Mollie Elizabeth returns with a new song that deepens her distinctive sonic and visual universe, weaving eerie, quirky, and subtly dark textures into her signature femme, classic sound. “Dog Eat Dog” (+ visualizer) is co-written by Mollie and Lucas Sim, who also helmed the production. Mollie Elizabeth adds, “Dog Eat Dog” is centered around the concept that all humans are, unfortunately, natural born predators. In my nature, and I think in many others, all I really want to do is cultivate peace and love, but in reality, this world is not peaceful. There are people who will take advantage of you if you do not accept that whether you like it or not, we live in a dog eat dog world.”
Earlier this year, she shared “The Disappearing Girl” which was written by Mollie Elizabeth, Madison Love and Christopher J Baran, it was produced by CJ Baran, and recorded at VAMP Studios in Los Angeles.
Gearing up to deliver more subtly penned story songs, the 21-year-old Washington State-based artist Mollie Elizabeth only introduced herself last year, and has already delivered a stunning debut EP Dirty Blonde via Neon Gold / Virgin Music. Known for her whimsical, melancholic, and empowering songs, the Pacific Northwest artist describes her music as “tiny worlds”, a refuge shaped by her upbringing in the Washington woods, suffused with old-Hollywood elegance and emotional depth. Mollie co-produced her newest song, including music video for “Doe Eyed” (dir. Maya Sassoon) HERE, along with her Dirty Blonde EP with Dean Reid (Lana Del Rey, Marina) and co-written with Reid and GRAMMY-nominated Casey Smith (Olivia Rodrigo, Ashe, Benson Boone).
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Dark theatrical rock duo The Yesters premiered the official music video for their latest single, “Freak Show,” yesterday March 6, unveiling a cinematic visual that expands the song’s exploration of addiction, spectacle, and the uneasy push and pull between self-control and outside influence. At its core, “Freak Show” tells the story of a woman navigating addiction — not as a solitary struggle, but as a constant negotiation with a world that both entices and judges her. The track pairs brooding melodies with a vintage-tinged rock atmosphere, building a sense of tension that mirrors the emotional volatility at the heart of the narrative.
The upcoming music video, directed by Toon de Melker, transforms that internal conflict into a surreal, carnival-like landscape where exaggerated characters and shadow-filled environments blur reality and performance. Through stylized visuals and theatrical staging, the video positions addiction as a kind of spectacle — a world where temptation, observation, and identity collide. Rather than presenting a literal narrative, the imagery reflects the cyclical nature of being pulled toward and away from destructive patterns, echoing the song’s themes of seduction, isolation, and resilience. de Melker noted, “I wanted to translate both the music and the lyrics into a striking visual experience; unsettling, immersive, and deeply personal, exploring what the world might look like through the eyes of an addict of any kind.”
Musically, “Freak Show” channels a dark cabaret-rock atmosphere, pairing theatrical vocals with an undercurrent of tension that mirrors the video’s off-kilter aesthetic. The result is both playful and unsettling — a commentary on the fascination with spectacle and the shifting roles between audience and attraction.
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Texas-native GALVEZTON presents new single “Roll To G-Town.” An eclectic mix of old school Beck meets dusty roads Americana, the new single "Roll To G-Town" is now available via La Izquierda Records. Dripping with charisma and confidence, the new single by GALVEZTON is a love letter to Robert Kuhn’s home state. GALVEZTON’s forthcoming album, is to be released worldwide April 3rd, 2026, (except in the UK where it will be released May 15th.)
The original concept of the new single was born from kitchenside pandemic hangs with Robert Kuhn and his acoustic guitar. Featuring psychedelic lyrics, folky guitars, and the entrancing backup vocals of Krystal Hardwick, the new single is a perfect springtime jam. Recorded appropriately in Galveston, TX at La Izquierda headquarters between 2022 and 2024, the new single offers a brand new anthem for the Lone Star State.
Robert Kuhn, the face and voice behind GALVEZTON describes the impact of the new song in greater detail: “Texas country star Rich O’toole heard me play the song at La Izquierda Surf and Music Festival and immediately asked me if he could record it. I agreed of course and after his version came out, Houston hip-hop legend, Bun-B (UGK), heard it and said he wanted to do a remix. Paul Wall, the People’s Champ, soon heard it and wanted to collaborate too, so joined in and the song becomes a Houston area anthem. “Ima take my money an Roll to G-town!”
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| Photo - Josie Dunne |
Jillette Johnson releases her new EP The Pain, My Friend and released the official video for “Good At Lying” featuring Langhorne Slim. Produced by Johnson’s longtime collaborator Joe Pisapia, the 5-song collection captures the pure, instinctual joy that first drew Johnson to songwriting as a kid. In support of the release, she will hit the road for a run of tour dates supporting Fantastic Cat that will kick off on April 11 in Woodstock, NY and make stops in Boston, Philadelphia, Chicago, and her hometown of Nashville, TN at Row One on April 23.
About “Good At Lying,” Johnson explains: “I wrote ‘Good At Lying’ at a moment when I was hitting a wall sitting at my piano, trying to write a song and not liking anything that was coming out. I just started banging my hands on the keys and saying ‘I don’t know anything, I don’t know anything,’ and eventually that banging turned into something more musical, and the rest of the song flowed out in the subsequent 30 minutes. It’s about imposter syndrome, a feeling I think every artist feels if they’re doing their art right, which is to say living right on the edge of what’s familiar, peering into the big scary unknown, eventually on their way to making something new. Also, I had a weird feeling while I was writing that I was channeling the spirit of my friend Langhorne Slim, so it’s extra special that he agreed to lend his wild and mighty voice to it. ”
About the EP, she adds: "The Pain, My Friend is a collection of songs about embracing and being with the innate discomfort of being alive, in order to make way for joy. I wrote these songs like I always do, alone in my room, and was so fortunate to record them with some of my favorite musicians out there. The experience was easy and light and fun, and reconnected me with the freedom of making music that I felt when I just started making music as a kid. ”
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Nova Scotia-raised, Ottawa-based singer-songwriter Malia Rogers returns with “Sunlight (A Good Death),” a healing, Celtic-influenced folk single that approaches loss through the lens of gratitude rather than despair. Rooted in the idea that grief is simply love with nowhere left to go, the song reflects on mourning not as an ending, but as evidence of a life deeply shared.
Written while on tour in Ireland in January 2025, the song arrived unexpectedly. After a late night following a show in Tramore on Ireland’s southeastern coast, Rogers woke suddenly at 7:15AM; the exact date and time her grandfather, John Matthews, had passed away four years earlier. A paleoentomologist, teacher, poet, and lifelong music lover, Matthews played a defining role in Rogers’ life and creative development. “We talked about everything, including death and what it might mean to die ‘well,’” she explains. “I cried for two hours alone in that room above the pub, and when I was done, I had this song. It’s a small gift in return for the countless gifts he brought to all who knew him.”
Inspired by the stories shared with her after performances, Rogers is inviting listeners to take part in a collaborative music video celebrating the people who shaped us.
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