After nearly a decade of carving her own path as an independent artist, Nashville-based pop-punk singer-songwriter Taylor Acorn finally steps into her well-earned spotlight with Poster Child —her long-awaited sophomore album and first release under Fearless Records. The album not only marks a new chapter for Acorn’s career but also cements her place among modern pop-punk’s most compelling voices, joining the ranks of contemporaries like Maggie Lindemann, Charlotte Sands, and Stand Atlantic. Acorn’s previous releases, Certified Depressant (2023), Survival in Motion (2024) ,  hinted at her potential, but Poster Child  is the full realization of her vision—a cathartic, nostalgic, and unfiltered collection that bridges her early 2000s influences with her distinctly modern storytelling. Teaming once again with longtime collaborator Dan Swank (Arrows In Action, Cassadee Pope), Acorn channels the spirit of Avril Lavigne’s Under My Skin  and Paramore’s Riot!  while still sounding undeniably current. The record opens with the perfect opening track, “People Pleaser,” which is fueled by gritty guitars and infectious hooks; it’s a candid declaration of self-liberation from the need to appease others—a theme that threads through much of the album. From there, “Crashing Out” delivers a melodic gut-punch, finding Acorn caught between growth and burnout, a feeling all too familiar to anyone navigating adulthood. The album's spotlight single, “Hangman,” stands out as one of Acorn’s finest moments to date. Beneath its soaring chorus lies a clever metaphor for emotional stagnation—feeling like the universe itself is toying with you, one wrong guess away from defeat. Acorn’s vocals balance grit and grace as she laments, “I'm screaming into the abyss / What did I do to deserve this?” It’s that mix of vulnerability and power that defines her songwriting. Elsewhere, “Poster Child,” the album’s title track, doubles as both a mission statement and an act of reclamation. Acorn embraces her flaws, doubts, and triumphs with a wink to her past—she’s not just surviving the expectations placed on her; she’s redefining them. “Home Videos” slows things down, reflecting on childhood innocence and the bittersweet ache of nostalgia, while “Cheap Dopamine” calls out the fleeting highs of social validation in an age of endless comparison. Nearing the midway point of the record, the fiery “Goodbye, Good Riddance” bursts in with a sneer and a smile—Acorn herself calls it one of her favourite songs she’s ever written, and it’s easy to hear why. It’s bold, empowering, and certainly built to be performed on the stage in front of crowds of fans. “Sucker Punch” and “Vertigo” continue that energy, leaning into crunchy guitars and anthemic choruses tailor-made for festival sing-alongs. Some of the album’s most emotional moments come with “Theme Park” and the stripped-down “Masquerade.” The former reflects on the dizzying highs and lows of chasing dreams, while the latter offers a raw, intimate finale that spotlights Acorn’s powerhouse vocals and emotional nuance. It’s a quiet reminder that behind all the noise and distortion, her greatest weapon is her honesty. Poster Child  is more than just a debut—it’s a culmination of nearly a decade of hustle, heartache, and hope. Acorn has always written from a place of truth, and here she delivers her most confident, cohesive, and emotionally resonant work yet. Her music speaks to the inner teenager who never quite outgrew their eyeliner and the adult still learning to love themselves out loud. With Poster Child,  Taylor Acorn isn’t just revisiting pop-punk’s golden age—she’s redefining it for a new generation. Check out more from Taylor Acorn: Website: https://www.tayloracorn.com Twitter: https://twitter.com/tayloracorn Instagram: https://www.instagram.com/tayloracornmusic/ Facebook: https://www.facebook.com/tayloracornmusic TikTok: https://www.tiktok.com/@tayloracorn1

Photo courtesy of Alexander Bemis. Hey Kami! Thanks for taking the time to do this. What are your main music influences, and how did you decide you wanted to get into the metalcore/post-hardcore genre? Kami: I’ve always pulled inspiration from a lot of different artists, such as Joan Jett, Miley Cyrus, Mac Miller, Green Day, Paramore, and Cage the Elephant. I’ve never really boxed myself in. My genre is rock at its core, but I love blending other sounds and influences. I think that mix is what keeps it fresh and true to me. How would you describe your music to someone who's just discovered it today? Kami: Emotional, powerful, and honest. My music lives in the rock world but pulls from so many genres. It’s raw, energetic, and always comes from real experiences. You recently dropped your brand new EP, KANDY . I love it so much, by the way. How has the response been so far from fans and the media for it? Kami: Thank you! The response has been amazing. Hearing people connect to the songs and message means the world. It’s been cool to see fans relate to it in their own ways. I make music because it heals me, and I release it because I want to heal others.  What's something you have been noticing that fans are taking from this EP compared to your previously released music? Kami: I think people are connecting more to the honesty and emotion in KANDY. It’s darker and more personal, and I think fans can really feel that this one came straight from the heart. And I think anyone that has gone through or is going through a similar situation understands exactly how I’m feeling, so they’re able to connect with the songs on a different level.  How was the overall writing and producing process for this EP compared to your records REVIVED and DRAMA QUEEN ? Kami: DRAMA QUEEN was definitely my pop era. I wrote and produced a lot of it on my own. REVIVED was when I first really started getting back into rock, but I feel like making KANDY was when I truly found my voice and my sound. It leans a bit darker and heavier than my previous projects, and is more rock and drum-driven. I made “KANDY” with my incredible producer, Curt Martin. Looking bac,k I love and appreciate all my eras because it’s crafted me into the artist I am. Did you have any inspirations while you were writing the songs for the new EP? Kami: A lot of the songs came from personal experiences of heartbreak, healing, and finding strength again. I was inspired by the idea of turning heartbreak into something more.  What’s your favourite song on the EP? Kami: " DOPAMINE." It’s one of the most emotional songs I’ve ever written, and it came from a really low point in my life, and that song helped me feel something again. How's the overall process of making new music? Do you plan on doing it on the road, wait until the tour is over, or do you like to do the proper, full-blown sessions? Kami: I’m always writing, I’ll make music anywhere I can. But for recording, I like having those full sessions where I can really dive in. On the road, it’s harder, but I’m always jotting ideas down. If you can have your listeners and fans remember one thing about yourself, what would you want them to remember you by and why? Kami: I’m human too. And I go through shit just like everyone else. And if you listen to my music and are feeling the same way just remember I’m right there with you. And you are not alone. Life isn’t easy. I would love to encourage anyone to find a healthy outlet. Music has saved my life countless times, and all I want to do is help anyone who needs it. If my music can save one person, that’s all that matters.   If there was one band that reached out to you right now that wanted to have you on tour, who would that dream band be right now? Kami: There are so many amazing artists, like Joan Jett, Miley Cyrus, or Billie Eilish. Honestly, anyone in the rock or pop world that pushes boundaries. That’s the kind of energy I love. You're going to tour on a really cool run in the fall supporting Seether and Daughtry. What city are you looking forward to the most, and do you have anything that you typically forget at the last minute before going on tour? Kami: Honestly, I’m excited for every single city. I’ve never played a tour this big before, so every show has been incredible. I’m just happy I get to meet all my fans after my set, and I’m honoured to be on stage with these rock legends. I don’t typically forget anything before going on tour lol I write down a list of things and check it off like 100 times so I don’t forget anything haha.  What are your tour essential stops while on the road? Kami: Honestly, I have to hit a gym or I’ll go insane. Working out keeps me grounded on tour. How do you like to spend your days off on tour? Kami: I try to make music or edit my own content when I can, but usually off-days end up being travel days. I like staying creative even when things are hectic. Finally, what are your plans for the rest of 2025? Kami: I’m working on releasing new singles and finishing an album I’m really excited about. I’m experimenting even more with blending genres and just letting the music evolve. I can’t wait to share it with the world. Check out more from Kami Kehoe: Facebook  | Instagram  | TikTok  | YouTube

Rising pop provocateur Laura Pieri caps off a month of Halloween-inspired storytelling with the release of her new single, “ Just a Little ,” out on all streaming platforms today. Throughout October, Pieri reimagined iconic songs through a series of darkly cinematic covers— Lady Gaga’s “Marry the Night” (The Vampire), Charli xcx’s “party 4 u”  (The Siren), and Rihanna’s “Disturbia” (The Werewolf)—each exploring a different archetype of feminine power. The project extended beyond music, coming to life through immersive visuals, stories on her new Substack , and her annual Halloween party in New York at The Box. Now, with “ Just a Little ,” Pieri brings her month-long creative world to a feverish climax. The hypnotic, seductive new single explores the tension between temptation and control. It’s about the thrill of flirting with danger without completely surrendering to it. “ Sweet and sour, playful and self-aware, ‘Just a Little’ carries the belief that desire and shame are two sides of the same coin, ” Pieri shares. “ I’ve always struggled with feeling like I'm too much, like I don't belong, like being this way made me broken. ‘Just a Little’ became a kind of reclamation, not just of desire, but of self-permission. It’s the moment I stopped trying to edit my instincts to fit someone else’s moral architecture. Because aren’t we all, just a little sinful?” “Just a Little” marks the beginning of a bold new era for Pieri, following the release of Frankie (ON THE DANCEFLOOR) , the high-energy companion to her acclaimed 2024 EP, Frankie. Featuring club-ready reimaginings of her earlier work and a brand-new single, Frankie (ON THE DANCEFLOOR) turned Pieri’s story of survival into one of celebration. Born in São Paulo and now living in New York City, Laura Pieri has been chasing music for as long as she can remember. There was never a single moment of realization; music has simply always been part of her identity. Over the last few years, Pieri has carved a distinct path in pop, earning features in outlets like FLAUNT, Mundane Magazine, and Northern Transmissions. A true multidisciplinary artist, Pieri approaches every project with a fully realized vision. She not only writes and performs her music, but also immerses herself in the visual world surrounding it.  Listen to "Just a Little" on all streaming platforms: https://unitedmasters.com/m/just-a-little-4 Find out more from Laura Pieri: Instagram  |  TikTok  |  Facebook  |  Spotify  |  Twitter  |  YouTube

Few bands have mastered the art of fusing darkness and beauty quite like The Pretty Reckless, and this holiday season, they’re unwrapping a surprise that no one saw coming. Taylor Momsen’s Pretty Reckless Christmas  EP finds the chart-topping rock band embracing the spirit of the season—without sacrificing their trademark edge. Released digitally on October 31, 2025, via Fearless Records, this seven-track EP proves that holiday music can still smoulder with distortion, attitude, and soul. The centrepieces of the record are a full-circle moment twenty-five years in the making: a reimagined version of “Christmas, Why Can't I Find You?” and “Where Are You, Christmas?”, a pair of songs Taylor Momsen first performed as a child actress playing Cindy Lou Who in How the Grinch Stole Christmas  (2000). No longer the wide-eyed girl wondering about the meaning of the season, Momsen now approaches the tracks as a weathered storyteller. On “Christmas, Why Can't I Find You?” Taylor Momsen and crew deliver a full-blown piano ballad with it ending with Momsen's present voice crossfading over to her original recorded vocal take from twenty-five years ago. Whereas on “Where Are You, Christmas?”, her voice is husky, powerful, and filled with lived-in emotion. What was once a tender ballad is now transformed into a cathartic rock anthem, complete with soaring guitar solos and a stormy rhythm section that builds to a cinematic crescendo. The two tracks are reverent to the original’s heart but reframed through the lens of Momsen’s journey—from child star to rock icon. Beyond the nostalgia-driven centrepiece, the EP boasts four brand-new originals that showcase the band’s range and charisma. “Blues on Christmas” opens the EP with soft strummed, bluesy acoustic guitar before a smoky guitar solo rings out, and a sultry vocal delivery that feels like Joan Jett fronting a winter blues revue. The follow-up track, “Christmas Is Killing Me,” captures the chaos of the holiday grind with a biting sense of humour and punk-rock snarl—proof that even seasonal stress can sound good when filtered through The Pretty Reckless’ distortion pedals. “I Wanna Be Your Christmas Tree” injects a playful, doo-wop-infused swagger, turning flirtation into a sleigh bell-laced classic rock number. Meanwhile, the very brief acoustic tune, “When We Were Young,” brings the EP to an emotional peak, a reflective slow-burner that channels the bittersweet nostalgia of the season. Momsen’s vocal performance here is one of her finest—gravelly yet delicate, filled with the ache of memory and the warmth of gratitude. But it’s the thematic throughline that makes Taylor Momsen’s Pretty Reckless Christmas  more than just a novelty release. Beneath the sleigh bells and distortion, the band explores what the holidays mean to a generation that’s grown up, faced loss, and found solace in music. Momsen described revisiting “Where Are You, Christmas?” as “coming home to a part of myself I hadn’t seen in a long time,” and that sentiment bleeds through every note of the EP. It’s about rediscovering wonder in a world that’s tried its best to harden you. Sonically, the production—handled once again by longtime collaborator Jonathan Wyman alongside the band—strikes a balance between grit and gloss. The guitars shimmer like tinsel; the drums hit like thunder in the snow. And through it all, Momsen’s voice remains the guiding star—commanding, vulnerable, and unmistakably authentic. With Taylor Momsen’s Pretty Reckless Christmas , The Pretty Reckless deliver a rare gift: a holiday album that feels both nostalgic and defiantly modern. It’s festive without being saccharine, heartfelt without losing its bite. For fans, it’s a bit of a celebration of everything they love about the band; for newcomers, it’s a perfect entry point wrapped in holiday lights and feedback fuzz. Check out more from The Pretty Reckless: Website | Facebook | Twitter | Instagram

Today, LA-based vocalist, pianist, and composer Niia released the haunting new video for “Pianos and Great Danes,” from her genre-defying fifth studio album V (October 10 via Candid Records). Reinforcing her reign as the ultimate goth jazz princess, the 3-minute-long music video is a masterpiece of haunting cinematography featuring flashing, grainy edits mirroring uninhibited desires. The club-jazz anthem explores sex as an escape with an irresistible drum'n'bass groove.  Listen to “Pianos and Great Danes” here // Watch the official music video here .   “ The memory of how this came together is blurry,” shares Niia. “ Somewhere between a joke and a vision — “sexy demon” got said, and everything after that was impulse. A crossbow. An empty building. A piano. A Great Dane. Just friends following whatever felt right. No plan, just instinct and collaboration.”  Bridging the gap between traditional nostalgia and the complexities of modern emotional life, the surreal song is “closer to a film score than anything from the Great American Songbook,” she continues. “Written like a monologue with chord changes, it leans into space and narrative, letting the harmony suggest the emotional shifts. Embracing emotional residue, there’s a chaotic feeling where the only way out is to melt through the track.” A sharp, soulful exploration of desire, heartbreak, and freedom, V is a culmination of years spent experimenting at the intersection of tradition and reinvention. Co-produced by Spencer Zahn (Dawn Richard, Empress Of) and Lawrence Rothman (Angel Olsen, Kim Gordon, Kali Uchis). Living in the tension between control and collapse, the pivotal record seamlessly blends the electronic textures of experimental pop with the thrilling interplay that only live, jazz-rooted musicianship can bring. The arrangements stretch–sometimes restrained, sometimes theatrical–but always with intention.  As a classically trained musician who grew up watching Italian cinema, “I pulled from the harmonic language of jazz pianists like Bill Evans and from the psychological atmosphere of film scores,” explains Niia . That combined inspiration and influence is most evident in the songs “ Angel Eyes ,” a reimagined version of the 1946 jazz standard by Matt Dennis & Earl B. Brent, and “ Ronny Cammareri ,” a slow-burning instrumental titled after Nicolas Cage’s character in Moonstruck . Niia’s most personal record yet, V explores the full spectrum of self: self-harm, self-delusion, self-awareness, and in rare moments, self-love. “ Not in a moralizing way, but in a very human one,” she clarifies . “The good and bad live side by side, often in the same verse. One minute I’m performing heartbreak like it’s a role I’ve rehearsed, the next I’m quietly admitting I caused the whole thing. That contradiction is the truth.” Balancing those heavy themes with Niia’s unapologetic sad girl humour, there are tracks like the provocative album opener “fucking happy,” accented by sarcasm layered over melancholy, that radiate relatability. A sly nod to Fiona Apple’s iconic “Criminal” video, watch the Lili Peper-directed video here . Also featuring emotional depth with a rebellious sonic palette is “Throw My Head Out The Window,” featuring new wave jazz boundary pushers bassist Anna Butterss and Nicole McCabe on saxophone. It is intentionally over-orchestrated with strings, dissonant piano, and a vocal teetering between aria and tantrum. Watch the minimalist video for the jazz-noir fever dream track here .  With a vision and mission to bridge the gap between control and collapse, the provocateur successfully brings that tension to life not only in her music, but in the album’s cover art as well, featuring Niia affixed with a heretic fork– an instrument of medieval torture reserved for those who spoke out against dogma and orthodoxy. Niia emphasizes , “If I’m going to make my statement in this genre, I need to be a disruptor.”   TRACKLIST: fucking happy Ronny Cammareri Throw My Head Out The Window I Found The Restaurant with Feeling Pianos and Great Danes Again with Feeling Dice Maria in Blue The Awful Truth Angel Eyes ABOUT NIIA: Niia Bertino is a classically trained pianist and vocalist rooted in jazz who blends elegance with edge and a timeless voice, with razor-sharp songwriting. Her past work has received praise from The New York Times, Rolling Stone, The Guardian, Interview Mag, and Harper’s Bazaar. ABOUT CANDID RECORDS: From 1960-1963, founder, A&R, and producer Nat Hentoff recorded over 30 extraordinary albums for the Candid Records label.  One cannot underestimate the breadth of these recordings - from bebop to the avant-garde, to blues. Candid sat dormant for years until Black Lion Records founder and producer, Alan Bates, bought the label in 1989. The next phase of Candid Records is happening now.  Since its relaunch in 2021 the label has reissued over 30 titles to high critical acclaim. Thanks to brilliant new releases, Candid has received four GRAMMY® awards – 2024 winners the Count Basie Orchestra, 2023 winners Terri Lyne Carrington and Wayne Shorter, and 2022 winner Eliane Elias. Today’s Candid is not only committed to its legacy but looks forward to defining its future with the quality music that is synonymous with its elite heritage. Learn more at www.candidrecords.com FOLLOW NIIA: Website | Facebook | Instagram | TikTok | X | YouTube

Los Angeles-based indie pop duo The Two Lips announce their EP girl, c’mon! is due November 7, 2025, via Island Records. Included in the eight-song EP is the new single “if you said,” which arrived last week alongside a music video directed and edited by Nathan Castiel. On the tender ballad, The Two Lips smoothly harmonize their vocals as the song crescendos to an explosive ending. girl, c’mon! also includes the sugar pop track “ play ,” which arrived last month.   Speaking about girl, c’mon! The Two Lips share, “we are so so proud of this tiny body of work. each song is so special to us & we hope it feels just as special to you ₊˚⊹♡”   The Two Lips just kicked off their headlining Kiss & Tell Tour across North America, which sees the duo perform sold-out shows in Denver, Chicago, Philadelphia, New York City, Atlanta, and Austin before wrapping up in Pomona on November 22nd. The Two Lips will also be making their debut performance at Coachella in 2026, performing on April 10th and 17th. You can find the full tour routing below and tickets here .   The announcement of girl, c’mon! follows The Two Lips’ opening performance for Sabrina Carpenter during her two-night stint at BST Hyde Park in London and supporting Malcolm Todd on tour throughout the Midwest earlier this year. girl, c’mon! will also include the recently shared single “ play ,” which followed standalone singles “ talk ” and “ clue .” The forthcoming EP also follows their viral fan favorite “ still love you (todavía) .” The breakout anthem has surged, garnering over 40 million streams and hitting the Top Ten on the Spotify Viral Chart.   The Two Lips feel like a dream beamed in from another dimension—lush and impossible to ignore. Hailing from the suburbs of Cerritos, CA, Andrea and Jewlz are longtime friends who traded in their day jobs (kindergarten teacher and server) to dive headfirst into the world of music. What started in 2023 as a way to process heavy emotions and untangle the complexities of their lives quickly became something bigger: music that's raw, immersive, and bursting with heart. Their sound nods to their roots, too—both are Mexican, and Jewlz also draws from her Filipina heritage.   Pre-order / save girl, c’mon! and check out “if you said” above, see full live dates below, and stay tuned for more from The Two Lips coming soon. girl, c'mon! Tracklist:   1. play 2. it's complicated 3. enemy 4. something stupid 5. headache 6. cup of tea 7. if you said 8. happy for me feat. Rebecca Sugar Upcoming Tour Dates:   10/29 - Salt Lake City, UT @ Kilby Court 10/30 - Denver, CO @ Globe Hall 11/2 - Minneapolis, MN @ 7th Street Entry 11/3 - Chicago, IL @ Lincoln Hall 11/5 - Toronto, ON @ The Garrison 11/8 - Philadelphia, PA @ Brooklyn Ballroom 11/9 - New York, NY @ Bowery Ballroom 11/10 - Washington, DC @ Union Stage 11/12 - Charlotte, NC @ Neighborhood Theatre 11/13 - Atlanta, GA @ The Masquerade - Altar 11/15 - Austin, TX @ Empire Garage 11/16 - Oklahoma City, OK @ Beer City Music Hall 11/17 - Dallas, TX @ Club Dada - Outdoor Stage 11/19 - Albuquerque, NM @ Launchpad 11/20 - El Paso, TX @ The Lowbrow Palace 11/22 - Pomona, CA @ Viva! Pomona Connect with The Two Lips: Instagram | X (Twitter) | YouTube | TikTok | Website

How would you describe your music to any person who may have never heard it before? We primarily create hard rock and heavy metal music, but our distinction is that we primarily create rock operas of classic stories. I consider our music “edu-tainment” because one motivation is to draw people to learn more about the classics as a result of having heard our music. Is there any significance to the band’s name? Yes, Maria and I named ourselves after our promise to always try to make the best music we possibly can. We will not take any shortcuts. We will not hold back in any music endeavour. We will develop our talents as best we can. We offer to our audience this Solemn Pledge. What are your musical influences? Maria Genevieve Elia and I are big fans of the classic era of heavy metal. But we also like other subgenres of rock. Blues rock and traditional hard rock are also great loves of ours. Exactly which style of rock we perform depends on the song. Our music always serves the song. As an exaggerated example, if we were creating a lullaby, we would not use speed metal music. What are your musical inspirations? All the greats! From my favourite guitarist, Eddie Van Halen, to far lesser-known rock musicians, truly innovative musicians inspire me. If given the chance, what musician(s) would you like to collaborate with? Rather this is to either write a song or be featured on a track. I regret that all those whom I hypothetically would most like to collaborate with have passed away. Eddie Van Halen, for example and also deeper into the past with Elvis. These two top my list, but actually, there is a very large number of musicians whom I would love to collaborate with. What’s the song/album about? There is no single theme for this album. Each song stands independently as a rock creation. But one coincidence is that several songs tell the story of a separate powerful woman. Among them are songs about Queen Boudica from British history, Judge Deborah from the Bible, Hypatia from Egyptian history and the fictional Xena, the warrior princess! I also have a song that pays tribute to my favourite musical artist, Eddie Van Halen.

Hip-hop and R&B singer Queen Naija released her new EP, 30. , on October 24, 2025, via Capitol Records. The album consists of an eight-song tracklist. With features from Mariah the Scientist and Cash Cobain. What excites you about this new era of your music Queen: The versatility that I'm finally not afraid to show anymore. When I first started out, I felt like I needed to solidify myself in R&B. I never looked at things as a competition before, but there are new artists coming out all the time. It's exciting for me to still be around and be able to come out with new music, and that people are still excited. Your music beautifully balances heartbreak with empowerment. How do you decide when to lean into vulnerability versus strength in your songwriting? Queen: It depends on how I feel that day. If I'm having a bad day, I'm going to go in and pour my heart out. If I’m having a great day and I feel super excited and motivated, that's when I lean into the motivational strength, fun music. Get some cookies or food in the studio. It really depends on how I'm feeling that day. How do you see yourself evolving over the next five years—musically and personally? Queen: I want to become a better performer. I never got a chance to do artist development when I first started. So being that I’m in this me season more, I'm going to be focused on perfecting my craft and taking things more seriously. I do want to learn some movements. I’m always involved with how my shows look. One of the things I really want to learn is how to keep pushing and promoting in a creative way that doesn't feel gimmicky. I’m going to manifest myself at the peak of my career in the next 5 years. Do you have any plans for performing once 30. releases? Queen: Yeah, I plan on going on tour. I don’t have any dates yet, but I know in 2026 I have to get back on tour. While crafting your upcoming EP “30,” how was your creative process different from your older projects? Queen: Just being able to explore with anything, new production, tempo I haven’t done before. Make sure everything is my own and very Queen. Before I was close-minded and wanted to do it my way. Now I’m very open and do whatever will help me win. You’ve come a long way from posting YouTube covers to topping Billboard charts. Looking back, what’s one moment that still feels surreal or defining to you as an artist? Queen: The moment that still feels surreal is when I had this huge stampede situation in Times Square, I had this platinum blonde wig. No one could tell who it was at first, they were like is that Cardi B or Niki Minaj and they were like, No, it’s Queen Naija. It made the news, too. That moment of me going to look at the billboard, and they were running to me. Opening for Mary J. Blige, I grew up listening to her. And being on Baby Face's album. All the greats have vouched for me. What’s the message you want fans to walk away with after listening to this album? Queen: I want people to recognize my growth. To feel like they don't have to be serious all the time. To dance, feel sexy, and confident. I want positive energy. Even though I'm experimenting with fun music, I’m still a lover girl and love heartbreak music. People feel like they are not alone. So don't count that out either. Follow Queen Naija on her socials: Instagram  | TikTok

With PAPARAZZI ARRIVE , A2O MAY make a confident and highly intentional entrance into the global pop landscape. Released on October 24, 2025, via A2O Entertainment, the group’s debut album isn’t just an introduction—it’s a mission statement. Blending sleek C-pop foundations with Western pop, R&B, and hip-hop sensibilities, A2O MAY present themselves as a multilingual, genre-fluid act unafraid to move between markets while maintaining a sharp artistic identity. The album opens with “PAPARAZZI ARRIVE – English Version,” a bold, high-gloss statement that leans into themes of visibility, ambition, and power. Its production is polished and cinematic, pairing commanding vocals with a pulsating beat that feels tailor-made for arena stages and fashion-forward visuals. The title track immediately frames A2O May as a group aware of their presence and eager to own it. That confidence only escalates on the English version of “B.B.B (Bigger Badder Better),” featuring A2O LTG. The track thrives on swagger, built around heavy bass, sharp hooks, and a chant-ready chorus that emphasizes dominance and growth. The chemistry between A2O May and A2O LTG adds extra texture, making the song feel like a larger universe moment rather than a simple feature. “BOSS” continues the empowerment narrative, but with a colder, more assertive edge. The English version highlights the group’s ability to deliver attitude-driven pop without sacrificing vocal clarity, while “Under My Skin (A2O)” shifts gears just slightly, injecting tension and allure into the album's tracklist. It’s darker, more seductive, and hints at emotional complexity beneath the group’s confident exterior. One of the album’s strongest moves is its mirrored bilingual structure. Presenting both English and Chinese versions of “PAPARAZZI ARRIVE,” “B.B.B,” “BOSS,” and “Under My Skin” isn’t redundant—it’s entirely strategic. The Chinese versions feel fully realized rather than secondary, allowing the group’s cultural roots to shine while reinforcing their global ambitions with the English versions. Rather than simply translating lyrics, A2O MAY adapt tone and delivery, giving each version its own unique identity. The latter half of the album broadens the spotlight. “SWEAT,” performed by Miche and KAT, arrives in back-to-back English and Spanish edits, injecting a sultry, dance-forward energy that emphasizes versatility and international reach. The Spanish edit, in particular, feels natural and confident, not gimmicky—a testament to A2O Entertainment’s clear global vision to be a global pop group. The closing stretch—made up of both solo and sub-unit covers—serves as a showcase of individual artistry. “MELODY,” featuring members Chenyu, Shijie, and Quchang, strips things back emotionally. It’s softer, more introspective, and highlights vocal warmth over bravado, offering a welcome contrast to the album’s high-energy front half. However, it's the solo covers that really let members of A2O May truly shine. Chenyu’s take on Lewis Capaldi’s “Someone You Loved” is heartfelt and restrained, focusing on emotional delivery rather than vocal theatrics. Quchang’s rendition of the Gin Wigmore song “Black Sheep” channels raw intensity and edge, while Shijie’s cover of Ella Mai’s “Trip” brings smooth confidence and contemporary R&B finesse. These tracks don’t feel like filler; instead, they deepen the listener’s connection to each of these three members further as artists and their abilities. Ultimately, PAPARAZZI ARRIVE  succeeds because it knows exactly what it wants to be: bold, polished, multilingual, and unapologetically ambitious. A2O May aren’t easing into the industry—they’re stepping into the spotlight with intention, charisma, and a clear sense of identity. As debut albums go, this one doesn’t just arrive—it fully announces. Check out more from A2O May: https://www.instagram.com/a2o.may/ https://www.youtube.com/@A2O_Channel

October 8, 2025 Hollywood Palladium All photos by Sabrina Shahryar.

How would you describe your music to someone who hasn’t heard it before? Chavar Dontae: I would describe my music as a cinematic soundtrack to life with themes of forever summer, hope, love, heartbreak, disappointment, and overcoming. Genre-wise, I would describe it as alt-pop/indie R&B—a synthesis of pop, rock, indie, electronic, and R&B.   What are your musical inspirations? Chavar Dontae: A lot of my inspiration comes from jazz and classical music, as well as music from now and throughout the history of recorded music. Today I would say Sly and the Family Stone, Jimi Hendrix, Kraftwerk, Wham, Talking Heads, Thomas Dolby, Prince, Radiohead, Sade, Public Enemy, Bill Frisell, Herbie Hancock, M83, Phoenix, and D’Angelo. This could change later today because I can’t even remember all of the songs that have shaped who I am and that I draw inspiration from.   What did you allow yourself to do creatively on your latest EP,  Too Much , that you haven’t in the past? Chavar Dontae: I think on this EP I was able to allow myself to be an open vessel to capture inspiration without time constraints. The essence of each song happened really fast. It always takes time to finish everything from idea to postproduction, but this time we were able to just be musical in the mixing stage with Dylan Ely at Portia Street Studios in Echo Park (Los Angeles). We were also fortunate to have Elias Mallin lay down live drums on “Rain.” It allowed me to have an stress-free experience and also allowed me to take a few weeks to sit with the mixes before we mastered with Steve ‘Steve B’ Baughman.   What’s something you hope people take away from the new songs? Chavar Dontae: I hope people can feel the honesty in the music. I also hope that whoever’s listening knows that things will be okay. Even when times are extremely challenging, they can make it to the other side of whatever trauma they have experienced. Just hang in there.   When you find yourself in a creative rut, what do you usually turn to? Any habits, environments, or even non-musical sources that help you reconnect with your creativity? Chavar Dontae: My process is to  cultivate and curate  peaceful environments where it’s easier to hear inspiration. Inspiration can happen at any moment, so for me, it’s being as prepared as possible to be able to receive it when it comes. I’m a coffee shop kind of person, so a lot of the time I’m just chilling, thinking of visual ideas, trying to get my music to people. Just doing my daily due diligence on the administrative side of music, and sometimes an idea will come to me. Oftentimes just practicing something on an instrument or exploring synth sounds can spark an idea.   If you could perform a show this very second anywhere in the world, where would it be?   Chavar Dontae: I’d love to play Pitchfork Festival (London and Paris), Lollapalooza (Brazil and USA), Treefort, Glastonbury, ACL, Coachella, BottleRock, and Bonnaroo.   What do you currently have planned for the remainder of the year? Chavar Dontae: I just finished up the last run of concerts on my schedule for this year, although there might be a couple of one-off shows. I’m focusing on new music, refining the live show for festivals, and seeing my music get placed in film.   If your music was a type of food, what would it be and why? Chavar Dontae: If my music were food, it’d be a deconstructed gourmet seafood platter: seared salmon and shrimp over soulful mac and cheese. The hearty mac anchors my Midwestern roots—warm, authentic, vulnerable lyricism from Saginaw and Toledo. Polished salmon adds LA sophistication and atmospheric production. Snappy Shrimp brings upbeat, pop-electronic rhythms. Deconstructed plating fuses comforting and refined flavours, revealing nuanced layers with every listen, like a gourmet meal that keeps unfolding.  Check out more from Charvar Dontae: https://www.instagram.com/chavardontae/ https://www.tiktok.com/@chavardontae

More about the podcast: The Music Storm Podcast is an interview podcast about getting to know people within the music industry. From musicians, photographers, venue hosts, and even lighting and sound techs, you name it, they may appear. This podcast will be very diverse and asking people what they think the music industry will become, where it’s heading to, and so much more. You can find the podcast wherever you listen to podcasts HERE . Check out more from Nep: Instagram  | SoundCloud  | Spotify  | TikTok  | Website  | YouTube  | Apple Music

Canadian rock veterans Big Wreck return with their eighth studio album, The Rest Of The Story , out October 24, 2025, via Sonic Unyon Records. It's a record that once again proves why Ian Thornley remains one of rock’s most gifted craftsmen. Produced by Nick Raskulinecz (Foo Fighters, Korn, Evanescence), the album bridges technical mastery with genuine emotion, pairing Big Wreck’s muscular musicianship with introspective songwriting and a refined studio sheen. Following 2023’s Pages —which earned a Juno nomination for Rock Album of the Year— The Rest Of The Story  feels like a natural extension of that creative burst. The sessions share the same DNA: big guitars, cinematic production, and a sense of freedom that lets Thornley and company stretch in every direction without losing focus. From the opening guitar plucks of “Staff Party,” Big Wreck sounds re-energized more than ever. The track sets the tone with a swagger that feels both vintage and revitalized, full of dynamic grooves and winding solos. “Holy Roller,” one of the record’s most playful cuts, follows up by channelling a classic rock energy with tongue-in-cheek lyrics and an infectious, carefree spirit. Originally darker in tone, Thornley reworked it into a lighthearted anthem about an overzealous partygoer—proof of his ability to find humour and humanity in any theme. In contrast to the album's first two tracks, “Believer” brings weight and conviction. The track’s pounding rhythm and soaring chorus underscore its themes of resilience and standing tall amidst chaos, with a music video that juxtaposes human perseverance through historic imagery. It’s quintessential Big Wreck: thoughtful, powerful, and deeply melodic. Thornley’s emotional depth shines brightest on the tracks, “Out Of Range” and “Laws Of Man.” The former drifts through airy soundscapes and gentle harmonies, evoking a dreamlike reflection on isolation and hope. The latter strips everything down to a pastoral acoustic moment, intimate and arresting in its simplicity. Between these two poles, the album covers an enormous sonic range—one that few rock acts today can navigate so confidently. “Escaping In Place” stands as one of the album’s most personal and existential moments, exploring the paradox of feeling trapped in a life of one’s own making. Thornley’s lyricism balances introspection with universality, while the instrumentation swells with tension and release. Elsewhere, “Around” surprises by leaning into pop-infused textures, a creative pivot encouraged by Raskulinecz that gives the album a refreshing jolt of brightness amid its heavier rock flair. Instrumentally, The Rest Of The Story  is a masterclass. Thornley’s guitar work remains second to none—fluid, inventive, and emotionally articulate—while bassist Dave McMillan and drummer Sekou Lumumba form a rhythm section that’s both grounded and adventurous. The synergy among the trio is palpable, the result of trust and unfiltered collaboration in the studio. Even Chris Caddell’s influence is felt, with Thornley likening his presence to the late Brian Doherty—an essential glue that binds the band’s dense, riff-heavy sound together. Raskulinecz’s production captures Big Wreck at their most expansive. Every tone feels sculpted but organic, from the crunching drive of “Dog with a Gun” to the wistful fade of “Hills,” which closes the record on a note of quiet reflection. The attention to detail—tone-shaping, layering, dynamic range—elevates the album beyond a standard rock release into something far more immersive. At its core, The Rest Of The Story  is an album about creative curiosity and rediscovery. Thornley continues to chase the thrill of surprise—the feeling of being caught off guard by one’s own art—and that ethos radiates through every track. It’s an album that demands full attention, rewarding listeners who take the journey with patience and open ears. Big Wreck’s The Rest Of The Story  is a stunning continuation of their evolution—an album that celebrates virtuosity without ego, introspection without indulgence. It’s proof that Ian Thornley and his bandmates are still writing the story of Canadian rock, one awe-inspiring riff at a time. Check out more from Big Wreck: Website | Facebook | Twitter | Instagram | YouTube

On October 19, 2025, the Burton Cummings Theatre roared with the energy of 1,600 passionate fans for Winnipeg Pro Wrestling’s Rumble at the Burt 3 . Known for its mix of hometown grit, surprise appearances, and pure chaos, WPW once again delivered a night of unforgettable action that cemented its reputation as one of Canada’s premier independent wrestling promotions. Match 1: Sammy Peppers vs. ATM (Ladder Match for the WPW 92.1 CITI Championship): The show opened with a high-stakes, high-flying brawl as Sammy Peppers clashed with ATM (c) in a ladder match for the 92.1 CITI Championship. The crowd was red-hot from the opening bell, and both competitors threw caution to the wind with wild ladder spots and innovative offence. In true Winnipeg Pro fashion, chaos wasn’t far behind—a 92.1 CITI FM radio staff member tried to restore order mid-match, but ended up eating a devastating spear from ATM before being unceremoniously tossed onto a ladder. Peppers capitalized on the distraction, which ultimately led him to climb to the top and grab the title to claim victory. A wild, crowd-pleasing opener that set the tone for the rest of the night. Photos by Samuel Stevens Photography. Match 2: The Matriarch & Shotzi Blackheart vs. Ava Lawless & Beaa Moss: The second bout featured the long-awaited return of Shotzi Blackheart to WPW, marking her first appearance in seven years in the city. Teaming with The Matriarch, the duo faced Ava Lawless and Beaa Moss in a fast-paced, hard-hitting tag contest. The chemistry between The Matriarch and Shotzi was undeniable, with both bringing veteran savvy and high-octane energy. Lawless and Moss held their own with some impressive tandem offence, but the experience of their opponents ultimately prevailed. The Matriarch and Shotzi secured the win in a feel-good moment that had the crowd chanting for Blackheart and The Matriarch. Photos by Samuel Stevens Photography. Match 3: Rumble In The Burt Match (20-Man Over-the-Top Battle Royal): In one of the evening’s most anticipated spectacles, Tyler Colton emerged victorious in the annual Rumble In The Burt  match, outlasting a stacked field of nineteen other competitors for a shot at the WPW Championship at Fight At The Museum 4  in 2026. The match featured many appearances by indie favourites and returning WPW regulars, including Danhausen, Tommy Billington, Harlon Abbott, Ronnie Attitude, Michael Allen Richard Clark, Devon Monroe, BRAX, Robby Royce, Mo Jabari, Levi Night, BP Taylor, Jacked Jesus & His Congregation, Kevin Cannon, Raj Singh, and Big Merv. Danhausen’s comedic antics delighted fans, while Colton’s endurance and grit earned him a thunderous ovation when he was the last man standing. Photos by Samuel Stevens Photography. Match 4: Nü Money (c) vs. The Good Brothers (Karl Anderson & Doc Gallows) – WPW Tag Team Championship: In a crossover bout that blurred the lines between indie and mainstream wrestling, Nü Money defended the WPW Tag Team Championship against Impact, NJPW, and WWE alumni The Good Brothers. The match delivered hard-hitting action and plenty of taunting between both teams. In the middle of the match, the action made its way into the audience. Despite the Good Brothers’ veteran experience, Nü Money’s cohesion and agility—and cheating—helped them retain their gold. However, the celebration didn’t last—responding to the crowd’s chant for “two more,” Anderson and Gallows delivered not just two, but five Magic Killers , leaving Nü Money sprawled in the ring as fans roared in celebration. A brutal post-match moment that had everyone talking. Photos by Samuel Stevens Photography. Match 5: Mercedes Moné vs. Jody Threat – WPW Women’s Championship: AEW’s Mercedes Moné made her shocking WPW debut in grand fashion, where she defeated Jody Threat to capture the WPW Women’s Championship. This victory marked Moné’s twelfth title win in recent months, and later in the week, she wasted no time making history by taking the belt to AEW’s live TV taping on October 22. The match itself was a hard-hitting, athletic showcase—Threat’s raw power and intensity met Moné’s precision and star power in a contest worthy of the championship spotlight. Moné’s victory not only elevated WPW’s women’s division but also shone a worldwide spotlight on the growing promotion. Photos by Samuel Stevens Photography. Main Event: Chad Daniels vs. James Roth vs. Bobby Schink – WPW Championship: The night’s climactic main event saw Chad Daniels overcome James Roth and Bobby Schink to become the new WPW Champion. The triple threat match was a masterclass in storytelling, with shifting alliances, near-falls, and high drama throughout. Roth’s brute strength and Schink’s cunning kept Daniels on the defensive for much of the match, but in the end, Daniels’ resilience paid off as he capitalized on a missed opportunity – and cheating from BRAX and Nü Money–he sealed the win to a deafening ovation of boos. The unwanted coronation of a new champion–and the assuming start of a new heel faction–was a perfect conclusion to an already electric night. Photos by Samuel Stevens Photography. Rumble at the Burt 3  proved to be one of Winnipeg Pro Wrestling’s most ambitious and well-executed events to date. From international star power to homegrown heroes and unforgettable chaos, the show was a love letter to everything fans adore about pro wrestling. With Tyler Colton set to challenge for the WPW Championship at Fight At The Museum 4  and Mercedes Moné carrying the women’s title onto AEW television–and her inevitable return to defend the belt–WPW’s momentum has never been stronger. The promotion will next celebrate its seventh anniversary on December 5, 2025, at the West End Cultural Centre—an event that promises to keep the WPW flame burning brighter than ever.

In a world where pop stars are often carefully curated products of image and polish, Nep feels like a glorious act of rebellion. Her debut album, Noelle —out October 24, 2025, via Harbour Artists & Music—is the sound of a young artist telling her story exactly how she wants to tell it: unfiltered, funny, aching, and deeply human. It’s the culmination of years spent transforming her Daytona upbringing into something both mythic and messy—a love-hate letter to home that doubles as her coming-of-age soundtrack. Nep’s world is one of contradictions. She grew up surrounded by bike rallies, sunburns, and small-town noise, yet always knew she’d leave. “Beaches are fucked, Daytona sucks,” she sneers on "Biketoberfest," a track that manages to sound both cathartic and nostalgic. There’s humour in her defiance, but also tenderness—a clear sign that while she’s moved on, she’ll never fully shake where she came from. That push and pull between escape and remembrance defines Noelle ’s emotional core. Written during her senior year at the University of Miami’s Frost School of Music alongside her close friend and collaborator Jake Sonderman, Noelle  feels like a diary cracked open. The songs move through heartbreak, identity, and rebirth with startling intimacy, as if Nep is narrating directly from her dorm room floor. Sonically, she refuses to settle into a single lane—indie-pop, alt-rock, and folk textures intertwine across the record, each track expanding her world a little further. "All Around Beauty" turns a college party into a melodramatic fever dream—all blue tongues, Jell-O shots, and teary bathroom reflections—while "Noelle," the title track, strips everything back to a haunting string arrangement and bare emotion. Her delivery on lines like “I was a kid / You were a guy / It’s not fair / I was a girl” cuts deep, a quiet moment of confrontation that reveals her gift for turning personal pain into universal truth. "Daytona," the album’s centrepiece, explodes with rock intensity and defiant energy, its guitars buzzing like engines at full throttle. The accompanying music video, pieced together from fan-submitted clips, transforms her private story into a communal one—a cathartic anthem for anyone who’s ever needed to get out of their hometown to find themselves. Later, "Black Car Song" morphs from piano ballad to an entirely punk-driven eruption, while the song "Scar" begins with a bluegrass lilt before detonating into rock-tinged chaos—a sonic metaphor for how relationships can shift from harmony to heartbreak in a heartbeat. By the time "July (It Feels So Lovely To Cry)" swells with horns and indie rock cinematic grandeur, Nep sounds like someone stepping into her next chapter with open arms. And that chapter is beautifully summarized in the closer, "Florida Girl." A tongue-in-cheek yet fiercely empowering anthem, it finds Nep reclaiming her identity: “You can never break a Florida girl.” It’s messy, loud, unapologetic—and perfect. Beyond the music, Noelle  captures the essence of a generation raised online yet yearning for something real. Nep’s early TikTok demos—rough, vulnerable, and hilarious—earned her millions of likes and a devoted fanbase that followed her from the internet to sold-out shows in L.A., New York, and Chicago. That same authenticity courses through this debut album; it feels less like a polished product and more like a journal entry set to melody. Noelle  is both a farewell and a beginning. It’s Nep leaving Daytona behind while immortalizing it in song, confronting the scars of youth, and celebrating the strange beauty of becoming yourself. In her hands, heartbreak turns into art, pain turns into punchlines, and home becomes something you carry with you—even when you’re finally free of it. Check out more from Nep: Instagram | SoundCloud | Spotify | TikTok | Website | YouTube | Apple Music

Nashville’s Sam Varga is a master of emotional alchemy—taking heartbreak, anxiety, and disillusionment and turning them into songs that sting, shimmer, and ultimately heal. His forthcoming EP, The Fallout , set for release on October 10, 2025, is his most cohesive and fully realized project yet, bringing together his recent run of singles with two brand-new tracks, “What If I’m Okay?” and “Sticking With It.” Across its seven tracks, Varga crafts an alt-country confession that’s equal parts punk grit, emo catharsis, and Southern soul—proof that genre boundaries have no place in his world. “The Fallout represents the entire past year of my life,” Varga shares, and that raw emotional transparency radiates through every track. His Louisville roots and DIY emo upbringing meet the songwriting craft of Nashville here, giving the project both bite and heart. It’s an EP that’s as much about self-reflection as it is about survival—about letting go of what’s toxic while still finding something beautiful in the ruins. The opening track, “Isabella,” sets the tone with its blend of twangy guitars and fun melodies, grounding the listener in Varga’s sonic landscape. It’s the kind of song that sounds like driving with the windows down on a warm night—bits melancholic, bits fun, but overall liberating. From there, “Long Way Back” strips things down with an Americana-tinged, folk intimacy that amplifies Varga’s lyrical honesty. His voice, raw yet deliberate, conveys the weary clarity of realizing you’ve stayed too long in something that was never meant to last. With subtle mandolin touches and spacious production, it’s one of the EP’s most vulnerable and affecting moments. The track, “Sunday Scaries” pulls Varga’s emo roots to the forefront, balancing its storytelling with the restless energy of post-party regret. It’s anxious, hooky, and painfully self-aware—a fully acoustic guitar driven anthem for the overthinkers trying to make peace with the chaos. As the EP progresses, the new track “What If I’m Okay?” pivots from despair to cautious optimism, finding strength in uncertainty. Here, Varga begins to shed some of the self-deprecation that once defined his writing, suggesting the first signs of emotional recovery amidst the fallout. The EP’s centerpiece, “Queen of the Ashes,” stands tall as a cinematic highlight. The track was co-written with Caroline Romano and Spencer Jordan, and produced by Dan Swank (Knox, Taylor Acorn), it channels heartbreak and revenge into an explosive anthem. The track’s brooding guitars and fiery chorus embody the chaos of destruction as transformation—where burning it all down becomes a form of liberation. It’s Varga at his most anthemic and theatrical, without losing his emotional core. The EP's penultimate track, “Minute Man,” dives into a slightly darker, pop-punk-inflected territory, but without driving far from his country sound. The song showcases Varga’s grit and restless spirit. The distorted edges and pulsing rhythm make it feel like a long drive through regret, headlights cutting through the dark. Finally, “#7” closes the project out on a much more hopeful note—a declaration of persistence, resilience, and quiet self-acceptance. It’s less about triumph and more about endurance, a fitting conclusion to a record about rebuilding from the wreckage. Across The Fallout , Sam Varga proves that he’s more than a songwriter—he’s a storyteller navigating the space between chaos and clarity. His fusion of alt-country, emo, punk, and pop feels both unfiltered and intentional, as if he’s carving out his own lane in Nashville’s ever-expanding soundscape. This is the sound of someone who’s done warring with himself, ready to move forward with scars intact and heart still open. Be sure to pre-save Sam Varga's new EP, The Fallout , before its release here . Check out more from Sam Varga: Website | Instagram | TikTok | YouTube | Facebook | Spotify

Few bands embody the raw conviction and communal spirit of modern hardcore quite like SPEED. Following their breakout 2024 album ONLY ONE MODE , which cemented the Sydney five-piece as global ambassadors for Australian hardcore, the band returns with ALL MY ANGELS —a three-track EP that’s as emotionally crushing as it is musically devastating. Set for release on October 23, 2025, via Flatspot Records (worldwide) and Last Ride Records (AUS/NZ), this project finds SPEED channelling profound grief into something transcendent: a celebration of love, memory, and unflinching human connection. Produced, recorded, and mixed by Elliott Gallart at The Chameleon Studios, ALL MY ANGELS  was born from tragedy. The band endured the loss of three close friends within an eighteen-month period—an unimaginable weight that could have fractured any community. Instead, SPEED transform that heartbreak into their heaviest and most heartfelt work to date. The result is a testament not only to their resilience but also to their ethos: to love without fear or regret. Opening track “AIN’T MY GAME” kicks down the door with the kind of swaggering, groove-driven energy that has become the band’s signature. The riffs bounce with an infectious pulse, and vocalist Jem Siow spits every word with a venomous clarity, urging listeners to live authentically instead of getting lost in illusions. It’s classic SPEED—hard-hitting, uncompromising, and loaded with attitude. The EP's centrepiece, “PEACE,” stands as the project's emotional fulcrum. Backed by churning guitars and bone-rattling breakdowns, Siow delivers some of his most poignant lyrics to date, reflecting on the serenity found amidst loss. His words—“the certainty that the time we shared and invested in one another was underpinned by unfiltered honesty and unconditional love”—strike at the core of what makes SPEED so compelling: their refusal to shy away from vulnerability even in the face of chaos. There’s a spiritual weight here, a sense of catharsis that elevates ALL MY ANGELS  beyond mere aggression. The title track, “ALL MY ANGELS,” closes the EP with a gut-wrenching reflection on suicide, legacy, and remembrance. Siow’s vocals teeter between fury and mourning as the band hurls themselves into every riff with unwavering precision. The track wrestles with the pain of absence while striving to honour those lost—transforming anguish into a call to action, a promise to live with purpose in their memory. It’s an emotional knockout that encapsulates the EP’s dual nature: grief as both a wound and a source of strength. Across its eight-minute runtime, ALL MY ANGELS  distills the essence of SPEED: groove-laden brutality, relentless sincerity, and a communal heartbeat that refuses to fade. It’s hardcore at its purest—not just music for mosh pits, but music for mourning, healing, and moving forward together. SPEED continue to prove that their power lies not just in their riffs, but in their unwavering humanity. Follow Speed on their socials: Facebook  | Twitter  | Instagram | YouTube

Los Angeles alt-pop outfit Senses is on a fast rise—and with their brand-new EP, Onto Something , once again from Hopeless Records, they prove they’re not just part of the current wave of emotional, hook-heavy pop rock—they’re helping steer it. The self-proclaimed “emo-friendly, punk-curious” duo of vocalist and guitarist Madison Taylor and drummer Nick Sampson return with a project that’s equally vulnerable and volatile, a seamless balance of modern edge and nostalgic heart. Formed in 2019 after a Craigslist connection between Taylor and Sampson, senses first made a name with their debut EP, take me out of here (2023), a raw yet polished introduction filled with heartbreak, catharsis, and enough anthemic energy to light up any stage. But Onto Something  marks a confident leap forward. With crisp production, sharper songwriting, and an undeniable chemistry between its emotional highs and crashing lows, the EP is the sound of a band that has found their stride—and knows exactly who they are. Opening with the single, “OBSESSED,” the record immediately grabs you with a rush of adrenaline and flirtatious chaos. It’s the kind of track that captures the giddy panic of a new crush—fun, impulsive, and “a little unhinged in the best way,” as the band puts it. Taylor’s vocals soar above driving guitars and pounding drums as she swings between infatuation and frustration, creating a whirlwind that feels as catchy as it is cathartic. “SKIN” turns inward, peeling back emotional layers with darker textures and an alt-rock bite. It’s a simmering reflection on identity and self-perception, evoking a feeling of standing on the edge of transformation. Meanwhile, the EP's title track “ONTO SOMETHING” perfectly captures that electrifying spark between two people dancing around unspoken feelings. With its irresistible chorus and glistening production, it’s an undeniable highlight—intimate yet explosive, playful yet sincere. Then comes “CLEAN CUT,” the band’s recent single and emotional centrepiece. It’s a pop-punk anthem about shedding old habits and confronting change head-on, carried by Taylor’s commanding vocal delivery and Sampson’s tight, dynamic drumming. The track embodies senses’ evolution—both sonically and lyrically—showcasing their ability to turn personal reflection into something universal and uplifting. The closing stretch softens the edges without losing impact. “YOU AND I” channels mid-2000s pop-punk energy with a cinematic shimmer, a love song tinged with longing and defiance. Finally, “TIPTOEING” closes the project with a bittersweet vulnerability. It’s a song about second chances and tentative hope—about inching back toward someone even when your heart still trembles. With its slow-burn build and emotive storytelling, it ends the EP on a note that’s both heartbreaking and healing. Throughout Onto Something , senses never lose sight of their emotional core. Every lyric feels lived-in, every hook deliberate. It’s a record about growth, desire, and the courage to face yourself after the chaos clears. There’s a sense of clarity here—a realization that the band truly is  onto something, carving out a space between emo introspection and alt-pop confidence that feels authentic and exciting. With Onto Something , senses deliver a breakthrough body of work that’s deeply relatable, irresistibly catchy, and charged with self-awareness. It’s not just a next step—it’s a statement: they’ve arrived, and they’re here to stay. Find out more from Senses: Website | Spotify |  Instagram  |  Facebook | TikTok  | YouTube

September 13, 2025 Park Theatre All photos by Kat Kolesar.

Dayseeker have never shied away from their emotions. Over the past decade, the Southern California quartet—Rory Rodriguez (vocals), Gino Sgambelluri (guitar), Ramone Valerio (bass), and Zac Mayfield (drums)—have carved out their own lane of “sad rock,” as the band have called it, a sound that straddles the beauty of melancholy and the brutality of self-reflection. With their sixth studio album, Creature In The Black Night , the band steps boldly into their most haunting and cinematic era yet—one that merges grief, desire, and defiance into a visceral listening experience. Produced by Daniel Braunstein (Spiritbox, Silent Planet) and mixed by Zakk Cervini (Blink-182, Bring Me The Horizon, Lorna Shore), Creature In The Black Night  expands upon the lush emotional atmosphere of Sleeptalk  (2019) and the raw vulnerability of Dark Sun  (2022). But where those albums leaned heavily into introspection and loss, this one sharpens its fangs—darker, heavier, and more self-assured. It’s the sound of Dayseeker reclaiming their agency in the face of ghosts both literal and figurative. From the opening notes of “Pale Moonlight,” listeners are immediately submerged into the album’s nocturnal world. The lead single encapsulates everything that defines modern Dayseeker: soaring hooks, introspective lyricism, and dynamic shifts between melodic beauty and cathartic heaviness. “Dancing with the devil in the pale moonlight,” Rodriguez croons, blurring the line between addiction and seduction, between giving in and giving up. The song’s cinematic chorus and pummeling breakdowns set the tone for an album that feels both theatrical and deeply personal. The album's title track, “Creature In The Black Night,” immediately follows, and it solidifies the album’s thematic backbone—a descent into emotional shadow that feels more liberating than oppressive. Braunstein’s production lends an eerie polish to Rodriguez’s haunting vocals, which oscillate between angelic falsettos and throat-tearing screams. This duality—pain and power, despair and desire—threads through the record like a heartbeat. “Crawl Back To My Coffin” might be the album’s most quintessentially Dayseeker song, a poignant metaphor for falling in love only to retreat back into emotional isolation. Its closing refrain aches with the kind of cinematic heartbreak that the band has perfected. “Shapeshift” turns inward, an anxious confession about identity and mental strain, while “Bloodlust” channels pure venom, railing against the people who “drain the blood” from your life. The song’s chaotic energy recalls the band’s post-hardcore roots, but with a maturity and sonic depth that feels hard-earned. There’s a narrative cohesion that binds Creature In The Black Night  together—not through a literal storyline, but through recurring imagery and tone. Tracks like “Cemetery Blues,” “The Living Dead,” and “Forgotten Ghost” all play with death symbolism as a lens for emotional survival. “The Living Dead” in particular stands out amongst these few tracks, translating emotional numbness into something tragically relatable. Rodriguez’s vocals here sound both detached and desperate, a haunting portrayal of the liminal state between feeling and forgetting. “Meet The Reaper,” one of the record’s most explosive tracks, acts as both a confrontation and an exorcism—Rodriguez howling over cascading guitars as if purging every lingering fear. By the time the track “Forgotten Ghost” closes the record, Dayseeker have fully leaned into their cinematic tendencies, crafting an atmosphere that feels like the end credits of a dark, romantic film. What makes Creature In The Black Night  so compelling is its refusal to be one thing. It’s not merely a sad record, nor just a heavy one. It’s romantic, gothic, and emotionally raw—blending beauty with brutality in ways few bands manage without losing focus. Cervini’s mix ensures every scream, synth, and swell feels immense, yet intimate; Braunstein’s production wraps the darkness in a kind of seductive glow. More than anything, this album feels like Dayseeker ascending into their final form—one that fully embraces the dualities that have always defined them. There’s sadness here, yes, but also strength. There’s vulnerability, but there’s also vengeance. Creature In The Black Night  isn’t about succumbing to the darkness; it’s about dancing with it. Check out more from Dayseeker: Website | Facebook | Twitter | Instagram | YouTube