Sin Cos Tan release their new single Icarian today July 10. The track is the seventh taste of the duo’s forthcoming album Greed, which will be released on October 9 via All That Plazz.
Icarian takes the listener into the calmer, more wistful side of the album. Where the earlier singles carried more tension and sharper edges, the focus here is on melody, atmosphere and late-night shades. The result is a beautiful, melancholic synth-pop song whose strength is built with restraint.
Formed by producer-DJ Jori Hulkkonen and singer-songwriter Juho Paalosmaa, Sin Cos Tan are known for the way they bring together Nordic melancholy, classic pop melody and carefully crafted electronic production. In their music, nostalgia and futurism sit side by side, and their songs work equally well in headphones, in after-dark city settings and on the edge of the dancefloor. Icarian fits naturally into that continuum.
What matters in Sin Cos Tan’s music is precision without coldness. In Hulkkonen’s production, every sound is carefully considered, yet the whole thing still breathes. In Paalosmaa’s voice, there is warmth, distance and melancholy, all of which are central to the duo’s distinctive sound.
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Helsinki band Drug Store Raid release Batz N’ Bratz, the third single from their forthcoming second album, Pop Songs For People Who Might Get Killed. The band have quickly become one of the more interesting new names in Finland’s alternative guitar scene, pulling together indie rock, post-punk, art rock and no wave with a sound that feels restless but controlled.
Batz N’ Bratz leans into a darker, more late-night mood. The track threads goth-surf-punk through flashes of jazz and metal, keeping the band’s angular edge while opening up something more melodic and faintly wistful underneath.
“There’s something restless and comforting about the song at the same time. It never quite settles into place, and that’s exactly where a lot of its beauty lies for us,” the band say.
The lyrics move through familiar Drug Store Raid territory: isolation, fear, fun and managed chaos. In the attic, bats and Bratz dolls are making out, though love is not really the point.
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| Photo - Kez Pearl |
London Alternative-Pop-Indie solo artist Alice Geary returns with the vibrant, confessional new single ‘Singing About My Problems’ (July 9th) - a love letter to people with big feelings, who live inside their head. Touring as the bass player for rising shoegaze band deary, Geary has already cut her teeth opening for Slowdive and touring renowned venues across the UK.
The new single ‘Singing About My Problems’ captures the honest, intimate songwriting that defines Alice Geary's artistry, finding beauty within the everyday highs and lows of life. Produced by Crysometimes frontwoman Megan Bush, the track highlights Geary's ability to combine emotional vulnerability with infectious, uplifting pop sensibilities.
Fusing raw, anthemic pop energy with a warm, guitar-led backdrop, atmospheric synth textures and spacious reverbs, the track showcases the blend of musical worlds that shape Geary's distinctive sound. Led by Geary’s angelic, yearning vocal melodies, the track balances an alternative edge with commercially minded, radio-ready hooks, while its introspective lyricism draws listeners into a deeply personal narrative. As comparable to Maggie Rogers and Phoebe Bridgers as it is to contemporary indie-pop and acoustic folk, ‘Singing About My Problems’ delivers gritty riffs, soaring vocals and heartfelt, story-driven songwriting at its very best.
Talking about the single, Alice explains: “This single is a love letter to the people with big feelings, who live inside their head and anyone who needs a good old scream. This track is a reflection of the feeling of someone in their early 20s figuring out what they want to do with their lives, I didnʼt overthink it. Itʼs all about capturing that chaotic energy in your 20s. Started on my acoustic at home and sent to my producer Megan and they made it into the song it is today. Saw my vision! Recorded from home. And tracked the drums at 17B in Brighton. The vocals were done in my bedroom, with a blanket pinned to the walls to dampen the sound - very independent artist style.”
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The Womack Sisters just released their new single, "If I Let You," from their upcoming self-titled album, out August 14th. The Womack Sisters – Kucha, Zeimani, and BG Womack – were singing before they could walk.
The Sisters grew up on the road. Their schools were stages and studios all over the world, where they sang behind their parents, Zekkariyas & Zeriiya (fka Womack & Womack), alongside their four siblings. Nowhere was home for long. No matter where they lived they were always surrounded by music and family.
Their 2026 self-titled debut album,The Womack Sisters, is the musical culmination of the Sisters’ long and winding journey to find themselves. Over an intensely soulful collection of tunes that harkens back to when pop music had substance, vibe and purpose, each of their distinct voices have their moments in the spotlight.
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Twin Bloom makes indie rock that balances momentum with atmosphere, drifting between the glow of 80s new wave, the haze of shoegaze and the melodic pull of classic guitar pop. Based in Oakland, the band leans into warmth over sharp edges. Guitars shimmer and blur, melodies stick quickly, and close vocal harmonies give the songs a familiar, lived-in feel.
Influences like Teenage Fanclub, Alvvays, The Cure and The Strokes are present, but never foregrounded, filtered instead through a sensibility shaped by years of playing rooms, basements and clubs.
There’s patience in the band’s writing, but also a steady sense of drive. Songs unfold gradually, carried by chiming guitars and propulsive rhythms that keep things moving even as textures bloom and recede. The arrangements stay lean and focused, favoring clarity over excess and letting repetition, tone and melody do the work. The music feels emotionally grounded and immediate, well suited for hazy summer drives and warm, nostalgic nights that stretch on longer than expected.
Twin Bloom’s self-titled debut EP, (released today July 10), captures a moment of transition, caught between looking back and pushing forward. Lead single “Summer’s Gone” distills the band’s approach most clearly, pairing an easy, driving rhythm with a bittersweet sense of seasonal shift. Twin Bloom isn’t chasing trends or big statements. The band is focused on writing songs that stick, sound good turned up in the car and feel just as natural on the tenth listen as the first.
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“Little-Kid Heart” is a record about what we all carry—old wounds, quiet hopes, and the parts of ourselves that never quite grow up, no matter how much life asks us to. Across ten songs, Tipps and Obermiller explore the tension between who we were, who we thought we’d be, and who we’re still becoming. The writing is intimate and specific, but the emotional landscape is unmistakably shared.
The album moves fluidly between humor and heartbreak. “Shopping Wrong” delivers its wisdom with a wry smile, while “Fresh Hell” captures the disorienting aftermath of a broken relationship that reopens something older and harder to name. Elsewhere, songs like “The Garden” widen the lens, holding beauty and fracture side by side, asking listeners to wrestle with both without turning away. There are no easy answers here—only honest ones.
At its core, “Little-Kid Heart” is about resilience—not the loud, triumphant kind, but the quieter version that shows up day after day. “Dance When You’re Broken” and “So Far From Alone” offer companionship in the darkest places, while “Not Enough” sits bravely in grief without trying to resolve it. Even in its heaviest moments, the record resists despair, choosing instead to stay present, to keep reaching.
What ties it all together is a deep belief that we’re not alone in any of it. Whether through the gravitational pull of connection, the unexpected turn toward love, or the fragile hope at the center of “Love Letter,” the album keeps returning to the same idea: we’re all walking each other home. And if there’s hope here, it’s not that everything turns out the way we planned—but that, somehow, we learn to be okay anyway.
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| Photo - Pierpaolo Saccomandi |
Disgusting Sisters announce their debut album Skin & Blisters, which will be released October 30 on Source Records. The duo (and real life sisters) also share new single "Sorry Mister".
A lot of songwriters might use their craft as a means to process life, but not many end up with a wild end result like Disgusting Sisters. A winning mix of horror, humor, musical influences that span from electro to emo and a wealth of joint experience, it speaks to a childhood of pet rats and pranks; world-building and wicked games. The duo have already received press support from the likes of The Guardian, DIY and Clash as well plays at BBC Radio 1 and BBC 6Music. The album will arrive on Source Records, the iconic Anglo-French label historically home to artists including Air, Phoenix and Kings of Convenience.
"Sorry Mister" is an infectious, wryly unapologetic indie-pop anthem imagining a chaotic night out filled with questionable men and one clear conclusion: “I don’t want to offend you, but I prefer my sister.” Raw, witty and crowd-tested, the track captures the duo’s electrifying live energy (following a run of standout UK shows.)
On the new single, Disgusting Sisters say - "Sorry Mister is inspired by those nights out where you constantly find yourself trying to reject unwanted attention. As a woman you’re often taught to smile, apologize, and avoid offending anyone even when you’re uncomfortable. We love the irony of "Sorry, Mister" because it plays on that contrast between politeness and the raw truth, celebrating female solidarity and the freedom to stop apologising for saying no"
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