Louisiana band Cashier are excited to share the title track of their upcoming debut EP, The Weight, available March 13, 2026, via Julia’s War Recordings. “The Weight” captures the bittersweetness found in the passage of time, with soaring guitars soundtracking the heavy feeling of being alive. “I feel the weight now / Of falling out of line / And it feels the same now / As calling out,” bandleader Kylie Gaspard sings over driving drums and whirling riffs, grounding the track into direct emotional catharsis.
“As the title track of the EP, I wanted to tie the themes of all the songs together,” Kylie explains. “In this song, we wanted to create something that honored the influences that came before us. While staying true to having the guitar as the focal point, the lyrics make this a coming-of-age piece, trying to find where we fit in this life, and how we long for connection.”
The Undercover Dream Lovers release the fuzzed out new single “banging my head.” Another taste of the upcoming album atomic house (out March 20 via SoundOn), Los Angeles-based musician and producer Matt Koenig allows for a moment of uncurbed rock and roll. Backed by scorched neon guitar and distorted vocals, Koenig delivers a powerful manifesto on frustration. The song may have been inspired by memories of literal childhood head trauma (“baseball bats and hockey pucks, I think I split my head open three times as a kid”), but the song craves out the universal truth that beating yourself up can feel physical — Stream.
“I was gifted this old red Gibson guitar and it unlocked this intense facet to my writing,” he says. “It was also the first time I’d really screamed in the vocal booth—so much so that I lost my voice for a month. Both the song and the record as a whole are me stepping outside of my creative comfort zone and finding something new, while also working from ideas and feelings that are very familiar.”
A fine nerve runs through Ghost of a Problem, Kyle Morgan’s second solo record after 2022’s
Younger at Most Everything (Team Love Records). The album is a car swerving in and out of
the passing lane, driver scanning the rearview mirror for the bloody mess he’s certain he has left behind. Hit-and-run or phantom tollbooth? All in the mind, or real as red? It’s an awkward thing about life, that you’ve got to live it in forward while trying to understand it in reverse. Still, dodging traffic on the PA Turnpike amidst a beat-up Elliot Smith record, the sparkling pick-up of the Cactus Blossoms, or the blissful, wide-open lane of an Emmylou Harris album, Ghost manages to gain some perspective.
Basic tracks were laid down in May and June of 2023 under engineer/ producer Ryan Dieringer of Welterweight Sound in New Paltz, NY, performed by the trio of Morgan on guitar and piano, Sean Cronin on bass and Rachel Housle on the drums. “We did a lot of the arranging together, the four of us, there in the studio, ”Morgan wrote about the initial sessions.
“Some I had more fleshed-out demos for, some we constructed together from the ground up, like with the title track, for instance. It was a really fun process. Less recreation of the demo and more collaborative, more defined by a band playing together, which is what I always want it to feel like.” The result is a record that feels like a new bough grafted onto an old apple tree, deliberate in its arrangements and production while staying exploratory and organic in the actual playing.
Dieringer is a longtime collaborator, and the three musicians have backed each other in and
around NYC’s broader indie-folk scene for a decade now. Their familiarity is evident, you can
feel everyone pulsing in harmony on the tracks. The bass and drums groove without showing off or feeling heady, handing a solid foundation to Morgan, who is a first-rate player in his own right. His guitarwork pivots easily from nervous electric riffs to rolling acoustic fingerpicking, and the album benefits more broadly from his intuitive sense of harmony. Morgan grew up singing in church choirs, and composed the string and horn sections himself. Ghost of a Problem has a definite pop sensibility—the production is clear and full of hooks, harmonies, and layered sound—but is equally at home in the sonic landscape of modern Americana, with a weird, throaty baritone guitar and drifting pedal steel gracing several tracks.
NY-based duo Fcukers dropped their energizing new single today “if you wanna party come over to my house.” Get it HERE via Ninja Tune. The band first previewed the song at raging House Party in Austin last weekend with Dylan Brady. One of their most electric tracks to date, the song surges with a dirty BPM-focused beat and instantly addictive hook, delivering fans another club-ready anthem ahead of their highly anticipated debut album Ö, arriving March 27th. The release arrives alongside the official music video, watch HERE.
Their highly anticipated upcoming debut record produced by Kenneth Blume [FKA Kenny Beats] and recorded during a whirlwind two-week studio session which followed an initial meeting between the trio. Ö was mixed by multi-Grammy-winning engineer Tom Norris, with additional production from Dylan Brady on three tracks.
This week marks another massive milestone for the band, as they gear up to make their television debut tomorrow night on The Tonight Show Starring Jimmy Fallon, bringing their high-voltage performance style to the late night stage for the very first time.
The release of “if you wanna party come over to my house” arrives as the duo prime for a huge stretch of live shows. This summer they’ll join Harry Styles on the Together Together Tour in Brazil on 7/17, 7/18, 7/21 and 7/24, and RÜFÜS DU SOL’s North American Tour on select dates, while their own headline tour kicks off in April, marking their biggest run of shows yet. See full tour routing below and get tickets HERE.
After releasing a slew of riveting singles, coldwave aficionados TRAITRS are gearing up to release their new album on March 13th. An eclectic mix of moody lyrics, 808s, and pulsating guitar strums, Possessor showcases the Toronto duo in a new light.
rising R&B songbird Nali shares her new single “Maybe” featuring Coi Leray, out now via Courtesy Of Records. The relatable track tells the tale of modern romance; sharing an undeniable connection with someone who is playing games. Despite knowing a relationship may not be emotionally safe, it’s tempting to abandon logic in the name of love. Even the most guarded hearts can find themselves torn when faced with undeniable chemistry. In the accompanying visual, viewers see Nali and Coi arm in arm, bound together in support under hues of blue. The duo deliver a masterclass in vulnerability and self-awareness, pairing slick verses with honeyed melodies as they unravel mixed signals and explore the line between passion and self-preservation.
New experimental duo The Today Guys unveil their debut single as a collective, ‘CRY ABOUT IT’ – a glitchy, distorted and subtly psychedelic track that marks the first official collaboration between artists Beverly Hell and Britta Raci.
‘CRY ABOUT IT’ is available now on your streaming service of choice via APOLLO Distribution.
Introducing Onyx Halo: An AI Band Creation, Bringing a Songwriter’s Past Back to Life, and Into the Future
In 2026, after nearly three decades away from songwriting, Merseyside‑born creator Stuart Hartley is stepping back into the music world with a project unlike anything he could have imagined in his early twenties. His new venture, Onyx Halo, is a fully AI‑generated band, but the heart, the stories, and the songs are entirely his.
Between 1990 and 1995, Hartley lived for music. Armed with a home setup and a 4‑track recorder, he wrote relentlessly, capturing raw, unfiltered demos and sending them to A&R departments with the kind of determination only youth and ambition can fuel. But professional recording was financially out of reach, and the industry’s rejections eventually pushed him toward a different path. By 25, he stepped away from songwriting and built a successful career as Managing Director of a manufacturing company: a future built on grit, stability, and long-term focus. Yet music has a way of waiting for the right moment.
In 2025, Hartley discovered emerging AI music technology and realised he could finally give his early songs the production they always deserved. He uploaded his original 4‑track demos — some nearly 30 years old — and watched them evolve into fully produced, modern tracks that retained the emotional core of the originals. The process didn’t just revive old material; it reignited his creativity. Hartley began writing new songs again, blending the urgency of his early work with the perspective of a life fully lived.
To bring this new chapter to life visually and conceptually, he created Onyx Halo — an AI‑powered band designed to embody the sound, the story, and the evolution of a songwriter returning to his craft.
Onyx Halo are fully Hartley’s creation too: a four‑piece band who met at the Liverpool Institute for Performing Arts: a fictional origin story that reflects the spirit of the music rather than the literal process behind it. The band’s narrative is part of the project’s creative identity, but the music itself is entirely real: written by Hartley, produced with AI, and shaped by the emotional truth of his journey.
The band members are Art, Lee, Stone, and Jax – who each bring their own imagined histories, influences, and textures to the project. Art, the Toronto-born bassist with songwriter instincts and calm precision. Lee, the Dublin guitarist whose playing carries both fire and poetry. Stone, a Liverpool native with Jamaican roots, grounding the music in rhythm, groove, and heritage. Jax, from the Wirral, stitching everything together with rhythm guitar and harmonica, keeping the songs rooted when they threaten to drift skyward.
Onyx Halo began as a folk‑rock act, but their sound naturally expands into rock, indie, blues, and cinematic atmospheres. They treat folk not as a genre but as a foundation — a heartbeat — while exploring whatever sonic territory feels right. In essence, the band are a ‘rebirth’, not a reinvention. They herald the return of a songwriter who never truly stopped being one, someone who carried unfinished music for decades and finally found the tools to finish the story.
The result is the album ‘Black Light’, released on 26th February 2026, a body of work that feels both nostalgic and new, grounded in the honesty of folk but unafraid to explore wider horizons. It’s a testament to what happens when old dreams meet new possibilities.
On their new track “FOAM,” Arizona’s Bite The Hand turn restlessness into something equally chaotic and cathartic. It’s a melodic turn for what’s to come from one of punk’s most exciting bands to watch in 2026.
Vocalist Echo Breen (she/her) wrote the song like an internal conversation between her inner “good girl,” holding everything together, and the “bad girl” forced to claw her way out whenever things spiral. It’s an introspective take on the idea of making your own bed and deciding whether or not you’re gonna lie in it.
Experimental electronic duo Deus Ego return with their blistering new single ‘VICE GRIP’, the first release from their forthcoming EP ‘INEXORABLE’, due in late March. This new release is an experimental and vulnerable alternative alt-electronic indie banger.
‘VICE GRIP’ is available now on your streaming service of choice via APOLLO Distribution.
Critically acclaimed, Nashville-based LGBTQ+ indie-rock artist Abby Nissenbaum announces her newest single “Why Does No One Want Me,” dropping March 20, 2026 and leading up to her EP due out in June. Nissenbaum writes from the heart, exploring themes of depression, isolation, and heartbreak, but anchored by messages of hope, empowerment, and community. Complemented by her effortlessly honest and raw vocal delivery, Nissenbaum offers relatable, honest and heartfelt lyricism amidst catchy melodies, beautifully contrasting the energetic indie-rock soundscape which surrounds her.
On the upcoming song , Nissenbaum reveals, “I actually wrote ‘Why Does No One Want Me’ as a confidence anthem to pitch to an artist who leans more toward the R&B end of the music spectrum. The song’s original premise was more aligned with, ‘I’m so great, why wouldn’t anyone want me?’ However, I ended up liking the melody so much that I kept the song for myself (sorry!) and changed up some of the lyrics, most notably the chorus, to reflect my typical ‘sad girl anthem’ vibe. Why Does No One Want Me still retains its original sass in the verses and some fun turns of phrase, but the chorus hints at a deeper fear that I think many people my age are feeling: ‘In the age of app swiping and quick validation over real connection, am I destined to be alone forever?’”
Rising indie-folk artist Luke James Williams returns With ‘Full Moon’ another taste of his upcoming second album ‘Limes Hotel’ – out April 17th.
‘Full Moon’ isa cautionary tale of greed that ends with a haunting, Kate Bush‑esque outro, and released to coincide with the full moon (March 3rd).
“Full Moon is about the dangers of not knowing where to stop in our pursuit of what we want,” says Luke. “Gluttony can lead people to do very stupid things that put themselves and others in grave danger. The hunter becomes the hunted in this part fable, part cautionary tale.”
And don’t miss the accompanying video made by UK-based filmmaker and photographer Matthew Oaten featuring two ballet dancers in pursuit around London’s Barbican. “When I listened to Full Moon, I was struck by the sense of pursuit running through it — the idea of desire becoming predatory,” says Matthew. “I saw it as a reflection on greed, competition and the futility of capitalism, and wanted the video to express those ideas physically. I’m grateful to Luke for trusting me to follow that instinct and create something true to the song.”
A bold step into a new chapter, Luke’s upcoming album ‘Limes Hotel’ is an intimate collection rooted in contemporary folk yet unafraid to wander in other directions, with a wealth of unexpected textures, tonal shifts, and emotional risk. Guided by Luke’s unmistakably English vocal and sparse, atmospheric instrumentation, the album emerged from an intense period of grief following the loss of two close friends. It traces questions of mortality, belief, connection, and the quiet work of piecing yourself back together after loss. Yet despite its origins in sadness, the record leans towards renewal with what Luke calls “new shoots reaching up towards the sun; the hope and promise of new life rising from the darkness.”
He adds: “Grief is universal but it often feels very isolating. I hope this album, whilst having been born out of a very dark time, can give a little light and some comfort to people going through similar experiences.”
With ‘Limes Hotel’ Williams cements himself as a songwriter of rare emotional clarity, crafting music that feels both intimate and expansive, deeply personal yet completely universal.
the iconic global instrument brand, has shaped sound across generations and genres of music, becoming one of the most relevant, played, and loved brands around the world. As part of Gibson’s commitment to artist-first culture and elevating new music from emerging musicians around the world, the Gibson Artist Spotlight Program highlights an evolving roster of musicians who are celebrated across Gibson’s global and international channels.
Charlotte Sands is a boundary-pushing pop-rock force from Hopkinton, Massachusetts, whose unmistakable blend of emotional honesty, dynamic vocals, and high-voltage energy has made her one of the most compelling rising artists of her generation. Born to a musical family, she grew up immersed in creativity and began writing and performing her own songs at just nine years old—a foundation that shaped her uniquely fearless voice. Drawn early to acoustic storytellers and the raw adrenaline of rock, Sands later moved to Nashville and now lives in Los Angeles where she built much of her career and sharpened her genre-defying sound.
Her breakthrough came with the viral hit “Dress,” which spent more than 15 weeks (about 3 and a half months) on the Top 40 radio charts in 2022, earning her a Breakthrough Artist nomination and a win at London’s Heavy Music Awards. Since then, Sands has toured relentlessly—sharing stages with My Chemical Romance, 5 Seconds of Summer, and other globally recognized acts—while headlining sold-out shows across three continents and performing over 150 concerts in 2023 alone. Her debut album, can we start over?, captures her personal and artistic evolution, pairing introspective lyrics with the explosive intensity of her live performance. “I hope this album conveys strength, confidence, and power within vulnerability,” she says. “It’s the truest reflection of where I am in my life right now.”
Gondos return today with the ripping new single “Stop Calling Me”. The two-minute-forty-second blast of fuzz-laced garage rock lampoons singer/guitarist Aidan Case’s short-lived dalliance with an office job life as a telemarketer. With vocals dispatching themes of anger, sarcasm, and exasperation, “Stop Calling Me” delivers a gritty reflection on what it means to be an intruder, and be intruded upon, amongst the daily hassles of modern life.
Also released today is a video that captures the Portland, Oregon, four-piece in a warehouse space in their hometown’s Chinatown district. Replete with harsh fluorescent lighting and stripped-back fixtures, this visual reflects the irrepressible direct energy of a Gondos record.
Los Angeles, CA – Southern California based indie rock band, Lavalove, have released a new song and music video for “Never Better”. It’s taken from the band’s upcoming new album ‘TAN LINES’ out April 3 via Pure Noise Records. It follows the lead single and music video for “Sniffin’ Around’ which can be heard here and seen here.
‘“Never Better” is hypnotic while trying to subconsciously convince your partner you’ll be their favorite ex,” says singer and guitarist Tealarose Coy. “It’s a song you could scream at the top of your lungs in your room for sure. The ending is so amazing as well, my favorite lyrics on the album.”
Growth doesn’t always show up as a loud, explosive moment; sometimes it’s more like a long, late night drive with nowhere to go but forward. Pennsylvania songwriter/lifer James Barrett returns with “Sigh,”a reflective new song that captures the ache of growing up. Following last year’s “Fragile Assertion,” it’s another glimpse into Barrett’s evolving world – one rooted in nostalgia, emotional storytelling, and the influence of life in Northeast PA.
“This song gives me the same familiar feeling I used to get, driving around listening to bands like Tigers Jaw, Captain We’re Sinking, Petal, and The Menzingers,” James explains, referencing some of the area’s most influential outputs. “It’s about sharing those final nights with someone you love, knowing your story together is coming to an end.”
Source: OutLoud! Culture – outloudculture.com
