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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 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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October 16, 2025 Tree of Tranquility Lands from Deep Forest-Rahul Sharma Duo, Backed by Fall Tour Dates

Tree of Tranquility Lands from Deep Forest-Rahul Sharma Duo, Backed by Fall Tour Dates

The August 25 rollout of Tree of Tranquility marks a solid return for Éric Mouquet‘s Deep Forest project and santoor ace Rahul Sharma, their second team-up since Deep India dropped back in 2013. Mouquet, a key architect of the French Touch wave, built Deep Forest‘s rep on sampling distant vocal traditions into house-tinged electronica, culminating in that breakthrough 1996 Grammy win for Boheme—a feat that put French electronic on the map as the inaugural non-Anglo victor in world music.

The catalog racked up 10 million physical sales plus consistent 20 million digital spins yearly, underscoring Mouquet’s grip on the genre’s evolution via solo ventures like Deep Forest Live Machine. Sharma, carrying forward his father Pandit Shivkumar Sharma‘s legacy on the 100-string santoor, has flipped the folk staple into worldly experiments—think his runs with pianist Richard Clayderman or that prior Deep Forest splice, all while holding tight to Hindustani improv’s soul. This latest pairs the album with a packed 2025 tour slate, giving audiences a front-row shot at the blend.

Across its eight outings, Tree of Tranquility carves out quieter, more personal ground in electronica, zeroing in on nature’s quiet pulse. Sharma’s playing shines with refined touch—santoor notes blooming in varied, almost meditative loops—bolstered by Mouquet’s textural overlays that hum and swell like ambient fog.

Rooted in the Old French root of ‘tranquilite’ for straightforward calm and joy, the title’s tree imagery serves as a low-key call to shake off stress and lean into mental stillness. Tree of Tranquility delivers on that promise, serving up a listen that’s equal parts unwind and uplift—timeless yet fresh enough to loop on repeat. With the tour kicking off soon, Sharma and Mouquet are set to amplify this chemistry live, turning studio subtlety into shared-space energy that world music heads won’t want to miss.

Be part of the experience and get your tickets HERE

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October 16, 2025 Eyal Erlich’s ‘Jenny’ Cuts Deep With a Video That Captures Heartbreak

Eyal Erlich’s ‘Jenny’ Cuts Deep With a Video That Captures Heartbreak

Eyal Erlich just let loose his solo single ‘Jenny’, hitting streaming platforms June 21, 2025. The Tel Aviv artist, who’s been grinding Israel’s club circuit since 2016, has that rare talent for turning a lone acoustic into a confessional bonfire—think Jeff Buckley‘s raw nerve crossed with Nick Drake‘s whispery bite and Ben Howard‘s rustic swing. No major-label machine behind him, Eyal‘s carved out a space that has earned him a die-hard fanbase with a catalogue that feels like eavesdropping on your own regrets, all ‘70s folk-rock grit laced with ‘90s indie shadow. This one’s the opener for his long-teased debut full-length, and damn if it doesn’t scream breakout potential for a guy who’s all about the quiet storm.

‘Jenny’ doesn’t mess around: it’s a slow-burn elegy for love that slipped away, built on fingerstyle runs that snag like barbed wire and vocals gravelly enough to scrape the soul. Eyal leans into those mid-song swells, letting the melody fray at the edges to mirror the mess of memory—pure singer-songwriter gold that rewards a headphone dive.

The Levontin live clip seals it, raw footage of Eyal owning the room with zero safety net of a large scale production, turning ache into something almost communal. In an industry bloated with TikTok fluff, this is indie doing what it does best: sticking the knife in and twisting just right. Keep an eye on Eyal Erlich—his full record’s gonna rattle more cages.

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