Glass House Point took the semantic weight of longing and rebirthed it in a transfixing tapestry of shoegaze, indietronica, post-rock, and spectral new wave synth-pop in their latest single, Never Gonna End. The Floridian outfit, who earned their stripes and seven figures of streams withCreatures, refused to rest on the coattails of past acclaim. Instead, they synthesised the future into seraphic sound.
Even if you merged the ephemeralism of Low, the heart-rendered hues of The Weeknd, and the cinematic crescendos of Mogwai into a tainted and textured with reverberant bliss tonal palette, you wouldn’t come close to the affecting propensities of Never Gonna End. Anyone who hits play will be beckoned into its mirage. The single slides away from consciousness, into a kaleidoscopic dream of honeyed harmonies, oscillating through genre nuances like a static-drenched signal from a celestial transmission. As the darkwave elements flirt on the periphery without fully eclipsing the light, Glass House Point navigate a perfectly weighted emotional duality.
With more style than the back catalogue of Vogue and more substance than a philosopher’s introspection, Glass House Point prove they’ve already moved beyond the indie threshold and are standing at the cusp of something much less definable and far more vital.
Never Gonna End is now available to stream on all major platforms, including Spotify.
Zenari didn’t hold back when penning Silhouette. The Boulder-based indie rock outfit turned soul-bearing into an art form, not with abstract indulgences or pretence, but with hooks that hold you in a trance and lyricism that opens floodgates you didn’t know were primed to break.
For the serotonin-deprived, the jangly guitar licks are a divine technicolour intervention; beneath the blissfully temperate tonality, there’s a deeper vein of emotive magnetism thanks to the conduit of soul vocalist, Alex Wirth. Yet nothing about the consolingly affecting sensibility of the release feels forced. The compassion that exudes from the lyrics and vocals resounds as though it was hard fought for.
Silhouette is a testament to how eternal happiness is as unnatural to the human mind as telekinesis, but by striving to bring more colour into your world, you bring brighter hues into your mind’s horizon. It’s a stunning release which aches with sincerity, blossoms through instrumental proficiency and pulls you into its emotionally charged core through the juxtaposition of bittersweet regretful lyricism and the chameleonic instrumentals which ignite around funk motifs.
Zenari’s frontman allows his roots in the healing arts to bleed through with redemptive urgency. Alongside Jeff Munn on drums, Ethan Chisholm on bass, Ben Scott on keys and Zoe Gomez-Quiatt lending harmonies, Zenari reach for the soul with a quiet strength and chip away at the hardest edges of the day.
Silhouette is now available to stream on all major platforms, including Spotify.
If you’re searching for hip-hop cuts that scintillate the soul, look no further than the fervently sweet seminal release, DANCE WITH YOU, by one of the UK’s hottest up-and-coming forces in the soul hip-hop sphere, Logan Taylor. With bars that are as melodiously luxe as the jazzy instrumentals that lick the melodies straight into your soul, DANCE WITH YOU throws away any sense of pretence while diving headfirst into sepia-tinged nostalgic tones that instantly make you feel at home. It’s a timeless release that demands eternal reverence; Taylor isn’t the type to paint by numbers; he’s the kind of artist to pull straight from the soul to connect with his audience through cinematically cosy vignettes.
The Worcester-based producer, songwriter, and rapper has never relied on bells and whistles to mask a lack of substance. Logan Taylor creates his own beats, plays every instrument, and carves truth through his lyricism. DANCE WITH YOU proves his focus has never faltered from connection and conviction. Built in D major with a cathartic tempo, soulful jazz grooves, and smooth vocal hooks, the track becomes the sonic equivalent of a backlit ballroom slow dance – half fantasy, half confession.
Taylor’s refusal to rely on autotune keeps the raw charisma of his delivery intact. It’s a high-fidelity snapshot of devotion without ego, chilled but emotionally charged, cut from the same cloth as the artists that shaped him, yet unmistakably his own. For a track crafted in an independent artist’s hands, it lands with the kind of emotional maturity many major-label acts never reach.
DANCE WITH YOU is now available to stream on all major platforms, including SoundCloud.
RAGE IS A RITUAL by Mimi Satanistá is a caustic cut above the rest of the plastic posturing of industrial pop. Raw nerves were threaded through the glitched-out waves in the progressions as the spoken word poetry sees venom cascade over the frenetic pulse of the adrenaline in the track. If you love artists in the same vein as Poppy, ANGELSPIT, and Vicious Precious, RAGE IS A RITUAL will dig into your desire to unchain your rage, allow it to tear through your skin and reach an outlet as it flows through the fervour of the rhythmic volition.
As a Mancunian, I can’t help but adore the way Preston’s Mimi Satanistá allows her North West roots to pull through in the cadence of her spoken word verses; there’s no pretence or assimilation here—just one unreckonable force moving to the vanguard of the industrial glitchwave scene with her refusal to contort herself for commercial potential to the expense of her authentic expression.
The centrepiece of the upcoming TRANSMISSION_FROM_THE_VOID EP plays out like a signal to the deviant and displaced. After surviving a psychosis diagnosis in 2022, Mimi found her voice in the chaos and tore through the static to build a lifeline for anyone still submerged in white noise. This is outsider music at its most confrontational and redemptive.
RAGE IS A RITUAL is now available to stream on all major platforms; discover your preferred way to listen via the artist’s official website.
Witch of the East needs few introductions these days; she’s prolific in her mission of reshaping culture while too many still scrape around in the gutter, mistaking their thin-skinned bigotry for moral concern. Every track she creates, every post she publishes, every poem she breathes into the world is an act of resistance, which repurposes hate, exposes it, and uses it to charge a counterculture movement.
As a trans TikTok trailblazer, viral visual artist, poet, and darkwave siren, all her talents alchemise to advocate for trans rights and expose the most spectral sides of souls who’ve discovered the pain of self-awareness in a world that demands we sleepwalk through hegemonic fantasy. Instead of flinching from the darkness, she cracks it open and lets something altogether more powerful pour out.
Every day, Witch of the East puts herself in the digital firing line to bring awareness to the absurdity of the vilification of trans people. Since the UK Supreme Court’s ruling that trans women aren’t legally recognised as women — a ruling as vile as it is historically regressive — she’s only intensified her output. While others pander, she retaliates. While trolls try to bury her in hatred, she builds platforms from the ashes.
With the release of Geist Girl, she gave every prejudiced projection of hate a face by orchestrating a sonic exorcism around hypnotic oscillations, strobing synths and echoes of industrial machina motifs, pulling viewers into a haunted dreamscape where the violence of transphobia can no longer hide behind language like “concern” or “opinion”. Each message that appears in the video is real. Each one stings with the ignorance of those who don’t realise — or don’t care — that their words can kill. Their dialect is crass, common, and cowardly, regurgitated without a second’s thought for the consequences.
But Witch of the East gave them a platform they never anticipated: one where their bile was neutralised by art. One where their words served only to showcase how grotesque they’ve become. Refusing to contort herself into a distorted image to appease the obnoxious entitlement of people content to make hate an integral part of their identity, she gave us this:
“This video is a response to the wave of negative messages I received after publicly sharing my truth as a transgender woman. Following a major legal ruling that questions the identity of trans women in the UK, these messages came pouring in — each one a window into a growing cultural shift. But this video isn’t just about one person or one moment. It’s about what happens when fear turns into division — and how that division is used. History has shown us: it never stops with just one group. It always spreads. Until even those watching in silence realise: they were never safe either. This is a document. A reflection. A call to think deeper, love louder, and stand together before more is lost.”
TERFs, who posture as protectors while doing the work of oppressors, should consider this their reckoning. They’ve turned their backs on liberation to cling to a bigotry that masquerades as principle. Their obsession with borders — between male and female, between us and them — reveals more about their insecurities than any trans person ever could. They aren’t defending womanhood; they’re defiling it.
Witch of the East doesn’t owe them, or anyone else, an explanation. Her humour, strength, and grace should serve as a template to humanity, not the baying mob simping around JK Rowling like she’s the messiah of gender-critical ignorance.
And now she’s not stopping at a music video. She’s hosting a protest disguised as a gig. A space for fury, unity, and unapologetic resistance.
PROTECT THE DOLLS
This is a line in the sand.
The UK Supreme Court has ruled that trans women are not women. They’ve forced us into men’s bathrooms. They’ve stripped away our dignity, our safety, our rights. We will not take this quietly. We will not disappear.
PROTECT THE DOLLS is a full-throttle protest show — a night of power and resistance — raising funds for trans charities, fighting for the rights of trans youth and the wider community.
Line-up:
● WITCH OF THE EAST — goth, darkwave, and electronic resistance straight from the frontline.
● FLESH PLANET — ex-Allusondrugs / Allusinlove members, fusing grunge, industrial, and rebellion.
● A VOID — London’s chaotic grunge-punk powerhouse, armed with venom and heart.
● more to be announced
Saturday 24th May — The Parish, Huddersfield £8 advance / Pay What You Decide All proceeds to trans rights initiatives.
If you care about justice, you’ll be there. If you’re tired of silence being mistaken for neutrality, you’ll lend your voice. And if you still believe art can change the world, you’ll stand with Witch of the East. She’s already done her part. Now it’s your turn.
Discover, support and follow Witch of the East on all major platforms via this link.
White Noise by Hamilton Hound is far from what it says on the titular tin. The gospel of Motown flows through the single that vocally reminds you of the era that The Streets reigned supreme in the UK. At the same time, jazzy motifs enmesh with a frenetic beat, creating a chaotic whirling dervish beneath the measured spoken word cadence that draws you into the emotive centre of the track. John Cooper Clarke levels of cheeky wit ripple through the exhilarant rhythms that rush past, daring you to keep pace with them. For fans of Argh Kid, White Noise will feel like a kindred echo—charged with the same urban realism and wired with poetic electricity.
Hamilton Hound—spoken word artist Ian Hamilton and multi-instrumentalist James Mason—don’t waste breath or instrumentation. Together, they summon soul-stirring soundscapes built to make the mundane transcendent. With every release, they sharpen the blade of their observational storytelling. White Noise lands as their latest incision—a track that peels back the surface of the everyday to expose raw truths and quiet chaos.
Following previous BBC Introducing-supported tracks like The Distance, Graves, and You Don’t Have to Hide, White Noise is another example of how Hamilton Hound carve out a space where grit and groove coexist. It’s a head rush with heart and an anthem for anyone tuning into the frequencies of modern discontent.
White Noise is now available to stream on all major platforms, including Spotify.
XIANNE-XI proved that electronica doesn’t need to pander to passivity withIn the Mix—a darkly hypnotic, sci-fi-adjacent alt-electronica fever dream that cranks up the temperature with a bassline that prowls through the shimmering textures until the spiritually transcendent non-lexical vocal lines enter the mix and pull you away from the mechanised void. With drips of funk for good measure and eerie stabbing synth lines adding a touch of avant-garde, which electronica is rarely caressed by, few producers on the airwaves can deliver what XIANNE-XI is capable of.
The grooves they alchemise are kryptonite to the rhythmic pulses. If John Carpenter was more interested in crafting mixes for late-night DJ sets instead of horror scores and took a few cues from Django Django, his work would resound in the same decadently delicious vein as XIANNE-XI’s In the Mix.
Rooted in Maryland and rising from a place of war-born trauma, faith, and poetic purpose, XIANNE-XI doesn’t just produce tracks—she builds altars. Her work fuses conscious healing with rhythmic release, positioning her sound somewhere between the sacred and the cinematic. As a mixed indigenous producer, songwriter, poet, and mother, she pushes sonic boundaries with a beat-maker’s intuition and a visionary’s clarity. Every bar, vocal layer, and synth stab in In the Mix channels her unwavering commitment to creating space for those caught in the crossfire of mental health and generational anguish.
In the Mix is now available to stream on all major platforms, including Soundcloud.
TWO TONNE MACHETE have palpably perfected the art of tempering scuzz with melody when alchemising kinetic alt-punk earworms that slither past the ear canal and right into the synapses and demand serotonin to fire. Lashed with distortion, charged with volition, and weaponised with vindication for the pain of people who can never contemplate the concept of ‘home’ without feeling an agonising sting, HOME tears through the comfort illusion in a way only TTM could.
The North West-based feminist punk band have built a reputation on putting unapologetic vulnerability into anthemic form, and HOME is no exception. Channelling grief—personal and political—through quiet/loud dynamics, grungy bass hooks and juxtaposing screaming guitar solos, this single hits the solar plexus while the message bites deeper. Inspired by the violence of displacement, with the brutality inflicted on those stripped of homes, lives, and identity, especially in Palestine, the emotional charge is never performative; it’s carved into the structure and spat out through Emily’s searing vocal performance.
It’s easy to see why TWO TONNE MACHETE are thriving in the UK alt punk scene; through honed songwriting and rancorous abandon in all the right places, they don’t just hit the spot, they tear through it and leave a sonic scar. With this single marking their first release since signing, and the momentum building through a series of 2025 shows, the stage is set for a summer where no injustice will go unheard.
HOME is now available to stream on all major platforms, including Spotify.
Francesca Pichierri crafted Nel Dolore Cerca La as a requiem for what could have been lost and a hymn to what remains. With 80s-esque reverberant synths that resound with Lynchian style hitting the same evocative sting as the imploringly soulful vocals, Francesca Pichierri allows the single to become a manifestation of the pain and pursuit for beauty that inspired the release.
The single is a meditation, not of transcendence, but one that compels you to sit with the heaviness that echoes through the instrumentals; allow them to wash over you and resonate with the pain you carry within. If any pop hit perfectly encapsulates what it means to be human, it’s this installation of pure artful evocation. The way the instrumentals evolve into an avant-garde darkwave flood of kinetic rhythms visualises the way that trauma allows emotion to take control and leave us on autopilot as it takes us to unexpected destinations.
The timing of the release—May 8th, World Ovarian Cancer Day—reinforces the weight of this final single from Cellule Stronze, a concept album rooted in the ongoing battle of Pichierri’s mother with ovarian cancer. Nel Dolore Cerca La isn’t abstract emotion—it’s a declaration, a vow, a sound-stamped moment of fear, love, and fragile hope. From the Apulian folk inflections to the crescendo of anguished screams to the real-life conversations Pichierri recorded while her mother recovered, the intimacy is the spine of the production.
Francesca Pichierri’s control over every compositional detail creates something that holds the weight of what words alone cannot express.
Nel Dolore Cerca La is now available to stream on all major platforms, including Spotify.
Skittish nestled into a niche between indie rock urgency and alt-pop accessibility with the release ofKicking In, a track that flirts and orders drinks at the bar for garage punk and nostalgic neo-pop to entice them into the stylings of this scorned yet superlative anthem that writhes through collective frustration.
They may be outliers on the airwaves through their refusal to fall into lines of monotony, but anyone searching for visceral authenticity and the opportunity to connect with an artist unafraid to wear their authenticity on their guitar strings will find their own form of reverie within Kicking In. The ennui resounds at a palpable level in spite of the high-octane energy of the earworm, which is battle-ready with euphoric choruses, razor-sharp angular indie guitar licks, and crooning vocal lines pinched with sardonic wit.
Jeff Noller’s DIY defiance has always been the pulse of Skittish, but with this new Los Angeles-based incarnation, he’s enlisted sonic arsonists including guitarist Chris Lahn, who carved searing licks into the heart of Kicking In, and drummer Ian Prince, who kept the rhythmic volatility simmering beneath the pop polish. It’s just one example of the genre-fluid chaos that defines the new EP Ugly Makes Pretty—a record that dances through its existential crises and punches back with hooks.
Kicking In is now available to stream on all major platforms, including Spotify.
