Fifteen years after its release, Seahaven are hitting the road in early 2026 to celebrate their beloved debut album “Winter Forever” — performing it in full for the first time. The anniversary tour offers fans the opportunity to experience the record front to back.
“Winter Forever” was a defining release that captured a generation of listeners across emo, indie, and post-hardcore circles. An exclusive Winter Forever LP variant will also be available exclusively at the shows.
“This record is held in a very special place for us,” the band shared. “We’re excited to celebrate this anniversary with everyone that has come to enjoy it over the years.”
Originally released in November 2011 via Run For Cover Records, “Winter Forever” arrived at a pivotal moment in the American emo revival. With its mix of atmospheric guitars, raw emotion, and poetic introspection, Seahaven carved out a sound that felt both cinematic and deeply personal.
Songs like “Black & White,” “PV,” and “Save Me” became staples for fans who found solace in their vulnerability and catharsis — placing Seahaven alongside acts like Balance and Composure, Title Fight, and Brand New as leaders of a new emotional underground.
Since then, the California-based band — Kyle Soto, Cody Christian, Mike DeBartolo, and Eric Findlay — have continued to evolve. Their 2014 follow-up, “Reverie Lagoon: Music for Escapism Only,” traded distortion for restraint, earning acclaim for its lush minimalism, while 2020’s “Halo of Hurt” marked a powerful return after a six-year hiatus. Across their three records, Seahaven have built a body of work defined by honesty, atmosphere, and emotional depth.
Fifteen years on, “Winter Forever” remains a cornerstone of the modern emo canon — an album that still resonates for its sincerity and scope.
The Winter Forever 15th Anniversary Tour — featuring Commoner and Flycatcher on select dates — kicks off January 22, 2026 in Phoenix, AZ, with stops across the U.S. and Canada through February 6. Following the run, the band has teased more activity on the horizon for later in the year.
Get tickets: http://winterforever.com/
Visionary Dutch-British artist Tessa Rose Jackson is set to return in January 2026 with “The Lighthouse” — a haunting yet life-affirming third album that meditates on ancestry, mortality, and belonging.
Ahead of its release, Jackson offers another glimpse into the record with her new single “Fear Bangs The Drum,” available for streaming today. Anchored by spectral atmospherics and a playful brass hook, the song explores the idea of acknowledging fear rather than repressing it.
“I am quite a fearful person myself — I worry about something happening to my loved ones, about the state of the world,” Jackson said. “Fear can be paralyzing. Recently, instead of trying to push it down, I’ve been allowing myself to let it bubble to the surface and just let it be for a bit — not acting on it, but also not fighting it. And then… breathe out. And let it go.”
Despite its heavy subject, “Fear Bangs The Drum” is one of the album’s most uplifting moments — a celebration of release and renewal.
Its accompanying video, directed by David Spearing with production design by Joseph Bisat Marshall, transforms that emotion into visual poetry.
“For me, the film is about the moment you stop trying to shut fear out, and instead learn to live with it — maybe even use it,” Spearing said.
Written during a secluded period in rural France, “The Lighthouse” sees Jackson stepping out from behind her decade-long moniker “Someone” to reclaim her own name. Rich with ghostly folklore and cinematic alt-folk textures, the record channels influences from artists like Feist and Charlotte Gainsbourg while remaining wholly her own — luminous, intimate, and fearless.
“‘The Lighthouse’ felt like a beacon,” Jackson said. “It’s an album that talks about death, but not in a purely dark sense. For me, it’s also about the celebration of life — embracing fears, identity, and the stories we inherit.”
Following the album’s release, Jackson will embark on an 11-date European tour beginning March 11, 2026 in Brighton.
Stream “Fear Bangs The Drum”: https://hypeddit.com/o585zv
Pre-save “The Lighthouse”: https://hypeddit.com/h0rdd5.
After a five-year hiatus, Lunar & The Deception returned with another mesmerizing preview of their long-awaited debut album “The Somnambulist,” arriving March 6, 2026. Their new single, “No More Secrets” is a smoky, hypnotic track that fuses layered singing bowls, Theremin, wiry guitar, and reversed vocals into a haunting musical séance.
Inspired by The Doors, Portishead, and Nico, the song channels seduction and defiance in equal measure.
“These are powerful times,” frontwoman Britt Xyra Dusk said. “The walls of the old world are crumbling, and the secrets that upheld them are being revealed. ‘No More Secrets’ is about the fall of oppressive systems and the return of balance — it’s a rallying cry for the rise of the feminine, the artist, and the truth.”
The song’s video, filmed in the ancient caverns of Wookey Hole and in-studio, blurs the line between ritual and resistance. With handmade costumes, elemental imagery, and mythic symbolism, the visuals echo the song’s exploration of collapse, exposure, and renewal.
Five years in the making, “The Somnambulist” (meaning “sleepwalker”) was recorded at Woodworm Studios and Old Street Studios, completed with producer Michael Rendall (The Orb, Peter Murphy, The Jesus & Mary Chain). The album spans themes of personal awakening, societal collapse, and spiritual transformation — weaving protest and poetry into one transcendent vision.
Led by the Irish–South African poet, vocalist, and designer Britt Xyra Dusk, Lunar & The Deception have built a reputation for immersive performances and striking visual identity, shaped by Britt’s background in film, anthropology, and mythology. Having previously performed at Glastonbury (2016, 2019), the band continues to blur boundaries between art, activism, and sound — uniting the ancient and the urgent.
Stream “No More Secrets”:
Following the success of his debut album “Storytelling,” Swedish-born, LA-based composer and producer Olovson returns with “UNTANGLE” — the title track from his forthcoming album, due October 24 via his own imprint 1136 Diamond.
The first taste of the record, “THINGS I COULD’VE LEFT BEHIND,” has already earned acclaim from NPR Music, KCRW, and KEXP 90.3 FM.
Best known for his emotive piano works and Grammy-winning production for artists including Frank Ocean, Dua Lipa, and Mark Ronson, Olovson now turns inward — centering his own voice for the first time.
“UNTANGLE” is a restrained yet resonant piece, carried by pulsing sub-bass, the soft rhythm of footsteps, and Olovson’s fragile, floating falsetto. The track plays like a meditation — where grief meets release, and darkness gives way to light.
“This song is about untangling the emotions and patterns you carry — and realizing you’re allowed to let go — coming out on the other side feeling more at peace,” Olovson said.
Following “Storytelling” — which amassed over 3 million streams and received praise from outlets like Rolling Stone India, Wonderland, CLASH, and PopMatters — Olovson continues to expand his cinematic universe.
His track “Books Are Flying” appeared in the SHOWTIME series The Man Who Fell to Earth, while the video for “Gyroscope”was nominated at multiple BAFTA-qualifying film festivals, including Encounters, London Short Film Festival, and LIFA.
With “UNTANGLE”, Olovson steps into new territory — blending delicate piano work with bold vocal textures and minimalist electronic production. Fans of James Blake, Sampha, and Blood Orange will recognize the same balance of intimacy and experimentation.
Stream “UNTANGLE”: https://awal.uk/untangle
Bristol rock outfit Oswald Slain made their long-awaited arrival today with the release of their debut album “BUCKY,” available on two variants of limited-edition vinyl.
Rising from their self-built home studio, Oswald Slain’s debut marks both a personal and musical rebirth. Across eight tracks, the band navigates the chaos of youth, the realities of aging, and the beauty of self-acceptance — all delivered with tongue-in-cheek honesty, emotional grit, and the swagger of a bygone rock era.
Following their breakout EP “Kiss Me on the Mouth” (April 2025), which earned acclaim from Asbo Magazine, RTE, Fame Magazine, KUTX, Sirius XM, Rough Trade’s Counter Culture, Ones To Watch, and Apple Music’s “New In Rock”, the band build on that momentum with a record that’s as raw as it is refined.
Recorded and produced in-house by Ryan Rogers (Mumble Tide) and the band themselves, “BUCKY” was mixed by John Logan and mastered by Jason Mitchell at Loud Mastering (PJ Harvey, XTC, Big Special). For Fitzgerald and Williams — partners in life and in music — the album represents both a reckoning and a release: a sonic scrapbook of failure, hope, and everything in between.
“Making this record was a massive turning point in our lives,” Fitzgerald said. “After being a bit unsure of where things were headed and what we were doing, the days spent recording these songs in our little studio were the moments of clarity we needed to get the ball rolling with something new and creatively exciting.”
The process was fast and instinctive — songs were often written in the morning and recorded by afternoon, with live takes and minimal polish capturing the immediacy of the moment.
The album’s nostalgic title track, “Bucky,” released October 10, ties the record’s themes together in one hazy 90s anthem of escapism and release.
With “BUCKY,” Oswald Slain captures the sound of renewal — flawed, fearless, and full of life — the kind of record that doesn’t chase nostalgia so much as live inside it.
Stream “BUCKY” on: Spotify, Amazon Music, and Apple Music
Oakland’s own The Goods are back with “Don’t Spoil the Fun,” their first full-length album, out today via Dandy Boy Records. Written and produced by frontman Rob Good (Ryli) in his Oakland studio, the record distills the band’s trademark sound — all jangling guitars, big melodic hooks, and heartfelt storytelling — into eleven tracks that feel timeless and alive.
Joined by bassist Cherron Arens and guitarist Gabriel Monnot, Good channels the classic shimmer of The Byrds and Big Star, the punch of Matthew Sweet, and the warm emotional honesty of Teenage Fanclub.
The result is a power pop that wears its heart — and its influences — proudly on its sleeve.
The album’s focus track, “Sunday Morning Out of the Blue,” arrives alongside an accompanying video.
Built around bright guitars and melodic basslines, it captures the quiet reconciliation that follows an argument — that uneasy calm where everything suddenly makes sense again.
Written over the past five years — with some songs predating their 2023 debut “The Goods” EP — the album reflects a period of patience and rediscovery.
“We recorded several versions before finally landing on something that felt right,” Good said. “This album is us leveling up our sound and finding our own style.”
From the chiming immediacy of lead single “April Fools” to the wistful reflection of “Remember,” “Don’t Spoil the Fun” flows effortlessly between exuberance and introspection.
“Photograph” pays tribute to The Golden Bull, the now-closed Oakland venue where The Goods played their first show, while “Aurora” celebrates staying grounded instead of chasing dreams elsewhere. “Me and My Ghost” turns a song written for a friend into a meditation on solitude, and “Keep It Safe” closes the record with a tender reminder to protect one’s mental health amid the noise.
Bright, fuzzy, and full of heart, “Don’t Spoil the Fun” finds The Goods doing exactly the opposite — savoring it.
Stream “Don’t Spoil the Fun”: https://dandyboyrecords.bandcamp.com/album/dont-spoil-the-fun
Vancouver- and London-based musical enigma Plain Mister Smith is back with his new single, “We Were Called The Foxx,” out today via Amelia Recordings/Symphonic. Following the slyly playful “Miss Sunshine,” this track is the second taste of his upcoming album, due Spring 2026.
Formerly the guitarist for Canadian darkwave pioneers Moev and a cellist with the Vancouver Philharmonic Orchestra, Plain Mister Smith has been building a reputation for his eclectic, indie-folk soundscapes, sharp lyricism, and introspective approach.
His work has earned acclaim from tastemaker outlets including Wonderland Magazine, CLASH, NOTION, Under The Radar, Earmilk, METAL, Noctis Mag, and Atwood Mag.
“We Were Called The Foxx” immerses listeners in a haze of bittersweet nostalgia, capturing the messy joy of childhood musical experimentation.
With Cure-like guitar licks, a tight in-the-pocket groove, and Findlay Brown’s lilting vocals, the track evokes the soundtrack to a coming-of-age film, simultaneously wistful and vibrant.
Fans of Tame Impala, Death Cab for Cutie, and The Beatles will find themselves drawn to this reflective yet playful ode to youthful chaos and the beginnings of musical discovery.
“‘The Foxx’ was my first band in grade 6 or so,” Plain Mister Smith shared. “It was a bit of a sonic disaster — I don’t even think we knew we needed to tune our guitars. But you have to start somewhere/sometime! ‘We Were Called The Foxx’ is a testament to the crazy cacophonic shenanigans we got up to as pre-pubescent want-to-be rock gods.”
Stream “We Were Called The Foxx”: https://music.plainmistersmith.com/foxx
