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| Photo - Milkdrop Studio |
Swedish multi-instrumentalist, producer and songwriter Telos Vision returns on April 24 with Decisions, a sweeping second full-length album that cements him as one of Scandinavia’s most compelling voices in modern indie and psychedelic rock. Released via Icons Creating Evil Art on vinyl and digital platforms worldwide, Decisions finds Telos Vision — the alias of Teodor Boogh — expanding far beyond the intimate psych-tinged songwriting of his acclaimed debut Traces of Light (Manifestgalan-nominated) into something bigger, bolder and more sonically ambitious.
Often compared to artists like The War On Drugs and Jonathan Wilson, and moving in the same emotional universe as Bleachers and The Killers, Boogh blends heart-on-sleeve lyricism with widescreen production and vintage textures. Crucially, he does it all himself: writing, performing, producing and mixing every track, shaping a deeply unified sonic identity.
Over the past few years, Telos Vision has quietly built serious momentum. His singles have earned national radio rotation on Sweden’s P3 and P4, and his live reputation has grown through collaborations and touring alongside bands such as Graveyard, as well as creative exchanges with members of Little Dragon and the masked Swedish psych collective GOAT. That connection comes full circle on Walk Away (feat. Goatman) — a fuzz-drenched, sax-blasted collaboration with Goatman, founder of GOAT. After helping build the band’s new studio, Boogh secured the feature, resulting in one of the album’s most explosive moments.
At its core, Decisions is about risk — emotional, geographical, existential. During the making of the album, Boogh relocated from his lifelong home of Gothenburg to Stockholm, a move that shaped the record’s themes of upheaval, surrender and self-trust. The opening track Tomorrow sets the tone with layered background vocals and quiet optimism, while Nothing Else Matters roars into life with driving indie-rock urgency, questioning modern ideas of independence and intimacy: is love even possible without vulnerability?
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I have tried to figure out why (& am still trying) that my first reference point for this album was The Beatles mid 1960's with Paul McCartney on vocals. It's not just the sound, its the production as well. Then I read the background notes below & found the answer, Jason Mazzotta references both McCartney & Wings, we are just a decade different in our opinions. It's no copy of either act, rather the crisp, almost pristine at times sound and song structures just leans that way. Finally Beehive Candy would just like to add something about the creativity, this is all new material that stands on it's own merit, it deserves a big audience, something we hope will happen and soon.
Released by Rub Wrongways Records on April 20, 2026, Jason To Jason is an album by Jason Mazzotta, a singer/multi-instrumentalist living in Ridgewood, New York. The songs are mainly inspired by nature and the many kinds of love. On “Strawberry Moon,” the bouncy acoustic strummer tribute to the summer bloom, Jason says, “I wanted to sound like Donovan goofing around with a drum machine.” And though the meta “Number Four in Norway” imagines an obscure songwriter having an overseas hit, the groovy instrumental middle section teleports the track into unknown galaxies.
The album was recorded and mixed by Scott Amore at Durham, Connecticut’s InnerSpace SoundLabs. The production leaned a little on 1970s pop (McCartney & Wings, Harry Nilsson), and Amore’s warm tones and hazy, psychedelic touches can be heard throughout. The record’s guest musicians help create lush arrangements, with analogue synthesizers, pedal steel guitar, penny whistle, and Gizmotron, the string-bending device created by 10cc’s Kevin Godley and Lol Creme. The vocals and some overdubs were done at home studios, making Jason To Jason a marriage of studio magic and homespun charm. A cassette version will arrive on May 1, 2026 via Bandcamp.
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Helsinki-based artist i know her released her new single, "Smile On My Lips," yesterday April 24th. The track is taken from her forthcoming EP, At Least I Know How To Love, set for release May 22nd. “Smile On My Lips” began life as a living room demo nearly three years ago — just a voice, a melody, and an emotion that hadn't yet found its words. It captures the specific ache of longing for someone you never properly said goodbye to; the weight of things left unsaid and the way that weight quietly takes over.
The inspiration was drawn directly from life. As i know her explains: "I met someone who moved abroad shortly after we met, and I was left with a lot of unexpressed feelings. I tended to be quite nonchalant at the time, so instead of sharing those feelings, I turned them into music — which turned out to be far away from nonchalant. I wanted to capture that emotional tension in the production as well, to emphasize the yearning feeling by moving from intimate moments to a cinematic drop for the chorus."
That contrast is at the heart of the song's design: verses that feel close and confessional, choruses that expand into something vast and overwhelming. Her vocals move effortlessly between the two, grounding the track's more cinematic moments in something raw and real.
The latest single is taken from i know her's debut EP, At Least I Know How To Love, which traces a full emotional arc from toxic relationships and pain, through growth, and toward the rediscovery of love. Romance sits at the centre, but friendship and the kinds of love that endure beyond heartbreak are woven throughout. Sonically, the project balances acoustic warmth with electronic texture — a tension that mirrors the emotional territory it maps. At Least I Know How To Love is the sound of someone being rigorously honest with themselves, and choosing to stay open anyway.
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Nottingham trio EYRE LLEW return with their second album Bloom (September 18), alongside the release of its title track, a record shaped by stillness, reflection and a shift away from constant motion. To mark the release, the band will play their biggest hometown headline show to date at The Nest (1000 capacity) on September 19, debuting the new material live.
The Nottingham trio, previously hailed by BBC Radio 6 Music’s Chris Hawkins as “Britain’s answer to Sigur Rós,” have spent the past decade building a reputation as a formidable live band, touring extensively across Europe and Asia. But Bloom marks a turning point — written during a period of enforced pause, where movement gave way to reflection. Rather than chasing scale, the record focuses on something more intimate. “It’s about the moment everything slowed down and we chose something real — love, home, and growth — instead of just motion,” the band explain. “It’s the sound of things finally taking root.”
Written across lock down and its aftermath, the album draws from lived moments rather than abstraction — moving cities for love, holding someone through anxiety, imagining futures built on stability rather than momentum. Sonically, the band retain their cinematic scope, but with a new sense of restraint, allowing fragility and space to sit at the centre of the work.
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International award winning singer-songwriter Hayley Mckay and multi instrumentalist/producer and singer songwriter David Neil Crabtree combine as ‘North Riding'. North Riding return with their powerful new single, “You Gave Up On Us,” the digital release was yesterday Friday 24th April, accompanied by an official music video launched the same day.
Written by David Neil Crabtree and Hayley Mckay while touring the USA for 3 months, the song began to take shape during a memorable stay in Charleston’s Folly Beach area, where the duo were based for a few weeks. Immersed in the inspiring coastal surroundings, Hayley and David found themselves drawn into the local music scene—spending many nights performing at a nearby venue, Chico Fae.
The creative energy of the area and those live performances helped shape the song’s direction, resulting in a track that blends raw emotion with a bold, anthemic sound. “You Gave Up On Us” explores the breakdown of a relationship, delivering its message through soaring vocals and a dynamic arrangement. Driven by David’s commanding guitar work and the striking vocal interplay between Hayley and David, the single builds into a powerful, resonant anthem.
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The endlessly catchy and lyrically fascinating Last Days Of Loma marks what Wormstew consider their “proper” debut album. The band has existed in various forms for over two decades as the main musical outlet for LA pop scene fixture Mike Schnee, whose beloved surrealist comedy alter ego Chissum Worthington also dabbles in tunes of a more humor-centered bent. But something happened in 2024 when Wormstew accidentally evolved into its current and definitive lineup including bassist and vocalist Teresa Cowles (EZ Tiger, Dragsterbarbie, Evie Sands) and drummer, vocalist and producer Michael Simmons (of sparkle*jets u.k. and solo renown).
Not only did they unlock the chemistry of friends who happen to be ace musicians playing together for the sheer fun of it, the change happened to coincide with Schnee completing a new set of songs which marked a watershed of emotional depth without sacrificing the sly glee and gentle humor of what had come before.
Accidents just might be the defining factor in Wormstew's journey. On their prior EPs and singles, Schnee had aimed for Paul McCartney, Neil Young, Paul Simon, Ween, and various other heroes, only to (by his own estimation) miss the target entirely. Those experiments, though, established something unique: songs that feel familiar but slightly askew, earnest yet dryly funny, guided more by instinct than polish.
They were collected on eight homemade albums, handed out to anyone willing to take one. The songwriting and ideas were strong; the fidelity was inconsistent; the looseness was both charming and frustrating, but an organically-growing fanbase was increasingly intrigued. A shift toward coherence began during Covid, when Schnee and Cowles, under the side project alias The Slanket Sessions, reimagined several vintage Wormstew songs and wrote new material, developing a distinct musical and vocal rapport along the way. When Michael Simmons joined in late 2024, he expanded the skeletal tracks with drums, keyboards, and additional instrumentation. It was the same Wormstew, but the new ingredients were awaking hidden flavors, and Last Days Of Loma began to simmer its way toward becoming the rich and hearty main course it is today.
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