Singer-songwriter, actress, and multi-instrumentalist Meredith Adelaide returns with her new single “What Do I Know”. Available on most streaming platforms now, the introspective new single deals with the emotional complexities of being honest with oneself, making it a relatable anthem for many.
On “What Do I Know”, Meredith Adelaide has slowly integrated all versions of herself, making it more accessible to achieve self-acceptance and freedom. An indie-folk anthem that tugs at the heartstrings, the melancholic new track offers great perspective on a life filled with flaws, celebrations, regrets, and a melange of much more. Sonically, the new single invokes the solemnity and emotion of artists like boy genius, Big Thief, and Aimee Mann.
“What Do I Know” invites those listening to accept all parts of themselves, although it can be scary at first. An ode to growing and consistently finding out new things about oneself, the track encourages those to realize how similar the shared human experience really is. Produced by Khushi (James Blake, Monica Martin, Ruti), the mix is perfectly barren, featuring mainly Adelaide's heartfelt vocal delivery alongside a simple folk guitar. The new track comes a few months after Meredith Adelaide lent her gorgeous vocals towards multiple tracks on KRAMON’s debut album, evolutions.
Radioactivity recently announced an upcoming album entitled "Time Won't Bring Me Down" and three days ago they released a new single from the LP entitled "Analog Ways". Recorded over a long period of time and released ten full years (!) after their last LP (Silent Kill, 2015), here is the eagerly awaited 3rd LP! Nobody was really worried about Radioactivity dropping the ball after all this time. Jeff Burke’s track record (The Marked Men, The Reds, The Potential Johns, Lost Balloons, etc etc) speaks for itself, and has for over 25 years at this point.
"I had enough of modern life. Can I not go on back to my analog ways" With that line, Jeff Burke sets the tone for one of the most intimate and unexpected songs from Radioactivity’s new album, Time Won’t Bring Me Down.
“Analog Ways” works on two levels: it’s a reflection on distance and disconnection, how modern life and digital communication can quietly pull people apart, and at the same time, it’s a statement of purpose. A return to warmth, sincerity, and the raw, human sound of analog recording. Featuring Yusuke Okada, the Japanese-born Brooklyn artist and Burke’s partner in Lost Balloons, the song takes on a softer, more luminous tone. Dirtnap Records ============================================================================
We have two new and contrasting songs from The Crawling Eye who show just how adept they are at creating beautiful songs across differing genres with a consistent style still resonating beneath, these are great tracks. The band make their long-awaited return with a brand new double-single, featuring ‘Country Song’ — a reflective exploration of toxic relationships and self-awareness. Originally written over two decades ago, Country Song began as an intimate recording between lead guitarist Matthew Witherstone and Frank Naughton. Over the years, Matthew often wondered how Simon Thomas, the band’s original vocalist, might bring new life to the track.
That question has finally been answered — the song has been completely re-recorded from the ground up, capturing the band’s signature sound with renewed energy and emotion. Adding a final touch of magic, Nick Jones contributes a beautifully expressive slide guitar performance, rounding out this fresh yet nostalgic release.
The Crawling Eye unveils a deeply moving second song that delves into themes of personal loss and lingering regret. At its core, the track captures the raw complexity of human emotion — the tension between vulnerability and strength that defines the healing process.
Delivered with heartfelt sincerity, Regan Meredith’s vocal performance is both intimate and powerful, conveying pain and acceptance in equal measure. Complementing this, Frank Naughton’s exquisite string arrangement adds a rich, cinematic texture that heightens the song’s emotional depth. The interplay between voice and strings creates a soundscape that is at once fragile and uplifting — a testament to the band’s evolving artistry and their ability to turn personal reflection into something universally resonant.
We are pleased to introduce a very promising new artist, Sarah Hamilton and her debut single "Hollywood Dead End" (Oct 24th). Born into a family of painters and jazz musicians in Wellington, Sarah Hamilton grew up immersed in music and visual art. By 13 she was writing songs; by 16 she was playing them in indie cafés on Cuba Street. Her early EP Polaroid Skies became a local college-radio favorite for its dreamy production and confessional lyrics.
In 2020 she moved to Los Angeles on a sound-design scholarship and began collaborating with analog-gear producer Miles Cortez. Their sessions at Echo Park Studios—tracked largely on restored 1960s tape machines—shaped the lush, cinematic sound that would define her debut. Moonlight Boulevard (2025) is a ten-track journey through neon-lit city nights and heart-on-sleeve storytelling. Singles like “Silver Carousel” and “Paper Sun” quickly gained its of attention. Critics hailed Hamilton for “bringing the glamour of old Hollywood to Spotify” and “reviving the concept album for the streaming generation.”
With a smoky alto and a flair for timeless melodies, Hamilton draws on 1960s surf guitars, orchestral strings and noir cinema to create a sound she calls “retro-future pop.” Her stage presence mirrors her aesthetic: vintage dresses sourced from New Zealand’s thrift stores paired with modern edge. She also curates a monthly online “Midnight Movie Club” where fans watch classic noir and New Wave films with her and discuss how visuals inspire her songwriting. A limited-edition clothing line inspired by 1960s New Zealand surf culture is in development for 2026.
Best known as singer, guitarist and songwriter with space-rave pioneers Henge, Matthew C. Whitaker steps into dreamier territory with his new single “Lucid Dreamer”, out now.
A lush, cinematic piece blending sweeping strings, nostalgic crooner melodies and futuristic electronic flourishes, “Lucid Dreamer” is a cosmic love letter to the dream world. Its hypnotic video, directed by acclaimed visual artist Antony Barkworth-Knight and filmed at the Supermassive visual installation in Manchester, brings Whitaker’s song to life in beautiful, ethereal detail.
The single offers a first glimpse of Whitaker’s forthcoming miniature album ‘Songs for the Weary’ — a collection of eight compositions designed to provide comfort and calm. Recorded with Irish producer and string arranger Alan Keary (Shunya), the album blends classical guitar, rich string arrangements, warm instrumentation and subtle electronic touches. With guest contributions from Alabaster DePlume, Rob Turner of GoGo Penguin, and Whitaker’s bandmates in Henge, it marks his most personal and reflective work to date.
Layla Kaylif is proud to present her bold new single “Closer”. Once dubbed as the “Pop Poet” by The New Paper (Singapore), the new single is now available via Canopus Records to stream on all major platforms.
The English-Arab singer Layla Kaylif enlisted the chops of Greg Fitzgerald ("Shakespeare in Love"), a longtime collaborator of hers who co-wrote and produced the new single. The song opens with the striking line: “Closer than a jugular vein is where your jealousy fights with reason” , a visceral metaphor that grips instantly and signals the psycho-spiritual undressing to come. Deepening the cinematic and spiritual language she explored on "God’s Keeper", but sharpened into something darker and more urgent, “Closer” leans into alt-rock with a unique perk of poetic mysticism.
"Closer" is a haunting, slow-burning track that's similar to an elegant rant expanding the intimacy of betrayal into something relatable. Sonically emanating the likes of 90’s grunge greats like Liz Phair or Veruca Salt, Kaylif’s vocals will strike a chord for fans of Judee Sill as well. Filled with elements of grunge, alt-rock, and pop, the new track is a great snapshot into what’s to be expected from Layla Kaylif in the near future.
Global indie pop icon Anna of the North's latest single "Call Me" is a pop gem with 80s and 90s influences shining through and Anna’s vocals and lyrics as on-point as ever.
Anna of the North is the solo project of Anna Lotterud, an Oslo-based Norwegian singer-songwriter from Gjøvik. Originally formed as a duo with producer Brady Daniell-Smith in 2014, their debut studio album Lovers was released in 2017. Daniell-Smith left the group in 2018, with Lotterud continuing to use the name. The second album, Dream Girl, released in October 2019, was made by Lotterud in association with various producers.
The music has been regarded as "soft, soul-baring electro-pop". During her studies in Melbourne, Australia, Anna met New Zealand producer Brady Daniell-Smith at one of his shows and together formed Anna Of The North, with Anna performing vocals and Brady producing the melodies.
International award winning singer-songwriter Hayley Mckay and multi instrumentalist/producer David Neil Crabtree combine as ‘North Riding'. Following on from their 3 month USA tour - North Riding have played some of the biggest festivals in the North East of England this summer, including main stage appearances at Hardwick Festival alongside the Pet Shop Boys and Olly Murs & Mouth of The Tyne Festival. They also performed two headline shows at Durham Fringe Festival.
Legendary BBC presenter Bob Harris made North Riding his ‘New Horizon’ country artist of the week in October & played Frio River on BBC radio 2. A week earlier he had seen the band perform live at Rock N Raise in Newcastle alongside Kezia Gill & The Often Herd.
Their debut EP was released yesterday October 24th to coincide with an EP release show at Newgate Social in Newcastle. North Riding can perform as a 4 piece or 7 piece (full band). Over the years both Hayley and David have built up a strong fanbase. Hayley has won awards including Entertainer of the Year at the Hot Country awards in Ireland and International Single of the Year at the ISSA awards Atlanta USA. Between them they have supported artists on numerous occasions including Scouting for Girls, The Shires, Tom Jones, Martha Reeves and Albert Lee. In the past year David has done over 150 gigs and together they are a force!
Malin Schell has a vision: “When I sing, I merge with the sound and become one with the music. Through this, I reach a state of deep connectedness and inner peace. May my music touch many people’s hearts, inspire them, remind them of the light within themselves, and fill the world with joy, love, and harmony.”
And yes – her new single “Mother Nature” truly does touch the soul. With its rich instrumentation, rarely heard in the indie and folk genres, the song features shimmering harp sounds, romantic and wistful strings, percussion, and a moving voice. Together, they create an aesthetic reminiscent of the Nordic music scene.
Yet Malin Schell was born in Switzerland in 1990. Since childhood, she has been singing and playing the cello, guitar, piano, and various percussion instruments. She studied Music & Movement as well as Jazz Vocals at the Lucerne University of Applied Sciences and Arts, where she trained under Lauren Newton, and later earned a Master’s degree in Vocal Improvisation at the Basel Music Academy under Fred Frith.
Isabel Rumble leans into life's gentle shifts on her second album ‘Hold Everything Lightly’, out yesterday October 24. Tracing the tender spaces between change and acceptance, the regional NSW-based indie-folk artist returns to the heart’s quiet centre, where resilience lives in vulnerability and softness becomes a form of power.
'Hold Everything Lightly’ moves like a slow river, its currents shifting between intimate acoustic folk and fuller, textured moments of release. Fingerpicked guitars, bowed strings, slide guitar, percussion and piano each breathe new life into every track. Isabel’s voice guides the record, warm and weightless as she balances fragility with grace, creating a world that feels both grounded in earth and open to sky.
Across ten tracks, Isabel moves through cycles of self-reflection, drawing from the rhythms of the natural world and the resolve that comes with acceptance. Written in the wake of transition, the record captures moments of honesty, growth and surrender, gently returning to what remains when everything else falls away. Speaking on the album, Isabel shares:
"Following the release of my first album, my approach to songwriting began to morph into a new phase. The songs that make up my second album are the most raw and honest I have written. They let me turn inwards and meet myself honestly in the midst of big change and transition. These songs very much travel through internal landscapes whilst, or perhaps as a consequence of, listening to the cycles of the world around me."
West Wales songwriter Louis O’Hara announces the release of his debut album, 'A Peaceful Kind of Fun', out 7th November 2025 on Libertino Records. The news arrives alongside the release of 'Magpie', the album’s latest single, released earlier this week.
'A Peaceful Kind of Fun' is a 14-track collection that distils O’Hara’s poetic lyricism, tender folk roots, and subtle chamber-pop flourishes into a deeply personal yet quietly universal debut. Recorded with his band His Burley Chassis and produced by James Trevascus (Billy Nomates, Young Fathers, Nick Cave & Warren Ellis) in Spain, the album is shaped by themes of memory, loss, joy, and the places and people that anchor a life.
The album gathers together fragments of memory, relationships, and place, weaving them into songs that honour the connections which shape a life. Moving between moments of joy, loss, and reflection, A Peaceful Kind of Fun lingers on the small details that stay with us - the echoes of childhood, the presence of family, the landscapes of home.
Almost three years after his critically acclaimed debut album All I Know, Vancouver alt-country artist Elliot C. Way is back with a new single “Fool’s Gold,” a song that combines ‘70s soul and outlaw grit with a double-shot of raw truth that Way pours straight down your throat.
“Fool’s Gold” was originally written and recorded by The Wild North, Way’s former band and a staple of the Vancouver country rock scene. The song quickly became a fan favourite, and Way continued to perform it after embracing life as a solo artist. Over time, the song became more than just a throwback; it evolved into a show-closer, a ritual, and an anthem that fans had to hear at every show. Recognizing its power and enduring appeal, Elliot brought the original members of The Wild North back together—now that most of them are now members of City & Colour—to re-record it, this time through the lens of his modern outlaw country sound.
With his long-time friend, producer, and original Wild North bassist Erik P.H. Nielsen at the helm, the track was recorded at a former Vancouver CBC studio where Nielsen is now building a new facility. Lyrically, “Fool’s Gold” is a reflection of Way’s journey through life as a songwriter and survivor in the ever-changing music industry. Built around vivid, sometimes dark imagery and triumphant undertones, the song is an epic ride through personal struggle, perseverance, and the hunger to keep pushing forward.
Selken is the bummer pop/indie rock project of Chicago songwriter Heather Styka. Styka writes lyrics-forward songs that “make you feel as if you are peeking into her diary” (No Depression) with a “talent for telling stories and connecting emotionally” (Glide Magazine). While the melodies of Selken draw from vintage pop and alt- country, the instrumentation layers indie rock with a shimmer of ambient synths. Selken ’s debut album, The Winds, is a cathartic exploration of personal and societal sea change, of burying old dreams to make room for new ones.
After over a decade of touring nationally and releasing five albums as a solo folk artist, Styka was grounded like the rest of world in 2020, which allowed her to realize she desired a change — to shift from solo acoustic songwriter to a full band. Styka teamed up with producer/multi-instrumentalist JG Shadid to create Selken. Styka and Shadid met at The Red Room in Chicago’s Bucktown neighborhood. For over 11 years, Shadid and friends have curated and operated this under-the-radar listening room and community hub of the Chicago music scene. Shadid’s wide-ranging expertise as an Emmy-nominated composer, educator on YouTube’s Reverb channel, folk songwriter, and founder of Gentle Bear Studio equipped him as an ideal collaborator for Styka, with a mutual appreciation for song craft and a mutual disdain for the confines of genre.
JG Shadid’s credo, “Make the noise you want to hear,” combined with Styka’s desire to embark on a more playful and experimental project, spurred Selken to push past more traditional acoustic instrumentation to pair siren-song vocals with layers of electric guitar, synths, bass, and drums, with a dash of vintage-pop glamour and groove. Shadid and Styka tracked the record for over a year, meeting weekly in Shadid’s Chicago studio to strip down each song to the melody and build up the layers through collaborative experimentation. In live performance, Styka swaps her acoustic guitar for an electric bass, Shadid becomes the band’s piano/synth player and electric guitarist, and Jake Hawrylak — lead singer and songwriter of his own band, Maiden King — plays drums.
Welsh indie band Melys return with a bold and uncompromising double single release, tackling themes often left in the shadows. Frontwoman Andrea Parker leads with fierce vulnerability, addressing domestic abuse in Bruises and calling out industry sexism in 5 Star t*ts, a track inspired by a real-life incident involving a dismissive and misogynistic single review from members of a very well known band in a prominent 90s music publication, stating they would award Melys another star if she (Parker) had big tits!
“The fact everyone thought it was acceptable and funny just made it worse for me as a young, nervous girl with a complex about the way I looked,” Parker recalls. “It was only made worse by the fact the publication replicated the quote on the front page too. The thing that makes me angry is the fact that 25 years later and this attitude is still going on today, literally nothing has changed!”
5 Star t*ts features a blistering guest performance from Pendulum guitarist Peredur Ap Gwynedd, whose sharp, staccato riffs perfectly complement Melys’ signature mix of driving guitars, punchy bass, and kinetic drums. A live favourite, the track balances raw energy with pointed commentary.
In contrast, Bruises is a slow-burning, brooding track that showcases Parker’s clear, emotive vocal delivery. Delicate and haunting, her voice carries an air of fragility that gradually intensifies, building to a powerful close.
Mel Denisse is a genre‑bending artist‑producer whose songs land between raw guitar grit and left‑field pop. First hooked on her dad’s acoustic at ten, she spent her teens recording demos in cracked software and, by eighteen, hustled onto a Myspace‑era tour.
Years ping‑ponging between Nashville and L.A. sharpened her writing and production: warped alt‑rock beds under ethereal, classically tinged vocals, spiked with the Eastern scales she soaked up while splitting childhood between Florida and Turkey. Lyrically, she digs into duality, obsession, and the tug‑of‑war between self‑preservation and self‑destruction.
Influenced by everything from Failure and Deftones to Tori Amos, Mel chases what she calls a“controlled collision.” Her voice drifts like smoke, then snarls and cracks on the next beat while jagged guitar loops pulse beneath. “I like to ‘frankenstein’ a track,” she says. “If a heavy riff and a delicate melody look wrong together on paper, that’s exactly what pulls me in.”
Her latest single "Going Nowhere" is a melancholy alt-rock/shoegaze track inspired by the fantasy book 'The Serpent & the Wings of Night' (by Carissa Broadbent). With a nostalgic and reflective atmosphere, it ties to themes like survival by staying unseen, loyalty vs. self-preservation, and trying to move forward with nowhere to land. Her new music overall has crossovers with fantasy books and is a large part of her writing, especially on her upcoming highly anticipated EP due early 2026.
Nashville duo Haunted Like Human today release “Growing Pains” the final single from their forthcoming album American Mythology (out 11/21/25).
“Growing Pains” is a protest song exploring the whitewashing of American history and the true price of progress.
“The history that many of us are taught is often touched up to gloss over and justify the ugly truths and feed into the idea of American exceptionalism, when in reality, the American empire is just as guilty as any other of idolizing expansion and power at the cost of everyone and everything else.” - Dale Chapman.
Just ahead of the anticipated upcoming EP To Cast the Sea in Concrete (5th November), Cork risers Pebbledash share the haunting indie-folk sweller ‘O, The Wind’. Following the bands sync on the new Netflix series House Of Guiness, ‘O, The Wind’ showcases the blend of traditional Irish folk, shoegaze and post-punk that has seen Pebbledash so widely acclaimed. Led by the haunting vocals of Asha Egan McCutcheon, the track unfolds into an ethereal, dark and emotionally affecting soundscape, intertwining biting, fingerpicked electric guitar with atmospheric swells of strings and synth, warm bass lines, and driving, shuffling drums. The result drifts effortlessly between genres, enveloped in a beautiful haze of reverberated echoes and subtle field recordings.
Speaking about the track, Cormac Donovan O’Neill explains – “I think we all felt that this song represented a major departure for Pebbledash in terms of the barriers of genre we were willing to cross.
The track’s opening section foregrounds the emotional tumult of Asha’s lyrics exploring isolation in an urban landscape and the surrealism evoked by this floating through time, delivered in the ornamented manner of a traditional sean nós tune accompanied only by soft wheeze of air passing through a harmonium’s body and Fionnbharr’s spare guitar figure. But from there, we wanted the bass and drums to carry Asha’s stark lyricism atop an off-kilter groove more akin to the likes of DJ Shadow or Portishead, propelling the listener in unforeseen directions before the song returns home in its final moments, the vocal standing alone amidst a landscape of Terry Riley-esque arpeggios and eerie sampled vocals.
We were incredibly excited to share this song as a statement of our development, attesting to the outer reaches of our sound we sought to explore in recording this EP.”
Richmond, Virginia's The Melody Chamber, a southern gothicnew romanticjangle-pop band have just released their third single "1 + 1." The third single is the perfect blend of Psychedelic Furs meets early R.E.M.. The band came together by happenstance with Wallace Dietz of Silent Boys fame working in the same studio as Dan-O Deckelman and him walking by and hearing a song from another studio and striking up a conversation.
Dan-O coming from a hardcore and metal background was working on a very Elvis Costello pop track invited Wallace to collaborate and the two just gelled quickly and the songs started to pour out. (There are multiple album already written from what I hear).
The self-titled debut album is out on November 7th, 2025 from HHBTM Records (USA) on vinyl and Too Good To Be True (Europe) on vinyl and CD.
Yesterday, Swiss’ Vendredi sur Mer released the single “Si t’étais là”, her first after her album Malabar Princess. The much lauded album includes “Arrêter le temps” featuring the pianist/composer Sofiane Pamart, “Malabar Princess”, “Hard” (feat. Hanni El Khatib) and “Tout résonne,” which are included in the upcoming album! Vendredi sur Mer will be supporting on stage during her 11-date American tour starting in March 2026, tour dates to be announced shortly!
The title track “Malabar Princess” sounds like a nostalgic ode to her native Switzerland and the Swiss Alps in particular. Malabar Princess marks a return to the softness and nostalgia of her early work, following a more combative phase. Born from a writing residency in Montréal, the album reflects her return to the mountains and a search for self. Sam Tiba and new collaborators Adrien Gallo and Owlle helped guide this evolution toward more organic, intimate sounds. Malabar Princess is a sincere, poetic album where the artist fully reveals herself, blending desire and truth.
“Arrêter le temps” shows Vendredi sur Mer and the renowned French pianist/composer Sofiane Pamart bringing a touch of emotion, making this piano-voice duet a breath of fresh air on the album. Blending touching lyrics and a melancholic instrumental in perfect harmony, the track feels like an open letter, destined to resonate deeply with every listener.
The new single, "Kindness in a Cup," is out now from Hélène Barbier's forthcoming 'Panorama.' The Montreal singer's latest full-length features Meg Duffy (Hand Habits) and showcases Barbier's charismatic and cool songwriting.
Panorama (from Bonsound and out in November), showcases a totally charismatic balance between intellectualism and nonchalance. Parallels may be drawn to Cate Le Bon though Barbier shifts between English and French over cool grooves and vines of guitar that wouldn't be out of place on a Television record.
What Barbier does is distinct and enviable. It's rock music but it's made by someone who is clearly a consummate artist. Beneath the artful minimalism here there is a kind of maximal meaning and emotional charge that crystallizes with repeated listens. Now we have the pleasure of sharing the second single, "Kindness in a Cup" built around a hypnotic bass line, the track culminates with sublime violin arrangements, perfectly highlighting the singer and bassist'ss distinctive vocal patterns.
Howling Bells have announced 'Strange Life', their first album in over 12 years, will be released on the 13th February 2026 on Nude Records. Having recently released their comeback track 'Unbroken', a brooding yet soaring anthem, today they share 'Heavy Lifting', a song featuring loose-limbed drums and bluesy intonation as Juanita takes aim at the entitled and the opportunist.
She explains: "'Heavy Lifting' is a hazy and grunge-fuelled declaration. Like anyone who’s worked at the thing they love tirelessly, you build up great resilience. The callouses on your hands, the muscles you’ve strengthened, the swagger in your stride. 'Heavy Lifting' is a song about the thousands of miles you walk to acquire this kind of confidence; this is not anything that can be stripped away from you".
The single is accompanied by a video directed by Orlando Cubitt. Howling Bells will return to the stage for a very special full band sold-out show at the iconic Lock Tavern in Camden on 5th November, with more live dates to be announced soon.
Ahead of tomorrow’s (24 October) release of her new reworks album, Jesca Hoop shares a new video for ‘Memories Are Now’. Tomorrow, California-born, Manchester-based singer-songwriter Jesca Hoop will release 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.
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.”
Ahead of the album’s release, today she is sharing her new version of the album’s title track, ‘Memories Are Now.’ Stripped of its original production, this reimagining lets the song’s core message stand in sharp relief - a defiant declaration of autonomy and strength. As Hoop sings, "Clear the way. I'm coming through. No matter what you say, I've got work to be doing. If you're not here to help, go find some other life to ruin. Let me show you the door."
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