Western Australia’s Clay Brown & the Trouble Round Town have been building their rep the old-fashioned way, with gigs, festival slots, and two 2025 singles (“All My Friends” and “No Place”) that picked up radio spins across Australia. Now they’re lining up their next move with “Satisfy Your Mind” (out…

Baltimore’s Will Sims sounds like he’s done being patient. “I Gave It All For You” (out Feb 6, 2026) is him planting a flag in hard rock territory with the full-chested conviction you don’t get from half-committed singles. Recorded at Deep End Studio with Grammy-nominated producer Tony Correlli and powered…

Essex artist Cabra has always moved like someone allergic to genre fences, with UK hip-hop in one pocket, smooth R&B in the other, and the occasional flash of American-rap swagger when the mood hits. On “Cruel Games,” he links with Mz (a familiar name around the ES6 collective) and, honestly,…

Hana Piranha has never been the “keep it cute” type. After making noise with Wingspan in 2023, they come back swinging with “Valentine,” a single that’s as addictive as it is unsettling—and the first proper taste of their forthcoming Heart of Darkness EP (due late 2026). The band’s whole thing…

Banquet Darling is basically what happens when a globe-trotting circus acrobat decides pop music needs more danger, more glitter, and a little “summon-the-dancefloor-demons” energy. Todd Kilby’s Newcastle/Muloobinba project has always thrived on eclectic curveballs (their 2021 debut Dreamlove Obscura built a cult following for a reason), and “Dynamite Daddy” (out…

Vladyslav Ustiuhov’s debut recording of Beethoven’s “Waldstein” (Op. 53), “Appassionata” (Op. 57), and Op. 111 is like a line in the sand. Shaped by Ukrainian and Russian musical roots, then sharpened through intense training at the Boston Conservatory and the Frost School of Music, Ustiuhov plays these sonatas like they’re…

Glasgow’s heavyskint don’t really do “polite.” Since forming in 2024 and locking in their current line-up in early 2025, they’ve been ripping through the city with sold-out shows and sweat-soaked intensity, including turns at iconic rooms like King Tut’s and QMU. Their second single, “When Are You Coming For Me…

Brett Ashby approaches music like an artist expanding his canvas. Known internationally since his 2009 Obama collage caught fire at Art Basel Miami, Ashby has spent years moving between large-scale visual art, billboards in Miami and New York, live performance painting, and film. Now, with “La Luna,” he extends that…

Richard Green, split between Milan and London, builds electronic and experimental tracks with one rule at the centre: melody first, always. “Ending up in the wrong way” (released June 28, 2024) might be a couple of years old now, but it doesn’t feel dusty—more like a time capsule that still…

Simonne Draper has the rare combo of conservatory-trained classical guitar chops and a genuine curiosity for modern texture, so it makes total sense that she’d link up with British downtempo wizard Jon Kennedy for “Finesca II” (released Dec 19, 2025). Draper isn’t new to getting her music out into the…

After the heavy, history-haunted swing of Silent Spike, Ken Woods & The Old Blue Gang show they’ve got another gear, and it’s set to “good-time trouble.” Released January 9, 2026, “Oh Denise!” is the band kicking off the year like they just walked out of a dusty bar somewhere between…

Pantomime Horse makes “Everyone’s a Ghost” hit different from everything they have done so far. It’s their sixth single, and it leans into a darker corner of their 60s/80s DNA, with the sharp pop brains of XTC, the storytelling wink of The Kinks, and that indie shimmer you’d file near…