Telemac - Evie Williams - bauhofer - Nick & June - Lucy Kruger & The Lost Boys - Mercury's Antennae

Photo - Philippe Poulénas

Telemac - Telemac (EP).

Telemac draws its strength from the tension between new wave, garage, and psychedelic rock. Driven by a seventies-flavored synth-bass, ethereal guitars, and sharp, propulsive drumming, the quartet weaves a sound where mystery flirts with frenzy, and where every track feels like a sensory experience.

The project revolves around four complementary personalities: Mélina (drums), Vincent and Karim (guitars), and Seb (vocals). Together, they craft a universe that borrows as much from the icy atmospheres of Joy Division as from the raw energy of The Cramps, while embracing the experimental legacy of The Velvet Underground. This alchemy gives rise to a distinctive sound — dark yet radiant, visceral yet poetic — somewhere between nocturnal wandering and a yearning for escape.

Telemac’s lyrics are introspective and evocative. They explore the search for self, emotional imbalance, the weight of illusion, and the excesses of our time. At times intimate, at times critical, they open cracks where lucidity and rebellion seep through. Fireflies, fragments of blue sky, and deceptive suns appear as recurring metaphors — symbols of a generation searching for meaning.

On stage, Telemac unleashes a raw, magnetic energy capable of plunging the audience into an electric trance. The band has made its mark in iconic venues such as Le Mécanique Ondulatoire and Supersonic in Paris, Rockstore and Victoire 2 in Montpellier, and the Secret Place — where they opened for The Warlocks — as well as in Toulouse, Perpignan, Cherbourg, and beyond. Their live set evolves fluidly, occasionally welcoming guest voices: Nika (Nika Leeflang Project) and Nico (MaisonClose) have already stepped up to the mic, adding new textures and contrasts to the live experience.

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Photo - Cammie Perkoulidis

Evie Williams - Heather Court.

Meanjin/Brisbane’s Evie Williams returned with ‘Heather Court’, Friday, December 5, a hazy indie folk-rock daydream. Shaped by loose drumming, laidback overdriven guitars and Evie's dulcet vocals, she shares a story about the unsteady pulse of early adulthood. Evie Williams has peppered releases across the years since her 2019 debut, exploring sounds that move through pop, country and indie folk. Highlights so far include being named a finalist for Brisbane City Council's QUBE Effect, performing at Hidden Lanes Festival, supporting EMEREE and Tyla Jane and selling out her debut full-band show earlier this year.  

Now with ‘Heather Court’, Evie leans into a moodier palette and turns inward, reflecting on her own tension between who she hoped to become and the reality she was living, a feeling she captures with raw honesty. Speaking on the single, she shares:
 
"‘Heather Court’ is a song about self-sabotage. It is the name of an old apartment block that I had visions of living in one day, with a beautiful balcony, a cat and a romanticised life. I would drive past and wonder how I would ever make a life like that, when I was going home to a mattress on the floor and my forgotten coffee on my desk. It highlights the feeling of wasted potential, the pearls on the dresser ready to be worn, but forgotten again."

That bittersweet tension is found in the track's warm, hazy production. With a mellow swing and a dreamy, slightly frayed edge, ‘Heather Court’ moves in a slow sway of fuzzy guitar layers and warm, feather-light vocals. The track toes the line between indie folk and psych rock with its lazy drum groove and drifting riffs as Evie’s voice threads through the haze of each verse and chorus. 

Evie Williams · Heather Court

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bauhofer  It's Alright.

After the last single was successfully received on various country-pop radio stations, Swiss singer-songwriter bauhofer from Wollerau (SZ) is now striking more melancholic yet powerful pop tones. 

With “It’s Alright”, the third single from the upcoming EP The River Seine (to be released in spring), bauhofer once again relies on his characteristic southern-rock blend of rock, blues, and country elements.

The new track tells the story of a painful breakup and the liberating feeling of being able to start anew—an emotional moment that bauhofer conveys impressively through his distinctive soundscape. The single was produced by Slade Templeton (Crimer, Crying Vessel) at Influx Studios in Bern.

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Photo - Luka Popp

Nick & June - New Year's Face (Album).

Berlin duo Nick & June (aka Nick Wolf and Suzie-Lou Kraft) released their new album 'New Year's Face' yesterday Friday, 5th December. Produced by Grammy-winning producer Peter Katis (The National, Interpol, Sharon Van Etten) and recorded in Bridgeport, Connecticut, 'New Year's Face', which includes collaborations with Owen Pallett, The National’s Kyle Resnick and Ben Lanz, The Antlers and others, will be released on CD, vinyl and digitally. 'New Year's Face' is the duo's first release since 2023's 'Beach Baby, Baby EP', which enjoyed over 30 million streams, widespread critical praise and led to sold-out shows across Europe.

Earlier this week they shared 'You Are The Voice That's Hunting My Soul For A Show', the last single before the album release: guitar washes, synthesisers, arpeggios—everything floats, everything shimmers. Suzie leads the voices, clear, unhurried, as if speaking a message into the night sky.  The lyrics glow like fragile neon in the dark. “Hey there, pinker moon / I’ve been tired for too long / Have you heard the news / I had it on my tongue”—fatigue, longing, a conversation with a celestial body as if it were a confidant. 

The recurring choruses, the light, flickering arpeggios, Suzie carrying the words—everything moves like fog over a city at night. Fragile truths suspended. “We are the bright and the dark”—a mantra binding the duality of hope and loss, intimacy and distance.  You Are the Voice That’s Hunting My Soul for a Show may be one of the most cinematic tracks on the album. Not just music, but a picture slowly emerging, unfolding, lingering long after the last note.    
 
Suzie-Lou explains: “Sometimes we sit on a song for a long time, and this was one of those cases. We spent a lot of time talking about the theme, exchanging opinions, debating words, trying out melodies—the awkward title stayed, but not much from the original sketch. Here, the arpeggio makes an appearance again, playfully weaving in some of the thought structures that run throughout the entire album.”


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Lucy Kruger & The Lost Boys - Woolf.

Continuing the lead up to their 7th studio album Pale Bloom, Lucy Kruger & The Lost Boys are back with “Woolf” (December 5th). Opening with hesitant vocals that build into rich, layered harmonies, the third single from the Berlin based band is like two voices meeting across time. Kruger's voice multiplies into layered harmonies that feel like a dialogue between past and present, eventually soaring over driving guitars and viola with the refrain: Heaven is twisting / fraying / heaven is bending / ageing / heaven is twisting / fading / heaven / is brutal / baby.

The track moves unpredictably, with guitars and viola creating an urgent, searching sound. Kruger draws inspiration from Virginia Woolf, imagining a connection across a century between two artists wrestling with similar questions about freedom and identity. It's both a tribute and an attempt to rewrite history—offering solidarity to a voice from the past.

Kruger expands “‘Woolf’ is a twisted sort of love letter — or a summoning. Or a sentencing. To a godless void, to Virginia, to the patriarchy, to my past self. As the four distinct chapters of this not-very-long song suggest, I’m not quite sure how to thread all these selves together into a cohesive timeline or tempo. Luckily, music makes space for such a problem.” 

'Woolf' stands as the third insight into their upcoming album Pale Bloom. Unlike the Lost Boys' earlier albums, produced within a specific moment in time, Pale Bloom emerged slowly, trying to suspend a creation myth in its amber – an origin tale that is ancient and complex; full of mystery and metaphor – that seeks neither clarification nor end.

Lucy Kruger & The Lost Boys · Lucy Kruger & The Lost Boys - Woolf

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Mercury's Antennae - The Veil Opaque v.2.

‘The Veil Opaque v.2 (single mix)’ is a newly altered remix, offering fans an elegant and atmospheric rendition of the album version from Among the Black Trees. The new single mix highlights Cindy Coulter’s driving bass line, Allen’s dream-felt voice, and Erick r Scheid’s ghostly shimmering 12-string hollow-body guitar and E-bow, with added synths and updated drum programming. 

‘Through the Veil (witchmoth mix)’, meanwhile, is a deeply layered, fully reimagined reinterpretation of the same song, created by Scheid. Drawing inspiration from the electronic genres of witch-house, dungeon synth, dark ambient and trip hop, ‘Through the Veil’ showcases his love for ritualistic ambient-electronica.

Two other exclusive tracks are also included. ‘Deer Island (a far unknown mix)’ is an acoustic reworking of the album track ‘As I Lay Hidden (Deer Island)’, and was part of a limited-edition EP giveaway in conjunction with the CD release party for Among the Black Trees. ‘O Virtus Sapientiae’ (or “Virtue of Divine Wisdom”) is a piece by Hildegard von Bingen, which Dru Allen spontaneously recorded while attending a seminar on Hildegard in a 12th-century abbey. Scheid in turn contributed the minimalist electronics, providing the perfect backdrop for the music of this remarkable visionary and composer.


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In Your Walls - Dryadic - Cult(ure) - bauhofer - Cedarsmoke

In Your Walls - Men From Mars.

“Men From Mars” is the first glimpse into In Your Walls’ upcoming full-length album. Since forming in 2023, the Toronto-based band has quickly carved out a signature sound built on tension and release — driving guitars, pounding rhythms, and emotionally raw lyricism. Their debut EP S introduced listeners to a blend of raw energy and melodic intensity, while the follow-up single White Lightning showcased a sharper, more dynamic edge. With “Men From Mars,” the band pushes that evolution even further, delivering a track that captures alienation and defiance while remaining both visceral and anthemic.

Renowned for live shows that blur the line between performer and audience, In Your Walls brings an energy that is as communal as it is cathartic. From packed Toronto clubs to festival stages, their performances are immersive, loud, and unapologetically human — a reflection of the urgency that drives their music. “Men From Mars” signals an exciting new chapter for the band, proving that their sound is not only alive and immediate but poised to reach even bigger audiences.

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Dryadic - Ghosts.

UK-based alt-folk band Dryadic release their deeply personal and emotionally charged new single, “Ghosts” on Oct 31st. Fronted by singer-songwriter Zora, the track is a stirring piano-led exploration of shame, generational trauma, and the hard-won journey toward self-acceptance and inner strength.

“Ghosts” doesn’t flinch from the darkness — but it doesn’t stay there either. It’s a song full of raw power and gentle defiance. “‘Ghosts’ came out of the messiness of doing the work — facing shame, unlearning the noise of self-doubt, and learning how to love the messy, imperfect self underneath,” says Zora. “It’s about naming the pain, but also pushing back against it. The chorus is a promise. A refusal to be held hostage by that voice anymore.”

The track marks Dryadic’s first official release with piano at its centre — a bold step for Zora, who has only recently begun performing and recording on the instrument. “Piano was my first instrument, but I only found the confidence to bring it into the live set a year or two ago. It’s such a big, full sound. It reverberates through your whole body — and that suits the emotional weight of this song perfectly.”

Composed collaboratively, “Ghosts” showcases the band’s signature atmospheric folk sound, underscored by bowed double bass, rolling percussion, and haunting violin. George detunes his double bass to Eb for extra resonance, while Aly’s violin lines — improvised and recorded in-studio — mirror the emotional ‘conversations’ in the lyrics. Emma’s drums build the song into a cinematic swell, echoing the storm of emotion at its core.

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Cult(ure) - Inertia.

‘Inertia’ is a shoegaze post-rock-esque ballad, inspired by a childhood shaped by separation. The 4th single from the exciting new duo blends ethereal vocals with slow burn rock dynamics and shimmering ambience. The song’s piano anchors the emotion, as waves of distortion and reverb build towards an epic, redemptive climax, think Deftones meets Imogen Heap, with the emotional resonance of Sleep Token.

“‘’Inertia’ is a deeply personal song about my Dad, who worked abroad throughout my childhood. As a kid, I didn’t understand why he had to be so far away, and it caused resentment at times. Writing this song helped me see things differently, that he did it to provide for us, which I’m truly grateful for. Though big moments were missed, the ones we shared became more precious. The lyric “I see that there’s moments far more precious than what I fantasised” captures exactly how I feel now, every moment spent with my Dad means more than ever”  

Cult(ure) hail from Scotland & London, and consist of vocal dynamo Dyane Crutcher (ex-Syre) and songwriter / guitarist Owen Hughes-Holland (ex-Defences, First Signs Of Frost) After a chance meeting in 2022 through a mutual friend, and shared love of bands such as Deftones, Tool and Sleep Token, the pair quickly discovered a natural creative chemistry, shaping their unique fusion of shoegaze, alt-metal and R&B. Whilst immersed in the writing of their debut material, the newly formed duo found themselves in the throes of personal tragedy, with the loss of an immediate family member and the breakdown of a long-term relationship. Out of that darkness came their most raw, honest and emotionally charged body of work to date.

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bauhofer - River Seine.

After the last single received airplay on various country-pop stations, bauhofer from Wollerau, Switzerland, now strikes a more melancholic pop tone. With his second single from the upcoming EP “The River Seine” (due in spring), he delivers the perfect soundtrack for autumn. 

Accompanied by Paris-style accordion sounds, the track tells the story of an unhappy love. For the cover photo, the musician from Wollerau (SZ) went fully dressed into the river, a stunt that had already drawn media attention when the song was first announced.

The single was produced by Slade Templeton (Crimer, Crying Vessel) at the Influx Studios in Bern.

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Cedarsmoke - Under The Rainbow (Album).

Cedarsmoke return with their third album ‘Under The Rainbow’, a record that finds colour in every emotion and emotion in every colour. Out yesterday Friday 31st October, the Brisbane/Meanjin indie-folk/rock band reveal a body of work that traces the full arc of life’s cycles with both curiosity and grace.  

‘Under The Rainbow’ is a study in cycles, tracing the emotional spectrum through a series of colour-driven vignettes. Each song represents a distinct shade and psychological state, exploring themes of mortality, change and renewal, revealing how beauty and despair coexist within the same hue.

Recorded at Incremental Studios with long-time collaborator Cam Smith, the album drifts between intimacy and disarray, grounding its reflection in acoustic guitars and piano while colouring the edges with electronic loops, modular synths and washed-out effects. Speaking on the album, Jon Cloumassis states:

"‘Under The Rainbow’ is a concept album that interprets the emotional spectrum of colour through the lens of colour psychology. It marks our most ambitious step yet, blending organic instruments with electronic textures to create a palette as diverse and fluid as the colours it represents."
   
Spanning ten songs, ‘Under The Rainbow’ charts the emotional spectrum one colour at a time. Across its shifting palette, the record moves between delicate balladry and restless indie rock, mirroring the emotional contrasts at its centre.

Cedarsmoke · Under The Rainbow

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