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 .multibeat, Helena Casella, Catie Turner, Ava Franks & Young Rising Sons, PAVÉ, Josh Ottum, Phoebe Rea, Pen Pin, TEILZ, Adrián, Hümna Hümna, beaming, GAZAL, Steven Boom, Kate Voegele, Fountain, Gim Kordon, Mouth Culture, Neoteryc, Voted Most Likely, al coffey, Macy O, Shane Leonard, Misha Fair, & SUNNAN!
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:: “Please Hold Me” – .multibeat ::
Mitch Mosk, Beacon, New York
Longing has rarely sounded as intoxicating as it does on .multibeat’s “Please Hold Me.” Säm Wilder’s smoldering vocals draw us deep into the Dutch trio’s spellbinding world of lush keys, brooding guitar, and hypnotic, shuffling rhythms, his plea for closeness growing more urgent with every verse as he surrenders to the possibility of love.
Hold me till my lonely dissipate
Till love is a thing i don’t need to anticipate
Momma said it could set me straight
So i want it real no imitation
You the real deal not an iteration
Ready to admit, adoration
And i got no reservations left
All of that in the rear view mirror
Synths wash over the arrangement as pitched-up vocal samples flutter in the background, while a deep, elastic bass groove holds everything together. .multibeat give Wilder room to breathe, allowing every confession to linger as the music swells around him. The result is a gorgeous, slow-burning fusion of jazz, R&B, and hip-hop that practically begs you to close your eyes and get lost in it.
Beneath all that musical seduction, Wilder’s longing comes with a growing impatience. He’s tired of waiting, of wondering whether the person he loves will embrace him or walk away. His admission that “the tempo i depend on is irrelevant” is especially striking against .multibeat’s assured rhythms – the music knows exactly where it’s going, even as the singer struggles to understand where he stands. And when the chorus arrives, he finally lays his defenses bare:
Give you my heart in my palm, I oughta
Show you all of my cards open
Laid out on the table
Originally released April 9, “Please Hold Me” served as the lead single from .multibeat’s third album, OOO, which arrived September 25 via Berlin’s Sonar Kollektiv. The Utrecht-based trio – keyboardist Boudewijn Pleij, bassist Thijs van Zutphen, and drummer Aron Smit – first met as conservatory students, performing as a live backing band under the name Muddy Grease before developing their production-focused sound. That shared history gives the album’s title an intriguing significance, as the musicians explain in a statement shared with Atwood Magazine:
“Artistically the OOO record was heavily influenced and fuelled by the three of us playing in a room together. Whether this was our rehearsal space, or a live music venue. Where previous albums were mainly shaped and refined in a DAW, this album really took shape outside of that and in a live playing setting. Hence came part of the concept and idea to name the album the visually aesthetic OOO, which also abbreviates from Out Of Office.”
Across fourteen eclectic tracks, OOO gives the trio room to stretch out while welcoming an ever-changing cast of collaborators into their orbit. The cascading keys and fractured grooves of “Flyyy,” featuring Casiio, give way elsewhere to the shifting time signatures of “Rhapsody,” while “Bloom,” featuring Neema Nekesa and Noflik, explores the importance of supporting someone else’s growth through life’s difficulties. That song offers a lovely counterpart to “Please Hold Me” – one promises to stand beside a loved one through the storm, while the other finds the courage to ask for that same devotion. The songs move in different directions, but the conversation between bass, keys, and drums keeps the album unmistakably theirs.
“Musically for this record we were inspired by many of the greats that we look up to. For example Robert Glasper, J Dilla, Herbie Hancock and the Danish-band Athletic Progression. They all gave us a sense of adventure in music, and that the musical directions within Jazz, R&B and Hip-hop are pretty much endless.
“Here and there you will also hear influences from Kaytranada and Flying Lotus, all artists who push the envelope and also blur lines between genres, and combine elements with incredible taste and sensitivity.”
For all the directions OOO explores, “Please Hold Me” brings us back to a single plea. Wilder’s repeated “My love, hold on” grows more urgent each time, his voice suspended between hope and the fear of losing the person he’s reaching for. The band answer with an easy, unforced chemistry, their instruments rising and receding around his voice as though they’re listening as closely as we are. Wilder spends the song searching for a love he can trust. Behind him, three musicians sound entirely sure of one another.
:: “Conclusions” – Helena Casella ::
Mitch Mosk, Beacon, New York
Love is everywhere, and Helena Casella sings like she can taste it. On “Conclusions,” the Belgian-Brazilian artist channels that discovery into a smoky, smoldering performance full of soul and sensuality, her voice gliding through a feverishly funky groove with an almost outrageous ease. It’s a breathtaking display of musical chemistry, a song that radiates heat and passion from the very first note.
The magic is in the way these musicians move together. Guitar and drums lock into a sinuous, irresistible rhythm, striking in thrilling unison before slipping back into an elastic groove that seems to twist and dance beneath Casella’s voice. A deep, Thundercat-esque bassline adds its own playful swagger, while the keys bring a dreamy richness to the arrangement. And Casella herself? She’s positively on fire, her silken vocals climbing and dipping through the melody with remarkable freedom, every phrase charged with desire. The whole performance is alive with movement, its tight, sophisticated interplay crackling with the energy of musicians completely in sync. It’s the kind of music that gets under your skin and stays there.
Released September 25 via W.E.R.F. Records, “Conclusions” is the second single from Casella’s forthcoming sophomore album, Tumult, due February 5, 2027. Her 2024 debut, Pit of Impressions, sold out its first three vinyl pressings and introduced listeners to an artist with an extraordinary command of jazz, neo-soul, and contemporary R&B. Here, Casella draws on that musical foundation to create a world brimming with possibility, where the physical pleasures of nature become an expression of the love surrounding us. The song’s striking imagery and irrepressible groove are closely intertwined, as she explains in a statement shared with Atwood Magazine:
“‘Conclusions’ reveals the realisation that love is always around and graspable if you’re open for it, although it can sometimes be hard to come out of your shell,” Casella tells Atwood Magazine. “I wanted to give the feeling of moving with confidence through an idyllic landscape; ‘A promenade through mother’s herbs’, where you’ve finally witnessed love floating through the air as if never seen before. The song was mostly inspired by Minnie Riperton’s ethereal and amorous writing style and her talent to create a dreamscape with a funky beat and lots of punch.”
Casella brings that dreamscape to life through a deliciously vivid stroll through her mother’s herb garden, where lemongrass mingles with lavender and flowers become honey balm between her palms. It’s an almost intoxicating celebration of the senses, with every fragrant detail giving shape to a love that can be found in the simplest corners of everyday life:
“A promenade through mother’s herbs
The lemongrass and the lavender
And the thyme and rose petals and mint
You brew it all into one scent”
Yet the sweetness carries an undercurrent of uncertainty. Later, Casella admits, “I’m failing to make my own,” before describing the exhausting weight of work and the slow draining of her energy. Suddenly, the song’s exuberance takes on another dimension: The bliss she celebrates is precious precisely because everyday life can so easily pull us away from it. Her music dances through that tension, reveling in the present even as the lyrics acknowledge how difficult it can be to sustain such euphoria.
And perhaps that’s the greatest pleasure of “Conclusions”: The way Casella and her band capture the sensation of being completely swept up in the moment, when rhythm takes over and the world seems ripe with possibility. Their chemistry is electric, their musicianship dazzling, and Casella’s voice is an absolute force of nature. For all its heat and seductive swagger, the song leaves us with an invitation to look a little closer at the world around us, to recognize the love already within reach and embrace it while we can. If love is everywhere, Helena Casella has given it one hell of a soundtrack.
:: Blue Alchemy – Catie Turner ::
Danielle Holian, Galway, Ireland
Catie Turner has always understood that the most irresistible pop songs are often the ones that leave a little ache beneath the melody, and Blue Alchemy finds her transforming that instinct into something wonderfully expansive. Her debut album is a luminous collision of sharp intellect, unguarded emotion, and effervescent pop craftsmanship, tracing the complicated architecture of a young woman learning to inhabit herself without apology. Across songs such as “Power,” “Who Am I,” and “California,” Turner explores identity, insecurity, control, and the exhausting performance of being a person in a world that seems perpetually determined to define you. Yet even when her lyrics venture into the thornier corners of self-examination, her melodies remain gloriously buoyant, carrying difficult truths on waves of bright guitars, infectious hooks, and folk-pop warmth. There is a particular magic in this contrast, the way a seemingly carefree chorus can conceal a small existential crisis, or a sparkling arrangement can make room for an uncomfortable revelation. Turner does not use pop as an escape from introspection, but as a language through which to make sense of it, allowing wit and vulnerability to coexist in songs that feel both meticulously considered and beautifully, almost recklessly human.
What makes Blue Alchemy especially compelling is Turner’s willingness to embrace contradiction rather than resolve it into something neat and palatable. She can be self-deprecating without diminishing herself, emotionally transparent without surrendering her mystery, and fiercely independent while acknowledging the tenderness and uncertainty that accompany growing into one’s own power. The album’s emotional centre of gravity is particularly evident in “Girl’s Girl,” featuring Sophie Holohan, which turns the heat of anger into an unexpectedly generous meditation on empathy and solidarity. Rather than settling for the easy satisfaction of righteous indignation, Turner allows the song to soften at its edges, revealing the possibility of understanding where resentment once stood. Elsewhere, “Shrinking Violet” and “Tourist Attraction” contribute to a portrait of someone negotiating the distance between how she is perceived and who she knows herself to be, while “I Might” captures the fragile exhilaration of leaving room for possibility. The production, shaped by Drew Pearson, Carobae, John Mark Nelson, and Drew Polovick, gives these confessions a vivid, sunlit dimension, balancing intimate singer-songwriter sensibilities with polished indie-pop textures that never overwhelm the personality at their heart. There is a refreshing lack of false certainty here. Turner sounds less interested in presenting herself as a finished product than in documenting the beautiful, frustrating process of becoming, and that openness gives the album its emotional pulse.
The title Blue Alchemy suggests a kind of transformation, the delicate art of turning sorrow into something that glimmers, and Turner proves a remarkably intuitive practitioner of that craft. Having navigated grief, professional upheaval, and the disorienting transition from precocious breakthrough artist to a woman determined to reclaim her own narrative, she arrives at her debut with a perspective that feels hard-won without becoming hardened. The album’s emotional candour recalls the private revelations of a diary, but its musical imagination ensures that these songs belong just as naturally to crowded rooms, open windows, and solitary late-night singalongs. Turner understands that growing up rarely resembles a triumphant montage; more often, it is a series of awkward revelations, bruised egos, unexpected kindnesses, and small, hard-earned acts of self-forgiveness. Her greatest achievement is making those experiences feel not merely relatable, but strangely radiant. Blue Alchemy is intellectual pop with a beating heart, a collection that trusts its listeners to laugh at the absurdity of being alive while still taking their feelings seriously. Turner emerges not as an artist who has finally solved herself, but as one who has discovered the creative freedom of asking better questions. In a musical landscape often obsessed with reinvention as spectacle, hers feels like something more intimate and enduring: the quiet, exhilarating sound of a woman becoming more fully her own.
:: “Sweetless Surrender” – Ava Franks ft. Young Rising Sons ::
Chloe Robinson, California
Ava Franks and praised pop rockers Young Rising Sons have released a lush, infectious track “Sweetless Surrender.” The piece radiates the excitement of new romance, blending irresistible energy with the thrill of undeniable attraction. The single evokes a nostalgic ’90s pop rock presence that instantly provides a comforting listen. Its vibrant melodies and feel-good atmosphere capture the magic of falling for someone, making it the perfect soundtrack for those moments when chemistry speaks louder than words. Lyrics like “love me, love me/right now or never” capture the urgency of finding love and desiring to hold on to that feeling before it slips away.
New York City-based artist Franks crafts energetic, hook-driven indie pop inspired by generations of singer-songwriters, with a particular affinity for the sounds of 1990s pop and rock. Ava’s songwriting captures the highs of falling in love and the uncertainties of growing up, navigating the ups and downs of her early twenties “Sweetless Surrender,” a co-release with Young Rising Sons, is her first collaboration. Young Rising Sons have built a dedicated following with spirited hits like “High” and “SAD (Clap Your Hands).” This partnership has produced an offering that highlights the irrefutable harmony between two effervescent acts.
:: “If It Hurts” – PAVÉ ::
Mitch Mosk, Beacon, New York
PAVÉ are burning themselves alive to keep a love from going cold. Their blistering “If It Hurts” is a four-minute alt-rock fever dream, a charged collision of desperate devotion and roaring guitars that hits with astonishing force. It’s hot to the touch and utterly all-consuming, with frontwoman Alanya Jade singing like she’s pouring everything she has into one last plea for forever.
I’m bleeding out just to keep you warm
I can’t hold on to things that you say
you were always wanting more
While you’re watching me fade out each day
Last call hit was already gone
Swore I’d quite I was lying all along
I’ll be on the corner with a lighter lit
Burning every version of who I’ve been
I watched as the smoke drifted away
Set a light to the life I thought we’d make
You said wanna talk tonight
But what’s there to talk about
The guitars churn in relentless, overdriven waves as the drums slam beneath them, each downbeat pushing the song harder into the red. Jade’s voice moves from an intimate, bruised murmur into a soaring, full-throated cry, recalling the high-stakes drama of Evanescence and Paramore at their fiercest. And when she hits the chorus, the entire arrangement erupts. Distortion billows behind her, the rhythm section bears down, and every line lands with breathtaking conviction. The band give absolutely no ground, their sound roaring and ricocheting through a chorus that seems determined to tear the whole room apart:
And you could hold me to forever
Don’t give up on me yet
We can take it slow I’ll ease your mind
Just promise me forever
I’ve been breaking to mend
If it hurts then at least you know
The heat of that chorus is startling when you return to the first verse. Jade opens with “I’m bleeding out just to keep you warm,” then confronts the devastating accusation “you were always wanting more.” Soon she’s setting fire to old versions of herself, a brutal image beneath all that exhilarating volume. The song’s soaring melodies carry a growing sense of desperation, and the promise of forever takes on an entirely different weight. Jade reveals the darker story driving this extraordinary performance:
“It presents like a love song, but it’s really about what happens when love or ambition becomes conditional, reshaping yourself to be enough for someone who’s always asking for more,” Jade tells Atwood Magazine. “It’s about devotion turning into self-erasure, and the fear of disappearing unless you’re constantly proving your worth.”
Formed in Manchester in 2019, PAVÉ – comprised of Jade, guitarist Kevin Peate, bassist Meg Gale, and drummer Ben Pursehouse – have built a reputation for explosive live performances, earning wider recognition with their 2024 debut EP Are We Above The Secrets We Keep and 2025 single “Whatever the Cost.” Released March 27, “If It Hurts” marks another exciting chapter for the four-piece, who recorded the single at the Adidas Originals Studio engineered by Abbey Road at Manchester’s Co-op Live, with Abbey Road engineer Yvan Chambers behind the desk. The recording brings a different dimension to the band’s already formidable sound, embracing the melodic possibilities of alternative rock while giving their heavier instincts plenty of room to run wild. For PAVÉ, that evolution began with a willingness to follow their inspirations wherever they led.
I’m holding on just to let you go
I trace cracks in the mess we made
Thought we were built for more
But I’m watching you fade out each day
You kept the spark and wouldn’t let it go
I let the fire burn itself out
Why would we wanna talk tonight
When there’s nothing to talk about
“When starting the process of writing a new track, we always make room for what we are currently inspired by, rather than fitting the sound of what we have previously created,” PAVÉ explain. “‘If It Hurts’ is a perfect example of following by feeling rather than striving to recreate previous releases.”
“Kevin was listening to a lot of Fontaines DC at the time and wanted to create something that felt almost timeless. Alanya’s pop influences then came into the track leading it to the pop direction it is now.”
“When the opportunity came to record this at the Adidas Studio engineered by Abbey Road at Co-op Live, it felt fitting to record our more commercial track here. ‘If It Hurts’ reveals a softer, more atmospheric side to the band while retaining the emotional and explosive choruses we love to play live.”
And you could hold me to forever
Don’t give up on me yet
We can take it slow I’ll ease your mind
Just promise me forever
I’ve been breaking to mend
If it hurts then at least you know
And what a chorus it is. PAVÉ have tapped into the kind of exhilarating, larger-than-life alt-rock energy that sends shivers down your spine, pairing the weight of Linkin Park’s heaviest moments with the melodic urgency of pop rock at its most electrifying. Yet the song’s power rests just as much in its contradictions: Jade sounds increasingly desperate for reassurance even as the band surge forward with unwavering conviction. The harder she clings to the promise of forever, the more the music seems to threaten to break everything wide open.
By the final moments, Jade’s decision to “let it burn itself out” cuts through the chaos with a different kind of resolve. The guitars keep raging around her, their fury undiminished, as though the band are determined to give this painful realization every ounce of the force it deserves. “If It Hurts” is a breathtaking reminder of how exhilarating rock music can be when every instrument and every vocal carries such fierce conviction. PAVÉ refuse to give an inch, even as the person at the center of their song begins to recognize the power of letting go.
Remember when we painted this town red
Just for you to go turn yourself in
I’ve been staying up to hear your voice
Nothing’s worth losing your mind for
You’ll never change I know
Although you said you wanted to
The candles burning low
guess I’ll let it burn itself out
:: “Yellowband” – Josh Ottum ::
Mitch Mosk, Beacon, New York
Forever sounds wonderfully inviting in Josh Ottum’s hands. Playful and full of possibility, his vibrant song “Yellowband” opens with a dizzying flurry of rapidly repeating synth notes, then blossoms into lilting guitars and featherlight drums, the whole track suddenly bathed in a gorgeous, golden haze. It’s an enchanting transformation, and a fitting introduction to a song that treats commitment as an invitation to embrace life’s possibilities, wherever they might lead.
Love it hate it, whys it like weird?
Join me and shed a tear
Dark like a magic crack under bed
This is what the story said
Honest in the chorus verse isn’t right
You make a label, don’t feel right
Ottum sings with the softness of a whisper amplified, his voice floating through the arrangement as glistening guitars unfurl around him. There’s an effortless grace to the music, with the easy sway of the drums and the gentle interplay of acoustic and electric textures creating an atmosphere that’s utterly engrossing. Every instrument seems to have its own little personality, yet they come together in a sweet, dreamy embrace that practically begs you to get lost in it. The result is an off-kilter indie pop delight, intimate in its delivery and rich with the kind of musical imagination that rewards every listen.
Catalog Martians, papercut sworn,
blood in the mud by a field of corn
Simulate this thing, simulate that,
throw out the rabbit in the hat
Honest in the chorus verse isn’t right
You make a label, don’t feel right
Stare back at me with love in your eyes
This is how I was raised,
what were you raised like?
And the lyrics are every bit as curious as the music. Ottum tumbles through a surreal collection of magic tricks, Martians, and peculiar observations, casually slipping in the disarming question, “This is how I was raised, what were you raised like?” Beneath all that playful wordplay lies a sincere fascination with the promises we make and the lives we choose to build around them. When the chorus arrives, he brings that idea into focus with a declaration that’s equal parts romantic, rebellious, and delightfully absurd:
You put on your yellow band
Nothing gonna stop you tonight
Reach out for your partner’s hand
Quit your job and join a band
Released May 31, “Yellowband” is the title track from the California-based singer/songwriter and multi-instrumentalist’s five-song album Yellowband, recorded alongside pedal steel guitarist Adam Nash and drummer and guitarist Ben Lumsdaine. The record also marked the beginning of a wildly ambitious creative undertaking: Ottum plans to release an album on every full moon for three years, a staggering 36 records documenting his ongoing commitment to making music. With more than two decades of recording and collaboration behind him, Ottum is embracing a remarkable creative challenge, and the idea of beginning such an enormous undertaking gives his song an added sense of purpose. As it happens, its origins were considerably more modest.
“This song came together very quickly at home while sick in bed,” Ottum explains in a statement accompanying the release. “I’d just restrung my nylon string to inverted tuning and wrote the lyrics thinking about the significance and power of a long-term commitment. Commitment to another person, a job, a practice… whatever it is, the yellow band is this symbol that has no beginning and no end, taking on a weighty, endless, circular meaning.”
What’s perhaps most wondrous about “Yellowband” is how effortlessly Ottum brings a sense of adventure to an idea that can carry so much weight. The song’s playful lyrics and buoyant melodies invite us to imagine commitment as an act of possibility, a decision that opens doors rather than closes them. Even the music seems to celebrate that freedom, its restless opening giving way to an easygoing groove that carries us along with a smile. And by the time Ottum suggests quitting your job and joining a band, the invitation sounds downright irresistible. After all, choosing what matters most to you can be its own exhilarating adventure.
:: “Meet Me There” – Phoebe Rea ::
Joe Beer, Surrey, UK
Oxfordshire-born singer-songwriter and pianist Phoebe Rea draws from jazz, alternative music and art-pop. Her new single “Meet Me There,” showcases a beautiful piano melody, sitting at the center of an intricate arrangement. With layered vocal harmonies and playful rhythmic changes, the song emits a restless energy and whilst keeping you hooked from the beginning to end.
Written in memory of her grandad, “Meet Me There” navigates how someone’s influence can remain part of everyday life long after they’re gone. For Phoebe, that connection lives in walks, beautiful views and a coffee and cake before visiting an exhibition, as well as the curiosity he encouraged in her. The song allows her to acknowledge the depth of her grief while finding comfort in the habits and outlook he passed on. “Meet Me There” is the first track to be released from an upcoming EP, introducing a warmer perspective and embracing life through the memory of someone who did exactly that.
:: “Vampire” – Pen Pin ::
Julius Robinson, California
Halloween is right around the corner. Whether that is watching scary movies or putting up fall decorations, it is always so much fun to get into the spirit. Another great way to celebrate is by listening to Halloween themed music. Pen Pin’s new song and accompanying music video “Vampire” is the perfect October offering. The track explores the security of being loved unconditionally by someone who always stands by your side, providing a sense of comfort and stability in an unpredictable world. The spooky yet playful black-and-white visuals offer a comical twist on vampire lore, depicting the creatures working out, dancing on a dock, and dining out, displaying them in unexpected everyday scenarios. With its blend of eerie imagery, playful humor, and heartfelt themes, “Vampire” offers a unique take on Halloween music that is as charming as it is festive.
Pen Pin is the creative partnership of songwriters and multi-instrumentalists Jeni Magaña and Emily Moore, who met while on tour with Mitski. Embracing an independent, DIY approach, the duo handles nearly every aspect of their music, from performing the majority of the album’s instrumentation to producing the recordings themselves. The Los Angeles indie pop project has crafted tracks like “Fringe” and “The Boredom,” a laid-back sonic world steeped in nostalgia, pairing hazy textures with a sun-soaked atmosphere. “Vampire” possesses that same signature warmth.
:: “potion” – TEILZ ::
Charlie Recksieck, San Diego, CA
TEILZ is Allie Teilz, a Los Angeles DJ and club fixture who’s reinventing herself as a pop singer with her album come to mommy – and I’ve gotta say that she’s off to a great start. “potion” is as catchy as anything I’ve heard this year. It’s driving pop with a dash of Icona Pop production, Lady GaGa star vibes, 1990’s B-52’s white funk, and really killer touches like low rumbling keyboards and more sound effects than I can count among the handclaps, beeps, slap bass and Chic-type disco guitar.
And then there’s the video. I don’t know how she pulled this off but it’s a technicolor romp filmed at Dick Van Dyke’s estate, featuring Van Dyke’s widow, the Chitty Chitty Bang Bang car and some marionettes. The dichotomy of sonic pop like this with old-school technicolor somehow works perfectly.
TEILZ might be a pop newcomer, but she’s not a novice. This has got it going on and we can compare it to modern pop stars trying to sound disco. But to me, this sounds like it should have won the Eurovision Song Contest in 2025 or 1982, I can’t tell – and as a lover of ABBA, that is a huge compliment.
:: Sunburn – Adrián ::
Ashley Littlefield, California
Finding time to soak up the sun can feel refreshing, yet leave you with a stinging Sunburn – a contrast Adrián captures on his debut album. The French producer and songwriter navigates his recent diagnosis of bipolar disorder on his latest release, Sunburn, out October 16 via Parisian label Pont Neuf Records. Across the album, he reevaluates his relationship to nightlife, touring, and past relationships that shaped him in his 20s. Adrián speaks to his studio process and his approach to expressing his artistry: “I started singing because I wanted to talk about things that genuinely affect me, and I felt that using my own voice was the most direct way to communicate those emotions.”
Sunburn evokes the warmth of sand on a beach, and this release brings a softer production approach to his electronic cadence and grooves, blending indie electronica and melodic house on the LP. Across eight tracks, the album centers on infatuation, memory, and loss, bringing them to the surface through sound. Throughout the album, there is a cool, soothing serenity in Adrián’s voice. The Mediterranean inspired a visual narrative for him on Sunburn, and his sounds heighten that sense of memory: “The smell of olive trees, the heat on your skin, summer sunsets by the sea, that very specific light you get in the south,” he says. “When I’m surrounded by that warmth, the sea and the sun, I feel a little more at peace with myself.” Sunburn channels the internal shifts of the human experience, moving through moments and sounds, taking time to appreciate the tide’s ebb and flow while welcoming the hope of new experiences as they come ashore under the “Summer Sky.”
:: “Memories” – Hümna Hümna ::
Mitch Mosk, Beacon, New York
Crank up the guitars, let the drums thunder, and prepare to fall head over heels for Hümna Humn̈a. The Boston band’s gloriously gritty alt-rock singles “My Skin” and “Memories” are two roaring, churning delights, brimming with the kind of scrappy, electrifying energy that made ’90s alternative rock so irresistible. The music is loud, loose around the edges, and bursting with personality, its heavy guitars and pounding percussion offset by subtly harmonized vocals that add a surprising sweetness to all that noise.
There’s an undeniable thrill to the way Hümna Humn̈a throw themselves into these songs. The guitars grind and surge, their thick, crunchy distortion practically spilling out of the speakers as the drums hammer away with gleeful abandon. Yet beneath the grit is a real melodic sensibility, with the vocals slipping into understated harmonies that soften the edges without sacrificing an ounce of the momentum. It’s a wonderfully satisfying combination, capturing the spontaneity and exuberance of a band having an absolute blast together.
Emerging from Boston’s underground music scene, Hümna Humn̈a are a four-piece with roots in garage rock and alternative music, and an irreverent streak that extends all the way to their name. Following the release of their debut EP Marigolds earlier this year, the band returned over the summer with companion singles “Memories” and “My Skin,” both engineered and mixed by Cody of fellow Boston outfit Don’t Tell Iris.
The band’s own introduction is delightfully cheeky: “So nice you have to say it twice.” But behind that playful personality is a group with an appetite for exploring decidedly different musical territory. While “My Skin” revels in the visceral pleasures of guitar-driven rock, “Memories” draws inspiration from Bong Joon Ho’s acclaimed film Memories of Murder. Guitarist and vocalist Elijah Kang reveals how the film’s unsettling exploration of an unsolved crime inspired a song about the difficult pursuit of truth.
“‘Memories’ is inspired by the film Memories of Murder directed by Bong Joon Ho and based on true events of South Korea’s first documented serial killer,” Kang tells Atwood Magazine. “An underlying theme that deeply resonated with me is the idea of attempting to find truth and justice in an increasingly chaotic world that we live in and the frustration of that pursuit. While one detective in the film attempts to find the killer with logic and order, another does so by looking into suspects’ eyes, using an almost sixth sense. Both fail in the end to find an answer. While bleak, the song is ultimately a call to never stop searching, even in the midst of uncertainty.”
The band’s delivery complements the subject matter with a darker, more dramatic intensity. Overdriven guitars quake beneath aching vocals, the drums drive forward with smoldering might, and the whole song seems to gather force as it goes. A killer breakdown and a scorching guitar solo push an already furious performance into an even higher gear. It’s a genuine knockout, full of the kind of unbridled firepower that demands to be played loud.
Together, “My Skin” and “Memories” reveal two sides of the same electrifying band – one reveling in the sheer joy of rock ‘n’ roll, the other channeling that fire into a darker search for answers. Both are delivered with a conviction that’s impossible to resist.
And that’s precisely what makes Hümna Humn̈a such a pleasure. Their music has the crunch and swagger of the alternative records you grew up blasting through your bedroom speakers, delivered with the enthusiasm of musicians eager to make their own mark. The riffs hit hard, the melodies sneak up on you, and both performances feel ready to burst at the seams. For anyone who misses the glorious, guitar-soaked days of ’90s alt-rock, Hümna Humn̈a have a treat in store. Turn it up and let it rip.
:: “say goodbye” – beaming ::
Mitch Mosk, Beacon, New York
Leave it to a band called beaming to make the pain of saying goodbye sound like the sun coming out. The Los Angeles duo’s dazzling, rock-infused indie pop song “say goodbye” is an absolute delight, a dreamy, high-energy rush that filters warm sunshine into even the coldest, darkest room. Guitars stack and soar, melodies burst forth with infectious enthusiasm, and the whole performance radiates the kind of wide-eyed excitement that made the indie pop of the early-to-mid 2010s so irresistible. It’s a glorious reminder of just how much joy a great song can bring.
And what a song it is. Derek Ted and Braden Lawrence have crafted a three-and-a-half-minute whirlwind of glistening guitars and buoyant rhythms, their shimmering melodies riding atop a sweltering wall of sound that roars with unbridled passion. There’s a wonderful sense of movement to the production, with each layer adding more color and energy until the whole arrangement seems ready to burst into flames. And then there’s that guitar solo – an absolute heater that tears through the mix with a thrilling flourish, pushing an already exhilarating performance to even greater heights. It’s dramatic, enchanting, and utterly irresistible, a song that feels as though it could go on forever without losing an ounce of its magic.
But beneath all that dazzling musical exuberance lies a far more bittersweet story. “say goodbye” is a song about the pain of parting ways, of trying to make sense of a connection that still burns even as it slips beyond reach. “I’ve been crushed / By dreams of you,” the narrator admits, his words offering a stark contrast to the bright, bounding arrangement surrounding him. And when the chorus arrives, that tension between lingering affection and impending heartbreak comes into focus:
We’ve gone too far
I felt a spark when you said
“Your eyes light fires”
It hurts so bad to say goodbye
It’s a gorgeous contradiction, the sort of bittersweet magic that makes indie pop such a compelling vehicle for heartache. The music practically begs us to dance while the words remind us that even the most exhilarating connections can leave us hurting. That interplay between joy and sorrow is central to beaming’s sound, and it speaks to the musical chemistry Ted and Lawrence have cultivated since joining forces in Los Angeles. Lawrence spent more than a decade drumming for Philadelphia indie rock favorites The Districts, while Ted has built an impressive career as a solo artist and producer, working with the likes of Field Medic, Runnner, and Odie Leigh. Together, they’ve discovered a creative partnership rooted in collaboration and a shared love of making music.
“We’ve found more of our sound in what we create together,” Ted explains. “Going on tour, playing shows, and spending hours in the studio have inspired us to understand how to make our songs better and what their purpose is. We’ve got more of a north star, aesthetically.”
Released April 17 via Rose Garden Records, beaming’s debut album horseshoe remains every bit as bright, buoyant, and charming now as it did this past spring. Its ten songs are brimming with personality, from the bouncy, guitar-driven exuberance of “BUGBITE” to the wistful, aching melodies of “Stuck (here)” and the title track’s bittersweet reflections on luck, loss, and uncertainty. Even the brooding distortion of “SLOWER” has its own special allure. Each song offers a different glimpse into the duo’s musical world, their adventurous production and irresistible melodic instincts giving the album a wonderfully freewheeling spirit. There’s plenty of heartache tucked into these songs, but the band approach their music with an infectious optimism that makes the whole experience feel like an invitation to keep going.
“In such dark and uncertain times, making music was sometimes the only thing that made sense,” the band explain in a statement accompanying the album’s announcement. “‘horseshoe’ reflects the spirit of this album: moving through the pain, holding onto hope, and leaving room for a little luck and magic along the way.”
That sense of possibility runs through the entire record, with Ted and Lawrence following their curiosity from one idea to the next. There’s an unmistakable spontaneity in the way they throw themselves into their music, a willingness to chase whatever sounds exciting and see where it leads. For all the care that goes into their arrangements, the duo’s guiding philosophy is refreshingly simple. As Ted puts it, “There’s nothing else we have in mind at this point beyond ‘Do we like this?’ It’s kind of freeing, in a way.”
Perhaps that’s why horseshoe continues to resonate so deeply. Across its ten songs, heartbreak and hope share the same space, their push and pull giving even the most exuberant arrangements a deeper resonance. “say goodbye” captures that spirit at full volume, transforming a painful farewell into a sun-soaked celebration that practically dares you to turn the volume up and sing along. It’s one of those songs that leaves you grinning long after the final note fades, eager to press play all over again. Six months on, the magic hasn’t worn off. If anything, beaming sound more deserving of their name than ever.
:: HOW DO WOMEN FLY? – GAZAL ::
Danielle Holian, Galway, Ireland
With HOW DO WOMEN FLY?, Sydney-based Lebanese-Australian artist GAZAL delivers a bold, genre-fluid exploration of the everyday frustrations, double standards, and unspoken expectations women continue to navigate. Across six tracks, she challenges the pressure to make yourself smaller for the comfort of others, turning familiar experiences into sharp, often humorous observations that hit a little too close to home. Opening track “ONION (stfu)” immediately sets the tone, transforming an absurd encounter with mansplaining into an infectious, unapologetic statement of intent. Blending raw instrumentation with pop sensibilities, GAZAL establishes a sound that is as unpredictable as it is compelling, balancing biting commentary with a refreshing sense of playfulness.
What makes the EP particularly engaging is GAZAL’s ability to shift between moods and musical styles without losing sight of its central message. “This man is a preacher” takes aim at performative morality, while the stripped-back indie-pop of “Pickup truck” offers a more introspective moment, inviting listeners to reflect on uncomfortable interactions and the feelings they leave behind. Meanwhile, “Backpack” stands out as a heartfelt tribute to female friendship, celebrating the women who help carry the weight when life becomes overwhelming. Each track explores a different emotional experience, capturing the ways women adapt, compromise, and sometimes reshape themselves to feel accepted or safe. Rather than presenting a singular perspective, GAZAL embraces these contradictions, allowing vulnerability, frustration, humour, and defiance to coexist.
Closing with the infectious attitude of “EAT D!RT,” GAZAL leaves listeners with a final reminder that charm and self-proclaimed niceness should never excuse questionable behaviour. HOW DO WOMEN FLY? is a confident and refreshingly unfiltered introduction to an artist who refuses to be boxed into one sound or identity. Her willingness to experiment gives the EP its distinctive character, while her sharp songwriting ensures that its themes remain grounded in recognisable human experiences. More than simply calling out the behaviours women are expected to tolerate, GAZAL creates space for reflection, solidarity, and a little well-deserved anger. The result is a vibrant, emotionally layered project that feels both deeply personal and widely relatable, marking GAZAL as an artist with plenty to say and an exciting creative vision to match.
:: “End of the High” – Steven Boom ::
Julius Robinson, California
Dutch music visionary Steven Boom, a multifaceted artist, producer, and DJ has unleashed a track so fresh and illuminating listeners are immediately hooked. “End of the High” lifts you up with its radiant, rising synths and seductive vocal tone. This infectious dance anthem captures the thrill of a summer fling you wish could last forever. Lyrics such as “can we keep on dancing at the end of the high” show a deep desire to make something go the distance, beyond just the sunshine and roses. Boom joined forces with Swedish dance-pop artist Philip Strand, Dutch singer-songwriter Amanda Collis, and producer Maarten Vorwerk for the ideal musical melding.
Steven Boom fuses together the energy of dance music and the sincerity of pop songwriting, creating melodic, feel-good tracks that resonate with fans and unite them through music. Steven’s releases are driven by his creative vision and a close working relationship with Dutch producer Vorwerk, whose experience in electronic and dance music delivers depth to each production. This striking single takes us further into that innovative world.
:: “Bad Taste” – Kate Voegele ::
Chloe Robinson, California
Kate Voegele’s latest single, “Bad Taste,” balances a soft, warm sonic with an underlying fierceness that makes it clear she won’t be pushed around. The track focuses on finding strength in realizing that someone who once had a hold on you no longer has the same influence over your life. Through its blend of vulnerability and bold defiance, the song captures the empowering moment of reclaiming your confidence and refusing to let the past dictate your future. The singer reveals, It’s about getting to the other side of a particularly shitty situation, being genuinely happy, and knowing that your happiness most likely drives that person absolutely crazy.” “Bad Taste” is off of the upcoming album Age of Alchemy, which she wrote entirely on her own.
Voegele has made a name for herself as a singer-songwriter, recording artist, and actress with a talent for turning personal experiences into relatable, emotionally rich releases. Her debut album, Don’t Look Away, helped establish her musical identity, while her role as Mia Catalano on One Tree Hill introduced her artistry to a wider audience, carrying her music forward both on and off the screen. This fall, Voegele revisits the defining moments of her career with the Then & Now Tour, a personal live show that brings together memorable One Tree Hill tracks and fan-favorite songs.
:: “Every Single Drop” – Fountain ::
Danielle Holian, Galway, Ireland
Northampton garage-rock duo Fountain return with “Every Single Drop,” a sweat-soaked blast of alternative rock that wastes little time getting under the skin. Produced by Lee Russell, the single leans into the band’s instinct for muscular riffs, punchy percussion and infectious melodic hooks, finding a sweet spot between garage-rock grit and indie immediacy. There is a pleasing sense of urgency to the track, with Jordan Noon’s guitar work and vocal delivery carrying an unpolished charisma that feels tailor-made for crowded rooms and late-night excess. Behind him, Alistair Wilkinson’s drumming gives the arrangement its driving pulse, keeping the momentum taut as the duo channel their chemistry into something both unruly and irresistibly catchy. Drawing on the raw swagger of Queens of the Stone Age and The Black Keys, Fountain understand the value of a riff that hits hard without sacrificing its melodic pull. “Every Single Drop” is direct, unpretentious and built for instant impact, its rough-edged energy giving the song a lived-in quality that never feels manufactured.
Beneath the track’s immediate appeal, however, lies a more provocative streak. Fountain describe their intention as creating the soundtrack to a night of lust, where the promise of romance quickly spirals into something considerably more uninhibited. That tension between seduction and abandon runs through the song’s brash, physical character, lending its relentless drive a distinctly mischievous edge. Rather than dressing desire up in sentimentality, the duo embrace its impulsive, occasionally chaotic side, allowing the music’s restless momentum to mirror the heat of the subject matter. The result is a single that feels deliberately immediate, capturing the moment when attraction tips into recklessness and everything else becomes secondary. Following the racing energy of “It’s Ordinary,” “Every Single Drop” reinforces Fountain’s knack for turning raw instinct into sharp, accessible rock music. There is no unnecessary fuss here, just a duo locked into a groove, a commanding vocal presence and a hook that refuses to let go. Feral yet focused, it is a confident statement from a band who know precisely how to make garage rock feel dangerous, playful and alive.
:: “Ootan sua” – Gim Kordon ::
Mitch Mosk, Beacon, New York
Gim Kordon sound like they’ve got five years of pent-up energy to burn, and they’re letting it all loose on “Ootan sua.” The Helsinki band’s feverish, fiercely melodic indie rock song is an absolute delight, a roaring, churning blast of distorted guitars and infectious energy that practically leaps out of the speakers. It’s gritty, charming, and gloriously alive, with the kind of irresistible rock ‘n’ roll exuberance that recalls the heyday of Dinosaur Jr., Superchunk, and The Smashing Pumpkins. And beneath all that sheer volume is a profoundly personal story of perseverance, hope, and the difficult work of finding your way back to the people who matter most.
The guitars are positively ferocious, grinding and surging through a whirlwind of distortion while the drums pound away with exhilarating force. Yet there’s an undeniable sweetness to the band’s melodic instincts, with singer/guitarist Aleksi Pahkala’s Finnish-language vocals cutting through the commotion in a rush of yearning and determination. The whole performance bristles with movement, its rough edges and soaring melodies feeding off one another to create a wonderfully charged, high-energy rush. It’s the kind of song that makes you want to throw your arms around your friends and shout along, even if you don’t understand a word of Finnish. The feeling is universal, and Gim Kordon deliver it with all the conviction of a band playing for their lives.
Released September 11 via All That Plazz, “Ootan sua” continues a remarkable comeback for the Helsinki trio, whose 2014 debut album Ei ole helppoo reached No. 13 on Finland’s Official Albums Chart and established them as a beloved fixture of the country’s alternative rock scene. Pahkala, bassist Janne Nissilä, and drummer Alexandros Karoutsos returned this summer with “Rannalla,” ending a five-year release hiatus and setting the stage for their long-awaited sophomore album, due in 2027. Recorded with producer and engineer Valtteri Väänänen, “Ootan sua” pushes their sound into even bigger territory, its towering guitars carrying an intensely personal reckoning. For Pahkala, the song emerged from a period that fundamentally changed his understanding of strength, responsibility, and what it means to be present for someone else.
“‘Ootan sua’ came out of perhaps the hardest period of my life,” Pahkala tells Atwood Magazine. “I had run out of strength and I was dealing with depression, but for me the most important thing about the song isn’t that. It’s the moment when you realise you can take responsibility for your own direction again. You can ask for help, get back on your feet and start working for the things that genuinely matter to you.
“When you are just trying to survive, you don’t always see how your absence or exhaustion affects the people closest to you. Getting help also meant that I was able to look beyond my own distress again and be more present for others.
“There are things in life you simply cannot control, and you cannot make everything happen when you want it to. But you can do your part. You can try to act honestly, keep your heart open and stay committed to what you know matters. Sometimes strength also means not trying to force things, but being willing to wait without giving up.”
That distinction between hope and commitment is woven into the very fabric of “Ootan sua.” The recurring “Kai sä ootat mua?” (“Are you waiting for me?”) is a question filled with uncertainty, a desperate wish for reassurance from someone whose presence can no longer be taken for granted. But “mä ootan sua” (“I’m waiting for you”) carries a different weight. It’s a declaration of intent, a promise to keep showing up regardless of what the future holds. As the song progresses, the repetition becomes increasingly moving, with the band’s roaring guitars and insistent rhythms giving that simple sentiment a thrilling sense of urgency.
“For me, that’s ultimately the whole song,” Pahkala says. “‘You’re waiting for me’ is a hope. ‘I’m waiting for you’ is a promise. I’m here, always here for you.”
And perhaps that’s what makes “Ootan sua” so affecting. For all its exhilarating firepower, this is a song about learning to stay, to take responsibility for your own direction and remain open to the people you love, even when life has left you exhausted and uncertain. The music carries that determination with tremendous force, its guitars charging forward with fierce determination while the melodies reach toward the possibility of something better. Even the single’s gorgeous cover art, drawn from Pahkala’s own 2025 acrylic painting Maailma katoaa (jos haluaa), shares a visual world with “Rannalla,” connecting the band’s return through a striking burst of color. Gim Kordon have come roaring back with their hearts on their sleeves and their amplifiers turned all the way up. “Ootan sua” is an absolute joy to hear, and its promise of enduring presence makes all that glorious noise mean so much more.
:: “Growing Pains” – Mouth Culture ::
Mitch Mosk, Beacon, New York
Chasing a dream can cost you more than you realize, and Mouth Culture have written one hell of a chorus about it. The Leicester trio’s feverish, guitar-charged indie rock song “Growing Pains” is an absolute delight, a sweltering, fiercely melodic anthem that channels the irresistible spirit of ’90s Britpop into a performance bursting with passion and personality. There’s a flash of Oasis in its anthemic sweep, a little Blur and Pulp in its colorful swagger, but Mouth Culture bring their own distinctive character to the mix. It’s charming, exhilarating, and utterly infectious, the sound of a band giving everything they’ve got to a song about discovering just how much that devotion can demand.
And good grief, that chorus! The guitars churn with a thick, glowing distortion, the drums hit with tremendous force, and the whole arrangement surges forward with an infectious energy that practically begs you to turn the volume up. There’s a wonderful push and pull to the music, its muscular alt-rock foundation giving way to soaring melodies that seem to throw the doors wide open. The chorus hits like a burst of sunlight, radiating heat and possibility even as the lyrics confront the growing demands of chasing a dream. It’s a thrilling combination of guitar-driven firepower and singalong immediacy, with every dynamic shift adding to the song’s momentum.
Released September 14 via Killabop, “Growing Pains” marks the beginning of another chapter for Mouth Culture, whose reputation for explosive live performances and massive choruses has carried them from Leicester’s alternative scene to stages at Download Festival, Rock am Ring, and 2000Trees. Vocalist Jack Voss, guitarist Mason Clifford, and bassist Todd Groome have spent years building something together, and the band’s growing success has brought new demands on their time and attention. For Groome, the song reflects the complicated balancing act that comes with pursuing something you love while trying to remain present for the people who matter outside of it.
“There’s more to balance now than there was when we started,” Groome explains in a statement accompanying the release. “You want to give everything to the band, but you’ve also got relationships, family, friends and everything else happening around it. Sometimes those things pull against each other and you don’t always get it right. I think we’re all learning what chasing this actually asks of you.”
That uncertainty gives “Growing Pains” its beating heart. The song’s soaring melodies carry the excitement of a band moving toward its ambitions, while the struggle beneath them reflects the compromises that become harder to ignore along the way. It’s especially compelling because these are questions the musicians are still working through themselves, discovering that the sacrifices made in pursuit of a shared dream can have very different consequences for the people involved. Voss acknowledges how difficult it can be to recognize those differences while you’re caught up in the momentum of it all.
“None of us have done this before, so we’re learning as we go,” Voss says. “Being away from home, relationships, spending more and more time on the band, you’re trying to work out how all of those things can exist together. You also realise that how something feels to you isn’t necessarily how it feels to the person on the other side of it.”
Perhaps that’s what makes the sheer exuberance of “Growing Pains” so compelling. For all the uncertainty surrounding its subject matter, the music charges forward with tremendous conviction, its roaring guitars and melodies celebrating the possibility that all this effort might lead somewhere worthwhile. Guitarist Mason Clifford sees that optimism as central to the song’s meaning.
“There’s struggle in it, but it’s a hopeful song,” Clifford says. “It’s that feeling that what you’re working towards is just about within reach, even when getting there isn’t straightforward.”
And Mouth Culture make that hope sound downright glorious. “Growing Pains” captures the excitement of reaching for something bigger while acknowledging the complicated business of becoming the person who can actually sustain it. The band’s guitars roar with all the urgency of a dream worth chasing, their hooks practically demanding to be sung back by a room full of people. It’s a wonderfully charged, heart-on-sleeve indie rock triumph, bursting with the kind of energy that makes you believe the next great thing might be just around the corner. Growing up is messy business, but Mouth Culture have given us one hell of a soundtrack for figuring it out.
:: DREAMS – Neoteryc ::
Danielle Holian, Galway, Ireland
London four-piece NEOTERYC arrive with DREAMS, a debut EP that places feel, fluidity and collective instinct at the heart of its sound. Moving between jazz fusion, neo-soul and R&B, the seven-track project is less concerned with showing off technical ability than exploring what happens when accomplished musicians find a shared language. Warm basslines, supple keys and intricate harmonies provide the foundations, while moments of improvisation lend the arrangements a natural looseness that feels rooted in the spontaneity of live performance. Opener “April Mornings” establishes this atmosphere with an understated elegance, its origins in a melody keyboardist Ejiro Lennox heard in a dream lending the track an almost subconscious sense of intimacy. There is a gentle sense of discovery in the way the music unfolds, with the band allowing its ideas to breathe rather than crowding them with unnecessary embellishment. NEOTERYC understand that groove is as much about space as it is movement, and across DREAMS, their interplay gives even the most intricate passages an inviting, human quality. The result is a sound that feels considered without becoming overly polished, balancing jazz-trained musicianship with the accessibility and emotional directness of contemporary soul.
That emphasis on feeling becomes the EP’s defining thread as NEOTERYC explore the complexities of growth, connection and perseverance. Featuring Peace Oluwatobi, “Keep Your Head Up To The Sky” brings a hopeful lift to the record, its soulful framework carrying a message of resilience without slipping into easy sentimentality. Instead, the track finds strength in its sincerity, allowing the warmth of the instrumentation to reinforce its central sentiment. “Grow,” featuring Zamar Eden, shifts the focus towards the more uncomfortable side of personal development, acknowledging that becoming a better version of yourself is rarely a straightforward process. Here, the project’s collaborative approach proves particularly effective, with the vocal contributions adding distinct emotional textures to the band’s fluid musical backdrop. “Still Rolling,” featuring Dylan Williams and Mark Asari, injects a welcome burst of momentum, its livelier energy reflecting the restless ambition of artists determined to keep moving forward. The contrast between these tracks gives DREAMS a sense of progression, moving from reassurance to introspection before finding renewed purpose in forward motion. While the themes themselves are familiar territory within soul music, NEOTERYC approach them with an earnestness that feels genuine, grounding universal experiences in the warmth of their collective performance. There is an appealing refusal to overcomplicate the message, with the band allowing melody, rhythm and the interplay between musicians to do much of the talking.
Then comes “Far Away,” DREAMS settles into a more reflective register, finding a measure of peace amid heartbreak, uncertainty and change. Its placement feels deliberate, bringing the EP away from the outward momentum of “Still Rolling” and towards a quieter understanding of acceptance. Rather than offering a neat resolution, the track leaves space for the complicated emotions that accompany moving on, rounding out a project concerned as much with the process of becoming as with the destination itself. Before closing out the record with “Velvettone Dreams,” NEOTERYC establish a compelling foundation for their future, drawing on the exploratory spirit of jazz fusion and the soulful sensibilities of neo-soul without losing sight of the songwriting at the centre of it all. The musicianship is clearly a major part of the appeal, but the record’s strongest moments emerge when technical fluency gives way to genuine chemistry, each member responding to the others with an instinctive sense of timing and feel. Having built their reputation on London’s live circuit, including a sold-out headline show at Camden Assembly and work alongside artists such as Wizkid and Sinach, the quartet arrive at their debut with a clear understanding of their collective identity. Following 2022’s instrumental single “Sweetspot,” DREAMS represents a natural evolution, introducing a more expansive and emotionally expressive side to the group. It is a confident opening statement from a band whose greatest asset is its ability to make collaboration feel effortless, finding a meeting point between musicianship, melody and lived experience. With its rich grooves and quietly purposeful songwriting, NEOTERYC offer a soulful introduction that suggests there is plenty more to come.
:: “In This Life & The Next” – Voted Most Likely ::
Mitch Mosk, Beacon, New York
Voted Most Likely have channeled the agony of unanswered questions into an absolute firestorm. The northeast England quartet’s feverish, hard-hitting emo rock song “In This Life & The Next” is a relentless outpouring of heartbreak and regret, a breathless rush of guitars and pounding drums that hits like a runaway train and refuses to slow down. It’s wildly intense, bursting with nervous energy and the kind of explosive, heart-on-sleeve passion that makes emo music such a thrilling outlet for life’s most difficult moments.
The guitars twist and churn with restless urgency, their bright, twinkling melodies cutting through a fiercely charged arrangement as the rhythm section barrels forward with almost reckless abandon. There’s a wonderful tension between the song’s upbeat musical instincts and the turmoil beneath them, with every surging riff and crashing cymbal adding to the feeling of emotions spiraling beyond control. Even the infectious melodic hooks seem caught up in the frenzy. It’s a full-throttle performance that barely gives listeners a second to catch their breath, capturing the sound of a mind desperately searching for answers while everything around it races ahead.
Signed to New York’s Manic Kat Records, Voted Most Likely are vocalist Scott Vincent, guitarist Jack Allen, bassist Andy Holden, and drummer Ben Morland, four musicians drawing from the melodic immediacy of Midwest emo and the more aggressive energy of modern post-emo. With influences spanning Modern Baseball, Mom Jeans, and The Front Bottoms, the band have developed a sound that balances musical exuberance with deeply personal songwriting. “In This Life & The Next,” which appears on their EP Regardless, I love you., is a particularly potent example, its feverish momentum carrying the weight of a relationship that ended without the closure either person might have hoped for. As the band explain in a statement accompanying the release:
“The song is a raw representation of the feelings of regret and lack of closure from a failed relationship. Dwelling on what could have been and failing to come to terms with how and why things went wrong.”
And it’s that inability to move forward that gives the song so much of its urgency. Beneath the charging guitars and wildly energetic rhythms is someone caught between the happiness they once knew and the painful reality of losing it, replaying old memories in search of an answer that might never arrive. The music practically races against those thoughts, its relentless forward motion at odds with a narrator who remains painfully stuck in the past. It’s a compelling contradiction, and one the band bring into even greater focus in their reflections on the song’s inspiration.
“‘In This Life & The Next’ is a song about the emotional struggles of moving on after a failed relationship,” Voted Most Likely tell Atwood Magazine. “It talks about the feeling of loss and remembering the things that made you happy during that time, while realising all of that is gone. Breakups are usually one-sided and leave the other person searching for an explanation as to what went wrong and could it have been different? All a chaotic pot of emotions reaching its boiling point!”
That boiling point is exactly where “In This Life & The Next” thrives. The band throw themselves into every moment with tremendous conviction, their guitars and drums practically bursting at the seams as all that bottled-up frustration comes spilling out. There’s an undeniable thrill to the performance, but also an uncomfortable familiarity to its underlying story. Anyone who’s ever spent too long wondering what went wrong will recognize the exhausting cycle of memories and unanswered questions at its center. Voted Most Likely capture that turmoil with exhilarating force, delivering an emo rock knockout that turns the messy business of heartbreak into something you can scream along to. Sometimes the only way through the chaos is to turn it all the way up.
:: too late – al coffey ::
Danielle Holian, Galway, Ireland
London-based LGBTQ+ riser al coffey makes a compelling introduction with debut EP too late, a five-track collection that balances intimate songwriting with the irresistible pull of contemporary alt-pop. Spanning just over 14 minutes, the release feels concise but emotionally expansive, moving between delicate piano-led vulnerability and polished electronic production without losing sight of the raw feelings at its core. Lead single “ghost” captures this duality particularly well, opening with processed guitars and coffey’s silky, emotive vocals before swelling sub-bass and crunching electronic beats propel the chorus into an infectious melodic rush. There is an instinctive understanding of pop dynamics at play here, with the production allowing moments of tenderness to build into something altogether more expansive. Co-written and produced with renowned producer GETH, the track showcases coffey’s ability to turn personal reflection into something immediate and accessible, pairing a naturally compelling vocal presence with hooks that linger long after the song ends. Yet beneath the sleek sonics, there remains a genuine sense of emotional exposure, giving ‘ghost’ a depth that extends beyond its commercial appeal. It is a confident statement of intent, establishing an artist capable of embracing pop’s bigger gestures without sacrificing the intimacy that makes the songwriting resonate.
Across too late, coffey continues to navigate the messy realities of love, loss and self-perception with an openness that gives the EP its defining character. “who loves you now” leans into confessional heartache, finding its strength in the uncomfortable questions that linger after a relationship has fractured, while “unloveable” builds towards a more expansive alt-pop sound that reflects the tension between insecurity and the desire for connection. By contrast, the delicate “nice meeting you, again” offers a softer, more reflective moment, its emotional weight resting in the understated beauty of its songwriting rather than grand production flourishes. Opening track “528Hz” completes the collection’s broader emotional landscape, helping establish a project that feels carefully sequenced despite its brief runtime. What makes too late, particularly engaging is coffey’s ability to move between these different textures without allowing the EP to feel fragmented. The production is polished, but the emotions remain recognisably human, giving the songs an intimacy that listeners can readily inhabit. As a debut, it demonstrates both a clear understanding of contemporary pop’s melodic possibilities and a willingness to sit with the more complicated aspects of vulnerability. too late, may be brief, but its combination of heartfelt lyricism, expressive vocals and memorable hooks leaves a lasting impression, marking al coffey as an emerging voice with the potential to turn personal experiences into something universally felt.
:: “Roll With Me Tonight” – Macy O ::
Joe Beer, Surrey, UK
Hailing from Shropshire in the English West Midlands is powerhouse vocalist Macy O. Her new single, “Roll With Me Tonight,” is an impressive example of her soul-pop sound, giving listeners a glimpse of what to expect from her upcoming EP, Soul Searching. Sonically, a throbbing bassline and sweeping strings create a sense of tension, while Macy’s compelling, soul-drenched vocals take centre stage.
“Roll With Me Tonight” narrates the excitement of having a new love interest, but also the coinciding hesitation that can come with it. Caught between holding back and letting go, Macy captures the thrill of following a feeling before knowing where it might lead. Returning to the sounds of soul and Motown that she grew up with, the EP is all about finding strength in yourself and becoming more confident in your own choices.
:: “Heart and Mind” – Shane Leonard ::
Mitch Mosk, Beacon, New York
Shane Leonard has learned that neither his head nor his heart is particularly good at keeping him out of trouble. On his delightfully charming folk-rock song “Heart and Mind,” the Wisconsin singer/songwriter makes their ongoing disagreement sound like a sunlit afternoon, wrapping a surprisingly complicated inner struggle in lilting acoustic guitars and soft, earnest vocals. It’s a sweet, soothing, smile-inducing delight, with the easygoing melodic grace of classic ’70s singer/songwriter folk rock and a playful spirit that makes even life’s little uncertainties sound worth embracing.
There’s a particular pleasure in the way Leonard moves around his guitar chords, letting little passing notes and melodic flourishes dance between the changes. His playing has something of James Taylor’s gentle sophistication, each subtle embellishment adding color without disturbing the song’s easy sway. The drums arrive with a light, reassuring touch, and Leonard’s voice feels wonderfully close, its slightly rough edges lending an endearing sincerity to every line. Then the chorus opens up, the guitars glistening as the melody rises, and the whole arrangement grows just a little brighter. It’s a masterclass in restraint, with each musical flourish adding to the song’s inviting atmosphere.
Beneath that sweetness is a wonderfully relatable dilemma. Leonard begins by admitting he learned early in life to distrust his mind, forever trying to organize the thoughts swirling around his head. Turning instead to his heart proves equally complicated, leaving him wondering how to reconcile two parts of himself that seem determined to pull in different directions. The song’s origins stretch back to the isolation of 2020, when Leonard began writing with longtime friend and collaborator JE Sunde.
“One pandemic morning, the words ‘from an early age I learned not to trust my mind’ came into my head, accompanied by the guitar riff that starts the song,” Leonard tells Atwood Magazine. “Throughout 2020 I found respite from isolation in co-writing with friends over the phone. I called Jon Sunde and we wrote the rest of the song together. I struggle with the ever-present tension between heart and mind – what we know to be truth versus what we truly feel.”
The song’s answer is as gentle as its delivery. Rather than choosing one side over the other, Leonard comes to recognize how deeply the two are connected, imagining them braided together like a chain of daisies. Even the bridge he builds between them is a work in progress, an acknowledgment that understanding ourselves takes patience. It’s an unexpectedly moving realization, delivered with the same modest charm that makes the music so appealing:
and now I’m learning that
the one can’t live without the other
my heart and mind
Released October 13 via Sleepy Cat Records, “Heart and Mind” is the first single from Leonard’s forthcoming sophomore album, Make the Birds Fly, arriving February 26, 2027. A longtime fixture of Eau Claire’s folk and independent music community, Leonard has spent years helping other artists bring their songs to life, producing and collaborating with the likes of Josh Ritter, Anna Tivel, Humbird, and Mipso. But creating his own record proved a considerably more complicated undertaking. After several attempts left him dissatisfied, Leonard found his way forward with Sunde’s encouragement, rediscovering the freedom and spontaneity that had been missing from the process.
“I kept starting over,” Leonard recalls. “I made this record four times. The first time was world-class: I recorded the songs at a great studio with an engineer, a videographer, and a room full of session players, and it was fun but the outcome was dull. Safe and responsible sounding. Very reasonable music, which no one needs. An expensive mistake, albeit educational. So then I tried with an engineer at my house, but I had all these notions about the sonics, and trying to channel that through someone was frustrating. Then I tried to make it by myself, which was miserable – lonely and hampered by perfectionism, plus I had no one to hold me accountable, so working on others’ music always stole priority.
“Eventually I went on the road with JE Sunde, who’s an incredible singer and writer, and we were singing together every night, so I felt my confidence grow and my vision sharpen. I invited Jon to the studio to basically co-produce via emotional support and vocal coaching. And suddenly, after years of zig-zagging, we made an entire record in about three weeks total. I ricocheted around the room, bouncing from drums to guitar to keyboards to the vocal mic, and Jon cheered me on. Pat Keen jumped in on bass so it could go down live with drums. We worked fast and followed only our guts – no concern for perfection, just joy. Most of the drums and guitars are single takes, often technically imperfect but full of conviction, which I love. Will Oldham says you want to hear the artist ‘striving for something’, not necessarily nailing it, and I agree. 100% accuracy is boring as hell; I want to hear more records where someone’s walking a tightrope and nearly slipping. There’s no auto tune or click track on these songs. One of the tracks is my cassette tape demo and I’m improvising the words. I’m proud of the writing and playing, and excited to share it.”
And that hard-won freedom is everywhere in “Heart and Mind.” Its gentle rhythms and easygoing melodies have an unforced charm, the sound of a musician finally comfortable letting a song breathe and trusting it to find its own way. Leonard’s voice carries the experience of someone who’s spent years asking difficult questions of himself, yet the music greets those uncertainties with an almost childlike sense of wonder. It’s a lovely reminder that we don’t need to have ourselves entirely figured out to find happiness along the way. Sometimes the heart and mind simply need a little time to learn how to dance together.
:: “South of Seattle” – Misha Fair ::
Danielle Holian, Galway, Ireland
There is more to Misha Fair’s “South of Seattle” than its tender, love-song exterior initially lets on. The fifth single from the Americana singer-songwriter is a quietly affecting meditation on the pull of music, the electricity of live performance and the people who make the whole thing worthwhile. Drawing on memories of her early days onstage, Fair turns a personal chapter into something broader, reflecting on the curious magic of finding a passion that refuses to fade. At its heart sits a compelling question: will the same rush still be there twenty or thirty years down the line? It is a romantic notion, certainly, but one rooted in the realities of a life spent chasing that elusive connection between performer and audience. Fair’s storytelling gives the track its emotional weight, allowing nostalgia to mingle with a forward-looking optimism that feels refreshingly genuine. Beneath the sentiment lies a bigger statement about longevity, creative purpose and the beauty of simply continuing to show up.
Produced alongside Jason Wyatt of WeThePeople Music Productions, with contributions from accomplished Nashville session musicians, “South of Seattle” finds its strength in a spacious musical backdrop that gives Fair’s narrative room to breathe. Her Americana foundations are enriched by country, folk, bluegrass, soul and rock influences, lending the song an accessible warmth without distracting from its intimate core. There is a lived-in quality to the material, shaped by decades of performing, songwriting and helping other artists discover their voices. Rather than presenting the past as a finished chapter, Fair treats it as fuel for whatever comes next, acknowledging the audiences and collaborators who have helped sustain her journey. The result is a thoughtful, quietly uplifting release that understands music as more than a career or creative outlet. It is a relationship, one built over time and renewed every time the lights come up. With “South of Seattle,” Fair makes a persuasive case for keeping the faith, following the feeling and never losing sight of why the song began in the first place.
:: “takes me back” – SUNNAN ::
Mitch Mosk, Beacon, New York
Sunnan have bottled the sunshine of 1970 and poured it straight into “Takes Me Back.” The Swedish five-piece’s dreamy, psychedelic folk rock song is an absolute delight, a smoky, sun-soaked reverie that recalls the golden age of Crosby, Stills, Nash & Young and the irresistible musical chemistry of their seminal album Déjà Vu. There’s a wonderful looseness to the performance, an easygoing swagger that makes the whole thing feel like a spontaneous jam between old friends. The guitars are warm and jangly, the harmonies rich and inviting, and the melodies drift along with an almost effortless charm. It’s the kind of music that makes you want to roll down the windows and let the afternoon last forever.
And yet, there’s far more happening beneath that breezy exterior. “Takes Me Back” is an affectionate meditation on memory and the passage of time, its psychedelic flourishes giving the familiar comforts of folk rock a wonderfully dreamlike character. The guitars twang and shimmer, the rhythm section settles into a steady, infectious groove, and the vocals float through the arrangement like wisps of smoke on a summer breeze. It’s sunny and soulful, with a hint of country and an unhurried sense of movement. But what makes the song especially fascinating is the way Sunnan have constructed it: Recorded in three different tempos and woven together, the arrangement subtly plays with our perception of time, mirroring the way memories can stretch, collapse, and suddenly come rushing back.
“‘Takes Me Back’ is the musical equivalent of Proust’s madeleine cookie,” Sunnan tell Atwood Magazine. “It’s nostalgia as a way to deal with aging and understanding our future as much as knowing every now is a memory unwritten. The fact that the song was recorded in three different tempos and then woven together makes the music itself a meditation on time.”
Released August 28, “Takes Me Back” is featured on Sunnan’s sophomore album Spaghetti Soul, which arrived October 9 via AWAL. Following the Swedish Grammy-nominated Cinema and its companion EP Cinema Sound System, the record finds the band diving even deeper into the psychedelic soul and vintage rock influences that have made their music so captivating. Sunnan’s cinematic sensibilities remain ever-present, but “Takes Me Back” feels especially intimate, its sun-dappled folk rock inviting us into a world where the past and present seem to coexist. The song’s lyrics conjure images of an old man, a beloved lake that has since dried up, and idols glimpsed on a twelve-inch television screen. They’re fragments of a life that continues to change even as we cling to the moments that helped define it.
I go to swim the lake he held so dear
Although I know it dried up late last year
It’s a quietly devastating image, the desire to return to a place that exists now only in memory. And when the narrator later sings “My shine is a fade / So take my picture,” the song’s underlying message comes into sharper focus. Time is passing, and the very things we take for granted today may someday become the memories we treasure most. For Sunnan, that realization is as much a call to embrace the present as it is an invitation to reflect on the past.
“‘My shine is a fade, so take my picture,’” the band explain. “Meaning we’re all dying, let’s try not to forget to live. Are we not writing our memories in real time? Collect some Madeleine cookies along the way to take you back.”
And that’s the real magic of “Takes Me Back.” Its golden melodies and easygoing rhythms invite us to lose ourselves in the past, while its lyrics remind us that life is still happening all around us. There’s an undeniable joy in the performance, a playful, freewheeling spirit that makes even the song’s heavier reflections feel like part of a larger celebration. Sunnan understand that nostalgia can be both a comfort and a reminder of just how fleeting our time here really is. With “Takes Me Back,” they turn that bittersweet realization into a wonderfully inviting piece of psychedelic folk rock, one that encourages us to cherish the moments we’re living while we still have the chance. Turn it up, find a patch of sunshine, and make a memory worth keeping.
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