Japanese singer-songwriter Fujii Kaze released his highly anticipated third studio album Prema via Republic Records – listen here. “Prema” directly translates to “supreme love” in Sanskrit, setting the tone for Kaze’s most introspective and musically adventurous album to date. With over 2.2 billion global streams and 7.8 million monthly listeners, Fujii Kaze continues to solidify his place as one of today’s most exciting genre-defying artists.
Accompanying the release, Kaze also dropped an official music video for the title track “Prema” — watch here. With powerful imagery set to a deeply emotional love song, Kaze also spent time with elephants at a local sanctuary in Thailand.
Of the release of Prema, Kaze states, “Pure, simple, uplifting. It’s more than just music for me, it’s a lifestyle. With this record, I wanted to be love itself—selfless, spiritual, and supreme love—Prema.”
The release of Premafollows a landmark summer for Kaze. Kicking off the year with sold out shows in Berlin, Paris and London’s O2 Shepherd’s Bush Empire, Kaze recently wrapped the first leg of his debut U.S. tour, which included sold-out shows at the iconic Greek Theatre in Los Angeles and festival after-shows at Lollapalooza and Outside Lands. With an astonishing 260,000 fans queuing for tickets in Los Angeles and 70,000 in San Diego, Kaze broke unprecedented on-sale records and will continue the second leg of his US tour in October. Most recently, Kaze joined Billie Eilish as a special guest on the Tokyo stop of her HIT ME HARD AND SOFT: THE TOUR.
Empara Mi returns with ‘It Was Always You’, the sixth single from her forthcoming concept album Monsters & Masochists – an honest and raw love song, exploring all the emotions and dilemmas that can come with that.
‘It Was Always You’ is an empowering, magnetic and incredibly catchy pop song about accepting a situation for what it is: You know I’ve tried to deny it / There’s no use in trying / Cause it was always you. The open and direct lyrics are refreshing, and so relatable. Empara Mi’s vocal delivery is simply stunning, carrying emotive complexities to this track.
‘It Was Always You’ is a euphoric, nostalgic indie-pop anthem in the vein of Avril Lavigne, Olivia Rodrigo, and Gracie Abrams, the kind of song that belongs in the final scene of your favourite coming-of-age film, where the camera pans wide, the credits roll, and you can’t stop smiling through the tears.
Written just one week after her wedding, the song is inspired by her real-life childhood sweetheart turned husband as she looks back on the years when they were “just friends”, even though everyone else could see where it was heading. “This is your sign to worry about the guy they tell you not to worry about,” she laughs. “Because that’s what I did… and now I’m married to him. Sorry not sorry to my exes.”
Stockholm-via-London duo Nathalia Aránguiz and producer Ove Jerndal today provide a taste of their upcoming EP in the form of titular single ‘All Rights Reserved’ via 40 Miles. Listen to the single here.
Standing as the opening track of the mixtape, Nathalia raps: “You’re taking a big bite of my life, my future and my rights / Just wait ‘til I follow the light,” immediately establishing the project’s unapologetic tone. Backed by a dusty, ‘90s indebted hip-hop beat, the duo skillfully balance raw immediacy blurring the line between underground experimentalism and escapist pop. They say that the track is a “raw social criticism and a young emotional response to the current political situation”.
Out on the 19th September via 40 Miles, The EP All Rights Reserved is an alluring, agitated mixtape that’s as party-starting as it is political, epitomising the duo’s modern punk ethos and their desire to rip up the rulebook and stick it all back together with glitter glue.
Today’s release follows previous singles ‘Bad Lyfe’ – an unhinged and high-octane mission statement which was inspired by a trip to see Nathalia’s family in Chile. A non-stop blast of reggaeton from the club across the road galvanised the industrial beat, and the single arrived alongside an eye-catching video from Brokenint, previewing the band’s Y2K flair (and tongue-in-cheek humour); watch here. Follow-up single “No Te Metas” hybridised the salsa music Nathalia grew up on, with the grooves of Deee-Lite and the cheeky verve of Rosalía, creating an ultra-contemporary anthem. Watch the brilliant video directed by the band and Mathias Söderberg here.
Amazonica has lived a thousand musical lives, and she’s only just getting started. A cult figure on the global DJ circuit, she cut her teeth fronting bands and producing records with punk icons before most kids had finished school. Now, she’s stepping into her fiercest chapter yet: Amazonica the artist.
Her new single “Mirror Baby” is a slow-burning, seductive dose of dark alt-pop, equal parts vulnerable and empowered. Built on a menacing groove, it’s an ode to intimacy, duality, and finding strength in reflection. It sets the tone for her upcoming album, Victory, that will see the artist blurring the lines between post-punk, emo rap, and future-facing pop. As she puts it: “Pop music for the apocalypse.”
Raised between the UK and NYC, Amazonica was signed at just 14 years old and released two albums under her former alias, Dirty Harry. During lockdown, she reclaimed her masters and began re-releasing her past work under her new moniker, a name that reflects the transformation she’s undergone through sobriety, Buddhism, and pure survival.
She wrote and recorded her debut solo album Victory over a decade, producing it in her London flat. The result is a visceral, cinematic body of work about faith, resilience, the beauty in starting over and winning the war with yourself as well as everyone else.
Amazonica’s sound isn’t easily boxed in, and neither is she. With more music on the horizon, she’s staking her claim as a singular artist on her own terms.
Rising singer-songwriter Avery Lynch reveals her new EP, Glad We Met, out now via RECORDS/Sony Music. The 9-track EP includes previously released singles like “Rain,” “the boys who don’t know what they want,” “think about it,” “Dead to Me,” “Lasting Effects,” and “Sweetheart,” alongside a handful of new tracks.
Glad We Met is a project rooted in vulnerability and reflection. Built on lush, melancholic piano arrangements and Avery’s soft, expressive vocals, the EP follows her journey through heartbreak, healing, self-discovery, and the courage to open her heart to love again. The EP also marks a major creative milestone for Avery. It’s the first record she’s ever co-produced, adding a new layer of intimacy and ownership to her sound.
“The ‘Glad We Met’ EP is my favorite project I’ve ever made,” says Avery. “Each song follows the beginning of the love story I’ve been living for over five years now. Some songs are about heartbreak and moving on, and others are about falling in love again. It all comes together with the title track ‘I’m Glad We Met,’ which tells the story of meeting my significant other, where we’ve gone, and where we are now.”
Oklahoma-based dream-pop duo Sports are back with their exhilarating new single ‘Nice 2 Meet Myself (Bang Bang Bang)’ – a jolty yet dreamy track that blends glitchy psychedelia with their signature hazy soundscapes. Equal parts cathartic and euphoric, the track explores themes of freedom, self-acceptance, and emotional release – a sonic embodiment of flying weightless, untethered from fear or expectation.
Black Dahlia is an experimental musician and performance artist whose work blurs the boundaries between theatre, sound, and surreal spectacle. Her creations exist in dreamlike spaces where masks, characters, and worlds collide—flamboyant, avant-garde expressions that draw as much from performance art, mime, and surrealism as they do from music itself. Whether inhabiting strange personas on stage or building vast sonic landscapes, Black Dahlia conjures universes that feel both alien and intimately human, inviting her audience to step into the unknown.
Her forthcoming album The Imposter (out October 7, 2025 via her own imprint School of Dahlia) is a theatrical concept record that unfolds like a surreal stage play. Written, produced, arranged and performed by Black Dahlia, it follows a lone wanderer, the Imposter, who chases an enigmatic light away from a distant Paradise, only to find himself lost between realms, drifting through an interstellar limbo of time and strange encounters. His arrival on Earth reveals a fractured, expressionist world where he struggles to adapt, wears many masks, and ultimately erupts into a new form (the Amphibian Man) before facing the harsh truth that rebirth is the only escape.
The album’s lead single, “On The Run,” offers the first glimpse into this dreamlike odyssey. Here, the Imposter is suspended in the liminal space between Paradise and Earth, chasing meaning while pursued by shadows of his own making. The track captures the vastness and isolation of his journey, a restless search for freedom haunted by masks, theatre, and the fear of never belonging.
Musically, The Imposter embraces a brave fusion of science fiction, surrealism, Bauhaus, prog, mime, and German Expressionism—art forms colliding in a universe that exists entirely on its own terms. This is not an album that explains itself; it is a dream committed to vinyl, a work of heart and vision that asks to be entered and experienced in full. The outer and inner artwork mirror this duality: one world folding into another.
Black Dahlia has previously been recognised for her fearless artistry. Her 2024 single “Bodyguard” earned ABC Rage’s ‘Wild One’ award and screened at SXSW Sydney Screen Festival. She has also collaborated with artists including Rebel Yell (on the “wonderfully explosive” TNT, praised by The Guardian Australia) and contributed original compositions to film projects such as Let The Blind Lead Those Who Cannot See (MUBI).
Now, with The Imposter, Black Dahlia expands her vision into something vast, theatrical, and unflinchingly brave. This world will be brought to life through performance: an Australian tour in December 2025, followed by a European and UK tour in early 2026.
International DJ/producer duo Loud Luxury, the global powerhouse behind over 2 billion streams, are closing out the summer with their brand-new single, “UH OH!” with pop singer/songwriter Natalie Jane from their partnership via Casablanca Records. Listen HERE. The track is a pulsing pop anthem that blends retro influences with futuristic production, made for pregame hype, late-night adventures, and the electric feeling of a summer that never ends.
“UH OH!” pairs Loud Luxury with longtime friend Natalie Jane, a collaboration they’ve dreamed of for years. Natalie Jane has re-written pop’s rules with emotionally visceral lyrics and a seismic voice to match, making her one of the most intriguing breakout’s of pop’s new generation.
Loud Luxury on the release: “We’ve been trying to do a song with Natalie for about 3 years. We adore her and truly believed her voice on a dance song would be special. The result is something both nostalgic but forward thinking. “UH OH!” taps into a recession pop feel imagined in 2025 and is the perfect way to kick off the next era of Loud Luxury.”
Toronto/Berlin producer and Big Trouble Records founder Andre Zimmer has emerged as one of house and techno’s hottest commodities, fresh off his scorching fabric Records release with Carlita. Now he joins DJ Tennis’s Life and Death label with the announcement of his 4-track Kwon’s Anthem EP, out September 19.
Arriving alongside the announcement is the lead single “Hypnotizing” — a piano-driven, ethereal cut that highlights Zimmer’s ability to channel rave nostalgia into shimmering, emotive house designed for peak dance floor moments.
The EP also features the standout track “That’s Right,” which has already been making waves across clubs worldwide. With early support from Peggy Gou, Dam Swindle, Massimilliano Pagliara, Alinka, Jorkes, Luigi Di Venere, and more — including rotations at Panorama Bar and viral fan videos from Bella and beyond — it’s quickly becoming one of Zimmer’s most in-demand productions.
London-based folk-pop singer-songwriter Maggie Baring returns with her second EP, ‘Ekphrasis’ – a tender yet expansive six-track release that explores vulnerability, identity, and transformation. Derived from the Greek word meaning “to speak out in full”, ‘Ekphrasis’ captures the essence of Maggie’s songwriting: emotionally vivid, lyrically rich, and heightened with raw introspection.
- Email: neill@outloudculture.com
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