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October 29, 2025 ‘Untangle’ Lands as Olovson’s Vocal Pivot as Momentum Shit’s Toward His New Album

‘Untangle’ Lands as Olovson’s Vocal Pivot as Momentum Shit’s Toward His New Album

(Olovson / Image Credit: Eliot Lee Hazel)

Olovson, the Swedish producer settled in Los Angeles, dropped ‘UNTANGLE’ on October 24 via 1136 Diamond, pulling double duty as the lead single and title track from his upcoming album. It builds straight off ‘Things I Could’ve Left Behind’, which snagged airtime from NPR Music, KCRW, and KEXP 90.3 FM. The release caps a strong run from his 2022 debut Storytelling, good for three million streams and shoutouts in Rolling Stone India, Wonderland Magazine, CLASH, PopMatters, BBC Radio 6, and NTS. Throw in Grammy credits for beats on tracks by Frank Ocean, Dua Lipa, and Mark Ronson, a sync for ‘Books Are Flying’ in SHOWTIME‘s The Man Who Fell to Earth, and a festival nod for the ‘Gyroscope’ video at Encounters, London Short Film Festival, and LIFAOlovson‘s stacking wins while finally putting his voice front and center.

Pared down but potent, ‘UNTANGLE’ runs on a deep sub-bass drive and soft percussive steps that draw you right into the mix. Olovson delivers his falsetto with a light touch—effortless and close—against shifts from brooding depths to the relief of letting go. The whole track holds steady, mixing personal weight with clean execution and delivery.

Olovson had this to say: “This song is about untangling the emotions and patterns you carry — and realizing you’re allowed to let go — and coming out on the other side feeling more at peace.”

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October 27, 2025 ‘We Were Called The Foxx’ Marks Next Step for Plain Mister Smith’s Indie-Folk Push

‘We Were Called The Foxx’ Marks Next Step for Plain Mister Smith’s Indie-Folk Push

Out now on October 24 via Amelia Recordings and Symphonic, Plain Mister Smith‘s We Were Called The Foxx arrives as the latest preview from his building catalog, hot on the heels of the wry ‘Miss Sunshine’ and ahead of a spring 2026 album release. Once handling guitar duties for the shadowy Canadian darkwave group Moev, Smith now channels that experience alongside his role as a cellist in the Vancouver Philharmonic Orchestra, creating under his alias a sound that’s picked up endorsements from tastemakers including Wonderland Magazine, CLASH Magazine, NOTION, Under The Radar, Earmilk, METAL, Noctis Mag, and Atwood Mag. Rooted in scenes across Vancouver and London, his work layers indie-folk arrangements with sharp, memorable lines and an undercurrent of personal reckoning—appealing to fans of Tame Impala‘s layered haze, Death Cab for Cutie‘s introspective drive, and The Beatles‘ effortless earworms.

We Were Called The Foxx recalls tales of playful memories from his youth and all the trials and tribulations that came with it, channeling it into this track. It features guitar riffs inspired by The Cure, a clean rhythm section, and gentle vocals by Findlay Brown to help convey the feel of tugging on the delicate and pricelessness of cherished memories. 

Plain Mister Smith shared: “‘The Foxx’ was my first band in grade 6 or so. It was a bit of a sonic disaster – I don’t even think we knew we needed to tune our guitars. But you have to start somewhere/sometime! ‘We were called the Foxx’ is a testament to the crazy cacophonic shenanigans we got up to as pre-pubescent want-to-be rock gods.

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October 22, 2025 Textbook Maneuver’s ‘Adrenaline Slip’ Remix Rewires IDM Expectations

Textbook Maneuver’s ‘Adrenaline Slip’ Remix Rewires IDM Expectations

(Textbook Maneuver / Image Credit: Mary Keane)

Textbook Maneuver rolled out a sharp remix of ‘Adrenaline Slip‘ on October 17, 2025, via his Life Science Records, LLC setup—the core track powered his self-titled debut album from earlier this year. Michael Keane, the mind behind it all, hails from the Bronx with roots now dug into New Jersey soil, where he welds classical piano precision to a DIY punk drive. That combo’s pushed streams past 130,000, locking in buzz from IDM and experimental electronic heads through deep dives in Magnetic Magazine and Illustrate Magazine, alongside shoutouts from WWAM (We Write About Music), Brazil’s Music For All, and Good Music Radar. Keane taps a killer range, from Genesis‘s Duke-era sprawl and Rush‘s drive to Gary Numan‘s edge, The Postal Service‘s pop smarts, U.N.K.L.E.‘s grit, and Phantogram‘s bite, all funneled into IDM frameworks laced with ambient haze and prog electronica curves—tracks built for screen placements or pure headphone immersion. His stuff echoes Jon Hopkins and Nils Frahm in the build, with Boards of Canada‘s drift, Aphex Twin‘s glitches, and Squarepusher‘s bass twists fueling the improvisational core.

The remix of ‘Adrenaline Slip‘ keeps things straightforward at its core: beats that start loose and build into tight, glitchy loops, laced with synth stabs that punch through like quick breaths. Those subtle IDM ticks—think fragmented rhythms folding over each other—pull you into a mix of high-energy drops and cooler, drawn-out pads that ease off the gas. It wraps with a fast, almost frantic close that echoes drum ‘n’ bass without overcomplicating the ride, landing in a spot that’s tense yet oddly relieving.

Textbook Maneuver revealed: “Adrenaline Slip‘ was the song I composed that hit me the most, in a good way. I knew I wanted a killer track to become the lead track and the title of the album. I had come up with the name “Adrenaline Slip” before I had the song. I am trying to capture those moments of adrenaline rush, like skateboarding, dancing, roller blading, just hanging out with friends, whatever gives you a rush. I find, in those moments, there is also a moment of calm because you are doing something that you love or enjoy with people that you are connecting with in the moment. So that is the “slip” part. The feeling slips into calm for a moment but then goes back to adrenaline. This is why the song has its very EDM moments but then slower, synth/ prog chillout sections and it all ends in an uptempo almost punk rock speed.


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October 21, 2025 Gabe Parsons Drops Long Awaited Debut LP Long Road Traveler

Gabe Parsons Drops Long Awaited Debut LP Long Road Traveler

Gabe Parsons, the folk rock singer-songwriter out of Hopewell Valley, New Jersey, just put out his first full-length album, Long Road Traveler, on October 17. Drawing from years of gigging and sharpening his chops, Parsons has built a solid foothold in the Northeast indie circuit with his straightforward, introspective tunes and command of a stage. He cut his teeth in New Orleans’ club and festival lineup while at Loyola University‘s School of Music Industry, then brought that edge back home for slots at spots like World Cafe Live in Philadelphia and French Quarter Festival. Lately, he’s warmed up crowds for acts like Crowe Boys and made the cut as a semifinalist in WXPN‘s 24-Hour Song Challenge, all while fronting his band The Heartland to connect with listeners craving that unpolished emotional pull.

Across its 12 tracks, Long Road Traveler digs into the push-pull of roots and restless miles, kicking off with the sparse ‘Coyote Intro‘ before easing into fuller builds like ‘The Heartland Pt. 1‘ and the windswept drive of ‘Hurricane’s Back‘. Parsons layers acoustic strums with subtle percussion to frame stories of separation in cuts such as ‘Letters to Your Mother‘, keeping the arrangements tight and the hooks memorable without being over the top. It’s the kind of record where every chord shift lands like a mile marker, underscoring his talent for turning personal detours into shared anthems – a sonic depiction of a long road traveled.

If you’re spinning Jason Isbell‘s road-tested confessions or Brandi Carlile‘s raw nerve, Long Road Traveler slots right in—Parsons is delivering folk rock that feels lived-in, not staged. Keep an eye on him as he hits more regional stages; this one’s a marker for where he’s headed next.

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