featuring @bujubanton @nate_sib @beverlyhelll @bouncingsoulsnj @sukiemmanuelle @partydozen @tonestith @panicshack
Rising alternative R&B visionary MOIO releases ‘we fall’, the second offering from his striking new chapter in his ongoing artistic and personal evolution.
Arriving after the emotionally charged ‘Just A Man’, the new single further cements MOIO as one of the most compelling new voices in global music. On ‘we fall’, MOIO dives deeper into themes of vulnerability, emotional collapse, and the complexities of human connection. The release follows ‘Just A Man’, a record that leaned into the emotional core of MOIO’s recent transformation, confronting the gap between who we are and who we strive to be. Fueled by a hypnotic bassline, head-nodding drums, and bursts of buzzing distortion, the single showcased MOIO’s raw honesty and expanding sonic palette.
“It’s about expectations,” MOIO previously shared about “Just A Man.” “You’re in a relationship and you’re self-aware enough to know you can’t give love the way your significant other deserves to be loved. You’re being honest and saying, ‘I wish I could be that person, but it’s not who I am right now.’”
Gearing up for an unforgettable season, GRAMMY® Award-winning reggae icon Buju Banton proudly presents his thirteenth full-length studio album, Too Too Bad, out July 17, 2026. It stands out as his sixth offering for VP Records following a newly minted deal which brought him home to the label after 23 years.
nate sib is back with a new single, “Let You Go,” out now via Republic Records / Island EMI. Clocking in at just 97 seconds, “Let You Go” is Nate’s first new release of 2026 and his first offering since last summer’s for us EP. The track continues to sharpen his unique take on alternative pop, pairing high-octane synths, four-on-the-floor momentum, and a euphoric hook into something compact and immediate.
Following the single’s release, Nate will join Joji as direct support on his upcoming U.S. and Canadian arena dates beginning June 16. The run marks Nate’s biggest stage yet and follows a breakout year that included a string of sold-out headline shows and a steadily growing live audience.
Nate’s last offering, for us, released in May of last year, stands out as a statement for his disruptive take on pop music defined by the unusual marriage of dystopian sugar-high beats with his silky-smooth, boyband vocals. Combining the energy of underground dance music with a predilection for alternative experimentation, Sib’s influences range from Skrillex to Bladee, but paired with pipes that wouldn’t be out of place on top 40 radio.
He first introduced himself with “why can’t you see” before releasing the for you EP, highlighted by “down” and “wish.” He continued to build momentum with “famous,” which led to his signing with Republic Records. Now, with “Let You Go,” Nate steps into the next phase of his story with more music on the horizon.
Listen to “Let You Go” above, see below for all of nate sib’s upcoming live dates, and stay
LA-based singer, producer, and multimedia artist Beverly Hell introduces her debut EP ‘Alice In Underland’, a six-track project that maps out the early shape of her sound. Led by new track ‘Jezebel’, the release moves between stripped-back melodic moments and darker, electronic textures whilst retaining its sense of cohesion.
‘Alice In Underland’ is available now on your streaming service of choice via APOLLO Distribution.
| After nearly forty years as a band, The Bouncing Souls know a thing or two about memory and how it can transform over time. Places get foggy, friends fade away, scenes dissolve and evolve. On one of the most sonically adventurous tracks from their upcoming album, Born To Be, they tap deeply into the lingering sounds of the past with “Only Echoes,” a song written entirely by bassist Bryan Kienlen. Pulling from the jangly nature of The Cure to wrestle with trust and betrayal, it turns an extremely dark situation into one of the brightest moments on the record. |
| Produced by Grammy Award-winner Will Yip (Turnstile, Title Fight), Born To Beis an album about staying human and connected in a world designed to strip both away. Out June 26––just a day before their annual Stoked For The Summer fest in Asbury Park, NJ––it feels connected to everything the Souls have made over the years while still pushing expectations forward. |
Emerging genre-defying artist Suki Emmanuelle returns with her new single ‘My Baby’s A Showgirl’, an off-centre, atmospheric track that folds together electronic production, ghostly vocal melodies and a striking theatrical sense of performance.
‘My Baby’s A Showgirl’ is available now on your streaming service of choice via APOLLO Distribution.
Liverpool-based singer-songwriter and musician Rachel Burnett shares her latest single ‘MAKE YOU MINE’, a sultry alt-pop track exploring forbidden attraction, late-night longing, and the thrill of surrender through a KILLER vampiric love story.
‘MAKE YOU MINE’ is available now on your streaming service of choice via APOLLO Distribution.
Los Angeles-based artist Vienna Vienna has made a career out of turning emotional wreckage into something euphoric. On his new single, “Grief Is For The Living,” out today via PULSE Records and DCD2 Records, he pushes that tension even further, channeling anger, absurdity, and existential collapse into a towering alt-rock anthem built for screaming in crowded rooms.
Waving between grimy ‘90s guitar textures, punchy live-wire drums, and psychedelic spirals, “Grief Is For The Living” opens like a slow emotional bleed before detonating into a soaring chorus carried by J’s magnetic, pleading vocals. It’s a song that treats grief less like solemn reflection and more like an uncontrollable physical force.
“I cry cause I’m pretty / Grief is for the living / and I’m still fucking kicking,” J shouts across the chorus, delivering one of the year’s most cathartic hooks with equal parts sneer and sincerity.
Built around dynamic instrumentation and a volatile emotional center, the track captures the signature chaos of Vienna Vienna’s self-described “Glimmer Rock” universe where queerness, dread, theatricality, and dance-floor release all coexist in beautifully unstable balance.
Speaking on the song, J says, “When the bells ring, and you sit in that hard pew for the third time, you’ll wonder who it’s really all for. An urn wants for no party, no stories, no flowers and no wake. The dead have no desires, and no need to see you suffer for them. So why do you exhaust yourself with the same ritual of speaking into the wind as if they’re still here? Why do you zone out staring at strangers who keep their likeness? Why do you listen to their favorite songs over and over again until they take up permanent residence in your now aching head? What good does your weeping do for them? Just as it’s always been, the grief is for the living.”
New Jersey artist and producer Tone Stith releases his genre blending new album
The Edge, a melting pot of influences ranging from Pop, Soul, Funk and melodic
R&B.
Co-signs from some of the most influential artists of this generation in Drake and
Justin Bieber meant that Tone Stith was racking up writing credits before he’d even
stepped into his own as an artist, penning tracks for the likes of GRAMMY Award
winning artists like Chris Brown and H.E.R putting him among the elites of R&B.
The Edge is created with meticulous attention to detail, and this level of
craftsmanship is what has consistently earmarked Tone Stith as one of the most
gifted auteurs in R&B today. Across the 10 tracks, Tone journeys to the far corners
of his creative prowess, showcasing his abilities as singer, songwriter and producer.
Crafting textures across melodic R&B, Soul, Funk to Rock fusion, Tone Stith’s
signature falsettos anchor the project in a universe that feels both unique and
timelessly crafted. With the evident talent across this multitude of different genres,
producing as well as songwriting, Tone underlines his standout offering as one of
the most naturally gifted artists coming through right now.
Across the album, early standout “Pageant Stage” feels epic in stature, with gliding
piano keys that drift into the space deftly left by the drums, giving the track a grand,
cinematic feel. Tone’s vocals are built for this sort of production, his buttery smooth
delivery the perfect vehicle for the love and desire that’s spread throughout the
track. Lyrically Tone really shines, as he professes his love for the mysterious, idyllic
woman that belongs on the “Pageant Stage”.
| Sydney duo Party Dozen return with a new single “Special Unit”. Written, performed, recorded, mixed and mastered by the band themselves, the track packs a lot into its two minutes and 39 seconds. Less is more. More volume. More energy. In a three week period that will see Party Dozen play Sydney Opera House (for Vivid Festival) and Red Rocks (with Amyl & The Sniffers), “Special Unit” is a huge noise for the huge rooms. |
| About the track, Party Dozen share: “You have the right to remain stupid. Anything you say or do will be laughable. If you cannot afford common sense, a version of it will be provided for you. You have minimal training and exhibit zero qualities that qualify you for the authority bestowed upon you. So here’s your gun, and your uniform. Have fun out there and welcome to SPECIAL UNIT.” |
| These words serve as an introduction to the track’s video, which allows us to spend an evening in the company of the Party Dozen Special Unit. As in the award-winning clip for Crime In Australia’s ‘Coup De Gronk’, which was declared Best Video at SXSW Sydney 2025, Kirsty and Jono are a duo inflicting terror upon the people of Sydney, but this time (arguably?) from a different side of the law, and in an altogether less calculated and more |
| chaotic way. |
New York-based Taiwanese-Canadian artist, musician, and actor Alex Zhang Hungtai shares new single “American Burial” from his forthcoming double album Orion/Mother, arriving June 19 on American Dreams.
Reflecting on the track, Zhang was reminded of the 1980s horror film Poltergeist: “It’s about a white family moving into a newly purchased home but the house was haunted because it was built on “Indian burial ground.” (Trivia: the skeleton corpses that float up from the muddy waters were real corpses cuz it was cheaper to buy unclaimed bodies than to build from scratch multiple skeletons. Hollywood logic! The actors did not know it was real). But perhaps all of us come to this land to bury something, consciously or not. Buildings burn, people die, and new buildings are built over it as if nothing ever happened.”
“Could Be Worse” highlights the importance of gratitude: “We done been through the dirt / Everything ain’t all good, but it could always be worse.” The release follows Bizzy’s latest offering, ACRAZE-produced “Risky,” taking listeners back to the stadium-sized arena anthems that defined Florida rap in the 2000s. It’s a smooth but defiant missive targeting fake smiles and industry landmines, anchored by standout verses from Rick Ross and C Stunna. Both tracks will appear on Bizzy’s forthcoming album Underdogs Win Eventually out June 12th via Ty Dolla $ign’s EZMNY Records. The tracklist also includes his silky-smooth Ty Dolla $ign collaboration, “What Do U Like?” (1.6M+ views in its first month), the breezy Leven Kali-assisted “100%,” and “Locked TF In” which he performed for 4 Shooter’s Only From The Block series and Street Barz.
A decorated industry figure, Bizzy Crook had his most successful year yet in 2025. Bizzy is the chief artistic collaborator of R&B sensation Leon Thomas, both co-writing nearly every song on Leon’s breakthrough album MUTT, including the multi-platinum, Billboard Top 10 hit title track. Bizzy earned two awards at the 2026 GRAMMYs, receiving trophies for his contributions to MUTT, which won Best R&B Album, and “Vibes Don’t Lie,” which won Best Traditional R&B Performance. More recently, Bizzy won his first BMI Pop Music Award while “Yes It Is” achieved an RIAA Gold certification. Beyond his collaborations with Leon, The Miami native has also contributed to hits by Drake, GIVEON, Coco Jones, Wale, and many others. His latest songwriting credits include Anderson .Paak’s latest release “Aftertaste” and Kehlani’s latest self-titled LP for “Sweet Nuthins.”
Cardiff quintet Panic Shack return with their first new music since the release of their self-titled debut album, which landed in July 2025 via Brace Yourself Records and saw the band achieve a Top 40 album in the UK. It comes in the guise of a fizzy punk barnstormer “grin & bear it” and arrives on the eve of the group’s first-ever North American headline tour.
“grin & bear it,” almost appeared on last year’s Panic Shack LP and finds the band linking up with producer Ross Orton (Arctic Monkeys, Amyl & the Sniffers, Yard Act) for a maelstrom of blazing, beefy guitars and righteous fury as vocalist Sarah Harvey tears apart the rat race cribbing from lyrics scribbled on a scrap of paper during a long, lonely nightshift in 2023.
“This song has had many iterations, seen many a practice room and taken many forms,” explain the band, completed by Meg Fretwell, Romi Lawrence, Emily Smith, and Nick Doherty-Williams. “It’s a song that we’ve felt really passionate about getting right, but the music was never fully hitting. We reworked it from the start of the year in any spare time we had around working our jobs and gigging (as we almost always do), which really helped to emphasise the song’s meaning. It almost made it onto our debut album, but it just wasn’t where it needed to be; we felt it didn’t have enough grit – until now. We really clicked with Ross in the studio and are super proud of what the track has become; it sounds massive.”
Toronto-based, Hong Kong-born songwriter Tennyson King shares “Big Mountain High (大山高),” a powerful and emotionally resonant new single that marks a defining moment in his artistic evolution. Blending traditional Chinese instrumentation with modern indie folk and singer-songwriter sensibilities, the track stands as a bold expression of identity, heritage, and creative confidence. It is the first single released from his forthcoming album 100 Cities.
“This was the first song I wrote with the intention of fusing traditional Chinese instruments with western folk music,” Tennyson explains. Inspired by the ancient guqin composition “High Mountains and Flowing Water,” he was struck by its emotional depth. “It made me feel sadness and a sense of power at the same time,” he says. “I knew I wanted to write something inspired by it.”
Coasting, out now is an exploration of producer Robert Ruby‘s life. Sonically, the five tracks on the EP navigate life’s rollercoaster nature, discussing personal demons, mental health struggles, and the isolation and uncertainty resulting from the pandemic. Heavily inspired by Balearic Beat music, the EP seamlessly blends indietronica, house, and electropop.
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