Peter Ehrling’s fifth album under the Stockholm project treats contrast as structure. Dancefloor light, industrial cold, and the names other people try to pin on you.
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Peter Ehrling’s fifth album under the Stockholm project treats contrast as structure. Dancefloor light, industrial cold, and the names other people try to pin on you.
On the Austin artist’s second album of 2026, carnival brass, industrial panic, and a stolen presidential warning become a private museum of unfinished hauntings.
Francy Planet’s new single Brain Freeze, out today, turns a Circle K headache in Orangeville into loud, melodic alt-rock about every age arriving at once.
Six chapters, a mountain lake, and a High Priestess who never speaks. The Brescia composer treats landscape as plot and silence as instrumentation.
Written before the lockdown rooms, recorded inside them, then left to sit while life got loud again, the Sydney songwriter’s debut EP finally gathers five tracks that treat love as something you develop slowly, frame by frame.
M & J’s She’s COSMIC light takes a New Year’s Day photograph from Bondi and turns it into two and a half minutes of clean, forward dance-pop.
The London songwriter’s second single from In No Time starts like a shrug and ends like a bruise. What stays is not the confession. It is the temperature of the room after someone has spoken without care.
After a decade of dream-received piano, the Danish-born composer lets voice and guitar carry nine songs through water, dark space, and a quiet return.
After two decades of meditation recordings from New York, the Inner Splendor founder treats mantra as a clock of attention, moving from private invocation to communal kirtan and back into stillness.
On Trickster, MonDeGos build a debut from heavy guitars, piano, and recycled masks. The record is restless, sometimes crowded, and more interesting when it stops explaining itself.
