“The Bloom Project” - Adai Song
Adai Song — or ADÀI, as she’s known behind the decks — has never been one to follow the well-lit path. With The Bloom Project, the Beijing-and-NYC-based electropop artist, producer, and Berklee faculty member turns Chinese musical history into a luminous act of reclamation.
“All the Time” - Our Bones
With “All the Time,” Hudson Valley alt-rockers Our Bones deliver a song that’s both a howl and a heartbeat — a cathartic, tightly wound anthem about being human when everything feels like it’s falling apart.
“OVER MY HEAD” - melting reeds
Emerging from Switzerland’s quietly thriving indie landscape, Melting Reeds are crafting something that feels both deeply personal and curiously universal — music that listens back at you.
“Lone Wolf” - Chosen Undead
Rising from the quiet town of Hainburg near Frankfurt, Chosen Undead are proving that even from the calmest corners can come the loudest storms. Formed in 2024, this five-piece has already carved a name for themselves in Germany’s rapidly evolving metalcore landscape — not just through technical ferocity, but through an emotional and melodic depth that cuts deeper than most.
“A SONG, A STORY TOLD” - Robin James Hurt
Every so often, an album comes along that feels like it’s been carved straight from the wood and wind of Ireland itself — rough-hewn, melodic, and utterly alive. Robin James Hurt’s A Song, A Story Told is exactly that.
“Love & Desire” - James Harries
There’s something almost old-fashioned about the honesty that runs through James Harries’ new album, Love & Desire. Not old-fashioned in style — though there are echoes of classic folk and soul here — but in spirit. In an age of overproduction and algorithmic perfection, Harries dares to sound human.
“Home” - Phil
Vienna’s rising pop craftsman Phil Woloch returns with “Home,” a shimmering slice of retro-pop that feels like cruising down an open highway at golden hour — equal parts nostalgia, catharsis, and quiet revelation.
“Oceans of Kansas” - Lily Vakili
Lily Vakili’s Oceans of Kansas feels less like an album and more like a pilgrimage — a journey through time, memory, and the endless interior landscape of a woman reckoning with her own depths. It’s bold, poetic, and unafraid to get messy — the kind of record that doesn’t chase perfection, but truth.
“It's OK” - Chandra
Bristol’s Chandra have always had a knack for turning vulnerability into something anthemic — and with “It’s OK”, they hit that sweet spot where catharsis meets pure pop-rock joy. It’s three minutes of melodic adrenaline that manages to sound both stadium-sized and deeply personal, like a pep talk shouted through a megaphone.
“Great Pretender” - Fore Fader
There are albums that play like a soundtrack to your life — and then there are albums that feel like a séance. Great Pretender, the debut full-length from Los Angeles duo Fore Fader (Stephanie Carlin and Carey Clayton), belongs firmly in the latter category. It’s not just a collection of songs; it’s a spiritual excavation — a raw, shimmering encounter with mortality, self-deception, and the divine.
“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.
“Intergalactic” - Lucy Robinson
Lucy Robinson’s latest single Intergalactic is what happens when empathy finally grows a backbone. It’s tender, but it’s not timid. It’s dreamy, but it doesn’t drift away. Instead, it hovers — glimmering and resolute — over that emotional grey area between kindness and self-preservation.