Soft Loft - Alex Dupree - Allegories - Penny Lane Pickets - Marie Dahlstrom

Soft Loft - Wednesdays.

Soft Loft returns with their new single “Wednesdays,” an uplifting indie-folk anthem about learning to rely on yourself. Inspired by the iconic Mean Girls line “On Wednesdays we wear pink,” the Swiss collective flips the script: happiness doesn’t come from being chosen by others. 

Driven by warm acoustic guitars, catchy melodies and Jorina Stamm’s unmistakable voice, “Wednesdays” celebrates personal growth and finding comfort in your own company. The track is lifted off the band's forthcoming album Throw The Dice out September 4th via [PIAS] Recordings.

Wednesdays is about sitting with yourself and feeling real good about it. It's about trying to feel good without depending on others for validation or happiness. It's about buying yourself flowers, taking walks or simply telling yourself today is going to be okay. It's about a tension between isolation and comfort, between feeling unseen and learning how to sit with yourself and be okay there. 

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Photo - TJ Masters

Alex Dupree - I Can See Her In Your Eyes.

“I Can See Her In Your Eyes” is the final glimpse into Talking to the Dog before the full album arrives August 14 via Scissortail Records. The record was produced by Michael Krassner, and it’s an album I’ve really loved spending time with. For all of its thoughtful, layered lyricism, it never feels weighed down — it feels alive. Like a band in a room, discovering the songs together, following the energy, and capturing those moments when everything clicks. There’s a spontaneity and warmth running through it that makes the whole record feel immediate and human.

Quote from Alex: "I love country duets, they have so much narrative possibility. The initial spark for this song came while writing for a duet project with Whitney Mower (They/Live) called “Dawn & Dupree”. It’s two perspectives on the same relational dead-end — he’s still hung up on an old love, and she can tell. The fun comes from how the language works on both sides. 

Having Jolie Holland sing on this is a dream come true. She’s an absolute legend, and hearing her album 'Catalpa' in high school probably changed my life. At that time, I hadn’t heard anyone so tapped into the deep vein of American music. I didn’t know it was possible to still go there. Not as a genre thing, but as real, true embodiment. And she’s still doing it! Jolie is on another level."

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Allegories - They'll Never Suspect Us.

Experimental duo Allegories return with “They’ll Never Suspect Us,” a deceptively beautiful and unsettling new single that reframes the idea of the murder ballad as something colder, more detached, and strangely euphoric. Built on ethereal dream pop textures and gliding indie electronic production, the track pairs some of the duo’s most luminous instrumentation with some of their darkest lyrical content to date, collapsing beauty and brutality into the same breath. It’s the latest single from Allegories’ upcoming new album, By accident, On purpose, set for release on October 16th, 2026.

At its core, “They’ll Never Suspect Us” is an imagined scenario pushed to its most uncomfortable extreme: a gleeful, fictional descent into violence narrated with eerie confidence and emotional distance. “There’s a long tradition of murder ballads,” Adam Bentley explains. “But what about murder anthems? A song that gleefully imagines the act, while rubbing the victim’s face in the idea that no one will care about their demise.”

Rather than leaning into shock alone, the track uses its narrative extremity to interrogate perspective itself, folding humour, discomfort, and abstraction into a single unsettling lens. “It’s a morbid, bleak, and weirdly fun exercise in trying on the hat of a truly reprehensible sociopath,” Adam adds. “And setting it all over what might be the dreamiest instrumental on our entire record? That somehow makes it even more twisted. Sometimes imagining the worst can bring out your best.”

That contrast becomes the defining feature of the song. Sonically, “They’ll Never Suspect Us” drifts through hazy dream pop atmospheres and understated indie rock momentum, anchored by soft focus melodies that feel almost calming in isolation. But the emotional framing destabilizes that calm, turning the track into something quietly disorienting; a lullaby with intent hidden just beneath the surface.

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Penny Lane Pickets - Best Damn Time.

Following the high-octane sunshine of their debut, Santa Cruz’s Penny Lane Pickets are dialing in a heavy, street-level groove with their upcoming single, "Best Damn Time." Shifting gears into a mid-tempo 160 BPM stomp heavily inspired by the infectious energy of modern ska-punk icons like The Interrupters, this track is a raw, grounded anthem dedicated to the sacred, gritty spaces where we escape the daily grind.

Built on a foundation of dry, punchy production, "Best Damn Time" features sharp, rhythmic electric guitar upstrokes and a fluid, melodic walking bassline that drives the entire track forward. Right from the very first second, a powerhouse brass section kicks in, commanding the melody and carrying the song side-by-side with an unforgettable chorus. The raspy, honest delivery of the lead vocals is perfectly elevated by soaring, 3-part Beatles-esque harmonies, striking that perfect, unique balance between 60s pop hooks and raw punk-rock attitude.

Lyrically, the track captures the hazy, smoke-filled atmosphere of a local urban refuge. It’s an ode to those unplanned Tuesdays at 4 PM that somehow turn into the ultimate Friday night. It’s about peeling bathroom stickers, spilled drinks on tattered maps, and the comfort of familiar faces under an industrial sky, filling the gap between the work, the sleep, and the bills.  

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Photo - Lennon Gregory

Marie Dahlstrom - Night & Day.

Marie Dahlstrom today releases her new single 'Night & Day', the latest taste of her third full-length album 'Marie' due out 18th September via JFH Records. The Roskilde-born & London-based vocalist, songwriter and producer will mark the release of the new album with two headline shows in London (8th October) and Copenhagen (13 October).

The new single 'Night & Day' pairs playful talk-box flourishes with buoyant neo-soul grooves, capturing the everyday work of sustaining long-term love in what Marie Dahlstrom affectionately describes as “a couples’ make-up song”. Speaking on the release, Dahlstrom said: "Love and relationships have their ups and downs. We have to put in the work and stay intentional to make them last."

Her third album Marie arrives at a moment when life has become fuller, busier and infinitely more complex. Since her previous releases, Dahlstrom has become a mother of two while continuing to build a life between London and Copenhagen.

Written over the past two years between London, Copenhagen and Los Angeles, the self-titled record draws on deeper jazz influences, live instrumentation and a close-knit international cast of collaborators, including Corey Fonville of acclaimed Richmond jazz collective Butcher Brown, Los Angeles pianist and producer Elijah Fox, Cuban percussionist Eliel Lazo, and her longtime collaborator (and partner in life) DanDiggas, resulting in Dahlstrom's warmest and most personal work to date.

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Marie Dahlstrom - Nora Stanley - Lauren Minear

Photo - Lennon Gregory

Marie Dahlstrom - 1 Journey Away.

This week Marie Dahlstrom has announced her third full-length album Marie will be released on 18th September via JFH Records, and has shared jazz-influenced new single '1 Journey Away'. The Roskilde-born & London-based vocalist, songwriter and producer has also recently announced her return to the live stage, with two headline shows confirmed in London (8th October) and Copenhagen (13 October).

New single '1 Journey Away' sees Marie Dahlstrom lean into her jazz influences, blending intricate, percussive rhythms with her signature soulful vocals. An expressive scat solo adds a standout moment of musicality, while subtle, groove-led production from Corey Fonville of US jazz quintet Butcher Brown underscores her versatility and refined musicianship. The song also includes features Cuban percussionist Eliel Lazo and a synth solo from Los Angeles musician Elijah Fox. 

'1 Journey Away' is the third single to be revealed from Dahlstrom's new album, following 'Alive' (feat. Jords) and 'Frostbite'. Speaking on the release of '1 Journey Away', Marie Dahlstrom said: "The song is about family life - having loved ones spread across different countries and carrying that constant feeling of wanting to be closer to them. It reflects a longing for a slower, simpler way of living, where connection and togetherness matter more than everything else happening around you.” 

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Photo - Rachel Andes

Nora Stanley - Noble Gas.

Glass, the stunning solo debut from Nora Stanley, is due to arrive July 31 and is co-produced with Nate Mendelsohn (Frankie Cosmos, Dougie Poole). If Nora’s name sounds familiar, it may be from her work with artists like Cassandra Jenkins, The New Pornographers and Fred Frith, or from Distance of the Moon, her acclaimed 2023 collaboration with Benny Bock. Today, she’s sharing the album’s first single, “Noble Gas,” and I hope you’ll give it a listen and help spread the word.

Nora tells us about "Noble Gas": Our phones are listening to our conversations, reading our messages, wanting desperately to participate in the drama of human life. "Noble Gas" is about the limits of that intelligence and a funny-in-retrospect yet painful-in-the-moment mistake in the advertising algorithm it fed. "Noble Gas" is about inertia, instability, and bonds, about the influence a person can have on you, and about regaining equilibrium after your world has been turned upside down.

As a multi-instrumentalist, composer, and improviser, Nora has spent years bringing her singular voice to other artists’ projects. On Glass, she steps fully into the spotlight, drawing inspiration from Anne Carson’s writing to explore themes of reflection, separation, and the ways we see ourselves mirrored back through others. The result is a beautifully crafted indie-rock record that feels both intimate and expansive.

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Lauren Minear - ‘Til The World Ends.

New York–based alternative singer-songwriter Lauren Minear shares her latest offering, “‘Til The World Ends.” It’s a cinematic and emotionally charged alt-pop single that grapples with fear, uncertainty, and the fragile state of the world before ultimately arriving at a deeply human conclusion: love is the only answer. Blending rising tension with introspective lyricism, the track captures a moment of personal and collective anxiety, filtered through Minear’s signature emotional clarity.

“‘Til The World Ends” was written in November 2024 in the immediate aftermath of the U.S. presidential election. “I felt scared by how divided the world has become and worried about the sociopolitical conditions my children will grow up in,” Minear explains. At the same time, she found herself immersed in dystopian storytelling, rewatching multiple Walking Dead spinoffs that explore separation and survival in apocalyptic conditions. “I was thinking about how horrifying it would be to be separated geographically from my family if the world stopped,” she says.

What began as an attempt to process fear quickly evolved into something more grounded. Sitting at her piano, Minear started listing unanswered questions about the world around her, only to arrive at a more instinctive truth. “Naturally, I ended up writing a song about the only answer to fear: love.”

Sonically, “‘Til The World Ends” leans into atmosphere and tension. Produced by Grammy-winning producer Scott Jacoby, the track blends organic instrumentation with contemporary production techniques, creating a soundscape that feels both intimate and expansive. Arpeggiated piano chords form the foundation, while layered contributions from collaborators; including guitar (Ben Butler), keys (Andrew Sherman), percussion (Doug Yowell), and fretless bass (Richard Hammond); gradually build a sense of unease and momentum. A standout moment arrives in the bridge, where a soaring vocal stack from Lauren Mian adds an almost ethereal release.

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Sin Cos Tan - Brother Wallace - Thomas Duxbury and New Mother Nature - Night Swimming - Marie Dahlstrom - Danny George Wilson

Sin Cos Tan - I Wasn’t Young, I Needed the Money.

Finnish synth-pop duo Sin Cos Tan continue their Greed era with “I Wasn’t Young, I Needed the Money”, the third single from their forthcoming album Greed. Following the late-night pulse of In My House, the new track sharpens the album’s central theme into a clean, hook-driven statement: desire, justification, and the ways money can become both motive and excuse.

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 songwriting, and precise electronic production. Their music exists between nostalgia and the future: intimate, detailed, and timeless synth-pop that resonates equally well in headphones, after-dark settings, and on the edge of the dancefloor

“I Wasn’t Young, I Needed the Money” is built like a classic: tight structure, immediate chorus, and a steady electronic momentum that never turns into a genre exercise. Instead, it delivers a focused, literate narrative voice, letting the lyric carry the tension. It is one of the most direct tracks in the Greed cycle so far, capturing the album’s view of greed not only as money, but as power, control, and the normalization of harmful choices. Elegant, unsentimental, and highly melodic, it underlines why Sin Cos Tan remain one of Northern Europe’s most respected synth-pop acts.

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Brother Wallace - Gone With The Wind.

Every so often, an artist arrives with a voice so seasoned and a story so grounded that they feel less like a "discovery" and more like an inevitability. Brother Wallace is that artist. Now, the West Point, Georgia-bred singer, pianist, and soul revivalist releases “Gone With The Wind,” the latest single and music video from his forthcoming debut album, 'Electric Love' (out 8 May via ATO Records). 
 
While his previous singles showcased a high-octane grit, “Gone With The Wind” reveals a more introspective, tender side of the powerhouse vocalist. It is not only luminous, but it also finds him turning inward without losing any of the fire that’s quickly made him one of soul’s most compelling new voices. Built on a rollicking piano riff and carried by Wallace’s sublime vocal, the track is a lived-in meditation on letting go of the noise, protecting your peace, and giving yourself permission to breathe. 
 
“I started writing that song when I was driving home from work one day, feeling like I needed to let the world go and take some time out for myself,” Wallace explains. That sense of sanctuary is amplified by the song’s heavenly background harmonies, provided by a group of young vocalists from Wallace’s hometown—students he personally trained during his years as a choral director. “When they added their parts, it felt like they were carrying me away as they were singing,” he says. “It was like a beautiful journey that I didn’t want to end.” 

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Thomas Duxbury and New Mother Nature - She Never Knows.

Hamilton, ON's Thomas Duxbury and New Mother Nature are following up on their debut single, "Istanbul," with "She Never Knows," a high-voltage garage-rock burner that pairs blistering blues riffs with deeply reflective songwriting. Written years ago and resurfacing with renewed clarity, the track wrestles with avoidance, identity, substance use, and the quiet heartbreak of watching someone you love slip away from themselves.

"This is a song about seeing a close friend resort to substance abuse to avoid confronting their reality," Duxbury explains. "As I've moved forward through my life, I have seen so many close people go through similar issues; my dad, close friends, and even bits in myself. Avoidance takes many forms. Sometimes it's substances. Sometimes it's just lying in bed and not wanting to face the world."

Despite its heavy subject matter, "She Never Knows" is delivered as a punchy, riff-forward blast of electric rock; an intentional contrast. "You'll find this scenario in a lot of my music," Duxbury notes. "There'll be something fun and energetic, and then you listen back and realize what I'm actually saying. Songwriting is journaling for me. It's my way of converting negative feelings into something positive."

Recorded, mixed, and mastered at Duxbury's home studio Bonnie Doon Records, "She Never Knows" embodies New Mother Nature's DIY ethos. "I like to keep production as part of the songwriting process," he explains. "I'm wired as an audio engineer so I can hear what direction I want the production to go as I record and layer a track.”"

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Photo - Derek Bremner

Night Swimming - Poison Berry.

Bath, UK-based dream-pop band Night Swimming today announce their second EP 'Melting, Sometimes Bleeding', out 22nd May via Venn Records (Bob Vylan, Witch Fever, High Vis) - produced by longtime collaborator Peter Miles (Orla Gartland, Nina Nesbitt) and mastered by Simon Scott of Slowdive.

With the EP announcement comes the release of new single 'Poison Berry' and a one-take video directed by Jay Bartlett depicting a relationship deadlock. 'Poison Berry' provides the new EP's second taste, following 2025 single 'Submarine'. Built around a hypnotic rhythmic pulse, Night Swimming lean into a gauzy dream-pop palette, turning the lens inward on recurring relational dynamics. 

Speaking on the release of new single 'Poison Berry', vocalist and lyricist Meg Jones said: "'Poison Berry' is an amalgamation of my experiences with men and how they have made me feel in relationships, but it is also a reflection of my own responsibility for the kinds of dynamics I can be drawn to. There is a dryness of tone to this song that I haven’t explored before in lyrics, and a numbness. ‘Poison Berry’ details the state of being acutely aware of your partner’s emotions, although they seem distant, and the loneliness (or bitterness) of feeling like that isn’t reciprocated."

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Photo - Lennon Gregory

Marie Dahlstrom - Frostbite.

Danish London-based vocalist, songwriter and producer Marie Dahlstrom today shares her new single ‘Frostbite’, marking the beginning of a new chapter for the Roskilde-born musician and offering the first glimpse of a new project set to arrive later this year. Over the past few years, Dahlstrom has quietly built one of contemporary R&B’s most trusted catalogues – rooted in neo-soul, jazz and understated groove.

That sustained momentum now sees her entering her most assured phase yet, starting with new single 'Frostbite', produced by Dan Diggas (Central Cee, Mahalia).

Staying rooted in the soul-led intimacy that has defined her work to date, 'Frostbite' finds Dahlstrom pushing further into nuance and atmosphere. With a cooler tonal palette than her recent work, the track explores love’s mutability through immersive textures and glistening melodies, unfolding with the quiet control that has become Dahlstrom’s signature.

On the release of 'Frostbite', Marie said: “‘Frostbite’ is a song about longing and about how the feeling lingers in the body. It’s drawn from many experiences in my life, all wrapped into this piece. It was recorded on my old piano at my parents’ house in Roskilde, in my childhood bedroom. We tracked it with one small mic held close to the piano — nothing pro about it at all — but the instrument has this warm, muted tone that really captured the feeling. To me, this is what music is about".

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Danny George Wilson - Arcade.

Danny George Wilson, who releases his new album 'Arcade' on 20th March via Loose Music, has been confirmed as a special guest on The Handsome Family's forthcoming UK tour in May. Coinciding with the announcement, Wilson has today unveiled the title track to the new album. "Arcade’ is a song about youth culture and nostalgia…a mix of sadness and gratitude" reflects Wilson. "Doffing a cap to the classic and influential ‘Subway Art’ book that emerged in 1984, a first taste of Dinosaur Jr’s ‘Freak Scene’ and Sonic Youth’s ‘Teenage Riot’ and memories of Sutton’s long demolished Arcade."

'Arcade' finds Danny George Wilson returning to Hamish Benjamin’s studio in East Sussex - five years on from his startling, post-lockdown solo album Another Place – to construct its sequel. With Lewes-based Benjamin and right-hand man Henry Garratt, again given free rein, 'Arcade' presents a fresh collection of sonically inventive, deeply romantic songs, with atmosphere taking primacy over meaning, and narrative dissolving. As Wilson tells it: 

“The songs are about the ways we deal with losing people, time, place, or don’t deal with it… Looking back, we discover what was always there, or things that are just easier to ignore - different and contradictory perspectives. And I wanted a chance to work with Hamish and Henry again, and this seemed like their thing, and it was”.

Traditional instrumentation meets technology; the majority of tracks feature a string quartet, while Benjamin and Garratt employ synthesiser and mellotron along with a plethora of guitars. Gerry Love again provides backing vocals with cameos from Emma Tricca and Annie Dressner. Fragile, tender, full of uncertainty, ultimately 'Arcade' is a song-cycle in which the premise of each track subverts the previous, and demonstrates most assuredly, we still move in doubt.

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Marie Dahlstrom - Andrea & Mud - Sandmoon

Marie Dahlstrom just shared 'Wandering' and it's a lush and beautiful soulful song, her vocals are fabulous as is the whole arrangement. === Andrea & Mud have released 'Lines' as a foretaste of their next album due in June, the surf-western duo are in splendid form and the album is all on a par with this fine song. === We first came across Sandmoon back in January and they are back with 'Empty' and it's another refined indie folk song from this creative band.
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Marie Dahlstrom - Wandering.

Danish, London based artist Marie Dahlstrom continues to tease the release of her upcoming debut album Like Sand, with soulful new jazz-inflected cut "Wandering".

One of the more experimental, electronically-charged tracks on the album – Marie creates an image of a ship being adrift at sea, not being able to navigate to shore again. “I wanted the song to feel like being lost," Marie explained. "Something I feel like everyone goes through at some point in their life - and something I feel a lot of musicians can relate to when navigating their career as an artist.”

Brought up on some of soul and R&B’s greats; recalling the likes of Edwyn Collins, Womack & Womack and Gloria Gaynor being on regular rotation in her family home in Roskilde, Dahlstrom also cites the discoveries of Dwele, Musiq Soulchild, SWV, Dire Straits, Lucy Pearl, Erykah Badu, Kirk Franklin and Fleetwood Mac in her teenage years as key points of inspiration in her musical upbringing.

Moving to London 9 years ago from her hometown of Roskilde in Denmark – Dahlstrom has made a significant name for herself in those years for her warm, jazz-tinged, soulful R&B.

Now, she is preparing to release her long-awaited debut full length album Like Sand, out May 22nd. Recorded between LA, Copenhagen and London, Like Sand features collaborations with the likes of South London soul singer James Vickery, California based songwriter and producer Jeremy Passion, Brooklyn based singer/producer Elijah Fox, British guitarist Beau Diako and more.

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Andrea & Mud - Lines.

Atlanta-based surf-western duo Andrea & Mud have announced a June 12 release date for their latest LP Bad News Darlin' and have shared the first two singles from the album at Wide Open Country and Glide Magazine. Both tracks will be available on all streaming platforms April 17.

Surf-western music is a vigorous elixir - blending spaghetti westerns with rough-edged, honky-tonkin’ classic country. Atlanta-based duo Andrea & Mud draw upon genre stalwart Junior Brown, who coined the “surf-western” term, into their own special mix, tossing in heartier blues stock ala Shovels & Rope. Their songwriting is uniquely potent, and with their new album, Bad News Darlin’, they extract parts of themselves to cope, mend, observe, and grow.

Consummate storytellers, Andrea Colburn and Kyle “Mud” Moseley bury their instruments and melodies in the earth’s dusty shell. Each song is soaked in style, immersive and heightened like a Quentin Tarantino soundtrack 一 think Kill Bill or Once Upon a Time in… Hollywood.

The duo co-produced the record with Damon Moon at Standard Electric Records in Decatur, Georgia, and the roster of musicians is impressive. Players include Tre “Danger” Watts (upright bass), Adam Higgins (electric bass, organ), Will Derr (drums), Bradley Daugherty (drums), “Smoking” Brett Resnick (pedal steel), Liz Sloan (fiddle), Chad Paulin (trumpet), Jim Ivy (saxophone), and Matt’s Blues (Matt Jordan on piano).

These 11 tracks are ragged, transportative, and electric. “Birmingham, AL 8:30 AM” is a bluesy, late-night swiller, as they tie together a real-life story about a debaucherous night in the Yellowhammer state that carried on well after sunrise. Then, a song like the boot-scootin’ “Used Car Salesman” depicts a tale about a greasy, sleazy salesman and his hooker. With “I Ain’t Home,” they bite off their most straight-arrow country tune, a thick pluck reminiscent of Loretta Lynn with a smooth Conway Twitty charm. Together, Andrea & Mud are a match made in heaven, their stories forever intertwined. Separately, their backstories could not be more different.

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Sandmoon - Empty.

Sandmoon, an indie folk/rock band led by Lebanon-based musician Sandra Arslanian, is set to release their third single from their forthcoming album, “Empty”—a gorgeously measured and thought-provoking ode to a lost love and the consequences both melancholy and uplifting. The moody mid-tempo track employs a dark beat augmented by sharply executed atmospherics on guitar and electronics that ebb and flow and culminate into a cathartic crescendo.  Capturing the mood beautifully is the accompanying video shot by Cesar Award-winning Paris-based director Hany Tamba (After Shave). The striking black and white video showcases the band performing on a computer screen and  removed from a compelling, quietly intense and haunting series of images (starring actor Didier Vinson).

Sandmoon continues to create substantive music with emotive themes and an unerring sense of style that springs from Arslanian’s multi-cultural upbringing—born in Lebanon with Armenian roots and raised in Belgium.  Produced by Faddi Tabbal at Tunefork Studios in Lebanon, the song features Arslanian on  vocals, backing vocals, synth and additional guitar; Sam Wehbi on guitar, Georgy Flouty on bass and Dani Shukri on drums.  “Empty” is the third single taken from their forthcoming album, Put A Gun/Commotion, which will be released later this year and the follow-up to their recent single “Angels.”

Says Arslanian: “’Empty’ is about realizing how wrong some of your life choices have been and how liberating it is when you let go of them. The emptiness that ensues is an opportunity to care and dare again.” Adds Tamba: “What I like about ‘Empty’ is that it is both melancholic and uplifting. Sandra’s hauntingly beautiful and mellow vocals flow graciously through to the end.  There’s something very fluid and organic about ‘Empty,’ a song about the void left after an emotional break-up. There’s a sweet sadness to it, but also optimism.

For the visuals, I chose not to ‘tell a story,’ but to simply capture the emptiness while remaining faithful to the haunting atmosphere that the song generates. Slow and graceful images in black and white seemed appropriate, with a slight hint of color when we see Sandmoon on the computer screen.  In the end, what is important is that the images and the music become one. I hope I have succeeded in doing that.”

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