fanclubwallet, the indie-pop songwriting project of Hannah Judge, announces their sophomore album Living While Dying, out October 24 via Lauren Records. Alongside the announcement, the band releases new single/video, “New Distraction,” out today.
Written during her ongoing experience with chronic illness, “New Distraction” captures the restless search for something – anything – to break the monotony. “‘Cmon, I’m waiting, for some kind of new distraction’ was a mantra circling my brain these last couple years,” says Judge. “This song came out of nowhere for me, though. I was too anxious to write a solo guitar lick for this but the band encouraged me, and it became one of my favourite parts. It reminds me of a Coldplay B-Side.”
On Living While Dying, the question of mortality looms large. Paradoxically, it’s also a record of pristine, sun-drenched pop: Shania Twain with a Casio. The album inhabits a conceptual world of ghosts, haunted houses, the Black Lodge of Twin Peaks, and the bleakness of Fargo – spaces of liminality, isolation, and dread. But through all that darkness shines something human and deeply moving.
Judge began writing Living While Dying during a period of intense solitude and illness, managing Crohn’s disease. “I was thinking about dying a lot,” she says. “It felt like I was stuck. Alive, but in freefall.” Illness became its own kind of limbo. A later surgery brought a period of relief – a sudden return to hope and joy – only for illness to return again. The album captures all three phases: despair, recovery, and the fragility of both.
Neti-Neti—the Brooklyn-based lo-fi ritual music duo of vocalist Amirtha Kidambi (Elder Ones, Mary Halvorson’s Code Girl) and percussionist Matt Evans (a collaborator of Elori Saxl, Ben Seretan, OHYUNG, and others)—announce their second album, Echo of Being / Grace in Rot, out October 10 via Dinzu Artefacts. Recorded in a single day in early 2024 with producer Nick Zanca (Lucy Liyou, Wendy Eisenberg, More Eaze) and engineer Sarah Galdes (L’Rain, Bartees Strange), the album draws its emotional weight from both personal bereavement and the collective grief of our era, transforming mourning into a shared act of resistance and healing.
Born from improvisation sessions sparked by personal loss, the project has evolved from an intimate exchange into a practice that bridges the personal and the political. Lead preview “Grace in Rot,” out today alongside the announcement, distills the project’s unique vantage. “‘Grace in Rot’ heaved its way out of us during the last take of the session—an unexpected flame of physicality that came after a long day and a deep discussion about the evil and cruelty we witness daily in the world,” Evans explains. “It captures an exasperated, bile-like fighting spirit, burning through at our most despondent.”
Tamar Berk crafts emotionally raw indie rock and alt-pop that blends fuzzed-out guitars, dreamy textures, and lyrics that linger like a thought you can’t shake. It’s a soundtrack to those times when your thoughts are spiraling, the lights are too bright, and you’re trying to find meaning in the mess. Moody, melodic, and wired with a quiet intensity. Raised on classical piano and early Disney soundtracks, she later found inspiration in the Beatles, David Bowie, Liz Phair, and Elliott Smith—artists who shaped her instinct for melody and emotional truth.
Fiercely independent, she writes, records, and produces her own music, channeling her inner chaos into songs that explore identity, obsession, and the strange beauty of overthinking. After years in the Chicago, Portland, and San Diego scenes, she launched a solo career grounded in DIY grit. Her prior 4 album earned praise from KCRW, FADER, CREEM, and SHINDIG, with nominations from the San Diego Music Awards and production help from Matt Walker (Morrissey, Garbage) and Sean O’Keefe (Beach Bunny, Motion City Soundtrack).
Her fifth and latest album, OCD (out Sept 5), is a reverb-soaked deep dive into looping thoughts, emotional undoing, and the patterns we can’t escape. It’s her boldest and most immersive work yet. First single/video drop August 8
Cleveland, OH-based alt/psych-pop artists Radderall and Muzzy Fossa announce their collaborative concept album The Club Is Open due out October 31 via Wax Mage Records and available for pre-save now. Alongside the announcement, the duo shares two new tracks, the double A-sides and music video, “Movies” / “Every Minute” out now.
Tomorrow night, Radderall will be in Columbus at Bee Collective as they kick off a string of Midwest and East Coast dates through November. With the forthcoming project, the Radderall live outfit will bring to the stage the project’s expansive, surreal, synthy soundscapes that blur the line between irony and sincerity.
The Club Is Open is a conceptual journey built around a story of duality, and the search for a mythical venue called The Club: two characters navigating the tension between chasing short-term dopamine—through vanity, fleeting love, or ego—and pursuing something meaningful, like real love, honest connections, friendship, and self-discovery. Utilizing the naming convention R.A.M. (Radderall & Muzzy Fossa), the album frames a narrative of resilience and growth—symbolizing resurrection, transformation, and the ability to find renewal after destruction.
Radderall (Zach Taneyhill) & Muzzy Fossa (Nathan Hunt)’s work is theatrical and immersive yet deeply human, blending analog charm, R&B-inflected grooves, psych-pop storytelling, and vintage synth textures into a sound that is strange, surreal, and emotionally resonant. As Taneyhill describes it, the album is “a world unto itself—a place we built so we could get lost and maybe find a little meaning in the process.”
Rapper Kosha Dillz has created his own controversial news network anthem inthe song and music video AlJewzeera, a hard-hitting “Rage Against The Machine” style anthem meets Beastie Boy type record of which couldn’t come at a more includes the death of journalist Anas Al Sharif, accused of being a Hama terrorist working for Al Jazeera.. Amidst the controversy of Greta Thunberg sailing to Gaza, stolen humanitarian, starving children, Israel blocking it all at the same time, Iran bombs the city of Tel Aviv, this video will make you feel and question everything you know today on the conflict. Why? It will most likely change tomorrow, and not for good reasons. Since we wrote this press release, 7 more “journalists” have been killed. But it is also reported that they were in a hospital turned Hamas compound.
The parody name and intense video, which was shot outside buildings destroyed by a ballistic missile a few weeks ago, includes various green screen effects representing what is considered to be a manipulation of propaganda, otherwise known as Pallywood. As provocative as it is, the overall message begs to question: why are people using fake images to change public image in a war with so many unanswered questions, yet also the source of many domestic issues in rising anti-Semitism. The end scene lifts up the green screen as everything is eerily normal on the beach, which is an ironic display of resilience for Israelis who seem to operate as if nothing out of the ordinary is happening
The opening lines of AlJewzeera prove to be powerful.
“Me too unless a Jew f#$k a feminist, bugging on the government no negative October 7th sh#t, this is for anybody that I can’t diss, anybody from a Rogan to a Candace,” pointing out how various people have cashed in on the media hype of the Israel-Gaza War. Even as we type this, sirens are sounding across Tel Aviv as Yemen shoots a Ballistic Missile into the airspace.
After a brief hiatus and a lineup reset, songwriter Avery Springer returns as Retirement Party with new EP Nothing To Hear Without A Sound, out now.
Tracked at Type One Studios with engineer/producer Simon Small (The Front Bottoms, Pool Kids), the four-song EP kicks off Retirement Party’s “adult chapter”: hook-forward, fuzz-bright indie rock that turns second-guesses into sing-alongs. From the hard-charging EP opener “Sixth Sense” to the intimate and earnest closer “Moving Forward,” Nothing To Hear Without A Sound is an irresistibly catchy re-entry that bridges the band’s DIY roots with a sharper, full-spectrum sound.
“While all of these songs stem from different times in my life, the common thread that brings them together is the anxiety of time passing and life changing,” says Springer. “It felt natural pulling these songs together and finishing them as a group. Unexpectedly, revisiting and completing them together has given this worry a sense of closure.”
Pulling from ideas sketched at different points in the band’s life and finished under Springer’s current vision, Nothing To Hear Without A Sound is the project’s first release without the original lineup behind cult-favorite LPs Somewhat Literate and Runaway Dog. Springer steps fully into architect mode here, writing and tracking everything but Sam Brown’s drums, channeling the project’s punchy emo DNA into tighter arrangements, cleaner lines, and bolder dynamics. The result feels unmistakably like Retirement Party – just older, wiser, and turned up a notch.
Los Angeles intersectional, genre-bending project Lucky Horse Red announces their debut, self-titled album will be released on September 26 via Shuga Records. Today’s news is heralded with the new double single release of “Noon Moon” and “Whiskey.”
“Noon Moon” is a song that swims in humid baths of juxtaposition, the lyrics are unbridled, flowing prose reeling up against the sliding warmth of steel guitar. Singer Bunny Gaubert describes today’s single as, “A swampy summer tune. We wanted to create a catchy chorus with group vocals à la Courtney Barnett or Kurt Vile” — Stream.
And on the other side, “Whiskey” is a tameless country-rock song about coming back to an old lover because you can’t get the same love anywhere else. Gaubert sings, “I heard you nicknamed me whiskey” as she accuses an old flame of needing her trouble — Stream.
Chloe Navarre emerges from the backlit static of America. They’re known for collaborations that blur the line between regional cryptid lore and cult legend—most notably with Phil Thomas Katt, Pensacola’s underground pop oracle, and the spectral Southwestern collective THE GRIN LINES. Together, they’ve channeled transmissions that are at once genuine, serious, funny, and deliberate. Navarre never sacrifices atmosphere for affectation, maintaining a playful, open-minded approach to songwriting that favors intuition over pretense. “Analemma” the standout single from the upcoming Periwinkle is out now
“QUE CE SOIT CLAIR” is the second single from Paul Kalkbrenner’s new album THE ESSENCE and has become a fan favorite at festivals and in club sets. It’s a collaboration with Belgian superstar Stromae (whose real name is also Paul), built on a long-standing history: back in 2009, Kalkbrenner created a remix for Stromae’s single “Te Quiero”. Now, they meet again as equals – old friends who have never lost touch over the years.
“QUE CE SOIT CLAIR” is one of the album’s most direct tracks: pounding four-to-the-floor kicks, pulsating synths, and Stromae’s intense spoken-word vocals. The title translates to “Just to be clear…” – and that’s exactly what the track is about. A love that knows no boundaries. No nations, no origins, no categories. What matters is the connection between two people.
For those who prefer their juice with Heavy Pulp, rock band The Technicolors today release their fourth album — out now via SoundOn. Heavy Pulp is the type of record that doesn’t cut one single corner. A band forged by a decade and a half out on the road with various projects (most recently BRONCHO and Beach Weather), The Technicolors took their time putting together a sonically massive album that drips with the confidence of knowing exactly who they are, in an ecosystem that’s once again primed for the dominance of rock music — Listen to Heavy Pulp.
Their first album since 2021, their time away was less of a hiatus and more of a chance to create very deliberately. Writing the record over the last two years, The Technicolors wanted to physically be in the room with the creatives they were working with. Heavy Pulp could not have taken shape without the production talent of GRAMMY-nominated Robert Adam Stevenson (Queens of the Stone Age, The Kills), BRONCHO’s Nathan Price on drums, and Madison Cunningham who is featured on “First Class to Nowhere.”
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