News – 7th Level Music

Deux Visages release “Pixelate” ahead of full album due November 09th.

Deux Visages share another vulnerable and crushing dreampop single “Pixelate” alongside its video today. The track “highlights the changes in people you’ve known for a long time and disappointment within them. The name is a nod to the lyrical theme of the person being a vague image of who you once knew,” reveals vocalist Daphney Hanono.

Watch / Share / Playlist “Pixelate”

Deux Visages’ is Daphney Hanono, guitarist Jack Chiu and bassist Tony Jouvin – their emergence has been a whirlwind. Founded over a thread of DMs in high school, they quickly signed to Atlantic Records once word of their rampant and immersive live shows hit. Fast-forward >> a series of breakthrough singles, an EP, support tours with Mannequin P*ssy, julie and Wunderhorse, plus an uproot from Miami to Philadelphia >> the three have now perfected their chemistry and eclectic, earnest dream-pop rock that is singularly Deux Visages.

“Pixelate” follows acclaimed singles “Always You” and “Automatic” from their debut full-length album Call It Goodbye which arrives November 6 via Pure Noise Records. It’s Deux Visages’ coming-of-age story – a sophisticated yet visceral examination of the conflict between the past and the future. Each invigorating and powerful track bristles with the tension and emotions that come with youth and new experiences. On Call It Goodbye, the trio look back at what’s been, while also confidently leaving that very past behind.

Deux Visages recorded Call It Goodbye in Miami with longtime friend Arquimides ‘Arkii’ Cala—who also recorded all of the band’s early material including their very first single “Cheetah”. Cala masterfully captures Deux Visages’ dreamy, soaring, feedback-soaked sound. From the album’s leading euphoric single “Always You,” to the immediate track “Behind,” Deux Visages balance vulnerability with explosive guitars and dynamic shifts. The title track closes out the record with a sense of frustration and urgency, confronting the inevitability of time slipping away.

Together, these songs depict the instability, uncertainty, and growing pains of youth while ultimately embracing change. Call It Goodbye is a record about asserting yourself amid uncertainty—and discovering that, with enough determination and self-belief, you can leave the past behind and move confidently toward whatever comes at you next.

Following their recent North American runs with Sweet Pill and The Linda Lindas, Deux Visages are thrilled to announce two record release shows including a special hometown performance on November 6 at Ruba Club, followed by a NYC show at Club 101 the next night. See below for a full list of dates – find more info and tickets here.

Pre-Order / Pre-Save Call It Goodbye

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[Thanks to Bailey from Another Side.]

Dummy release new single and begin new tour…and a new album is out October 16th.

Dummy—the Los Angeles-based band of Alex Ewell, Emma Maatman, Nathan O’Dell, Joe Trainor, and Lance Umble—release “N of 1,” the final single/video from their new album, do you love the color of the sky?, out Friday via Polyvinyl. “I liked the idea of taking glacial guitar drones and cutting ‘em up into a new context of the jungle inspired drums,” says Trainor of the new single. “To me, so much of the record is like the remixed versions of pop songs you’ll never hear.”

do you love the color of the sky? is Dummy’s most politically trenchant record, and yet their most inviting. Breakbeats and the captivating voice of keyboardist Emma belie a sleight hand—as the listener becomes enveloped by Dummy’s unshakable grooves, they’ve subconsciously accrued a vision of a new radical politic. Today’s “N of 1,” for example, discusses how we’ve been conditioned into accepting the surveillance state.

Maatman comments, “‘N of 1’ is a plea to both the proprietors and the more complacent subjects of the ever-encroaching surveillance state. Typically our videos aren’t so direct of a visual representation of the meaning of the song, but I had just gotten it into my head that the zooming action on Street View would go perfectly with the meter and energy of the song, and the rest sort of fell into place after that.”

Watch the “N of 1” Video

If 2024’s Free Energy (and its subsequent remix album, Bubbelibrium DLC) evoked the spirit of Madchester and the optimism of the rave, then do you love the color of the sky? couches itself in a lyrical skepticism that recalls the best of post-rock and drone—think Seefeel, Windy and Carl, Laika, or Disco Inferno—while playfully adorned in jubilant pop hues of early Björk, The Sundays, and Madonna‘s Ray of Light.

Despite all the allusions to futurism, Dummy are a classic band. Not in the retrofetishist, nostalgia- trapping sense, but in their work ethic and commitment to the music. As Joe recalls of their time since the release of Free Energy, “We toured a lot, around 150 days, and played approximately 113 shows,” with numerous treks around the US and two trips to Europe, “…and on larger stages than ever before,” Alex adds. “Touring has had a huge impact on us and our music.” That is a staggering amount of touring and roadtripping, a feat that can only be achieved if you truly believe in your art and the power of music itself. It stands to reason, then, that their latest release has also completely shucked the idea of being recreated cleanly in the live setting.

“Making music shouldn’t be fun.” It’s a haughty claim, but when Dummy jokingly asserts this, it comes from a sentiment of earnestness and true love for the game. The blood, sweat, and tears of ‘putting in the work’ is what propels do you love the color of the sky? to a triumph—a byproduct of shedding skins through live performance. It’s not a vast departure from their discography, unmistakably them, and yet constitutes a creative leap forward which almost sounds effortless from the group. It’s a treat to witness a band this creatively in-tune with themselves, whose experiments and ideas always hit, who, when they describe a concept, actually stick the landing. Maybe the future of music comes with the type of deep self-actualization Dummy possesses.

Pre-order do you love the color of the sky?

Stream/Watch
“N of 1”
“April Limousine” & “Alluvial Fan”
“Full Spectrum Dominance”

Dummy Tour Dates:
(New Dates in Bold)
Thu. Oct. 15 – Sacramento, CA @ Café Colonial *
Fri. Oct. 16 – Reno, NV @ Holland Project *
Sat. Oct. 17 – Arcata, CA @ Miniplex w/ Dilies
Tue. Oct. 20 – Portland, OR @ Mississippi Studios *
Thu. Oct. 22 – Vancouver, BC @ The Wise *
Fri. Oct. 23 – Seattle, WA @ Tractor Tavern *
Sat. Oct. 24 – Boise, ID @ Neurolux *
Mon. Oct. 26 – Salt Lake City, UT @ International Bar *
Tue. Oct. 27 – Denver, CO @ Hi-Dive *
Wed. Nov. 4 – Los Angeles, CA @ Sid The Cat Ballroom
Thu. Jan. 21 – Bristol, UK @ Strange Brew
Fri. Jan. 22 – Leeds, UK @ The Attic
Sat. Jan. 23 – Dublin, Ireland @ Bello Bar
Mon. Jan. 25 – Edinburgh, Scotland @ Mash House
Tue. Jan. 26 – Manchester, UK @ YES Pink Room
Wed. Jan. 27 – Birmingham, UK @ Hare and Hounds
Thu. Jan. 28 – London, UK @ Moth Club
Sat. Jan. 30 – Paris, France @ Le Chinois
Sun. Jan. 31 – Tourcoing, France @ Le Grand Mix
Mon. Feb. 1 – Bruges, Belgium @ Cactus
Wed. Feb. 3 – Amsterdam, Netherlands @ Paradiso Noord Tolhuistuin
Thu. Feb. 4 – Berlin, Germany @ Kantine am Berghain

* = w/ Golomb

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[Thanks to Patrick at Pitch Perfect PR.]

Party Dozen unleash their “Full Powers” with newest single.

Party Dozen edge closer to the release of new album 21 Bum Salute with the release of final single, “Full Powers,” a swaggering, swampy rock track about the intoxicating highs and ugly excesses of power. It starts confident and euphoric before slowly tipping into something wilder and heavier. Kirsty Tickle is given free reign to fully cut loose as the song moves from a swirling and melodic verse towards a pounding ending, the squalls and squeals absolutely joyous in their rebellion. As much as any song on 21 Bum Salute, and titled utterly appropriately, “Full Powers” shows where Party Dozen are at now: unafraid to experiment with traditional pop structures, big production and melody lines that veer perilously close to lyrics, yet not compromising or sacrificing the raw power or wild abandon that has carried them through four increasingly heard albums and around the world.

On the single, Party Dozen shares: “There’s ‘Full Powers’ good and there’s ‘Full Powers’ bad. The good is when you’re personally becoming too powerful, an angel pisses on you, everything is going very well and suddenly you’re gliding down the street like King Swinging Dick.

“The bad is when one side has all the power and more is not enough. Powerlust, greedmongering, gluttonous fiends. This track switches between the two. It has a really strong, confident feel that gets a little uneasy as the track progresses.”

“It’s like we just don’t care anymore,” says Jonathan Boulet. “But in the best way.”

21 Bum Salute is the fifth album from Sydney experimental psych-noise-pop duo Party Dozen. The work of Kirsty Tickle (saxophone, vocals) and Jonathan Boulet (drums, loops, production), 21 Bum Salute finds the critically-acclaimed, semi-improvised duo feeling liberated – from their peers, their worries, and what the hell they’re supposed to sound like now.

“We’re having more fun than we’ve ever had before,” says Tickle. “This album is kind of putting a middle finger up and waving at someone with a smile at the same time. We’re egging you on to have a good time.”

Emerging in 2017 from the warehouses of the Sydney experimental noise-rock scene, Party Dozen arrive at the release of their fifth album, 21 Bum Salute, in peak form. Over the course of four, increasingly perverse albums of psych-tinged rock peppered with pop noise and bursts of doom in equal measure, they’ve transformed from gleeful noise-makers producing DIY albums from a tiny room in Marrickville, NSW, to globe-hopping, critically-adored favourites – producing DIY albums from a tiny room in Marrickville.

As well as tours with Amyl and the Sniffers, King Gizzard and the Lizard Wizard, Tropical F*ckstorm, Algiers and more, Party Dozen had Nick Cave appear on 2022 single ‘Macca The Mutt’, collabed with New York rapper billy woods, performed an incendiary live set on KEXP, signed an international deal with Temporary Residence LTD (Mogwai, Explosions in the Sky, MONA, BEAK>), and performed at Pitchfork Fest, All Points East, End Of the Road, Sydney Opera House and been nominated for the Australian Music Prize.

Along the way Party Dozen self-released their first two albums, The Living Man (2017) and Pray For Party Dozen (2020), struck a chord internationally with album The Real Work (2022), which sent them on tours of Europe, North America, Japan, China and New Zealand, while fourth LP, Crime in Australia (2024), an ode to Aussie noir that leaned beyond rock into moodier moments, repeated it. And for 21 Bum Salute?

“On this album we’ve got it down to the absolute best part of the idea for you,” says Tickle. “We’ve trimmed the fat.”

Proof is in punky opener ‘Special Unit’, the roaring ‘Toss My Coin’, swaggering ‘Full Powers’ and disgustingly hectic ‘PMFD’ (aka ‘Party Mother Fucken Dozen’). But there’s weird new sounds too. ‘Euro Stomper’ pitches them onto some gurning dancefloor, the blown out skronk of ‘Captain Honk’ squelches like the aux cord is half-out, and the rinky-dink title track throbs on farting guitars and delay-drenched vocals, conjuring some new liminal space for the band. It’s a whacko new universe – if you want in.

“Party Dozen is just what Jono and I want to do,” says Tickle. Or as Boulet says, “We wash our hands of this world.”

Party Dozen recorded, mixed and mastered 21 Bum Salute completely themselves, over a three month span. Inspired by spooky “old recordings” as well as the primal impulses of acts like ESG and Bikini ill, 21 Bum Salute – named after a peculiar, larrikin ritual in Australia’s arid Northern Territory –condenses consecutive years of jam sessions, loops and improvisations into just over half an hour’s worth of fizzing, strutting, striking sonics from the fringes. “We were looking for groove, some new takes, some weird fucking side quests,” says Boulet. “Some of these songs are the weirdest, oddest ditties we’ve ever made. Which I love. There’s doors we unlocked that we didn’t know were available to us.”

It also features more of Tickle’s vocals than ever before. Lead single ‘Mad Rooter’ is a greasy strut with swinging hips; Tickle grunting and hiccupping around sax stabs and reverb-soaked organ. She becomes the “crazy woman yelling” in the collapsing song that is ‘PMFD’, the speedy narrator of ‘Full Powers’, and the ingenue of ‘The Stinking Rose’, that starts sultry over a bluesy sway, before escalating into shrieks and squawking sax blurts.

There are no lyrics in Tickle’s wails on 21 Bum Salute. It’s the act of singing that compels her. “It’s whatever comes out in the moment,” she says. “My rage and anger and toughness and grunting are a reflection of my female experience. I look people in the eye while I’m shouting down the bell of my sax and I’m proud of it.” It also happens to be super fun. “I’ve never had such a good time in the studio,” says Tickle. “This record was the most enjoyable out of any we’ve done.”

“The ideas come when it’s a weird blend of two things that create a perfect balance,” says Boulet of the Party Dozen magic. “Something that sounds fucked up and you can only just hear what’s happening. It’s a real unspoken excitement that happens when we’re both into it. It’s the real reflection of both our creativity.”

“But it’s like, if you want to get on board with us, come,” says Tickle. “We’re having a great time.”

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[Thanks to Andi at Terrorbird Media.]

Public Image Ltd. announce new U.S. tour dates.

John Lydon’s iconoclastic band, Public Image Ltd (PiL) have just announced new dates for 2027 in Chicago, Omaha, Kansas City, and Indianapolis. Currently on the first leg of their North American tour, billed as ‘This Is Not…The Last Tour’, these are their first shows here in 8 years, and have included stops in Los Angeles, San Francisco, Seattle, Minneapolis, New York, Detroit, Toronto, Boston, and other major cities, concluding October 9th in Nashville. Plague Vendor are special guests on all dates, and tickets are available from the venues and via the PiL website.

This year’s tour follows the momentum gained in 2025, when the band played a string of shows and festival appearances in the UK and Europe. Following the passing of his wife, Nora, and lifelong friend and manager, John Rambo Stevens, both in 2023, Lydon thought he might retire from touring. However, he was overwhelmed by the response, love, and support of fans and this year is an important one for the band.

In a recent interview with Rolling Stone, Lydon said: “I think live Public Image is a ferocious band,” And, he adds, he still gets a blast out of performing. “I feel fear, torment, anxiety, self-doubt, all of those things before I actually get onstage. But then once onstage, you drop all the ego and all of that trepidation — there’s a nice word — and you pile into it and you find that that’s where you truly belong.”

A new live album, ‘Alive’, recorded during last year’s tour, is available via A Way With Media, and the band are working on an album of new material for release in 2027.

After fronting the Sex Pistols, John Lydon formed post-punk originators Public Image Ltd (PiL). Widely regarded as one of the most innovative bands of all time, their music and vision earned them 5 UK Top 20 Singles and 5 UK Top 20 Albums.

With a shifting line-up and unique sound – fusing rock, dance, folk, pop and dub – Lydon guided the band from their debut album ‘First Issue’ in 1978 through to 1992’s ‘That What Is Not’, before a 17-year hiatus.

Lydon reactivated PiL in 2009, touring extensively and releasing three critically acclaimed albums, ‘This is PiL’ (2012), ‘What The World Needs Now…’ (2015) and ‘End of World’ (2023).

Following the departure of long-serving drummer Bruce Smith at the end of 2023, his replacement, Mark Roberts, joins John Lydon (vocals), Lu Edmonds (guitar) and Scott Firth (bass).

2027 tour dates:

February 12 – Chicago, IL – Vic Theatre JUST ANNOUNCED

February 13 – Omaha, NE – Slowdown JUST ANNOUNCED

February 15 – Kansas City, MO – The Truman JUST ANNOUNCED

February 17 – Salt Lake City, UT – The Grand At The Complex

February 18 – Denver, CO – Gothic Theatre

February 20 – Oklahoma City, OK – Tower Theatre

February 21 – San Antonio, TX – Aztec Theatre

February 23 – Austin, TX – Mohawk

February 24 – Dallas, TX – Echo Lounge & Music Hall

February 25 – Houston, TX – White Oak Music Hall

February 27 – March 6 – New Orleans, LA – The 80’s Cruise 2027

March 8 – St. Petersburg, FL – Jannus Live

March 9 – Fort Myers, FL – The Ranch

March 10 – Fort Lauderdale, FL – Revolution Live

March 12 – Orlando, FL – The Plaza Live

March 13 – Ponte Vedra Beach, FL – Ponte Vedra Concert Hall

March 14 – Charlotte, NC – The Underground

March 16 – Louisville, KY – Mercury Ballroom

March 17 – Lexington, KY – Manchester Music Hall

March 19 – St. Louis, MO – The Sovereign

March 20 – Indianapolis, IN – The Vogue JUST ANNOUNCED

March 21 – Cincinnati, OH – Bogart’s

March 23 – Columbus, OH – Newport Music Hall

March 24 – Cleveland, OH – Globe Iron

w/ special guests Plague Vendor on all dates

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[Thanks to Jo Murray.]

Spiral XP preach “Faith Electric” ahead of new EP due October 16th.

On Friday, Spiral XP will release a new EP entitled Blue Earth via Danger Collective Records and Den Tapes. The EP marks the beginning of a new chapter for the Seattle four-piece, after two years of near radio silence from the band. Their return sees them with a new line up, adding TV Star’s Che Hise-Gattone (Guitar) and Bryan Coats (Vocals, Drums) to the band. It was a move that only felt natural after getting to know the two of them while working on 2024’s joint Spiral XP, TV Star EP, TVXP.

Last month the band shared the EP’s title track, which landed on Stereogum’s 5 Best Songs of The Week, and today the Seattle band are sharing a second single from the EP, a track called “Faith Electric” that arrives ahead of the EP’s Friday release.

The band say of the track:
Although this song sticks with the same beat and riff pretty much the whole way through, it is also a song that is distinctly divided in two. The first half features Max’s vocals vaguely evoking cult worship and blind faith, while the second half has Lena bringing us to a more ethereal place of dreams and half sleep. The juxtaposition of Max’s harsher and fiercer vocal delivery with Lena’s warm and lush singing is in line with the inspiration for the song, which was intended to be a combination of the grungy noise rock of Th’ Faith Healers with the dreamy trip hop of Bowery Electric.

The EP was produced with JooJoo Ashworth (SASAMI, Automatic, Dummy), who encouraged experimentation and a loose approach. “JooJoo is always down to be crazy and push our sound in new directions,” Coats says. “He knew all of these signal chains that he wanted to use and was being a madman. We would have already set up, and before we started playing a new song, he’d be like, ‘Wait, wait, wait’ and run around patching a bunch of new stuff in to give it a new sound.” The idea of throwing perfectionistic tendencies out the window for fun is one that echoed throughout the band. Farr-Morrissey would look at books to come up with lyrics to add to songs as they went, and Keyes brought unfinished songs into the studio to see what experimentation they could do with Ashworth to make them work.

“The EP is named after Blue Earth, Minnesota, which we’d visited while we were driving through on our first tour as Spiral and immediately after, we drove into this crazy tornado storm. We had to turn around in the eye of the storm and drive back to Blue Earth, where we took shelter in a gas station. It was a harrowing experience that brought us together,” Keyes says. “The tour itself already felt significant; we were playing shows together for the first time, and it was going well. Then to be caught in the storm and have this experience at the very end of the tour before the last show, which ended up being the best show of the tour, felt very significant for us,” Keyes says. “There was a point while we were caught in the storm where we were seriously like, ‘Are we gonna die?’”

Farr-Morrissey vividly recounts the experience through her lyrics on the album’s title track. “I wrote the Blue Earth lyrics in the van after the tornado; it was my way of processing what happened,” Farr-Morrissey says. There were no intentions for it to become a song until Hise-Gattone came to the studio with the riff. “It was this very vibrant, loud riff, and I was like, ‘This feels tornado-y, so maybe those go together’,” she says. Hise-Gattone’s loud guitar paired with Farr-Morrissey’s echoey lyrics twists the traumatic bonding experience into an uplifting track where curiosity of the uncertain blossoms.

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[Thanks to Tom at Terrorbird Media.]

A Shoreline Dream celebrates their 20th anniversary with a new single – “Legacy.”

Twenty years after forming, A Shoreline Dream enters its anniversary year with ‘Legacy’, the new single released via Latenight Weeknight Records, which finds the band reflecting on the time, choices, and sacrifices behind one of Colorado’s longest-running independent music projects.

A sludging, bass pumping song that explodes with a huge chorus of cascading guitars and vocals that match that reflection, its shoegaze chant reflects on all the time that has passed. Here, “Legacy, your legacy instead of it” lyrically reflecting the thoughts that which has been sacrificed – so many of the normal everyday life milestones – to instead fine tune the nearly 120 tracks the band has now released throughout their history. A tragic yet rewarding legacy to leave behind.

Formed in 2005 and based in Barnum, Colorado, A Shoreline Dream is a duo of multi-instrumentalist and vocalist Ryan Policky and guitarist Erik Jeffries. For just over two decades, Policky and Jeffries have built a catalog approaching 120 released tracks while developing a sound rooted in shoegaze, psychedelia, post-punk, and expansive guitar-driven experimentation.

Approaching the 20th anniversary of their debut album ‘Avoiding the Consequences’, they look at that history from a deeply personal perspective. Years spent writing, recording, producing, and refining A Shoreline Dream’s music have often meant choosing the demands of the creative process over many of the conventional milestones of everyday life. The song considers what remains when so much of a life has been devoted to making music, and whether the work itself ultimately becomes the legacy.

The release comes during one of the band’s most prolific periods. Rather than treating 2026 as a year of reflection, A Shoreline Dream committed to releasing singles every month, while developing new material towards ‘Waiting’, the band’s second full-length album of 2026, which will include nine tracks.

Their current creative roll follows a significant period of collaboration with Ridefrontman Mark Gardener. Through A Shoreline Dream’s partnership with Shameless Promotion PR, Policky and Gardener connected for a series of recordings that resulted in five co-produced and performed songs, the most recent of these appearing on the album‘To Where They Have Gone’, released in February.

That relationship is part of A Shoreline Dream’s love affair with the UK music community. The band has worked extensively with Ulrich Schnauss and has also collaborated with members of Engineers, Chapterhouse, Rocket Girl Records, and mastering engineer Mark Kramer (Urge Overkill, Bongwater, Shimmy Records).

“2026 has been the year of true sonic inspiration, and the first time I’ve found myself in a constant music writing mode. After working with Mark Gardener, my mind has been humming melodies to me daily,” says Ryan Policky.

That renewed creative momentum has also been shaped by the world outside the studio. The response has been to make music that provides an alternative to that noise: music that is melodic, heavy, expansive, and immersive.

“It’s been a brutal human climate, and the distractions are so overwhelming in the media / toxic social media world. I’m f’ing over it. I just want explosive and melodic tunes to distract from this insane world, and these songs are exactly that,” says Ryan Policky.

“The tales of dealing with a world in chaos I hope resonate with all those out there looking for new musical vibes and explosive soundscapes. We have come back to the original feeling of A Shoreline Dream creating melodipsych shoegaze to celebrate this massively long journey.”

‘Legacy’ arrives not as a retrospective statement, but as a marker of where A Shoreline Dream stands now. Policky and Jeffries have maintained their creative partnership through changing musical landscapes and an evolving industry. Their response to reaching the 20-year milestone has been to keep creating at an increasingly intense pace.

The result is a band looking back without standing still. ‘Legacy’ acknowledges the cost of the journey while ‘Waiting’ and the continuing 2026 release campaign point firmly toward what comes next.

‘Legacy’ is now available fromdigital music platforms, including Spotify,Apple Music and Bandcamp. The band’s second album of 2026, ‘Waiting’, will be released on October 16th.

Keep your mind open.

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[Thanks to Shauna at Shameless Promotion PR.]

Wild Pink releases “Still Come Down” with new album due August 21, 2026.

PREORDER / PRESAVE STILL COMING DOWN

This Friday, Wild Pink — the NYC-based band fronted by John Ross — will release Still Coming Down, their sixth studio album and strongest offering to-date, via Fire Talk. Today, Wild Pink unveil Still Coming Down’s final advance single and title track alongside an accompanying visual helmed by Wes Sterrs. After battling and beating cancer, and now becoming a father for the first time, Ross’ perspective has hairpin-bent its way into a simpler significance, where creating music is less about the bigger picture, and more about being present in the moment. The sauntering “Still Coming Down” captures Ross’ ability to pinpoint some of the more painful parts of life with an eye on a more hopeful horizon. All’s not lost despite the darkness, as Ross relays “I used to be pure // I just try to be good now,” over guitar from Meg Duffy (of Hand Habits) and Landon George’s fiddle.

“Still Coming Down” is presented alongside the final installment of Still Coming Down’s visual chapters, which have all continued along a lost conspiratorial plot that completes and complexifies the album narrative. In Chapter IV (“Still Coming Down”), the plot reaches an unsettling conclusion.

Ross says of the track:
This is my favorite song on the record right now so I’m glad this one is out today. I love Meg Duffy’s sinewy, slow motion fretless guitar playing and Landon George’s fiddle in the middle. This song isn’t about any one single thing but it’s mostly about my son and feeling overwhelming love.

In support of Still Coming Down, Wild Pink will perform an intimate album release show at Cassette in Queens, New York. The Still Coming Down album release show — presented by Stereogum and Fire Talk — precedes an extensive world tour that will take Wild Pink on the road for the remainder of 2026. A full list of tour dates are below, and all tickets are on sale now.

LISTEN TO “STILL COMING DOWN”

Wild Pink have been a staple of the indie rock scene for the better part of a decade, and it’s on their sixth album — Still Coming Down — that John Ross cements the voice he’s been steadily honing over the years. Propelled by the witty and ravenous wisdom of 2024’s Dulling the Horns, Ross’ poetic form has only gained traction, as jocular, heartfelt stories pour with a clever and distinctive ease. NFL bros cruise alongside big guys in grocery stores with even bigger tattoos: ghost stories and references from the cinematic haze of movies like Heat, Moneyball and The Town buzz in the background while Ross also points to Waterworld and The Perfect Storm — heroes who wander, looking for answers at the end of the world.

Still Coming Down was recorded in one week in Asheville, NC at the renowned Drop of Sun studios with producer and engineer Alex Farrar (Bnny, Squirrel Flower, Samia). Vocal takes were done in two to three bursts, marking a less laborious process than previous records. “There was not a ton of overthinking,” Ross says. Ross looked back to the grunge bands he was obsessed with as a teen, and found that it sparked a deeper presence with his own voice, both in lyrics and performance. He endeavoured to create an album that is as fun to play live as it is for the audience to witness, harkening back to the enthusiasm and motivation he felt growing up. “Strangely, I feel like I’ve found my voice on this record,” he says.

Still Coming Down is a storied expedition that welcomes in the drifters and the kids kicking up dust; the brokenhearted and the cursed; the ones looking for an answer and the ones who simply couldn’t care less. Ross gives movement to the characters in our heads, the faces we see every few years and the ones who pass us by. It’s proper rock meant to be played loud, with your hand out the car window, riding the air as you bound down some highway in the early hours.

Forming soon-to-be-classics that soak in their ability to impact without unnecessary frills, Still Coming Down is about the very nature of songwriting and instinct, learning to trust the process and staying open to the lessons you might learn along the way.

PREORDER / PRESAVE STILL COMING DOWN

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You’ll have a “Crush” on Growing Pains’ new single.

Last month, Portland’s Growing Pains announced their new LP Daniel Loves Mandy Forever, which will be released on their new label home Photo Finish on October 9th. Composed of Jack Havrilla, Kyle Kraft, Kalia Storer and Carl Taylor — the band have become one of the most buzzed about acts in the Pacific Northwest over the past year or so, after sharing stages with bands like MX Lonely, Alien Boy, Been Stellar, Water From Your Eyes, Beabadoobee and Dutch Interior.

Their new album, which was produced by Nathan Tucker of Strange Ranger, is an ambitious record made up of songs about desire so all-consuming that it warps the world around it. The compositional scale of these songs matches their emotional intensity. Across Daniel Loves Mandy Forever, Taylor and Havrilla’s guitar lines nod to the intricacy of midwest emo before erupting into clouds of fuzzy power chords, while Kraft plays with the crash-heavy maximalism of an arena-rock drummer. Storer’s voice is a hazy, dreamlike presence, her relative calm amid the turbulence building a gently surreal atmosphere.

The band’s influences aren’t buried here—the immediacy of Joyce Manor, the enormity of My Bloody Valentine, the scrappy melodicism of Pacific Northwest indie rock—and their non-musical inspirations are fittingly grand and varied. Early single “Swimming” draws images from a trip to an art museum that Storer and Taylor took together, where they saw a biblical depiction of Jacob wrestling with an angel, where “Drive” includes layered references to Bruce Springsteen and Roy Orbison.

Today, the band are sharing a new single entitled “Crush,” which was inspired by David Lynch’s Mulholland Drive.

Taylor says of the single:

This song is about trying, but failing to comprehend the nature of desire with language. How do you articulate the failure of language? This song tries to examine this space–a breakthrough of romantic desire creating delirium in the subject.

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[Thanks to Tom at Terrorbird Media.]

Adult DVD release a dance floor-filler with “Rolling Face.”

In September, Adult DVD will be releasing their self-titled debut LP on Fat Possum Records. The Leeds-based sextet have become one of the most talked-about live bands in the UK over the last couple of years, playing festivals like Glastonbury, Green Man, End Of The Road, on the strength of their early EPs. Their momentum has continued gathering behind the band since the announce of their signing to Fat Possum, with the band making their US debut at SXSW earlier this year where they were hailed as one of the best bands of the festival. The band followed that up by touring Japan where they were greeted by fans in homemade Adult DVD merch, played a series of sold-out shows and saw posts about their performances go viral with millions of views.

The band announced their record with the single “Cowboy On Aisle Three” last month, that Stereogum described as “a deranged banger….[that] explodes with DFA-indebted infectiousness.” Today, Adult DVD are back to share a new preview of the album, a track called “Rolling Face,” an acid house exploration of a wild night out that ends with its main character out of his mind.

Singer Harry Hanson says of the track:
“A job in a suit can only get you so far, which is what the character from rolling face soon realizes, he’s at the deep end of a pretty ugly night out, which ends in him losing his mind and money.”

In the making of their exhilarating debut album, vocalist Harry Hanson and synth-player Greg Lonsdale, alongside Danny Blackburn (guitar/synth), Jake Williams (synth), Jonathan Newell (drums), and George Manson (bass), went harder on what was already working for them: witty observational songwriting based in real-life characters and a pulsating synth-punk sound perfect for both the rave and the mosh pit. Fusing together an intense musical workout with depictions of a motley crew of figures ranging from 5G conspiracy theorists to an existential cowboy, Adult DVD is the electrifying sound of a band exceeding their own expectations while going just as hard, if not harder than their adrenaline-fueled live shows.

Produced by the band at The Nave Studios Leeds , the general theme of the album is to let go and take life a little less seriously. Simmering with boredom, wasted time, scams and a preoccupation with death and sex, the Adult DVD universe is a place to escape to and also get lost. These are songs that untangle the complicated ways in which people find themselves living, mining both laughter and energy from thinking. “There isn’t that much down time on the album,” Hanson says in reference to its pulsating energy and high BPM count. “It’s got harder in both directions. It’s like the EPs but on steroids.”

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[Thanks to Tom at Terrorbird Media.]

Vacations release new single, “I See Myself in You.”

Vacations—the Australian indie rock band of lead songwriter and vocalist Campbell Burns, bassist Jake Johnson, guitarist Nate Delizzotti, and drummer Joseph Van Lier—release “I See Myself In You,” the second single from their new album, Pursuit of Anything, out October 2nd on Nettwerk.

Following the lead single, “Holy Grail,” “I See Myself In You” was inspired by a conversation Burns had with his parents in Sydney before flying back to New York City. He reflects, “I was going through something personal at the time, and they were there for me in a way that felt like I was talking to my best friends, because I was. My relationship with my parents has changed so much over the course of my life and it made me pause and realise how similar we are and our experiences. I also started to wonder if one day I’ll be in their position, having a similar conversation with my child.”

Watch the Video for “I See Myself In You”

Pursuit of Anything captures Vacations at a turning point as Burns reflects on the disorienting, often contradictory experience of growing up, tracing his path from Newcastle (Australia) to Los Angeles and New York—caught between ambition and the more traditional lives unfolding back home. Written by the band and produced by Burns, the album finds Vacations operating as a fully creative force with Burns drawing constant inspiration from his bandmates’ lives and perspectives: exploring how they’re each living out different lives yet share a common experience, all in their own “pursuits.”

Mixed by Beatriz Artola (Geese, Caamp), the result is a richer, more intricate, and emotionally expansive sound. Pursuit of Anything arrives as the band solidifies their place as one of the most globally resonant indie acts of their generation with sold-out world tours, double-platinum certified hits, and over 3.5 billion streams. The record turns inward, driven by the push and pull of devotion to music, relationships, and self-discovery. It is this tension that fuels an earnest, dreamy pop album that feels instantly classic.

Pursuit of Anything is a labor of love, the product of a group of friends who have been making music together since they were barely out of their teenage years. On it, there are weddings, families, reflections on the past, and hope about the future. “It’s about happiness as a feedback loop,” says Burns of the record’s title, “How you keep chasing the next thing.” It’s a record that feels classic the first time you listen to it, it feels like chasing that rush, that sense of self discovery and rediscovery. And it shows Vacations at the height of their songwriting powers. It’s a pop record that takes pop music seriously. Lovely, earnest, dreamy and hopeful as they come.

Last month, Vacations completed the first leg of their Holy Grail Tour, an entirely sold-out run of dates including multiple nights in Los Angeles, Austin, Dallas, Chicago, Toronto, and a blow-out show at Warsaw in Brooklyn. The Holy Grail Tour continues on this month across Asia and Australia. Tickets for all remaining dates are on sale and available here.

Pre-Order/Pre-Save Pursuit of Anything

Watch/Stream:
“I See Myself In You”
“Holy Grail”

Keep your mind open.

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[Thanks to Patrick at Pitch Perfect PR.]