Darrel Smith Jr. Lets the Tapes Bleed on 'Soul of a Locust'. Thick bass, slamming drums, and real insect field audio tear through the Arlington songwriter's latest cut.
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@telnhq.bsky.socialDarrel Smith Jr. Lets the Tapes Bleed on 'Soul of a Locust'. Thick bass, slamming drums, and real insect field audio tear through the Arlington songwriter's latest cut.
@telnhq.bsky.socialAllan Nova Pushes BandLab to the Red on 'Bluelight Glow'. Raw iPhone tracking, clipped synth pads, and late-night digital noise.
@telnhq.bsky.socialDoomsday Fanatic Finds a Groove in the Mess on 'Holy Roller'. Analog synths, live congas, and home life collide on Trevor Orriss' new cut.
@telnhq.bsky.socialTOXICWASTE-RSA Grabs the Mic on 'GODEMODE'. Raw home-turf bars and grime-level drive straight out of Freedom Park.
@telnhq.bsky.socialKATIE NOIR PICKS APART THE AFTERMATH OF OVERSHARING ON 'VULNERABILITY HANGOVER'. German songwriter trades glossy pop tropes for tight melodic bars and unvarnished panic.
@telnhq.bsky.socialNOCTVVRNM DIALS IN BLEAK BASEMENT SYNTHS ON 'MELANCHOLIA'. Sarajevo duo cuts through cold night air with icy drum hits and drenched eighties keys.
@telnhq.bsky.socialROB STRIPS BACK THE NOISE WITH 'RAIN'. Raw acoustic fingerpicking and sparse bedroom layers built for gray afternoons.
@telnhq.bsky.socialCharles Conway Calls Out the Internet Tough Guys on 'Blue Collars'. Alex Faultersack didn't write a single bar down, cutting this working-class venting session in two quick hours.
@telnhq.bsky.socialYG KRONIK Clears the Air in Twenty Minutes Flat on 'DIMINISHED'. Fed up with YouTube shorts clowning his name, Gabriel Richard fired up BandLab and knocked out a bitter 92 BPM response.
@telnhq.bsky.socialBRAY SMIZZI Brings Memphis Pavement to 'TRILL TALK'. BRAY SMIZZI unloads raw pre-game aggression over a trunk-rattling beat from the late producer T-BO.
@telnhq.bsky.socialharrywhodunit Bottles Dark Bunker Pressure on 'Love Dizzy'. Harry Swinton-Lee takes London jungle memories and drags them through a loose, 136 BPM garage-house grinder.
@telnhq.bsky.socialBigg Bu¢k Grinds It Out on 'Give Me More'. Paul Altman Jr links with Focuz Pocuz, building a lean motivational cut straight off browser apps and basic stems.
@telnhq.bsky.socialFlavour of the Day Knocks Over the Glass on 'Dark and Stormy'. Austrian guitarist Philipp Fischerlehner leans on heavy flanger swoops and cheap barroom blur to steer this raw instrumental.
@telnhq.bsky.socialConheg Chases Phantom Wreckage on 'Rest, Azoth'. Scrambling out of a three-year breakup, Tyler John Cunningham builds cold early-2000s rock tension without touching a live studio amp.
@telnhq.bsky.socialMystic Fever Boots Up the Hardware on 'When Angels Sing'. Belgian musician Kurt Vereecke steps away from his rock outfit to dial in 82 BPM chillsynth on a Korg workstation.
@telnhq.bsky.socialKieran Simkin Breaks Pattern on 'Dmitri My Talisman'. A heavy shift in perception pulled apart with real strings, mutating sampler loops, and zero cosmic fluff.
@telnhq.bsky.socialMassey's Cross Lets the Amps Breathe on 'Never Odd or Even'. Calgary duo Mark Templeton and Geoff Pascoe lean into open tunings, dusty wood, and dry Canadian prairie air.
@telnhq.bsky.socialJody Parsons Cuts the Noise on 'Searching in Space'. Tired of metal stages, the Canadian multi-instrumentalist heads into late-night cockpit solitude with reversed tape and live strings. 🎧
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@telnhq.bsky.socialMETAPHYSICAL Calls It Like He Sees It on 'It's Rough In Life'. Five years stuck unhoused around Skid Row condensed into a 75 BPM loop and cold, matter-of-fact verses. 🎧
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@telnhq.bsky.socialJamin Lee Kunkel Strips Things to the Wood on 'We Can Shine Like the Moon'. New Jersey solo act trades heavy production for a bare-bones bedroom psych drift.