The October Effect - Michael Lane - Romanie - Hauntees - Awful Din

The October Effect - The Missing Clue.

Formed in 2023 in Weston-super-Mare, Somerset, UK, The October Effect is the creation of both songwriter and guitarist Laurence (aka Loz) Collins, and vocalist Cath Back.  Laurence's songs blend elements of jazz and pop with a reflective, atmospheric edge - a very real 'October effect'. 

Whilst Cath Back Exceptional Vocals adds depth and nuance to the band’s understated, emotionally-driven sound. The band is completed by its latest member, Mike Gutsell (bass and backing vocals), who has been collaborating musically with Laurence since they were teenagers.

The Missing Clue – A song about that life changing moment when everything falls into place and you realise the missing piece has been added to your personal jigsaw. It might be love, the birth of a child or something else, but whatever it is you know it's going to redefine your life - forever. The October Effect’s distinctive approach — thoughtful songwriting, emotionally resonant lyrics with a subtle jazz-influenced feel.

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Michael Lane - Live Free (Album).

“Live Free” is about embracing life as it comes – with all its highs and lows. The songs revolve around love, freedom, and self-acceptance, born from honest moments and genuine self-reflection. The album serves as a reminder that freedom doesn’t mean avoiding responsibility or emotions, but staying true to yourself in every situation. It tells a story of growth, forgiveness, and finding peace with one’s own imperfections.

If there’s a modern folk/pop artist who truly knows the difficult sides of life, it’s Michael Lane. In his twenties, he was deployed as a U.S. soldier to Iraq and Afghanistan, where he witnessed many traumatic events. His previous albums were like a musical diary of these experiences – but on “Live Free,” you can clearly feel that lightness and joy have returned. The album sends a hopeful message: even crises and periods of self-reflection can bring us closer to the things that really matter.

The German-American singer became known through two Top-50 hits in the German charts, four released albums, international tours, and his single “Liberty,” which was the official song of the Four Hills Tournament 2015/2016. Several of his songs have made it onto Spotify and Apple Music editorial playlists and are featured by tastemakers such as alexrainbird Music, Indie Folk Central, Starbucks Playlists, and Double J Music. In addition to his work as a musician, Michael Lane also writes production music and produces in his secluded “Studio Waldblick.”

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Photo - Marcus Cobblyn

Romanie - Anything or Anyone.

Multi-award winning singer-songwriter Romanie returns with her brilliant new single ‘Anything or Anyone’, ahead of her forthcoming album ‘It’s Not That Funny’ which is set to follow on the 20th of February. A homage to community, ‘Anything or Anyone’ arrives as a reminder that you're never alone. Unfolding over gently plucked guitars, ‘Anything or Anyone’ is a reflection on loneliness and pushing back against the temptation to isolate yourself further. 

Sharing more, Romanie explained: “This song is a really big reminder to myself that I’m not alone, I wrote it in the midst of a really dark and lonely time - thinking I was completely alone by shutting myself out. Living on the other side of the world, choosing a career that is not straight forward - it can sometimes feel like you’re screaming into the void. 

I think the song, even though it stemmed from a sad time, is a reminder and dedication to anyone who’s ever felt lonely (all of us) and a reminder that we never are alone. Community is everything.” ‘Anything or Anyone’ is the fourth offering to be taken from Romanie's upcoming sophomore album. 

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Hauntees - All Over Again.

Helsinki-based goth garage band Hauntees has released the first single, All Over Again, from their upcoming debut album. The hypnotic, dark-toned track draws its striking elements from post-punk as well as goth and garage rock. Hauntees is a new band, but its members have previously played in groups such as Patsy Walkers, Borderline, Charm Bags, Goo-Hags and Lariots, so the roots of the Helsinki garage scene are well covered.

“We want to reach toward other worlds with our music, beyond everyday reality,” the band says. “When we write songs, we describe them to each other through places, films, and moods.” Based on feedback, Hauntees’ visual and atmospheric approach to music seems to resonate with listeners.

“It’s interesting that listeners experience our music this way too. We’ve received comments at shows that we sound like the jukebox in the Twin Peaks bar, a foggy forest path, or music that should be played on a road trip across the desert,” the band says. The band’s debut album Shadows Forming will be released on February 28 on vinyl and digital platforms.

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Awful Din - ANTI BODY (Album).

"Founding members Aaron Groom (vocals/guitar) and Kat Doniger (guitar) reference 90s emo and punk as what brought them together in a band (Saves the Day and Texas Is The Reason, specifically), and on their sophomore album ANTI BODY, the group (now joined by new members Jay Rodriguez and Don Lavis on bass and drums) take those influences and make a fresh, catchy-sounding emo-pop-punk album out of them. 

Somewhere between post-Lemonheads earnest jangle-power pop, John K. Samson storytelling, Taking Meds-style indie rock/punk, and big PUP choruses, the opening stretch of ANTI BODY is a whirlwind between the three golden pop rock songs 'GFTO My Basement,' 'Goodbye Delaware,' and 'I Will Break You.' 

"If you’ve forgotten that Awful Din are an emo band, the brake-tapping, string-laden hospital ballad 'Foot Punk' will remind you, although the quartet throw themselves into that one so fully that it just adds another layer to ANTI BODY rather than arresting any momentum (and if that one doesn’t slow Awful Din down, the sparse, slow-building 'Chaparral' certainly won’t either). 

The bass-led belter '15 Minutes of Shame' and a perfect jangly pop song called “Big’s In Paris Now” (of course) are B-side highlights, as is closing track 'We Have We Are We Will,' in which Awful Din do the 'cathartic big finish' thing as well as I’d expect them to do. It’s been a minute since I’ve heard an emo (or “emo-adjacent”, even) album that hits these notes as well as Awful Din do on ANTI BODY; it’s a welcome reminder of the power of this kind of thing." -Rosy Overdrive

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James Tonic - Railcard - ADULT. - The Imaginary Band - Julian Never

James Tonic - Safety II (Album).

James Tonic's Safety II is out now, the second chapter in his dream pop trilogy following 2025's breakout Safety. Released January 28, 2026, this seventh studio album takes the saga further, mixing dreamy vibes with real life edges.

Safety II builds on the first album's indie win (20,000 sales and a solid 60% Spotify save rate), plus the buzz from 2024's Stuck in LA and its sold out West Coast shows pulling in crowds. Early signs show strong fan love: a high pre-save rate and it's on track for 30,000–40,000 units in week one. The 9 song set pairs dark stories with light beats, using live drums, old school synths, and raw plays for that true feel missing in most tracks today. 

James Tonic is a Montreal-born artist blending hip-hop, R&B, and pop roots with soft rock and folk compositions and band instrumentation. Known for albums like Stuck in LA — produced by Chris Peden with live orchestration — and his latest Safety, he explores self-discovery, resilience, and real-life narratives through organic, unhurried sounds. Following successful tours, his work continues in a series into 2026. Beyond music, James is a tech investor building a platform for musicians to automate websites and focus on their craft. 

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Railcard - Day Dream.

Skep Wax are pleased to announce a new single and a limited edition CD album from Railcard, a brand new band featuring Rachel Love (Dolly Mixture), Ian Button (Papernut Cambridge, The Penrose Web) and Peter Momtchiloff (Heavenly, Would-be-goods). The new single, Day Dream, is a perfect indicator of the dreamy Bacharach pop that Railcard have embraced and reinvented. Rachel Love’s vocal sounds as pure as it did in Dolly Mixture.

Railcard formed in 2025 when Rachel Love (Dolly Mixture), Ian Button (Papernut Cambridge, The Penrose Web) and Peter Momtchiloff (Heavenly, Would-be-goods) discovered that they were all born within weeks of each other.  It seemed like a great reason to form a new band, so Love and Button began writing songs together, and Railcard was born. Their original ‘1962’ age limit rule was relaxed shortly afterwards when suspiciously youthful trumpeter Allison Thomson completed the line-up.

Following two limited edition download-only EPs (the first accompanied with a Railcard wallet, the second with a pair of iron-on patches) Skep Wax and Slumberland are proud to release this collection of ten songs as a CD album (release date: 6 February 2026). The seven tracks from those first two EPs are included, along with three new ones. (The fetish for merch hasn’t been overlooked: the CD comes with a useful Railcard information leaflet). 

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ADULT. - No One is Coming.

ADULT. is not cooperating. For over 25 years, the dystopian Detroit synth-punk institution founded by Nicola Kuperus and Adam Lee Miller has embodied steadfast frustration, distrust, and apprehension. One might expect the edges to soften with time, but ADULT. is not interested in the comforts of legacy. The duo’s music has never sounded as visceral, urgent, and downright angry as it does on the culminating, uncompromising Kissing Luck Goodbye, their scorched-earth 10th LP and fourth with Dais Records.

Built with upgraded gear and a whole new library of sounds, the material is crushingly dynamic, louder yet clearer, with Kuperus’ commanding delivery given greater prominence in the mix, outlining an arsenal of vivid, caustic calls, chants, and musings. Laughter, whether in the lyrics or as a possessed presence, serves as a leitmotif that speaks to the menacing absurdity of modern times. 

“No One is Coming”, the album’s lead single is a poignant, bassline-driven industrial anthem that turns feedback into melody, the track attacks inaction in the face of fascism.

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The Imaginary Band - Polka Hands.

The Imaginary Band, longtime Chilliwack, BC-based musician Andrew Christopher's latest project, steps fully into focus on their debut single, "Polka Hands." A carefree, roots-leaning indie-folk single, it celebrates intuition, creativity, and the beauty of not overthinking life's next move.

"At first, The Imaginary Band only existed vaguely in my mind," explains Christopher. "But when I wrote 'Polka Hands,' I learned to fully embrace the concept." Without a bass player at the time, he began playing a bassline on guitar, imagining exactly how it would feel once the right players arrived. "Immediately, an imaginary drummer sat behind the kit in my head, laying down a groovy but straight-ahead rock beat. Just sitting in the pocket. That's still the intro of the song."

The clarity of this vision unlocked something new; not just musically, but emotionally. Written during a lazy afternoon at a pump track while watching his son ride his bike, the lyrics came naturally and without force. "They speak of taking chances, doing hard things, accepting the reality that life is inherently complex, and that it's beautiful that way," Andrew shares. With real-life bandmates who are ever-so imaginative now filling the roles once envisioned, "Polka Hands" becomes both a song and a statement of intent. 

The title itself reinforces the song’s central message: don't overthink it. Inspired by a recent polka band performance at a friend's 40th birthday and lyrics referencing a barroom scene and a game of Texas Hold'em, the original phrase "Polka Bands & Poker Hands" was quickly distilled. "It was a bit too wordy," Andrew laughs. "So I went with 'Polka Hands' without overthinking it."

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Julian Never - Anything.

Los Angeles' Julian Never shares the third single and video from its forthcoming Everyday Is Purgation LP for Mt.St.Mtn. “'Anything' tries to hold all the things you’ve done, good and bad, and all the love you carry in one song. Repeated words that have lost meaning. So much energy wasted for little purpose, connection or insight.  Sometimes capturing a moment is enough. Maybe each time the song plays it will teach you something. 

“'Anything' is a song about a time of desperation with a brief and relevant reference to F. Scott Fitzgerald’s tragic novel, Tender is the Night.

 “'It’s 5 o'clock in the morning. Awake again and no place to go.' The early morning sets the tone for an entire day, whether the skies are clear or opaque. 'Anything' is about the search for peace when you’re not sure if you’d recognize it. The pull toward chaos, and the strange comfort found in distortions. It’s a reflection on the patterns we return to, even when we know better. - JAE, 2026.

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The Damned - Mia Nicolai - Alexandra John - Big Richard

Photo - Sacha Lecca

The Damned - Not Like Everybody Else (Album).

The Damned have released Not Like Everybody Else, a deeply personal and celebratory covers album, dedicated to the memory of Brian James, the band’s legendary founding guitarist, who passed away on March 6th, 2025 at the age of 74. Recorded in a blistering five days of emotion and creative fire at Revolver Studio in Los Angeles, Not Like Everybody Else finds The Damned – Dave Vanian on vocals, Captain Sensible on guitar, Rat Scabies on drums, Paul Gray on bass and joined by longtime keyboardist Monty Oxymoron – reconnecting with the raw energy that started it all.  The album marks the first time in 40 years that Rat Scabies has returned to the studio with the band.  

2026 marks 50 years of The Damned.  50 years of The Damned also means 50 years of punk, with the 1976 explosion hitting a half century ago. The band jump-started the revolution, releasing the first UK punk single, “New Rose,” and album, Damned Damned Damned.  Brian James wrote that debut single and was lead songwriter on the album. He left the group after the release of their second album, Music For Pleasure, in 1977.

Ground-breaking rock band The Damned exploded on to the British music scene more than forty-five years ago.  Following their formation in 1976, The Damned became the first UK band in the punk rock genre to release a single (“New Rose”) and then an album (Damned, Damned, Damned).  Initially associated with the British punk rock movement and then gothic rock, the band went on to release ten studio albums and several UK-charting singles which ran the gamut from punk rock to gothic to even the pop genre.  They have legions of hardcore fans worldwide and have firmly established themselves as one of most powerful and theatrical live bands in the world. 

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Photo - Joelle Grace Taylor

Mia Nicolai - drowning.

Evocative and empowering, drowning sees Mia Nicolai choose self acceptance. Exquisite vocals and raw lyricism touch on a life of swimming against the tide and the power and relief that come with changing direction. Confronting and emotive, drowning is born from the emotional weight of finally facing your true self. Sharing more, Mia explained: Drowning is about the emotional crash that happens when you stop running from yourself. It’s that moment when you let your feelings rise to the surface after holding them in for so long - and it completely floods you. 

I wrote it from a place of deep overwhelm, where facing reality felt like drowning. But it’s also about honesty to yourself. I was diagnosed with ADHD at age 15, but at that time I didn't take it as seriously as I should have. For years I tried to outrun my diagnosis thinking I could fix it myself, if I just keep healing my past or if I kept outrunning it. I was living nomadically on people's couches and I was actually exhausted, as thrilling as the nomadic jumping around life was, it was starting to catch up on me. Drowning is about finally giving in to who you really are, even if that means feeling everything all at once.

Today’s new single sees Mia Nicolai put her best foot forward into 2026, as she champions authenticity with her infectious energy. The Dutch-Russian singer-songwriter released her debut EP at the end of 2025; Sharing Space Among The Stars (Superglue Records). Produced by Vetle Junker and executive-produced by Ella Vos and Tommy English, it marked her first true statement as an artist. The record took shape as a dreamy, cinematic body of work that fuses her indie-pop instincts with the theatrical spirit of her heroes Bowie and Queen. Written across London, Los Angeles, and Bergen, Norway, the project finds Mia rediscovering her own voice after a whirlwind of experiences throughout her 20’s.

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Alexandra John - Crazy Stupid Love.

Alexandra John the brother-and-sister duo who are not only real-life twins born on the same day, but musical soulmates as well—have shared a bond since birth that naturally evolved into music. Raised in a deeply musical household in San Francisco, Liza and Weston Cain grew up with music woven into their DNA, shaping both their sound and their connection as artists.

Kicking off the new year, Alexandra John delivers a heartfelt ballad made for hopeless romantics this Valentine’s season. Their new single, “Crazy Stupid Love,” out today Tuesday, January 27, is a hopeful anthem for anyone who has loved purely, been hurt, and questioned whether it was worth it. The song serves as a reminder not to punish yourself for falling in love—and to never give up on the possibility of finding it again.

“Someone we love close to us recently went through a really horrible breakup,” the band shares. “This song is inspired by them—to not give up on love or themselves. You can’t beat yourself up for falling in love, because that’s crazy. We all lead with the best intentions, and sometimes it doesn’t work out the way we hope, but that doesn’t mean you stop putting your heart out there. Everyone deserves a crazy, stupid kind of love.”

"I was influenced by the space rock of the 80’s," says Weston. Liza adds, “When we wrote and recorded this song, I knew exactly who I was singing for. It’s a love letter to those who are willing to be loved and can get unfortunately hurt in the end. We all look for that hope of a happy ending and a life partner."

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Big Richard - Millionaire.

Bluegrass band Big Richard makes music for the 21st century’s twisted cultural unease. Pet, their sophomore album and debut for Signature Sounds is a fierce, provocative, rejoinder to what troubles them and the world right now and was recorded live to tape in order to capture the fervor of their live shows.

“Big Richard is so much about our energetic delivery, and so I think it's been really important for us as a group to figure out how to do that for a record,” says mandolin and guitar player Bonnie Sims. And figure it out they did. Pet delivers, successfully translating the supergroup’s live kinetic harmonies and string virtuosity.

Unapologetically outrageous and provocative, the band’s name is a wink to the ‘big dick’ energy Big Richard is reclaiming from male bluegrass bands. Since exploding onto the Colorado scene in 2021, the four women have been on a wild ride, slapping as hard as possible on the festival circuit, working up their stamina on nationwide headlining tours, and leaving a wake of die-hard Big Richard Heads across the country swooning for their honest songwriting, chilling vocals, and fiddle-driven barn-burners.

“Our live performances are so raw and so gritty, and I think that our sound never really flourished in that digital landscape.” GRAMMY and Emmy Award-winning cellist Joy Adams says. “[Recording live to tape] we were all in the same room together, very close together, with a lot of mic bleed, etc. And the energy was insane. It felt so good to record this way. Even on the first day, we were like ‘wow, this sounds like our band.’ And to do something that's very real and gritty and has little mistakes in it just feels alive and human.”

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Place Position - Libby Ember - Maria Taylor - The Legendary Ten Seconds

Place Position - Went Silent (Album).

Dayton-based math rock/post-hardcore power trio Place Position, a band that includes members of Landfilth, Shadyside, The 1984 Draft, etc., released its Went Silent album on January 23. A foursome of DIY labels, including Sweet Cheetah Records, Poptek Records, Bunker Park Records, and Blind Rage Records, are offering up the album on vinyl.

According to Place Position, it is “a musical group from in and around Dayton, Ohio. We write as needed and play when necessary. What do they play? How fast? Will they be playing after 9pm? How effective are their socials? The answer is simple: Place Position is a musical group.”

Place Position adds, “Went Silent is an album. It comes complete with 10 songs. We recorded together in a Southwest Ohio basement in the Fall 2024 over the course of two days. After stitching together loose ends we handed off mixing duties to Derl Robbins formerly of Motel Beds of Dayton, Ohio.”

“Every now and then Andy from Poptek Records would ask; ‘How’s the record coming?’ The band was uncertain whether or not to have it released. After six months, Gwen of Blind Rage Records said, ‘You should get the album pressed and play this show.’ So, we give you the album Went Silent.


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Libby Ember - Let Me Go.

Following the September 2025 release of her debut EP I Kill Spiders and the subsequent single, "To Her," Montreal singer-songwriter Libby Ember shares "Let Me Go," a melancholic, dreamy indie-folk single that sits in the uncomfortable space between holding on and letting go. Nostalgic and emotionally raw, the track captures the quiet contradictions of a relationship that lingers long after both people know it isn't right.

Inspired by a complicated relationship rooted in mutual fear, Libby reflects on the tension of staying when leaving feels just as painful. "I felt like someone was holding onto me because they were afraid of letting me go," she explains. "Even still, I knew that it was wrong to keep dragging the relationship on when we knew it was wrong for the both of us. It also touches on the fact that the opposite feels wrong. Both letting go and not letting go feel wrong."

What sets "Let Me Go" apart is its careful attention to detail in both instrumentation and texture. Delicate flute lines weave through the arrangement, while reversed sounds subtly fall into the landscape, creating a hazy, immersive atmosphere. "We were very particular about the instrumentation," Libby shares. "We also emphasized the detail in the imperfection as a means to drive the emotion forward. The voice isn't always polished, the sounds can be a bit random. It makes the song feel more raw."

As the song unfolds, its instrumental outro becomes a space for reflection, allowing the listener to linger in the emotion long after the vocals fade. "It makes me reminisce," Libby says. "It pushes me back to that time of strong emotions and gets me in my own head. Once my voice cuts out at the end, the instrumental has a way of making me tune out the world and just be in the music."

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Maria Taylor - Story's End.

Today, the Los Angeles-based singer/songwriter Maria Taylor announces her first new album in 7 years Story’s End will be released on April 3. Alongside the announcement, Taylor shared the official video for the album’s title track that was released also today. The 10-song collection marks her first release on Conor Oberst’s Million Stars Records and unfolds like a hazy, cinematic narrative—songs acting as chapters that trace love, loss, fracture, and the quiet search for solace in the aftermath of personal upheaval.

About the new single, Taylor explains: “For years, I would play this chord progression and melody; knowing it would be one of my favorite songs, but it took me 5 years to complete the lyrics. I had no sense of urgency… it was like I knew, somehow, the story was still unfolding and I just had to be patient.”

The album began slowly with Taylor building songs from demos in her home studio, yet it was the spark of conflict that gave her the resolve and focus to complete the project. “After spending years working on this record, an irrevocable fracture in both my marriage and a friendship gave me the urgency to finish it. I think I needed to make something beautiful as things fell apart around me,” she explains. 

The project eventually moved to Mike Mogis’ ARC Studios in Omaha, Nebraska where Taylor played drums on much of the record (following her recent stint as a touring drummer with Bright Eyes), joined by Macey Taylor on bass and Mogis on guitar. The album was ultimately produced by Ben Brodin (First Aid Kit, Bright Eyes), who also recorded many of Taylor’s vocals and added much of the instrumentation. Longtime friend and collaborator Brad Armstrong (13 Ghosts, The Glass Hours) produced the pulsing single “Never Thought I’d Feel New” that sits at the very heart of the album.

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The Legendary Ten Seconds - Churchward Road (Album).

The Legendary Ten Seconds is the solo music project of Ian Churchward who is the former guitarist of The Morrisons, who were featured on John Peel's Radio One show in 1987. Ian has a deep passion for blending rich historical narratives with his distinctive sound. His musical project took on new life in 2013 when Lord Zarquon joined forces with Ian, bringing additional depth to the recordings. Since then, a talented roster of guest musicians and vocalists have stepped in to contribute to the studio projects, the most recent being Jay Brown, who co-composed and recorded the evocative time travel track called the Time Stream.

As The Legendary Ten Seconds Ian has made a name for himself in the folk-rock genre, notably for his historically inspired albums. He has received critical acclaim for the work chronicling the Wars of the Roses and the life of Richard III, focusing on England’s 15th century. The music is more than just entertainment; it's a dedication to keeping history alive through story-driven songs that resonate with modern listeners. In addition to crafting meticulously researched and artistically compelling albums, Ian has donated part of the proceeds from his music sales to a scoliosis charity.

In 2018 he took the historical work to new heights with the release of the Mer de Mort album, commissioned by the Mortimer History Society in honour of its tenth anniversary. This album is a historically accurate collection of songs that delve into the fascinating and impactful history of the Mortimer family, from their roots in Normandy before the Battle of Hastings to their role in the 15th century. The album features narrative interludes read by the late actor John Challis—known for his iconic role as Boycie in Only Fools and Horses—who was a proud patron of the Mortimer History Society.

Ian has released numerous albums and his latest endeavour called ‘Churchward Road’ is released this month (January 2026). He continues his exploration of storytelling through music.

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Lori Rayne - Alan Vega - T. Gold - The Enigmatic Foe - Dylan De Braga

Lori Rayne - I Don’t Drink (EP).

Lori Rayne brings grit and edge to her country music, leaning on heavier guitars and an alternative-country feel while staying rooted in Southern storytelling. Her new EP, I Don’t Drink, feels like a clear snapshot of who she is right now — unfiltered, confident, and comfortable standing a little outside the lines. “I Don’t Drink is the most honest reflection of who I am as an artist,” Rayne says. “It holds all the styles and influences that shape my sound and personality. This EP is for anyone who grew up on country or Southern music, but always felt a little outside the box, just like me.”

Who says you need to get drunk to have fun? When most people picture a Friday night out, it usually involves bar hopping and a few too many cocktails. With “I Don’t Drink,” Lori Rayne flips that expectation on its head, celebrating the energy, connection, and release of a night out — without alcohol being the center of it. Her unmistakable tone and soulful delivery ride over extra heavy, driving guitars and a jamming country production that builds with real force, pulling you straight onto a packed honky-tonk floor. The song carries a rock-leaning edge that gives it muscle, proving Rayne’s comfort in the alternative country lane while keeping country's spirit at the forefront.

As she sings, “Tonight I want red lips, tall boots, cut-off jeans / top it off with my rhinestone hoops / I want a little heel-toe do-si-do / drop it down real slow / Boot Scoot n’ Copperhead Road,” it becomes clear this is a line-dancing-ready anthem. Loud, confident, and rooted in real life, “I Don’t Drink” proves you can still show up, show out, and own the night with no inebriation required: “I’ve never been the kind to turn down a dance / but I don’t need a drink in my hand / let me break these boots in while spinning around on this floor / just a little two-step is all the buzz I’m looking for.”

As the EP unfolds, Rayne shows her range while maintaining her edge. “The One That Ran Away” taps into the ache of lost love and lingering questions. “To Be Country” nods to the roots she grew up on, grounded and straightforward, while “Where Do We Go” leans heavier, letting the guitars carry a more alternative, rock-tinged energy. Her stripped-back cover of “Jolene,” released just after the celebration of Dolly Parton’s 80th birthday, is one of the most personal moments on the EP. With just her voice and a guitar, Rayne lets the song speak for itself, honoring the original while bringing her own rich perspective.

Lori Rayne · I Don't Drink

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Alan Vega - Self Titled / Collision Drive (2 Albums).

The Vega Vault Project and Sacred Bones Records continue to uncover Alan Vega’s robust collection of work left behind by the influential visual artist, musician and poet. This week for the first time ever, Vega’s highly influential 1980 debut S/T solo album, in addition to its follow up, Collision Drive are available across streaming platforms. Remastered from the original tapes, the two albums have been faithfully re-released by Sacred Bones Records, preserving the raw intensity of Vega’s original recordings while making them newly accessible to listeners worldwide.

The Vega Vault Project and Sacred Bones have meticulously assembled these packages and the series also offers a companion piece Alan Vega Deluxe Edition which is also available today as a limited deluxe double LP and includes unheard demos, unseen photos and new artwork. All three albums contain unseen photos and new album artwork (including Vega's original track sheets from his 1978 Suicide / The Clash Tour Notebook).

Alan Vega Deluxe Edition's previously unheard demos were discovered by The Vega Vault Project's Liz Lamere and Jared Artaud. The tapes were then transferred by engineer Ted Young and mastered by Josh Bonati. The demos offer a rare glimpse into Vega’s creative process behind his cult classic. All three albums feature new album artwork designed by Artaud and Michael Handis, exclusive to these pressings. The companion piece sheds new light on Vega’s process and vision during this pivotal era, making it a must-have for collectors and longtime fans. (See Bandcamp for details).. 


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T. Gold - Life is a Wonder and It’s Cruel (Album).

On T. Gold’s second album Life is a Wonder and It’s Cruel, longtime creative collaborators Saman Khoujinian and Gabriel Anderson put their politics into practice through song. Through playful electronics and off-kilter folk melodies, they investigate how imagination and radical community love can work against the grind of socioeconomic forces.

Anderson and Khoujinian met in high school in Miami, both moved to Carrboro in 2011, and are now well-known in North Carolina’s independent music scene for their frequent collaborations, such as staging the quadraphonic improvisational synthesizer collective Delver. They are the creative team behind Sleepy Cat Records, a pair who will “show up and do the work” (Blank Tapes) supporting the music of artists as varied as old-time legend Alice Gerrard and the Palestine liberation art-rock project DUNUMS. “Our bond, even to this day, is a little bit unamenable,” says Khoujinian. “We’re two very different people. But there is this connective thread between us, and it weaves throughout our creative projects.”

T. Gold sits comfortably within the label’s curation – a bit of acoustic twang, a little vocoder, and plenty of earnest politics. Bookended by Khoujinian on guitar, synthesizer, and vocals and Anderson on percussion and drums, T. Gold’s 2020 self-titled debut was praised for its “warm, relaxed vein of indie Americana” (INDY Week). Since then, the group has operated in fits and starts, functioning as a comfortable musical landing zone where the pair “continues to figure out how to be in music together,” as Anderson puts it. 

But far from a monogamous musical twosome, T. Gold is an abundant family affair. Making music with a group is “a long, curvy negotiation,” as Anderson says. “It’s messy, and it’s beautiful. And the growth that comes out of trying to be authentic is what we’re interested in.” 

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The Enigmatic Foe - Algorithm / Limping to the Finish Line.

American producer, singer-songwriter, and instrumentalist Jared Colinger is proud to present the first batch of singles from his forthcoming album. "Algorithm / Limping to the Finish Line", a double offering from The Enigmatic Foe is available now.

"Algorithm / Limping to the Finish Line" are two groovy songs doused in electronica and new wave vibes. Released in conjunction with each other, the first track delves into the painstaking ways in which metaphorical and physical algorithms have us all in a chokehold. “Algorithm” specifically highlights the loneliness that comes from seeking validation, often through the means of social media. Often these connections we make are fleeting, and it can be hard to know how long they will last. Directly inspired by Fleetwood Mac's Tango In The Night, The Enigmatic Foe balances relatability with melancholy, casting a focal point on Jared Colinger's smooth vocals and delicate nylon guitar strums.

“Limping to the Finish Line” expresses the uncertainties of life after death, and stresses the importance of camaraderie through hard times. A testimony to trying to drown out the unfortunate news that surrounds us, the track’s overall glittery sound helps ease the one two punch that Colinger is delivering lyrically. 

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Dylan De Braga - Hold the Door.

Like a lone flower pushing its way through the ashes of a forest long since burned, Dylan De Braga’s debut single, “Hold The Door,” rises quietly from devastation into something achingly beautiful. Born from one of the most traumatic chapters of his life, the folk-inflected ballad transforms pain into clarity, standing not as a monument to suffering, but as proof that something delicate, resilient, and luminous can emerge in its wake.

Written in the aftermath of a brutal, heart-shattering breakup, De Braga found himself unable to even touch his guitar for nearly two months. Music, once his anchor, felt suddenly unreachable. When he finally found the courage to sit alone with his emotions and pick up his guitar again, the song seemed to arrive fully formed.

“‘Hold The Door’ wasn’t written, it arrived,” he says. “Within minutes, the chords and words surfaced exactly as they needed to, as if they had been waiting for me to be ready. It felt like the first breath after being underwater for too long.”

Dylan De Braga · Hold the Door

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