollie Elizabeth says: "The Mirror is a more poetic song of mine, but at the same time I feel as though everyone has experienced this same kind of frustration. Vanity, ego, and reflection seem to swallow us whole these days and at times I wish we never even invented the mirror at all."

Earlier this year, Mollie Elizabeth returned with  “Dog Eat Dog” (+ visualizer)  that deepens her distinctive sonic and visual universe, weaving eerie, quirky, and subtly dark textures into her signature femme, classic sound. Mollie Elizabeth adds, “‘Dog Eat Dog” is centered around the concept that all humans are, unfortunately, natural born predators. In my nature, and I think in many others, all I really want to do is cultivate peace and love, but in reality, this world is not peaceful. There are people who will take advantage of you if you do not accept that whether you like it or not, we live in a dog eat dog world.”

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Lauren Minear - Lucy Kruger & The Lost Boys - Sin Cos Tan - Anna Smyrk

Lauren Minear - Perfect Girl.

New York–based alt-pop singer-songwriter Lauren Minear returns with "Perfect Girl," a razor-sharp, darkly playful exploration of what it means to be a woman expected to shapeshift endlessly to please others. Written from the perspective of a fictional, satirical character, the track leans into the absurdity of "perfection" and the way chasing it strips away humanity in the process.

Built on deliberately hard, robotic production choices, "Perfect Girl" captures the inhumanity of trying to be universally palatable. Minear originally drafted the song in 2021, but it found its true place during the creation of her new album, Boxing Day (released October 17th), a project rooted in anger, honesty, and reclamation. At a co-writing retreat, the track came fully into focus with the help of Dan Weeks, Dan Barrenechea, and Leah Wheatley, who pushed the melody and arrangement into sharper, more subversive territory.

"This song is unlike anything else I've ever written," explains Minear. "It plays with themes of body privilege and power to illustrate how the construct of perfection hurts and disconnects everyone (including men)."

Though the track is built around a fictional voice, "Perfect Girl" taps straight into Minear's longstanding thematic terrain: womanhood, mental health, self-perception, and the quiet wars we wage between who we are and who we’re told to be. "I don't deliberately write about the female experience," she says, "but I am a woman, a mother, and a psychotherapist trained in a feminist relational approach – it comes very naturally to me." In the end, "Perfect Girl" lands as defiant, mischievous, and liberating – a mirror held up to the impossible standards women navigate every day, delivered with a wink, a snarl, and a fully embodied alter-ego.

Lauren Minear · Perfect Girl

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Lucy Kruger & The Lost Boys - Damp.

As the release of their seventh studio album Pale Bloom approaches (February 13th via Unique Records), Lucy Kruger & The Lost Boys unveil the record’s final single, “Damp,” which arrived Friday January 16th.

What began as a stripped-back acoustic sketch from Kruger was later reshaped by guitarist Liú Mottes into something more urgent and propulsive, gradually unfolding into a deep exploration of collapse, raw vulnerability, and the fragile promise of renewal. A steady pulse runs through the track, lending it movement and momentum while leaving space for uncertainty. Feelings of isolation are rendered physical and warm, with drifting violas fading in and out like the last light of day.

“Like most of what I write, it’s about a desire for depth and connection—a kind of quiet mocking of the mundane and domestic,” Kruger explains. “The first verse reflects that polite culture of not saying what you mean, of being too afraid to ask for what you need in case you seem too much, or expose the mess of falling apart. There’s a wanting, though—to give in, give up, or simply to give. Eventually, the fantasy of a breakdown moves closer to the tongue, almost reaching release, before slipping back into silence. Something restrained that feels both tender and oppressive, mirroring the path that led me to the mess of not making a mess in the first place.”

At its core, “Damp” wrestles with the distance between feeling and expression. The lyrics circle restraint, politeness, and the fear of asking for too much. The song builds toward release without ever fully arriving, settling instead into a quiet tension that reflects its central paradox: holding everything in, even when it might be easier to let it spill. Kruger adds, “I like that the thought that can’t quite be spoken hovers veiled above a bed of sound that expresses the feeling far better. It’s in that clash—the friction between what’s said and what’s felt—that the song finds its meaning, or at least does justice to its complexity.”

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Sin Cos Tan - In My House.

Finnish synth-pop duo Sin Cos Tan continue their new chapter with In My House, the second single from their forthcoming album Greed. The track deepens and expands the album’s world by highlighting a more rhythm-driven, club-aware side of the band, without losing the melodic precision and emotional restraint that define their sound.

Formed by producer-DJ Jori Hulkkonen and singer-songwriter Juho Paalosmaa, Sin Cos Tan are known for their rare balance of Nordic melancholy, classic pop songcraft, and precise electronic production. Their music exists between nostalgia and the future: timeless synth pop that feels equally at home in headphones, on night drives, or in late-evening settings.

In My House is darker and more direct than the album’s opening single Cutting Losses. It is built on a steady pulse, repetition, and a rhythmic structure that reflects the duo’s long-standing relationship with club music. Rather than referencing house music as a genre, the track draws on it as an understanding of movement and space. There is something distinctly nocturnal about the song, about the moment when rhythm takes over and carries the listener forward. Within Greed, In My House approaches themes of power, ownership, and desire from its own angle, without explanation or emphasis.

Jori Hulkkonen is one of the central figures in Finnish electronic music, with a career spanning over three decades across multiple strands of electronic sound. In the 1990s, he emerged as a key artist on the influential French label F Communications, contributing to the golden era of French electronic music alongside the label’s founder Laurent Garnier and contemporaries such as Mr. Oizo.

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Photo - Michelle G Hunder

Anna Smyrk - Skin Thinner.

Naarm/Melbourne based singer-songwriter Anna Smyrk lets down her walls with ‘Skin Thinner’. The new single is here ahead of her debut album ‘Spectacular Denial’ which will be out on the 20th of March via Community Music. Arriving as a catchy dose of indie-pop, ‘Skin Thinner’ shines a light on the complex processes that come with the loss of a loved one. Sonically upbeat, the lyrics bare an unexpected and powerful vulnerability.

Sharing more Anna explained: ‘I wrote this song about trying to peel away the layers that I put up to protect my mind after my dad passed away unexpectedly. It’s a resolution to try to work through the shock and denial and be open to the world again.  

Denial and staying numb can be a useful part of the process, it can protect you when you’re not ready to feel your feelings. But at some point, if you want to feel all the good stuff as well, you need to find a way to stay open and hold the painful stuff and the joyful stuff at the same time.’

With the release of her first full length album ‘Spectacular Denial’ coming in March, listeners can look forward to a beautifully compelling body of work. Shaped by her deeply personal journey with grief and her exploration of the many forms denial can take, the new album sonically sits in a rich space between indie, alt-pop, and folk.

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