Atwood Magazine’s Weekly Roundup: May 30, 2025

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 Mt. Joy, Adrianne Lenker, Caleb Kunle, Nature TV, Mistine, Fright Years, Dancer, Alejandro Aranda, Madame Gandhi, Chris Pierce, SINK, Zweng, Ali J. Hassan, Izzy Mahoubi, Runnner, dacelynn, Tomás del Real, Julie Arsenault, Dean Batten, Mikel Rafael, Hannah Stokes, Mimi’s Revenge, AViVA, The Straights, Szou, Jaylon, Òrain, Reigns, Giampaolo Pasquile, Peso the Misfit, & Dailla!

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:: Hope We Have Fun – Mt. Joy ::

Mitch Mosk, Beacon, New York

Mt. Joy’s fourth album is a tempest – a big, beautiful mess of sound and feeling colliding in spectacular fashion. Released today via Futures x Bloom Field Records, Hope We Have Fun is fierce, intense, emotionally charged, exhilarating and exciting and cathartic and catchy and comforting all at once: It aches in every direction. Fragile yet ferocious, the album captures Mt. Joy nearly a decade into their career, at the peak of their powers and unafraid to lay it all bare. These 13 songs are at once a culmination and a reckoning – a reflection of the band’s journey from self-releasing songs on SoundCloud to selling out Madison Square Garden, delivered with the intimacy of a whisper and the force of a roar.

There’s something deeply human about Hope We Have Fun. Maybe it’s the raw vulnerability of “God Loves Weirdos,” a soft-spoken stunner that finds beauty in the quiet, fleeting connections between gas stations and green rooms. Maybe it’s the churning, charming electricity of “In the Middle,” Mt. Joy’s standout collaboration with rising star gigi perez. Maybe it’s the fever dream of “Scared I’m Gonna F** You Up” – just 70 seconds long, but explosive enough to leave a lasting mark. Even tracks like “More More More,” which I wrote about earlier this year, feel newly alive in context – haunted and heartbroken, yet searching for release. This record pulses with life.

As the band themselves put it, these songs speak to everything from “road-worn intimacy to post-tour depression, spiritual longing, and the sacred act of making music with people you love.” And that’s exactly how it feels. This is Mt. Joy not just making music, but making meaning – together. The highs are dizzying, the lows devastating, and in between it all is the joy, the doubt, the mess of being alive.

It’s called Hope We Have Fun, but make no mistake: Mt. Joy didn’t just make a fun record – they made a full, fearless one. And it’s one I’ll be spinning for a long time.

:: “wake me up to drive (outside)” – Adrianne Lenker ::

Emma Schoors, Los Angeles

I’ve always thought of Big Thief’s “Wake Me Up to Drive” as the more straightforwardly sensual counterpart to “Vegas.” There’s a tenderness to “Vegas” that transcends the physical: “Turned up the volume and you started to weep / And I thought you a lamb,” Adrianne Lenker sings, and at once, a song about driving through the desert becomes one about seeing through to the one you love’s inner child. “Wake Me Up To Drive” is just as impulsive and yields just as much sentimentality, but the impulse is moreso a yawning, half-hazy commitment to living fully: “Even if I’m tired / I don’t wanna miss the ride.”

Lenker’s newly-released live album Live at Revolution Hall ends with “Wake Me Up To Drive,” and the performance begins with some impromptu talk about the full moon. “Exit on a whim / Hopefully we’ll find it again / Tired of turning back / Let’s keep on moving down the track,” Lenker sings, but this rendition is sung in a higher key than in the original, lending it a nostalgic frailty. “We take the gamble on instead / If they turn us down / Find a warm bed in the next town” sounds simple, but it’s that simplicity that makes it so plainly intimate – we’ll figure it out as we go being the reigning message in both this track and “Vegas.”

Hand upon my skin
Warm me up, and calm me down
I like to watch your chin
Chasing the familiar sound
Of a famous song
Put one on, let’s sing along
To the famous song
Wake me up to drive, wake me up to drive
Even if I’m tired, I don’t wanna miss a ride

There’s an otherworldly beauty threaded in Lenker’s lyricism, always pressing gently on themes of nature, community, and love and loss in all its forms. “forwards beckon rebound,” the fourth track from 2020’s songs, was my most played song of 2024 for these reasons and more – “Letting my eyes close / Shedding my soft clothes,” she sings, surrendering to everything that comes with letting her guard down once and for all.

:: “Healing” – Caleb Kunle ::

Rachel Leong, France

Releasing his latest single back in February, “Healing” feels like an apt introduction to Caleb Kunle for those who don’t yet know him.

The track begins on a soft jazzy, bluesy piano riff, introducing Kunle’s voice atop. As the track progresses, more instrumental layers are added; Kunle’s vocals peak in its clarity as he riffs over a choral backdrop, driving his power forth with a sense of togetherness and community.

Maybe it’s the choir element that fosters that togetherness, the slow layering of reverberating instrumentals, or the track’s hook, “Music gives me healing” – but the song shines in that rarity of not just telling you but showing you the community one feels within music.

Kunle attributes his roots in three different cities – London, Lagos, and Laois, drawing musical inspiration from each one. His music explores duality, being, and culture, allowing senses of self to shine through his art.

:: Unlucky for Some – Nature TV ::

Danielle Holian, Galway, Ireland

Nature TV’s new album Unlucky for Some is a vivid and emotionally rich addition to the band’s growing discography, delivering a fully realised sonic identity that feels both breezy and intricately crafted. Across the album, the band leans into a fusion of neo-soul textures and coastal indie warmth, wrapping their melodic instincts in shimmering production and subtly complex arrangements. It’s the sort of album that seems tailor-made for golden-hour reflections, familiar yet fresh, its comforting tones driven by tactile guitars and an unwavering rhythm section that grooves without ever overwhelming.

With production handled by long-time collaborator Solo Major, the record takes its time exploring dynamic shifts in mood and instrumentation, using texture and tone as emotional tools. From the opening bars to the final fadeout, there’s a palpable chemistry among the band members, their interplay polished yet natural. The vocals remain a magnetic centerpiece, never showy, but deeply felt, guiding the listener through a collection that thrives on nuance. Unlucky for Some is not just a strong evolution of Nature TV’s signature sound; it’s a confident, cohesive work that rewards repeated listens with its subtle layers and heartfelt charm.

:: “changing with the weather” – Mistine ::

Chloe Robinson, California

Mistine’s single “Changing with the Weather” is the emotional compass of the album “i guess this is where we’re at.” This piece anchors the project in both personal and planetary chaos. There’s something deeply human about the way the Earth shifts, suffers, heals. Climate change, rising tides, burning forests feel like emotional events. Based on Mistine’s experiences with relationships in her 20s, this track lays the foundation for the storytelling across the album. There are environmental metaphors woven throughout, drawing parallels between human emotions and the way we treat our climate and planet. The grungy, synth-infused song is a highly catchy listen. Within the vocals we can hear her intense passion pushing through. The video is just as infectious as she dances in the kitchen with friends.

Born in a log cabin and raised in New Jersey, Mistine is an emerging Pop/Rock artist who fuses the soulful pulse of classic rock with the raw emotion of modern pop. Her sound is a seamless mix of retro and contemporary, echoing the influences of legends like Aerosmith and Taylor Swift, with shades of Avril Lavigne and The 1975 laced throughout. Christine Mistine dedicates herself not only to music but also to promoting sustainability and environmental responsibility. With a Master’s degree in Science focused on Sustainable Business Leadership, she has worked as the Sustainability On-Site Coordinator for the Grateful Dead residency at the Las Vegas Sphere and contributed to Billie Eilish’s Hit Me Hard and Soft Tour.

:: Still Life – Fright Years ::

Mitch Mosk, Beacon, New York

[dropcap letter=”E”]dinburgh’s Fright Years have always excelled at weaving emotional weight into incandescent sound, and their sophomore EP is no exception. Aftersun is a dramatic five-track reckoning and reverie all at once – a radiant, raw, and resounding showcase of a band that continues to hit harder and shine brighter with every release. I’ve covered Fright Years countless times over the years, and still, they never cease to surprise me. This EP is something special: A coming-of-age in real time, full of fire, feeling, and fearlessness.

Opener “Stars” kicks things off with that familiar Fright Years magic – shimmering guitars and soaring vocals tinged with heartache – but it’s the feverish rush of “Do What You Wanna” that sends true chills down the spine. Propulsive and unrelenting, it’s a thunderous emotional purge dressed as a late-night anthem. And then there’s the title track: “Aftersun” is an instant favorite, aching unapologetically while glowing with conviction. “So like aftersun, I’m burning for the second time,” Jules Kelly sings, capturing that moment when you commit to change – when choosing to try becomes its own act of courage. It’s intimate, vulnerable, and shimmering – a summation of what makes Fright Years so undeniably special.

This EP marks a turning point for the Edinburgh-based band. Working with producer Theo Verney, they’ve pushed their sound into new territory while staying rooted in the emotionally charged, cinematic storytelling that defines their artistry. The whole record feels like that pivotal hour mark in a film – when things are messy and complicated, but everything starts to shift. You can feel that shift in every note.

Aftersun is Fright Years at their finest: Bold, burning, and brimming with heart. One of Atwood’s artists to watch forever after, and for very good reason.

:: all my best friends – Dancer ::

Mitch Mosk, Beacon, New York

Catchy, cathartic, charming, churning, and charged – Dancer’s debut EP all my best friends hits like lightning in a bottle. The Australian trio are quickly proving themselves to be the next wave of indie rock, and these four songs – “heart attack now,” “not nothing,” “silver linings,” and “wrap around me” – don’t just get stuck in your head; they embed themselves in your soul. There’s something seismic about this band’s ability to blend stadium-sized sound with deep emotional undercurrents, and nowhere is that more evident than on the EP’s gripping lead single.

“wrap around me” holds your attention like a vice grip. It’s intimate and intense, leaning into vulnerability without ever feeling fragile. “I’m curling over, hugging my knees / I’m breaking form, I’m begging relief,” Chris sings, his voice teetering between surrender and resilience. Beneath the song’s massive hooks and explosive energy lies a raw confrontation with ego, pain, and the desire to feel okay. “It’s about hiding pain with material things… dreaming of what life would look like if I was actually successful,” Chris explains. “We had a lot of fun looking at our egos and really leaning into that ‘fuck you’ energy.” That tension – between cheeky swagger and emotional honesty – is exactly what makes this track soar.

Dancer first caught our attention with “not nothing,” and this EP only deepens their spell. Created in the wake of label breakups, burnout, and personal growth, all my best friends is a document of survival and transformation – a testament to friendship, passion, and the healing power of music. From the addictive highs of “heart attack now” to the aching dreams of “silver linings,” this record is all heart.

Don’t let the title fool you – all my best friends may be Dancer’s debut, but it plays like the work of seasoned pros. The radio’s ready. The stadiums are waiting. We’ll be listening.

:: “Summer Bummer” – Alejandro Aranda ::

Rachel Leong, France

Alejandro Aranda returns with latest single, “Summer Bummer,” a fusion of alternative pop, EDM, indie, acoustic styles, and inquisitive lyricism. “Summer Bummer” is a letter to the digital wonderland we live in, and how we chase an authenticity that increasingly seems to be even more distant.

Lyrics like “Cookie cutter I’m living the sweet life / I just wish I had the guts to live like all of them” nod directly to the confines of our society, while larger than life production mirrors expansive digital soundscapes within the vulnerable thoughts of Aranda himself.

Mirroring these thoughts, Aranda leverages the idea of virtual existence and authenticity, creating a soundscape that interpolates between reality and imagination. These wider themes are explored throughout his newest record, ‘Farewell Superstar’, a dynamic experimentation of identity, current affairs, and reality.

:: “Take Your Time!” – Madame Gandhi ::

Rachel Leong, France

Madame Gandhi takes ‘artist with a cause’ to a whole new level every time. Her latest single, “Take Your Time!” is an uplifting ode to self and authenticity. Alongside her full-length album, Let Me Be Water, Madame Gandhi’s discography often champions inclusivity, self-discovery and empowerment, with her latest being no different.

With a focus on gender-expansive creatives and the environment, Madame Gandhi welcomed the creatives of non-profit We Make Noise, crediting them as co-composers on the record. “Take Your Time!” is a nod to self-discovery, urging listeners to embark on the same journey of self-recognition and empowerment.

Paired with electronic elements and organic percussives, Madame Gandhi seamlessly mixes the old and new – exemplifying through her artistry that you can be one thing and many things at the same time.

:: Heart of Gold: The Songs of Neil Young, Vol.1 – Various Artists ::

Joe Beer, Surrey, UK

Heart of Gold: The Songs of Neil Young is a star-studded tribute to the man behind some of the most iconic songs in music history. The compilation features 14 tracks, covered by artists such as Fiona Apple, Brandi Carlile, The Doobie Brothers, Eddie Vedder, and Mumford & Sons, who all bring their own interpretations to his timeless catalog. The project is the brainchild of Cinema Music Group, a Los Angeles-based production house helmed by longtime collaborators Dave Resnik and Niko Bolas. With decades of experience spanning collaborations with artists like Sting and Lucinda Williams, the two set out to bring things back to basics in today’s ultra-polished music world: recording everything live, with few takes and plenty of heart.

Chris Pierce’s version of “Southern Man” is nothing short of breathtaking. His vocals are deep, velvety, drenched in soul and effortlessly command attention. Delicate, emotional harmonies float in and out, bringing a softness that contrasts the gravity of the song. It’s a slow burn in the best way, proving just how powerful restraint can be.

Beyond being a moving tribute to one of music’s most beloved songwriters, the album is also giving back, with proceeds supporting The Bridge School – a nonprofit dedicated to helping children with severe speech and physical impairments through innovative assistive technology and education. Be sure to check out the album in its entirety – it’s hard to pick a favorite with such an incredible line up!

:: “Shallow” – SINK ::

Danielle Holian, Galway, Ireland

SINK’s latest single “Shallow” is a spellbinding and emotionally resonant glimpse into the artist’s forthcoming debut album “Flaw State.” With a masterful interplay of glitching synths, choppy beats, and organic imperfections, the song weaves a compelling sonic narrative that reflects the tension between modern chaos and the human need for stillness. SINK’s melancholic falsetto drifts hauntingly through an expansive, ever-shifting landscape of electronic textures, showcasing a rare ability to merge experimental production with deeply personal storytelling. Beautiful, bold, and brimming with emotional depth, “Shallow” is both a standout track and a promising sign of what’s to come from one of London’s most exciting new voices in alternative electronica.

:: Toronto Tapes – Zweng ::

Danielle Holian, Galway, Ireland

Zweng’s Toronto Tapes is a strikingly honest portrait of a musician reclaiming his voice after years of personal turbulence. Recorded during a year of sobriety and self-reflection, the album unfolds like a confessional – equal parts raw diary entry and refined sonic statement. With producer Will Schollar at the helm and Kensington Sound Studios as its backdrop, the record blends stripped-down indie rock with flickers of pop, classic rock, and alt-folk to create a sound that feels both vintage and urgent.

The album’s emotional weight is balanced by fearless reinterpretations of familiar songs. Covers like “Pet Sematary” and “Uptown Girl” are transformed into deeply personal meditations on addiction and identity, while originals such as “Marianne” and “Jeanette” dig into generational grief and spiritual healing. Zweng’s vocals crack where they need to, his instrumentation never showy but always intentional – each track serving as a waypoint in a larger journey of self-reclamation.

Toronto Tapes doesn’t aim to dazzle, but aims to connect. And in doing so, it offers something increasingly rare in new music: unfiltered sincerity. For listeners craving depth, vulnerability, and storytelling that doesn’t flinch, Zweng’s latest is not just an album – it’s a companion for the long road back to yourself.

:: “Into the Winds” – Ali J. Hassan ::

Chloe Robinson, California

Life can send many challenges your way. It’s how you let those challenges define you that truly shows what you are made of. Ali J. Hassan’s emotive piece “Into the Winds” is about facing hardships and recognizing the valuable lessons and unexpected opportunities that come with them. His gravelly vocals over a rich and radiant rock backdrop create a piece that truly shines. The song is an optimistic note, encouraging listeners to trust that the universe has a plan.

Ali J. Hassan’s musical journey has been as dynamic and varied as the artists he’s worked with. As a bassist and rhythm guitarist, he has performed with bands such as Anarchaos, Wildstreet, and Awaken the Shadow, and has appeared at major festivals including the Vans Warped Tour, Rockstar Energy Drink Uproar Festival, and more. Hassan has also collaborated with renowned producers like Eddie Kramer, Neil Dorfsman, Ted Hutt, Shep Goodman, and Aaron Accetta, contributing to projects for artists such as Alicia Keys, Sebastian Bach, John Legend, and others. This new energetic, inspiring single showcases just how far he has truly come.

:: “Wanted” – Izzy Mahoubi ::

Chloe Robinson, California

Izzy Mahoubi’s infectious indie folk single “Wanted” tells the tale of an immature player who won’t commit. As much as you know you are not wanted, you cannot help but want them. The compelling piece is the ultimate back-porch-strumming, summer-singing anthem made for the girls. Relatable lines like, “I know you’ve given me a good, good reason to run. But there’s something about not being wanted by someone,” depict a familiar feeling of desiring something even though it may be bad for you. Created and recorded in Nashville, Tennessee, this Lumineers-inspired song includes group vocals from her best friends, turning it into a song for friends to sing together – or even playfully at each other.

Hailing from Phoenix, Arizona, Mahoubi is a Folk/Americana artist who blends the timeless influence of The Beatles with the introspective edge of Fiona Apple. Her music weaves soulful folk with hints of classic rock, creating a sound that’s both familiar and fresh. Mahoubi lyrics are raw and conversational, like confiding in a close friend. Her unfiltered vulnerability, laced with a touch of wit, beams through every time you hear her music. “Wanted” is another prime example of that.

:: “Chamomile” – Runnner ::

Mitch Mosk, Beacon, New York

Runnner’s “Chamomile” hits like a breath of fresh air – punchy, passionate, and unapologetically alive. The latest in a string of 2025 singles, it’s also a striking evolution for Los Angeles’ Noah Weinman, who’s traded the lo-fi warmth of his earlier material for a crisper, widescreen indie rock sound. The result is as intense and invigorating as it is enchanting: A full-bodied, emotionally raw anthem that wears its heart on its sleeve while barreling forward with unchecked momentum.

“I wrote this song back in 2017,” Weinman shares. “It’s kind of about depending on small, insignificant things to make big, important changes in my life, and how silly that is… I’ve made dozens of versions of the song before this one. I’m very relieved to finally be putting it out.” That backstory adds a layer of tension to a track that already feels like it’s been fighting to break free – and now, it finally has. “Chamomile” soars on vibrant guitars, punchy drums, and a sense of determined urgency, as Weinman sings of fumbling through failure and finding strange comfort in the little things. “I’m on my heels / leaning into chamomile,” he declares, exhausted and exhaling, trying to steady himself in the storm.

There’s something beautifully honest about the chaos of this song – how it trembles and swells, how it never quite lands but always keeps moving. Like the best of early 2000s indie rock, “Chamomile” is both intimate and in-your-face: A spirited release bursting with restless energy and poetic messiness. It’s exhilarating.

With this latest batch of singles, Runnner is writing a new chapter in real time. If “Chamomile” is any indication, it’s one that demands to be heard – and felt – at full volume.

:: “russian doll” – dacelynn ::

Mitch Mosk, Beacon, New York

Where does she even take a breath? From the moment dacelynn opens her mouth on “russian doll,” she pours herself out in a steady, unstoppable stream of thoughts and feelings – raw, unfiltered, and breathtakingly real. Released May 16 via Nettwerk, the 21-year-old singer/songwriter’s latest single is a slow-burning stunner: An alt-acoustic emo ballad that starts soft and steady, then rises into a tidal wave of emotion. It’s warm, it’s tender, it’s achingly vulnerable – indie folk at its finest. Delicate, comforting, cathartic, and the kind of music that instantly takes your breath away with its quiet strength.

Acupuncture needle new connections
Watch the water boil over
Sputter out and break the tension
I can shell another 30
To deflect all my reflections
I can hollow out my chest
To make more room for brand new lessons
Dress a wound with sheepish clothes
My curls are faux and full of questions
But my teeth are gnashing woe is me
Is woe my new collection?

I can’t bridge the gap between
The me’s in past future and present
I don’t want to find the reason
I reject my adolescence
I can push it down and
Make a big thing small
A small thing smaller

https://www.youtube.com/watch?v=mg9jh4G6sgM&pp=ygUZInJ1c3NpYW4gZG9sbCIgLSBkYWNlbHlubg%3D%3D

:: “Across the Universe” – Tomás del Real & Julie Arsenault ::

Sophie Severs, Boston, MA

Ever since I first heard The Beatles’ “Across The Universe,” its words have been a mantra to live by. Nothing’s gonna change my world, nothing’s gonna change my world. Without a doubt, the track is one of the most iconic to ever exist – as evinced by the extensive roster of artists who have covered the song, including David Bowie, Fiona Apple, Rufus Wainwright, etc.

The newest artists to cover the beloved track are Tomás del Real and Julie Arsenault. The two put their own spin on the tune, incorporating elements of Latin American folk music by altering the syncopation and also adding a subtle twist to the second chorus. Their voices smoothly intertwine over gentle – yet resonant – guitar strums, carving out a sonic space of relaxation and tranquility. You can hear the sheer reverence del Real and Arsenault hold for the words they sing, and for the voices who have sung those same words before them.

Taking one of the most iconic tracks ever written and putting your own spin on it is a daunting feat, but del Real and Arsenault do so with grace. Their rendition of “Across The Universe” is elegant, mystical and altogether mesmerizing; a true treat for anyone feeling a little lost on the beaten path of life. Nothing’s gonna change my world, nothing’s gonna change my world.

:: “Sam Stone” – Dean Batten ::

Rachel Leong, France

In our world of synthesised textures and heavily produced sonics, a stripped-back recording is sometimes just what you need. One of my favourite recent discoveries is Dean Batten – a folk singer-songwriter with old-time harmonic sensibilities and a fantastic harmonica break in every song.

“Sam Stone” struck me immediately for its raw recorded performance, where rhythmic acoustic guitar blends with nostalgic songwriting. Batten’s vocals provide a vulnerability to the track that is rare to find, while delivering a literary storytelling narrative.

With classic country sensibilities, Batten’s artistry aligns perfectly with that nostalgia we’re all pining for. With a self-proclaimed interest in “music, motorcycles, and mysticism,” Batten’s set to bring a modern take on a timeless genre of artistry.

:: The Eternal Hour – Mikel Rafael ::

Danielle Holian, Galway, Ireland

Mikel Rafael’s The Eternal Hour unfolds like a half-remembered dream – gentle, spectral, and deeply felt. Across three songs, he captures the quiet ache of wandering souls and the hush between thoughts, threading his voice through delicate acoustic textures with the grace of a poet in confession. Each track moves like light through fog, shaped by literary shadows and ancient echoes. “Maples and Pines” drifts in like morning mist; “The Stream” flows with a calm desperation, searching for something just out of reach; and “Rise Into The Gentle Night” cradles the listener in twilight sorrow and strange hope. It’s a journey through one surreal day, but it stretches into the timeless.

There is bravery in how Rafael resists the noise; his music breathes, waits, lingers. He doesn’t chase crescendo or clamor; instead, he leans into the stillness, letting silence speak as loudly as sound. The Blakean inspiration in the title feels apt, this is music that holds eternity inside a moment. For those drawn to introspective folk, mythic undertones, and melodies that feel unearthed more than written, The Eternal Hour offers a rare kind of solace. It’s not just a debut, it’s an invocation.

:: “Glory” – Hannah Stokes ::

Rachel Leong, France

With jazzy sensibilities and soul-infused rhythmics, “Glory” is one of the newer singles to come from up and comer, Hannah Stokes. Stokes’ existing discography is marked by round, refined vocals that allow Stokes’ distinctive tone to lead front and center. Akin to modern jazz-soul icons Lianne La Havas and Emily King, Stokes’ music possesses that undeniable quality of transporting you to her artistic world. “Glory” shines in its buoyant vocal performance and blues-y guitar melodies. Paired with Stokes’ narrative songwriting, “Glory” is a melancholic ode to lost love and self-hood. The peeled-back intimacy leading the track allows a quiet exuberance to shine through – and that encapsulates Hannah Stokes’ music in a nutshell.

:: “Dire” – Mimi’s Revenge ::

Danielle Holian, Galway, Ireland

Atlanta’s Mimi’s Revenge crash into the alt-pop conversation with “Dire,” a striking debut that feels more like a cinematic confession than a conventional single. From its brooding, slow-burn intro to its shimmering, layered climax, the track pulses with raw emotional urgency, a carefully controlled chaos wrapped in slick, shadowy production. There’s a theatricality to everything they do, and “Dire” is no exception: it’s a soundscape drenched in feeling, where every lyric hits like a gut punch and every synth swell feels like a warning siren from a beautifully broken future.

But what truly elevates “Dire” is the duo’s commitment to world-building. Mimi’s Revenge do everything in-house, from haunting visuals to handmade costumes, and that obsessive attention to detail pays off in spades. The song is the entry point into a wider mythos of pain, transformation, and creative rebellion, and they wear their influences (Prince, Outkast, blink-182) not as a costume, but as fuel for something wholly their own. If ‘Dire’ is the opening move, Mimi’s Revenge are playing a long, bold game, and we’re already hooked.

:: “Heaven & Hell” – AViVA ::

Joe Beer, Surrey, UK

“Heaven & Hell” is the new single from Los Angeles based alt-pop artist AViVA, taken from her upcoming album Eyes Wide Shut. The fiery track is an unapologetic anthem that pulses with distorted guitars, crashing percussion, and vocals that slice through the noise. The lyrics hit just as hard as the sound, offering a defiant critique of an industry that demands artists to trade their autonomy for access. “The devil, literal or not, sits waiting for the next artist to fall into the trap,” she says, speaking to her refusal to sign away her masters or sacrifice her vision as an artist.

“Heaven & Hell” is a rallying cry for anyone who’s ever felt on the edge of something bigger, or caught in a tug-of-war between who they are and what they’re expected to be. AViVA’s ability to channel personal experience while leaving space for listeners to bring their own meaning is part of what makes her music resonate so deeply. She’s built an entire universe for her growing community of who she calls “Outsiders,” and with Eyes Wide Shut she’s pushing her creative universe even further, with new music, an upcoming cyberpunk novel and graphic storytelling.

:: “Remedy” – The Straights ::

Danielle Holian, Galway, Ireland

The Straights are back with “Remedy,” an explosive new single that combines raw emotion with high-octane energy, creating the perfect anthem for anyone seeking release in a noisy world. Hailing from Portsmouth, the band is known for their unapologetic blend of Garage Rock, Indie, and Alternative influences, and this track takes their signature sound to thrilling new heights. With blistering guitar riffs, pounding drums, and George Years’ gritty, impassioned vocals, “Remedy” is a visceral ride through personal chaos, offering a cathartic escape for listeners craving unfiltered, rebellious energy.

“Remedy” explores emotional turmoil and the desperate pursuit of healing through sound, sweat, and spirit. As Years explains, the song is about feeling broken and searching for a way back to stability. The track’s messy, loud, and unapologetic energy perfectly mirrors that journey. A favorite for fans of bands like The Libertines and The Black Keys, “Remedy” stands as a powerful testament to The Straights’ rising influence in the UK rock scene. With this single, the band reminds us that sometimes, the best way to heal is through pure, unrelenting noise, a philosophy they embody perfectly in this exhilarating release.

:: “Rose-Tinted” – Szou ::

Mitch Mosk, Beacon, New York

My god, this song is catchy. Szou’s “Rose-Tinted” is an instant high – a double espresso shot to the soul. It’s effervescent, energetic, glitchy, dreamy, dramatic, and just straight-up fun. The London-based duo have delivered a dazzling blast of indie-dance nostalgia that hits hard and lingers long after the final chorus fades. And what a chorus it is: A shimmering explosion of harmonies and vocal doubling that turns introspection into euphoria. A fiery, invigorating fever dream, “Rose-Tinted” doesn’t just ask you to remember; it demands you feel.

How can I let go?
When I keep on looking back
When I’m losing myself
In all those photographs
And I would give anything
To do what we once did
To live that life we had

And it’s not like it’s not the same
And it’s not like we’ve lost our ways
And it’s not like we’ve even really changed
It’s not like that

Inspired by Two Door Cinema Club’s “I Can Talk,” and echoing the rush of Bombay Bicycle Club, Foals, and The 1975, Szou channel their influences into something fresh and fully their own. Vocalist Zoe Kent is a force of nature – breathless and commanding, emotional and electric – as she sings of longing, memory, and the way the past keeps tugging at the present. “I think of you sometimes late at night / For a minute or two, I am back in time,” she croons, her voice riding a tidal wave of synths, guitars, and pounding beats. It’s an exhilarating juxtaposition of movement and stillness, of nostalgia and now.

I think of you
Sometimes late at night
For a minute or two
I am back in time
I don’t need no machine to take me there
Don’t need nothing to count back the hours
Just need something to keep me here
With that longing

“I wrote the lyrics to ‘Rose-Tinted’ after flicking through some old photos on Facebook,” Kent shares. “I’m quite an emotional person and remember feeling such a strong sense of longing whilst looking through them. So much so, I even longed for times that I knew weren’t great which sounds emo, but actually I realised I was mourning the person I used to be. We started opening our gigs with the song, and noticed that the audience loved dancing to it especially because it’s very fast.”

“My bandmate David produced a version with our live band, and we were influenced by the crazy energy of ‘I Can Talk’ by Two Door Cinema Club. Two Door have such a great way of making you move emotionally and also literally and we strive to do that too! ‘Rose-Tinted’ has always been a fan favourite and people kept saying they wanted to hear the recorded version. We’re really glad they get to hear it now and hope we’ve done it justice!”

Was like a sweet dream,
Sun-kissed summer haze
It’s all ancient past
But felt like yesterday
Wish I knew what I knew now
Would have turned my life around
Done away with all the gray

And it’s not like it’s not the same
And it’s not like we’ve lost our ways
And it’s not like we’ve even really changed
It’s not like that

It’s safe to say they have. Szou are entering their indie-dance era with style and purpose, and “Rose-Tinted” is the kind of track that crystallizes everything they do best: Bold production, emotional lyrics, and enough energy to fill a stadium. It’s the soundtrack to 2AM memories and late-night longing, to summers that felt endless and heartbreaks that still sting. And with each listen, you’ll find yourself swept up in it – caught in the blur of what was, what could’ve been, and what still lingers.

Whether you’re dancing alone in your room or screaming along in a packed venue, “Rose-Tinted” feels like a moment – one that glows bright, burns fast, and leaves you wanting more.

I think of you
Sometimes late at night
For a minute or two
I am back in time
I don’t need no machine to take me there
Don’t need nothing to count back the hours
Just need something to keep me here
With that longing

I should be present but I get so swept up in it
The good and the bad it’s all rose tinted
These photographs
Show me these things
Feeling all that longing

:: Baby Boy – Jaylon ::

Danielle Holian, Galway, Ireland

Jaylon, a producer and songwriter, is rewriting the Afro R&B playbook with Baby Boy, a sun-drenched, genre-fluid EP that pulses with soul, swagger, and sincerity. Across six tracks, Jaylon crafts a deeply personal narrative, an autobiographical celebration of movement, memory, and music’s power to connect worlds. What makes Baby Boy so compelling isn’t just its pristine production or star-studded features (though appearances from Azanti, Minz, Anjeli, and more certainly don’t hurt). It’s the heart embedded in every kick, every chord. This isn’t factory-line Afrobeats, it’s a handcrafted mosaic of rhythm and resonance, designed for both the headphones and the dancefloor.

Jaylon’s sonic identity is hard to pin down, and I guess that’s the point. He dips into the warm hues of R&B, the infectious bounce of dancehall, and the minimalist sharpness of UK soul, always returning to a distinctly Afrocentric core. It’s the sound of an artist bridging generations, continents, and genres with a light touch and a deep groove. Much like the giants he’s worked with (Mr Eazi, Blaqbonez, DJ Tunez), Jaylon is less interested in fitting in than he is in building new sonic territory. Baby Boy doesn’t just reflect where he’s from or where he’s been; it signals where Afro-fusion is headed next.

:: “Little Flea” – Òrain ::

Mitch Mosk, Beacon, New York

òrain’s “Little Flea” feels like sunlight slipping through leaves; like a dream you wake up from slowly, but never quite forget. The final track lifted from their Hanging Fruit EP, this song is dreamy and wondrous – soft and slow and brooding and beautiful. It’s lush with folk textures and rich in feeling: Flute, acoustic guitar, and delicate harmonizing vocals intertwine to create a soundscape as emotionally potent as it is freeing – light, lilting, warm, and sweet. Folk lushness, at its finest.

This time you laughed at the feeling
that you felt from before,
These tired things round you
that used to mean so much more.

And it’s waiting, it’s waiting,
it’s waiting for you to adore it
You try to wake up and your
eyes are tied shut, you ignore it.

And I just had to ask, oh baby, is it true?
I came over to
See if it’s true

This is the first òrain track to feature Molly Ingleby on lead vocals, and she delivers a breathtaking performance – gentle and ghostly, yet grounded in a soft ache. Her voice dances lightly around the instrumental’s sun-bleached edges, evoking a longing that’s less about heartbreak and more about the slippery nature of memory itself. You can feel the Hebridean sea mist hanging over every note, the distance between past and present stretching thin. There’s a weightlessness to this song that makes it hit even harder; it carries you somewhere far away before softly placing you back down again.

“‘Little Flea’ was originally titled Mialum, the Gaelic translation of its name, inspired by the beautifully strange place-names on the island where it was written,” òrain’s Fraser Johnston explains. “That language – so tied to landscape and weather and memory – set the tone for the song. Molly and I wrote it on a trip there. We were listening to a lot of Sylvie, Jessica Pratt, and Neil Young that summer. That gentle, expansive, sun-drenched sound. But instead of Laurel Canyon, we had the Hebrides: long horizons, sea mist, and most of all – quiet.”

“The song is really about your relationship to home. How it changes, how certain places, relationships, and even versions of yourself start to feel faraway or unreal, and you wonder whether or not it’s wrong to feel differently to how it used to be. It’s easy to get nostalgic in a place like that, entirely remote from the madness of a big city. We wanted to hold that tension in the music – the warmth and the ache of looking back. And I think that’s where Reuben – our guitar player – really shines. The way he helped mould and layer that long instrumental passage, that part is really all him. It was all done in a day. Despite laying the basic tracks down live fairly quickly, we toiled over it a little bit towards the end – there were so many options. But we took the less is more approach and I think it’s better for it.”

Back again, back again,
back once again to this place,
I hardly recognise the
ground up to the skies, these days.

And it’s changing, it’s changing,
it’s changing again in your mind
Turn yourself around
to leave what you have found all the time

And I just had to ask, oh baby, is it true?
I came over to
See if it’s true

They’re right. That “less is more” restraint is what makes “Little Flea” so captivating. It unfolds like a slow-motion memory – one you didn’t know you still carried, but can suddenly feel with aching clarity. In a world that rarely makes space for stillness, òrain offer a moment to pause and reflect. To breathe. To remember. And maybe, to come home to yourself.

This is not just a song. It’s a spell.

Back again, back again,
back once again to this place,
I no longer recognise the ground
up to the skies, these days.

And life’s waiting, it’s waiting
it’s waiting for you to adore it
For you to adore it

:: “Made for” – Reigns ::

Rachel Leong, France

Reigns, rising UK artist, returns with “Made For.” This bold and emotionally-charged track leads with soaring vocals and fearless artistry; in line with the artist’s dynamic fusions of soul, pop, and R&B sensibilities. Powerful lyricism evokes the internal conflict of a relationship built primarily on physical desire. The struggle comes upon the realisation that it’s void of emotional compatibility. Reigns is no stranger to unapologetically tackling topics close to the heart, and “Made For” does this undeniably. Sonically, “Made For” leans into nostalgic ’90s R&B textures – slinking drum loops, airy synths, and slick melodies – yet maintains a feel that is refreshingly current. Written in under two hours on a train ride to London and recorded the very next day, “Made For” is a product of pure creative instinct.

:: “The Fake Truth” – Giampaolo Pasquile ::

Danielle Holian, Galway, Ireland

Giampaolo Pasquile’s The Fake Truth is less an album and more a mirror held up to time itself – its tracks move like echoes from a distant past, woven through the circuitry of tomorrow. With each note, Pasquile stitches analog soul into digital seams, crafting a sonic tapestry where memory breathes through machines. There’s a quiet ache beneath the shimmer, a reverence for the warmth of imperfection, and yet an embrace of precision not as an enemy, but as a curious friend. It is music that feels lived in, haunted by ghosts of reel-to-reel recordings, yet sharpened by the glint of artificial intelligence serving not as muse, but as an amplifier of intent.

In The Fake Truth, nostalgia doesn’t look backwards; it questions forward. Pasquile dares us to reconsider what is real, what is remembered, and what is manufactured. The album hums with the tension of transition: a world where heartbeats sync with algorithms, and emotion flickers behind the screen. Through each deeply felt melody and textured harmony, Pasquile proves that even in the age of the artificial, truth, however “fake,” still rings in the human ear with devastating beauty.

:: “New Age Love” – Peso The Misfit ::

Danielle Holian, Galway, Ireland

Peso The Misfit kicks off a bold new era with “New Age Love,” a smooth, swagger-drenched R&B cut that oozes laid-back charm and cinematic flair. Known for turning his live shows into immersive story-driven experiences, Peso brings that same narrative magic into the studio, delivering a track that feels like the opening scene of a late-night love story. With silky vocals, clever lyricism, and just the right hint of playful mischief, “New Age Love” doesn’t just set a vibe, it sets the stage for something bigger. This single is the first chapter in a four-part musical narrative Peso plans to release across the summer, and if this is the introduction, we’re in for a ride. Think PARTYNEXTDOOR meets Donald Glover with a touch of indie-film soul. Peso isn’t just making music as he’s building a world, and “New Age Love” is the smooth, seductive invitation into it.

:: “Garden” – Dailla ::

Danielle Holian, Galway, Ireland

There’s a quiet ache woven into every note of Dailla’s latest single “Garden,” a stunning, slow-burning alt-pop ballad that feels both deeply intimate and universally resonant. The track marks a bold emotional high for the emerging artist, who crafts her world through lush piano, cinematic strings, and atmospheric touches that blur the line between sound and sensation. Her voice, trembling with vulnerability, leads us through a lyrical landscape where love is tenderly nurtured, much like the title suggests. With naturalistic textures like birdsong fluttering in the background, “Garden” blossoms into a sonic sanctuary, a place where trust, longing, and emotional fragility are not only felt but celebrated.

Dailla’s songwriting walks the fine line between poetry and confession, never shying away from emotional depth. Lines like “Like a butterfly, I fly so high, it hurts” pierce with the kind of honesty that defines a great lyricist, unfiltered, beautiful, and deeply human. In a world of overproduced heartbreak anthems, “Garden” stands out for its stillness, its slowness, and its unwavering sincerity. It’s a love song, yes, but more than that, it’s a meditation on the courage it takes to care for something fragile. With this release, Dailla proves herself as not just a voice in alternative pop but a true emotional architect. “Garden” is a standout track from an artist who’s clearly just beginning to bloom.

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