London’s rising alternative hip-hop and R&B storyteller Kairos The Writer makes a powerful introduction with the release of his new single “CAN’T TALK” and debut EP “AND STILL I LOVE,” both out now.
A standout moment on the project, “CAN’T TALK” finds Kairos at his most vulnerable yet assured, weaving raw, heartfelt storytelling over soulful, genre-bending production. The track captures the universal ache of seeking closure after heartbreak, while also celebrating the strength that comes with personal growth and leaving old versions of ourselves behind.
“‘CAN’T TALK’ came from reflecting on my first real heartbreak — wanting that one final conversation, that closure you never quite get,” Kairos said. “But it’s also about growth, about realizing you’ve outgrown phases of your life and the people who were part of them. It’s personal, but I think everyone knows what it feels like to have something to say long after the moment has passed.”
The single reflects the emotional duality at the heart of “AND STILL I LOVE.” Across the EP, Kairos explores themes of love, faith, heartbreak, and renewal, pairing hard-hitting tracks like “CAN’T TALK” with stripped-back, introspective moments such as “GOOOD THING.” The result is a cohesive yet varied body of work that balances vulnerability with confidence.
Raised on church bands rather than classical training, Kairos learned to play entirely by ear — an instinctive skill that now informs his melodic, cinematic approach to sound. His music blends confessional lyricism with lush, soulful production, creating immersive soundscapes that resonate with listeners navigating their own stories of loss, hope, and self-discovery.
Positioning himself alongside artists such as Little Simz, Loyle Carner, Kojey Radical, and Slowthai, Kairos The Writer steps forward as not just a musician, but a storyteller determined to capture the intricacies of everyday life through song.
Stream “AND STILL I LOVE”: Spotify Link
With their latest collaboration, “More Than A Feeling,” Esther Anaya, Parker Matthews, and JAYEM deliver a high-voltage track that thrives on passion, energy, and connection. Built on lush production, soaring vocals, and live instrumentation, the single channels that transformative moment when music transcends sound and becomes pure emotion — where rhythm collides with soul.
Anaya — renowned DJ, singer, violinist, producer, and the Official DJ of the Los Angeles Chargers — brings her signature electric violin and haunting vocal textures to the forefront, infusing the song with a dynamic and organic edge. Known for collaborations with Thomas Gold and Snoop Dogg, she elevates the record with her rare mix of intensity and intimacy. Parker Matthews adds his powerful vocal presence, grounding the track in raw emotion, while JAYEM’s sleek, club-ready production keeps the momentum surging from the first beat to the final drop.
With Colombian roots and over 20 years of training, Esther Anaya has established herself as a versatile performer in global dance music. As the Chargers’ official DJ for the past three NFL seasons, she’s commanded stages at marquee events including the Super Bowl, Pro Bowl, F1 Mexico City, Anaheim Ducks games, and the PGA’s Waste Management Open. She’s also held DJ residencies at Zouk Las Vegas and E11even Miami, sharing the bill with heavyweights like David Guetta, Calvin Harris, Zedd, and DJ Snake.
From classical conservatory beginnings to the world’s biggest stages, Anaya’s artistry continues to evolve with boundary-pushing collaborations like “More Than A Feeling.”
Stream “More Than A Feeling”: Spotify Link
Dundee alt-rock newcomers Red Vanilla return with their brand new single “Oh No, I Got Older,” arriving today on all major streaming platforms.
The track marks the band’s first release since their critically acclaimed 2024 debut EP “Days of Grey,” and lands alongside a music video filmed in Thailand during the quartet’s first international shows earlier this year.
Recorded with producer Kieran Smith in the spare room of lead guitarist George’s Dundee flat — now transformed into the band’s own DIY studio — the single previews a larger body of work set for release in 2026.
“The recording process can be stressful,” the band shared. “When you care so much, you put yourself under such pressure to make everything perfect, so using our own space was a really big deal for us. We just felt at home, which totally elevated our confidence, and in turn, our performance on the new songs.”
Lyrically, “Oh No, I Got Older” captures vocalist Anna Forsyth’s reflections on time, mortality, and ambition.
Since releasing their debut single “Embers” in 2022, Red Vanilla have steadily grown into one of Scotland’s most exciting new voices. Their debut EP “Days of Grey” earned praise from CLASH Magazine, VISIONS, The Skinny, The List, The Courier, The Punk Site, and more, establishing them as a bold and ambitious new act.
With a dense, guitar-driven sound wrapped in ’90s-inspired vocal hooks, the band has been carving their path on the live circuit, appearing at Outwith Festival 2022 alongside Fatherson and Pulled Apart By Horses, supporting Dea Matrona and Kyle Falconer (The View) at London’s Camden Underworld, and sharing stages with rising contemporaries like Reminders, Beach Riot, and Redwood.
“Oh No, I Got Older” is another step forward for Red Vanilla, channeling urgency, fear, and ambition into a soaring alt-rock anthem. Further details of new music and live shows will be revealed in the coming months, with select 2025 dates already on sale now.
Stream “Oh No, I Got Older”: https://distrobolt.lnk.to/OhNoIGotOlder
Chicago’s Sleepwalk have released a remastered version of their single “Flesh”, taken from breakout LP “Splatter” — now available on vinyl for the first time. The release also includes a b-side acoustic rendition of “Hit The Ground” and arrives just as the band prepares for a fall tour supporting The World Is A Beautiful Place & I Am No Longer Afraid To Die and ASkySoBlack, further cementing their place in the rising nugaze scene.
Recorded by Matt Holmes at The Echo Mill and mixed/mastered by Adam Stilson at Decade Music Studios, the remastered “Splatter” sharpens the record’s heaviest moments without losing its atmospheric edge. Lead track “Flesh” epitomizes Sleepwalk’s fusion of post-hardcore urgency and shoegaze textures — a duality the band dubs “heavy music for the light hearted.”
“‘Flesh’ has always represented the punk edge of the record,” the band explained. “It’s aggressive but still drenched in atmosphere—exactly the tension that defines Sleepwalk.”
Drawing on influences like Smashing Pumpkins, HUM, Nothing, and Title Fight, “Splatter” oscillates between grit and dreamlike haze. Tracks like “Craving” hit with distortion and drive, while “Bumblebee” and “Crumble” lean into softer, shoegaze-laden textures.
Sleepwalk’s reputation has grown steadily, bolstered by tours with Mass of the Fermenting Dregs and support slots alongside Glassjaw, Thursday, and Hotline TNT, performing in major venues including Chicago’s Vic Theater, Toronto’s Phoenix Theater, and Brooklyn Steel.
With the remastered “Splatter” and a stacked fall tour ahead, Sleepwalk continue to define themselves as one of the most exciting new acts in the alternative underground.
Stream “Flesh”: https://orcd.co/flesh
Oakland alt-rock/darkwave trio Sword Tongue have scored a career-defining milestone with a Grammy nomination for their explosive EP “Bonfire In The Tempest.” The nod places the band in the company of some of today’s biggest names in music, while spotlighting their ability to translate raw emotion and social commentary into a sound that resonates widely with fans and critics alike.
Their fourth EP emerged in an era of cultural upheaval, fusing 90s-inspired guitar tones — long delays, lush chorus, flanges, and modulations — with distorted bass lines, propulsive percussion, and pulsing electronic textures. At its heart are Jennifer Wilde’s soaring, shape-shifting vocals — slipping between croon and roar — backed by Gaetano Maleki’s shimmering guitar work and Dan Milligan’s dynamic, intricate drum lines. The result is a bold sonic blend of rock, shoegaze, industrial, post-punk, and trip hop.
Singles “We Are The Resistance” and “Diamonds To Rust” encapsulate the EP’s vision: politically charged, emotionally vulnerable, and deeply reflective of its time.
“Originally, this album was meant to be more of a danceable opus with a trip hop flavor,” Wilde said. “However, after the U.S. Presidential election, we realized that our album had to carry a more specific message on the current political climate, on aging, and on transitions. We wanted to give voice to the frustration, the anguish, the strength, and the hope in all of us.”
Formed in 2020 by Wilde and Maleki during the pandemic, Sword Tongue has always created “dark music for dark times,” drawing from personal history and cultural turbulence to carve their niche. Wilde, a classically trained vocalist with ties to Love Spirals Downwards, brings a haunting theatricality, while Maleki’s heavy background adds weight to his glittering soundscapes. Milligan, known for his work with The Joy Thieves and collaborations with members of Ministry, Nine Inch Nails, and Killing Joke, brings depth and drive to the project.
Stream “Bonfire In The Tempest”: Spotify Link
Toronto songwriter JEEN (also known as Jeen O’Brien) returns this fall with her new EP “For The Romance,” arriving October 30, 2025. Recorded at ProGold Studio with longtime collaborator Ian Blurton (guitar, co-producer, mixer) alongside Stephan Szczesniak (drums) and Anna Ruddick (bass), the collection captures JEEN’s signature blend of raw grit and pop accessibility.
The project nearly didn’t see the light of day. Beginning In early 2025, the sessions were derailed by yet another bruising round of industry turmoil — a cycle JEEN has faced more than once in her solo career.
She was about to trash the whole EP and start again, but a change of heart over the summer made her determined to rise from the ashes. That resilience has defined JEEN’s DIY path, carving space in a music landscape that can be especially unforgiving to independent women artists.
Lead single “Look What You Did” — out October 1 — sets the tone: an easy-to-sing-along pop track with sharp edges.
“At the end of the day, it’s a pop song so I just wanted it to be light and easy to sing along with but hopefully still have some teeth,” she said. “It’s about being entranced by someone or something and following that feeling all the way, even though you can’t see where it will lead yet. I’ve had to learn a lot of hard lessons in this industry and 2025 tested me more than ever on that front, but for the first time in a while, I’m happy I’m still here, even if I have to follow a bit blindly for now”.
With over 2 million Spotify streams, placements in commercials (Google, Estée Lauder, MasterCard) and TV series (Degrassi, Workin’ Moms, Catfish), plus collaborations with artists like Serena Ryder and Brendan Canning, JEEN has long been a quiet force in Canadian indie. “For The Romance” proves she’s still writing her own script — on her own terms.
Stream “Look What You Did”: https://distrokid.com/hyperfollow/jeen6/look-what-you-did
Veteran NYC songwriter and producer Charlie Nieland returns with “Shame”, a fiery glam-stomp that sets the stage for his forthcoming album “Stories From The Borderlines,” expected on October 24. Directed by NYC artist Hypnodoll and filmed by Alice Teeple, the track’s video channels the song’s themes of obsession, self-loathing, and queer identity into something both defiant and intoxicating.
“We eroticize what we despise,” Nieland said. “’Shame’ twists the war over gender identity into a stomping glam anthem with big guitars and a psychedelic afterburn. I wrote this song for ‘The Bushwick Book Club’ when we read Hugh Myers’ book ‘When Brooklyn Was Queer: A History.’”
Nieland’s extensive résumé includes work with Debbie Harry, Rufus Wainwright, Blondie, and Scissor Sisters, as well as scoring projects for film and television (The L Word, The Safety of Objects). His new record pushes further into a lush mix of post-punk, dream pop, glam, and prog, with contributions from keyboardist Joe McGinty (The Psychedelic Furs, Nada Surf).
“Stories From The Borderlines” follows Nieland’s EP “The Ocean Understands” and marks his latest leap as a solo artist after decades of production, collaborations, and time with Her Vanished Grace. The album’s lead track “Win” even features activist-rapper spiritchild, highlighting the adventurous scope of the project.
“Shame” is out now on streaming platforms, with the full album available for pre-order via Bandcamp. Nieland will celebrate the release with a show at Berlin Under A (NYC) on November 5, joined by Life in a Blender and Jessie Kilguss.
Stream “Shame”: https://charlienieland.bandcamp.com/track/shame-2
