Month: October 2026

The Long Way to Yours Faithfully, OneNamedPeter’s Album Signed off Like a Letter

A Sussex Songwriter Gathers a Year of Singles Into an Album Framed as a Letter

The Yours Faithfully album opens with a 94-second song called Dear Me. That one decision tells you how to read everything after it. OneNamedPeter, the Sussex-based UK singer-songwriter, built his new record like a letter. It runs from a greeting at the top to the formal sign-off in its title. It came out on September 25, 2026, after a year in which five of its songs arrived first as singles.

OneNamedPeter’s Dear Me, the greeting that opens Yours Faithfully, is in the playlist below. His full run of coverage sits on his artist profile. The album reached this desk through PopHits.Co Music Charts, which verifies independent artists and places their releases across its network of music news titles. Give it a spin, then read on for how the rest of the letter comes together.


The Long Way to Yours Faithfully, OneNamedPeter's Album Signed off Like a Letter
The Long Way to Yours Faithfully, OneNamedPeter’s Album Signed off Like a Letter

Five Singles Across 2026 Led Up to the Yours Faithfully Album and Its Letter-Shaped Running Order

The album was a long time arriving, one song at a time. Strange-Eyed Constellations came out on New Year’s Day. United Nations followed in February, and The Loneliest Boy in Tokyo in April. Then When the Sky Is Blue landed at the end of August. It was also issued in a separate Celestial Version. Finally, Click appeared two weeks before the album itself. In addition, three of those songs got their own music videos on his YouTube channel.

Most artists would let a run like that stand as a string of separate releases. OneNamedPeter decided to gather the five into a single record, alongside six songs that had not been out as singles. Then he gave the whole thing a frame. Dear Me is the salutation. Love Is, under three minutes long, is the closing line. The title is the sign-off you would write under both. His own website now greets visitors as though they were the person the letter is addressed to.

That frame matters because it turns a year of drip-fed singles into something that reads in order. Heard one at a time, The Loneliest Boy in Tokyo and Click were simply new songs. Heard between Dear Me and Love Is, however, they become paragraphs in the same piece of correspondence.

Eleven Songs in 35 Minutes Carry OneNamedPeter’s Alt-Folk and Alt Rock Pop Further After Passing for Human

Yours Faithfully runs to eleven songs and 35 minutes, and it is self-released, with OneNamedPeter holding the rights to the recordings. The shortest track is the opening greeting. The longest is The Loneliest Boy in Tokyo at 4 minutes 25 seconds. It was also the third of the five singles. Meanwhile, the record moves between alt-folk, alt-country and alt rock pop, and Apple Music files it under pop and singer-songwriter.

The song titles sketch an album that travels a long way from its starting point. There is a lonely boy in Tokyo, the United Nations and a Night In the City. There are Strange-Eyed Constellations, a Renegade Angel and even a Tardis. Finally, the closing Love Is brings it back home. For a record shaped like a letter, that sense of distance between writer and reader fits.

It also follows quickly on its predecessor. Obscure Sound reviewed Passing for Human in December 2025. It described a solo-made album born from a renewed burst of inspiration after a three-year pause. That review heard reflective folk, rock energy and a dreamy synth layer. The songs dealt with alienation, love and wanting to escape a small town. Yours Faithfully arrived less than a year later, which suggests the burst has not run out yet.

Watch the video and check the artist’s YouTube channel for more.

The Long Way to Yours Faithfully, OneNamedPeter's Album Signed off Like a Letter
The Long Way to Yours Faithfully, OneNamedPeter’s Album Signed off Like a Letter

Who Yours Faithfully Is For

This is for album listeners who like British singer-songwriter pop that moves between acoustic folk and rock. It also suits anyone who enjoys a record with a frame around it. When Obscure Sound reviewed Passing for Human, it reached for two names, and both work as reference points here. XTC made sharply written English pop with jangling guitars. For example, records such as Skylarking (1986) showed how far a pop album could go when sequenced as one piece. Momus, the long-running project of Nick Currie, built a catalogue of literate, wry songs that moved from acoustic folk into synth-pop. That overlaps with the folk-to-synth range Obscure Sound heard on Passing for Human.

Where Yours Faithfully Sits in His Catalogue

OneNamedPeter has been releasing albums steadily since 2020. The run goes from Esc and Atlas that year through Stupidly Happy, Hurts, Pan and Passing for Human. Each one gets its own page on his website, with songs, videos and lyrics. As a result, the catalogue is easy to explore from the start. Yours Faithfully is the newest entry, and it is shaped as a single message from beginning to end.

From the NewMusic.News curator team:

“Plenty of albums are collections of singles that never quite admit it. This one admits it gracefully. By opening on a short greeting and closing on a short reply, OneNamedPeter gives a year of separate releases a reason to sit together. The running order does the work a concept album usually needs a narrator for.”

Where to Stream the Yours Faithfully Album and Follow OneNamedPeter, a Sussex Songwriter

The Spotify player at the top of this article streams all eleven songs of Yours Faithfully. The album is also on Apple Music. In addition, the video for The Loneliest Boy in Tokyo is on his YouTube channel.

Follow OneNamedPeter on Spotify, Apple Music, Bandcamp, SoundCloud, and Deezer. He also posts on Instagram, Facebook, and X. His official site has a page for every album, with lyrics and videos.


Inside Proceed 2: How Kennard Built a Baltimore R&B Album From Loss and Patience

Inside Proceed 2: How Kennard Built a Baltimore R&B Album From Loss and Patience

A Baltimore Singer Spent Two Years on Eight Songs About Grief, Love and Old-School Soul In 2011, after his grandmother…

WIL.SON on One Guitar, a Stomp-Box and the Making of Blues Tourist: Vol. 1

WIL.SON on One Guitar, a Stomp-Box and the Making of Blues Tourist: Vol. 1

A West Yorkshire Songwriter Records Eight of His Songs as He Plays Them Live In June 2026, WIL.SON went back…

Johnny Marr Road-Tested The Age of Everything Before Recording It

Johnny Marr Road-Tested The Age of Everything Before Recording It

Ada Rovatti on Piloo, Her Late Father and the Making of Done Deal

Ada Rovatti on Piloo, Her Late Father and the Making of Done Deal

Inside Husk: How Scarecrowz Built a Self-Produced Hard Rock Album in Their 25th Year

Inside Husk: How Scarecrowz Built a Self-Produced Hard Rock Album in Their 25th Year

Inside Walking the Tightrope: How Stephanie Phillips Built a Folk Album Between Grief and Joy

Inside Walking the Tightrope: How Stephanie Phillips Built a Folk Album Between Grief and Joy

Inside Into The Night: How Seadog Built a Haunted Dream Pop Single in Brighton

Inside Into The Night: How Seadog Built a Haunted Dream Pop Single in Brighton

Inside On y va: How Hub30 Built a Feel-Good Song From Reggae, House and a Bordeaux Lake

Inside On y va: How Hub30 Built a Feel-Good Song From Reggae, House and a Bordeaux Lake

Erick Castrillon on the Singularity, Generative AI and the Making of The Great Awakening

Erick Castrillon on the Singularity, Generative AI and the Making of The Great Awakening

The Long Way to From Local to Global: The Remix That Closes the Spitfire Sparks Album

The Long Way to From Local to Global: The Remix That Closes the Spitfire Sparks Album

Inside Délires d'une Mélomane: How KA BERRA Built a Rap About Masks

Inside Délires d’une Mélomane: How KA BERRA Built a Rap About Masks

Oops I Got Sad Is Little Champion's Upbeat Answer to Ghosting

Oops I Got Sad Is Little Champion’s Upbeat Answer to Ghosting

The Long Way to Forever: Gio 22/6, Rado Ricky and Five Years of Soft R&B Production

The Long Way to Forever: Gio 22/6, Rado Ricky and Five Years of Soft R&B Production

Inside Ain't I the Fool: How Jack Hoban Built a Blues Confession Around Bernard Purdie's Drums

Inside Ain’t I the Fool: How Jack Hoban Built a Blues Confession Around Bernard Purdie’s Drums

Inside Proceed 2: How Kennard Built a Baltimore R&B Album From Loss and Patience

A Baltimore Singer Spent Two Years on Eight Songs About Grief, Love and Old-School Soul

In 2011, after his grandmother died, Kennard thought about giving up music. He kept going instead, and the word he chose for that decision became a personal movement: proceed. Proceed 2, the eight-track album Kennard released on 22 August 2025 after two years of work, carries that name and mixes R&B, neo-soul and hip-hop.

Kennard’s Cater 2 U, Pt. 2 opens Proceed 2 and now sits in the playlist below with the desk’s other R&B and neo-soul picks, while Kennard’s artist profile keeps the full run of coverage. The album came to this desk through PopHits.Co Music Charts, which verifies independent artists and places their releases across its network of music news desks. Press play before you read on.


Inside Proceed 2: How Kennard Built a Baltimore R&B Album From Loss and Patience
Inside Proceed 2: How Kennard Built a Baltimore R&B Album From Loss and Patience

Thirteen Months On, Kennard and Proceed 2 Still Carry the Movement He Started in 2011

Thirteen months later, the album is worth hearing again, and the timing makes sense. The Baltimore singer performs regularly in New York and has played events in Philadelphia. He has also named his next project, East vs West, featuring the Los Angeles musician Jamonie Lee. Until that arrives, Proceed 2 is the clearest statement of where he stands.

A Movement Named Proceed and a Debut Single in 2022

The recorded catalogue starts later than the movement. His debut single, 1 Life, came out in January 2022. Hello, Lay You Down, Good Time, Confused and All in My Mind followed across 2022 and 2023. Proceed 2 is the first album in that run, and he took his time with it. His own notes on the record put it plainly: Rome was not built in a day, and music is an art, so there is no reason to rush it.

Eight Songs Recorded at Wright Way Studios in Baltimore, With One Guest Verse From Jamonie Lee

The record runs for about 22 minutes across eight songs. It opens with Cater 2 U, Pt. 2, the shortest track at just under two minutes. Then it moves through Keep Me Company, Simple Things, True Colors, Maintenance, Feel Good Music and Rain before closing on I Just Gotta Know.

The music sits where Kennard says his heart is. He has said he loves old-school music, its stories and its authentic feel, and that he set out to tell a story and bring back the good old R&B. Mesmerized heard that in smooth, bouncy R&B, with modern, tropical and afro-infused rhythms under 90s-flavoured melodies. The site also pointed to the contrast between Cater 2 U, Pt. 2 and Simple Things. Meanwhile, Senocular Media heard lush melodies and slick bass lines, and Mexico’s End Sessions covered the album in September 2025.

Grief, Patience and One Guest Verse From Los Angeles

The writing comes from life. Kennard drew on daily experience and on loss: his aunt died four years before the release, and his uncle the year before. Rain is where that grief sits closest to the surface. Elsewhere, the songs turn to love and to the simple things.

I Just Gotta Know asks a question anyone in a new relationship will recognise: is the other person in as deep as you are? Kennard told BuzzSlayers the song came from watching people move fast in relationships without getting to know each other first. It is also the album’s only collaboration. Jamonie Lee comes in for a verse and plays the other side of the conversation. Like the rest of the album, the track was recorded at Wright Way Studios in Baltimore.

Inside Proceed 2: How Kennard Built a Baltimore R&B Album From Loss and Patience
Inside Proceed 2: How Kennard Built a Baltimore R&B Album From Loss and Patience

Why Proceed 2 Still Answers the Question Kennard Asked in 2011, and Where He Goes Next

The first answer is personal. Proceed 2 is what the 2011 decision looks like 14 years later: a singer who kept going, wrote through loss and took two years to get the record right.

The second answer is about lineage. Baltimore has its own R&B history, and Dru Hill is its best-known chapter. The group formed in the city in 1992 and found its audience in the late 1990s with singles such as In My Bed and Never Make a Promise, mixing soul, hip-hop soul and gospel. That 90s R&B is the sound Kennard says he wants back, and Mesmerized heard that decade in his melodies.

The third answer is about neo-soul. D’Angelo, widely regarded as a pioneer of the neo-soul movement, is the reference point for the warmer side of the record. Kennard works in the same blend, moving between R&B, neo-soul and rap across the album rather than switching once for effect.

So who is it for? First, listeners who grew up on 90s R&B and want new songs with the same storytelling. Second, neo-soul fans who like their albums short and personal. Finally, anyone in New York or Philadelphia who wants to hear these songs live.

From the NewMusic.News Curator Team: “Twenty-two minutes is a modest length for an album that took two years, and that is the point: Proceed 2 has no filler to skip. Start with Rain, then go back to the beginning and hear how the record gets there.”

How to Hear Proceed 2 and Where to Follow Kennard Across Every Platform

Play it in order, because the sequence moves from romance to grief and back to the question at the end. Then follow the singles back to 1 Life to hear where the movement started on record. The album is also on Apple Music.

Follow Kennard across platforms:


The Long Way to Yours Faithfully, OneNamedPeter's Album Signed off Like a Letter

The Long Way to Yours Faithfully, OneNamedPeter’s Album Signed off Like a Letter

A Sussex Songwriter Gathers a Year of Singles Into an Album Framed as a Letter The Yours Faithfully album opens…

WIL.SON on One Guitar, a Stomp-Box and the Making of Blues Tourist: Vol. 1

WIL.SON on One Guitar, a Stomp-Box and the Making of Blues Tourist: Vol. 1

A West Yorkshire Songwriter Records Eight of His Songs as He Plays Them Live In June 2026, WIL.SON went back…

Johnny Marr Road-Tested The Age of Everything Before Recording It

Johnny Marr Road-Tested The Age of Everything Before Recording It

Ada Rovatti on Piloo, Her Late Father and the Making of Done Deal

Ada Rovatti on Piloo, Her Late Father and the Making of Done Deal

Inside Husk: How Scarecrowz Built a Self-Produced Hard Rock Album in Their 25th Year

Inside Husk: How Scarecrowz Built a Self-Produced Hard Rock Album in Their 25th Year

Inside Walking the Tightrope: How Stephanie Phillips Built a Folk Album Between Grief and Joy

Inside Walking the Tightrope: How Stephanie Phillips Built a Folk Album Between Grief and Joy

Inside Into The Night: How Seadog Built a Haunted Dream Pop Single in Brighton

Inside Into The Night: How Seadog Built a Haunted Dream Pop Single in Brighton

Inside On y va: How Hub30 Built a Feel-Good Song From Reggae, House and a Bordeaux Lake

Inside On y va: How Hub30 Built a Feel-Good Song From Reggae, House and a Bordeaux Lake

Erick Castrillon on the Singularity, Generative AI and the Making of The Great Awakening

Erick Castrillon on the Singularity, Generative AI and the Making of The Great Awakening

The Long Way to From Local to Global: The Remix That Closes the Spitfire Sparks Album

The Long Way to From Local to Global: The Remix That Closes the Spitfire Sparks Album

Inside Délires d'une Mélomane: How KA BERRA Built a Rap About Masks

Inside Délires d’une Mélomane: How KA BERRA Built a Rap About Masks

Oops I Got Sad Is Little Champion's Upbeat Answer to Ghosting

Oops I Got Sad Is Little Champion’s Upbeat Answer to Ghosting

The Long Way to Forever: Gio 22/6, Rado Ricky and Five Years of Soft R&B Production

The Long Way to Forever: Gio 22/6, Rado Ricky and Five Years of Soft R&B Production

Inside Ain't I the Fool: How Jack Hoban Built a Blues Confession Around Bernard Purdie's Drums

Inside Ain’t I the Fool: How Jack Hoban Built a Blues Confession Around Bernard Purdie’s Drums

WIL.SON on One Guitar, a Stomp-Box and the Making of Blues Tourist: Vol. 1

A West Yorkshire Songwriter Records Eight of His Songs as He Plays Them Live

In June 2026, WIL.SON went back to an old song, and it became the first step towards Blues Tourist: Vol. 1. Devil On My Shoulder first appeared on Serpentine, his 2016 debut solo album. He recorded it again the way he plays it live: one guitar, his voice and a stomp-box, with no overdubs. Three weeks later, on 10 July, the West Yorkshire singer-songwriter applied the same rule to eight songs and had a stripped-back blues album.

WIL.SON’s Devil On My Shoulder, the opening song of Blues Tourist: Vol. 1, is in the playlist below, and his earlier coverage sits on his artist profile. The album reached this desk through PopHits.Co Music Charts, which verifies independent artists and places their releases across its network of music news titles. Give it a spin, then read on.


WIL.SON on One Guitar, a Stomp-Box and the Making of Blues Tourist: Vol. 1
WIL.SON on One Guitar, a Stomp-Box and the Making of Blues Tourist: Vol. 1

Ten Years After Serpentine, WIL.SON Records Blues Tourist With Just One Guitar and a Stomp-Box

The timing makes sense. Ten years after Serpentine, WIL.SON has four studio albums behind him: Serpentine (2016), Afraid Of The World (2019), Black Is The Sky (2022) and Force Of Nature (2025). Every song on Blues Tourist: Vol. 1 comes from those records. This time, though, he kept only what he can play alone. The title also carries a volume number, which leaves room for more.

Three Decades of Writing Before One Guitar and a Stomp-Box

The decision also fits a long career. On his own site, WIL.SON says he has spent more than three decades writing, recording and performing. First came the 1990s live circuit with his band The Stand, including the Leeds venues The Duchess and The Cockpit. Later he formed the heavy rock band Down The Machine, signed with Ambicon Records and played Leeds Festival and Bingley Festival.

Meanwhile, he kept writing quieter songs. Those stripped-back acoustic tracks became the foundation of his first solo album. His first single as a solo performer, Closing In, came out in 2012. Since then he has played festivals across the UK, including The Great British Rhythm & Blues Festival. He has also shared stages with Toploader, and BBC Introducing’s Alan Raw has supported his music.

The blues thread runs back to the start, too. When the Spanish-language music site 120dB Bogotá covered Laying Low ahead of Force Of Nature, it described Serpentine as rooted in blues and alternative folk. The same article noted that radio stations from North Yorkshire to North Carolina had played songs from Black Is The Sky. It also pointed to the strings and piano around the guitar on Laying Low. Blues Tourist: Vol. 1 goes the other way.

Eight Songs From Serpentine to Force of Nature, Recorded Again With One Guitar and No Overdubs

The album opens with Devil On My Shoulder, the one song taken from Serpentine. Next come three from Afraid Of The World: Caught In The Rain, Coming Home and Snake And A Thief. After that, Black Is The Sky supplies three more, with Same Shit, Different Day, Don’t Wear Me Down and This Hell Of Mine. Finally, Don’t Get Me Wrong, first heard on Force Of Nature, closes the set in acoustic form.

The whole album runs for about 27 minutes, and no song passes four and a half minutes. Coming Home is the shortest at two minutes and 17 seconds, while Devil On My Shoulder is the longest at four minutes and 22 seconds. In other words, you can hear the set in one sitting and then follow each song back to its source album.

One Pass, One Guitar and a Foot on the Stomp-Box

The method is simple to describe. A stomp-box is a small box the player strikes with a foot, so it supplies the beat while both hands stay on the guitar. No overdubs means nothing was layered on afterwards. As a result, the guitar, the voice and the rhythm all come from the player in the room. On X, WIL.SON calls these recordings raw performances, caught as they happened.

His own site describes his sound as rock, blues, acoustic folk and alternative music, shaped by a love of honest but often dark songs. The titles here point the same way. Within eight tracks, a devil on the shoulder, a snake and a thief, and a private hell all turn up.

WIL.SON on One Guitar, a Stomp-Box and the Making of Blues Tourist: Vol. 1
WIL.SON on One Guitar, a Stomp-Box and the Making of Blues Tourist: Vol. 1

Who Blues Tourist Is For, From John Lee Hooker Fans to Listeners New to WIL.SON

The first answer is practical. The album gives new listeners one clear way into a catalogue of four albums and more than a dozen singles. Anyone who starts here can trace each song back to the record it came from.

The second answer comes from blues history. In 1948, John Lee Hooker recorded Boogie Chillen’ as a solo performance: his voice, an electric guitar and rhythmic foot stomps. It was his debut release, and in 1949 it became the first down-home electric blues song to reach number one on the R&B chart. A stomp-box does the job Hooker’s foot did, turning one player into a rhythm section.

The third answer is closer to home. In Britain, Seasick Steve showed how far that setup can travel. On New Year’s Eve 2006 he played Dog House Boogie on Jools Holland’s Hootenanny, using a three-string guitar and a stomped wooden box he calls the Mississippi Drum Machine. After that show, his popularity in Britain took off. WIL.SON works with a similar kit: one guitar, one voice and a box under his foot.

So who is it for? It suits listeners who like one-player blues with plain-spoken, dark-edged titles. It also suits anyone who knew WIL.SON from the Leeds rock scene and never followed the solo albums.

From the NewMusic.News Curator Team: “Recording without overdubs leaves nowhere to hide, and that is the point of Blues Tourist: Vol. 1. It is the closest thing to a WIL.SON solo show you can hear at home, and it makes the original albums worth a second visit.”

How to Hear Blues Tourist and Where to Follow WIL.SON

Start with Devil On My Shoulder, then play the eight songs in order. After that, go back to the album each song came from and compare the two versions. If one song stays with you, its source album is the natural next step.

The album is also on Apple Music, and the album’s smartlink lists every other service. Then follow WIL.SON, who posts as Wilson Music UK, across platforms:


The Long Way to Yours Faithfully, OneNamedPeter's Album Signed off Like a Letter

The Long Way to Yours Faithfully, OneNamedPeter’s Album Signed off Like a Letter

A Sussex Songwriter Gathers a Year of Singles Into an Album Framed as a Letter The Yours Faithfully album opens…

Inside Proceed 2: How Kennard Built a Baltimore R&B Album From Loss and Patience

Inside Proceed 2: How Kennard Built a Baltimore R&B Album From Loss and Patience

A Baltimore Singer Spent Two Years on Eight Songs About Grief, Love and Old-School Soul In 2011, after his grandmother…

Johnny Marr Road-Tested The Age of Everything Before Recording It

Johnny Marr Road-Tested The Age of Everything Before Recording It

Ada Rovatti on Piloo, Her Late Father and the Making of Done Deal

Ada Rovatti on Piloo, Her Late Father and the Making of Done Deal

Inside Husk: How Scarecrowz Built a Self-Produced Hard Rock Album in Their 25th Year

Inside Husk: How Scarecrowz Built a Self-Produced Hard Rock Album in Their 25th Year

Inside Walking the Tightrope: How Stephanie Phillips Built a Folk Album Between Grief and Joy

Inside Walking the Tightrope: How Stephanie Phillips Built a Folk Album Between Grief and Joy

Inside Into The Night: How Seadog Built a Haunted Dream Pop Single in Brighton

Inside Into The Night: How Seadog Built a Haunted Dream Pop Single in Brighton

Inside On y va: How Hub30 Built a Feel-Good Song From Reggae, House and a Bordeaux Lake

Inside On y va: How Hub30 Built a Feel-Good Song From Reggae, House and a Bordeaux Lake

Erick Castrillon on the Singularity, Generative AI and the Making of The Great Awakening

Erick Castrillon on the Singularity, Generative AI and the Making of The Great Awakening

The Long Way to From Local to Global: The Remix That Closes the Spitfire Sparks Album

The Long Way to From Local to Global: The Remix That Closes the Spitfire Sparks Album

Inside Délires d'une Mélomane: How KA BERRA Built a Rap About Masks

Inside Délires d’une Mélomane: How KA BERRA Built a Rap About Masks

Oops I Got Sad Is Little Champion's Upbeat Answer to Ghosting

Oops I Got Sad Is Little Champion’s Upbeat Answer to Ghosting

The Long Way to Forever: Gio 22/6, Rado Ricky and Five Years of Soft R&B Production

The Long Way to Forever: Gio 22/6, Rado Ricky and Five Years of Soft R&B Production

Inside Ain't I the Fool: How Jack Hoban Built a Blues Confession Around Bernard Purdie's Drums

Inside Ain’t I the Fool: How Jack Hoban Built a Blues Confession Around Bernard Purdie’s Drums

Johnny Marr Road-Tested The Age of Everything Before Recording It

Before Johnny Marr recorded The Age of Everything in Manchester, he decided to find out how the songs held up in front of a crowd. The album was written in London and road-tested across North America’s East Coast before he laid it down in his home city, as DIY reported when the record was announced. That order of events, write it, play it, then record it, shaped the album that came out on 2 October through BMG.

The Age of Everything is Marr’s fifth solo studio album and his first since Fever Dreams Pts 1-4 in 2022. Here is how it was made, what is on it, and why its release lands just weeks before the biggest London headline show of his solo career.

Written in London, Tested on the Road, Recorded in Manchester

Many albums are finished in the studio and only then learned on stage. Marr reversed part of that process. Songs that were written in London went out on the road first, and only after audiences had heard them did he take them into the studio in Manchester, the city where he was born.

Reviewers have noticed the effect. The Upcoming’s review points to the road-testing of most of these songs as the reason the record balances singalong moments with well-timed guitar breakdowns. God Is in the TV notes that three of the new tracks were already in the set at his Castlefield Bowl show in Manchester in July, that “How Come” was given its live debut in Southampton the previous summer, and that “All in a Life” was first played live in Leeds.

The approach also explains how familiar some of the album already feels to his audience. “It’s Time”, one of the singles released ahead of the album, had already become a firm live favourite before the album was released, according to the same review. By the time the record arrived, fans who had followed the tour had heard a good part of it already.

Why Marr Calls It His Most Cathartic Record

Marr has described The Age of Everything as the most cathartic songwriting of his career, according to Classic Pop. He has explained that the title arrived early in the writing and became an idea he could not shake, because it seemed to sum up the way many people feel right now.

He has been careful to say the title is not a complaint. In his account, there is a sense of overwhelm in the culture brought about by technology, but the same situation, seen in a different light, also carries a sense of possibility. That double meaning runs through the record: songs about information overload and unsettled relationships sit beside songs that look for something hopeful in the noise.

The opener and lead single, “Spin”, makes the theme plain from the first verse, with Marr singing about having too much coming into his mind. Its video was conceptualised by Marr himself and filmed in Manchester, which ties the song back to the city where the album was recorded.

The Ten Songs, From Spin to All in a Life

The album runs to ten tracks: “Spin”, “Beyond the Rain”, “It’s Time”, “How Come”, “Ophelia”, “That Feeling”, “In and Out of Love”, “Just Once More”, “Fire With Fire” and “All in a Life”.

The early part of the record moves fast. God Is in the TV describes “Spin” as driven by a propulsive rhythm section and a thick, bass-heavy groove, and “It’s Time” as built on rapid drumming with Marr’s guitar lines cutting through. The Upcoming hears rapid-fire guitars on “It’s Time” that recall The Smiths, and a subtle disco rhythm under “Ophelia”.

The middle of the album changes pace. “How Come” is a slower, reflective song that God Is in the TV says shows a more wistful side of Marr. “In and Out of Love” is his own favourite on the record and, by his account, the first song he has written about heartbreak. The Upcoming calls it a sweeping waltz unlike anything else in his solo catalogue.

“Fire With Fire” grew partly out of an unsettling experience Marr has described: hearing someone you have known for years suddenly express a view that makes you wonder how well you really knew them. While writing the album, he returned to his earlier solo records, and that song carries some of the momentum of Playland, according to God Is in the TV.

The closer, “All in a Life”, belongs to a tradition in his solo work. As God Is in the TV points out, each of his albums has had a darker, more brooding song, from “Say Demesne” on The Messenger to “Candidate” on Playland, “Walk Into the Sea” on Call the Comet and “Rubicon” on Fever Dreams Pts 1-4. On this record, that song is the one that ends it.

The Band Behind the Record

Marr wrote the songs, but the album is very much a band record. God Is in the TV singles out Iwan Gronow’s bass on “Spin” and Jack Mitchell’s drumming on “It’s Time”, and calls Marr and his band a powerhouse, with several of these songs already proven on stage.

James Doviak is the other important name. His keyboards, guitars and production have helped Marr widen the sound of his solo work, and God Is in the TV hears that instinct most clearly on “That Feeling”, where effects layered over Marr’s vocal add another texture. Instrumentally, that track echoes parts of Marr’s debut solo album, The Messenger.

Both reviews also single out Marr’s singing. The Upcoming argues that his voice has grown since 2013 into a strong instrument in its own right, and God Is in the TV hears a new confidence that lets him be more vulnerable in his songwriting.

A Busy Few Years Between Albums

The four years since Fever Dreams Pts 1-4 were hardly quiet. In 2023 Marr released the career-spanning collection Spirit Power, a reissue of the Healers’ Boomslang and his guitar photobook, Marr’s Guitars. The 2025 live album Look Out Live! followed, as DIY notes.

The guitar book kept him especially busy, culminating in an auction at Christie’s in London where more than 100 of his guitars, amps, posters and other pieces were exhibited and sold, and The Upcoming puts the total at £3.6 million. An illustrated anniversary edition of his 2016 autobiography, Set the Boy Free, is also on the way.

All the while he kept touring, which is where the new songs were tested. In that sense the busy period and the new album are the same story: the road work that filled the gap between records is part of how this one was made.

From The Smiths to a Fifth Solo Album

For newer listeners, the background matters. Marr was born in Manchester in 1963 and formed The Smiths with Morrissey in 1982. Between 1984 and 1987 the band released four studio albums, and Marr’s guitar became the musical counterpoint to Morrissey’s lyrics, as Messed!Up sets out in its overview of his career.

After The Smiths split in 1987, he chose variety over repetition. He joined The The, formed Electronic with New Order’s Bernard Sumner, and worked with The Pretenders, Pet Shop Boys and Talking Heads, before later stints with Modest Mouse and The Cribs. The Upcoming adds his work with Gorillaz and Hans Zimmer to that list.

He did not step out under his own name until The Messenger in 2013. Playland followed in 2014, Call the Comet in 2018 and the double album Fever Dreams Pts 1-4 in 2022. The Age of Everything is the fifth. God Is in the TV reads it as further proof that there is far more to Marr than being the guitarist from The Smiths, and The Upcoming calls it potentially his best solo album to date.

Wembley Arena and What Comes Next

The album arrives at the peak of a big year on stage. Marr played a sold-out homecoming show at Manchester’s Castlefield Bowl on 9 July, and he headlines London’s Wembley Arena on 24 October, with Baxter Dury as special guest. DIY describes the two shows as the biggest solo headline gigs of his career.

The record is out now on CD, black vinyl and limited edition red vinyl, with an exclusive three-colour splatter vinyl and bundles through his official store, according to Classic Pop.

“Testing songs in front of audiences before recording them is an old-fashioned way to make an album, and it suits a songwriter whose solo shows keep moving into bigger rooms,” said the NewMusic.News curator team.

For another look at how a British songwriter made a new record, read how Michael Kiwanuka built FUDGE in a shack outside Southampton. The Age of Everything by Johnny Marr is out now on BMG.

Ada Rovatti on Piloo, Her Late Father and the Making of Done Deal

A Comic Duet for Kurt Elling and Niki Haris Closes a Record Written Through Loss

In July 2021, once travel reopened, Ada Rovatti flew home to Mortara to see her ailing father. She reached him a few hours before he died, and he greeted her as Piloo, her childhood nickname. Two and a half years later, Ada Rovatti closed the album named after that nickname with Done Deal. It is a comic gospel and jazz dialogue for Kurt Elling and Niki Haris.

Ada Rovatti’s Done Deal sits in the playlist below, among the jazz, classical and modern composition this desk has collected there, and her artist profile gathers her wider coverage. The single reached NewMusic.News through PopHits.Co Music Charts, which verifies independent artists and places their releases across its network of music news titles. Put it on, then keep reading for the story of the father behind the title.


Ada Rovatti on Piloo, Her Late Father and the Making of Done Deal
Ada Rovatti on Piloo, Her Late Father and the Making of Done Deal

Written Through the Pandemic and a Final Visit to Mortara, a Record Took Shape Around Mario Rovatti

Rovatti wrote most of The Hidden World of Piloo during the COVID years. Speaking to Lee Mergner of WBGO, she described the album as a snapshot of that time in her life. That period ended with her father’s death in 2021. For a year and a half before then, she could not travel home to Italy at all.

She later told DownBeat that losing Mario Rovatti hit her hard, because the two of them were very close. He died one month short of his 90th birthday.

The title keeps him in plain sight. As a child, she heard a story about a mischievous little cat called Piloo. Her father gave her the name because she behaved the same way. Years later, she gave it to her own label, Piloo Records, which has released her albums since Green Factor in 2009. Naming the album after his word for her turns the whole record into a conversation with him.

The obvious route would have been an elegy. Instead, Rovatti decided against it. She told WBGO that she did not want the album to sound like a record of mourning. Rather, she meant it as a celebration of him. The father she describes explains that choice. In her telling, Mario Rovatti lived in Africa, travelled the world and was always the life of the party. He was a funny man who kept the family door open to visitors at any hour.

Ada Rovatti Closes the Album With Done Deal, a Bluesy Dialogue for Kurt Elling and Niki Haris

Ada Rovatti released Done Deal first, as a single on 4 January 2024. Two weeks later, it took the last place among the ten tracks of the album. The record arrived on 19 January, credited to Rovatti with her husband, the trumpeter Randy Brecker. At seven minutes and 45 seconds, it is long for a joke. It uses the time to tell a full story.

The words are hers. She told WBGO that she tried lyricists first. Their samples did not match how she felt, so she wrote her own. DownBeat described the result as an amusing dialogue that imagines God as a Black woman. In the song, a man believes he has met God and finds that God is a woman. He then goes home to pass on what he has learned about changing his life. By the end, though, he has slipped back into the same daily routine. That return to the ordinary is the final twist.

The casting explains why the joke works. Elling has won two Grammy Awards for Best Vocal Jazz Album, for Dedicated to You and Secrets Are the Best Stories. He also once studied at the University of Chicago Divinity School. That gives a song about meeting God a quiet extra layer. Haris, meanwhile, spent fourteen years as one of Madonna’s backing vocalists. She also sang lead on several Snap! singles in the early 1990s, and her pop and R&B background answers him from the other side.

Early listeners picked up on the mood. Hot New Songs Blog listed the single in a January 2024 round-up of new jazz. Similarly, the reviewer at Phil’s Picks heard it as the album’s bluesy finale.

Watch the video and check the artist’s YouTube channel for more.

Ada Rovatti on Piloo, Her Late Father and the Making of Done Deal
Ada Rovatti on Piloo, Her Late Father and the Making of Done Deal

Why a Comic Meeting With God Ends a Record Rovatti Chose Not to Make Mournful

The album’s quieter songs carry the grief more directly. Rovatti finished Take It Home, a gospel-flavoured song sung by Haris, the day before she flew to see her father. She also wrote Make Up Girl for her teenage daughter, Stella. On record, she plays it with Brecker as a call and response between the two parents. Against that background, Done Deal answers loss with laughter. That suits a man his daughter remembers as the life of every party.

It also delivers the hidden side the title promises. Rovatti told DownBeat that people usually meet a cheerful, outgoing musician. This record, she said, shows a more private and observant one. Ending with a comic duet lets both versions of her share the last word.

For listeners, the track sits in a long line of saxophone-led records where church feeling meets a jazz groove. Cannonball Adderley showed with Mercy, Mercy, Mercy in the 1960s how far gospel phrasing could carry a jazz band. Similarly, Kirk Whalum has built a whole series of albums around The Gospel According to Jazz. Done Deal belongs to that conversation, with a story told in two voices on top.

The song suits listeners who like their jazz with a plot and their gospel with a smile. It also suits anyone who knows Elling from his ballads and wants to hear him play for laughs. For a wider view of the record, Piloo Records has posted an album trailer on YouTube.

From the NewMusic.News curator team: “Done Deal ends a record about loss with a punchline instead of a requiem. Elling and Haris trade the story line by line over a gospel groove. The closing return to ordinary life is the warmest joke on the album.”

Where to Hear Done Deal and Follow Ada Rovatti Online

Stream Done Deal by Ada Rovatti on Spotify and Apple Music. Then follow her on Spotify, Apple Music, Deezer and SoundCloud.

She shares news on Instagram and Facebook. Her official site carries the discography and upcoming dates.


The Long Way to Yours Faithfully, OneNamedPeter's Album Signed off Like a Letter

The Long Way to Yours Faithfully, OneNamedPeter’s Album Signed off Like a Letter

A Sussex Songwriter Gathers a Year of Singles Into an Album Framed as a Letter The Yours Faithfully album opens…

Inside Proceed 2: How Kennard Built a Baltimore R&B Album From Loss and Patience

Inside Proceed 2: How Kennard Built a Baltimore R&B Album From Loss and Patience

A Baltimore Singer Spent Two Years on Eight Songs About Grief, Love and Old-School Soul In 2011, after his grandmother…

WIL.SON on One Guitar, a Stomp-Box and the Making of Blues Tourist: Vol. 1

WIL.SON on One Guitar, a Stomp-Box and the Making of Blues Tourist: Vol. 1

Johnny Marr Road-Tested The Age of Everything Before Recording It

Johnny Marr Road-Tested The Age of Everything Before Recording It

Inside Husk: How Scarecrowz Built a Self-Produced Hard Rock Album in Their 25th Year

Inside Husk: How Scarecrowz Built a Self-Produced Hard Rock Album in Their 25th Year

Inside Walking the Tightrope: How Stephanie Phillips Built a Folk Album Between Grief and Joy

Inside Walking the Tightrope: How Stephanie Phillips Built a Folk Album Between Grief and Joy

Inside Into The Night: How Seadog Built a Haunted Dream Pop Single in Brighton

Inside Into The Night: How Seadog Built a Haunted Dream Pop Single in Brighton

Inside On y va: How Hub30 Built a Feel-Good Song From Reggae, House and a Bordeaux Lake

Inside On y va: How Hub30 Built a Feel-Good Song From Reggae, House and a Bordeaux Lake

Erick Castrillon on the Singularity, Generative AI and the Making of The Great Awakening

Erick Castrillon on the Singularity, Generative AI and the Making of The Great Awakening

The Long Way to From Local to Global: The Remix That Closes the Spitfire Sparks Album

The Long Way to From Local to Global: The Remix That Closes the Spitfire Sparks Album

Inside Délires d'une Mélomane: How KA BERRA Built a Rap About Masks

Inside Délires d’une Mélomane: How KA BERRA Built a Rap About Masks

Oops I Got Sad Is Little Champion's Upbeat Answer to Ghosting

Oops I Got Sad Is Little Champion’s Upbeat Answer to Ghosting

The Long Way to Forever: Gio 22/6, Rado Ricky and Five Years of Soft R&B Production

The Long Way to Forever: Gio 22/6, Rado Ricky and Five Years of Soft R&B Production

Inside Ain't I the Fool: How Jack Hoban Built a Blues Confession Around Bernard Purdie's Drums

Inside Ain’t I the Fool: How Jack Hoban Built a Blues Confession Around Bernard Purdie’s Drums

Inside Husk: How Scarecrowz Built a Self-Produced Hard Rock Album in Their 25th Year

Four Ottawa Musicians Produced Ten Tracks Themselves and Gave the Band’s Name Its Own Imagery

The credits on Husk by Scarecrowz read like a band that decided to do almost everything itself. The Ottawa four-piece produced this ten-track hard rock and heavy metal album alone, and three of its musicians shared the engineering. Only the mix and master went to an outside hand, Rohan Despande. The record then came out on 6 June 2025.

Scarecrowz open Husk with Clutter, the track now in the playlist below. The band’s full run of coverage sits on the Scarecrowz artist profile. The album came to NewMusic.News through PopHits.Co Music Charts, which verifies independent artists and places their releases across its network of music news desks. Give it a spin before reading on about the four players who produced it themselves.


Inside Husk: How Scarecrowz Built a Self-Produced Hard Rock Album in Their 25th Year
Inside Husk: How Scarecrowz Built a Self-Produced Hard Rock Album in Their 25th Year

Scarecrowz Formed in Ottawa in 2000 and Marked Their 25th Year by Producing Husk Themselves

Scarecrowz formed in Ottawa in 2000, so 2025 was the band’s twenty-fifth year. Plenty of groups mark a milestone like that with a compilation or a reunion show. Scarecrowz, by contrast, marked it by writing and recording ten new songs.

The line-up on Husk is a four-piece. Ger Madden sings lead and backing vocals and plays rhythm guitar. Reno D’Santie handles lead and rhythm guitars, on electric and acoustic. Meanwhile, Trevor St. Peter plays bass, and Aansen Harrison covers drums and percussion. In addition, Zac Bryan steps in on bass for one track, Degeneration, and its official lyric video is on YouTube.

The engineering stayed inside that circle too. D’Santie, St. Peter and Bryan engineered the sessions, and the band took the producer’s credit as a group. As a result, the decisions on Husk belong to the people who play it, from the guitar sounds to the running order.

Even the packaging followed the same instinct. The photography credit goes to Madden, with artwork by Rachael Chandler of Artistik Vibe. It is a small detail. Still, it sums up the whole record, which stayed close to home with the people who know the songs best.

Madden is also the last founding member still in the band. A year after Husk came out, he told the whole story on Episode 127 of the All About M.E. Podcast. He covered how Scarecrowz first came together, and how the band kept going through every line-up change since.

Ten Tracks Run From the Opening Riff of Clutter to the Closing Pull of Dark

Husk runs for just under forty-six minutes. It opens with Clutter, a song about throwing out whatever is weighing you down. It then closes with Dark, which is about reaching for a way out when you cannot see one. In between, the songs range further than a quick listen might suggest.

For example, The Scythe tells a battle story set during the Crusades, with riders, steel and a long view of who fought and why. Khildren Of The Corn, meanwhile, turns a horror-film pun into something more reflective. It is about leaving the fields of your youth for a better life, and wondering what you gave up on the way. At almost six minutes, You’re Not Leaving Alive is the longest track.

The titles also do something the band’s name always invited. A husk, a scythe and a field of corn all belong to a scarecrow’s world. Husk leans into that imagery without turning it into a gimmick. On Bandcamp, Scarecrowz files the record under hard rock, heavy metal, metal, garage rock and Ottawa. That is a fair map of where it lives.

Inside Husk: How Scarecrowz Built a Self-Produced Hard Rock Album in Their 25th Year
Inside Husk: How Scarecrowz Built a Self-Produced Hard Rock Album in Their 25th Year

What a Self-Produced 25th-Year Album Answers About Scarecrowz, From Black Sabbath to Motörhead

Every long-running band eventually faces a question: is there still something new to say, or only something to repeat? Husk answers with ten new songs, a fresh set of images and a production made entirely on the band’s own terms.

Two reference points help place the sound for new listeners. First, Black Sabbath set the template for slow, heavy riffing on their first album in 1970. The darker, weightier moments on Husk sit in that tradition. Second, Motörhead added speed and a rough, garage-style edge from the mid-1970s. That is the energy the faster tracks on Husk draw on.

Scarecrowz moves between those two poles across the record. In the end, that range is the clearest sign that a twenty-fifth year can be a working year rather than a commemorative one.

Who Should Hear Husk by Scarecrowz, and Where to Follow the Band

Husk suits listeners who like their hard rock and heavy metal raw rather than polished. It also suits anyone curious about how a veteran band sounds when nobody else is steering the sessions.

From the NewMusic.News curator team: “Producing Husk themselves gave Scarecrowz a record that sounds like a band in a room. The riffs on Clutter and the slower weight of Dark carry the same rough edge. That consistency comes from four players making every call together.”

Stream Husk on Apple Music or buy it on Bandcamp. After that, explore the earlier catalogue on Spotify and Bandcamp.

Follow Scarecrowz on Spotify, Apple Music, SoundCloud, the YouTube channel, Instagram, TikTok, X, Facebook and Linktree, and visit the official website.


The Long Way to Yours Faithfully, OneNamedPeter's Album Signed off Like a Letter

The Long Way to Yours Faithfully, OneNamedPeter’s Album Signed off Like a Letter

A Sussex Songwriter Gathers a Year of Singles Into an Album Framed as a Letter The Yours Faithfully album opens…

Inside Proceed 2: How Kennard Built a Baltimore R&B Album From Loss and Patience

Inside Proceed 2: How Kennard Built a Baltimore R&B Album From Loss and Patience

A Baltimore Singer Spent Two Years on Eight Songs About Grief, Love and Old-School Soul In 2011, after his grandmother…

WIL.SON on One Guitar, a Stomp-Box and the Making of Blues Tourist: Vol. 1

WIL.SON on One Guitar, a Stomp-Box and the Making of Blues Tourist: Vol. 1

Johnny Marr Road-Tested The Age of Everything Before Recording It

Johnny Marr Road-Tested The Age of Everything Before Recording It

Ada Rovatti on Piloo, Her Late Father and the Making of Done Deal

Ada Rovatti on Piloo, Her Late Father and the Making of Done Deal

Inside Walking the Tightrope: How Stephanie Phillips Built a Folk Album Between Grief and Joy

Inside Walking the Tightrope: How Stephanie Phillips Built a Folk Album Between Grief and Joy

Inside Into The Night: How Seadog Built a Haunted Dream Pop Single in Brighton

Inside Into The Night: How Seadog Built a Haunted Dream Pop Single in Brighton

Inside On y va: How Hub30 Built a Feel-Good Song From Reggae, House and a Bordeaux Lake

Inside On y va: How Hub30 Built a Feel-Good Song From Reggae, House and a Bordeaux Lake

Erick Castrillon on the Singularity, Generative AI and the Making of The Great Awakening

Erick Castrillon on the Singularity, Generative AI and the Making of The Great Awakening

The Long Way to From Local to Global: The Remix That Closes the Spitfire Sparks Album

The Long Way to From Local to Global: The Remix That Closes the Spitfire Sparks Album

Inside Délires d'une Mélomane: How KA BERRA Built a Rap About Masks

Inside Délires d’une Mélomane: How KA BERRA Built a Rap About Masks

Oops I Got Sad Is Little Champion's Upbeat Answer to Ghosting

Oops I Got Sad Is Little Champion’s Upbeat Answer to Ghosting

The Long Way to Forever: Gio 22/6, Rado Ricky and Five Years of Soft R&B Production

The Long Way to Forever: Gio 22/6, Rado Ricky and Five Years of Soft R&B Production

Inside Ain't I the Fool: How Jack Hoban Built a Blues Confession Around Bernard Purdie's Drums

Inside Ain’t I the Fool: How Jack Hoban Built a Blues Confession Around Bernard Purdie’s Drums

Inside Walking the Tightrope: How Stephanie Phillips Built a Folk Album Between Grief and Joy

A West Chester Songwriter’s Seventh Album Holds a Brother’s Loss and a Wedding Together

Two days before his 52nd birthday, Stephanie Phillips lost her younger brother. A month later, she married her second husband. She wrote and recorded much of Walking the Tightrope, her seventh album, in the shadow of that year of grief and joy. The album came out on 28 August 2026, and its title track is where the two feelings meet.

Stephanie Phillips’ Walking the Tightrope sits in the folk playlist below, among the contemporary and chamber folk this desk follows. Her coverage across the network is gathered on her artist profile. The album reached us through PopHits.Co Music Charts, which verifies independent artists and places their releases across its network of music news desks. Press play on the title track, then read on for the story of how the record came together.


Inside Walking the Tightrope: How Stephanie Phillips Built a Folk Album Between Grief and Joy
Inside Walking the Tightrope: How Stephanie Phillips Built a Folk Album Between Grief and Joy

A Brother’s Death and a Second Wedding Within a Month Shaped the Folk Songs on Walking the Tightrope

Phillips has described that stretch as a time of low lows and high highs. In an interview with Rising Artists, she explained that she wrote the title track to help her process the upheaval. She also said she leaned into every feeling to finish writing the album. Her own site puts it plainly: much of the record came out of an emotionally tumultuous year, and that backdrop of grief and joy runs through many of the songs.

The title track names the feeling directly. One line moves from weeping in a loved one’s arms to holding a wedding bouquet, and Phillips has said that it sums up her year. Similarly, SameWay Magazine heard a song from a complicated time, when grief and love lived side by side, written over a year and a half of upheaval.

A Click Track and a Drummer’s Tension

The recording came some time after the writing, so Phillips wanted the takes to carry the feeling she had when the songs were new. For the title track, she decided to record to a click track, which is not her usual practice. That way, she could lean into the emotion without worrying about the rhythm. She credits her drummer with building his own tension into the song, and her recording engineer with a good ear.

She has also been candid about her voice. In the same interview, she said it has grown richer over the years. In addition, she felt the key she wrote the song in sits in a sweet spot for her.

Drums, Cello and Keyboards Widen Stephanie Phillips’ Acoustic Folk Sound on Walking the Tightrope

Walking the Tightrope runs to 12 tracks, from Try As We Might to Study in Opposites. Her guitar, melodies and lyrics remain at the centre. This time, however, she built drums, cello and keyboards around them, and her site describes the result as a fullness of sound that reflects how her style has grown. Notably, the second track, My Brother’s Shoes, sits directly before the title track in the running order.

The album is folk in the singer-songwriter sense: acoustic at its core, with alt-folk and folk-pop touches. Phillips has been singing, playing guitar and writing since an early age. According to her site, she has also performed across the United States, including clubs in New York City. At home in West Chester, Pennsylvania, she scheduled her album release concert at Uptown for 30 September.

Seven Albums Across 23 Years

Her catalogue on Spotify runs back to Home in 2003. True to My Soul followed in 2013, and since 2020 she has kept a steady pace, from What Have I Lost? through Carousel of Hope, Retrospective and Certainly Love to this record. Before the full album arrived, two of its songs, Receive and Study in Opposites, came out as singles in May and June 2026.

Inside Walking the Tightrope: How Stephanie Phillips Built a Folk Album Between Grief and Joy
Inside Walking the Tightrope: How Stephanie Phillips Built a Folk Album Between Grief and Joy

What Walking the Tightrope Answers About Holding Grief and Joy at the Same Time

The question at the heart of the record is how to hold two opposite feelings at once. The closing track’s title, Study in Opposites, says as much, and the album never asks the listener to choose between the grief and the joy. In that sense, the title is exact: walking a tightrope means keeping your balance while both sides pull.

Three days before the album arrived, Phillips also released a new protest single, How Tall Did You Stand?. Meanwhile, she is already writing her next record.

Where Walking the Tightrope Sits

Listeners who know Patty Griffin will find a familiar shape. Griffin recorded her seventh album, American Kid from 2013, as a tribute to her late father, and Walking the Tightrope is likewise a seventh album shaped by a family loss. By contrast, Joni Mitchell set personal upheaval against sparse acoustic backing on Blue in 1971. Phillips takes the opposite route, building a fuller band around her guitar.

Who the Album Is For and Where to Follow Stephanie Phillips Online

This is an album for listeners who come to folk music for honest songwriting. It also speaks to anyone who has had to grieve and celebrate in the same season. Fans of acoustic singer-songwriters who like their records warm, plain and unhurried will feel at home here too.

NewMusic.News curator team: “Walking the Tightrope lets grief and joy share the same songs without making either one smaller. Recording the title track to a click, against her usual habit, is a small technical choice that keeps the feeling at the front of the mix.”

Stream the album on Spotify or Apple Music.

Listen to Stephanie Phillips on Spotify, Apple Music and Amazon Music, and watch on her YouTube channel. Follow her on Instagram and Facebook, and find the CD, downloads and tour news on the official site.


The Long Way to Yours Faithfully, OneNamedPeter's Album Signed off Like a Letter

The Long Way to Yours Faithfully, OneNamedPeter’s Album Signed off Like a Letter

A Sussex Songwriter Gathers a Year of Singles Into an Album Framed as a Letter The Yours Faithfully album opens…

Inside Proceed 2: How Kennard Built a Baltimore R&B Album From Loss and Patience

Inside Proceed 2: How Kennard Built a Baltimore R&B Album From Loss and Patience

A Baltimore Singer Spent Two Years on Eight Songs About Grief, Love and Old-School Soul In 2011, after his grandmother…

WIL.SON on One Guitar, a Stomp-Box and the Making of Blues Tourist: Vol. 1

WIL.SON on One Guitar, a Stomp-Box and the Making of Blues Tourist: Vol. 1

Johnny Marr Road-Tested The Age of Everything Before Recording It

Johnny Marr Road-Tested The Age of Everything Before Recording It

Ada Rovatti on Piloo, Her Late Father and the Making of Done Deal

Ada Rovatti on Piloo, Her Late Father and the Making of Done Deal

Inside Husk: How Scarecrowz Built a Self-Produced Hard Rock Album in Their 25th Year

Inside Husk: How Scarecrowz Built a Self-Produced Hard Rock Album in Their 25th Year

Inside Into The Night: How Seadog Built a Haunted Dream Pop Single in Brighton

Inside Into The Night: How Seadog Built a Haunted Dream Pop Single in Brighton

Inside On y va: How Hub30 Built a Feel-Good Song From Reggae, House and a Bordeaux Lake

Inside On y va: How Hub30 Built a Feel-Good Song From Reggae, House and a Bordeaux Lake

Erick Castrillon on the Singularity, Generative AI and the Making of The Great Awakening

Erick Castrillon on the Singularity, Generative AI and the Making of The Great Awakening

The Long Way to From Local to Global: The Remix That Closes the Spitfire Sparks Album

The Long Way to From Local to Global: The Remix That Closes the Spitfire Sparks Album

Inside Délires d'une Mélomane: How KA BERRA Built a Rap About Masks

Inside Délires d’une Mélomane: How KA BERRA Built a Rap About Masks

Oops I Got Sad Is Little Champion's Upbeat Answer to Ghosting

Oops I Got Sad Is Little Champion’s Upbeat Answer to Ghosting

The Long Way to Forever: Gio 22/6, Rado Ricky and Five Years of Soft R&B Production

The Long Way to Forever: Gio 22/6, Rado Ricky and Five Years of Soft R&B Production

Inside Ain't I the Fool: How Jack Hoban Built a Blues Confession Around Bernard Purdie's Drums

Inside Ain’t I the Fool: How Jack Hoban Built a Blues Confession Around Bernard Purdie’s Drums

Inside Into The Night: How Seadog Built a Haunted Dream Pop Single in Brighton

The Brighton Duo Return with a Third Single Since Internal Noise, Produced by Michelle Hindriks

The new Seadog single was finished in two rooms on the south coast. Michelle Hindriks, of the Brighton band Ciel, produced and mixed Into The Night at 17B Studios in Brighton. Engineer Paul Pascoe then mastered it at Church Road Studios in Hove. Released on 28 August 2026, it finds Seadog making dream pop about isolation and anxiety, built around the ghosts we carry long after the lights go out. It is the latest step in a quiet, steady run.

Seadog are in the playlist below with Into The Night, among the art pop and singer-songwriter picks, and the duo’s full run of coverage sits on the Seadog profile. The single reached this desk through PopHits.Co Music Charts, which verifies independent artists and places their releases across its network of music news sites. Start it playing and keep reading for the story behind it.


Inside Into The Night: How Seadog Built a Haunted Dream Pop Single in Brighton
Inside Into The Night: How Seadog Built a Haunted Dream Pop Single in Brighton

The Run of Dream Pop Singles That Brought Seadog From Internal Noise to Into The Night

Seadog is the Brighton project of Mark Benton and Tom Chadd, and their records have always taken their time. Their debut album, Cabin Fever Blues, arrived in 2018. The engineer Phill Brown, whose credits include Talk Talk, Led Zeppelin and The Rolling Stones, added production. The second, Internal Noise, began in the stillness of the 2020 lockdown. It came to full life at Bella Union’s studio in Brighton in 2024, with Jack Wolter of Penelope Isles producing and playing drums, guitars and backing vocals. His sister and bandmate Lily Wolter added guest vocals.

Crucially, that record found listeners. Writing for Obscure Sound in May 2024, Mike Mineo described an eclectic, melodic set. In his account it ran from the twangy rock haze of Old Joe to the synth-forward experiments of Analysis Paralysis, and the Wolters’ harmonies lifted Tied To A Mast. The album also earned airtime on BBC 6 Music and Amazing Radio. Its opening track, Tidal Wave, was selected for Tom Robinson’s BBC Introducing Mixtape on 6 Music and featured on Lauren Laverne’s 6 Music Recommends show.

How Michelle Hindriks Shaped the New Run at 17B Studios

Since then, the band have chosen singles over a quick third album. At War (With Everything) arrived in August 2025 and was previewed on John Kennedy’s X-Posure show on Radio X. Against The Grain followed in March 2026, and Into The Night is the third release since Internal Noise.

Above all, the biggest change is the room. For this run, the band have been working with Michelle Hindriks at her own 17B Studios. She produced and mixed At War (With Everything) there before taking on Into The Night. For the mastering, meanwhile, the band returned to Paul Pascoe, who also mastered Internal Noise, at Church Road Studios in Hove.

That continuity matters for a song like this one. A track built on creeping unease depends on small production choices. For example, how much space sits around the voice, how far the synths are allowed to drift and how close the guitars sit to the front of the mix. Working with the same producer across a run of singles gives those choices a consistent hand.

Watch the video and check the artist’s YouTube channel for more.

Inside Into The Night: How Seadog Built a Haunted Dream Pop Single in Brighton
Inside Into The Night: How Seadog Built a Haunted Dream Pop Single in Brighton

What Into The Night Answers About Isolation, Anxiety and the Ghosts That Stay After Dark

The subject is clear from the band’s own description: isolation, anxiety and a sense of creeping unease, the kind that stays after the lights go out. It is also a thread that runs back through their catalogue. When Obscure Sound reviewed Tidal Wave, the line it picked out was “Anxiety sets in”. Into The Night takes that idea and lets it fill a whole song.

The band describe their music as songs that drift between lullaby and anthem, and that tension suits the material. A lullaby is meant to settle a restless mind, so a song about night-time anxiety turns the idea around. In that sense, the single answers a simple question about where Seadog go after Internal Noise: further inward, with the same patience.

Their peers have also noticed the run. Simon Raymonde of Cocteau Twins and Bella Union put it this way: “Seadog have been quietly working their way into our hearts through a consistent run of tracks released over the last few years.”

Where to Hear the Seadog Dream Pop Single and Follow the Band Online

The band’s own reference points help place the sound. They name Grandaddy, The Flaming Lips, The Beta Band, Stereolab, Broadcast and Elliott Smith, and the combination makes sense. Grandaddy’s mix of synths and guitars sits close to Seadog’s. Broadcast’s haunted, reverb-heavy pop, by contrast, gives a sense of the mood Into The Night is reaching for. Earlier in the run, the French site Iggy Magazine picked up the 2022 single Here Nor There and praised its melodies and production.

The single is for listeners who appreciate the textures and dynamic range of alt rock pop, alternative rock and art rock. It also suits anyone who likes their dream pop with a shadow running through it. The band’s next show is at The Prince Albert in Brighton on 10 November.

From the NewMusic.News curator team: “Play Into The Night straight after Tidal Wave. The anxiety the band named on that earlier single becomes the whole subject here, and hearing the two together shows how far the Hindriks sessions have taken the sound.”

Follow Seadog on Spotify, Apple Music, Bandcamp and SoundCloud. For videos and news, the band are on the YouTube channel, Instagram, TikTok, Facebook and X, with more on the official site.


The Long Way to Yours Faithfully, OneNamedPeter's Album Signed off Like a Letter

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Inside On y va: How Hub30 Built a Feel-Good Song From Reggae, House and a Bordeaux Lake

A Solo French Songwriter Wrote a Song About Moving Forward Together, and Made It Alone

Hub30 writes beside a coastal lake near Bordeaux, and the light on that water is where On y va begins. Released on 31 October 2025, the French single sets a reggae groove and a quiet house pulse under a pop melody. Its title, French for let’s go, is an invitation the whole song keeps repeating.

Hub30 is in the playlist below with On y va, a feel-good French single built on reggae and house, and his artist profile lists the rest of his coverage. The song reached this desk through PopHits.Co Music Charts, the programme that verifies independent artists and places their releases across its network of music news desks. Press play first, then read on for the lake behind it.


Inside On y va: How Hub30 Built a Feel-Good Song From Reggae, House and a Bordeaux Lake
Inside On y va: How Hub30 Built a Feel-Good Song From Reggae, House and a Bordeaux Lake

Hub30 Writes Beside a Sea Lake Near Bordeaux, and Its Changing Light Runs Through On y va

The scene is worth holding on to. Qobuz picked Hub30 as one of ten French chanson artists to follow in 2026. In that piece, it placed him by a sea lake near Bordeaux, drawing on the changing light and the softness of the water. Beside it, the magazine wrote, he makes utopian songs in which he dreams of people uniting and of air that is easier to breathe.

The magazine even compared the project to Henri Matisse’s Open Window, Collioure, a painting that carries strong feeling through pure colour. The comparison suits the record, since On y va also works with a few clear colours: a pop melody, a reggae groove and a house pulse.

A Solitary Songwriter From Bordeaux Builds French Pop Around the Idea of a Crowd Moving Together

Hub30 is the project of Hubert Trentesaux, and he works alone. Extravafrench, the French music site, reviewed the single in December 2025. It called him a solitary figure from Bordeaux with a universal dream. It also heard his synths as if they had been rinsed by the Atlantic wind. In its words, he makes pop the way you open a window: to let the salt air in.

That is the contradiction at the heart of the record, and it is a good one. One person, writing by the water, makes a song whose whole subject is a crowd moving in the same direction. His own description of the track says it plainly: a mellow groove and a chorus that brings people together.

The French roots matter too. According to Qobuz, Hub30’s music starts in French songwriting and then takes regular detours into house and reggae. Even so, it never loses its feel for a simple, catchy melody. In fact, the magazine pointed to the offbeat On y va as proof of that balance.

Meanwhile, the lake was in the songs long before the press noticed it. Près du lac came out in December 2023, and Living by the Lake followed in February 2024.

Inside On y va: How Hub30 Built a Feel-Good Song From Reggae, House and a Bordeaux Lake
Inside On y va: How Hub30 Built a Feel-Good Song From Reggae, House and a Bordeaux Lake

On y va Answers a Tired, Anxious World With a Mellow Groove and a Chorus Built to Gather People

The release itself is short and bright. On y va runs two minutes and fifty-two seconds, moving between pop softness, a reggae groove and a house pulse. Extravafrench heard the reggae touches as a nod to Bob Marley, a figure of peace and bright defiance. Then, it wrote, a discreet house beat turns the song into a place to gather, somewhere people dance to survive, or to love better.

The lyric stays direct on purpose. Extravafrench praised the catchy melodies and plain words. It also argued that this kind of clarity takes real precision rather than less effort. Beyond that, it heard the shadow of the Beatles, and of John Lennon above all, in the way the song reaches for utopia without sounding naive. That is the line Lennon walked on Imagine in 1971.

What the song answers is the mood around it. Extravafrench described On y va as a soft but determined call to catch your breath in a world saturated with anxiety. Seen that way, the title is less a slogan than an instruction: stop waiting, start walking, and do it together.

From the NewMusic.News Curator Team: “What we admire is how little the song asks of you. Two minutes and fifty-two seconds, one simple phrase, and a rhythm that does the persuading. Hub30 trusts the groove to make the case, and it does.”

Hub30 Followed On y va With Tu Déchires, and Where to Hear the French Single Now

The single also sits inside an unusually steady run of work. Hub30 has released 29 singles on Spotify since April 2023, starting with Les oiseaux migrateurs. After On y va came Tu déchires in January 2026, then Dunes in Motion, Au clair de la dune and To Do List.

The songs around it share its outlook. For example, Call Me Daddy, released in September 2025, captures the impatience and tenderness of a father-to-be. Similarly, his own site pitches Tu déchires as a song to wake up your inner strength and drive. So for listeners who like their French pop warm, unhurried and touched by reggae, On y va is the right place to start.

Stream On y va in the Spotify player above, or on Apple Music, Tidal, Amazon Music and YouTube. His 2024 song Living by the Lake is on YouTube Music, and his own Spotify playlist, Saison 1 : Hub30, gathers more of his songs.

Follow Hub30 on Spotify, Apple Music, Deezer, Tidal, SoundCloud, YouTube channel, Instagram, TikTok, Threads, X, Facebook and the official site.


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Erick Castrillon on the Singularity, Generative AI and the Making of The Great Awakening

A Los Angeles Composer Recorded a Conversation Between Person and Machine in Culver City

The Great Awakening sets its tone with an enigmatic guitar line, and the whole track was recorded in Culver City, California. Erick Castrillon released the single on 30 November 2023. It is a short alternative rock track that imagines the moment a machine wakes up and starts to notice the people who made it.

Erick Castrillon’s single sits in the playlist below with our art rock and alternative picks, and his full coverage history is collected on his artist profile. The Great Awakening reached this desk through PopHits.Co Music Charts, which verifies independent artists and places their releases across its network of music news desks. Press play, then read on for how the series around it took shape.


Erick Castrillon on the Singularity, Generative AI and the Making of The Great Awakening
Erick Castrillon on the Singularity, Generative AI and the Making of The Great Awakening

Erick Castrillon Released The Great Awakening a Year to the Day After ChatGPT Went Public

Timing gives this record much of its weight. OpenAI opened ChatGPT to the public on 30 November 2022, and Castrillon’s single arrived on the same date a year later. By then, generative AI had moved from a curiosity to an everyday tool for millions. Even so, the song does not mention any product. Instead, it goes straight to the larger question that year kept raising: what happens when artificial intelligence becomes aware of itself.

Castrillon has been clear about that subject. In comments published by Karl Is My Unkle on release day, he described the song as being about enlightenment. He also called it the fourth part of a series on the new era of technology. In it, he writes about the singularity, the point at which artificial intelligence becomes a sentient being. He added that generative AI had brought that event closer than ever.

That framing is what makes the song a product of its moment rather than a generic science-fiction piece. After all, it was written while the conversation was live, and it treats the idea as something already under way.

Erick Castrillon Built The Great Awakening From World Instruments, Synths and Techno Beats in Culver City

The arrangement matches the subject. According to Musikepool, the track combines world instruments, synthesizers, techno beats, pop melodies, samples and experimental sounds. As a result, it unfolds like a conversation between a person and a machine. The lyric gives the machine a voice that is aware of what humans are doing. In turn, the usual fear of AI becomes something closer to a mirror.

The vocal carries much of that effect. Edgar Allan Poets singled out the effects applied to the voice, which add a layer of mystery. The same review noted that the mix keeps the vocal in front, and it heard darkwave, alternative rock and avant-garde influences meeting in one track. Meanwhile, Karl Is My Unkle described a grunge-adjacent feel under the sound design. That texture keeps the song rooted in rock rather than drifting into pure electronica.

The whole piece runs under three minutes. That brevity suits the idea: a single moment of awareness, captured and then left for the listener to sit with.

Erick Castrillon on the Singularity, Generative AI and the Making of The Great Awakening
Erick Castrillon on the Singularity, Generative AI and the Making of The Great Awakening

What The Great Awakening Answers in Erick Castrillon’s Series About the New Era of Machines

Read in sequence, the series has a clear shape. The Machine came out on 1 September 2023, followed by Evolution at the end of that month. Next came The Zone on 31 October. The Great Awakening is the fourth step, the point where the machine in the story finally becomes conscious. Then, on 31 January 2024, The Contrarian turned the series towards warning. Reviewers such as Switch Bitch Noise read it as a stark caution about where AI could lead.

So the question this single answers is the one the earlier parts set up. If the first releases describe the arrival and growth of the machine, The Great Awakening is the turning point. It is the moment the story stops being about tools and starts being about a new kind of mind.

That narrative approach fits Castrillon’s background. He describes himself as a writer, director and musician, and his own studio, Castrillon Music, offers scoring for picture. It is easy to hear that in how the singles work, with each release carrying the story one scene forward, the way a score follows a film.

Radiohead, Gary Numan and Muse Sit Close to This Record

The nearest reference points are artists who turned technology into a subject for rock. Radiohead, whom Castrillon cites as an influence, made OK Computer in 1997 a study of a world reshaped by machines. Its unease sits close to this single. Similarly, Gary Numan took the idea of androids into the charts in 1979 with Tubeway Army’s Are ‘Friends’ Electric?. He paired cold synths with a human voice, much as Castrillon sets his vocal against electronic textures. Finally, Muse built Simulation Theory in 2018 around programmed worlds and synthetic reality. This series explores the same territory with a darker, more experimental edge.

This single suits listeners who like art rock and alternative rock with an idea at the centre. It also suits anyone who has wondered where the current wave of AI is heading.

NewMusic.News curator team: “The processed vocal is the cleverest choice on The Great Awakening. It sounds just human enough and just treated enough to belong to either side of the conversation, which is the whole question the song is asking.”

Stream The Great Awakening on Spotify, Apple Music, Deezer and SoundCloud. For new releases, follow Erick Castrillon on Instagram.


The Long Way to Yours Faithfully, OneNamedPeter's Album Signed off Like a Letter

The Long Way to Yours Faithfully, OneNamedPeter’s Album Signed off Like a Letter

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