Bitw - Angela Easterling - Takeda - Winona Oak - Oliver Marson feat. Sharon Van Etten - Libby Ember

Bitw - Hen Dro.

The second single from Bitw's forthcoming album Gaddo Glaw sees Bitw joined by longtime collaborator Chwaer Fawr (Mari Morgan), as she shares the microphone in what can only be described as a duet. Ostensibly a generic pop song about a doomed relationship, the lyrics take on an altogether darker and more pessimistic tone in the album's ominous context.

B-side Cofio Bob Tro is an almost sickeningly cheesy other side of the coin, as Gruff lists a catalogue of bad memories, never quite revealing if they’re stated as grumbles or as regrets. Mari once again provides backing vocals, this time alongside Gwion Llewelyn, with Stephen Black on sax.

Bitw is the solo project of Welsh musician Gruff ab Arwel. A committed DIY artist, he has built a career of sorts on his own terms, creating lo-fi art pop (not his description) that takes itself seriously without taking himself too seriously. Now in his mid-thirties, Gruff has made the seamless transition from failing musician to failed musician, and is finally enjoying the freedom that comes with having nothing left to prove.

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Photo - Sandlin Gaither

Angela Easterling - Songs From The Knoxville Project (Album).

Angela Easterling has spent six albums proving she’s one of South Carolina’s best songwriters. Her most recent album, “Witness” was chosen by American Songwriter Magazine as a Top 24 Album of the Year, she is a four-time Kerrville New Folk Finalist, and has had her work praised in No Depression, Americana UK, Oxford American and more.

But her new album, “Songs From The Knoxville Project,” isn’t just a collection of more well-written, passionately delivered songs. It’s a story straight from her ancestors; a haunting tale buoyed by more than a century of Appalachian folk. It’s a Civil War tale without any literal battles but plenty of fighting. It’s a celebration of hope in times of hopelessness, and it brims with the incisive eye of a songwriter and the passion of someone with this story in their blood.

To tell this story, Easterling dove deep into the folk music of the South, eschewing drums entirely, stripping away most of the electric guitars and telling the tale with richly arranged mandolin, fiddle and acoustic guitars. She reached out to the Southern music community and brought in some of its best singers and instrumentalists, from former Emmylou Harris vocalist Fayssoux McLean and Americana star Will Kimbrough to Carolina greats like Darby Wilcox, Elizabeth McCorvey, Admiral Radio, and Audrey Neel and Molly Johnson of the bluegrass trio, The Wilder Flower. 

And it was SC musicians who created this evocative, rustic backdrop, including Sam Kruer on bass, Matt Purinton on mandolin, Robert Gowan on fiddle, and Angela’s musical/life partner Brandon Turner playing multiple guitars, banjo and dobro. The album was expertly co-produced by Turner and Ian Guthrie and recorded in SC at Studio 101.

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Takeda - Lion's Den.

Norwich (England) Folk-Grunge pioneers Takeda return with ‘Lion’s Den’ out today, September 25th 2026, their most visceral single to date. The track is the first to be taken from the band’s forthcoming second studio album, which arrives in 2027 via Drongo Records.

Since forming in 2022, Takeda have forged a distinctive sound built from unlikely contrasts: intricate folk, Bert Janch-influenced fingerpick guitar set against crushing riffs, fuzz drenched guitars and heavy breakdowns, marrying authentic British and American folk sounds and techniques with heavy rock and grunge. The result is music that is difficult to categorise - and deliberately so, breaking ground in a way that’s not been done before, achieved entirely on an acoustic guitar.

“When we are arranging songs together, the moment we are able to firmly pin something we are doing to somebody else’s music, we tend to suddenly feel disinterested and the song usually gets binned,” says vocalist and songwriter Josh Harrison. “We are pretty thirsty to sound like nothing but Takeda.”

Years spent in a doomsday cult coloured Harrison’s imagery and deeply informed Takeda’s music. Their debut album ‘In Venus’ Train’ chronicled the painful process of breaking away from that past whilst Lion’s Den looks beyond the escape itself, and instead confronts the anger, resentment and sense of manipulation and betrayal left in its wake.

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Winona Oak - Next Mistake (feat. Maye).

Swedish singer-songwriter Winona Oak has shared a further glimpse into her second album with new single ‘Next Mistake’ featuring Maye, taken from her forthcoming album ‘Bloom’ released on 23rd October via Nettwerk. 

On new single ‘Next Mistake’, Winona explores the magnetic tension of wanting someone whilst trying and knowing to stay away. Featuring Latin artist Maye, the two vocals bring the push and pull to life, backed by sweeping synths that build to a euphoric chorus. 
 
Winona says, “The line in ‘Next Mistake’ “I go where you don’t” captures that instinct to run in the opposite direction when a connection feels almost too intense, knowing exactly where it could lead. The track captures the thrill, fear and inevitability of being drawn towards someone you know might be your next mistake.”
 
Maye says, “When I heard the first draft of ‘Next Mistake’ I was immediately captivated by Winona's mesmerizing vocals and I knew I wanted to be a part of it somehow. I love the dichotomy of writing my verse in Spanish, because I feel like it really compliments the song, and was a way for both of us to stay true to our identities." 

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Photo - Alex Amoros

Oliver Marson - Christina (feat. Sharon Van Etten).

London-based art-pop singer-songwriter Oliver Marson shares a new collaborative single with Sharon Van Etten, 'Christina'. The new track arrives with a video directed by Sofía Boriosi, starring Avani Gregg and Abraham Lewis. Written while Marson was touring Europe in the summer of 2021, 'Christina' was inspired by a fleeting encounter following a show in Prague. Having instinctively dodged an unexpected kiss, Marson began the song the following day in Linz.

Its titular character grew to represent the people who briefly pass through our lives. "'Christina' as a character represents that exact feeling," Marson explains. "It is the people who drift in and out of your world, the friends who come and go, and the bittersweet weight of moments that are over before you can fully hold onto them. The track is ultimately about that deep sense of longing and nostalgia for good times that have already slipped away."

Originally conceived as a darker, Depeche Mode-esque composition, the track was subsequently reshaped alongside longtime producer Josh Rumble and Kirin J Callinan, who encouraged Marson to embrace something brighter and more expansive  - with Charles Cave of White Lies contributing fretless bass.

"Because of the emotional nature of the song, I could only think of one person who could sing Christina, and that was Sharon," says Marson. A longtime admirer of Van Etten’s work, he approached her directly via Instagram after being moved to tears by her performance of "Seventeen" at Primavera Sound. "Her voice brought a rawness and emotional weight that I simply couldn’t have reached on my own."

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Libby Ember - Shoes.

Continuing to explore the emotional complexities of relationships with striking honesty, Montreal singer-songwriter Libby Ember shares “Shoes,” a vulnerable and melancholic indie-folk single about realizing you may be the only person still trying to move a relationship forward. Stripped of drums and built around an understated arrangement, the track places Libby’s words firmly at the centre, capturing the exhaustion that comes from being ready to take the next step while someone else remains standing still.

Inspired by a relationship where Libby felt increasingly responsible for creating progress, “Shoes” transforms that imbalance into a simple but resonant metaphor. Throughout the song, putting on her shoes represents more than getting ready to leave the house; it becomes an expression of willingness to show up, put in the work, and actively pursue the life and relationship she wants.

“I decided to name the song ‘Shoes’ despite the fact that I don’t repeat it very often in the song, since the shoes are a metaphor for my efforts,” Libby explains. “If I’ve got my shoes on, it means I’m ready to go out and work for what I want or work towards bettering a relationship.”

Rather than dramatizing that disconnect, “Shoes” sits quietly inside it. The song captures the vulnerable realization that wanting a relationship to move forward is not enough when the effort required to sustain it has become one-sided. In keeping the emotion restrained, Libby allows the frustration, sadness, and honesty of that realization to emerge naturally.

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Kate Prascher - Moving Into Tucson - Scarlett Macfarlane - Winona Oak - Heather Anne Lomax - Eli & Fur

Photo - Sander Randall

Kate Prascher - Jubilee.

Kate Prascher, whom No Depression once praised as "a mesmerizing singer whose traditional-sounding tunes upend any feeling of comfort with lyrics that cut deep," has announced her highly anticipated follow-up album. ‘Sunday Afternoon’ will be released August 28 on First City Artists (Alexa Rose, Carly King). Co-produced by Diana Walsh (Amanda Shires, Jason Isbell, Wild Rivers), the collection brings esteemed comparisons to mind—the classic country soprano of Allison Krauss; the dark, dusty Americana of Gillian Welch; the bright melodicism of Madison Cunningham—as Prascher examines the forward motion of life. 

Of the lead single, Prascher shares: 'Jubilee' follows a ghost train. I wrote it while walking on an old train trestle in Rosendale, New York, a town ringing with the eerie history of a stone quarry, carrying memories of my hometown across it. By the time I climbed down from the track, the song was mostly written. It's a lyrical exploration of the word 'jubilee' as both a signal of celebration, and of forgiveness.
 
Prascher was raised in Memphis, a childhood spent amidst the haphazard heart of blues music and the haunted spirit of Southern storytelling. “Where I’m from, it’s expected for the people in your life who’ve passed to show up again, one way or another,” she says. She carried that ominous elegance with her to New York City, and embraced the lively vibrance of the city’s Bluegrass scene, taking mandolin lessons from Michael Daves and joining open sessions at staple venues like The Jalopy, Mona's, Sunny's.  
 
Prascher wrote about half the songs on ‘Sunday Afternoon’ while she was living in Brooklyn—the rest, after she left. “I’m interested in how environment informs identity,” she shares. “Leaving New York was a reckoning for me. I moved there out of ambition. If I left, could I still consider myself ambitious?” Now based upstate, she’s grateful for the opportunity to answer that question. “My life is less about chasing one thing, and more about grounded rituals, the practices of work and creation. I can hear myself more clearly. I know what I want to say.” 

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Moving Into Tucson - Turn The World Around.

Moving Into Tucson strikes a chord for the future with the urgent new anthem: "Turn The World Around." Opening with a soul-stirring piano and organ chorus that immediately sets a timeless, high-stakes tone, the track marks a powerful shift for the band. "Turn The World Around" is the sixth official taste of their highly anticipated 2026 album All Dressed Up, and it arrives at a moment when its message couldn't be more vital.

Musically, the song is a masterclass in Indie Poprock, blending driving guitars and Britpop swagger with a soaring, anthemic refrain. But beneath the "bells and whistles" lies a raw, modern-day hippie cry. In a world currently shadowed by war, climate crisis, and fear, the lyrics serve as a rhythmic call for unity: "Turn the world around, stop wasting more precious time."

Moving from rain-soaked verses into a massive, hands-in-the-air chorus, the song tackles the weight of the unknown and the necessity of standing together. It’s an urgent reminder that to secure a future on this planet, we must walk these uncharted paths as equals. Bold, catchy, and deeply rooted in the "now," "Turn The World Around" is more than just a single, it’s a demand for change. We stand together, in rhythm and in rhyme.

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Scarlett Macfarlane - Fireflys.

Following on the heels of the vulnerable single, “Sorry,” Scarlett Macfarlane returns with “Fireflys,” a warm and nostalgic pop single that captures the fleeting magic of youth, memory, and the quiet moments that stay with us long after they’ve passed. Rooted in feelings of ease, joy, and reflection, the track leans into a softer, more sentimental side of Scarlett’s songwriting, offering a moment of lightness grounded in emotional depth.

The song was sparked by a simple, intimate setting. “I have a string of lights that I like to sit out under on my balcony that mimic the randomness of fireflies,” Scarlett explains. “I was sitting out there one night and the rest is history.” That quiet moment of inspiration expanded into something more universal; a reflection on the small, meaningful experiences that shape how we remember our lives.

The title itself carries layered meaning. Inspired by childhood memories of summer nights celebrating her mother’s birthday, Scarlett connects the imagery of fireflies to a sense of wonder and togetherness. “Those are moments from my life that I wish I could capture in a jar and keep forever,” she says. “Much like a child wishes to keep the magic of a firefly forever.” Even the stylized spelling of “Fireflys” serves as a personal touch; a nod to storytelling, nostalgia, and her own creative instincts.

Musically, “Fireflys” embraces simplicity and warmth. A standout moment arrives in the bridge, where a last-minute addition of a whistled melody adds a playful, childlike quality to the track. “One of my favourite things to do as a kid was whistle melodies,” Scarlett notes. “Getting to use that skill in a song was a fun moment for me.” That sense of play carries through the arrangement, which builds gently before opening into a refreshed final chorus that feels both familiar and new.


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Winona Oak - Bones.

Swedish singer-songwriter Winona Oak has shared her powerful new single ‘Bones’ taken from her forthcoming second album ‘Bloom’ released on 25th September via Nettwerk. Following recent singles ‘Do You Hate Me Now’, ‘Horses’, ‘Stay the night’ and ‘Breaking Point’, new album ‘Bloom’ marks a new chapter for Winona Oak and is a testament to survival, showcasing both her emotional and musical growth and devotion to connection. Allowing herself to slowly open up again with honesty and hope after a period of grief and heartbreak, her new record lets the listener into a deeply personal world where beginnings emerge from endings. 
 
Winona released her EP ‘Salt’ last spring, which was a poignant personal documentation of her physical and emotional states. Throughout the last year, she has been working on new music and a more organic progression in her raw and unvarnished sound, whilst still writing candidly about the highs and lows of life; loss and repair, heartbreak and love, resistance and patience. Winona says, “Like a flower emerging after a long winter, blooming isn’t instant - it’s the result of surviving the darker seasons.Bloom reflects the transformation - the idea that even after pain life still finds ways to grow. It’s a gentle but powerful reminder that healing isn’t about forgetting the past, but about allowing yourself to open again to the light."
 
New single ‘Bones’ is about learning to live again after experiencing heartache, and is a song of two halves, with both fragility and courage co-existing together. The emotional track opens delicately, showcasing the tenderness of Winona’s vocals, before building to a majestic chorus that is a confident statement of intent - “I wanna live until my body turns to bones”. Winona says, “’Bones’ is about having been through darkness and felt the weight of unbearable pain but still choosing to fully embrace life. It’s about growth, freedom and feeling every part of the human experience, because one day, all we’ll leave behind are bones. This song is a reminder to live deeply, love hard and not be afraid to truly feel alive.”

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Photo - Remi

Heather Anne Lomax - Come Along.

Heather Anne Lomax announces her forthcoming album, Who Do You Think You Are, due August 28th via The Blackbird Record Label, with the release of her new single, “Come Along.” It’s an uplifting blast of Rock, Soul, and Blues inspired by the classic sounds that helped shape the record. “‘Come Along’ is a song really inspired by the Black Crowes,” says Lomax. “I wanted something uplifting and hopeful despite all of the darkness in the world.”

Fresh off the release of her previous album, Lomax slipped a pair of songs by cult-favorite rock band Broken Homes into her set at LA’s storied Troubadour. The response—and her own connection to the material—was immediate. What felt like kismet soon became the creative spark behind her latest album, a deeply collaborative collection that blends Rock, Blues, and Soul into a sound that feels both timeless and unmistakably her own. Recorded live at Love Street Sound Studios in Los Angeles, the album captures the raw energy and spontaneity of classic 1970s recordings. Rather than chasing perfection, the sessions prioritized feel, chemistry, and performance, resulting in a record that crackles with authenticity and heart.

Produced by Zachary Ross (Rose’s Pawn Shop), mixed by Jason Hiller (The Freewheelers), and mastered by acclaimed engineer Maor Appelbaum (Faith No More, YES, Halford, Def Leppard), the album features an extraordinary cast of musicians. Among the contributors are bassist and mixer Jason Hiller; drummers Rob Humphries (Kacey Musgraves, Leonard Cohen, Jason Mraz), Jordan West (Grace Potter), David Goodstein (Jackson Browne, Dolly Parton), and Jamie Douglas (Shooter Jennings, Samantha Fish); keyboardists Ty Bailie (Katy Perry, Tanya Tucker), Jerry Borge (Ziggy Marley), and Carey Frank (Bruce Springsteen, Tedeschi Trucks Band); along with guitarist Zachary Ross and Lomax herself. Additional textures come from flutists Fuzzbee Morse (Bono, Peter Gabriel), Lily Elise (Gwen Stefani, Miley Cyrus), and Mary Scholz.

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Photo - Vika Petlakh

Eli & Fur - Dreams At Dusk: Part II (EP).

Celestial songstresses, Eli & Fur, return with the continuation of their Dreams At Dusk concept with their latest EP, Dreams At Dusk: Part II, which officially arrived on June 5 via [PIAS] Électronique. A transcendent body of work, the six-track EP is an anthology of sonic and emotional contrasts, an exploration of the gray areas in between.  

Trading heavier production for elemental and intuitive creation, Dreams At Dusk: Part II proves to be the duo's most organic and expansive project to date. Written largely while they were on the road touring, moving through different cities and energies, letting their environment naturally influence the music. Juxtaposing light and dark, warm and cool, this project is a delicate balance of newness and familiarity – a natural progression of Eli & Fur’s artistry that feels true to their distinct sound while opening up less explored sides of their sonic realm.  

From Eli & Fur: “With Part I, everything felt very much about the beginning, the excitement of building the Dreams At Dusk world, the anticipation of shows, that outward energy – Part II came together more gradually. We didn’t sit down and decide on a direction, it revealed itself – we’re excited about how different the tracks are when you play them out. A lot of this EP came from the kinds of moments where we didn’t overthink things, we just followed instinct and let the track evolve into something unexpected. We want it to feel immersive. Something you can move through depending on your mood, whether that’s in a club, driving, or just listening on your own.” 

Eli & Fur · Dreams At Dusk Part II

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Winona Oak - My Life As A Moth - Maddie Lenhart - Liv Wade - Ok Goodnight - Greg Dread feat. Don Letts

Winona Oak - Breaking Point.

Swedish singer-songwriter Winona Oak has shared her delicate yet powerful new single and video ‘Breaking Point’ alongside the announcement of her second album ‘Bloom’ released on 25th September via Nettwerk. 
 
Following recent singles ‘Do You Hate Me Now’, ‘Horses’ and ‘Stay the night’, new album ‘Bloom’ marks a new chapter for Winona Oak and is a testament to survival, showcasing both her emotional and musical growth and devotion to connection. Allowing herself to slowly open up again with honesty and hope after a period of grief and heartbreak, her new record lets the listener into a deeply personal world where beginnings emerge from endings. 

Winona released her EP ‘Salt’ last spring, which was a poignant personal documentation of her physical and emotional states. Throughout the last year, she has been working on new music and a more organic progression in her raw and unvarnished sound, whilst still writing candidly about the highs and lows of life; loss and repair, heartbreak and love, resistance and patience. Winona says, 
 
“Like a flower emerging after a long winter, blooming isn’t instant - it’s the result of surviving the darker seasons.Bloom reflects the transformation - the idea that even after pain life still finds ways to grow. It’s a gentle but powerful reminder that healing isn’t about forgetting the past, but about allowing yourself to open again to the light."

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My Life As A Moth - The Parade of the Starlet & the Broken Hearted (Album).

My Life As A Moth is the project of a Swedish-born, East London-based artist whose music blends post punk, experimental rock, art pop, industrial textures and alternative guitar music into something immersive, eerie and emotionally charged. The project began during lockdown, at a time when she felt lost and disconnected. Sitting down at a dusty keyboard she had not played in a long time, she found a dead moth between the keys. Struck by how sad and strangely beautiful it looked, she wrote a song called “My Life As A Moth.” That moment became the starting point not just for a track, but for an entire artistic identity.

That instinct to transform difficult feelings into something vivid sits at the heart of her new 12-track album, The Parade of the Starlet & the Broken Hearted. Written during a period of deep personal change and therapy, the record draws on experiences of trauma, manipulation, coercive control and gaslighting, but it is just as much about resilience, clarity and the parts of ourselves that survive. Her writing often takes personal experience and filters it through surrealism, symbolism and world-building, creating songs that feel both deeply intimate and slightly otherworldly.

At the center of the album is the idea of the “starlet” and her “parade of the broken hearted” as figures who carry beauty, integrity and empathy through a harsh and distorted world. The record is rooted in contrast, as the songwriter puts it, the album is inspired by “the rose in the mud, the light in the dark, the growth that comes from hardships, the stars you see above a scrapyard.” There is pain running through these songs, but also strength, mystery and a sense of something bigger than what is happening on the surface.


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Maddie Lenhart - Let Him Fly (Live from the Treehouse).

Nashville country artist Maddie Lenhart releases beautiful live cover of Patty Griffin's "Let Him Fly." Maddie Lenhart’s take on “Let Him Fly” feels less like a cover and more like a quiet moment you’ve been invited into. Recorded live in a single take at Treehouse Studios in Nashville, Tennessee, her version strips everything back to its emotional core, honoring the songwriting of Patty Griffin while gently nodding to the familiarity of The Chicks.

The arrangement is airy and weightless – soft acoustic guitar and pedal steel drift underneath without ever pulling focus, giving the song space to fully breathe. At the center is Lenhart’s vocal – genuine, unmistakably her, and delivered with a honeyed ease that feels completely natural. There’s a quiet confidence in her delivery that draws you in.

What stands out most is the restraint. Lenhart doesn’t try to reshape the song in a dramatic way – she trusts it. That trust allows each line to settle exactly where it needs to be, creating a dreamy, suspended feeling that carries throughout. Raised in the heart of Virginia’s countryside, Maddie Lenhart was singing before she could talk and writing songs long before she could put them on paper. Since moving to Nashville, she has written hundreds of songs, earned over 40 independent cuts, and released her debut single “Sober,” which has surpassed 800,000 organic streams. In 2025, she released eight new songs, all landing on Spotify and Apple editorial playlists.

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Melanie Orr Photography

Liv Wade - Carolina.

After releasing the internationally acclaimed EP Radios and Buffalos in 2024, multi-talented Indigenous recording artist Liv Wade is set to return with a new five-song collection entitled Fur Queen. Overall, it displays Liv’s wide-ranging musical approach, with the latest single “Carolina” being a dramatic ballad that blends traditional storytelling with soaring modern production.

Liv describes “Carolina” as growing out of recent global political agendas that have taken away the fundamental rights of many individuals. As a queer, two-spirit artist with Metis roots, she has long advocated for diversity, equity, equality and inclusion, and the song plainly gets the message across that she is “free to be myself and not afraid to tell the truth.”

Liv says, “We tried to showcase how cruel and calculated people can be, perpetuating lateral violence against each other, while calling out the cowardliness of individuals behind closed doors and screens, passing judgement without understanding layers of complexity and intersectionality. On the flip side we also wanted to highlight those folks pushing back, celebrating diversity, joining in solidarity, healing in community and not letting others’ insecurities determine their worth.”

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Photo - Zack Spence

Ok Goodnight - 22.

Ok Goodnight self-releases their new single “22”. Available on most streaming platforms, the new single contemplates the feelings of betrayal, loneliness, and forgiveness that follow after the bittersweet end of a friendship. Serving as the first single since the release of 2023’s The Fox and The Bird, “22” offers a glimpse into what the next Ok Goodnight record will sound like.

The Boston-based four piece are no strangers to releasing music that leaves a lasting imprint. 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 "22" marks the beginning of a new era for the band, acting as the lead single for their third studio album stop/go coming on June 12th, 2026. With a sonic style and aesthetic indicative of Turnstile, Paramore, or PVRIS, the new single "22" combines heavy guitar riffs with dark, nostalgic synths and carefully integrated samples.

Pairing with the digital release of “22” comes an invigorating visual created by filmmakers Margot Budzyna and Christian Tasiopoulos. Stylized in an atemporal fashion amidst a surreal, dreamlike aesthetic, the new video showcases movers disassembling a room as a metaphor for uncertainty and change.

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Greg Dread feat. Don Letts - Serious Dropout (Album).

For this special release on Echo Beach, London Dub legends Greg Dread and Don Letts join forces with Frankfurt Dub collective Serious Dropout. Greg Dread selected highlight tracks from the collective’s timeless catalogue and fuses them into a thrilling seamless mega mix while Don Letts provides vocal shouts, resembling the atmosphere of a live sound system experience. They combined elderly and brand-new material.

Founded Frankfurt in the mid 90s, Serious Dropout is a collective of producers, DJs and musicians with various projects blending Dub Reggae with different forms of Electronic music reflecting their various musical backgrounds ranging from Techno House and leftfield Electronica to Reggae and Dancehall, Breakbeat and Drum`n`Bass.

Greg Dread is a writer, producer, drummer, dj and founding member of leading UK Dub band Dreadzone, operating since 1993. In the 80s, he was a member of Big Audio Dynamite with Mick Jones, formerly of punk legends The Clash. Don Letts is known for his work as a Grammy-winning filmmaker, creator of legendary music videos and also as an acclaimed Selector since the late 70s, when he helped to form the connection between Reggae and Punk by playing Dub records in The Roxy, London’s first Punk club. He remains a defining voice in British subculture.

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Margaux Regan - Ally Row - Romanie - J.MYSTERY - Anna Smyrk - Winona Oak

Margaux Regan - After Thought (EP).

With almost a year of successful singles under her belt, rising singer-songwriter Margaux Regan released her debut EP After Thought on February 20th.
 
Written almost entirely by Margaux herself mostly composed on her bedroom floor the four-track collection captures the quiet chaos of growing up: the overthinking, heartbreak, self-doubt, and small moments of clarity in between. After Thought maps the transition between nineteen and twenty-one, blending organic instrumentation with contemporary pop sensibilities and country-tinged storytelling. The process wasn't always easy. Halfway through writing, Margaux developed vocal cord issues that forced her to re-evaluate her relationship with music. When she returned, she wanted to be more open, more playful, and less afraid of imperfection.

"The title mirrors my inner world and the way I process my experiences," says Margaux. "These songs are the thoughts that linger after everything else has been said.” Among the EP's deeply personal tracks, "Sob Story" stands out as an emotionally raw ballad that navigates the conflicting emotions of anger and grief that accompany heartbreak. Inspired by the confessional songwriting of artists like Taylor Swift and Olivia Rodrigo, the track showcases Margaux's country-soaked approach to heartbreak, with her vocals effortlessly floating above acoustic instrumentation that feels both intimate and devastating.

"I wrote this with my friend Daniel Haughey, who helped get the words out of me when I couldn't myself," explains Margaux. "After experiencing the kind of love where denial made you ignore the red flags, I wanted people to relate to the emotion rather than just the words. The bridge is almost a furious but devastating word vomit that makes the song just that much more devastating."

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Ally Row - Numb to the Touch.

Gippsland duo, Ally Row, release the final radio single “Numb to the Touch” (via Red Rebel Music / MGM Distribution) from their hit album, “Something More”, on Friday 20th February. The song is a stunning slice of melancholy perfection with both Alice and Rowan taking the reins on lead vocals. The gorgeous melody wax and wanes with lush, layered vocal harmonies, eery electric banjo and strings played ever so beautifully by Robyn Blann - proving they are more than energetic crowd pleasers.

Alice confides, “this song is all about acknowledging my own flaws and reminding myself that relationships take work because they contain two imperfect individuals. But sparks have to fly if you want to start a fire, right?” Rowan says, “when our faults aren’t recognised and accounted for, we start trying to be someone were not. this can be physically and mentally draining. We all just want to be loved for who we are.”

Ally Row kicked off 2026 with a successful stint at the Tamworth Country Music Festival that featured a stellar opening spot for Melody Moko that left people raving. Just hours after walking the red carpet at the 2026 Golden Guitar Awards and running on a few hours’ sleep, they were back in the car driving to Melbourne to perform at the 2026 Australian Open Tennis in Melbourne. Then off to Tasmania to support Shaun Kirk before heading back to Victoria to support Alex Lloyd.

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Romanie - Falling / It’s Not That Funny (Album).

Romanie reveals her impressive second album ‘It’s Not That Funny’ along with an exceptional music video for focus single ‘Falling.’ Arriving as a bold new chapter, ‘It’s Not That Funny’ takes shape as a deeply personal project. Through pure-vocals, tender lyricism and Romanie’s infectious charm, the album transforms powerful reflections into relatable and profound morsels of endlessly playable indie-pop. 

The duality of playful charm and hard-hitting vulnerability is immediate from the album’s title alone: “‘It’s Not That Funny’, which relates to trying to convince your therapist you’re funny and that anything that’s ever happened to you ‘wasn’t all that bad’,”. Romanie explained further; “I think that growing up in Belgium, we’re always told to keep a brave face and to keep going no matter what – which is great for endurance and resilience; but sometimes as humans, we just want to be soft. As women in society I feel like we always have to strive for perfection; but I think that with this album I wanted to seek out the imperfections; uncover what’s behind the jokes.” Over the eleven track body of work, Romanie displays her dedication to artistic honesty and social justice, never shying away from the complex and difficult topics. 

The album's focus single ‘Falling’ is a stand out moment that erupts into catharsis. Sharing more, she shared: “Initially, Falling was written about falling for the wrong people; but after recording it I felt like it was more of an omen of my own breaking down. Falling is the most fun to play live and the music video was shot at my 30th birthday party -I had to pay for a venue hire and was super broke at the time so Young Ha Kim [director] and I joked that we should shoot a music video to be able to claim it on tax. I had convinced all my friends to dress up in a wedding dress, kind of as a joke but everyone pulled up looking absolutely stunning. It’s really a representation of what the album means to me: no matter how rough life gets, my friends are there to hear me sob and pull me through hard moments as much as I want to be there for them.”


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J.MYSTERY - Change.

J.MYSTERY is a singer-songwriter from Portugal. He is an enigmatic artist who defies categorization, seamlessly blending various musical influences to create a captivating and ethereal sound. With a unique approach to songwriting and an unmistakable presence, J.MYSTERY takes listeners on a journey through mystery and introspection. His sound weaves alternative rock, electronic, and atmospheric pop elements, resulting in a beautiful and profoundly reflective sonic landscape.

The enigmatic persona of J.MYSTERY is reflected not only in his music but also in his stage presence and visual aesthetics. His captivating performances create an otherworldly atmosphere that envelops the audience. J.MYSTERY is carving a unique path in the music industry, challenging traditions and pushing the boundaries of sonic exploration. As he explains, “Music was always something deeply personal for me, something I loved rather than something I imagined as a career.”

His brand new single, “Change,” marks one of the most emotionally ambitious moments in his catalogue to date. Written and recorded in Portugal, the song began in his home studio before being developed alongside longtime collaborator and producer Francisco Reis, who has worked with him since day one. Expanding the process further, “Change” became his most collaborative project so far, featuring a string quartet and cinematic arrangements by Nikolai Gimaletdinov and IAN, giving the track a sense of scale while retaining its intimacy. Reflecting on the process, J.MYSTERY describes it as “one of the most beautiful pieces I’ve created to date.”

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Photo - Michelle Hunder

Anna Smyrk - Line by Line.

Leading the way for her debut album, Anna Smyrk returns with gorgeous new single ‘Line by Line.’ Written in the bathroom of an airplane, Line by Line is quietly introspective. It beckons a glimmer of light after darkness and serves as a reminder to take things as they come, one step at a time. Sharing more, Anna said: “I was flying home after a tour around Germany, feeling exhausted and really missing my dad, who had passed away a few months earlier. I watched a sad movie on the plane, then the chorus came into my head while the credits were rolling in the dark. I locked myself in the bathroom for a few minutes, singing quietly into my phone, and that was the seed of the song.”

Line by Line is the final teaser to arrive ahead of Anna’s debut album ‘Spectacular Denial’ which will be out on the 20th of March via Community Music. Shaped by her deeply personal journey with grief and her exploration of the many forms denial can take, the new album sonically sits in a rich space between indie, alt-pop, and folk, drawing inspiration from Blondie, Phoebe Bridgers, Garbage, Angie McMahon and Hozier. Listeners can anticipate a beautifully compelling body of work which looks to be an impressive milestone in Anna’s rise as an indie-pop artist to watch. 

Ahead of her upcoming debut album, Anna has already road tested her unreleased tracks during the recent Community Garden Tour around Australia. Her honest and reflective songwriting and approach to grief has been quietly resonating with audiences. “People have come to talk after the shows about their own losses,” says Anna. “It’s like we can share a little moment of solidarity’.

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Winona Oak - Stay the night.

Swedish singer-songwriter Winona Oak continues to showcase her new era with her candid new single ‘Stay the night’ out now via Nettwerk. Winona released her EP ‘Salt’ this spring, which was a poignant personal documentation of her physical and emotional states. Throughout this year, she has been working on new music and a progression in her raw and unvarnished sound, whilst still writing about the highs and lows of life; loss and repair, heartbreak and love, resistance and patience. 
 
With her new single ‘Stay the night’, Winona unveils a more organic approach by collaborating with renown Swedish producers Martin Stilling and TF, embracing live instrumentation and an emotive sonic palette to deliver a cinematic, deep and personal track. The intimately delicate filmed video by Studio Förgätmigej visually displays Winona being pulled between both strength and fragility.   
 
Winona says, “’Stay the Night’ captures the magnetic pull of desire — the moment you allow yourself to fall again, even while carrying old bruises. With aching honesty, the song explores the tension between surrender and self-protection.” ‘Stay the night is the next instalment in a new chapter for Winona Oak and she will be announcing further new music soon. 

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Nick Barker and the Reptiles - Tommy Keyes - Malena Smith - Great Lakes - At Baron Lane - Winona Oak

Nick Barker and the Reptiles - Blood Nose.

Melbourne rock veterans Nick Barker and the Reptiles are back with a blistering new single, ‘Blood Nose,’ out now via Golden Robot Records. A raw, riff-driven track soaked in 70s-style swagger, 'Blood Nose’ delivers a punch - both musically and thematically. 

Written by Nick Barker, the track was inspired by a story he read about a social media influencer whose carefully curated world came crashing down. “‘Blood Nose’ can mean a lot of things - a real one, a loss in battle, or just a humiliating moment,” Barker explains. “This one’s about the last two. All kinds of ways to take damage.” 

With its stripped-back production and live-to-tape energy, ‘Blood Nose’ captures the band's signature no-frills approach - loud, loose, and loaded with grit. “We had the riff, the idea, and just went for it, live in the room. Not much to it. We love it,” Barker says. 

‘Blood Nose’ is the first new music from the band in over a decade and marks a thunderous return to form. Fans can stream the track now on all major platforms.

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Tommy Keyes - Lucky Day.

The second single to be taken from the new album, Lucky Day is a funky song on the subject of scam phone calls. Tommy Keyes was the keyboard player for Sidewinder, a mainstay of the Dublin rock scene in the late 1970s, and wrote many of their most popular songs.   

Nearly 40 years later, after a career outside music that left no time for gigging, he returned with a repertoire of great songs that defy categorisation.  Rock?  Pop? Blues?  “It’s 1970s singer-songwriter music”, he says, “because that’s what I am.” His biggest chart success to date came in July 2022 when Suzi Quatro (Teenage Discos ’73) hit No 1 in the overall iTunes chart (all genres).  This Is the Song We Were Singing gave him another iTunes No 1 in the pop chart is February 2024.

Recorded with some of Ireland’s greatest session musicians, his albums are very different from anything else that’s being released these days, but sample some of the songs and you are guaranteed to be hooked.

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Malena Smith - 27 in Maine (EP).

The summer of Malena's 27th birthday was a defining one. She left her job to pursue music full-time, took her first solo road trip to commemorate that leap of faith, and made the life-changing decision to stop drinking. Just before the turn of the season, she began writing songs again, and 27 in Maine was born. 

The EP captures that coming of age as an adult moment: the clarity of "18," the internal tug-of-war of "Betray Myself," the yearning of "Maybe," the stillness and uncertainty of "Paralyzed," and the realization of "27 in Maine (The Ride)." "It felt like my puzzle pieces were beginning to find their places," Malena says, but the number of pieces was indefinite."

Produced by Brian Owens, and featuring engineers Jay Newland (Norah Jones' Come Away With Me) and Boo Mitchell (Royal Studios, Memphis), 27 in Maine bridges pop, folk, soul, and jazz. It's a seamless reflection of Malena's own genre-fluid voice.

Beyond its sonic beauty, the EP carries heartfelt stories at every corner. Following singles "18," "Betray Myself," "Maybe," and "Paralyzed," the full EP arrives as Malena's debut declaration as a storytelling artist, a reflection of her growth and her voice. "My hope is that people who need these songs the most will hear them," she says. "And that anyone who connects with them knows they're not alone."

Malena Smith · Maybe

Malena Smith · Paralyzed (feat. Jack Pordea) - Single

Malena Smith · 18

Malena Smith · Betray Myself

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Great Lakes - Don’t Swim Too Close (Album).

Great Lakes’ Ben Crum returns with a fantastic new album, Don’t Swim Too Close. Over 25 years and eight records, Crum has built a reputation for sharp songwriting and interesting stylistic shifts. Don’t Swim Too Close is no exception, as Crum draws from a classic rock tradition, echoing both the Americana spirit of Neil Young and The Band and the proto-indie rock of Television and the Velvet Underground. 

Immediately accessible, its songs land with the ease of lived-in classics. Themes of empathy and regret (“Carry the Message”), mental health struggles (“Don’t Swim Too Close”), disillusionment (“Meant to Fly”), and the lone journey of the writer (“On the Way Back”) weave through the record. But this isn’t a bleak listen. Crum’s dry, gallows humor bubbles up throughout, balancing heaviness with wit. 

He’s the kind of writer who can sing, “the future’s out there, waiting like an open grave,” and leave you smirking instead of sinking—or deadpan, “there’s nothing sexy about Spread Eagle, Wisconsin, or Tight squeeze, Virginia.” The characters in Crum’s songs are soul-searching, making for a compelling and thought-provoking listen. But there’s tenderness too: “Seeing Through Her” is a love song without pretense, while “Song for the Old Man” pays moving tribute to Crum’s late father. The closing track, “Are We Here Accidentally,” takes on existential purpose—or the lack thereof—in the face of life’s mundane demands: “there’s always someone on the phone / always someone we’re supposed to owe / well, I guess, if you say so.”

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At Baron Lane - The Cause (Album).

At Baron Lane is a four-piece indie band based between Zurich and Lachen, Switzerland. Since celebrating the release of their debut album in Paradise in 2019 at Amboss Rampe in Zurich, the band has continuously refined their songwriting and tested it live at countless shows. The quartet has performed at renowned venues such as Schüür Luzern, Exil Club Zurich, and Werk21 at Dynamo Zurich. With their single Future-Men, released in June 2025, the band gained their first airplay on various indie radio stations—both in Switzerland (including Kanal K, Radio Lora, Radio4tng, and Radio15) and internationally (including RTA Music [Italy], Eastcoast FM [USA], and Radiofabrik [Austria]).

Throughout the album, the band explores a wide range of musical influences. The catchy, pop-infused chorus of Right Hand Man is already in rotation on Radio15. The Beatles-inspired ballad Change begins with gentle vocals over warm piano chords, builds into an anthemic saxophone solo, and has already aired on Radio Rocher.

Cult is a rocking crowd favorite, where various characters describe how they were recruited by Lenny, all wrapped in a sea-shanty-inspired chorus. Don’t miss the Swiss-German intro of Chinotto am Meer, which leads into a high-energy saxophone solo.

In the gospel-tinged Sunday Shoes and the indie-pop track Faster (with Bossa Nova influences), it almost feels like Lenny might truly change the world. But the movement soon loses momentum. The jazzy Follow the Hypebeast delivers sharp critique, and in the psychedelic progressive-rock track The Moon is the Answer, even the revolutionary himself loses the strength to pursue his goals.

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Photo - Lamia Karic

Winona Oak - Do You Hate Me Now.

Swedish singer-songwriter Winona Oak embarks on a new era today with her powerful new single ‘Do You Hate Me Now’ out now via Nettwerk. Winona released her EP ‘Salt’ this spring, which was a poignant personal documentation of her physical and emotional states. Throughout this year, she has been working on new music and a progression in her raw and unvarnished sound, whilst still writing about the highs and lows of life; loss and repair, heartbreak and love, resistance and patience. 
 
With her new single ‘Do You Hate Me Now’, she introduces a brand-new era of her music. The song is a cinematic and heartfelt ballad, opening delicately with atmospheric piano before building into an epic chorus that lets her emotive voice shine. 
 
Winona says, “This song lives in that fragile space between love and goodbye – when you’re still holding onto the good memories even as the bad ones start to weigh more. You remember the warmth, the way it once felt safe – but now the air feels heavier, the silence sharper. It’s about realizing love shouldn’t feel like walking on glass, or like losing yourself a little more each day. It’s knowing you’re not walking away to hurt them, but because staying would mean losing the last pieces of yourself you still recognise. So, you take one last look, one last breath, and you leave – not because you stopped loving them, but because something in you finally believes there’s a softer, truer kind of love wating for you somewhere.”


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