New Audio: Los Angeles’ Charm School Shares A Thumping Club Banger for Our Dystopian Hellscape

Los Angeles-based electronic music act Charm School features Louisville, KY-born, Los Angeles-based multi-hyphenate artist and frontman Andrew Sellers and his longtime collaborators Matt Filip and Dave English. Sellers grew up immersed in Louisville’s underground scene, soaking up the work of local acts like Slint, Crain and Rodan, as well as the catalogs of beloved Chicago indie labels Touch & Go and Drag City. Later, Sellers got into PIL, Swell Maps, The Fall and Fugazi and The Nation of Ulysses. All of that informs Charm School’s sound and approach.

Their debut EP, 2023’s Finite Jest introduced listeners to a philosophically-minded, crushingly loud critique of modern life’s increasingly maddening realities. Last year’s full-length debut, Debt Forever introduced a broader range of influences and a much more acerbic viewpoint with lyrics drenched in salty, satirical humor.

Released earlier this year, Schadenfreude Ploy EP picks up where Debt Forever left off, musing on humanity’s tortured psyche and the confounding implications of living in a technocratic, dystopian hellscape in which tech billionaires, AI and modern life’s various manipulative traps are ubiquitous and seemingly inescapable.

Continuing a remarkably prolific period, the Los Angeles trio’s latest single, the Matia Simovich-produced “Desolation” is a hook-driven, EBM/darkwave/goth banger featuring 80s synthclavier stabs, thumping 808s paired with Sellers dryly sardonic yet simultaneously sincere delivery. Sonically bringing the likes of early Ministry, Depeche Mode, as well as contemporaries like Public Circuit to mind, the song is a club anthem for our dystopian hellscape. The world’s on fire and everything seems hopelessly fucked, so have a little fun, dance and sweat it out with some other humans.

New Audio: Sam Zalta Shares Shimmering “I Might Die Tonight”

Over the past decade, Brooklyn-based singer/songwriter and multi-instrumentalist Sam Zalta is best known as a touring member of JOVM mainstays Bambara, an act that has toured alongside the likes of Foo Fighters, IDLES, Gilla Band, fellow JOVM mainstays METZ and Algiers.

As a solo artist, Zalta’s work occupies a world entirely his own, one increasingly shaped by elaborate storytelling, recurring characters, dreams, devotion and the uneasy space where beauty and pain meet over the course of four albums, 2015’s Paraiso Terminal, 2017’s o, 2019’s It All Ends The Same and 2023’s Memento Mori. The Brooklyn-based singer/songwriter and multi-instrumentalist crafts songs that feel superficially soothing but underneath is something more unsettled and stranger that sonically draws from dream pop, shoegaze, indie pop and the likes of The Beach Boys, Spiritualized, Big Star and Swans.

Zalta’s latest releases finds him pushing further into orchestration, narrative and world-building while still being anchored around his penchant for melodicism.

His latest single “I Might Die Tonight” is a shimmering tune that sonically brings Caveman, Tunnel of Love-era Bruce Springsteen and Cocteau Twins to mind and while expressing an aching yearning, there’s a churning unease just under the surface.

New Audio: SAOL Shares Earnest and Rousingly Anthemic “Lines”

Irish singer/songwriter and musician Zoë Gough is the creative mastermind of the recording project SAOL, a project that showcases a genre-bending sound that weaves elements of shoegaze, indie rock and grunge paired with vivid lyricism, catchy hooks and an uncanny knack for melodicism. The project is rooted in Gough’s dedication to engaging with music as a social platform while documenting her journey to situating herself within an Ireland that has undergone rapid change while holding onto the strands of the past that tie together the future and finding a way forward.

Gough’s work with SAOL has been played on RTE, RTE 2xm, Galway City Flirt FM and has received national radio play on Ireland’s Radio Nova while drawing comparisons to Hole, The Cranberries, My Bloody Valentine, Sinead O’Connor, and Garbage.

The Irish artist’s latest single “Lines”is a hook-driven tune anchored around earnest songwriting and performances, rousingly anthemic sing along worthy hooks and choruses, fuzzy power chords paired with her powerhouse delivery. While drawing comparisons to Hole, The Cranberries, Smashing Pumpkins and contemporaries like Soccer Mommy and Snail Mail, “Lines” draws out the prolonged process of loss and reckons with being the one left alone.

New Audio: Tony Moreno Pays Tribute to Mentor and Friend Elvin Jones on “EJ’s Blues”

Elvin Jones (1927-2004) was known for redefining jazz drumming as we know it, liberating the instrument from simple timekeeping and instead treating it as a fluid, multi-layered voice. He was also famously known for being the polyrhythmic backbone of John Coltrane’s legendary quartet, contributing to some of the most beloved and influential recordings ever made.

Back in 1967, an 11-year old Tony Moreno was determined to see the legendary drummer Elvin Jones perform live for the first time, and soon realizing he was out well past his bedtime fell asleep on the table of the jazz club he was at. He was awakened by Jones, who sat down at the table, and upon leaning that the young Moreno hadn’t owned a drum set yet, invited him up to his apartment. Jones quickly assembled and gifted Moreno, a drum set, which he played on as a member of the Coltrane Quartet. The exchange kicked off decades of mentorship and friendship. (And in case you were wondering, Moreno still owns that drum set.)

For Moreno, who has worked with Dave Liebman, Barry Harris, Mal Waldron, Frank Kimbroough, and a lengthy list of others across the globe, that day in Jones’ home marked the beginning of a career that has now spanned more than 50 years. In 2024. the 20th anniversary of Jones’ death, Moreno felt that the time was right to assemble a project to pay tribute to his most formative mento and dear friend.

Intent on celebrating the titan from his own lens, he collaborated with arranger Rich Shemaria to present the music orchestrally, providing an interpretation that combines the ferocity the drummer is widely known for with the sensitivity and attention to detail that isn’t brought into the spotlight often. He eventually assembled an all-star ensemble featuring there-time Grammy Award-nominated tenor saxophonist Troy Roberts, Grammy Award-nominated pianist Manuel Valera, Grammy Award-winning percussionist Mauricio Herrera, alto saxophonist Patrick Cornelius, and bassist Gene Perla, who spent the first half of the 1970s in Elvin Jones’ band.

Moreno’s newest effort, A Celebration of Elvin Jones is slated for a November 6, 2026 release through Mayimba Music. Playing tribute to his mento and friend, who gave him his first drum set, the album features ten tracks associated with Jones’ work as a bandleader with spirited new renditions that pain a portrait of the legendary drummer’s dynamism and humanity. A widely acclaimed, singular drummer, who came up in the famed Jazz Composer Orchestra Association (JCOA) loft scene, A Celebration of Elvin Jones served as a portal that transported Moreno back to the moments that sparked his profound love of the music. “Playing Elvin’s music is like going home,” he explains. “My formative years were based on the things that I learned from him, but every musician gets to a point where they realize that your own identity is paramount. It may be difficult to shed some of the history that you’ve lived in your music, but you realize at a certain point that you have to make personal statements, which took me in different directions. So this feels like returning home, and it’s been an emotional journey.”

The Jones tribute album’s first single “E.J.’s Blues” is a strutting, swinging blues that simultaneously marks Moreno’s return to his musical roots and showcases the adept, soulful musicianship of Moreno and his cast of collaborators.

Reflecting on the profound impact Elvin Jones had on him, Moreno said, “This album is a tribute to a man I consider to be my father figure. Elvin gave me a purpose, to live and grow and to be a musician, so this is my way of giving thanks.”

New Audio: Sunnan Shares Wistful and Cinematic “Echoes in Time”

Swedish outfit Sunnan can trace their origins through a series of unlikely encounters, including pandemic-era change, a barn with panoramic windows in Sunnanhed and a meeting with a Stockholm rave legend. In many ways the band embodies creative serendipity — and unsurprisingly, their origin story, which feels both inevitable and improbable, echoes through their work.

The band quickly built a reputation with the release of a series of standout singles including “My Love For You,” “Wild Horses,” and “The Sound (Make It Come Back),” their collaboration with Titiyo. 2024’s debut studio album Cinema was released to widespread praise across the Nordics and earned two Swedish Grammy nominations.

Last year’s Cinema Sound System helped propel the Swedish outfit onto the global stage with its three singles receiving heavy radio rotation on Nordic radio stations, received strong DSP support and organic crossover into North American and European markets. The band supported their debut and EP with 20 sold-out dates across the Nordics and the European Union. 

Building upon a growing profile, the Swedish outfit released their highly anticipated sophomore album, Spaghetti Soul last week. The album sees the band further cementing their critically applauded cinematic sound but while blending Italian Spaghetti Western soundtrack-styled grandeur with classic soul –filtered through a decidedly modern lens.

The album includes the previously released “Sail (Lady In Waiting)” and the album’s latest single “Echoes in Time” a widescreen, twangy bit of Morricone soundtrack-tinged soul anchored in a wistful, nostalgic ache while nodding at old timey ballads and Bossa Nova. Much like their previously released material, “Echoes in Time” showcases deft, incredibly gorgeous musicianship and songwriting.

New Audio: Brooklyn’s Marigny Returns with Punchy, Goth-like “I Grieve”

Marigny is post-punk/heavy rock/goth project of a mysterious Brooklyn-based artist, who blends coldwave textures, heavy analog distortion and dark atmospheres to craft material that’s simultaneously intimate and volatile. Their sound is intentionally analog and physical — loud, low end, corroded textures, cassette tape-like saturation and tension that feels more like a live room recording than a clean, polished digital mix. Thematically, the band’s work explores grief, obsession, addiction, masculinity and spiritual decay through a modern Afro-gothic lens. 

Earlier this year, I wrote about “The Still,” which served as a bold introduction to the project and its sound. The project’s latest single “I Grieve” is a bruising blend of post-punk, industrial, dark wave and goth — with the song arguably being the most decidedly goth-leaning song from the act to date. And while rooted in raw, soulful emotion, “I Grieve,” continues to showcase the artist’s ability to craft punchy, hook-driven material.

New Audio: Umeå’s Mi Von Ahn Shares Atmospheric “Yet All Drifts”

Over the course of two albums and four EPs, Umeå, Sweden-based singer/songwriter, musician and self-described sound artist Mi von Ahn creates evocative, dreamlike indie rock with intensity and presence that carries a introspective melancholy and a bit of northern Swedish wistful within a lush, dynamic soundscape in which stark open spaces meet inland forests. Her debut album, 2018’s Signals earned a Swedish GAFFA Award nomination for Best Newcomer. And adding to a now-established national profile, she has toured as an opener for The Soundtrack of Our Lives, Ane Brun, Loney Dear, and Christian Kjelvander.

The Umeå-based artist’s third album Delta Veins is slated for a November 6, 2026 release. Co-written and produced alongside Martin Hederos and Anton Sundell, the album sees Von Ahn pushing her sound into a new territory — widescreen and sweeping indie rock with trip-hop and shoegaze-inspired textures. The album’s material moves constantly between the personal and the collective, often without drawing a clear line between them. A song about holding onto an unsustainable relationship is, at the same time, a song about standing beside a burning climate crisis without acting, even while knowing better. Whether a song is about a relationship, identity, or the climate crisis, there’s an undercurrent of searching beneath it.

Delta Veins also marks the first time in the Swedish artist’s career that she has written and sung lyrics in multiple languages with passages in English, Swedish and Sámi woven together throughout the album.

Album single “Yet All Drifts” is a slow-burning tune that eschews conventional verse-chorus-verse song structures in order to let the song’s atmospheric and painterly, shoegazer-inspired textures settle into its own shape, paired with trip-hop-like breakbeats and the Swedish artist’s sultry delivery. Sonically, the result is a song that to my ears seems like a blend of 90s singer/songwriter pop rock like Joan Osbourne‘s “What If God Is One of Us?,” Portishead, Radiohaed and a bit of a A Storm in Heaven-era The Verve to create a song that’s intimate yet expansive, peaceful yet deeply restless, evoking a change that’s felt before they’re seen.

“The song is written from a dreamlike state that can arise when, instead of fighting it, you manage to accept the inevitable change and let yourself drift with it,” says Von Ahn. “On the surface everything is still, but underneath a slow, almost invisible shift is taking place. A sense that we are not victims of the change, we are the change.”