Mel D - K-Man & The 45s - Aksak Maboul - Sam Burchfield - Song People - Falling Doves

Photo - Noémi Ottilia Szabo

Mel D - Orange.

Zurich-based singer, songwriter and multi-instrumentalist Mel D brings together folk and soul, subtle indie pop inflections and the freedom of electronic music on her new single ‘Orange’, which is set to drop on 9th October via Two Gentlemen.

Mel D has a crystal-clear voice, big melodies and the kind of warm melancholy you want to linger in just a little too long. Following her EP ‘Not Crazy’ and her widely acclaimed debut ‘Young Bones’, her new single ‘Orange’ turns her gaze outwards: towards other people, intimacy and desire and the strange forces at work between all of us. At its heart is the image of a meticulously peeled orange. We take the sweetness and strip away what is bitter – sometimes removing the very parts that hold life itself.

‘Orange’ makes that bittersweetness glow. A shimmering melody, buoyant rhythms, warm bass, electronic textures and voices layered upon voices keep opening the song up. Magnetic, playful, resonant. The song is available on all DSPs and on a limited 300 copies 7” vinyl.

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K-Man & The 45s - Heed The Call (Album).

Montreal ska-punk lifers K-Man & The 45s bring it all home with Heed The Call, their most complete and hard-hitting album to date, out now via Stomp Records. Built on years of relentless touring across Canada, the US, and Europe, the record locks together two-tone ska, punk grit, and rock and roll swagger in the spirit of The Clash, The Specials, and Mad Caddies. It’s a loud, unfiltered, road-built record, the kind that feels less like a studio project and more like a night already in motion, horns up, bodies packed in, and just one chorus away from blowing wide open.

That feeling starts in Montreal. Not the postcard version, the real one. Nights that drift from bar to dep without much thought, DuMauriers burned down to the filter, Labatt 50s sweating through your hand, French and English colliding over the noise. Old punks leaning at the back, kids pressed up front, horns cutting through it all while the floor starts to give. It’s a city that doesn’t try to sell you anything, it just lets you find your way into it, and Heed The Call moves with that same kind of confidence, loose, lived, and completely in its element. “This record feels like the closest we’ve ever come to putting our live show on a disc,” says frontman Frankie. “We’ve always played our songs fast, loud and aggressively on stage, but on previous records we polished that energy and it didn’t always translate. This time, we wanted the dirt, the grit and the attitude to come through—and I think we finally captured what K-Man & the 45s really sound like.”

Across the record, that approach shows up in every direction. Tracks like “We Won’t Stop” and the title cut “Heed The Call” hit with direct, no-frills urgency, calling for unity and change with lines like “We need something to agree on just before we fall.” Elsewhere, the band lets things loosen up and spill over. “Demon Days” dives headfirst into myth-soaked chaos, while “Bankrupt in Berlin” captures the kind of road story that only makes sense at 3am, “drunk and lost… standing hopeless on the corner bankrupt in Berlin,” turning a birthday night gone sideways into a full-blown anthem. 

Closer to home, songs like “Clark St.” and “Oh Yeah Attitude” root themselves firmly in Montreal’s streets, equal parts celebration and side-eye, calling out ego, hype, and the everyday nonsense of city life with a grin and a jab. Meanwhile, “Buzz Off” strips things down to a blunt, personal level, pushing back against noise, opinions, and the constant pressure to play the game on someone else’s terms. It’s the same ethos that’s guided the band from the start, do it your way, do it loud, and don’t wait for permission.


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Photo - Philippe Cornet

Aksak Maboul - Montagne.

Aksak Maboul, is the project that Marc Hollander founded in 1977 and which soon involved Henry Cow's Fred Frith and Chris Cutler (with links to the Canterbury scene as was known back in the early 1970's. Sometime in the 1980s, Aksak Maboul went on a hiatus which lasted 30 years. Marc Hollander eventually became label head of Crammed Discs. 

Upon reemerging, the group, revolving around Hollander and vocalist Véronique Vincent, entered into their most productive phase to date, and Fifteen Ways of Looking at It is a continuation of that productivity, but also a sad end to a certain phase. Véronique Vincent managed to complete the writing and recording of her parts during the summer of 2025, towards the end of the illness which led to her death in October 2025. 

This is the first taste of a forthcoming album due out February 5 2027. All the music was written & arranged by Marc Hollander and features his characteristic genre-hopping tendencies: strands of electronica, pop melodies, jazz, found objects & sound collage sometime conjuring quasi filmic atmospheres, whiffs of improv, krautrock, ambient, contemporary classical & systems music, all merrily woven together, in the hard-to-pin-down yet inimitable Aksak Maboul style.

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Sam Burchfield - Judah Blue. 

Sam Burchfield has shared a new single from his recently announced album ‘Every Season’ to be released October 23 on Cloverdale Records. "Every season comes to teach us," says the indie folk songwriter. "And when we find ourselves in valleys of suffering and pain, it’s just part of the growth." Written mostly about love—for his wife, his kids, and his own spiritual evolution—Burchfield's eighth full-length 'Every Season' shimmers with Burchfield’s sandy and psychedelic signature sound, ignited with orchestral flair, wonderfully cinematic in moments. "Love is beautiful and wonderful, but part of that is because it’s fleeting," he shares. 

Burchfield wrote “Judah Blue” the day before his second child was born. “Such a beautiful memory walking through the park with my wife, getting the home ready,” he shares. Tender and adoring as a lullaby, it’s a testament to the songwriter’s ability to bottle a delicate moment, and to the radiant commitment to family that glows throughout the album. Burchfield’s wife Erin Burchfield also contributed vocals to the track. Burchfield will join Evan Honer on US tour dates later this year.

‘Every Season’ was produced by Ryan Plumley and Jason Kingsland (Delta Spirit, Deerhunter) at Studio 1093 in Athens, Georgia, and recorded with a full band including players ​​Ben Hackett (Drive-By Truckers), Robby Handley (Larkin Poe), and Marlon Patton (Mitski) among others.

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Photo - Ian Maley

Song People - Tho I Seem Tame (Album).

Song People was formed in December of 2022 by core members Shaina Kapeluck, Darian Scatton, and Benjamin Schurr. Having played in each other's bands for over twelve years, they’ve settled into a comfortable songwriting cabal made fruitful by over a decade of collaboration. Shaina began her music life as a ballad singer, drawing from traditions of the British Isles, the US and Maritime Canada. Darian's rhythmic, arpeggiated guitar melodies are informed by his background as a pedal harpist, and Ben has one foot in industrial post punk and the other in Motown. 

Tho I See Tamesees the band diving deeper into more 80's jangle and dream pop elements that were hinted at on their first record "Like Somebody Calling Your Name" and utilizing richer, more nuanced production techniques. 

Song People recorded the album's initial tracks with Dan Angel (They Are Gutting a Body Of Water, Pile, My Wife's an Angel) above a fabric workshop in Germantown before completing the album with Josh Meakim (A Sunny Day in Glasgow). The crisp production allows guitarist Darian Scatton's arpeggiated guitar playing to become a hypnotic symphonic atmosphere for bass player Benjamin Schurr's muscular melodic bass lines to growl and groove under and for singer Shaina Kapeluck's singular vocal and lyrical style to float upon. 

The album takes its title from the closing line in Sir Thomas Wyatt’s Petrarchan sonnet “Whoso List to Hunt,” paraphrased in Middle English about his childhood friend Anne Boleyn. The opening track of side B, “Touch Me Not,” is Shaina’s modern English translation, a meditation on containment, emotional security, the risks and rewards of intimacy. 

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Falling Doves - Blinded By Your Love.

International rock band the Falling Doves are set to return to the United Kingdom and Europe in 2026 for an extensive international tour, bringing their distinctive blend of British rock, Hollywood glamour, dark glam, indie and pop to audiences across the UK, Ireland and Spain.

The tour will be raising funds for the Kibou Foundation, founded by entrepreneur Raechel Kadoya. The foundation is dedicated to empowering women through inclusive events that foster unity, growth, and resilience. Inspired by the remarkable recovery of Rikuzentakata following the devastation of natural disaster, Kibou supports women-led businesses and organisations by providing the resources and opportunities they need to thrive.

The foundation has also supported musicians facing mental health challenges- a cause that is particularly close to The Falling Doves’ hearts. Through this partnership, the tour hopes to help raise awareness and support for these important issues while contributing to Kibou’s wider mission of creating positive change. 

Coinciding with the tour, the Falling Doves have released their new single, ‘Blinded By Your Love’ — an infectious track that fuses the spirit of classic British rock with the cinematic energy of Los Angeles. With its anthemic sound and memorable hooks, the track is made for the stage and the open road, offering a glimpse of what’s to come as the band enters an exciting new chapter. “I think after a decade of touring, releases, and singles, I have always wanted to have a constant co-writer and collaborator”, says frontman Christopher Leyva. “I think musicians were always afraid of anything that could sound remotely commercial. It has been a fun experience making records with Katie, as there hasn’t been one lyric on this new record that has gone untouched or unreviewed by her, and the passion in her vocal delivery shows”, he further adds.

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Margo Mann - Song People - Scaled Alps - Eliza Hull - Detalji - The Goods

Photo - James Morris

Margo Mann - The Worth Of It.

Released today Margo Mann's "The Worth Of It" is a tender, devotional, piano-driven love song. Bare-boned, raw, and timeless, it captures a kind of love that says: whatever comes, I’ll still choose you. Taken from her debut album, Love Is A Dog, arriving October 16 via [PIAS] Recordings.

Margo Mann brings her forthcoming debut album Love Is A Dog to life live, backed by her 5-piece band. The record was written and recorded in France with producer Burke Reid (Julia Jacklin, Olympia, Jack Ladder). It’s cinematic chamber pop with a theatrical edge, bringing hints of the 90’s LA Largo scene to Naarm.

Margo Mann's work lives at the intersection of intimacy and other-worldliness. Drawing on the theatricality of Bowie and Aldous Harding, the layered seriousness of Paul Thomas Anderson films, and the warmth of Fiona Apple's sonic palette, her project creates a world that feels both elevated and cinematic, yet deeply vulnerable.

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Photo -  Ian Maley

Song People - The Cone.

"The Cone," the latest single from Song People's upcoming album Tho I Seem Tame, which drops via Strange Mono on October 9th and is sure to set the indie rock world on fire. "The Cone" is existential croonery at its finest, Shaina Kapeluck's elegant, statuesque vocals brimming with romantic abandon and floating effortlessly over a liquidy, Johnny Marr-esque guitar line. If you can imagine Sandy Denny fronting The Smiths or Yo La Tengo you're halfway to understanding the vibe of "The Cone."

Lyrically, the song was inspired by a trip Shaina took to Brattleboro, Vermont, during what's called "Blackberry winter" - when there's a last sudden cold snap before the weather gets warmer. "It felt as if time were moving in reverse," she says, and therein lies the key to the song: all the rhododendrons, azaleas, and floral images symbolize the passage of time and the often disorienting ways in which we experience it.  

Tho I Seem Tame as a whole is how it doesn't feel quite like any other post-punk album around today. It's music that calls to you from some distant place outside the bounds of modern folk, where dream pop and 80s jangle are overlaid with references to Old English poetry, rabbinical legends, and folk tales all but lost to history.

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Scaled Alps - Let the Alpine Play (Album).

It's an absolute pleasure to feature 'Let The Alpine Play' on Beehive Candy. We are always on the lookout for artists who test musical boundaries without coming across as self indulgent. Scaled Alps recently released album achieves that. It keeps the listener in expectation as each track unfolds, whilst there are enough hooks, moments of audio pleasure and plain simple original "what's not to like" music.  

The band tell us: Scaled Alps is a Los Angeles band built around singer and lyricist James Quentin Devine and instrumentalist Anthony Percoco. On Let The Alpine Play, Sean McCarthy plays drums and Steve Fishman plays upright and electric bass. Stewart Tuttle recorded the album at The Altar Studios in North Hollywood, and we released it through our own BLUHELL imprint.

The record began with two concentrated days of writing and demos, followed by two days in the studio. We arrived with the material fresh enough to surprise us and recorded much of it without a click. The resulting performances retain their natural movement, including the occasional rough edge or unrehearsed turn. The sixteen songs move through heavy rock, electronics, piano, dub space and stranger forms of pop without settling into one fixed arrangement. The voice remains the point of continuity while the machinery changes around it.

Los Angeles enters the album through specific places, objects and encounters rather than as scenery. North Hollywood strip clubs, empty roads, expensive surfaces, temporary lives and overheard language all found their way in. We wanted the record to feel less like a portrait of the city than something the city had done to us.

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Photo - Michelle Grace Hunder

Eliza Hull – Better.

Dja Dja Wurrung Country/Castlemaine-based multi-award-winning songwriter, musician, advocate and writer Eliza Hull just announced her forthcoming album You'd Think We'd Be Used To Change By Now (out 4 Dec independently). The album announcement comes alongside tender alt-pop/indie single plus intimate shot-on-film video 'Better.' 

At its core exploring change and nostalgia, "looking back at who we’ve been while growing into who we’re becoming" - the album moves through relationships, womanhood, desire and the ways we continue to shift and evolve throughout our lives, ultimately a testament to resilience and listening to your instincts steeped in evocative textural production via Hull in her first album co-producer credit alongside ARIA Award-winner Pip Norman (Missy Higgins, Baker Boy, Mia Wray). 

The announcement follows Hull's return to music in June this year, also receiving an O.A.M. in May for her contribution to music and disability advocacy, further cementing her reputation as one of the country's most important voices across both culture and accessibility.

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Photo - Federico Cabrera

Detalji - Dancing (With What's Left).

Today, Finnish alternative electronic artist Detalji has shared 'Dancing (With What's Left)', the latest single to be taken from their new album Imagine Life. The album, a genre-fluid electronic record that moves between dreamlike synths, alternative pop melodies, club influences and 80s nostalgia, is set for release next month on October 16th. 

New single ‘Dancing (With What’s Left)’ captures a period of anxiety and the need to escape. "I was suffering from heavy anxiety when making this song, and I was in a place where I had trouble being alone and wanted to be intoxicated all the time," explains Detalji.  "The lyrics are pretty literal in this case. I enjoyed singing with my more gothic voice and creating the arrangement which is refreshingly straightforward when you compare it to many of my other tracks."

Imagine Life is a record about navigating contradiction, the desire to escape and the need to connect, the pull between nostalgia and moving forward, and the search for identity within the chaos of everyday life. Throughout the album, themes of longing, desire, heartbreak, anxiety, liberation and connection emerge repeatedly.

Written across Helsinki, Los Angeles and Berlin, the album captures a year of transition, exploring love, loss and reinvention. Across nine tracks, Detalji weaves together elements of electronica, trip-hop, house, drum & bass and synth soundscapes into a cohesive journey. “Imagine Life is a glimpse into a year of my life,” explains Detalji. “I was moving between different cities, ending a relationship and figuring out what kind of life I wanted next. The album feels like a mixture of LA sunsets, Nordic melancholy and gritty Berlin basement beats.”

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The Goods - Goodbye Summertime (Album).

Oakland, California power pop outfit The Goods return today September 16 with Goodbye Summertime, the sophomore LP on Dandy Boy Records. Less than a year after Don't Spoil the Fun, songwriter Rob Good delivers the rare follow-up that doesn't simply build on a debut, it blows the walls out around it. Drawing from Beatles-inflected psychedelia, Brian Wilson-esque balladry, sunshine pop, jangling folk rock, and the timeless pull of classic guitar pop, Goodbye Summertime is a record that refuses to sit still, chasing melody around every corner without ever losing sight of the hook. 

For anyone who's spent time around the Bay Area underground, Good has always been there. Playing clubs too small to remember their names. Loading gear into the back of a car after midnight. Watching rehearsal spaces disappear, venues close, neighborhoods reinvent themselves, and another generation of bands figure it out the same way he did. That perspective runs quietly through Goodbye Summertime. It's a record made by someone who understands that places change, people change, and the trick isn't hanging onto the past. It's deciding what deserves to come with you.

Produced almost entirely by Good in his Oakland studio, the album captures an artist trusting instinct over expectation. Songs were written, recorded, rearranged, and rebuilt as inspiration arrived, pulling from every shelf in Good's record collection without feeling trapped by any of it. One minute the band slips into kaleidoscopic psychedelia, the next into sunshine pop or chiming folk rock, before circling back to the crunchy guitars and towering harmonies that have always been The Goods' calling card. Rather than sounding like a collection of influences, Goodbye Summertime feels like the moment they all stopped competing and finally started working together. 

That freedom is heard across every corner of the album. "Summer's Almost Gone" embraces the urgency of living in the present before it slips away. "Minor Key" quietly mourns what's already been lost. "Driving" looks back on the years when an empty gas tank and nowhere to be felt like endless possibility. "Wing" captures the terrifying optimism of new love, while "Sleepytime" closes the record with stacked harmonies and a slow-building swell that feels less like an ending than the first deep breath after everything has settled. Like the album itself, each song is searching for solid ground without pretending life ever really stands still.

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The Sunmills - Libby Ember - Chris Clark - Israel Nash - Song People - Aubory Bugg

The Sunmills – Bird That Used To Sing.

Utah alt-rock trio The Sunmills returned this week with ‘Bird That Used To Sing’, a more mellow and introspective track that sees the band stepping away from their usual funk-rock swagger to reveal a more intimate and emotionally exposed side of their sound. Known for their blend of hard-driving riffs, funk-laced grooves and sharp sense of humour, The Sunmills have always balanced infectious energy with thoughtful storytelling. But ‘Bird That Used To Sing’ finds the band exploring quieter territory — a laid-back, rootsy rock track built around atmosphere, nostalgia and the complicated feelings left behind when something once unbreakable falls apart.

The song also gives frontman Jim the perfect space to showcase his vocals, delivering a more restrained and vulnerable performance that captures the weight of the story at the heart of the track. Originally, the song could have been called ‘Rotting Away’ — an honest reflection of the place it comes from. It explores that strange period after a relationship has completely broken down, when the future you imagined together has disappeared and you’re left trying to understand how something that felt unstoppable could come to an end.

The lyrics look back at the moments that made the relationship feel indestructible: the reckless certainty, the sleepless nights, the belief that nothing could ever come between two people who were completely devoted to each other. But once everything is gone, memories can become complicated.

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Libby Ember - Pool Life.

Building on a breakout year that saw her earn Spotify Editorial support and recognition as a rising voice in indie pop, Montreal singer-songwriter Libby Ember shares “Pool Life,” a wistful and quietly reflective single that captures the feeling of watching life unfold from the outside and wondering what it would be like to step fully into it. Blending intimate lyricism with airy, understated production, the track explores social longing, identity, and the subtle ache of feeling just outside the frame of “cool” or effortless belonging.

At its core, “Pool Life” is about perception: the way certain people seem to move through life with spontaneity and ease, as if constantly living inside a moment you were never quite invited into. For Libby, the image of “Pool Life” became a metaphor for that distance.

“It’s about watching people’s lives from the outside, seeing the way that the ‘cool’ people choose to live, and feeling like I’m missing out on that,” Libby explains. “The title just encapsulated that feeling for me since when I think about these people I just imagine hanging out by the pool and spontaneously jumping in as a metaphor for the way they live their lives ‘on the spot’.”

Libby Ember is a 20-year-old singer-songwriter based in Montreal, currently pursuing music studies at Concordia University. A self-described artist for the “yearners,” her music merges the emotional honesty of indie-folk with dreamy indie pop textures, creating songs that feel intimate, vulnerable, and deeply lived-in.

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Chris Clark - Across a Carnival (Album).

Chris Clark’s roots run deep in Vermont’s West River Valley. Born and raised in the town of Jamaica, he writes songs shaped by back roads, small towns, old mistakes, chance meetings and the restless pull of leaving again. His music draws from Americana, psychedelic folk, classic pop and vintage rock, with melodies that arrive easily and lyrics that tend to stay behind.

After years of gathering a truckload of songs, Clark found the right creative partnership just a few miles from home at Song Catcher Recording in neighboring West Townshend. Working closely with producer and multi-instrumentalist Ken Anderson of Hungrytown, Across a Carnival took shape as a warm, cinematic album inspired by the late-1960s and early-1970s sounds they both loved, without feeling like an exercise in nostalgia.

The album also features vocals by Rebecca Hall of Hungrytown and violin by Lissa Schneckenburger, whose performances add warmth and depth to the record’s distinctive sound. Recorded with vintage instruments, careful arrangements and a deep commitment to songcraft, Across a Carnival introduces Chris Clark as a songwriter with a sure melodic sense, a wry eye for human trouble and an enduring connection to the place he comes from. 

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Photo - Jaycee Grover

Israel Nash - You Ain't Going Nowhere.

Cosmic-country Texas artist Israel Nash returns with his adaptation of The Byrds' iconic 1968 album Sweetheart of the Rodeo releasing on September 25. Reinterpreting the landmark record through a modern lens, Nash transforms the country-rock classic into a genre-bending take on contemporary American roots music. The first single released yesterday, "You Ain't Going Nowhere," offers a psychedelic perspective to the pedal steel and swirling organ of the Bob Dylan-penned original.

 Nash on the new single: "My first act of sacrilege in reimagining Sweetheart was changing the entire album order right out of the gate and taking ‘You Ain’t Going Nowhere’ out of the opening slot. But this song was always an open, fluid conversation: Dylan wrote it, the Byrds answered, McGuinn changed a lyric, and Dylan later rerecorded it in a meta move that made the whole joke legendary. I just wanted to let these songs breathe a little in my world, through my own language. I wanted to join that old conversation, make it new, move it forward, and invite everybody else into it."

This album is what happens when an artist stops thinking about the industry's rules and simply stays in a constant state of creation. Having reclaimed ownership of his back catalog and finished building his dream studio in the Texas Hill Country, Nash found himself free from the relentless schedule of album cycles and finally able to call his own shots. Sweetheart of the Rodeo developed during a prolific era that found him releasing a deluxe version of Rain Plans, creating the instrumental Moods album, and continuing to write original songs. 

Exploration runs throughout Sweetheart of the Rodeo – classic melodies shift in new directions, familiar rhythms are rebuilt, tempos move differently. Songs that once leaned into traditional country are reframed with synthesizers, programmed percussion, pedal steel, arpeggiators, ambient textures, and the panoramic production style that has become Nash's signature. Even the track list is different. The resulting collection of songs serves not only as a celebration of a timeless record, but as a snapshot of an artist building a new creative rhythm. 

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Photo - Ian Maley

Song People - Silver Flag.

Song People, one of Philly's brightest and most unique new acts, have announced their second album Tho I Seem Tame. Arriving via Strange Mono on October 9th. "Silver Flag" is a sliver of everything Song People do well - tight, catchy guitar arpeggios, vocals that melt and swoon with romantic abandon, and a sense of tension that builds from the first note to the end of the track. The lyrics here are particularly unique, touching on themes of self-protection and self-sabotage and using a very interesting character to do so: the worm that allegedly helped King Solomon build his temple.

Known in early rabbinical tradition as a Shamir, this wholesome mythical creature supposedly helped Solomon construct his first temple, as he had been commanded not to use any tools that could double as weapons. In the words of Shaina herself, "You can't build a temple with anything that can be used as a weapon," and therein seems to lie the key to the song, which seemingly reveals itself in new layers with each new listen. 

When the long-awaited chorus swoops in and Shaina croons, "You can only do so much to protect yourself/if you keep letting fear erase your kindness," the whole song builds to a beautiful catharsis, a post-punk potpourri of distorted lead guitar, punk-fierce drums, and vocals that ache, yearn, and brim with romantic struggle. Song People was formed in December of 2022 by core members Shaina Kapeluck, Darian Scatton, and Benjamin Schurr. Having played in each other's bands for over twelve years, they’ve settled into a comfortable songwriting cabal made fruitful by over a decade of collaboration. 

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Photo - Caity Krone

Aubory Bugg - the one you want to lose.

Nashville-based singer-songwriter Aubory Bugg returns with her captivating new single "the one you want to lose," out August 12th on all platforms - the latest preview of their debut full-length album, i think i had something once, out September 18th via Dualtone. 

"the one you want to lose" blends indie folk with pop sensibility, showcasing Bugg's captivating vocals and emotional depth in a way that calls to mind the songwriting and sound that put Lizzy McAlpine on the map. It's a raw reflection on unexpected heartbreak, where tenderness slowly builds into something sonically triumphant and cathartic.

The single arrives as part of a significant step forward for the 21-year-old artist, who wrote their entire debut EP solo before relocating to Nashville and embracing a new era of collaboration, community, and creative openness. Of the upcoming album, Bugg shares: "I think having written my entire first EP on my own, I was really excited to dive into the co-writing of it all. This album is as direct a representation that I have of how I felt the last couple years, moving out and being a person on my own. And I think at its core, the thread that moves through the whole album is a love letter to things you didn't think you'd lose."

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