“elvira” doesn’t hide behind distortion. That’s the first thing you notice. While most shoegaze and dream pop tracks bury the vocals beneath layers of reverb and haze, The Links make a different choice. Jack Morrison’s voice cuts clean through the mix—not in spite of the fog, but in command of it. That clarity makes this song hit harder, not softer.
John Deering’s return to songwriting wasn’t planned—it just wouldn’t leave him alone. After years of focusing on family and career, the creative itch became impossible to ignore. “Strip Mall Jesus” is the result: a high-energy, restless rock track that feels like a long-overdue release of pent-up ideas. It’s skater rock with an anxious edge, a song that moves fast without ever losing control.
The Afro Nick has always been a bit of an outsider. From his early days busking on the streets of Crete to forming one of the island’s first indie rock bands, he’s consistently found himself just outside the norm, using music as both an escape and an assertion of identity. His latest single, “Get There Before Noon (LA Mix),” is another chapter in that story—a raw, somewhat unpolished indie rock anthem about seizing the day, shaped by his unique background and perspective.
Janita’s “Real Deal,” the lead single from her forthcoming album Mad Equation, is a reflection of her ongoing evolution as an artist who refuses to fit into a mold. Produced by Blake Morgan, the track feels like a distillation of her career-long journey: a blend of thoughtful songwriting, subtle defiance, and precise musicianship. While its surface might seem tranquil, “Real Deal” carries an undercurrent of rebellion—an ethos inspired by films like The 400 Blows and Butch Cassidy and The Sundance Kid, both of which influence its thematic depth.
There’s nothing else out there like “Dog and Pony (The Anarchy)”—and that’s precisely why you should listen. Stoney Forde’s latest single isn’t polished. It doesn’t shimmer. Instead, it staggers into your ears like a half-drunk raconteur at a dive bar, spinning tales that feel both absurd and profound. If music exists to challenge, to provoke, and to offer something utterly new, then Stoney has succeeded on all fronts.
After 16 years, The Cure is back with Songs of a Lost World, a record that feels like it’s emerged slowly from the shadows rather than sprung from some dramatic comeback narrative. True to form, Robert Smith doesn’t lean on big hooks or flashy production; instead, he lets the music unfold on its own terms, taking its time in the way that only a band with nothing left to prove can.
BOYFRN’s single “GoGo,” released on July 26, 2024, brings a dynamic fusion of emotional depth and rhythmic drive. Produced by Bobby Love, Young Clancy, and Dave Plowman, and supported by Jahmal Padmore’s drumming, “GoGo” navigates the stages of grief through an explosive, rhythmic canvas. The track’s themes of anger and resilience resonate as BOYFRN delivers a raw, poetic reflection on pushing through hardship.
Grace McLean’s “My Lovely Enemy” is an eerie, entrancing track that defies easy classification. It weaves together a mix of avant-garde pop, blending synths, strings, funky bass lines, and even New Orleans-style horns. The result is a song that constantly shifts and evolves, offering a fresh piece of ear candy every few seconds as it moves between sparse moments and full orchestral swells. This unpredictable soundscape keeps listeners on edge, never settling into one mood or feeling for too long.
With ICNCLST/, John Beckmann of Mortal Prophets continues his sonic exploration into the depths of the American psyche, following the striking blues-infused Dealey Plaza Blues with an equally captivating and experimental EP. This 7-song project, produced by David Sisko and mastered by Mike Tucci, infuses Beckmann’s penchant for rock-tinged pop with swirling psychedelia, creating a dreamlike atmosphere that is both haunting and engaging. ICNCLST/ feels like the soundtrack to a heat-soaked, late-summer dream, tinged with an ever-present sense of unease.
Citizens of Yeah!!!’s new single, “3 Little Piggies,” offers an unexpected mix of angular guitars and sharp commentary on the rising cost of living in the UK. Led by Newcastle-based multi-instrumentalist Jonathan Womack, the track paints a stark, albeit playful, picture of a world where wolves loom large—both metaphorically and literally.