When members of the retro-pop septet Couch first began writing together, one of its kin was recovering from a concussion, confined to dark but tranquil days on his living room couch. The rest of the soon-to-be band would come over, and spend hours quietly writing the songs that would become its first releases. The name “Couch” is a tribute to that formative place and time.
Since then, the Boston-based band has sold out shows across the U.S. and Europe, toured with Lake Street Dive, Cory Wong (Vulfpeck), St. Paul & The Broken Bones, Sammy Rae, and Ripe, and played major festivals, including Boston Calling and Levitate. Couch has also amassed over 60 million streams, and nearly half a million monthly listeners on Spotify. The group has been featured by The Boston Globe, NPR, CBS Boston, and NBC Boston. Most recently, it has earned the Salt Lick Incubator award, whose artist advisory board includes Charlie Puth, Jon Batiste, Julia Michaels, and Susan Tedeschi.
Now, Couch is releasing its highly-anticipated debut album, Big Talk, a meditation on multidimensional love. The record, out October 24th, expands the band’s creative canvas, blending analog warmth with contemporary production. It’s a swirl of modern pop boldness grounded in vintage instrumentation, interlocking and carefully arranged grooves, live horns, and layered harmonies.
“Big talk is the opposite of small talk. It’s about digging deep, making intimate connections, and being bolder, more confident versions of ourselves,” explains lead singer Tema Siegel. “Big Talk is the fullest expression of who we are right now,” guitarist Zach Blankstein adds. “It’s the most collaborative we’ve ever been, with every member’s voice and sensibilities woven into the music. Mixing genres has always been part of what we do, but this record takes that even further—and with more intention—than ever before.”
Couch began as a tangle of childhood and high school friendships around the Boston area. Over time, those threads pulled tighter, solidifying into the lineup that includes Tema Siegel (lead vocals), Zach Blankstein (guitar), Jared Gozinsky (drums), Will Griffin (bass), Danny Silverston (keys), Jeffrey Pinsker-Smith (trumpet), and Eric Tarlin (saxophone).
Self-produced, self-managed, and deeply collaborative, Couch’s sound is shaped by years of arranging, playing, and building together. Its sensibility sits in the junction between the pop hooks of Bruno Mars, Remi Wolf, Dua Lipa, Sammy Rae, and Charlie Puth, and the chops and groove of Earth, Wind & Fire, Stevie Wonder, and Motown.
Few artists have fused alt-rock, metal, and trap as effectively as SosMula, the moshpit maestro who rocked sold-out crowds worldwide as a member of City Morgue. Free to follow his own muse after that duo’s split, Sos switches up his usual style on his new single, “MERCEDEZ BRAZY.” Trading his usual trap percussion for a skeletal drum-and-bass groove, Sos takes listeners back to the high Goth era, crafting a haunted anthem worthy of Bauhaus. Indulging in his vices after a break-up, the vocalist goes on a rampage, populating his subdued flow with wild ad-libs as he resolves to make it big on his own: “Do me a favor, don’t do me no favors,” he intones.
“MERCEDEZ BRAZY” arrives with a haunted sci-fi music video, cribbing from classics that range from Blade Runner and I, Robot, to Frankenstein and Escape From New York. In the video, Sos and his android companion tear through a dystopian city in a bright red Mercedes, enjoying a torrid love affair as the world falls apart around them.
Fresh off signing his new deal with Ricky Hil‘s Limosa Nostra Records, in a JV with Atlantic Records, SosMula is ready to make a major solo impact with his next album, KAMP KRYSTL LAKE, a wide-ranging exploration of the New York-via-Brazil artist’s wide-ranging sounds and horrorcore aesthetic. Taking his dark trap sound to its limit, the album finds Sleezy on a mission, locking into each song with his animated delivery in an attempt to burrow into listeners’ subconsciouses. Home to recent singles “PROJECT BABY” and “TRENCH BRAZY,” KAMP KRYSTL LAKE arrives on October 31st via Limosa Nostra Records / Atlantic Records.
Born Vinicius Sosa in Sao Paulo, Brazil, SosMula and his family moved to New York when he was young. The family moved around a bit, but eventually settled in Spanish Harlem, and the young Sos grew up fully-immersed in the hip-hop culture of the Five Boroughs, while also falling in love with the era’s hard rock and heavy metal music. After years of attempting to balance his love of music with the allure of the streets, SosMula formed City Morgue, pioneering the trap-metal sound as one half of the celebrated duo. City Morgue was massive in the underground, racking up billions of streams and selling out dates with their raucous performances and uncompromising sound. During his time in City Morgue, SosMula continued to make his own solo albums, including his 2021 debut 13 SONGS 2 DIE 2 and last year’s 29-track SLEEZ RELIGION.
Now with City Morgue officially split, SosMula looks to show the world what he can do on his own. He has a strong partner in his corner in the rapper, singer-songwriter, designer, and entrepreneur Ricky Hil, who signed Sos to be the first artist to release under Limosa Nostra Records, in a joint venture with Atlantic Records. SosMula and Ricky Hil launch their “KILLA SEASON TOUR” in February, featuring music from KAMP KRYSTL LAKE and Ricky’s upcoming album, 10,000 Grams.
Hailing from West London, Jules is redefining what it means to be vulnerable in modern music. Fusing soul-stirring melodies with introspective lyricism and assured, versatile flows, he carves out a space that feels both deeply personal and universally relatable. Blending Trap, Jersey Club, R&B, and his Caribbean influences, Jules channels inspiration from Drake, Skepta, and Kid Cudi—crafting a sound that is unmistakably his own.
Following a string of successful singles and international performances, Jules now unveils his highly anticipated debut album, Loverboy Chronicles—a 10-track exploration of love, heartbreak, and self-discovery told through the lens of a man unafraid to feel deeply. Across the record, he navigates the rush of attraction, the glow of lust, the sting of heartbreak, and the peace of self-love, while confronting how digital culture distorts connection and intimacy.
Energetic dance-pop artist Kyle Waves has released his new single, “Restart Love.” With driving beats and raw emotion, the upbeat track portrays the chaotic allure of dysfunctional love, as passion and conflict spark across the dance floor. Stream “Restart Love” on all digital platforms worldwide.
“Restart Love” is a high-energy synth-pop track that explores the stormy yet captivating side of love. With an infectious, uplifting melody, the song is sure to get the entire nightclub moving. The song perfectly captures the intense, “out of breath” moments of a turbulent relationship, and its lyrics reflect the ‘melting’ and ‘smiling’ in love. “‘Restart Love’ is my toxic relationship anthem, of which I’ve definitely had a few,” explains Kyle Waves. “I really wanted to talk about that side of toxicity where you keep coming back because maybe there’s something enjoyable in it, or you and the other person have somehow found a rhythm in it. It’s not healthy and it’s something worth avoiding, but when you’re in it somehow it feels good.” Reflecting on how the song fits into the current era that he unveiled with his summer EP Signals, Waves adds, “I’m continuing my Signals era with more upbeat and danceable tracks, experimenting within that style. ‘Restart Love’ feels more eccentric and playful than the tracks from the EP, adding a fresh dimension to the image I am building. It’s the perfect jumping-off point as I progress beyond the EP.” Written and produced by Waves and mixed and mastered by Kai Tsao (KLND Audio), “Restart Love” combines vibrant energy with catchy melodies, marking another exciting chapter in Waves’ exciting artistry.
Black Sands is the musical project of LA-based songwriter and producer Andrew Balfour, a veteran creative whose work exists in contrast — a collision of cinematic beauty and emotional honesty, of darkness and light. For the past five years, Black Sands built a reputation on immersive, genre-bending soundscapes that drew comparisons to alt-pop auteurs like The Weeknd, The 1975, and Post Malone. But with his newest work, Balfour turns the volume down — and the vulnerability up.
The new chapter of Black Sands trades experimental synth pop maximalism for stripped-back songwriting rooted in Americana, pop-country, and acoustic storytelling. It’s not a reinvention. It’s a homecoming.
Born out of immense personal loss — the deaths of both his sister and brother, each tied to addiction — this new era is more grounded, more centered. The music was written on a guitar in quiet moments, after the noise had settled. It explores the emotional tension between grief and growth, memory and momentum, love and regret. But it also makes space for joy, summer nostalgia, and the strange optimism that lingers even in broken places.
“Making Memories,” the first single of the new era, is a radiant, feel-good anthem — a love letter to carefree nights, shared glances, drinks that blur into laughter, and the kind of moments you wish you could live in forever. It’s cinematic, sun-soaked, and tender. Other forthcoming tracks explore different shades of emotional duality: the reckless charm of “Rock Me”, where Bacardi-fueled escapism masks loneliness; and “Our First Night”, a modern love story wrapped in timeless warmth and quiet wonder.
While the new sound leans into the textures of country-pop and folk, Black Sands remains unmistakably modern — cinematic in spirit, emotionally layered, and lyrically intimate. Think guitar-forward storytelling filtered through the lens of someone who’s lived through contrast: former touring guitarist, global creative leader, brother, and wanderer.
Based out of Nashville, Velasco was originally raised in South Carolina, where her passion for music first blossomed out of her background in musical theater. In 2021, Velasco began to release her own original songs, with her breakout single, “Leave Me Wild,” landing her spots on Spotify’s top playlists such as New Music Weekly and Fresh Finds Country. Securing several radio interviews across the U.S., Velasco showcases her distinctive, edgy sound and impassioned vocals. Her single “Call Me” was featured on multiple playlists, with its music video being shown on CMT, marking her place as an emerging force within the industry. Recent singles such as “Paper Boy” and “Name on my Phone” have been championed by notable outlets like CMA, Wide Open Country, Holler, and Ones to Watch. Velasco has performed as an opener for acts like Love and Theft, BRELAND, David Nail, and Tierra Kennedy.
Seattle, WA-based eight-piece psych funk outfit Cytrus announces their punchy sophomore album Duality due out November 14 and available for pre-save now. With the announcement, the band shares the first taste of the project with “Outta Control,” out now. Plus, the band will perform live via YouTube and later, in person, this winter across Oregon and Washington–see dates.
Duality pays homage to 1960s & 1970s rock, soul and psychedelia, while exploring themes of good, evil, mortality, immortality and time. Over six tracks, the group finds their groove with flowing instrumentals, soaring solos, hard-hitting riffs. With these songs, the band found their identity, their artistic direction and paved their path forward.
Jared Squires (guitar/vocals) says making the album “felt tangible, urgent and loved. I think this shines through in the final product. This is a sophomore album from a band that has the utmost respect for attention to detail in their craft. I’m just really proud of what we created.” The group hopes to take listeners on a journey that delicately balances nostalgia with present-day and the familiar and the foreign
Slow, sludgy and melancholic, “Outta Control” looks at the choices one makes and how one spends their time. As it unfolds, it reminisces on how these choices played out. It was with the making of this track that the band found their direction for the project as a whole. It’s become a staple in the high energy live show, so capturing the magic in a studio proved to be a challenge, but the band is proud of the result. Owen Mayo (guitar/keys) says, “The studio rendition seems to maintain the true essence of our performances from the past 2 years, while also benefiting from the polish and maximalism that you can get from a finished record. We’re very proud of how this one turned out, and that’s a big reason why we chose it as our lead single for this album.”
Rising singer-songwriter Reese Goode is taking the country scene by storm with her upcoming debut EP, Truth. Building momentum from her first three singles–which have collectively earned over 260,000 streams on Spotify–Goode unveils her fourth single, “That Ain’t Love,” a track that captures the bittersweet realization that sometimes love means letting go.
Texas-raised Reese Goode began her journey as a musician early in childhood, rooted in her love of guitar, singing, and songwriting. She is deeply influenced by the country artists she grew up listening to, such as Reba McEntire, Carrie Underwood, and Miranda Lambert.
“That Ain’t Love,” produced by Don Miggs and written by Reese, offers a heartfelt reflection on realizing that a relationship has run its course, yet still wishing the other person the best. Blending honest lyricism with soulful country instrumentation, the track highlights Goode’s ability to turn personal moments into universally relatable songs. Her sound brings a refreshing authenticity to today’s country landscape, blending nostalgic storytelling with a modern edge that feels both familiar and new. Sharing her inspiration behind “That Ain’t Love,” Reese explains, “This is a song that I wrote about a relationship. When you start to feel like you and that person don’t really work anymore, but you still hope they get everything they want in life.”
Through “That Ain’t Love,” Goode hopes listeners find the courage to recognize their own self-worth and walk away from a relationship that no longer feels loving. She hopes her listeners will stand tall, find peace, and in her own words, say, “I’m leaving tonight.”
Over the last three decades singer/songwriter/guitarist Tom Hamilton has made a career of pushing rock n’ roll boundaries, fronting a cadre of bands including Brothers Past, American Babies and Ghost Light. Hamilton also sings and plays lead guitar in the juggernaut contemporary Grateful Dead cover band, Joe Russo’s Almost Dead.
Today, Hamilton is thrilled to announce his debut solo album I’m Your Vampire, due out on January 23 via AWAL/Relix. The first single off the album, “Don’t Give Up On Me” is out now with accompanying music video directed by Joe Lee. The album was co-produced by Hamilton and Alex Farrar (MJ Lenderman/Wednesday).
It wasn’t until recently that a series of personal and societal crises compelled the Philadelphia based musician/songwriter/producer to reconsider his approach and finally forge ahead under his own name.
“When you’re in a van on the road for 20 years, you live in your bubble, you think that your world is one way — and it’s not. The pandemic break gave me the time to see that. Then my band broke up and my dad got sick. The only respite I had was the studio.”
I’m Your Vampire, Hamilton’s most personal effort yet is a 10-song suite wreathed in tattered-flannel rock & roll that encapsulates Hamilton’s salvation in isolation, as he sorts through the darkness to find a pinpoint of light.
“It takes effort to not just be jaded as we age — to not look at the world in a hardened way,” Hamilton says. “Yeah, it’s a dark, dark fucking time, let’s make some lemonade.”
fresh off a whirlwind release of their irreverent new album Bonanza, Portland, Oregon’s The Macks share the official music video for “Cypher Sore Eyes.” This standout cut from the recent record is a droning, dissonant and disillusioned track where they question how we are supposed to move about life when every action seems to support a cause we don’t stand behind.
In the video, directed by Jake Thiessan and shot on 16mm and Super 8, we see The Macks in raw form; trudging through their hometown haunts, gear in hand. “The goal was to show our appreciation for Portland and showcasing the areas that we see every day, not your standard tourist locations,” shared vocalist Sam Fulwiler. “It’s also a vibe piece that shows us wearing what we actually wear on stage, which was a nice contrast to the first video [“Dually of Man” / “The Modern Grape”] which has us dressed in a way that we never do with hi-fi production.”
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