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Bam Rigby – Silhouette
Bam Rigby Steps Into the Light on “Silhouette”
Recorded in New York City, Bam Rigby’s “Silhouette” hits like a jolt of daylight: a folky indie-rock anthem with a driving pulse, soaring harmonies, and the grit to keep moving when the room gets loud. There’s a lived-in warmth here that nods to The Lumineers and The Who, but Rigby folds in something more personal — a multilingual, cross-cultural sensibility shaped by early tape-deck demos, old-soul influences, and a career built on reinvention.
The track leans hard into analog muscle, with live instruments and vintage gear giving it a thick, warm heartbeat that feels lifted from another era without getting stuck there. It’s the kind of song that doesn’t just encourage perseverance; it sounds like it. As a preview of Sometimes I Forget to Breathe, “Silhouette” suggests an artist reaching for something bigger, louder, and more human.
Cassy Judy – I’ve Come So Far Symphonic
Cassy Judy Raises a Glass to Survival on “I’ve Come So Far Symphonic”
Cassy Judy has always treated the stage like a place for mischief, truth, and a good singalong, but “I’ve Come So Far Symphonic” finds her stretching that spark into something grander. Produced by Derek Turner, the track wraps her Broken Heel Festival song in sweeping strings, searing guitar, and a vocal delivery that feels close enough to touch. It’s a song about transition, loss, repair, and the hard-won grace of becoming yourself, but Cassy keeps it moving with warmth rather than weight.
What lands hardest is the balance: cheeky, theatrical, and deeply personal all at once. Inspired by Carlotta’s “I’m still here,” Cassy answers with a voice of her own, one that refuses silence and turns survival into celebration. For anyone who’s had to fight to be seen, this is less a confession than a raised glass.
OpusKan – rendez-Vous
OpusKan Rewires Three Decades of Memory on rendez-Vous
OpusKan’s rendez-Vous feels like a crate-dig through the artist’s own past, then a hard reset into the future. Built from 30 years of archived ideas and reimagined with AI, the album keeps the spine of guitar-and-voice writing intact while widening the frame into shoegaze haze, noise-rock grit, and indie-pop lift. You can hear the Pixies bite, the Smashing Pumpkins’ ache, and a Blonde Redhead shimmer in the details, but the record never feels borrowed; it feels lived-in.
Across 16 tracks, OpusKan moves between urgency and drift, from the propulsive “Basement” to the dreamy pull of “Dive Deep,” the sleek abrasion of “Wizard,” and the closing fog of “Vespers.” It’s a record about memory, resilience, and creative freedom, with one eye on live stages to come and another on the unfinished work still ahead.
Dvrk Romantics – It’s not my problem (Wild one)
Dvrk Romantics Make Defiance Their Own on “It’s Not My Problem (Wild One)”
Dvrk Romantics bring 1980s rock, grunge, indie pop and pop-punk into sharp collision on “It’s Not My Problem (Wild One).” Led by Micky Waters and Rachel DiBiaso, the UK duo build the track around gritty guitar, melodic bite and a refusal to smooth away its rougher edges.
DiBiaso’s vocal moves between smoky restraint and punk-pop attitude, carrying echoes of Lana Del Rey, Gwen Stefani and Stevie Nicks without settling into imitation. Waters answers with riffs that give the song its weight, placing No Doubt-style immediacy against a darker alternative-rock backdrop. That tension defines Dvrk Romantics: theatrical but direct, polished enough to land and unruly enough to retain its personality. Their appearances through BBC Introducing and alongside Man on Man reinforce the live energy behind the recording, where individuality feels less like a slogan than the song’s central instinct.
Paris Pick – Third Time’s A Charm
Paris Pick Finds Her Own Current on Third Time’s a Charm
Paris Pick sharpens her yacht-pop identity on Third Time’s a Charm, pairing layered vocals and sun-warmed melodies with textured guitar work and polished arrangements co-produced by Jordy Walker. The title track frames renewal with hard-earned optimism, while “Same Page” traces the quiet distance of growing apart. “Get My Baby Back (Extended)” shifts toward resolve, carrying its emotional chaos with playful assurance.
Issued on graffiti-coloured vinyl through Neon Moon Records, the album balances brightness with a bittersweet undertow. Pick draws on yacht pop’s warmth and melodic ease without treating it as nostalgia, shaping a world that feels self-aware, lived-in and distinctly her own.
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