New York electro-pop provocateurs serve danceable critique with heart and bite Energy Whores’ latest single, Pretty Sparkly Things, is the kind of track that pulls you onto the dance floor even as it pulls no punches. Released on May 15, 2025, the song balances shimmering synths, sharp guitars, and a pulsating beat with lyrics that dissect the obsession with luxury, status, and unattainable dreams in contemporary society. “This song is about how society dangles unattainable dreams in front of us while so many people are struggling just to survive,” says Carrie Schoenfeld, the visionary behind Energy Whores. “It’s satire, but it’s also deadly serious because this obsession with luxury and status is what keeps the machine grinding us down.” From the first note, the track asserts itself: shimmering synth lines coil around jagged guitar riffs while Schoenfeld’s vocals float above, both playful and sharp-edged. The contrast between infectious melodies and piercing social commentary is classic Energy Whores — music that makes you move while forcing you to think. “I don’t write love songs. I write warning signs,” Schoenfeld adds . “Every track is a mirror held to society’s face, sometimes cracked, sometimes bloodied, always unfiltered.” The accompanying video amplifies the message, pairing vibrant visuals with a darkly ironic undertone. Watching it, it’s clear that Energy Whores are not just making tracks for clubs or playlists; they are crafting statements, sonic narratives that reflect the contradictions and tensions of modern life. With its deft balance of rhythm and rhetoric, Pretty Sparkly Things positions Energy Whores at the intersection of avant electro, synth-pop, and experimental art rock. They continue to explore society’s contradictions while inviting listeners to revel in the sonic experience. As Schoenfeld notes… “Music is my rebellion and my redemption. It’s not just entertainment — it’s a weapon and a witness.” For those seeking electronic music that moves both body and mind, Pretty Sparkly Things delivers — dazzling, urgent, and uncompromising. FOLLOW ENERGY WHORES: INSTAGRAM | WEBSITE | TIKTOK | SPOTIFY

London band The Heat Inc. came in hot with their first full-length LP Asleep In The Ejector Seat back in 2023, and we're still talking about how great it is! The band bring influences spanning many genres and sub-genres of popular music; from blues, to punk/post-punk, to garage rock, and pop-rock, creating a clean, sharp-sounding energetic record: the kind you can't help but bang your head along to the beat! Why not have a listen to one of the songs as you read this short review of the LP! From iconic rocking bass and guitar parts to upbeat rhythms and impressive vocals, this LP is a culmination of all my favourite bands in one package. With intense emotion and depth in each of these 10 tracks that makes you feel and think different; and no matter your mood, whether you are feeling melancholic or pumped up or anything in between, there's a song here to match your particular energy when listening! No matter what your go to of these music genres is, you'll likely find it within the tracks. The LP as a whole has many memorable moments that you cant help but think of the influences and how each track was created. With iconic sounds of those such as The Clash, U2, The Undertones, and The Pandoras (particularly the punky guitar sound in the Heat Inc.'s "Souvenir"), and even some styles from the late 90s/early 00s peaking through, similar to The Libertines or Arctic Monkeys. Whatever music genre you want to hear, this album is 1000% the one to play... on full volume! As you progress through the track list, you get a different style and genre for each song; with the last of the tracks being the slowest and calmest; showing the bands distinct ability to play multiple genres of music and still being able to intricately perfect each singular detail of the songs. My favourite of all the tracks on this LP is the ultimate track "Ultraviolence". This is the slowest and (in my opinion) the most emotion-filled track on the album; i listened to this track and was immediately taken to Mazzy Star's So Tonight That I Might See album: i love how different this particular track is to the rest of the LP; all of the raw atmosphere and complex emotions are out in a crystal-clear recording for us lucky folk to take in, relate to, or just enjoy. This incredible LP is available on vinyl and the final track "Ultraviolence" is available to stream and download on the band's bandcamp page and Spotify along with their other music. Follow The Heat Inc. on their social media to keep up to date with gigs and new music here: Instagram Facebook

A tender acoustic ballad and evocative riverside video capture the vulnerability of love and connection… FOLLOW: INSTAGRAM  | WEBSITE  | FACEBOOK  | YOUTUBE  | SPOTIFY There’s an immediacy to Offering My Song that feels almost confessional, the kind of track that settles around you like a warm, late‑summer evening. Zarko’s acoustic guitar leads the way, delicate yet confident, each fingerpicked chord carrying both intimacy and tension. His voice is the centrepiece — honest, textured, and quietly magnetic — drawing the listener into a story that’s as much about reflection as it is about longing. The song’s structure is deceptively simple: verse, chorus, repeat, but within this simplicity lies its charm. Zarko allows space for the emotions to breathe; pauses linger, strings hum with resonance, and the melody rises and falls in tandem with the questions and promises the lyrics pose. It’s a song about offering — about whether a gesture, however vulnerable, can be enough to sustain a connection. This vulnerability is at the heart of what makes the track so compelling. Visually, the music video complements this perfectly. Offering My Song (A Riverside Story) strips back production in favour of authenticity. Framed in soft natural light by the water, Zarko performs with his acoustic guitar cradled in his arms, while gentle camera movement captures fleeting moments of reflection and longing. The video mirrors the track’s emotional core: intimate, understated, and sincere. It’s less about spectacle, more about allowing the song to speak for itself, and in doing so, it succeeds in translating the song’s heart to the screen. For fans of Matt Nathanson, Joshua Radin, or Gregory Alan Isakov, this release will feel immediately familiar yet distinct — a modern acoustic ballad that balances introspection with melodic clarity. In both sound and visuals, Zarko demonstrates the power of restraint, showing that sometimes, a song on its own is all the offering the world needs.

The band’s latest release isn’t just a song – it’s a widescreen rebellion where anthemic hooks meet unfiltered honesty. Imagine a neon-lit underpass at dusk: the sound of trainers on concrete, a chorus of voices rising against the hum of the city. That’s the world AELEEN conjure with ‘Misfits’, their newest single and accompanying video. Rather than delivering another polished slice of indie-pop, the band have built something that feels alive – a rallying cry for outsiders disguised as a pop-rock anthem. "In the video we wanted to keep things raw and honest, without polish or distraction, to let the emotion drive everything. It’s about intensity, movement and energy — showing the struggle but also the confidence that comes from embracing who you are and not trying to fit into someone else’s frame.” Musically, ‘Misfits’ trades in contrasts. Its opening guitar riff snarls like a garage band warm-up before the synths slide in, sleek and shimmering. Drums snap like camera shutters, and at the centre is a vocal performance that’s as raw as it is resolute – an intimate confession exploding into a chorus built for festival fields. “Misfits was born from an instrumental and musical exploration. I wanted to give the song an offbeat tone while keeping a strong social critique, true to AELEEN’s spirit,”  explains vocalist Catie. “The theme touches on human nature, hypocrisy, appearances, and above all the idea of daring to be yourself and walking your own path. It’s an anthem for those who proudly embrace their difference.” The lyrics reject conformity without posturing. AELEEN don’t glorify alienation; they explore it, turning difference into solidarity. That spirit carries into the video, which splices striking close-ups with cinematic wides – part underground movement, part daydream. It’s less a promo clip than a manifesto in motion. What makes ‘Misfits’ stand out is its refusal to play it safe. It’s not nostalgia for outsider anthems gone by, nor a trendy attempt at rebellion. AELEEN have carved out something bigger: a piece of pop-rock that feels like a living, breathing community. This is music you don’t just hear; you join. FOLLOW AELEEN: Facebook  |   Instagram  |   YouTube  | TikTok   |   Spotify  |   Website Photos by Aksinia Avelur AELEEN will support the release with live dates, including: 27/09 – Socorro (Porto), Paws & Claws Fest 11/10 – Buraco Pub (Ovar) 17/10 – Wish You Were Here Pub (Porto) 06/12 - RCA Club (Lisbon)

There’s something bold about using your birthday not to bask in attention, but to give back… Instagram & TikTok: @beebeebassey | beebeebassey.com | Facebook: BeeBee Bassey NEWS FEATURE BY NATALIE GREENER That’s exactly what Beebee Bassey did on 30th July, releasing three songs that feel like love letters — to herself, to her child, and to the women around her. The headline track ‘Hold On To Hope’ is built on resilience: Its melody sways between fragility and power, echoing the reality of clinging to light when shadows linger. Bassey doesn’t overcomplicate the production; instead, she lets emotion lead. The result is a track that feels lived-in, carrying the weight of hardship but refusing to collapse under it. With ‘Little Miracle’ , she shifts from survival to gratitude. Written for her son, the track is tender and grounded, its heartbeat-like rhythm underscoring lyrics that celebrate both fragility and strength. It’s a love song to motherhood, but also to endurance. The energy then rises with ‘Sisters By Soul’ , featuring Kella Kayy, a track that pulses with warmth and solidarity. Their vocals intertwine seamlessly, making the song less about individual performance and more about shared spirit. It’s music as community. Bassey’s three-track drop is less a typical release and more a cultural gesture — a reminder that music at its best is both personal and collective. It celebrates hope, kinship, and resilience, making her birthday feel like a gift to everyone who listens.

Overdrive’s debut hit like a freight train. From the first kick, Billy Bootleggers was swallowed in hard, driving techno—fast, heavy, and unrelenting. The DJs kept the rolling pressure high, blending big hard pounding 4/4s with acid-drenched riffs and distorted drops that had the room locked in from start to finish....no one was safe! No gimmicks—just pure, underground energy. The crowd fed off every surge, fists up, heads down, moving as one. If this was just the launch, you can only imagine what’s coming next. Overdrive isn’t here to play—it’s here to take over Nottingham’s techno scene....Watch this space! Next OVERDRIVE Event @ Billybootleggers 06/09/2025  For bookings enquiries head on over to our Instagram @overdrive_techno Words and Photos by Sophie Alexandra

Some projects feel deliberate, carefully plotted. Others, like goodtoknow’s debut EP ‘I’LL STAY’, are born out of pure serendipity. What began as a casual studio session in Mexico City evolved into a five-track collection that radiates authenticity, intimacy, and unfiltered creativity. The sound of goodtoknow hovers between soft indie-pop and alternative folk, with songs carried more by feeling than production gloss. The EP’s focus track, ‘Burn’, captures this perfectly. Written in a single evening, it strips everything back to voice, guitar, and atmosphere, creating space for raw vulnerability to take centre stage. The haunting sincerity of the performance makes it feel less like a studio take and more like a private diary entry set to music. The group itself is as unconventional as its origin. Paula Prieto, Benjamín Walker, Sir Hope, and Mariano Gillio are all established musicians in their own right, yet goodtoknow isn’t about individual egos or industry expectations… “We didn’t plan to start a band,” Paula admits. “But these songs didn’t feel like any of our solo work. They felt like something else entirely.” That “something else” is exactly what makes the EP so compelling. The music is collaborative to its core — the sound of four artists laying down walls and finding common ground. Tracks across ‘I’LL STAY’ explore themes of vulnerability, change, and quiet strength. While ‘Burn’ anchors the EP in its emotional honesty, the surrounding songs expand the palette with gentle textures, subtle folk inflections, and a sense of wide-eyed openness. The production resists excess polish, instead preserving the spontaneous magic that sparked the project in the first place. The name goodtoknow feels apt. This is music that feels necessary, music you didn’t know you were missing until it found you. It’s not about reinvention or spectacle, but about connection — to friends, to truth, and to sound itself. ‘I’LL STAY’ is a remarkable debut, not because it tries to be grand, but because it dares to stay small, intimate, and human. Instagram , Spotify , Website

With his debut album ‘Niños del Bosque’ (‘Children of the Forest’), AKIRA doesn’t just release music — he builds a world. The Argentina and Switzerland-based artist crafts a record that feels alive, pulsating with history, mythology, and rebellion. Rooted in the rhythms of Cumbia, Salsa, and Bachata yet layered with the shimmering haze of psychedelic soundscapes, AKIRA positions himself as a visionary voice in the emerging sound he calls Psychedelic Cumbia. From the ceremonial opening ‘Kumbia de los Pájaros’, the listener is drawn into a sonic forest, where voices echo like ancestral calls and percussion conjures the heartbeat of the earth. Each track opens a new pathway: ‘Cumbia del Bosque’ feels like a rallying cry for the collective; ‘La Faldita’ seduces with a lighter, danceable sway; while ‘Mononoke’, inspired by Studio Ghibli’s warrior princess, exudes defiance and strength. The deeper cuts, such as ‘La Del Ladrón’ and ‘Espíritu’, channel social reflection and tributes to working hands, grounding the album in both resistance and reverence. Spotify , YouTube , TikTok , Apple Music , Instagram , LinkTree AKIRA’s production thrives on contrasts. Reverberated vocals float like spirits above earthbound grooves, while cinematic guitar lines slice through the rhythm with sharp emotional clarity. The result is immersive and transportive, a record that carries the rebellious spirit of Latin America while reimagining its traditions for the present moment. “Everyone who listens to this music automatically becomes a Niña/Niño del Bosque,” AKIRA proclaims — and it feels true. The album is both a personal initiation and a collective ritual. The influence of artists like Ilan Amores, Los Espíritus, and Hermanos Gutiérrez is felt, yet AKIRA carves his own identity by daring to fuse folkloric roots with cosmic psychedelia. The press describes it as “soul-stirring,” and that is no exaggeration. These songs don’t simply entertain — they connect, empower, and remind listeners of their place in something larger. Having already drawn attention from outlets like RedBull, 3FACH, and AKUT, AKIRA stands poised to establish himself internationally with this release. ‘Children of the Forest’ is not just a debut album; it is an invocation, a manifesto of resilience, and a daring redefinition of Latin sound for a generation seeking both roots and revolution.

For her eighth release, New York’s Lizzie Thomas has created something strikingly personal. ‘Awakening’ signals not only a shift in sound but a declaration of artistic independence — a move beyond the classic jazz standards that first earned her acclaim, into a vibrant blend of neo-soul, jazz, and vocal pop. Recorded at the legendary Powerstation in NYC with the Grammy-winning Harlem String Quartet, this album is a bold chapter in her career. Thomas’ voice remains the central force — clear, emotive, and nuanced — but on ‘Awakening’ she embraces an expanded sonic palette. Electric bass replaces the upright, giving the songs a warmer, more grounded groove, while the Hammond B3 organ brings a soulful edge to the arrangements. The strings, meanwhile, elevate the record into cinematic territory, lending weight and intimacy to her songwriting. The result is a soundscape that feels simultaneously classic and contemporary, sitting comfortably alongside artists like Snoh Aalegra, Melody Gardot, and Laufey. The album embodies transformation. “I finally gave myself permission to proclaim my voice,” Thomas explains. “This album is about unlearning what you were taught and waking up to the realization of who you really are.” That sentiment runs through every track, from the more vulnerable ballads to the confident, groove-led numbers. Her process — receiving songs in dreams, meditative states, and moments of stillness — adds a spiritual dimension, making the record feel less like a composition and more like a revelation. Thomas’ reputation as one of NYC’s premier jazz vocalists has long been established through collaborations with greats like Ron Carter and Russell Malone, but ‘Awakening’ sees her stepping fully into her identity as a composer and producer. It’s an album that feels alive with possibility, daring in its mix of genres, and deeply personal in its narrative. Ultimately, ‘Awakening’ is both an album and a statement. It demonstrates that jazz-rooted artists can transcend boundaries without losing their essence, and that vulnerability can be just as powerful as virtuosity. For Lizzie Thomas, this is less a reinvention and more a realisation — the sound of an artist fully awake. Instagram  | Facebook  | SoundCloud  | YouTube  | Spotify  | Website

Bon Boy doesn’t play by the rules … His latest release, ‘Ramblin’ Gamblin’ Man’, is a snarling, swaggering ode to chaos — a garage rock barnburner drenched in sweat, beer, and reckless joy. The alter ego of multi-instrumentalist Steve Stenholt, Bon Boy thrives in unpredictability, and this track embodies his messy brilliance with unfiltered energy. At first listen, ‘Ramblin’ Gamblin’ Man’ might strike as a straightforward cover of the Bob Seger classic, but under Bon Boy’s hand it becomes something altogether different: a riotous fusion of punk grit and garage rock rawness. Stripped of polish, the dry mix makes it sound like a forgotten 7-inch pulled from a jukebox in a grimy Midwestern dive bar. The guitars lurch forward with jagged edges, the rhythm section drives with manic intensity, and Bon Boy’s vocals straddle the line between snarled defiance and unrestrained celebration. It’s a sound that carries echoes of Viagra Boys, The Hives, The Replacements, and even the frenetic unpredictability of King Gizzard and the Lizard Wizard. Instagram , Spotify , YouTube Part of the track’s charm is its sense of excess. Bon Boy freely admits the recording process was fuelled by Coors Light — or as he jokes, “silver bullets.” He says: “I love Bob Seger. I love the Silver Bullet Band. And I love drinking silver bullets. This cover and video bring all those loves together.” The accompanying video, directed by Afshin Hatami, captures this chaotic energy perfectly, filmed guerrilla-style across Los Angeles with no permits, too much beer, and a sense of debauchery that left Bon Boy himself confessing: “My body will never recover.” Born in Wisconsin, bred in Chicago, reborn in New York and now roasting in Arizona’s desert heat, Bon Boy’s geographical journey mirrors his sonic one: restless, unpredictable, unbothered by convention. Recorded in Tucson and later revitalised in Los Angeles with producer Justin Ripley, the track’s final mix by Mike Novak in Chicago adds another layer of authenticity — it sounds lived-in, roughened, and alive. ‘Ramblin’ Gamblin’ Man’ is more than just a cover. It’s a manifesto of sorts — a reminder that rock should be dangerous, sweaty, and gloriously imperfect. In a world obsessed with polish, Bon Boy hands you a can of beer, cranks up the volume, and dares you to party like the walls are caving in.

The Canadian-American husband-and-wife duo, Deena Robertson and Austin Bisnow, have built their reputation on creating indie folk that is both intimate and cinematic, and this release marks their most refined step yet. From the opening bars, there’s a sense of ease — a gentleness that immediately recalls the tenderness of Thom Yorke’s quieter moments, the soulful ache of Tom Odell, and the hushed connection of Glen Hansard and Marketa Irglova. Yet the song remains distinctly their own, rooted in the rich tradition of indie folk as pioneered by the likes of The Lumineers, Head and the Heart, and Bon Iver. LISTEN HERE Instagram , Facebook , TikTok , YouTube , SoundCloud , Spotify The arrangement is deceptively simple: delicate acoustic guitar textures woven with understated percussion and emotive vocal harmonies. But the production carries a sense of cinematic scope, allowing each lyric to bloom in the air as if suspended in light. The chorus – imploring a loved one to simply rest their head – has the qualities of both a lullaby and an anthem, carrying enough emotional weight to soothe and to inspire simultaneously. It is this balance between the delicate and the grand that makes the track so compelling. At its heart lies a deeply personal story. Early in their relationship, Deena and Austin made a vow not to retreat in times of pain, but instead to lean into the gesture they coined “H.O.C. – Head On Chest.” This song, they share, is “a love letter to that promise and a testament to kindness to one another.” That sentiment resonates strongly in their delivery; the performance feels less like a studio recording and more like an act of intimacy overheard. The track also reflects the duo’s broader ethos of thoughtful, intentional living. Just as their In Between Coffee project was born out of a desire for balance, their music finds itself “somewhere in between” emotional vulnerability and uplifting resilience. With nearly three million global streams and a growing international following, Somewhere In Between are more than just another folk act — they are, as the press notes suggest, a movement rooted in authenticity. ‘Lay Your Head On Me’ is not simply a single; it is an invitation to pause, to rest, and to rediscover softness in a world that too often demands hardness.

Casey Dienel’s return with ‘Your Girl’s Upstairs’ isn’t so much a comeback as it is a statement: a reminder that pop music can be clever, deeply felt, and utterly unafraid. From the first percussive loop, the track radiates a quiet confidence – the kind that doesn’t need to shout because it knows exactly what it’s doing. Guitars, courtesy of meg duffy (Hand Habits), ripple through the mix like heat haze, while Spencer Zahn’s basslines add a supple, grounding pulse. Max Jaffe’s drumming is crisp and considered, guiding the song through its shifting moods without ever overstepping. Facebook , Instagram , TikTok , YouTube , Spotify This is roadhouse pop with a twist – a track that plays with space and texture while still feeling immediate. Dienel’s vocals are the gravitational pull here, layered and harmonically rich, slipping between intimacy and detachment with ease. The lyrics are sharp, cool to the touch but edged with something fierce: autonomy, queerness, and emotional labour woven into a narrative that is as much a self-portrait as it is a kiss-off. The chorus – ‘She played house, played dead, played anything to keep your head from crying’ – is delivered with unflinching clarity, a moment of striking stillness inside the song’s loose, spiralling structure. There’s a swagger in how it all hangs together: part Americana reverie, part widescreen pop, part sly wink to the listener. As the first glimpse of My Heart Is An Outlaw, it captures the album’s promised scope – raw but deliberate, collaborative yet entirely personal. Dienel’s co-production with Adam Schatz (Japanese Breakfast, Neko Case) ensures each layer serves the song, never crowding its emotional heart. It’s a track that leaves the door open just a crack, inviting you to follow wherever the record goes next.