Editorial TeamThis one came together pretty naturally. New releases, a few recommendations, and a couple of artists we’d been meaning to get back to. It moves around a bit, from off-kilter art punk to folk-leaning songs and quieter, more reflective pieces. Nothing forced, just what’s been sticking over the past few weeks.
“Snack City”, by La Securité
What’s great with a band breaking out from an unusual part of the planet, is that curiosity leads you to discover more of that region. And since a weird polka-dotted band from Québec flooded social media, I have tried to explore some sound coming there. That is how I stumbled upon La Sécurité. And I have to say, they have everything I like. It’s off-kilter, somewhere between electronic texture and punk, and with obsessing riffs and melodies. The art punk band from Montréal have recently signed by British label Bella Union and will be releasing their second new album on June 12th. We’ll be keeping an eye.
“Run”, by The Blow In’s
The Blow In’s are part of a new wave of Irish bands leaning into folk without treating it like a museum piece. Hailing from Kerry, the trio bring trad roots into a looser, more open sound shaped as much by rock as by anything else. Their debut EP Meant to Be has been quietly gathering momentum, with tracks like “Run” and “Monica” finding an audience the old-fashioned way—through word of mouth and packed-out shows. We have seen them a few weeks ago, opening for Pinch Of Snuff and were quite impressed… And I guess selling out Mike The Pies for their first headline gig says plenty. Still early days, but they’ve already got a feel for it: direct songs, no fuss, and a crowd that’s clearly on board.
“Duplicate”, by Y
London outfit Y don’t really settle into one lane, and “Duplicate” leans into that. We reviewed their first EP last year and loved it. The band channel punk energy, with psychedelic vibes, and electronic textures. Formed during lockdown by Adam Brennan and Sophie Coppin, the project has grown into something more forceful on record and especially on stage, where their shows have earned a reputation the hard way. You can hear that live edge coming through here. “Duplicate” takes aim at control and groupthink, but it doesn’t spell things out—it lets the mood do most of the work. Their next EP ENTER is set for release on May 8th! You should definitely watch for it
“I like It, It’s Nice”, by Iguana Death Cult
Like the title says : “I Like it It’s Nice”. Rotterdam’s Iguana Death Cult have been around for about 10 years already. They practice rich and bouncy, kind of bluesy, gritty, psychedelic rock. With their latest album, the band is shifting gears a little. After a line-up change, the band lean back into a more direct garage and punk sound. The songs circle around burnout, doubt, and trying to find some footing while everything else feels unsteady. It comes through in the playing as much as the lyrics—tense, driving, but not just noise for the sake of it.
“Rush”, by B O I
If you like a good dose of grunge with a bit of bite, B O I are worth your time. The Antwerp five-piece lean into that ‘90s influence, but keep things loose enough to move between moods. Venus In Flux, their debut album, plays with contrast—noisy and direct one minute, slower and more fragile the next. There’s a strong sense of push and pull running through it, both musically and in the themes they circle around. It’s a solid first record from a band still figuring things out, but already sounding like they’ve got something of their own.
“Everybody’s Easy”, Penny Arcade
Penny Arcade is James Hoare’s latest outlet (The Proper Ornaments, Ultimate Painting, Veronica Falls), and Double Exposure keeps things stripped right back. Recorded quickly to tape, it leans into a lo-fi, “less is more” approach. There are moments where guitars step forward, but just as often they fall away, replaced by bare rhythms and simple structures. “Rear View Mirror” sets the tone—minimal, repetitive, and a little hypnotic. It’s a record built on mood more than anything else, the kind you let run rather than pick apart.
“The Party”, by Def Nettle & remixed by GLOK
Def Nettle’s “The Party” plays things with a bit of a wink—part post-punk groove, part off-kilter pop, with just enough bite under the surface. There’s a clear nod to ‘80s alternative, but it never settles into nostalgia. The GLOK remix (aka Andy Bell), takes it somewhere else entirely. Slower, darker, and more stripped back, it leans into a late-night feel, turning the track into something moodier and more hypnotic. Two versions of the same idea, pulling in different directions but holding together.
“Thanks A Million,” by DIVIL
Dublin trio DIVIL come into it with a story that’s hard to separate from the music. “Thanks A Million,” their first release, carries that weight without making a show of it. Built around a simple bass line and a slow build, the track sits somewhere between restraint and release. There’s a sense of repetition in it—both musically and thematically—that ties into what it’s about: getting stuck, and the people who pull you out of it. It’s a quiet start, but not a slight one.
“The Harbor”, by Mark Geary
Mark Geary born in Dublin and emigrated to New York in 1992. He is best known for his songs surrounding love and defiance, “The Harbor” is no different. The lyrics speak of finding the steadiness in life and how we get trapped in a busy headspace but do our best to get through the highs and lows. It’s wonderfully calming and derives wonderfully from his musical roots. It’s certainly going to sit at the top of my list for a while to come.
“Earthbound”, by Stephen Brennan
Stephen Brennan is a young Irish Folk and Rock musician from Co. Fermanagh. He has just released his first solo debut single “Earthbound”, a dark and realistic view on the world today. The style of music drifts between folk and rock as he speaks on how we as a species are slowly damaging the planet and manufacturing our own demise. It’s puts into perspective our selfish and greedy actions along with the consequences of those choices. It has a nice mix of rock guitar and acoustic fills, whilst the drums hold a strong rhythm throughout.
“The Second Coming Was A Moonrise” by Hammock
Hammock are a duo band from Nashville also known as Marc Byrd and Andrew Thompson. This duo is known for their ambient, beatless and post-rock sounds. “The Second Coming Was A Moonrise” combines all these sounds into one incredible instrumental journey. Calming and peaceful, its over seven minute run time keeps you in a state of complete euphoric relief and serenity. Its music has been structured from multiple layered guitars, choral textures and gentle rhytmic drums. The inspiration coming from a time in byrd’s youth when on LSD he and a friend felt they were witnessing the rapture, however this turned out to just be the moon rising, but what they felt at the time we equally now get to through this song.
“Nosedive”, by Man/Woman/Chainsaw
London six-piece Man/Woman/Chainsaw have built their name through constant touring and a reputation for unpredictable live shows. “Nosedive” sees them stretching things out a bit. Built around a steady pulse and synth-led groove, it expands on their signature sound, bringing in warm strings alongside a more traditional pop-rock structure. There’s a push and pull running through it—between control and release, comfort and escape—which gives the track its shape over six minutes. It never quite settles, but that’s the point. With their debut album Cannonball on the way, it feels like a band opening things up rather than tightening them down.
“Rotha”, by McGrath
Donegal songwriter McGrath is only just getting started, but there’s already a bit of weight behind him. “Rotha,” his debut single, is a simple introduction—built around voice, phrasing, and a clear sense of storytelling. It centres on the fallout of a relationship, but keeps things straightforward—no big gestures, just a steady, clear delivery. There’s a sense of coming to terms with it all, carried by a melody that stays out of the way. Early days, but it’s the kind of first release that lands quietly and sticks.
“A Rolling Stone From Heaven”, by Nanaco Sato
Japanese singer and poet Nanaco Sato has been moving between pop, jazz and more abstract territory for decades, never settling in one place for long. “A Rolling Stone From Heaven” fits that approach. Recorded in the late ’90s and only now seeing release, it pairs her free-flowing vocal with a delicate guitar part from the late John Renbourn. There’s a natural, unforced feel to it, as the two parts drift in and out of each other. The remix by Simon Ratcliffe shifts things into a more grounded, rhythmic space without losing that core. It’s the first glimpse of her upcoming album LUST, due September 25th, a record drawn from long-shelved sessions now finally brought into the open.
