The French six-piece Shooqa 22 have crafted a peculiar little gem with "Waaa (you make me slow)", a track that refuses to settle into any comfortable genre classification while somehow feeling entirely cohesive. This is music for those who've grown weary of the algorithmic predictability that plagues so much contemporary output—a song that demands your attention through its sheer compositional audacity.

Mark J Soler's "Walking in the City" arrives as a quietly confident statement of intent from an artist who understands that instrumental music's power lies not in what it proclaims, but in what it allows the listener to discover. This Paris-based composer, drawing from a rich palette that encompasses everything from Stevie Wonder to Pink Floyd, has crafted a piece that manages to feel both deeply personal and universally resonant.

The Alsatian duo have fashioned a genuinely unsettling piece of work. Where lesser acts might settle for pastiche—aping the neon-soaked aesthetics of synthwave without understanding its emotional architecture—Macrowave have constructed something altogether more substantial.

Paris has always been a city of amour fou and sartorial excess, so it's rather fitting that Hugo Sailer's Books Of Moods should emerge from that storied metropolis with a track that marries both obsessions so gleefully. "Fashion Romance" arrives as a fizzing, gloriously unhinged celebration of desire filtered through the prism of the boutique, and it's utterly irresistible.

Noctæra's second album 'Visions Through Amber' arrives with the kind of understated confidence that suggests an artist who has learned to trust her instincts, however unconventional they might be. This is music that refuses to announce itself with fanfare, preferring instead to seep into consciousness like a half-remembered dream that refuses to fade come morning.

Sylvain Spanu's second full-length offering under The Dawn Razor moniker arrives six years after his debut, and the Parisian multi-instrumentalist has clearly spent the intervening period refining his peculiar brand of romantic brutality. *In Sublime Presence* positions itself squarely within the melodic death metal tradition while reaching backward to plunder the aesthetic sensibilities of 19th-century Romanticism—a conceit that could easily collapse under its own pretensions, yet somehow maintains its balance across the album's runtime.

The Bretons have always possessed a peculiar gift for melancholy, that Celtic strain of wistfulness that seeps through the bones like Atlantic fog. Johann Le Roux and his companions in Steel & Velvet understand this instinctively, and on *People Just Float*, they've fashioned six songs into a narrative as spare and haunting as the landscape they inhabit.

Steel & Velvet's interpretation of Robbie Basho's "Orphan's Lament" represents far more than mere homage—it stands as a masterclass in musical translation, transforming the late composer's 1978 piano meditation into something simultaneously faithful and entirely reimagined. As the opening track of their "People Just Float" EP, this cover performs double duty: introducing us to Joshua, the protagonist of their accompanying short film, while establishing the emotional coordinates for the journey ahead.

Marseille has gifted us another gem. Benjamin Quartz's "Pyromane" represents the sort of sophisticated, emotionally intelligent songwriting that reminds us why we fell in love with music in the first place. This is a single that rewards patience, that understands seduction operates through suggestion rather than declaration, and that proves restraint can prove far more intoxicating than excess.

Romain Gutsy has spent decades living between languages, between subway platforms and recording studios, between the ghosts of Jacques Brel and the whispers of Leonard Cohen. With "Comme un Azur dans l'Ame," he finally plants his flag back in French soil—and the homecoming feels earned rather than opportunistic.