Multi-platinum singer and songwriter Jacquees taps fellow R&B heavyweight Tink for a steamy new duet, “Physical.” Get it HERE today via Cash Money Records.
On “Physical,” the Atlanta singer glides over silky, mood-setting production as he and Tink reunite for an intoxicating collaboration, trading flirtatious verses about chemistry that builds with every passing second. Their voices blend effortlessly, creating a sultry dialogue that captures the push and pull of desire and emotional tension.
As anticipation continues to build for his forthcoming album, Mood 2, Jacquees is pulling out all the stops with socially driven moments and genre-blending records that resonate with music lovers worldwide. His last-2025 release “Let You Go” featuring K Camp offered traces of both R&B and Amapiano and has received global praise, particularly from listeners in South Africa, which Jacquees recently visited.
As Jacquees continues to build on his legacy as one of modern R&B’s most-streamed artists, fans should keep an eye out for Mood 2, coming soon.
Scot “Little” Bihlman has trailblazed forward with a two-track release through V13 Music: the contemplative single “Seems Like Yesterday” and the instrumental interlude “The Devil’s Cradle.” Taken together, the tracks mark a pivotal moment in the arc of his forthcoming album Heavy Head, widening its scope before narrowing in on something more personal and quietly bruised.
“The Devil’s Cradle” launches with steel guitar and drifting harmonica, evoking the isolation of the desert highway at sunset. There’s a hint of cinematic scope to it, like a late 70s Americana record. It’s not showy, not indulgent, just atmosphere and distance. This piece was born from many miles of riding the California coast, and it captures the range of human experience passing by in the moment. Different roads, different outcomes, but the same sun in the sky. It’s a brief but deliberate transition into the album’s emotional second half.
Following the announcement of his heavily anticipated debut album Lost, Found & Forgotten… on Up The Stuss, Chris Stussy unveils the project’s lead single, “Darkness.” Arriving on March 13, the release comes in tandem with the tracklist reveal for the first six-track chapter of the album, Lost, which is available in full as part of the wider album release on April 3.
Positioned as the introduction to the LP’s three-part concept, Lost gives new life to music once left behind. These are tracks written across different moments in Chris’s journey, ideas that never quite found a home until now. Rather than relics of the past, they emerge re-discovered, refined, and fully realised. “Darkness” sets the tone for the project with driving intent. Taut percussion and rolling low-end pressure meet subtle melodic tension, balancing weight and restraint in equal measure. It’s a record firmly rooted in the club, yet reflective in mood – a statement that signals both progression and continuity as Chris steps into album territory for the first time.
MARIS
“Give Me A Sign (gimme a demo version)”
• In celebration of the one-year anniversary of her breakout song, “Give Me A Sign,” her collaboration with Caroline Kingsbury, MARIS releases a demo version as a gift to fans.
• “As an adult, I find myself terrified to make the first move, subconsciously begging my crushes to make the first move—so I can know if it’s safe for me to express my own attraction. ‘Give Me A Sign’ is that plea for my crush to show me they want me, so I can show them how badly I want them. Is it Girlie Pops… or is it more?” – MARIS
• The release follows closely behind MARIS’ college tour announcement, where she’ll perform the track across 19 U.S. cities throughout April. See all tour dates and ticket information HERE.
ABBIE CALLAHAN
“Gimme! Gimme! Gimme! (A Man After Midnight)”
• Breakout artist Abbie Callahan puts her Americana spin on a global disco phenomenon with the release of “Gimme! Gimme! Gimme! (A Man After Midnight),” reimagining the iconic hit through her own “kaleidoscope country” lens.
• “When I started thinking about recording a cover, I began playing ‘Gimme! Gimme! Gimme!’ in the fingerpicking style I naturally gravitate toward, and it immediately felt right. ABBA is legendary, and I think this version pays proper homage to such a classic song.” – Abbie Callahan
• Fans will have the chance to experience that energy live as Callahan opens for Carter Faith on The Cherry Valley Tour, including a stop in Nashville at Exit/In on Saturday, March 14th. Get tickets HERE.
Comprador embodies a more fragile whispery acoustic side than they’ve shown on prior releases. A shadowy electronic groove like a heartbeat creeps in under the second verse, which mimics the song narrator’s building anxiety as they sit at the bar brooding about their job and their complicity in the horrors of 2020s society, before a descending piano part ushers in a dramatic coda. The song is about indecision and pessimism collapsing into defeatism and learned helplessness. this is the second song on “please stay off my ass” on which Comprador worked with Philadelphia producer MCKNZ, one of the founders of the Daisy Corner collective.
https://comprador.bandcamp.com/track/perfect-anyone
Ger Carriereenters a new arena with her latest single, “Honeybees,” an offering from her upcoming EP. While her previous work has focused on edges, attitude, and sensuality, the new song is more open, more carefree, yet more thoughtful. It’s not so much a departure as a reinterpretation, and one that highlights her control over mood, tone, texture and feel.
The production itself is minimalist yet effective, making use of space and sound. Nothing feels overly cluttered. Everything feels as if it has space to breathe, creating a sense of movement that is not hurried, nor stagnant. Carriere is making use of this space vocally, sitting right behind the beat and drawing out her words to a level that feels almost conversational, as if she’s having thoughts that are happening live. There’s a bit of a push against the structure that makes this track, a looseness that is kept together.
LA R&B duo GAWD return with their explosive new single “Lie To Me” – a confident,
emotionally charged record that signals the beginning of a bold new chapter for the
group, and comes as an early glimpse into GAWD’s forthcoming debut album, due
for release later this summer.
Produced by Grammy-winning musician Stanley Randolph (Jessie Reyez, Leon
Thomas) and frequent collaborator Poe Leos, “Lie To Me” emerges as a sleek,
emotionally charged banger that blends deep R&B heritage with the snarl and
snappy clamour of today’s accelerated world.
Known for their razor-sharp, frank lyricism, rich harmonies and undeniable on-screen
chemistry, GAWD continue to carve out their own space in modern R&B—balancing
vulnerability, attitude and storytelling with effortless persona. “Lie To Me” lives in the
uncomfortable space between intuition and denial, capturing the moment when the
truth is obvious but the heart dares someone to keep pretending.
“We’ve always been drawn to the messy truth in relationships — the moments where
your intuition is screaming but you’re still hoping the story might change,” GAWD
explains. “Lie To Me’ sits right in that space. It’s vulnerable, but it’s also powerful,
because it’s about trusting yourself even when someone else is trying to rewrite the
truth.”
Dream-rock trio KEELEY, fresh from their recent UK headline tour, present the latest video from their acclaimed third album ‘Girl On The Edge Of The World’.
“Trains and Daydreams” features a rousing backing vocal from special guest Simon “Sice” Rowbottom, singer of Brit-Pop heroes The Boo Radleys, a band much admired by the KEELEY camp, and with whom the band has toured in the UK. The video was filmed and directed by Glasgow-based film-maker Laura Meek using vintage VHS techniques, and the results are both dream-like and visually sumptuous.
Singer and songwriter Keeley Moss notes… “this is the most out-and-out pop song on the new album, it possesses an ethereal dreaminess but also a biting fuzziness and a pure pop melodic buoyancy in addition to a bittersweet poignancy. The song tells the story of my muse Inga Maria Hauser on her first train journey in England in late-March 1988 when she travelled from Harwich International Port to London”.
Brooklyn band Ringing, the project of bandleader Colton Walker, are excited to share the final of their debut album, another cycle in the cosmic wash, available March 20, 2026, via Julia’s War Recordings and Signal//Noise Records. “rose/bud/thorn” is out now, maintaining hope in a moment of transition as blown out guitars contrast lyrical vulnerability. Elongated riffs diffuse the tension, leading the song down a path of heavy catharsis and distortion.
“The song is about optimism in the face of change,” Colton explains. “Once you confront what you need to do, you can start to feel hopeful about the path in front of you.”
Southern California garage rock outfit The High Curbs announce their third studio album HIGH SPEED, out May 1 via Lauren Records. Alongside the announcement, the band shares new single and music video “RACER #23,” out today.
Chicago sound artist Kikù Hibino and Japanese noise icon Merzbow announce their debut collaborative album Rococo ∞ Echomatter, out May 29 via Superpang. The album is a charged, cinematic exchange between two artists working at the edges of sound. To introduce the project, they share lead preview “dB.XYZ,” featuring spoken word from Alexandra Cupsa, whose voice acts as a structural axis across the album.
Hibino explains: “Listening closely to the material Merzbow sent, I began to notice tiny openings in the sound. Instead of layering the voice over the noise, I started cutting into those gaps and placing Alexandra’s voice inside them — imagining the abrupt edits of a Jean-Luc Godard film. Her voice doesn’t float above the sound. It confronts it directly, functioning almost as an edit within the noise itself.” Merzbow’s noise carries a powerful sense of acceleration, while Hibino pushes that momentum further with beats and sub-bass. “‘dB.XYZ‘ is where the album’s logic first became clear,” he adds. “Voice and noise don’t blend — they collide.”
Releasing via La Izquierda Records on April 3rd, the album consists of ten breezy tracks filled with twangy guitars, husky vocals, and introspective lyrics.
Apart from being a mysterious iconic strip club that everyone has seen but few have ventured into,new GALVEZTON album Ocean Cabaret, is a love song and dance of the ocean. Add a little Americana, a splash of folk, and rock n’ roll, and you have the new album cultivated by Texas-native Robert Kuhn.
Modern R&B mainstay Arin Ray has announced his new single, “Both Of Us,” arriving this Friday, March 20. Produced by Paperboy Fabe, the track marks Arin’s first solo release since Phases III (2023,) the third installment in his critically regarded EP series.
Toronto-based pop project City Builders (Grace Turner) returns with her debut EP, Healing Revenge, featuring the fun and flirty lead single, “Heartthrob.” Built over two years of writing and collaboration, the EP moves between emotional catharsis and cheeky fun, exploring the complex territory of heartbreak, healing, and self-discovery.
Recorded over 10 months with collaborators Zach Zanardo and Jacky Levare, the process proved transformative. “I got dumped on the last day of recording,” Grace recalls. “It was somehow poetic; the end of the record and the end of a partnership. The songs I’d written about heartbreak became comforting and took on new meaning.”
We’d love to hear Healing Revenge and/or “Heartthrob” over at OutLoud Culture: https://ffm.to/odqyb2a
At the forefront of the release is “Heartthrob,” a pop song inspired by the larger-than-life persona of a musician Grace was dating. “No matter how mundane our lives were, watching him do what he loved on stage made every shortcoming feel worth it,” she explains. The track came together quickly, with verses written in just 10 minutes. “This is one of those songs that I feel like every lyric and melody is so satisfying and was somehow so simple to write.”
Healing Revenge is both a debut statement and a personal reflection. “These songs have taught me that there is no ‘correct’ way to process emotion,” Grace says. “Life is full of surprises, and there isn’t a one-size-fits-all solution to problems that arise. Healing the parts of me that would otherwise turn into resentment or spite has been a huge lesson while writing this EP.”
Grace’s influences range from Lana Del Rey, Labrinth, Woodkid, and Britney Spears to M.I.A. and MGMT, and her fanbase (known as The Citizens) are drawn in by her distinctive voice, emotional duality, and playful diva persona. Notable projects like the Group Scream event have garnered media attention and high engagement from her growing community.
Healing Revenge positions City Builders as a confident, alternative pop artist, bridging dramatics and catharsis with a style that is unmistakably her own.
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