News – Page 7 – 7th Level Music

James Adrian Brown releases first single, “Generator,” from upcoming debut solo album.

Today James Adrian Brown, former Pulled Apart By Horses guitarist, announces his debut solo album ‘Forever Neon Lights‘ out Jan 30th via Castles In Space. After achieving chart success, touring the world, and releasing four critically acclaimed studio albums with PABH, Brown has begun paving a new path in instrumental electronic music and composition. New single “Generator” is online now and Brown will be touring the UK and Ireland throughout November.

Forever Neon Lights is inspired by Brown’s formative memories of visiting the Blackpool Illuminations as a child. Those bright lights by the sea became a personal symbol of hope, possibility, and escapism, shaping the creative vision Brown now brings to his solo work.On the new single, Brown says ” ‘Generator’ is about creating your own momentum and powering through life’s challenges. Just as the illuminations need a generator to shine, we all have to find and build our own energy source to keep moving forward. For me, it’s about resilience, staying true to your dreams, and making them real.”

“Generator” on YouTube: https://youtu.be/-S3w9ILL2I4
“Generator” on other streaming services:: https://ffm.to/generatorjab

Brown’s solo work is heavily electronica-based, utilising analogue synths alongside tape machines, piano, strings, and immersive ambient atmospherics. His focus lies in the analogue process of capturing and creating sound using physical hardware. Taking inspiration from artists such as Boards of Canada, Rival Consoles and Thom Yorke, Brown is exploring, evolving, and pushing his songwriting into bold new sonic territories.

Hot off the heels of producing Benefits’ critically acclaimed album Constant Noise earlier this year, and following a continual flow of live shows, singles, EPs, collaborations and remixes by the likes of Hayden Thorpe, Blood Red Shoes & Benefits.

A deeply personal yet outward-looking debut, Forever Neon Lights is a conceptual record that draws on memory, imagination, and transformation. Across its tracks, Brown reflects on childhood wonder, the excitement of possibility, and the struggles and triumphs of chasing a creative life. The Blackpool Illuminations serve as both literal and metaphorical inspiration: dazzling, unending, and powered by unseen energy.

Sonically, the album finds Brown pushing into new territory with long-time producer James Mottershead, weaving pulsing electronics, immersive textures, and evocative melodies into a dynamic, shifting instrumental landscape. It marks a bold evolution from his guitar-led past into a fully realised electronic vision.

Speaking about making the record, Brown says:

“This album is me laying everything out, the things I’ve carried since being a child, the hopes, dreams, and doubts I’ve felt as an adult, and the stubbornness to see things through. Writing and recording it felt like reconnecting with that wide-eyed version of myself who thought the lights back in Blackpool wrapped right around the entire country every Christmas and went on forever. It’s about taking that feeling and turning it into something lasting and real.”

Forever Neon Lights will be released January 30th, 2026, on one of Britain’s most essential electronic record labels, Castles In Space. The album will be available on limited 12” gatefold vinyl and across all streaming platforms.

See James Adrian Brown live:
20th Nov – Preston – Mad Ferret
21st Nov – Leeds – Headrow House
25th Nov – Manchester – 33 Oldham Street
27th Nov – Belfast – Black Box
28th Nov – Dublin – Crowbar Terrace

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[Thanks to Frankie at Stereo Sanctity.]

DITZ really brings your room together with their new single “Don Enzo Magic Carpet Salesman.”

After the release of album Never Exhale at the start of the year, DITZ return with a 9 minute, three-part noise-rock epic new single ‘Don Enzo Magic Carpet Salesman’, and it marks a bold new direction for the band. Fierce, hypnotic and unpredictable, it captures their live energy in full force, and comes with additional track ‘Kalimba Song’.

Both will be also be available on a limited edition 12” on 28th November via City Slang Records, with the first copies sold exclusively on their upcoming tour ahead of this date.

Vocalist C.A. Francis says of the new single, “Don Enzo began as a demo Jack Looker made after our touring wrapped early in the year. It started as one short movement, but after I added lyrics and sent it back, he returned it with five more minutes of music, creating a three-part structure. The song reflects my frustration with AI art – the first part reacting to the issue, the second written from the AI’s perspective, and the final section representing the last gasp of real art before being overwhelmed by artificial output.”

Listen to ‘Don Enzo Carpet Salesman’ / ‘Kalimba Song’ HERE

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Dion Lunadon releases new gritty and sizzling single – “Gold Standard Love.”

“Gold Standard Love” is the latest single from Dion Lunadon. It comes out as a limited edition 7″ flexi disc inside the Fall issue of America’s only Rock ‘n’ Roll magazine, CREEM. 100 flexi’s inside 100 copies.

150 copies will be available only at shows while stocks last.

“Gold Standard Love” is a futuristic rocker that crackles and grooves out of a thought crime, foregoing any current trends within the 2025 rock ’n’ roll genre.

“The FBI, The CIA, can’t take my dreams away, will you supply, GOLD STANDARD LOVE”.

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[Thanks to Dion!]

Grayson Capps stands up for ladies everywhere on his new single – “My Body.”

Today, Grayson Capps releases “My Body.” It’s the first new song in eight years from the beloved Alabama singer/songwriter. In the interim, Capps has remained active, continuing to play upwards of 150 shows a year and releasing both a retrospective collection, South Front Street, and the album, Heartbreak, Misery & Death, a collection of folk and traditional songs originally performed by Doc Watson, Jerry Jeff Walker, Randy Newman, and others. He stepped back from recording his own material, however, instead devoting his time to raising his two children and caring for his father, who passed away last year after a long decline.

With “My Body,” Capps jumps back into the fray via a snarling, electrified protest song rooted deep in the Southern Gothic where his most enduring work takes shape. Its release is accompanied by a lyric video filmed by Trina Shoemaker and created by Gregory Del Deo.

“The seed of this song began from a young lady’s perspective living in the state of Alabama in 2025,” explains Capps. “More broadly, it speaks for the tolerant and empathetic people of the world who are being pushed into a corner against their will and the collective need to stand up to malevolence.”

In the climactic closing verse, Capps simultaneously reflects and declares: “I was traveling around Ocala, Florida, around two in the morning and saw a sign, and it was confusing. It said, ‘God, guns, guts, and glory are what made this country great,’ and I’m thinking to myself, ‘God, guns, guts, and glory are the very words that make men hate.’”

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[Thanks to Kevin at Royal Potato Family.]

Katzin releases first single, “Anna,” from his upcoming debut album.

Born in Alexandria, Virginia, growing up in Raleigh, North Carolina, and coming of age in New York City, Zion Battle makes music as Katzin.

Drawn to music from a young age, beginning with the music he witnessed at church (his father is a theologian and priest), he was fascinated with the sound of good records. He wasn’t sure how to go about replicating these sounds, but started early figuring it out: At 13, he began writing and recording his own music, and at around 15, he became a part of a teenage music scene of bands playing New York City basements, rooftops, and wherever they could turn up the volume without (or with) the threat of being shut down.

He went on to study music at both CalArts and the New School, before electing to take a break from his studies when he signed to the Brooklyn independent label Mexican Summer (Jessica Pratt, Cate LeBon, Hayden Pedigo) earlier this year.

Today, Katzin is sharing “Anna,” first taste of his forthcoming, yet-to-be-announced debut album.

Battle wrote “Anna” during his freshman year at CalArts. As he settled into college, he was struck by how the people around him sometimes struggled to adjust to their new lives, and often mourned the adolescence they’d left behind. Weaving together guitar, banjo, and synths beneath Battle’ssearching vocals, “Anna” is a sensitive portrait of young people making room for new realities as their old attachments fall away.

Battle says of the track: “Anna is a song about distant lovers — growth in distance. To be ‘off and on’ can feel like endless torture. But there’s nothing more euphoric than to run back into the arms of something so familiar.”

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[Thanks to Tom at Terrorbird Media.]

Tombstones in Their Eyes are “Under a Dark Sky” with their new single.

LA-based psychedelic rock outfit Tombstones In Their Eyes presents their brooding single ‘Under Dark Skies’, previewing their ‘Under Dark Skies’ album, to be released via Little Cloud Records (for North America) and Shore Dive Records (for the UK and EU). Without wallowing in self-pity and emotional upheaval, this song leans hopefully toward a new beginning in the understanding that sometimes the bottom is the best place to start.

The video was created by Italian multi-arts visionary Francesca Bonci, known for her work with Federale (BJM’s Collin Hegna), British bard Philip Parfitt, The Dandy Warhols’ Peter G. Holmström a.k.a. Pete International Airport and Slowdive’s Rachel Goswell.

Tombstones In Their Eyes is made up of John Treanor (vocals & guitar), Stephen Striegel (drums), Courtney Davies (vocals), Phil Cobb (guitar), Paul Boutin (guitar), Nic Nifoussi (bass) and Clea Cullen (vocals). What began casually a decade ago has evolved into a powerhouse band known for their expansive psychedelic soundscapes. For Treanor, these sonic explorations are like a cosmic therapy session – an immersive subliminal journey, as well as a way to grapple with anxiety.

This record was created during a year of intense personal change, followed by a clearing of the decks and a move forward into a place light and gratitude. Recorded and engineered by Paul Roessler (Josie Cotton, Nina Hagen, Hayley and the Crushers, Gitane Demone) at Kitten Robot Studios, this album was co-produced by John Treanor and mastered by multi-platinum engineer Alex DeYoung at DeYoung Masters (Michael Jackson, BTS, Macy Gray, The Linda Lindas, TSOL).

“’Under Dark Skies’ is essentially a prayer sent for a path forward from the darkness of the spirit into the light. When the spirit is crushed, a rebirth is possible but the way forward is not always obvious. I feel fortunate to have a creative outlet like music to deal with the chaos in my head. Having said that, fighting the urges for self destruction by self-soothing in harmful ways is still not easy,” says John Treanor.

“We live in a tough and harsh world that is also filled with beauty and joy. Finding beauty and joy is the goal. I’m aware that I have many privileges and do not discount that, but mental health challenges do not seem to discriminate. Finding strength and hope is a daily practice that I must undertake and writing these songs is one of the many ways that I cope. By expressing and sharing these feelings, I let go of the poison and seek connection with others.”

This album arrives a year on from their latest ‘Asylum Harbour’ album (and standout audio-visual trips for ‘I Am Cold’, ‘By My Side’, ‘Gimme Some Pain’, ‘I Like to Feel Good’ and ‘Mirror’), released via Kitten Robot Records.

The single is now out everywhere, including Spotify, Apple Music and Bandcamp, where the ‘Asylum Harbour‘ album can also be found on CD and on snazzy red vinyl. On December 5, the full ‘Under Dark Skies’ album will be released via Little Cloud Records (US) and Shore Dive Records (UK and EU).

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[Thanks to Shauna at Shameless Promotion PR.]

Dry Cleaning announce new album due January 09, 2026 with lead single – “Hit My Head All Day.”

Dry Cleaning announce their new album, Secret Love, out January 9th on 4AD and release the lead single, “Hit My Head All Day.” Secret Love is the finest expression yet of the profound friendships between frontperson Florence Shaw, guitarist Tom Dowse, drummer Nick Buxton and bassist Lewis Maynard. Here, the south London four-piece take their place in rock’s avant-garde, catalyzing the Reaganite paranoia of early 80s US punk and hardcore with the dry strut of Keith Richards, stoner rock, dystopian degradation, playful no wave and pastoral fingerpicking, while Florence’s delivery, meticulously calibrated to her bandmates’ soundscapes, asserts her in a lineage of spoken-word artists stretching from Laurie Anderson to Life Without Buildings’ Sue Tompkins.

Watch the Visualizer for “Hit My Head All Day”

The follow-up to Stumpwork, one of 2023’s most beloved records, Secret Love started life in Peckham rehearsal spaces, all four members writing, playing and responding to each other in the room: in Dry Cleaning, music and lyrics form an inseparable, generative whole. Secret Love evolved through affirming sessions at Jeff Tweedy’s Chicago studio, The Loft, and explosive ones with Gilla Band’s Alan Duggan and Daniel Fox at Sonic Studios in Dublin, taking advantage of the sensory particulars of each space, and finally, with Cate Le Bon at Black Box in the Loire Valley. After interviewing various potential producers, they picked Cate—an esteemed solo artist who has also produced albums for Deerhunter, Devendra Banhart, Wilco and Horsegirl—for her unabashed positivity and openness. “Being in a room with them and hearing that vitality and life force that exists between them all, it’s such a unique expression,” Le Bon says.

Trust is Secret Love’s guiding theme, as signified by today’s compulsively catchy single and album opener, “Hit My Head All Day.” Powered by pistons of breathy synths and cresting arcs of guitar, Florence’s signature mix of absurdism and sensitivity shines through. “The song is about manipulation of the body and mind,” Florence explains. “The lyrics were initially inspired by the use of misinformation on social media by the far right. There are powerful people that seek to influence our behavior for their own gain; to buy certain things, to vote a certain way. I find it hard to read people’s intentions and decide who to trust, even in everyday life. It’s easy to fall under the influence of a sinister stranger who seems like a friend. We took a playful approach to the song. At one point it had harmonica on it instead of a vocal. At the demo stage we were inspired by There’s a Riot Goin’ On by Sly and the Family Stone.” The song arrives with an accompanying visualizer featuring movement by choreographer dance duo BULLYACHE.

Secret Love will be available digitally, on CD, cassette, black vinyl, limited edition Apricot vinyl (4AD store & indie retail) and Pearl/Arctic vinyl (Rough Trade exclusive). An exclusive run of white labels of Secret Love will be available to order for 48 hours only from today via the 4AD store, and a small quantity of JCD’s will be available exclusively on Bandcamp. A limited number of signed photo prints will also be available via 4AD and select indie stores.

Pre-Order Secret Love

Dry Cleaning Tour Dates
Thu. Oct. 23 – Madrid, ES @ Barceló Theatre
Fri. Oct. 24 – Valencia, ES @ Loco Club
Sat. Oct. 25 – Barcelona, ES @ Paral.lel 62
Fri. Nov. 7 – Brighton, UK @ Mutations Festival
Sat. Nov. 8 – Bristol, UK @ Simple Things Festival
Sat. Jan. 3 – Bognor Regis, UK @ Rockaway Beach Festival
Wed. Apr. 22 – London, UK @ O2 Academy Brixton

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[Thanks to Jacob at Pitch Perfect PR.]

Just Mustard’s release powerful new single – “Endless Deathless.”

Ireland’s Just Mustard release “ENDLESS DEATHLESS,” the third single/video from their new album, WE WERE JUST HERE, out October 24th via Partisan Records. “ENDLESS DEATHLESS” arrives on the heels of a sold out September tour and release of the album’s title track, “WE WERE JUST HERE,” which “takes Just Mustard’s minimalist noise rock into a dreamier, goth-like arena” (Consequence). One of the most explosive tracks on the album, “ENDLESS DEATHLESS” captures the band at their most urgent and cathartic. It’s immediate and visceral, built on a foundation of warped guitar textures, clattering percussion, and thudding sub-bass. Katie Ball’s vocals rise above the chaos; a break in the clouds cutting through the noise. It’s a high point of the record’s embrace of physicality and directness, designed to hit with the impact of a packed club running at full tilt. The song’s accompanying video was directed by band member David Noonan.

Watch the Video for “ENDLESS DEATHLESS”

Just Mustard is Katie Ball, David Noonan, Mete Kalyoncuoğlu, Rob Clarke, and Shane Maguire. WE WERE JUST HERE was recorded at Black Mountain studio just outside of the band’s hometown, produced by Noonan and the band, and mixed by David Wrench (Frank Ocean, FKA twigs). The strange and distinct universe the band creates on record is reinforced with haunting interludes of speech and noise, snippets of voice memos, and elements from various demos. While their approach to composition had previously been inspired by their love of electronic music, starting with instrumental loops and textures and later weaving vocal ideas around them, the band made a conscious decision to reverse engineer this process on WE WERE JUST HERE. This meant adopting a more traditional method, looking to the swirling rock and dynamic song structures of Nirvana and My Bloody Valentine and striving for big, bold, fully encompassing songs.

“The vocal structure was the most important thing,” Noonan comments. With choruses bursting with melody and brightness, Ball’s vocals rise higher in the mix throughout the album. Her lyrics can be ingested as a conflicted and toxic grasp at positivity, or a cathartic breakthrough into bliss. “I was trying to write more optimistically, and feeling like a fraud sometimes. I was trying to put myself in places of physical joy to try and get that euphoric feeling,” Ball explains.

WE WERE JUST HERE signals a pivotal moment for the band. Across their first two albums—2018’s Wednesday and their 2022 Partisan debut Heart Under—the band “rode a wave of noise to the front of the shoegaze pack, breaking from the distorted yearning of the genre’s softer acolytes” (Pitchfork). While Just Mustard’s signature elements are still intact on WE WERE JUST HERE, it’s all been channeled into a warmer and more anthemic path. For Heart Under, a core concept of the album was to make listeners feel like they were traveling through a tunnel. With WE WERE JUST HERE, they explode out into the blinding light.

Pre-order WE WERE JUST HERE

Watch the Video for “WE WERE JUST HERE”

Watch the Video for “POLLYANNA”

Just Mustard Tour Dates
Fri. Oct. 24 – London, UK @ Rough Trade East
Sun. Oct. 26 – Kingston Upon Thames, UK @ The Fighting Cocks
Mon. Oct. 27 – Bristol, UK @ Rough Trade Bristol
Tue. Oct. 28 – Brighton, UK @ Resident Music
Wed. Oct. 29 – Liverpool, UK @ Rough Trade Liverpool
Thu. Oct. 30 – Dublin, IE @ Spindizzy Records
Fri. May 1 – Dublin, IE @ Olympia Theatre
Fri. June 26 – Dublin, IE @ Marlay Park *
Sun. June 28 – Belfast, IE @ Belsonic ^
Sun. Aug. 23 – Edinburgh, SF @ Royal Highland Showgrounds, Edinburgh Summer Sessions #

* with The Cure & Stella and the Dreaming
^ with The Cure & The Twilight Sad
# with The Cure, Slowdive, & Mogwai

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[Thanks to Jaycee at Pitch Perfect PR.]

Runo Plum takes you “Halfway Up the Lawn” with her newest single.

In November, runo plum will release her debut LP on Winspear (Wishy, Slow Pulp, Teethe). Entitled patching, the album was produced with her new Winspear labelmate Lutalo, and was announced in late August with the single “sickness,” which arrived with a Rolling Stone featureand saw praise from outlets like Stereogum, Line of Best Fit and BrooklynVegan.

Today, runo is sharing another preview of her new album, a track called “Halfway Up The Lawn,” with a video shot by David Milan Kelly.

Unbridled sincerity isn’t anything new for runo plum, who’s been writing and quietly sharing bedroom dispatches of her intricate folk for a half-decade. During the pandemic years, she steadily caught the ears of a widening circle of listeners and soon began independently releasing a series of singles and EPs, all while cutting her teeth on the live side supporting Searows, Angel Olsen and Hovvdy.

In the midst of this wave of success came an unexpected heartbreak. It wasn’t until runo had written a mass of songs in a five-month burst of intense creativity following that chasm that she realized that not one, but two, records were forming. “I was writing like I never had before and everything felt more meaningful than ever,” she says.

On patching, the work of metamorphosis plays as large of a role as the studied process of mending and repair. Across its twelve tracks, runo paints her melodic arcs with a sharp sense of dynamics, crafting songs that capture both the hazy highs and the dark blue lows of all the natural cycles that make the world turn. At the heart of her writing lies a sort of ephemeral magic, one born from her ability to alchemize a deeply formative chapter of life into a vivid scrapbook of songs, capturing the contours of her experiences in shimmering detail.

“Halfway Up The Lawn” recounts the messy and deeply human desperation phase of a breakup, unraveling all of the yearning and mental hang-ups over persistent, near-hypnotic instrumentation. “I don’t wanna watch you turn green, but I will” she sings, toying with acceptance, but not entirely giving up the fight.

“This song is about when you get broken up with and you aren’t on speaking terms with that person anymore. It makes you feel so insane, you want to scream, you’re checking socials, waiting for a text, desperately waiting for literally any sign of life. I imagine myself pathetically sitting outside of their house waiting for them to get home, but–nothing. The line “I don’t wanna watch you turn green, but I will” is ultimately about accepting that they have moved on. We ended up using my demo guitar solo for this one, which is so funny because it’s sort of a mess but it ended up fitting perfectly with the chaos in the theme.”

In support of the record runo will be embarking on a UK/EU tour that includes appearances at Pitchfork London and Paris. Full details of those dates can be found below.

11/1 – Amsterdam, NL @ London Calling Festival
11/2 – Berlin, DE @ Neue Zukuft
11/3 – Hamburg, DE @ Aalhaus
11/5 – Ghent, BE @ Big Next (Trefpunt)
11/6 – Luxembourg, LU @ Rotondes
11/7 – Paris, FR @ Pitchfork Paris
11/8 – London, UK @ Pitchfork London
11/10 – Bristol, UK @ Thekla
11/11 – London, UK @ Moth Club
11/12 – Brighton, UK @ Dust
11/14 – Sheffield, UK @ Hallamshire Hotel
11/15 – Leeds, UK @ Live at Leeds

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[Thanks to Tom at Terrorbird Media.]

Sell Everything offer “Girls, Girls, Girls” for you.

Hailing from Dublin, SELL EVERYTHING is a five-piece collective fusing jazz guitar, off-kilter rhythms, and sharp lyrical wit into a sound entirely their own. Their genre-blurring approach — spanning indie rock, grunge, jazz, and hip hop — yields songs that feel equally at home in dimly lit clubs and on festival main stages. Frontman Tom Kelly’s wry, observational lyrics thread through lush arrangements with a balance of intimacy and detachment, creating an emotional pull that’s both immediate and enduring. With a DIY ethos and a reputation for unpredictable, compelling live shows, SELL EVERYTHING are rapidly emerging as one of Ireland’s most exciting and forward-thinking acts.

Today, the band are sharing their latest single, a track called “Girls, Girls, Girls,” which is out today on their label home Future Gods.

The band’s early singles have drawn praise from Stereogum, FLOOD, and Line of Best Fit, earning comparisons to artists like King Krule, Bar Italia and Mk.gee. While those comparisons might imply a downbeat vibe, “Girls, Girls, Girls” injects that vibe with a looseness and a sense of fun.

A jazz-leaning indie track built on warm guitar work inspired by Wes Montgomery and a rhythmic sway that nods to Anotr and early Underworld, the track is lyrically playful yet emotionally sharp, drifting between fleeting encounters, restless desire, and self-deprecating humor. It’s the band’s most immediate and infectious release yet, with a groove that lingers long after the track ends.

The band say of the song:

“‘Girls Girls Girls’ is written with irony at its core. On the surface, it feels upbeat and soulful — almost celebratory — but the heart of the song is about that nagging feeling of missing out, when really it’s just in your head. The video reflects that through the pirate character: he’s dressed as an outsider, but it’s his own perception that keeps him apart. The verses carry a bright, major feel, while the chorus shifts into something more melancholic and reflective — a push and pull between joy and self-doubt. In the end, it’s less about wanting what you think you lack, and more about realizing that you’ve put yourself on the outside.”

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[Thanks to Tom at Terrorbird Media.]