featuring @ecceshnak @ameliacoburn @nadiafaye__ @sylvie_music_ @itsdanielpickard @itskamillion @jameskeithmusic @wonky_logic @the_hails
Forget Them Wendy are an indie pop/grunge duo made up of Newcastle-based songwriter Laura James, and Edinburgh-born producer and guitarist Oliver Price, now living in London. The band take their name from a line in J.M. Barrie’s Peter Pan: “Forget them, Wendy. Forget them all. Come with me where you’ll never, never have to worry about grown up things again.” Shaped by their shared love of 90s records from bands including The Cranberries, Smashing Pumpkins and The Breeders, the pair combine indie pop melodies with grunge influences and playful, self-aware songwriting.
“Next Big Thing” is the catchy, acerbic and self-effacing new release, delivering a characteristically tongue-in-cheek social crit of influencer culture. “Everyone is vying for attention these days, trying to catch the zeitgeist and be it” says Laura, “but it’s not really our thing to share our business on socials.” “Which is a shame because we are so damn fashionable.” Olly interrupts. Laura’s silence speaks 1000 words. “This is going to be the one that blows up isn’t it?” continues Olly, “What’s wrong with that?” asks Laura. “Nothing I suppose, these are the ones that become smash hits aren’t they? And everyone walks off after you play it at Glastonbury in 10 years time to see the new Next Big Thing and no one sticks around for your serious songs in strange time signatures…”
NYC art-rockers Ecce Shnak are pleased to announce their upcoming nine-date tour, running November 11 through November 20, marking a significant new step toward the release of their forthcoming album, Dandy Variances, due in early 2027 via Records, Man Records.
Formed in 2011, Ecce Shnak (pronounced “Eh-kay sh-knock”) is made up of David Roush (composer, bassist and baritone vocalist), Bella Komodromos (vocals), Chris Krasnow (guitar), Gannon Ferrell (guitar), and Henry Buchanan-Vaughn (drums). Known for their mind-blowing live shows, Ecce Shnak was forged in New York’s vibrant experimental music community, having developed a distinctive collision of art-rock ambition, grunge weight, theatrical songwriting, and experimental instincts.
This is the first string of live dates for Ecce Shnak since they hit the West and East Coast, as well as Great Britain, with UK music legends EMF, a relationship that led to contributing guest vocals on EMF’s stellar single “LGBTQ+ Lover.”
Now Ecce Shnak takes their explosive performances through Connecticut, Pennsylvania, New York, Massachusetts, Quebec, Ontario, New York, New York and Maryland. As they move toward a full-length, audiences can hear some new material alongside songs from the band’s catalog, including 2025’s Shadows Grow Fangs EP, mixed by Nicholas Vernhes (Animal Collective, Deerhunter, Wild Nothing, War on Drugs) and mastered by Grammy award-winning engineer Joe LaPorta (David Bowie, The Weeknd, Foo Fighters, Vampire Weekend).
Acclaimed north-east artist Amelia Coburn announces her second album ‘Myself and Other Monsters’, arriving 5th March 2027, alongside new single ‘I Just Want To Say’ out 7th October.
Renowned for her vivid, gothic-tinged storytelling, Coburn’s new record is a cabinet of curiosities, where the supernatural hides within the domestic and beauty exists alongside the grotesque. Musically, it reaches for dreamlike arrangements and cinematic crescendos, with production once again by Bill Ryder-Jones, it shifts from theatrical brass to melancholic strings and haunting harmonies.
Amelia Coburn:“While writing and recording the notoriously ‘difficult’ second album, I found myself wrestling with something far more difficult than the record itself: my relationship with myself. Like many people, there are parts of myself that I prefer not to acknowledge: selfishness, jealousy, obsession, resentment, and ultimately the distressing fact that I am capable of acting in ways I do not recognise. I had spent a long time trying to suppress these facets of my personality, but realised that the more I tried to suppress them, the more insistently they would resurface.”
Offering the first glimpse of the record is the uncanny new single ‘I Just Want To Say’, which comes paired with a playful video that nods to Amelia’s love of film. Written from the perspective of an unreliable narrator: a woman sending love letters to a serial killer, exploring how love can tip into obsession. As Amelia explains: “It’s inspired by hybristophilia – the intense attraction some people feel towards criminals. Where is the line between love, lust and obsession, and how far would you go for the person you believe is the love of your life?”
New York City-based musician Nadia Faye shares new pulsing single “drift,” out now, an emotive, swirling tune that sinks into the space between longing, desire and tension. On the stirring tune with its matching video, Faye untangles the impermanence of attachment and the fleeting nature of life, love and unfulfilled longing.
Co-produced with musician and collaborator Max Morgen, “drift” features Nadia Faye’s vocals floating over carefully plucked guitar chords. Faye says, “This song conveys the disorienting drift of being swayed by someone’s fleeting affection. Under fluid “water movements,” I become suffocated by my own perpetual desire and the impermanence of attachment. I know it is not enough, and I can feel the withholding drag me under, but it is still better than nothing, and what could ever be enough?” Sonically, Faye shares, “Our production choices on the track mirror this emotional unrest; chorusy guitar and vocal melodies float over pulsing, consistent drums and bass.”
Sylvie, the project of Los Angeles artist Ben Schwab, releases the next single “Not Looking Back Anymore” from their forthcoming album New Season, out November 6. Carried by tender folk arrangements and lyrics about moving forward, the song explores finding the people who are meant to be in your life, and accepting that some chapters are better left behind.
Sylvie sits at the sunbathed crossroads of the L.A. and Nashville indie-folk scenes, with Schwab at the helm, and comprised of many collaborators and friends. New Season will be their full-length debut with Ghostly International.
indie pop eccentric and British flâneur Daniel Pickard announces “Nominee,” the latest offering from his forthcoming debut album Behaviour, released independently on October 23 via AWAL. Drawing upon the record’s themes of made-up stories, astute observations, and exacting slights in the makeup of polite British society — all wrapped up in a sleek, danceable French Touch beat — the new single muses on decadence, pleasure, and power as a young man comes of age.
“‘Nominee’ is a young man’s awakening to a world of excess and the struggle of power dynamics,” says M. Pickard on the new track. Set to a shimmering, relaxed synth pop melody, the narrator sets his eyes on a beautiful tour guide, letting his imagination run wild. “The subject is consumed with pleasure yet not at all confident in neither the protagonist’s nor his own use of it. The impetus is to feel something that he hasn’t previously by a disregard of consequence. The protagonist is the nominated tour guide.”
As her musical journey continues to unfold, Scarlett Macfarlane shares “Ghost,” a reflective, hopeful alt-pop single that transforms one of her deepest fears into an unexpectedly empowering meditation on love, loss, and self-reliance. What began late one night with the fear of losing her mother gradually became something much larger: a reminder that the people we love never entirely disappear from us, and that even in their absence, we remain capable of carrying ourselves forward.
Initially consumed by the cruelty of time and the pain of being left behind, Scarlett began considering loss from another perspective. Instead of asking how she would survive someone leaving, she wondered what that person – particularly her mother – would want her to feel after they were gone. The answer shifted the entire direction of the song.
Whether understood as a spirit, a memory, a legacy, or simply the ways another person permanently alters who we become, Scarlett found comfort in the idea that someone we love is never entirely absent. As the song developed, that realization turned inward, becoming an equally important reminder that as long as she still had herself, she could never truly be alone.
Toronto alternative artist and producer ARK IDENTITY (Noah Mroueh) releases “SIT,” a defiant, euphoric, and anthemic new wave-inspired alternative pop single that confronts the relentless noise of modern life with an unexpectedly simple message: stop, breathe, and think for yourself. Propulsive rhythms, shimmering synths, and escalating intensity turn exhaustion with political division, social media outrage, and relentless news cycles into a rallying cry for empathy, clarity, and independent thought.
Inspired by the constant barrage of outrage, opinion, and polarization that defines everyday life, “SIT” emerged from Noah’s growing frustration with a world that rarely leaves room for reflection.
“Politics, racism, sexism, social media, people constantly arguing, the news, algorithms,” he explains. “It feels like there’s almost no space to just think for yourself anymore. ‘SIT’ came out of that frustration.”
Palm Beach, Florida-based singer-songwriter Brit Drozda shares “Flowers From Heaven,” a deeply personal and soulful pop-folk tribute born from the loss of her only brother and longtime musical collaborator, Virgil Price. Blending acoustic warmth with an evolving full-band arrangement, the song transforms profound grief into a hopeful meditation on connection, remembrance, and the signs that remind us the people we love may never truly leave us.
In the depths of her grief, Brit found herself scrolling through old text messages, searching for anything that might make her feel close to him again. There, she discovered two video messages Virgil had sent containing the beginnings of an unfinished song.
Music had always been central to their relationship. The siblings began writing together in high school and later reunited creatively at Davidson College, where Brit sang lead in Virgil’s band before the two eventually formed their own project, The Prices. Discovering his unfinished song offered Brit an unexpected opportunity to collaborate with her brother one final time.
Respected around the industry for her sharp songcraft and blazing charisma, Jacksonville’s KaMillion is ready for her takeover. The award-winning rapper and actress plans her next move, releasing “Wus Up,” her new single and the latest step on the road to her next EP, coming this fall.
With booming production by Shawntbeatz, “Wus Up” is a bar-filled mission statement from the artist, who directly confronts triflers and cheats with schoolyard taunts and fierce pronouncements of her undying superiority. The song is full of quotables, as she eviscerates her adversaries with a wide grin, threatening to “turn a b*tch into an onomatopoeia” and proving that she’ll never back down from a fight: “Go get your cousins? I got cousins, too!” she shouts. “Wus Up” ends with a moment of clarity, as KaMillion fires her finishing rounds at her overmatched opponent: “It was cute when you was f*ckin’ on my n****, right?/But when you see me with yo’ n****, all of a sudden you wanna post scriptures.”
“Wus Up” is KaMillion’s official follow-up to her hit single “In Here,” which went viral over the summer. Running roughshod over a sample of a capella R&B classic “If I Ever Fall In Love” by Shai, and inspired by “She In Here,” a Southern rap classic by No Limit affiliate and Baton Rouge hero Bigdawg C-Loc, “In Here” quickly gained traction on socials, with over 10k creations on TikTok alone and more than 10 million organic views. Boosting the momentum along with her own “In Here” memes, KaMillion parlayed the song’s social virality into IRL success, generating over 2 million streams and earning airplay across the nation.
“In Here” is currently listed on the Top 50 of the Urban Radio chart, reaching a peak of #42 last week, and it debuted in the top 50 for Rhythmic Radio in September. Most recently, Kamillion performed “In Here” on On The Radar Radio and Bar4Bar, sat down for interviews with Dirty-Glove Bastard’s Off The Porch and Atlanta’s V-103, and most recently, showed off her pipes on an episode of Cadillac Chronicles.
KaMillion has an unshakeable will to succeed, and the determination to get what she deserves. With “In Here” still rising, and her EP on the way, KaMillion is ready to make her fans proud and her doubters look silly as she ascends to a new career peak.
Big country-rock riffs, bright hooks and an irrepressible feel-good streak run through James Keith’s new album ‘I Call It Magic When I’m With You’, out Friday, October 9. Bringing the scale of rock and the immediacy of country-pop together, Keith delivers fourteen tracks of soaring choruses, twangy guitars and husky vocals, capturing the rush, uncertainty and sheer joy of finding a love worth holding onto.
Following the release of his ARIA Country Albums Chart-topping debut single ‘Life Is Good Today’ in 2024, Australian country singer Keith continues to build momentum with ‘I Call It Magic When I’m With You’. This year Keith has continued the good run with a number of singles leading up to this album release, seeing him secure plays on ABC Country, land on the AMRAP Charts (Metro and Country), and see support from the likes of AU Review, Scenestr, AAA Backstage, CMAA, and more.
‘I Call It Magic When I’m With You’, details the feelings that come with navigating a relationship and celebrating love for what it is. Keith explores the happiness love brings, the distance it creates and the doubts you can experience, while capturing the real energy of a love that lasts. As the album unfolds, Keith appreciates all the pieces of a love story and celebrates the life you can build with someone, all while embracing the happy spirit of everyday life.
Driven by bright, twangy guitars and big rock riffs, Keith delivers a high-energy and heartfelt country sound. His warm, rootsy and distinctive vocals carry the emotional weight, intertwining with the album’s country-rock drive.
New Zealand singer, songwriter, multi-instrumentalist and producer Manu Francois is
bringing his distinctive blend of grunge, rock and folk to the forefront with “Oncoming Life”,
the lead single from his Oncoming Life EP, released 12th August. Drawing on the alternative-
rock sensibilities of artists such as Fuel, Cold and The Smashing Pumpkins, the track
combines a raw, soulful sound with an uplifting message about remembering who you are,
why you started and where you’re going.
True to Francois’ DIY approach, “Oncoming Life” was written, performed, recorded and
produced largely by the artist himself in his own studio. Starting with guitar and vocals, he
added drums, bass and MIDI elements before mixing the track alongside the rest of the EP
and having it mastered. Francois, who received the BingeTV Award for Best Independent
Artist 2021, says of the track: “It’s a song that is a transmutation of painful and difficult
emotions into light and uplifting music and message.” Oncoming Life offers an
accessible entry point into an artist balancing the grit of alternative rock with a genuine
sense of positivity and personal reflection.
Wonky Logic (aka Dwayne Kilvington) has spent the past two decades quietly becoming one of the UK’s most respected musical collaborators. His career has moved comfortably between London’s jazz, electronic and contemporary music scenes, performing and recording with artists including Nala Sinephro, Yussef Dayes, Nightmares On Wax, Shabaka Hutchings and Emma-Jean Thackray. He scored the feature documentary Zandra With A Zedandcontributed music to A24‘s The Smashing Machine, and he continues to lead music workshops with young people, refugees and people experiencing incarceration.
The Hails reveal one more single from their upcoming album, Duckpond, with “Ducks on the Pond.” A tongue-in-cheek stab at the predatory world of online gambling, it’s a swaggering ‘90s-esque closing track to the sophomore record from the indie band. The ending of the song sees The Hails at their largest, trying to recreate the weight of the rock bands of yesteryear who never knew when to stop layering guitar tracks — Stream.
“‘All my people want submission, come on people be submissive’ is a sarcastic attack on the modern psyche of people, particularly young men, who willingly dive into the pitfalls of online gambling,” explains lead singer Robbie Kingsely. “As we observe our generation and the ones coming up, it’s glaringly obvious that no one actually cares if they’re developing bad habits or wasting their time and money – we just want that quick hit to give us life and help the days move on.”
Arriving in full on October 23 via ONErpm, Duckpond was produced by Brandon Shoop (Role Model, Dijon, Junior Varsity). Coming together from their homes in Miami, DC and Brooklyn, the band rented a house in South Florida last summer with the sole intention of getting back to the basics of creating in the same room as each other. The result is a sophomore album that comes from a place of disillusionment — something that exists in the gap between the idealistic future we were sold and the imperfect reality we ended up with.
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