A.S. Fanning - Living Hour - Mariel Buckley - Malena Smith - Josh Ritchie

Photo - Neil Hoare

A.S. Fanning - Romance.

Irish songwriter A.S. Fanning announces his fourth studio album Take Me Back To Nowhere, arriving February 6th via K&F Records. Now he kicks off the album lead up with ‘Romance’, offering the first glimpse into Fanning's most disorienting and immersive work to date.

Opening with layered synths that build into an anthemic crescendo over a steady drumbeat, ‘Romance’ showcases Fanning's distinctive baritone voice—drawing comparisons to Nick Cave—delivering a stark, disillusioned meditation on love and human connection. The track maps emotional desolation onto stark sonic terrain, stripping love down to its rawest components: fear masquerading as desire, need mistaken for connection.

"This is a disillusioned love song," Fanning explains. "Representing a feeling of hopelessness through imagery of a barren physical landscape. There's also some hint of room for hope or vulnerability in the line 'love lets you in…' but it's generally quite a cynical song suggesting that romantic feelings are just a confused mixture of fear, need, and desire."

The single introduces broader themes that run throughout Take Me Back To Nowhere: inescapable isolation and the idea that our relationships are shaped more by our internal chaos than any genuine connection with others. "In some ways it touches on the wider themes of the album," he continues "That everyone is isolated and that their own issues and interior processes are what's informing their relationships with other people—that who you fall in love with is just based on your own particular cocktail of neuroses, which you somehow find reflected in another person." 

a.s. fanning · A.S FANNING - Romance

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Photo - Alex Squire

Living Hour - Internal Drone Infinity (Album).

Winnipeg-based Living Hour releases their new album Internal Drone Infinity. With 10 tracks coming in around a 30-minute runtime, the latest record sees the indie rock band move away from dreamy shoegaze sounds in favour of tightly controlled and cathartic sonic release through heavily distorted guitar riffs. 

“Everyone’s kind of angry, we’re getting pissed, the world is fucked, and sometimes it feels like I can’t just be in a nice indie rock band anymore playing twinkly things,” lyricist Sam Sarty says about the change in style. “It’s still nice to do that, but I think there needs to be a release, a scream, or a grunt or something.”

With a lifelong practice of noticing the little, mundane details, and framing them to show potential beauty, Sarty has honed her composing and songwriting skills to the point of finding moments of beauty in places full of literal garbage. 

"Texting is written from this really mundane but intimate point of view of trying to explain Winnipeg to someone over text," she says. "In the winter, everything disappears in the snow, but when the snow melts, we’re left with the mosaic of shit. I keep a list on my phone of things I see on the sidewalk: garbage that breaks my heart or situations that I try to explain, either to myself or over text – that blue bubble carrying my thoughts somewhere else."


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Photo - Emma Palm

Mariel Buckley - Strange Trip Ahead (Album).

Acclaimed Americana singer-songwriter Mariel Buckley returns with her third studio album, Strange Trip Ahead, out now via Birthday Cake Records. Following the success of her 2022 Polaris Prize–longlisted album, Everywhere I Used to Be, Buckley steps boldly into a new sonic chapter — one that blurs the lines between alt-Americana, indie rock, and emotive confessional songwriting.

Serving as the album’s emotional centerpiece, “Anvil” captures the tension of life-altering decisions in a relationship — specifically around the question of whether to have children. Co-written with Nashville songwriter Robby Hecht and featuring Buckley’s brother T. Buckley on mandolin and background vocals, the track is one of the most meticulously constructed on the record.

“Anvil explores the decision around having kids — those ‘will we/won’t we’ conversations,” Buckley explains. “As a woman and as a queer person, the scrutiny around that choice is intense. It forces you to look unromantically at what partnership and permanence really mean.”

Driven by heavy rhythm sections, pedal steel tension, and Buckley’s soaring vocal delivery, the song embodies the weight of love and inevitability — a slow burn that simmers with emotional gravity.

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Malena Smith -Maybe.

St. Louis-based singer-songwriter Malena Smith has shared her latest single, “Maybe,” an emotionally raw preview of her upcoming debut EP, 27 in Maine. Following the transparency of her previous release, “Paralyzed,” this new track, written by Sonca Nguyen, Jack Pordea, and Joshua "Paco" Lee dives even deeper, capturing the tension of love in limbo.
 
Simply put, “Maybe” is a love song, but beneath its gentle melodies lies a layered emotional landscape and an introspective plea, a yearning for the other person to return and affirm your feelings. It's a confession, a question, and a prayer for emotional clarity in a relationship hanging by a thread.
 
With introspective lyrics, delicate harmonies, soulful guitar and skillful mandolin, “Maybe” reflects the intimate emotional spaces we often keep hidden. “I’ll wait for your answer / Just ask me the question / Don’t leave me to figure it out / I promise to show you / Whatever you go through / I’ll be by your side,” she sings, inviting the listener into a quiet but powerful moment of sensitivity. “I’ve been there more times than I’d like to admit in my twenties, maybe that’s why it resonates so deeply,” she shares. 

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Josh Ritchie - So Much More Than A Dream (Album).

By the time an artist makes their third album, it’s a safe bet they’ve learned a few lessons. In the case of Canadian singer/songwriter Josh Ritchie, those lessons led to taking control of all aspects of So Much More Than A Dream, with the result being a dynamically powerful 11-song collection that blurs the lines between modern rock, experimental folk, and contemporary r&b.

In some ways, it’s the sound of our age, where genres are fluid, and an artist has the tools at their fingertips to take any idea and construct a unique sonic landscape out of it. In film parlance, it’s been called “the auteur theory” for decades, and for Josh Ritchie, it guided his vision throughout the making of So Much More Than A Dream.

In short, So Much More Than A Dream can be described as a concept album telling the story of a young adult searching for peace and purpose in our increasingly turbulent world. It’s hardly a stretch to say that theme mirrors much of Ritchie’s life to this point, having grown up BIPOC in Ontario’s Bruce Peninsula. Much of his music to date has been a product of his experiences, but on So Much More Than A Dream he pours his soul into each song, as on the first single, “Numb,” which asks the increasingly common question, “Do you believe in anything at all?”

Josh clearly believes in many things, and wants you to believe in them as well. On the anthemic new single “Celestial,” he firmly pins his heart to his sleeve, running through the list of things that sustain his spirit, with love firmly at the top. Later, on the stunning ballad “Vancouver,” he sounds like a young Leonard Cohen, surveying the wreckage of his life amid the wreckage of the inner city. But it’s “Small Town Boys” that Josh highlights as a personal triumph.


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The Wildmans - Mollie Elizabeth - Jazmine Mary - Mariel Buckley

Photograph by Magnolia Ellenburg

The Wildmans - Autumn 1941.

The Wildmans will release Longtime Friend on July 11, 2025 via New West Records. The 12-song set was produced by Nicholas Falk (Hiss Golden Messenger, Dori Freeman) and recorded by Chris Bittner at Applehead Recording in Woodstock, NY. Longtime Friend’s sound itself is at the sonic crossroads of Americana, Alt-Country, Bluegrass, and Folk with the brother-sister duo of Aila and Elisha Wildman being joined by Dori Freeman, Jeff Hill, Sam Leslie, Sam Fribush, Redd Volkaert, and Nicholas Falk as well.
 
Not far from the tiny town of Floyd, Virginia, surrounded by the Blue Ridge Mountains, is the childhood home The Wildmans. A veritable hotbed of bluegrass, old-time, and mountain music, Aila and Elisha Wildman have been immersed in the rich, vibrant music scenes surrounding them for as long as they can remember. As kids, Elisha picked up the guitar and mandolin, while Aila reached for the fiddle. They became enamored with their instruments, which parlayed itself into a presence at regional festivals and also winning numerous renowned competitions around Southern Appalachia. Both recent graduates of the prestigious Berklee School of Music in Boston, Massachusetts, The Wildmans’ Longtime Friend showcases both their musical virtuosity and the interlacing harmonies which are specifically unique to siblings. The sound itself takes the essence of their intricate musicality in the bluegrass and old-time realms and slides that into more contemporary tomes of Americana and indie-folk.

One of the albums highlight is “Autumn 1941.” The Wildmans said, “We first heard the song when co-writers Roger Brown, former Berklee College of Music President, and Mark Simos, Berklee songwriting professor, brought it to us. They thought we would connect to the story being from our region and this being a part of Appalachian history not often told. It immediately sparked interest. Different versions of this story of eugenics prove to be true across Appalachian regions and more largely other minorities throughout American early-mid 20th century history. Our good friend, Dori Freeman, who is singing the background vocals on this track, told us she had read a book about this same movement in Virginia and communities like Floyd, our hometown. We felt we could take this song and make it our own. Once we got into the studio with it, the song just flowed and out came a haunting authenticity we hadn’t yet discovered in our music.” 

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Photo - Sophia Schrank

Mollie Elizabeth - Until We Meet Again.

21-year-old Washington State-based artist Mollie Elizabeth reveals her third track “Until We Meet Again” via Neon Gold / Virgin Music. Mollie Elizabeth notes: “I think we all have people that we only truly get to visit in our dreams- whether it’s ones we’ve lost through life or love. I find it beautifully devastating to know that our minds will continue to hold them in our hearts and in our souls, even if only a silhouette.”

“Until We Meet Again” is produced by Dean Reid (Lana Del Rey, Marina) and co-written with Reid and GRAMMY-nominated Casey Smith (Olivia Rodrigo, Ashe, Benson Boone). The dusky amour of “Until We Meet Again” is Old Hollywood glamour through and through. Mollie perfumes her music with a rare kind of chic, one that comes with a winking self-assurance and a genuine sweetness.

In January, she first introduced herself with her first viral song, “Vegas Venetian”. Elizabeth adds: “To me, every melody is a tiny world that invites you in—an invitation to be both fierce and delicate, and to celebrate who you are, who you have been, and who you are becoming. My music isn’t just for listening—it’s for wandering, for imagining, and for finding a piece of yourself in a place you’d forgotten.”

Last month, she revealed her second track and a perfectly matching music video (dir. Maya Sassoon) for “Dinner For One”, produced by Dean Reid (Lana Del Rey, Marina) and co-written with Reid and GRAMMY-nominated Casey Smith (Olivia Rodrigo, Ashe, Benson Boone).

Mollie Elizabeth · Until We Meet Again

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Photo - Jim Tannock

Jazmine Mary - My Brilliance.

Flying Nun Records are very pleased to welcome noir folk artist Jazmine Mary to the whānau! Their album, 'I Want To Rock And Roll' is out digitally and on black vinyl LP on 13th June.

'I Want To Rock And Roll' is Jazmine Mary's third album, following on from the critically acclaimed, 'Dog' (2021) and the award-winning 'The Licking of a Tangerine' (2021). Recorded at Tāmaki Makaurau's Roundhead Studios by De Stevens, the upcoming self-produced album features musical contributions from some of Aotearoa's greats: Louisa Nicklin, Cass Basil (Tiny Ruins), Cello Forrester (Womb), Dave Khan (Marlon Williams) and Arahi.

Possessing one of the country's most esteemed and idiosyncratic folk voices, Jazmine Mary's new single 'My Brilliance' showcases their crystal clear vocal abilities that sit atop their signature rhythmic changes; a wonderfully bright, folk gem. Flying Nun Records couldn't be more stoked to have Jazmine aboard our train.

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Photo - Maggie Geis

Mariel Buckley - Vending Machines.

Unapologetically genuine, wry and soft-hearted, Mariel Buckley has planted her flag firmly as a songwriter who’s in it for the long haul. Never one for following the rules, she aims to find herself squarely on the fringes and exactly where she belongs: writing songs for the underdogs. Raised in the heart of Canada’s rodeo and country music scenes, she was destined to challenge the boundaries around her, both in life and in song. With a fearless spirit that’s consistently broken through both genre and personal barriers, Buckley’s unique blend of angst-driven alt-folk has made her a standout artist, offering a fresh and dynamic perspective on modern Americana music.

Her latest single, “Vending Machines”, marks the beginning of a new sonic and individual chapter. While familiar, darker instrumentation and themes are sprinkled throughout. She shares: “I was itching to try something a little heavier than my previous stuff. I wanted to move away from synths and keys in general, citing references from indie rock, pop music, and alt-country.” An avid admirer of his work, Mariel connected with Nashville based alt-Americana producer, Jarrad K (Ruston Kelly, Lucie Silvas, Fancy Hagood, Goo Goo Dolls) for the new single.

Despite having grittier undertones, the writing is intentionally vulnerable and specific, resulting in something inviting and universal. “Vending Machines” explores themes of self-doubt, uncertainty, and questioning one's path. It beautifully captures the feeling of restlessness and being in a constant, seemingly cyclical state of transition, unsure of where things are headed, and trying to find a way forward. Buckley confides, “I was genuinely questioning my career, personal life as a result of that career, my distant-feeling relationships with family and friends, and how I could restart after yet another big change. It should feel looping, liminal and never ending, like an endless travel day.”

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