Marcus Assenmacher trades the shadows for the spotlight on a groove-driven meditation on letting go There’s a particular kind of courage in admitting you’re stuck. Not paralysed, not broken; just standing at a crossroads where every option except one has quietly closed itself off. That’s the space Twin Phase inhabits on ‘One Way Out’, and it’s a remarkably assured place to find a project still in its early chapters. FOLLOW: INSTAGRAM | WEBSITE | FACEBOOK | YOUTUBE | SPOTIFY |

The Bozeman-based bedroom-pop artist returns with Solar Eclipse, a double single that took shape - and fell apart, and came back together - in real time alongside the relationship it documents… There is a particular kind of song that cannot be rushed. Not because the writer lacks the craft, but because the subject matter refuses to resolve itself on a convenient timeline. Isaac Winemiller’s ‘In this Light’ is that kind of song. The focus track from his new double single Solar

The Bearded Theory Festival is known for its diverse lineup and unique experiences, but this year’s I'm Not From London busking takeover added an extra layer of magic. The best weekend started last Wednesday running the acoustic stage: a collaboration between I'm Not From London & Acoustic Rooms. Amazing performance from all the acts and a special shout out to the bluegrass country finger picking sounds of Sticky Bones Jones for lending his amp and helping ensure the sublime

You know that feeling when something is ending but nobody has said it out loud yet? When you’re standing in the middle of something that used to feel solid and noticing, for the first time, that the ground has been shifting for a while? Energy Whores have written a song about exactly that, and it is quietly extraordinary. ‘Fade to Gray’, out now, is the New York band’s first single of 2026 and their most emotionally direct release to date. Co-produced with DJ and producer Fra

If this is the start of a new era for Jackson Mercer, we are absolutely here for every single second of it… There is a particular kind of magic that happens when an artist strips everything back to its most essential components and makes something that feels more fully realised than anything a big-budget studio session might have produced. Jackson Mercer is that kind of artist. A pop songwriter driven by an unrelenting creative curiosity and a genuine need to turn everyday ex

Miles Jeppson Ushers in the ‘GREEN’ Era: A Nostalgic Alt-Pop Movement Rooted in Youth, Identity, and Culture‘… ‘GREEN’ is less about revisiting a past era and more about translating its emotional language into a modern context. Jeppson isn’t replicating nostalgia—he’s reshaping it, using familiar textures to build something that feels current, cohesive, and culturally aware. There’s a particular kind of precision to Miles Jeppson’s ‘GREEN’—not in the sense of technical over-p

Mary Milton Unleashes A Moving Tribute and an Intimate Work In 'On My Shoulder' Mary Milton’s ‘On My Shoulder’ is built on scale—but what makes it compelling is how carefully that scale is controlled; At its core, the track is an intimate expression of grief, written in memory of her father, yet its sonic architecture expands far beyond that personal origin, creating a space that feels both deeply individual and widely resonant. The arrangement leans heavily into orchestratio

Confidence is a difficult thing to fake, and Dr Wippit does not try. ‘Yup’, the new single from the Colorado-based rapper and guitarist, announces itself with a low-slung bass groove and stays exactly there for its entire runtime, warm and unhurried, utterly sure of itself. “I took a drum beat and changed the instrument to bass guitar, and with some tweaking had a nice groove to put some guitar and keyboards on top of. It seemed to lend itself to confidence rap, so I took it

‘Good Morning LA’ ultimately works because of its restraint. By allowing the track to unfold gradually, Miller creates a sense of depth that extends beyond its runtime, leaving the listener with something that lingers rather than resolves… ‘Good Morning LA’ finds Walter Miller recalibrating his approach, trading immediate impact for a more gradual, emotionally driven build. Known for leaning into the scale of rock performance, Miller instead begins here with restraint, allowi

‘Maybe We’ll Make It’ ultimately presents Chapple as an artist with a clear and cohesive vision; The EP’s strength lies in how its structure and sound reinforce one another, creating a project that feels complete rather than fragmented. Corban Chapple’s ‘Maybe We’ll Make It’ is constructed with a level of intentionality that immediately sets it apart. Rather than presenting a loose collection of tracks, the EP is structured as a narrative, unfolding across five distinct stage

With ‘Space & Time’, Waver returns to a sound that is deeply rooted in their origins, while allowing it to evolve in ways that reflect the time that’s passed… The album draws heavily from 1990s guitar-driven rock, but its execution is shaped by the perspective of artists revisiting that framework with decades of experience behind them. The partnership between Mike Sartor and Dorsey Stone is central to the record’s identity. Sartor’s songwriting provides a melodic foundation—d

‘A Night With A Sazerac’ stands out for its commitment to immediacy. By prioritising feel over perfection, White creates a project that feels grounded in real experience, allowing its emotional arc to unfold naturally… Rose White’s ‘A Night With A Sazerac’ is a project that leans into immediacy, using its recording process as a defining feature rather than a background detail. Captured largely live and within minimal takes, the EP prioritises performance over refinement, resu