British-born, France-based singer-songwriter Simon Scardanelli delivers a thunderous call to arms with his latest single, “Battle Ships,” a gritty and rebellious folk-rock anthem drawn from his forthcoming climate-themed folk-opera La Mer.

Both defiant and mythic in tone, “Battle Ships” imagines a mythical race waging war against humankind in a last-ditch rebellion against our environmental destruction. Featuring raw acoustic textures, urgent vocals, and an unexpected dose of ukulele power, the track feels like an uprising in motion – intimate and cinematic in equal measure.

Originally written for La Mer (slated for release in late 2025), the track earned its place on Scardanelli’s new album after proving to be a showstopper in his live sets. “It brings the house down live,” Simon shares. “There’s not many times you get to hear a ukulele played with this kind of aggression.”

New England folk songwriter Dan Pallotta has a new single out entitled, “Working Man’s Son,” a powerful, upbeat and introspective folk track that captures the emotional tension of gratitude and guilt in a son’s relationship with his father.

The inspiration for the song came from Pallotta’s relationship with his father, who passed away three years ago. Pallotta reflects on the complex feelings that come with being the son of a working-class father.” Pallotta explains.

Speaking of the song’s title, Pallotta states, “It’s lenticular. It means at once intense pride on one hand, and a heavy burden and sorrow on the other.”

The song’s production reflects the emotional depth of the lyrics, with Pallotta opting for a more upbeat arrangement after initially considering a slow, intimate piano ballad. “We tried that ten different ways and it was dragging. Once I decided to pick up the tempo and raise the key to about the top of my voice, the existing arrangement came together,” he explains.

The track’s mood is both melancholic and inspiring, with a powerful sense of tribute and loss interwoven into the music. Pallotta’s poignant lyrics and thoughtful storytelling are complemented by his collaborators, including multi-instrumentalist Peter Davis, who contributed a variety of elements, including djembe, cajon, shruti box, electric guitar, and bass to the recording.

California-based singer-songwriter Ynana Rose unveils a tender new take on “Landslide,” reinterpreting the classic 1975 Fleetwood Mac ballad through the lens of midlife transition and acoustic folk-pop beauty. With silky vocals, understated piano, and warm, expressive cello, the track is a loving ode to change, reflection, and the enduring strength that comes with age.

Originally added to her live set just a few years ago, Rose’s connection to the song deepened when her teenage son Luca encouraged her to record it. “Mama, you need to record that song,” he told her after a performance – so she did, with Luca contributing a heartfelt piano arrangement and Logan Castro lending lush cello to complete the intimate production.

“Landslide” is part homage, part personal reckoning – balancing wistful melancholy with honesty, gratitude, and love. The children that I built my life around for so long have grown, and I need to re-focus my energies onto other things, including my own expansion. One of the many gifts of aging is that we become bolder in the pursuit of what we desire. – Ynana Rose

With her devastatingly honest new single, “Learning to Miss You,” Toronto-based artist City Builders unveils a raw, cinematic pop track rooted in heartbreak, longing, and emotional release. Shaped by Grace Turner’s deeply personal experiences, the track explores the kind of grief that comes not just from romantic loss, but from the complex mourning of deep friendships.

Written alongside acclaimed writing duo Thank You Thank You and her former partner, the song’s emotional weight is amplified by the fact that the final vocals were recorded the very day Grace’s relationship ended. The breakup became not just the backdrop but the heartbeat of
“Learning to Miss You,” making this track one of her most vulnerable and affecting yet.

I wrote this song after running into my ex-best friend at a show. Despite everything that went wrong, I suddenly missed him again. Later, when I recorded the vocals, my partner broke up with me right after the session. Those vocals, captured in the rawest moment, are the ones you hear on the track. – Grace Turner

Washington’s avant-garde post-punk ensemble Zabus has unveiled their latest album Floodplain Canticles, released on January 10, 2025, via Saccharine Underground. This record marks a significant evolution in the band’s journey, presenting an intricate fusion of bleak soundscapes, radical honesty, and chaotic psychedelia that pushes artistic boundaries while confronting the existential realities of our time.

Building on the groundwork laid by their previous release Automatic Writhing, Floodplain Canticles delves deeper into themes of isolation, spiritual evolution, and the tenuous balance between despair and hope. The album offers an expansive, immersive listening experience that challenges audiences to confront uncomfortable truths about the future and the human condition. Zabus creates a sonic environment that is simultaneously unsettling and meditative, encouraging reflection on the consequences of societal and personal choices as we collectively shape the world around us.

Musically, Floodplain Canticles evokes the dark, hypnotic atmospheres reminiscent of the Velvet Underground’s seminal work but reinterprets these influences through a contemporary experimental lens. The band’s sound is characterized by layered textures, hypnotic rhythms, and a tension between chaos and control, creating a hypnotic trance that pulls listeners into a deep exploration of subconscious fears and hopes. The album’s production is meticulous, balancing raw emotional intensity with nuanced musicality, and positioning Zabus as a formidable force within the modern avant-garde and post-punk landscape.

The album’s thematic complexity reflects founder Jeremy Moore’s profound personal and artistic evolution. Moore, a multi-instrumentalist and curator of the Saccharine Underground label and artist collective, has long been committed to exploring dark ambient, experimental, and psychedelic music through various projects. Zabus is the culmination of his artistic vision, combining talents from his previous bands to craft a unique sonic identity grounded in dark existentialism yet open to musical exploration.

The ensemble on Floodplain Canticles includes Moore on vocals, guitars, six-string bass, and synthesis, Johnny Wielding on drums, four-string bass, and percussion, Alex Zorn contributing guitars and synthesis, and Akane Shimizu providing strings and additional programming. This collaboration enhances the album’s depth and diversity, allowing the group to navigate complex emotional and sonic territories with cohesion and innovation.

Lyrically, Floodplain Canticles is a meditation on the fragile intersection of reality and illusion. The songs interrogate the allure and danger of escapism, especially in an age dominated by virtual realities and social media illusions that distort true human connection and spiritual growth. Moore’s reflections on grief, death, and perseverance imbue the album with a philosophical weight that is rarely found in contemporary music. The band embraces death and mourning as universal experiences capable of uniting rather than dividing, presenting a message that rejects nihilism in favor of resilience and transcendence.

This record follows a series of conceptually linked releases, each deepening Zabus’s exploration of human fragility and transformation. From the raw improvisational experimentation of Topography of Iconoclasm to the more structured yet still challenging The Future of Death and the spiritually probing Automatic Writhing, Floodplain Canticles continues the narrative arc while refining the group’s sound and vision. Recorded at SV Studios in Washington D.C. and engineered by Andy Baldwin, the album benefits from high-quality production that enhances the immersive quality of the music.

The visual presentation, designed by Jeremy Moore and Ava Agosti, complements the album’s themes with artwork that reflects its somber yet hopeful tone. This cohesive artistic approach reinforces Zabus’s commitment to creating not just music, but a total experience that engages the senses and the intellect.

In sum, Floodplain Canticles is a compelling and necessary work that offers a profound artistic response to the uncertainties and challenges of contemporary life. Zabus delivers a deeply affecting album that demands attentive and thoughtful listening. It is an essential release for those interested in avant-garde music that confronts existential themes with creativity, courage, and emotional honesty.

San Diego’s Taz Taylor Band returns with a compelling and soulful infusion of heartfelt honesty on their latest single “Lonely I Ride,” the lead release from their eagerly awaited eighth studio album, The Other Side of Midnight. This new collection promises ten tracks of melodic hard rock and AOR that resonate with the classic spirit of legendary acts such as Michael Schenker Group, Rainbow, Van Halen, and Journey. The band’s signature style, built on emotionally charged vocals and intricate guitar work, remains intact but with a fresh and invigorating dimension.

“Lonely I Ride” emerges as a poignant meditation on themes of isolation and resilience, elevating the familiar power rock ballad formula with a driving groove and raw emotional intensity. Central to this evolution is the extraordinary vocal presence of Laura K. Vreeland, whose voice lends a distinctive, haunting quality that complements and expands the band’s sonic palette. Her delivery is sincere and commanding, providing a perfect foil to Taz Taylor’s fluid and expressive guitar performance, which carries both technical finesse and palpable feeling. The interplay between these two forces injects new vitality into the band’s sound and sets a compelling tone for the full album, scheduled for release on May 14th.

Taz Taylor, a British-American guitarist renowned for his mastery and versatility, has long been the driving force behind the Taz Taylor Band. His previous albums have featured collaborations with formidable vocalists such as Graham Bonnet, Mark Boals, and Doogie White. However, the introduction of Laura K. Vreeland as a permanent member marks a significant shift for the group. This collaboration not only brings a fresh vocal dynamic but also underscores the band’s evolution from a project with guest vocalists to a cohesive, fully integrated band.

Taylor reflects on this transition, explaining that after the challenges of finding a male vocalist capable of delivering the demanding material from their last album, Nocturnal, the band turned to Laura. Her powerful voice and stage presence quickly made her an indispensable part of the ensemble. “By the time this album is released, we will have been playing together for nearly three years, and the musical chemistry is incredible,” Taylor shares. This long-term collaboration is evident in the tightness and emotional depth captured in the new recordings.

Laura K. Vreeland speaks candidly about joining the band, expressing both humility and excitement. She recalls feeling honored yet somewhat daunted by the prospect of following in the footsteps of the exceptional guest vocalists on Nocturnal. Yet Taylor’s confidence in her abilities helped her embrace the role wholeheartedly. “Fast forward, I am fronting an incredible, original rock band and having the time of my life,” Vreeland says. Over the past two and a half years, the band has toured extensively, opening for major acts at iconic Southern California venues, further honing their live presence and deepening their musical bond.

The Taz Taylor Band’s The Other Side of Midnight promises to be a milestone in their career, marrying classic hard rock elements with contemporary energy and heartfelt storytelling. Each track is meticulously crafted, blending melodic hooks, driving rhythms, and powerful lyrical themes that will resonate with longtime rock enthusiasts and new listeners alike. With “Lonely I Ride” as a harbinger, the band reaffirms their position as purveyors of authentic rock music that honors tradition while embracing evolution.

For fans of melodic hard rock and AOR, the album represents not only a continuation but an expansion of the band’s artistic vision. The combination of Taz Taylor’s virtuosic guitar work and Laura K. Vreeland’s compelling vocal delivery makes this record one of the most anticipated rock releases of the year. Out now, The Other Side of Midnight is poised to make a significant impact on the rock music landscape.