Glasgow has always known how to grieve beautifully. From the post-rock cathedrals Mogwai built out of feedback and silence, to the city's long lineage of artists who treat melancholy not as affliction but as raw material — the place has a gift for transmuting darkness into something luminous and necessary. Allan McCafferty, recording under the alias Brooklynzhen, is the latest to drink from that particular well, and "Light of the Dead" announces, with considerable authority, that he has something genuinely urgent to say.

Colorado has always been a state that resists easy categorisation — mile-high and landlocked, neither coastal cool nor heartland plainness, suspended between wilderness and grid. It is fitting, then, that Radical Man should emerge from its western reaches with a record that refuses every available category and quietly builds its own, brick by disciplined brick.

Debut albums are confessions. Whether the artist intends them to be or not, they arrive stripped of the protective armour that experience eventually grants, raw with the accumulated weight of everything the maker has needed to say before the world had the decency to listen. Chris Ami's *Temperament* understands this condition acutely — and rather than shying from it, builds an entire philosophical architecture around the idea that our inner states are not incidental to who we are, but the very substance of us.

Every decade or so, a record arrives that makes the room feel different. Not louder, not more present — simply *altered*, as though the walls have absorbed something they cannot quite release. *Shadows and Lies*, the second full-length from the spectral electronic project FellowFeel, is precisely that kind of record. It does not announce itself. It seeps.

The second music video from SHASAU's EP arrives not with bombast but with the gentle flicker of a CRT monitor warming up, and therein lies its considerable power. "Alicante" occupies a curious space between earnest emotion and knowing pastiche, a balancing act that could easily collapse into either mawkish sentimentality or hollow aesthetic exercise. That it manages neither speaks to the sophistication lurking beneath its deceptively simple 8-bit exterior.

To take a song as beloved and seemingly immutable as Fine Young Cannibals' "She Drives Me Crazy" and strip it of its effervescent pop-funk DNA requires either extraordinary audacity or genuine vision. Kat Kikta possesses both in abundance. Her gender-flipped reimagining transforms the 1988 classic into something altogether more mysterious and profound—a slow-burning fever dream that haunts rather than simply entertains.

In the oversaturated landscape of contemporary electronic music, where immediacy often trumps patience, Portland duo Statues have delivered something of a quiet revelation with their debut single "Time Down Here" – a track twenty years in gestation yet remarkably fresh in execution.

Sonomancer is a Melbourne based musician and producer who creates amazing music that can definitely be characterized as the music of the future. His single 'Dreamscapes', first released in 2022, was given new life with a music video version that dropped in September 2024.

jonnyung's music fascinates and beckons to some kind of infinity and uncertainty. His style is difficult to classify, because the main thing here is the mood and atmosphere, not the message and idea.

Carillon is a musical project of Baltimore-based musician and composer Ken Quam. His first release came in 2020 and now we have his new single out on June 20th. The new work from Carillon is called 'Venus' and it contains two instrumental compositions of a meditative nature.