multifaceted singer, songwriter, and storyteller Tink returns with a powerful new single, “Overrated”. In addition to the new song, the artist has announced her highly anticipated new album, Fuck, Marry, Kill, which will make its premiere on April 10, 2026. The new single sets the tone for the project, an emotionally layered and unapologetically honest body of work, while also marking the reveal of the album’s title and full track listing, offering fans a deeper glimpse into Tink’s evolving artistic voice.
“Overrated” is available today. Get It Here
Fuck, Marry, Kill is available for Pre Add and Pre Save now.
Mia Nicolai delivers a much needed dose of dopamine with her brand new video for ‘Nothing Compares To This Feeling’. The video got its first look on Atwood Magazine who described the result as ’a portrait full of space and light, one that beautifully echoes the song’s celebration of life’s natural beauty and joy.’
Toronto alternative artist Teagan Johnston shares “My Luck,” an introspective, melancholic track that explores feelings of unluckiness, disconnection, and the strange dynamics we attract when life seems to stack the odds against us. Written during a period of creative pause, the song channels both heartache and observation, questioning whether feeling unlucky makes it easier to choose to lose.
“I wrote this song at a time when I didn’t feel very inspired, and really lacked a connection to believing in things working out,” Johnston explains. “I was struck by the storytelling in Beyoncé’s ‘Texas Hold ‘Em,’ and felt re-inspired to share my own stories again.”
this is rising LA-based, R&B singer-songwriter jiteand her brand-new single “limerence.”
Following her latest release “omw!” (listen) – garnering serious acclaim across WONDERLAND, NOTION, COLORS, ONES TO WATCH, and more – the Nigerian heritage artist returns with a sleek VHS-style visual, shot in Los Angeles. Emerging with a familiar tenderness, while weaving through luminous streets and secluded corners, the video captures the kinetic rush of love and attraction; passionate glances and a charged stillness creating a deeply poignant yet magnetic moment, as jite’s vibrant, DIY edge elevates the sonic and visual universe that surrounds her.
On the eve of what promises to be a bold breakout era, Atlanta-based platinum-selling singer-songwriter, musician, and Broadway star Jai’Len Josey unveils a provocative and passionate new single, “Housewife,” via Def Jam Recordings. Listen HERE. It notably sets the stage for the impending release of her highly anticipated full-length debut album, Serial Romantic, executive produced by five-time GRAMMY® Award-winner Tricky Stewart—coming soon.
“Housewife” pairs cinematic handclaps, strings, and airy keys with a glossy, revved-up groove as Jai’Len leans into playful confidence and romantic fantasy. Her vocals move between vulnerability and self-assured charm, flipping the idea of domestic bliss into something modern, self-aware, and fully in control. She’s not just in her feelings; she’s feeling something unlike any other relationship.
Speaking on the single, Jai’Len shares, “‘Housewife’ is a song about reclaiming domestication on a woman’s own terms. It challenges the idea that women exist to be displayed, possessed, or rewarded as trophies. Instead, submission is reframed as a choice. Something a woman may give when she wants, to whom she chooses, and only if they are worthy. I started the production and later added GRAMMY® Award-winning producer Noah Ehler (“Luther”, GNX) to fill in the blanks to create the masterpiece you hear today.”
Building upon the momentum that has made him one of the most dominant and forward-thinking forces in global dance music, “One More ft. Ad-Apt” follows his recent smash single “You & Me” which is quickly adding to his millions of global streams and earned radio raise from BBC Radio 1 tastemakers Pete Tong and Danny Howard, as well as plays on Capital Dance, Kiss FM UK, and SiriusXM (BPM, Diplo’s Revolution) and two official remixes by Vintage Culture and Notre Dame.
Cementing his reputation for constantly evolving his sound while maintaining a signature edge that bridges underground credibility and mainstage impact, Max was just named Beatport’s Artist of the Month for January and landed on the cover of Spotify’s mint playlist for his bold rework of “Greece 2000” – one of electronic music’s most enduring anthems. Defining the modern era of EDM as one of the genre’s most in-demand acts, Max has received acclaim from Billboard, EDM.com, Dancing Astronaut, Resident Advisor, and more to cement his status at the top of the global dance scene with five Beatport genre #1 records in the last year alone. Crowned as the #1 most-supported producer in the world on 1001Tracklists’ Top 101 Producers list while climbing to #2 overall highest-selling artist on Beatport and #1 highest-selling Indie Dance artist worldwide, Max is quickly adding to his growing catalog of chart-topping releases.
Brighton-based artist Cello announces her debut single, “Vitamins”, which arrives on International Women’s Day 2026.
A post-punk mantra wrapped in biting wit and restless energy, “Vitamins” introduces Cello as a singular new voice: confrontational, playful, and uncomfortably honest. Built on hypnotic repetition and deadpan delivery, the track skewers modern expectations of femininity, wellness culture, productivity, and obedience — turning self-care into something transactional, absurd, and quietly furious.
The lyrics move like a checklist from hell: “I’ll do my homework… I’ll be a good girl… I’ll do the housework… I’ll do your therapy… I’ll do my workout…” Each line lands with increasing tension, exposing the invisible labour demanded of women — emotional, domestic, physical, and aesthetic. When Cello asks, “Why don’t you give them to me?” it becomes less about supplements and more about validation, agency, and control.
There’s humour here, but it’s sharp-edged. “Vitamins” dances between satire and sincerity, capturing the exhaustion of trying to be everything at once: healthy, productive, sexy, compliant, resilient. Its chant-like chorus — “Vitamins, vitamins, yeah yeah” — feels both euphoric and hollow, mirroring the endless cycle of self-improvement sold back to us.
Cello’s background gives her sound an unexpected depth. Nicknamed for her classical roots, she trained as a cellist at the Junior Royal College of Music in London before tearing up the rulebook and moving toward post-punk minimalism. That classical discipline still pulses beneath her work — not in ornamentation, but in control, tension, and dramatic pacing. Every repetition is intentional. Every silence is loaded.
Releasing on International Women’s Day is no coincidence. This is a debut that refuses polish in favour of truth, exposing the pressures placed on women to self-regulate, self-correct, and self-blame — all while smiling. With “Vitamins”, Cello arrives not asking for permission, but daring listeners to sit with the discomfort, laugh at the absurdity, and maybe scream along. This is the debut single from the forthcoming album ‘Kung Fu Disco’.
DoYeon Kim, the New York-based, South Korea-born improviser and composer, announces her highly anticipated debut album Wellspring, arriving May 1 on TAO Forms. Armed with the traditional Korean silk-string zither called the gayageum and joined by drummer Tyshawn Sorey, double-bassist Henry Fraser, and Mat Maneri on viola, Kim delivers a volcanic statement that draws on folk universalism and free improvisation. To introduce her debut as a leader, Kim unveils the album opener “The Beats of Distant Thunder,” a potent distillation of her artistry that weaves together Korean lullabies, relentless dialogue between drums and strings, and pure instrumental expressions of her musical identity.
How the Seoul-born 34-year-old came to be the centuries-old zither’s leading, likely the only, practitioner of contemporary improvised music, reflects an expansive embrace of her own culture, her place in modern society, and her ascending recognition of music’s liberatory power. Wellspring is Kim’s open-hearted declaration of those complicated feelings. “This is the first time I open my hand to the world, a first greeting,” she says. “I wish people hearing this music [receive] energy and comfort. I want to be there with them.”
Las Vegas pop-punk band High Sierra Club announced their explosive new single “Early Sundown,” set to release on March 4, 2026. The track arrives as the second installment in a six-single run leading up to their forthcoming EP Love All by Itself Isn’t Enough. Fueled by driving guitars, urgent rhythms, and emotionally charged lyricism, “Early Sundown” captures the chaos of arguments that spiral past resolution — the moment when frustration outweighs clarity and exhaustion sets in.
“‘Early Sundown’ is about being completely drained from arguing,” shares vocalist/guitarist Matthew Mosca. “It’s that chaotic spiral where you’re not even sure what you’re fighting about anymore. You lose yourself mid-conversation, say things you don’t mean, and walk away more exhausted than when you started. We wanted it to feel frantic and loud because arguments aren’t clean or poetic — they’re messy.”
Earlier this year, the band launched with full force into 2026 with “Talk,” a punchy, emotionally charged single centered on miscommunication and the need for honesty in relationships that feel stuck. Where “Talk” confronts the deafening silence between two individuals, “Early Sundown” explores what materializes when the conversation finally emotionally bursts, often placating the other to remove yourself from the situation. Together, the tracks begin to shape the emotional climate of Love All by Itself Isn’t Enough — a project fixated on the notion that love without growth, communication, and accountability can begin to silently fray at the ends.
Written by Matthew Mosca, Jacob Grabner, Dominic Maglalang, and Gerry Trevino, “Early Sundown” was produced, mixed, and mastered entirely by Mosca, deliberately illuminating the band’s in-house approach to mastering their sound. Auditorially, the single discovered the equilibrium between tightly drawn verses with formulaic, anthemic choruses — punchy guitars colliding with its rhythmic backbone, while vocals oscillated between the edge of hostility and tender transparency.
Since forming in 2019, High Sierra Club — Matthew Mosca (vocals/guitar), Jacob Grabner (bass), Dominic Maglalang (drums), and Gerry Trevino (lead guitar) — have accelerated across the western U.S. through visceral, electrifying live performances and soul-baring lyricism. The band has shared stages with The Home Team, HUNNY, I Set My Friends on Fire, 408, and Good Terms, steadily carving out their place in the modern alternative scene.
Drawing inspiration from bands like Knuckle Puck, The Story So Far, and State Champs, High Sierra Club blend high-octane pop-punk hooks with emotionally charged songwriting — creating a discography meant to be shouted back in packed rooms.
Southern California pop punk band, Super Sometimes, have announced details surrounding their upcoming new album ‘Show the World What’s Underneath’ out May 15 via Pure Noise Records. Today, the band also shares the lead single and music video for “Afterthought”. The album is now available for pre-order at: https://purenoiserecs.lnk.to/SuperSometimes
“’Afterthought held its hand up as the clear opener to the album as soon as it was written,” says the band. “From the beautifully melancholic verse to the finger-point–inducing chorus, the song is haunting and riddled with passion in both its lyrics and vocal delivery, intended to convey the intense feeling of longing and desperation for someone who treats you as nothing more than an “afterthought.”
Michael Ward with Dogs and Fishes are bringing their West Coast sound to New York City, with a one night only performance at one of America’s most storied listening rooms, The Bitter End this April 1.
Drawing from blues, Americana, Memphis soul, and classic rock, the progressive American band creates music rooted in tradition yet driven by a spirit of exploration. Led by singer, songwriter, and producer Michael Ward, the group has developed a musical language grounded in strong songwriting and expressive musicianship, shaped by more than two decades of collaboration among its accomplished members.
Tickets for Michael Ward with Dogs and Fishes in NYC can be found here.
Simply put, the new single showcases the impact the paintings of Lucian Freud and Francis Bacon have had on Plain Mister Smith. Causing a rush of dopamine and elation, the single celebrates the legacy these painters carved out. A sleek indie-pop ode to the amazing artwork humans can create with just a brush and some paint, the new single features the entrancing vocals of Tyson Motsenbecker.
Emerging Manchester country artist Katie Rigby returns with her new single ‘Too Good To Last’, a heartfelt and melodic release that places her distinctive vocal front and centre.
‘Too Good To Last’ is available now on your streaming service of choice via APOLLO Distribution.
Acclaimed pianist and composer friqtao returns with ‘Lifestream 2’, a five-track EP that deepens and expands the world he first introduced on his debut release ‘Lifestream’ (October 2025). Led by the single ‘Raindrops’, the project is meditative yet purposeful – introspective in spirit, cinematic in scope, and unmistakably friqtao.
Coinciding with today’s release, friqtao will embark on his biggest tour to date, bringing the new music to stages across the UK and Europe, beginning tonight at The Jazz Cafe in London.
Toronto dream pop artist ARK IDENTITY (Noah Mroueh) returns with “Fading Light,” a weightless, immersive single that trades traditional song structure for atmosphere and emotional suspension. Built on a soft, pulsing groove and washed in reverb-drenched textures, the track feels less like a narrative and more like a state of mind; floating, reflective, and quietly existential.
“The song came together entirely from a feeling and a vibe,” Noah explains. “I wasn’t trying to write a story. I was chasing a feeling.” Written and recorded in a single session, the song emerged organically as Noah improvised melodies and lyrics over an ethereal groove. Those early takes, unpolished and instinctive, ultimately became the final vocal, preserved for their honesty.
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