Australian-born, Brooklyn-based singer, songwriter, and upright bassist Georgia Weber is the leader of The Sleeved Hearts, a trio rooted in jazz and improvisation, with sophisticated musicianship and bittersweet and poignant songs. The upcoming EP, Big In Japan, releasing 9.19.2025, was largely inspired by Japanese traditions and folk tales, many recalled by Japanese / Austrian guitarist Kenji Herbert, as well as Weber’s own feelings as an expat from Australia, now living in NY. For example, “Wind Telephone” (the focus track on the EP), pays tribute to Itaru Sasaki’s Wind Telephone project, shared with the Japanese people after the 2011 earthquake and tsunami. The Wind Telephone became a place for grieving people to visit and “talk to” their lost loved ones, and it has now evolved into an international phenomenon.
” Big In Japan came together almost accidentally,” says Georgia. “I was inspired around the same time by the story of the Wind Telephone in Japan and to write a love song which reflected on the Japanese art of ‘Kintsugi.’ Both were ultimately stories about life, love, and loss, but inspired by Japanese culture. At that stage, it made sense to really take a moment to lean into some of the wonderful artistic and creative ideas that have come from Japan, at the same time offering a nod of appreciation to our Japanese-Austrian guitarist, Kenji Herbert.”
the British DJ and producer with Indian roots, TroyBoi, once again shatters through the boundaries of genre with his long-awaited EP “Rootz”. A celebration of the rich cultural tapestry of his heritage, the EP arrives as his heartfelt offering to the Indian legacy, via Ultra Records on Friday, September 19. A true sonic alchemist, TroyBoi transforms hard-hitting trap beats into almost numinous experiences, connecting audiences through sound and captivating global obsession every time he steps behind the decks. Just as he is more than a DJ, “Rootz” emerges as more than just his next body of work; rather, a kaleidoscope of sound, unfolding as a five-track odyssey through the immortal voices, narratives, hues and emotions of India – meant to feel both deeply personal and universally shared.
New York City synth-punk band, Public Circuit, have released their second album Modern Church via à La Carte Records. If electronic music is sacred theology, then they are the pagan heretics driving the genre forward with an indomitable will to live. On the new record, Public Circuit dismantle and reassemble post-punk with surgical precision. Gone is any pretense of retro revivalism—what remains is something sharper, darker and entirely their own — Listen to the new album.
With a newfound sense of collaboration amongst all three members (Ethan Biamont, Sean Holloway and Nelson Fisher), this is a record that dances in the flicker of candlelight and fluorescent glare alike, channeling an austere pulse of angular electronic instrumentation, and raw percussive rhythms all bathed with the high-gloss ache of sophisti-pop into a sound that’s equal parts ritual and revolution.
The album is overtly religious in theme; an analogical tool to explore gender identity, the fleeting faith of society, and the illicit repercussions of unresolved trauma. Public Circuit is deeply influenced by NYC’s constant feed of noise and bustle the city delivers. Channeling these pensive emotions into explosive energy, the band commits to live up to the historical behemoth of NYC music as their sphere of influence continues to expand.
“’Modern Church’ represents the collapse of connection—the album’s chants are hollow, stripped back, and full of seething energy,” shares singer Biamont. “As we departed from the sound of our last album, we don’t see change as an enemy, but as a tool — a structure that can be repurposed, re-tuned into a tightly wound and potent new form.”
Canadian producer and DJ Rezz has unveiled her highly anticipated fifth studio album As The Pendulum Swings out now via HypnoVizion.
As The Pendulum Swings is a bold convergence of Rezz’s hypnotic signature and experimental instincts. The 13-track project balances nostalgia and innovation, referencing her early midtempo rhythms and slow techno drive while incorporating edgy electro and industrial elements. The record features tracks from Rezz’s vault like ‘Contorted’ and ‘Telepathy’, both of which were early demos revitalized for a 2025 release, against the futuristic and cinematic soundscapes of ‘Running From Reality’ and ‘Delirium’.
Exploring uncharted creative territory, the record sustains an off-kilter aesthetic with its unpredictable structures, textured layers, and refined sound design. It’s an evolution in sonic identity for Rezz that sees her masterfully fusing her earliest inspirations with the forward-thinking approach that has made her one of electronic music’s most distinctive voices.
The voice of pen-to-paper genuineness, and an indie darling in her own right, Alice Phoebe Lou, today releases her new single “Darling.” Ahead of her sixth album, Oblivion, out October 24 via Nettwerk Music Group, today’s offering seeps in like morning rays of sunshine through the curtains. The song has an undeniable warmth and a raw sincerity that permeates every woodgrain of her acoustic guitar — Stream.
Lou shared that, “‘Darling’ is the most typical love song you’ll find on the album, written with hearts in my eyes, full of optimism about life and the future. It’s a somewhat delusional place that we can be in for a moment, where we think that everything will just work out and love will prevail. It’s like floating between two storms, momentarily forgetting all the hardships and difficulties and just focusing on how sweet and warm it can feel to be in love.”
Oblivion, a personal library of previously unheard music, is a stripped-back look into Lou’s exploration both globally and internally. It is her first album since 2023’s Shelter — Pre-save.
“Instead of overthinking the outcome and the judgment, these songs are just creating for myself, a coming home,” she says of Oblivion. “Tapping into this unawareness of unconsciousness sounds like bliss. Oblivion is a place where you can forget what others see in you and find your true essence.”
Richmond, VA alt-rock band The Barons announce their explosive debut album Le Château due out November 7. Alongside the new music, the band shares optimistic tune “Way Out” out now. The forthcoming guitar-driven project, one that is both raw and refined, proudly introduces the five-piece band as they teeter out on the edge of something greater–pulsing with urgency and restless ambition. The group will hit the road this fall across North Carolina and Virginia, including a single release show tonight at The Jefferson Theater in Charlottesville–see a full list of dates below.
With Le Château, a humorous nod to the band’s broken high school French, the group playfully and gracefully processes the difficulties of human connection in an increasingly digital world, the inevitability of aging and makes peace with change. Over ten tight tracks, the group harnesses their chaos into meaningful messages that strike a balance between light-hearted and serious tonesas they effortlessly find their own groove. Produced by Jacob Sommerio (English Oak Recording) over a few weeks in Richmond, Virginia, the group captured the band’s raucous live energy through analog recording.
“Way Out,” out today, opens as a bubbly, melodic tune that glistens with streaks of optimism and sticky guitar riffs. The track, which runs over 5 minutes, finds a darker groove over half way in with a roaring guitar solo. Through analog guitar modulations and a creative driving rhythm, ‘Way Out’ is a primitive pop journey that stares at the dying breed of empathy in the age of intelligence. As Robert Frost once said, “The best way out is always through.” Describing the track, Peyton Alley (The Barons frontman/writer) says:
“I began writing Way Out on my acoustic overlooking the Blue Ridge mountains on my fiancé’s apartment porch in Charlottesville last spring. I had just seen a friend post some videos from The Sphere in Las Vegas and thought about how impressive that build was. Though the all-sensory innovation was exciting to see, I looked up at the sky and thought about our sphere (the Earth). Everything that all living things need to survive is provided here, yet it’s never been enough to satisfy our senses as a species. Now more than ever, instead of seeking nature and one another with our deep questions, we now seek them from a simulation we justify because we have ‘created’ it. This hyper-efficient cat is out of the bag; there is no turning back. I believe human relationships and virtues are now on the fringe of extinction, and I think that’s what ultimately inspired Way Out. We’re in a new era that is supposed to be the new normal. I think the real way out is embracing our physical relationships authentically and loving each other every chance we have in a world that’s become more difficult to do so.”
Nashville’s Katie Schecter releases the next single from her upcoming album Empress with the suspenseful, swinging tete-a-tete “Hide My Weapons.” Co-written with Nick Bockrath, her husband and lead guitarist of Cage the Elephant, who is currently on tour supporting Oasis, the pairing is a portrait of the modern rock n roll family. “A match made in heaven, or a match made in hell,” Schecter makes the case that real love is both — Stream.
While unconventional to some, Schecter and Bockrath’s family unit suits them perfectly. Their daughter, Only, can count some of her first concert experiences as still growing inside her mother while she took the stage opening for Beck, and watching her dad open for Oasis to a sold out crowd at Metlife Stadium. Schecter has her artistry, her husband’s, and her motherhood — a trifecta of the things that make her who she is.
“Hide My Weapons” is an autobiographical lovers’ quarrel told in real time. The song started as an instrumental by Bockrath, to which Schecter added the melody and lyrics straight off the cuffs of a disagreement. Loving someone intimately is tender, but it’s also knowing how to get under one another’s skin better than anybody else does. “We are passionate people, husband and wife, best friends, creative collaborators, I’d be far more concerned if we never argued,” she shares.
Continuing to build anticipation for her third full-length album, Mnemonics, releasing on November 7, 2025, via Mother West, New York-based alt-folk singer-songwriter Amy Jay shares the new single, “Margins.” Pre-save for Mnemonics is also now available, in addition to pre-orders for vinyl, CDs, and more new merch.
The album is titled to represent the mnemonic devices she birthed while “writing my inner monologue” during and outside of therapy sessions, to help Jay with the work-in-progress of the human condition. “The songs were subconscious mantras that I synthesized over time while making internal progress, Jay says. “It’s amazing how many times I needed to hear such transformative truths before they stuck. When I realized what I was doing through these sonic notes-to-self, everything clicked.”
Mnemonics takes such hefty internal work and translates everything into ear-pricking songs that alternatingly float, stun, and comfort. And with Jay’s sly observations and embrace of nervous laughter in awkward situations, she infuses a sense of levity in the album.
“Margins” is based on the mantra, “Remember to face the fear, not go around it,” and was inspired by a moment when Jay found herself startled by her own shadow.
Rock band Dance Gavin Dance is excited to share Pantheon, their highly anticipated 11th studio album. Featuring recent singles “Space Cow Initiation Ritual (feat. George Clinton)”, “Trap Door”, “All The Way Down”, and “Midnight at McGuffy’s”, Pantheon sees the band building on their signature genre defying sound with soul shredding breakdowns, pop infused melodies, and frenzied screams. Fans can stream or purchase Pantheon as a 2LP set now, here: https://dancegavindance.lnk.to/Pantheon. Watch the new music video “The Stickler” here: https://youtu.be/q_ycQdVUtSM.
Front man Jon Mess shares: “I had a lot of fun making this record, tried out some new things, experimented with layering and tone. We wrote the majority of the vocals together in a room, and I think that played a significant part in how a lot of the more risky and off the wall ideas developed. Reminded me of making Death Star and Acceptance Speech, and a little of Dbm 2, transitionary albums that feel a bit more all over the place than other albums, as the band figures out how it wants to sound again. With that being said I do I think this is one of our better albums.”
San Diego’s premiere 10-piece collective, sullvn, announce their newly inked deal with Big Noise Music Group and release a cover of “The Impression That I Get” by The Mighty Mighty Bosstones. Using their signature, modern take on retro-pop, sullvn pays homage to one of the most well-known ska-punk anthems of all time. Matt Appleton from Reel Big Fish can be heard across the song playing trombone, saxophone and trumpet, and the song was produced by Goldfinger’s John Feldmann — Stream.
The official video, directed by Devon Doane, is a nostalgic and cheeky nod to the days of MTV, escapism and untapped exploration. Giving his official stamp of approval on the cover, The Mighty Mighty Bosstones’ Dicky Barrett makes a cameo in today’s video — Watch the video.
Led by Robert “Sully” Sullivan, the ever-changing group is built up of what Creative Executive Lens perfectly dubbed “a sonic melting pot of elite players.” The acclaimed lineup includes the GRAMMY-nominated bassist James East (Lionel Richie, Toni Braxton, Eric Clapton), versatile saxophonist Tripp Sprague (Kenny Loggins, Smokey Robinson, Todd Rundgren), guitarist Brian Jordan (James Brown, Dave Matthews, The Allman Brothers Band) and many others. Read all the band members’ bios here.
Sully shared, “The Mighty Mighty Bosstones’ song, ‘The Impression That I Get’ has been part of my life since the day it was first released almost 30 years ago. To be able to have John Feldmann produce our version of the song was extraordinary. I am happy to say that we tried to make it ‘our own’ in terms of SOUL, SOUND and ENERGY and working with the guy behind Goldfinger and so many other top artists gave it this extra spark of authenticity. We hope to honor the original while giving it our own retro-soul twist, and Feldy really brought it home for us.”
After building up their reputation as the go-to group for joyous live shows and expertise across many instruments, sullvn is joining the roster of Big Noise alongside major names like Avril Lavigne, Goldfinger, The Wrecks and more.
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