This is our introduction to Enabling Behaviour and what a welcome event that is. They have a new video for 'Tarantulina' that we have included however the entire EP is definitely one to hear as the band shift across genres with creative flair whilst maintaining a distinctive identity that is quite addictive.
Some background: Cardiff-based Enabling Behaviour are back with a new EP “Electric Pop Songs” (out on 25th November 2025 via Krautpop!). The six-track collection follows the band’s 2024 debut album “GILT!” and showcases an expansion of their musical sensibilities. Still rooted in post-punk, dripping with fuzz, and giving space to Eli’s soft, idiosyncratic vocal, the EP glitters with psychedelic folk and hints at their early shoegaze aspirations.
Recorded by bass-player Billy Tucker at Vault Studios in Cardiff and mastered by Billy Mattock, “Electric Pop Songs” is released in full on 25th November 2025. Pre-orders for a limited run of CDs and cassettes are live now on Bandcamp. Enabling Behaviour are gearing up for more shows across the UK and a European tour in 2027. Enabling Behaviour are: Eli Alison - Vocals, Guitar. Will Bevis - Guitar, Vocals. Bully Tucker - Bass. Conor Havard - Drums.
Following her recent UK tour, Gwenno today shares two exceptional remixes of tracks from her universally acclaimed album Utopia. The first is by Breton producer and Mute artist QUINQUIS (aka Émilie Quinquis) who supported Gwenno across her UK tour. The two artists met when they interviewed one another earlier this year, talking extensively about preserving their cultural identities through their art. Both QUINQUIS & Gwenno sing in their native tongues: the Celtic languages of Breton, Cornish and Welsh. Here, QUINQUIS has re-imagined Gwenno’s magical album closer “Hireth” into an otherworldly reverie, delicately stripped back with an added electronic hook, alluring the listener into a dreamlike state reminiscent of the astral projection found in the original harp-led track.
Gwenno has also shared a Stone Club remix of “Dancing On Volcanoes”, the first single to be released from Utopia. A reimagining of Gwenno on the Vegas dancefloor via Cardiff and the Cornish landscape that this remix was made within. Seeking out sounds and the feelings of club nights and the transcendence of repetitive beats with a vision of future free festivals in an alternative cultural reality.
43 years into her life, Gwenno Saunders has been many people. The disaffected Cardiff schoolgirl; the teenage Las Vegas dancer; the singer in indie pop group The Pipettes. There was a turn in a Bollywood film, a nightclub tour, a stint cleaning floors in an East London pub. Long before she would become an acclaimed solo songwriter in both Welsh and Cornish, a winner of the Welsh Music Prize, a nominee for the Mercury, a Bard of the Cornish Gorsedh, there were the days of Nevada, London, Brighton; of Irish dancing, techno clubs, messiness and chaos.
London’s genre-defying group The Widows are back. Post-punk, psych, rock ’n’ roll—call it what you like. Their sound is raw enough to shake the walls and hypnotic enough to make you forget your pint (unlikely for our editor, but great PR comments nonetheless)...
Formed in 2015, The Widows earned a reputation for electrifying live shows and releases that stirred equal parts confusion and acclaim—most notably their album Popular Demand and the provocatively titled single Brexit Chainstore Massacre. After a hiatus (blame a disappearing drummer), the band re-emerged in 2023 with a revitalised line-up: Kim Le Tan – vocals/synth, Francesco Manzi – guitar/vocals, Roger Salsas – bass/vocals, Vince Johnson – drums.
Influenced by the likes of The Stooges, Bowie, The Cramps, Television, The Fall — but imitation isn’t their game. Instead, The Widows conjure shadowy guitars, psych-tinged textures, and grooves that grip hard. Songs swing between melodic and chaotic, anchored by Kim’s vocals—seductive one moment, savage the next. Having haunted Camden Rocks and other notorious events around town, The Widows now prepare to release their most ambitious record yet.
A few days in advance of the release of their debut album, Leeds-based Tulpa have a brand-new single: PSYOPs is mesmeric and infectious, with a dark nursery rhyme of a melody threaded through a gauzy mesh of guitars. What is a Tulpa? It’s a mythical being manifested into existence through the act of concentrated thought, like an imaginary friend brought to life, but (sometimes) scarier…
Tulpa are very new: nothing has been released up until now, not even a digital single. Despite this, they attracted the attention of Marc Riley & Gideon Coe, who invited the band to record a live BBC6 Music session this summer. Around the same time, Skep Wax Records were sent the finished album and knew they had to release it. Meanwhile, in the creative hotbeds of the UK’s DIY festivals and indie venues Tulpa are quickly gathering a loyal following. They have recently supported Throwing Muses, Pale Blue Eyes and Bug Club.
This album has some of the same qualities. A whole set of loud, catchy, perfectly-crafted pop songs have been conjured into existence - and want to be part of your life. Josie’s hyper-melodic lead vocals are cool and crystalline - but the lyrics are warm and human. The twin guitars create a sonic mesh, a web of textures that traps you, whether you like it or not. And yes, something scarier does lie below the surface. Occasionally the guitars force their way to the front, furious and intense. And sometimes those lyrics aren’t as innocent as they first appear. The danger, just below the surface of the songs, is maybe that’s what makes this album so arresting.
Montreal, QC-born, Hamilton, ON-based multidisciplinary artist Lisa SQ unveils her debut full-length album Reel Me In, a kaleidoscopic reflection of her late 20s and early 30s, filled with snapshots of introspection, growth, and playful sonic experimentation. Released alongside the brooding, atmospheric lead single "Teeth," the album captures Lisa SQ's penchant for turning life's sticky moments into artful, indie-pop catharsis.
"Reel Me In is kind of a sonic photo album," she shares. "It's a collection of songs that have grown from me trying to get to know myself better during a perplexing time of life. Naturally, some of the songs are moodier and more introspective, but overall I think there's a playfulness fuelling the whole thing."
Half recorded overseas on the Isle of Wight in a converted stone abbey, and half captured during impromptu "birthday sessions" in Toronto with a crew of close friends, Reel Me In embraces spontaneity, collaboration, and imperfection. The project, produced by Tyler Kyte (Dwayne Gretzky), Ian Docherty (July Talk), and David Granshaw, bridges continents and creative circles from late-night jams at Toronto's Dwaynespace to sun-soaked sessions in the English countryside.
At the heart of it all is "Teeth," a hypnotic swirl of dream-pop textures and lyrical bite. "Have you ever been crushed by the thing you love?" Lisa SQ asks. "'Teeth' is young love and falling hard. It's lapping up the poison of pop culture romance – the glamourized torment of Ross and Rachel. Bonnie and Clyde, doomed from the start."
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. They have just announced the reissues of Vega’s highly influential 1980 debut S/T solo album, in addition to its follow up, Collision Drive. Now remastered from the original tapes, and available on streaming services for the first time ever, the two albums will be 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 will also offer a companion piece Alan Vega Deluxe Edition which will be available as a limited deluxe double LP and include 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).
More About Alan Vega and Collision Drive: Alan Vega was released in 1980 at the same period Suicide released their second album, Suicide: Alan Vega and Martin Rev. Vega wanted to dig deeper into the roots of his own sonic identity, fueled by rockabilly, early rock n roll, and his enduring love for Elvis Presley. Filling the gaps between recording with Suicide, and fleshing out the songs he was writing on his own, Vega committed to producing his own songs and started performing solo shows live to develop his sound.
Following the acclaimed release of her debut album, Í Ævir (“Forever”), Faroese artist Elinborg released her new single, “Blood,” (November 21) via Embassy of Music. “Blood” is the highly anticipated English version of the album’s standout track, “Blóð.” This rare shift into English allows Elinborg’s growing international audience to fully connect with the deeply personal meaning of her writing, which has previously been sung entirely in her native Faroese.
On the single she shares, “I chose to release an English version of my song “Blood” not only because it holds a very special place in my heart, but also because I wanted to explore how my sound might change when I switch languages. I’ve always been intrigued by different languages, and even though Faroese has a special place in my heart—and I’ll absolutely continue writing in it—I think it’s important to grow and evolve as an artist. That’s why I wanted to try releasing English versions as well: to reach a more international audience, but also to add new colors to my artistic world.”
Building on the sound she introduced with her recent dark wave releases, Elinborg continues to assert herself as one of the most distinctive new voices in the Nordic scene. Her unique position lies in her poetic lyricism, which bridges the ancient and the modern, carrying a rare language through a futuristic sonic world. With management by FlyingFox AB and the backing of Embassy of Music, the release of “Blood” is an invitation for listeners worldwide to dive deeper into the tides of sound and emotion that define Elinborg’s darkly poetic universe.
Static Lives have announced a brand new single, 'Modest' as the band, founded by Sheffield pop artist Lori, officially join London's Criminal Records label.
Their new label tell us "We're delighted to welcome Static Lives to the label roster" announced founding artist The Kut. "It's no secret that Lori is a prolific writer and all round gem, we're all big fans and look forward to sharing what the band's working on in the studio."
80s-inspired, the single and indeed the project are quintessentially electro rock, with the addition of hypnotic haunting melodies and driving beats. The single is featured on Apple UK & International 'Hard Rock' Editorial playlists this week and sure to mark the beginning of a wave of new music for the band.
Acclaimed indie/folk force The Lone Bellow have announced their long-awaited new album What a Time to be Alive will release on February 13th. Recorded in Muscle Shoals and written/recorded collaboratively for the first time with the band’s full touring ensemble, the album marks a whole new chapter for the Nashville by-way-of-Brooklyn trio, as they break fresh sonic ground with ecstatic arrangements that crackle and hum with all the energy and firepower of their acclaimed live show. The result is their strongest, most exhilarating, and cohesive record to date. The band also unveiled their new single “You Were Leaving,” a stunning track that comes to terms with the fleeting transience of life, along with an official video.
“This record encapsulates everything we love and respect about each other,” stated Zach Williams. “It’s a snapshot of the friendships we’ve built over the last decade-and-a-half, of how far we’ve come and how much we’ve grown.”
The announcement of the new album arrives after months of teasing new music, kicked off by the “harmony-rich” (No Depression) “Common Folk,” a heartfelt ode to the quiet strength of everyday people that blends vivid storytelling with anthemic melodies and the band’s signature tight-knit vocals. It was followed by “No Getting Over You,” a track that finds The Lone Bellow at their most raw and unguarded.
This weekend, Blooming Fire have released their debut album, riPPle eFFect. The album comes triumphantly after the release of singles “Queen”, “Alien”, “Angel”, “TK”, and “Waterfalls”. A journey through healing and achieving catharsis, the new album is now available on all streaming platforms.
Clocking in at just over a half hour, riPPle eFFect features a mirage of melodies containing soul-searching beats and hypnotic vocals by lead singer Sierra Madre. At its core, the elements of nature (most notably water, wind, and fire) play a key role in piecing together the album’s central themes. One of the album’s highlights “QUEEN” focuses on achieving self-love and owning your true beauty. Motifs like this make riPPle eFFect a sonic treasure to hold close to the heart.
Madre’s vocal chops lend comparison to Lana Del Ray or Florence and the Machine at times, though cutting a more jagged tone with the accompaniment of Ian Nagay’s rhythmic flow. Together, the two create a type of album that sonically pays tribute to the likes of Gorillaz or even Linkin Park. Other guests on the album spruce up the overall vibe include Christopher Thorn (Blind Melon) and Peter DiStefano (Porno for Pyros).
Sierra Madre of Blooming Fire speaks in further depth about the new album: “Our album is grounded, spiritual, revolutionary, and intimate all at once.The lyrics convey how nature is a symbol for freedom and healing. There is a lot of discussion about cleansing, transformation and letting go and this is represented by different bodies of water like the rivers, waterfalls and rain. Nature is peace, clarity, renewal, and escape from chaos”
The cult London psychedelic scientists have quite a history…founded by Dave Mclean and Paul Lake in 1987, The Chemistry Set's discography now stands at 54 releases and, since their comeback in 2008, every single and album have 'sold out' on release. For some inexplicable reason, they’ve given Fruits de Mer exclusive rights to pretty much everything they’ve released since they got back together – in fact, we created the ‘Regal Crabomophone’ label specifically for the band; this is their new single...
Over to Dave McLean “The lyrics are kind of a continuation of an earlier Chemistry Set song, 'Paint Me A Dream', with lots of visions from the skies, surrealism and a bit of comedy. A man takes a tab of (STP) LSD which was the variety known in the 1960's as STP (and the tab had the STP motor oil decal on it). We are making a video and will have the STP typography but transformed into LSD …then the trip begins.......stars fall on the house, moonlight beaming, heart racing, rapid breathing, his eyes are open to new sensations. Then celestial beings appear from the sky with gleaming robes and golden eyes, all around him they appear but tell him not to fear. A good old fashioned psychedelic trip!" The other song on the single is The Tragic Fridge Magic and that's another story.
The Burning North is a collaboration between songwriter Thomas Siering and drummer prodcuer, Marco Giovino. The two have worked together on multiple projects in the past, but The Burning North, both the band and the album could very well be their finest. An album anchored by the impeccable vocals of Wendy Drown, Marco’s production and Thomas‘s heartfelt lyrics. The record explores a wide swath of styles and subject matter.
Siering says of the band and the album: I met Marco (Giovino) a dozen years ago through the great Nashville singer Elizabeth Cook. Marco was playing the drums for her, but then again, Marco has played the drums for just about everyone; Robert Plant, Alison Krauss, Kris Kristofferson, and Sir Tom Jones to name a few. We worked together on four records with Rebecca De La Torre, a couple for The 81s with Tim Carroll and the After the News album with my friend Addi McDaniel.
In 2018, we also released an Elmore James tribute collection, Strange Angels ~ In Flight with Elmore James, with tracks by Jamey Johnson, Sir Tom, Warren Haynes, Billy Gibbons, Bettye LaVette, Rodney Crowell, Keb’ Mo’ and others. It garnered significant praise for its artistry, authenticity and assemble of players. Also, Marco’s mono production received particularly glowing notice.
The material for The Burning North was originally conceived as a bit of a concept album. When we brought Wendy (Drown) on board, you could hear her instant emotional attachment to the material. She really owned it. You felt like she had lived it. The record shines because of that. This album has diverse musical styles and it explores the expanse of human emotion but hopefully it ultimately feels like a coherent story, held together with gripping urgency and Marco’s impeccable production.
Kugger's third album with Bark At Your Owner, is a Interglacial theme album, that runs through the singles and stand alone ep. Featured artist are Svart Tulpan and Red Cell from Stockholm, Sweden. Bark At Your Owner Manifest - We want to bite the hand that feeds us, albeit gently. We bark and laugh in the face of conservatism! Bark At Your Owner (BAYO) advocates an inclusive and equal music industry where zero tolerance towards harassment and discrimination is the basis. We live in interglacial times. Interglacial times are unstable times of great change.
Change is the only constant in nature, without it, things stagnate and freeze. After a great freeze comes a thaw, but when things heat up too much, we seek colder climates. The great change is upon us, like a glacier it has been advancing slowly towards us, but now it's calving in front of us, it comes crashing down upon us, sending shockwaves not just through the muddy glacial waters of the music industry, but through every corner of human intuition and artistic creation. We're heading to an AI glacier maximum, where the machine will replace the human mind. But the machine is dead, the machine is cold, the machine is frozen. If we are to survive as artists and as humans, we'll need to learn to live side by side with the machine, carving out warm, creative valleys between the machine's frozen outlet glaciers.
This is the first time I've had to state this, but it won't be the last; no AI was used in the creation of this album. Every note was placed where it is by the human hand, guided by the human ear, dictated by the human mind. Enhancing the humanness of the album is a Swedish legend, Anders Ericsson, known from Lustans Lakejer and a former member of Ubangi. Anders now operates under the moniker Svart Tulpan, and as far as I know, he's not AI, but I've never met him, so I can't say for sure.
Anders did an amazing job, bringing warmth and emotional depth to three of the songs; There's no reason to be afraid, Doesn't mean you can't dance, and the title track. As usual, my human friend and longtime collaborator, Henry Barboza from Henryaudiouk.com mixed and mastered the album, and as per usual, he did an outstanding job.
The latest single from UK post punk heroes The Jack Rubies is “Greedy” and is on all digital platforms worldwide. It's an energized and timely slice of noir-tinged rock that show the band continuing its 21st Century resurgence after the acclaimed 2023 comeback album Clocks Are Out Of Time… and sets the stage for their fourth full-length LP, due on Vinyl and CD from BSR in January.
Stand by for more news on the forthcoming album Visions In The Bowling Alley. From a declamatory intro quote that tags the mysterious power of Parmesan cheese, the band launches in with up tempo glee, peppering the riff with globs of call and response vocals before hitting the sing-along chorus, where a melodious kalimba and the guest vocal harmonies of Annabel Wright join the mix. A somewhat feral synth solo grabs the tune by the scruff of the neck before the group barrels on to the finishing line with hand claps and monkish “aah”s to the fore.
Anja Churchill invokes the laid back elegance of Gabi Hartmann, and soft strength of Arooj Aftab, while reshaping a classic song of the French cannon into a nostalgic requiem for the past. Sung in hushed French, this version of a classic French chanson walks the line between folk intimacy and jazz minimalism, quiet, cinematic and disarming. Anja's vocals are delicate and unwavering, floating over sparse jazz-inflected piano chords, and an anchoring bass line.
Inspired by alt pop French artists of the moment, Zaho de Zagasan and November Ultra, with Swedish co producers Micke Lyander (Cardigans, The Ark) and Erik Ronström (Lena Jonson Trio), helping to bring her vision to life, Anja bends genres and creates an emotive dreamscape which transcends language.
Anja Churchill is an American-Swedish singer-songwriter who weaves raw storytelling with an ethereal, transportive voice. Shaped by a lifetime of chronic illness and multiple near-death experiences, her music carries a rare depth that's attuned to introspection and the unspoken. With a background in world music and sound healing, Churchill has spent over a decade crafting sonic landscapes that draw listeners into dreamlike spaces.
In 2022, she relocated with her family from Los Angeles to Gotland, a remote island in the Baltic Sea, where she wrote her debut EP, Children of the North. Her sound is intimate and expansive, drawing inspiration from 1960's folk, jazz, and world music. Anja splits her time between the island of Gotland and the south of France.
In a groundbreaking musical partnership that has been decades in the making, Frank Popp Ensemble announces the release of "Right Before My Eyes," featuring the Modfather himself, Paul Weller. This historic collaboration marks Frank Popp as the first German artist to work with the legendary British musician on an original track, uniting two distinctive voices across generations and musical traditions.
The track is nothing short of sensational. Weller's unmistakable voice cuts through with raw emotion, delivering lyrics that confront the uncomfortable truths of our time, while his signature guitar work weaves through Frank Popp's lush, sophisticated production. Popp's approach here showcases his evolution as a producer – layers of vintage soul instrumentation, carefully crafted arrangements that recall the golden era of Northern Soul and Funk, yet polished with a contemporary sheen that makes every element shine. It’s an electric meeting of minds, uniting Weller’s socially charged, genre-defining artistry with Popp’s cinematic production, timeless grooves, and uncanny ear for the perfect hook that has established him as a fixture of Berlin’s music scene.
Lyrically, Weller tackles the escalating injustices unfolding across the world – people forced to flee their homes, systematic exploitation, endless wars waged in the names of governments and religious leaders who have lost all touch with reality. The song's title captures the unbearable irony: all of this horror is happening right before the eyes of the world, in plain sight, yet continues unabated. It's the kind of unflinching commentary that has defined his entire career, from The Jam's working-class anthems to his ongoing commitment to speaking truth through music, bringing the weight of fifty years of experience and conviction to every line.
For Frank Popp, this collaboration represents the fulfillment of a lifelong musical obsession. As a teenager in 1980s Germany, he discovered The Jam's explosive energy through tracks like "That's Entertainment" and "Town Called Malice." Soon after, he was dancing wildly to The Style Council's "Shout To The Top" in Hilden's small-town disco JWD, attempting to impress girls with the smooth sophistication of "My Ever Changing Moods." Weller's solo work continued to haunt his imagination, with "You Do Something To Me" serving as a direct inspiration for this collaborative masterpiece. "It is an incredible honor for me to be able to work with this icon of music history, the 'Modfather'," Popp explains.
Danger lurks amid the lights of the funfair in the 1950s carousel whirl of 'The Gallopers', Would-be-goods brand new single out this week. The album 'Tears Before Bedtime' is out on 13 February 2026.
Tears Before Bedtime is the sparkling new album by the Would-be-goods, Jessica Griffin’s band of pop adventurers. Since The Camera Loves Me, their cult classic 1988 debut for the legendary él Records, they have blazed a musical trail through indie guitar pop, with a garage band edge and forays into other territories - glam rock, tango, French chanson… The result is unique and timeless.
The songs on Tears Before Bedtime balance delicacy and power. Perfect pop melodies are delivered in Jessica’s gorgeous and idiosyncratic voice. Her lyrics are intelligent and wry, wistful and witty. Every song tells a story, taking us on a journey through space and time, from belle époque Paris to a 1960s London biker café, from a riverbank in ancient Greece to a 1970s teenage bedroom.
”A New Reign”, White Birches third album, is out now. Available on all music platforms as well as on CD and as a special edition white vinyl. We are so pleased to be able to feature this creative new album in full, having already shared two tracks in the last couple of months, in our opinion anyone remotely interested in the dark wave genre or seeking an introduction should give this duo a good listen, we are mightily impressed.
White Birches tell us ”It has been a long journey since When the Street Calls, but we have been working on new music the whole time. Now that we feel ready to release an album again, I want to believe that we have developed an even stronger expression. An identity that is unmistakably White Birches and that resonates and moves,” says Fredrik Jonasson.
Some background on White Birches who are described as "mixing alarming guitars and dissonant synthesizers with haunting pop melodies". The dark wave consists of Jenny Gabrielsson Mare, who handles vocals, guitar, and piano, and Fredrik Jonasson, who works with synths, drum machines, and keys. Known for their evocative songs and uncompromising live performances, the duo continues to push the boundaries of the genre, where alarming guitars and dissonant synths meet haunting pop melodies.
Laura Durdey is an exceptionally talented songwriter and multi-instrumentalist, who began Posturing as a “bedroom project”. With “ephemera” she shows us that she’s also a magician. Just wait until the trumpet kicks in - it’ll give you chills. With “ephemera” she has created a joyous collection of songs, each composed with the care and skill of a master.
She describes the EP as "Despondent ballads from an optimist with themes of loss, nostalgia and forward motion. Posturing combines traditional songwriting inspired by the likes of Carole King with a droned soundscape that cushions the record and emulates the noise of a busy brain."
Though some of the themes are darker in nature the musicianship and poetry keep even the saddest of the songs buoyant and uplifting. Each side of the five track EP has been curated for the listener to experience from start to finish with beautifully crafted interludes that carry one song into the next.
As a band, Posturing, offer a captivating live show, not least because of Laura’s stage presence. Oozing with musicality she harbours a deep, soulful voice with impeccable pitch and then there’s razor sharp wit wrapped up in a dazzling smile.
Vancouver’s purveyor of melodic grit and garage-pop heart, Alex Little, releases her new EP Spider in the Sink on Light Organ Records, the indie-focused imprint of 604 Records launched by Jonathan Simkin. Fans of Wolf Alice, Sharon Van Etten, Blondie, The Preatures, and Amy Winehouse will find plenty to love in Little’s mix of raw emotion, soul, and fearless honesty. Written and performed with guitarist and partner Adam Sabla and produced by James Younger of Yukon Blonde, the five-song collection sharpens her sound into something rawer, leaner, and more self-possessed. It’s a record that drags fear into the light and finds melody in the mess, full of songs that pulse with defiance, reflection, and soul in equal measure.
Across Spider in the Sink, Little writes like someone who’s fought her way back to solid ground. “My brain is not a friend, it is a bad enemy,” she sings on the title track, confronting her own anxious cycles with clarity and dark humor. “Forever” glows with self-realization — “I finally figured out that there’s actually nothing wrong with me” — while “Finally Safe in the World” offers the record’s quiet triumph, its chorus lifting like a breath finally exhaled. Every track moves with emotional muscle, the kind that comes from living through it and putting soul before polish.
“Spider in the Sink is about so many things,” Little explains. “I think most importantly it’s about taking back your own power, a power that you always had but didn’t use. It’s also about gaining strength through motherhood, and the importance of surrounding yourself with people who evoke the most genuine and positive version of yourself. Although I’m in a good place, I still struggle with anxiety every day, which I also speak about on the EP. It’s about acceptance of your true self as a whole, the past and all the horrible and good things that happened to get you to where you are now.”
Mind the Moon is a singer-songwriter known for her honest, emotional songs that live between indie folk and alt-rock. “Side by Side” captures the feeling of standing still while everything around you moves.
The lyrics reach for connection in the face of time passing, touching on love, memory, and the quiet ache of holding on to a moment frozen in time. It’s a song that holds space for the things we can’t keep, but never really lose.
Indiana-born, Nashville-based rising star Stephen Wilson Jr. releases his new single “Gary” via Big Loud Records, kicking off the beginning of a new era following his massively successful 2023 debut double album søn of dad. The slow burning rocker builds to a propulsive peak, combining Wilson Jr.’s grunge influences with his signature lyricism that touches upon modern life in Middle America.
About the song, Wilson Jr. explains: “Gary, a dying breed, perhaps I pray not, we are going to need our Garys, y'all. Our Garys are going extinct, much like the polar gare. I believe we need to save them. It's gonna be a Gary, scary world without them. Where I come from, the Garys get it done. And when your septic tank blows, I do not believe AI will show, but I believe a guy will. And there's a good chance his name's gonna be Gary.”
The critically acclaimed Massachusetts quintet Winterpills returns with their first album in nine years. This Is How We Dance deepens their catalog of elegant chamber pop that’s “haunting…downright glorious when the harmonies start, as crisp and shining as crystal” (The Washington Post). Consummate masters of the slow burn, Winterpills have nurtured a singular aesthetic over the course of their 20 years together: lush and often gritty instrumentation, poetic and vulnerable lyrics, celestial harmonies, and cinematic arrangements that stealthily pull you in.
Boston music blog, If It's Too Loud praised, "Lean in the Wind," is a perfect reintroduction to the band. It's gorgeous chamber pop that also reaches into the world of dream pop, and is slightly folk adjacent. As with virtually any song from Winterpills, the true magic comes from the vocal harmonies between Flora Reed and Phillip Price. Those combined with the jangly guitars leads to an almost dreamlike state felt while listening to "Lean in the Wind." Welcome back, Winterpills. We're thrilled to have you."
Emerging from the hiatus of the pandemic, Winterpills dove hearts-first into crafting the album's 12 songs, in a string of inspired creative sessions in the band's living rooms and basements. The resulting album feels at once personal and universal, and showcases the evolution of a band still restless and exploring new ways to collaborate. Teaming up with producer Dave Chalfant––who had a production role in the band's first 2 albums––brought the new record full circle.
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