The Sydney duo’s debut album treats the after-hours city like an old carnival rule, a place where the name can wait outside.

The Moline four-piece put a locked bass-and-drum pulse under a night drive that keeps circling the same question. Who you are. Who you were. What the radio still holds when the car goes back.

Summerhouse is the project of Conall Hill. After years in East London indie rooms, he arrives with a four-track debut that treats a flinch as a full night. The Pull Away, featuring blackbird, follows heat, relapse, and the morning that will not stay finished.

A server room, a painted cell, and a laptop taken apart by hand. You're Not So Human is Craigycraig of Fatewell asking a fluent machine the one question it still fails.

The New Citizen Kane has spent a decade treating pop as a room you walk into, not a file you stream. Behind the name is Kane Luke, a Dublin-trained

On Lovelight, Jessie Altman treats love as a light you can locate in the eyes, then spends twelve songs deciding which lamp stays on.

A Santa Monica singer who took an Air Force oath and a Berkeley seminar in the same season builds his debut around the moment a landing is refused.

Novaix Entertainment’s first artist is a disclosed AI performer. The debut EP Close lets a generated voice carry human writing about a grip that will not loosen, and a door that finishes the job alone.

On their third album, Reaven treat freedom as something that only shows once the wall has been opened. The dark stays in the picture.

The Chinese producer’s second album treats memory like a long-exposure photograph. Cars vanish. The lamp stays.

Ten years after Snow on Higher Ground, the Australian actor and songwriter builds a confession out of stacked voices and the smallest available word for mercy.

The Scottish drummer-producer’s second single under his own name wants the floor to last longer than the clock will allow.

Three live songs from a Texas-raised Portland songwriter who moved houses, changed instruments, and kept the one piece of paper that still had his name on it.

The Swiss project takes a campfire song, keeps the same words, and sends them toward the floor. The Radio Edit wants one thing: more time inside a moment that cannot last.

On her second 2026 single, the England-based pop project treats a bad romance like confection science. The hook is funny. The craving is the point.

Written, recorded and produced alone in a Vienna home studio, the new single starts as a private hard day and then stands up like a wall that was always going to be there.

After a career that ran from Swiss rock stages to Hollywood guitar school and a late return through ambient lo-fi, the Thun producer treats September light as an instrument.

From Sedona, the German-American producer turns a four-minute 4/4 into a sealed room. The single holds its temperature. It also stays inside the loop it chooses.

Written with Damon Sharpe, Bonnie McKee and JHart, the single borrows the language of trophy rooms and applies it to the people who keep a pop singer standing.

Faroese composer and producer Benjamin Djurhuus spent a long stretch of his working life just off camera. He mixed, wrote, arranged, and helped other

The Stockholm composer’s debut for Young is short, baroque, and bodily. Ten pieces, barely twenty-three minutes, and a rare colour pressed out of pressure.

The southern Italian studio project turn a plague-era burial measure into a portrait of love as internment, and the single holds that pressure without asking for a stage.

From a Clovers cover that travelled to You’ll Talk About It!, Lyons Lane built a live band out of charm, brass and timing.

On You’ll Talk About It!, Lyons Lane builds a six-song argument between swagger and the wish to disappear.

Recovery is SUNDRAWN’s first statement as a band who thought they might never play again. Four tracks. Quiet that thickens. Then the weather arrives.

On her latest single, the Orange County songwriter treats “best friend” as a word that has been spent too many times, then takes it back.

The new book gathers 18 essays spanning 1999 to 2026, making Cascone’s long-running argument about imagination over gear available in one place.

Mark Ronson and Salaam Remi have assembled a lineup including Jorja Smith, Corinne Bailey Rae, and Yebba for an anniversary performance of the album in full.

The singer details the stroke that pushed back his fifth album by nearly a year, and returns with a self-produced record shaped by live jams and single takes.

Peter Tägtgren’s industrial project Pain has released behind-the-scenes footage for “I Don’t Give A Fukk,” where Peter Stormare plays a record label boss and the band mocks focus-grouped pop.

The Animals As Leaders guitarist marked the end of the Surfing With The Hydra Tour by giving both shred icons Abasi Concepts ēmi 8 models with finishes drawn from their own Ibanez histories.

The Google Chrome-backed exhibition brings unfinished ideas from three public figures into physical form on the High Line from September 24 to 27.

After a stretch of side projects and SoundCloud loosies, Jane Remover condenses her experimental-pop impulses into a new single and Brendon Burton-directed video.

The British musician behind “Always Something There to Remind Me” and “Promises, Promises” helped shape early ’80s synth-pop and crossed paths with Tears for Fears before his own duo reached the charts.

The band scrapped four scheduled shows one day before the run was set to begin, with venues citing circumstances beyond their control.

The 2022 clip becomes Styles’ second video to reach the milestone, following 2017’s ‘Sign of the Times’.

Mike Peters ends his time as touring drummer for Cancer Bats, moves into management and booking, and hands the live role to Ian Romano.

The Sydney trio turn a fortune teller’s oldest crease into a late-night hook about wasted time, sharp photographs, and the strange work of seeing yourself from the outside.

The R&B singer will play Chicago, New York, and Los Angeles in November and December behind Icon, his Raphael Saadiq-produced third album.

The Stockholm songwriter puts Patroclus at the centre of a trip-hop single that treats myth as a garment you can wear until it starts to weigh the same as love.

The New York singer’s first release for One Little Independent Records arrives December 4, led by the title track.

The New York band’s Spotify Live Room cover of the ‘Music, Fashion, Film’ single doesn’t argue with the title. It just plays it as rock music.

The streamer pulled the trailer and postponed Hunting Gary Glitter, citing new legal information without offering further detail.

A companion album to ‘By Any Means’ arrives 25th September, with net proceeds supporting the Black Music Action Coalition.

A Tennessee judge ordered Bryan Seaver to stay away from Dolly Parton’s estate employees and business partners after filings alleged threats and demands for payment tied to the late singer’s brand.

The record arrives 6th November with collaborators Brendan Yates, Daniel Caesar and Dev Hynes, as Rex plays Gunnersbury Park in London this weekend.

The Paramore vocalist addressed the death of her ex-husband, New Found Glory guitarist Chad Gilbert, in a written statement that framed his legacy as more than music.

The heavy rock trio returns to the 60-capacity club that hosted its first proper show, performing two Fantasia tracks during Fête de la Musique.

The fast-food chain’s “Songs to Listen to in a Wendy’s Parking Lot” features vocalists from Silverstein, Anberlin, blessthefall, State Champs, Memphis May Fire, and Holy Wars.

In a new Mojo interview tied to Ride Lonesome, Beck says his label pushed back hard when he moved away from his expected sound. The album became one of his most referenced records.