Category: Releases

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Post-punk quintet captures modern unrest and fleeting beauty on their most urgent release yet

Virginia-based post-punk outfit Dayfiction returns with Divine Intermission, a gripping new EP that pushes the band further into a sound defined by abrasive energy, emotional immediacy, and atmospheric intensity. Recorded in the days leading up to vocalist Evan Solomon’s temporary relocation to London, the project stands as both a timestamp and confrontation of modern turbulence, a record equally unforgiving in its urgency and desperate in its search for meaning and beauty.

Formed in 2024, Dayfiction, Evan Solomon (vocals), Noah Brown (guitar), Mateo Melchor Dutto (guitar), Jackson Prior (bass), and Hannah Johnson (drums), quickly evolved beyond their garage rock beginnings on their debut Blurry World. Across a relentless 2025 that saw the release of singles “Peacemaker,” “Lost You,” and the EP Diplomat, the band sharpened their identity into something more refined, restless, and emotionally charged.

Over the past year, Dayfiction has also built a reputation as a commanding live act, opening for contemporary artists including Inhaler, Bass Drum of Death, Lip Critic, Hello Mary, Native Sun, and Her New Knife. As the group continues expanding its reach between Richmond and New York City, Divine Intermission arrives as their boldest statement yet.

“I started writing and developing these songs around August of 2025,” says Solomon. “A lot of people close to me were leaving for school or moving into completely new chapters of their lives, and I felt stuck in this strange in-between period. Life started feeling repetitive and monotonous, but at the same time the band was growing and our show schedule was getting bigger. I made it a point to write every day instead of waiting around for inspiration to suddenly hit. Eventually, the writing process itself became the way I made sense of everything.”

That tension, between momentum and uncertainty, isolation and connection, runs through the DNA of Divine Intermission. Drawing from the jagged emotional weight of artists like Fontaines D.C., Joy Division, Protomartyr, The Murder Capital, Shame, Gang of Four, The Cure, and Wunderhorse, the EP channels themes of transition, alienation, and emotional survival into a visceral post-punk framework.

With Divine Intermission, Dayfiction captures the feeling of standing suspended between chapters, documenting the anxiety, catharsis, and fleeting clarity that emerge in moments of personal and cultural instability. It’s a record that refuses complacency, delivering sharp-edged songwriting with equal parts fury and vulnerability.

ARTIST BIO
Virginia-based post-punk quintet Dayfiction occupies the negotiated space between abrasive energy and visceral, melodic atmosphere. Formed in 2024, the group— Evan Solomon (vocals), Noah Brown (guitar), Mateo Melchor Dutto (guitar), Jackson Prior (bass), and Hannah Johnson (drums)— quickly transcended their garage rock roots on debut, Blurry World, to forge a more refined, insistent sound. 

Throughout a busy 2025, with releases of singles “Peacemaker,” “Lost You,” and the EP Diplomat, the band established themselves as a formidable live force. In the past year, Dayfiction opened for contemporary acts such as Inhaler, Bass Drum of Death, and other rising groups Lip Critic, Hello Mary, Native Sun, and Her New Knife. 

Now expanding their reach between Richmond and New York City, the band returns with their new EP, Divine Intermission. Recorded in the days before Solomon’s temporary relocation to London, the record serves as a prophetic confrontation and timestamp of modern turbulences— at once unforgiving in its intensity and desperate in its grasp for beauty. 

Connect with Dayfiction: Instagram, TikTok, Spotify

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NOTES TO EDITORS:
Genre(s): Post-Punk, Garage Rock, Indie/Alternative
FFO: Fontaines D.C., Joy Division, Protomartyr, The Murder Capital, Shame, Gang of Four, The Cure, Wunderhorse

Press Contact:
Danielle Holian – Decent Music PR
Email: danielle.holian@decentmusicpr.com
Website: www.decentmusicpr.com
Telephone/Whatsapp: +44 (0) 204 572 2260
Reviews: TrustPilot, Google Reviews

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Indie pop artist Gab Gordon returns with her latest single, “Slowburn,” a cinematic indie pop / dream pop release that unfolds slowly through tension, atmosphere, and emotional restraint. The track is featured on her latest EP, The Pretty Bazaar.

Blending indie pop, dream pop, and alt-pop sensibilities, “Slowburn” captures the feeling of romantic tension that builds gradually over time; the kind of connection that becomes impossible to ignore. It lives in the space between comfort and vulnerability, where familiar emotions begin to shift into something deeper and more uncertain.

Built for late nights, dim lighting, and quiet conversations, the track leans into mood and subtle progression rather than immediacy. Drawing inspiration from romantic 80s pop atmospheres and modern indie production, “Slowburn” evolves with slowly layered synths, nostalgic pop percussion, and airy vocal harmonies that mirror the emotional unfolding of a relationship.

At its core, “Slowburn” is a study in restraint, trading instant gratification for emotional weight, tension, and slow-burning longing.

ABOUT GAB GORDON

Gab Gordon is an indie pop artist blending dream pop textures with a cinematic, retro-glam aesthetic. Her music is defined by layered harmonies, strong melodic instincts, and immersive soundscapes that feel both intimate and expansive.

Raised just outside Philadelphia in a musical household, Gordon grew up surrounded by a wide range of influences. Early exposure to performance through her father’s band, along with classical piano training, laid the foundation for her melodic sensibility. She later expanded into guitar, bass, and drums, developing a multi-instrumental approach to songwriting and arrangement.

While studying biomechanical engineering in college, Gordon began exploring music production, which deepened her fascination with sonic texture and experimentation. This technical background evolved into an artistic curiosity about resonance, materiality, and how subtle sonic differences shape emotional perception; eventually extending into custom guitar pedal design and hands-on sound shaping.

Her songwriting process is highly melodic and instinct-driven, often beginning with fragments of music that surface unexpectedly throughout the day. That instinctive approach was first shaped during her time as a Division I rower, where long, quiet mornings on the water became a space for internal storytelling and musical reflection. Lyrics, by contrast, tend to emerge later, formed through late-night introspection and emotional processing.

Across her work, Gordon emphasizes melody, vocal layering, and atmosphere, drawing from classic songwriting traditions while maintaining a distinctly modern indie pop edge. Her sound sits at the intersection of nostalgia and innovation; familiar yet distinctly her own.

Alongside her music, Gordon has developed a cohesive visual world inspired by vintage fashion editorials, retro glamour, and late-night urban landscapes. This aesthetic runs through her releases, creating a unified artistic experience that blends sound, image, and emotion.

As her audience continues to grow, Gordon is building toward a larger body of work defined by mood, emotional depth, and a strong visual and sonic identity.

Connect with Gab Gordon: Instagram, Website, Spotify

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FFO: Chappell Roan, Lana Del Rey, Weyes Blood

“Slowburn” Release Credits: Written, produced, and performed by Gab Gordon. Mixed and mastered by Gab Gordon

Press Contact:
Danielle Holian – Decent Music PR
Email: danielle.holian@decentmusicpr.com
Website: www.decentmusicpr.com
Telephone/Whatsapp: +44 (0) 204 572 2260
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Photo Credits: Olha Walters of Olha Kibec Photography LLC

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Emerging indie pop and alternative pop artist Julia Sommerfield is set to make her official debut with the release of her first single, “Ratata,” streaming on all major platforms beginning May 12. With evocative storytelling, haunting soundscapes, and raw emotional depth, Sommerfield introduces herself as a powerful new voice in contemporary music.

Originally from Seattle, Washington, Sommerfield now resides in Los Angeles, where she studies Writing for Screen and Television at the University of Southern California. Her passion for storytelling began in childhood, particularly through music. She penned her first original song at just 11 years old, laying the foundation for a creative journey that continues to evolve. Though her writing has expanded into novels and screenplays, music remains at the heart of her artistic identity.

A former band student, Sommerfield is currently pursuing a minor in songwriting at USC’s prestigious Thornton School of Music. Through opportunities there, she will travel to London this summer to perform with her band, Andromeda, further cementing her presence as a rising talent on the global stage. She hopes her work will inspire other young artists to pursue their creative dreams with courage and authenticity.

Drawing inspiration from artists such as Bob Dylan, Laufey, Lizzy McAlpine, and Billie Eilish, Sommerfield blends introspective lyricism with atmospheric production to create a sound that is both intimate and cinematic.

Her debut single, “Ratata,” explores themes of resilience and survival. Written during her recovery from a serious illness, the song captures the push and pull between surrender and the will to keep fighting. In a metaphorical twist, the illness is personified as a captivating yet dangerous figure, one that lures and consumes. The track’s haunting, dreamlike production immerses listeners in this emotional struggle, echoing the seductive pull of despair while ultimately affirming perseverance and strength.

“The girl described in the song is the illness itself,” Sommerfield explains. “She seems perfect; you’re taken in by her, consumed by her. But the song asks: ‘Would you ever believe her when she tells you the truth?’ It’s about recognising what’s harming you and choosing to fight back.”

Produced in collaboration with Brian Squillace, “Ratata” features eerie, nightmare-inspired sound design that draws listeners into a surreal sonic landscape. Its hypnotic vocalisations and immersive atmosphere mirror the spellbinding nature of struggle, while its message ultimately celebrates truth, resilience, and the power of survival.

“Julia Sommerfield is an extraordinary new voice in indie pop. Her debut single ‘Ratata’ is both haunting and empowering, showcasing a rare blend of cinematic storytelling, emotional depth, and artistic authenticity. She is truly an artist to watch,” shares music publicist Danielle Holian, Decent Music PR

Connect with Julia Sommerfield: Instagram, Spotify, Website 

Press Contact:
Danielle Holian – Decent Music PR
Email: danielle.holian@decentmusicpr.com
Website: www.decentmusicpr.com
Telephone/Whatsapp: +44 (0) 204 572 2260
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A sweeping, genre-blurring collection of folk, jazz, and Latin-inflected songwriting recorded in the Costa Rican jungle

Kevin Farge returns with Country Love Song, a sprawling 27-track album that feels less like a record and more like a lived-in world: humid, lush, and quietly transcendent. Recorded in a cabin surrounded by mango trees above a surf break in Costa Rica, the album folds together folk, Texas slowcore, orchestral indie pop, Brazilian jazz, and alt-country into something deeply personal and unexpectedly expansive.

At the center of it all is Farge’s voice, warm, unguarded, and intimate, carrying the emotional weight of distance, memory, and belonging with a disarming ease.

There’s a sophisticated charm to Farge’s genre-fluid approach: slowcore slow burns like “Coastal Fog” sit beside the breezy Spanish bossa of “Frijoles,” featuring longtime Devendra Banhart collaborator and composer Gregory Rogove. Across the record, collaboration becomes its own language, fluid, playful, and rooted in trust.

Collaborator Little Wings joins Farge on “Memphis,” a warm alt-country tune that leans into tenderness without irony. Elsewhere, “A Little More Fun” delivers a playful Ferris wheel country blues moment that highlights the rare chemistry between Kevin Farge and Kyle Field. Together they “burn it down baião” on the restless, rhythmic “Two Bags of Rice.”

Farge’s ability to synthesise traditions is at its most infectious on “Good Girls,” where country storytelling collides with Latin rhythms and indie-rock propulsion. Meanwhile, “Never Gonna Back Down” builds strings, breakbeats, and detuned acoustic guitar into a working-class anthem of resilience and persistence.

The album also contains moments of striking stillness. “Mariel Pt. 2” is a meditative seaside reflection on impermanence and presence. “Sing for Me, Darling” evokes the awe of a vast and hostile tropical wilderness as a surfer who immerses himself in it in all weather conditions can attest. Instrumentals like “Pastoral” evoke a lineage stretching from Portuguese guitar to Costa Rican marimba traditions, reinforcing Farge’s place within the contemporary American Primitive guitar scene while expanding its geography.

Raised between cultures, an American father and Costa Rican mother, Farge spent the last six years living in his mother’s village, traveling by bicycle, surfing regularly, and recording music in a home studio shaped by its environment. That life infuses Country Love Song with its textures: jungle density, ocean air, and a sense of time that moves differently.

Across its 27 tracks, Country Love Song resists passive listening. It asks for presence, and rewards it with warmth, humor, and emotional clarity. It is a record about contentment without complacency, about exploring paradoxes and movement forward. 

As Farge puts it, “I grew up between worlds. This album is what it sounds like when those worlds stop arguing and start singing together. It’s about being still enough to hear everything.”

There’s a sense throughout Country Love Song that Farge is both observer and participant, hunter and hunted, rooted and wandering. The result is music that feels at once self-sufficient and searching, intimate and wide-open.

Country Love Song is a roaming, roaring, ranging affair on planet Earth; an invitation to slow down, listen closely, and find something honest in the heat, humidity, and light.

Credits:
Kevin Farge on vocals, guitar, organ, piano, celesta, accordion, mellotron, bass, percussion, arrangements
Mixed & Mastered by Josh Cinquemani, Dovetales Audio
“Memphis” Mixed & Mastered by Charles Yingling, The Blueroom Studios
Recorded in Costa Rica
Selected collaborators: Little Wings, Gregory Rogove, James Shelton, Josh Cinquemani, Eduardo Pereira, Chloé Mendola, Pedro Alvide, John Britton, Katherine Herrero de Armas, Karol Barboza, Yuma Uesaka, Lawton Pybus, Josh Plotner

Tracklist:
Good Girls
On Down the Line
Never Gonna Back Down
It Never Rains in California 
Memphis
Pretty Kids in the City
Memories of the Ganges
I Can’t Quit You
That Cross You Have Built
Piano Chords
Sing for Me, Darling
Lights on the Bridge
Two Bags of Rice
Independence
Quiénes Somos
Mariel Pt. 1
Mariel Pt. 2
Yo Ho
A Little More Fun
Night Bicycle
Pacific Ocean Blues
Frijoles
Pastoral
End of the Season Pt. 1
End of the Season Pt. 2 
The Wind’s Dance Across the Island
Coastal Fog

Connect with Kevin Farge: Instagram, TikTok, YouTube, Spotify, BandCamp, Website

Press Contact:
Danielle Holian – Decent Music PR
Email: danielle.holian@decentmusicpr.com
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Telephone/Whatsapp: +44 (0) 204 572 2260
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Gianni Ferraro is a Canadian artist whose work bridges indie rock, alternative, and pop influences, shaped by a lifelong connection to live music culture and performance.

Gianni Ferraro unveils an ambitious new chapter in his evolving music career with the announcement of a monthly single release series running from April 2026 through December 2026. Each release will be accompanied by a visual component, marking a creative expansion that blends music and storytelling into a continuous body of work.

Gianni’s roots in music run deep. He quite literally grew up inside one of Toronto’s most iconic live music spaces, The Cameron House, a legendary bar and creative hub founded in the 1980s by his mother and uncle. Raised in an environment filled with late-night sets, cigarette smoke, and constant sound, Ferraro’s early life was shaped by the pulse of live performance.

That environment naturally led him and his brothers to form a band under the name “Ferraro,” which went on to perform across Canada and share stages with major acts including Arkells, Big Sugar, Sam Roberts Band, and July Talk. These experiences laid the foundation for Gianni Ferraro’s solo artistic direction, blending raw live energy with a modern indie sensibility.

Now stepping into a new phase, Gianni is embracing a structured release approach: one song released on the first of every month, each paired with a visual release designed to deepen the narrative and emotional impact of the music. The series invites listeners to engage consistently throughout the year, building a layered experience over time.

The first release in the series is the new single, “The Emperor’s New Clothes,” a 2:53 track that fuses alternative rock, indie rock, and indie pop influences. The song reflects Gianni’s evolving sound; melodic yet gritty, introspective yet rhythm-driven. It sits comfortably alongside artists such as Cage the Elephant, Arctic Monkeys, Glass Animals, and Harry Styles, while still carving out a distinct identity.

The single was brought to life by a strong creative team, with production by Sam Arion, mixing by Justin Meli, and mastering by Kristian Montano. The track was written by Gianni Ferraro, whose songwriting anchors the project’s emotional and sonic direction.

With this rollout, Gianni signals a commitment to sustained artistic output and visual storytelling, inviting listeners to return each month for a new chapter in the series.

Connect with Gianni Ferraro: Instagram, TikTok, Spotify

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Singer-songwriter and producer Astor Storm releases his third single, “Lift Him Up” – a powerful and deeply personal continuation of the universe he introduced with his debut single “Falling.”

“Lift Him Up” moves into the raw territory of emotional inheritance – the silent wound of a father unable to love – and the courageous choice to transform that pain rather than carry it forward. With industrial beats, dark synth textures, and a vulnerable yet resolute vocal, Astor Storm creates a soundscape where grief and liberation coexist. The lyrics trace the journey from abandonment and longing toward something greater: a spiritual love, a higher self, a new beginning.

The chorus’s repeating declaration – “Lift Him Up” – is not an act of defeat, but of elevation. It is the moment you stop waiting for the love you were never given, and choose instead to rise above it. To break the cycle. To become the parent, the person, you needed.

This is a song for everyone who has had to walk away from family in order to heal – and who carries the quiet hope of building something new and whole for themselves and for the children who will come after them.

With “Lift Him Up,” Astor Storm cements his artistic voice at the intersection of electronic pop, the cinematic, and the spiritual. The single points toward his debut album Surrender and underscores the artist’s ability to forge something transcendent from the deepest personal pain – music that heals as it resonates.

ARTIST BIO

Astor is a Danish-Spanish singer-songwriter and producer crafting music at the intersection of electronic pop and experimental sound. Drawing on industrial beats, cinematic synth textures, and raw, vulnerable vocals, Astor builds a world where the electronic never erases the human — it amplifies it.

His music is defined by contrast: control against surrender, strength against fragility, intimacy against sonic weight. Lyrically, he explores identity, relationships, and the disorienting moments when the ground shifts beneath you — where resistance becomes vulnerability, and vulnerability becomes growth. It is music he makes because he needs to hear it; music that works just as well in headphones, pulling you inward, as it does on a stage, releasing something shared.

Astor studies electronic music and sound art at a conservatory level, bringing a rigorous, investigative approach to technology and composition — a foundation he uses to develop a personal pop expression where experimentation and accessibility move together rather than apart.

Connect with Aster: Instagram, Spotify

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Genre(s): Pop, Electronic Pop, Alternative Pop
FFO: The Weeknd, Frank Ocean

Press Contact:
Danielle Holian – Decent Music PR
Email: danielle.holian@decentmusicpr.com
Website: www.decentmusicpr.com
Telephone/Whatsapp: +44 (0) 204 572 2260
Reviews: TrustPilot, Google Reviews

Artwork: Witold Pawlęga

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‘The Gray Zone of Talk’ album (release date: May 8, 2026) is the third entry in the series ‘10 times 10 gives 100’—a project in which, for 10 consecutive years starting in 2024, one album containing 10 tracks is released annually. The album will be available online and on vinyl. The focus track of the release is ‘which’, accompanied by an ambient video by renowned Polish nature photographer Olsza Grochowska.

The Gray Zone of Talk Each album in the series introduces a sonic or musical element that distinguishes it within the cycle. In the case of The Gray Zone of Talk, it is a jazz-inflected guitar, reshaped through granular synthesis, that together with electronically programmed beats creates a singular acoustic environment.

Every album title in the series carries a central thought, further developed on the cover art and through the track titles. Placed one under another, those titles form an aphorism. The current edition bears the name The Gray Zone of Talk—a thought inspired by the philosophy of Henri Bergson and his notion of intuitive understanding, which he set in opposition to intellectual comprehension.

If we assume that humans indeed possess such a faculty, and that it is in some sense intersubjective, then—given the imperfections of language as a tool—shouldn’t we at times rely more on this space of intuitive grasp than on faulty words? Since understanding words is already to interpret, and interpretations inevitably diverge, perhaps silence speaks better of certain matters. Not silence as concealment, but silence as communication. Allowing the gray zone of talk to become a surface of mutual understanding without words.

10 times 10 gives 100, The meaning of this series and its regularity can be read in many ways. On the one hand, it is an attempt to lock into a predictable structure an act of creation usually taken as the outgrowth of free will—precisely that which distinguishes humans from the rest of nature. It is the collision of purposeless creativity with a rhythm recalling the determinism of natural law. An experiment testing where the boundary between those two spheres falls when seen through the lens of human artistic practice.

Perhaps it is also a reflection on the poetry contained in numbers. On the abstract, mathematical concept—possibly nothing more than a convention born by chance, the decimal system exists simply because humans have ten fingers. Yet regardless of cause and effect, numbers can offer aesthetic pleasure. Some more than others. And a world arranged by them may appear a more welcoming place to be.

Ultimately, it may also be a commentary on the human longing for order, for harmony. A struggle against the constant chaos of our inner life, set against the ever-changing outer world. A yearning for predictability and the sense of safety provided by regularity. There are likely still more meanings… It may well be nothing but a joke. A needless display of diligence. In any case, best not to take it too seriously.

The project Rzekomo has been active since autumn 2021. The 2023 EP Spiritual Wastefulness and the first two entries in the series—Inner Life Dilemma (2024) and Everything (2025)—have been supported on major digital platforms, including Spotify, Apple Music, Amazon, and Beatport (notably on the 3.7M-subscriber playlist Brain Food). The releases also gained recognition on international radio stations, such as RNE (Spain), LaRG (France), FriskyRadio (New York), and in Polish media, including K Mag, Going, Radio Nowy Świat, Radio 3/5/7, Kampus Radio, Tuba.fm, among others. Rzekomo’s music has also found its way into film and theatre soundtracks. In recent years, the artist has composed for several short films and stage productions, including It’s Deep, but it’s not That Deep (dir. Beniamin Koc, Festiwal Dowód) and Jednia (dir. Maciej Kowalczyk, Proces Postaci). Work is currently underway on further projects.

Track by Track

‘That’ – The opening piece that sets the tone for the entire narrative, condensing all the musical means that will unfold across the album. It introduces granularly processed jazz guitar, electronics, beat-driven structures, and elements of classical instrumentation.

‘which’ – Perhaps the emotional core of the album, where its overall expressive meaning is most fully realized. Rhythmically inspired by microhouse, it is built around a nostalgic statement carried throughout by a granularly glitched guitar.

‘is not’ – One of the more energetic tracks on the record, driven by a distinctive beat. Melody takes a secondary role, while the narrative is led by harmonic accompaniment, evoking a layered ensemble of guitars and synthesizers. It relies on rhythmic force and cooperation rather than contrast or counterpoint.

‘speakable’ – An ambient breath, offering a moment of calm after the intense opening. Built on an irregular rhythm and a melody that moves steadily forward without returning to its starting point until the very end.

‘shapes unity’ – A contemplative, beat-based track where a granular, textured guitar is joined by Rhodes piano, simultaneously soothing and unsettling.

‘stronger’ – A track with a restrained, inward vibe, rhythmically shaped by a loosely played, “broken” tambourine. It balances calm and tension, eventually resolving into a relieving theme for piano and guitar, surrounded by glitched synths.

‘than that’ – Another piece drawing on a more conventional beat, structured as a two-part narrative. It begins with a withdrawn melody that gradually builds tension, leading into a second section where rhythm and accompaniment merge into a flowing, cohesive atmosphere.

‘which can’ – Returning to microhouse influences, disrupted by a detuned bassline and glitched guitar motifs. The middle section offers the most delicate moment on the album – a quiet dialogue between imperfectly sounding piano and guitar.

‘be spoken’ – A track built on a steadily unfolding dramaturgy, with tension increasing throughout. A loosely played clarinet section appears as a new element, reinforcing this progression and hinting at an approaching resolution.

‘There is no need to talk about everything’ – The longest and most conceptually driven piece. It revolves around a guitar repeating a single motif that has accompanied the entire narrative. This focused repetition symbolises the silence – central to the album’s extra-musical idea. Around it, a quasi-orchestral layer, interrupted by electronics, attempts to express the chaos and dispersion of meaning inherent in verbal communication. Yet this orchestral intensity ultimately fails to disrupt the calm persistence of the guitar; instead, the “chattering orchestra” gradually aligns with the silence, dissolving into it by the end.

Connect with Rzekomo: Instagram, Facebook, Spotify, BandCamp

Purchase the album on vinyl here.

The album was developed with the support of ZAiKS as part of the Creative Support Fund (Fundusz Popierania Twórczości).

Press Contact:
Danielle Holian – Decent Music PR
Email: danielle.holian@decentmusicpr.com
Website: www.decentmusicpr.com
Telephone/Whatsapp: +44 (0) 204 572 2260
Reviews: TrustPilot, Google Reviews

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After more than two decades of restless experimentation across genres, UKofA returns with Time Will Take This All Away From Us, a bold and immersive new album that distills years of sonic exploration into a cohesive, forward-looking statement. Known for moving fluidly between hardcore metal, experimental composition, and alternative rock, UKofA channels a lifetime of influences into a record that feels both deeply personal and strikingly expansive.

Rooted in a process shaped by years of work as a video editor, surrounded by library music, sound effects, and the strange blur of functional audio, Time Will Take This All Away From Us transforms the mundane into something vivid and emotionally resonant. Drawing inspiration from sample-driven experimentation and artists who recontextualize everyday sound, the album pulls from an eclectic palette: fragments of found audio, unfinished demos, YouTube rips, and live instrumentation all collide and recombine. The result is a genre-blurring work that moves between electronic, rock, and alternative spaces with ease, while maintaining a distinct, unified voice.

Originally conceived as a hip-hop-leaning project, the album evolved organically, with some tracks remaining close to their sample-based origins and others expanding into more traditional arrangements. Dialogue samples that once dominated early versions have been pared back, leaving space for the music to breathe. Recorded and mixed primarily in a home studio, with live drums captured in a rehearsal space and mastering by Big Sea Productions, the album also arrives alongside a custom-built 3D gallery environment, an immersive digital space where listeners can explore videos from this and previous releases.

Track by Track

NICE THINGS
Opening with a sample from The Shout (1978), “NICE THINGS” is dense with layered samples and nods to early ‘90s West Coast hip-hop. It functions as a sonic reset, an abrupt clearing of the palette. Beneath its sunlit surface lies something more uneasy: a dark reflection on summer that hints at hidden dangers beneath calm waters.

GATE OF FLESH
A fusion of hip-hop structure and folk-inspired melody, “GATE OF FLESH” combines disparate ideas into a cohesive whole. Droney guitar textures and interval harmonies underpin lyrics that explore birth and the tension of entering existence. The track carries a raw, elemental quality, enhanced by its handmade visual counterpart.

PUT YOUR FAITH IN ME
The final piece written for the album, this track emerged quickly but decisively. Built with contributions from Paul Astick, it blends industrial weight with melodic ambition. Lyrically, it examines the pull of unhealthy cycles, driven by the seductive promise of success.

LIKE WE WERE NEVER HERE
The origin point of the entire project, this track is constructed largely from library music samples. It reflects on time, past, present, and future, grappling with the scale of human experience against an almost indifferent universe.

COMMIT
What began as a guitar idea transformed into a synth-driven track with a distinct rhythmic identity. Though live drums were recorded by Ben Koller, the final version leans into sampled textures. The track captures a sense of evolution and reinterpretation, with another version still to come.

CHANGE MY MIND
Featuring a sample from The Fly (1986), this track channels frustration with contemporary political discourse. It’s sharp, direct, and unflinching, reflecting the difficulty of disengaging from a noisy and often reductive public sphere.

MISTER OBLIVION
An instrumental bridge, “MISTER OBLIVION” shifts the album’s tone. Built around processed ebow guitar, it feels fluid and almost organic, like a living, breathing entity guiding the listener into darker territory.

WATCHTOWER
Driven by piano written during lockdown, this track explores the uneasy aftermath of achieving power. With live drums and a carefully constructed percussive feel, it builds a sense of tension between ambition and uncertainty.

THE JOKE IS THE SAME
Cinematic in scope, this track reflects on shared human experience, love, loss, and the strange simultaneity of the digital age. It captures both intimacy and distance, suggesting that no matter where we are, we’re all navigating similar struggles.

WHAT I’VE DONE
A clear nod to ‘80s influences, this track embraces big pop sensibilities: bold basslines, soaring melodies, and an unapologetic guitar solo. It’s expansive and emotionally direct.

TIME WILL TAKE THIS ALL AWAY
The title track evolves from a central drum loop into a multi-part composition with progressive elements. Its shifting structure and layered vocal harmonies create a sense of movement and transition, tying together themes introduced earlier in the album.

COVER ME IN LOVE
Closing the album on a concise note, this track carries a post-apocalyptic atmosphere. With a heavy bassline and sampled voice, it gestures toward cycles of destruction and renewal: old structures collapsing to make way for new ones.

“Time Will Take This All Away From Us, is a striking reinvention. UKofA turns fragments of everyday sound into something deeply human, balancing raw experimentation with songs that genuinely stay with you. It’s the sound of an artist distilling decades of experience into their most focused and compelling work yet,” shares music publicist Danielle Holian, Decent Music PR

Artist Bio
UKofA has spent the past 25 years navigating a wide and often unconventional musical path, from the intensity of hardcore metal to experimental choral work and beyond. As a founding force behind projects such as Godzilla Black and Hawk Eyes, UKofA developed a reputation for pushing boundaries while maintaining a strong melodic and conceptual core. With Hawk Eyes, this trajectory led to a PRS Momentum Grant in 2015 and years of intensive touring.

During that period, UKofA performed alongside major acts, appeared at prominent European festivals, and collaborated with a diverse range of artists across disciplines. These experiences broadened both musical vocabulary and creative perspective, laying the groundwork for later solo work.

Following a step back from live performance, partly shaped by the global pandemic, UKofA continued to write and record independently, releasing a series of albums that explored increasingly personal and experimental territory. These releases, often presented in handcrafted formats, emphasised a direct connection between artist and listener.

A return to the stage came unexpectedly, prompting a shift toward solo performance using samplers and loop-based setups. This new approach directly informed the creation of Time Will Take This All Away From Us, marking both a continuation and a reinvention of UKofA’s artistic identity.

With additional material already completed and further live performances planned, UKofA continues to evolve, restless, exploratory, and committed to finding new ways of shaping sound and meaning.

Connect with UKofA: Facebook, Instagram, Spotify

Press Contact:
Danielle Holian – Decent Music PR
Email: danielle.holian@decentmusicpr.com
Website: www.decentmusicpr.com
Telephone/Whatsapp: +44 (0) 204 572 2260
Reviews: TrustPilot, Google Reviews

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Genres: Powerpop, Modpunk, Garagerock

Similar Artists: Blondie, The Molotovs, The Interrupters, The Buzzcocks

Boston-based mod-pop trio The Chelsea Curve are back, and they’re here to make you move, on their terms. Blending British mod vibes with Boston grit, the band is known for crafting punchy, infectious rock and roll that belongs equally in the clubs, the pubs, and your headphones.

Since forming in 2020, Linda Pardee (bass/vocals/keys), Tim Gillis (guitar/vocals/keys), and Bruce Caporal (drums/vocals/percussion) have built a reputation for high-energy, sing-along tunes inspired by ’70s punk, power pop, and mod style. Their 2021 project The Singles Scene, eight monthly singles, paved the way for their 2022 debut album All The Things (Red on Red Records), which earned international press and radio attention, including regular spins on SiriusXM’s Underground Garage.

From Boston Calling Music Festival to UK tours and iconic scooter rallies spanning Boston to Las Vegas, The Chelsea Curve quickly proved their live chops. In 2023, the sudden passing of Red on Red Records’ label head Justine Covault halted planned releases, but the band responded with relentless touring, cementing their reputation as a live powerhouse.

2024 and 2025 were filled with milestone performances, including the 45th anniversary Mods Mayday show in London, U.S. and UK tours with Sharp Class and The Len Price 3, and the release of new singles such as their rousing rendition of Mickey Lee Lane’s ’60s stomper Hey Sah-Lo-Ney and Andy Lewis’ fiery remix of Jamie C’mon on their new label Rum Bar Records. Their debut album was also reissued in a deluxe edition, All The Things (And More), featuring bonus tracks that delighted fans old and new.

Now, 2026 brings The Rideout, their highly anticipated sophomore album, set for release on May 1, 2026, via Rum Bar Records. The album channels the band’s signature mod-pop energy while exploring broader musical textures, from heart-thumping rock anthems to breezy, intimate love songs. Tracks like Ride capture the thrill of living fully in the moment, while Never Come Down and Rally ‘Round showcase expansive, celebratory soundscapes.

“The Chelsea Curve don’t just make music, they make you move,” music publicist Danielle Holian, Decent Music PR, shared. “With The Rideout, they’ve taken everything fans loved about their debut and turned it up a notch: bigger hooks, wilder energy, and songs that stick in your head long after the last note

The Rideout Track Listing:
Ride
Kindawanna
Outta My Head
Never Come Down
I Can’t Help It
In Real Life
Rally ‘Round

Band Members & Credits:
Linda Pardee – Bass, Vocals, Keys
Tim Gillis – Guitars, Vocals, Keys
Bruce Caporal – Drums, Percussion

Music by The Chelsea Curve
Lyrics by Linda Pardee (except Never Come Down by Tim Gillis, Rally ‘Round by Pardee & Gillis)
Recorded & mixed at Mad Oak Studios, Bluetone Studio, and The Record Company, Boston, MA
Produced by The Chelsea Curve
Mastered by Dave Locke / JP Masters, Seattle, WA
Design by Linda Pardee
Cover photo by Trebmal Photography | Inside photo by Reuben

Follow The Chelsea Curve:
Spotify, Bandcamp, YouTube, Linktree, Facebook, Instagram, TikTok

The Chelsea Curve continue to forge their own rock and roll path, connecting the past to the present, with no intention of standing still.

Press Contact:
Danielle Holian – Decent Music PR
Email: danielle.holian@decentmusicpr.com
Website: www.decentmusicpr.comTelephone/Whatsapp: +44 (0) 204 572 2260
Reviews: TrustPilot, Google Reviews

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Emerging pop artist Luchino continues to establish himself as a fresh and emotionally resonant voice in modern pop with the release of his new single, My Whole Life, a heartfelt anthem about the rare feeling of meeting someone who instantly changes everything.

Blending soulful melodies, sleek contemporary production, and emotionally honest storytelling, Luchino’s music connects deeply with listeners who crave both authenticity and undeniable replay value. Inspired by global pop influences and artists such as Shawn Mendes, Justin Bieber, The Kid LAROI, Zayn Malik, The Chainsmokers, and Harry Styles, Luchino creates songs that feel intimate, cinematic, and universally relatable.

“My Whole Life” tells the story of encountering someone who feels instantly familiar, as though they’ve always been part of your world. Written during a deeply personal chapter in Luchino’s life, the song captures the excitement, comfort, and emotional intensity of finding a connection that feels both magical and real.

“It reflects that rare moment of meeting someone who feels so familiar, as if you’ve known them your whole life, even though you’ve just met,” says Luchino. “At its core, it’s about finding that one person you’ve always been hoping to meet.”

Known for pairing raw emotional delivery with strong pop hooks, Luchino continues to build a distinctive artistic identity that goes beyond the music itself. Every release is designed as a complete experience, emotionally immersive, visually cohesive, and deeply personal.

Positioned within the worlds of Pop, Mainstream, and Adult Contemporary, “My Whole Life” showcases Luchino’s ability to transform real-life emotions into polished, memorable pop records that resonate long after the first listen.

“Luchino has a rare ability to make deeply personal emotions feel universal. ‘My Whole Life’ captures that instant spark of connection in a way that feels both intimate and undeniably infectious,” shares music publicist Danielle Holian, Decent Music PR

ARTIST BIO

Luchino is a rising pop artist known for blending soulful melodies with heartfelt storytelling and modern production. His music explores themes of love, heartbreak, self-discovery, and human connection, delivered through emotionally driven vocals and infectious hooks. With a growing sound that balances vulnerability and confidence, Luchino is quickly carving out his place in the next generation of global pop artists.

Connect with: Instagram, Spotify, Apple Music, YouTube

//ENDS//

Press Contact:
Danielle Holian – Decent Music PR
Email: danielle.holian@decentmusicpr.com
Website: www.decentmusicpr.com
Telephone/Whatsapp: +44 (0) 204 572 2260
Reviews: TrustPilot, Google Reviews