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 Justin Bieber, Petey USA, Of Monsters and Men, D’Lourdes, James Vickery, Casii Stephan & Damion Shade, Charlotte Lawrence, Ben Hazlewood, Arcy Drive, Elias Hix, The Marches, Monterey J & Southsidefinn, Xin Liu, Joey Miceli & LEXXE, Chechii, Speedrun, Selve, Sophie May, Mya Angelique, The Wild Things, Firebug, ANDRO, Arts Fishing Club, Lucy Lane, & Fenno Street Jazz!
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:: “DAISIES” – Justin Bieber ::
Mitch Mosk, Beacon, New York
It’s the guitar that got me first – gentle, warm, wiry, and unmistakably touched by mk.gee’s magic hands. That’s all it took for “DAISIES” to pull me in. Justin Bieber’s voice arrives seconds later – hot on the mic, raw and unguarded – and suddenly it’s like we’re sitting in a small room together, just him and me (with mk.gee in the doorway), heart wide open and nerves exposed. I’ve never called myself a Belieber, but this song might be the one that changes that.
“DAISIES,” the second track off Bieber’s surprise new album SWAG, pulses with that signature Bieber vulnerability – an unfiltered passion that feels both diaristic and deeply physical. He’s “countin’ the days, how many days ’til I can see you again?” over a dreamy, downtempo arrangement built on intimacy and ache, desire and restraint. And in the background, you can practically see mk.gee (aka Michael Todd Gordon) in the shadows, guitar in hand, casting that atmospheric haze only he can conjure.
The lyrics walk a tightrope of hope and heartbreak, with Bieber throwing petals and blowing kisses into a void that might love him back – or might not. “If it ain’t right, babe, you know I’ll respect it / But if you need time, just take your time / Honey, I get it, I get it, I get it.” That balance of longing and emotional maturity is what gives “DAISIES” its staying power: It’s not just yearning, it’s earned growth.
For an album centered around fatherhood, love, and self-reflection, this track feels like a quiet thesis statement. “DAISIES” is tender, textured, and easy to fall into – just like the kind of love it describes.
:: The Yips – Petey USA ::
Mitch Mosk, Beacon, New York
I saw Petey USA play an intimate, no-frills co-headline set with Medium Build at Levon Helm Studios this past spring, and I haven’t stopped thinking about it since. There was something so raw, so endearing, and so unfiltered about his performance – like someone narrating their inner monologue in real time, equal parts spiraling and spiritually grounded. That same ethos spills out all over “The Yips,” the riotous, neurotic, darkly funny title track off his new album The Yips – a record that feels like a lifeline for anyone who’s ever felt just slightly too human to function.
“I’ve got the yips, read my lips, I used to run this town, then I got sick… Could someone rub some mud over my eyes?” Petey laments over glitchy synths and Gary Numan-esque grooves, introducing us to the fictional dive bar that houses the album’s world. The song is paranoia and self-deprecation, exorcism and satire – a barstool therapy session with a sax solo swirling like smoke in the air. But more than anything, it’s a perfect thesis for The Yips, the album, as a whole: A record that sees Petey leaning in and leaning back at the same time, offering both a self-aware shrug and a desperate plea for help.
Produced by Chris Walla (yes, that Chris Walla), The Yips might be Petey USA’s most eclectic and emotionally ambitious album to date – yet it also feels like his most grounded. From the unshakeable churn of “The Milkman” to the subtle ache of “Breathing the Same Air” and the invigorating fervor of “Model Train Town,” he builds a communal portrait of real people in real moments, each song like a different table at the same dive. As Petey puts it: “I’m just singing about being there for your friends.” But these songs go further – they’re about being there for yourself, too, even if you don’t have the roadmap.
And so when Petey wails “I want to quit, I want to quit, I want to quit” but resolves “I swear to God I won’t pass it on to my kids,” it lands like a gut punch. The anxiety is generational, but so is the hope. In that sense, The Yips isn’t just an album – it’s a mission statement, a coping mechanism, and a group hug disguised as a concept record. Petey USA might just be the voice of a generation: One that’s “hypercritical but objectively incapable,” painfully self-aware, and trying like hell anyway.
:: “Television Love” – Of Monsters and Men ::
Nicolle Knapová, Czechia
After a five-year-long hiatus, Of Monsters and Men are back with a bang. From the first beat, I knew this was a comeback worth waiting for. Ragnar Þórhallsson and Nanna Bryndís Hilmarsdóttir said that “Television Love” is a conversation between two people stretched across time. And I believe it is done beautifully. “Television Love” is that kind of track that grabs you by the throat, but in the best possible way. It´ s clear that whatever OMAM have up their sleeves will be spectacular. There truly has to be something in the water of Iceland that leads into their music whoever the artist is to be just magical and OMAM is no exception.
:: You Get It or You Don’t – D’Lourdes ::
Danielle Holian, Galway, Ireland
Brooklyn-based artist D’Lourdes bursts through the noise with You Get It or You Don’t, a debut album that’s as arresting in its vulnerability as it is fearless in its sound. Blending the angst of early 2000s alt-rock with the smooth textures of R&B and funk, D’Lourdes crafts a dynamic self-portrait, one that refuses to compromise for comfort. From the theatrical ache of “One of the Boys” to the sultry punch of “Get Hurt,” the album revels in its refusal to be boxed in. At its core, it’s a coming-of-age rebellion wrapped in grit and glitter: a bold statement of identity for the misunderstood, the misrepresented, and the magnificently in-between.
You Get It or You Don’t is a bold, genre-bending statement of identity, liberation, and sonic defiance from one of alternative pop’s most captivating voices. D’Lourdes, already known for their viral debut EP and Broadway bonafides, pulls no punches here, delivering razor-sharp lyricism and soaring vocals with the precision of a seasoned performer. Their message is clear: authenticity trumps palatability. As vinyl pre-orders roll out and visuals begin to drop, this record isn’t just a career milestone; it’s a cultural moment. D’Lourdes isn’t asking for permission, and they certainly don’t need your approval. You get it… or you don’t.
:: “Right Side” – James Vickery ::
Josh Weiner, Washington DC
“Woah… that guy sure can belt a tune!” Safe to say, my first impression of James Vickery was very much a favorable one. But my admiration of the man only increased as I learned more of his story. He grew up in London and has Welsh and South African heritage. He’s pursued his passions in R&B, soul and pop music… all while being completely deaf in his left ear, an impairment he’s had since childhood.
Rather than let his disability get the better of him, James has used it as a platform for creative songwriting. His gorgeously sung and produced new single, “Right Side,” works as a special double entendre. He’s long had to operate through his “right side,” the only one he can hear from, in order to communicate with others. Plus, he’s also had to overcome his disability and make things work with his romantic partner, to the point where he can confidently tell her, “You’re always on my right side, couldn’t do wrong if you tried.” Hopefully (and I’d put money on it), his upcoming self-titled debut album will be brimming with just as much sincerity and musical ability.
:: “King in America”- Casii Stephan ::
Chloe Robinson, California
Casii Stephan’s new gritty single “King in America” featuring Damion Shade is a powerful, high-energy, rock-charged response to the dangers of fascism and a bold critique of the current American President. Powerful lyrics such as, “Will we let them take us all, grab your pitchforks give them hell, I’ll be damned if this is how we go,” make this proud piece of strength an anthem we can all get behind.
Stephan reveals, “I’m mad. I was raised to believe in God’s divine plan for America. That the monarchy was never meant for us. And now… they want a monarchy. They want to threaten my trans friends’ lives and make them unwelcome in Oklahoma. They want to deport people who are near and dear to my family. They want to pick on the minority. Well, pick on me. I’m the majority. We’re the majority. And if they think this country will go down without a fight?”
Raised in Minnesota and thriving in Tulsa, Stephan is an indie-pop and soul-rock singer-songwriter whose journey bridges heartfelt roots and daring new horizons. She writes from the soul, channeling deep emotion into songs that span themes of life and death, love and loss. Her work often challenges limiting social norms—confronting sexism, ageism, and the expectation for women to stay quiet or “play nice.” Through her lyrics, she questions her own assumptions and holds onto a deep hope for change, inviting listeners to do the same on their personal journeys.
:: “I Don’t Wanna Dance” – Charlotte Lawrence ::
Nicolle Knapová, Czechia
I feel like I’ve been sleeping on Charlotte Lawrence’s music for years. I’ve always known about her music, but recently I’ve been seeing her debut album Somewhere shared a lot on IG stories and I could no longer ignore her. And I am so glad I didn’t. “I Don’t Wanna Dance” was originally released in 2024 and eventually made into the full album that was released only a few weeks ago.
On “I Don’t Wanna Dance,” Charlotte Lawrence talks about two different situations and moods. Lawrence said that on one hand it is about a toxic relationship and the feeling of absolute despair and on the other hand it is about going to clubs and being hit on by old man and being disgusted by their behavior which I think is something that isn’t written about much. The song is incredibly catchy and it makes you want to dance despite the title of the song.
:: “SPIRAL” – Ben Hazlewood ::
Rachel Leong, France
Ben Hazlewood has never been one to shy away from bold resilience and fearless self-expression in his music – and his latest might just be his most personal yet. Hazlewood returns with “SPIRAL,” an anthemic track charting the journey from darkness to light.
Ben blends the grandeur of rock with the introspective storytelling of modern artistry. His work is autobiographical, drawing from the ebb and flow of life, providing a route to healing through his own experiences. Identity is central to his work, and survival is a theme that he never fails to champion. “SPIRAL” is a song about that very healing, namely through the lens of mental health.
Pulling a track complete with swirling synths, driving beats, and raw, emotive vocals. “SPIRAL” is the culmination of resilience, optimism and self-acceptance, showcasing Hazlewood’s signature style while symbolising a brand-new chapter for the artist too.
:: “What’s in My Head” – Arcy Drive ::
Mitch Mosk, Beacon, New York
There’s something feverish and alive in Arcy Drive’s “What’s in My Head” – something that grabs you by the collar and doesn’t let go. Tacked on as a bonus track to their debut album The Pit, this song doesn’t just belong on the record – it ignites it. From the first overdriven guitar to the final wailing refrain, it’s dramatic, it’s dynamic, and it’s delirious: The kind of indie rock barnburner that feels too wild to bottle and too good not to hit repeat.
“This is another song of the bunch that sparked in the barn on Nantucket last winter,” the band shared in a social media post ahead of the track’s release on Friday. “It’s loaded with this chaotic sleep deprived energy which also accurately describes how we were feeling playing it for the first time at 3 AM in a damn barn.” That late-night mania seeps through every beat – you can hear the rafters rattling, the members of Arcy Drive jumping up and down with their instruments. The song’s hook-heavy chaos captures the tension of being both “the dog and the man who holds the leash,” spiraling through self-doubt, desire, and some blurry middle space between control and surrender.
Frontman Nick Mateyunas has never sounded more in control and out of control at once – hot on the mic, growling and howling through lines that teeter between playful and profound. There’s a Strokes-ian swagger to the angular lead guitars, but it’s fused with Arcy Drive’s own unruly charm: Rascally, reckless, and roaring with life. This is a song that makes you want to dance on the roof of the bus they built themselves.
If The Pit was already a standout debut, “What’s in My Head” is the exclamation point at the end – bold, loud, and unapologetically charismatic . Arcy Drive aren’t just arriving; they’re exploding. This track is proof they’ve got the fire to burn long past the encore.
:: “I Could Make You a God” – Elias Hix ::
Mitch Mosk, Beacon, New York
Elias Hix left me speechless when I saw him open for Houndmouth at Bearsville Theater last month – and I don’t say that lightly. There’s a smolder in his sound, the kind that flickers at first and then consumes you entirely. A singer/songwriter from Spartanburg, South Carolina, Hix carries his music like a slow-burning flame, using soul-stirring lyrics and dusky melodies to strike straight to the heart. His new single “I Could Make You a God” is delicate and dynamic, gentle and dramatic – a tender tempest that perfectly captures the weight, warmth, and wonder that is Elias Hix’s art and artistry.
Tell me when and which changed,
street lights in the stars
Found the lamp of your body
in a town fronted arms
Timid voice of a lover,
like teeth that carve
With teeth that carve
Teeth that carve
Both thistles in June,
oh you’re a liar
As you die with the crocuses planted by her
Like spring words of a mother
that call flesh and calm fire
Calm fire, calm fire
“This is a song about change and shifting from one phase of your life into another,” he shares simply – and maybe that’s why the ground feels like it’s moving beneath his feet as the track progresses. From the haunted stillness of its opening lines to the crescendoing final vow – “Now I’ll burn this whole house down and make you a god” – this song doesn’t just reflect transformation; it is transformation. Hix’s words fall like petals and ash, at once fragile and final, and you can almost feel the weight of a past life being mourned as a new one takes shape.
Hix’s indie folk styling recalls the aching poetry of Gregory Alan Isakov – weathered and wide-eyed, intimate and immense. There’s a weathered earthiness in his voice that grounds even the most poetic and celestial turns of phrase, like “the voice of a hymn as it danced in your yard” or “both thistles in June.” These aren’t just images – they’re artifacts of someone learning to live in the gray areas between memory and desire, shame and salvation.
Like the voice of a hymn
as it danced in your yard
Know the shame that you are
and your unwilling heart
Now I’ll burn this whole house down
and make you a god
Could make you a god…
Maybe I’m projecting, but this song feels like a coming-of-age in real time – the kind that comes from leaving your hometown, seeing the world, and recognizing the humanity that connects us all, even when we feel lightyears apart. As beautiful as it is breathtaking, “I Could Make You a God” aches with that knowledge, and with it, Elias Hix plants himself firmly among the most compelling singer/songwriters of his generation.
:: “Come Back Around” – The Marches ::
Danielle Holian, Galway, Ireland
With “Come Back Around,” The Marches deliver a punchy, irresistibly catchy anthem that solidifies their place as one of Scotland’s most exciting rising acts. Balancing the sharp hooks of early-2000s pop-punk with the intricacy of math-rock guitar work, the all-female quartet crafts a track that feels both instantly familiar and refreshingly inventive. There’s a raw honesty at the song’s core rooted in yearning, persistence, and creative hunger that’s elevated by slick, confident production and radiant musicianship. From sold-out shows to major festival appearances, “Come Back Around” captures a band in full stride, charging into 2025 with the momentum of a breakout act ready to take on the world.
:: “South Side Fantasy” – Monterey J ft. Southsidefinn ::
Danielle Holian, Galway, Ireland
With “South Side Fantasy,” Monterey J conjures a vivid daydream soaked in the colours of his native South London, a sonic postcard addressed to the borough’s bold creative spirit. Effortlessly threading jazz, neo-soul, and hip-hop through a cinematic lens, the rising polymath paints an intoxicating groove where smoky sax lines melt into fluttering keys and a bass line warm enough to thaw even the chilliest city morning. Southsidefinn’s verse doesn’t just add bite, it anchors the track in lived experience, a lyrical counterpart to Monterey’s airy croon. Under the direction of Grammy-nominated Teo Marangon, every element feels purposeful, precise, and unafraid to linger in its own atmosphere. This is not just music; it’s cartography.
Recorded across Cable Street Studios and the industrial hum of Lightship 95, “South Side Fantasy” feels like a train ride through Monterey’s memories: chaotic, tender, jazz-drenched, and constantly shifting tempo. It’s no surprise that Monterey nods to Bitches Brew; like Miles before him, he doesn’t just bend genres, he dissolves them into something dreamlike and deeply local. There’s an honesty in the way he navigates structure, like taking the long way home just to savour the sights. As the first glimpse into his upcoming album Welcome 2 South London, this track stands as a mission statement: ambitious, rooted, and utterly magnetic. Monterey J is not just telling his story: he’s scoring the soul of a city.
:: Passion – Xin Liu ::
Josh Weiner, Washington DC
Over the course of three songs, each one an average of three minutes and three seconds long, the new EP Passion provides a solid sampling of the vocal gifts and seasoned production choices Xin Liu. A native of China’s Guizhou Province, Xin has made a name for herself in her homeland by performing on the reality survival show, Youth With You, and forming the girl group The9. Although that band broke up after only about two years, Xin has kept doing her thing as a solo artist, and also made her transition to the United States not too long ago. Over here, she has been making some major moves, becoming the first female Chinese solo artist to perform a set at her Coachella (in what was her first-ever U.S. performance, no less), and also the first one to score a U.S. Top 40 hit with her song “Take a Sip.”
Since arriving in America, Xin has joined the label 88rising, and with their support she has released Passion. The three tracks here achieve a purely hypnotic effect, starting with “Balancing,” on which she tells her partner on the dancefloor to take his time but ultimately cut to the chase (“I don’t wanna wait another night, I don’t wanna pass the moment by. If you wanna stay, then I don’t mind. Let’s take it slow ‘til it feels right”). Then on the more upbeat “Passion,” Xin describes what happens once that chase has finally been cut to and her spirits have risen accordingly (“Our chemistry is undefeated. You walked away inside my heart… I can see our future coming up in gold”). Finally, Xin wraps things up with “Easy,” where she recalls Lady Gaga’s directive on the song “Do What U Want” by telling her partner, “Don’t let me go, don’t release me, come put me down, nice and easy.” Then she concludes it all by confessing, “I don’t mind if you tie me” (Uhh… okay…. Maybe it’s good that the song wraps up before we learn what comes of that predicament.)
All said, it’s an impressive one-two-three punch of an EP, and I look forward to seeing Xin channel her “passion” and musical talent even further on her future full-length projects.
:: “Remedy” – Joey Miceli ft. LEXXE ::
Josh Weiner, Washington DC
Some songs are incredibly fun to listen to, and then you take a closer look at the lyrics and say, “Woah… that’s pretty rough!” “Smooth Criminal,” “Chandelier,” “Pumped Up Kicks,” and more could be classified as such, and now “Remedy” is another one I would chalk up on the list. This new single by Joey Miceli – originally from Las Vegas, now based 250-ish miles southwest in Los Angeles – is a total blast to listen to, thanks to a pulsing, synthy beat by his fellow Vegas-based music-man Santino Cardinale and the seamless vocal chemistry between Miceli and NY-native LEXXE. But if you give the actual words of the song a good read, it turns out that its author has had something of a difficult ride as of late – “Remedy” has been described as a chronicle of “the collapse of a friendship or relationship that felt painfully imbalanced.”
Miceli recognizes that this is tough and personal material, but with the help of his talented collaborators, he was able to make something special out of it musically. “I knew once I reimagined the song with Santino [and] I heard LEXXE on it” that he was good to go, he says. “I’m so lucky she was excited to bring it to life with me.” We’ll see what other personal sides of his Miceli will be able to bring to life once his accompanying sophomore album, Pretenders, comes out on July 25th.
:: “Mi Paddi” – Chechii ::
Danielle Holian, Galway, Ireland
Chechii’s latest single, “Mi Paddi,” is a sun-soaked anthem that pulses with joy, rhythm, and a whole lot of heart. Teaming up with Sierra Leonean duo Kracktwist and Samza, the rising Afrosoul star spins an irresistible blend of Afrobeat, Pop, and R&B into a danceable tribute to friendship and global connection. It’s the kind of song that makes you want to grab your besties, hit the dance floor, and celebrate the beauty of togetherness. With her velvet vocals and globe-spanning influences, Chechii proves once again that she’s not just riding the Afro-fusion wave – she’s helping shape its future. “Mi Paddi” is a vibe, a journey, and a heartfelt shoutout to the bonds that move us.
:: “Memory” – speedrun ::
Mitch Mosk, Beacon, New York
Speedrun’s “Memory” is a fever dream you’ll want to live in a little longer. From the moment those angular guitars cut through the haze, Nina Lüders (aka Speedrun) pulls us into a radiant, visceral world where past and present blur, and emotion spills from every beat. There’s a fire to this song – it’s fresh and dynamic, with vocals that send a shiver down your spine – but also a vulnerability simmering just beneath the surface, capturing the ache of trying to piece together a truth that may never fully make sense.
I hate the way you look at me
Like someone from a memory
Subtle symphony of seventeen
Laid bare to heart of vacancy
Hard times and tough knocks
Brought us undone
You did enough to me
“This song ‘Memory’ is the first of three singles I’m releasing this year,” Lüders shares. “Part of a greater trilogy, ‘Memory’ depicts the dual-edged nature of human memory – how our ability to remember the past is both a blessing and a curse. I wrote all parts to this song (guitars, drums, bass, lyrics & vocal melody) originally as a duet – however, I realized that in order to convey a sense of ‘misremembering’ and uncertainty, it would be more powerful to have the speaker talking to themselves, or to someone who isn’t really there.”
That sense of disorientation takes hold immediately. “I hate the way you look at me / Like someone from a memory,” Lüders sings, her voice both wistful and haunted. The lyrics shift perspectives halfway through – from “you did enough to me” to “I did enough to you” – a subtle but piercing inversion that deepens the song’s emotional complexity. As Lüders notes, “The ambiguity of the subject (who is the speaker talking to: a lover, a friend, a family member? Or an idea, a memory itself, or themselves?) is also deliberately left that way,” and the result is a sonic spiral through love, guilt, and longing that resists clear resolution.
Musically, “Memory” is a masterclass in controlled chaos. The shoegaze-inspired guitars swirl in a dramatic and fuzz-fueled soundscape, while a relentless lead riff keeps the track grounded in propulsion. Even the guitar solo is haunted – layered with a French poem translated by Lüders herself, playing like an echo of unspoken thoughts. “Dans ta douce splendeur… Je te vois dans la pluie” – it’s dreamlike, aching, and beautifully surreal.
Dans ta douce splendeur
Lune ocre, tu es
Un volet fermé
La couleur du départ
Je te sens dans mes vêtements
Je te vois dans la pluie
Lent et sucré mon souvenir me pique
Comme la rosée je m’accrocherai à toi
toujours
(Translation)
In your soft splendor
Ochre moon, you are
A shutter closed
The color of departure
I feel you in my clothes
I see you in the rain
Slow and sweet my memory stings
Like dew, I’ll always cling to you
“As a little easter egg for the song, I wrote a poem that I translated into French which plays during a guitar solo, to further represent the chaos of thoughts as they build on one another,” she adds. “Instrumentally, I created a ‘blurry’ soundscape of shoegaze-inspired rhythm guitar tones with a bouncy and relentless lead to also illustrate the thematic ‘haziness’ of the song. Like thoughts jumbled together, the layers of ‘Memory’ grow to craft a thematic tone of wistfulness, longing, and confusion as they fade away. Am I really remembering this right? Or is my mind playing tricks on me?”
So delicate I can’t forget
The pain still in your silhouette
And if I remain I may regress
To a state that never seems to mend
Hard times and tough knocks
Brought us undone
I did enough to you
Speedrun has already proven her power with last year’s Love’s Latest News EP, a stunning debut that wore its heart on its sleeve. With “Memory” – her first release since then – she doubles down on that emotional intensity, crafting a song that’s as poetic as it is punchy, as raw as it is roaring. This isn’t just a standout single – it’s a statement: Speedrun is one of the most exciting voices in indie rock right now, and we’d do well to remember that.
:: “Loki Horror Picture Show” – Selve ::
Mitch Mosk, Beacon, New York
Selve’s “Loki Horror Picture Show” is a fever dream in neon technicolor – clever, catchy, and deliriously feel-good to the point of glorious combustion. The Gold Coast-based six-piece light the fuse and let the spectacle unfold: Guitars glow with sprightly passion, the drums pulse with sweet seduction, and the chorus harmonies are utterly intoxicating. It’s camp, it’s new wave, it’s punk, it’s pop, it’s a little bit post-everything – a theatrical joyride that’s as self-aware as it is spectacular.
A dazzling blend of satire and sincerity, “Loki Horror Picture Show” dances on the edge of delusion and self-discovery, channeling the euphoria and absurdity of chasing your dreams into a glittering post-punk performance. “With chasing dreams, you can get too attached and lose sight of who you are and what you’re doing, so I think it’s important to put outcomes out of your head to make good art,” Selve’s frontperson (and proud Jabirr Jabirr man) Loki Liddle tells Atwood Magazine. “But pretend you’re anti success and you’re probably not being honest with yourself – but does self-awareness of being caught in the honey-trap make you not caught in the honey-trap?”
“The answer is no. With this song, I’m embracing the whole spectrum of identity – from my deepest most insightful depths to a blatantly superficial side – with total love and putting it all out on display, hopefully giving others permission to do the same. Punk can be radical, but so can absolute unadulterated and shameless joy.”
A seductive, euphoria radiates from every second of this track, which Liddle calls “by far the most fun song” on their upcoming album. Written in France during a lighter moment while recording their forthcoming album Breaking into Heaven (out September 12th– and notably the first full-length album recorded at the legendary Abbey Road Studios by an Aboriginal artist), the song pulls from inspirations like DEVO, Talking Heads, Charli XCX, and the Rocky Horror Picture Show, fusing campy cabaret with bold post-punk energy. The lyrics flirt with delirium and grandeur, riffing on the absurdity of dreams that come true: “I’m here at Abbey Road / Like a megalomaniac fool… Next thing I’m running for president of a universe near you.”
But beneath the glitter lies a thread of tension – a wink and a wince all at once. That duality pulses through the accompanying video, a surreal, Eraserhead-inspired visual metaphor for mental health and identity, co-directed by Liddle and Josh Tate. It’s absurd, it’s stylized, and it leans into discomfort just enough to make the catharsis shine brighter.
“The ‘Loki Horror Picture Show’ music video is an exploration of identity, mental health and the dangers of getting lost in the sauce when chasing your dreams,” Liddle explains. “This version of myself in a dying delusion of grandeur is a hyperbolic representation of the parts of ourselves we are willing to sacrifice and compromise in order to pursue a vision of success. We wanted to underpin the spectacle with a little bit of darkness to make clear that we’re not glorifying it, but investigating its absurdity. The device of the gunshot came from this place – to contrast the lightness of the song and create a sense of unease – however it was important for me to have the gunshot be off-camera, stylised and implied rather than shown in great detail, as depictions of gun violence are something that I know require great sensitivity.”
“Loki Horror Picture Show” is more than a song – it’s a permission slip to be everything at once. Bombastic and barefaced, theatrical and sincere, it invites us to laugh, to sing, to reckon, and to revel. Selve aren’t just performing; they’re liberating – they’re throwing open the curtains and letting it all spill out.
:: Half Songs 2 – Sophie May ::
Nicolle Knapová, Czechia
Half Songs 2 by UK-Australian singer/songwriter Sophie May Jackson is an excellent sequel to Half Songs, released last year. Just like the first EP, this release feels like listening to an old friend chat to you about everything and nothing. The irony, self-deprecation, and honesty are always such a breath of fresh air with every single thing this young and brilliant artist comes up with. The idea of short but somehow still sharp and poignant tracks is genius. Sophie touches every subject from love and mental health to family, and that’s what makes these songs work and what makes Sophie May someone to look out for.
:: paper girls – Mya Angelique ::
Danielle Holian, Galway, Ireland
Mya Angelique’s debut EP paper girls is a stunning introduction to a rising voice in pop who knows exactly what she wants to say, and says it with the kind of emotional clarity that feels both universal and intimately personal. Across seven tracks, Angelique invites listeners into the glittering, gut-wrenching world of teenage girlhood, pulling from her own experiences and the cultural touchstones of early 2000s teen films, bedroom pop confessionals, and the fierce lyrical lineage of Taylor Swift and Lorde. The EP feels like a diary with a distortion pedal, filled with soft sadness, razor-sharp observations, and a cinematic quality that elevates each moment. Written mostly when she was just 15, paper girls is as much about growing up as it is about the pressure to grow up perfectly, and Angelique captures that push-pull with heartbreaking grace.
Each song on the EP feels like a snapshot of some delicate and tear-stained, like the aching “sixteen” or the fragile title track “paper girls,” others biting and brilliant like the cheeky “the boy in the band” or the sharply funny “teenage girl nationality.” Her voice, emotionally direct yet never overdone, brings raw vulnerability to introspective moments like “quick-brush” and “the comedown,” while the closer “glitter” lingers with its quietly devastating reflection on comparison and self-worth. Angelique blends diary-entry intimacy with pop-rock polish in a way that feels refreshingly honest and self-aware, solidifying her place among the next generation of emotionally literate pop storytellers. With paper girls, Mya Angelique doesn’t just introduce herself; she leaves behind a trail of glitter, heartbreak, and courage that’s impossible to ignore.
:: “Knock Down, Drag Out” – The Wild Things ::
Mitch Mosk, Beacon, New York
The Wild Things come out swinging on “Knock Down, Drag Out,” an invigorating rock song with as much charm as it has churn – a high-octane outpouring of explosive guitars, seductive swagger, and an innate need for release. It’s immediate and addictive, a sweaty, cinematic swirl of desire and destruction that grabs you by the collar and doesn’t let go.
I saw you in a wet dream
Heavy from the heat
There was a body on fire
On Dumaine Street
My heart is like a piston
Struggling to beat
I let a devil inside
Inside of me
Knock down, drag out
Black heart, red mouth
Your ride, my crown
Knock down, drag out
“Coming out of our last album Afterglow (which was this big epic multi-faceted story), we felt that creatively we still had things to say,” the UK band tells Atwood Magazine. “We came out of that cycle with ideas on how to push the production, how to surprise the audience and how to continue our experiments with storytelling; whereas Afterglow was a series of stories happening over one night, our new single ‘Knock Down, Drag Out’ and its follow-up later this summer ‘I Can’t Wait’ tell the beginning and end of a tumultuous love affair set in New Orleans. The lyrics are designed to lock in to each other, and the time-gap between the tracks is the length of the relationship in real time. ‘Knock Down, Drag Out’ is a sweaty, sexual pop-rock piece of candy that tastes better with every bite.”
It’s exactly that – a sticky, irresistible burst of pop-rock bliss, equal parts lust and grit. “I saw you in a wet dream / Heavy from the heat / There was a body on fire / On Dumaine Street,” Sydney Rae White sings, igniting the track with vivid, feverish intensity. Her voice straddles the line between confession and celebration as the band builds a pulsing, panoramic soundscape behind her. “Your ride, my crown” she declares in the chorus – anthemic and heady – as drums crash and guitars rip through the tension like a match to gasoline.
The track is soaked in New Orleans sweat and mythos: “We toast to nothing at all / On Dumaine Street… My city has a history / My city has a sound / It is a resonant fire / It don’t back down.” That fire courses through every note. Fueled by tension, heat, and pure chemistry, the song uses its title phrase as both metaphor and mission statement: this is a song that fights dirty, plays hard, and leaves a mark.
But its most arresting moment might be the bridge – a sudden shift from bravado to vulnerability as White confesses, “I’m just a girl who won’t do what is told / Gave every heartache a piece of my soul.” The emotional weight lands heavy, especially as she slips into French: “Qu’est-ce que c’est, ce sentiment en moi? / Un petite mort douce, qui ne finit pas” – a little sweet death that never ends. Desire becomes ache, and ache becomes truth.
As the first half of a two-part narrative arc, “Knock Down, Drag Out” sets the stage with fire and fever – the kind of passion that burns fast and bright. The Wild Things are at their most dynamic and daring here, and with “I Can’t Wait” waiting in the wings, the story’s only just begun.
:: “Time Marches On” – FireBug ::
Chloe Robinson, California
Joshua Tree’s own FireBug channels the stark beauty of the desert in their radiant rock release “Time Marches On.” Evoking vibes of songs like Stevie Nicks’ “Edge of Seventeen,” the tenacious track portrays so much pure passion and heart. The song is a blend of soulful vocals and ambient electronic rock, echoing the ceaseless motion of time and the raw energy of nature. Juliette Tworsey’s voice is both ethereal and deeply expressive, guiding listeners through an intense, emotional soundscape. The video is just as compelling with its colorful, surreal nature.
Hailing from the high desert terrain of Joshua Tree, California, FireBug is the creative collaboration of Tworsey and Jules Shapiro. The pair’s music merges contemporary rock with influences from ’60s and ’70s psychedelia, blending in blues, folk, electronica, and the soulful essence of New Orleans. They’ve shared the spotlight with iconic performers like Iggy Pop, Iron Maiden, The Cult, Alice In Chains, Tom Morello of Rage Against The Machine, and even performed alongside ‘60s legend Donovan, cultivating a loyal following worldwide.
:: “A Little Harder” – ANDRO ::
Danielle Holian, Galway, Ireland
With “A Little Harder,” ANDRO unveils a shimmering jewel of emotional vulnerability and sonic finesse, marking a bold and captivating chapter in his solo journey. Co-produced by Rusty Bradshaw (Florence + the Machine), the single is a genre-blurring blend of 80s-tinged soul-pop, introspective lyricism, and atmospheric production that feels as cinematic as it is personal. From the moment the track opens with moody synths, sultry guitar lines, and a pulse of warming bass, ANDRO’s voice commands attention: soaring, aching, and ultimately, unforgettable. The chorus, with its layered vocals and infectious melody, is as emotionally resonant as it is catchy, threading heartbreak and self-reckoning through a lush, textured soundscape.
“A Little Harder” is a raw meditation on emotional manipulation and the dizzying contradictions of love, where vulnerability becomes both weapon and wound. ANDRO’s storytelling is vivid and affecting, elevating the track into a deeply relatable exploration of queer love and self-preservation. Following his time with Brit Award-winning band Jungle, this release shows an artist confidently stepping into his own sonic universe, polished, poignant, and profoundly human. If this is the first taste of the forthcoming BROKEN LIMERENCE EP, we’re in for something truly special.
:: “New York Heat” – Arts Fishing Club ::
Mitch Mosk, Beacon, New York
Arts Fishing Club’s “New York Heat” feels like the soundtrack to a late-summer evening you don’t want to end – all dreamy sweat, streetlight haze, and the wide-open possibility of the night. It’s intimate, it’s earnest, it’s infectious and endlessly dreamy: A song that dances between nostalgia and now, reminding us to stop overthinking and just dive in.
Outside my window in the New York heat
A couple’s dancing in the middle of the street
Oh Don’t look twice babies dive head on in
I think they’re gearing up for their first kiss
In a sea of people so anonymous
Don’t look twice babies dive head on in
Written while frontman Christopher Kessenich was stuck in a creative and emotional rut, the song captures the precise moment of breaking free – of looking out at a city that never slows down and deciding to meet it head-on. “Outside my window in the New York heat / A couple’s dancing in the middle of the street,” he sings, his voice warm and wide-eyed, letting us in on a little miracle unfolding far below. That image becomes a mantra: “Don’t look twice, babies, dive head on in.”
Cause you’re dumb
You’re young, you’re alive
So let this city set a fire
Give it up, give on in
Let her take you for a little spin
You got time
“I wrote ‘New York Heat’ when I was in a songwriting and life rut,” Kessenich shares. “There was a sense of looking back at a previous relationship and previous life mistakes or circumstances with an overly nostalgic lens. Looking back and glorifying the past. I traveled to New York City to knock myself out of the rut and as I was high up in my hotel tower I imagined the endless possibilities of the endless lives playing out below me. This idea of never looking back, never doubting yourself, but rather diving into the moment with vigor kept coming to my brain. Young love dancing in the street, diving headfirst into the heat of love and possibility exemplifies the carpe diem attitude I needed to remind myself to live by. We can’t go back. The only moment we have is right now. Dive IN.”
Up in my tower with another song
Trying to piece together where my life went wrong
Oh don’t look back boy dive head on in
I said don’t look back boy dive head on in
Cause you’re dumb
You’re young, you’re alive
So let this city set a fire
Give it up, give on in
Let her take you for a little spin
You got time
That carpe diem spirit burns bright in every chorus, where pulsing drums and sun-baked guitars frame the track’s central cry: “You’re dumb / You’re young / You’re alive / So let this city set a fire.” There’s something both reckless and reassuring in that line – an anthem for anyone who’s ever felt stuck, lost, or in need of a sign. With its infectious rhythms and soul-searching heart, “New York Heat” doesn’t just remind us how to live – it feels like life itself.
As part of their Supernatural Groove EP, and a preview of their upcoming album Pocket Full of Mumbles, this track finds Arts Fishing Club doing what they do best: Turning fleeting moments into forever songs, and ordinary cityscapes into something mythic.
Give it up, give on in
Let her take you for a little spin
You got time
Outside my window in the New York heat
Young love is finding her feet
:: “I Have Been My Mother’s Pain” – Lucy Lane ::
Danielle Holian, Galway, Ireland
On “I Have Been My Mother’s Pain,” rising pop-rock powerhouse Lucy Lane delivers her most searing and emotionally unfiltered work to date. Co-written and produced by genre-bending artist Lleo, the single is a bold confrontation of childhood trauma, wrapped in the soaring, angst-laced instrumentation of early 2000s alt-pop. Lane’s confessional lyrics hit like a punch to the gut, raw, poetic, and disturbingly relatable, as her powerhouse vocals cut through layers of distorted guitar and cinematic production. It’s a track that channels the emotional DNA of Pink’s Family Portrait and Christina Aguilera’s I’m OK, yet lands firmly in Lane’s own sonic lane: fierce, fearless, and unflinchingly honest.
What makes “I Have Been My Mother’s Pain” so compelling is how it manages to turn deeply personal pain into something universal and anthemic. The song is catharsis in motion, a slow-burning release of guilt, rage, and sorrow, culminating in an explosive, almost purifying climax. Lane’s ability to balance vulnerability with musical might places her in a lineage of artists who aren’t afraid to bleed a little on the mic. This single solidifies Lucy Lane as not just one to watch, but one you can’t ignore.
:: Not Just You – Fenno St. Jazz ::
Josh Weiner, Washington DC
Midway Cafe has been one of my favorite live venues in Boston for some years now, and I’ve especially enjoyed seeing Fully Celebrated Orchestra, a local jazz group, perform there on numerous occasions. Last month, I not only got to catch them onstage yet again, but also had the good fortune to see the awesomely talented band Fenno St. Jazz deliver a scintillating near-hour-long opening set right beforehand. Two tremendous Massachusetts-based jazz bands back-to-back – it was my lucky evening, indeed!
Thankfully, I’ve been able to reexperience the thrills of the night of May 14th multiple times, thanks to my Spotify-assisted ability to access Fenno St. Jazz’s latest album, Not Just You, much of which they performed at the Midway Cafe show I saw last month. The music sounds just as energetic and well-crafted in album format as it did in person. Plus, I’m currently in Montreal for the big annual Jazz Festival, and even though they aren’t in the lineup, playing Fenno St. Jazz definitely put me in the right mood for the ‘fest as I was driving up to Canada earlier this week. Thank you guys for that, and I hope to catch you at Midway or another spot one of these days!
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