Mookie and The Bab - Mercury's Antennae - Juanita Stein

Mookie and The Bab - The Tide.

Mookie and The Bab all-acoustic indie-folk new single 'The Tide' has just been released on Kycker. Fuelled by long drives across desert landscapes taking inCalifornia, Nevada, and Texas, Bradford’s own Mookie + The Bab are an all-acoustic indie-folk group whose acoustic guitar, mandolin, fiddle, layered vocals, and occasional trumpet capture the sound of the American Southwest – yet remainstrue to British working class roots.

Moved by climate emergency, Floods, fires, desertification, and exploring organic sounds with rousing harmonies, multi-instrumentalists Abi Otway, Marc Otway and Conor Magi’s Americana-Yorkshire folk blend is steeped in nature, emerging from their unique bond after many years making music together and travels playing festivals internationally and across the UK.

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Mercury's Antennae - The Reflecting Skin (William Faith Remix).

Currently based between Switzerland and the US, the trio comprises Dru Allen and Cindy Coulter of This Ascension, and Erick r. Scheid of The Palace of Tears. Their sound incorporates influences from shoegaze pop, ethereal darkwave, and unadorned acoustic beauty, while also drawing inspiration from ambient and modern electronica. Through the iconic Projekt label, Mercury’s Antennae released their debut album, A Waking Ghost Inside (2014); followed by The Guides EP (2015); and sophomore album, Beneath the Serene (2016).Their debut for Sett Records was 2018’s The Moon Viewing Garden EP, followed by appearances at prestigious festivals Wave-Gotik-Treffen in Leipzig, Germany; and Tomorrow’s Ghosts Festival in Whitby, England. ‘The Reflecting Skin’ is the lead single from their long-waited third album, Among the Black Trees, forthcoming from Sett Records in Spring 2025.

With its driving chorus bass, serpentine swirl 12-string guitar, spacious ambient electronics and Dru Allen’s siren voice, the single release of ‘The Reflecting Skin’ is graced with a remix by the goth “all father” William Faith. His remix showcases a haunting, driving, hypnotic and atmospheric interpretation of the song: a sonic alchemy that seems to emanate from another time, another place. William says:

“Getting to remix ‘The Reflecting Skin’ was very much like going home for me. Having worked closely with Dru and my sister Cindy in This Ascension beginning some 32 years ago, this was very comfortable and familiar territory, though Erick’s sensibilities brought something new and different to work with, making for a dynamic and exciting creative endeavor. Overall, I feel like I managed to bridge the time gap with an interesting take on the song that is at once nostalgic and classic in feel, while updating the sonic depth and breadth in a way that suits the moment. It was a blast for me -- love it!”

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Juanita Stein - The Old World.

Juanita Stein warms up for her imminent solo headline tour with the release of an Orlando-Cubitt-directed video for ‘Old World’, taken from her critically acclaimed fourth solo album ‘The Weightless Hour’ (out now, Agricultural Audio). Following recent UK tours with Evan Dando and Travis, the Howling Bells frontwoman will embark on her own UK solo headline dates, which include a performance at London's Lower Third on 25th March.
 
Stein says of ‘Old World’: “This was a song that was written in one long breath, in a room, in a house, in a village in the South of France. After having taken a long walk through the woods, the light streaming through the pine trees, I found myself reflecting on what it means for me, to have ended up living and travelling in Europe, like so many of my family before me.
 
This song recalls the first time I travelled to Europe, which was with my family when I was 16. Having lived a life in Australia, a country in its infancy by comparison, I was confronted with a rich and bloodied history whose roots ran centuries underground. The generational trauma that came with learning about my own family history there, was a reckoning. We brought along my grandmother, who hadn’t returned to Czechoslovakia since she was 14, when she was forced to flee the Nazis. We visited the crumbling house she grew up in. I stood in the streets of many Jewish ghettos and burnt out synagogues that were forced to become churches. I visited Holocaust Memorial museums, I learned of the slow rise of right-wing fascism reawakening in a new Europe, all of this coupled with the acknowledgement that I had relocated to Europe myself to start a family and the conflict that causes within the body. I learned what it felt like to be the “other”, to be hated for the religion you were born into, and simultaneously, to also be hated for being perceived as a Westerner, as when someone yelled at me, “bloody American” when they looked down at my ripped jeans, or when me and my brothers were hauled into a police station in Prague for potentially spying when using our disposable cameras outside a cemetery. This was not Australia. This was The Old World.”

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IDER - Dream Cycle Inc - Lily Monaghan

IDER - Killing The Game (new video) / Late To The World (Album).

After teasing their next full-length project over the last few months with the singles ‘Know How It Hurts’, ‘Unlearn’, ‘Girl’, ‘You Don’t Know How To Drive’ and ‘Attachment Theory’, leftfield alt-pop duo IDER have just shared their third album ‘Late To The World’ alongside focus track ‘Killing The Game’ out now via Nettwerk.
 
Produced by Dann Hume (Laura Mvula, Troye Sivan, Tkay Maidza) and recorded on residency in his church-cum-studio between summer and autumn 2023, ‘Late To The World’ pushes IDER’s tender sound in a tougher direction. It is both bigger in scale and deliberately restrained, honing its contrasting textures of lush electronics and blistering indie rock. The result, they say, is the album they’ve “always wanted to make”.
 
Drawing on a mix of dejected British new wave, euphoric electro-pop and swooning alt rock in the vein of Mazzy Star, the resulting sound is as cinematic as their storytelling – with an added dash of grit and the introduction of live drums (while they’ve always used a live drummer on tour, this is the first time they’ve been laid to record) that reflect the album’s real world footing.

As liberated in subject matter as it is in sound, ‘Late To The World’ represents IDER’s long and continuous journey of self-discovery both as individuals and as a band. It’s an album borne from weathering the confusion of your twenties and stepping into the clarity of your thirties; its 12 tracks acting as rallying cries for rejecting societal pressures and turning up to life at your own pace.
 
Focus track ‘Killing The Game’ is the penultimate song on ‘Late To The World’ and wholly embodies the central theme of the album; being a late bloomer. A calm yet powerful electro-pop track, lyrically it looks at how the world can sometimes feel it moves on without you, unable to keep up and unsure if you want to. The band say; “Killing The Game is for the socially anxious. Set at a party, watching people enjoy themselves whilst you feel like you’re on the outside - the perception that everyone is ‘killing the game’ whilst you are being left behind”.

IDER · Late to the World

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Dream Cycle Inc - Good Boy / Sea Shel (l) ter (feat. Amalia).

The ambient-infused dub of Dream Cycle Inc. is atmospheric, hypnotic, and immersive—blending deep, pulsating basslines with ethereal atmospheres and intricate rhythmic textures. Sonically, it draws from ambient, dub techno, and progressive house, creating a world where synthetic textures and organic elements merge seamlessly. There's an underlying sense of movement—like drifting through a futuristic metropolis at twilight, caught between euphoria and introspection. The sound of dissolving, and rediscovering reality through a hazy, melodic lens.

To truly grasp Jan's diverse musical preferences, we must delve into his teenage years, a time when he unearthed his second profound passion amidst the haunting melodies of gothic rock and the pulsating beats of dark electro: the realm of adventurous dance music. The 90s unfurled an exhilarating tapestry of sonic exploration, birthing a myriad of dance music genres. Jan found himself captivated by the pioneering spirit of labels like Planet Dog, which wielded immense influence over his musical odyssey. Acts such as Eat Static, Banco De Gaia, Children of the Bong and Future Loop Foundation, all stalwarts of the Planet Dog roster, expertly fused elements of dance, trance, dub, ambient, and drum & bass into spellbinding compositions.

Jan found solace in the label's seminal compilations, like the transcendent ‘Feed Your Head’ series, which whisked listeners away on psychedelic voyages through ambient-infused dance realms. Another gem in his musical trove was the legendary ‘Dubnology’ compilation, which further enriched his sonic landscape. It was through these sonic escapades that Jan encountered bands like Dreadzone, opening the door to the mesmerizing world of techno-infused dub, leaving an indelible mark on his musical psyche. With Dream Cycle Inc., Jan endeavours to revisit and reanimate the very essence of these transformative sounds that have left an indelible imprint on his musical soul.


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Photo - Tanjeryne Hoffman

Lily Monaghan - Willing To Wait.

Following her autumn 2024 single “Mona Lisa” – heard everywhere in Canada on CBC, in the U.K. on Alternative Roots, and in the U.S. on stations such as KTAL in Las Cruces, New Mexico – Lily Monaghan is back with “Willing To Wait,” a song that sees her expanding her sound beyond its traditional singer/songwriter origins.

Made in collaboration with producer and multi-instrumentalist Kurtis Schultz in Lily’s hometown, Edmonton, Alberta, “Willing To Wait” places her within a full-band context for the first time, with stunning results. With Lily’s enchanting voice at the forefront, the song demonstrates that she’s more than ready to take the next natural step in her musical evolution.

She says, “‘Willing To Wait’ is meant to encapsulate that feeling of stagnation that accompanies existing in your mid-Twenties. When I wrote the song, I was hyper aware of the different life stages my longtime friends and I are all at, despite being the same age. Some have careers, apartments, pets and relationships, while others are full-time students or unemployed.

“Life takes us in different directions and there is nothing we’re able to do about it. With age comes an inevitable distance within some relationships; ‘Willing to Wait’ acknowledges this and is a love letter to these people in my life. Declaring that no matter how far away life pulls us, I will always be here and waiting for the day we come back together again.”

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Mountaintop Junkshop - Oswald Slain - Phoebe Green

Mountaintop Junkshop - I'm Still Looking For The Light.

Leicester UK-based alternative folk unit Mountaintop Junkshop are thrilled to share their latest single "I'm Still Looking For The Light", available now across music platforms courtesy of Electric Blanket Records.

"I'm Still Looking For The Light" acts as the latest sample from the group's upcoming album Misadventureland, due to be released on March 20th. A heartfelt blend of love, hope, and redemption, "I'm Still Looking for the Light" is a retro-inspired folk track that weaves together elements of Americana, country, and indie folk. With gentle guitars and soaring violins, the song evokes themes of resilience and desire, creating a rich, emotive sound that feels both timeless and deeply personal.

Hailing from Leicester UK, Mountaintop Junkshop could easily be mistaken for alt/country misfits from some lost California scene. The band make country-tinged minimal torch songs leaving space to hear pins drop and hearts breaking. Since forming they have shared stages with Jolie Holland, Herman Dune, Ronnie Lane’s Slim Chance, Nina Nastasia and many more. File in your record collection somewhere between Low, Mazzy Star, Songs Ohia and next to an old, yellowing, red-wine-stained copy of Frank Stanford poems.

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Oswald Slain - Ugly.

Bristol rock group Oswald Slain return with their new single ‘UGLY’, out now, taken from their debut EP ‘Kiss Me On The Mouth’ due for release April 2025.

Formerly known as Little Thief, Oswald Swain’s sound is a rich tapestry woven from the threads of classic Americana, echoing the timeless vibes of Neil Young and The Band, whilst infusing it with the gritty, energetic rock essence familiar from their previous works. Anchored by the driving rhythms and fuzzy guitars, their music offers both reflective depth and an irresistible groove, promising music that resonates with both heart and soul.

Under their previous moniker, the band toured the UK multiple times, playing slots at esteemed festivals such as Glastonbury, Shambala, Liverpool Sound City, Isle of Wight, Kendal Calling and Greenman Festival, receiving support from the likes of Far Out Magazine, RTE, BBC Radio 6’s Steve Lamacq and BBC Radio 1. Co-founding members Charlie Fitzgerald and Rhii Williams, who have been writing music together for over 10 years, made the difficult decision to change the band name and move forward in a new direction.

Born from the creative cocoon of their home studio, Oswald Slain is a testament to both personal growth and musical evolution. Recorded over the miserable January of 2024, Oswald Slain’s music reflects a period of introspection and growth. Having reconciled with the chaos of youth and the trials of aging, lyricist Fitz channels these experiences into sincere, humorous, evocative songwriting alongside the timeless swagger of old retro rock records.

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Photo - Sara Carpentieri

Phoebe Green - Rage Of A Kid.

Manchester's Phoebe Green releases new single 'Rage Of A Kid' - the final taste of new five-track EP 'The Container' out 21st March via The Green Dream Machine. Phoebe will launch the EP with a run of headline dates this April, with stops in Leeds, Bristol, Manchester, Brighton and London.

Marking a significant evolution in her artistry, new EP 'The Container' was written and produced by Phoebe within the intimate settings of her flat in Manchester and her parents' house in the coastal town of Lytham St Annes, lyrically delving into the complexities of intense emotional connections, exploring themes of longing, obsession, and the delicate balance between self-love and self-sacrifice.

'Rage Of A Kid,' the opening track on 'The Container', is a powerful, electronically-tinged ballad about healing from past trauma. Sparse soundscapes evoke loneliness as the lyrics explore suppressed emotions - particularly anger. The song builds to a cathartic release with lush synths and atmospheric textures, culminating in Phoebe's visceral message: "Kicking and crying and taking a bite" - reclaiming the right to feel.

Speaking more on the inspiration behind new song 'Rage Of A Kid', Phoebe said: "‘Rage Of A Kid’ follows the discomfort of growing into myself and healing from past trauma. I spent a long time suppressing anger and any other difficult emotion in order to keep my head above water, but looking back I feel as though I wasted valuable years of my life doing anything in my power to avoid being consumed by it. It got to the point where I found it almost impossible to access, and when I did it was directed towards myself, because I felt so guilty for experiencing an emotion I had perceived for so long as “violent”. I learned eventually that anger is healthy and necessary and it serves a purpose when trying to process negative experiences, and especially in our current political climate, anger towards injustice is vital."

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Gelgia Caduff - Sarah Villiger - Emily Hines - KEYS - Sister Wives

Gelgia Caduff - Socializing.

Critics are consistently raving when Gelgia Caduff, no stranger in the Gothic- und Rockmusic-scene, from the Canton of Solothurn, Switzerland, takes the stage or releases music. And no wonder—especially when considering her latest masterpiece. While others, sometimes for financial reasons, perform in duos or solo, using background sounds from a computer, multi-instrumentalist and exceptional singer Gelgia Caduff goes all out.

For her new single "Socializing," she teamed up with an Orchestra and a grand choir. The result is an orchestral rock opus that forms part of a massive rock opera with stunning visuals. The work, titled "Wishful Thinking" (pre-release album stream), is her most ambitious and elaborate project to date. The album will be released in May in both digital and physical formats, offering a mesmerizing journey through soundscapes—from ethereal, fairy-like vocals with delicate subtlety to ecstatic, powerful "Wall of Sound" moments. "Socializing" is just a taste of what’s to come.

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Sarah Villiger - Next Corner.

Yes, soul is alive! Modern, orchestral, and smooth, with pop melodies—that’s how "Next Corner", the new single by Sarah Villiger, sounds. Dark stairways in the city of Bern lead to high rooftops and broad horizons. Perfectionism, procrastination, and despair. Hope and vastness. All of this can be found in the songs of Sarah Villiger, the sister of renowned film composer Martin Villiger. With Next Corner, the title track of her upcoming EP is now being released as a single.

The singer-songwriter writes her music in the attic of her apartment in Bern—diving into a wide range of musical styles from there. Her voice is shaped by pop, jazz, soul, and classical music. The music is built on a pop and jazz foundation, opening doors to synth-pop, neo-soul, hip-hop, and lo-fi.

Sarah Villiger plays with contrasts, blending deep tones with her bright voice. The result culminates in a mix of analog retro synths and digital sounds—featured on her debut EP Next Corner, set for release in 2025. Sarah Villiger has already made a name for herself in the music world. She has sung for film scores composed by her brother, Martin Villiger, which have been featured on Swiss television. In 2025, she also plans to release new songs that will highlight her versatile voice.

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Photo - Ellie Carr

Emily Hines - Cowgirl Suit.

Nashville-based songwriter Emily Hines has signed to Keeled Scales. This week she releases her new single “Cowgirl Suit.” A self-described chronically-sincere farm girl, Hines grew up on a farm in rural Ohio before moving to Nashville where she played in other songwriters’ projects before recording her own songs on a 4-track cassette recorder.

“I wrote ‘Cowgirl Suit’ when I was in-between farm jobs, pretty fresh out of college. I was working at a local food co-op and seeing someone who wasn’t seeing me. Everything felt precarious and precious. The lyrics are a long list of things I was too scared to say at the time.”

Hines worked with producer Henry Park. Together they drew inspiration from acts like Duster, Laura Marling, and Karen Dalton to record simply and add layers one at a time. She writes, “This was the recording that inspired me to make an album. I had already recorded a few songs with Henry, but when we made this one, we felt validated in our vision. The base of every song we made is a live-take recorded on the cassette. We wanted the recordings to be organic and honest. This is the simplest production on the record, but it guided everything else we made. Something in the drum machine, the tape, and the imperfections came together to create a vulnerable yet dynamic sound. We set out to make a body of work to match it.”

Emily Hines · Cowgirl Suit

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KEYS - What Flavour?

Libertino is proud to announce the release of “What Flavour?”, the brand-new single from @keysmusicuk A bold departure from their past work, the track takes inspiration from the raw, rhythmic urgency of ESG, Liquid Liquid, and the early ’80s New York post-disco underground, channeling the energy of 99 Records into something distinctly their own.

Frontman Matthew Evans explains the song’s unexpected origins: “‘What Flavour?’ began with something my daughter said while staring at the endless choices at an ice cream stand on holiday in Tenby. We instinctively sang it back to her, and before long, it snowballed into a full-blown song. As it unfolds, the track grows more agitated, from playful indecision into the agony of craving what someone else has. We’d been deep into disco and 99 Records bands at the time, so everything came out upside down.

It doesn’t sound like anything we’ve done before, and that’s exactly why we love it.” Built around tight, hypnotic grooves and a growing sense of unease, “What Flavour?” reflects the genre-blurring spirit of early ’80s NYC, where funk, punk, and dance music collided on downtown dancefloors. KEYS distill that restless energy into a song that starts as a playful singalong but soon spirals into something deeper—anxious, urgent, and impossible to shake.

With its percussive drive and warped funk sensibilities, “What Flavour?” marks an exciting new chapter for KEYS, proving that after all these years, they’re still pushing forward, still hungry for the unexpected.

KEYS · What Flavour?

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Sister Wives - Malady.

Sheffield's Sister Wives return with new single 'Malady - their first new music since their 2022 Welsh Music Prize nominated debut album, 'Y Gawres'.

Unearthing forgotten feminist histories through myth and landscape, Sister Wives weave wild tales braiding the Welsh and English language over their signature glam-droog-acid-stomp. The band's songs deal with ever-shifting expectations and injustices, forgone heroines, the divine feminine and the veiled mysteries of ancient lands.

'Malady' is about "an inner ‘beast waking up inside your body; backing you up and empowering you to stand up to bad men," they share. "It’s also about how strong females frighten said bad men and historically this power is perceived as a sickness, madness, or malady..."

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