SKREEN B BLOG

Isabella Han-Bolelli has a timely new track out called 'Purple Temptress', another welcome addition to those Halloween playlists. A teenage Chinese-Italian singer-songwriter from Los Angeles, Isabella uses songwriting as a way of processing life, drawing on a mix of pop, soul, indie and R&B. The track boasts a super-strong lead vocal that provides a spellbinding focal point for this stripped-back number, which has a distinctly bluesy feel. Beneath all that soulful magic, there's clearly a formidably powerful female in control. Sassy and sensual, she exudes an intoxicating confidence – and it's little wonder there's thunder and lightning are rolling around!

I don't think you can go through a Halloween week without a song called 'Ghost' and that's exactly what you get with the new offering from  Jessica Lowndes . Many of you will best know Jessica from her role in the CW tv series 90210 (she plays the character Adrianna Tate-Duncan), but the Canadian actress is also a singer and writer. Unlike a lot of spooky-themed tracks released this month, 'Ghost' is taut electro-pop number, heavy on the beats and dancefloor ready with Jessica providing a chic and sassy vocal. Released by Kiss The Toad, the song is a refreshingly commercial recording with amusing artwork. I'd say it is perfect for those little skeleton folk and devil dancers to jump around to at Halloween parties.

On a more political note,  Tim Godwin and Kira Teagan have collaborated on a new single 'Just Drop It'. The song is an anti-Trump diatribe, surprisingly not originating from the US, but thrown from the Australian outback. The lyrics are sharp and observant, mixing contempt with a real feeling of fear about the US President's actions. Like most of us, this leads to the desire to run away from all the madness.  'Just Drop It' is a rock track with a breathless tempo, and succeeds because there's a sparky vocal and solid tune behind all the messaging. As a debut collaboration, this joining of forces works extremely well and shows a lot of potential for the future. That is, if we're all still around!

Here's a good one to start Halloween week, the track is called 'Monster In My Mirror' and it is by Dead Man Dale - an act from one of my favourite places in the world, Austria. A chorus as hooky as hell - with its rattling bass, fiery guitar and frenetic pace, this is a devilish slice of horror punk that wastes no time getting its claws into you.  The lyrics explore the battle with the monster within and the struggle to keep control of an increasingly unruly alter ego. There's even some suitably evil laughter to set the scene as Dead Man Dale delivers a gloriously ghoulish anthem that's guaranteed to raise a few spirits! Great fun.

Anything about robots usually gets an automatically warm reception from me, so when  Wedding 's latest track 'Robots' arrived, an inclusion was inevitable. The recording itself is a strange one, a spoken word piece with a minimal backing - chimes, warped sounds and occasional percussive intrusions about sums it up. The "I will never be a robot" monologue bounces around like a cut-up abstraction, ending with "I will always be a robot" before that transitions from an ever-so brief dreamlike song of the automaton into something almost folky. Experimental weirdness about robots - what's not to like?

Hooray! Another experimental wonder has arrived - I always enjoy hearing something completely different from the norm. This time it is a track called 'La Maison des fous' from Dynasora , a song with a distinctly French twist on electro and a delicious disregard for conventional musical boundaries. 'La Maison des fous' (which roughly translates as 'The House of The Mad' - as in 'The Madhouse' or more appropriately 'The Asylum') is difficult to pigeonhole, which is half the fun. A spiky accordion, bursts of brass and electronic textures create a surreal, offbeat soundscape, while the vibrantly original vocal seems to follow its own expressive path. Beneath the musical eccentricity lies a darker subject: psychiatric confinement and the distress of being trapped somewhere against your will. The lyrics (sung in French) paint a chilling picture of sterile corridors, shadows and enforced conformity, culminating in the unsettling question of whether swal...

Sometimes, a simple acoustic guitar and a heartfelt vocal can pack a greater emotional punch than all the musical drama in the world. Riley Rowan ’s 'Here’s Hopin' is a case in point, offering an intimate glimpse into love, betrayal and the downright illogical behaviour that keeps us clinging to relationships long after common sense has packed its bags. With its understated Americana feel and a touch of French chanson melancholy, Angie Robba’s expressive vocals paint a painfully familiar picture of infidelity, fading affection and the desperate search for reasons to stay. From icy stares over a harbour-side lunch to the devastating spoken word admission, “Guess that’s on me”, the lyrics balance bitter humour with raw vulnerability. 'Here's Hopin' is a beautifully restrained song with strong melodic hooks, demonstrating how sometimes the hardest person to let go of is the one who keeps letting you down.

Starting with lovely chiming guitars, soft siren ’s 'I’ll Be Fine' is one of those shoegaze tunes that makes you swoon and curl up with its sonic beauty. Layers of textural guitars, ethereal vocals and wistful melodies create a lush sound that doffs its hat lovingly to those 90s dream pop pioneers. Beneath this dreamy exterior, however, lies a bleak portrait of modern existence. The chilling admission “I'm just a number it’s all fleeting” captures the alienation of feeling disconnected from the world, while the desperate plea “I don’t wanna be alone” reveals the vulnerability lurking beneath the surface. Taken from the band's debut album 4AM, this is melancholia with genuine substance, proving that sometimes the prettiest sounds conceal the darkest thoughts. Personally, this is the type of music I live for.

How could I deny a track by William in the Wild when the project is named after a squirrel? Quite frankly, I’m already rather fond of squirrels (one often visits our backgarden) - and fittingly William in the Wild's latest recording 'time lapse' proves to be every bit as charming as its furry inspiration. The sub-three minute track is a cosmic soundscape of field recordings, shimmering synth textures and warm, enveloping pads. Though relatively short, it gently encourages the listener to slow down, switch off and give the nervous system a well-earned breather. In a refreshingly uncluttered moment of tranquillity, nature meets ambient dreamland in a beautifully understated piece of sonic escapism. I certainly enjoyed the break - nuts to stress, I say!

With their new tune 'Angelenophobe', Los Angeles synth duo, More Ephemerol , channel the stark pulse of classic minimal wave, with the early electronic edge of Human League and Fad Gadget (bonus point!) also clearly in the mix. With dual vocals sung in English and Spanish to reflect LA's cultural roots, the track adds driving bass guitar to sweeping analogue synths and shuffling drum machine beats. Incorporating more aggression than their usual approach, the act say this is "A song for the haters. This is a song about how much we love our home city, Los Angeles - it is a defensive anthem, deflecting all the distaste that our city receives, and it does receive a lot!" Personally, I loved the vintage reference points sitting alongside the controlled chaos of experimentation in the arrangement - and for that reason, I feel 'Angelenophobe' is a great track to throw a couple of fingers at any of those critics.

It’s great to have some more music arriving from Japan, and Heaven In Her Arms deliver a formidable hard-rocking onslaught with ‘The Moon That Falls Only Here’. The guitars are ramped up to maximum, unleashing a harsh, heavy and dramatic wall of sound that hits like a force of nature. Yet beneath the crushing distortion lies a more cinematic and reflective side, with moments of fragile beauty providing welcome contrast to the sheer sonic brutality. Exploring grief, lingering memories and the haunting question “Are you still there?”, this nearly six-minute epic demonstrates the Tokyo outfit’s ability to balance raw aggression with emotional depth. The band's fourth album, ‘The End of Purification’, arrives on 13 November, and if this single is anything to go by, it promises to be quite an experience. One of those track which leaves you slightly breathless.

Amakiya ’s latest release 'Archetype' is one of those recordings that really gets under your skin. The production is relatively minimal, yet its carefully chosen elements combine to create a brooding menace that grabs the attention and draws the listener in. There’s a distinctly cinematic quality to the track, hinting at the angst and creeping anticipation of a horror film, while the vocal adds an unnerving intensity.  Austin-based interdisciplinary artist and producer Amakiya blends music, dance and technology, drawing on Afrofuturism and energy work to transform pain into something healing. Dark, intriguing and a touch unsettling, 'Archetype' leaves a lingering impression. The video is quite stylish, too - where the exotic meets street.

Amusement time - with Halloween creeping ever closer, SP’s 'Spirit World' couldn’t have arrived at a better time. It has all the anarchic charm of Beetlejuice set to song, with frantic guitar, a relentless drumbeat and Steve Albertson’s expressive, theatrically tinged vocals making for a gloriously unhinged ride. His promise to “shepherd your soul into the afterlife” sets the tone nicely and almost seems like fun. Steve LaBate’s guitar work keeps things deliciously edgy before the punk frenzy takes a slightly cosmic 1950s detour - allowing a time to drift and consider your fate. With James Holland on bass and Allen Kronenberger on drums, this lot clearly enjoy a little mayhem. The brilliantly bonkers, hand-drawn animated video is the perfect visual companion. Spooky, spiky and fully spirited!

Odd artwork! Slightly disturbing. For me, that's a good start. Just like the artwork, this one probably isn’t for everyone, but SHEEBABA aren’t exactly here to tick boxes. Their latest release ‘option C’ is a grinding, pounding chunk of post-punk noise, with angular, fuzzy guitars, someone seemingly bashing a piano, and a relentless chant that sounds suspiciously like “I’m the hand that clothes the toy”. Confused? Great! It’s abrasive, confrontational and gloriously front-facing, with the Mainz-based synth-punk/art-wave duo exploring the frustrations of being an object of desire that’s never quite enough. Eliott Eccho and Prof.C clearly favour performance art over polite musical niceties, and this feisty sonic offering certainly makes its presence felt. Not so much easy listening as an industrial-strength assault on the senses. I wonder what options A and B might have been? Here there is no other option but to enjoy the brutality.

Music from my own country this time around.  OB/SED ’s debut single 'Obsessed' comes as bass-heavy electro-pop with an almost glitch-influenced production that’s upbeat and dancefloor-friendly, though I’d place it in an awkward outsider’s disco more than a tan-and-trout-pout club setting.  Formed by Burak Can Öğüt and vocalist Öykü Ertek, the duo blend dark pop sensibilities with emotionally charged songwriting. Öykü whispers the verses intimately into the mic before the track moves from the mellow start and gets down to the real business. Lyrically, it explores attraction tipping into obsession - creating a catchy, quirky and enjoyably honest tune.

Class! That about sums up Twin Temple 's new recording 'Nothing Matters'. The song rolls out like a 1960s standard - it is pop, but performed with a dark, haunting majesty. The production is spot-on, expertly leaving the beguiling vocals to take centre-stage, as the sophisticated instrumentation wraps around with restrained drama. The tune is sumptuous, the melody providing Alexandra James all the peaks and passages to bewitch the listener with her heart-breaking vocal delivery. Twin Temple have built a devoted following with their gloriously subversive mix of retro rock ’n’ roll, occult theatrics and darkly playful flair. Fronted by Alexandra and Zachary James, the duo envelop themes of rebellion, empowerment and unapologetic individuality around vintage sounds, delivering a live show as spellbinding as it is mischievous. Quite clearly, they show the Devil always has the best tunes!

Winter may be peeking over the horizon, but Drama Dolls clearly haven’t put away their beachwear just yet. Their latest romp 'Dancing' arrives with a glorious blast of summertime attitude, where surf-rock swagger meets three women determined to kick up the sand, let their hair down and forget their troubles. Think the Ramones with suntans, a gender-swap and cocktail umbrellas.  Formed in Los Angeles by Doc Egg, TKO and Scrambles, Drama Dolls have been making a gloriously chaotic racket from the punkier end of the party since that fateful January get-together. Here they throw punk, new wave and retro pop into the shaker, with a twist of Blondie-style sway and a big, spacious beat that compels your hips to shimmy. As the band explain: “Everything’s a mess and we all need a dance break.” By the time those infectious “ba-da-ba-da-bas” arrive, resistance really does seem rather pointless. Sometimes the simplest solutions are the best ones - and Drama Dolls will always keep you on y...

It has been ages since I last featured a track with throat-singing, so it is a delight to hear Sainkho Namtchylak 's 'My Dear Left - Reimagined'. I’ve always enjoyed listening to music that features unusual sounds and a unique identity, and within seconds this track captured my attention. The Tuvan-born, Vienna-based avant-garde vocalist brings her extraordinary seven-octave range to a track about standing against violence and the understanding that "real strength lies in compassion, not aggression". Re-worked in conjunction with Noam Helfer and Ran Gerson, the duo have built around her voice with deep beats, industrial textures and organic sounds, giving the song a contemporary edge, whilst retaining its mystical roots. Namtchylak’s remarkable journey from the Tuvan/Mongolian border to the international experimental scene makes her a fascinating artist, and this collaboration shows just how powerful the human voice can be.   'My Dear Left - Reimagined' is...

Let's bask in the darkness again! There’s something suitably confessional lurking beneath the surface of ‘Kissing Lions’, the latest offering from Massachusetts darkwave/post-punk outfit Ghost Painted Sky . Swathes of gothic guitar provide the gloom, while Lisa Wood’s despairing vocals hover above an elastic bassline. There's also a great melodic underflow to the recording with long-time collaborator Aurora Grabill contributing violin. The song’s themes of breaking the mundane by chasing fleeting thrills and making bad decisions shroud the atmosphere - although, as the title suggests, those decisions have teeth that sometime bite back. Founded by multi-instrumentalist David Strong in 2014, Ghost Painted Sky became a creative partnership with Wood in 2018, later adding guitarist Michael Boudreau. 'Kissing Lions' is a suitably uncaged taste of the band's forthcoming second album, Failure Blooms. The accompanying video spans the band’s history, weaving vintage 8mm foot...

One of my main bugbears with electronic music is that a lot of acts simply throw a generic vocal sample into the mix in an attempt to make it more interesting - you know the "oh yeah-yeah, dance to the beat" type phrase. Ultimately, the choice of vocal sample is far too uninspired and I would say - lazy! Thankfully, Glitch Garden has not succumbed to this trapping with new release 'Haze', as the electro track includes an introduction to and excerpts from the Gerard Manley Hopkins poem "No worst, There is none" which was written in 1885. Just having that extra attention to detail sitting amongst the melodic flow of synths and gentle beats makes this recording stronger than your average electronic piece. As Glitch Garden states this is "Danish electro made with love". 'Haze' is taken from Glitch Garden's debut album, 'Garden Leave'. Go dig out a copy! Garden Leave by Glitch Garden

'Play Date' immediately put a grin on my face. Hendricks the Hatmaker and Fire Cult , two bands working together, deliver a sparky, energetic slice of pop-punk that feels driven by the sheer joy of making music with friends. The vocal interplay is great fun, with the different voices bouncing off each other before those shouty “Play! Date!” chants kick in and give the track an irresistibly youthful energy. I particularly liked the contrast between the mundane working day in the lyrics - early starts, traffic jams, grey office walls and corporate boredom - and the escape that music provides. It’s a feeling many of us will recognise (I do!): getting through the day while your mind is already elsewhere.  Amusing, spirited and wonderfully playful, this left me wanting to act like the bands - turn off the laptop and forget the work. However, that would mean this review wouldn't have been written! 'Play Date' is available on the Silly Songs Vol.1 (Split EP) - there's...

I am always delighted to feature some music from Japan, usually it can be a little bonkers, but this time with 'mermaid' by  Atria. the recording is delicate and refined. Taken from the forthcoming album "-Sea Surface-", the track is a part of a conceptual tale, with Atria. explaining "it's a positive song about a mermaid who, even when her loved one goes far away, uses her singing voice to forge her own path. Furthermore, the mermaid's singing voice guides the characters who appear in various songs throughout the album. As a result, she appears in the lyrics of other songs as well, serving as the protagonist of a single overarching story across the entire album". 'mermaid' is built around an ever-changing flow of keyboard and piano motifs, backed with strings and soft layers of floaty vocals - the piece really encapsulates the feel of a watery environment. It is a lovely, relaxing piece with both ambient and neo-classical elements.

Formed by members of Be'lakor and Rainshadow to explore darker, heavier territory, Dusk Cult have already carved out a rather gloomy little corner for themselves. Their third album, Folklore Discipline, follows Embrace The Lunar Age and Night Sky Revelations, but this time the gaze shifts from the night sky towards darker historical myths and the cult’s own philosophy.  Their instrumental track 'Noctis' is another timely track for Halloween. Consisting of spooky piano and haunting synths, it works well as either a short intro or a reprise. The band term it "a palate cleanser for a larger project" - which conjures up images of a sonic sorbet before something meatier comes along. The track is well arranged and serves up a reminder of that classic goth sense of drama I always enjoy. Caelum by Dusk Cult

I am not that keen on the artwork for 'un hombre bueno es difícil de encontrar', but I will gloss over that as this latest Chicago Boys track really caught me off-guard. Unlike previous submissions to me, this recording goes way beyond the usual three minute mark - coming in at over seven minutes. Also, the song is rather melancholy and reflective and having translated the few words (sung in Spanish), the theme is really dark, for example: "I saw you, and I dragged you along, and I shot you" alongside "I saw you in my dreams, and a plant came into my room and devoured me". The overall sound is a sort of desert blues rock, but the twist comes at the end with a surprising fairground organ outro. A really intriguing track - quite unexpected and that's a good thing to hear. un hombre bueno es difícil de encontrar by Chicago Boys

Oh, this is a neat segue from the last review, going from a song about blurry vision to Zoomatic 's new release 'Vision'. Coincidentally, the tracks almost follow the same path, with Zoomatic showing more focus by keeping the recording to last under two minutes. 'Vision' is a simple, gentle instrumental which sounds like an electronic device undertaking some sort of abstract calculation, busy one minute, pausing to cross-check the next. It would be great in one of those old 1960s sci-films where the last human is floating through the cosmos.   

Belgian duo MONOLYTH turn 'Blurry Vision' into something that feels less like a conventional song and more like the soundtrack to an ominous procession. Its rhythm clatters along like bones rattling down a railway, while biblical choral melancholy hangs over the track like a requiem with occasional sonic booms. There’s a distinctly cinematic quality here, unsurprising given the duo’s filmmaking background, and although the trip-hop and alternative-rock influences are lurking in the shadows, this feels almost entirely instrumental in spirit. It’s dark, brooding and beautifully unsettling - with terrific artwork to match.

It is Halloween month and there's no better way to start the month than with 'Golden Lore', the new release from New York's JOHN X BELMONTE . Sparse electronics sit at the graveside of some wonderfully gloomy vocals, the single is a perfect gothic recording, spooky and atmospheric. Don't fear, this is not one of those style over substance tracks; the song maybe be subdued, but there's a decent tune.  The music video should also delight the darkwave fans out there. Release the bats!

'Valeu' by  Macnolia is an intriguing instrumental track, there are fairly subtle elements of Krautrock, but that's all scrambled within an almost spooky framework. The recording is not exactly horror film soundtrack, but more like a seance of synths - all quite downbeat and mysterious. The gliding experimental feel looms in the background but the main synth line and percussive footsteps really work to retain your attention. I just really like this for being something a little different. There's not a lot of information with this submission, but it apparently originates from Spain. 

Swedish punk pioneers Vacum emerged in 1979 from the northern industrial city of Sundsvall. Racking up over 150 gigs and three albums before splitting in 1985, their sound evolved from wiry punk into experimental new wave and postpunk electronics. Reformed in 2018, they now return with their first entirely new material since 1985, with fifth album Dum Dum Tiden due in October 2026. 'Minnet av dig' arrives as an introduction to that album and there’s something distinctly claustrophobic about it. The song is an intense, sometimes wayward five-minute-plus journey through sorrow and longing. The slow, desolate verses give way to heavy choruses, while the imagery of wind, sea, mountains and autumn darkness creates an increasingly enclosed atmosphere. Marina Ammouri’s Ukrainian recitation and powerful backing vocals add another layer of drama to the mix. The repeated chorus refrain of "Minnet av dig" (the memory of you) feels almost obsessive, circling those beautiful memo...

Eventually Flowers are Tom (Tender Glue) and Janise (Lavender Bones), a duo who like to weave natural frequencies and botanical symbolism into their recordings. Their latest release 'Chasing Time' was originally written ten years ago and it has taken quite a while for the song to find its definitive identity. The band say "The song was inspired by the feeling that time is fleeting, and that we should make the most of the time we have. That idea feels even more meaningful now, having watched this song change and grow over an entire decade". In some ways, the irony is that a song about living in the moment has taken so long to come to fruition, but the good news is that it was well worth the wait. 'Chasing Time' is a jangly beauty of an indie track with lovely vocals and bright guitars - the growth may have been slow, but it has blossomed into something delightful.

Here's a lights off, shades on, sort of moment - there’s something wonderfully shadowy about Fernando’s Eyes ’ rumbling 'Room On Fire', a moody piece of post-punk with gothic undertones that keeps things understated and uncompromisingly minimal. The programmed drums work neatly against live toms, giving the track a satisfyingly physical pulse, while the sparse lyrics leave little room for ambiguity - this is a song about leaving and not looking back.  Best known as the vocalist and co-founder of Stockholm’s Principe Valiente, Fernando Honorato handles production himself, with Hans Olsson co-producing and mixing. And then there’s Lina Langendorf’s sax, cutting through the gloom like a shimmering blade of light. No lengthy fade, no fuss, just forward motion - much like Honorato as he strides along a new creative path. Cool video, too!

Every so often there can be some light-hearted fun within the gothic genre (anyone remember 'Watch That Grandad Go' by bauhaus?) and that's the case here. Nashville-based alternative rock duo Sleep Nation , founded by vocalist, guitarist and multi-instrumentalist Bran Merritt, have been evolving their high-energy blend of rock guitars and modern production for well over a decade now. Their latest release is a fresh take on Hall & Oates classic 'Maneater' - cloaking the vocals with gloomy synths and melancholy strings. The result is an unexpected treat, a stripped down to the bones re-invention with a dark sense of humour, especially good when experienced with the amusing vintage horror-styled music video.

Charm School are releasing a flurry of great tracks and hot on the heels of a couple of stand-out mixes of 'Simulacra', comes an absolute electronic thumper called 'Desolation'. Appearing as part of the same EP, the track was recorded as a one-off in collaboration with EBM super-producer Matia Simovich (of InHalt fame). For lovers of darkwave and old school electro, the song strikes home from the very start - the opening line "I know just what you want" could not be more correct. This is exactly what we want, just like that classic Depeche Mode knack of engineering bright pop hooks within a tormented context - 'Desolation' is a fantastic tune. Desolation by Charm School

Now this is a fun track, possibly my first from Chile?  Zumba La Calavera have just released 'Canis Mortem' which they say is a "protest song" about "about white-collar thieves". However, the track isn't your usual sort of protest song, they usually come all angsty and shouty - or folky and preachy - Zumba La Calavera offer up their protest in the form of a jolly pop song. Distorted guitars, electronics and amusing lyrics, translated roughly as: "he steals the salt shaker, and the sachets too, the sachets" seemingly about the phenomenon of dine and dash. 'Canis Mortem' is a highly enjoyable slice of dark humour with a message and a good tune.

The amusing artwork gives a visual indication that there's fun to be had here. Open the lid on the music and the signs are correct -  there’s a gloriously wonky charm to Oski XD Doski ’s 'we only do harm'.  Upbeat yet edgy, where indie geek rock collides with post-punk, and a dash of anything else they can find, it’s a suitably eccentric showcase for the quartet. Originally formed by four high-school friends in the ’90s, they have now been reunited across different states via modern technology. Oski, X, Danny and Doski (hence the band name) bring guitars, bass, synths and vocals together in a wonderfully genre-mashing concoction that refuses to sit still. The title track of their new six-song EP, it’s proof that distance clearly hasn’t dulled their creative chemistry - and they still have the natural biology to perform. Wonky but class! We Only Do Harm by Oski XD Doski

Second tip from the Cherub Dream Records double-header is Blous3 with 'fernet's cigarette'. Blous3 have been making their noisy mark on California’s DIY scene since 2021, blending punk energy with abrasive textures, wonky rhythms and gloriously unpredictable songwriting. Their latest album, The Turn, The Pledge, pushes that restless sound further, with a near-conceptual collection of songs inspired in part by cinema. Vocalist and bass-player, Riley Waite says “Some of these songs are about wishing I spoke my full mind instead of lightly self-censoring and reserving my full, authentic thoughts”. 'fernet's cigarette' is the closing track on the album and is another masterstroke of putting so much sonic vibrancy and abrasion into a song with a length of exactly 3 minutes. Another winner from Blous3 and another point for Cherub Dream Records. the pledge, the turn by BLOUS3

Here's the first of a double heads-up from the excellent, Cherub Dream Records . San Francisco’s Hana Freed, aka Tricky FM , creates an intriguing amalgam of sound on her latest release, 'Apartment', where glossy electronica gets a decidedly raw edge. Soft vocals and warmer tones are surrounded by a wonderfully abstract fringe of noise and dis-harmony, giving the track an unsettled quality beneath its sheen.  The lyrics are a hazy cocktail of attraction, memory and desire: wet hair, dry lips, smoke in the hair, perfume and the repeated realisation that, yes, “no wonder your boyfriend was jealous”. It’s intimate without becoming overly precious, and intriguingly abstract in its construction - providing a hint rather than an explanation.  Freed self-produces everything, and her background playing clubs, venues and punk bars across the Bay Area seems to have left its mark: this may be electronica, but there’s plenty of grit lurking under the glitter. 'Apartment' opens ...

First thing to mention, the cover photo is gorgeous - all that lovely blood red tint. But hold up, there might be a reason...  BRENNA ’s ‘Way It Goes’ arrives with all the subtlety of a brick through the french-windows, combining angry, shouty vocals with detuned, hard-hitting guitars and electronic textures. The track shifts gears impressively, moving from intimate singing and rhythmic rap into full-blown screaming, while a brief quieter passage provides just enough breathing space before the final ear-shattering screamo climax. Lyrically, it’s an unapologetic account of emotional burnout and cutting ties, with the wonderfully put “I don’t get violent, I get radio silent” summing up the cold-turkey approach to toxic relationships rather nicely. There’s a satisfying sense of controlled chaos here, as BRENNA bridges nu-metal crunch with alt-pop intimacy, creating something that can whisper in your ear one minute and roar directly into your face the next. Slightly scary - but allurin...

Montreal's  Chicago Boys  (brush that over!) return to unleash another classic understatement with their latest recording '(No) Hooks' - which they say is "an ode to the scene". Once again it is a no-nonsense production, just a basic drum computer rhythm, some synth augmentation and a passive/aggressive sort of sweary vocal. Somehow that all combines into making something rather fun to listen to - a case of minimal music making maximum impact. Play it once and it will stick. (No) Hooks by Chicago Boys

Dallas-based trio,  The Capsules ' new release 'Full Moon Factory' comes with a rather entertaining animated music video, which was apparently all hand-drawn by Miranda Parkin. The visuals are engaging in their own right, but they really work to enhance the music, which in turn makes the animation more striking.   The song itself is a lovely indie rock recording with the vocals of Julie Shields adding the layer of beauty to the muscular guitars and drums. The concept behind the piece explores electricity as something rather more human, that mysterious current that can pass between people as night closes in. There's a hint of Cranes in the sound that The Capsules create, but 'Full Moon Factory' has a fully polished and contemporary feel.  Arriving neatly alongside the full harvest moon on 25th September, the track is available on a limited-edition etched 12” via Graveface Records. Swanky!

I have to admit that AquariO tests my "always judge a record by its cover" theory by throwing a spanner in the works. The cover artwork and track title seems to indicate that this electro tune would involve a lot of shouting and harsh beats. However, quite to the contrary, 'Get Some FCKN Therapy' is quite a soft and delicate affair - one might say that it is even rather sentimental and sad. Not what I was expecting at all - and really rather touching.   AquariO, formerly COATS, creates futuristic electronic music blending electronica, alternative dance and Future Garage with atmospheric vocals, fractured beats and an otherworldly edge. 'Get Some FCKN Therapy' offers an intriguing insight and should be judged sorely on the music.

Modern times call for modern songs and Miss Bootleg ’s 'Ellipsis (Lose Your Words)' is a sweet and mild slice of indie electropop, tackling the surprisingly profound grief of losing an online friend. The lyrics cleverly capture the peculiarities of digital mourning, from discovering the news via a Facebook post and frantically saving “every gif and joke”, to the rather lovely image of “three dots upon my heart” representing everything left unsaid. The softly phrased vocals suit the subject beautifully, while the simple, smooth production gradually gathers momentum towards a more robust ending. It’s an understated but thoughtful reflection on how social media can fuel nostalgia, preserve friendships - and make their loss feel remarkably real.

NESS NÖST ’s ‘caffeinenicotinenosleepdopamine’ is one of those tracks that seems to operate somewhere between a trance-like mantra and a particularly strange night out. The repeated title phrase becomes hypnotic, while the production veers from experimental electronics into surprisingly commercial trip-hop territory. At times, there’s an odd but rather appealing collision here between the cool, early-doors synth-pop of The Human League and the sophisticated electronic melancholy of Everything But The Girl. Nöst’s grittier, more experimental direction suits the late-night subject matter perfectly, and I particularly enjoyed the way the track eventually drifts into a pleasingly abstract ending.  Her forthcoming EP CONTROL YOURSELF explores body, sexuality and power through fragmented, dream-like late-night reflections. 'caffeinenicotinenosleepdopamine' works because it has all the colour of experimentation, but with the sharp focus of pop sensibilities.

Some spirited noise comes your way from Finland's  Giglinger with their latest release, 'M.I.A (Edit)'. The submission came through without much information, but the recording is a feisty onslaught of guitars, percussion and post-punk style vocals - just the sort of thing you would expect to hear booming out of some sweaty underground den of arty deviants. As such, it is just my type of thing! Based in Helsinki, Giglinger have been tearing up the rulebook since the ’90s, blending new wave, punk and alternative rock with a nod to folk like Killing Joke and the Dead Kennedys. Their debut album Kasåkern landed in March 2026, and they’re now delivering fresh material on the 13th of every month. M.I.A (Edit) by giglinger

I don't often feature a lot of Americana on this blog, so it is good to mention 'Of The Essence' by the excellently named,  Virtual Nobodies . The coastal desert-rock outfit, led by Jeremiah Gray and Xavier Valdez, blend cinematic Americana with a gritty Mojave-road sensibility. That really comes through with 'Of The Essence', the recording is a real slow-burner which meanders and builds within a sort of relaxed intensity (if that makes sense?). The accompanying video is also a great representation of the song - perfectly suiting the human tale set in a dusty outback.   The bands' debut album arrives in October 2026, produced by Niko Bolas (Neil Young/Prince) and featuring an impressive supporting cast including Perla Batalla (Leonard Cohen), Waddy Wachtel (Stevie Nicks) and Jesse Siebenberg (Sturgill Simpson). Virtual Nobodies also recently supported the once-floppy-haired favourites A Flock of Seagulls during their Southern California tour. Having already pick...

I love a bit of breakbeat, there's just something instantly appealing about the snappy percussive style. Interestingly, the breakbeat in  The Peter Debik Movie Orchestra 's new tune 'Last Alibi' finds itself combined with orchestral stabs and a much darker production than you would usually encounter - and if that wasn't enough; it is all topped off with a full-blown vocal. Sounding very much like the theme from some high-intensity Hollywood blockbuster, the song twists and surges with a dynamic energy. The cinematic feel and melding of elements can be explained by Debik's history and his attitude to music creation. Rejecting conventional musical education for its narrow thinking, he has forged his own free-spirited path, using synaesthesia and instinct rather than musical rules to shape his songs, instrumentals and film/TV cues. If you've never heard anything by The Peter Debik Movie Orchestra, then 'Last Alibi' is a terrific curtain-raiser.

Strange cover artwork for this one, but it fits the release; the track is called 'cute on the internet' by  xo_chips_xo . There's not a lot of information supplied about the act, but they appear to be from Petaluma, California and they say it is all about "being cute online, but on you own terms". The song itself is a really fun, up-tempo synthpop track - a sort of grinding electro work-out with saucy vocals. Apart from the high-energy, no-fuss approach, I liked the inclusion of old school internet dial-up sounds and the rather abrupt 'Goodbye!' ending, which was a bit like the line dropping out unexpectedly. For me, 'cute on the internet' is simply a vibrant pop tune with a touch of attitude and a nifty groove. cute on the internet by xo_chips_xo