British-Danish artist Iris Gold is diving deep into her roots with a luminous new acoustic take on her psychedelic soul-pop anthem “Smile.” Filmed in Montego Bay, Jamaica, the reimagined version — what Iris affectionately calls “mermaid reggae” — finds her stripping the song to its emotional essence while embracing the island’s spiritual rhythms.
The intimate session was recorded on Papa Curvin’s (of Boney M) land, joined by an all-star lineup of Jamaican legends including Brian Jobson (No Doubt, Gregory Isaacs, Lee “Scratch” Perry, The Rolling Stones, Jimmy Cliff), Bongo Sham, and drummer Speckles. Surrounded by the sea’s energy, Iris sang the entire track in falsetto, creating a dreamlike, otherworldly tone that brings new depth to her message of joy through adversity.
Originally written during a period of family illness and turmoil, “Smile” became a global celebration of perseverance — its first video featuring her 89-year-old grandmother, her son, and Dave Stewart of Eurythmics. This new acoustic version transforms that collective joy into something raw and spiritual, a homecoming both personal and musical.
With roots stretching from Jamaica to Denmark and India, Iris Gold continues to blur boundaries between soul, psychedelia, and reggae, turning her multicultural story into sound.
Stream the “Smile” video: https://ymlpmail5.net/8e989usuyataeqmuqaxaqqhavauyhw/click.php
New York singer-songwriter Jessie Kilguss unveils “St. Teresa of Ecstasy,” a sweeping, cinematic new single inspired by Gian Lorenzo Bernini’s famed Roman sculpture The Ecstasy of St. Teresa. Paired with a gorgeously surreal video by Alex Dar, the track captures the moment of being moved — utterly and inexplicably — by great art.
“The song is about experiencing the magic of this specific sculpture and maybe in a greater sense, the magic of being transported by something that feels bigger and more important than the everyday – something that feels otherworldly and divine.”
The single is the second preview from her forthcoming sixth album, “They Have a Howard Johnson’s There,” due November 14. Produced and engineered by Charlie Nieland (Debbie Harry, Rufus Wainwright, Blondie, Scissor Sisters) at Saturation Point Studios in Brooklyn, the song features Rob Heath on drums, Kirk Schoenherr on guitar and keys, Andrea Longato on guitar, and Nieland on bass and violin-bow guitar.
The release follows Kilguss’ recent single “Howard Johnson’s” — a wistful, era-inspired track accompanied by a nostalgic video directed by Deborah Magocsi — and builds on the lush, introspective sound she explored on 2022’s What Do Whales Dream About at Night?
A former actress turned songwriter, Kilguss once shared the stage with Daniel Day-Lewis in The Crucible and worked alongside Marianne Faithfull and Mary Margaret O’Hara in Tom Waits and William Burroughs’ The Black Rider. Her musical world today bridges theatre, folk, and art-pop with a literary edge — each song unfolding like a short story steeped in emotion and craft.
“St. Teresa of Ecstasy” is available now on Spotify, Apple Music, and Bandcamp. Kilguss will celebrate the album’s release with a Record Release Show on November 5 at Berlin Under A, performing alongside Life in a Blender and Charlie Nieland, who marks the launch of his new album Stories From the Borderlines.
Stream “St. Teresa of Ecstasy”: https://open.spotify.com/track/5qR8EOSdZEbFq15WndCW3N
UK jazztronica innovator Kinzoogianna (Anna Stubbs) teams up with West London broken beat legend Mark Force of Bugz In The Attic for two explosive new remixes of her single “Queendom of Sound (I Love Music).” Out now via Brotherly Music, the Drum & Bass and Dub reworks bring fresh, kinetic life to the track that spent four weeks on Jazz FM’s playlist this summer.
Originally written by Hale Smith and recorded by Ahmad Jamal and Nas, Kinzoogianna’s version reimagined the classic with lush orchestration and her signature blend of jazz, hip-hop, and cinematic flair — hailed by critics as “a Badu-meets-Bassey tour de force.” Now, Mark Force, a key architect of the UK’s broken beat scene, propels it further with electrifying new layers that honor its jazz roots while transforming it for the dancefloor.
The release follows Kinzoogianna’s acclaimed debut album The Clique of ’86, praised by The Quietus for its bold fusion of groove, experimentation, and soul. Working alongside longtime collaborator Rob Mullarkey (Jacob Collier, Jordan Rakei), Kinzoogianna continues to bridge London’s past and future, blending live musicianship with fearless electronic production.
Together, Kinzoogianna and Mark Force deliver a cross-generational collaboration that celebrates the enduring spirit of London’s electronic and jazz underground — proof that rhythm, soul, and innovation remain timeless.
Stream the Drum & Bass remix: https://ymlpmail5.net/8f7edusubataeqmuqaxamheaxauyhw/click.php
Stream the Dub remix: https://ymlpmail5.net/9f4b1usuhavaeqmuqatamheavauyhw/click.php
Pacific Northwest alt-rock powerhouse Mylo Bybee returned with their thunderous new single “Time Machine,” a tightly wound burst of emotion that captures both the ache of nostalgia and the urgency of moving forward. The track offers the first glimpse of their forthcoming EP Revisions — a collection that sharpens the band’s sound while staying rooted in their raw, restless spirit.
Built on driving rhythms, sharp guitars, and vocals that balance grit with vulnerability, “Time Machine” channels the band’s signature collision of precision and chaos. It’s a song about wrestling with the past and the future in equal measure, propelled by a soaring urgency that has become a Mylo Bybee hallmark.
“I can’t help but reflect on all the things I have to be thankful for, while also staying grounded in the reality that it’s not so clear for everyone,” Tyler Schlagenhauf said. “We’re living in deeply unsettling times. ‘Time Machine’ walks the line between looking forward, imagining a more robust existence for all of us and looking back, reminiscing about moments that felt different.”
Formed in 2020, Mylo Bybee quickly carved out a place in the modern alt-rock landscape with a high-voltage sound that demands attention — crackling with energy, emotion, and unflinching honesty.
Known for their cathartic live shows, the band has lit up stages across the region — from Boise clubs to Treefort Music Fest, Offbeat, Schellraiser, and beyond. Following their acclaimed release Master & Machine and breakout singles “Run, Run” and “Fighters,” the upcoming Revisions EP features Wes Schlagenhauf on bass (who also recorded the album), with new touring bassist Tony Caruso joining the lineup to carry the sound forward onstage.
Stream “Time Machine”:
https://goldshiprecords.ffm.to/j3nbvrk
Southern California punk outfit EMPIRED have officially dropped their explosive sophomore full-length “Strikes Back,” out now via HEY!FEVER RECORDS and available on all digital platforms. Following 2024’s “Finding Calm in the Chaos,” the record captures the band at full throttle — razor-sharp, road-tested, and ready to take their signature West Coast punk energy across the Atlantic this fall.
To celebrate the release, EMPIRED will embark on their first-ever European tour alongside labelmates Heartwells, running November 13–24. Booked by City Rat Booking, the tour promises the kind of raw, sweat-soaked, and defiant live shows that have made EMPIRED a standout name in the DIY punk scene.
“This record is us at our most honest and unfiltered,” guitarist/vocalist Bruce Zebal said. “We tracked it ourselves, we produced it ourselves, and we’re hitting the road to share it with anyone who’ll listen. Europe’s always been a dream for us — and to do it alongside Heartwells and the Hey!Fever family makes it even better.”
Recorded entirely in-house by guitarist/engineer Cameron Mosavian, “Strikes Back” is a high-voltage collision of melodic grit and anthemic urgency. The 10-track collection — including a vinyl-exclusive live cut of “KGWe” — was mixed and mastered by Paul Miner (Thrice, Death By Stereo) and John Carey Jr. at Under the Oaks Studio, balancing the precision of a studio record with the chaos of a packed club show.
From the blistering opener “Blood on the Floor” to the defiant closer “Iron River,” “Strikes Back” is pure EMPIRED — equal parts heart, sweat, and distortion.
Stream “Strikes Back”: https://zjwgpy.clicks.mlsend.com/tf/c/eyJ2Ijoie1wiYVwiOjEwOTI4NjUsXCJsXCI6MTY3NTUwMzA2NjI1NzgzMDMxLFwiclwiOjE2NzU1MDMyMDY1Njc3ODc2OH0iLCJzIjoiZTgyMmFhNjg4MzdjZWVmZSJ9
With their third album “Humaura” on the horizon, electro-wave duo LUCKYANDLOVE return with their urgent new single “Secret Is Out,” a darkly kinetic tale of love, exposure, and escape. Released October 7 via SRD — Southern Record Distributors, the track pulses with sacrifice and revelation — its swirling analog textures and racing beat tracing the moment a secret affair bursts from shadow into light.
Anchored by April Love’s haunting vocals and Loren Luck’s growling synths, “Secret Is Out” unfolds like a nocturnal chase through neon streets — an electrified blend of drum and bass, darkwave, and cinematic synth-pop. The duo describe it as a love-stricken vampire’s story, where passion becomes peril the moment it’s exposed.
“It’s freeing to let those secrets out and get honest with ourselves,” Loren Luck said. “No matter who we are, it’s okay to be ourselves. Mixed feelings about how to handle the situation. It’s just a story of how to escape from the lies. The song has a lot of parts and break downs. Lying hurts people. I like the growling synth that comes up from the low end. This is our fastest song with some calming moments.”
The single previews LUCKYANDLOVE’s forthcoming album “Humaura,” out October 31 on digital and vinyl formats. The record was produced by Grammy Award–winning engineer Be Hussey (Modern English, The Church, Boy Harsher) and mastered for vinyl by Grammy-nominated Nicholas Townsend (Weezer, Garbage, Dr. Dre).
Following the moody singles “Lonely at Night” and “I Am Human,” ‘Humaura” pushes LUCKYANDLOVE’s analog-driven sound deeper into emotional territory — balancing melancholy and euphoria in a haze of Moog basslines, pulsing percussion, and luminous synths. Their sound, shaped by echoes of Siouxsie and the Banshees, Cocteau Twins, and Bauhaus, remains distinctively their own: visceral, cinematic, and defiantly human.
LUCKYANDLOVE will celebrate the release with a record release show on October 11 at The Slipper Clutch in Los Angeles, presented by Deathrecordzz, featuring Warsaw Pact, Amore De Paris, No Exits, and a DJ set by Echolust. They’ll follow with a December 13 performance at Mohave Gold Bar in Yucca Valley for Luna Negra Goth Nights, alongside BLAKLIGHT and Dead Energy.
Stream “Secret Is Out”: https://open.spotify.com/artist/35Mmmf0bxC0CBSnPIs8fYl
Upstate New York artist Dotsun Moon returned with “Moments In The Sun,” a four-track EP that shimmers with nostalgia, introspection, and quiet resilience. Written and produced by multi-instrumentalist Richard Flierl, the collection offers a dreamlike reprieve for uncertain times — its sound rooted in the same post-punk and dream pop traditions that first inspired him to make music.
Opening track “Moments In The Sun” intertwines synth and guitar in a melancholic haze, offering comfort and connection amid chaos. “Winter Streets” channels the stark beauty of Buffalo winters, building from soft introspection to cathartic release. Elsewhere, “Piano Trailer 5” nods to ambient pioneers Harold Budd and Brian Eno, while the haunting “Army of Me” unfolds with Erik Satie-like piano and Will Sergeant-style guitar bends.
“During difficult times, it takes all one’s effort to push outward and connect with someone or else succumb to the isolation that so much of society has compounded with technology,” Richard Flierl said. “Use that same tech to make personal connections. If a person just hopes without acting, they are ‘staring in the sun.’ They are expecting the tech to take care of them.”
Engineered and mastered by Doug White at Watchmen Studios in Lockport, NY, and mixed by Flierl and White, the EP embraces slow-burn pacing and lyrical depth.
Following his 2024 full-length “Tiger” — his first album featuring his own vocals — “Moments In The Sun” deepens Dotsun Moon’s sonic identity, balancing euphoria and melancholy with a touch of hope. Over the years, Flierl has collaborated with Mary Ognibene (The Lovely Intangibles) and Maria Sebastian, sharing stages with Joywave, Vanishing Kids, and The Lost Patrol.
Stream “Moments In The Sun”: https://open.spotify.com/album/7ExN5f5L89V4Cl9ImJ4IkP
Psychedelic rock outfit Tombstones In Their Eyes released “Under Dark Skies,” a haunting yet hopeful preview of their forthcoming album of the same name, out December 5 via Little Cloud Records (North America) and Shore Dive Records (UK & EU).
A slow-burning meditation on rebirth and resilience, “Under Dark Skies” finds the band at their most introspective — embracing darkness not as defeat, but as a necessary prelude to healing.
“’Under Dark Skies’ is essentially a prayer sent for a path forward from the darkness of the spirit into the light,” John Treanor said. “When the spirit is crushed, a rebirth is possible but the way forward is not always obvious. I feel fortunate to have a creative outlet like music to deal with the chaos in my head. Having said that, fighting the urges for self destruction by self-soothing in harmful ways is still not easy.”
The track arrives with a hypnotic new video by Italian multimedia artist Francesca Bonci, known for collaborations with Federale (BJM’s Collin Hegna), Philip Parfitt, and Slowdive’s Rachel Goswell.
Recorded at Kitten Robot Studios with producer Paul Roessler (Josie Cotton, Nina Hagen) and mastered by Alex DeYoung (Michael Jackson, BTS, Macy Gray), the album was born from a year of upheaval and transformation for Treanor — a clearing of the emotional decks that gave way to a new sense of gratitude and purpose.
“We live in a tough and harsh world that is also filled with beauty and joy,” Treanor said. “Finding beauty and joy is the goal. I’m aware that I have many privileges and do not discount that, but mental health challenges do not seem to discriminate. Finding strength and hope is a daily practice that I must undertake and writing these songs is one of the many ways that I cope. By expressing and sharing these feelings, I let go of the poison and seek connection with others.”
Featuring John Treanor (vocals, guitar), Stephen Striegel (drums), Courtney Davies (vocals), Phil Cobb (guitar), Paul Boutin (guitar), Nic Nifoussi (bass), and Clea Cullen (vocals), Tombstones In Their Eyes have evolved from a casual project into one of LA’s most immersive and emotionally charged psych-rock collectives. Their sound — a dense swirl of distortion, melody, and catharsis — has become a form of cosmic therapy, both for the band and their listeners.
Following 2024’s “Asylum Harbour” (and its videos for “I Am Cold” and “Mirror”), “Under Dark Skies” promises to be their most vulnerable and expansive release yet.
Stream “Under Dark Skies”: https://open.spotify.com/artist/15nZziu6BOdIcHkcZdLQk5
