new music – Page 2

May 8, 2026

May 8, 2026May 8, 2026 Mew Zikwryder

Giora Charts New Territory with the Release of FREEWAY EP

Giora is a London-based artist whose work includes singing, songwriting, production, performance, creative direction and sound art. On May 1, they released the FREEWAY EP on their own label, Holypop. Giora began their musical training in North London with classical piano, voice and music theory, later joining bands as a teenager. They studied orchestral composition at Juilliard in New York, which shaped their self-taught approach to electronic production and led to their debut release in 2020. Their 2023 album It’s So Quiet But I Hear You, received strong support from CLASH Magazine and features in NOTION and Wonderland Magazine. Giora has performed with artists such as Isabella Lovestory, Varg, Babynymph, Elisabeth Elektra, Puce Mary, Kelora and Felix Lee, and at events including CREEPY TEEPEE Festival in the Czech Republic, KWIA in Berlin, Bike Jesus in Prague, and London venues such as Gossamer Fog, Spanners, The Divine and The Glory. They have created sound installations for exhibitions at Rich Mix and Stanley Arts, and run Holypop, a label that promotes live events for queer experimental artists from the UK and Europe.

The FREEWAY EP explores experimental pop, addressing themes of existentialism, liberation, personal power and truth. It is one of Giora’s most revealing works and will appeal to fans of Depeche Mode, SOPHIE and Charli XCX. Produced and mixed by Giora with Czech producer Oliver Torr, and mastered by Canadian composer Zac Tiessen, the record opens with the title track’s syncopated drums, swirling synths and deep bassline. It continues with ‘EARTHQUAKE,’ featuring rave-inspired synths and a sweeping soundscape, followed by the vulnerable ‘POWER CANDY’ with lush synths, a breakbeat chorus and guitar motif. The stripped-back ‘GOD’S GIFT’ precedes the centerpiece ‘LONG LIVE MUSIC,’ which uses 80s synths, commanding drums and a hypnotic melody to chart a personal journey to freedom through music. The EP concludes with ‘IN THE END,’ blending breakbeats, experimental electronica and trance to celebrate living beyond the binary.

Giora had this to say: “This EP is a statement piece about freedom, truth and love. The freeway is a promise of openness, travel, connection. It is an expression of human nature. Freedom is yours to build not at the expense of anyone or anything else. The free way is acceptance, transformation and the ability to be exactly as you please…staying real and holding your own power and doing it with love.“

Stream the Freeway EP:

Follow Giora:

Website – Instagram – Facebook – Soundcloud – TikTok – Youtube – Spotify

April 30, 2026

April 30, 2026April 30, 2026 Mew Zikwryder

Ollie Hunt Turns SPEEDY Into a Declaration of Pop Independence

Ollie Hunt does not want to walk forward; he wants to overtake in style. On ‘SPEEDY’, the Melbourne artist activates a fantasy of self-upgrade with glossy video-clip energy, a 2000s R&B pulse and an attitude that asks for no permission. The track moves with the confidence of someone who has already left doubt, emotional baggage and anyone unable to keep up firmly in the rear-view mirror.

The production has a flawless surface: tight drums, polished melodies and a hook built to linger after the first listen. There is something of Justin Timberlake’s sleek hedonism, Pharrell Williams’ rhythmic precision and the victorious coolness that connects with Tate McRae’s current pop universe. But Ollie Hunt does not simply copy references; he filters them through his own sensitivity, one that feels more confessional, more image-conscious and more aware of the emotional weight sitting beneath an apparently effortless pop song.

‘SPEEDY’ works because it turns “moving on” into a mental choreography. There is no excessive drama, no victimhood, no need to explain the wound. There is speed, style and a nearly cinematic confidence. It is a song about no longer justifying your growth to people who could not grow with you. Instead of looking back in anger, Hunt accelerates.

The context matters too. After the organic impact of ‘Running Back’, the growing reach of his EP Prelude and the strong response to ‘Ah!’, Ollie Hunt is starting to look like much more than a local promise. His world connects pop, fashion, vulnerability and global ambition with unusual clarity for an emerging artist. ‘SPEEDY’ does not just add another single to his catalogue; it points toward a sharper direction.

Stream ‘SPEEDY‘:

April 28, 2026

April 28, 2026April 28, 2026 Mew Zikwryder

MIN t Unveils ‘Last Day,’ a Vulnerable Electronic Prelude to ‘Before The After’

(MIN t / Image Credit: Wiktoria Rcyhlewski)

MIN t returns with ‘Last Day,’ released April 28 as the second single from her forthcoming album Before The After, out May 8. Now based in Berlin, the Polish-born producer and vocalist has built a formidable live reputation, supporting acts like HVOB, Angel Haze, Jess Glynne, and Vitalic, and performing over 300 shows at major festivals including Reeperbahn, Off Festival, Orange Warsaw, Open’er, and Y Not. Last autumn, she toured Europe alongside Saya Noé and OIEE, with stops in Budapest, Prague, Berlin, Warsaw, Wrocław, and Bochum. A Berklee College of Music alumna and the first Polish woman mentored by renowned engineer Susan Rogers, MIN t continues to carve out a distinct space in the electronic landscape.

Her 2021 album Shot To Pieces, co-produced with Leo Abrahams (Adele, Jon Hopkins, Brian Eno, Regina Spektor), marked a pivotal moment in her evolution. Classically trained from age seven in Wrocław, MIN t’s musical journey spans theatre, ballet, and a teenage immersion in jazz, electronic, pop, and soul. By sixteen, she was writing and performing in bands; by eighteen, she was self-producing in Ableton, forging a sound that resists genre boundaries and draws on influences from Aphex Twin and Autechre to Charli XCX, D’Angelo, FKA twigs, and Aretha Franklin.

Produced and mixed by MIN t, mastered by Conor Dalton, and co-written with her sister Patrycja Kubicz, ‘Last Day’ unfolds over swirling, breakbeat-inspired rhythms that avoid tipping into aggression. Drums ebb and flow beneath her silken vocals, lending weight to themes of mortality, destruction, and existential drift, yet imbuing them with a subtle sense of solace. The arrangement is carefully balanced: lyrics linger with the ennui of an ending both imminent and ongoing, while the production keeps the low end warm and the upper layers spacious, rendering the track intimate rather than catastrophic.

MIN t revealed: “The end of the world as we know it is approaching fast. Or maybe it’s already here? It’s easy to get lost in the flood of cruelty, disasters, and wars. They quickly become mundane, blending into one grotesque vision. Meanwhile, the illusion of comfort only serves as a reminder of our helplessness. The song ‘Last Day on Earth’ is about that very sense of boredom that refuses to fade, and about giving up the fight—even for one’s own survival.”

Stream ‘Last Day’:

Follow MIN t:

Website – Instagram – Facebook – Soundcloud – TikTok – Youtube – Spotify

March 9, 2026

March 9, 2026March 9, 2026 Mew Zikwryder

Lunar & The Deception Break Boundaries With Atmospheric Debut ‘The Somnambulist’

Lunar & The Deception released their first album The Somnambulist on March 6, 2026 through X-Ray Sound, alongside the lead single ‘Ezeru Kazpam’. The band centers on vocalist Britt Xyra Dusk, who grew up between Durban and Nelspruit before moving to the UK. She also handles the group’s visuals, which are rooted in ancient deities, sorcerers, and warrior imagery drawn from her years in professional costume design. Percussionist Hedge Seel developed his playing style during extended time in Southeast Asia and India. Thomas Hammond contributes dub production and Greg Chapter serves as sound engineer. The group built early momentum by opening for Pussy Riot at Glastonbury Festival in 2016 and 2019, playing London venues, and appearing at the 2022 Sync Summit Music Conference. Their previous single ‘Your Monsters’ premiered on LOCK Magazine and received support from Nieuweplaat, followed by Artist of the Week recognition from Richer Sounds and a 9/10 score in Powerplay Magazine. They worked with co-producer Michael Rendall, whose résumé includes The Orb, Peter Murphy, and Killing Joke, to shape an album that sits between indie rock, dream pop, darkwave, gothic, and neo-psychedelia, drawing from Led Zeppelin, Radiohead, Tool, Evanescence, Portishead, and Esben & The Witch.

The Somnambulist drifts effortlessly through its influences, weaving atmospheric electronics with pulsing rhythms and richly textured guitars to create a sound that feels intense and intimate. The album opens with ‘Ezeru Kazpam‘, where gentle piano chords set the stage for a spoken-word passage challenging society’s fixation on wealth, before Dusk’s haunting, echo-laden vocals emerge. As the track unfolds, a steady beat and surging guitars build a dense, swirling crescendo that brushes against the edges of shoegaze. In its final moments, the song strips away its layers, leaving only the piano and ghostly echoes behind.

Lunar & The Deception had this to say on the album: “We recorded the album in a secluded studio in Oxfordshire called Woodworm Studios. Originally set-up by David Pegg of Fairport Convention, it is now run by engineer Stuart Jones who did a meticulous job of recording the album with the added benefit of the unique acoustics due to the high ceilings – the studio having been converted from an old church.”

The Somnambulist Tracklist

1. No More Secrets
2. Ezeru Kazpam
3. Your Monsters
4. The Great Bison
5. Storm
6. Eclipse
7. The Way Down.
8. We Looked The Other Way

Stream The Somnambulist: