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January 19, 2026 Mitski Returns With Nothing’s About to Happen to Me, Set for February 27 Release

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 Mitski appears as a withdrawn figure holed up in a decaying gothic estate, watching as outsiders force their way in.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

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November 7, 2025 Seth Tabatznik Drops Intimate Indie Folk Single ‘Shining for Love’

Seth Tabatznik Drops Intimate Indie Folk Single ‘Shining for Love’

London-raised indie folk talent Seth Tabatznik kicked off a fresh chapter with the release of his new single, ‘Shining for Love’, out now via Moth Music. Just a year into releasing music since 2024, Tabatznik has already pulled in more than 100,000 streams worldwide, thanks in part to buzz around his last release, ‘Choose To Be Alive’, which caught ears at major publications like CLASH Magazine. On the stage front, he’s no slouch either—his first-ever gig at Boschendal Estate in Cape Town, South Africa, sold out fast. He followed that with another packed venue at Green Note in London’s Camden area. With a second full-length album slated for 2026, Tabatznik is staking a solid claim in the indie folk scene.

‘Shining for Love’ unfolds as a gentle acoustic piece, layering guitars and subtle string swells over light beats to frame Tabatznik‘s clear, devoted vocals. The track leans into subtle ways of seeing expressions of love in nature, keeping things lofty and afloat yet pulling you right in with its steady emotional pull, like the sway of leaves in a cool summer breeze.

Seth Tabatznik had this to say: “This song came to me in a forest, spoken by the elements around me. It was like nature took my pen and transcribed the lyrics into my notebook, accompanied by a simple 4 chord progression. I love how the song builds and accelerates as a celebration for life, love and nature. This song is all about nature and how her every action comes from a place of love. Every sound, every movement, is her way of expressing herself, as she is one being, of which we are a part, not apart.

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September 26, 2025 Three cities, one strike: the forward drive of ZOCO’s debut “Restless”

Three cities, one strike: the forward drive of ZOCO’s debut “Restless”

The appeal of “Restless” is its engineering of momentum. ZOCO plots a straight line from idea to impact: write a song about killing routine, gather a cast that can play it with feel, and record it where the energy lands on tape. Sessions rolled through Los Angeles (Licorice Pizza Records) and Milan (Massive Arts Studios), with vocals produced and recorded in Nashville—three cities, one coherent picture. Gunnar Nelson produces (and sneaks in harmonies), Kerry Brown oversees, and Stephen DeAcutis mixes for punch and headroom; Howie Weinberg masters with the kind of top-end confidence that survives playlists and broadcast alike.

Players matter: Carmine Rojas’ bass lines are fluid and song-serving; the drum chair is shared—Slim Jim Phantom brings brush finesse, London Hudson adds modern weight—giving the track its dual character of glide and thrust. Marco Zocco’s baritone sits center, guitar work drawing clean lines rather than monuments. The chorus—co-written and sung with brothers Paolo and Matteo—is engineered for participation, the “whoa”s cueing the room.

“Restless” reads as a mission statement for LUMANISTA (Part 1) (January 2026): alternative rock with cinematic side-lighting, pop-scale hooks without the plastic. It’s independent music with professional torque, and that combination tends to travel.

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September 25, 2025 Sam Macdonald Unveils Debut Solo Track ‘Distant Light’ with Northern Roots

Sam Macdonald Unveils Debut Solo Track ‘Distant Light’ with Northern Roots

Northern singer-songwriter Sam Macdonald dropped his first solo single ‘Distant Light’ on September 23, 2025, taking a big leap into independent territory. Coming from Carlisle, Macdonald has been creating music for over a decade, and has shared stages with heavy hitters such as The Brian Jonestown Massacre, The Telescopes, and Dead Skeletons, while building a name for himself in the indie scene. His sound pulls from childhood staples—Buddy Holly vibes and his dad’s old 50s and 60s tapes—mixed with Scouse and Northern icons like The La’s, The Coral, Shack, Echo & the Bunnymen, Oasis, and The Stone Roses. Add in classics from Neil Young, R.E.M., Teenage Fanclub, The Rolling Stones, plus Motown’s groove and hip-hop’s rhythmic punch, and you’ve got a foundation that’s shaped his knack for blending melody with beat.

The track itself is a quirky fusion of rock, pop, and soul elements, delivered with a melodic twist that’s anything but straightforward. Macdonald channels those varied inspirations into something intimate, sharpening the edges for a personal touch. Lyrically, it weaves themes of chasing freedom, transformation, and glimpses of what’s ahead, all wrapped in a sound that’s concise and punchy with an alternative slant that sets it apart from his group efforts.

This shift to solo work highlights Macdonald‘s drive for self-direction, moving away from team dynamics to own every beat and visual. Sam Macdonald shared: “I have learned a lot about what I want to make. This is a movement towards something that is not driven by trying to appease other people’s ideas of what is right and wrong. The basslines, the drums and everything else is all at my direction. The make-up of everything, audio, visual is all driven by myself.” He wrapped up his mindset with: “Rarely is anything set in stone or black and white I think is certainly one thing. And making the most of what is right for you in an artistic sense, staying true to yourself.”

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