It’s the irresistible groove of ‘Almosts And Re-Dos’ that immediately commands attention. Driven by infectious guitar lines and propulsive rhythms, the track brilliantly mirrors its themes of anxiety, repetition and self-doubt through recurring musical patterns and circular structures. Despite tackling deeply introspective subject matter, the song never loses its sense of momentum or joy. Instead, Birdvox transform vulnerability into something uplifting, weaving together intricate instrumentation, compelling vocals and unexpected twists into a listening experience that feels genuinely unlike anything else.

Meanwhile, ‘Wagtails’ takes listeners on an entirely different journey. Built around field recordings captured in the Cairngorms National Park, the instrumental piece unfolds like a walk through the Scottish landscape itself. Birdsong, layered vocals and a rich tapestry of instrumentation create a vivid sense of place, each new element adding colour and texture as the track evolves. Experimental yet deeply accessible, ‘Wagtails’ is a beautiful reminder of music’s ability to transport us somewhere else entirely. Together, these two tracks showcase Birdvox at their most ambitious, creative and utterly captivating.

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Along with the announcement, Chardiet shares single ‘WITHER AND WARP.’ The track came to life after a vivid dream about ego death in which the concept of self disappeared and Chardiet faded into the earth. Opening with the sticky sound of buzzing insects, the nearly nine-minute track manifests as a swamp of nasty drones and dense, cavernous guitars. “As rotting matter / I will make / A good mother / Wet nurse to carrion feeders / Suckling from my wither and warp,” Chardiet snarls in the opening lines. It’s a fitting introduction to an album that confronts our capitalistic society head on.

Speaking on the track, Pharmakon shares: “The lyrics for this song began with a euphoric and vividly hallucinatory dream. In it, “I” did not exist, simply was. Without memory, identity, or ego. Suspended outside of time – only present moment. Oblivion. Without true thought, merely sensations that felt as comforting as they were unfamiliar: I sensed the prickled growing pains of an extending root, and the tingle of minerals soaking through it. I heard a chattering flow of information pass through me, all chemical communication. A vague awareness collected slowly, of being the moss that cushioned a stone. Enraptured in the beauty of existence as a plant, a producer who takes only sun, air, and water to reciprocate multitudes in return.

“In this dream, I my “self” was dead. I had passed away into the earth, becoming part of it, or many parts of it – through the divine transfiguration of decay. And I was more content in this mode of being than I ever was with life as a human. This dream-logic hinged upon the hope that when we die, the body merely breaks down back into the energy that was trapped inside its’ matter. And all the carrion-eaters who might devour “you” will surely take “you” into “them”, rendering your death back into the folds of life. This song represents the ecstasy of that dream… joy in (a lack of) existence, the self scattered throughout many forms of being. How sweet the vision of a death without waste. But as always, we must awaken from such sweet dreams…”

Maggot Mass:

1. WITHER AND WARP
2. METHANAL DOLL
3. BUYER’S REMORSE
4. SPLENDID ISOLATION
5. OILED ANIMALS

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The London-based French musician today announces that she’ll be joining Scenic Route, a label renowned for selecting and nourishing rising stars for the release of her debut album, Eyes, due out on March 8.

Launching with a taste of what’s to come, today she also shares single ‘1/2’, a textural track that tells of the dichotomy between those who are selfless and those who are self-centred, and their need to merge as one. This duality is reflected in the industrial metallic echoes under Vanessa’s soaring vocals and the piercing strings of her chosen instrument, the violin.

Eyes:

1. Choice
2. Ballad
3. 1/2
4. Transition
5. Eyes
6. Pas
7. Eternal

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JFDR says Museum is “an album about clearing and healing; like breathing fresh strong air through your old self.” Inspired by the discovery of ideas lost to time after a period of creative stasis, its nine songs capture fleeting moments into a timeless monument. On the haunting lead single/video ‘Spectator,’ Ákadóttir’s voice is a glowing aura in a mist of glittering guitar and delicate instrumentation. “I am the spectator, I am the middle man,” she intones in a half-whisper before later asking, “How can I help you if I always get it wrong?”

“‘Spectator’ is an anthem for the codependent, a lullaby for the ones slightly codependent and for those who have never felt it; a mirror into the raw thought process of someone deep in the trenches of it,” JFDR says. “The video was made with my good friend Timothee Lambrecq, and the unmissable support from my husband Josh Wilkinson and old bandmate Áslaug Magnúsdóttir. The clouds represent thoughts, and getting swallowed by a big cloud is symbolic of the thoughts that can overtake you, when you lose your ground. I also wanted to reference the album and its artwork that centers around a statue, representing energy frozen in time. I truly hope this song makes someone feel seen. It can take a long time to learn to navigate big emotions, whether they’re your own or others’. I was feeling it at the time.”

Museum:

1. The Orchid
2. Life Man
3. Spectator
4. Air Unfolding
5. Flower Bridge
6. Valentine
7. Sideways Moon
8. February
9. Underneath The Sun

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Following her highly acclaimed 2020 album Loom, in which Gately channelled the loss of her mother through sounds captured from earthquakes, elephant trumpets, cantaloupe stabs and more, she returns with a new clutch of gathered sounds to continue the intimate look at her maternal line. Fawn / Brute is 11 songs of innocence and experience exploring the light and dark of childhood energy following the birth of her first daughter. It’s an album of two halves, moving from the effervescence of early years to the defiance and turbulence of teenage angst.

The album is dedicated to Gately’s young daughter Quinn, born in 2021 and single ‘Fawn’, taken from the first half of the album, is a love letter to her. Meanwhile accompanying single ‘Brute’ embodies the darker second half of the record, its massive basslines constructed from the manipulated rattling of cardboard shoeboxes.

Gately comments: “‘Fawn’ is an attempt to capture the delirium and mania of new parenthood. The song’s instrumental is meant to capture the buoyancy and enthusiasm of youth while lyrically acknowledging the doubt and uncertainty of one’s new role as “parent”.’Brute’ is a love song for old vices, a reminder that parenthood doesn’t automatically mature us into respectable people. The song is a tug of war between responsibility and nonchalance; a struggle that is only intensified by the relentless demands of parenting.

“Together, the songs symbolize the dichotomy of parenthood. You’re a new person, guided by a fierce protective love, but you’re also still the same old bastard. You’re cranky when you don’t sleep and you lie to yourself about how many ounces are really in one glass of wine. You do the best you can and you pray things will turn out well enough… but really, you’re just winging it.”

Fawn / Brute:

1. Seed
2. Howl
3. Fawn
4. Cleave
5. Peeve
6. Scale
7. Meat
8. Brute
9. Chaw
10. Tame
11. Melt

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