“Songs from the 8th Dimension” - Peter Lord
With Songs From The 8th Dimension, Peter Lord doesn’t simply return — he ascends. The visionary founder of The Family Stand arrives not as a legacy act reviving past glories, but as a creator operating on a new wavelength entirely.
“Sorry, Can't” - Coral Z
“Sorry, Can’t” is the kind of song that doesn’t ask permission to be heard—it presses on the bruise and holds your gaze while it does. Coral Z turns deeply personal history into something sharp, melodic, and uncomfortably relatable, threading alt-rock guitars and indie-pop clarity through a story that feels both intimate and universally painful.
“Echoes: The Final Chapter” - Bullet To The Heart
“Echoes: The Final Chapter” is the last word—and Bullet To The Heart make sure you feel every syllable of it. This is not a farewell whispered. It is a door closing with weight. A flame going out only after it’s burned through everything in its path.
“Flamingo Road” - Blake
With Flamingo Road, Blake steps fully into the singer-songwriter role he’s been orbiting for years—the sort of self-contained creator who uses melody as memory, and lyric as confession. Recorded entirely at home and performed solely by Blake himself, this album has the unmistakable imprint of someone who refused to wait for permission, budget, or perfect conditions to make the record that needed to be made.
“The Cassy Judy Mixtape” - Cassy Judy
The Cassy Judy Mixtape is not just a collection of songs—it’s a vivid, fearless portrait of a life lived at full emotional volume. Sydney artist Cassy Judy returns with her most personal, playful, and politically charged project yet, blending vulnerability and protest, joy and defiance, sax solos and sharp-edged storytelling.
“Moss EP” - MOSS
Moss arrive with a sound that feels both familiar and quietly transgressive—like something lost in the haze of the late ’90s Bristol scene, unearthed, run through a dream filter, and resurrected with modern sensitivity. The North of England duo have carved out a distinct identity with startling speed, rooted in trip hop atmosphere, cinematic slow-burn tension, and lyrics that cut like whispers spoken directly into your ear.
“From the Heart” - Sharon Ruchman
With From the Heart, composer and pianist Sharon Ruchman steps into a new chapter of her musical storytelling—one that feels both deeply personal and intentionally intimate. Known for compositions that blend classical lyricism with emotional nuance, Ruchman’s sixth album focuses entirely on the voice of the violin in conversation with the piano.
“Slowly” - Kaleb Hikele
There are songs that feel written to impress, and there are songs written because they needed to exist. Kaleb Hikele’s “Slowly” is very clearly the latter — an intimate, intentional, and deeply human piece that functions both as a love song and as a personal timestamp in the artist’s life.
“Son of Sam I Am (Tommy's Version)” - Too Much Joy
There are reissues, and then there are resurrections. Son of Sam I Am (Tommy’s Version) is the latter: not just a re-release, but a reclamation—an album finally returned to the hands of the people who made it, raised it, toured it, bled for it, and survived it. In 1989, Too Much Joy were the smartass indie-rock kids who managed to be sarcastic without being cynical, heartfelt without being confessional, and musically sharp without losing the charming chaos that made them feel human.
“Being Human” - Killing Kind
Cold air sharpens the senses, and darkness has a way of clarifying the things we’d rather not look at. On their second album Being Human, Swedish trio Killing Kind lean into that tension—both sonically and thematically—to produce a work that feels urgent, atmospheric, and unnervingly present.
“The Journey” - Rupert Träxler
With The Journey, Vienna-based artist Rupert Träxler steps into a deeply atmospheric and introspective musical space—one that blends spoken-word poetry, ambient dream-pop textures, and the warm humanity of guitar-driven songwriting. It’s a release that feels less like a conventional single and more like a meditative passage—a quiet doorway into memory, longing, and inner landscapes.
“Anything” - JW Paris
With Anything, JW Paris hit that rare sweet spot between nostalgia and immediacy—reviving the swagger of 90s Britpop without ever sounding like a tribute act. The London three-piece (featuring Gemma Clarke, formerly of Babyshambles and Adam Ant) lean into their dirty, street-lit, guitar-first identity, but this time with a clarity of purpose that feels like a band fully stepping into its skin.