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 Ethan Regan, St. Lucia, Boy Jr., CLIFFS, Orchards, The Spins, FPA, Marketplace, Juell, Naz Hejaz, Wax Owls, kylekelly, Foreign Love Language, tinvis, The Indestructible Water Bear, Dogviolet, Tom Nethersole, A.D.A.M. MUSIC PROJECT, HWIN, easyclear, joy burklund & her band, Natisa Gogol, matty co., Gus White, & Freak Slug!
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:: “spaceman” – Ethan Regan ::
Mitch Mosk, Beacon, New York
It’s hard to escape the aching at the core of “spaceman,” no matter how warm and wondrous Ethan Regan’s guitar may sound. The North Carolina-born singer/songwriter’s first single of the year – and his major label release with Columbia Records – is a fragile, tender reckoning with raw emotion – a candid, heartfelt confessional that finds him admitting, “I’m a little lost here… If you wanted me to make it better, why I gotta do it alone?”
“‘spaceman’ is about a disconnect to a place or a feeling,” he tells Atwood Magazine. “It describes the idea that no matter how loudly one may call out, or plead for things to change, sometimes we simply cannot break through the glass.”
Consider this the musical equivalent to crying out into an unmoved darkness; no matter what we say or how loud we are, things don’t change. It’s bittersweet to realize the limit of our own agency, but such is the very nature of our humanity that there will always be things outside our control. We can’t take back the past, and we can’t change how somebody else feels – but we sure can sing about it, and Ethan Regan does both in spades as he processes a situation in which he feels helpless, uncertain, and undeniably vulnerable.
:: Fata Morgana: Dawn – St. Lucia ::
Josh Weiner, Washington DC
Last year, I became gradually exposed to St. Lucia by means of their individual singles – first “Love You Better” in April and then “Falling Asleep” this past September. This year, it’s great to follow up on all that by seeing them release their fifth full-length album, Fata Morgana: Dawn.
St. Lucia consists of married couple Jean-Philip Grobler and Patti Baranek, who currently live in Germany. After fifteen-some years of making music together, they describe their latest record as “maybe the most epic thing we’ve ever made”. Like Satchel Paige used to say, it ain’t braggin’ if you can do it– Fata Morgana gets off to a promising start with the psychedelic “Something’s In The Way,” followed soon thereafter by a lot of exciting fast-playing instruments laced into “Falling Asleep.” Then in the second half, room is made for the stadium-ready “Rolling Man” and the sprawling eight-minute feat of “Going to Space.” By the time it all wraps up after 44 fast-flying minutes, the word “epic” has been merited many times over.
Fata Morgana: Dawn has been in the works for over five years, as the band first conceived it in 2019, fleshed it out further during the following year’s lockdown, and finally, after several reimaginings– including incorporating a lot more strings than they had originally envisioned– have gotten the project to where they want it to be. “I do think this record is something very different and new for us, and we hope you will come along for the ride,” Grobler says. Believe him, music fans– this is definitely a fan bus you’ll want to hop on.
:: “Zitty Stardust” – BOY JR. ::
Julius Robinson, California
There is nothing more amazing than finally feeling like yourself. Oftentimes, we take that for granted. Boy Jr.’s single “Zitty Stardust” details the excitement that comes with transitioning. Lines like, “I’m gaining weight and I’m getting acne/ It’s unpredictable but I’m so happy/ I sound a little different/ I smell a little weird/ I’m so excited for it – do you know how good it feels/ To wake up in a body finally feeling like it’s yours,” show just how much happiness can come from this change despite getting used to the new developments. In the colorful, creative visuals, the viewer can really feel that bliss.
BOY JR. is the musical project led by Ariel Allen-Lubman, a dynamic force blending electronic, pop, indie, and punk influences with catchy songwriting and precise production. Their newest album, I Love Getting Dumped! (released October 2024), takes listeners on a high-energy journey through themes of heartbreak, humor, and personal growth. “Zitty Stardust” is an effervescent electro-pop piece that is also a brave representation of their immense growth.
:: “Easy Way Out”- CLIFFS ::
Chloe Robinson, California
Midwest alternative rock band CLIFFS shares their haunting new ballad, “Easy Way Out.” The track combines atmospheric, dream-like melodies with raw lyrical themes that touch on death and suffering, creating a sound that’s both emotionally stirring and captivating. Warm, passionate vocals, steady percussion, and glistening guitars make the piece pure magic. Recorded in Nashville with renowned producers Tom Bukovac and Mills Logan, “Easy Way Out” marks a significant shift for CLIFFS, as it is the band’s first release that was not self-produced. The track’s ethereal, night-drive vibe contrasts powerfully with the weight of its subject matter, a blend that enhances the song’s allure and emotional depth.
Five people, five towns, and a few hundred miles in between – on paper, it doesn’t seem like a recipe for success. Yet, the Midwest group defies expectations. The 4-piece blends the spirit of indie and alt rock in a way that feels both fresh and nostalgic. Their unique style is an homage to the music that inspires them, a modern twist on the alt and indie rock that defined previous generations. CLIFFS’ lyrics explore concepts that resonate with anyone who has ever grappled with the complexities of being human. “Easy Way Out” is equally as impactful.
:: Bicker – Orchards ::
Will Yarbrough, Philadelphia, PA
Orchards were sacked with rotten luck.
After planting the seeds with a string of self-released EPs and gigs around their historically fertile home turf, the budding Brightonians were plucked off the vine by venerable UK indie Big Scary Monsters — only for the band’s lovely full-length debut to drop on Friday the 13th, two weeks before a global pandemic. They’re still pretty sour, but three years and one brief hiatus later, Orchards are now ripe to truly pop.
Bicker opens by literally slamming the door to producer Jack Wilson’s home studio. While all in good fun, from a more conceptual angle, this cheeky sound bite frames the album as a welcome fresh start. Not that Orchards needed to go back to the drawing board. The band already proved that a slightly funky variation on math rock was a winning formula by selling out their last headline tour. Besides, they’d only bargained for a one-off recording session with Wilson. But by challenging the trio to build off their strict guitar-bass-drum principles, the fickle friend really helped them sweeten the pot. The title track doesn’t twinkle but fizzes like orange soda from a Play Doh volcano.
“It’s time to break routine“, hums a delighted Lucy Evers as if she’s licking the syrupy reverb from her fingers.
Indieheads with a nagging sweet tooth will want to take a big bite out of Bicker. If you’ve been stress-eating over Misterwives’ future the way I have, then the album’s lead single will taste like comfort food. “I Feel Terrible” dishes up a genuine feast of rock-hard ear candy. Synths fall from the sky like rainbow Skittles while Dan Fane’s slap bass bubbles as if he’s chomping on Big League Chew. Even the band’s first stab at a tear-streaked ballad goes down smooth. Sam Rushton loops those familiar arpeggios until they recall the pleasant symmetry of a Japanese tea garden.
Adding an extra scoop of powdered sugar to the production can spoil the whole mix. After all, Alt Nation’s overindulgence on off-brand versions of Two Door Cinema Club caused me to lose my appetite for indie rock during its commercial peak. Heck, Orchards scrapped one song off Bicker that they deemed too poppy. But the album packs more than enough bitterness to balance out the equation. Evers told Dork that the lyrics came together while 12 couples in the band’s immediate orbit were crumbling.
“Sweetie Pie” definitely takes the cake for the most delicious kiss-off, but my favorite song on Bicker stews over the kind of messy relationship that’s tough to shake. “I’m still lonely leading you to water when you say you’ve grown,” Evers sings, dripping with melancholy. As “Groan” fades beneath its shoegazy bridge, it seems like she’s content on repeating this cycle. But when her bandmates rush to her defense with a flurry of dance-punk, she hits the chorus with such conviction that it sticks twice as hard.
:: “It’s Me” – The Spins ::
Chloe Robinson, California
Breakups are never an easy thing. There are so many intense emotions involved, and affections tend to linger. The Spins’ tenacious new track “It’s Me” deals with breakups. The piece is about acknowledging the pain inside while hoping the other person feels the same way. The bold, moody vocals skate atop punchy percussion for the ultimate intoxicating ride. The visuals showcase lead singer Nick Coombs getting kidnapped, and the rest of the band is left scrambling to find him. The clever video is a truly captivating watch.
The New Jersey alternative rock group consists of Coombs (Rhythm Guitar/Vocals), Freddy Smith (Drums), Jimmy Barr (Lead Guitar), and Phil Dunphy (Bass). Conceived in 2016, the band brilliantly combines an infectious, danceable sound with passionate emo. Their music exudes a rich, retro edge paired with a modern style. This latest single has that same flair. It’s a fiery song that is a feast for the ears, with a message that strongly resonates.
:: “Summer” – FPA ::
Mitch Mosk, Beacon, New York
Spring has finally sprung, and summer isn’t far behind – but we’re not there yet. For those of us like myself, who just can’t wait for the hot months ahead, FPA has delivered a musical antidote: “Summer” in a bottle – or in this case, a song. Released back in February, the Minnesota-based artist’s first song of the year (her first release since 2021’s Princess Wiko LP) is a soft, sweet, sun-kissed seduction: A tender electro-acoustic reverie that carries with it an undeniable, unmistakably sweltering sonic heat. FPA – the moniker for multidisciplinary artist and producer Frances Priya Anczarski –creates a gentle, dreamy, and irresistibly all-consuming listening experience through a combination of close-miked guitars and vocals, shiver-inducing percussion, and an ever-expansive soundscape that blankets the ears with warmth and wonder.
“When it’s cold and dark and my face is numb, I think of Summer, and the prairie, and his smiling eyes,” FPA shares of her new single. Her tone, both in explaining this song and in singing it, is wistful and full of longing – there’s a yearning to return to a simpler, sweeter time in her life. Summer, as a concept, tends to be associated with a sense of freedom and exploration; of limitless possibility and potential. It’s a shame that we only get a taste of it each year – three months is by no means “enough” – and yet, maybe this song can act as a special reminder of summertime’s magic and majesty. Right now, it’s helping to build anticipation for what’s to come – and come October and November of this year, it will be a poignant, restorative means of reconnection and rejuvenation, while we wait for summer’s kiss to come back once more.
:: “Contact Sports” – Marketplace ::
Danielle Holian, Galway, Ireland
Marketplace deliver a vibrant burst of energy with their new single “Contact Sports”, a high-octane track that blends alt-pop, indie, and rock with infectious melodies and a captivating guitar-driven backdrop. Produced by Chad Rodgers (Benjamin Francis Leftwich, Cape Cub), the song captures the exhilarating thrill of new romantic ventures, as vocalist Evie Rhodes shares a relatable story of the uncertainty and excitement of early relationships. Drawing inspiration from bands like The Beths, Alvvays, and Pulp, Marketplace strikes the perfect balance between lighthearted sincerity and playful self-doubt, creating an exhilarating anthem that’s both euphoric and refreshingly genuine. With this new single the band’s signature sound is an energetic, colorful, and irresistibly catchy glimpse into their upcoming EP, Marketplace Mean Business.
:: “Release” – Juell ::
Mitch Mosk, Beacon, New York
There’s a lightweight grace to Juell’s latest single – a catharsis you can almost reach out and touch at certain moments. Independently released in late March, the aptly titled “Release” is a heartfelt reckoning and revelry wrapped in three wondrous minutes of lush, intimate indie pop sound.
“I often find my mind racing, thinking about who I want to be, how I’m perceived, how I am relating to the world and everything happening right now,” the Norwegian singer/songwriter (based in Trondheim) tells Atwood Magazine. “It gets to a point where it feels paralysing. The song is about trying to break free from the restraints we put on ourselves, to get some peace from the dwelling and pondering that doesn’t really do any good or make you a better person. It also has a nostalgic feeling, looking back to ‘simpler times’ and childhood when one’s sense of self felt so indisputable. It is both very melancholic and hopeful, picturing a future self without self-doubt, accepting that although you might not be there now – you’ll get back to it.”
What is there to hold on to
They don’t love like I do
What is there to stand for
When we all stand alone
One day I’ll be fulfilled
and I’ll be strong
I’ll have all the answers
on my own
Through dreamy production, lilting instrumental work, and unflinchingly vulnerable, achingly expressive lyrics (“If I can’t find joy in what I love, there’s a long way down,” “I’ll eat my way out; I’ve got sharp teeth”), Juell bares her soul for all to see, hear, and feel.
Just give me one full deep breath now
Somewhere to rest my worried mind
If I cant find joy in what I love
There’s a long way down
“I wrote [this song] in the living room with my guitar, and the feeling of being stuck was really sitting with me,” she recalls. “I wrote the first (pretty gloomy) verse about this, and didn’t know how to continue. I started overthinking everything and getting in my head, and I was kinda like, ‘why am I not enjoying this? This is what I love to do.’ And that’s really where the chorus came from with the lines, ‘Just give me one full deep breath now, somewhere to rest my worried mind, if I can’t find joy in what I love, there’s a long way down.’ The theme of the song really followed me through the whole songwriting process.”
But I’ll eat my way out
I’ve got sharp teeth
I’ll crawl out of my hole I am tiny
And I’ll be actions no words
no questions only will
I’ll get back to it
I will get back
One day I’ll be fulfilled
and I’ll be strong
And I’ll have all the answers
on my own
In reality, what we’re listening to is an artist unravelling before us – and the resulting music is utterly beautiful. Gut-wrenching though her feelings may be, Juell turns her pain into purpose, her catharsis into our catharsis. This song fully deserves its name, because it truly is, in every way, a very sweet “Release.”
Just give me one full deep breath now
Somewhere to rest my worried mind
If I cant find joy in what I love
There’s a long way down
Just give me some release
somewhere to rest my mind
Oh just let me find the same joy
That i had as child
:: “Incurable Dreams” – Naz Hejaz ::
Chloe Robinson, California
Los Angeles-based artist Naz Hejaz shares a transcendent new release, “Incurable Dreams.” The track is a soothing piece about the dangers of addiction and how deeply it can impact your life. It may be drugs, or it may be a destructive romance. Whatever the dependence, it can easily take you down with it. Hejaz reveals, “Like the long-lost lover you could never quite relinquish, it tugs at your sleeve and itches your brain until you give in. An ‘Incurable Dream,’ if you will.” The single soars with sweet, euphoric vocals atop funky bass and rhythmic guitars.
The song is from their upcoming body of work Human Halfway House, which deals with themes of descent into vice and the degradation of the human spirit. Human Halfway House is more than just an album; it’s a call to step into the alluring havoc of indulgence. “Incurable Dreams” is a colorful, innovative offering that is worth a listen.
:: “The Notice” – Wax Owls ::
Julius Robinson, California
Indie folk outfit Wax Owls examines life-changing experiences and the fight to let go as time passes with “The Notice.” The warm, wistful vocals float over pounding percussion, creating the ideal letter of longing. Lyrics include, “I couldn’t leave, when you said it was done. Mix in a final wave and shake, let the colors run.” Those lines illustrate just how hard it is to break away. This piece is perfect for anyone going through personal growth. Life has phases that come and go – “The Notice” reminds us to accept the many evolutions of our lives.
The Los Angeles-based threesome effortlessly fuses indie folk with elements of rock and country. Founding members Chris Tsaganeas and Gerry Hirschfeld left behind careers as attorneys to chase a different kind of calling: Music. With a sound that evokes the heart and honesty of acts like The Lumineers, Bon Iver, Zach Bryan, and Mumford & Sons, Wax Owls blend raw emotion with melodic storytelling. Their authenticity and emotional depth have struck a major chord.
:: “it always ends the same” – kylekelly ::
Mitch Mosk, Beacon, New York
A catchy, dance-y fever dream, kylekelly’s fifth career single is as much a confession to past mistakes as it is an invitation to bask in cathartic indie pop bliss. Independently released April 4th, “it always ends the same” sees the young South Jersey-based artist, who self-describes as “the mentally illest,” reckoning with a mixture of heartache and demons: A cycle of actions and consequences that won’t get him where he wants to go in the long run, but may offer some short-term bliss to calm the nerves. Bold melodies, a bustling rhythm section, and kylekelly’s own roaring vocals help make for an intoxicating listening experience; he sings hot on the mic, his voice the unequivocal center of attention, raw feelings scattered everywhere in an attempt to find not just meaning in the madness, but an end to his own inclinations.
After all, no one strives to be the ‘other man’ in a relationship – you might not be actively ‘cheating’ on anyone yourself, but you’re helping someone else cheat, and you know what you’re doing is wrong on both a moral and ethical level.
My left ear’s ringing
like we shouldn’t be doing this
Please close the curtain
‘cause the spotlights
will catch our kiss
These lipstick stained cheeks
Compensating
Another body in my bed again
For kylekelly, the mere act of making this song meant admitting some hard truths to himself.
“I had the post-chorus, ‘Hey, I can’t keep making the same mistakes. It always ends the same’ rattling in my head for close to a year after developing much of what became the final production of the song, but no other words or story,” he recalls in conversation with Atwood Magazine. “I’m the type of person that once I find that one line, the rest of the song writes itself. Problem was, I had the line, but I knew I did not want to tell this story at all. No one wants to admit when they’ve done something they knew was wrong over and over, but expect to feel better after each time.”
“Finally, I gathered the melodies and vulnerability to finish out the rest of the story, and it very easily became my entire team’s favorite song of mine. I’m sure many people can relate to making the same mistakes over and over (perhaps not my exact mistakes), but I honestly just hope listeners can walk away dancing and crying at the same time.”
The track’s chorus is a moment of sweet reckoning, reflection, and release:
And she’ll say, “Just don’t speak”
As her lips brush my face
We’ll keep driving in circles
End up back at my place
And all these linen sheets
Will be wrinkled some more
We’ll wake up in the morning
She’ll walk right out the door,
and I’ll think, Hey!
I can’t keep making the mistakes
It always ends the same
Hey! I can’t keep making the mistakes
It always ends the same
The latest single taken off kylekelly’s debut EP a melancholic romcom (out May 16th), “it always ends the same” is an infectious, groovy, dance-ready earworm – or as the artist calls it, his ‘cry-in-the-club’ song. “In spite of how much the subject matter kind of hurts, this song is my all-time favorite,” he admits.
Maybe that’s because, despite the lyrics’ heavy weight and subject matter, the track itself is a banger – no pun intended.
:: “It’s Only Fun” – Foreign Love Language ::
Mitch Mosk, Beacon, New York
Foreign Love Language make a striking first impression with their debut single “It’s Only Fun,” a raw and restless reckoning with emotional instability, self-doubt, and the fragility of modern love. Hailing from New York City, the band – comprised of Virginia Little (vocals), Aydan Gooneratne (lead guitar), Skyler Hyatt (rhythm guitar), Andy Fabian (drums), and Rico Scipione (bass) – channel the coolness and sleek energy of their hometown into a sound that merges the sharp edges of The Strokes with the moody allure of Interpol and the melodic sheen of Phoenix – a fresh-yet-familiar blend of early-2000s indie rock nostalgia. Anchored by a punchy chorus and stark, confessional verses, the track taps into the anxiety of waiting for the other shoe to drop – of loving someone while bracing for their inevitable withdrawal.
It’s only fun when they take it away
It’s only fun if you let her stay
It isn’t fun if you do it alone
It isn’t fun when you come home
It’s only fun if you pick up the phone
‘Cause it isn’t fun when she changes her tone
so I’ll just live inside my head cause
I don’t wanna jeopardize
what I have right now
Waiting ’til you get bored of me
and take the easy way out
Love me or leave me,
lie and deceive me,
I’ve had my doubts
“‘It’s Only Fun’ explores the emotional chaos of a relationship filled with doubt and insecurity,” Virginia Little tells Atwood Magazine. “The song captures the feeling of being stuck in a loop of mixed signals, always wondering if the other person truly cares. With themes of fear, abandonment, and deception, it reflects the inner conflict between longing for love and fearing it might slip away. It’s an honest, vulnerable look at the struggle to hold onto something uncertain.”
With lines like “Love me or leave me, lie and deceive me, I’ve had my doubts,” Foreign Love Language channel the spiraling logic of someone stuck in their own head, wrestling with insecurity and resignation. Gritty yet melodic, “It’s Only Fun” captures the aching in-between of craving connection while expecting disappointment, and it hits like a desperate voicemail you never send. It’s a hell of an introduction – urgent, unfiltered, and impossible to ignore.
:: “Echo” – tinvis ::
Danielle Holian, Galway, Ireland
tinvis returns with “Echo”, the second single from their much-anticipated debut album Texnia, and it’s a stunning exploration of duality, distance, and displacement. Written during a time of constant travel between California and Texas, the track beautifully captures the emotional tug of existing in two places at once—yet belonging to neither. This sense of fragmentation is mirrored in the song’s bittersweet yet expansive sound, which weaves a rich tapestry of indie rock influences. Tinvis’ frontman Joel Daniel channels the spirit of folk legends like Bob Dylan and Neil Young while nodding to the introspective stylings of modern artists like Phoebe Bridgers and Radiohead. “Echo” is at once melancholic and cautiously optimistic, embodying the complex feelings of longing and identity that define this period of transition in Daniel’s life.
The song’s production is equally compelling, with contributions from some truly remarkable musicians, including producer Max Hart (War on Drugs) and guitarist Luke Reynolds (Guster, Sharon Van Etten). Recorded in the intimate surroundings of Austin’s Ramble Creek Studio, “Echo” features lush, atmospheric instrumentation that perfectly complements Daniel’s evocative lyrics. The track builds with a quiet intensity, creating a sonic landscape that feels as vast and open as the landscapes it was inspired by. “Echo” not only continues to build excitement for Texnia, but also solidifies Tinvis as an emerging force in the indie rock scene—delivering a sound that is both timeless and deeply personal, with the kind of authenticity and emotional depth that resonates long after the song fades.
:: “Missing You” – The Indestructible Water Bear ::
Julius Robinson, California
We all know what it is like to be separated from the one you love. There is a powerful aching that is so deep we can feel empty inside. The Indestructible Water Bear’s tender track “Missing You” captures the bittersweet ache of separation from someone deeply cherished. It delves into longing yet within that yearning lies a deeper revelation: the recognition of what this love has given us. Strength, comfort and security are not just fleeting feelings but the very foundation upon which we stand. This group really reminds us of that.
The Indestructible Water Bear is an original indie rock band from Philadelphia with an emo twist, led by a powerhouse female vocalist whose commanding voice captivates audiences. Their ‘90s-inspired alt-rock sound draws comparisons to bands like Alvvays and The Cranberries. Known for their emotive lyrics and dynamic instrumentation, they craft songs that resonate deeply with listeners. Their music balances introspection with intensity, weaving heartfelt melodies with driving rhythms that create a unique and unforgettable sound.
:: “Dandelion” – Dogviolet ::
Danielle Holian, Galway, Ireland
Alternative rockers Dogviolet’s latest single “Dandelion” is a masterful blend of 80s goth, 90s grunge, and shoegaze, wrapped in a haunting, emotionally charged atmosphere. The track, which draws on themes of resistance and social justice, explores the idea of rejecting capitalist productivity culture and celebrating human worth beyond utilitarian value. With intricate melodies, poignant lyrics, and a restrained yet powerful instrumental backdrop, “Dandelion” captivates with its delicate balance of grunge-infused energy and dreamy fragility. The song’s evocative guitar lines and soaring harmonies build towards a defiant, euphoric climax, creating a stunning fusion of grit and intimacy. Dogviolet’s bold exploration of personal identity and community places them firmly in the company of acts like Warpaint and Siouxsie & The Banshees, solidifying their place as a rising force in the underground scene.
:: “Ardmona Rd” – Tom Nethersole ::
Mitch Mosk, Beacon, New York
Tom Nethersole captures the tender ache of young love in his warm and wistful debut single “Ardmona Rd,” a dreamy country-pop reverie steeped in nostalgia, vulnerability, and sun-soaked sincerity. Hailing from Australia, the queer pop artist paints a vivid picture of blossoming romance against a small-town backdrop — dancing in the kitchen, playing cards with sisters, helping dad with dinner.
Through soft acoustic strums and heartfelt storytelling, Nethersole reflects on the magic and messiness of first love: “This song is about the feeling of falling in love for the first time with the kind of person you’d take home to meet your family,” he explains. “It’s wishful. It’s optimistic. It’s the kind of young queer romance that you dream of.”
Found you ‘gainst a shed,
where we snuck in our first kiss
shivering when you started pulling me in
You said that you weren’t drunk
but i can taste the gin on your lips
Cupid knows about love
but does he know about this?
It’s been six months now
I think i’ll keep you around
I didn’t think you’d want me
but i guess i’m here somehow
Your heads up in the clouds
I’m afraid i’ll bring you down
But I guess for now
What makes “Ardmona Rd” especially powerful is how deeply personal and quietly radical it feels. “It’s deeply personal but also relatable, especially for queer listeners who are searching for that fairytale moment we don’t always see reflected in music,” Nethersole shares. Lines like “They whisper far too loud / It makes sense. We give them something they can talk about” acknowledge the quiet tensions of growing up queer in a small town — but the song’s heart remains fixed on joy, hope, and the beauty of feeling safe in someone’s arms. With its soft twang, sparkling melodies, and open-hearted warmth, “Ardmona Rd” is as intimate as a diary entry and as radiant as a late summer afternoon.
I’ll take you home
to Ardmona Rd
Dance in the kitchen
Cards with my sister(s)
Help dad with dinner
I’ll take you home
:: Punch Out – A.D.A.M. MUSIC PROJECT ::
Grace Holtzclaw, Los Angeles, CA
A.D.A.M. MUSIC PROJECT, otherwise known as AMP, is revolutionizing the connection between video games and music. Their newly released album Punch Out draws inspiration from iconic characters among the likes of ‘Shadow’ from Sonic the Hedgehog and ‘Diablo’ from Diablo to inform the narratives at play. The result is a supersonic frenzy that takes you on an epic quest toward a fully immersive showdown. Punch Out takes the concept of world building that brings so many video games to life and makes it an intrinsic part of their album. Listening to Punch Out feels like taking on the persona of your favorite hero and fighting an unforgettable, action-packed battle in their shoes.
Filled to the brim with heavy-hitting percussion, stark palpitations of electric guitar, and vocals that shock your system from lead singer Adam DeGraide, Punch Out is a sonic smackdown. From their dark and mysterious Diablo-inspired anthem “Black Heart” to their uplifting battle cry for warriors across the universe “Bright Lights,” AMP doesn’t miss a beat. Punch Out gives a fight for the ages a killer soundtrack and leans into the inherent synchronicities between music and fantasy.
AMP got its start from a friendship between rock connoisseurs Dameon Aranda and Adam DeGraide. The two musicians came together as co-writers and co-producers of the project. Since its genesis, AMP has expanded to include a wide variety of artists with a shared love of video game culture. Punch Out is their latest release set to take the music and video game industry by storm.
:: Just Like a Flower EP – HWIN ::
Josh Weiner, Washington DC
Is it possible to start off in a duo and then make a promising name for yourself as a solo artist? Paul Simon, Tina Turner, Pharrell Williams, Andre 3000 and more would all tell you Yes. And now, Johnny Hwin (whose stage name is simply his last name in all caps) is having a crack at it himself. He previously represented half of the production team “Cathedrals,” alongside Brodie Jenkins, but now he is trying his luck at being the only one behind the beat-making machine.
His first gesture in that direction comes in the form of the newly-released Just Like A Flower EP. Within the span of just 19 minutes, HWIN hits on a lot of different senses– the four tracks featured here (“Love Is All I Need,” “You’re Still On My Mind,” “I Will Release You” and “Without a Frame”) are by turns beautiful, hypnotic, engrossing, soothing, energetic and dancefloor-ready. All of this speaks to HWIN’s impressive talent as a sensual EDM producer, but on top of all that, the music here serves as a love letter to his current hometown of New York City: “NYC forces you out of your comfort zone. It keeps you honest, but it also shows you what’s possible when you build something real,” he says. “That’s what this EP is about.”
:: “Teammate” – easyclear ::
Danielle Holian, Galway, Ireland
easyclear’s radiant new single “Teammate” offers a captivating glimpse into his upcoming debut EP “Green” (out April 25th), blending organic folk with sprawling electronic textures to create a sound that feels both intimate and expansive. Built around tight drums, fingerpicked guitar, and swelling synths, the track strikes a delicate balance between acoustic storytelling and electronic innovation. Luke Deacon’s emotive vocals shine through as the song explores companionship, trust, and mutual support through clever sporting metaphors. The fusion of acoustic warmth with mechanical electronic elements evokes a bittersweet world, where memory and nature intertwine. “Teammate” is a stunning showcase of Deacon’s unique sonic vision—graceful yet forward-moving, familiar yet experimental—perfectly setting the stage for the full “Green” EP, a body of work that promises to be as introspective as it is sonically immersive.
:: “Songbouquet” – Joy Burklund & Her Band ::
Danielle Holian, Galway, Ireland
Joy Burklund & Her Band’s debut album Songbouquet is a powerful and whimsical exploration of identity, change, and self-discovery, blending elements of pop, indie, rock, and Americana into a trans-genre masterpiece. With tracks ranging from emotional ballads like “Not Gonna Fall” to the effervescent, sun-soaked anthem “Sunrays,” the album showcases Burklund’s bold vocal performances and introspective lyrics, which draw on the anti-folk tradition of artists like Regina Spektor and the Moldy Peaches. The interplay of reflective, fingerpicked guitar with energetic, indie-punk riffs creates a dynamic soundscape that mirrors the tumultuous yet freeing journey Burklund describes in the album’s creation. Songbouquet is a stunning debut that embraces vulnerability and resilience, capturing the messy beauty of life’s contradictions with a sound as multifaceted as the experiences it reflects.
:: “Don’t Let Me Down” – Natisa Gogol ::
Danielle Holian, Galway, Ireland
Natisa Gogol continues to cement her place as a rising star in the dream pop scene with her latest single “Don’t Let Me Down,” a collaboration with renowned producer Gregory Darling. The track offers a shimmering, emotional ride, blending ethereal soundscapes with Natisa’s signature storytelling. Born out of a single evening of inspiration, the song emerges as a heartfelt reflection on the vulnerability of relationships, yet it refuses to sink into melancholy. Instead, it carries a message of hope and resilience, turning personal turmoil into a buoyant anthem for self-love and trust in life. The song’s airy instrumentation is complemented by her soulful, evocative vocals, creating a musical experience that feels both intimate and expansive.
The accompanying music video, directed by Farid Alijanov, elevates the track further, capturing the song’s emotional breadth through fluid movement and dance. The visual narrative showcases Natisa’s unique duality – strength and tenderness, boldness and grace – conveying a seamless integration of these qualities that mirrors the track’s musical fluidity. “Don’t Let Me Down” is a reflection of Natisa’s artistic evolution and an invitation for listeners to embrace lightness even amidst life’s uncertainties. With each new release, Natisa’s star shines brighter, and it’s clear why music fans are beginning to take notice of this captivating talent.
:: “BACK2BASICS” – matty co. ::
Danielle Holian, Galway, Ireland
Matt Cohen, aka matty co., is a true chameleon in the music world, effortlessly blending his rich, multifaceted life into a captivating sonic experience. With “BACK2BASICS” he steps into the spotlight, delivering a groovy, romantic track that captures the essence of reconnecting in love amidst life’s chaos. The song, a seamless blend of electronic indie pop and soulful R&B, oozes charm and nostalgia, built on a dynamic bass line and smooth, velvety vocals that draw listeners in. It’s a track that resonates with both modern allure and timeless warmth, as matty co. channels his personal memories and creative vision into a musical moment that feels as intimate as it is infectious. Already making waves as an artist to watch, “BACK2BASIC” is a testament to his ability to craft a sound that is uniquely his own – smooth, balanced, and with a rock-infused kick.
:: “Country Song” – Gus White ::
Danielle Holian, Galway, Ireland
“Country Song” by Gus White is a powerful introduction to a raw, organic sound that cuts through the noise of modern production. Recorded on 2-inch tape in his countryside studio, the track exudes a rich, brooding country folk atmosphere, brimming with the warmth of real musicians playing together in a room. With lyrics that are direct and deeply human, White’s heartfelt storytelling captures the essence of authenticity in an age dominated by digital perfection. There’s an unpolished honesty to the song, as it reflects a personal plea for connection now infused with the wisdom of time. The song is a deeply lived-in piece of music – stripped of unnecessary sentimentality but filled with timeless emotion. If this debut is any indication, Gus White’s forthcoming album promises to be a raw and captivating journey into the heart of the artist.
:: “Friday” – Freak Slug ::
Julia Dzurillay, New Jersey
As her stage name suggests, the beauty of Freak Slug is her tongue-and-cheek approach toward music and stardom. Liking/loving or not understanding her music varies based on If you’re in on the joke. Her sound feels languid and effortless in a way only indie alternative music can nail. A personal favorite is “Friday,” released in 2020 and arguably the most “bedroom pop”-leaning of her singles.
“Friday night, I watch her clean her room,” she sings in the first verse. “I love and hate her at the same time / I wanna get her out of the mess she’s in / But she don’t ever wanna come to mine.”
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