Joy Crookes returns today with a breathtakingly candid new single ‘Pass The Salt’ feat. Vince Staples. Humorous and provocative in equal measure, ‘Pass The Salt’ is the first single in a new era of music that continues to establish Joy as one of the country’s most outstanding vocalists and one of our most gifted songwriters. She’s a once-in-a-generation artist.
The demanding bass of ‘Pass The Salt’ is a bitingly glorious dismissal of a person who tried to cross Joy and features one of rap’s most gifted and respected performers, Vince Staples. Speaking on the track, Joy explains: “Pass the Salt is about a woman I know vaguely, who is nothing short of an arsehole, who got jealous and started spreading rumours about me. The song is basically me squaring up (musically) and being like ok bitch if u have something to say come say it to my face.”
Joy hasn’t been afraid to take her time before returning to the spotlight – she has taken stock over the past three years and returned with a meaningful arsenal of music, determined not to lose the spirit that had so informed her debut album; the deeply intimate and voraciously vibrant Skin in 2021. The album traversed familial love, generational trauma, breakups, and politics from the perspective of a young South London woman. As witty as it was wounded, Joy’s attention to lyrical detail and inherent gift for melody was immediately apparent; here was an artist that embodied the mercurial capabilities of those before her – Nina Simone, Amy Winehouse, Nick Drake, Sarah Vaughan, Mick Jones – while remaining utterly singular in her style.
Skin was both a commercial and critical success, landing at number 5 on the UK Official Charts and receiving BRIT nominations, a Mercury Prize nod and rave reviews from the Guardian and the NME, among others. Skin also attracted a fiercely loyal fanbase and Joy sold out her first UK tour in just hours, as well clocking up millions and millions of streams, working with brands including Lexus and adidas, performing at every major festival and appearing on Late Night with Seth Meyers, The Late Late Show with James Corden and joined Ed Sheeran onstage during Jools Holland’s Hootenanny.
Stay tuned for more from Joy Crookes in 2025.
Multifaceted singer-songwriter, artist, musician and producer Party Nails has released her highly anticipated third album Pillow Talk via Eye Knee Records. The ten track collection is a genre-bending timeless yet forward thinking album featuring an intoxicating mix of retro synthwave, futuristic electro-pop, and lush indie rock. Pillow Talk finds Party Nails in a honey colored party mood. Opening with “Same Old Song”, an indie rock ode sung into the rear view mirror, our hero seems to have chucked her bluer feelings into the backseat (with snacks) and let “fun” sit shotgun all the way to the slumber party. Carroll and her unhinged musical prowess deftly drive her gang of emotions through her particular brand of brash synth pop (“First Responder”, “Movie Scene”), as well as the grunge and punk-infused second half (“Someway Somehow”, “Do U Know How”). Detours abound as she careens through genre twists and turns, before pulling up to the blanket-fort for a heart to heart with your head on the pillow next to her (“Trigger Warning”, Dirty Water”).
Alt-electronic artist fknsyd has released her new solo single ‘Marionette’ out now via HypnoVizion. The single follows fknsyd’s solo debut ‘Apparitions’ on the label last year.
Co-produced by Kavari and Rezz, ‘Marionette’ is instantly entrancing and deeply mystifying. Distorted synths and dark, minimalist production linger as fknsyd’s satiny vocals unravel a tantalizing tale of obsession and devotion. ‘Marionette’ is a further depiction of fknsyd’s artistry, from her metaphorical lyricism to the accompanying music video and visuals created by fknsyd herself.
“The idea for Marionette was one of a few demos I sent to Kavari, who I’ve been wanting to work with for a while. She’s a huge inspiration to me, and a gift to art in general. Naturally, I loved the first thing she sent back. I then shared the song with Rezz, and she had some ideas for it too. She’s not only incredible at knowing what a song could benefit from, but also executing it seemingly effortlessly. I have so much respect and admiration for Kavari and Rezz both, and feel really honored that they put their time and energy into this song.” – fknsyd
Nashville-based electro-pop artist RUDEY returns to the scene with his latest single, ‘Ease My Mind’. The track features a shimmering, experimental blend of electronic elements and pop-inspired instrumentation, altogether creating a contemporary, alternative sound. Reminiscent of Dirty Hit’s No Rome, ‘Ease My Mind’ delivers an upbeat, dynamic energy that promises to capture the attention of listeners.
‘Ease My Mind’ is available now on your streaming service of choice via APOLLO Distribution.
Midwest band Church Tongue have announced they have signed to Pure Noise Records and will release EP “You’ll Know It Was Me” on 14th February 2025.
The 6 track EP continues its complex, uncompromising and emotionally charged sound with guest features from Colin Young (Hardlore podcast), George Clarke (Deafheaven), and Crystal Pak (Initiate)
”You’ll Know It Was Me is a short record about love. Love looks like a lot of things, and each track touches on it in its own way.” says Mike Sugars. “People close to me have heard about me wanting to make this kind of record for a long time. I just hadn’t grown enough to realise the dream of it, and I knew it had to be a Church Tongue record. I’ve been with this band, these guys, for the majority of my life now. I’ve made records with other bands, and so have the other guys, but this idea felt sacred to my beginnings. I knew this record was in us, was who we are, and I’m honoured to have made it with my brothers.”
Tristan Armstrong has been writing and performing music in Toronto for over a decade, establishing himself as a skilled composer and lyricist finding beauty in the quotidian struggles of urban life. He is a founding member of Canadian roots-rock band The Actual Goners, and has previously released music under the name Stars Algonquin. His music combines a sense of earnest romanticism and poignant introspection, with a guitar-centric aesthetic.
During the COVID pandemic, Armstrong began work on his first full-length solo album. The journey began with recording a few demo tracks at home, as a necessarily creative outlet during that period, and a means to stay sane while the possibility to play music with others was on pause. Once restrictions had lifted, and there were opportunities to play live, the material developed in a band format, and it quickly became evident a record needed to be made to capture how these songs had been transforming.
The Lonely Avenue will be available on vinyl and all streaming platforms in early 2025. It features a collaboration with prodigious Canadian guitarist Kevin Breit, and mixes from Carlin Nicholson, James Bunton, John Dinsmore and Ryan Farley. The title track “The Lonely Avenue” will be out ahead of the album, on December 16th.
Born and raised in Zimbabwe but now residing in the UK, conscious emcee Rhyme Assassin is on a mission to bring back real Hip-Hop in his latest irresistible single, “Run Em Up” featuring heavy-weights M.O.P and Ruste Juxx. Reiterating his skill, Rhyme Assassin recently won the ‘The Best Diaspora’ award at the 2024 Zimbabwe Hip-Hop Awards. Gearing up for another exciting year ahead, the “Run Em Up” visuals mark the revision of Hip-Hop as we know and love.
Laced with nostalgia, “Run Em Up” produced by The Arcitype [Vinnie Paz, Slaine] is a Boom Bap Hip-Hop track that’s harnessed with a head-bopping production and ferocious flows. Enriched with raw and gritty penmanship, each emcee takes their turn to showcase a slew of punchlines and metaphors that will leave you wanting more. Exuding with authenticity the paired music video correlates seamlessly with the euphoric feeling.
Speaking on the release Rhyme Assassin explained, “Approximately 2 years ago I purchased a few beats from The Arcitype. When I heard the beat, I used it for ‘Run Em Up’. All I could hear on it was M.O.P crushing the instrumental so when I considered a feature it had to be M.O.P, I then reached out to Billat Danze manager who set it up. It took me some time to get the feature in place but super excited it worked out. Ruste Juxx was also an automatic pack because of his raw delivery and top tier lyricism.”
NYC-based power-popgaze band Heaven are excited to announce their third full-length album, Dream Aloud, out April 4, 2025, via Little Cloud Records. Forming an amalgamation of their influences, the single “I Need You More Somehow,” is out now, pairing timeless melodies with layers of reverb-driven guitar. Grounded by sirens of feedback, today’s single previews an album full of emotional exploration tied up in otherwordly instrumentation.
“Both at home on the beach in California or a seedy underground nightclub in Glasgow or Berlin, the song layers two worlds,” says vocalist and guitarist Matt Sumrow. “The lyrics are purposefully ambiguous, needing more of someone and longing for more connection, but also sounding content and blissful with the present situation at the same time.”
I’m Stonehocker and music heals me. Through honest writing of individual personal memoirs, I craft songs that explore and express the pain and joys of life. In this post-pandemic society where mental health issues have become even more prevalent; my goal is to be open, honest and inspire people to have the courage for self-discovery.
My musical journey began in a small northern Alberta town and can be traced through the lyrics of the 4 full-length albums I’ve released. The early projects were recorded in the college studio where I also studied music production. Today the music finds life through the sparse home studio that has slowly come to be.
My vocals are the focal point of the show; complemented by acoustic guitar, underlined by minimalistic beats, and finally samples placed lightly throughout to highlight the alternative edge. All the samples come straight from the recorded music, making the shows custom and unique.
This latest production is the culmination of years of songwriting and many live shows. Throwing caution to the wind I’ve poured out my soul and committed everything to the goal of getting my music to those who want to listen.
THEKOIWAY is a global fusion band that bridges Latin-American culture with worldwide sounds, offering a musical experience that is both authentic and boundary-defying. Directed by Victor Vildósola—a Chilean multi-instrumentalist, producer, and storyteller, the project reflects a rich journey that spans continents, cultures, and decades. THEKOIWAY’s music resonates deeply, blending genres such as soul, R&B, hip-hop, funk, Andean folk, and traditional Latin influences into a cohesive and heartfelt sound.
At its core, THEKOIWAY is about connection. Rooted in social consciousness, the band’s lyrics explore themes of diversity, identity, and the shared struggles of humanity. Each song is crafted with a purpose—to inspire reflection, evoke emotion, and build bridges between cultures.
The band’s unique sound is the result of an eclectic mix of influences and dynamic collaborations. Vildósola’s upbringing in Santiago, Chile, immersed him in a vibrant tapestry of Chilean hip-hop, Andean folk, and rock, while his time living in Mexico City exposed him to the rich traditions of mariachi, bolero, and urban fusion. Since 2013, his residence in Brooklyn has added yet another layer, blending the diverse and experimental energy of New York’s music scene into THEKOIWAY’s DNA.
THEKOIWAY tackles questions about diversity and the complexities of everyday life in their new music video, “El Juego de la Vida (The Game of Life)”. The video not only shines with the stellar participation of iconic actor and National Arts Prize winner Héctor Noguera but also amplifies its impact by courageously addressing LGBTQ+ themes. Its release is accompanied by a maxi-single that takes the message even further: a new English version of the song and high-caliber remixes by New York-based producers Dough Juan and Jerumatic.
“What are we doing to break the chains of oppression and let diverse souls breathe freely in such an absurdly gray world?” This is the question pulsing at the heart of “El Juego de la Vida (The Game of Life)”.
Jordan Duffy is a singer, songwriter, producer, and senior audio engineer whose sound stretches across a multitude of genres such as indie, pop, americana, and alternative. The artist is influenced by the likes of Adele, Lake Street Dive, Yola, and Charlie XCX, to name a few. Originally from Worcester, Massachusetts, she began her music career writing songs about heart breaks in dive bars, female empowerment, exploding toads, one night stands, and zombie lovers. At 18 years old, her first professional show was opening for The Allman Brothers Band guitarist Dickie Betts. It was in college when she discovered her 4 octave range while studying and performing Opera. She continued her education and landed her role as the first female audio engineer at Earwolf/Stitcher Podcasts. There she has had the opportunity to sing to Weird Al Yankovic, do her own rendition of “Total Eclipse of the Fart” on “The Office Ladies”, and is the vocalist for the “Just Between Us” Podcast theme song. You may even recognize her (and her laugh) as Engineer Jordan from the “Best Friends” podcast.
Her new single “Not Your Dream Girl” was written while watching the movie Sixteen Candles. Jordan Duffy thought, ‘what if these John Hughes movies didn’t have a happy ending, what would a song like that sound like?’. The video’s storyline, thought up by the Painfully Creative Production team, showcases an alien spying on Jordan being denied by her high school crush, later that alien pretends to be the high school crush to win Jordan over! Using “If You Were Here” by the Thompson Twins as their inspiration, producer Party Nails and Jordan Duffy create a modern ‘80s synth sad pop song that you can’t stop dancing to. She shares, “This song is written about a friend that I had feelings for, but I knew it would not go any further. I always saw him as my Jake Ryan. He does not and will never know this was written about him. But it has become one of my favorite songs I’ve ever written.”
As a child, Camille Schmidt would sit at the kitchen table with the models who posed nude in her parents’ art studio. She occasionally wondered why, at the end of these life drawing sessions, paintings of the female body in its most vulnerable form would be given an impersonal title like “Girl with Dogs #3” or “Woman Sleeping #7.” On her debut album Nude #9, Schmidt renders revealing and personal portraits—of herself, her family, and former and future lovers. Seamlessly blending the sounds of synth-pop, folk, and punk, Schmidt’s debut album is a rapturous portrait of a songwriter realizing her full potential.
The Brooklyn-based singer and songwriter cracked open the folk-rock songbook on her debut EP Good Person, released this past June. While breakout single “Your Game” was a queer kiss-off set to the rollicking sound of alt-country legends like Lucinda Williams and Alison Krauss, there was a soft power in her wistful approach to heartbreak on “Bumblebee Drinks Lavender.” These six songs, which showcased Schmidt’s hallmark ability to balance an innately wry sense of humor with moments of quietly devastating self-reflection, hinted at something greater than the sum of their folk-rock parts.
On Nude #9, despite growing her ensemble, Schmidt sounds more present than ever before, the unflinching honesty in her lyrics front and center. Broadening her palette to include starry-eyed ambient soundscapes and thrumming post-punk rhythms while digging deeper into romance, sexuality, friendship, and her own sense of self, Nude #9 is sincere and whimsical, hilarious and deeply felt.
One listen to “XOXO” reveals an exhilarating new side of Schmidt’s vocals: The song opens with a drum machine and a featherlight synth, before introducing her voice, distorted with vocal processing but somehow stronger for its digital warps. These layers of electronic manipulation are like armor, a protection as she reveals the crevices of her inner thoughts, whether about raising a child with her best friend or the “demon in my room” she faces when she’s all alone. “RIP the girl I was playing,” she sings as the instrumentation behind her starts to twist and double on itself, half-woman, half-machine, as she annihilates the ghosts of her former self.
Email:neill@outloudculture.com
Socials: @neillfrazer
