“Arrival of the Ethereal” - AGAM
When Agam first appeared on the scene in the late 2000s, they already felt like a glimpse of the future — a bridge between the precision of Carnatic music and the emotion-driven chaos of progressive rock.
“The Miseducation of MMA Volume 3” - David Potter
When satire meets spectacle, you get David Potter — and his latest album, The Miseducation of MMA Volume 3, is nothing short of chaos wrapped in genius. Released on September 26, 2025, this final installment of Potter’s wild trilogy is a full-throttle, Broadway-meets-cage-fight fever dream — biting, hilarious, and, at times, uncomfortably true.
“Shipwrecked” - Red Skies Dawning
“Shipwrecked” is the kind of debut single that doesn’t just introduce a band—it detonates their arrival. Red Skies Dawning, the heavier, modern rock rebirth of Chris Aleshire’s Red Skies Mourning project, wastes no time in laying down their mission statement: hard-hitting riffs, cinematic production, and lyrics that stare heartbreak, collapse, and rebirth square in the eye.
“Stardust Bear Bazaar, Pt. 1” - New Laconia
With “Stardust Bear Bazaar,” Ukrainian project New Laconia doesn’t just drop a single — they throw open the door to an entire music-driven multiverse. Forget the usual “track + video” formula; this is a fully-fledged story world where the music is just as much narrative fuel as it is sonic pleasure.
“Flat Circle” - HMRC
There’s nothing polite about HMRC — and that’s exactly what makes them essential. The Newcastle four-piece have been building a reputation as one of the sharpest, most politically biting bands to rise out of the UK’s current chaos, and their latest single, Flat Circle, shows a new side of that rage: the existential one.
“Lost & Found 1981-1985” - Personal Column
There’s a certain kind of magic when music you thought was lost to the passage of time suddenly resurfaces decades later — not as a nostalgia trip, but as a reminder that great songs never really age. That’s exactly the case with Lost & Found 1981–1985, the long-overdue collection from Liverpool’s Personal Column, a band that once seemed on the brink of making it big but ended up slipping through the cracks of the industry machine.
“Eyes” - SickRichard
London’s SickRichard aren’t messing around with their sixth single. Eyes doesn’t creep in quietly — it smacks you in the face from the first bar, a storm front of urgency and atmosphere that feels like being pulled into a black hole of alt-rock intensity. It’s heavy, it’s haunted, but at its core, it’s also deeply human — a song about fear, rejection, vulnerability, and the bruised process of learning to trust yourself again.
“In My Head (The Live Album)” - Romain Swan & The Raindrops
Some bands sound good on record. Some bands sound good live. And then there are the rare ones who need the stage to fully make sense — where every lyric, every riff, every drum hit feels like it was built to be shouted into a room of strangers who somehow know exactly what you’re going through. Romain Swan & The Raindrops fall squarely in that last category. Their first live album, In My Head (The Live Album), is both proof and celebration of that fact.
“Dark Days” - Machine on a Break
Sometimes a song doesn’t just sound heavy — it feels heavy, like the weight of its riffs and words is pressing down on your chest. That’s exactly the sensation you get when you put on “Dark Days”, the latest single from Canberra’s own pop-metal disruptor, Machine on a Break. Part confession, part battle cry, this track fuses pounding double-kick drums, serrated drop-tuned guitars, and unsettling synths into a piece of music that sounds as brooding as the story behind it.
Exclusive Interview: Trashy Annie
Trashy Annie has never been one to play it safe, and her latest release proves it tenfold. Taking on Buckcherry’s infamous “Crazy Bitch”—a song as notorious as it is iconic—she doesn’t just cover it, she hijacks it, revs the engine, and takes it for a joyride straight through the backroads of outlaw country and punk-infused rock.
We spoke to Trashy Annie about their journey so far.
“Dopamine Machine” - The Party After
If you’ve ever wondered what it sounds like when a band channels years of chaos, heartbreak, bad luck, and sheer determination into one record, Dopamine Machine is your answer. The Party After—a gritty Omaha rock trio made up of lifelong friends Jared William Gottberg (vocals/guitar), Derek Talburt (drums), and Tony Bates (bass/backing vocals)—have been through the ringer and back. They’ve been robbed on tour, slapped with cease-and-desists, lost time to bad management, and nearly burned out in the chase for “making it.” But instead of letting that break them, they bottled it all up into an album that bleeds honesty, sarcasm, and a heavy dose of dystopian party rock.
“Concrete Wave” - Everwill
Some songs feel like they were written in a cramped bedroom at 2 a.m., spilling out from a notebook full of feelings you weren’t sure you’d ever share. Others feel like they were made for sweaty summer nights, car windows down, and the volume just shy of blowing your speakers. “Concrete Wave”—the latest single from Nebraska-born William Griffey’s solo project EverWill—manages to be both at the same time.