Category: Single Review

Single Review by William Ruben Helms

New Audio: George Aletras Shares Shimmering “Τώρα”

George Aletras is a Greek singer/songwriter and musician, whose work sees him moving between indie rock, post rock and cinematic soundscapes, frequently blurring the boundaries between them. At times, his work leans into experimental territories, not as a statement of style, but a a natural consequence of exploration, where form isn’t followed but discovered,

Aletras’ latest single “Τώρα” is a shimmering, hook-driven bit of 80s-inspired post punk and New Wave that’s cinematic while channeling Heaven Up Here-era Echo and the Bunnymen and contemporaries like PLOHO.

Single Review by William Ruben Helms

New Audio: FRACTILES Share Bruising “Call Me Slick”

German electronic music duo FRACTILES — Christoph Schauer and Max Filges — features two internationally acclaimed musicians and film composers, who combine their individual energies into an uncompromising sound that meshes elements of industrial electronica, […]

Single Review by William Ruben Helms

New Audio: Modern Ideas Shares Glistening “This Is How It Hurts”

Modern Ideas is a Melbourne/Naarm-based singer/songwriter, multi-instrumentalist and producer, who specializes in dark synth pop rooted in a belief that pop isn’t about perfection, but transformation. In particular, our power to change shape, to become new forms, to have new feelings and new identities.

Drawing from 80s synth pop and contemporary darkwave, Modern Ideas’ is anchored around a simple conceit: Although modern life may be artificial, within that artifice lies the possibility of something beautiful, strange and new.

The Aussie synth pop project’s latest single “This Is How It Hurts” serves as the perfect introduction to its overall sound and approach. Built around glistening analog synths, a tight, skittering four-on-the-floor paired with an understated yet aching vocal and a remarkably catchy hook, “This Is How It Hurts” seemingly channels Depeche Mode, New Order and TR/ST while anchored around a spacious and clean, modern production.

Single Review by William Ruben Helms

New Audio: Philly’s Sri Lanka Shares Brooding “Eventide”

Sri Lanka is a Philadelphia-based band that originally formed back in 1986. The band quickly established a sound that draws from goth and post-punk, as well as elements of alternative rock and psych rock. They saw extraordinary popularity in the Philadelphia and New York underground music scenes of the late 1980s and 1990s before going through a series of tumultuous lineup changes following the departure of founding member and the tragic death of frontman Brett Turner

Suffering from depression, Turner took his own life back in 1989, when he was 20. The band went on to try out several vocalists before landing on Jose Maldonado. And with Maldonado, the Philadelphia-based post punk outfit went on to record and release 1992’s Shadow and Ivy EP and 1993’s Here. Friction between band members Erb and Maldonado started early on and ultimately led to the band splitting down the middle shortly after the release of Here with Erb and Chairs going in one direction, Maldonado and Stein going in another. Rob Studt retired from music altogether.

Erb went on to rejoin his original founding partner Lee Daniels and formed the band [needle] in 1995.

Back in October 2020, the band announced the forthcoming release of Leviathan on their Facebook Fan page, after a 25 year hiatus. And that November, they released the album’s title track “Leviathan.” They also released two live recordings from Christmas 1998 at Philadelphia’s Club Memphis and February 1989 at Philadelphia’s Revival.

Late last year, the band shared “Solstice,” a driving with of goth-tinged post punk that seemingly channels Cocteau Twins and contemporaries like ACTORS, while showcasing the band’s ability to craft a driving and rousingly anthemic, catchy hook and chorus.

Leviathan‘s latest single “Eventide” continues a run of driving goth-leaning post punk — but unlike it’s immediate predecessor, there’s a more of a shoegaze element to the proceedings that adds to the song’s brooding, late night vibe.

Single Review by William Ruben Helms

New Audio: Hallucinophonics Share Dance Floor Friendly “Ten Thousand Suns”

British indie outfit Hallucinophonics exists as the crossroads of consciousness and sound, creating immersive, psychedelic soundscapes that defy and blend the boundaries between reality and dreams. Drawing inspiration from Pink Floyd, Tame Impala, NEU! and others, they attempt to create […]

Single Review by William Ruben Helms

New Audio: Hannah Scott Shares Thoughtful and Politically charged “Sitting In The Dark”

Suffolk-born, London-based folk artist Hannah Scott will be releasing her newest EP Threads on June 19, 2026. Threads is the follow-up to Scott’s widely praised third album, 2024’s Absence of Doubt.

The EP marks the first effort the Suffolk-born, London-based has both written and self-produced. She worked alongside acclaimed engineer Adrian Hall and recorded piano, acoustic guitar and vocals at home — with a makeshift vocal booth in her wife’s wardrobe. The EP’s material is inspired by family, nostalgia and grief — and perhaps in a small, unexpected way, a desire to change the rental market for the better. (Shit, you got me there, lady!)

The EP’s second and latest single “Sitting In The Dark” showcases Scott’s thoughtful storytelling rooted in a subtle yet powerful critique of capitalism and the local rental market, calling out the greedy developers, landlords and others, who have helped to put her narrator in a lousy apartment that she can barely afford with shitty furniture and power outages.

I have a shitty and greedy landlord, so this song hit close to home. You’ve most likely have been there, too.

Single Review by William Ruben Helms

New Audio: El Paso’s oKMark Shares Swooning “Sin Tu Permiso”

El Paso-based outfit OkMark crafts an analog synth-driven take on space rock and psych rock, anchored by their frontman Marco’s deeply personal lyricism.

Their latest single “Sin Tu Permiso” is a brooding bit of lo-fi-like psych pop that seemingly channels JOVM mainstays Tame Impala and Kainalu but anchored around a swooning, desperate heartache and unease. The song captures a narrator, who’s paralyzed by their own fear in the face of an unbelievably difficult situation.

The band’s frontman explains that he wrote the song for anyone, who has wanted to leave a relationship but couldn’t — not because of their partners but because of what they would be leaving behind.

“I started working on the music on a Shinkansen train in Japan using an OP-1, building upon minor chords that already carried that weight of melancholy,” he explains. “The production reflects this: a Moog bassline [sic] at 90 BPM, dense layers of dark synthesizers, and vocals that crack at the emotional peak. It is dark electronica infused with the intensity of the Mexican bolero.”

Single Review by William Ruben Helms

New Audio: SHOLTO Teams Up with Phoebe Coco on Brooding and Atmospheric “Everything is Stolen Anyway”

Initially known as being one-half of indie outfit Sunglasses for Jaws, the rising London-based producer, composer and multi-instrumentalist Oscar “Sholto” Robertson grew up with with a deep and abiding love of jazz, soul, krautrock and soundtracks from the 60s and 70s. As a producer, Robertson honed his production skills under the guidance and tutelage of Allah-Las‘ Nick Waterhouse and Inflo.

A handful of years ago, Roberston stepped out into the spotlight as a solo artist with his recording project, SHOLTO. And with SHOLTO, the rising London-based multi-instrumentalist has firmly cemented a cinematic take on instrumental, psychedelic soul. 

Now, as you may recall Roberton’s sophomore SHOLTO album, last year’s 12-song The Sirens was recorded at the JOVM mainstay’s Hackney-based SJF Studio, and the album saw him continuing an ongoing collaboration with a familiar cast of musicians, including Syd Kemp (bass), Clementine Brown (strings) and Rachel Horton Kitchlew (harp) to craft an album that’s emotionally unflinching and explores themes of duality temptation and emotional dissociation, “blurring grief with groove, seduction and surrender,” as Robertson says.

Sonically, The Sirens saw Robertson building upon the groove-driven, string-soaked soundscapes and ethereal textures that have won him attention in the UK and beyond but while evoking a haunting, uneasy fever dream.

Robertson’s latest single, “Everything is Stolen Anyway” sees the JOVM mainstay diving deeper into his long-held trip-hop influences with a brooding, jazz groove-driven arrangement that seemingly channels Portishead, Tales of Us-era Goldfrapp and No Angel-era Dido among others.. The song also features frequent collaborator Phoebe Coco‘s mesmerizing, whiskey and longing soaked vocal.

“Everything Is Stolen Anyway” is rooted in two central concepts: the comfort in repetition and that nothing we feel or think is entirely new. “Moments of love, loss, wonder and the quiet awe of the sea’s tide arrive to us as if they’re ours alone, yet they’ve all been lived before. Borrowed feelings, borrowed time,” the two collaborators say.

“’Everything is Stolen Anyway’ leans into the thought that art works the same way; every melody, every painting, every idea carries echoes of something earlier,” Robertson and Coco continue. “Songs are fragments passed forward, reshaped, reframed, and retold through new hands and new voices. In that sense, nothing is truly original. But the first time you hear or feel something, it becomes new again.”

Single Review by William Ruben Helms

New Audio: Olympia, WA’s Waves Crashing Shares Shimmering “Marine Garden”

Rising Olympia, WA-based indie outfit Waves Crashing — Joshua Calisti (vocals, guitar, cello), Bryce Albright (drums and Zach Olson (bass backing vocals) — burst into the regional and national scenes with their breakout full-length debut, last year’s Effection, which landed at #88 on KEXP’s Best of 2025 List, #28 on Obscure Sound’s Top 50 Albums of the Year. The album also landed at #92 on the NACC charts.

The trio supported their debut by opening for Ringo Deathstarr and Cloakroom, and they shared stages with Flying Fish and Cigarettes For Breakfast.

Building upon a growing profile, the Washington State-based trio’s sophomore album In The Blur is slated for a May 20, 2026 release through Audiomanic Records. Where Effection served as an introduction to the band’s sound which paired lush shoegazer textures with soaring hooks, In The Blur sharpens the edges and widens the lens a bit. The eight-song In The Blur reportedly sees the band boldly and confidently stepping into their sound while pushing it into new territory, further cementing their immersive blend of shoegaze atmospherics, post-punk pulse and melodic alternative rock. The album also showcases the band’s growth in songwriting, production and overall sonic depth. The end result is an effort that feels simultaneously cohesive yet exploratory, and equally suited for live rooms and late-night headphone listening.

Thematically, the new album touches upon social division, the pressures of the music industry, unwavering love and gratitude and mental fragility.

In The Blur‘s latest single “Marine Garden” seemingly channels a hook-driven synthesis of Ocean Rain-era Echo and the Bunnymen, The Psychedelic Furs and 1990s shoegaze with the song featuring an arrangement of shimmering, reverb-kissed guitar textures, brooding bursts of cello and a familiar post punk pulse. And while nostalgia-inducing for the old heads, the song is rooted in a deeply modern sensibility.

The rising Olympia-based trio will be supporting the new album with a run of the regional festival circuit and with a UK tour. More on that, soon.

Single Review by William Ruben Helms

New Audio: Dominque and the Diamonds Share Heartbreakingly Gorgeous “I Don’t Mind”

Led by Colombian-American frontwoman Dominque Gomez, Los Angeles-based country band Dominique and the Diamonds can trace their origins back to 2024: the band came together on a whim, after Gomez was asked to perform a country set at the local summertime concert series The Grand Ole Echo. 

Friends from cosmic country outfit Caravan 222 and rock band Triptides were recruited to play as Gomez’s backing band, and over the course of the subsequent year started to gain attention locally for a sound that seemingly channeled Linda Ronstadt, The Flying Burrito Brothers, Townes Van Zandt and the Laurel Canyon sound — but with a contemporary feel. 

The Los Angeles-based outfit’s Glenn Brigman-produced full-length studio debut album Honky Tonk Queen is slated for a June 26, 2026 release. Recorded at Crestline, CA-based Skyforest Sound, the group tracked the album’s material on tape with a Tascam 388 and then mixed digitally, offering that old-timey/classic grit while being remarkably modern. “The recording sessions for Honky Tonk Queen had such a family vibe to them,” Brigman says. “The band would leave the city behind and trek up to my cabin in the mountains where we recorded on tape, built fires, listened to Grateful Dead records, drank wine… I even made some homemade country biscuits for breakfast just to make sure we had all the vibes dialed in properly. And of course we celebrated after the last session with a night out at the local mountain saloon.”

Brigman is also heavily featured on every song playing a variety of vintage Rhoes, Wurlitzer, piano, Mellotron, organ and some lead guitar, making Brigman the unofficial fifth member of the band.

Honky Tonk Queen reportedly sees the Los Angeles-based quartet summoning the spirt of 1970s Sunset Strip and Laurel Canyon, weaving vintage-era country storytelling with shimmering, reverb-kissed pedal steel and gorgeous harmonies and melodies. While their sound openly and lovingly draws from the likes of The Flying Burrito Brothers, Exile from Main Street-era Stones, Harvest-era Neil Young and Townes Van Zandt, the album’s material never feels imitative; in fact, the band reinterprets those influences through a distinctly contemporary lens in which dreamy and cosmic textures meet down-to-earth, lived-in storytelling.

Fittingly, the album is the product of Dominique Gomez’s comfortably poised footing as a California-based country artist. “I’m a vocalist first. But I grew up singing all kinds of genres, country being one of them. In my younger days, I couldn’t really decide on which one I wanted to pursue more because I just loved it all,” Gomez says. As a working songwriter, who has worked in the worlds of sync and music libraries since 2020, the Los Angeles-based singer/songwriter found strength and reassurance in country. “I’ve always written different types of songs; soul, pop, rock, country, R&B, blues, etc. But I kept getting hired to write more and more country songs,” she recalls. This helped pushed Gomez to dive deeper within country, and the release of the band’s debut will mark one of many milestones in her career.

Representation is central to the album. The Los Angeles-based singer/songwriter is proudly Latina and she carries that identity into every performance. Her visibility and leadership are deeply intentional: to create a space where her community feels safe, seen and accepted in a genre that admittedly has a troubled history and is still evolving — albeit sometimes, slower than it should. ““I had my hesitations of getting involved in country music for many reasons, but being a daughter of Colombian immigrants was by far the biggest reason why I didn’t think I would fit in. I’m half white and half Colombian but very Latina presenting.”

But as the band progressed and began to build a fanbase, she quickly realized how important her role was, “Connecting with our fans on tour is what really did it for me. In Sacramento, I had a girl come up to me after the show and tell me, ‘I love country music but I don’t feel safe in those spaces being Latina. Because of you, I feel safe to love it now,'” Gomez recalls. “Representation matters and I hope to continue to deliver safety and inclusion to everyone who comes to our shows or listens to our music.” Though the band sounds nostalgic, they’re also a promise — that classic country can expand its circle, embrace new voices and still honor the soulful and gritty roots that inspired it.

Honky Tonk Queen‘s latest single, album title track “I Don’t Mind” is a classic country-styled ballad that showcases some gorgeous, shimmering pedal steel, Gomez’s mesmerizing delivery and her lived-in, story-as-song driven songwriting rooted in a mix of heartache, uncertainty, hope and gratitude.

“I moved to LA in 2021 for music, but the entire reason I ended up in southern CA in the first place was from fleeing a dangerous relationship in the Bay Area,” Gomez recalls. “I didn’t want to leave West Marin. I was heartbroken over that, not so much the relationship itself. I had plans of making it back to that small coastal town I lived in, but when I found out my ex had planted roots there, I knew it wouldn’t be safe for me to go back.” Though Gomez’s heart will always live in that small town, she also knew that Los Angeles had much bigger plans for her

“Moving to LA was the best decision of my life. Yes, what I had experienced was terrible, but unfortunately, I don’t think I would have ended up here if I hadn’t gone through it all. There would be no Dominique and the Diamonds, no songwriting opportunities, no touring. This incredible, dream-like life that I live now because of this project would have never existed. So in the end, I don’t mind that my ex took that old dream away from me. This is exactly where I’ve always wanted to be all along.”

Single Review by William Ruben Helms

New Audio: Jonathan Personne Shares Groovy “Rêve américain”

Initially known for his roles as co-founder, co-lead vocalist, guitarist, lyricist and songwriter in internationally acclaimed JOVM mainstay act Corridor, Montréal-based singer/songwriter, multi-instrumentalist, animator and visual artist Jonathan Robert is by both necessity and nature, a prolific and versatile artist.

Back in 2015, he began archiving his overflowing ideas, when his girlfriend gave him a Tascam four-track recorder. This opened a world of possibilities for the French Canadian artist, fueled by his enthusiasm for a wide range of musical genres aligned by his lo-fi sensibilities. He began compiling demos with similar sounds and inspirations, and before publicly releasing a song, a discography was taking shape.

This creative process eventually evolved into Robert’s solo project, Jonathan Personne, which derives its name from the French version of John Doe — or perhaps a bit more accurately, Jonathan Nobody. The project’s name reflects his determination to simultaneously not represent a specific person and to better reflect his multifaceted artistic identity. Over the past seven years, he released four albums that saw him drawing from a wide range of influences including desert dream pop, Morriocone-esque Spaghetti Western rock, The Clean-like jangle pop, Latin-influeinced grooves, Galaxie 500 and Yo La Tengo-like indie rock, as well as sampling, sequencing and beatmaking. And he’s done this while working on albums with his primary gig, Corridor.

Typically, Robert finds himself working three albums simultaneously. Although he gives each project the time it needs to be distinctive, there’s always one that’s on the verge of completion. The French Canadian artist’s Jonathan Personne debut, 2019’s Histoire Naturelle drew from desert dream pop, Morricone-esque Spaghetti Western rock and jangle pop, showcasing some of the project’s earliest written and recorded material. Thematically, the album’s material focused on the potential end of the world, which with the album’s timing, may have been alarmingly prescient.

His sophomore Jonathan Personne album, 2020’s Guillaume Chiasson-produced Disparitions was primarily written while the Montreal-based artist was touring with Corridor and his full-length debut was being mixed.

He began 2022 by signing with Bonsound, who released his Emmanuel Éthier-produced self-titled third album. Written alone on an acoustic guitar in a cottage, the album took an unexpected turn, when the Montreal-based artist went to Quebec City-based Le Pantoum with his friends and frequent collaborators Samuel Gougoux (drums), Julian Perreault (guitar), Mathieu Cloutier (bass) and the aforementioned Éthier (violin, synths, mellotron, vocals and production), who helped flesh out the album’s material with arrangements featuring electric guitar, 12-string acoustic guitar, Rhodes, timpani, mellotron, synths, violin and samples from obscure TV shows and movies. But unlike his previously released Jonathan Personne work, the self-titled album had a much more polished production.

His fourth album last year’s Nouveau mode was a melodic, sometimes noisy effort that brought together previously unreleased songs from different periods of the project.

Robert’s fifth Jonathan Personne album, Répertoire is slated for an August 28, 2026 release through Bonsound. The album’s material can trace its origins back six years ago: When he began working on what would eventually become Repertoire, the Montréal-based artist sensed a significant change in direction and chose to focus on another set of songs instead. This lead to his acclaimed, self-titled third album. Répertoire reportedly sees Robert bringing some light to his firmly established melancholic sound, with the album’s material drawing from yacht rock and dream pop to create something entirely unexpected. Anchored around melodic bass lines, looping figured and self-sampled guitars, the result is a sound that’s groovy yet contemplative, dreamlike yet noisy.

Thematically, the 10-song album sees the French Canadian JOVM mainstay reflecting on his relationship with music, vacillating between moments of repulsion and ones that remind him why he chose — and loves — his career.

Répertoire‘s first single, album opening track “Rêve américain” may be the funkiest song of Robert’s growing solo catalog to date. Seemingly a mind-bending blend of yacht rock, Les Imprimés and Monophonics-like blue-eyed soul and indie pop, “Rêve américain” explores the feeling of disillusionment over an idealized notion of success, specifically referencing his last tour across a dysfunctional, fucked up Trump-era United States with a droll sense of irony, exasperation and fear.

Single Review by William Ruben Helms

New Audio: Copenhagen’s Bending Backwards Shares Yearning “i See You From Here”

Copenhagen-based trio Bending Backwards — Frederik Blæsild Vuust (vocals), Halfdan Stefansson (guitar) and Johannes Østlund Jacobsen (drums) — specialize in a distinctly contemporary take on alternative rock that sees sees the trio moving fluidly between dream pop, shoegaze, grunge post-punk, noise rock and folk.

Thematically, the Danish trio’s work touches upon recurring and uneasy dichotomies: the longing for home and stability and the pull of the outside world, and intimacy and disorientation. Their work also touches on love, especially between siblings, as well as reflections on distance, memory and everyday tenderness. Lyrically, Blæslid Vuust’s lyrics draw on a wide range of literary influences and references, including biblical passages, the work of T.S. Eliot, László Kraszenahhorkai and more.

As part of Copenhagen’s experimental and alternative music scenes, a loosely connected network of band and artists including the Movement Shaped Like A Heart Collective.

The trio’s latest single “I See You From Here” is also the first single off their full-length debut still and quiet, brother, are you still and quiet. Sonically channelling a synthesis of brooding post punk, indie rock and folk featuring Blæsid Vuust’s achingly tender, vulnerable delivery ethereally floating over the arrangement, “I See You From Here” describes the push and pull of an new relationship between two dysfunctional, deeply human people,

Bending Backwards describes the song as beginning with “the image of an apartment in Berlin . . . and a large park just down the road,” where two figures are placed within the scene. What follows is loose yet recurring sequences of events: They meet. They sit in the apartment just down the road rom the park .They took a walk in the park, then separate and return. The song captures that seemingly endless push and pull.

Single Review by William Ruben Helms

New Audio: Riga’s Les Attitudes Spectrales Shares Mosh Pit Friendly “A Trip Down Memory Loss”

Riga-based noise punks Les Attitudes Spectrales — co-founders French-born, Latvian-based Julien Stark (vocals, guitar) and his Latvian-born spouse Rūta Stark (bass, vocals), along with Adrians Grīns (guitar) and Mārtiņš Kuzmins (drums ) — was initially founded in 2014 as a duo featuring its co-founders Julien Stark and Rūta Stark. And as a duo, the band released two lo-fi albums 2014’s Floral Wreck and 2015’s Where’s My Ghost Milk?

Shortly after the release of Where’s My Ghost Milk?, the Riga-based outfit expanded into a quartet with the addition of Grīns and Kuzmins. As a quartet, the band released 2019’s Vampire in the Summer and 2022’s award-winning Songs For No One on vinyl through boutique French label Specific Recordings.

The quartet signed to Latvian underground tastemaker label I Love You Records, who will be releasing the band’s fifth album, Watch The Sword About To Drop on May 26, 2026. The 10-song album is reportedly one of the most fearless and heaviest albums they’ve written and recorded to date, while capturing a band on the verge of exploding into the global noise and rock scenes.

Watch The Sword About To Drop‘s first single, “A Trip Down Memory Loss” is a breakneck, King Gizzard and the Lizard Wizard and Osees-like mosh pit friendly ripper. The first time I heard “A Trip Down Memory Loss,” I could picture a room quickly turning into a sweaty, joyous mosh pit but the song is rooted in some of the bleakest lyrics that the band’s Julien Stark has ever written.

“Alzheimer’s runs in my family. I didn’t decide to write about it, it just came out. It’s common for me to write a sentence and then work around it. In this case, I started with the final line (“Where was I?”) and the first line was the part I wrote last. It turned out to be about being an old person having hallucinations and falling down the stairs,” Julien Stark says.

Single Review by William Ruben Helms

New Audio: The Afghan Whigs Return with Meditative “Duvateen”

JOVM mainstays The Afghan Whigs —  currently Greg Dulli (vocals, guitar), John Curley (bass), Patrick Keeler (drums), multi-instrumentalist Rick Nelson and the band’s newest member, Blind Melon’s Christopher Thorn (guitar) — released their ninth album, 2022’s How Do You Burn? to widespread critical acclaim from Rolling Stone, Pitchfork, Los Angeles Times, Spin,Stereogum, Billboard and others. 

Late last year, saw the band tackling two songs — — Poliça‘s “Fake Like” and Still Corners “Downtown” — that seemed perfect for the band’s unique take on them. 

The JOVM mainstays will celebrate their 40th anniversary this year with a month-long tour with Mercury Rev that includes an April 30, 2026 stop at Webster Hall. Tour dates are below. You can visit https://linktr.ee/theafghanwhigs for tickets and more. 

“40 years later, I still get to do the thing I love the most. Writing songs and performing them with my friends all over the world,” The Afghan Whigs’ co-founder and frontman Greg Dulli says. “I truly have to pinch myself.”

But in the meantime the JOVM mainstays have shared a bit of new material that includes “House of I,” and their latest single “Duvateen.” “Deriving its title from the name of the light manipulating material, “Duvateen” is a meditative, piano-driven power ballad with the titular material being a metaphor for mortality and the dark abyss just off in the background of our lives.

At the core of the new single is a narrator with the recognition that they’re no longer young and that their own mortality is looming just over their shoulder. “When I finished “Duvateen,” it felt like my life passing before my eyes,” The Afghan Whigs’ Greg Dulli says. “The references to the teacher chasing me down the hall reminded me of my childhood. Digging a hole was an obvious allusion to a grave. I’m at a precipice in life where I can look behind and clearly see the forest of my youth, but I can also see the path to the other side. And it’s going to inform what I do for the rest of my days.”

Single Review by William Ruben Helms

New Audio: rhythmspitter Shares Vibey “Candle Magic”

San Francisco-based musician, composer, producer Michael Mosley is best known for playing bass in Red Thread Theory and for being the creative mastermind behind the JOVM mainstay act rhythmspitter. With rhythmspitter, Mosley explores instrumental indie rock and lo-fi beat-driven material that draws from an eclectic array of sources, including Bill Laswell’s Material and Jah Wobble‘s Invaders of the Heart. 

Mosley weaves together a rich tapestry of instruments and rhythms from across the world into a meticulously crafted composition that provides a chill and captivating vibe that’s entrancing. His work seeks to break down barriers and introduce audiences to a world of sonic exploration that they may not have encountered before, while opening minds to the beauty of different styles, instruments and sounds.

Earlier this month, the JOVM mainstay released his full-length debut, Cosmological Exigency and the Astrological Paradigm. The album’s latest single “Candle Magic” is a vibey, meditative track featuring hypnotic, Middle Eastern-inspired percussion and shimmering reverb-soaked guitar that seemingly channels experimental jazz and New Age while being lounge friendly and remarkably accessible.