CURIOUS
FOR MUSIC.

Megan Lacy’s debut That Feelin’ is a carefully constructed exercise in mood-driven Americana that prioritises atmosphere over immediacy. Across twelve tracks, Lacy situates herself within a long lineage of narrative-first singer-songwriters, though she rarely deviates into territory that feels structurally surprising. There is a clear commitment to authenticity in both writing and performance, particularly in the decision to record live at King Electric Recording. That choic

There’s a very specific kind of exhaustion that AFTERwork captures – not just physical tiredness, but the mental static of always being on. Malmö duo MAMI UMAMI translate that feeling into a hyperactive, genre-fluid EP that blends hip-hop, club music, punk energy, and fractured pop into something that feels both curated and completely unhinged in the best way. From the opening seconds of ‘PAPER’, the project establishes its palette: glitchy percussion, elastic vocal delivery,

Corban Chapple steps forward with Maybe We’ll Make It , a debut EP that feels warm, ambitious, and quietly assured. Built on a foundation of alternative R&B, soul, and jazz-tinged production, it introduces an artist who is less interested in spectacle and more invested in emotional truth. There’s a softness here, but also a clear sense of direction. What stands out immediately is how personal the project feels. Written during a period of relocation and self-redefinition in Ne

Waver are back—and they’re bringing decades of experience with them. The acclaimed rock duo have unveiled their powerful new album, Space and Time, a 13-track project that fuses the raw spirit of ’90s rock with the emotional depth of a lifelong creative partnership. Now available worldwide, the release marks a thrilling new chapter for the band. Mike Sartor and Dorsey Stone first met as college roommates at Colgate University in the late 1990s. What began as late-night jam se

Alt-pop is officially having its “nostalgia but make it cinematic” moment, and Miles Jeppson is walking straight into the centre of it with a grin and a perfectly colour-graded aesthetic. Please join us in giving a huge, warm welcome to an artist who is rapidly becoming one of the most exciting new voices redefining emotional pop for a digital generation. His new eight-track LP Green doesn’t just mark a release — it signals the arrival of a fully formed era. From the opening

This Is What It Feels Like can be understood as a map—not of places, but of emotional states. Whitlock and Bauer chart the contours of connection with a precision that feels both analytical and deeply felt. The result is an album that invites not just listening, but navigation. The production choices reflect this cartographic approach. Sounds are placed with intention, creating a sense of spatial awareness that enhances the album’s thematic concerns. Synths stretch outward li

On Dancing In My Room, Yugs doesn’t just deliver an album; he opens a door into a life mid-collapse and slow reconstruction. Five years in the making, the record feels lived-in rather than constructed, stitched together from rupture, recovery, and restless self-interrogation. At 37 minutes and 50 seconds, it moves with intention but never rushes its emotional arrivals. Musically, it’s a borderless sprawl that still somehow holds its shape. Bossa nova brushes against Chicago p

Sev Karlsson’s Reverie arrives with a quiet confidence, unfolding like a series of half-remembered dreams rendered in sound. Across its four tracks, the EP balances delicacy and intention, drawing from the atmospheric sensibilities of artists such as Toro y Moi and Bon Iver while retaining a distinctly personal voice. Karlsson’s production is textured yet restrained, allowing space for each sonic detail to breathe—an approach that lends the project an almost cinematic intimac

On their debut album Dog Summer, Naarm/Melbourne outfit Damn Williams transform suburban Australian imagery into something mythic, strange, and unexpectedly moving. Led by Tasmanian songwriter Elliot Taylor and expanded into a full band with Olmer Bollinger, Carla Oliver, and James Campbell, the project arrives fully formed with a record that feels ambitious in both scope and personality. Across ten tracks, the band weave together punk dissonance, theatrical art-rock, and wa

Indie electronic/post-punk duo, Vague Notion, hailing from British Columbia, Canada return with their new six-track EP Glow. Known for their signature cinematic sound, blending electronic production with guitar-driven arrangements, the duo have built a reputation for creating immersive listening experiences. On Glow, they continue that approach, delivering a project that feels both seamless and wide-ranging. From the opening track, ‘Visceral Reaction’, the EP immediately esta

There’s something undeniably compelling about an artist who wears their heart on their sleeve, and with Let’s Try Again, Will Foulke delivers a collection that does exactly that. The album is a deeply personal exploration of love, loss, and the courage it takes to begin again. From the very first track, listeners are drawn into Foulke’s world, a space defined by honest lyricism and rich musical textures. His ability to translate complex emotions into relatable narratives is o

There’s an ethereal magnetism to Max Nemo’s Nexus that immediately captivates. The opening track, Fool , feels like stepping into a quiet world of introspection, where trust and self-exploration are delicately entwined. Nemo’s vocals are intimate, almost whispering, yet the production envelopes them in cinematic grandeur. Nyad rides the tides of perseverance and fluidity, with a soundscape that is both expansive and meditative. It’s a track that mirrors the endurance of the

4ra 4ra’s CHROMEsoME is a multidimensional EP that pushes the boundaries of sound, art, and performance. Conceptually rich and sonically ambitious, it constructs a cybernetic world where identity and technology collide, guiding the listener through a narrative of transformation and survival. “CHROME UP” opens the EP with metallic synths and ritualistic percussion, setting the tone for a journey of empowerment. Chrome becomes more than imagery—it’s resilience, a coded armor

Luc Letourneau’s debut thrives in the in-between spaces—the moments where nothing is fully resolved and everything still feels possible. Next Life / One More Day Like This is less about arrival and more about the act of searching. The production reflects that mindset. Recorded in Boulder, the album feels grounded in place but not confined by it. The sound is open, airy, occasionally rugged—like it was captured as it happened rather than constructed afterward. Letourneau’s son

Lulu Leloup’s March lands as a beautifully understated exploration of love, loss, and everything that exists in between. The Beirut/Dubai-based singer-songwriter taps into a vintage jazz and blues aesthetic, but filters it through a modern lens that feels refreshingly honest. The result is a project that feels both timeless and entirely of the moment. Across the EP, Lulu’s songwriting shines with a natural conversational tone. There’s an ease to the way she delivers lines th

There’s a cinematic glow to Sky Fish Fly , the latest offering from kazaizen, that feels both intimate and otherworldly. Jonny Kasai crafts a universe where sound becomes texture, mood, and movement—an immersive listening experience that unfolds like a dream you don’t quite want to wake from. The album opens with a swirl of colour and rhythm. “Nanoo Nanoo” and “Make It Love” pulse with a hypnotic energy, balancing groove and haze in equal measure. It’s music that feels tacti

On What Is Meant For You , Ranj George’s Starspire project positions itself at the intersection of authorship and augmentation, identity and construction. The album’s premise — a 13-genre traversal unified by narrative intent — reads like a conceptual exercise, but its execution is more grounded, driven by a consistent emotional throughline rather than formal experimentation. George’s biography is central to the project’s architecture. Raised between English and Indian ident

Nuclear Cowboy’s latest EP arrives at a pivotal moment. After years of quiet output and a recent swell in audience, If You Need Me, I’ll Be Here captures an artist stepping into broader visibility without sacrificing introspection. Thematically, the project orbits around unanswered questions. How long should we mourn? How long should we miss what we’ve left behind? Rather than offering tidy conclusions, Nuclear Cowboy situates the listener within the uncertainty itself. It’s

Rob Lalain is wearing his heart on his sleeve — and then some — on his latest album The Way We Were . The singer-songwriter’s newest release feels like a window into his life, filled with raw emotion, honest storytelling, and the kind of melodies that stay with you long after the music fades. Leading the charge is ‘Day Or Night’, a track that instantly pulls listeners in with its warmth and sincerity. It’s the kind of song that feels both intimate and universal, capturing the

Lil Crush approaches music with the mindset of a storyteller, and Reel Music unfolds like an immersive narrative told through sound. Spanning 30 tracks and just over an hour and a half, the album feels expansive yet intimate, inviting listeners into a deeply personal sonic landscape. The project begins with a sense of emotional honesty. Tracks like “I Hate Partying Alone,” “Devilish Angel,” and “Want U” capture the vulnerability that sits at the heart of Lil Crush’s artistr