Bailey Hyneman is a Memphis-born, NYC-based sound maker and storyteller. Raised in a city steeped in musical history, her early influences came from her mother who sang country, instilling an appreciation for narrative-driven songwriting, and her father who filled the house with the sounds of Barry White, The Manhattans and Al Green. Today, Hyneman’s music carries echoes of those influences, weaving together soul, jazz, gospel, and pop into a sound that feels both timeless and deeply personal.
Her new single, “Better Days,” arrived during a period of transition in the summer of 2024, when Hyneman was living in Nashville and quietly processing the end of a difficult chapter in her life. The song reflects the strange emotional space between grief and renewal, when life no longer looks the way you expected but the future is beginning to open up again.
She confides, “I knew that I was ready for something different but I didn’t know what that transition looked like. I just knew that I was sort of on the tail end of a major grieving period. My life looked so different than what I thought it would look like, and the people I thought would be there weren’t, but the people who were in my life were so wonderful, and the opportunities coming my way were really exciting. I was just feeling bittersweet about a friend not being in my life anymore and thought to myself, ‘not all bad days have silver linings / not all good friends are here to stay.’ From there I knew I had something that felt important.”
rising PA rockers American Vanity announce their debut album, 17, available everywhere on July 17th. Furthermore, they release second single, “Poison In Your Cup,” out now.
“Poison In Your Cup” is a sonically heavier, confrontational single that marks an impressive second offering off of 17. Punchy alt-rock energy drives the track, pairing soaring, anthemic vocals with explosive drums and driving guitars. As the chorus erupts into a call for awakening, the song becomes a turning point: a refusal to comply, a tearing down of illusion, and the moment awareness finally breaks through.
“This track addresses systems of influence, image, and power that rely on compliance and silence,” explains the band. “The lyrics use theatrical and institutional imagery to reflect how corruption often hides behind performance and tradition. Sonically heavier and more confrontational, it represents the album’s turning point toward awareness.”
JNR CHOI opens a bold new chapter with “Pick Up,” a self-mixed dance record produced by FRBZ, that pulses with vulnerability, emotional clarity, and late-night reflection. Built for movement but grounded in emotion, the record captures the fragile moment after a breakup—when pride fades, reflection sets in, and hope lingers on the other end of a phone call.
Rather than leaning solely on repetition, “Pick Up” unfolds like a real-time confession. Lyrics such as “You never know what you had until it’s up and gone,” “Tell me to come and I’ll be on my way right now,” and the pleading refrain “When I call are you gon’ pick up?” reveal an artist grappling with accountability and second chances. Anchored by the recurring line “time is gonna tell,” the track leans into uncertainty, acknowledging that healing, forgiveness, and fate can’t be rushed. Even at its most euphoric, the song carries a quiet tension, pairing emotional vulnerability with hypnotic house production designed to move both body and spirit.
The release marks a full-circle moment for JNR. While many were first introduced to him through “To The Moon,” his global breakout that dominated TikTok and hit #1 on the charts, the overnight success brought immense pressure. The record’s explosive rise reshaped his life almost instantly – and with it came expectations, noise, and the industry’s rush to define what he should be next. Instead of chasing momentum, JNR made a rare and intentional decision: he stepped back.
That pause became pivotal. Relocating between the U.S., Bali, and spending summers immersed in Europe, JNR found clarity, and a new sonic language, on dance floors and inside underground clubs. Removed from the algorithm and closer to pure feeling, he was drawn to house music’s hypnotic pulse and emotional release. He taught himself to DJ, obsessively studying how records move rooms, how tension builds, how energy shifts, and how music can be felt as much as it’s heard. That curiosity transformed into discipline. He returned to the studio with a different mindset – starting with the vibe, building for movement, and reverse-engineering each record through the lens of someone who understands the psychology of a crowd.
“Pick Up” is the first fully realized expression of that evolution. A true 360 artistic statement, JNR mixed the record himself alongside engineer Sam Tari, can DJ it live, and performs it with intention, embodying the balance he has built between wellness, independence, and creative control. This release also marks a milestone in JNR’s career as he partners with Fusion 305 to Launch Fusion 305 Music, stepping into a new chapter where he brings his full artistic vision to life as both Creative Director and the label’s first signed artist.
Canadian roots outfit Diyet & The Love Soldiers return with acoustic EP ‘Seeds Of Dreaming’, set for release on 17th April. The announcement arrives with a run of UK tour dates and latest single ‘Give Me A Reason’, out 6th March.
Drifting between Americana, alt-country and folk, the new EP draws deeply from Diyet’s upbringing in Kluane, Canada and her life as an Indigenous woman navigating two worlds. Sweeping landscapes, cultural tensions and hard-won hope all find their way into songs exploring wildness, truth, reconciliation and community. The EP features five reimagined tracks from their 2025 album with the same title and will release exclusively across the UK, Belgium and the Netherlands on all digital platforms this April ahead of the band’s Spring tour.
On gritty lead single ‘Give Me A Reason’, Diyet reflects: “There is a tension and a giddy rage that is barely contained, and it ebbs and flows in all communities and in all countries – we all feel it. How can we help each other to stand up, speak with good intentions, show compassion and build a wave so strong that we turn the tides? I’m open to suggestions.”
Emerging Puerto Rican pop artist Cat Serrano returns with a spunky Latin pop single, “One Night,” a sensual dance-floor hit featuring powerhouse vocals. Co-written by Cat Serrano and Sam and Pete Wallace, the single explores boundless freedom and the autonomy to take control of your night. “One Night” is now available on all major streaming platforms.
Immediately swept away by a percussive beat, “One Night” transforms a crowd into a dance floor in just seconds. Cat Serrano’s opening vocals are smooth, like the eye of a hurricane, with her lyrics narrating the hectic nature of the scene. Her musings, accompanied by the evolving instrumental, breed a palpable tension: a game of cat-and-mouse between Serrano and her target for the evening. As the desire builds, “One Night” consumes the listener with its “now or never” urgency and electronic influences. Serrano sings “Cause there ain’t nobody who ignites my body / Como tu,” lighting a fire that can only be extinguished by releasing your inhibitions and becoming one with the music. As the story unfolds, Serrano indulges in the excitement of the chase, falling into the rhythm of undeniable, magnetic chemistry. Through her lyrics, she teases her prey, beckoning them to join her in this whirlwind, fleeting moment. This track is a call to action, bursting with confidence and persistence that are equally compelling and mystifying. “‘One Night’ is a song about letting go and allowing the music, the mood, and the night to drown out the noise of reality. It’s a cry for release in a reality that can be so stagnant,” Serrano explains. Rather than a tale of desperation, this track is about reclaiming the right to your destiny and taking full control.
The Mosfets return with their first single of 2026, “Take A Chance,” a defiant, high-voltage track driven by urgency, individuality, and the restless desire for freedom. Taken from their upcoming self-titled EP (set for release on May 29th, 2026), “Take A Chance“blends garage rock grit with neo-psychedelic energy to capture the feeling of pushing back against expectation and choosing your own path even when it feels risky.
“I was inspired by the feeling of yearning for freedom,” frontman Keith Mosfet explains. “If someone tells you your lifestyle is wrong or doesn’t fit their idea of what you should be doing or what’s moral, you don’t just roll over and die. You punch the world in the face and do what makes you happy.” The result is a self-described hype song that’s equal parts rebellion and release.
We’d love to hear “Take A Chance” over at OutLoud Culture: https://found.ee/themosfets-takeachance
Watch + share the official lyric video, as well: https://youtu.be/htATn2iAwjY
What sets the single apart is its willingness to bend the rules of its own genre. While rooted in the classic spirit of garage rock’s “three chords and the truth,” the band introduces subtle rhythmic shifts that give the song an unpredictable edge. Each pass through the verse drops a beat before resolving back into a driving 4/4 chorus, creating a kinetic tension that mirrors the song’s themes of risk and momentum.
Recorded at Yeah Yeah Yeah Studios in Hamburg, Germany, the band pursued a deliberately raw and authentic sound by recording and mixing through a Tascam 388 reel-to-reel machine. Avoiding quantization and auto-tune entirely, the sessions prioritized live energy and human imperfection. “I am sick of hearing tracks (even my own music) that are too polished,” Keith shares. “We went in with tight playing, real energy, and the desire to make something that can’t be replicated.”
At its core, “Take A Chance” reflects the guiding philosophy behind The Mosfets’ music: individualism, rebellion, and connection through shared experience. Built on pounding drums, fuzz-drenched guitars, and emotionally charged vocals, the band continues to carve out a space between psych-punk chaos and melodic garage pop, inviting listeners to embrace uncertainty and define themselves on their own terms.
Born Dirty is making his grand return to Dirtybird with a new single ‘Trippy Boys Trippy Girls’, out today.
Co-written with Linden Jay, ‘Trippy Boys Trippy Girls’ is a track ten years in the making. Born from experimentation in the house, techno, and breaks space, the track moves with a sense of unfiltered curiosity and off-kilter momentum. Arpeggiated synth loops spiral over jangling percussion and zippering basslines, creating a woozy, kaleidoscopic medley that feels both unruly and hypnotic. The left-of-center club cut underscores Born Dirty’s instinct to challenge convention while fueling adventurous dancefloors.
“Made this 10 years ago and I remember thinking back it was such a vibe and so different, we just needed to find the right label for it. Dirtybird was on my list. Funny how life works. It’s finally landed exactly where it was meant to!” – Born Dirty
Nova Scotia-raised, Ottawa-based singer-songwriter Malia Rogers returns with “Sunlight (A Good Death),” a healing, Celtic-influenced folk single that approaches loss through the lens of gratitude rather than despair. Rooted in the idea that grief is simply love with nowhere left to go, the song reflects on mourning not as an ending, but as evidence of a life deeply shared.
Written while on tour in Ireland in January 2025, the song arrived unexpectedly. After a late night following a show in Tramore on Ireland’s southeastern coast, Rogers woke suddenly at 7:15AM; the exact date and time her grandfather, John Matthews, had passed away four years earlier. A paleoentomologist, teacher, poet, and lifelong music lover, Matthews played a defining role in Rogers’ life and creative development. “We talked about everything, including death and what it might mean to die ‘well,’” she explains. “I cried for two hours alone in that room above the pub, and when I was done, I had this song. It’s a small gift in return for the countless gifts he brought to all who knew him.”
Daskal debuts his first full-length LP on DJ Tennis’s Life and Death label today with the release of OD. The project marks a defining moment for the producer and composer, whose work moves fluidly between contemporary dance, film, and electronic music, representing a reconnection between his compositional practice and dynamic dancefloor grooves.
Buy/Stream: Daskal – OD
https://orcd.co/lad096-lp
Still Bones began as a solo project during covid lockdown as a way to finally organize all the bits and pieces of songs that Baltimore-area songwriter John Gamble had written over the years. But the vision was always to be a full band.
Out April 3, their upcoming EP, Start/Stop, is the first fully collaborative release for the band. It was tracked live—no click—with the intention of capturing the raw energy of the live performance. The result is a breakneck, hyper smash of bleeding-heart guitar music that sprints between the deep-feeling spirit of emo and the rage and raw clang of punk.
At odds with the bittersweet nostalgia of his forthcoming debut record, Fast Money Music returns with cutting new single “There Are No Words”. ‘Fast Money Music’ arrives on 17th April.
Following the release of “Unfortunately” earlier this year, Fast Money Music swaps tenderness for something slightly darker on “There Are No Words”, the latest glimpse at his self-titled debut. The track stands in sharp contrast to the album’s bittersweet nostalgia, a confrontational track that questions compatibility and cuts through illusions.
With angular guitars, a driving bassline, and a meta-awareness woven into its refrain, it channels the chaos of tumultuous relationships – the second-guessing of who’s right, what’s wrong, and when to walk. Sometimes silence is golden, and actions speak louder than words. It’s part The Clash, a bit Modern Lovers, and a little of The Specials.
“‘There Are No Words’ is exactly that – the loss of knowing what the right thing to do or say is,” explains Nick Hinman, “The phrase was originally plucked from a moment of awe and joy, but here it’s repurposed for the feeling of being backed into a corner with nothing left to give.”
The 1975’s John Waugh contributes screeching saxophones to the track, while Klaxons’ Steffan Halperin sits behind the drums. Joshua Scarratt lends backing vocals and Joe Lyons takes on the bass.
Emerging singer-songwriter, producer and multi-instrumentalist Liv Bloore (she/they) returns with her third single, ‘Her Flowers’, alongside the announcement of her debut EP, ‘In Heaven, After Hours’, due 17th April. Marking her first fully self-produced release, ‘Her Flowers’ represents a quietly significant step forward in Bloore’s artistic evolution, revealing both the depth of her musicality and a new level of creative independence.
Seattle-based folk artist Hayden Everett returns with his stunning new single ‘Bird Eye View’, the latest preview of his forthcoming debut album ‘So The Sun Can Pour’, due April 17th. Built around Everett’s perceptive, narrative driven lyricism, ‘Bird Eye View’ is a stripped-back folk track anchored by acoustic guitar and pedal steel, with minimal production that allows Everett’s steady, understated vocal to take centre stage. Warm and intimate, the track reflects the thoughtful tone of the wider album.
Born from an unrelenting desire to find his tribe, William Bleak creates music fusing violent electronic rhythm with thunderous live instrumentation. The Berlin based solo project has led an unending crusade of gothic aggression, playing with the likes of She Past Away, Clan of Xymox and Traitrs – and playing shows in Mexico, the US, UK and all across Europe. Now signed to renegade underground label Breathing Records, William Bleak is gearing up to release his label debut LP; a scorching, visceral journey through industrial, EBM and gothic desperation.
His latest single “Ghost Waltz” is a “digital demolition of the senses” and was pulled out of a series of long nights spent experimenting with analog synthesizers, blurring the line between human and digital entity while overloading the senses with layers of intensifying noise. “Ghost Waltz” is a single that is “for losing yourself in the moment – and staying lost,” shares the artist.Tour Dates
3/11 Guadalajara, Mexico
3/15 CDMX, Mexico
6/12 Moritzbastei, Leipzig, Germany (with Foreign Resort)6/13 Privatklub, Berlin, Germany (with Foreign Resort)
Latin Grammy nominee and multi-platinum certified artist Manuel Turizo announces his upcoming fifth studio album Apambichao, out April 10, while debuting its title track and accompanying official music video alongside Latin Grammy Award winner and global music icon Maluma (watch music video HERE). The collaboration serves as a vibrant musical and visual statement that celebrates the essence of Colombian and Caribbean culture through rhythm, storytelling, and sonic evolution, reflecting the spirit of the upcoming album.
Released via La Industria INC and produced by CASTA, “Apambichao” draws its name and inspiration from pambiche, a slower and more intimate variation of Dominican merengue known for its smooth cadence and close-connection dance style often reserved for the most memorable moments at the end of a celebration. Turizo and Maluma’s voices blend seamlessly, creating a magnetic dynamic between Caribbean tradition and contemporary Latin pop sensibilities that enhances the song’s sensual and catchy lyricism while highlighting Colombia’s musical identity through a modern global lens. The official video brings Colombia into a living character, showcasing its streets, colors, people, and vibrant culture of two of Colombia’s most influential voices in Spanish-language music.
- Email: neill@outloudculture.com
- Socials: @frazer.live
- @neill.outloud
