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Emerging London-born folk artist Seth Tabatznik is back with the single, “Choose To Be Alive,” via Moth Music (Mother Of The Heart). Since beginning his musical journey in 2024, Tabatznik has already amassed over 100,000 streams and captivated audiences with sold-out live performances at Boschendal Estate in Cape Town and Green Note in London’s Camden district. With a second album slated for 2026, he is poised to become a rising voice in the indie folk scene.
Raised in London and now based in South Africa’s Western Cape mountains, Tabatznik blends acoustic folk with medicine music, weaving soulful harmonies, heartfelt lyrics, and spiritual insight into his compositions. Mentored by Nick Mulveyand and inspired by his guitar teacher Rainer Scheurenbrand, his music balances ancient wisdom with contemporary sound, appealing to fans of Vance Joy, Paul Simon, and Mulvey himself.
“This song is very much inspired by my daily meditations,” Tabatznik said. “I follow Dr. Joe Dispenza’s methodology and this song is what his message would sound like if he wrote singles instead of giving lectures. This song is all about our power as the creators of our own lives to take responsibility for our behaviours and our actions, and not to be victims of any situation. It’s about being grateful for life, as good things flow to those who are in love with life, who have big and open hearts, and who choose to focus on gratitude for what we have, rather than pay attention to what we feel we lack.”
“Choose To Be Alive” is a soulful ode to gratitude and self-empowerment. Anchored by earthy acoustic guitar, soft shakers, and layered vocals, the track features rich harmonies and a mystical flute solo, offering both intimate reflection and an uplifting call to embrace life with openhearted presence.
Stream “Choose To Be Alive”: https://ditto.fm/choosetobealive
Pop artist and songwriter Laura Pieri is channeling her love of the theatrical this October with a striking new creative project — a Halloween-inspired series of cover songs and visuals celebrating women who’ve been deemed “too much” for daring to be free, bold, or unapologetically emotional.
The series opens with a reimagining of Lady Gaga’s “Marry the Night,” available now on Pieri’s YouTube channel. Her version trades the original’s bombast for something raw and intimate, blending her Brazilian roots into a live, almost ritualistic performance.
“The vampire made perfect sense with ‘Marry the Night’: the kiss of the vampire is eternal, it’s a kind of marriage,” Pieri said. “Lady Gaga has always lived in that fantasy; she’s a vampire woman, powerful and unafraid of the dark. In my version, I wanted to strip the song down, bring a bit of my Brazilian identity — that raw, live texture — to let the darkness sound human, to make it feel alive.”
Each week throughout October, Pieri will release a new cover and corresponding story, exploring a distinct archetype through both sound and storytelling. She’s also launched a Substack, where her first entry, “The Vampire,” “The Bride of Gravenholt,” is now live. The series will culminate on October 31 with an original song, marking a bold new chapter in her artistry.
The project follows Pieri’s 2024 release “Frankie (ON THE DANCEFLOOR),” the high-energy reimagining of her acclaimed EP “Frankie,” which turned her narrative of survival into one of liberation and celebration.
Born in São Paulo and now based in New York City, Pieri has been featured in FLAUNT, Mundane Magazine, and Northern Transmissions, building a reputation for her blend of pop storytelling and cinematic vision. A true multidisciplinary artist, she writes, performs, and conceptualizes each project with striking intention — crafting immersive worlds that fuse sound, story, and self-discovery.
Watch Pieri’s “Marry The Night” cover: https://m.youtube.com/watch?v=okKHRr6hAXc
Dynamic artist, producer, and storyteller Jairic returned today with his explosive new single “Stick Figaro,” accompanied by a high-octane video via Rich Air Music. Following his breakout track “Don’t Let Me Put A Track On You” — which earned acclaim from NOTION, CLASH Magazine, and EARMILK, plus airplay on NPR Music — Jairic continues to cement his reputation as one of music’s most cinematic voices.
Born and raised in Detroit, Jairic switched gears, currently based in Cannes, France. His creative reach spans France, Italy, Prague, and the U.S. Entirely self-written, self-produced, and self-performed, his releases fuse sharp lyricism with immersive visual storytelling — where modern luxury collides with underground grit.
“Stick Figaro” channels raw intensity, its thrashing trap beats and cinematic production driving Jairic’s commanding vocal performance. The track captures the chaos of rebellion and the introspection beneath it — balancing aggression with reflection. Directed by Bastien Leblanc, the accompanying video mirrors that tension through glitchy, nocturnal vignettes of movement and pursuit.
“‘Stick Figaro’ is built on reversal,” Jairic said. “At first it feels like I’m the one running, but when the hook comes back you realize I’m the one chasing. That’s the heartbeat of the track — chaos turning into control, the hunted becoming the hunter.”
Drawing influence from Nas, Wu-Tang Clan, Detroit’s underground, and film scores, Jairic’s sound sits at the crossroads of hip-hop and cinematic art — crafted for fans of Eminem, Machine Gun Kelly, and Macklemore alike. “Stick Figaro” is not just a single — it’s a statement: raw, unfiltered, and impossible to ignore.
Stream “Stick Figaro”: https://orcd.co/sitckfigaro
Emerging electronic pop artist MONKyMAN released his highly anticipated album “What About Love” today, featuring the stirring lead single “Hambelela,” which premiered on Electronic Groove.
Over the past two years, MONKyMAN has amassed more than 3.2 million streams on Spotify, captivating audiences worldwide with electrifying live performances across South Africa, New York, Thailand, Tunisia, Egypt, Jordan, Norway, Denmark, and Paris. His festival credits include Apple Tree Garden Festival, alongside Biig Piig and Bombay Bicycle Club, and Fusion Festival, sharing stages with ARTBAT, Monolink, and K.I.Z.
Born in Stuttgart and now based in Berlin, MONKyMAN’s music tells a story of self-love, awakening, and truth-seeking. His sound blends hope and determination with candid vulnerability, reflecting a journey to find light amid disorientation. Inspired by artists ranging from André 3000 and Frank Ocean to Sun Ra, Quincy Jones, and Nina Simone, his eclectic sonic palette will resonate with fans of Black Coffee, Nicolas Jaar, and Keinemusik.
“When making this album I realized that I am just one link in a chain of creations that led to this record being birthed,” he said. “So many inventions, jobs, tools, processes happen before I can even play a note on a synth. I am so grateful for all the inspiration and equipment available to me in order to make my music. My music has been created by all of us and will forever be there for all of us.”
“What About Love” is an expansive exploration of dreamy vocals, soulful atmospheres, jazzy instrumentation, and afro-inflected rhythms. The album’s focus track, “Hambelela,” featuring Vaudeni, delivers a timelessly moving song of praise, with organic percussion highlighting a richly resonant vocal refrain in Oshiwambo, a nod to MONKyMAN’s formative years in Namibia.
Stream “What About Love”: https://lnk.to/WhatAboutLove_LP
Platinum-certified singer, songwriter, and multi-instrumentalist Clinton Kane made a return with his new single “Stranger” — a stripped-back and deeply affecting reflection on the moment someone you once knew becomes unrecognizable. Released independently, the track marks a bold new chapter for Kane — one defined by creative freedom, vulnerability, and total authenticity.
Written in a single burst of emotion, “Stranger” captures Kane at his most raw.
“I wrote ‘Stranger’ in like 20 minutes after spending hours just chilling with the songwriter Sara on this — too much tea, too much coffee, way too much avo toast,” Kane said. “Sometimes the most real songs hit you quick, like they’ve been waiting to get out. This one’s about that moment when you realize someone you thought you were close to is basically a stranger. It’s not that they changed — they’ve always been like this, you just finally see it for what it is. That feeling of, ‘I should know you, but I don’t’ — it’s unsettling.”
Anchored by Kane’s soulful vocals and a minimalist production that he oversaw himself, the song is an exercise in restraint — delicate, cinematic, and emotionally charged. The result is a cathartic track that invites listeners into a moment of quiet reckoning.
Known for Platinum and Gold-certified hits like “I GUESS I’M IN LOVE” and “CHICKEN TENDIES,” Kane has amassed billions of streams and sold out global tours, all while earning acclaim for the emotional honesty at the core of his songwriting. As Rolling Stone Australia put it, “Clinton Kane has attracted an international audience in the many hundreds of thousands, drawn in by his emotionally urgent songwriting.”
With “Stranger,” Kane reclaims his artistic independence, delivering a song that feels less like a statement and more like a confession — one that reminds listeners why his music resonates so deeply.
Stream “Stranger”: https://clintonkane.ffm.to/stranger
Fini Tribe, iconic post-punk/dance experimenters from 1980s Edinburgh, returned with “The Sheer Action of Fini Tribe: 1982–1987’ via Shipwrecked Industries. Previewed by razor-edged singles “I Want More” and “We’re Interested,” the anthology includes their legendary John Peel session (1985), original 12” and WaxTrax! singles — including “Detestimony” — and unreleased live tracks, all lovingly remastered by the band.
Formed in 1980s Edinburgh, Fini Tribe emerged from the city’s cash-poor but culturally-rich post-punk scene, evolving from a three-piece with no drummer to a six-member experimental unit. The compilation captures the band’s most fertile years (1982–1987), showcasing recordings from Edinburgh, London, and BBC Studios in Maida Vale.
“This compilation was a long time in the making, a labour of love for the band, showcasing our most productive years as a six-piece,” Chris Connelly said. “The compilation of tracks – from professional BBC recordings to live performance and rehearsal room demos – gives as broad a spectrum of the breadth of the band’s creativity during those five important years from 1982 to 1987.”
The anthology also features archival essays and photographs by band member Andy McGregor, plus contributions from Shirley Manson (Garbage, Goodbye Mr. Mackenzie) and writer Alastair McKay. Tracks like the percussion-driven “I Want More” and church-bell-charged “Detestimony” highlight Fini Tribe’s evolution into a legendary experimental dance unit, blending punk, industrial, and performance art into unforgettable live spectacles.
Today, Connelly will join Fini Tribe for an album release celebration at the West Port Oracle, Edinburgh, in an “in conversation” with Nicola Meighan. This free, non-ticketed event begins at 7:30 PM.
Stream “The Sheer Action of Fini Tribe: 1982–1987” on: Spotify, Apple Music, and Bandcamp.
Pinwheel Valley, an up and coming indie project, released their emotionally charged new single “Can’t Hear A Sound” today via Hot Soap Records, ahead of their forthcoming EP “Hello From Afar,” set for November. With over 2 million streams across platforms and features in CLASH Magazine, METAL Magazine, Kaltblut, NOTION, Earmilk, Billboard Argentina, as well as airplay on BBC Radio London, BBC Radio Sheffield, RTÉ 2FM, and NPR Music, the project has quickly established itself as a force of cinematic indie expression.
Led by Jordanian-Canadian singer, composer, and multi-instrumentalist Qais Khoury, Pinwheel Valley expands into a full live ensemble, featuring Stephanos Marangos (guitar), Max Daniels (bass/Ableton), and Stephanos Meletiou or Phrangiskos Petrisis (drums). Originally known as KAIS, the project merges Indie Soul, alt-rock, and folktronica, drawing inspiration from Jeff Buckley, Bon Iver, James Blake, and Radiohead, creating a soundscape both intimate and expansive.
Produced and written entirely by Qais Khoury, “Can’t Hear A Sound” showcases his vast, emotive voice against stirring strings, cinematic drums, and soulful guitar textures. The track embodies a profound meditation on bloodlines, homeland, and the scars of war, blending personal narrative with universal resonance.
Frontman “‘Can’t Hear A Sound’ is a song of bloodlines and soil, of war and the restless pull of home,” frontman Qais Khoury said. “It is a cry carried on the wind, calling to kin who have wandered astray, drawn into circles that could never hold them. A plea for their return to the ground where their fathers lie sleeping. It is both invocation and vow — a promise to shield them, body and soul, whatever the cost, and to guard the earth that holds their roots. The song does not turn away from the truth that the land itself has been altered — that war has crept to our own shores, reshaping the very fields we swore to protect. The silence is no longer peace but the ringing echo of bombs, a quiet so loud it haunts the ear. Yet in the midst of this devastation, the song reaffirms its oath: that to remain bound to one’s roots is the only way to live honestly, to find a way through the world without becoming lost.”
With previous singles such as “Your Superman” reaching No. 13 on the US iTunes Alternative Chart, and award-winning videos like “Willow” and “Abduction” recognized at the New York Film Awards, Vegas Movie Awards, and Swedish International Film Festival, Pinwheel Valley continues to solidify their reputation as a band of emotional depth and cinematic ambition.
Stream “Can’t Hear A Sound”: https://orcd.co/chas_
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Nicole Hackett
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