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 Jordan Hawkins, Dirt Flirt, Alex Porat, Jessy Blakemore, Claire Guerreso, Party Nails, MARLEY, World News, Susannah Joffe, Chris Chu, gabby rivers, Mutual Shock, Geo Baddoo, Evalyn, Tristan Tritt, Stephan Hogan, Cory Cullinan & Riley Max, Chayne, Pink Skies, BOY SODA, Imbermind, Ash Red, Foxtails Brigade, Staci Gruber, Telebox, PARK RD, Big Fear, Altameda, Jake Thistle, & he is tall.!
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:: “Off Them Drugs” – Jordan Hawkins ::
Mitch Mosk, Beacon, New York
There’s no cooling off in Jordan Hawkins’ “Off Them Drugs” – from the first guitar lick to the final vocal flare, the LA-based artist’s latest single simmers with unfiltered passion and smoldering tension. His voice cuts through like smoke in a dark room, charged with desire and disillusionment. “You got me burnt out / You must be tweaking out / You must be off them drugs,” he sings, leaning hard into the ache and absurdity of communication gone sideways. What starts as seduction unravels into confrontation, with Hawkins’ bluesy guitar playing both balm and accelerant.
“Off Them Drugs” feels almost voyeuristic in its intimacy – a late-night argument caught on tape, or the tail end of a high when everything suddenly turns sideways. Hawkins describes it as “inspired by the back and forth of a heated argument with my woman,” adding, “Oftentimes in arguments we could lose our tempers and talk over each other to the point that no one was being heard and nothing was making sense. When I felt my woman was tripping about something I would tell her she was off them drugs. If we were drinking or smoking it would only amplify the issue and take us further away from resolve. In a deeper sense it’s also a self-reflection of how substances can alter decision making and clarity often to the detriment of effective communication.”
That tension thrums through every moment – in the clipped voicemails, the dissonant chords, the sharp stabs of frustration, and the pleading in the bridge: “Pain has been a teacher / and we still haven’t learned our lesson yet.” But for all its conflict, there’s a cathartic edge to the track – a sense that Hawkins isn’t just venting, he’s excavating. Every note is tethered to something raw and real. The song itself ends in a fiery guitar solo that highlights not only Hawkins’ virtuosity as a player, but the guitar’s central role in his expression – a final burst of feeling that reminds us that when words break down, music takes over.
With “Off Them Drugs,” Jordan Hawkins continues to carve out his space in the modern soul-rock landscape – one that’s rooted in live instrumentation, emotional urgency, and uncompromising truth. It’s messy. It’s sensual. It’s human. And it hits.
:: Dirt Flirt – Dirt Flirt ::
Danielle Holian, Galway, Ireland
On her self-titled debut EP Dirt Flirt, London-based alt-pop force Kit Eaton-Kent delivers a raw, unflinching portrait of queer identity, heartbreak, and the beautiful chaos of growing into yourself. As Dirt Flirt, Eaton-Kent dismantles the walls between vulnerability and pop precision, crafting five sonically diverse tracks that hit like diary entries dressed in synth and distortion. From the bruised honesty of “Necklace” to the jagged self-awareness of “Dramatic,” each song is a standalone vignette: messy, magnetic, and gut-wrenchingly real. It’s the kind of record that doesn’t just invite you in; it demands you feel everything, all at once.
Produced by Redshank and powered entirely by Eaton-Kent’s writing and performance, Dirt Flirt wears its emo roots proudly while pushing toward a future-facing alt-pop sound. Touchstones like The Japanese House and 070 Shake echo through the production, but it’s Dirt Flirt’s confessional voice and emotional daring that truly set her apart. “Boyfriend” unpacks queer longing through candy-coated pain, “Bodycount” turns post-breakup guilt into an anthem, and closer “Don’t Go” leaves you haunted, lingering in the silence of things left unsaid. It’s no wonder the EP is catching fire across Spotify playlists; Dirt Flirt is the sound of someone claiming space, scars and all.
:: “Blueprint” – Alex Porat ::
Josh Weiner, Washington DC
I’m celebrating 10 years with Atwood Magazine this month, and over the decade that’s ensued since I first hopped onboard this fine publication in June 2015, there have been plenty of instances where I’ve gotten to discover various new artists, and then rediscover them once they get pitched to me again months or even years later. Alex Porat is one such example– I was first introduced to this teenage Toronto singer back in August 2020, when lockdown was still in effect and, although the global mood wasn’t quite as gloomy as it had been five months prior, things were still pretty dreary. Luckily, her bouncy and lighthearted single “never say ily again” was able to pick my mood up considerably, something I still appreciate her for five years later. And now, it’s great to get caught up in Ms. Porat’s progress– she has since continued to put out plenty of music, including her 2021 debut LP, MISS SICK WORLD, and now is back with a brand new single entitled “Blueprint.”
On this song, Porat reflects about a past lover of whom she’s two minds about. On the one hand, things didn’t really work out with them. On the other hand, they’ve given her valuable impressions as to how to approach romance that she’s benefitted from ever since. So… what to make of such a person? Hard to say, but it does make for an intriguing thematic concept, and the gentle ethereal beat and Porat’s ever-alluring vocal strengths make “Blueprint” a complete package. She’s also got plenty more of all that coming up with her new EP, crushed!, which she describes as “the type of music someone would dance around their room to when they get a text from the person they like.”
:: “burna” – Jessy Blakemore ::
Rachel Leong, France
London-based singer/songwriter Jessy Blakemore has released her debut track, “burna,” alongside bonus single ‘shiloh type beat.’ Having already made a name for herself with opening slots at SZA’s Hyde Park show last year, Blakemore’s own music has been a long time coming. The long-awaited new music blends soulful vocals with an unforgettable presence, only a peek of what is to come for the artist.
“burna,” particularly, shines with its tender power – the track attests to Blakemore’s expansive songwriting abilities, as well as her gift in transporting you elsewhere with her artistry. “burna” speaks to infidelity from a perspective outside of her own, as she shares, “’burna’ is written from a guy’s perspective of a wanting to be with someone who’s unavailable. it’s not a love song, but rather a representation of a projection of potential, and then blame for the feelings of conflict that follow.”
With festival slots and more music to come, Blakemore is only set to go upward from here.
:: “Cross My Heart”- Claire Guerreso ::
Chloe Robinson, California
Sometimes it can be difficult to fully let go and just be yourself. Claire Guerreso’s single “Cross My Heart” is about embracing who you truly are, taking bold leaps, and shedding the burdens that hold you back. With glistening melodies, catchy rhythms, and lyrics that ignite a spirit of adventure, the track embodies the exhilaration of self-discovery and the pure joy of being present. She uses the idiom “cross my heart and hope to die,” cleverly changing the expression to “fly.” The line perfectly sums up her message of seizing chances.
Guerreso blends a wide range of styles – such as indie-pop, rock, electronic, and soul – into a sound that’s uniquely her own. She gravitates toward music that taps into raw, powerful emotion, with a voice that feels both ethereal and weightless, seamlessly uniting every track. Beyond performing, she focuses on creating music for film and television, as well as collaborating with other artists as a songwriter. She moves between moody, atmospheric releases, high-energy dance anthems, and soul-searching ballads, infusing each with emotional depth. “Cross My Heart” showcases that same passionate quality.
:: “Trigger Warning” – Party Nails ::
Julius Robinson, California
Elana Carroll brings her talents as a singer, songwriter, producer, musician, and engineer together in her electrifying project, Party Nails. She has just released her compelling new single and video dealing with the aftermath of relationship abuse. Titled “Trigger Warning,” the shimmering, synth-driven single channels the nostalgic allure of Chromatics and the moody intensity of The Weeknd. Directed by Elinor Howells, the visuals bring a vivid blend of surrealism and emotional depth to the music video. Bathed in a vintage hue, the footage feels like a faded memory. The narrative touches on themes of running away, building connection, inner reflection, personal evolution, and rising above.
Before adopting the moniker Party Nails, Carroll was a guitar-wielding preteen performing at every open mic she could find around her hometown of Chatham, New York. At home, she began experimenting with Garage Band, sparking a passion for music production that still drives her today. Party Nails officially emerged in 2015 with the release of “Break”. She has fully honed in on her craft and “Trigger Warning” displays her skill seamlessly.
:: “Good Times” – MARLEY ::
Joe Beer, Surrey, UK
London-based Dutch artist MARLEY reminds us that money can’t buy happiness in her latest single, “Good Times.” With silky pop-soul production from PENGWIN and a voice that commands attention, Marley delivers a sleek, glittery anthem that questions the illusion of success. Instead of glamorizing opulence, MARLEY invites listeners to look inward, touching on themes of self-worth and emotional honesty. Written after a period spent working closely with wealthy individuals, the songwriter realized that beneath the glitz and the glam, things weren’t always so shiny. She confides, “I used to think they had it all figured out, but it wasn’t true. Happiness doesn’t come from Bentleys or marble floors. It comes from within.”
With a sexy bassline, soul-soaked vocals and a groovy beat, “Good Times” is the ultimate ear-worm, reminiscent of Amy Winehouse and Stevie Wonder. MARLEY sings, “I’m not here for a long time, just a good time,” a lyric that shimmers with optimism, reminding us to seek out the joy in the everyday, even when life feels heavy. It’s a message of lightness that lands with particular resonance in the midst of uncertain times.
:: “Don’t Want to Know” – World News ::
Mitch Mosk, Beacon, New York
World News make escapism sound like an artform on “Don’t Want to Know.” Soaked in glimmering delay and a gliding, ever-climbing guitar line that channels the widescreen wonder of Achtung Baby-era U2, the Brighton-bred, London-based band’s latest song is indie rock built for motion – restless legs, blurry skies, cities passing by in a trance. But where the sonics are light-filled, the sentiment is heavy. “No I don’t want to know what it’s gonna be like / Don’t want to know just leave me be,” frontman Alex Evans sings, his voice cool and detached against the track’s euphoric swell. That push and pull – sonic brightness wrapped around lyrical bruises – proves a powerful, instantly and endlessly alluring tension.
Evans wrote the lyrics after a rough landing in Brighton: “I wrote the lyrics not long after moving to Brighton; a new chapter that didn’t exactly go to plan,” he explains. “I got fired from a bar job for calling in sick with the flu, and that was kind of the tipping point. I shut down, went full hermit mode, and couldn’t face anyone. The song came out of that headspace – when you’re stuck in a fog of depression, struggling to do even basic tasks and pushing away the people who actually care.” It’s a song of isolation disguised as a banger – self-sabotage set to a sparkling beat.
That contrast is part of what makes World News so compelling. Their music wears vintage influences on its sleeve – think The Smiths, The Cure, even Dire Straits in their dreamier moments – but there’s a modern malaise baked into every refrain. The line “don’t want to know your name / but darling won’t you still be mine?” is practically a thesis statement: Prickly, romantic, and confused in the most human way.
With “Don’t Want to Know,” the British band find clarity through catharsis, spinning collapse into something you can dance to. It’s moody. It’s magnetic. And it lingers long after the last note fades.
:: “Horses Can’t Outrun Me” – Susannah Joffe ::
Josh Weiner, Washington DC
I was introduced to Susannah Joffe a few months ago through her song “Sofia Coppola,” and it’s super to see her come out with another song, “Horses Can’t Outrun Me” (that means she can potentially top 43.71 mph– take that, Usain!). In the artist’s own words, “‘Horses Can’t Outrun Me’ is a cinematic dream-pop track that blends nostalgic ’80s pop with shoegaze textures, telling a story of emotional escape through Americana-laced imagery and vivid, surreal longing.” It’s a song that’s basically about being free to pursue your own path, whatever that may be and wherever it may lead you, and it makes for an uplifting and enjoyable listen.
Both “Horses Can’t Outrun Us” and “Sofia Coppola” are to be included on Joffe’s upcoming EP, Cult Leader. After a solid two-part sample of that project, consider me wholly ready for the full-course meal later on this summer!
:: “Carrying On” – Chris Chu ::
Mitch Mosk, Beacon, New York
Warm and wondrous, sweet and smile-inducing, Chris Chu’s “Carrying On” drifts in like sunlight through gauze – tender, weightless, and quietly breathtaking. The POP ETC frontman’s first solo single feels almost impossibly gentle given the trauma that birthed it: A near-fatal bike accident, a broken spine, a traumatic brain injury, and six months of lost time. And yet, from that darkness came something radiant – a dreamlike song about memory, mortality, and the quiet, everyday decision to keep going. “Took my bike out for a ride / woke up breathing through a tube,” he sings, his voice feather-light, tethered to a fragile sense of wonder.
“Last summer I went on a bike ride and never came home,” Chu shares. “I woke up in a hospital room with a broken spine, a traumatic brain injury, and had f*ed up my face so badly I could barely speak. Every doctor I saw said I was lucky to be alive. I can’t remember anything about the accident. I’m still trying to piece together some of it from dreams and what others have told me. From what I can tell, there’s a period of around 6 months there, where I have little to no memory at all. But I guess somewhere in the middle of recovering from all that, still wearing a chest brace and floating through some strange drugged up dreamlike existence, I started making music again. Hearing songs in my head about dying, about the trauma and the pain. And songs about gratitude. Choosing to live. I later discovered that I had recorded an entire album during this time that I have no memory of making.”
“Carrying On” is the first glimpse of that accidental, unconscious album – a collection of songs that clearly needed to be made. And while some of the lyrics cut deep (“now I can’t stop all this crying / just crawling up that hill”), the song itself feels anything but heavy. There’s a soft pulse in the rhythm, a subtle swell in the synths, a hush in Chu’s delivery that makes it feel like a secret being passed hand to hand. It’s not a lament; it’s a lullaby for the living.
“When I first re-discovered these songs it was kind of disorienting,” Chu says. “It was almost as if someone else entirely had written and sang them. Some of the lyrics are pretty bleak and intense on paper. But the feeling I get from listening to the album now is actually quite hopeful. It sounds like someone who’s inspired to create something in the face of all that pain. It sounds like someone who wants to keep on living.”
In a world that rarely slows down, Chris Chu’s “Carrying On” is a gentle invitation to pause – to feel the weight of what we’ve survived, and to keep going anyway. It’s not loud. It doesn’t demand attention, but it leaves a mark, soft and shimmering as a bruise. It’s an ode to life; an intimate homage to being alive.
:: “Lipstick Karma” – Gabby Rivers ::
Danielle Holian, Galway, Ireland
Gabby Rivers returns with a sonic firecracker in “Lipstick Karma,” a fierce and fearless evolution that sees the Suffolk-based artist tap into a darker, more cathartic register. This isn’t just a single; it’s a statement. Edgy, emotionally raw, and sonically gripping, Lipstick Karma struts into the alt-rock space with enough bite to leave a mark, and enough heart to make it linger.
From the outset, the track buzzes with tension, angular guitars and tight, boxy drums create a nervous energy that mirrors the story behind the song. Rivers’ vocals are compellingly unguarded, shifting from processed vulnerability to full-throttle defiance as the chorus explodes with distorted textures and an addictive melodic punch. It’s equal parts angst and anthemic, the sound of someone reclaiming their narrative with grit and style.
What sets “Lipstick Karma” apart is its emotional clarity. The track channels a personal, painful experience into something triumphant and universal. It’s in the subtle production choices, the eerie vocal effects, the rising intensity and in the confidence of an artist who knows exactly what she wants to say, and how to say it. Gabby Rivers is no longer just one to watch; she’s one to follow closely. With “Lipstick Karma,” she’s not just finding her voice; she’s amplifying it.
:: Nervous Systems – Mutual Shock ::
Danielle Holian, Galway, Ireland
On Nervous Systems, Dan Powers – under his shadowy solo alias Mutual Shock – emerges as a vital new voice in the darker fringes of electronic music. Expanding on the promise of 2024’s “Stimulus Progression” EP, Powers plunges headlong into a ten-track descent through the psyche of a world teetering on the edge. Fusing cold wave minimalism with synthpop’s glimmer and post-industrial grit, the album evokes the tension of cities at night and the slow hum of existential dread. It’s a haunted, cinematic landscape where analog warmth meets digital detachment, channeling the likes of Boy Harsher and Drab Majesty while carving out a distinct emotional register all its own.
But Nervous Systems isn’t just about aesthetics, it’s deeply thematic, a treatise on alienation in the era of hyperconnectivity and the psychic weight of modern life. Powers delivers lyrics like whispered confessions from the end of the world, confronting the psychic toll of work, media saturation, and the quiet collapse of meaning. Songs like “Destroyer” and “Body Together” pulse with urgency, while tracks like “Bore Me” simmer in ennui, capturing the blurred lines between intimacy and isolation. The result is a record as emotionally gripping as it is sonically immersive. “Nervous Systems” doesn’t just soundtrack our fractured reality; it dares to feel its every crack.
:: “Look At Me” – Geo Baddoo ::
Rachel Leong, France
Geo Baddoo is a British singer, songwriter and producer who is currently making waves on the scene. The British artist returns with her ethereal new track, “Look At Me,” a rhythmic and eclectic exploration of resonant emotions. Blending jazz, deep house, and R&B, the track demands your ear in a way that stays with you long after you’ve heard it.
“Look At Me” embraces genre-bending textures and fusion soundscapes, mirroring the tensions of present being and external perceptions. Baddoo shares that the track was written from her feelings on these polarities, and what arose was a dynamic personification of release. Leading with tender vocals and genre expansivity, “Look At Me” is a defiant new chapter of her music.
She shares poignantly, “‘Look at Me’ captures the feeling of being in full bloom – open, grounded, and ready for whatever comes next. It’s a celebration of inner power and resilience.”
:: “The Feeling”- Evalyn ::
Julius Robinson, California
Alluring artist Evalyn’s new single and music video delivers an incredible electro sonic rush. Called “The Feeling,” the track is a high-octane blast of nostalgia, drawing from the euphoric soundscapes of early 2010s pop. The piece is an ode to surrendering to the chaos of existence and diving headfirst into something raw, wild, and instinctive. The music video features Evalyn in a warehouse, losing herself in the music and dancing freely alongside a group of friends. The visuals are a flawless reflection of the song’s energy.
For more than ten years, Evalyn has transformed her personal struggles into deeply moving pop songs. Based in Los Angeles and with over 130 million streams on Spotify, she’s back with her most daring project yet – A Quiet Life – an album exploring the complexities of modern awareness through the lens of soon becoming a mother. She has established herself in the music scene through collaborations with industry heavyweights like Dillon Francis and RAC.
:: “Wannabe” – Tristan Tritt ::
Julius Robinson, California
Tristan Tritt delivers a unique fusion of Southern rock and alternative sounds. His single “Wannabe” serves as both a heartfelt tribute to his roots – honoring his father, Grammy-winning country star Travis Tritt – and a confident venture into broader musical landscapes. The soulful song is a sincere dive into who he is and where he comes from. Tritt reveals, “There is a very special place in my heart, in regards to the relationship between the Father and his Son.” Sweeping guitar riffs, entrancing rhythms, and soaring melodies convey a timeless emotion of desire and freedom.
The singer tells the story of America through his music, valuing simplicity and always pushing his creative boundaries. As a proud Southern artist from Georgia, he embraces his true self and the musical influences that have shaped him. His sound is a unique mix of Southern rock, country, blues, and alternative, reflecting his personal journey and artistic growth. By crossing genre lines, he honors the legacy of his musical role models like The Black Crowes, Koe Wetzel, Colter Wall, and Tom Petty, while injecting a contemporary, cutting-edge feel.
:: “You or the West Coast” – Stephan Hogan ::
Chloe Robinson, California
Stephan Hogan’s “You or the West Coast” is a stirring piece oozing with raw sentiment. The track reflects on those moments when you’re torn between the solace of someone you love and the leap toward something greater and uncertain. With a simple piano melody and warm, emotive vocals, the song’s heart immediately bursts through. Evoking the vibe of Morgan Wallen, Hogan possesses that same expressive passion. His lyrics are highly vivid, painting a strong picture in the listener’s mind.
Hogan is an acclaimed musician, podcast host, and media entrepreneur. He regularly performs at Nashville’s legendary Bluebird Café and was personally recognized by Vince Gill – country music’s most-awarded Grammy winner and current guitarist for The Eagles – as one of his top five favorite guitarists. His accomplishments are impressive, and this single is a remarkable addition to all he’s achieved.
:: “2025 Alive” – Cory Cullinan ::
Chloe Robinson, California
“2025 Alive” is a cutting-edge, innovative musical and visual experience from musician, commissioned composer, author, award-winning educator, speaker, and studio owner Cory Cullinan, featuring singer/songwriter Riley Max. This high-tech, improvised performance reflects the chaos of living in 2025. The eccentric, experimental instrumentation is deeply captivating and profound.
Cullinan reveals, “2025 Alive has vocals throughout but only one lyric: ‘Test.’ This word is immediately deconstructed and splintered into pieces, like so much in our modern world. Whether current events are testing your resolve in a culture you loved, or you support those who are testing just how far we can break or reform our norms, this premise is apropos of what you are experiencing in 2025.”
Cullinan’s newest work, 2025 Alive, is a deeply expressive, multigenerational multimedia collaboration. The avant-garde piece is performed by renowned singer-songwriter Riley Max, and the accompanying film – a vivid cinematic dreamscape – was directed by his daughter, Sidney Cullinan. A Stanford music graduate, Cullinan possesses a strong sophistication as a composer, and you can hear that refinement throughout this riveting work.
:: “It’s Gone, He’s Gone” – Chayne ::
Joe Beer, Surrey, UK
17-year-old British alt-pop artist Chayne proves that normal is boring with her new single, “It’s Gone, He’s Gone.” Based in the South of France, the young musician defies genre-norms with the quirky release, injecting fun and lightheartedness into her sound. The track speaks about walking away from something (or someone) that no longer serves you.
Chayne shares, “I hear weird stories about what people put up with and I’m amazed how crap they feel. I just wanted to be as nonchalant and sardonic as I would like to be after a break-up! Really, I’d hope that this song might make people think they can see the positives in a break-up. It may not feel like it, but it’s probably for the best – so be strong and celebrate!”
Her zest for life and carefree attitude is infectious, with “It’s Gone, He’s Gone” showcasing her ability to turn heartbreak into empowerment, all wrapped in a playful, offbeat alt-pop package that refuses to take itself too seriously.
:: “Forever” – Pink Skies ::
Mitch Mosk, Beacon, New York
Pink Skies’ “Forever” feels like freedom bottled up and set to music. It’s upbeat, energetic, and euphoric – a rush of open air and unfiltered feeling, made for backseats, balconies, and nights that never seem to end. “Can we stay like this forever?” Arieh Berl sings, his voice breezy and bright over a backdrop of dusty guitars and kaleidoscopic synths. It’s the first single off Pink Skies’ upcoming album, and a fitting reintroduction to Berl’s psychedelic-pop project – one rooted in his Bay Area upbringing and shaped by a genre-blurring blend of indie rock, chillwave, and cosmic nostalgia.
“Forever” was born by accident, in the afterglow of long days on the road. “[It] kinda just fell out of me,” Berl shares. “I was working on a production for someone else and accidentally stumbled into this song. I pulled out my phone, recorded a rough version, and the verse and chorus were just… there. It was right after we had been touring nonstop – driving all over the country, through hot summer days in Texas, Tennessee, the Southwest. Finding swimming holes in Austin and Phoenix, just chasing the sun and living free like a band gets to do sometimes.”
That sense of escape pulses through every note – not just in the lyrics (“Every day feels like the 4th of July / sneaking out singing in the middle of the night”), but in the feeling that this song could stretch on endlessly. Berl explains, “The song is about those moments that feel like they could last forever. Like riding in the back of your friend’s truck to the lake, or a 4th of July on Lake Tahoe. You forget the world exists – just you, someone you love, and the open sky. But behind that bliss is the quiet truth: nothing really lasts forever. That’s what makes these moments so special. They’re fleeting. And they’re the reason this country, for all its chaos, still feels worth fighting for. I want people to blast this on road trips, sing it at family barbecues twenty years from now, and remember a time when life felt perfect – even if it was just for a minute.”
In just three minutes, Pink Skies encapsulates those sweet, fleeting feelings that pass us by too quickly, but live a lifetime in our memories. “Forever” is more than a song – it’s a time capsule, a sun-soaked snapshot of joy in motion. And in capturing the feeling of a perfect moment just before it slips away, Pink Skies reminds us why we chase those memories in the first place.
:: “Lil’ Obsession” – BOY SODA ::
Mitch Mosk, Beacon, New York
BOY SODA’s “Lil’ Obsession” is the kind of track that leaves a mark long after its final note – a searing, soul-slick slow-burn that glows with both clarity and restraint. The Australian artist’s voice is a magnetic force throughout: Raw, husky, and rich with feeling, churning over feverish drums, radiant harmonies, and kaleidoscopic keys. It’s a sound both grounded and expansive, jazz-tinged and pop-smart, steeped in heartbreak but never consumed by it. He doesn’t wallow – he rises, singing through the smoke of a love that’s already burned out.
Released in late January, “Lil’ Obsession” is the first glimpse into BOY SODA’s next era – a bold, live-instrumentation-heavy chapter crafted in the Blue Mountains of New South Wales, alongside a community of classically trained musicians and culturally rich co-writers. “‘Lil Obsession’ is about letting go, and surrendering to the reality of a relationship that’s been ruptured, or served its purpose,” he shares. “Making it brought self validation and release, and helped me actualise feelings I was struggling to articulate, as music often does. It’s not a ‘f* you’ song by any means – more of a personal recount based on true events. I’m really excited to introduce these live elements, and tone of voice to people that find it, because it marks the beginning of a new era, creatively and spiritually for me.”
That duality pulses through every line – part closure, part confession. “If we go no-contact, I don’t take no pleasure / and the rest is up to destiny at her discretion,” he sings, letting go with grace, but not without edge. There’s a bite in the delivery, but never bitterness. Instead, it’s self-possession – the sound of someone reclaiming their power without erasing their past.
For all its complexity, “Lil’ Obsession” never overreaches. It simmers, sways, and ultimately surrenders – a breakup song with brains, a groove, and a heartbeat. With this track, BOY SODA doesn’t just turn the page – he sets the tone for everything that’s coming next.
:: “Never Ending” – Imbermind ::
Danielle Holian, Galway, Ireland
There’s a pulse beneath “Never Ending” that doesn’t just move, it breathes. Imbermind’s debut feels like dusk stretching into dawn, a meditation in motion, where silence is just as important as sound. Synths glide like passing clouds, rhythms arrive like memory, slow, certain, and strangely familiar. The album doesn’t shout; it shimmers, offering a world not built to impress, but to immerse. It’s music that catches you off-guard, not with spectacle, but with stillness.
Each track unfolds like a whispered confession, wrapped in velvet textures and weightless production. Vocals drift in and out of focus, like thoughts half-formed, yet fully felt. There’s a kind of bravery in the restraint, the way emotion simmers instead of boiling over. The electronics don’t dominate; they support, enhance, and dissolve. This is not a soundtrack for the club or the crowd. It’s for the in-between moments, the afters, the alone, the awakenings.
In a time when immediacy often wins, “Never Ending” is unafraid to take its time. It invites you to lean in, to get lost, to feel something quieter and deeper. Imbermind hasn’t just made a debut: they’ve crafted a living soundscape, one that lingers long after the final note fades. It doesn’t end. It echoes.
:: STUPID EP – Ash Red ::
Danielle Holian, Galway, Ireland
Ash Red’s STUPID EP, released via Blowtorch Records, is a striking document of a band caught mid-evolution. It’s truly a restlessly shifting, yet rooted in a sound that already feels distinct and assured. The trio, known for their dark, bass-driven post-punk, haven’t lost their edge. If anything, they’ve sharpened it, wielding it with more intent and control than ever before.
What’s most compelling about STUPID EP is its atmosphere, at once brooding and electric, it feels like the tension before a storm breaks. The production avoids polish in favor of immediacy, capturing the crackle of live-room energy without sacrificing sonic depth. There’s a sense of space here, reverb-drenched and moody, where influences like Joy Division and The Cure hover just under the surface, while the band’s own identity continues to push forward.
This EP doesn’t just mark a transition; it celebrates it. Ash Red allow rough edges to show, trusting the listener to find meaning in the mess and beauty in the noise. The result is raw, vital, and thrillingly honest, a bold prelude to a debut album that now feels full of promise.
:: “Gimme a Sign” – Foxtails Brigade ::
Mitch Mosk, Beacon, New York
Foxtails Brigade’s “Gimme a Sign” hits like a cry in the dark – raw, aching, and dazzling all at once. A standout from the band’s recently released Red Album, the song captures a kind of existential limbo: The aching question of whether it’s time to hold on or let go. “Gimme a sign / something I could recognize, a clue / something to hold on to,” Laura Weinbach pleads over glistening guitar lines and a soaring chorus. There’s a pulse of desperation in her voice, but also resilience – a desire for meaning, for proof, for something real to believe in.
While past releases leaned into baroque flourishes and theatrical edges, “Gimme a Sign” is a pop/rock anthem in full – sleek and melodic, but never losing the band’s off-kilter charm. Built on nylon-string riffs, unpredictable percussion, and big, cathartic hooks, the song channels Foxtails Brigade’s signature blend of dark whimsy and sharp precision. It’s a song for anyone hanging by a thread – and wondering if the thread is even real.
As Weinbach explains, the song came from a very real place of doubt: “John Leguizamo once said of (Latin) artists something to the effect of, ‘For some, the door is wide open; for others, they have to crowbar it open.’ The sentiment of that message has rung and resonated in my mind throughout my now decades-long journey as a musician. For me, it has always been the crowbar method – and even then, I’m not sure I’ve ever been successful at getting the door open… you just want to know that the work you do matters – that it’s relevant and means something – and that it won’t die in a pit of obscurity as soon as you let it go out into the world… And so one finds oneself asking for a sign. The song emerged while Anton and I were walking down the street, just talking about all this kinda stuff – and from there music pretty much wrote itself.”
Led by Bay Area songwriter and guitarist Laura Weinbach, Foxtails Brigade has carved out a space for themselves at the crossroads of eccentricity and elegance. Their music is theatrical but never overwrought, precise but full of heart – and on “Gimme a Sign,” all that tension finds release. It’s a song about fighting obscurity, about staying visible, about asking the question every artist (and person) eventually does: does this matter? The beauty is in how it answers itself – not with certainty, but with sound.
:: “Be Kind With My Heart” – Staci Gruber ::
Chloe Robinson, California
Infidelity in a relationship is hard to get past. There are so many emotions left in the aftermath. Country-meets-Americana artist Staci Gruber’s song “Be Kind With My Heart” details the fallout from betrayal or unfaithfulness and the common feelings that arise afterward. Her warm, earnest vocals emit deep-rooted passion. She shares, “Each one of us experiences so much throughout our lives – joy, sorrow, love, loss. They help to define us and allow us to evolve. We’ve all been heartbroken and felt betrayed, wondering if we’ll make it through. Be Kind With My Heart echoes the sentiment that no matter what role we play in lost love, kindness is key.”
Staci Gruber is a Boston-based artist whose remarkable musical skills and compelling songwriting draw listeners in. She weaves together her own life stories with the emotions of others, crafting music that profoundly explores feelings of isolation, loneliness, and hope. This stunning ballad is another release that grips us.
:: “Shadow of a Heart” – Telebox ::
Danielle Holian, Galway, Ireland
With “c,” Galway alt-rock outfit Telebox deliver a haunting, richly textured meditation on addiction, loss, and emotional decay. The single marks a striking evolution in the band’s sound, weaving elements of shoegaze, post-punk, and alt-rock into an immersive sonic landscape. Fuzzy guitars shimmer with grit and beauty, melodic vocals carry a heavy emotional weight, and the rhythm section grounds the track with a pulsing urgency that mirrors the inner turmoil explored in the lyrics. The structure resists convention, unfolding like a descent, slow, chaotic, and deeply affecting, without ever losing its sense of direction or power.
The band show impressive emotional range, offering a perspective that is empathetic, honest, and unflinching. The production, helmed in a remote Burren home studio with Daithí Ó Dronaí, captures the intimacy and intensity of the track with remarkable clarity. There’s a rawness here that doesn’t feel unfinished, instead, it feels intentional and vital, like every imperfection adds weight to the message. Telebox have created more than a song; “Shadow of a Heart” is a visceral experience, and it cements their reputation as one of Ireland’s most compelling rising acts.
:: “English Boy” – PARK RD ::
Mitch Mosk, Beacon, New York
PARK RD’s “English Boy” is a headrush – insatiable, feverish, and completely irresistible. The New Zealand indie rockers throw themselves into a full-bodied emotional upheaval, channeling desire, rejection, and self-doubt into a rousing, overdrive-laced anthem. It’s short, sharp, and explosive – packed with raw guitar riffs, thunderous percussion, and a vocal delivery that walks the line between vulnerable and unhinged. “You won’t text back / I keep looking at my phone / why does it hurt like that,” Tom Chamberlain sings, as if still catching his breath from the night before. You can feel the ache in every word, but the music barrels forward like a freight train.
The song’s origin story is as immediate as its sound. “English Boy came from a band practice where it was originally a 10 minute long jam, and the first verse came at the very beginning,” Chamberlain shares. “It was one of those magic moments in music where everything just comes together. At the time I had a crush on this girl, and I hadn’t had a crush in ages before that. She didn’t like me back as much, so that’s where the first lines of the song come from – ‘you won’t text back, I keep looking at my phone, why does it hurt like that?’”
Produced alongside Jol Mulholland (Neil & Liam Finn, Connan Mockasin), “English Boy” marks a thrilling next chapter for PARK RD – louder, leaner, and more emotionally exposed. There’s a fever dream quality to it all: Shout-along hooks, movie-scene references (“Watched that movie / True Romance / I want a date like that”), and the desperate momentum of a night you’re trying to forget. It’s a heartbreak song in motion – an anthem for anyone who’s ever confused pain for passion, or turned rejection into art.
With this release, PARK RD sharpen their sound and bare their teeth. “English Boy” isn’t just a standout – it’s a siren.
:: “Mildew” – Big Fear ::
Danielle Holian, Galway, Ireland
With “Mildew,” Big Fear step further into their unsettling, art-pop universe, a space where beauty and dread collide under a glittering, synthetic sky. The track is a haunting meditation on agoraphobia and internalised anxiety, rendered in dazzling textures: shimmering analogue synths, taut drum grooves, and intricately layered guitars that shimmer like reflections on wet pavement. Alice Edwards delivers a performance that’s both operatic and deeply intimate, her voice threading fragility through theatrical poise. It’s an ambitious piece of sonic storytelling, part confession, part confrontation – and its ambition pays off.
Working with producer Charlie Andrew, the trio distill existential dread into something oddly euphoric, spinning fear into fascination with remarkable control and creativity. “Mildew” doesn’t just underscore Big Fear’s knack for crafting emotionally resonant alt-pop; it cements them as one of the most compelling new voices in UK music. Equal parts spectacle and sincerity, the single captures the dizzying tension of living in your own head and the strange, shimmering beauty that can still be found there.
:: “Body Spray” – Altameda ::
Mitch Mosk, Beacon, New York
Altameda’s “Body Spray” smolders with longing, regret, and a flicker of defiance — a quietly devastating alt-folk confessional wrapped in lavender smoke and fading memories. The Canadian duo, made up of vocalist-guitarist Troy Snaterse and instrumentalist Erik Grice, toe the line between nostalgia and renewal as they trace the outline of a fractured relationship and a youth spent setting literal fires to suburban front lawns. “I remember starting fires on your front lawn / with lighters and body spray,” Snaterse sings, his voice hushed and haunted, suspended in the haze of what was and what will never be.
“Body Spray” builds its world from scraps of conversation and cigarette-light exchanges — a story told in fragments, confessions, and too-late apologies. “Are you and Teddy still living by the airport? / I bet it gets so loud you can’t hear yourself cry anymore,” the narrator asks, desperate for connection, for an escape hatch, for anything to hold onto. The instrumentation remains gentle but steady, a quiet pulse beneath the emotional weight, blending Americana, neo-folk, and alt-country with a cinematic touch.
“‘Body Spray’ confronts the confusion that the principal character is experiencing when faced with mistreatment from their lover, and nostalgia for their past,” Snaterse explains. “Desperate to find an escape they fantasize about having the ability to fly away and begin a new life. The character confides in and reminisces with a past lover about days of their youth — where they would cause mischief together and light fires with cans of body spray. The lavender clouds of smoke rising from the flames and dispersing symbolizes the fragility of time, and serves as a reminder that nothing lasts forever, better or for worse.”
With “Body Spray,” Altameda prove once again why they’re among Canada’s most compelling voices in modern Americana. Fresh off a JUNO nomination for their 2022 album Born Losers, and a standout showing at AmericanaFest UK, the Toronto-based band continue to craft music that doesn’t just sound good — it lingers. Like smoke in the air. Like a memory you’re not ready to let go.
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:: “waterboy.” – he is tall. ::
Mitch Mosk, Beacon, New York
he is tall.’s “waterboy.” is the kind of song that makes the sun feel warmer, the air a little lighter. It’s tender and nostalgic, full of soft acoustic strums and gentle affirmations, capturing the essence of a memory so sweet it aches. Written as a loving homage to The Waterboy – a movie that’s “like jewelry” to the Danish singer-songwriter Troels Thorkild Sørensen – the song is more than a tribute. It’s a quiet, heartwarming folk-pop serenade to love, presence, and the golden moments that linger in our minds long after they’ve passed. “All I wanna do / is to sit with you / close it all down and feel the sun through the window,” he sings, and it feels like an invitation to exhale.
“Funny and interesting, what we get emotionally attached to,” Sørensen shares. “But somehow a very dorky American comedy has become like jewelry to me, maybe even an heirloom. The room you led me into was like a teaser of the future, and now I am beyond that, missing you and how the relationship was. Funny how life is – because now I wish there was a door leading to the past. All I want to do is to sit with you, feel the sun through the window and hear you telling me that you’ll be there for me – you’re my waterboy.”
Despite the lowercase moniker, he is tall. has been steadily growing across Denmark and beyond. Based in Copenhagen and known for his vulnerable, heartfelt songwriting, he’s supported artists like Tyler Childers and Brandy Clark, toured through Germany, and earned acclaim for his 2022 debut EP it’s always been you. Now signed to Berlin’s Greywood Records, he brings a unique blend of American storytelling and Northern European warmth — introspective, comforting, and always sincere.
“waterboy.” may be inspired by a goofy movie, but what it captures is quietly profound: the comfort of familiarity, the sweetness of simple joys, and the longing for something – or someone – you can’t quite get back. It’s a song that sits with you, shoulder to shoulder, and says: I’m here. You’re not alone.
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