Brazilian-born, New York-based pop artist Laura Pieri turns up the volume with “Frankie (ON THE DANCEFLOOR),” a pulsating follow-up to her acclaimed 2024 EP “Frankie.” Out now, the project reimagines the original tracks as euphoric, club-ready anthems while introducing a brand-new single, “Flown Away.”
Where “Frankie” told the story of survival and self-discovery in a male-dominated world, “Frankie (ON THE DANCEFLOOR)” celebrates what comes after: joy, confidence, and release.
“‘Frankie’ was about rebirth and self-discovery; ‘Frankie (ON THE DANCEFLOOR)’ is about embodiment — less thinking, more feeling,” Pieri said. “It reimagines the songs as a constellation of moods, showing different sides of Frankie’s story and letting her release her inhibitions.”
Created with longtime collaborator YXSH, the EP brings new textures and moods to the songs.
“Remixing requires a little destruction, which was scary for me at first,” she said. “But once I gave myself permission, it became fun to play with textures and moods that weren’t obvious the first time around.”
Born in São Paulo and now based in New York, Pieri has steadily built her reputation as a multidisciplinary artist, with features in FLAUNT, Mundane Magazine, and Northern Transmissions. In 2024, she even debuted a short film alongside the original “Frankie” release, underscoring her vision at the intersection of sound, story, and spectacle.
With “Frankie (ON THE DANCEFLOOR),” Pieri transforms pain into power and survival into celebration — an electrifying new step in her evolving artistry.
Stream “Frankie (ON THE DANCEFLOOR)”: https://unitedmasters.com/m/frankie-on-the-dancefloor
Few punk albums have cast a longer shadow than Descendents’ 1982 debut “Milo Goes to College.” Fusing hardcore urgency with infectious hooks, awkward humor, and adolescent frustration, the record became a cornerstone of pop punk — its influence still felt more than 40 years later. Universally hailed as a classic, it landed on Rolling Stone’s “40 Greatest Punk Albums of All Time,” Spin’s “50 Most Essential Punk Records,” and Pitchfork’s “200 Best Albums of the 1980s.”
Now, Descendents and Org Music are giving the landmark album the reissue treatment it deserves. Out September 19 on LP, CD, and cassette, the release has been fully reclaimed by the band and carefully restored. It also kicks off a larger reissue campaign that will revisit their early catalog originally issued on New Alliance and SST, including “I Don’t Want to Grow Up,” “Enjoy!,” “ALL,” “Bonus Fat,” and more.
Among the formats is a striking limited “Punk Note” edition, featuring alternate artwork by John Yates (Stealworks) inspired by the iconic Reid Miles/Francis Wolff Blue Note jazz designs. Each copy includes new liner notes by BrooklynVegan’s Andrew Sacher and comes in a deluxe case-wrapped jacket.
More than just a nostalgic artifact, the “Milo Goes to College” reissue honors the album’s enduring legacy while ensuring it continues to reach new listeners — raw, vital, and under the band’s own vision.
Stream the teaser: https://www.youtube.com/watch?v=2T6aiGUfeFs
Order here: https://orgmusic.com/collections/descendents
Two-time GRAMMY nominees I Prevail have dropped their long-awaited fifth album, “Violent Nature,” via Fearless Records. Alongside the release comes the video for focus track “Pray,” a song that opens with intimate, acoustic tones before erupting into a storm of soaring choruses, a punishing bridge, and raw vulnerability.
“‘Pray’ is one of my favorite songs on this record,” Frontman Eric Vanlergerghe said. “It’s about the moment when someone close to you burns you, and then has the nerve to feel sorry for you. This song is about letting go of that pity, realizing you are better off without them.”
“Violent Nature” marks a turning point for the band, with Vanlerberghe taking full command of both clean and unclean vocals and bassist Jon Eberhard handling production duties. Across ten tracks — including earlier singles “Annihilate Me,” “Rain,” “Into Hell,” and the title track — I Prevail pushes their extremes further than ever, making the heavy moments heavier and the hooks sharper.
“We wanted to create something authentic that could only come from the members in the band as a collective,” Vanlergerghe said. “There were no outside producers or writers involved. Just us 5 sitting in a room together.
Over the last decade, I Prevail have become one of rock’s most explosive forces, with gold-certified albums (“Lifelines,” “TRAUMA”) and a pair of GRAMMY nominations under their belt. Their 2022 effort “TRUE POWER” further cemented their refusal to conform, proving their place at the forefront of modern heavy music.
Fans can catch I Prevail live this fall at Louder Than Life (Sept 20, Louisville, KY) and When We Were Young (Oct 18, Las Vegas, NV).
Stream “Violent Nature”: https://ffm.to/ip_violentnature_album
LA-based songwriter and producer Jordan Patterson released “The Hermit” — an album that feels less like a debut and more like a culmination. Known for her diaristic lyricism and lo-fi inventiveness, Patterson deepens her craft here, carrying her own light with quiet grace and striking self-trust. Entirely self-written and co-produced with JEHU and Eric Van Thyne, “The Hermit” has already drawn early praise from Stereogum, FADER, NME, Ones To Watch, and Spotify editorial playlists including Fresh Finds, Lorem, and Editors’ Picks.
As a final preview, Patterson has shared the focus track “Hey Mama.” A fiddle-laced, folk-minded cut, the song contrasts sunny arrangements with poignant lyricism about resilience and love.
“My mom and I have been through thick and thicker together,” Patterson said. “In my darkest moment, the thought of her reminds me that grace dreams, in its purest form, are worth desiring and already exist in my own life. My grandma Hazel gave my mom, and then my mom gave me the single most important thing: love.”
Born in North Carolina and raised in Los Angeles, Patterson honed her artistry early at the LA County High School for the Arts before spending time at NYU’s Tisch School of the Arts. Returning to California in 2021 to pursue music full-time, she has since become a fixture on the local circuit with shows at El Cid, Genghis Cohen, and Permanent Records Roadhouse. Along the way, she’s collaborated with producers across LA, New York, Atlanta, and London, steadily building a world that blends catharsis with imagination.
2025 has already been a breakthrough year: she’s opened for Australia’s Folk Bitch Trio to a sold-out LA crowd, earned critical acclaim for her single “God,” and even won a standing ovation supporting Geese’s Cameron Winter earlier this year. Each step has affirmed Patterson’s commitment to being, in her own words, “perpetually in progress.”
With “The Hermit,” Patterson offers her boldest statement yet — an album that captures the messy, luminous work of becoming, and invites listeners to join her in the process.
Stream “Hey Mama”: https://go.mhe.fm/jordanpatterson_heymama
Stream “The Hermit”: https://go.mhe.fm/jordanpatterson_thehermit
Today, singer, songwriter, and sound healer Doe Paoro unveils “Living Through Collapse,” her first full-length release since 2018’s “Soft Power.” The new LP is her most expansive work to date — an offering designed to catalyze collective healing, deeply informed by her apprenticeship in shamanic plant medicine with Shipibo teachers in the Peruvian Amazon and her work leading sound baths and guided meditations. The result is music as both sanctuary and sustenance, carrying listeners through grief, repair, and possibility in an increasingly unstable world.
The release arrives with the luminous single “Teach Us of Endings” and its cinematic companion video. Co-produced by Lagartijeando and Devin Gati, with lyrics co-written by activist Alnoor Ladha, the track pairs buoyant percussion and effervescent textures — quenchacho flute included — with a message that is equal parts devotional and urgent. Directed by AnAkA (FKA twigs, Willow Smith) and filmed in Costa Rica, the video places dance, community, and sacred connection at its center.
“We both agreed that there was a sacred synergy between us and continue to feel that way,” Paoro said. “Together, we perceive that the world we know is collapsing and that we owe it to future generations to birth in a more life-affirming world together. That message is urgent and is at the core of ‘Teach Us of Endings,’ and it is also what drove the collaboration.”
To celebrate the album’s arrival, Paoro will also host a special Autumn Equinox healing song circle at Anima Mundi in Los Angeles on Saturday, September 20 (7–9 pm). The intimate gathering will honor “Living Through Collapse” with community, song, and ceremony.
“Living Through Collapse” was co-produced with longtime collaborator Devin Gati and features contributions from an eclectic cast of producers including Jonathan Wilson (Angel Olsen, Father John Misty), Chris Sholar (Esperanza Spalding, Solange), and Lagartijeando, alongside a global cohort of musicians spanning Costa Rica, Argentina, the UK, and beyond. The artwork, created by multimedia artist Elena Stonaker and expanded into a visual language by Finland’s Tsto studio, mirrors the album’s animist and mycelial spirit.
With “Living Through Collapse,” Doe Paoro takes her place once more as a guide and witness — an artist committed to weaving grief into beauty, endings into new beginnings.
Stream “Living Through Collapse”: https://distrokid.com/hyperfollow/doepaoro/living-through-collapse
Singer-songwriter Ana Luna shared her evocative new single “Bleeding Pen,” the first glimpse of her forthcoming debut album “Tainted Silhouettes,” arriving November 7. Building on past releases like “Daddy’s Empire,” “Dance in a Trance,” and “Can We Pretend We Just Met At A Bar?”, the track reveals a bold new chapter for the Paris-raised, Los Angeles-based artist.
A slow-burning, cinematic ballad, “Bleeding Pen” pairs Ana’s haunting, ethereal vocals with sweeping instrumentation. The song wrestles with guilt, memory, and the shifting ways we reckon with both the hurt we cause and the hurt we inherit.
“The song explores the guilt of hurting someone through both sides,” Luna said. “On one hand, it is me apologizing and admitting I never meant to hurt my lover. But it also acknowledges that through that pain, I was forced to reflect and discover things about myself I may never have realized otherwise.”
Born in Ukraine, raised in Paris, and now based in Los Angeles, Ana Luna brings a storyteller’s instinct to her music. After years of keeping her songwriting private while pursuing acting, she stepped fully into her artistry in college, honing a sound that blends dream pop, alt-rock, and moody balladry into something sultry, celestial, and unflinchingly honest.
Her upcoming debut, “Tainted Silhouettes,” promises to capture that full spectrum: memory and pain, healing and renewal. As Ana Luna puts it, the record is both personal and universal — a meditation on what it means to move forward, even when carrying the shadows of what came before.
Stream “Bleeding Pen”: https://onerpm.link/BleedingPen
Edmonton punk-rock stalwarts Calling All Captains have announced their upcoming EP, “The Things That I’ve Lost,” out January 9, 2026 via New Damage Records. The seven-track collection, recorded with longtime collaborator Quinn Cyrankiewicz (Royal Tusk) at The Audio Department in Edmonton, captures the band at their most raw and resilient. Mixed by Tim Creviston and mastered by Stuart McKillop (Rain City Recorders), the record wrestles with themes of burnout, grief, and fractured identity — delivered with unflinching honesty.
The first single, “A New Type of Grey,” arrived September 18 alongside the EP announcement.
“Our new song ‘A New Type Of Grey’ touches on the in-between feelings of looking at the world in a black and white way,” vocalist Luc Gauthier said. “Succumbing to your insecurities and focusing on your weaknesses can lead to black and white thinking. As to say if something isn’t 100% good, then it’s 100% bad. However, that is not the reality. Our own hopes and dreams can fester into wonderful things if we can find a new type of hope in the black and white.”
The video holds added weight for Gauthier, who previously worked as a cultural support worker with Indigenous youth.
With Gauthier, Connor Dawkins (guitar/vocals), Brad Bremner (guitar/vocals), and Tim Wilson (drums), Calling All Captains have built their reputation on transforming personal struggle into explosive, emotionally charged punk rock. Their sound fuses post-hardcore grit with pop-punk urgency and alt-rock weight, balancing volatility with vulnerability.
“The Things That I’ve Lost” also includes a standout co-write with Tom Denney (A Day to Remember, Pierce the Veil, Neck Deep) on “Blood for Blood” — a striking example of the band’s expanding creative reach.
Following extensive Canadian and U.S. headline tours and major festival appearances, Calling All Captains are stepping into what promises to be their most defining era yet. “The Things That I’ve Lost” may chronicle the breaking down — but it’s also proof that this band is already rising stronger than ever.
Stream “A New Type of Grey”: https://callingallcaptainsstream.com/grey
