Your cart is currently empty!
-
Sean T MacLeod returns to instinct and clarity on “Take Control (Don’t Let ’Em)”
There’s a sense of calm confidence running through Take Control (Don’t Let ’Em), a song that doesn’t try to reinvent Sean T MacLeod so much as realign him with his core instincts. As the opening track and fourth single from his upcoming album That’s When the Earth Becomes a Star, it sets the tone clearly…
-
Valiancy faces the noise within on “Voices”
There’s a certain stillness at the center of Voices that makes it hit harder than most songs dealing with heavy themes. Valiancy doesn’t dramatize pain or dress it up for effect. Instead, the track sits with discomfort and lets it speak for itself. Released on January 29, 2026, Voices is written, recorded, produced, and mixed…
-
SHASAU’s “Alicante”: emotion, memory, and the human hand behind the machine
The second music video from the Alicante single and EP doesn’t try to overwhelm you. Instead, it quietly pulls you in. On paper, the idea is simple. In practice, it’s surprisingly affecting. That contrast is exactly why Alicante works as well as it does. Created by SHASAU, the video feels immediately familiar without being obvious.…
-
King Paul: purpose-driven reggae from Kingston to Jamaica, Queens
What stands out immediately about King Paul is clarity. There’s no confusion about what he’s here to do or why the music exists. His work sits firmly at the crossroads of island tradition and city reality, shaped by roots in Kingston and a coming of age in Jamaica, Queens. That bridge isn’t just geographic. It’s…
-
RATFINK!: WHEN U WERE MINE
Ratfink make music the way it’s supposed to be made. A little chaotic, slightly unhinged, and full of heart. WHEN U WERE MINE was recorded with a fifty-dollar mic, a hundred-dollar guitar, and a laptop that once had beer poured on it and never fully recovered. According to Ratfink, that probably added some flavour. They’re…
-
D3PRT: You will never know
You Will Never Know is a dark, emotional underground cut that lives in the space between restraint and release. Built on weighty low-end and broken garage rhythms, the track moves quietly but deliberately, carrying tension without ever needing to shout. It’s minimal, introspective, and heavy in a way that’s felt more than announced. I’m a…
-
Tom Minor : Change It!
Tom Minor is a London N1–based singer-songwriter working in what he calls existential indie, a sharp-edged blend of indie rock, new wave, punk, power pop, garage, soul, and R&B. After years of writing songs for other artists, Minor has turned the focus fully onto his own work, where urgency, wit, and emotional restlessness sit front…
-
Timefield: translating space into sound
What draws me to Timefield isn’t just how it sounds, but where it comes from. The track feels less like a traditional Deep House release and more like a response to a place. Inspired by the art installation Timefield in Düsseldorf, it approaches electronic music as something spatial and atmospheric, not just rhythmic. I hear…
-
Richard Green and the beauty of endings
Some music tries to impress you. Other music sits with you, quietly, and stays longer than expected. That is how I experienced Ending up in the wrong way by Richard Green. It is not a song that asks for attention. It earns it through honesty, restraint, and an emotional clarity that feels lived in rather…
-
Brother Dolly Turns Interference Into Art on Transmission Number 5
Brother Dolly arrive quietly, but they do not arrive small. Their first release, Transmission Number 5, feels like something intercepted rather than announced. It carries the energy of a project that is deliberately elusive, yet deeply intentional. From the first moments, it is clear this is not a conventional debut single. It is an atmosphere,…
English