Tag: indie rock

New Video: Endearments Return with Yearning and Self-Searching “Summersun”

Brooklyn-based indie outfit Endearments — Kevin Marksson (vocals, bass), Anjali Nair (guitar) and Will Haywood Smith (drums) — closed out last year by signing with Trash Casual, who will be releasing their Abe Seiferth–produced, full-length debut An Always Open Door.

Slated for a March 6, 2026 release, the nine-song An Always Open Door will feature “Real Deal,” which firmly cements their unique, emotionally dense and lush synth-based take on indie rock paired with earnest, lived-in lyrics and rousingly anthemic hooks and choruses.

An Always Open Door‘s second and latest single “Summersun” is a deceptively upbeat and sauntering anthem that’s underpinned by a couple of bittersweet realizations: Time’s inexorable and endless march forward. And as you’re getting older, you’re also changing. Sometimes, those changes are on the margins but in tumultuous times, like ours, they can be major, startling unexpected and weird changes. And as a result, other than some fundamentally intrinsic qualities, we can all feel a bit like ships passing each other in the night, not quite understanding why or how you might feel so lonely and misunderstood. The song also contends with what it really means to fit yourself into someone else’s life for companionship and the bitter frustration and disappointment that comes from lying to yourself and your own reflection.

Continuing their ongoing collaboration with director Paul Desilva, the accompanying video, which was shot on Super 8 film follows two lonely Brooklyn residents on an introspective journey to Coney Island. Edited in a split screen, so that we see each one’s individual journey, the video captures something that’s deeply universal. We’ve all been that lonely sort mending a broken heart or left a daze after some massive, unexpected loss.

“‘Summersun’ is a song about losing track of yourself in the expectations of others, and how easy it is to fit into a mold someone else has made for you for the sake of love or companionship. The bridge of the song is meant to be a cathartic release — the guitars give way and then build up again to reinforce this feeling of wanting to be truly known, even while you still pretend to be someone that you’re not. We wanted the video to really convey that melancholy and self-searching. I love the way it cuts two stories together to show how our personal journeys often overlap in ways both internal and external.” 

New Video: Sunglaciers Share Punchy and Breakneck “Eye to Eye”

With the release of 2019’s Foreign Bodies, 2022’s Subterranea and 2024’s Regular Nature, Calgary-based JOVM mainstays Sunglaciers — founding duo Evan Resnik (vocals, guitar, synths, piano, sampling) and Mathieu Blanchard (drums, percussion, production) along with Nyssa Brown (vocals, guitar) and Kyle Crough (bass) — have firmly cemented a sound that blurs the boundaries between polished melodicism and opaque experimentation, auspicious romanticism and unbridled descent. Though anchored in the strange realties of our time, their sons are laced with a certain optimism through well-placed and well-calculated psych elements and vibrant rhythms.

The Calgary-based outfit’s highly-anticipated fourth album, Spiritual Content is slated for a March 27, 2026 release through Mothland. The album reportedly sees the band further exploring the chiaroscuro depths of post-punk while simultaneously setting out to redefine their sound. Thematically, the album explores modern day life through allegorical songwriting, elevated by genuinely catchy melodies, resolute arrangements and stylish production.

Over the course of its breakneck 35-minute run, the album’s indie rock-meets-post-punk-tinged, nine songs reportedly captured fleeting yet endearing moments in time, their narrative bent, twisted and distorted into expansive and highly evocative soundscapes. The album is meant to layout like a psychedelic sequence where grooves dance and wiggle in and out, awaking feelings of wonder and awe, while also trigging emotions like bewilderment, fear and alienation.

The album sees Resnik and Blanchard turning to their bandmates Brown and Brougham along with acclaimed producer and multi-instrumentalist Chad VanGaalen (synths, vibraphone, electric piano and additional production) to flesh out the album’s material. The band also continued their collaborations with mixing/mastering engineer Mark Lawson and former Besnard Lakes‘ Richard White, who took on vinyl mastering duties.

Spiritual Content‘s first single “Eye to Eye” is a Freedom of Choice-era Devo-inspired motorik ripper featuring woozy synths, skittering and booming drums, squiggling guitars paired with Resnik’s punchy, almost California punk rock-like delivery before shifting into a towering cacophonous storm of feedback and a gentle, seemingly exhausted fade out.

“The song is about how we all have more in common with each other than we think, and how the small differences between us have been magnified to stoke division through social media and media in general,” Sunglaciers’ Evan Resnik explains. “I used a lot of old footage/movies/propaganda to showcase both our creative and destructive capabilities. There’s a lot of sped up footage, reversed sequences, and pretty flower timelapses. Sometimes it feels like we’re racing to our inevitable demise; we have to slow down and take a step back. There’s still time to recover and progress together, but it’s getting a bit late in the game, you know?”

New Audio: Club 8 Shares Lush and Dreamy “Echoes Of Our Time”

Since the release of 2024’s A Year With Club 8, Stockholm-based JOVM mainstays Club 8 — Karolina Komstedt (vocals) and electronic music producer, artist and Labrador Records founder and label boss Johan Angergård — the duo spent last year releasing a single a month over the course of last year, including tunes like “ooo,” “None Of This Will Matter When You’re Dead,” “Staying Alive,” “Born The Wrong Time,” “Sneaky Feelings” and “Daydreams.” 

The duo begin 2026 with “Echoes Of Our Time,” a nostalgia-inducing bop that channels classic New Order and shimmering, 80s pop while showcasing the duo’s unerring knack for catchy hooks and rousingly anthemic choruses. The song touches upon some familiar and deeply universal themes — the heartache, despair and longing for a loved one, who you’re no longer involved with, the dreaminess of northern hemisphere winter and the longing to spend a wintry day in bed not doing much.

New Video: Torus Shares Frenetic and Mischievous Visual for Bruising “Ruby Red”

With the release of 2024’s critically self-titled full-length debut, Milton Keynes, UK-based indie outfit Torus — currently Alfie Glass (vocals, guitar) and Jack Orr (drums) — quickly built a profile both nationally and internationally: The album was praised for its “immediately accessible tunes,” by Kerrang!, and that lead to tours with South Arcade, Skindred, Fu Manchu, The Entitled Sons, and Soap, as well as a set at Desertfest London.

Last year, the rising British outfit embarked on a new era with the departure of Harry Quinn (bass) and the decision, for now at least, to continue as a duo. Glass and Orr quickly got to work on new songs and jams as duo, and fittingly, this period of intense creativity has resulted in a batch of new material that the and will be releasing over the course of the year.

Torus begins 2026 with “Ruby Red,” a bruising, Songs for the Deaf-era Queens of the Stone Age-like ripper, anchored around fuzzy power chords, thunderous drumming, a relentless and hypnotic groove and some rousingly anthemic hooks and choruses.

“On this new single we explore themes of obsession, emotional damage and losing control when you love too hard,” Torus’ Jack Orr explains. “The lyrics are raw and direct, channelling desert rock weight with modern grungy tension. This release continues our run of singles leading into our next EP, pushing the darker, heavier side of Torus.”

Co-directed by their former bandmate Harry Quinn and the band, and shot and edited by Quinn, the accompanying video is a much more light-hearted juxtaposition to the song’s brooding, much more heartfelt vibe, while matching the song’s frantic pace. “After throwing ideas around with our ex bassist Harry Quinn who filmed the video, we decided to lean into the wacky old Beatles short film vibe and do something fun that would show off our personalities a bit more, with the ridiculous quest of trying to find the magic milk from the sacred cow that would heal us from all of our wrongdoings mixed with a brutally honest relationship driven song that had to be made in that moment heading towards a slightly darker side,” the band’s Alfie Glass explains.

“Ruby Red” was recently released through the duo’s own label, Headcharge Records. The band also founded Headcharge Club to support and uplift the music scene in Milton Keynes, Northampton and the surrounding area. Since its formation, it has b been driving a grassroots movement locally by putting on DIY events and festivals, helping to build and strengthen the local music community.

New Audio: Dublin’s Martina and the Moons Share Broodingly Cinematic “Higher Than A Hawk”

Led by Spanish-Scottish frontperson Martina Moon, Dublin-based indie outfit Martina and the Moons can trace their origins back to when Moon relocated to Dublin to study at BIMM University, where she met and quickly connected with her then-future bandmates Ruby Levins (bass), Zahira Ellis (drums) and Sarah Morgan (guitar). 

The Dublin-based quartet quickly established a sound that blended elements of post-punk, indie rock, 90s Brit Pop and the 60s and 70s Laurel Canyon sound while featuring gorgeous melodies and a youthful aggression and angst. In fact, Moon, who cites Paul SimonLady GagaCatatonia, Radiohead, Bruno Mars and an eclectic list of others as influences, writes lyrics that frequently touch on themes of alienation, being misunderstood, being an outsider, and yearning with a deeply lived-in sensibility and earnestness. 

In a short period of time, the band has played opening slots for Porridge Radio and Thumper. They’ve played Whelan’s Main Stage at Ones to Watch. And adding to a growing regional profile, they played 2025’s The Great Escape Festival, receiving mentions from BBC Introducing and praise from Golden Plec and from Hotpress, who named them one of their Hot for ’25 acts. 

Last year, the band signed to Dublin-based artist development label Rubarb Music, who released recently released their Ruadhrí Cushnan-produced EP Starfish Social Club, which features the previously released “Baby Turtle” and “Laundry Mat.”  

Starfish Social Club EP‘s third and latest single “Higher Than A Hawk” showcases a more shoegazer and post punk-tinged take on their Brit Pop-inspired sound. Featuring swirling and shimmering guitars, an angular and propulsive bass line, forceful drumming paired with Moon’s bold, almost in-your-face delivery, “Higher Than A Hawk” may arguably be the most brooding and cinematic song on the EP, seemingly channeling the likes of A Storm in Heaven-era The Verve, Slowdive, The Church and others, all while anchored around Moon’s earnest lyricism.

New Video: Ulrika Spacek Shares Feverish “Picto”

London-based art rock outfit and JOVM mainstays Ulrika Spacek — founding members Rhys Edwards (vocals, guitar) and Rhys Williams (guitar) , alongside Joseph Stone (guitar, keys), Callum Brown (drums), Syd Kemp (bass) — will be releasing their highly-anticipated fourth album EXPO through  Full Time Hobby on February 6, 2026.

Unlike its predecessors, which looked within, EXPO reportedly holds a mirror up to the world and captures a warped reflection. The material was deeply informed by the band’s most recent American tour and was written while the band’s Rhys Edwards was awaiting the birth of his daughter, and started to wonder what kind of future world she’d inherit. 

Although their foundations have long been in art rock, they’ve been increasingly drawing from electronic elements. But as a band, they’re interested in the glitchy space that exists between the two. And as a result, their most recent work reckons with human warmth and digital isolation, while being welcoming and alienating, exploring the uneasy tension of modern life as we know it. “Our music has always been a collage – a bit patchwork, sonically – but what makes this album a landmark for us is that we went one step further and made our own sound bank and essentially sampled ourselves,” the band says. 

The album sees the band creating their own doppelgängers in a world of almost-real, where the band appears as if they’re in a funhouse hall of mirrors. Digital drums are sampled and layered over real drums and the like, creating an eerie, spectral vibe. Sonically, the album’s material grapples with the organic and the digital while dancing across musical languages. 

The album will feature the previously released tracks:

EXPO‘s third and final single “Picto” is a cold-sweat fever dream of a song anchored around angular bursts of guitar, an angular and driving bass line, skittering boom bap serving as an uneasy bed for Edwards’ remarkably Thom Yorke-like delivery. The song helps establish a sort of manifesto for the record — “It’s back to strength in numbers/ Count in fives.”

“There is no better way to describe the process other than fun. It felt great to be working as a collective again and ultimately the music we were making felt fresh,” the JOVM mainstays explain. “There was a lot of optimism about what music we would make after working on this song and lyrically it celebrates making art as a collective as opposed to constant individual expression.”

The accompanying video is fittingly a surrealistic fever dream split between footage of the band performing in the song in a studio and a dentist doing dental work on a woman in the studio and other dental procedures.

New Video: Seattle’s Filth Is Eternal Shares a Bruising Ripper

Formed back in 2020, Seattle-based quartet Filth Is Eternal — Lis DiAngelo (vocals), Brian McClelland (guitar), Logan Miller (bass) and Josh Pehrson (drums) — was initially inspired by the raw, impulsive ethos of punk. The band quickly developed a reputation for a frenetic live set, which they brought to DIY venues across the country. “Filth has always been about energy at the heart of things since the earliest recordings,” the band’s Lis DiAngelo says. “We wanted to leave our blood and guts out on the floor,” Brian McClelland adds. 

Filth Is Eternal’s third album, Impossible World is slated for a March 17, 2026 release through MNRK Heavy. The highly-anticipated follow up to the band’s acclaimed 2023 sophomore effort Find Out was written against a backdrop of accelerating gentrification, unchecked technology and the slow — but quickening — creep of authoritarianism and fascism. So the album thematically confronts life in our present dystopian hellscape. And yet, rather than surrounding to despair and hopelessness, the band push forward with a defiant clarity, while asking difficult questions about survival, humanity and resistance in a world increasingly shaped without anyone’s consent.

Despite the album’s overall heavy subject matter, Impossible World has many soaring moments throughout — flashes of light that give fans a sense of possibility midst the brutal toils of contemporary life. The album is a salve in hard times, reminding the listener that art has the radical potential to enliven us, to connect us with others and to keep us holding on, as we wait out and plan through the darkest hours.

Sonically, the album reportedly sees the band balancing hardcore urgency with a sharpened melodic sensibility. The result is an effort that draws from punk’s immediacy while seeing the band push their sound towards something much more deliberate and expansive. “I think the biggest changes from LP1 to now is that we’ve upped the intention by using more melody, harmony, and singing in general. We’re working with aggression, but moving toward something beautiful and true,” DiAngelo says. 

The album also features collaborations with The Blood Brothers‘ Johnny Whitney, Fall Out Boy‘s Joe Trohman, Gina Gleason and Lauren Lavin, alongside their use of the FILTH EQ+, a pedal they crafted that helped shaped the album’s overall sound.

Impossible World‘s first single, “Stay Melted,” is a bruising ripper that seemingly channels Dirt-era Alice in Chains, Badmotorfinger-era Soundgarden and Live Through This-era Hole, anchored by DiAngelo’s most incisive and forceful songwriting of their growing catalog. Thematically, the song exposes and critiques the hypocrisy at the heart of the rise of Christofascism here in the States with a brutally clear-eyed honesty.

“The world can feel like a total trash fire to the point where we become lethargic,” the band says. “Lethargy makes us our own worst enemy; sometimes you have to kill a thing before you lose yourself to it completely.” 

Directed by Sebastian Deramat, the accompanying video for “Stay Melted” fittingly brings back memories of 120 Minutes-era MTV.

New Video: Mute Swan Teams Up with Sonoda on Intergalactic “Phantasms of the Living”

With the release of their debut EP, 2016’s Ultraviolet and their full-length debut, 2021’s Only EverTucson-based shoegaze/dream pop outfit Mute Swan — currently, Mike Barnett (guitar/vocals), Prabjit Virdee (bass, vocals), and Gilbert Flores (drums) — quickly established a swirling, densely layered take on psych rock that some critics and others have compared to Of Montreal and Soft Bulletin-era Flaming Lips

2021’s Only Ever was released to praise from The FADERMerry-Go-Round Magazine and several others, as well as airplay on KEXP.

Earlier this year, the band signed to Hit The North Records/Wooden Tooth Records, who will be releasing their long-awaited sophomore album Skin Slip on March 6, 2026. The album will feature a batch of material that will be posthumously released after the death of founding member Thomas Sloane, including the previously released “Hypnosis Tapes,” and “Cocteau Swan,” which featured Citrus Clouds‘ Stacie Huttleson.

The Tucson-based outfit begin 2026 with Skin Slip‘s third and latest single, “Phantasms of the Living,” featuring Sonoda. “Phantasms of the Living” is a dreamy, intergalactic tune anchored around the sort of dense layers of guitars that may remind some of Siamese Dream-era Smashing Pumpkins paired with razor sharp hooks.

“Several years ago I got into reading books about non-duality. The lyrics of this song were inspired by a British non-dualist named Tony Parsons but the title actually comes from a 19th century book about ghosts of people who are still alive,” Mute Swan’s Mike Barnett explains. “There’s a connection there but, anyway, we were very excited after writing this song together. This song is one of our favorites. And Lisa (Sonoda) singing on it was the absolute cherry on top.”

Directed by the band’s Mike Barnett, the accompanying video for “Phantasms of the Living” is a deliriously odd DIY effort that’s split between a house gathering watching an old movie “Phantasms of the Living,” followed by a ouija board that seemingly opens a portal into the murder and mayhem of the movie they were originally watching.

New Audio: 5th PROJEKT Shares Brooding and Atmospheric “Oblivion”

With the release of 2022’s The Labyrinth EP and 2023’s The Wolf EP, Toronto-based psych rock/art rock outfit 5th PROJEKT — Tara Rice (vocals, guitar), Peter Broadley (bass), Sködt McNalty (guitar) and David Pake (drums) — made a name for themselves in the national scene: The Wolf EP debuted on the !earshot National Top 50, before climbing into the Top 25. The Wolf EP was also featured in Obscure Sound, Spill Magazine, V13, Canadian Beats, From the Strait and a collection of local and international publications.

Adding to a growing local and national profile, the band has received awards series of award nominations including The Ontario Independent Music Awards (IMAs), The Toronto Independent Music Awards (IMAs) and The Orange County Music Awards. They’ve also made a run of international festival circuit with sets at NXNE, Departure (f.k.a. Canadian Music Week), Indie Week, Kaleidoscope and Spirits of the Earth. And they’ve gone on two tours of Eastern Canada.

The Canadian quartet’s first live-off-the-floor EP Live in London is slated for a May 13, 2026 through the band’s own Organik Rekords. Recorded at London, ON-based The Sugar Shack, Live in London is part of the Incorrect Thoughts Live series.

The EP’s first single is a live rendition and reworking of “Oblivion,” a song that appeared on their debut effort, 2006’s Circadian. Live in London EP‘s take on “Oblivion” features a reimagined, slow-burning introduction, specifically meant to deepen the original’s hauntingly hypnotic pull while retaining the elements of the original that their fans loved: Rice’s ethereal and yearning delivery over a brooding slow-burning groove and shimmering and expressive, shoegazer-like guitar textures. And while reminding me a bit of Phantoms‘ 2013 effort The Fire Tapes, “Oblivion” showcases a band that specializes in cinematic atmospherics and enormous hooks and choruses.

New Video: Howling Bells Shares Bittersweet “Melbourne”

Since their beginnings, London-based, Aussie trio Howling Bells — siblings Juanita Stein (vocals, guitar) and Joel Stein (guitar) and Glenn Moule (drums) — have been a bit of anomaly: They relocated to the UK to pursue their dreams of making it. And then, they broke through a British indie scene of three-and-four-dude-wearing-skinny-jeans bands with their acclaimed, self-titled 2006 full-length debut. 

Those dreams of making it big actually became real: They played an NME Tour and then in stadiums opening for a Coldplay, while winning acclaim from the UK music press. 

Throughout their nearly two decade history, the band has gone through a series of lineup changes but some things have remained the same: the core trio’s deep, unbreakable bond and their hypnotic sound, influenced by Tom WaitsSonic YouthNirvanaFleetwood Mac and Björk

Howling Bells’ fifth album, Strange Life is slated for a February 13, 2026 release through Nude Records. The long-awaited album is the band’s first album of new material in over 12 years and was recorded with their longtime friend and collaborator Ben Hillier at Agricultural Audio Studios. The new album is reportedly both a vibrant document of and an exploratory testament to the alchemical magic between its core members. 

Late last year, I wrote about album single “Chimera,” a song that showcases Juanita Stein’s gorgeous and expressive vocal and the band’s knack for big hooks and choruses. Strange Life‘s latest single “Melbourne” continues a run of jangle pop-like indie rock with big hooks — but at its core is a confusing and familiar mix of yearning for the familiar and the grief over the tacit acknowledgement that the familiar can no longer be had. You can’t go back home again, as the novel says — and that’s often more true than not. And it’s all anchored in bitter, lived-in experience.

“‘Melbourne’ is a song about deep yearning and ultimately grief. It explores a unique inner conflict many of us feel when we leave our homes and families to start anew somewhere else,” Howling Bells’ Juanita Stein explains. “This aching can be especially intense when we’re faced with something traumatic and all we want is the safety and warm embrace of the familiar. I experienced a heightened version of this when I returned to Melbourne a few years ago to play some shows, having not been back for a while. It felt slightly surreal and tragic being there without any family to share this with, as they had also left Australia over the years. Then, within 24 hours of touchdown, I got a call from a hospital in England telling me that my father, who was ill, had taken a turn for the worse, and so I had to pack up and return to the UK before I’d even played a show. It was brutal. I felt a thousand things that day, from the physical weight of having to lug around 2 huge suitcases full of merch I was planning to unload, to sitting alone in tears at the airport in Singapore during the layover. All these experiences left me with a deep well of sadness and a longing to return to my homeland to find what it is I’d now lost forever. This is something I carry around with me every day. All it takes is the glimmer of the sun at a certain time of day, or the occasional scent of an eucalyptus tree, or the sharp twinge of nostalgia when I hear the melody of a particular song, to remind me of the sadness and beauty that is now my Australia,”

Directed by Safiyya Lea, the accompanying video for “Melbourne” stars a beanie-wearing Tilly Woodward, driving down a country road before she pulls over to get out of her truck and expressively dance by a tree.

New Video: JOVM Mainstays The Orielles Shares Two Dreamy and Expansive Tunes

Acclaimed, Manchester, UK-based JOVM mainstays The Orielles — Esmé Dee Hand-Halford (bass, vocals), Sidonie Dee Hand-Halford (drums, vocals) and Henry Carlyle Wade (guitar, vocals) — will be releasing their fourth album, the Joel Anthony Patchett-produced Only You Left through Heavenly Recordings on March 13, 2026. 

Recorded last summer in two locations — the Greek Island of Hydra and Hamburg — the forthcoming, 11-song Only You Left reportedly sees the band consolidating the bold experimentation of 2022’s Tableau with the more stripped-back, song-driven approach of their earlier releases, channeling a return to the familiar. “There’s nothing more trad than a three-piece,” quips Henry, in reference to the band’s decision to return to their roots as a trio. 

Now, as you may remember, the JOVM mainstays, which originally started out in Halifax gained attention both nationally and internationally with the release of their full-length debut, 2018’s Silver Dollar Moment, which will celebrate its eighth birthday this upcoming February. “These things come in like seven year cycles. So we’ve come in like a full circle back to a familiar place, just as different people,” the band says. 

As for the foundations of the forthcoming album, the band’s Henry Carlyle Wade says “You’ve got to die and be reborn between albums.” “It comes naturally, the band’s Esmé Hand-Halford adds, “it’s not something we consciously do.” Interestingly through this process of creative renewal, the JOVM mainstays have managed to weather a pandemic, the fickleness of a trend-driven music industry and somehow emerge with something that’s familiar yet completely different. 

According to Wade, the first ideas for the new album can be traced back to May 2023: Esmé Hand-Halford had purchased a freeze pedal, which allowed her to play around with sustained notes on her guitar. These heavy drones would later form the background of album tracks “Wasp” and “Three Halves.” 

In breaks between tours, the band began to meet up and record their practice room sessions, later analyzing the voice notes with a granular attention to detail. “We recorded everything on our phones, every snippet,” explains Henry. “We went so deep into what each song needed or what we wanted to hear from it.”

While the Tableau sessions were semi-improvisational and partially written in the recording studio, Only You Left was fleshed out through a series of intense writing sessions between May 2023 and last summer. Each of the album’s 11 songs were meticulously refined and became its own distinctive work. “It almost felt really novel for us to be writing as a three-piece and really, really crafting these songs,” the band’s Esmé Hand-Halford recalls. “But Tableau gave us that confidence to know we could go into a studio and pull things together in that setting under the time pressure.”

Producer and engineer Joel Anthony Patchett, whom Esmé Hand-Halford dubs the honorary fourth member of the band, has had a massive influence on the album’s sound and approach. “Joel brings an extra level of interpretation and deep listening,” Henry Carlyle Wade says, “and it’s always exciting to explore that.” Sidonie Hand-Halford adds, “He’s constantly talking us through every step of what he’s doing and getting really, really involved with that process as well. And we’re just kind of learning together and making these mistakes and discovering things together.” 

Only You Left will feature the previously released “Three Halves,” a track that derives its title from when the band’s Wade stitched together three recordings on Abelton and needed a working title. What initially began as a temporary placeholder quickly became a theme for Esmé Hand-Halford to riff on and a metaphor for the trio and their deeply shared connection.

Today, the JOVM mainstays shared the double single, “You Are Eating Part of Yourself”/”To Undo the World Itself.” “You Are Eating Part of Yourself” is a slow-burning and minimalist tune anchored around a looping, strummed guitar figure, dreamy vocal that gradually becomes a glitch-driven tide of feedback and cacophony before closing with a slow, piano-driven fade out. Seemingly nodding at OK Computer and Amnesiac-era Radiohead, “You Are Eating Part of Yourself” conveys a bittersweet acknowledgment of time irrevocably racing by before your eyes. “To Undo the World Itself,” is a expansive post-rock-like tune featuring reverb-drenched vocal melody ethereally floating over a propulsive, shoegaze-meets-dream pop arrangement of guitar, bass and drums.

Accompanied by a video directed by Neelam Khan Vela, which spans both tracks, the band said: “‘You are Eating a Part of Yourself’ began when a durational guitar loop was released from the archive of improv’s recorded in Henry’s bedroom. The title, which comes from a video artwork dating 1996, captures the darkness emanating from the original recording, and reflects the clarity to be able to define that feeling some years later. Through music (and some words) we unfurled the emotion captured back then, as we put our ears up to the organs of the body orchestrating their own symphony and dissonance.

Closing track of the album ‘To Undo the World Itself’ sings of rebirth and reversal, or outstanding finality, depending on the impression that ‘Only You Left’ leaves you with. The cathartic crescendo meant that this was a favourite to play in the various live rooms that we wrote / recorded in, where it was trialled against the backdrops of thunderstorms and peaceful sunsets alike.”

“After almost a decade of collaborating with The Orielles, we share a connection that makes our creative process completely intuitive, like a long rally where ideas are passed back and forth without needing to be spoken,” Neelam Khan Vela adds. ” The band filmed with Lewis and Giulia in Manchester, and from that starting point I let the emotional pull of the tracks guide the edit, completing the video through what the music evoked and what the evolving images seemed to ask for.”

New Video: Endearments Shares Anthemic “Real Deal”

Brooklyn-based indie outfit Endearments — Kevin Marksson (vocals, bass), Anjali Nair (guitar) and Will Haywood Smith (drums) — closed out last year by signing with Trash Casual, who then released the cinematic, “Cannon,” a track that nods at Simple Minds and Tears for Fears, as well as contemporaries like Nation of Language.

The trio’s Abe Seiferthproduced, full-length debut An Always Open Door is slated for a March 6, 2026 release. The nine-song album will feature the band’s unique emotionally dense and lush synth-based take on indie rock. An Always Open Door‘s first official single, the nostalgia-inducing, New Order-like “Real Deal” showcases the band’s ability to pair earnest, lived-in lyrics with rousingly anthemic hooks and choruses. Thematically, “Real Deal” explores the dynamics of a slowly decaying relationship that culminates with the sudden and heartbreaking realization of being just an accessory to someone else’s desires.

Directed by Paul Desilva, the accompanying video follows a story of a drunken hookup and the self-conscious revelations that occur in its aftermath.

“‘Real Deal’ is a song about feeling like you’re just a supporting player in someone else’s romantic idealization,” Endearments’ Kevin Marksson explains. “I hint at Apollo and Daphne in the lyrics and the idea that someone can be so focused on what love ‘should’ feel like that they forget there is a real person on the other end. The music video plays with that concept in a fun way by having our heroine wake up in a strange apartment after what seemed like a perfect evening, but maybe wasn’t as perfect as she thought.”