“L'Ombra della Terra” - Giuseppe Bonaccorso
Giuseppe Bonaccorso’s new single L'Ombra della Terra (“The Shadow of the Earth”) doesn’t just sound like a song—it feels like a manifesto. Following the stark and provocative Playground in Gaza, Bonaccorso doubles down on his identity as a composer who isn’t afraid to make art that’s both intellectually rigorous and emotionally raw. At just over four minutes, the track is sprawling and theatrical, packing in more ideas, textures, and tension than most artists manage across an entire record.
“Ripples of the Past” - Ray Curenton
Ray Curenton’s Ripples of the Past is one of those rare albums that sneaks up on you—not with bombast or flashy production, but with a quiet kind of gravity. It’s an intimate project that feels less like an album you press play on and more like a conversation you fall into with an old friend who’s suddenly willing to tell you the real story. Out September 12, this is Curenton’s first full-length foray into indie folk, and it already feels like a defining moment in his career.
'EURO-COUNTRY’ - CMAT
CMAT’s EURO-COUNTRY is the sort of album that walks a tightrope between glittery pop escapism and gritty, soul-stirring commentary—and somehow, CMAT (Ciara Mary-Alice Thompson) doesn’t slip once. Her third LP feels like her most fully realised work yet: she leans into her personality, her heritage, and her politics with sharpened lyrics, bombastic hooks, and emotional undercurrents that you can’t ignore.
“Your Eyes Don't See” - Highet
If you’ve been craving a rock track that doesn’t pull punches, Highet’s “Your Eyes Don’t See” is about to become your new obsession. Bursting with high-octane energy, the Vancouver-based father-son duo deliver a song that feels like it was built for blasting out of car windows and shaking the walls of a dive bar stage.
“Capricorn Baby” - Kristen Castro
Kristen Castro’s Capricorn Baby feels like the kind of record you stumble onto when you need it most—the one that cracks open your chest and makes you feel seen, messy humanity and all. It’s not just an album; it’s a diary, a healing ritual, and a creative manifesto all rolled into one. The fact that Castro wrote, produced, mixed, and shaped every inch of it herself makes the project feel even more intimate—like she’s letting you step into her living room while she bares her soul track by track.
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.
“Last Name” - Cali Tucker
Cali Tucker’s “Last Name” isn’t just a country single—it’s a full-blown statement piece wrapped in fairy-tale sparkle and Nashville grit. On the surface, the Cinderella nods make the song and video instantly familiar—everyone knows the story of the glass slipper and midnight curfews. But Cali flips the script in a way that feels bold, empowering, and honestly overdue. Her Cinderella doesn’t wait around for a prince or a magic wand. Instead, she builds her own destiny, proving that resilience and self-determination can shine brighter than any ball gown.
“Two Huge Rocks, in Peru” - Jean RN
Jean RN’s upcoming EP Two Huge Rocks, in Peru (out Sept 10, 2025) feels like one of those releases where the story behind it and the sound inside it line up perfectly—it’s personal, a little messy in the best way, and genuinely unlike anything else out there. Hailing from Stowmarket, England, Jean RN pulls together influences from hyperpop chaos, surf rock cool, and experimental electronic textures to carve out something both abrasive and oddly tender.
“A Light Untruth” - Ionne
Maurice Harris—better known as Ionne—isn’t playing it safe on his fourth full-length, A Light Untruth. This project marks a sharp left turn from the EDM textures he’s been known for. Instead of pulsing club beats, we get an album drenched in alternative moods, layered concepts, and heavy doses of reflection. It’s ambitious, sprawling, and, honestly, one of those projects that makes you rethink what you thought you knew about an artist.
“I Am” - Lou Alexander
Lou Alexander makes a striking entrance with her debut single “I Am”—a track that feels less like a first step and more like a statement of purpose. Blending pop, soul, and rock into a sound that’s both modern and timeless, Lou lays her story bare while simultaneously empowering anyone who’s ever wrestled with doubt. It’s the kind of debut that makes you stop, listen, and think, “Okay, she’s the real deal.”
“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.
“Entice Me Baby” - Nicole Huff
With her latest single “Entice Me Baby” (dropped on August 15th), Toronto’s own Nicole Huff is kicking down the door and stepping straight onto the dancefloor. It’s a track that feels like a love letter to 2000s pop—the era of Britney Spears, J.Lo, and early-2000s Mariah—but with Nicole’s own modern twist that makes it feel fresh, playful, and distinctly hers.