Xol Meissner’s debut record Excess of Loss offers slow-burning songs oscillating between a tenderly agile baritone voice and surreal, sometimes violent lyrics that deal with the loss of shelter – nature, family, a lover. They all, within their spheres of life, flourish in and suffer from their dependence on their immediate surroundings, offering both bliss and undoing. Floating through ballrooms, auctions and a forrest hunt, Excess of Loss takes on rituals of guilt and its use in discourse around class and belonging. The close circle is explored with a Freudian wanderlust through extreme projections, metaphors, and a furry companion who explains the story.
Xol Meissner is the stage alias of New York City based composer Mauro Hertig. Classically trained and the 2019 Laureate of the Voix-Nouvelles Académie in France, his compositions have been described as having “abundant inventiveness” (Diapason), being “radical (…) crazy, yet surprisingly harmonious” (Die Oberbadische), “with brilliance in its implementation” (Olyrix).
Before committing to writing songs full-time, Hertig had regularly used text in scored works. It is in the “lieder” form, however, that the lyrics have found their final form. With an extended lap steel guitar technique already at hand from pieces composed for other guitarists, the remaining challenge was finding a voice. Having previously sung high to tower above the accompaniment, a solution presented itself in the inversion of roles – pushing the guitar high up and dropping the voice below everything else – with space to move into territory previously explored by Scott Walker or fellow European expat Nico.
While the guitar serves as a sunken, effervescent orchestra, fluorescent at times and throbbing at others, tropes of croonerism are explored and countered with dark humor, and a tendency to weird the straightforward narrative of the Kunstlied – drawing strongly from the troubadour tradition of medieval bards who play for the entertainment of local courts, all the while heavily infused with the Romantic-period piano song, with its embedment of desire in symbols, animals and fairytales.
Excess of Loss was recorded at legendary Future-Past Studios in Upstate New York, with its founder Patrick Higgins (Zs, Aeaea) engineering and producing. Higgins has previously recorded and produced records for Nicolás Jaar, John Zorn, The National and Last Shadow Puppets at Future-Past.
Xol Meissner- Bandcamp
Feminist punk powerhouse Cheap Perfume is thrilled to announce their new single “Woke Mind Virus”, set to be released on June 13th via Snappy Little Numbers. Pre-save the song now, here: https://show.co/O1HY8k2.
“This song to me is kind of like the manifesto for the album. There have been a lot of radical changes in the world since our last release, so I thought it was important for us to come out with something bold,” shares guitarist/co-vocalist Jane No. “We wrote it in response to the inane ‘war on woke’ and people like Elon Musk demonizing empathy and saying that having compassion is weak. This song is a great gut check for the rest of the album … if you relate to what is being said here, I think you’re going to love the record. If it’s pissing you off, don’t care. Didn’t ask.”
“Woke Mind Virus” marks the band’s first release since their 2021 singles “TKO” and “No Men”. Fans can look forward to more new music in the coming months, including a full-length record. Stay tuned for more from Cheap Perfume at https://linktr.ee/cheapperfume.
Known primarily for his work as the composer behind the iconic scores for Veronica Mars, High Potential, iZombie, Lethal Weapon, and more, Josh Kramon aims to expand his musical opus on the brand new atmospheric folk-rock project, KRAMON. Most recently, Josh received a BMI Award in TV and Film on May 14th for his impeccable songwriting abilities. With the new project KRAMON, Josh expands his artistry as a writer, musician, producer, and collaborator, delivering twelve original tracks that blend smart, introspective lyrics with infectious, upbeat pop grooves.
Today, the explosive Ohio-born DJ and producer, Crankdat, is back with a ferocious new single, “TYPE SHT (Feat. Duke Deuce)”. The mind-numbing collaboration with the Los Angeles-based force in the scene, NGHTMRE, is as evocative as it is cathartic – fast-paced, full bodied and turbo charged, the highly-anticipated single officially arrives on Friday, June 6, 2025. “TYPE SHT” erupts with absolute fervor, plunging listeners deep into the artists’ bone-rattling realm as their bass-heavy production bursts with severity and unrelenting energy. Showcasing his commitment to forging unforgettable sonic experiences, Crankdat entwines past and present, infusing his and NGHTMRE’s signature sounds, as well as Duke Deuce’s indomitable energy as he recreates the lead from the instantly-recognizable 2013 Gesaffelstein hit, “Hellifornia”. Crankdat and NGHTMRE have both made the viscerally addictive track a mainstay in their sets, igniting audiences at some of the world’s most coveted festivals, including EDC Las Vegas and Ultra Music Festival Miami, and in July, Tomorrowland when the duo god B2B on the Planaxis Stage – see crowds explode to it HERE. “TYPE SH*T” arrives as a fierce testament to Crankdat’s unparalleled ability to shatter through boundaries as he continues to push the limits of sonic expression, harnessing the powers of his unique creative vision on his meteoric rise to the top.
For much of their career, Grandbrothers transformed a limitation into inspiration. Across four acclaimed albums, the duo of German-Turkish pianist Erol Sarp and Swiss engineer/software designer Lukas Vogel created captivating music in which each sound originated from one instrument: the grand piano.
Today, Grandbrothers announces the new album Elsewhere, out September 26, 2025 via their brand new imprint _ and others _. They have also shared the single and video for“We Collide.”Pre-order the album here.
The video was directed by Austrian filmmaker Rupert Höller, who crafted a strong visual counterpart to the track’s kinetic energy. The result is a striking short film that captures the emotional depth and rhythmic intensity of “We Collide” in a powerful and atmospheric way.
“The hypnotic pull and the powerful use of repetition in ‘We Collide’ fascinated me from the very first listen. My goal was to make that feeling – the chaos of an inner storm – tangible through abstract imagery, creating a visual journey from disorientation to acceptance.”
Frame and Mantle is excited to share that their sophomore album, Well Of Light, is set to be released on June 27th. Featuring recent singles “Standstill” and “Down A Thousand”, Well of Light was recorded with Larry Luther at Mr. Smalls Recording Studio in Pittsburgh. The album is now available for pre-order and pre-save.
“The music on our new full length album, Well of Light, evokes feelings of being surrounded and consumed by shadows, with only slivers of lightness peeking through the canopy above. This idea is further bolstered by the album art, which was inspired by the Lisheen House, an abandoned manor in the Irish countryside that has been completely overtaken by trees,” shares guitarist/principal songwriter Brian Thompson. “Additionally, whereas our previous full length had lyrics inspired by The Legend of Zelda, Well of Light has lyrics inspired by Dark Souls, if that tells you anything about the album.”
Gibson, the iconic and leading instrument brand, has launched a global search for the world-renowned Cherry Red Gibson ES-345™ guitar that Michael J. Fox played in the 1985 hit film from Universal Pictures and Amblin Entertainment, BACK TO THE FUTURE, which became the biggest film of 1985 in the U.S. and the second highest-grossing worldwide.
The stunning guitar was showcased during the beloved film’s unforgettable “Enchantment Under the Sea” school dance scene, a pop culture moment that has inspired many musicians to pick up guitars for the very first time after witnessing the character of Marty McFly (Michael J. Fox) play the legendary song “Johnny B. Goode.” During the making of the 1989 sequel to the film, the filmmakers went to look for the guitar, and it was nowhere to be found. Now, music fans worldwide have the chance to help Gibson find the most important guitar in cinema history.
Fans who have any tips as to the whereabouts of the missing original Cherry Red Gibson ES-345 guitar that Michael J. Fox played in the film BACK TO THE FUTURE can contact Gibson via www.LostToTheFuture.com or call/text 1-855-345-1955.
Watch/share the call-to-action video for the global guitar search featuring Emmy winner Michael J. Fox and his fellow stars of BACK TO THE FUTURE, including Lea Thompson, Emmy® winner Christopher Lloyd, Harry Waters Jr., GRAMMY® winner and Academy® Award nominee Huey Lewis, and more
After much anticipation, South Jersey’s pop punk trailblazers FRND CRCL have officially released their fourth full-length album, JRSY FRSH. A vibrant fusion of gritty guitars, dual vocals, and cinematic flair, the eight-track album is a striking testament to the band’s evolution.
Listen to JRSY FRSH in full here.
JRSY FRSH is more than just a nod to FRND CRCL’s South Jersey roots—it’s a reflection of the band’s mission to create something fresh and bold in a place not widely known for its musical output. The album blends massive, live-ready energy with genre-defying songwriting, channeling each member’s unique influences into a dynamic pop punk foundation. With an emphasis on stadium-sized choruses and emotionally charged hooks, JRSY FRSH is built to sound as big as the dreams behind it.
“We’re a pop punk band first, but we’ve never felt comfortable labeling ourselves as just one thing. This album is a mix of all our individual styles—what’s cool is it ends up becoming something totally its own” shares the group.
One of NYC’s most vital, new rock voices, The Thing today releases the next two singles off of their upcoming album with “Alive (The Sword)” and “Holy Water.” Arriving in full on August 6, the band has been releasing their self-titled third album in thematic packages of A/B-sides over the last few months. As reverent of the city’s gritty past as they are hungry to reinvent it, The Thing was recorded entirely analog, self-produced, and tracked live to tape without the use of a computer. The result is The Thing at their most immediate and unfiltered — Stream today’s new releases.
Now officially crossing into the back half of the album, The Thing takes a moment to show how masterfully they can tiptoe between restraint and release. “Alive (the Sword)” rocks in like a viking ship on the high seas, building beautifully throughout the journey. Guitarist/vocalist Jack Bradley said it’s time to reflect on, “having patience and becoming the person that you know you should be — and having faith. There’s no need to jump the gun, which is something that I struggle with.”
In the 6-minute epic that is “Holy Water,” there’s a palpable transition from something once in the realm of The Beatles, to the repertoire of Radiohead. Taking time to show off the Jazz training of drummer Lucas Ebeling, Bradley shared that “It came out really organically, all of us just playing and having the first part completely die out and then kick back in with the same chords and same song, but just with the different inflection.”
Both of today’s releases are a delicious slow burn, a moment in the live show where you’d imagine the band taking a breath. But do not be deceived. At no point along the way do The Thing surrender the entrancing hold they have on their listeners.
Snow Wife has officially unleashed her highly anticipated new EP Bodyology, available now on all streaming platforms. The rising pop provocateur continues her meteoric ascent with a fearless, genre-smashing collection that explores gender, fantasy, sensuality, and identity through a dazzling pop lens. The six-track project—featuring the sultry title track “Bodyology” and her most recent single “Sweat”—is anchored by the focus track “Freaky Like That,” a bold, club-ready anthem that captures the EP’s electric spirit.
The release arrives on the heels of Snow being named a 2025 Gold House Futures Music Accelerator Artist—a prestigious honor powered by Spotify and Live Nation spotlighting breakthrough AAPI creatives. With Bodyology, she steps fully into her boldest era yet, offering six tracks of camp, escapism, and unfiltered expression.
To celebrate the EP, Snow Wife has been taking her explosive energy on the road with the Bodyology Summer Tour, having already hit Washington, D.C., New York City and Philadelphia ahead of tonight’s show in Boston. She’ll continue her run with festival appearances at Governors Ball, Indy Pride, Summerfest, and more.
The project was crafted alongside a standout roster of collaborators including Jesse Saint John (Britney Spears, Brooke Candy), Slush Puppy (Nessa Barrett), Novodor (Charli XCX, Troye Sivan), Jbach (Anitta, LE SSERAFIM), Brasko (YUNGBLUD), Steph Jones (Sabrina Carpenter, Selena Gomez), Tim Nelson (Tove Lo), Skyler Stonestreet (Tate McRae, Renee Rapp), and producers including Whethan, TimFromTheHouse, Josh Murty, and more. Slush Puppy also served as creative director.
Snow Wife first burst onto the scene with her viral debut EP QUEEN DEGENERATE (boasting 146M+ streams) and her breakout hit “American Horror Show.” Throughout 2024, she kept audiences hooked with a steady stream of standout singles—from the rebellious “Crazy” to the playful “Pool” and the provocative “Wet Dream.” She’s been praised by outlets like Spin, Teen Vogue, Nylon, Flaunt, and Queerty, which hailed her as “pop music’s new mistress.”
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