The Heroic Enthusiasts’ latest EP, Wake Me When It’s Over, is a two-track release that expertly bridges 80s New Wave with contemporary electronic textures. Produced by Stephen Hague, a legend behind artists like New Order and Erasure, the New York duo of James Tabbi and Thomas Ferrara bring their Brit-pop and post-punk influences to life with precision and emotional depth.
Kylie Rothfield’s latest single, Never Loved Somebody, takes indie pop and infuses it with the timeless feel of 70s soft rock, a combination that feels as refreshing as it is emotionally evocative. Co-written and produced with Eric “Potz” Potapenko, the track is crafted with the intimacy of a home studio yet manages to capture the energy and polish of a live band performance.
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.
Rusty Reid’s Head to Heart feels like a personal manifesto, wrapped in folk-country charm, and delivered with the reflective wisdom of a troubadour who’s been around long enough to offer genuine insight. With its remix released in 2024, this album presents a more polished sound, inviting listeners to engage with its philosophical depth while enjoying the enhanced clarity and smoothness of its production. The title track, “Head to Heart,” embodies the heart of this project—both musically and thematically.
Lolita Terrorist Sounds’ latest release, “Living-in-glory,” feels like a meditation on tension—personal, political, and historical. The track, an avant-garde blend of drone, industrial clatter, and the unnerving intimacy of ASMR, doesn’t hold your hand through a narrative but instead invites you to sit with a strange discomfort. It’s unsettling and oddly hypnotic, a soundscape that is as much about the space between the notes as the tones themselves.
Tessa Lee’s “Mountains” is the kind of track that captures the restless spirit of adventure with an effortless charm. There’s something in the song’s laid-back, infectious energy that makes it feel like a soundtrack to a journey—whether you’re on the open road or simply daydreaming about being there. With riffs that stick in your head, a guitar solo that blazes through the mix, and sweet harmonies, it’s a song that feels light but carries just enough weight to linger.
Linda Sussman’s “Remember Dorothy” feels like a quiet anthem for today’s complex landscape. It’s not loud, but it doesn’t need to be. The song, rooted in simple acoustic slide guitar and Sussman’s unvarnished vocals, speaks to the necessity of courage in the face of societal pressures. There’s a directness in her delivery that brings to mind the classic folk-blues era, where the music’s power lay in its message, not its embellishments.
Shaun Bartlett’s “I Threw A Stone – 2019 demo” carries a quiet confidence, wrapped in its simplicity. The track feels intimate, built around a soft piano progression and Bartlett’s calming vocal delivery. There’s something in the phrasing, the melody especially, that recalls the reflective tones of Coldplay, but it never feels derivative. Instead, it captures a certain universality in its approach to melody and space.
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.
Attom Darcy Blvd’s debut single, “Let’s Try Again,” is a steady dive into the nostalgic heart of soul music, evoking the spirit of Etta James and Otis Redding. The track, set in a slow 6/8 time signature, builds itself around a bluesy ballad structure that lets its soulful foundation breathe.