Irish artist and songwriter McGrath (Mick Russell) releases his debut single, Rotha, April 23rd via Some Action Records. A compelling introduction to one of Ireland’s most distinctive emerging voices, Rotha captures the emotional aftermath of a relationship’s end, delivered with a blend of wit, storytelling, and honesty.
Originally from Donegal and now based in Belfast, McGrath first came to attention performing in a local pub, where his striking voice and sharply observed lyrics quickly set him apart. Drawing inspiration from everything from drinking stout with his father to the cyclical nature of life—Rotha Mór an tSaoil (‘The Great Wheel of Life’)—his songwriting balances humour, melancholy, and poetic insight.
His talent has already earned significant early support. George Ezra invited McGrath to open for him in 2025, while a coveted slot at Dublin’s renowned Ruby Sessions further cemented his reputation as a compelling live performer. McGrath will support the release of Rotha with a run of live dates with festival slots in Paris, Manchester, London, and Chelmsford and with new music slated for release throughout Spring 2026, Rotha marks the beginning of an exciting new chapter.
Speaking about the track, McGrath says:
“Bottling the hurt from leaving a relationship and harnessing it for the better. Knowing you’re better off having left, but hopeful and without spite for the other person. Rotha means wheel. It keeps spinning.”
Rotha is produced by Rob Kirwan (known for his work with PJ Harvey, Hozier and U2), bringing a refined yet emotive sound that perfectly complements McGrath’s lyrical depth and vocal delivery.
With Rotha, McGrath introduces himself as a singular new voice in Irish music—one rooted in storytelling, rich in character, and unafraid to find light in life’s turning wheel.
UPCOMING SHOWS:
May 9th : Walk Up Festival, Paris
June 5th : Awesome Friends / Chris Hawkins, Manchester, Night & Day Cafe
June 27th : British Summer Time, Hyde Park, London
June 28th : State Fayre Festival, Chelmsford
9X JUNO Award winners Arkells release hypnotic new single “What’s On Your Mind” (feat. Poolside) via Universal Music Canada and Virgin Music Group. Marking the fifth single released, showing the breadth of sounds from their new album Between Us (out now), the disco-esque track is a synth-heavy, indie pop-rock gem from Arkells, enhanced even further with the distinct sound of San Francisco’s chill-wave kings Poolside.
On the new release, frontman Max Kerman notes: “We wanted a song that felt hypnotic—where the chords don’t move much, and the rhythm and melody do all the heavy lifting. It’s my favourite thing about seeing dance music live: how it can loop and loop and loop, and the longer it goes, the better it feels. We went deep into synth-world on this one.” He continues, “we toured with Poolside and saw the power of repetition. What restraint can offer to the crowd. The patience of building a song with the groove dictating everything. The song was just about finished when we asked Poolside to add some shine to it all. Our music has ended up in all kinds of places, and we hope this ends up on some dance floors.”
We’d love to hear “What’s On Your Mind” (feat. Poolside)over at OutLoud Culture: https://arkells.lnk.to/WhatsOnYourMind
Arkells’ new album Between Us is produced by LA based John Congleton (St. Vincent, Death Cab for Cutie, Wallows). It follows the latest summertime-feeling single “Ride” (feat. GROUPLOVE), and the instantly hummable, “Next Summer”. In addition to the previously released radio favourite “Money” (featuring Portugal. The Man) and the punchy tune “What Good?,” which rounds out the first slate of new music from this Between Us era.
Arkells recently brought their latest single “RIDE” to the stage with special guest GROUPLOVE at the 2026 JUNO Awards in the group’s hometown of Hamiton, ON on March 29 at the TD Coliseum. The band performed the upbeat track amidst a hyper-realistic viewer engaged set that integrated greenery and Truman-esque break in the fourth wall bike riding.
Between Us is available now for pre-order on vinyl, and CD, including a signed edition on grass-green vinyl. The cover was shot by Boston-based artist and photographer Pelle Cass, who photographed the vibrant image of Arkells atop Hamilton’s Jackson Square rooftop – a nod to their roots.
Chicago alt-rock outfit The Joy Thieves are back with ‘The Wrong End of Your Rifle’, along with a new video by Joel Lopez at Lumbra Productions. This is the first single from their full-length album ‘Apocalypse Pending’, out June 5th via Armalyte Industries. Featuring Chris Connelly (Fini Tribe, Revolting Cocks, Ministry, Pigface) on vocals, this ripping track addresses the intense frustration we’re all feeling over corporations and billionaires seemingly able to do whatever they want, whenever they want, without consequence.
Revolving around musicians-producers Dan Milligan and James Scott (a.k.a. Joy Thieves Productions), The Joy Thieves is a musical supergroup that includes current, former, and touring members of Ministry, Stabbing Westward, The Rollins Band, Killing Joke, Pigface, RevCo, PIG, David Bowie, Blue October, Machines of Loving Grace, Depeche Mode, Nine Inch Nails, KMFDM, Naked Raygun, Foetus, My Life With the Thrill Kill Kult, Pegboy, Nitzer Ebb, Die Krupps and more.
His new single “The Unfortunate Rake” is dark, haunting, and sorrowful, a cautionary tale that may also seduce listeners despite its warning. The ballad from 1700s England and Ireland, has evolved through many versions told from different perspectives and exploring vices like drinking, gambling, and prostitution. This version focuses on heavy drinking, blending traditional elements with original lyrics and arrangement. Its lively, boastful tone contrasts with its tragic message, creating a tension that reflects the complexity of human nature, how we can be drawn to the very vices that lead to our downfall. He shares, “We are often both sides of the same coin at the same time at certain points in our lives, and the song seems to speak to the frustration and confusion of feeling in the middle of these two warring sides.”
Food for the Wyrm’s upcoming debut album A Wicked Huntsman was recorded live at Analogue Catalogue Studios in Ireland while the artist was on tour. Beau and the band had been playing a handful of uniquely interpreted Irish folk songs for the last couple of years and it only seemed fitting that these songs be recorded in their ancestral home. The record consists of four Irish folk songs, one Blind Willie Johnson inspired song and three original compositions rendered in an aggressive, dark and driving manner influenced equally by hardcore punk and traditional metal as much as the folk tradition. He shares, “The eight tracks are meant to be representations of challenging life experiences, different qualities of human suffering that one must fully experience in order to transcend them to find wisdom and purpose on the other side.”
A Wicked Huntsmanis set for release May 23, 2026.
Louise Aubrie is a London-born, indie rock artist who splits her time between the UK and the US. Having started her career writing and recording in London, she then went on to hone her sound on the stages of downtown New York, building a transatlantic career defined by sharp songwriting and a punchy, guitar-driven edge. Over the years, she has had the privilege to record at legendary studios including Abbey Road in London and East West Studios in Hollywood, carving out a sound shaped by the energy of the cities she calls home.
Her new single “Midnight Calls” is the first release from her sixth studio album, LFA, and marks the first record she has written and recorded in Los Angeles. Written during her time living on the West Coast and tracked at East West Studios on Sunset Boulevard, the album was produced and mixed by Ken Sluiter. At its heart, LFA is a love letter from London to LA, shaped by the experience of relocating and absorbing the mythology of Hollywood. Driving through the city at all hours, inspired by the Hollywood Hills and the legacy of those who built the industry, the song captures that sense of being on the brink of change. Lines like “I’m on the edge and you’ve got the looks that kill” reflect both the emotional shift of moving home and the heightened drama of Los Angeles itself. The songwriter shares, “It’s always interesting when you have a life in both the UK and US as I find I am awake at all times of the day and night catching up with people, which can trick your brain into new areas of creativity.” Tight and punchy, it sets the tone for a record that draws from personal experience and classic film history alike.
One of the most defining voices in modern rap, multi-platinum superstar Lil Tjay today released his new track “Life On Edge.” Watch Part 1 of a newly unveiled three-part short film that reveals key milestones in his life growing up in the Bronx, surrounding his upcoming album They Just Ain’t You, out May 1 via his label TrenchKid Records/ADA, marking his most reflective and self-aware chapter to date. Read more here from his first interview with Billboard.
Set against a calm, stripped-back backdrop, “Life On Edge” sharpens the introspective tone Tjay has been building, leaning into pressure, isolation, and the mindset that comes with navigating success under constant scrutiny. “The more the struggle, the better the shine, my life is a puzzle, but I’ve been hustling and juggling with times,” he delivers, grounding the record in resilience and hard-earned clarity.
The release also coincides with a newly revealed album trailer, continuing to build toward They Just Ain’t You, Tjay’s forthcoming project centered on identity, growth, and the complexities of navigating both in real time. The album follows a series of deeply personal releases including “First Time” and “Letter to My Block,” which introduced a more reflective and self-aware chapter in his artistry.
The momentum follows a major stretch of live performances for one of the most streamed rappers of his generation, including an international summer festival run playing to crowds of up to 60,000 fans and the sold-out Past 2 Present Tour across Europe, highlighted by a 20,000-capacity show at London’s O2 Arena. He is also preparing to unveil a forthcoming biographical documentary offering a deeper look into his journey from the Bronx to global recognition.
| As Rare DM, Erin Hoagg fuses moody pop songwriting, vintage synthesis, and striking visuals. The New York City-based artist will release her second full-length, Attention, on May 29, 2026. Today, she shares the pensive and catchy new single “Honey,” which stemmed from the complexity of a budding romance. She ponders the vulnerable rush of admitting you love someone over a meticulous electronic arrangement. A brooding self-directed video, which nods to classic vampire movies, contrasts the euphoric subject matter. |
| On the single, Rare DM shares: “’Honey’ is my first happy love song. I wrote it during the uncertain time before saying the words ‘I love you’ – you’re in a constant state of butterflies: it’s sweet, vulnerable and a little scary. I wrote it in my old studio in Bushwick when I was being swept up, and really got into the symphony of things, percussive polyrhythms; chopping up my vocals. ‘Honey’ is one of the first songs I finished with producer Ross Fish aka Moffenzeef Modular (also from 4MS). I’m thrilled with how it turned out – super wide and swirly. I really enjoyed dialing in the finishing touches together. It’s one of my favorite songs to perform live. |
| ‘Honey’ the video is leaning into the best part of being in love: having fun and being silly. Dating is a lot of sifting through trash, looking in the wrong places, getting caught up in games, battling decision paralysis… there are so many fish in the sea, you have to be willing to make a fool of yourself to find the right one. I am a strong believer that the most important part of a relationship is making each other laugh. The world is too serious.” |
New York-based artist Griffin Brown announces his third solo album, Begriffen—in a sense, his self-titled. Arriving May 8, co-released by Spread Way Out/Better Company Records (vinyl), Begriffen is a collection of songs that ask more than they answer, embodying the omnivorous pursuits of a musician The Wire calls “impressive” and “original.”
Following in the mold of 2021’s il y a and 2023’s Busy Being Angry, work Bandcamp praises for its “tapestry of sound,” Begriffen ranges across electronic, rock, pop, classical, and jazz textures; track 2 sounds nothing like track 5. But the voice is nevertheless unified and distinct, and it pushes further than its predecessors into song. Formally and lyrically, it is Brown at his most forthright, centering the poetry that has appeared in The Paris Review, Oxford Poetry, Plume, and other publications.
Reflecting on new love, as in the maximalist “Figure” (“I wake up for the first time in a year, full of ideas”), or on the angular cadences of social norms, as in woozy rocker “DRAW” (“I need a hint, like a task, to check off and put behind me…”), Brown vocalizes the everyday, the site of banality and atrocity. The title is part-eponymous, part-concept: it’s an inversion of his name (Griffin B); an imperative for himself; and a German word meaning something like “under development,” “growing,” or even “to understand, fathom.”
New York City’s Modern Holiday today share “Beware the Robots,” the third and final single from their upcoming self-titled debut album, out May 14th (preorder here). The hazy and distorted ripper traces a relationship back to a chance meeting at a Lower East Side house party. Inspired by a late-night conversation about how the surrounding buildings resembled looming machines, the song transforms that image into a metaphor for emotional distance, capturing the tension of two people circling each other cautiously, unsure whether to let their guards down.
“Beware The Robots” was preceded by “Goodbye Grand Street”, which proffered a ragged bittersweet sendoff to the apartment the band’s frontman Jameson Edwards called home longer than anywhere else. Previous to that release, “Shuttered Life” served as the group’s debut release, a quietly powerful song that balanced collective memory of 2020 with personal reflection—both a time capsule of isolation and an intimate portrait of finding meaning in solitude.
With Edwards joined by Michael Horaz (drums), Billy Gray (bass/vocals), and Niko Siskos (guitar), this four-piece may appear as familiar faces from numerous NYC scene bands including Bloody Your Hands, I Am The Heat, and The Vibrant Colors. In their incarnation as Modern Holiday they combine to create something somehow grander yet more introspective than anything they’ve previously shared.
https://modernholiday.bandcamp.com/album/modern-holiday
US indie radio faves The Dambuilders are back with “Shrine 2026” — their first release in decades — with their signature blend of emotional immediacy and sonic invention.. The new video portrays an underground society of alien rockers resurfacing for a mystical ritual after decades in hiding. Parts of the original 1994 video are blended with new footage to highlight the vast passage of time within the story’s timeline.
Released via Magic Door Record Label, the B-side companion “I Hope We’re Not Too Late” was recorded and produced by Ray Ketchem at Magic Door Recording in Montclair, NJ and mastered by award-winning engineer Greg Calbi (Lennon, Bowie, Springsteen, Talking Heads, Patti Smith).
2025 saw the band’s reformation with reunion shows at Dromfest and NYC Berlin, where they performed their 1989 debut album in its entirety. In late April, they once again perform in New York City and Providence, Rhode Island. Involving a host of special guests, these are the band’s first performances in either city in 30 years, offering a rare opportunity to experience the band’s dynamic live presence.
“Bruno Corbo directed this video as an homage to the original video directed by Tryan George. Bruno and I are collaborating on the Dambuilders documentary “I Used to Be Different,” which chronicles the band from our origins in Honolulu to Boston, Berlin, and back. He created an elaborate backstory that connects the video to the original video. In the years following the initial video, where we played a rocking band of aliens who were brutally attacked by a paramilitary force, we have spent decades living underground. We are magically reconnected through the ritual of buying candles to light the shrine of rock and roll,” explains Dave Derby.
Strange Plants return with “Ground Falls Away,” an energetic rock single that blends kinetic grooves with the band’s signature analog warmth. Driven by pulsing rhythms, vintage textures, and an undeniable forward motion, the track captures the restless feeling of pushing through life’s daily pressures and refusing to stand still. Following up on February’s “Lay Your Mind,” it’s the second release to be shared as part of a collection arriving throughout the year.
The inspiration for “Ground Falls Away” came from a candid conversation between friends. “I was speaking with a friend over drinks one night and he was really going through it,” explains songwriter Matt Brannon. “He was hustling day to day just to stay ahead, and it felt like if he ever stopped moving the ground would just swallow him up. Despite all this pressure, he remained hopeful and willing to keep soldiering on.”
We’d love to hear “Ground Falls Away” over at OutLoud Culture: https://found.ee/strangeplants-groundfallsaway
The song first began with a riff from songwriter Travis Flint, an acoustic figure that weaves through the verses and anchors the driving momentum. Though written several years ago, the band initially set it aside after recording the foundational tracks during a transitional period. Returning to it later gave the song new life. “We had recorded the bed tracks but shelved it for a while,” Matt says. “Coming back to it now, it feels like it was meant to be. It’s so much better and we couldn’t be happier.”
One of the most distinctive elements of “Ground Falls Away” lies in its rhythm section. The bass lands on the upbeat against the kick drum’s downbeat, creating an unusual push-and-pull groove that fuels the song’s sense of motion. The chorus then expands dramatically, culminating in an instrumental back half that delivers emotional impact without relying on additional lyrics.
To complete the track, Strange Plants reunited with producer Robbie Crowell (Deer Tick, Sturgill Simpson), who also produced their self-titled debut album. “We brought Robbie in to put a bunch of stuff on it and bring it into the Strange Plants family,” Matt explains. The final arrangement leans into the band’s love of 70s and 80s sonic textures, layering synths, sequencers, and analog production touches into what remains, at its heart, a vibrant rock song.
With “Ground Falls Away,” Strange Plants continue exploring life’s mystery, cruelty, beauty, and humour through groove-driven rock that feels both nostalgic and unmistakably alive.
Jai’Len Josey weaves a vibrant, vulnerable, and vital patchwork of sounds and experiences into her music. Blending R&B, hip-hop, old school Detroit House, and the theatrical instincts she developed on stage, she crafts emotionally rich songs that feel both cinematic and deeply personal, touching on an array of romantic happenings and disenchantments. This dynamic sonic palette reveals Josey not only as a Platinum-selling singer-songwriter, musician, and Broadway star, but also as a confident and charismatic woman, impassioned poet, and visionary creator.
She seamlessly wraps all of her emotions and experiences into one cohesive body of work on her full-length debut LP, Serial Romantic [Def Jam Recordings].
“To me, the record is a nice ball of genre-bending,” she affirms. “It’s a whole bunch of real-life stories mixed in with different genres. I grew up on Ghettotech, orchestral music, and soul. This project shows a more mature version of everything I’ve experienced both in music and in life.”
Following a wave of viral freestyles amplifying his ever-evolving sound and lyrical
focus, rising British rapper and vocalist Sabodi sets pace with his debut single “Ever
Know.”
Across his debut cut, the Bristol-born artist flourishes in pursuit of an intoxicating new
love, effortlessly gliding across warm, retro-fitted guitar licks and a sharpened drum
break to create something that feels deeply intimate and universal. ‘And it’s you girl,
that I’m missing, in more ways than you’ll ever know,’ he pleads while flexing his raw,
tender vocals and aptitude to shapeshift with quick-witted bars to follow. Paired with
an equally enchanting, DIY visual moving through his city, Sabodi’s ability to capture
intimate moments and the vignettes of youth culture will mark him as a potent new
prospect emerging in the landscape.
Speaking on the track, Sabodi states: “’Ever Know’ is an intro to my love life. More
specifically, a long distant relationship with a love interest. It’s upbeat, and to me,
represents young summer love.”
Irish composer and producer BK Pepper unveils his highly anticipated second album Pagan, released April 24th via London-based label Bigo & Twigetti. Marking a bold evolution from his acclaimed debut Territories, the new record expands both sonically and thematically, cementing Pepper’s reputation for deeply cinematic and emotionally resonant work.
Early critical response has been strong, with The Irish Times awarding the album ★★★★, further highlighting Pepper’s growing stature both at home and internationally.
Serving as the emotional core of Pagan, Brother Sister captures the album’s exploration of connection, identity and belonging. Built around a striking performance from Icelandic violinist Viktor Orri Árnason, the track balances fragility and tension, pairing exposed vocals with raw, expressive strings.
Pepper says of the track:
“Brother Sister is about the bonds we are born into and the ones we choose. It explores the idea that family is not only blood, but shared experience, shared struggle and shared belief. Viktor Orri Árnason’s strings brought a raw and fragile honesty to the track, and I kept the vocal delivery very exposed to reflect that vulnerability. There is tension in it, but also deep loyalty. It feels like a conversation between closeness and distance, which is something many of us recognise in our own relationships.”
On Pagan, Pepper explores systems of belief — religious, political and personal — and what happens when they begin to fracture. While Territories introduced listeners to his atmospheric and introspective style, Pagan broadens the scope, becoming more outward-looking and confrontational in its themes.
The album was recorded with the Czech National Symphony Orchestra, The Glasshouse Ensemble and Viktor Orri Árnason, moving fluidly between sweeping orchestration and intimate, layered textures. This interplay creates a sound world that feels both collective and deeply personal.
At its core, Pagan questions how identity is shaped in a time of increasing division, and whether shared humanity can still be rediscovered amidst competing beliefs and narratives.
Following the release of previous singles ‘Build N Destroy’ (Feat. Pink Siifu) and ‘Elohim’ (featuring Chicago soul luminary Jamila Woods) JuJu now teases the release of his forthcoming album ‘Pink Guitars, Spaceships N Voodoo Dolls’ (his first in five years) with the raw, soulful and uncompromising new offering ‘Fallin’. From Berlin to the Black Atlantic, ‘Fallin’ explores themes of self-love, identity and the need to experience life without boundaries. JuJu’s gruff vocals soar over stripped back and emotive chords – a beautifully simple formula with exceptional results.
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