French artist Swan Wisnia, under her solo project molto morbidi, announces her second album Maybe Marcel for release on April 17th via No Salad Records, sharing a first look with single ‘To Watch The Ducks Go’. An experimental album forged in both tenderness and turmoil, combining art / weird pop and baroque pop, the album moves between the intimate and raw to the playful and inventive, creating a universe that is at once dark and hopeful. First single ‘To Watch The Ducks Go’, streaming now, reminds us that we are nothing but a passing moment in the infinite cycle of nature.
The album follows last year’s three track EP Chocolate Ashtray and molto morbidi’s 2024 debut album String Cheese Theory, which garnered support from BBC Radio 6’s Deb Grant, Tom Ravenscroft, Steve Lamacq, Amy Lamé and Gideon Coe, and featured UK alt-pop artist Ed Dowie and French improv legend Quentin Rollet.
Written and recorded between January and June 2025, her brand new offering emerged during a period of profound difficulty, as Wisnia’s mother was hospitalised following a severe stroke. Traveling frequently between Bordeaux and her home in Le Mans, Wisnia found solace in creating music, immersing herself in sound to process her emotions. “The only thing I was really able to do was make music. It would throw me into a universe of sound where I could focus on something I could control,” she says. “Oddly enough, I have really fond memories of that period, despite being psychologically quite fragile.”
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We have the new solo single and video Speed Date by indiepop legend and lifer Tammy Ealom of the band Dressy Bessy. It's been 6 years since the last Dressy Bessy album, but this time Tammy is back under a new name The Tammy Shine with an album she wrote, recorded, and mixed all herself.
On February 20, 2026, one of indie rock’s most enduring and vibrant figures will reintroduce herself to the world. Tammy Ealom, best known as the snarling frontwoman and creative force behind Denver’s legendary Dressy Bessy, presents her debut solo album The Tammy Shine, Ok Shine Ok. Released via HHBTM Records, the album marks a pivotal moment in Ealom’s three-decade career. Ok Shine Ok is the first time she has taken complete command—writing, performing, engineering, producing, and mixing the record entirely on her own.
Fans of Dressy Bessy will still find the undeniable hooks and melodic sensibilities that are Ealom’s trademark. However, they will also discover a new depth—a vulnerability that comes from the singular approach and the confidence of a woman who has lived through the changing tides of the music industry and emerged even stronger.
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Odd Marshall shares “On My Way,” the latest preview of his sophomore album Seconds, out March 6. A laid-back, melodic rocker, "On My Way" provides a counterpoint to Odd Marshall's previous hard-driving single "Outta Here" by leaning into longing, distance, and the quiet ache of unfinished love.
Seconds expands Marshall’s sonic palette, blending indie rock, folk-rock, and alt-country while leaning into a distinctly ’90s-influenced sound. The album features Blind Melon guitarists Rogers Stevens and Christopher Thorn—who also produced and mixed the record—along with contributions from Foo Fighters keyboardist Rami Jaffee and Mathias Schneeberger of The Afghan Whigs.
Built around an unhurried groove, “On My Way” draws from real experience. While living in New York, Marshall entered into a relationship that was tested when he took a job aboard a ship traveling through the Panama Canal. A re-route around South America extended the journey by months, ultimately unraveling the relationship.
Still, Odd Marshall is happy with how "On My Way" commemorates the first meeting with the soon-to-be love of his life on a hot summer night in Brooklyn. "I begged her to have a drink with me and we popped into The Manhattan Inn for a pint of Guinness with a scoop of VanLeeuwen ice cream. I changed that to wine in the song for poetic license, but it's true that I believe she paid for it."
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“Bumble Bee” launches forthcoming album 'Call It Rock & Roll' with a fearless nod to the roots of rock and roll. Originally made famous by LaVern Baker in the mid-1950s, Ruby James reclaims the song with grit, groove, and modern swagger, transforming a vintage rhythm-and-blues burner into a high-voltage rock and roll statement.
The reinvention took shape when longtime collaborators locked into an unstoppable groove. Bassist Harmoni Kelley helped drive the track’s pulse, pushing the low end into fuzzed-out territory, while baritone guitar from David Jimenez added weight and shadow. The rhythm refuses to let go. The track truly took flight when guitar legend Rosie Flores stepped in. Rosie Flores brings a sonic sting into the groove and kicks the song into overdrive, earning her the nickname “The Red Hornet” inside Ruby’s inner circle.
Ruby and Rosie’s connection runs deep. The two first crossed paths in Austin more than a decade ago, sharing stages, residencies, and late-night sets at the Continental Club, where rhythm and blues, soul, and rock and roll collided nightly. Though they’d played countless shows together over the years, “Bumble Bee” marks their first true studio collaboration.
“I’ve always loved ‘Bumble Bee,’ and I’m still surprised by how many people have never heard it,” says James. “When I started recording again, my producer Kyle Crusham and I knew it could become something ferocious if we reimagined it. Once the groove locked in and Rosie stepped in, everything took flight. This felt like the perfect way to kick off a new chapter for me, with my mentor right there beside me.”
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Pranatricks returns today February 6, 2026 with Courtenay’s Eyes, a new indie alt-rock single arriving alongside an official video. The track follows Islands of the Sun and lands at a moment of real momentum, as anticipation continues to build for the forthcoming album Infiniteness—recently named one of Exclaim!’s 58 Most Anticipated Canadian Albums of 2026.
Built on charging guitars and a steady sense of forward motion, Courtenay’s Eyes channels urgency without tipping into aggression. A looping, melodic scream weaves through the track as emotional texture, underscoring a song that grapples with empathy, judgment, and our shared humanity. Written in response to a formative moment tied to the artist’s community work in Courtenay, BC, the song reflects on how easily people are reduced to isolated moments instead of being seen as whole lives.
The accompanying video leans away from literal storytelling, favouring abstract, atmospheric imagery that centres internal experience—watching, feeling, and choosing compassion. By resisting spectacle or dramatization, the visuals echo the song’s central question and let the emotional weight linger. Together, Courtenay’s Eyes pushes further into the emotional and sonic territory hinted at on Islands of the Sun, pointing toward a more urgent indie alt-rock edge while holding tight to the introspective core that defines Pranatricks’ work.
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The title track "Confessional" Mont Loser's first album out on April 17th via Géographie has been shared today. Finally, a band that lives up to its name. A deformed creature born from the depths of a late-night Parisian haze, half kamikaze, half blood-drunk bat: MONT LOSER invites you to dive headfirst into the void of a rock scene that always seems to rise from its ashes, when we sometimes wish it would stay dead.
Moving forward as if the outside world didn't exist, the Parisian trio staggers away from the flocks of retro-flavoured, nostalgia-marketed bands with some sort of drunken grace.
MONT LOSER scooped up some grunge, noise rock, goth and industrial dregs to shake up a deliciously unruly bottom shelf cocktail. Chicago, Seattle, Belleville? 1980, 1991 or 2025? The time machine’s broken, the phone screens are cracked and the curtains drawn. Nothing more logical for a band born out of a post-COVID afterparty. Two dissonant guitars constantly at war, drums swinging between punk precision and post-hardcore violence, all carried by three voices merging into one chaotic choir.
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