Ok Goodnight - Jont - Spencer Krug - Carolina Bluegrass Style

Photo - Zack Spencer

Ok Goodnight - Spiral.

Ok Goodnight have self-released their new single "Spiral". Available on all streaming platforms, the new single uncovers feelings of regret, nostalgia, and unconditional love. “Spiral” is the second single from the forthcoming album stop/go, which is slated for release on June 12th.

With an impressive catalog that has amassed millions of streams on digital platforms and a riveting stage presence, Ok Goodnight have turned heads as an act to watch closely. Their new single "Spiral”  continues the alluring and brooding auditory journey the band have claimed as their own. Featuring polished piano motifs beneath Casey Lee Williams' ethereal, almost Imogen Heap-esque vocals, the decadent, yet nostalgic track marks an important musical shift for the band.

Alongside the digital release of the track is an animated music video by multi-media artist Stephen Mlinarcik, which is also available today. Mirroring the overall “spiral” concept that the track gives off, the video morphs into various shapes and colors, highlighting the overall anxiety and fragility the track emanates. Combining stop motion, claymation, collaging, digital animation, and physical surrealism, Stephen Mlinarcik perfectly brings the avant-garde, cinematic visual world of “Spiral” to life. 

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Artwork - Vanni Mangioni

Jont - Ride On.

Arriving as a deeply personal and expansive body of work, Walk Right Through finds Jont at a creative and spiritual peak. Rooted in singer-songwriter, indie, and folk traditions, the album unfolds as a living document of presence, transformation, and emotional truth. It’s an offering shaped by years of perseverance, reflection, and hard-won clarity.

“I’m deep in the jubilation dancing that goes on when it’s gone right and your prayer of gratitude, your anthems to celebrate the essence of your being, are now somehow larger and more energetically witnessed by The Universe,” Jont shares. “In that space, all one can think and feel is ‘you know what? I actually did it. I did create one of those ones. One that will really count.’”

The project emerged during an intense and almost inexplicable creative surge. At the beginning of 2024, 10 songs arrived in 10 weeks, each carrying what Jont describes as the same urgent message: “Get me out. I want to be sung and heard now.” Rather than forcing the process, he followed it, allowing the material to reveal itself in real time.

Anchoring the album is its lead single, “Ride On,” a song that arrived under particularly meaningful circumstances. Written on the day of Jont’s dear friend Barbara’s passing, it carries both grief and release; an emotional threshold that sets the tone for the recording process that followed.

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Spencer Krug - Same Fangs (Album).

Canadian songwriter Spencer Krug announces Same Fangs, his new solo album released last Friday on Pronounced Kroog. The record arrives at a moment of renewed attention. Following the recent resurgence of “I'll Believe in Anything” through Netflix’s Heated Rivalry, a new wave of listeners has been pulling his catalog back into focus. Across Wolf Parade, Sunset Rubdown, Moonface, and his solo work, Krug’s projects have quietly accumulated hundreds of millions of streams over the past two decades. 

But Same Fangs doesn’t look backward. It tightens the frame. Written and recorded on Vancouver Island, the album carries the imprint of where Krug lives now. Cedar and damp air. Long stretches of quiet. Fog settling over low mountains and small-town streets. Days shaped around family life, with songs worked out at the piano in between. There’s space in these recordings, but also pressure. Something held close rather than pushed outward.

Built around piano and voice as its red thread, Same Fangs is minimalist, arty, and occasionally pop-leaning, but never ornamental. The performances are direct. The focus is on touch, phrasing, and movement. There’s a lineage here with classic piano pop, echoes of Randy Newman, Harry Nilsson, and Leonard Cohen, not in imitation, but in feel. The weight of the voice against the keys. The way a melody leans into a line and lets it sit. 

The songs were drawn from demos shared throughout 2024 and 2025 via Krug’s Patreon, then re-recorded in a concentrated week at The Noise Floor on Gabriola Island with Jordan Koop. Piano and vocals anchor every track, but each one opens slightly outward. Percussion, strings, electric guitar, and guest vocals from Elbow Kiss move in and out of the frame, adding texture without breaking the spell. Contributors were encouraged to write their own parts. Nothing feels overworked.


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Carolina Bluegrass Style - Delilah.

We are always on the look out for something a little different on Beehive Candy. Having settled many years ago that the best alternative version of Tom Jones sixties classic 'Delilah' was by Scotland's The Sensational Alex Harvey Band we now have another contender (and in our opinion comfortably third in place). So the background - Carolina Bluegrass Style and Slim Husky Records are proud to announce the release of the band’s newest single, “Delilah,” an electrifying bluegrass interpretation of the timeless 1960s classic originally made famous by Tom Jones.

Known for their fearless approach to American roots music, Carolina Bluegrass Style transforms the legendary hit into a hard-driving bluegrass powerhouse packed with blazing instrumentation, soulful vocals, thunderous rhythm, and the unmistakable mountain energy that has become the band’s trademark sound.

The new release captures everything fans have come to expect from Carolina Bluegrass Style: tradition fused with innovation, classic storytelling wrapped in modern intensity, and a performance style that refuses to stay inside the lines. “Delilah” delivers a fresh emotional punch while honoring the spirit and drama of the beloved original.

Fresh off being named 2025 Josie Music Awards Bluegrass Group of the Year at the legendary Grand Ole Opry, Carolina Bluegrass Style continues carving out a unique lane in modern bluegrass music with their blend of bluegrass, country, rock, swing, and roots influences. “This was one of those songs that instantly felt like it belonged in our world,” said the band. “The passion, heartbreak, and raw energy in ‘Delilah’ gave us the chance to really cut loose and make the song our own.”


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Samantha Harlow - Brontës - A-100s - Spencer Krug - Night Swimming - Valo Ato

Samantha Harlow - Ready to Run.

Welcome to the brave, new world of music, performance art, and cinema that is Samantha Harlow’s new project,  By A Thread. Or rather, meet Veronica LaMorte, a dreamy-eyed lounge singer, murdered and then rebuilt by her mad scientist husband. Don’t worry, no spoilers here! As a collection of songs alone, Harlow’s By A Thread, produced by Grammy-nominated, Dex Green, sonically leans into mid-century pop/rock n roll somewhere in the orbit of The Ronnettes and Nancy Sinatra. “I wanted to stretch out beyond Nashville country, and felt more drawn to the sounds of 60s girl groups, beach pop and surf sounds,” says Harlow. 

But it wasn’t until the album was fully tracked at 3Sirens Studio in Nashville, that Harlow had a broader vision to create a companion short film series, where she stars as Veronica LaMorte, and takes inspiration from filmmakers like Ed Wood and Mel Brooks. The result is a Song Cinema collection exploring horror, humor, vulnerability and not being bound by societal norms.

Make no mistake, midwestern Harlow, raised in a suburb of St. Paul, Minnesota, is no typical “girl-next-door.” She may have spent Sunday mornings singing in church alongside a large extended family, but on other days found fascination with 80s hair metal and the oldies station. “I wanted to be Steven Tyler,” says Harlow. An artsy kid that enjoyed dressing up, Harlow went on to study classical and jazz vocal performance in college, followed by an intensive program at Martha’s Vineyard for songwriting and recording. She then moved to Nashville, found disenchanting work at a mattress factory, until one day walked into the legendary honky-tonk, Robert’s Western World and asked for a bartending job. Harlow says this is where her Nashville music education began and grew into working with some of Music City’s finest musicians. 

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Photo - Stephanie Gibson

Brontës - Brontës (Album).

Glasgow band Brontës have released their self-titled debut album via Last Night From Glasgow. Recorded at Beetroot Studios in Airdrie with producer and engineer Stuart MacLeod, Brontës’ eponymous album is a sassy slice of sophisticated pop. Imagine the Tom Tom Club jamming with Chrissy Hynde. A band that has been maturing and building live buzz since their very first single, this promises to be a huge crowd pleaser. 

“Writing, recording and playing this album has been incredible,” the band shared, “Working with Stuart MacLeod at the beginning of the year on the tracks was a special experience, it felt surreal and close to magic. Having the opportunity to use a studio like Beetroot and record with someone who believed in the music as much as we did was truly extraordinary. The album is sassy and jangly, but it is also the most vulnerable we have presented ourselves in our music, which as a band is a big step for us in the new direction. We are ecstatic for people to finally hear what we have been working on together with Beetroot and LNFG, and for what we do next".

Brontës are Eva on vocals/guitar, Amelia on drums/vocals, Erin on guitar/vocals and Katie on bass/vocals. With a brand new look, attitude and sound Brontës have reinvented themselves as a 4-piece rock/pop band influenced by generations of classic pop music such as Sabrina Carpenter, Blondie and The Ronettes.

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A-100s - Too Rad To Be Sad.

Southern California’s A100s are a brand new band nearly a decade in the making from the core songwriting duo of Matt Hensley (accordionist of Flogging Molly) and Sean Wheeler (vocalist of Throw Rag), playing music inspired by vintage ska & reggae with a touch of Conjunto accordion. 

The band have just announced pre-orders for their debut LP Rude and Lovely, co-produced by The Aggrolites’ Roger Rivas, via Pirates Press Records. The LP is scheduled for release on July 10, 2026. The album is available for pre-order from Pirates Press Records (and Coretex Records in Europe). Lead single “Too Rad To Be Sad” is now streaming on all major platforms.

Although their best known projects are known for their distinctive takes on Celtic punk and desert punk, respectively, both Hensley & Wheeler have a deep love of classic Jamaican reggae & ska. Hensley even previously played guitar & keys in the early 90s ska band Spy Kids, several members of whom contribute to A-100s in the studio and onstage. Hensley first pitched the idea for A100s to Wheeler nearly a decade ago in 2017, framing it in the context of vintage ska & reggae sounds with a touch of Conjunto accordion. In the ensuing years, the duo worked on songwriting in between tours by their main bands, and Hensley worked on building a studio.

Over time, an impressive array of collaborators coalesced, and the combined pedigree of the band is truly legendary in the annals of underground music: members of Mariachi El Bronx, Mad Caddies, Smoke & Mirrors Sound System, and folks who have played alongside greats such as Jimmy Cliff, Symarip, Roddy Radiation, and even Tom Petty have all left their mark on this record!

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Spencer Krug - Berserker Mode.

Canadian songwriter Spencer Krug returns with “Berserker Mode,” the second single from his forthcoming album Same Fangs, out May 15 on Pronounced Kroog. Where the album’s first offering leaned inward, “Berserker Mode” shifts the perspective outward. It’s restless, sharp, and a little unpredictable. A song about watching someone move through the world at full tilt, consequences trailing just behind them. Written in the summer of 2024 and first shared as a stripped piano demo, the track went through several iterations before landing in its final form. A synth version came and went. Another piano version reshaped the structure. What stuck was the pulse. A tight, percussive piano performance, locked in with percussion and lifted by the vocal presence of Elbow Kiss, which gives the song its sense of motion and release.

Lyrically, “Berserker Mode” centers on a familiar type. The friend you can’t quite reach, even when you’re right there beside them. The one who keeps blowing up their own life in slow motion, not out of malice, but momentum. They make enemies without meaning to. They move constantly, maybe because standing still would mean facing something harder. 

They don’t really self-censor, and they don’t adjust course. They stick to the version of themselves they’ve chosen, even as it starts to crack. “Your only rose is your own secret rose,” Krug offers, a line that captures both the beauty and the distance at the core of the song. “Musically I love playing this one,” Krug says. “I love the groove. The shapes and patterns on the piano are incredibly pleasing to play, in terms of movement, ergonomics, and tactility. And it’s a fun one to sing.”

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Photo - Derek Bremner

Night Swimming - Nothing Safe Is Technicolour.

UK-based risers Night Swimming share new single 'Nothing Safe Is Technicolour', the final reveal from their forthcoming second EP 'Melting, Sometimes Bleeding', out 22nd May via Venn Records. Following their 2024 breakout debut EP 'No Place To Land', which cemented them as a vital addition to the country’s new wave of dream-pop acts, Night Swimming have since drawn admirers from some of the genre’s original icons and toured extensively with the likes of Heartworms, bdrmm, Miki Berenyi and Pale Blue Eyes.

New single and EP opener 'Nothing Safe Is Technicolour' moves from a shadowy, trip-hop-leaning opening into a surge of crushing shoegaze, anchored by Meg Jones’ soft, close-up vocal - capturing the rush of new connection alongside a creeping sense of disorientation, as questions of perceived identity begin to surface ("Am I real, or a hologram?")

Speaking on the release of new single, vocalist and lyricist Meg Jones said: "‘Nothing Safe Is Technicolour’ is about opening yourself up again to love and also the possibility of being hurt. It is about meeting a person who sparks something in you, and makes you feel alive in a way you haven’t done for a long time. It is laced with unease at the idea of being rejected once the initial glow fades and less desirable parts of yourself are revealed. The song is a commitment to showing up as your full self, and expresses anxiety at the thought of losing yourself in an effort to meet another person’s needs or ideals."

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Valo Ato - 1 & 1/2.

Valo Ato began as a series of loose studio sessions, where Melby's Matilda Wiezell and Lucifer Sunshine's Jonas Persson set out to explore ideas and genres they hadn’t previously had the space to pursue in other projects. What started as an open-ended experiment quickly took shape, evolving into a full five-piece featuring some of Stockholm’s most compelling indie musicians.

Drawing on influences from shoegaze and grunge, Valo Ato’s sound moves between hazy textures and heavier, more grounded passages, something the band themselves describe simply as “stoner indie.” 

Jonas explains that the name Valo Ato is a tribute to his South Sámi family roots, combining Valovardo, the mountain behind the family’s summer house where he spent much of his childhood, and Atostugan, one of the first Sámi-built houses allowed to remain standing after his great-grandmother fiercely defended it from demolition. While the songs do not necessarily deal with these themes directly, the landscapes of Lapland remain a constant source of inspiration in the songwriting.

Debut single "1 & 1/2" is out now via Rama Lama Records. On May 30th Valo Ato plays the Echo Three Fest in Stockholm alongside Cabaret Voltaire, Bo Ningen, Makthaverskan, Ulrika Spacek and more.

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