Every Friday, Atwood Magazine’s staff share what they’ve been listening to that week – a song, an album, an artist – whatever’s been having an impact on them, in the moment.
This week’s weekly roundup features music by Mint Simon & Tafari Anthony, Tasha, Sydney Jo Jackson, Ananya, mer marcum, HANNAHBELLA, Winter Gardens, Raue, The Safest Place, Lorensa, Choses Sauvages, 45ACIDBABIES, Zanski, Heather Nova, Riaan, Maria Rosa, Famous Friend, Bobby Freemont, Dan Arwady, Winyah, Levi Robin, Sleeper’s Bell, The Neon Sea, Asher Moss, and Morgan Visconti!
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follow WEEKLY ROUNDUP on Spotify
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:: “Feel Better” – Mint Simon & Tafari Anthony ::
Mitch Mosk, Beacon, New York
“Are you gonna be the one to make me feel better?” It’s not a plea – it’s a challenge, a dare, a spark of reckless hope wrapped in electric anticipation. Mint Simon and Tafari Anthony channel the rush of desire, the thrill of a new connection, and the simple, urgent need to shake off the weight of the world – if only for a moment – in their new single. Released February 12th (just in time for Valentine’ Day), “Feel Better” is pure, unfiltered escapism by way of romance – a song that grabs you by the hand and pulls you onto the dance floor, no questions asked. Wrapped in glossy synths and infectious melodies, Simon and Anthony create a neon-lit, heart-racing, all-in surrender to the kind of love that doesn’t need forever; it just needs now.
Running out of emotions, I’m just tired
I just saw the ocean’s still on fire
It must be nice to feel desire
It’s been awhile
Lost in the quiet of my mind
Will I catch up or fall behind?
Looking for something
to cut through the nothing
To feel alive
“The second I heard Tafari’s voice I was hooked, immersed, and needed to sing with him,” Simon tells Atwood Magazine. “We connected on social media first, and the second we could break free from lockdown we met up in Toronto for our highly anticipated session. I was definitely nervous to be writing and singing with T, but the song flowed out of us so effortlessly. I had worked with Derek Hoffman (producer) on the Caveboy album, and was so excited to get back into the room with him with my own project, trusting his blend of vintage and modern.”
“Still sorting out my own ‘sound,’ this song really allowed me to enjoy the songwriting and the singing, reminding me of how great it feels to connect with another artist. Using generic romantic tropes and tapping into the loneliness that can sometimes come with being a queer person in romance, this song gave us a space to get back to the core of our wants and needs. Though we have different experiences, Tafari and I could really connect as queer people in love and loss and heartbreak, and just existing – and when it comes to the feeling of the end of the world, who’s gonna be at your door? I’m so excited for people to hear the blend of our very different voices coming together to make a completely unique sound. So happy to have ‘Feel Better’ live in the middle of this new duet music era.”
Drive into the sunset
Flowers and chocolates
Baby i’m ready to go
Even if it’s perfect
Love on the surface
Now that you’re at my door
I just wanna know
Simon and Anthony’s collaboration was built on an instant creative spark – something Simon felt right away, and as Anthony recalls, the feeling was mutual.
“I had known of Mint from Caveboy, and we eventually connected on socials once they started their solo project,” he explains. “I think we were both fanning over each other and one day Mint mentioned they’d be in Toronto and would love to do a session. So of course I said yes!”
“Being in the room with both Mint and Derek was super nerve-racking,” he adds. “I write a lot mostly on my own. I had just started to get into co-writing more and then the pandemic hit. Regardless of all this, it felt really natural the three of us working together. Mint’s voice is iconic and to hear them singing in the room was an experience in itself. Derek’s production always gave me the best of pop and alternative and he did not disappoint in the session either. I was just in awe of watching them both work. The song came together pretty quickly from just getting to know each other on the day.”
Are you gonna be the one to make me feel better?
Are you gonna be the one to help me forget?
I don’t need ya trying to rescue me no baby
I just wanna feel better
So make me feel better
I just wanna feel better
Casual mess did me just fine
Giving me comfort through the night
Boys will be boys but I’m tired of hoping
I’m sick of the noise
An intimate, exhilarating anthem of love and romance at the end of the world, “Feel Better” is a sun-kissed revelry – upbeat, seductive, and irresistibly feel-good. It’s the kind of song that’s sure to put a smile on your face and an extra pep in your step. Mint Simon and Tafari Anthony capture the magic of living in the moment – of letting go, diving in, and chasing the kind of connection that makes everything else fade away. With its infectious energy and undeniable charm, “Feel Better” isn’t just a song; it’s an invitation to escape, to surrender to the rush, and, for just a little while, to feel better.
Drive into the sunset
Flowers and chocolates
Baby i’m ready to go
Even if it’s perfect
Love on the surface
Now that you’re at my door
I just wanna know
Are you gonna be the one to make me feel better?
Are you gonna be the one to help me forget?
I don’t need ya trying to rescue me
No baby i just wanna feel better
So make me feel better
I just wanna feel better
:: “The Beginning” – Tasha ::
Sophie Severs, Boston, MA
It is now March. In the third month of the year, we find ourselves on the precipice of Spring; the birds are singing once more, and a gentle breeze replaces the brusque blasts of winter winds. It was on a night before these signs of spring’s imminent apotheosis that I heard Tasha play “The Beginning” in Bushwick.
There, jam-packed like a sardine amongst my fellow concert goers, I watched as Tasha strummed out the opening chords of her short (but effervescently sweet) set. I was transfixed. “The Beginning” is a sign of burgeoning new possibility; “this is not the end, it’s just the beginning,” she sings over snappy drums and steadily paced guitar strumming. “I’ve been trying to be more forgiving / Buy some flowers just for something pretty” … I let the lyrics wash over me…
What could be more beautiful than possibility; more motivating than hope itself? Even in the midst of darkness, what could be more strengthening than the love we get from our community? Tasha deftly taps into these themes, thawing winter melancholy with the warm, flickering flame of soft — but sure footed — optimism. Let this song guide you out of winter and into the light of spring, into the new beginning that we all crave.
:: “You Should Be Here” – Sydney Jo Jackson ::
Joe Beer, Surrey, UK
Birmingham-born, London-based artist Sydney Jo Jackson transports listeners back in time with her latest single “You Should Be Here.” As she takes the best parts of old-school soul and blues, and mixes it with fresh and modern production, the result is a captivating sound that’s both nostalgic and contemporary. With her rich, soulful vocals and emotional delivery, the new single is a timeless and sultry slow burner.
Disguised as a heartfelt, romantic release, “You Should Be Here” actually delves into themes of addressing personal flaws and breaking toxic cycles. Using songwriting as a form of therapy, Jackson is able to take accountability for her own actions and confront the ups and downs of personal growth. The outcome is a song that while rooted in vulnerability, is surprisingly uplifting. “You Should Be Here” offers a sense of empowerment that encourages listeners to reflect on their own lives, delivering a uniquely positive and feel-good energy and turning a deeply introspective moment into an anthem of hope and healing.
:: “All That Glitters Isn’t Gold” – Anaya::
Josh Weiner, Washington DC
Since the late ‘90s, “all that glitters isn’t gold” has been common wisdom, courtesy of Smash Mouth and their signature song, “All Star.” Yet it remains sound advice, and worthy of building a song around, at that. The latest artist to attempt that much is Anaya, originally from Zimbabwe and now based in London. Her approach to this saying is quite distinct from Smash Mouth’s free-for-all alt-rock, moreover, as she’s elected to mix indie pop and gentle piano-playing on her first single of 2025.
“Some lessons hit harder than others,” she explains. “This song is one of those realizations that lingers for a while after the moment’s gone. It’s about looking back at something (or someone) you once thought was special, only to see the cracks you ignored.” It’s impressively mature songwriting material for a developing young artist, and one can hope that she’ll be back with more of it soon enough with the follow-up to her 2023 debut album, i woke up one night, currently in the works.
:: “Junkyard Dog” – mer marcum ::
Mitch Mosk, Beacon, New York
Are we born a certain way, or do we become the people we are through circumstance, conditioning, and the weight of generational history? Mer Marcum’s raw and aching “Junkyard Dog” leans heavily into the latter, wrestling with the idea (or rather, the fear) that we are shaped – if not entirely made – by those who came before us. Released as both a song and, initially, a poem, the Texas-born, Brooklyn-based singer, songwriter, and producer’s first release of 2025 unpacks cycles of pain and survival, asking whether we are doomed to repeat the past or capable of breaking free from it.
i think you made me made me this way
shaking my leg and looking for someone to blame
i think you hate me for taking your place
i’m meaner than a junkyard dog
that’s what you’d say
somebody made you this way
yelling at the moon at the end of the day
somebody made me this way
scared that we’ll always be the same
“‘I’m meaner than a junkyard dog,’ said my grandfather to my father and my father to me,” Marcum tells Atwood Magazine. “When writing this song – which was first published as a poem in a zine from which the proceeds went to Safe Horizon, an NYC-based victim assistance organization – I was thinking about this image of a dog: A reflection of its owner and a product of its mistreatment. In the end, that is how I came to see my father, and eventually myself. This sentiment then inspired the hook of the song, ‘somebody made you this way.’”
i always come back
back to this mess
put hair inside the wound
you always f*ing knew what’s best
somebody made you this way
yelling at the moon at the end of the day
somebody made me this way
scared that we’ll always be the same
mer marcum unravels through a performance that is as gentle as it is dramatic, balancing hushed vulnerability with a simmering intensity that underscores the song’s deep emotional weight. “Junkyard Dog” isn’t just a reflection on inherited pain; it’s a reckoning, a desperate attempt to understand, and perhaps even escape, the cycles that shape us.
With each haunting refrain, marcum gives voice to the fear of becoming what we swore we never would, leaving us to sit in the tension between fate and free will. It’s a song that lingers long after it ends, not just in melody, but in the questions it forces us to ask ourselves.
:: Parasite EP – HANNAHBELLA ::
Danielle Holian, Galway, Ireland
HANNAHBELLA’s debut EP Parasite is a striking and fearless exploration of the darker corners of the human psyche, melding glitchy hyper-pop, techno beats, and alternative rock into a genre-defying sonic landscape. Produced with the brilliant Jessica Richardson (WhenTheBeatIsBad), the EP captures a raw, emotional intensity that speaks to themes of depression, anxiety, grief, and loneliness. Yet, amid the chaos of these heavy topics, HANNAHBELLA weaves a thread of resilience and hope, offering listeners a space to confront their own discomforts and find solace. Standout songs include “I like to tell myself” and “Oh My Goodness.”
Already making waves on prestigious Spotify playlists like New Music Friday and Misfits 2.0, Parasite is a bold, cathartic declaration of an artist unafraid to embrace the messy, complex nature of human emotion. With its unapologetic honesty and vibrant, purposeful chaos, the EP provides a musical refuge for those who seek to feel understood, making it an unmissable journey into the heart of vulnerability.
:: “Anthropocene” – Winter Gardens ::
Danielle Holian, Galway, Ireland
Winter Gardens return with their haunting new single “Anthropocene” a brooding and immersive preview of their forthcoming EP Uncomfortable/Unlovable. Layering celestial vocal harmonies over a dense and cinematic fusion of synths, pianos, and shoegaze-driven guitar, the track pulses with an urgent post-punk energy that feels both hypnotic and unsettling.
The dynamic interplay between Ananda Howard and Jasmine Ardleys’ vocals drifts like a spectral presence over the song’s intricate textures, reinforcing its thematic weight – an introspective reckoning with humanity’s relentless pursuit of gratification at the planet’s expense. Engineered by Luke Marsden and mastered by Andy Miles, “Anthropocene” is a striking sonic statement, seamlessly marrying ethereal beauty with a sense of existential unease, making it an essential listen for fans of atmospheric, thought-provoking music.
:: “Escape” – Raue ::
Mitch Mosk, Beacon, New York
It’s the raw rush of energy that hits first – in the form of crushing guitars and pounding drums. Raue’s first song of the year is a heavy alt rock reckoning: The kind of onslaught that barrels down on the ears and soul all at once. Released February 27th, “Escape” is a sonically and emotionally charged eruption of grief by way of sweltering, smoldering, all-consuming grunge.
It’s an instantly memorable introduction to the Californian duo of Paige Kalenian and Jax Huckle, and one that signals a strong year ahead as they look to follow last October’s six-track …Or Forever Hold Your Peace EP with the four-track EP too scared to explain, an unapologetically intense record they describe as “vulnerability through a poem.”
“I want listeners to feel like we’re unmasked – raw, relatable, and real,” Kalenian says.
stuck in my head
I still see you there
now when you laugh
youth leaks through where time stood you still
pray one day that you’ll come back
“Escape” evokes all three of these feelings and more as Raue roar to life, unleashed and unfiltered, evoking alternative rock titans like Stone Temple Pilots, Soundgarden, and The Smashing Pumpkins while giving the music their own searing, soul-baring spin. Kalenian’s passionate performance is made all the more memorable by her achingly intimate, evocative, and wistful lyrics:
waiting for the big escape
can’t hold the hand that they commemorate
waiting for the big escape
it’s cold and surreal
“‘Escape’ had been in our demo rotation for at least a year before we felt confident taking it to the studio,” Kalenian explains. “It wasn’t a song that just wrote itself. Its roots are an early recording containing a slow, solemn, distorted riff over which I tracked an incoherent vocal part. The final master is still reminiscent of that first demo, but in such a subtle way that most people might not immediately catch or be able to connect the two.”
salt on my lips
petals rest with your skin
I hear your voice whisper through leaves
feel you in the breeze
look up to see you’re not there
“Escape” is a cathartic outpouring – a song that seethes and soars in equal measure, channeling grief, longing, and the restless ache of memory into something visceral and unshakable. With too scared to explain on the horizon – out May 9 on (Dis)harmony Recordings – Raue prove they’re unafraid to lay it all bare, forging a sound that is as unrelenting as it is deeply, devastatingly human.
waiting for the big escape
can’t hold the hand
that they commemorate
waiting for the big escape
it’s cold and surreal
waiting for the big escape
can’t hold the hand
that they commemorate
memorized the feel
it’s cold and surreal
:: “Super F*ing Whatever” – The Safest Place ::
Christine Buckley, Connecticut
The Safest Place, featuring Louis Adams and Johnny Bond, is back with new single “Super F*ing Whatever,” a rumination on life’s “illest woes.” The track debuted Friday on BBC Introducing as Super Super Whatever for the public radio crowd. Consistent with many The Safest Place previous releases, the dark rock track brings a menacing take on the world and its problems. Here we’re encouraged to be like the song’s protagonist, “accepting life and its illest woes” even though the financial outlook “ruined [our] Cheerios.”
A funky bassline underpins mysterious ambient guitars, which rise on the chorus into an eerie wall of sound and a wailing riff from Bondy. Adams again channels Bowie with a bit of Ric Ocasek popping up on the verse “Cool it, cowboy! / There’s enough to go ‘round / Some days you’re up / Some days you’re down.” The Safest Place has said their music “paints a world in the grip of its own wronging,” which in this case seems to have resulted in complete disengagement, a cry of (super f*ing) “whatever” to the world.
Those in the UK can see The Safest Place in two special shows in Newcastle and London next week, where they’ll be joined on tubs by Bondy’s fellow Catfish and the Bottlemen escapee, Rob (Bob) Hall. Tickets and info here.
:: “Shoot u” – Lorensa ::
Grace Holtzclaw, Los Angeles, CA
Los Angeles based artist Lorensa is a sheer force of nature on her latest single “Shoot u.” Written about facing our fears and embracing our flaws, the single inspires us to make peace with ourselves. Instead of resisting change, Lorensa surrenders to it and accepts herself for who she truly is.
“Shoot u” is filled with vibrant harmonies, lush beats, and plunging bass lines that break through the surface of the track. Lorensa sings, “What goes around comes around / Shoot you down, shut your mouth.” Reminiscing on how karma always catches up to us, “Shoot u” serves as a reminder to move through life with intention.
Lorensa is preparing to release her upcoming full length album The Birth Of Lorensa. Fittingly, the album was inspired by Botticelli’s The Birth of Venus and is set to explore Lorensa’s ideas of love and beauty. “Shoot u” is only just the start for Lorensa with big dreams looming on the horizon.
:: “Cours Toujours” – Choses Sauvages ::
Josh Weiner, Washington DC
I had another great ski trip across Quebec last month, and wrapped it up with a short but enjoyable stay in Montreal. It was enough time to see some of the key sights around town (Mont Royal, Parc La Fontaine, Vieux-Port and Grande Bibliothèque among them), as well as catching a great live jazz show at the Upstairs Bar & Grill. I’m hoping to be back in June for the Jazz Festival, but I’m thirsting for some local tunes that’ll tide me over in the meantime. And sure enough, “Cours Toujours” by Choses Sauvages is just what le docteur ordered for me in that respect.
This group has been around for close to 10 years and has been helmed by Montreal native Félix Bélisle throughout that time. They’ve already put out three singles in advance of their upcoming album, Choses Sauvages III, and the latest one is anchored by (in their own words) “a whistling chorus and tight percussion, which generate both a sense of urgency and an irresistible desire to dance.” The lyrics largely encapsulate the feeling of wanting to escape and be free, and according to frontman Félix, it’s meant to evoke the feeling one receives when they “[identify] a problem at the core of their being without being able to explain it.”
I can say that I very much enjoyed the song in its own right– the multi-textured, drum-and-chimes-oriented soundscape was a total pleasure to send seeping through my ears– and for me personally, it’s great to find a way to stay culturally connected to my beloved Montreal in some form or other. Merci pour cela, les gars!
:: “Running In2 U” – 45ACIDBABIES ::
Rachel Leong, France
45ACIDBABIES are an up and coming Dutch group blending a mixture of personalities, sonic sensibilities, and creative storytelling styles. What arrives is a playful melange of dripping synths and driving vocals, addressing subject matter like conformity, authenticity and identity. ‘Running In2 U’ is a colourful universe, blending pop, electronic and alternative influences. The track begins on a video game-like trill, descending into buoyant production and dystopian soundscapes.
Blending exuberant colours with unique sonic tendencies, the wider record by the band, Paint The World Pink is a refreshingly daring statement of our current state of affairs — and the record is a call to all underdogs of our culture, a testament to breaking bounds, empowerment and authenticity.
:: “Canines” – Zanski ::
Mitch Mosk, Beacon, New York
There’s a heavy weight pressing down on every syllable of Zanski’s “Canines” – a slow-burning ache wrapped in poetic imagery and restless self-examination. The song’s opening lines – “She’s been calling / And I’ve been absent” – immediately establish a sense of detachment, regret, and avoidance, setting the stage for an emotionally fraught meditation on disconnection and internal turmoil. Over a backdrop that moves in deliberate slow motion, the Toronto-based artist’s lyrics unravel like late-night confessions, grappling with isolation, fear, and the struggle to maintain meaningful connections.
“The song was inspired by snapshots of memories, the jumbled way you remember things when you reminisce on them too much,” Zanski (née Tom Probizanski) tells Atwood Magazine. “Snowy pines. Driving at night. Being ‘in between.’ I liked the imagery of baring your teeth, but wondering if there is any follow through. Sort of like a cliffhanger in the memory itself. Are you remembering it properly? The guitar is in an alternate tuning that a friend of mine made up. I remember saying, ‘this makes no sense,’ and then, as it usually goes, I went home and messed with it.”
Gentle and dreamy, “Canines” wraps around the ears like a weighted blanket for the soul. Zanski’s chorus bursts through with an urgency that contrasts the song’s measured verses. “Bout time, bout time / You get it right now,” he insists, the heat rising around him. The refrain feels like both a demand and a desperate admission, as if the weight of everything left unsaid has finally reached a breaking point. It’s a striking shift from the verse’s hushed introspection—here, the emotional walls start to crack, and vulnerability bleeds through. “Let’s stop pretending you wouldn’t mind,” he sings. “You bear your canines, will you bite down?”
The image of bared teeth lingers, charged with an unspoken challenge — an invitation to confrontation, or perhaps an acknowledgment of wounds that have yet to heal. Zanski’s delivery is measured but urgent, his voice hovering between resignation and resolve. His vivid lyricism is striking, evoking tangled roots, branching memories, and the inescapable weight of something grown too complex to unravel. Whether he’s lost in nostalgia or reckoning with the present, the song never fully resolves its tension – only deepens it.
With “Canines,” Zanski crafts a haunting meditation on distance, memory, and the fragile nature of connection. Wrapped in lush, atmospheric textures, the song feels both intimate and infinite, like a whispered confession echoing into the void. It doesn’t offer closure, but that’s precisely the point – some things remain just out of reach, lingering in the space between what was and what could have been.
:: Breath and Air – Heather Nova ::
Joe Beer, Surrey, UK
Heather Nova recently unveiled her 13th album, Breath and Air, showcasing some of her most poignant work to date. The Bermuda-based artist explores themes of nature and the beauty of being alive, as well as love, loss and longing within her songwriting. Her honest, authentic and wholesome lyrics are thought-provoking, as she encourages listeners to look inwards and seek gratitude for the things we have, reminding us that life is never guaranteed.
Sonically, Breath and Air captures the same essence of its lyrics, with an ethereal and warm sound that envelops the listener in a sense of serenity and reflection. The album’s delicate arrangements and soothing melodies mirror the themes of nature and introspection, providing a beautiful complement to its heartfelt messages. Breath and Air is an intimate look into the life of Heather Nova and the journey she has been on thus far, allowing listeners a close-up glimpse of who she truly is.
:: “Adore You” – Riaan ::
Jaclyn Kelly, Norway
Following the success of Riaan’s debut song “Treat Me Better,” the Seoul-based artist returns with “Adore You,” a reflective and introspective song about lost love and heartbreak.
The song’s tone stands out with its gravitational feeling, reminiscent of Korean R&B pioneers from the 2015–2017 era. Artists like DEAN, JUNNY, and Roy Kim come to mind as Riaan effortlessly floats over the acoustic-forward track with its gentle background beats.
“Adore You” carries a nostalgic quality – perfect for late-night drives or early mornings with a pour-over coffee at your favorite café. Credit also goes to songwriters Dane and Danny Chung for this beautifully mixed track that deserves a spot on your next chill or relaxing playlist.
:: “Glow” – Maria Rosa ::
Danielle Holian, Galway, Ireland
Maria Rosa’s debut single “Glow” is a vibrant fusion of pop, Afrobeat, reggaeton, and hip-hop that showcases her dynamic vocal prowess and bold artistic vision. The track’s infectious rhythms and empowering lyrics encourage listeners to shed negativity and embrace their inner light. Maria’s unapologetic delivery and confident presence make this song a standout introduction to her musical journey. Produced by Mike Midura, featuring a polished sound that seamlessly blends diverse genres, creating a fresh and engaging listening experience. The song’s catchy melodies and compelling beats are complemented by Maria’s powerful vocals, making it a memorable debut that sets the stage for her promising future in the music industry.
:: “bunny ears” – Famous Friend ::
Mitch Mosk, Beacon, New York
Basking in a dreamy heat, “Bunny Ears” drifts like a sun-drenched reverie, hazy yet vivid, where time folds in on itself. Released on February 26th, the third single off Famous Friend’s upcoming Blue EP is a wistful meditation on memory, grief, and connection – born from an unexpected duet with a mourning dove and a flood of nostalgia that blurred the boundaries between past and present. Drums pulse a sweaty beat as guitars and synths paint the air with a warm wash of sounds, evoking the golden glow of late afternoon – a moment suspended between melancholy and comfort. Alongside these instruments, songwriter and producer Zachariah Carlson delivers an intimate, impassioned exhale, his gentle voice hot on the mic as he leans in, delivering lyrics that feel like a conversation between past and present.
“I was at home feeling lonely and depressed about how painful life has been lately and around 2-4 PM, the light sort of gorgeously spills into my bedroom window,” Carlson tells Atwood Magazine. “It was a nice day, so I had it open. I’d been listening to The Whitest Boy Alive and Totally Enormous Extinct Dinosaurs and playing around on a Silvertone I borrowed from a friend. As I did, a mourning dove fluttered down and began to sing outside my window. I felt my loneliness starting to lift as I realized I wasn’t alone in my grief. I thought wow it’s like this bird heard these chords and flew over to sing with me. Maybe they’re depressed too. Let’s do a duet! Famous Friend feat. mourning dove. I made a synth patch that sounded like the dove’s cry and recorded the bird’s song with my phone. I swear it looked at me so funny when I played it back.”
“For some reason, I started to think about a phrase I had seen earlier about ‘giving bunny ears,’ that gesture we do as kids where we put a peace sign behind someone’s head. I hadn’t thought about the term in so long. Because it’s something you only really do at a young age with people you really care about. When I heard the phrase ‘bunny ears’ it was like Proust with the Madeline cookie. A vivid sense memory transporting you back in time. It made for a deep emotional moment, so much has changed since those days but here these memories are, so vivid it’s like they’re actually happening. People that are no longer in my life. In this moment they are still here. And that’s what this song is ultimately about. A moment when time compresses, memories flood in and the people you care about are here with you, maybe they never left.”
With its pulsing rhythms, shimmering instrumentation, and Carlson’s evocative storytelling, “Bunny Ears” captures the fleeting, almost surreal quality of nostalgia – the way certain moments, sounds, and gestures can collapse years into an instant. It’s a song that exists in the space between memory and presence, where the past isn’t just remembered, but felt – alive and breathing. Through this dreamy, wistful, and enchanting haze, Famous Friend reminds us that the people and places we’ve lost may never be as far away as they seem.
Famous Friend’s Blue EP is set to release April 2nd!
:: “don’t let me go” – Bobby Freemont ::
Danielle Holian, Galway, Ireland
Bobby Freemont’s latest single, “don’t let me go,” is a heartfelt exploration of human vulnerability wrapped in a soothing blend of alternative folk and R&B. With its stripped-down production and raw, introspective lyrics, the track effortlessly captures the emotional tension between longing and resilience. Steve’s delicate guitar melodies create a minimalist yet evocative soundscape, allowing Freemont’s soulful vocals to take center stage. Each note and lyric feels intentional, drawing listeners into an intimate space where emotions are laid bare. There’s a timeless quality to the song, reminiscent of artists like Bon Iver and Jack Johnson, yet Freemont’s distinct storytelling voice makes it uniquely his own.
“don’t let me go” is both a plea for connection and a testament to personal growth. The lyrics delve into the complexities of relationships and self-discovery, making the song relatable to anyone who has grappled with fear, longing, or the desire to be understood. The emotional honesty in Freemont’s performance resonates deeply, creating a sense of shared vulnerability that lingers long after the final note fades. This single not only solidifies Freemont’s reputation as a fearless and innovative artist but also sets the stage for his upcoming album, The Death of Bobby Freemont, promising an even deeper dive into themes of mental health and introspection. Ultimately, “don’t let me go” is an emotional experience that connects with listeners on a profound level, cementing Bobby Freemont’s place as one of indie music’s most compelling new voices.
:: “Carry With You” – Dan Arwady ::
Danielle Holian, Galway, Ireland
Dan Arwady’s latest EP Carry With You is a sonic masterpiece that will leave you breathless. This four-track collection is a deeply personal and introspective work that resonates deeply with listeners. Recorded live in the studio with a talented group of musicians, Carry With You is a masterclass in emotional storytelling. From the opening notes of the title track, it’s clear that Arwady has created something special – a sound that’s both deeply personal and universally relatable.
The EP’s focus on live, in-studio collaboration gives the music a sense of spontaneity and energy that’s hard to find in today’s music landscape. Arwady’s voice is warm, expressive, and deeply emotive, bringing a sense of depth and authenticity to every track. Whether it’s the soaring harmonies of “Somebody Else” or the heartfelt title track, every moment of Carry With You feels truly alive. With this EP, Arwady has proven himself to be a master of his craft, creating music that will move, inspire, and stay with you long after the final notes have faded away.
:: Lot to Learn – Winyah ::
Chloe Robinson, California
Winyah’s enticing debut album Lot to Learn is filled with deep vulnerability and nostalgia. It is a bittersweet body of work you are not going to want to miss. The offering examines themes of longing for childhood and trying to stay in the moment. The opening song “Thread” features highly emotive vocals atop steady percussion. Lyrics like “Alone again and looking for a friend. Let me fall I’m hanging by a thread,” convey just how fragile a person can be. All of us, at times, feel like we are hanging on for dear life. This piece can connect strongly with listeners. The title track is another compelling one. All about learning to love, “Lot to Learn” is an upbeat release that is a great pick-me-up. “Mamacita” is a groovy treat that is raspy and raw. You will be hooked by its biting grit. Finishing with “Feel It All Again,” the song glows with soaring vocals, driving drums, and vibrant electric guitars. After you hear it, you’ll definitely want to ‘feel it all again.’
The South Carolina natives have been a fully independent band since early 2023. The group shared the stage with acts such as Dog Park and Evan Honer, as well as performed at major festivals like Bonnaroo and Lollapalooza. This new 10-track collection encapsulates a journey of self-discovery, allowing others to reflect on their evolution.
:: “Whole as a Broken Heart” – Levi Robinson ::
Chloe Robinson, California
Singer/songwriter Levi Robin’s stunning new single, “Whole as a Broken Heart,” is all about rising from the tears to find the joy you’ve been seeking. His intense, haunting vocals and captivating instrumentation instantly draw you in. The lyrics include, “I’ve been torn down, tripped up, and spun around, but I’ve seen right here inside of me a light that flows.” These profound lines illustrate the powerful ability to let the light in after extreme heartache. His moving track provides others with the courage to illuminate their lives after sorrow.
Robin has a distinct indie folk sound filled with meaning and connection. The artist takes inspiration from Hendrix, Dylan, and Beck, and that influence is clear in his expressive music. He has also opened for Matisyahu, further expanding his worldwide fanbase. “Whole as a Broken Heart” shows us it’s okay to “come as you are” and to “keep on keeping on.” We all sometimes need to be reminded of that.
:: “Room” – Sleeper’s Bell ::
Mitch Mosk, Beacon, New York
There’s a beautiful warmth and tenderness to Sleeper’s Bell’s “Room”; an unfiltered intimacy that makes us feel like we’re bearing witness to a moment we’re not supposed to see. The fourth track – and fourth single – off the Chicago folk duo’s debut album (Clover, released February 7th via Angel Tapes / Fire Talk) is candid, confessional, and conversational – a sweet embrace of those little things in our closest relationships that make them so wonderful and worthwhile; that fill our hearts with light and levity.
For Sleeper’s Bell’s Blaine Teppema (lyrics/guitar/vocals) and Evan Green (guitar), it’s a hypnotic introduction to who they are, as both artists and people. “The closest to God I ever felt,” Teppema sings in the song’s opening verse. “When we held each on the bed. You weren’t even my lover then…”
The closest to god I ever felt-
When we held each other on the bed
You weren’t even my lover then
Just a friend and still a friend.
“It’s about the ebb and flow of a close relationship, and recounts one particularly messy and absurd and somewhat hilarious night,” Teppema recalls. “It was a dark comedy night. Evan was there too, so when we perform this song we are really able to channel our memories of it together, and make something really rounded and complete.”
At the dive bar and Springsteen’s on
You hit the cue ball across the room
Love is a kind of carefulness
And I’m fallin’ over and droppin’ shit.
“Room” is cozy and comforting, gentle and dreamy, immersive and altogether enchanting: A smile-inducing serenade that captures Sleeper’s Bell’s wondrous world, just as it does our own sweet experiences, in just over three minutes’ time.
We’ll start over after summer’s end
Close our eyes and count to ten
Head in your hands, you call my name
Am I always gonna feel this way?
:: “Sleepwalker” – The Neon Sea ::
Danielle Holian, Galway, Ireland
The Neon Sea’s latest single “Sleepwalker” is a sonic slow-burn that will consume you whole. This brooding, atmospheric track is a masterclass in tension and release, with Tom Doyle’s introspective lyrics and haunting vocal delivery painting a vivid picture of darkness and disquiet. As the song builds towards its swirling, crescendo-like climax, it’s impossible not to be drawn in by the hypnotic rhythms and textures that underpin it. It’s a mesmerizing, deeply immersive listening experience that will leave you breathless and wanting more.
What’s most impressive about “Sleepwalker” is its ability to balance light and shade, veering between moments of eerie, cavernous quiet and bursts of distortion-heavy intensity. It’s a delicate tightrope to walk, but The Neon Sea manages it with ease, conjuring up a sound that’s both nostalgic and futuristic at the same time. With “Sleepwalker”, the Dublin-based outfit cements its reputation as one of the most exciting and innovative emerging acts in the indie rock sphere – and we can’t wait to see what they do next.
:: “The Man Who Sold the World” – Asher Moss ::
Chloe Robinson, California
Asher Moss takes a famous song and puts a fresh and innovative spin on it. His cover of David Bowie’s “The Man Who Sold the World” is dreamy and intoxicating. As you listen to the revamped rendition, you drift to a far-off place. His warm, gentle vocals glide over a wistful landscape of guitars and synths. The visuals are just as compelling. Set in the desert, everything about the world is unique and mysterious. From the old-fashioned television to stairs that lead nowhere, the viewer becomes highly enchanted by the scene created.
Moss melds ’90s art-rock with a contemporary electronic sound. The singer toured extensively with Nashville artist Rayland Baxter, among others. After a decade-long hiatus, he released an EP last year. Now, he prepares to share his upcoming EP with fans this year. Moss states of his new release, “The Bowie classic, made extra famous by Nirvana, lives on and is now reimagined, bringing it into the modern era.”
:: Twilight City – Morgan Visconti ::
Danielle Holian, Galway, Ireland
Morgan Visconti’s Twilight City is a mesmerizing time capsule that bridges the raw creativity of his youth with the refined sensibilities of a seasoned artist. Rediscovered decades after its initial composition, this 19-track odyssey channels the restless energy of a young musician forging his identity within the pulse of early ’90s New York City. Recorded on a four-track cassette with an eclectic array of borrowed gear, the album pulses with analog warmth, hypnotic tape loops, and ethereal textures. Lead single “Twilight City” exemplifies the album’s cinematic allure, fusing industrial drum sounds — crafted from metal-on-metal percussion — with live synth overdubs performed on Visconti’s beloved Juno-106. The result is a haunting, trance-infused soundscape that feels both vintage and timeless, evoking echoes of Kraftwerk, Vangelis, and early Eurythmics.
What makes Twilight City truly compelling is its resonance with contemporary electronic music, despite its origins in a bygone era. Visconti’s experimentation with dub rhythms, delay effects, and analog sequencers yields a sound that could easily accompany a modern film score or gaming soundtrack, proving the enduring relevance of his early creative instincts. Each track unfolds like a sonic snapshot, capturing the excitement and uncertainty of newfound independence in a city that never sleeps. The album not only reflects Visconti’s artistic evolution but also stands as a testament to the timeless nature of analog sound and DIY creativity. With this album, Morgan Visconti reimagines his musical beginnings for a modern audience, delivering a listening experience that is both nostalgic and refreshingly current.
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