New Audio: South of France Teams Up with Little Trips and Grace DeVine on Sugary and Coquettish “Sugar Rush”

Led by Denver-based singer/songwriter, multi-instrumentalist, producer and creative mastermind Jeff Cormack, South of France is an indie pop project that sees Cormack and collaborators specializing in a groovy, beat-driven take on escapist, vacation pop. 

Cormack’s South of France work has been featured in a number of smash-hit TV shows, including Bojack Horseman and Shameless while receiving praise from American SongwriterNPRRolling Stone and others. And adding to a growing profile, Cormack and his collaborators have opened for a growing list of acclaimed acts including, Portugal. The Man, Young The GiantFlaming LipsMichigander, Tennis, Zella Day and others.

Cormack’s forthcoming South of France album My Spirit Animal, My Baggage is reportedly one-part solo album and one-part collaborative effort with a series of vocalists, emcees and musicians. I’ve managed to write about four album singles:

Cormack’s latest South of France single, the Greg Laut co-produced “Sugar Rush” is a saccharine sweet, coquettish and breezy bop that features Grace DeVine’s ethereal cooing floating over a trippy and blissed-out, psych pop-influenced groove. “Sugar Rush” continues a remarkable run of summery and escapist pop that showcases Cormack’s unerring knack for funky grooves and catchy hooks.

New Video: she’s green Shares Shimmering and Bittersweet “Willow”

Minneapolis-based outfit she’s green — Zofia Smith (vocals), Liam Armstrong (guitar), Raimes Lucas (guitar), Teddy Nordvold (guitar) and Kevin Seeback (drums) — specialize in crafting dreamy soundscapes that transport the listener to scenes of soft summer rain and fields of swaying wheat, infused with raw emotional intensity. 

With the release of their earliest singles “river” and “smile again,” the Minneapolis-based quintet quickly became a staple within the Midwestern alternative scene, while earning praise from ComplexStar Tribune and The Current. Their debut EP, 2023’s Wisteria saw the band establishing an honest and exploratory songwriting process and a reputation for being a force in the world of sonic surrealism. Adding to a growing profile, the rising Minnesotans have supported their material with tours throughout the Midwest and East Coast with the likes of Hotline TNTGlixenFriko and others. 

Earlier this year, she’s green recently signed to New York-based Photo Finish Records, who will be releasing the band’s highly-anticipated Henry Stoehr-sophomore EP Chrysalis on August 15, 2025. The EP will feature the previously released  Souvlaki-era Slowdive-like “Graze,” which I wrote about earlier this year.

The EP’s third and latest single “Willow” is a shimmering, rousing The Sundays-meets-A Storm in Heaven-like showcasing the band’s penchant for rousingly anthemic hooks and choruses paired with Zofia Smith’s dreamy and ethereal delivery floating over thunderous drumming and swirling and hazy, shoegazer guitar textures. While arguably being one of the more energetic songs on the new EP, “Willow” is underpinned by a bittersweet and uneasy longing over something that you’re slowly losing — and that you can’t possibly stop.

“‘Willow’ reflects on our dying relationship with the natural world—a relationship that’s not always loving, but formative nonetheless,” the band explains. “It’s an energetic song that we love playing live.”

The accompanying video features the band’s frontperson Zofia Smith wandering through a forest, looking towards the dappled light shining through the tree canopy. While there’s longing and sadness in there voice, the light on her face also suggest that there’s hope just on the other side. But as the video ends, the viewer’s viewpoint becomes increasingly blurry as she sings about uncertainty and melancholy.

New Video: Living Hour Shares Fuzzy and Simmering “Wheel”

Acclaimed Winnipeg-based indie quintet Living Hour — Sam Sarty (vocals, multi-instrumentalist), Gil Carroll (guitar), Adam Soloway (guitar, vocals), Brett Ticzon (bass, keys) and Issac Tate (drums) — will be releasing their Melina Duterte, a.k.a. Jay Som-produced fourth album Internal Drone Infinity through Keeled Scales and Paper Bag Records on October 17, 2025. Initially known for their lush fusion of dream pop and shoegaze, the Canadian quintet have continually evolved throughout their history, gradually merging folk-inflected slowcore, fuzzy indie pop and hazy noise rock into a sound that’s expansive and emotionally piercing.

Internal Drone Infinity was recorded during the stark, isolating cold of a Manitoba/Winnipeg November. Duterte flew in the day after performing on Saturday Night Live with Boygenius, and the energy of that whirlwind transition seeped into record’s intimate yet vast emotional core.

Drawing from Yo La Tengo, Magnolia Electric Co., The Weakerthans, Feeble Little Horse, Yuck and DIIV, Internal Drone Infinity sees Living Hour reportedly crafting a striking sonic atmosphere, full of icy, melodic vocals, grainy textures, twangy warmth, screeching distortion and immersive percussion. Thematically, the album explores the cyclical process of observation, documentation and projection. While being a raw, commanding expansion of their long-held dreamy sound, the album’s material also gives voice to the quiet strength and simmering rage of the overlooked.

Before I forget, drums on two album tracks, “Wheel” and “Texting” were recorded by The Weakerthans’ Jason Tait at his Winnipeg home studio.

The forthcoming album’s first single “Wheel” is angsty and fuzzy, 120 Minutes MTV-era alternative rock-like track, which features arguably some of the biggest and catchiest hooks and choruses they’ve written or recorded paired with the band’s unerring knack for breezy melodies. But just underneath the surface, the song is a tale of simmering and uneasy rage about being taken advantage of — and unnecessarily being put in danger.

“The story of ‘Wheel’ begins with buying a car off Facebook Marketplace in BC,” the band’s Sam Sarty explains. “Turns out the car was junk, but I had no choice but to drive it home to Winnipeg. It took 3 days. I was driving through the mountains, and the headlights were so dim, and for a stretch there was nowhere to turn off. It felt like a weird, horrific video game–navigating the road and dodging danger and trying not to die. I also felt so deeply betrayed by all the men involved in the whole thing.  

“These men feel like a series of characters now. I felt so powerless in this weird system that prioritizes men and their opinions. In this song, I was able to imagine an alternate reality where I’m a vengeful spectator in these men’s lives. What if I had died on the road, and what if I came back and plagued them all with my powerful essence that they so easily dismissed, contorted and took advantage of in order to sell me a fucked up car?”

“I fantasized about how it would feel to ‘fall off the wheel’ and lean into this witchy, monstered realm of existence where men are de-centered. One where I would have no hesitation to put those men in the same danger they put me in.”

Filmed by Leigh Lugosi, the accompanying video for “Wheel” was shot on VHS and features the band performing the song in the studio, doing band hang out/photo shoot kind of stuff, as well as goofing off. And fittingly, it feels like it could have aired on 120 Minutes back in the day.

Lyric Video: TTSSFU Shares Yearning and Propulsive “Call U Back”

Tasmin Nicole Stephens is a Wigan, UK-born, Manchester, UK-based producer, singer/songwriter, multi-instrumentalist and creative mastermind behind the emerging and rising DIY shoegaze solo recording project TTSSFU (pronounced phonetically as T-T-S-S-F-U). With her TTSSFU debut EP, last year’s Me, Jed and Andy, Stephens quickly established an enormous and atmospheric sound, which some said deftly combined the dreamy and eerie qualities of The Cure with the breakneck BPMs of bands like The Strokes and The Drums.

Me, Jed and Andy EP featured “I Hope You Die,” which amassed well over, one-million streams on YouTube and “Studio 54.” Adding to a growing profile across the UK and elsewhere, the rising Wigan-born, Manchester-based artist began making the rounds of the British festival circuit, playing sets at Green ManBristol Sounds and Manchester Psych Fest among others. She also landed opening slots for the legendary Kim Deal, acclaimed JOVM mainstay Soccer MommyMannequin Pussy and  English Teacher.

The rising British artist closed out last year by signing with Partisan Records, who will release her highly-anticipated sophomore EP, the seven-song Blown on August 29, 2025. Having gone into the EP intending to “write some pop songs and something happy,” what came out was much more aligned with her songwriting approach. The result is a quasi-real-time document of Stephens’ life in all of its messy and uneasy contradictions. pierced together by her diverse musicality and a souped-up sonic palette.

Blown EP‘s first single, the Chris Ryan co-produced “Call U Back” opens with an eerie, squealing siren call-like burst of feedback that wails through the song before it quickly turns into a propulsive and broodingly atmospheric bed for Stephens’ yearning delivery. The new single continues to showcase an artist with an unerring knack for pairing remarkably catchy hooks with unvarnished, deeply lived-in lyricism and songwriting.

“‘Call U Back’ is a song about when you really like someone and you chase them around to try and make it work, but end up just making a fool of yourself by holding onto the slightest chance of it working,” Stephens explains. “When you listen to it, imagine you’re drunk on a night out at the point that things slowly start to just feel awful…”

Directed by Lewis Vorn, edited Desperate Pervert Graphics’ Shea McChrystal, the accompanying lyric video for “Call U Back” features the rising British artist an old-fashioned landline, shot in grainy and glitchy VHS-styled tape, desperately attempting to reach al love interest, who may not all that interesting. And throughout the video, we see her start to lose her mind — perhaps from the fact that she has wasted her time on someone who’s not worth it.

New Video: JOVM Mainstays Friendship Commanders Share Two Fierce, Earnest Anthems

Nashville-based duo and JOVM mainstays Friendship CommandersBuick Audra (vocals, guitar) and Jerry Roe (drums, bass) — will be releasing their fourth album BEAR on October 10 through their new label home Magnetic Eye Records.

Co-produced by the band’s members and longtime collaborator Kurt Ballou, who also tracked the instrumental performances and mixed the material, BEAR’s songs are unified in a theme that runs throughout in various ways: the ever-elusive idea of belonging, where it occurs and where it absolutely doesn’t.

Written around the realization that she had essentially been kicked out of womanhood, Friendship Commanders’ Buick Audra wrote BEAR‘s material as a way to document her awarenesses while cataloging other areas of human connection: art, outsider culture, and dark rock venues — all places where empathy and creativity grow wild. She and her bandmate Jerry Roe arranged and performed the album specifically to have two sides to it musically: heavy and light. Salt and sugar. Fire and air. Lost and found.

The JOVM mainstays have excitedly shared two album tracks from the forthcoming album: “MELT,” is a breakneck, yet bold, heart-worn-on-sleeve anthem that showcases the duo’s unerring knack for paring arena rock-like bombast, complete with enormous riffs and thunderous drumming, with earnest, deeply lived-in lyricism and songwriting. “MELT” features what may arguably be among the most syrupy sweet melodies they’ve recorded of their growing catalog while expressing a sense of betrayal, confusion and heartache, a sort of et tu Brute? moment for the song’s narrator.

Directed by the band’s Jerry Roe with cinematography by Roe and Jarad Clement, the accompanying video for “MELT” was shot at Nashville’s DRKMTTR, where the band has built their own community and features familiar faces and friends from their music scene. It captures the sweaty joy of going to a show and bonding with both new and old friends over your love of a band; of that shared sense of a band or a musician singing songs that seem to speak about you and your life, the things you’ve felt and the things you’ve seen.

“KEEPING SCORE,” will further cement the JOVM mainstays heart-worn-on-sleeve ethos but while being a breakneck and defiant, war cry of an adult, who has learned how to parent and protect her childhood self, and is willing and able to defend young girls, who remind her of herself when she was their age from the insults and ill-treatment she received.

The accompanying video for “KEEPING SCORE” was directed and edited by the band’s Jerry Roe and features cinematography from Roe and Jarad Clement. Shot at Franklin, TN-based Westlight Studios, the video features the duo performing the song in a cinematic black and white, with stylish lighting.

“‘KEEPING SCORE’ was the first song written for BEAR. I think of it as the mother of the album,” Audra says. “When I was a kid, the mother of my best friend, a boy, singled me out as a problem for her son and all the other boys in our skateboarding crew. She was afraid I was corrupting them somehow. She called around and spread non-truths about me to the other parents, some of whom I’d never met. It was devastating, humiliating beyond words. Years later, I realized women in my own generation were doing the same thing to little girls who knew their sons. Little girls! Age seven, eight! Being called ‘hussies’ by grown women! Color me horrified. Color me involved. Now that I can speak for myself, I will also speak for girls like me. Someone should. The propulsive riff on this song is my war cry.”

“‘MELT’ is about realizing I’ve never really fit with my own kind, something I’ve only come to terms with in the last two years or so,” the Friendship Commanders frontperson continues. “I’ve spent so much time and energy trying to be a woman among women, but at the end of the day, I’m just always over here being too loud. Too much. And yet, somehow also not enough. It’s a stunning paradox. Musically, the song has a sugary quality to it, which is also referenced in the line, ‘that’s how they punch you, sugar over fists.’ This track beats me up because it’s so painfully true, but it’s also a delight to play.”

“These songs were so exciting to hear when Buick played them for me for the first time – pretty unlike anything we’d ever done up to this point in terms of energy and propulsion,” the band’s Jerry Roe adds. “Our music has tended to move either fast or slow while somehow feeling heavy at all times, and these songs lean and move forward in a way that’s much brighter and quite joyful, even through the subject matter. To play them almost feels like being flown through the air towards a gigantic bullseye made of fiery confetti! I can’t wait to play this new album live.”

You can preorder the forthcoming album here.

New Audio: The Charlatans UK Share Anthemic “We Are Love”

The Charlatans UKTim Burgess (vocals), Martin Blunt (bass), Mark Collins (guitar), Tony Rogers (keys) and The Verve co-founder Pete Salisbury (drums) — are arguably one of the best-loved and commercially British bands of the past 40 years or so. Over the course of their lengthy run, the band has released 13 albums, 3 of which earned #1 on the UK Albums Charts with 22 Top 40 UK singles, including “The Only One I Know,” “North Country Boy” and “One to Another.”

The acclaimed British outfit’s long awaited, highly anticipated 14th album, the Dev Hynes, Fred Macpherson and Stephen Street co-produced We Are Love is slated for an October 31, 2025 release through BMG. The first album from the acclaimed outfit in eight years, the longest gap in their history, was a result of the COVID-19 pandemic, the individual members’ solo projects and side projects, life’s twists, turns and complexities and the fact that each of the band’s individual members live scattered across Europe. With all of that going on, it took longer than usual to figure out schedules; for the stars to align; and for the right vibe and right time.

Recoded at two places that are almost apocryphal in the band’s history — Wales-based Rockfield Studios and the band’s Middlewich, Chesire-based Big Mushroom, We Are Love reportedly sees the band launching into a bold new era, one that finds them at peace with their past while looking forward to the future. The band’s Tim Burgess cites hauntology and psychogeography as two major concepts that swirled in his head as the band worked on the album.

The band returned to Rockfield Studs for the first time since the recording sessions for the fifth album, 1997’s Tellin’ Stories. As a band, they hadn’t been there since keyboardist Rob Collins’ death, in the middle of that album’s sessions, in a car accident at the bottom of the track leading to the farm surrounding the studio. Reportedly throughout the album, you can hear the band’s awareness of the things that made them — the highs and lows the desire to honor their own legacy, while not being deeply defined by it; and a career-long drive to be innovative and progressive. “The whole idea of hauntology and psychogeography is represented by us going back to Rockfield, where so much history has happened for The Charlatans,” the band’s Tim Burgess says. “That was important as a way of honoring every member who’s played in the band. So we’re honouring ourselves, our past, feeling that energy and reincarnating it, doing something fresh, brand new.” 

The album’s introspective creative process, brought home the fact that love has been the glue that has held the band together for so long, and ultimately that’s reflected on the album’s 11, forward-thinking, future-facing songs.

We Are Love‘s first single, album title track “We Are Love” is a defiantly upbeat, road trip-meets-big venue/festival anthem, anchored by a propulsive, motorik groove and rousingly anthemic hooks and choruses. Tim Burgess describes it as “like an open-top car ride in the credits of your favorite movie, driving along the coast to somewhere amazing.”

One of the first tracks to emerge as they were writing material, “We Are Love” became a pathfinder for the record as the band’s Mark Collins explains: Early on, we thought it felt right. And it turned out that way: first single, title track, second song on the album. And things started forming around ‘We Are Love.’ There was a certain energy to it that drove us forward.”