new music – Page 4

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’:

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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:

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February 16, 2026

February 16, 2026February 16, 2026 Mew Zikwryder

Business Unusual: Goodnight Moonshine Transform Burnout Into Quietly Powerful Folk-Jazz

This past weekend, Goodnight Moonshine, the duo of singer Molly Venter and guitarist Eben Pariser, shared Business Unusual, a record forged in the abrupt stillness that followed years of constant touring. When live music vanished in 2020 due to the pandemic, the couple found themselves deep in domestic life, raising three kids, including newborn twins, while wrestling with the logistical and emotional weight of staying creative under pressure.

These songs dive straight into the heart of tension: devotion collides with exhaustion, ambition wrestles with duty, and love weaves through the haze of fatigue. They reveal the bittersweet paradox of finally living the life you imagined, yet struggling to stay afloat. Musically, the album builds on folk foundations with a restless jazz spirit. Eben Pariser paints with sound, favoring texture and improvisation, while Molly Venter’s vocals are rooted and raw. Most tracks are captured live, pulsing with the tight chemistry of Adam Chilenski on bass and Ryan Sands on drums. Grammy Award–winner David Seitz’s, co-mix keeps the music’s soul intact, letting every detail shine. ‘Kitchen Table‘ that leans into pop melodies transforms everyday moments into vivid vignettes, and ‘Stars‘ closes the record with otherworldly harmonies and subdued instrumentalization that settle like a well-earned peace.

Before anyone could stream it, Goodnight Moonshine hand-delivered close to 1,000 copies directly to supporters, sidestepping impersonal algorithms in favor of real contact. Business Unusual reframes the mundane as evidence of quiet strength, acknowledging what gets lost in transition while insisting something tougher and more grounded can emerge.

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Spotify – Instagram – Youtube – Facebook

February 9, 2026

February 9, 2026February 9, 2026 Mew Zikwryder

Plain Mister Smith Delivers Hazy, Personal New Single, ‘Dream To Be Free’ with Jordan Klassen

Plain Mister Smith has released ‘Dream To Be Free’, his new single featuring Jordan Klassen, now available via Amelia Records/Symphonic following its February 6 release. The track is the fourth single from his upcoming album, due in spring 2026. The artist, a long-time guitarist in Canadian darkwave outfit Moev and current cellist with the Vancouver Philharmonic Orchestra, has built steady momentum as Plain Mister Smith with coverage from NPR Music, Wonderland Magazine, CLASH Magazine, NOTION, Under The Radar, Earmilk, METAL, Noctis Mag, and Atwood Magazine.

Split between Vancouver and London, Plain Mister Smith works where indie-folk clarity meets psych-rock drift, threading sharp lyrics through quieter reflective stretches. ‘Dream To Be Free’ connects directly to the worlds of Death Cab for Cutie, The War on Drugs, and Pavement. It moves between inward pull and lighter whimsy, built on bright, repeating keyboard lines over gently syncopated drum work. Layered instrumental shifts frame the direct, plaintive vocal exchange, evoking blurred images of cities rushing past in recollection.

Across this run of singles, Plain Mister Smith shows a clearer hand at the controls. He keeps dynamics tight, letting percussion breathe under melodic fragments while vocal lines overlap to heighten the emotional weight without overstatement. Bringing in voices like Jordan Klassen adds natural harmonic depth that fits into the arrangements rather than standing apart. The tracks cohere through deliberate choices, such as subtle tonal bends and careful negative space, rewarding close listening and pointing to an album with real structural unity, grounded in personal detail yet precise in execution.

Plain Mister Smith shared: “Dream to be Free’ is a mesmeric reflection on a decades-old trip to Kyoto, where memories came flooding back – how such a trip to a faraway place can seem like an ultimate act of freedom, or it can be a more subtle escape from home. This trip took place during Daimonji time, when locals light giant bonfires on hills around Kyoto to guide the spirits back to the spirit world. In a way, this trip felt like a return to a source of rebirth.”

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