featuring @liams.friend @prettiernow @northlane @dis_fig @caitlinstarr__ @joanaspolicewoman @omallexa @liv.east @cloonee
From the moment he wrote it, Liam Creamer knew “Bucket List” would be the song to reintroduce himself to the world. Previously recording under the name Ken Park, Creamer is excited to share his new single “Bucket List,” clearing away the haze in favor of an aching rawness. Now 22 years old, the NYC-based musician embraces a newfound vulnerability, pairing the atmospheric textures of Brian Eno with the intimate, emotionally direct songwriting of Sufjan Stevens.
That shift also extends to his creative process. Where Creamer once obsessed over songs to the point of paralysis, he describes the new track as the product of “healthy impulsivity.” The entire song was written in one 20-minute burst, a deliberate attempt to resist his urge to second-guess. “I wrote this to remind myself of what’s most important: to capture the feeling in the moment.” The song’s quixotic fervor feels like a revelation, befitting an artist not just marking a new beginning but suddenly alive to the possibilities ahead.
Prettier Now today announce the upcoming release of their second full-length, Miracle Charm, and share the bruising new single “Beaming”. Anchored by swirling layers of grunge hooks, ascendant vocals and a locktight rhythm section, “Beaming” sees Prettier Now returning in triumphant form.
Now heading into their sixth year, the band continues to operate as a revolving cast around Manhattan-via-Jersey shore songwriter Christian Monte. With “Beaming” he explores some of his most personal and unvarnished emotional territory yet as the years go by and the regrets start to pile up on his doorstep. In this case Monte cites “my skewed priorities and an inability to consistently show up that torpedoed a relationship before it could even get going.”
Miracle Charm follows the 2024 debut album Perfect Crush and finds Prettier Now returning to collaborate with producer Noah Sullivan at Little Hollywood studio in Howell, New Jersey. “Beaming” is a warning shot that what will be unveiled on Miracle Charm is something heavier and more potent than Prettier Now have ever previously achieved.
Experimental duo Allegories share “Pure Comedy,” an ethereal and emotionally volatile new single that moves restlessly between optimism and pessimism, intimacy and aggression, hope and resignation. Shifting through dream pop, indie rock, and electronic textures without settling comfortably into any of them, the track is perhaps the clearest distillation yet of the unpredictable world Adam Bentley and Jordan Mitchell have built on their upcoming album, By accident, On purpose, out October 16th, 2026.
“Pure Comedy” evolved alongside the album itself, with Allegories working on the song throughout the years-long writing and recording process. Rather than discarding each previous incarnation as the track changed shape, fragments survived, leaving different eras of the song embedded within the finished recording.
“This is the song that I think best represents our new album,” Adam explains. “There are elements from many different iterations of the song still in there, and sonically, it feels like it touches on the kaleidoscope of sounds and genres that the record eventually became.”
Australian metalcore heavyweights Northlane share “Crucified,” the latest single from their upcoming seventh studio record Anemoia, out everywhere October 30th via independent release.
The third offering from Anemoia, “Crucified” finds Northlane continuing the momentum of previous singles “Evian” and “CUT_it,” delivering a blistering exploration of polarization and division underscored by raw aggression and crushing riffs.
“‘Crucified’ is about the collapse of civil discourse – the way every disagreement now defaults to attack, every conversation becomes a battleground, every difference of opinion ends with someone playing the victim,” explains frontman Marcus Bridge. “Not only touching on politics, it’s about the regression of communication as a whole: arguments online, wars, general difference of opinion. If you’re offside, misaligned / we won’t rest tonight / till you’re fucking crucified. The instinct to go for the throat rather than hear someone out has seeped into every corner of life.”
Berlin-based vocalist and producer Dis Fig today shares “The Snake You Built,” the third and final single ahead of her first solo album in seven years, What To Make Of These Mortal Hands, arriving October 23 via Thrill Jockey.
For “The Snake You Built,” Dis Fig approached the lyrics through a method of glossolalia, using syllables and sounds that felt natural to repeat before allowing the song’s words to take shape. “For most of this record, I was quite intentional with lyrics,” Dis Fig explains. “But this one beamed out differently. Rather than writing lyrics to replace the original take, I used my own kind of language, dictated by emotion rather than fitting meaning to what could not be expressed in linguistic form.” Featuring drums from Lee Buford (The Body), strings from Diana Miron, and bass textures from Liam Andrews (Big Brave, My Disco), the song slithers in through phrases of violin and viola before exploding into wails of vocal melismas.
What To Make Of These Mortal Hands reflects the full arc of the Dis Fig project while opening it into something larger: a cinematic, expansive work built from bass, distortion, electronics, acoustic instrumentation, and a kinetic, versatile voice. Where Dis Fig first emerged from the energy of New York’s underground club and DIY noise communities, the years since have seen the project transform those influences into a singular musical language of its own.
Speed Saves riffs on the phrase “Jesus saves” and “speed kills,” repurposing it as a commentary on how speed — long hours, multiple jobs, constant motion, racing through the city at full speed, mania, excessive stimulants, chasing validation — can feel like the only way to keep up with the world. The songs trace both the ways that speed has temporarily rescued Caitlin Starr and the emotional and physical crashes that come after, blending piano-rooted songwriting with raw punk immediacy.
The forthcoming EP was shaped in collaboration: Chris Cubeta produced, Meredith Okomoto served as assistant engineer, Carmen Castillo played bass, and Zack Jones played drums, with Lucy Coykendall performing drums on the track “Will u b My Girlfriend.” Caitlin, a classically trained jazz pianist and multi-intrusmentalist, brought these deeply personal songs to the sessions, which were then arranged, tracked, and refined with the band and production team to preserve the songs’ intimate urgency while adding rhythmic propulsion.
The result is a concise, honest snapshot of an era defined by speed, tenacity, and the cost of racing to keep up. Speed Saves until you crash.
Mali Obomsawin, a multi-instrumentalist, singer, composer, and citizen of the Odanak community of Abenaki Nation in Quebec, today shares “Triage,” the second preview from her second solo album, Automatic, out October 16 via Out Of Your Head Records. Paired with a music video co-directed by Obomsawin and Lokotah Sanborn that premiered earlier via FLOOD magazine, Obomsawin’s musical and visual world merge to reveal her distinct creative voice–incorporating surrealist themes and a playfulness with chaos and structure.
“Triage” was filmed on Allen Island, a site of first contact between Wabanaki people and Europeans where Wabanakis have begun to regain access. Obomsawin and her collaborators have documented this reconnection process in photography and film, including the short doc Otherworld, another Obomsawin-Sanborn collaboration. “In 1605, Captain George Waymouth’s crew kidnapped five Abenaki men here and trafficked them across the Atlantic. The island was later bought and terraformed by painter Andrew Wyeth and his wife Betsy. We are returning here for the first time in hundreds of years.”
Sydney-based artist Holly Wild channels the jealousy of an annoyingly perfect friend into a new sarcastic, punchy indie-pop rock single, ‘So Annoying’, out September 25 alongside an accompanying music video. The single comes ahead of her debut album ‘Technicolour’, out next month.
Since releasing her debut single in 2021, Holly Wild has built an array of music, television and international collaborations, working with highly acclaimed industry talents including producer David Arkwright (James Arthur, Teddy Swims, Katelyn Tarver) and Australian ARIA chart-topper Jolyon Petch, demonstrating her growing industry recognition.
Now turning that growing experience towards a punchier, more playful side of her sound, Holly Wild brings a garage-rock edge to ‘So Annoying’. Distorted electric guitar riffs and powerful drums collide with catchy, lo-fi spoken-word vocals, before gritty vocals push the track into a slightly chaotic explosion of raspy frustration and upbeat energy.
‘So Annoying’ uses playfulness and exaggerated sarcasm to capture the envious feeling of having a friend who is effortlessly perfect. It combines internal feelings and critiques to reflect pettiness and jealousy, focusing on the self-awareness and irrationality of knowing how ridiculous and unhinged it may be. Wild takes this jealousy and turns it into a sarcastic and funny commentary on the envy that isn’t always shared. As Holly Wild shares:
“’So Annoying’ is about that one friend who makes everything look way too easy… gorgeous, unbothered, life just falling into place. My co-writer and I got a bit ridiculous imagining every petty thought you could have about her, and somewhere in all that laughing, the song showed up. I like to think of it as the anthem for ‘friend-vy’… the jealousy nobody likes admitting to.”
Continuing the celebration of her new album ‘Real Life Evolution’, released via UK label Reveal Records, NYC singer-songwriter Joan As Police Woman has teamed up with the illustrious Iggy Pop on ‘Save Me’. The track is one of ten fresh interpretations of songs from Joan’s 2006 debut ‘Real Life’ album, reimagined two decades after its original release with a new cast of collaborators and released exactly 20 years from her debut.
Joan Wasser, known as Joan As Police Woman since 2004, is a critically acclaimed musician and producer, and a sought-after collaborator, dubbed “the coolest woman in pop” (The Times) and “one of the 21st century’s best musicians” (The Economist). As a singer, songwriter and multi-instrumentalist, her music defies easy categorization, crafting her own sound that blends various genres.
“Some transformations are subtle. Others are seismic. All of them were made with an entirely new cast of collaborators. Among them are two extraordinary vocalists. The inimitable Iggy Pop — whose band I’ve had the privilege of touring with, playing keys and singing — recorded a stunning version of ‘Save Me’ while we were on the road in New Zealand. We had to work around the birds outside, who apparently had strong opinions about the session. Then there’s Krystle Warren, a true original and one of my favorite singers alive. Her voice is so deeply soulful that ‘I Defy’ feels like it thoroughly enjoyed easily slipping into its brand new groove,” says Joan.
https://joanaspolicewoman.bandcamp.com/track/save-me-feat-iggy-pop-real-life-evolution-version
The record sits between the traditional and the contemporary, drawing as much from the music Allexa grew up with as from what she listens to now. ‘It’s a mixture of my past and my future,’ she says. ‘After reconnecting with the music I grew up with, but implementing elements of what I listen to every day and what has become my inspiration in writing as an adult.’”
Across the three tracks, acoustic guitar and spoken word sit alongside Allexa’s own transcendent playing on alto saxophone. Starting proceedings in fine form, ‘Talks About Nostalgia’ draws on Música Criolla and Afro-Peruvian music, and carries a strong sense of Allexa’s own cultural identity woven through the music. ‘Intermezzo’ carries a powerful sense of foreboding, built from experimental textures that tip into something close to cataclysmic. Together they show a musician eloquently displaying her own vocabulary rather than one still finding it. Finally, ‘Talks About Explorations’ is freewheeling but tightly controlled, textured and adventurous, expanding outward without losing its shape, bringing the record to a powerful close.
Based in Mumbai, Zenareeta is a singer-songwriter, composer and author whose ethereal pop sound is shaped by meditation, Advaita Vedanta philosophy and the inner architecture of the mind. After spending twelve years in seclusion, including three years meditating for up to eight hours a day, followed by a year in the Himalayas and time exploring Europe, she emerged with a clear artistic vision. Choosing to remain independent despite interest from record labels, Zenareeta has built her career entirely on her own terms, creating music that explores meditation, science, space and Eastern philosophy. Alongside her music, her writing has appeared in literary publications in both the United Kingdom and the United States, while her earlier career included acting in regional television and cinema.
Her new single, “SumuHood”, is her most personal release yet. The song arrived unexpectedly during a late-night meditation session. “I was meditating for what had been two hours. It was around 1am when the lyrics and the composition came to me as I heard it in my mind like a fully finished song,” she explains. “I had to break my meditation, turned on the bed lamp, quickly recorded the composition with the words on my phone, then wrote it down in my journal.” The song remained almost untouched from that first recording. “I rarely edit songs, so it seemed perfect in the first draft.”
One of the most exciting voices emerging in the R&B landscape right now, East London artist and creative Liv East returns with her debut album, FUNKSOULSEX – ahead of her biggest headline show to date, taking on the iconic Jazz Cafe on October 8th. Alongside a stream of potent single releases this year, including “Fever Dream,” “Sugar Rush,” and “Projections” – earning acclaim from WONDERLAND, CLASH, COLORS, DORK, and more – FUNKSOULSEX instantly emerges with the smooth, sultry kinetics you’d expect from the rising star, completed by a vibrant collection of new material to establish her most intimate and realised work to date. Laying the groundwork with high-calibre production, intricate instrumentation, and raw, poetic lyricism, East moves fluidly through themes of seduction, lust, and longing, as well as female autonomy and the romanticised ideals of love. Ultimately, the young talent looks inward to expose the intoxicating highs and lows of modern intimacy and the vulnerable moments that can leave us in disarray.
Portland-based hyperpop-emo artist saoirse dream today shares new single “killer bees,” the blistering final single from forthcoming album grimdark, out October 9 via Lauren Records.
| Big 3D electronic percussive sounds contrast close-up acoustic guitar riffs with processed, emotional and romantic vocals of Yangze. Perspective and contrast, whether in sound or emotion, Yangze’s sounds are otherworldly. With the latest single “Okay,” Yangze announces his debut album, Heartbreak Stew, out Friday, November 21, 2026 via Escho. |
| Yangze is the moniker of producer and composer Jakob Littauer, who’s been called by that name since birth. In his teens, he released music and played globally with his techno group Electrojuice, and is proudly noted as one of the youngest to have played Berlin’s legendary Berghain club at 16. He is now a member of the instrumental art group TLF Trio with Cæcilie Trier, who earlier in the year opened Blood Orange across the USA. As a producer, he creates music for a wide array of artists—including Ydegirl, Liss, and CTM—and last year, he contributed to the release of Smerz EDITS, featuring on “You Got Time I Got Money” with Clairo. |
Fresh off the release of their new LP An Ending In Itself, today the iconic alternative rock band Sleeping With Sirens is taking a trip down memory lane and releasing a reprise of “I’m Coming Home (Big Gulps).”
STREAM “I’M COMING HOME (BIG GULPS)” NOW AND WATCH THE LYRIC VIDEO HERE
This was the first song ever written by Sleeping With Sirens and the first video ever posted to the band’s YouTube channel in 2009. A grainy but inspired performance, filmed in one take on a laptop computer in 2009, the song found new life in 2026 when dedicated fans pushed Big Gulps to spontaneous virality on TikTok. In response to the engagement online, Kellin Quinn returned to the studio to rerecord Big Gulps, this time in a proper studio making this the first professional recording of the track.
“Big Gulps was the very first Sleeping With Sirens song ever written, so it’s pretty amazing to see our fans digging through our old content on YouTube and watching it take off on TikTok,” shares Kellin Quinn. “That said, the original recording was literally recorded on a MacBook back in 2009. So, I wanted to get back into the studio and properly rerecord a new acoustic version of the song. Thank you for being such incredible fans for so long and we hope you enjoy this new version of Big Gulps.”
the Hudson Valley-based rock band New Vision announces their signing to the independent, artist-first record label Papercut Recordings.
Their first single with the label “I Am A Muse” also came out today exploring themes of self-worth and refusing to let others define your value.
“This song kinda came out of nowhere one day at practice,” shares lead guitarist Ryan Skinner. “The lead I’m playing reminds me of something Drug Church would write, which is sick for me because they’re one of my favorite bands. I remember this song being fun to record in the studio just because it’s so high-energy. In the breakdown at the end of the song, our producer Adam Cichocki had me try out the Boss Rotary Ensemble pedal for the lead and it turned out sick. I went home after we finished recording and bought the pedal on Reverb.”
UK-born, LA-based DJ and producer Cloonee taps back into his Latin-house roots with new track “Movimiento,” a seductive collaboration with Yandel and Atlac, and the final single before the release of his debut album, Are You Still You, out October 6 – listen HERE!
Reimagining the iconic “Sexy Movimiento,” the track flips its unmistakable vocal into a cheeky, body-moving club weapon packed with rolling bass, infectious percussion and pure late-night energy. It’s a nod to the Latin-house sound that helped Cloonee emerge in the scene, now delivered with the swagger, playfulness and sex appeal that have become synonymous with his sets. Already a fan favorite and mainstay in those sets, “Movimiento” has sparked nearly 3,000 social creates ahead of release. Flirty, sweaty and impossible to stand still to, it’s Cloonee at his most fun.
Cloonee’s highly anticipated debut album, Are You Still You?, is set for release on October 6 – pre-save/pre-add HERE. Marking a defining moment in Cloonee’s career, the album showcases the evolution of one of dance music’s most exciting talents. Blending his signature production with a more expansive and personal creative vision, Are You Still You? captures the journey that has led him from underground clubs to headlining some of the world’s biggest stages. Across the project, Cloonee pushes his sound into new territory while remaining true to the infectious energy that has made him a global force in dance music. Cloonee has previewed his debut album with singles “Good Girl,” “Get Up and Dance,” and “Back of the Club.” Upon release, “Good Girl” garnered 1.5 million streams in the first week of release, marking an impressive start to the rollout for Cloonee’s debut album.
Big brothers of the Boston scene, the four members of Gollylagging have spent the last few years sharpening their rock and roll axes at DIY venues, bars, opening gigs, and bedrooms around New England, with a smattering of singles, EPs, and splits to show for it. Now, after enough reps to find the sound they were in search of, they’re ready to bring their ideas together on their first full-length project. Shedding the emo-inflected sound of their earlier singles but holding onto their sonic density, Gollylagging’s debut album is a statement to the band they’ve always been from the band they’ve been becoming. Two guitars, one bass, one drumkit, a handful of pedals, four guys, and a couple of pinch hitters. They like Pavement, they like Dinosaur Jr., and Alex G, and Lil Wayne and Future, they like chilling, they like playing loud and fast and sometimes not. This is indie rock in 2026 as it’s meant to be. The sounds are all there—those we’ve become familiar with after ten-ish years of shoegaze, bedroom pop, punk, alt-country synthesis—but, as with any band worth writing about, they’re played with brand new color, restructured and reconsidered by the particularities of Real Life.
Longtime frontman and guitarist Jake Regulbuto splits vocals for the first time with lead guitarist Jules Skiffington, both of their voices resting in an upper register that finds melody naturally. Their guitar conversations are shepherded through time by Andrew Garas on drums and Joey Lorant on bass, whose sharp playing partakes in but gives shape to the fuzz that Gollylagging embraces so intentionally. Real Life sounds fuzzy because memories usually are—they, too, are cluttered with the noise around these melodies. Unpretentious, un-nostalgic, alive and enjoying it, Gollylagging is basically preoccupied with making good rock music.
Email: neill@outloudculture.com
Leave a Reply