California's Soft Science releases fifth album 'Sand', their most immersive record to date

September 4, 2026

Northern California quintet Soft Science returns with 'Sand', their fifth album, released via Shelflife Records in North America and Spinout Nuggets in the UK.. Building on the band’s signature mix of dream pop, post-punk, shoegaze, and darkwave, this record is both intimate and expansive - rooted in melody, atmosphere, and emotional depth.

Across these 10 songs, the band pairs shimmering textures with renewed urgency, delivering a dynamic and immersive record that is unmistakably Soft Science. 'Sand' explores the fragile, cyclical nature of love, tracing how relationships can shift beneath our feet while still offering moments of clarity, devotion, hope, and renewal.

The singles 'Spinning', 'Understand' and 'Fade' pair propulsive energy with ethereal vocals and luminous guitars, finding beauty in moments that inevitably slip away. ‘Spinning’ captures the frustration of being caught in a loop of recurring conversations and patterns. ‘Understand’ delivers a buoyant, Lush-infused burst of hope rooted in the healing passage of time. ‘Fade’ shifts into a more intimate yet expansive space, pairing a classic four-on-the-floor pulse with dreamy vocals and reflective lyrics about memory, change, and connection. Together, they showcase the creative blend of layered harmonies, cascading guitars, electronic textures, and hook-filled melodies that define the sound of 'Sand'.

Lyrically, throughout 'Sand' runs a strong sense of being stuck in cycles: spinning, circling, repeating old patterns, trying to be heard, trying to understand what went wrong. But it’s not all bleak. The album strikes chords of tenderness and resilience, as evidenced by phrases like “there is hope for us,” “we find a way,” “let in the light” and “steady as we sway” - lyrics that create a push-pull dynamic between weariness and a stubborn belief that connection and perseverance can still produce a better tomorrow.

Soft Science features Katie Haley (lead vocals, percussion), brothers Matt Levine (lead guitar) and Ross Levine (guitar, backing vocals), partners Tony Cale (drums) and Becky Cale (bass, backing vocals), along with frequent collaborator Hans Munz (electronics). Built around ethereal vocals, twin 12-string guitars, bass, drums and synthesizers, the band creates lush, transportive songs that balance melody, harmony, and rhythm. Praised by critics, Soft Science pairs gauzy textures with restless momentum, blending dream pop, shoegaze, and indie rock into a sound that is hypnotic, melodic, and emotionally direct.

Soft Science's latest album 'Lines' (2023) was preceded by 'Maps' (2018), 'Detour' (2013), and 'Highs and Lows' (2011), along with a split 7”with The Luxembourg Signal (2015) and The House of Love cover ‘I Don’t Know Why I Love You’ and a rendition of Northern Picture Library's ‘Paris’ (2018).

Critically acclaimed, Soft Science has done live sessions at KEXP, WFMU and Part-Time Punks, and performed at New York Popfest, Paris Popfest, The Big Takeover’s 35th Anniversary show, Schellraiser Festival, Tremolo Fest, Dreamgaze PDX, and other festivals across the USA. Soft Science was also highlighted on Sound Opinions’ “Shoegaze Genre Dissection” as one of the hosts’ recent genre favorites (August 21, 2026, Show 1082).

With 'Sand', Soft Science pushes further into the noisier edges of dream pop while preserving the hooks, texture and emotive resonance at the center of their work. Examining how love, memory and identity are shaped by change, they ask what it means to stay connected in an uncertain world. 'Sand' stands as the band's most focused, poignant collection to date. As Dagger Zine wrote, “Pop hooks bump up against heaving waves of sonic swirl and it all shimmers and shines in all the right places,” a fitting description of a group that continues to expand its sound without losing its melodic core.

'Sand' is out September 4 on CD and vinyl, with digital availability through major streaming and download platforms, including Spotify, Apple Music and Bandcamp

ALBUM CREDITS
Lyrics written by Katie Haley & Ross Levine
All songs written by Katie Haley, Ross Levine, Matt Levine, Becky Cale & Tony Cale
except 'Thread', 'Without' and 'Sway' are written by
Katie Haley, Ross Levine, Matt Levine, Becky Cale, Tony Cale & Hanz Munz
Katie Haley - vocals, percussion
Ross Levine - backing vocals, synths, additional guitars
Matt Levine - guitar
Becky Cale - bass guitar, backing vocals
Tony Cale - drums
Hans Munz - additional electronics
Recorded at Shattered Records and The Pool House
Engineered by Jack O'Donnell
Additional Engineering by Ross Levine
Mixed by Kev Bolus at OneEleven
Mastered by Antony Ryan at RedRedPaw
Produced by Soft Science
Artwork by John Conley
c @ p Shelflife Records / Spinout Nuggets 2026
Vinyl UPC code 759159696649 / CD UPC code 759159696656
Publicity by Shauna McLarnon for Shameless Promotion PR

Keep up with Soft Science
Website | Bandcamp | Facebook | Instagram | Twitter | Soundcloud | YouTube | Spotify | Apple Music | Press contact

Keep up with Shameless Promotion PR
Website | Facebook | Twitter | Instagram | BlueSky | Threads | Soundcloud | LinkedIn | Ema il

Liverpool stalwarts The Room explore the dark side of Modern Life on new ‘Doom Pop!’ album

September 3, 2026

Liverpool post-punk pioneers The Room present their third album 'Doom Pop!', released via 9x9 Records, as well as the video for the album focus track ‘The Room’. Inspired by the strange days in we are living through, ‘Doom Pop!’ explores the rise of authoritarianism, disinformation, war and paranoia. But it equally draws inspiration from science fiction, horror, and cinematic liminal spaces.

Recorded and mixed at Ark Studios in Liverpool, this album was co-produced by Dave Jackson and Steve Powell (Michael Head & the Red Elastic Band, Autour De Lucie, Echo & The Bunnymen).

"We aimed at shorter, sharper, more pop-oriented songs than on our previous album 'The Telling', which was a continuous story told in eleven songs without repetition or distinct choruses. The ‘pop’ element mainly harks back to the roots of our music, updating our original spiky, post-punk independent sound with Ethan Kyme’s keyboard stylings. Lyrically, it is a response to the current climate of emerging fascism and paranoia that increasingly colonizes all media," says Dave Jackson.

"While the songs ‘Drones’, ‘Drill, Baby, Drill’, ‘Continent of Lies’ and ‘Doom Patrol’concern the paranoia and destruction emanating from worldwide warmongers and oligarchs, other songs are influenced by a love of science fiction, horror and liminal spaces. ‘The Room’ is about the film 'Stalker' and a man who guides ‘tourists’ through a Zone corrupted by alien technology. ‘Temptation Harbour’ references three films by the late director Bela Tarr.

Earlier, the band shared the lead track 'Drill, Baby, Drill!' and 'Things Have Learnt to Walk that Ought to Crawl', an adrenaline-fueled blast of melodic post-punk driven by jangling guitars, relentless momentum, and distinctive drumming. In re-envisioning their 1982 cult classic, The Room revisits their roots, exploring themes that remain topical today, proving the enduring power of this music,

'Doom Pop!' is The Room's third album with 9x9 Records, preceded by 'Restless Fate' (2023) and 'The Telling'(2024). This a collection of eleven hook-driven post-punk songs confronts the anxieties of modern life, balancing political urgency with imagination and nostalgia.

"'Things Have Learnt to Walk that Ought to Crawl' is a the only older song re-envisioned for this album, and one of only three 1980s songs by The Room to survive in our live set. We decided to re-record and release it as it fits neatly into our new repertoire with its exhilarating jangly forward thrust, and also highlights Clive Thomas’ unique drumming," says Dave Jackson.

‘No One Comes Here From The Town’ is a response to Shirley Jackson’s 'The Haunting Of Hill House', and ‘Trespassing’ attempts to sum up Dave Jackson’s unproduced science fiction screenplay 'Trespassing' in a 3-minute pop song, tangentially influenced by Dave Bowie’s ‘Drive In Saturday’.

In a lighter, nostalgic vein, ‘Magic Games’ tells the story of a child in his grandmother’s parlour in the early 1960s, while ‘Stories’ is about an inspirational oral storyteller who once said, “Stories told thrice become our possessions”.

Favourites of John Peel, The Room was formed by singer Dave Jackson and bassist Becky Stringer in 1979, during the golden years of northern English post-punk. Reforming in 2022 after disbanding in 1985, they are now joined by guitarist Darren Brown, keyboardist Ethan Kyme, and original drummer Clive Thomas. They have since performed at Shiiine On festival and Preston Pop Fest, and have toured or played with The Red Guitars, Blue Orchids, Trupa Trupa, and Estonia with Shelton San.

The Room recorded four John Peel sessions, appeared on The Whistle Test and worked with Television's Tom Verlaine and John Porter (Roxy Music, TheSmiths, Billy Bragg) on their 'In Evil Hour' LP (1984), aside from releasing three other albums ('Bitter Reaction' in 1980, 'Indoor Fireworks' in 1982 and 'Clear!' in 1983. Recordings from Janice Long's BBC Radio One programme and Saturday Live were used for the 1985 release 'Jackpot Jack' EP.

The Room toured the UK and the USA, and performed with The Fall, The Birthday Party, Bauhaus, Southern Death Cult, Violent Femmes, Tom Verlaine, John Foxx and The Red Guitars. Following the band's split, Becky and Dave went on to form Benny Profane, Dust and Dead Cowboys. Dave has also recorded under his own name and as The Room in the Wood (with Paul Cavanagh).

As of September 4th, the 'Doom Pop!' album is out on CD and limited edition mixed eco-vinyl with both physical formats available in North America via Darla Records. It is also available digitally, including on Spotify, Apple Music and Bandcamp.

CREDITS
Lyrics by Dave Jackson
Music written by The Room
Dave Jackson – vocals
Becky Stringer – bass
Darren Brown – guitar
Ethan Kyme – keyboards (and Theremin on Track 1)
Clive Thomas – drums on all songs (except 8 & 10) and backing vocals on Track 3
Tom McCabe – drums on Tracks 8 & 10
Helena Jacks – backing vocals on Track 7
Recorded & Mixed by Steve Powell at Ark Recording Studios, Liverpool
Produced by Dave Jackson and Steve Powell

Mastered by Pete Maher

Pennsylvania's Robin Ross & Carmine Gontz run deep with haunting new single 'Blood Lines'

September 3, 2026

Some family ties run deeper than blood—and some songs make those connections impossible to ignore. Pennsylvania’s Robin Ross and vocalist Carmine Gontz tap into that haunting, timeless space on 'Blood Lines', a sweeping rock anthem where melodic guitars, rich harmonies, and an emotionally charged performance explore the bonds, memories, and legacies that bind generations together.

Written and performed by Robin Ross with Jack's Maze, 'Blood Lines' is powered by Bill Snyder on guitar, Scott Cowan on melodic guitar, Frank Cinquegrana on drums and Joe Torres on bass.

Released via Pennsylvania indie imprint RPM Entertainment, this single was recorded at Baa Baa Leaf Music Studio in Milford, Pennsylvania, where Ross produced and mixed it, working alongside famed master engineer Jonathan Duckett (Phillip Glass, Kenny G, David Sanborn).

Carmine Gontz is a rock artist known for his cinematic blend of gothic atmosphere, classic hard rock, and theatrical energy. The recipient of the Central Pennsylvania Music Award (CPMA) for Best Youth Artist, Carmine debuted with 'Planet 25', produced by Dan Malsch (Ghost, Motionless in White, Bowling for Soup). His new single 'Lost In Space' was produced by Matt Starr (Ace Frehely, Mr. Big) and features bass legend Rudy Sarzo (Quiet Riot, Ozzy Osbourne, Whitesnake) and drummer Mike Dupke (W.A.S.P., Dee Snider, Johh Mellencamp). Establishing himself as a rising voice in modern hard rock, Carmine is currently working on his debut album.

"Bloodlines survive through the years like sand in an hourglass. A new baby is born and a grandparent moves up in the sky. Everyday life moves on and the bloodline continues," says Robin Ross. "Life takes and gives the love of our heart as time passes. One day leads into the next and bloodlines find the root of humanity. Love life but do what one must do to survive throughout the bloodlines of generations."

Emerging from the New Jersey and New York music scenes in 1988, Robin Ross has grown into a central figure in the creative pulse of Milford, PA. A multi-faceted musician, songwriter, and producer for over thirty years, he has released numerous albums while designing and developing several recording spaces, including Triple R Studios and Sound Complex near NYC. He has since grown his current hub, Baa Baa Leaf Music into a creative sanctuary and production house.

In the early ’90s, Ross co-founded Laughing Jack (later renamed Jack’s Maze), praised for a progressive rock style echoing the grandeur of Pink Floyd and Led Zeppelin. After years of an energy engineer career, 2021 marked a return to form, building Baa Baa Leaf Music from the ground up and reuniting with bandmates Frank Cinquegrana, Scott Cowan, and Joe Torres to record new material for the new album, titled 'Once in a Blue Moon', anticipated in autumn.

Just recently, Robin Ross & The Melodynes released the single "All I Want (Is A Lover)", a sun-drenched flower power pop tune, which was featured in the star-studded Apple TV+ and Peacock original series "Margo’s Got Money Troubles", starring Elle Fanning, Michelle Pfeiffer, Nick Offerman and Nicole Kidma. The soundtrack includes artists such as Dire Straits, Billy Idol, Madonna, Shania Twain and Reba McEntire.

Earlier this year, they also released their second album 'Mind Space', showcasing their own blend of indie and classic rock sounds, involving Wharton Tiers, JoEllen Gaetani, Katlyn Albrecht, Emery Rhodes, Tony Anniello, Joe Torres, TW Howell and Nancy Isola. In 2025, Ross' other project Robin Ross & The TW Howlers also released their 'Back To The Forest' EP.

As of August 11, 'Blood Lines' is available on digital platforms, including Apple Music, Spotify, Amazon and Ban dcamp.

New Jersey's QUIZ SHOW present 'XONO' on Love, Letdown & Loud Guitars -- New EP for the boys of From Shudder To Think, out Sept. 28

September 1, 2026

New Jersey-based indie rock trio Quiz Show presents their new single 'XONO', which explores the painful gap between idealized romantic aspirations and the harsh truth that a promising bond is ultimately doomed to fail. This is the first taste of their forthcoming 3-song 'XONO' EP, released via New Jersey's Magic Door Record Label.

An original tune on the high hopes of friendship and love, and the difficulties that lie therein, the 'XONO' EP was produced, recorded, mixed and mastered by award-winning producer Ray Ketchem (Guided By Voices, Luna, Elk City, Gramercy Arms, The Dambuilders) at Magic Door Recording Studio in Montclair, NJ.

'XONO' starts with a surprise encounter and overture, the chorus moving through the process of acknowledgement and let-down. The bridge resolves that this relationship is not going to work before the song concludes with a final “I’m not it” to drive home the point. The story arc progresses from noisy start and rising progression via the chorus, allowing the author’s thoughts to break through, ending with a high-energy music and vocal piece and a resonant final lingering echo.

"I really love 'XONO' for being a tight, quick, and complex song. There is some great simplicity and pleasant dissonance in the music. That it tells a story about difficult relationships is something I am proud to have found a way to spell out," says Chris Matthews.

"As for the 'XONO' EP, it captures the life of Quiz Show over the last year. For me, singing is coming more naturally these days. I still can’t believe this whole thing is happening!"

Quiz Show is made up of Chris Matthews, a founding member of of legendary DC hardcore band Shudder To Think, and bassist Jesse Krakow, together with drummer Joe Billy III, who replaced the original drummer Kevin March (Guided By Voices, The Dambuilders, Shudder To Think).

You could say Quiz Show is a continuation of unfinished business. After a quarter-century break, Chris Matthews picked-up his guitar and again began to write songs, triggered by a chance meeting with his former Shudder To Think bandmate Kevin March. Now both living in Montclair, Kevin and Chris ended up forming Quiz Show with Frank Gibbons on bass.

Quiz Show makes music that is still squarely within the punk and alternative rock spectrum with elements of Hüsker Dü, Pixies, Ramones, Joy Division, Fugazi, Sonic Youth, and Girls Against Boys. Blending the musicality of alternative pop with the energy and noise of punk rock, vocal hooks overlay heavy drums and bass and layered guitars, creating a rich field of sounds.

'XONO' follows Quiz Show's 'Flotsam' EP, released in 2024 and engineered by Ketchem and Brian Robbins (Blondie, Bring Me The Horizon, Papa Roach), which explores the shattered, lost stories of people’s lives, and their 2023 eponymous debut album, an electrifying collection full of protest, friendship and frustration, both released to wide acclaim.

As of September 1, 'XONO' is available everywhere digitally, including Apple Music, Spotify and Bandcamp. The full 'XONO' EP will be released on September 28. Quiz Show will be performing on October 2 at Crossroads in Garwood, NJ, along with The Van Pelt.

EP CREDITS
Chris Matthews - guitars and vocals
Jesse Krakow - bass, organ, and backing vocals
Joe Billy III - drums, backing vocals, acoustic guitar
Produced by Ray Ketchem
Recorded, Mixed and Mastered by Ray Ketchem
at Magic Door Recording, Montclair NJ
Recording at Magic Door Recording, Montclair NJ
Songs by Chris Matthews and Quiz Show
© 2024 Shake at the Thought (BMI)
Cover photo by Mike Roller
Design by Ray Ketchem
Publicity by Shameless Promotion PR

THEN COMES SILENCE turn "Judgement Day" into celebration with Behind-the-Scenes film + tour dates

September 1, 2026

Stockholm-based post-punk trio Then Comes Silence recently released 'Judgement Day', a dark and driving anthem that embraces failure, reckless choices and the thrill of living without regrets. The high-energy video was filmed by Damon Zurawski of Future Legend Films. Painting the picture of those celebrating sinners embracing their final celebration before the inevitable reckoning, this is the first single from the band's 'Requiem Ballroom' album, out later this year via Metropolis Records.

The band has also shared a vivid behind-the-scenes documentary, created by Marzipan Moonlight, on the making of the video. This offers a fun-loving personal glimpse of the process involved in the video's creation and the thriving and warm spirit of Stockholm's goth community over an array of cinematic sequences. The footage immortalizes Then Comes Silence's professionalism, the genuine camaraderie of those involved, and the delightful involvement of a tiny canine companion named Hugo.

A tightly focused trio since 2022, Then Comes Silence was formed in 2012 by vocalist-bassist Alex Svenson in 2012. Drummer Jonas Fransson and guitarist Hugo Zombie, round out the band in its most direct, powerful and uncompromising form. One of the leading names on today’s goth, post-punk and darkwave scene, they are driven by a fascination with horror, the occult and the raw intensity of underground music, having forged a distinctive sound and a devoted international following.

"'Judgement Day' was the first song I wrote for this album - an homage to our musical heroes Killing Joke. Hugo came up with the guitar sound early in the process. This song celebrates the wicked ones having a good run til their end days. In some people's eyes, we too are rock 'n' rolling, beer drinking geezers that most likely will be the first to go. So be it. We had a good run," says Alex Svenson.

Hugo Zombie adds, "The guitar is inspired by Killing Joke and is a little tribute to Geordie. We haven't played it live, but we will perform it for the first time at M’era Luna Festival in August. It should go well."

'Judgement Day' is about failure, bad decisions, and poor behavior - a nod to those who will be first in line on doomsday. The techno element is juxtapositional given the subject matter. Ultimately, the band “fails” by letting something completely unexpected and out-of-character takeover. A swaggering gothic rocker that turns self-destruction and the ticking of time into an irresistible celebration of the wicked,

"We gave a performance in the photo studio when shooting the music video. It was like a regular concert with the extras dancing around the band. People seemed to enjoy being involved in the making of this video - it's easy to dance to and has a good dynamic," says Alex Svenson.

Jonas Fransson shares, "We invited a bunch of friends to join us for the music video shoot, and one of them happens to be a 16-year-old Miniature Pinscher. He is almost completely deaf, so he didn't mind walking around the studio while we were playing. The video isn't cut and finished yet, but there's a good chance he'll end up in it."

'Judgement Day' is out everywhere, including Apple Music, Spotify and Bandcamp, where their latest 'Trickery' album is available on vinyl and CD. The 'Requiem Ballroom" album will be released on November 20. Now touring Europe, tickets can be obtained at https://linktr.ee/tcsontour

ALBUM CREDITS
Lyrics & Music written by Alex Svenson
Alex Svenson - vocals, bass and synthezisers
Jonas Fransson - drums
Hugo Zombie - guitars
Johan Lange (Agent Side Grinder) - synthesizer on Track 12
Produced by Alex Svenson
Recorded by Jörgen Wall and Tom van Heesch
'Ballroom' half mixed by Jon Bordon (Nicole Sabouné, Melody Club, The Exploding Boy)
'Requiem' half mixed by Tom van Heesch (Rammstein, Backyard Babies, Apocalyptica)
Mastered by Svante Forsbäck
Cover artwork by D.K. Griftegaard & Jonas Fransson
Released by Metropolis Records
Official video by Damon Zurawski at Future Legends Films
Behind-the-scenes video by Marzipan Moonlight
Publicity by Shameless Promotion PR

LIVE DATES
SEP. 11 - Glain, Belgium @ Deux Ours
SEP. 12 - Rotterdam-Albrandswaard, Netherlands @ Baroeg Open Air 2026
SEP. 13 - Rennes, France @ Brewklyn
SEP. 14 - Paris, France @ Le Chinois
SEP. 15 - Rezé, France @ Cold Crash
SEP. 16 - Lyon, France @ Rock N'Eat
SEP. 17 - Marseille, France @ Le Molotov
SEP. 18 - Torino, Italy @ Ziggy Club
SEP. 19 - Castelfranco Veneto, Italy @ Sale Improve
SEP. 20 - Hlavní Město Praha, Czechia @ Subzero
OCT. 24 - Stockholm, Sweden @ Kollektivet Livet

Keep up with Then Comes Silence
Website | Bandcamp | Facebook | Twitter | Instagram | YouTube | TikTok | Apple Music| Spotify | BandsInTown | Press contact

Keep up with Metropolis Records
Website | Bandcamp | Facebook | Twitter | Instagram | YouTube

Keep up with Shameless Promotion PR
Website | Facebook | Twitter | Instagram | BlueSky | Threads | Soundcloud | LinkedIn | Ema il

A SHORELINE DREAM's new single 'Legacy' marks 20 years of music, sacrifice & roads traveled

August 30, 2026

Twenty years after forming, A Shoreline Dream enters its anniversary year with ‘Legacy’, the new single released via Latenight Weeknight Records, which finds the band reflecting on the time, choices, and sacrifices behind one of Colorado’s longest-running independent music projects.

A sludging, bass pumping song that explodes with a huge chorus of cascading guitars and vocals that match that reflection, its shoegaze chant reflects on all the time that has passed. Here, "Legacy, your legacy instead of it" lyrically reflecting the thoughts that which has been sacrificed - so many of the normal everyday life milestones - to instead fine tune the nearly 120 tracks the band has now released throughout their history. A tragic yet rewarding legacy to leave behind.

Formed in 2005 and based in Barnum, Colorado, A Shoreline Dream is a duo of multi-instrumentalist and vocalist Ryan Policky and guitarist Erik Jeffries. For just over two decades, Policky and Jeffries have built a catalog approaching 120 released tracks while developing a sound rooted in shoegaze, psychedelia, post-punk, and expansive guitar-driven experimentation.

Approaching the 20th anniversary of their debut album ‘Avoiding the Consequences’,they look at that history from a deeply personal perspective. Years spent writing, recording, producing, and refining A Shoreline Dream's music have often meant choosing the demands of the creative process over many of the conventional milestones of everyday life. The song considers what remains when so much of a life has been devoted to making music, and whether the work itself ultimately becomes the legacy.

The release comes during one of the band's most prolific periods. Rather than treating 2026 as a year of reflection, A Shoreline Dream committed to releasing singles every month, while developing new material towards ‘Waiting’, the band's second full-length album of 2026, which will include nine tracks.

Their current creative roll follows a significant period of collaboration with Ride frontman Mark Gardener. Through A Shoreline Dream's partnership with Shameless Promotion PR, Policky and Gardener connected for a series of recordings that resulted in five co-produced and performed songs, the most recent of these appearing on the album ‘To Where They Have Gone’, released in February.

That relationship is part of A Shoreline Dream's love affair with the UK music community. The band has worked extensively with Ulrich Schnauss and has also collaborated with members of Engineers, Chapterhouse, Rocket Girl Records, and mastering engineer Mark Kramer (Urge Overkill, Bongwater, Shimmy Records).

“2026 has been the year of true sonic inspiration, and the first time I’ve found myself in a constant music writing mode. After working with Mark Gardener, my mind has been humming melodies to me daily," says Ryan Policky.

That renewed creative momentum has also been shaped by the world outside the studio. The response has been to make music that provides an alternative to that noise: music that is melodic, heavy, expansive, and immersive.

“It’s been a brutal human climate, and the distractions are so overwhelming in the media / toxic social media world. I’m f’ing over it. I just want explosive and melodic tunes to distract from this insane world, and these songs are exactly that," says Ryan Policky.

“The tales of dealing with a world in chaos I hope resonate with all those out there looking for new musical vibes and explosive soundscapes. We have come back to the original feeling of A Shoreline Dream creating melodipsych shoegaze to celebrate this massively long journey.”

‘Legacy’ arrives not as a retrospective statement, but as a marker of where A Shoreline Dream stands now. Policky and Jeffries have maintained their creative partnership through changing musical landscapes and an evolving industry. Their response to reaching the 20-year milestone has been to keep creating at an increasingly intense pace.

The result is a band looking back without standing still. ‘Legacy’ acknowledges the cost of the journey while ‘Waiting’ and the continuing 2026 release campaign point firmly toward what comes next.

'Legacy'is now available from digital music platforms, including Spotify, Apple Music and Bandcamp.The band's second album of 2026, ‘Waiting’, will be released on October 16th.

CREDITS

LOWSUNDAY explore a world of isolation on 'Someone To Talk To' Latest 'Low Sunday Ghost Machine - Black EP' out now

August 26, 2026

US darkwave-shoegaze pioneers Lowsunday present their new single 'Someone to Talk To', exploring the tension between the need for connection and the painful realization that the person we trust may not be who they seem. showcasing their 'Low Sunday Ghost Machine - Black EP'. Wrapped in a shadowy, dreamlike atmosphere, the song turns heartbreak and disillusionment into something strangely serene, creating an intimate portrait of vulnerability, misplaced trust, and difficulty in letting go.

The lyrics follow someone reaching for companionship while becoming caught in a relationship marked by deception, betrayal, and emotional dependence. Its central idea is that loneliness can cloud our judgment, causing us to mistake attention for genuine care and overlook warning signs until the truth becomes impossible to ignore. The repeated declarations of love against accusations of cruelty capture the song’s emotional contradiction: attachment can survive even after trust has been destroyed.

Formed in 1994, Lowsunday (initially as Low Sunday Ghost Machine) emerged as a "retro-futurist" pioneer, blending darkwave and shoegaze long before the genres saw their modern revival. The 'Black EP', recently released via Projekt Records (their label before disbanding decades ago) is their second collection of all-new material released since 1999, previewed by the adrenaline-infused 'You’re So Wired' and darkly fascinating lead track 'This Is Not Heaven'.

"This song goes into darker more abstract places, combining feelings of loneliness that lead to the interaction with a person who walks through life handing out broken hearts as almost a form of exchange. The figurines with the eyeball heads almost suggests being naive - that we sometimes think with our eyes and not our heads - that we can love at face value and totally miss the underlying reality that some people actually don’t want to be loved. That many things aren’t as they appear - as the song suggests “when you said you had my back, it was your first attack” , say Shane Sahene.

"It also suggests that loneliness can lead one to making poor decisions. The irony is, that this song makes us very happy to play. It’s so dark in concept that it emotionally feels like being in a calm ocean at night or walking into a cave.

With a cult reputation for mercurial sounds and blistering guitar work, their legacy was cemented with extended re-releases of their 1996 debut album 'Low Sunday Ghost Machine' and the 1999 masterpiece 'Elesgiem', also through Projekt Records (for these albums' 30th and 25th anniversaries respectively). While their music set the stage for subsequent generations of artists, Lowsunday resurfaced in 2025 after a nearly 25-year hiatus, now a duo made up of original member Shane Sahene (vocals, guitar, synth, bass, drums) and Bobby Spell (bass, guitar, drums).

At the end of 2025, Lowsunday released their ‘Low Sunday Ghost Machine - White EP', which ranked second among Post-Punk.com's Best EPs of 2025, and included the singles 'Love Language', 'Soft Capture' and 'Nevver'. Both a reflection and a resurgence, Lowsunday's two new EPs usher in a welcome return, marked by superb production and a renewed creative clarity, bridging three decades of distinct sonic legacy with balanced doses of escapism, dreamlike sounds, drones and feedback.

Lowsunday’s music combines shimmering, pristine textures with infectious choruses, creating a timeless yet distinctly modern atmosphere. Their sound moves through dark, expansive landscapes, shifting seamlessly between steady rhythms, turbulent feedback, and fragile, dream-pop-inspired moments of haunting yearning.

With a sound defined by atmosphere, precision, and heartfelt shadow and depths, Lowsunday is now asserting their presence with new strength. While the 'White EP'explores light and texture, the 'Black EP' is the darker counterpart and definitive statement. Shadow and intensity, layered guitars, tight rhythms, and austere synths, this new EP' distills the duo's vision into a sharper, more potent form — a bold declaration of their enduring artistic power.

"Jer Herring did a great job tying the music to the visuals. He’s a great creative partner and has a way of drawing on the essence of a song and bonding it with great imagery," says Shane Sahene.

Bobby Spell adds, "This video perfectly captures the delicate coldness, detachment and loneliness of this song. A theme frequently visited by us involves a feeling of isolation which seems to be increasingly common in modern life. The visuals in the video demonstrate this feeling in a variety of scenarios where separation, miscommunication or distance is implied throughout. Our creative partner Jer Herring has once again created a perfect visual counterpart for a Lowsunday song and we’re very proud of it.

The 'Low Sunday Ghost Machine - Black EP' is available on digital platforms, including Spotify, Apple Music and Bandcamp, where the vinyl edition (limited to 200 copies) can also be obtained, along with the limited edition 7" of 'Static / Besides'. Lowsunday also recently released 'She Follows Rain' as part of Cherry Red Records' new 4CD box set 'We Are The Beautiful', among 67 shoegaze tracks released from 1991 to 2011. It's available now via Projekt Records' Bandcamp.

Eddie Skuller releases 'Blind Love' EP: A reverant homage to the songwriting of Tom Waits

August 26, 2026

New Jersey singer-songwriter Eddie Skuller is set to release his ‘Blind Love’ EP, a four-track personal tribute to Waits’ songwriting that revisits a storyteller with a rare ability to capture human character, emotion and melody, as well as his ability to find beauty and humanity in unexpected places.

With a unique vocal style, Skuller brings a raw, analog intimacy to these compositions, exploring the space between homage and reinvention. Performed with reverence, restraint and emotional intelligence, he allows the songs' emotional complexity to emerge, his delivery favoring intimacy over imitation.

Based in Jersey City, Eddie Skuller went to the opposite edge of the state to record this EP - namely, the upstate New York studio The Chicken Shack with producer-proprietor Nick Kinsey, known for his work with Kevin Morby, Waxahatchee and Scott McMickey. Fun fact: Waits himself is said to have made his Mule Variations album in another converted chicken shack on the opposite coast.

Bringing forth sheer raw joy and honed instincts, Skuller is joined on this EP by Ryder Cooley of Dust Bowl Faeries on accordion, Kinsey on drums and keyboards, Jack Skuller on guitars, and Jeremy Chatzky (Springsteen, Steve Earle, Ronnie Spector)on bass.

Centered around narrative and feeling, Skuller's performance reveals layers of tenderness, nostalgia, and quiet hope. Captured without edits or vocal overdubs, the recording preserves the spontaneity of the recording and the imperfections of analog production, the vocals captured live with the band.

"These four songs share a dark melancholy of lost love and desire, but all resolve with a sense of hope for a positive future outcome. That’s what draws me in to these songs and what connects them. In my live show it’s the spirit of hope that people take with them," says Eddie Skuller.

“What makes this experience unique for me is that it was recorded live in studio to tape. I wanted Nick Kinsey to produce because I was familiar with his aesthetic sensibilities and the warmth that analog recording can provide. The songs became meditative dirges and the lyrics read as pure poetry."

Nick Kinsey notes, “Producing a cover of any Tom Waits song is a daunting proposition, but I think we did a great job paying homage to one of America’s musical heroes, while giving it our own authentic touch. Eddie’s vocal performance and approach give an emotional immediacy that’s inarguable.”

Skuller earlier shared fine renditions of ‘Downtown Train’ and ‘You Can Never Hold Back Spring’, two of Tom Waits’ most quietly affecting songs, revealing a gentler side of Waits’ catalog, where grit gives way to tenderness and reflection. Blending collage, illustration, photography, typography and animation, the music video is a collaboration with French collective SPX ETC (artists Sandrine Pagnoux and Sophie Etchart), sparked through Sandrine’s Tom Waits editorial for 46pgs magazine.

In addition to his solo work, Skuller is a perennial guest vocalist with The Losers Lounge, the acclaimed tribute series curated by The Psychedelic Furs’ Joe McGintyand regularly held at Joe’s Pub and City Winery in NYC. His live performances have drawn praise for their authenticity, emotional clarity, and musical integrity.

As of August 26th, the 'Blind Love' EP is available everywhere digitally, including Spotify, Apple Music and Bandcamp, where the first two singles can also be found.

CREDITS
Produced & Mixed by Nick Kinsey at the Chicken Shack Studio, New York
Mastered by Christopher Colbert at National Freedom Studio, Oregon
Eddie Skuller - vocals
Jeremy Chatzky - bass
Jack Skuller - guitar
Nick Kinsey - drums, percussion, keyboards
Ryder Cooley - accordion
EP cover photo and design by Eddie Skuller
‘You Can Never Hold Back Spring’ video produced for SPX ETC
by Sophie Etchart & Sandrine Pagnoux
Single cover photo & design by SPX ETC
Original artist photos by Eddie Skuller
Publicity by Shameless Promotion PR

Tiny Magnetic Pets explore darker, more cinematic territory on new ‘Astralux’ EP, out August 21

August 20, 2026

Celebrated Irish electronic / synthwave outfit Tiny Magnetic Pets release their three-track ‘Astralux’ EP on July 21st, boldly reinventing several of their most-loved tracks and blending cinematic synth textures, soaring melodies and electronic pulse. Their musical journey has seen them championed by Blitz Club and Visage legend Rusty Egan, Orchestral Manoeuvres In The Dark (OMD), and electronic music pioneer Vince Clarke.

The lead track ‘Lost My Guiding Light (Again)’ offers a stellar transformation of the original version into a vibrant new anthem. Reflecting the search for hope and direction in an increasingly uncertain world, inviting listeners to consider what their own guiding light might be.

The ‘Astralux’ EP also features two remixes of 'Low Places', which appeared on the band's 2025 'Harmonious Grey' EP. For this, the trio teamed up with pioneering producer and DJ Paul Dakeyne, whose innovative work has helped shape electronic dance music for over three decades. A Ministry of Sound resident DJ, he has played sets for U2 and Kraftwerk. Endorsed by Paul Oakenfold and Fatboy Slim, he has created 250+ remixes, including for George Michael, The Cure, Tori Amos, New Order, Enya, Soft Cell, Erasure, Nancy Sinatra, Yello, and The Housemartins.

Based between Dublin and Belfast, Tiny Magnetic Pets has become one of the most distinctive voices in contemporary electronic music since emerging in 2015. Here, vocalist Paula Gilmer, keyboardist-guitarist Sean Quinn and drummer Eugene Somers are joined by Seamus Quinn on bass.

Mixed and mastered by Tim Dorney, perhaps best known as keyboardist of Republica, he was also a member of Flowered Up and Tin Gun, this release combines classic synth-pop songwriting with contemporary electronic production, bringing together melodic depth and club-ready energy. With the melodic songwriting and electronic textures that have defined Tiny Magnetic Pets' sound, this EP is infused with adventurous new energy, making a confident statement about where they are heading next.

“When we play live we like to do different versions from the records. Last year, we were asked to play a dance music festival in Dublin, so we re-arranged the opening track from our second album ‘Deluxe/Debris’ for an EDM audience, and it has now become the opening tune to our live shows,” explains Sean Quinn.

“We re-recorded this new version in 2026 and we feel it is significantly different from the original to warrant its own release and slight re-title: Lost My Guiding Light (Again) - a wee nod to Bowie’s John I’m Only Dancing (Again).”

Paula Gilmer adds, “A re-imagining of two of our most popular live tracks for the 21st century dancefloor, the lead track is about how everyone at some point loses their way - in life, in work, in relationships, in faith but the theme carries more weight in 2026 with the whole world seemingly losing its way! What is your “guiding light” in 2026? Morality? Truth? Honesty? Love? Empathy? Compassion? Fill in the blank, post it on TikTok and hope it goes viral.”

As of August 21st, the 'Astralux' EP is available from digital music platforms, including Spotify, Apple Music and Bandcamp. The ‘Astralux’ EP follows exactly one month later on August 21st.

CREDITS
Written & composed by Tiny Magnetic Pets
Paula Gilmer – vocals
Sean Quinn – synths, guitar & vocals
Eugene Somers – drums & percussion
Seamus Quinn – bass
Track 1 mixed & mastered by Tim Dorney
Tracks 2 & 3 remixed by Paul Dakeyne
& mastered by Conan Liquid @ The Crates Motel
Produced by Tiny Magnetic Pets
Recorded at The Yellow Room, Dublin & Immerhythm, London 2026
Copyright 2026 Tiny Magnetic Pets
Published 2026 Archangelo Music / BMG Publishing
Cover designed by UFO
Publicity by Shameless Promotion PR
Artist photos by Conor Kerr

Keep up with Tiny Magnetic Pets
Website | Bandcamp | Facebook | Instagram | YouTube | Spotify | Apple Music | Press contact

Keep up with Paul Dakeyne
Website | Facebook | Instagram | YouTube

Keep up with Shameless Promotion PR
Website | Facebook | Twitter | Instagram | BlueSky | Threads | Soundcloud | LinkedIn | Ema il

France's Laurent Moitrot shares "The High Life" single via Magic Door Record Label

August 17, 2026

The High Life? For French singer-songwriter and guitarist Laurent Moitrot, it starts in a social-housing block, not a penthouse. Born from a darker song about a marriage falling apart, his new single “The High Life” turns that same setting into a swaggering, character-driven blues-pop story about ordinary people, hard times and the stubborn possibility of something better. Released via New Jersey’s Magic Door Record Label, the catchy bilingual single pairs the English title track with its French counterpart, "Le Blues du H.L.M." - two versions of the same world, seen through very different emotional lenses.

Produced by James Mastro, renowned for his work with The Bongos, Mott the Hoople, Ian Hunter, Patti Smith and John Cale, "The High Life" was recorded, mixed and mastered by Ray Ketchem (Guided by Voices, Elk City, Gramercy Arms, Luna, The Dambuilders) at Magic Door Recording Studio in Montclair, New Jersey. Moitrot is accompanied by Mastro on keyboards and Ketchem on percussion, as well as to bassist Paul Page (Ian Hunter, John Cale, Bo Diddley) and Doug Yowell (The Joe Jackson Band, Suzanne Vega, Judy Collins, Howard Jones) on drums and percussion.

This single follows up his six-track “Donne-moi du temps” EP, recorded with the same team in May 2025, which Moitrot calls “the album I’ve dreamt of making all my life”. Packed with gritty, angular, crashing riffs that recall the energy and excitement of early Rolling Stones, Dr. Feelgood, Fleetwood Mac, Mott the Hoople and Mick Ronson, this mini-album marked a new chapter in Moitrot’s songwriting, bringing his French-language material to the fore.

Drawing on nearly five decades as a performer, Moitrot’s swaggering, character-driven offering turns a difficult subject into something unexpectedly warm, funny and hopeful. While the two songs share the same musical foundation, the English title track offers a strikingly different perspective than the original French version.

"The High Life" explores ordinary lives, difficult circumstances and the small but important decision to keep trying. This swaggering blues-pop indie rock song finds humour, character and optimism in an unlikely setting, while its French-language counterpart, "Le Blues du H.L.M.", reveals the more troubled personal story from which it originated. Written as his marriage was falling apart, it is set among the inhabitants of an H.L.M. (social housing typically associated with large apartment blocks), reflecting the sadness and uncertainty he felt at that time.

"In May 2025, I was in Montclair, NJ to record a six-track mini album, produced by James Mastro. In contrast with my first album from 2020, which featured material written in English, this one was in French and included a French version of Mastro's song "My God". Among these, one of them in particular -- "Le Blues du H.L.M." -- seemed to please Mastro very much," says Laurent Moitrot.

"This song goes back to a time when I was feeling very sad as my marriage was on the rocks. The lyrics reflected that mood. What we call a H.L.M. in France is generally a cheaply built high-rise building, built so that the poorest families can rent a flat to live there. This is "social housing" of sorts, though some would call it a ghetto."

He initially translated the lyrics, under the title "The Social Housing Blues", but the darker mood of the original no longer reflected how he felt. The breakthrough came during a conversation with his Manchester friend Andrew Field, who reminded him of the tongue-in-cheek expression “living the high life”, used to describe life on a social housing estate.

The new title changed its direction. Inspired by the character-driven storytelling of Ray Davies, Moitrot introduced Curtiss, the lonely man; Mary, the pretty girl; and Nigel, the neighbourhood bully. He also added a fourth verse, bringing a sense of optimism to their lives.

The resultant is a companion piece: the same setting seen through a different emotional lens. Where the original captures a moment of personal despair, "The High Life" finds warmth and humour in the lives of its characters, leaving them with the possibility of something better. Ultimately, "The High Life" is a song about finding another way to tell a difficult story — with a little more distance, a little more humour and, ultimately, a little more hope.

This instinct for turning everyday lives into songs places Moitrot within a long tradition of French rock songwriting, from the wry observations of Jacques Dutronc and Jacques Higelin to the more contemporary perspective of Jean Leloup, while his musical foundation remains firmly rooted in blues and rock.

From Angers, France, Moitrot has been performing since 1976, playing the piano from seven. After discovering the Rolling Stones “Exile on Main St.” in his teens, he moved toward guitar and rock music. For decades, he balanced a life between his music and a career as a mathematics teacher – maintaining a steady presence on the regional blues and rock scene.

Moitrot’s debut album "Little Monsters Most Of Them Blue.s" was produced by Laurent Thibault, a founding member of Magma and former director of the legendary Château d’Hérouville studio, which had hosted  David Bowie, Marvin Gaye, and Fleetwood Mac. He subsequently released an EP with his Dr. Feelgood tribute project “Hands Up!”

As of August 18, "The High Life" is everywhere digitally, including Spotify, Apple Music and Bandcamp, where his back catalogue can also be found.

CREDITS
Lyrics & Music written by Laurent Moitrot
Laurent Moitrot - guitars & vocals
Doug Yowell - drums & percussion
Paul Page - bass
James Mastro - keyboards
Ray Ketchem - percussion
Produced by James Mastro
Recorded, mixed & mastered by Ray Ketchem at Magic Door Recording, Montclair, NJ
Cover artwork photo by Frugal Flyer
Released by Magic Door Record Label
Video created by David Fagin
Artist photos by Alan Fournier
Publicity by Shameless Promotion PR

Keep up with Laurent Moitrot
Website | Bandcamp | Facebook | Instagram | YouTube | Spotify | Apple Music | Press contact

Keep up with Magic Door Record Label
Bandcamp | Facebook | Instagram | Sound cloud | YouTube | Magic Door Studio | Press contact

Keep up with Shameless Promotion PR
Website | Facebook | Twitter | Instagram | BlueSky | Threads | Soundcloud | LinkedIn | Ema il

XTC's Colin Moulding presents 'Want It Bad (The Pep Talks and Playing Fields of Old England)'. Watch the video & get the CD via Burning Shed

August 15, 2026

XTC founding member and acclaimed songwriter Colin Moulding is back with 'Want It Bad (The Pep Talks and Playing Fields of Old England)', a three-track CD single that offers another tantalising glimpse into the creative process of one of the UK’s finest songwriters, plus an accompanying video.

Released via Burning Shed and presented in a four-panel digisleeve, the CD features the title track, along with ‘Something About The Boy (James Bond Demo for Female Voice)’ and an exploratory demo of the title track. Moulding continues to explore a distinctly English pop sensibility, showcasing his English pop vision with XTC's trademark qualities of melody, rhythm, variety, and idiosyncratic subject matter, mixed in with nostalgia and a degree of pensiveness.

This is Moulding's second solo release, following 'The Hardest Battle', released several years ago. the video for which focused on George IV and filmed at St Mary’s Uffington and Salisbury Cathedral in cooperation with the Royal Shakespeare Company on wardrobe.

While 'Want It Bad' began as a song of sport and camaraderie, it soon took on a broader meaning. Moulding shares, "Although this song started life as a sporting pep talk, it was clear that it could easy be thought of as a mantra for ones own life ambitions whatever they may be. If you want something in this life you have to really want it. And if you really want it, you’ll get it -- that was my mantra."

The artwork, created by Andrew Swainson, and Androideo video, created by Thomas Walsh, are derived from ‘Les Coureurs’ by Robert Delaunay, whose depiction of runners perfectly captured the spirit Moulding wanted to convey.

"I was scouting around for a cover that would signify human endeavour. I had written 'Want It Bad', which basically amounted to a pep talk by a sporting coach to his team. Football perhaps... something made me think of the runners on the beach in the film “Chariots of Fire", explains Colin Moulding.

"After many permutations, Andrew, my artwork designer, said "What about Delaunay and his runners?" and when he showed me, there was no doubt. So it was derived from “Les Coureurs” by Robert Delaunay, a French painter from the early part of the twentieth century. Check him out!"

This new release also opens a window onto two very different stages of Moulding’s songwriting process ‘Something About The Boy (James Bond Demo for Female Voice)’ reveals a long-held ambition inspired by the James Bond films of Moulding’s childhood.

"I was a big James Bond fan. My father had taken me to see the first three - 'Dr No', 'From Russia with Love', and 'Goldfinger'…..In the 1960’s. I had secretly nursed an ambition that one day John Barry and I would work on a theme together (hey ya got to have dreams kid!). So here then was my idea to put to John Barry. Only trouble was I had to sing it myself to demonstrate the female lead. The key could have been a problem, but it had not occurred to me. I’m still a dreamer even today," shares Colin Moulding.

The third track, ‘Want It Bad (Demo)’, is an even more immediate snapshot of the writing process, with Colin noting, “Quite simply, my working demo knocked out in about an hour with a hand-held 57 microphone, different lyrics, and no bass. This is something for the musos, I guess.”

Founded in 1972, XTC only had their first UK charting single in 1979. Moulding wrote the first three charting singles ('Life Begins at the Hop', 'Making Plans for Nigel' and 'Generals and Majors') and continued with frontman Andy Partridge through the group's dissolution in 2006. In 1984, Moulding also co-founded The Dukes of Stratosphear, anticipating and celebrated by retro-minded movements such as the Paisley Underground.

Decades later, Moulding reunited with original XTC drummer Terry Chambers under the TC&I moniker, releasing two CDs (the 'Great Aspirations' EP and the album 'Naked Flames: Live at Swindon Arts Centre') and playing a series of live shows through a Swindon residency.

A driving force in establishing XTC as one of Britain's most inventive and influential bands, Moulding once again invites listeners behind the curtain -- not simply presenting the finished song, but revealing some of the ideas, experiments and musical possibilities that shaped it along the way.

As of September 18, ‘Want It Bad’ is available on CD exclusively via Burning Shed, where 'The Hardest Battle' can also be obtained, as well as music and merch from TC&I and Colin's other projects.

Deardarkhead unveils 'In Another Life' video, highlighting 'The Pendulum Swings', first album in 26 years

August 12, 2026

New Jersey alternative rock outfit Deardarkhead present their new video for 'In Another Life', a highlight track of 'The Pendulum Swings', their first album in 25 years and the second full-length record released via their own imprint Fertile Crescent Records. Built around soaring guitar leads and melodic bass hooks, they balance tension between crystalline guitar arpeggios, fuzzed out tremolo, and melodic baselines. With an introspective atmosphere about what could have been, drummer Robert Weiss was also particularly inspired by sitar music for the rhythmic droning lead sections.

The accompanying video was created by Italian visionary Francesca Bonci, kno wn for her work with Federale (Brian Jonestown Massacre's Collin Hegna), The Dandy Warhols, Pete International Airport and Slowdive's Rachel Goswell, and Tombstones In Their Eyes, among others.

Capturing an ever-evolving band, refining their voice through texture, atmosphere, and emotional momentum, these ten tracks were recorded at Miner Street Recordings in Philadelphia. Produced, engineered and mixed by Brian McTear and Amy Morrissey(The War on Drugs, Kurt Vile, Sharon Van Etten), it was mastered by Grammy-nominated engineer Joe Lambert (Animal Collective, Blonde Redhead, Beach House, M83, Wild Nothing).

Formed in 1988 in Atlantic City, NJ, Deardarkhead is made up of guitarist Kevin Harrington, drummer Robert Weiss and bassist James Malizia, who recently replaced Brandon Howard following the recording of this album. Deardarkhead has built a distinctive identity since the departure of vocalist Michael Amper in 2009, shifting fully into melodic texture-rich instrumental composition.

The record moves through shifting moods ranging from soaring, psychedelic-tinged guitar anthems to driving post-punk rhythms and more ambient, abstract passages. The result is a dynamic and cohesive work that highlights the band’s signature blend of shimmering guitars, pulsing bass, and powerful percussion. The band pushes the envelope with their instrumental approach, using drum loops, unusual time signatures, ebow, bass VI, and expanded guitar layering.

"'The Pendulum Swings' is a collection of both older and newer material that we are very proud of. Each song has its own distinct vibe, but they collectively make up the DDH sound. This was the second time we recorded at Miner Street Recordings and we focused on trying new things with drum loops, different time signatures, backing keyboard tracks, using an ebow and bass VI, plus more guitar tracks than ever," says Robert Weiss.

Deardarkhead earlier shared the lead track 'Letting Go', a collaboration with keyboardist Joe McGinty, known for his work with The Psychedelic Furs, Nada Surf, Ryan Adams and Deborah Harry, who added additional layers of atmosphere and texture. A song about growth and change, it espouses releasing old patterns and embracing new directions.

Taking their name from the 1867 Irish poem “Cean Dubh Dilis” by Samuel Ferguson -- a work about a beautiful dark-haired girl, Deardarkhead's identity is rooted as much in mood as in melody. Their music blends atmospheric dreampop, shoegaze shimmer and ethereal rock, unfolding as an original, guitar-driven psychedelic tightrope walk balancing moody textures and shimmering melodies.

Over nearly four decades, Deardarkhead have had many notable milestones, including shows with Supergrass, The Psychedelic Furs, Everclear, Nothing and The Lilys. They released five recordings via Fertile Crescent Records, debuting with the 1998 album 'Unlock the Valves of Feeling', they also featured on numerous US and Japanese compilations. In 2011, Captured Tracks released 'Oceanside: 1991-1993', a retrospective of their early material (and second release in their Shoegaze Archives series). They joined Saint Marie Records to release their acclaimed 'Strange Weather' EP in 2016.

'The Pendulum Swings' is out now, available from music platforms, including Spotify, Apple Music and Bandcamp. It is now available for pre-order on CD, digitally, and on 180-gram vinyl.

CREDITS
Written by Robert Weiss & Kevin Harrington
Kevin Harrington - guitars (all tracks) and bass VI, ebow & bass (track 10)
Robert Weiss - drums & percussion
Brandon Howard - bass (tracks 1-9)
Joe McGinty - keyboards (track 6)
Recorded at Miner Street Recordings, Philadelphia, PA
Produced, engineered & mixed by Brian McTear & Amy Morrissey
Mastered by Joe Lambert
Cover photography & design by Robert Weiss
Video directed and edited by William Murray
Band photos by Mike Maney & Rob Weiss
Publicity by Shameless Promotion PR

Keep up with Deardarkhead
Website | Bandcamp | Facebook | Instagram | Twitter | YouTube | Spotify | Apple Music | Press contact

Keep up with Shameless Promotion PR
Website | Facebook | Twitter | Instagram | BlueSky | Threads | Soundcloud | LinkedIn | Ema il

Post-punk torchbearers THEN COMES SILENCE deliver "Judgement Day", announcing "Requiem Ballroom" album

August 11, 2026

Stockholm-based post-punk trio Then Comes Silence makes a brazen return with their new single 'Judgement Day', a dark and driving anthem that embraces failure, reckless choices, and the thrill of living without regrets. Along with a high-energy video by Damon Zurawski, this song celebrates those who burn brightly on borrowed time as doomsday looms. This is the first single from their 'Requiem Ballroom' album, to be released via Metropolis Records.

Formed in 2012 by vocalist-bassist Alex Svenson, Then Comes Silence has operated as a tightly focused trio since 2022, along with drummer Jonas Fransson and guitarist Hugo Zombie. Together, they have refined Then Comes Silence into its most direct, powerful and uncompromising form.

'Judgement Days' opens with a catchy Euro techno melody, contrasting with the band’s roots and signature sound. A brooding yet danceable collision of post-punk intensity and unexpected Euro-techno flourishes, it paints a portrait of sinners embracing their final celebration before the inevitable reckoning.

"'Judgement Day' was the first song I wrote for this album - an homage to our musical heroes Killing Joke. Hugo came up with the guitar sound early in the process. This song celebrates the wicked ones having a good run til their end days. In some people's eyes, we too are rock 'n' rolling, beer drinking geezers that most likely will be the first to go. So be it. We had a good run," says Alex Svenson.

Hugo Zombie adds, "The guitar is inspired by Killing Joke and is a little tribute to Geordie. We haven't played it live, but we will perform it for the first time at M’era Luna Festival in August. It should go well."

'Judgement Day' is about failure, bad decisions, and poor behavior - a nod to those who will be first in line on doomsday. The techno element is juxtapositional given the subject matter. Ultimately, the band “fails” by letting something completely unexpected and out-of-character takeover. A swaggering gothic rocker that turns self-destruction and the ticking of time into an irresistible celebration of the wicked,

"We gave a performance in the photo studio when shooting the music video. It was like a regular concert with the extras dancing around the band. People seemed to enjoy being involved in the making of this video - it's easy to dance to and has a good dynamic," says Alex Svenson.

Jonas Fransson shares, "We invited a bunch of friends to join us for the music video shoot, and one of them happens to be a 16-year-old Miniature Pinscher. He is almost completely deaf, so he didn't mind walking around the studio while we were playing. The video isn't cut and finished yet, but there's a good chance he'll end up in it."

'Requiem Ballroom' is divided into two parts, the 'Ballroom' mixed by Jon Bordon (Nicole Sabouné, Melody Club, The Exploding Boy) and the 'Requiem' half mixed by Tom van Heesch (Rammstein, Apocalyptica, Backyard Babies). This album was then mastered by Svante Forsbäck / Chartmakers (Rammstein, Amaranthe, Ville Valo, The Rasmus, Apocalyptica).

Then Comes Silence has become one of the leading names on today’s goth, post-punk and darkwave scene. Driven by a fascination with horror, the occult and the raw intensity of underground music, the band has forged a distinctive sound that has earned them a devoted international following.

With the German post-punk scene their second home, they have, for years, toured relentlessly. Continually expanding their geographic reach, they have cemented their reputation as one of the scene’s hardest working bands. With several releases through Metropolis Records, they have further strengthening their international presence. Their impending eighth album follows ‘Trickery’ (2024) and 'Hunger' (2022), jointly released by Metropolis and Nexilis Records / Schubert Music.

With dark atmospheres, driving rhythms, razor-sharp hooks and explosive performances, Then Comes Silence continue to push forward. They have earned their place at the forefront of the modern gothic rock and post-punk movement, proving themselves to be a vital contemporary live acts with frequent touring across North America, Latin America and Europe.

Then Comes Silence have shared the stage with acts such as The Fields of the Nephilim, Clan of Xymox, The Chameleons, A Place To Bury Strangers, Pink Turns Blue and The Bellwether Syndicate, while appearing at many of Europe’s premier alternative festivals, including M’era Luna, Wave-Gotik-Treffen, Amphi Festival, Castle Party, Tomorrow’s Ghosts Festival and W-Festival.

As of August 7, 'Judgement Day' is available digitally everywhere, including Apple Music, Spotify and Bandcamp, where the latest 'Trickery' album is also available on vinyl and CD. Tickets for Then Comes Silence performances can be obtained at https://thencomessilence.eu

ALBUM CREDITS
Lyrics & Music written by Alex Svenson
Alex Svenson - vocals, bass and synthezisers
Jonas Fransson - drums
Hugo Zombie - guitars
Johan Lange (Agent Side Grinder) - synthesizer on Track 12
Produced by Alex Svenson
Recorded by Jörgen Wall and Tom van Heesch
'Ballroom' half mixed by Jon Bordon (Nicole Sabouné, Melody Club, The Exploding Boy)
'Requiem' half mixed by Tom van Heesch (Rammstein, Backyard Babies, Apocalyptica)
Mastered by Svante Forsbäck
Cover artwork by D.K. Griftegaard & Jonas Fransson
Released by Metropolis Records
Video by Damon Zurawski
Publicity by Shameless Promotion PR

LIVE DATES
AUG. 9 - Hildesheim, Germany @ M’era Luna Festival
AUG. 20–22 - Torgau, Germany @ Stella Nomine 2026
SEP. 11 - Glain, Belgium @ Deux Ours
SEP. 12 - Rotterdam-Albrandswaard, Netherlands @ Baroeg Open Air 2026
SEP. 13 - Rennes, France @ Brewklyn
SEP. 14 - Paris, France @ Le Chinois
SEP. 15 - Rezé, France @ Cold Crash
SEP. 16 - Lyon, France @ Rock N'Eat
SEP. 17 - Marseille, France @ Le Molotov
SEP. 18 - Torino, Italy @ Ziggy Club
SEP. 19 - Castelfranco Veneto, Italy @ Sale Improve
SEP. 20 - Hlavní Město Praha, Czechia @ Subzero
OCT. 24 - Stockholm, Sweden @ Kollektivet Livet

Keep up with Then Comes Silence
Website | Bandcamp | Facebook | Twitter | Instagram | YouTube | TikTok | Apple Music| Spotify | BandsInTown | Press contact

Keep up with Metropolis Records
Website | Bandcamp | Facebook | Twitter | Instagram | YouTube

Keep up with Shameless Promotion PR
Website | Facebook | Twitter | Instagram | BlueSky | Threads | Soundcloud | LinkedIn | Ema il

ROBIN ROSS & CARMINE GONTZ deliver gothic prog-rock edge on 'Blood Lines' single

August 10, 2026

Northeastern Pennsylvania artist Robin Ross presents the single 'Blood Lines', introducing vocalist Carmine Gontz. A reflective yet expansive rock anthem, 'Blood Lines' weaves melodic guitar work, rich harmonies, and a timeless message about family, connection, and the enduring ties that shape generations.

Written and performed by Robin Ross with Jack's Maze,'Blood Lines' is powered by Bill Snyder on guitar, Scott Cowan on melodic guitar, Frank Cinquegrana on drums and Joe Torres on bass.

Released via Pennsylvania indie imprint RPM Entertainment, this single was recorded at Baa Baa Leaf Music Studio in Milford, Pennsylvania, where Ross produced and mixed it, working alongside famed master engineer Jonathan Duckett (Phillip Glass, Kenny G, David Sanborn).

Carmine Gontz is a rock artist known for his cinematic blend of gothic atmosphere, classic hard rock, and theatrical energy. The recipient of the Central Pennsylvania Music Award (CPMA) for Best Youth Artist, Carmine debuted with 'Planet 25', produced by Dan Malsch (Ghost, Motionless in White, Bowling for Soup, Doro Pesch). His new single 'Lost In Space' was produced by Matt Starr (Ace Frehely, Mr. Big) and features bass legend Rudy Sarzo (Quiet Riot, Ozzy Osbourne, Whitesnake) and drummer Mike Dupke (W.A.S.P., Dee Snider, Johh Mellencamp). Establishing himself as a rising voice in modern hard rock, Carmine is currently working on his debut album.

"Bloodlines survive through the years like sand in an hourglass. A new baby is born and a grandparent moves up in the sky. Everyday life moves on and the bloodline continues," says Robin Ross. "Life takes and gives the love of our heart as time passes. One day leads into the next and bloodlines find the root of humanity. Love life but do what one must do to survive throughout the bloodlines of generations."

CREDITS
Lyrics by Robin Ross
Music written by Robin Ross, Frank Cinquegrana & Joe Torres
Robin Ross - keyboards/ lead guitar
Carmine Gontz - vocals
Frank Cinquegrana - drums
Joe Torres - bass
Scott Cowan - melodic guitar
Bill Snyder - power guitar
Recorded at Baa Baa Leaf Music Studios (Milford, PA)
Produced & Mixed by Robin Ross
Supervising Engineer: Jonathan Duckett
Photography & video by Tina Ross
Album artwork & design by Tina Ross
Publishing & booking: RPM Entertainment Enterprises, LLC
Publicity by Shameless Promotion PR

Keep up with Robin Ross
Website | Bandcamp | Facebook | Instagram | YouTube | Reverbnation | Apple Music | Spotify | Booking contact | Press contact

Keep up with Shameless Promotion PR
Website | Facebook | Twitter | Instagram | BlueSky | Threads | Soundcloud | LinkedIn | Email

JAH WOBBLE & TIAN QIYI to release 'Mystic Liverpool: The Beatles Psychedelic Psongbook' via Cherry Red Records

August 10, 2026

East London music icon Jah Wobble and Liverpool duo Tian Qiyi are ready to introduce 'Mystic Liverpool: The Beatles' Psychedelic Psongbook' to the world on August 14th via Cherry Red Records and Wobble's label 30 Hertz. Previewed by 'Strawberry Fields Forever' and 'Tomorrow Never Knows', these reimaginings treat the material as the genuinely mystical music it always was, with 'Sgt. Pepper’s Lonely Hearts Club Band' and 'Magical Mystery Tour' as particular touchstones.

These ten tracks travel through the most exploratory corners of The Beatles' catalogue. Not simply nostalgic covers, 'Mystic Liverpool' treats these songs as a starting point for something more personal: a meeting point between Liverpool, China and Mongolia, between family tradition and contemporary dub, and between the music Wobble grew up with and the musical world his sons have inherited.

Jointly produced by Jah Wobble (aka John Wardle) and his sons John T Wardle and Charlie Wardle (a.k.a. Tian Qiyi), this album was recorded and mixed by John T at Pagoda Studios in Liverpool. Together, they have made these songs uniquely their own, drawing on Wobble’s signature dub bass, John T’s drums, Chinese percussion and yangqin, and Charlie’s vocals, erhu and morin khuur. The boys' mother Zi Lan Liao — a Royal Academy of Music–trained harpist and the most recognized gu-zheng performer worldwide — also contributes gu-zheng on 'Strawberry Fields Forever'.

As of August 14th, the 'Mystic Liverpool' is available from digital music platforms, including Apple Music and Spotify, where 'Tomorrow Never Knows' and 'Strawberry Fields Forever' can also be found. In addition to the digital version, the album will also be released as a CD Digipack.

Jah Wobble & Tian Qiyi perform that day at Suffield Summer ¡Fiesta! 2026. Throughout 2026, Jah Wobble and The Invaders Of The Heart are also touring, with tickets at https://jahwobble.com/#live

Eddie Skuller pays tribute to Tom Waits on 'You Can Never Hold Back Spring', teasing new EP

July 29, 2026

Jersey City singer-songwriter Eddie Skuller presents ‘You Can Never Hold Back Spring’, a fine rendition of one of Tom Waits’ most quietly affecting songs, revealing a gentler side of Waits’ catalog, where grit gives way to tenderness and reflection. Following ‘Downtown Train’, this is the second offering from his ‘Blind Love’ EP, bringing a raw, analog intimacy to these compositions, exploring the space between homage and reinvention.

This four-track personal tribute to Waits’ songwriting revisits a storyteller with a rare ability to capture human character, emotion and melody, as well as his ability to find beauty and humanity in unexpected places. With his own unique vocal style, Skuller performs ‘You Can Never Hold Back Spring’ with reverence, restraint and emotional intelligence, allowing the song’s emotional complexity to emerge through a delivery that favors intimacy over imitation.

In addition to his solo work, Skuller is a perennial guest vocalist with The Losers Lounge, the acclaimed tribute series curated by The Psychedelic Furs’ Joe McGintyand regularly held at Joe’s Pub and City Winery in NYC. His live performances have drawn praise for their authenticity, emotional clarity, and musical integrity.

For this EP, Skuller worked with producer Nick Kinsey, known for his work with Kevin Morby, Waxahatchee and Scott McMickey, who helped shape a recording that embraces the spontaneity and imperfections of analog production.

Skuller re-centers the songs around narrative and feeling, revealing layers of tenderness, nostalgia, and quiet hope. Captured without edits or vocal overdubs, the track preserves the spontaneity of the recording, with Skuller’s vocal captured live with the band. The arrangement also features Ryder Cooley of the Dust Bowl Faeries on accordion, Kinsey on drums and keyboards, Jack Skuller on guitars, and Jeremy Chatzky (Springsteen, Steve Earle, Ronnie Spector) on bass.

“What makes this recording experience unique for me is that it was recorded live in studio to tape. I wanted Nick Kinsey to produce because I was familiar with his aesthetic sensibilities and the warmth that analog recording can provide. The songs became meditative dirges and the lyrics read as pure poetry," says Eddie Skuller.

“There’s a key line in this song that hooks me every time I hear it: ‘even though you’ve lost your way, the world is dreaming, dreaming of spring. Using spring for a sense of renewal, hope, and a chance to reset—it’s as memorable and moving as any classic jazz-pop standard such as Sinatra’s ‘Young at Heart.’”

The music video grew out of a creative connection sparked through social media. Skuller discovered SPX ETC, founded by artist Sandrine Pagnoux and photographer/editor Sophie Etchart, after encountering Sandrine’s Tom Waits editorial work for 46pgs magazine. Skuller shares, “I followed them on Instagram with the thought that I’d someday have the opportunity to work with them”.

Ceating a dreamlike world blending collage, illustration, photography, typography, and animation, Sandrine developed the artwork using Sophie’s photography, while Sophie assembled and refined the final piece. Throughout the video, manipulated self-portraits of Skuller also appear through Sandrine’s distinctive approach. Pagnoux explains, “The lyrics are pure poetry. Joy, renewal and hope will always return after periods of darkness. Eddie’s emotional cover is magical and full of deep feelings.”

As of July 29th, 'You Can Never Hold Back Spring' is available everywhere digitally, including Spotify, Apple Music and Bandcamp, where 'Downtown Train' can also be found. The 'Blind Love' EP will be released on August 26th.

CREDITS
Written by Tom Waits & Kathleen Brennan
Produced & Mixed by Nick Kinsey at the Chicken Shack Studio, New York
Mastered by Christopher Colbert at National Freedom Studio, Oregon
Eddie Skuller - vocals
Jeremy Chatzky - bass
Jack Skuller - guitar
Nick Kinsey - drums, percussion, keyboards
Ryder Cooley - accordion
Single cover photo & design by SPX ETC
EP cover photo and design by Eddie Skuller
Video produced by Sophie Etchart & Sandrine Pagnoux for SPX ETC
Photos by Eddie Skuller
Publicity by Shameless Promotion PR

Keep up with Eddie Skuller
Website | Bandcamp | Facebook | Instagram | YouTube | Spotify | Apple Music | Press contact

Keep up with Shameless Promotion PR
Website | Facebook | Twitter | Instagram | BlueSky | Threads | Soundcloud | LinkedIn | Ema il

The Noise Who Runs shares 'The Summer Talking' - an anthem of Love, Lies & Climate Denial (from the 'Re: GenX' album)

July 29, 2026

Alternative pop artist The Noise Who Runs presents 'The Summer Talking', the third singls from his latest (and now acclaimed) 'Re: GenX' album, which is both a reckoning and a response from within a generation that inherited progress, equality, and expanding liberty, but failed to defend them when they came under threat.

Built around the repeated refrain, “It’s just the summer talking”, the song explores the promises we make when sunshine, nostalgia and hope temporarily blur our view of reality. Balancing melancholic indie-pop with widescreen alternative rock, it follows dreams of escape, new beginnings and forever as they gradually reveal themselves to be fragile seasonal illusions. Beneath the relationship story lies a wider reflection on the comforting stories we tell ourselves—about love, our lives and the future itself.

The Noise Who Runs is songwriter, vocalist and multi-instrumentalist Ian Pickering of Sneaker Pimps (for whom he co-authored such hits as 'Spin Spin Sugar', '6 Underground' and 'Tesko Suicide') and also known for his work with Front Line Assembly). After relocating from Hartlepool in the north-east of England to Lille, France, 2023 brought his ‘Preteretrospective’ album, followed by 2024's ‘Come and Join the Beautiful Army’ EP, both met with rave reviews and airplay in more than 60 countries.

“This song is about love, memory and self-deception, but also about a culture that keeps choosing short-term comfort over uncomfortable truths. Whether it’s a relationship, a dream of somewhere better, or believing just one more summer holiday comes without consequence, we become very good at telling ourselves what we want to hear," says Ian Pickering.

The accompanying video develops those themes into a meditation on tourism and the climate crisis. Holiday imagery and idyllic landscapes become symbols of a world determined to preserve familiar comforts while the environmental emergency continues to accelerate.

Ian shares, “The video isn’t against holidays or people wanting to escape. It’s about why governments still refuse to treat the climate crisis with the urgency it demands. Most people want meaningful action on climate change and inequality, yet the biggest polluters continue to behave as though different rules apply to them. If we’re serious about protecting the future, governments have to lead, and the super-rich can no longer be exempt from the sacrifices expected of everyone else.”

Mixed and mastered by Colin C at The Cell Studio, 'Re: GenX documents a civilization caught in a downward spiral. Framing systemic greed, perpetual warfare, and the erosion of human dignity as the foundational mechanics of a world engineered for its own ruin, this album assesses society fueled by the interests of the elite, leaving behind a singular, urgent uncertainty.

Framed by the cultural optimism of late-1980s youth and the 1990s second summer of love, the album questions how a generation defined by scepticism, freedom, and possibility became comfortable with inaction as those gains were slowly dismantled and how scepticism hardened into detachment, irony replaced action, and silence came to feel like neutrality. Rather than nostalgia, it offers a critique of passivity: what happens when a generation knows better, but does nothing.

“This album is a reply to my own generation — what it stood for, what it stayed silent for, and how it enjoyed progress and liberty without doing much to protect any of it when it actually mattered. But it’s beyond generations, it’s humanity, society - it’s a class war, always has been — and the powerful rely on fear and division to stop people recognising that, even when we know all the tricks,” says Ian Pickering.

Across the record, exhaustion, outrage, and repetition form a recurring loop. Political failure, cultural denial, and performative morality are examined not as abstract forces, but as habits — things learned, tolerated, and repeated. The album resists slogans and solutions, instead holding up a mirror to complicity, comfort, and collapse. Re: Gen X doesn’t ask to be forgiven; it asks to be examined — and leaves open the question of whether awareness, this time, will finally lead to action.

'Just The English Way' is a sharp, darkly witty slice of commentary on English identity, exposing how politeness and tradition can mask deeper social and political fractures. 'Commercial Road' dissects a world where everything is for sale — bodies, truths, and even outrage itself. 'The Bodies Are Under The Bus Again' is an anti-war song and 'Bang Bang' captures the psychic exhaustion of life lived inside permanent crisis mode, where outrage replaces thought and reaction supercedes responsibility.

The "Re: GenX" album is out now via TNWR Records, available everywhere, including Spotify, Apple Music and Bandcamp.

NYC art-rock provocateurs ECCE SHNAK debut gloriously unhinged 'Eddie, Legalistic Homeslice'

July 28, 2026

NYC art-rockers Ecce Shnak present 'Eddie, Legalistic Homeslice', the second single from their full-length album “Dandy Variances", anticipated later this year via Records, Man Records. Recorded and produced by Jeff Lucci, this single was mixed by Grammy award-winning producer Mario McNulty (David Bowie, Prince, Nine Inch Nails, Julian Lennon),

Formed in the mid-1990s and forged in NYC's experimental scene, Ecce Shnak (pronounced Eh-kay sh-knock) is made up of David Roush (composer, bassist and baritone vocalist), Bella Komodromos (vocals), Chris Krasnow (guitar), Gannon Ferrell (guitar), and Henry Buchanan-Vaughn (drums).

An ode to camaraderie, 'Eddie' reaches its lyrical denouement with what may be the “oldest prayer of friendship", but sounds like a throwaway Rivers Cuomo line: “I pray you don’t be a rat in a rat-suit! Pray you don’t be a rat in a rat-costume!”

"Like 'Larry, Sleepover Friend' from our 2019 'Joke Oso' EP, our new song is a garage-rock homage to a beloved friend of mine. Like 'Larry', 'Eddie' explores big themes in great friendships: their gnarly ambivalences, their absurd misunderstandings, their inside-jokes, and their contradictory mix of irreverence with utmost care," says David Roush.

"We are also overjoyed to feature two great friends as the co-stars of the music video, the preposterously funny and talented comedic duo Syd and Olivia! I was lucky to have met these two pugnaciously podcasting, thoughtfully Thespian, joke-slinging YouTube yokels on a fantastic journey to the Greek island of Crete two years ago, and the rest was thirst’ory."

Bella Komodromos adds, "They absolutely kicked butt at their roles in this Wes-Anderson-hued buddy-comedy music video, directed and produced by DJay Brawner. It is our ardent hope that all fans of Ecce Shnak and Syd and Olivia alike can shart out with their hearts out to this badass collaboration!"

Apart from directing and editing the new video with Brooks Jones, Beth Narducci and David Roush, Brawner also worked on the video for the album's lead track 'Vincent', an homage to superb music videos of yesteryear - for Meshuggah’s “Bleed” and 311's “Down”. Here, operatic trills collide with frantic rock energy in a high-decibel takedown ofa formulaic antagonist through the power of one's own voice.

Ecce Shnak's music a volatile yet meticulously crafted ecosystem, where technical precision meets inspired mayhem. Their 2025 'Shadows Grow Fangs' EP was recorded and produced by Jeff Lucci, mixed by Nicholas Vernhes (Animal Collective, Deerhunter, Wild Nothing, War on Drugs) and mastered by Grammy award-winning engineer Joe LaPorta (David Bowie, The Weeknd, Foo Fighters, Vampire Weekend).

Ecce Shnak recently wrapped up their UK tour with EMF after featuring on EMF's stellar single 'LGBTQ+ Lover' and joint East coast / Midwest tour. That video was filmed during their 2025 West coast tour, along with Spacehog.

'Eddie, Legalistic Homeslice'is out now,available from digital music platforms, includingSpotify, Apple Music and Bandcamp.

CREDITS

Music written / composed by David Roush
David Roush - vocals/bass
Isabella Komodromos - vocals

Gannon Ferrell - guitar
Chris Krasnow - guitar
Henry Vaughn - drums

Recorded and produced by Jeff Lucci
Mixed by Mario McNulty
Video directed & edited by DJay Brawner, Brooks Jones, Beth Narducci & David Roush

Starring Syd and Olivia
Single released by Records, Man Records
A&R: Beth Narducci for You + Me Entertainment
Publicity by Shauna McLarnon for Shameless Promotion PR

JOAN AS POLICE WOMAN radiates on "Feed The Light" from new "Real Life Evolutio" album

July 28, 2026

Iconic NYC artist Joan As Police Woman presents 'Feed The Light', a highlight track from her new 'Real Life Evolution' album, released via UK label Reveal Records. She says, "Songs live beyond their creators. Like us, they settle into themselves over time, finding their own equilibrium. That spirit is the pulse of this new album — ten reimagined versions of every song from the original 'Real Life'".

She also shares the video for the 'Feed The Light (Real Life Anniversary Sessions)', the latest from series, recorded by Adam Sachs at The Owl Music Parlor in Brooklyn and filmed by Ehud Lazin.

The album version differs markedly with Joan playing Fender Rhodes as her chosen instrument, while the video finds her blissfully at home on bass guitar. Recorded by Danny Blume at Hidden Quarry Studios in Bearsville, NY, the album version involves long-term collaborators Thomas Bartlett (Rhodes bass) and Parker Kindred (drums and vocals). In the video version, Joan is joined by Jeremy Gustin on drums and Will Graefe on guitar and vocals.

Joan has also announced February 2027 dates for her 'Real Life 20th Anniversary Tour', complimenting her November 2026 dates, bringing her to UK, Italy, Germany, France and The Netherlands. Performing her debut 'Real Life' album as a trio, shows will also include song from her catalogue, fan favourites, deep cuts and many surprises

Joan Wasser, known as Joan As Police Woman since 2004, is a critically acclaimed musician and producer, and a sought-after collaborator, dubbed “the coolest woman in pop” (The Times) and “one of the 21st century’s best musicians” (The Economist). As a singer, songwriter and multi-instrumentalist, her music defies easy categorization, crafting her own sound that blends various genres.

‘I wrote this song to survive a tour. I was stuck in a van with a friend who was slowly driving me out of my mind. I kept reaching for compassion — genuinely, I tried — but every generous thought had a way of circling straight back to fantasies of duct tape," says Joan Wasser.

"The arrangement came together with Parker Kindred during a massive blizzard in upstate New York. I wanted to break free from the guitar riff the song was born on and find something with more lift to it. I started playing a line on the Rhodes and sang to that instead — and something opened up. Parker adds his voice to the track as well, and I got happily lost in the vintage synths. Thomas Bartlett is magnificent on Rhodes bass; he absolutely tears it apart in the best possible way."

Joan also recently shared the 'Real Life (Real Life Anniversary Sessions)', confessing “I wrote this song to romance a man. We met once for 3 minutes and I had decided he was The One. Bear in mind, this is ages ago. Conveniently, we lived 6000 miles apart.... I brazenly put his name in the song. Unsurprisingly it didn’t work out between us. But the song did." This follows stripped-down trio-format versions of 'Eternal Flame', 'Flushed Chest', 'The Ride', 'Anyone' and 'I Defy'.

Unveiled exactly 20 years from her debut's release, Joan As Police Woman has reimagined her 'Real Life' album with numerous guests. Through countless performances, these renditions are brought to life by the brilliance of the players who helped define their sound. The result is ten stunning tracks with varied flavours and collaborators.

CREDITS
All songs written by Joan Wasser
Published by Fists of Fury (BMI / Domino Publishing),
except “I Defy” written by Joan Wasser & Anohni (Rebis Music (ASCAP))
Produced by Joan Wasser except “I Defy”, “We Don’t Own It” and “Feed The Light” produced by Joan Wasser & Parker Kindred
Mixed by Patrick Dillett at Reservoir Studios
Mastered by Chris Gehringer at Sterling Sound
Joan Wasser - vocals, piano, Wurlitzer, strings
Krystle Warren - vocals
Will Graefe - acoustic guitar
Jeremy Gustin - drums, vocals
Oren Bloedow - electric guitar
Danny Blume - electric bass
Parker Kindred - drums
Tony Scherr - upright bass
Krystal Warren - vocals on 'I Defy'
Iggy Pop - vocals on 'Save Me'
Album package concept & design by Judi Rosen
(p) & (c) 2026 Sweet Police LLC under exclusive licence to Reveal Records
Joan As Police Woman photos by Judi Rosen
Publicity by Shameless Promotion PR

REAL LIFE ANNIVERSARY TOUR
NOV 5 London, UK - Union Chapel
NOV 6 London, UK - Union Chapel
NOV 7 Manchester, UK - RNCM (Royal Northern College of Music)
NOV 9 Glasgow, UK - Oran Mor
NOV 11 Brugge, Belgium - Cactus Club
NOV 12 Amsterdam, Netherlands - Zonnehuis (sold out)
NOV 13 Hamburg, Germany - Mojo Club
NOV 15 Aarhus, Denmark - Train
NOV 16 Copenhagen, Denmark - DR Concert Hall
NOV 18 Budapest, Hungary - House of Music Hungary
NOV 20 Roma, Italy - Angelo Mai
NOV 22 Berlin, Germany - Haus des Rundfunks & Großer Sendesaal

After 7 years, US rocker JONNY COUCH presents 4-producer album 'Where The Sidewalk Ends'

July 26, 2026

U.S. indie rocker Jonny Couch presents 'Where The Sidewalk Ends', his first album in seven years and his most ambitious work to date. Created with four acclaimed producers working across four different studios, the album expands on the melodic craftsmanship and emotional honesty that have become hallmarks of his songwriting while bringing a distinct character to each chapter of the record.

Like the 1950 film noir “Where the Sidewalk Ends”, which inspired this album, Couch channels a sense of mystery and shadowy city streets. its verses carrying a subtle detective-like atmosphere, the lyrics follow a lone figure moving through cold nights in search of connection and resolution. The cover artwork was created by renowned NYC artist Anne Muntges, who has exhibited internationally with work also featured in the book "Women Who Rock: Bessie to Beyoncé, Girl Groups to Riot Grrrl".

Between infectious rockers and ballads, Couch's music draws its origins directly from the power pop and new wave greats of the late '70s and early '80s. Featuring jangling guitars, a propulsive rhythm section, and undeniable melodic hooks, Couch is back with renewed focus and a collection of songs rooted in timeless songwriting, strong melodies and rock-and-roll energy.

This 10-track rock n roll journey was previewed by 'Overwhelmed', which explores the frustrations of a relationship coming apart, and the title track 'Where The Sidewalk Ends', which transforms into a driving, Giorgio Moroder-influenced chorus, blending 70s-inspired disco synths with modern new wave production. The result is a cinematic hybrid—part noir, part euphoric release, the accompanying videi was written and directed by Richard Jordan. Filmed and edited by Charles Colfer, it stars Alexander Saris as "Guy" and Jonny Couch as himself.

Rather than relying on a single producer, Couch assembled four respected collaborators for the project, each overseeing specific songs while contributing their own sonic perspective to the album. Giving the album a broad sonic palette, 'Where The Sidewalk Ends' still has a cohesive power-pop identity with Jonny Couch remainingthe creative constant throughout the project.

"I didn't want every song approached the same way," says Jonny Couch. "Each producer brought a different perspective and challenged me in different ways, but the songs still sound like one album because they all came from the same place."

Jonas Wilson (The Black Angels, Heartless Bastards, Sumbuck, Urban Heat)produced Tracks 1, 2, 5 and 10 at Mr. Pink Records in Bastrop, TX and Jon Chinn(Wild Child, Lomelda, David Ramirez, Gina Chavez) produced Tracks 6 and 8 at Landline Recording in Hoboken, NJ. Peter Mavrogeorgis (The National, Boy Harsher, Grinderman, Sharon Van Etten) helmed Tracks 3 and 9, and Dan Haag(The Astrojet and The Black Swans, both fronted by Fountains of Wayne's Jody Porter) collaborated on Tracks 4 and 7.

A staple on the New York and New Jersey music scene, Couch was a NYC rock drummer before going solo in 2016. His acclaimed 'Animal Instinct' EP earned praise for its blend of soulful pop and rock sensibilities, with Louder Than War dubbing him "a Bryan Ferry pop crooner" and High Times calling his work "charming". 2019's debut 'Mystery Man' further solidified his reputation as a gifted songwriter with recognition in Bandcamp Daily's "Unsung Power Pop Gems From All Eras" feature and more.

Building a following through energetic performances and sharp songwriting, Couch has performed alongside The Fleshtones, Josie Cotton, The Nude Party, Paul Collins Beat, and The Plimsouls, and also at the Savannah Stopover Music Festival, Hoboken Arts & Music Festival, Jersey City's Lo-Fi Fest, and WFMU FM. He regularly appears on stage at NYC venues such as Sleepwalk, Bowery Palace and TV Eye, as well as Pet Shop in Jersey City, NJ.

As of July 24, 'Where The Sidewalk Ends will be available from digital platforms, including Spotify, Apple Music and Bandcamp. The album release show takes place that evening at Brooklyn's Sleepwalk with other live dates in New Jersey, New York and Illinois announced, along with a series of UK dates in August.