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.
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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.
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.
From a home studio on a California Delta island, the songwriter turns a private thank you into short, luminous synth-pop.
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 theatre artist and producer who moved through New York and Milan before settling the project in London under his own Citizen Records. The early club years …
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.
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.
