Street Fever is an anonymous sound and performance artist currently based in Boise, Idaho.
Street Fever’s work is a symphony of heavy electronic production and ethereal soundscapes, fueled by the artist’s profound life experiences. Street Fever is not bound by genre, producing everything from experimental noise, warehouse techno, ambient, and more.
2024’s full-length album “Absolution” represents the culmination of these experiences and a full realization of the artist’s craft developed over three EPs, numerous singles, and a notable discography of remixes for bands such as Crosses and Patriarchy.
Following the release of “Absolution”, Street Fever embarked on a full US, EU, and UK tour, bringing their cinematic and infamously destructive live performance to cities across the world. A run of three dates were added in late 2024 as direct support for Crosses in San Diego, CA and Mexico City, Mexico.
Street Fever’s new single “Burn” “is speed, rushing blood, and unrelenting power.” The artist further confides “Burn” pushes me to the limit when I perform it live behind the decks at raves, which is where I wrote it to be played. I was DJing warehouse parties across Los Angeles a lot which heavily inspired its creation. The tempo change and buildup in the song is a play on the increasing heart rate I experience when performing live.” The single is issued under Breathing Records as part of the Inhale Vol. I compilation out digitally November 14th.
Street Fever continues to perform live, DJ, and perform art sets, fueling their inspiration for whatever is to come next.
As MELANIE PAIN prepares for the release of her upcoming album ‘How and Why’ (out 21 November), her latest single “Dreamloop” stands out as one of the record’s most enchanting and pop-infused tracks.
WATCH VIDEO HERE || STREAM HERE
Beneath its luminous tones lies a darker theme: looping mental states, inner spirals that are hard to escape. “Dreamloop” captures the helplessness of witnessing a loved one’s suffering, that sense of standing by, powerless, as they drift silently – trapped in an endless dream, a true “dream loop.”
“Raise the anchor and grab the rope Let it lead you out of your darkness
I’d like to form the words you need to hear But my love is breathless” she signs here.
In the vein of Stereolab, Broadcast, or the Velvet Underground, “Dreamloop” embraces deceptively light pop, carried by instrumentation blending psychedelic softness with naïve energy. All instruments launch together: laid-back drums and bass, folk guitar as an emotional thread, piano accentuating the chorus. The tambourine, reminiscent of Moe Tucker, drives a hypnotic, almost ritualistic rhythm. The track unfolds languidly, like a contemporary Sunday Morning, with a simple, insistent melody.
Recorded live in the studio with the band – Raphaël Chassin on drums, Oliver Smith on bass, Jérôme Plasseraud on guitar and mellotron, Alexis Anérilles on piano – the song radiates raw, immediate energy. The spontaneity of the collective performance is palpable from the very first note.
Mélanie Pain’s voice, always soft and precise, takes on an incantatory quality. The chorus serves as a call to the surface, a glimmer of light in the fog.
“Loud and loud the sirens Can’t you hear they call out for you Round and round the sirens Can’t you see them dancing for you”.
Formed in Buenos Aires by Inés Adam and Martina Nintzel, Pacifica have been on a fast, furious rise since transforming their bedroom YouTube covers into a fully-fledged global phenomenon. Blending the gritty immediacy of early-2000s garage rock with the swagger of post-punk and the emotional punch of ‘90s alt, the duo have built a devoted following and a reputation for blistering live shows that channel friendship, chaos, and catharsis in equal measure.
Now, Pacifica return with their highly anticipated sophomore album In Your Face, out now via TAG / The Orchard. The record marks a new era for the Buenos Aires-born duo — one that captures their trademark mix of vulnerability and rebellion with more bite, confidence, and self-awareness than ever before.
“In Your Face is an introspective journey that brushes through themes of heartbreak, betrayal, lust, spite, immaturity, and regret — all with a pinch of humor and light-heartedness,” the band explains. “It’s about cause and consequence. Accepting fate and flaws, realizing some things really are the other person’s fault, falling in love and wanting to jump off a building for someone, learning to be patient, and just living through it — Tokyo streets, Maseratis, vibes.”
Emerging Bristol indie rock outfit Roses share their striking new single ‘r u satisfied?’ – a raw and electrifying reflection on grief, loss, and the urgency to live without regret.
‘r u satisfied?’ is available now on your streaming service of choice via APOLLO Distribution.
Listen to ‘r u satisfied?’ below:
Opening with an eerie, somber tone, the track gradually blooms into a powerful, grungy crescendo – a cathartic release of emotion that captures the band’s trademark sound, full of passion and grit.
“The track is about learning how to live with grief and deal with the knowledge that you can lose anyone of any age at any time and there’s nothing you can do about it”, explains Roses. “And how death reminds us that life is so fragile and when someone you care about passes, it makes you really consider how you live your life and whether or not you are truly satisfied with how you live.”
Brooklyn-based music project Every Us returns with their latest single, “The Motions,” a soulful indie groove that dives deep into the cycle of life, love, and rediscovery. Staying true to their artistic vision of capturing the feeling of when we’re all together, Every Us transforms “The Motions” into a transcendent musical experience. The single is now available for global audiences to stream.
“The Motions” reflects the push and pull between numbness and awakening — that quiet rebellion against the monotony of going through life’s motions. As frontman Ryan Jones explains, “It started with a chant, a half–melody looping like a thought you can’t kill, and from there we built the production around that feeling: pent-up guitars, carelessness disguised as control and dusty yet optimistic nihilism.” The song captures that restless energy of someone reaching their breaking point, “a grey suit that had stopped caring long ago,” as Jones describes. “By the end of the song, that same suit’s driving through the desert, and singing back from the abyss. The outro is their call back to you. This track is for the ones who’ve given up waiting for change. For anyone who can hear the voice calling back, telling them to pull the ripcord and meet them out there.” That sentiment resonates in the song’s very structure; the interplay between driving drums, layered vocals, and textured guitars evokes both exhaustion and renewal. While the lyrics describe a sense of emotional detachment, the production propels listeners toward rediscovery and movement. With lines like “Paper dreams for gasoline, sing scat for prophecy, burn scripts we meant to read,” the song urges defiance against conformity and a reclamation of purpose. “The Motions,” written and produced by Ryan Johns and mixed and mastered by Ian Kimmel, features performances by Connor Sandstrom on guitar, with vocals from Olivia Reid, Ryan Jones, Connor Sandstrom, and Chynna Sherrod.
Under The Big Sky returns to the heart of Montana’s big sky country next July, anchored by Chris Stapleton’s festival debut. The 2026 line-up celebrates the best of the modern West and Americana, pairing marquee names and rising voices in one of the country’s most panoramic and picturesque settings. UTBS will host more than 40 artists straddling outlaw country, indie rock, bluegrass, folk and the very best of Montana’s musical scene.
This festival’s seventh edition is proud to welcome 11 time GRAMMY winner, and one of country’s most commanding and defining voices, Chris Stapleton. Across five acclaimed studio albums and countless live performances, his voice and blues-soaked sound have become a defining benchmark of American roots music, cementing him as one of America’s most respected and authentic artists. Stapleton will headline alongside two of Under The Big Sky’s long-time favorites, Zach Top, whose throwback twang and sharp songwriting have set him at the center of modern country’s traditionalist revival, and Cody Jinks, the Texan outlaw powerhouse beloved for his gritty, truth-first storytelling.
Under The Big Sky will also play host to genre defining artists, including Ryan Bingham and Texas Gentlemen, whose roots-driven sound channels the rugged soul of the American West, Southern rock and blues star Marcus King Band, the contemplative Virginian Charles Wesley Godwin, genre spanning guitarist and song-writer Stephen Wilson Jr., the theatrical cosmic cowgirl Kaitlin Butts, and the return of only band to play every edition of the festival, Hogslop String Band.
This year’s event will feature the festival debut of the folk rock trailblazers Of Monsters and Men, Oregon’s own Max McNown’s heartfelt storytelling, boundary pushing stars Greensky Bluegrass, the high energy sounds of Americana string veterans Old Crow Medicine Show, panhandle rockers Rattlesnake Milk, Canadian indie-folk duo Ocie Elliott, and the rootsy Appalachia artist Cole Chaney. As well as Sandpoint, Idaho’s retro-styled Gabriella Rose, and Pacific Northwest folk newcomers The Brudi Brothers.
Northeastern masters of ancient-and-modern folk and rock Hector Gannet make a compelling return with their new double A-side single, out now on 12-inch etched vinyl and digital.
Admired by music maniacs from Chris Packham to Sam Fender and acclaimed as “North Shields’ answer to Crazy Horse” (Uncut), the literate, dreadnought-passionate words and music of Tyneside group Hector Gannet have built through two previous albums. There have been live dates with artists from Elbow and Sea Power to Lindisfarne and Richard Thompson – plus massive shows with Sam Fender at the vast Northeastern shrine that is Newcastle United’s St James’ Park ground. All this now culminates in the exhilarating and ambitious dimensions of new double A-side single “The Jetty’s End” / “Until My Bonnie Can Be Revived”. These moving clarion calls will be followed by the third Hector Gannet album, in 2026.
The jetty of “The Jetty’s End” is a very specific structure in North Tyneside, dilapidated but rich in atmosphere – an age-old “hailing station” where an official would stand and hail passing ships, recording their cargo and destination. This track sees Hector Gannet add church bells, brass and a youth choir to a song that explores Northeastern place and memory. All this is transformed into a gorgeous metaphorical wash, a song that brims with a universal sense of wonder. A crescendo is fired on by lyrics that take in human history, human connection and our devotional rituals – prayer books, work, war, the sea. And not forgetting the cormorants perched on the jetty – prehistoric creatures, their wings drying in heraldic repose, like birds at the end of the world.
The church bells and choir were recorded live at the 17th-century Christ Church in North Shields, with the bells melody plotted by the church’s Ringing Master. The brass was arranged by Jason Holcombe. Hector Gannet frontman Aaron Duff was delighted to discover, over coffee with Jason, that this now North Shields-resident American brass expert has also worked with The O’Jays. The single was recorded in the well-equipped Polestar Studios in Newcastle and mixed by Eduardo De La Paz (The Charlatans, Self Esteem, Frightened Rabbit) at Tostado Studios, and was mastered at London’s famed Abbey Rd Studios. Ancient and modern elements – blended to beautiful and moving effect.
Hector Gannet are named after a fishing vessel of the same name, a boat which Aaron’s late paternal grandfather served on and which suffered fatal misadventure off Great Yarmouth in 1968. While attempting to aid a storm-battered offshore gas platform, three members of the Hector Gannet crew died. A recording of Aaron’s grandfather talking about the incident features on the new single’s second track, “Until My Bonnie Can Be Revived”.
fast-rising singer-songwriter, producer, and creative Claire Brooks releases her brand-new cut “Mortal Hide” – OUT NOW, and taken from her forthcoming EP ‘Book of the Cure’.
Blurring the lines between sound and form, the designer-turned-multi-instrumentalist continues to showcase her creative world through spellbinding visual art and disruptive, genre-bending compositions. Connecting universal experiences with raw, conscious commentary and eclecticism, Brooks’ exploration of self-discovery and human connection is deeply rooted in architecture and emotion, sculpting immersive soundscapes that are already attracting serious attention across both sides of the Atlantic. Now with eyes firmly set on her upcoming EU/UK tour with Carpetman in November – including sold-out shows across London, Berlin, Paris, and more – 2025 promises new levels for the rising star while solidifying her artistic confidence and integrity as standout.
UK singer-songwriter Lucy Kitchen announces her forthcoming album ‘In The Low Light’, set for release on 27th February 2026 via Bohemia Rose Record/Make My Day Records. With the news come fresh tour dates and latest single ‘The Boatman’,out 7th November.
As the celebrated artist confirms details of her third album, this new chapter takes flight with the stirring ‘The Boatman’. While Lucy’s recent releases have explored alt-country and alt-folk territories, this new single marks a return to her more traditional folk sound. The track continuously builds with careful intent, growing from intimate verses into a powerful full-band finale, raised by recordings of birdsong and the warm, vintage tones of a Hammond organ.
Lucy Kitchen: “With this single I wanted to write what felt like an old folk song. I’m not sure if I achieved that but I like how it’s a grief song but also feels slightly defiant in the face of death. I’d released an acoustic version of this on my Stabal Sessions EP but really wanted to record a full-band version and go big with it.”
Following her recent summer single ‘Red Skies’ and the solemn ‘In My Corner’, the acclaimed folk artist now turns her sights towards the upcoming new album In the Low Light – a beautiful collection shaped by personal loss and quiet resilience. Blending hypnotic folk with subtle threads of Americana and the timeless spirit of 1970s singer-songwriters, the album marks a deeply personal chapter in Lucy’s life.
Written in the wake of her husband’s death in October 2022 the record explores themes of loss, grief, memory, and transformation. Yet within its sorrow, there are glimpses of joy, gratitude, and rediscovery. For Lucy, the act of creating became a lifeline; a way to process pain, honour love, and slowly reassemble herself through music.
“Making this album re-built me more than anything else” says Lucy. “From the moment we started recording I just felt this pure excitement to be creating something new with these amazing musicians. I think when you’re recording you embody the music and everything else falls away so for me it just felt like magic. I felt like it brought me back to myself and what I love to do.”
Toronto alt-pop artist City Builders returns with “No Sleep,” a chaotic and euphoric anthem dedicated to wild nights, reckless fun, and the liberating art of letting go. Fueled by intrusive ideas and best-friend mischief, the song celebrates the beauty of becoming a “menace” for one night because sometimes, freedom sounds like laughter echoing down city streets at 3AM.
“My best friend and I turn into absolute demons on a night out,” says Grace Turner, the force behind City Builders. “There’s nothing like giving into your intrusive ideas with a best friend, and I needed to write something that sounded as chaotic as our nights out.”
The track came together in a whirlwind week with producers Zach Zanardo and Al P, and co-writer Maia Davies – a dream team Turner had admired for years. The chemistry in the studio was electric; from initial demo to final mix, “No Sleep” came to life almost overnight. “Everyone was so stoked with the record that we got the ball rolling immediately and completed the track in a week,” Turner shares. “I even got my friends in the studio to record adlibs and backup vocals and scheduled a shoot for the cover art the same night.”
Toronto duo Chrome Daphne bridge smooth R&B tones with the pulse of electronic groove, finding the space between rhythm and reflection. Comprised of childhood friends Ben (vocals/production) and Chris (production), the pair spent years developing their sound before finding their voice with debut single “There”— earning airplay on CBC’s Afterdark and placements on Spotify’s Outliers, R&B Fresh Finds, and Mood Ring playlists.
Drawing influence from genre-fluid acts like Two Another, Tentendо, Oscar Jerome, and Darius, Chrome Daphne weave together textured production, hypnotic rhythms, and vocals that glide between intimacy and atmosphere. The result is smooth and absorbing—music that feels equally at home in quiet moments or on the dance floor. With three singles released and growing momentum on college radio, Chrome Daphne are carving out their own lane in Toronto’s expanding landscape of alternative R&B and electronic music.
Glassio’s third album, The Imposter, is a luminous meditation on identity, doubt, and the quiet act of returning to oneself. Written after a transatlantic move from New York to London and in the wake of newfound sobriety, the record unfolds as a self-portrait in motion — a dream-pop opus about shedding illusion and rediscovering purpose in creation.
Across its 13 tracks, Glassio (Sam R.) weaves together elements of shoegaze, early-2000s electronica, and psychedelic folk, creating a sonic world where memory and melody drift in tandem. The album moves like a lucid dream — opening in disorientation (“Join the Club,” “Give Me Back My Future”), spiraling through moments of self-doubt and longing (“I’m So Far Away,” “Downtown Hero”), and ultimately arriving in grace and acceptance with the closing track, “Take a Look at the Flowers” — a radiant collaboration with avant-pop artist Madge.
“That song became my way of ending the loop,” Sam explains. “After all the searching, it’s just about stopping for a second — seeing what’s still blooming around you. It’s the record’s exhale.”
At its core, The Imposter asks a question that has haunted artists for generations: If you were denied the right to create, would you still know who you are? This inquiry surfaces most directly on “Hit or Bliss,” a spoken reflection that reframes the classic Rilkean test of creation as survival. The album doesn’t offer easy answers — instead, it finds beauty in uncertainty, empathy in imperfection, and purpose in the impulse to keep making.
“For a time, I lost my sense of self,” Sam admits. “I’d been performing roles — for people, for the industry, for an idea of who I thought I was supposed to be. This album was me stripping all that away and finding the real voice underneath.”
From the pulsing nostalgia of “Heartstrings” to the spectral shimmer of “Al Pacino” and the introspective haze of “I’m So Far Away,” each track feels like a page from an artist’s internal dialogue — by turns playful, melancholic, and transcendent. Even the most outward-facing songs hum with inner reckoning.
Single “When The Beat Carries On” is a driving, nostalgic anthem, a dream-pop journey through illusion, identity, and rebirth.
While Glassio’s earlier work drew comparisons to the escapist bliss of acts like Hot Chip and M83, The Imposter inhabits a more vulnerable register — one where self-awareness replaces spectacle, and the line between persona and person begins to blur.
It’s a record born from confrontation: with addiction, with artistic doubt, with the quiet fear of being forgotten. But in the end, The Imposter offers a different kind of faith — the faith that what’s real can’t be performed.
“A maker makes,” Sam says. “That’s what they are. I had to stop running from that.”
“Rewrite the script!” exhales frontman Ben Robinson in the dying seconds of this maelstrom of a track. And if “Gig Buddies” is anything to go by, Hello Cosmos are on a mission to do just that.
“Experience is twisting, contorting and expanding!” he fires-up over a melee of barbwire guitars, disfigured harmonicas, and thunderous John Bonham-esque drums.
With more key changes than a piano tumbling down a cliff, “Gig Buddies” is what happens when pure upset gets turned into energy. Digging into the track, Robinson says:
“[Gig Buddies is about…] Tunneling the frustrations of making music in the modern era of performative social media, the never ending rehashes of the same songs, beats and loops, the dumbing down of music culture via algorithms. That mate full of white lines ranting in your ear while you’re trying to watch a gig. Just your average days morbid thoughts from most musicians and music lovers…. On the flip side it’s expressing a love for the noise, confusion and pull of going to a live show with your mates, the otherworldly nature of huge speakers, that mid point at a show where the collective conciseness of the crowd are in sync with the band and the spirit of the show enters the room. Plus how losing yourself is sometimes the best way to find yourself on the other side of the night.”
One of the band’s heaviest, most disorientating, and electrifying outings to date, “Gig Buddies” finds Hello Cosmos in vivacious form. It follows the recent track “Grind Into The Shrine” released over the summer, with both tracks confirmed to appear on the band’s second official studio album…
Indie-rock songstress Bekah Bossard (she/they) returns with ‘American Dream’, a track that blends poetic musings, gritty undercurrents, and a tongue-in-cheek sense of self-awareness. Anchored by raspy vocals, rocky drums, and bold guitar lines, the single finds Bekah leaning into their kinetic, grungy side while weaving in moments of softness and restraint.
‘American Dream’ is available now on your streaming service of choice via APOLLO Distribution.
Carrie Baxter’s signature sound is a tapestry of experiences and influences that interweave to tell the story of her unique journey in music. This sonic fusion blends neo-soul, R&B and jazz with deeply personal confessional lyrics, heartfelt storytelling, and themes that explore the most profound depths of the human experience.
With 80 million Spotify streams, Carrie has been featured on RTE’s The Main Stage, BBC Introducing, BBC Radio 1, BBC 6 Music and Jazz FM, and in media including Notion, COLORS, Wonderland, the Irish Independent and Record of the Day.
With rich production and elevated vocal performance, ‘Loved You Before’ unfolds as a tender love song about the feeling of rediscovering someone your heart already knows. Through soft, intimate imagery and a dreamy sense of déjà vu, it captures the comfort, passion, and quiet magic of a love that feels destined. At its core, it’s about cherishing the small things, time spent together, gentle touches, and the deep, unspoken connection between two souls.
Carrie Comments…“My therapist told me it was a red flag that I felt like I already knew him…so I wrote a song about how that felt.”
“I’m a hopeless romantic at heart, especially when it comes to connections that feel instant or familiar. So I guess this is a love song, those early, honeymoon-phase kind of feelings. Although with hindsight and years of therapy, I’ve had to learn to slow down when I meet someone new, take the rose tinted glasses off and be mindful of the filters that show up in the connection.”
Brighton’s genre-smashing queer alt-pop duo COWZ have just dropped their latest EP ‘You’re Into This’, a bold and unfiltered body of work that pushes boundaries with every beat. Led by the explosive new single ‘VIDEO’, the five-track project is a hyper-pop, glitchy, pink-tinged dive into the world of COWZ.
Australia’s breakout indie pop BFFs Betty Taylor are set to release their highly anticipated and infectious new single ‘Sucker Punch’ on 5th November via Hello Gardener / Pals. The band’s home grown and international success and acclaim in the US and UK has led to extensive touring, festival slots and over 3 million streams and counting!
‘Sucker Punch’, co-written with renowned Australian producer Robby De Sa (grentperez, The Veronicas, Blusher) is a sun-soaked, heart-thumping dose of indie-dream-pop made for falling in love when you least expect it.
“This is a story about swearing off dating and being content on your own, only to suddenly meet someone who changes everything.‘It’s like BAM you meet someone out of nowhere and you’re like ‘oh wow you amazing’ but also ‘oh no, this wasn’t a part of the plan and I and don’t want to get my heart broken again.” SOPHIE PATRICK – BETTY TAYLOR
Fronted by Sophie, with harmonies and dreamy guitar from Kayla Smart (AKA Dorah Jacson), Claire Chittick on bass and Katie Ishaque on drums, this four piece went from performing open mic in a backyard show to one of Australia’s most beloved emerging acts in just 2 and half years!
Their debut single ‘Stallin’, produced by Aidan Hogg (G Flip, Holy Holy),premiered on triple j and has clocked close to 1 millionstreams. One year later in 2023, the band joined global agency WMEand hit the stage alongside girl in red, Beddy Rays, and The Rubens as well as an extensive tour of the UK and Europe with The Grogans.
Their second single ‘Glitter’ earned strong triple jsupport and tracks ‘Can’t Get Enough’ and ‘Young Dumb Immature’landed in triple j’s top ten most-playedtracks securing major Spotify, Apple, and YouTube editorial playlisting- featuring on the covers of Fresh Finds, Indie Arrivals, and New Music Friday.
With some huge wins at Australian radio the bands reach is growing fast with support at college and specialty radio support across the US, where their debut EP ‘Young DumbImmature’, broke into the NACC and SubModern charts. They also played to packed rooms at this year’s SXSW Festival in Austin.
They are fast becoming one of indie-pop’s most exciting developing acts, winning fans around the world with their sincerity and sound. Betty Tayloris the friend who holds your hand after a heartbreak and are an endearing and pure live force! Four best friends simply having the time of their lives!
The band have now announced a headline UK tour with a date in Ireland and says We are so excited to come back to the UK to play to new audiences and meet new fans.’ The band has also just been confirmed to support Dylan Flynn and The Dead Poets on two Irish dates.
The dates are as follows:
NOVEMBER
Mon 10th LONDON – The Grace
Tues 11th MANCHESTER – The Deaf Institute: The Lodge
Fri 14th NEWCASTLE – Zerox
Sat 15th LEEDS – Live at Leeds In The City
Sun 16th SHEFFIELD – Yellow Arch Studios
Wed 19th BRISTOL – The Croft
Thurs 20th GALWAY – Roísín Dubh **
Sat 22nd LIMERICK – Dolans **
Tues 25th DUBLIN – Ruby Sessions
Wed 26th GLASGOW – The Garage (Attic Bar)
- Email: neill@outloudculture.com
- Socials: @frazer.live
- @neill.outloud
