With a powerhouse voice and an unmistakable presence, Montreal’s Sally Phantom emerges fully formed on her debut single, “Going Insane.” Rooted in alternative pop-rock but stretching into gothic soul, cinematic grunge, and alt-pop balladry, Sally’s sound lands somewhere between the torch-song drama of Amy Winehouse and the theatrical darkness of Evanescence, with flashes of Lana Del Rey, Ethel Cain, and Paramore woven throughout.
Backed by a team of seasoned industry veterans, this young artist arrives not as a hopeful, but as a headline. Co-written and produced by Canadian music mainstays Hugo Mud and Adrian Popovich, the track is a masterclass in collaboration: raw, addictive, and impossible to ignore.
“Going Insane” began as a spontaneous creative spark and quickly evolved into something far more deliberate. From Houde’s gripping instrumentation to Popovich’s heavy-lidded synth work and precise mix, the production walks a razor’s edge between gritty and cinematic. But it’s Sally’s performance that cuts deepest—her vocal range is wide, expressive, and unflinching, with the same dramatic heft that made legends of Amy Winehouse and Evanescence. Her songwriting, co-crafted with Mudie, dives into addiction, identity, and emotional unraveling, delivered with rare lyrical poise and intensity.
“It’s a conversation with God,” she says, “a personal letter to my addictions, and a reflection on the pain of loving someone I couldn’t have.” Writing the song meant returning to the moment she realized something had to change. “Addiction had controlled my life since my teens. At 23, my dad sent me to rehab, and it saved me. Sobriety gave me the courage to feel again—and this song was how I admitted that to heal, I had to finally feel.”
Tom Smith steps forward as a solo artist with his debut album There Is Nothing In The Dark That Isn't There In The Light (out December 5 via Play It Again Sam). New single "Leave" follows "Life Is For Living" and "Lights of New York City".
Working alongside producer Iain Archer, Tom Smith has completed work on his debut solo album. Stepping out of the world of Editors for the first time, ‘There Is Nothing In The Dark That Isn’t There In The Light’ is eagerly anticipated and today's single release 'Leave' is the third taste of what we are expecting to be a fabulous album with a real distinction from Editors material.
Enter Amber Hotel. Still flickering, still rising, from the darker corners of modern-day Chicago. Amber Hotel is not nostalgia. It’s a gathering point. A sanctuary for those who feel out of step with the speed of the modern world. It’s 2025, and things have never felt stranger, heavier, or more electric.
If previous single Digital Ghost was the phantom of lost connection, Shadowed Face is the mirror you’d rather not face. A track that stares back at you—cold, unblinking—revealing the parts we bury under light and distraction. It’s brooding, cinematic, and drenched in the DNA of post-punk and dark wave, carrying echoes of The Cure, She Wants Revenge, and early Interpol, but warped into something wholly their own.
The guitars don’t shimmer—they slice. The bass doesn’t just drive—it drags you into the undertow. And through it all, the voice: commanding yet distant, both confession and accusation. This is chapter three of Amber Hotel’s descent. Another key, another door unlocked. Behind it lies a shadow, a mask, a self you can’t escape. Welcome back to Amber Hotel. You can hide your face, but the shadows will find you.
Crystal Shawanda's video for the song Sing Pretty Blues launched this yesterday. Known for her JUNO and Maple Blues Award-winning albums, Crystal's latest release covers Stax-sounding soul, rootsy acoustic Americana, and pure Janis Joplin-style power Blues.
Crystal began singing this song in concert when she started her music career, performing as a Country artist at Tootsie's Orchid Lounge in the 1990s.
A song about the struggle of letting go of the past, confronting pain and seeking forgiveness, Crystal's fans have often requested a recording. Audience members will tell her about how much the song means to them, and about the people who continue to struggle or whom they've lost along the way.
This song was recorded acoustically on two resonator guitars with the accompaniment of a 150-year old hand drum played by a revered elder from Crystal's home reservation, Wiikwemikoong First Nations on Manitoulin Island in Ontario.
The debut album from The Cords, described previously on Beehive Candy as the brightest new indie pop band from Scotland, has now been released. It's everything the singles promised it would be, vibrant, addictive and oozing charm and energy.
The album was produced by Jonny Scott and Simon Liddel, and it respects the band’s stripped down DIY approach. There is some bass guitar (played by Eva and Grace) and occasionally a keyboard pokes its head above the surface.
But these elements are simply doing their job: the real stars of this record are Eva’s sinuous guitar and silky vocals, and Grace’s clattering, expressive sing-song drums. It’s the sound of two sisters having an intense musical conversation with each other, pushing each other on to greater heights, exhilarated by the set of perfect pop songs they have magicked up.
Chicago singer-songwriter Terry White's new album You Won't Have a Name was released a couple of days ago. White, known for his work with Modern Day Saints and the Yellowhammers, released his solo debut, Our Separate Ways, in 2007 and then formed the band Cannonball in 2009. Cannonball was an opportunity to collaborate with other musicians based around long-running venue FitzGerald’s Nightclub in Berwyn, IL, and White's 2012 album Cannonball Fodder, produced by Jon Langford (Mekons, Waco Bros, Skull Orchard), celebrates that spirit of collaboration and being part of a musical community.
2020's Still Got Me, credited to Terry White and his backing band The Loaded Dice, continued to shine a light on White's fine songwriting and musicianship and set the stage for his fourth full-length solo album You Won't Have a Home.
You Won't Have a Home is a collection of songs written over the last four years. It began in 2021 when White, Paul Bivans (drums), Andon Davis (guitar), Michael Krayniak (bass) and Chris Neville (organ) met at Joyride Studios, owned by engineer Blaise Barton (who sadly passed away on June 12, 2025), in Chicago.
The songs that comprise You Won't Have a Home were recorded one at a time, with as few overdubs as possible, to maintain a "live in-studio" sound. Over the course of many sessions, White enlisted his musician friends, including Brian Leach (who also engineered and mixed tracks on the album), Gerald Dowd, Patrick Brennan, Rob Pierce, John Pirruccello, and Phil Bayer, to lend their voices and assorted instruments to flesh out the desired sounds and textures. He further enlisted Pie Eyed Pete Cimbalo (bass), Sheila Cimbalo (vocals) and Tom Kneesel (pedal steel) to record a version of "Deportee (Plane Wreck at Lost Gatos)," written by Woody Guthrie and Martin Hoffman.
Kate Prendergast is a young, emerging alt-folk musician and singer-songwriter living in County Meath in Ireland. A keen vocalist, Kate also plays piano, guitar, bass and is learning drums and harmonica. She is carefully building a portfolio of original songs which broadly sit within the alt-folk genre but experiments with ideas and influences from country, blues, jazz and a tinge of rock.
Her first single ‘Past Letters’ was recorded in her small home studio and received considerable radio attention in Ireland and the UK. John Dinsmore (formerly lead singer of the Beat Poets) saw promise in her songwriting abilities and introduced her to producer Declan Legge of Analogue Catalogue Studio B and manager of bands such as Jealous of the Birds and Vera. Declan invited Kate to visit his studio in Newry to work on a single and her second song ‘Undergrowth’ was recorded with drums and bass provided by the talented Darragh Tibbs.
Following the success of this second single, Kate and Declan decided to collaborate further and recorded ‘Lavender Country’. This time Kate chose to move away from the drums of ‘Undergrowth’ in favour of a slow build and change in mood during the song from wistful dreaming to cautious hope to upbeat optimism reflecting the challenging roads many of us traverse as we search for peace and balance in our lives.
Kate's next single 'Ignition' was released on 9th May 2025. Ignition explores the uncertainties of starting a new episode in life and the conflicting feelings that often arise for those left behind - between the desire to see loved ones flourish in their new futures and the yearning for them to return home. This was followed by 'Retold Tale' in September which is a commentary on the experiences, doubts and challenges facing countless young artists as they try to make an impact in a noisy and sometimes disdainful world.
Toronto-based singer-songwriter Erica Knox continues her Abbey Road Studios story with “Growing Song” a chill, introspective soft-pop track that balances vulnerability with resilience. Written during her time at the legendary London studio – handpicked as one of three artists to record there through DHL’s FastTrack Sessions – the single lays bare Knox’s moments of self-doubt while celebrating the growth that comes with perseverance.
“It’s a very vulnerable song, highlighting every thought of self-doubt that tends to race through my head,” Knox shares. “Among that comes knowing that things will eventually work out as long as I keep trying to build a happy life, and a strong career for myself.”
The track’s inspiration ties directly to Knox’s journey. After being turned down for the same contest in 2023, she almost didn’t apply again in 2024. But a last-minute submission won her a life-changing opportunity. “A few weeks later I was being flown out to London. I was so proud of myself for making it here and I had to write about the mental challenges leading up to that moment.”
Sonically, “Growing Song” carries inspiration from The Staves’ rich harmonies and open guitar tuning, whose live performance Knox attended the night before writing. The subtle production leans into dreamscape vocal effects and spacious instrumentation, highlighting the lyricism at its core.
Berlin-born artist Rosa Anschütz, known for her spellbinding vocal work in the electronic underground, has released her new album Sabbatical via Wesley Eisold's (Cold Cave, American Nightmare) Heartworm Press, her first international release outside of Germany. Heartworm has previously released books by legendary artists Genesis P'Orridge, Mark Lanegan, Alan Vega and more, and Rosa Anschütz's ambitious 14-track statement compliments the label's catalogue with her haunting minimalism and visionary depth.
Swapping pulsing club beats for a raw, cinematic intimacy, Anschütz channels the spectral beauty of Moon Pix-era Cat Power, the mystique of Nico, and the experimental clarity of Björk and Dead Can Dance. The stripped-back arrangement foregrounds Anschütz’s arresting voice, carrying lyrics that feel both prophetic and personal.
With Sabbatical, Rosa Anschütz emerges as one of the most compelling avant-garde voices of her generation... an artist unafraid to dismantle genre, geography, or expectation. The album is a bold reinvention and a testament to the patience and precision of a singular creative vision.
The Bankes Brothers - Where Do We Go From Here? (EP).
The Bankes Brothers return with their most dynamic release to date, the new EP, Where Do We Go From Here? (produced by Gus Van Go), featuring the high-energy focus track “Waited All Night.” Known for their infectious live shows and timeless rock ‘n’ roll spirit, the band continues to carve out their place as one of Canada’s most exciting emerging acts.
The EP also features recent singles “Bedroom Wall,” “Get To Know,” and the title track “Where Do We Go From Here?” – each showcasing a different side of the band’s songwriting. “He was great at opening us up to the mindset of ‘serve the song,’ and the production style and choices were a direct result of that,” Nelson Bankes (lead vocals, guitars) says of working with acclaimed producer Gus Van Go (The Beaches, Arkells, Hollerado).
Following their debut EP In Waves (produced by Steve Bays of Hot Hot Heat/The Zolas), the band is now entering a new era – bigger, bolder, and brighter than ever. With Where Do We Go From Here?, The Bankes Brothers deliver a collection of indie-rock bangers made for the stage, proving themselves not just as a band to watch, but a band built to last.
As anticipation builds ahead of the release of her full-length debut album A Call From Somewhere Else on Nov. 7, Canadian singer/songwriter Drea Lake is offering another preview with "Dream Spinner," a song that pays tribute to people in our lives whose unwavering support often goes unacknowledged.
Co-written with James Maltese and built upon an arrangement by Timothy Abraham that incorporates intertwined trumpet and synthesizers lines, the music of "Dream Spinner" lives up to its title and follows the pattern set by previous singles "4U" and "Sturgeon Moon" in demonstrating that Drea Lake is not a typical folk singer.
Drea says, "'Dream Spinner' is about uncovering those loved ones that often do so much for others but may have a hard time taking center stage. The wonderful Dominic Leveille played the first ever trumpet line that I composed and he brought such a great touch to the song. And Timothy Abraham did something so creative and magical in the way he arranged this song. I love the dreamy quality."
Drea co-produced A Call From Somewhere Else with renowned Quebecois acoustic guitarist Antoine Dufour, who also added his instrumental talents to a majority of the songs, along with a host of other contributors drawn from the worlds of Canadian roots, jazz and classical music. Blending genres has always been a major focus of Drea’s compositional style, and the album sessions were carried out in the spirit of collaboration.
Rising artist Dynamyte released her highly
anticipated second single, “Probably,” last Friday across all digital
platforms, accompanied by a dynamic visual performance video. The visual
showcases Dynamyte behind the drums in a live studio setting,
surrounded by her band, delivering vocals straight to the camera with
undeniable confidence and energy.
This new track follows the
success of her previous single “Checkmate”, which marked the beginning
of a bold new musical era for Dynamyte. With “Probably,” she continues
to expand her repertoire, combining her signature blend of classic
R&B, sultry neo-soul, and sharp hooks with rhythmic intensity and an
upbeat groove that highlights her rare ability to sing while drumming.
“This
was one of the last songs written on this album, a few months before
meeting my girlfriend. We realized I didn’t have a true love-themed song
in my catalog yet, so this track filled that gap. During the session,
one of my co-writers asked, ‘What would you do if the love of your life
walked in right now?’ Without thinking, I said, ‘I’d probably run.’ That
one line became the backbone of the whole song,” says Dynamyte. “The
song is about the fear of vulnerability and the instinct to run from
someone who might actually be ‘the one.’ ‘You’re probably the one, so
I’m probably gonna run’ is both funny and heartbreaking. It captures
that contradiction perfectly.”
Ezra Bell, one of the 21st century’s most organically successful folk/Americana bands, has released their new single “cannonball wingman,” the latest offering from their forthcoming studio album, Chin Chin. Ezra Bell’s ninth studio album serves as a tribute to the band’s lead singer and lyricist Ben Wuamett, who unexpectedly passed away in October 2024.
“Cannonball Wingman” captures a day in the life of someone spinning stories that may or may not be true. The gangster tale reflects Ben’s beginnings in the hip-hop world with that genre’s internal rhymes and syncopations finding their way, subversively or not, into his lyrics, while channeling Ezra Bell’s signature mix of raucous Americana, folk, and indie grit.
Set for release October 24th via ONErpm, Chin Chin was fully written and recorded before Wuamett’s unexpected passing last fall. The 11-song collection serves as both a way of honoring Ben’s life and musical legacy while also paving a way forward for Ezra Bell, an eight-piece band that has created its own sound featuring an unusual mix of street-hard lyrics with folk-pop and Americana sounds sprinkled with elements of rock, blues, jazz, and R&B.
California-born, Manchester-based singer-songwriter Jesca Hoop has shared a new unplugged version of her track 'Simon Says'. The single is the second to be taken from Selective Memory - a live, unplugged reworking of her acclaimed 2017 Memories Are Now (Sub Pop). Joining the cast of stripped back album versions for her first three releases, this new collection finds Hoop and her two bandmates, Chloe Foy and Rachel Rimmer, capturing the record in its entirety live in Hoop’s Manchester home.
Of the new single, Hoop says: "In Simon Says I am speaking from my Gen X perspective. Oh how times have changed. I thank the heavens that my childhood was feral and free and that I knew every climbing tree."
Opening the door to an intimate performance space, Selective Memory shines a new light on one of Hoop’s most beloved albums. Raw and immediate in its delivery, the record brims with luminous harmonies, lyrical richness and unguarded emotion. It is sweet and bitter, fresh and raw, and very much of the moment.
Though a return to songs first written over a decade ago, Hoop notes their continued urgency: “Though I wrote these songs 12 years ago, strangely they feel so very relevant to me today. And the album ends in one hell of a protest song… if I do say so myself.”
After strategically drip-feeding singles throughout 2025 to build anticipation for their debut album Take It Or Leave It (October 31st) Sydney’s indie duo Salarymen are ready to deliver the final piece of the puzzle with "If You Want Me" released this weekend.
Four years in the making, this devastating duet captures the raw ache of lost love with cinematic beauty. As the oldest song on the album, “If You Want Me” has been mesmerising live audiences nationwide, becoming the track fans most desperately wanted to see released. Now, Renee de la Motte and Thomas Eagleton finally deliver this highly anticipated gem – a vintage-laced psych pop ballad that channels the dreamy melancholia of Beach House, Mac DeMarco, and Arcade Fire. With male/female harmonies taking center stage, the track captures a similar nostalgic romanticism to Stephen Sanchez's "Until I Found You," though "If You Want Me" was written years before that breakout hit.
"If You Want Me is the most emotional track we've ever written. It's about two people who can never really let go of their past, and how your world can be flipped upside down after parting ways. Thom and I are essentially playing the guy/girl who are admitting that they've wronged each other, and lamenting the fact that it's over “ explains de la Motte.
Lydia Luce shares "Ephemeral," a moving duet with celebrated British singer-songwriter Luke Sital-Singh. An important and sober declaration of self-love, this is the latest single from the Nashville singer-songwriter and multi-instrumentalist's forthcoming album Mammoth, which releases on October 30.
Lydia Luce on the new single: "This song is a love song to self. When I had to go back on tour after my injuries, I made a promise to myself to take care of myself no matter what. I had to learn how to trust myself again. I hadn’t earned my body's trust, and if I was going back into this environment I had to do it in a way that would honor my body. The moment I decided to ask my friend Paul Hammer to play guitar for me on that tour I felt the stress fall off of my body. I cried to my husband. I didn’t realize how terrified I was to be back in pain playing that much. I made more and more decisions like that on that tour. I brought my own pillow, I booked aisle seats on planes so I could stretch, and I asked for help constantly. I wasn’t in pain on that tour, and now I completely trust myself to make the right choices for my body."
Recorded in just one week at Peter Gabriel’s celebrated Real World Studios, Mammoth was produced with longtime creative collaborator Jordan Lehning (Kacey Musgraves, Joy Oladokun, Caitlin Rose), with whom Luce runs the Nashville-based string collective Lockeland Strings.
Kentucky bred and based Drift City proudly present the lead single from their latest EP, “The Seeds”. A serendipitous taste of what’s to come, the single is the first offering from the upcoming EP, Spectral Heart Mosaics, coming in late October.
Available via SU Records, “The Seeds” is an offering that took twelve to thirteen years in the making. Produced mainly by lead vocalist Jason Rivers, additional touches were provided by the renowned Kevin Ratterman and were recorded in the summer of 2025. A melancholic tune analyzing the pain and heartbreak of a slowly dissolving long term relationship, “The Seeds” sonically mirrors these nostalgic feelings.
Described as coming to lead singer Jason Rivers as a "vehicle of my own needed new beginning", “The Seeds” offers a refreshing listening experience. Rivers’ powerful voice calls back to greats such as The Blue Nile or Cass McCombs, clearly demonstrating the pain and emotional agony he’s experienced. Drift City's ethereal harmonies and twangy pedal steel allow the track to lie in a comforting bed of folk rock. A track about self-growth, releasing inhibitions, and achieving peace and freedom, “The Seeds” is all yours to enjoy now.
Meghan Clarisse - Shadows of a Ghost Town (Album).
Shadows of a Ghost Town is a deeply personal and poetic exploration of place, memory, and mortality, told through the lens of the American West. Rooted in the traditions of Americana and brushed with shades of country and bluegrass, this album is both a love letter to the land and a reckoning with the ghosts we carry.
Set against the backdrop of wide-open skies, dusty trails, and abandoned towns, each track captures a moment suspended between the living and the lost. There are stories of a quiet ache that follows when something-or someone-disappears. The mountains aren't just scenery here; they're characters. So are the shadows, the silence, and the wind.
With raw instrumentation, vivid storytelling, and melodies that rise like cann winds and fall like dusk over the plains, Shadows of a Ghost Town weaves together the grit of bluegrass with the soul of country and the heart of folk. These songs don't shy away from sorrow, but they don't dwell in it either. Instead, they honor it. They ride through it.
At its core, this album is about transience-how everything we know and love eventually fades, and yet somehow, that makes it all the more beautiful. Whether it's a home, a way of life, or a person you thought you'd never lose, Shadows of a Ghost Town reminds us that some things linger even after they're gone. You can still hear the music if you know where to listen.
Emerging Georgia singer/songwriter Clover County releases her debut album Finer Things via her own label Undercover Lover Records in partnership with Thirty Tigers. Produced by Carrie K (Noah Kahan, Maggie Antone, Koe Wetzel), the album is a coming-of-age soundtrack that explores romantic, familial and platonic love with a winking charm and an observing eye. Clover shares: “Finer Things is the shoebox I keep under my bed full of old love letters and trinkets I can’t quite let go of. It's polaroids, bottle caps, and plane tickets. It’s a memorial for all the ways I’ve loved and been loved.” Along with the album she has shared the single 'Sweeter'.
Clover continues: “These songs began when I was 18 – scrawled in notebooks, half-sung into voice memos, carried with me through the years. I started recording them at 23, and at 24, they’ll start to find their place in the world. Unintentionally, they trace a timeline: from naive to knowing. Finer Things is about all the ways I’ve shown up in love and how it’s shown up for me, the fleeting and the forever. Romantic, familial, platonic. The sweetness, the sting, and the spaces in between.
This record lives naturally within the lines of country with its own indie/alternative twists – as a songwriter from the South with a love for the classics, I wanted to nod to legacy artists like Dolly Parton, Shania Twain and Sheryl Crow, while also drawing from the modern textures and tones of Hovvdy, Adrianne Lenker, Waxahatchee, Courtney Barnett and MJ Lenderman.”
As they prepare to release their fourth studio album, The Bridge, on October 10th, acclaimed Americana-pop duo The Grahams – married couple Alyssa and Doug Graham – have released one more glimpse into the collection with their new single “Worst Parts Of Me.” The playful love song recalls early ‘70s melodic movement and offers a throwback to Carole King’s Tapestry era, an album that has served as an important influence for Alyssa.
“After three decades of a love affair and partnership, people always ask us our ‘secret’,” shares The Grahams. “For years we claimed our rare success was attributed to having no children. ‘Don’t have kids’ we would joke. Upon further reflection and having our daughter, we now understand our secret is deeper than that. To truly love someone in this life and beyond, you need to love not only the best but the worst parts of them.”
About the music video, Alyssa and Doug add, “Although ‘Worst Parts Of Me’ is a song we wrote in order to highlight the depth and strength of our love for one another by acknowledging our lifelong flaws with a bit of humor, we wanted the video to speak to people in a more individualized fashion. We all struggle with what we believe to be our worst parts. The video focuses on accepting our imperfections, fully embracing them and learning to enjoy the balance of the best and the worst in ourselves and how it all makes us unique.”
The Bridge, available via Nashville’s 3Sirens label, marks the first time The Grahams are giving listeners a look into their personal lives. The deeply personal album, named after the George Washington Bridge, which transported the New Jersey natives to New York City during their formative years, was co-written with GRAMMY-nominated producer Dex Green, singer-songwriter Kate York, and GRAMMY-nominated songwriter Aaron Lee Tasjan, finding The Grahams embracing the collaborative Nashville co-write. Alyssa (vocals) and Doug (guitars/vocals) credit these three creative ambassadors with helping them write about their lives honestly and vulnerably, diving deep into their childhood love affair that has lasted over 37 years.
Tanya Ransom’s third full length studio album, The Significance of Time, is deeply evocative, blending her signature sound of alt-country and folk with quiet emotional intensity, the album was released yesterday.
Ransom’s vocals radiate both warmth and strength, weaving a delicate yet powerful narrative through all 10 tracks. The album features her all-West Australian creative team, helmed by co-producers James Newhouse (The Waifs, John Butler) on drums, percussion, electric guitars and some bonus backing vocals and Dave Mann adding depth and textures with his work on pedal steel, guitars and backing vocals. Tilly Kelleher accompanies on the vocal harmonies, alongside Tone Bourke (The Waifs, Eskimo Joe) on all things keys (piano, harmonium, rhodes, wurlitzer, synths) and Sam Liddon on Electric and Double Bass.
The finely crafted production reflects a quiet cinematic quality, inviting listeners into Ransom’s deeply personal stories. Exploring themes of grief, war, friendship, death, love, changing of seasons, letting go and trust. Woven together with the concept of significant moments in time. The album features Tanya’s latest single ‘Winter Song’ which earned a finalist position and was awarded an Honourable Mention in the Americana Category, in the International Songwriting Competition.
With over 15 years of experience on the Australian touring circuit, two previous independent albums and her last EP release, Ransom has captivated audiences from intimate venues to major festivals, sharing stages with icons like Missy Higgins, John Butler and Boy and Bear. Her ability to weave raw emotion into her lyrics and deliver them with authenticity has drawn praise from music reviewers and audiences alike.
With a voice timeless and true, Toronto singer-songwriter Clela Errington releases her second single, “Standing on the Platform.” Following closely on the heels of her excellent first single, “Full Moon Dark Time,” the new one is also drawn from the upcoming Walkin’ Each Other Home, Errington’s fifth studio album to date.
“Standing on the Platform” is a contemporary folk ballad written and performed by Errington. With cinematic scope and a reflective heart, it’s rooted in folk tradition, but carries jazz and blues sensibilities in Errington’s phrasing and harmonic openness.
Her warm, unhurried vocals float over acoustic guitar, piano, and subtle percussion, creating a quiet power and sense of anticipation — like standing at the threshold of change. The soft but insistent beat of brushes on the snare drum perfectly conveys the easy click-clack of the train's steel wheels as they run on the rails.
Errington's song echoes the spirit and tradition of Gospel train songs like The Impressions' "People Get Ready," Elizabeth Cotton's "Freight Train," and Woody Guthrie's "Bound for Glory." Like those eternal classics, "Standing on the Platform" gently suggests that the tracks are heading, slowly but surely, toward a promised land of peace and light.
"From the Dojo right onstage" the Landesspiegel recently wrote about Katy Broder. A fitting description, one might add – after all, the Liechtensteiner is also known as the coach of her country’s national karate team. With them, she competed at the European and World Championships this summer.
But things are also going well for Katy Broder as a musician: her last single “Gravitate To Me” was played on radio stations all over the world. In Switzerland, it was featured on the playlists of many relevant indie stations and was even praised by the French blog and radio LrDr as the “discovery of the week.”
On September 26, 2025, Katy Broder is following up: after just a few bars of the new anthemic single “Could it be you”, one is reminded of Roxette, Pink, or Avril Lavigne. At the same time, she manages to infuse the sound with contemporary flair. We think it’s another strong taste of the album, which will be released this fall!
Katherine “Katy” Broder (born November 8, 1973 in Chur) is a Swiss karateka, manager, and singer-songwriter based in Liechtenstein. She founded the Shotokan Karate Club Vaduz and, since 2025, has been president of the Karate Federation of the European Small States.
It all began 15 years ago, in a scene worthy of a Wes Anderson film: Nouvelle Vague was performing in a pastel-colored, retro-style seaside town in Turkey. During the show, a fan stole one of Mélanie Pain’s shoes right off her foot on stage. A few weeks later, she received a package containing the shoe, an apology note, some Turkish delight... and a CD of Turkish music. That unexpected gift sparked her curiosity — and a lasting affection for Turkish culture. Since then, the idea of covering a song in Turkish never left her.
In early 2025, her friend Aslan, a French teacher in Istanbul, sent her “Senden Daha Güzel”, a rock anthem by the legendary band Duman. The song instantly reignited Mélanie’s desire to take on the challenge of singing in Turkish. As Melanie explains:
“This song reminds me of the grunge music from my teenage years — Nirvana, Pearl Jam... I wanted to interpret it in my own way, with softness and poetry. Singing in Turkish was a real challenge, but I was fascinated by the rhythm of the language. I loved it so much, I’m already working on more Turkish covers.”
Far from the raw energy and distorted guitars of the original, Mélanie offers an intimate and sensual rendition, carried by hypnotic bass, soft percussion, and sun-drenched fingerpicked guitar. And the cherry on top: a French version titled Aussi belle que toi, written by Mélanie herself, appears as the B-side of the single — a retro and elegant nod to the golden era of yéyé singers and 45s. Turkish and French versions below.
Helsinki-based dreampop duo Eidetic Dreams already has a foot in the door of international indie recognition. Their previous single The Truth About My Fall was featured on Spotify’s global Fresh Finds playlist with over 1.2 million followers, and the band has been highlighted in Soundi as well as chosen as a YleX Nosteessa artist.
On Wednesday (September 24) Eidetic Dreams released their fourth single Spin—just one day before their appearance at Tampere’s Lost In Music festival. Spin reveals a lighter yet more guitar-driven side of the duo, centered around a bright Johnny Marr–inspired riff that brings fresh energy and pushes their sound into new territory.
Eidetic Dreams was formed in Helsinki when vocalist-songwriter Siiri Kähönen and guitarist-producer Antti Heikkilä began making music together. Kähönen’s delicate yet intense vocals and Heikkilä’s melodic guitar quickly found a common ground, complemented by modern production and electronic elements. The band’s name refers to vivid, lasting memories—exactly the kind of moods they aim to evoke with their music.
