Music Video – RCRD LBL

January 19, 2026

January 19, 2026January 19, 2026 Mew Zikwryder

Mitski Returns With Nothing’s About to Happen to Me, Set for February 27 Release

Mitski has confirmed her eighth studio album, Nothing’s About to Happen to Me, arriving February 27 via Dead Oceans. The Japanese-American artist has spent the last decade establishing herself as one of indie rock’s most incisive voices, turning personal unease and cultural displacement into sharply observed songs. From the raw urgency of Puberty 2 and the conceptual precision of Be the Cowboy to the orchestral sweep of 2023’s The Land Is Inhospitable and So Are We, she’s consistently balanced intimate confession with ambitious production, earning a reputation for records that feel both private and universal.

The lead single ‘Where’s My Phone?’ arrives with a video directed by Noel Paul that pulls directly from the paranoid, claustrophobic atmosphere of Shirley Jackson’s We Have Always Lived in the Castle. Mitski appears as a withdrawn figure holed up in a decaying gothic estate, watching as outsiders force their way in. The visual setup leans into isolation and violation that are recurring themes in her work, while keeping the tone controlled and unsettling rather than overdramatic.

Several players from the band that backed her on the The Land Is Inhospitable and So Are We tour contributed to the new recordings. Last year also saw the release of a concert film and live album documenting those shows. Meanwhile, Mitski continues work on the stage musical adaptation of The Queen’s Gambit. With Nothing’s About to Happen to Me on the horizon, another close examination of solitude and intrusion seems to be taking shape.

Watch ‘Where’s My Phone’:

Nothing’s About to Happen to Me:

01 In a Lake
02 Where’s My Phone?
03 Cats
04 If I Leave
05 Dead Woman
06 Instead of Here
07 I’ll Change for You
08 Rules
09 That White Cat
10 Charon’s Obol
11 Lightning

Follow Mitski:

Spotify – Instagram – Facebook

November 19, 2025

November 19, 2025November 19, 2025 Mew Zikwryder

Watch Jairic Go Full Duality in ‘Young, Old, Short & Tall’ Video

Out now via Rich Air Music, Jairic‘s ‘Young, Old, Short & Tall‘ lands as the hard-hitting closer before his n = 40 EP hits December 5. The Detroit-raised, Cannes-based artist stays fully self-reliant—writing, rapping, and producing everything himself—which has stacked almost 2 million streams and earned props from Wonderland Magazine, NOTION, CLASH Magazine, EARMILK, and airplay on NPR Music. His palette mixes Nas-level wordplay and Wu-Tang density with Detroit rawness, funk grooves, ’60s rock punch, and moody film-score vibes, making him a natural pull for anyone locked into 21 Savage, Young Thug, Playboi Carti, or A$AP Mob territory.

Sonically, it grabs you quick with an earworm refrain, then Jairic’s precise, high-energy bars ride a beat that opens sharp and energetic before the distortion creeps in heavier, adding that chaotic swell under the finesse.

Watch ‘Young, Old, Short & Tall’:

The Bastien Leblanc-directed video steals the show though—Jairic owns a massive, extravagant mansion, dancing fluidly and firing off witty bars in opulent rooms that drip wealth. That polished excess slams against the track’s gritty core, visually mapping his journey from underground Detroit to European high society; the contrast feels intentional and loaded, every shot reinforcing the tension between street roots and current elevation in a way that elevates the whole release.

Jairic shared: “There are so many beautiful people in the world—and then there’s a ton of hate and doubt. Be strong. Keep forging and let the fire burn inside. There are a thousand reasons to stop—forget them.“

Stream ‘Young, Old, Short & Tall’:

Follow Jairic:

Website – Instagram – Soundcloud – Youtube – Spotify

October 27, 2025

October 27, 2025October 27, 2025 Mew Zikwryder

‘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.“

Stream ‘We Were Called The Foxx’ ft Findlay Brown:

Follow Plain Mister Smith:

Instagram – Facebook – X – Soundcloud – TikTok – Youtube – Spotify

October 16, 2025

October 16, 2025October 17, 2025 Mew Zikwryder

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.