Rising musical force Goldkimono, the moniker of Dutch artist Martijn ‘Tienus’ Konijnenburg, will release his third studio album ‘This One’s On The House’ on 13th June via his own Camp Kimono Records. To celebrate the release, Goldkimono will be playing a dynamic in-store show at Rough Trade East on 30th June.
After captivating listeners this year with the release of poignant but danceable single ‘Lifetime’ and the irresistibly funky title track, Goldkimono now prepares to deliver his most vulnerable record to date. For this personal project, he has collaborated with celebrated producer Tim Bran, known for his work with acclaimed acts like London Grammar and Birdy.
Created largely during late-night sessions at his kitchen table, ‘This One’s On The House’ represents a more intimate and honest evolution of the Goldkimono sound with nods to some of his musical influences, including Talking Heads, The Police, Paul Simon, Talk Talk and 10cc.
Goldkimono: ”When I first started as Goldkimono, everything felt like an experiment – learning to let go of rules, trusting instinct, and leaning into sound as a feeling more than a formula. This new album feels like the natural next step, but deeper. It still has that looseness, that late-night spirit, but there’s more perspective in it now. It’s more lived-in.”
The album explores themes of breaking cycles and finding the now in an increasingly disconnected world. “A lot of it deals with shedding old patterns – creative ones, emotional ones, even societal ones” he explains. “There’s a thread running through about waking up, tuning in, and breaking the cycle. But not in a heavy-handed way. More like a quiet nudge. The idea that you don’t need to be perfect or have it all figured out – you just need to be present, curious and stay open.”
The Bapti$$ is the new project from multi-instrumentalist and artist Joseph LaPlante. It’s a musical cleansing and rebirth, a blank slate for a veteran musician and songwriter—a mid-career baptism of sorts, hence the name: The Bapti$$. As The Bapti$$, LaPlante, who is from Saskatchewan but is now based in Haida Gwaii, has created a world of warm, lush, 808-driven acoustic indie-pop and cozy, stripped-back singer-songwriter R&B. There are romantic, late-night love ballads, booming hip-hop vocals and verses, rootsy folk sing-alongs, gritty country-noir slow-burns, and spacy, electronic astro-pop.
Before creating The Bapti$$, LaPlante gained widespread acclaim and recognition in hip-hop as Joey Stylez, with features in Yellowstone, Mayor of Kingstown, Reservation Dogs, and the film Wind River. LaPlante wants to use The Bapti$$’s work to help youth stay on the right track and away from those sorts of traumatic outcomes, while also staying deeply connected to the people stuck on the margins who need strength the most. The Bapti$$ brings calming waters in a chaotic world.
Elisa Thorn (pronounced eh-lee-sah) is a versatile harpist, vocalist and composer known for her distinctive and contemporary approach to the harp. Her music weaves together elements of folk, indie, jazz, experimental, and ambient music, and she aims to create music that balances the abstract and accessible, and sensitivity with boldness.
An avid collaborator, she has recently shifted her focus to her solo project, which will be releasing a new album, xiik, in fall 2025. As introspective as it can be energizing, she laughingly classifies it as “experimental indie for the bathtub.” Reflecting on her trajectory from classical to contemporary music, she says “as much as I roll my eyes at the angelic/mythical/feminine reputation the harp has, generosity is important to me in music making. My hope is for the listener to feel held in some way- which means sometimes it does sound magical and dreamy. That being said, I think the harp can be a total boss, and that’s why I love it.”
She is also the leader of many projects including Gentle Party, HUE, and The Giving Shapes, and has contributed to recordings and performances with artists such as Haley Blais, Ora Cogan, Tonye Aganaba, Mother Mother, Loscil, Ora Cogan, Wallgrin, Lief Hall and Mauvey. Her music has received airplay on stations such as CBC and KEXP , and she has performed at festivals such as Jazzotpad (Poland, 2023), Women from Space (Toronto), Campbell Bay Music Festival (Mayne Island), TONE Fest (Toronto), Constellation Festival (Squamish), POP Montreal, Suoni Per Il Poppolo (Montreal), Wonderment (Victoria) and Vancouver International Jazz Festival.
After two years of soul-searching and studio experimentation, four-time GRAMMY® and 22-time Latin GRAMMY® winner Alejandro Sanz returns with ¿Y Ahora Qué? (And Now What?), a transformative album that marks his first release under Sony Music Latin. Recorded between Spain and the U.S., the six-track collection signals a new chapter for the iconic artist, one rooted in collaboration, vulnerability, and artistic reinvention.
The title ¿Y Ahora Qué? isn’t just a name, it’s a question that has followed Sanz through every creative rebirth. “It’s the question I ask myself every time I start a song, end a tour, or decide to begin again. It’s about the courage to get back up and ask, ‘Now what?’” says Sanz. That sentiment pulses through the entire album, from the emotional minimalism of “Palmeras en el Jardín”, written on a metaphorical rainy day, to the honesty of “Hoy No Me Siento Bien,” a chart-topping collaboration with Grupo Frontera.
The project also features two standout moments of generational synergy. On “Cómo Sería,” Sanz joins forces with Colombian hitmaker Manuel Turizo, while “Bésame” reunites him with Shakira for the first time since their global hit “La Tortura,” which celebrated its 20th anniversary earlier this year. The production showcases a more relaxed, communal creative process, with contributions from acclaimed producers and writers including Edgar Barrera, Elena Rose y Andy Clay, Spreadlof, CASTA, Richi López, Luis Salazar, and Hector Rubén Rivera—a team that helped reshape Sanz’s traditional solo approach and bring fresh textures to his sound.
Emerging singer and songwriter Ana Luna unveils her new single “Dance in a Trance,” an ethereal and introspective track that dives deep into the emotional aftershocks of a past relationship. Building on the momentum of earlier releases like “Oxytocin” and “Why Not,” the new single further showcases Ana’s eclectic, genre-blurring sound and distinctive artistic voice.
Guided by her hypnotic vocals and sweeping, cinematic production, “Dance in a Trance” explores how memory and identity shift in the aftermath of heartbreak. Through introspective lyrics like “a caged romance, I danced in a trance,” Ana captures the paradox of being trapped in something intense, even beautiful, that ultimately left both people feeling confined. It’s more than a breakup song; it’s an unflinching meditation on transformation, memory, and the quiet unraveling that often follows the end of a relationship.
“People will interpret my songs however they want, but this one wasn’t about making anyone the bad guy—it was very much about me,” she says. “I’d run into my ex and he wouldn’t even look at me. When we did lock eyes, the energy just felt… different. The line ‘a caged romance’ came from something he once said to a friend of ours about feeling ‘caged’ or trapped, which ironically, is how I felt too. It wasn’t toxic in the way we tend to define toxic now—but maybe it was in its own way, just because of how intense it all was. This song lives in that duality of: either you’ve always been this person and I was blind, or remind me why I loved you so I don’t feel like an idiot.”
Log cabin-born but Jersey-bred, Mistine is a rising Pop / Rock artist combining the rhythm and warmth of classic rock with her own brand of angsty pop sincerity. Mistine’s music is a perfect blend of modern and vintage, drawing inspiration from classics like Aerosmith, Taylor Swift, Avril Lavigne to the 1975 and Maggie Rogers.
Before she was Mistine, Christine Meisenhelter was just another third-grade kid watching Piglet’s Big Movie. At least, she was, until Carly Simon showed up on screen playing guitar and singing along. Suddenly, Meisenhelter knew what she wanted to do, and it’s been music ever since. In the years following this early spark, she attended USC’s Thornton School of Music, toured with Conan Gray for over two years, and honed her voice as an artist and musician as Mistine. Mistine’s career as a musician blossomed and she developed a strong resume as both an artist, songwriter, and session/touring musician. She’s toured with Conan Gray, aespa, BiigPiig, Meg Smith, WiztheMC, Zeph, McKenna Grace, Haiden Henderson, INJI, and Sierra Spirit to name a few.
Mistine devotes her life not only to music, but also to sustainability and the environment. After obtaining a Masters in Science for Sustainable Business Leadership, Christine has served as the Sustainability On-Site Coordinator at the Las Vegas Sphere for the Grateful Dead residency and worked on the Billie Eilish Hit Me Hard and Soft Tour.
Mistine ties her two passions together to bring audiences music that speaks to the human connection to one another, but also has underlying innuendos of human destruction and nature.
Her music has been featured in editorial placements including Spotify’s Barefoot in the Park and New Pop Picks, Apple Music’s New in Alternative, and strong third party playlists like OnestoWatch #NowWatching. She’s been featured in press outlets including LADYGUNN, Earmilk, Bass Magazine, C-Heads, Atwood Magazine, Luna Collective, TRASH Mag, amongst others.
Mistine’s new album “i guess this is where we’re at” is a 11 track collection of indie pop meets alternative songs that tackle the topic of sustainability and environmentalism. She shares, “I am constantly thinking about our environment. I really tired to incorporate ways to tell the story of what our world is going through in the climate crisis without explicitly saying it in the song – I began exploring thinking about our planet as a friend or relationship and how each member would feel though this distraction and climate change – how we’re trying to preserve what we have left – as if I were trying to salvage a relationship with a loved one.” The enthralling album features grunge soaked guitars, experimental vocal lines and 80’s inspired synths and is Mistine’s most creative release to date.
When it comes down to it, Mistine wants to make music that makes people think, learn, feel good, and ultimately, drive down a coast line with their windows down. Her unassuming charm is what makes her work just so welcoming;
“I want my fans to feel like they’re my best friends.”
Mia Moretti makes her label debut on the legendary Shaboom Records with “My House,” a liberation anthem that turns dance into doctrine. Featuring vocals from globally renowned spiritual leader Shaman Durek, the release marks the first time Moretti has released music outside of her own imprint — a rare alignment with one of house music’s most iconic catalogs. With three decades of boundary-pushing releases behind it, Shaboom continues to define the sound of house music in 2025.
Built around the mantra “there are no chairs in my house, no tables in my house, no beds in my house,” “My House” delivers its message loud and clear: you come here to dance! Moretti transforms Durek’s powerful vocal into something ritualistic — a gospel of sweat, vibration, and rhythm — grounding the track in house music’s origins as a soundtrack for freedom and self-expression.
The record marks the first time Moretti has issued a release outside of her Spaghetti Moretti imprint — and it’s clear she’s chosen to do so with purpose. By linking up with Shaboom, Moretti is contributing to the catalogue of one of house music’s most respected institutions, a label that has served as home to artists like Doc Martin, Marshall Jefferson, Dave Morales, Todd Terry, and Josh Wink.
Grace Davies is back with a gut-punch of a pop anthem ‘Super Love Me’, a soaring heartbreak track that marks the final chapter before the release of her fearless debut album, The Wrong Side of 25 – arriving on July 11th.
Following critical acclaim for her previous single ‘MDE’, which landed her on the cover of Spotify’s New Pop UK playlist and earned praise from The Independent, Grace continues her bold ascent in the UK pop scene with ‘Super Love Me’. Co-written with Nick Bradley, James New, and Paul Whalley, and produced by Paul Whalley and Grace herself, the track is a heart-on-sleeve anthem blending vulnerability with biting lyrical wit.
From the ABBA-inspired, nostalgic bassline to the irresistible hook – “Why d’ya have to make it like you super loved me / If you’re only gonna go and super let me down?” – ‘Super Love Me’ exudes tongue-in-cheek wordplay as Grace unpacks the sting of mixed signals and emotional unavailability. The single is a shimmering, melancholic pop gem and yet another showcase of Grace’s trademark ability to turn heartbreak into something powerful, relatable, and unmistakably hers.
Speaking on the story behind the single, Grace said “In 2020 I got into a very fast-moving, ‘covid bubble’ relationship, where one day I was facetime dating someone, then we were going on socially distanced walks – and then suddenly he lived in my flat for weeks with me. But alas, one day he woke up, left the flat and I never heard from him again… Feel like you’ve missed a chapter? Yeah, me too.” She further notes “Sometimes I have to remind myself of what this song is about, because I just want to boogie round my bedroom, but really – it is a classic Grace sad girl anthem.”
songstress on the rise, Madeline The Person, returns with her tender, otherworldly new single Closest Thing – a soft, shimmering ode to queer female friendships. With celestial synths and delicate, honeyed vocals, the track radiates a kind of intergalactic intimacy. Wrapped in dreamy production and textures, Madeline’s voice floats above it all, warm and aching.
Closest Thing is available now on your streaming service of choice via APOLLO Distribution.
Musician and sci fi visionary – Robert Ratcliffe – is set to unveil a gripping debut single, ‘Escape from Port Fallen’: released on 23rd May 2025. It is an electrifying glimpse into the forthcoming, groundbreaking original concept album, ‘Chronicles of the Residuum: The Age of Destruction’, which lands on 15th August 2025. It is bold as it is epic: a mysterious warrior escorts a young child through the post-apocalyptic Residuum and becomes embroiled in a quest to save time and reality.From humble beginnings to an epic creation: this remarkable project was crafted over ten years on a twelve-year-old laptop, fuelled by boundless imagination and passion. The brains behind the project, Robert Ratcliffe, has poured his love of music, art, science fiction, fantasy, and pop culture into ‘Chronicles of the Residuum: The Age of Destruction’. The result is no less than outstanding.This groundbreaking albumis animmersive musical and narrative experience building on the legacy of epic concept albums like Jeff Wayne’s ‘War of the Worlds’ and Rick Wakeman’s ‘Journey to the Centre of the Earth’. Ratcliffe expertly combines these influences along with those from Hans Zimmer, The Prodigy, Leftfield, Orbital, Aphex Twin, and The Future Sound of London, to create a truly visionary world with an audacious soundscape.This extraordinary multimedia project invites listeners into the ‘Residuum’, where war rages against the terrifying Ashe Moz, and a mysterious warrior, Anku, must protect Unagu while unravelling her own nightmarish past. The story spans ruined cathedrals, deserted underground cities, floating islands, and beyond, making ‘ The Age of Destruction’ not only an auditory experience but an epic tale of survival and hope.
Ratcliffe joined forces with some of the industry’s brightest talents and visionaries, including Grammy award-winner David Donaldson, voice artist John Cavanagh, and David and Jesse Peterson, creators of languages for Game of Thrones and Dune. The album’s visual artistry is elevated by Magic: The Gathering artist Igor Kieryluk, and Nick Halkes, manager of The Prodigy, lends his consultancy expertise to the project.Set against the fractured skies of a post-apocalyptic world, ‘Escape from Port Fallen’ delivers an adrenaline-pumping blend of urgent beats and skittering drum and bass pulses. As the raiders infiltrate Port Fallen to rescue Unagu—the First and Last Child—the music evokes the tension and heroism of a desperate mission. The soaring, ethereal synths and cinematic themes heighten the stakes, as Unagu’s mother sacrifices herself for their escape, setting the stage for the epic journey that follows.
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