“Marzanna” - Marianne Nowottny
Some albums feel like projects, and others feel like pilgrimages. Marianne Nowottny’s Marzanna is definitely the latter. Long whispered about, nearly derailed by broken hard drives and lost files, and stretched across a five-year haze of stops and starts, the record has finally surfaced—and it’s worth every ounce of the struggle that went into making it. This isn’t just a covers album; it’s a séance. With Marzanna, Nowottny resurrects her longtime alter ego and reanimates songs by Kate Bush, Bowie, Joni, and Siouxsie—not as nostalgia pieces, but as living, breathing works reimagined in her singular voice.
“Yabadabadooda” - Taylor Lally
Taylor Lally isn’t afraid to make a song title that sounds like it wandered straight out of a Saturday morning cartoon. “Yabadabadooda” lands like a wink and a grin, but don’t let the playful name fool you. This single is a clever little trip through lo-fi textures, hip-hop grooves, and dreamy alt-pop haze, with lyrics that walk the tightrope between tongue-in-cheek humor and unexpected vulnerability.
“Do You Miss Me?” - Adrienne Levay
Adrienne Levay’s “Do You Miss Me?” is the kind of song that feels like it’s happening in the quiet just after midnight—the fire’s dying down, there’s a glass half-full on the table, and the air is heavy with words that haven’t been spoken yet. It’s not a flashy track, and that’s exactly what makes it so disarming.
“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.