Decent Music PR

LISTEN HERE | MEDIA ASSETS

For Fans Of: The Beatles, The Rolling Stones, The Lemon Twigs
Genre: Rock ‘N’ Roll

Rock ‘N’ Roll is alive and well, and Atticus Roness is leading the charge. With infectious melodies, electrifying performances, and a deep appreciation for the golden age of rock music, Roness delivers his most ambitious work to date with the release of his new album, Rock ‘N’ Roll Hit Parade, available everywhere now.

Years in the making, Rock ‘N’ Roll Hit Parade has been evolving since 2021, with recording beginning in early 2026. The result is a collection of songs that feel naturally connected, each one contributing to an album that flows as a complete artistic statement.

“The inspiration was simple,” says Roness. “I wanted to make the album that I would want to hear.”

Across 13 tracks, Rock ‘N’ Roll Hit Parade explores everything from psychedelic pop and classic British rock to power pop, arena-sized anthems, and deeply personal songwriting. While its influences include legendary acts such as The Beatles and The Rolling Stones, the album never feels nostalgic for nostalgia’s sake. Instead, it channels the spirit of classic rock into something fresh, energetic, and unmistakably Atticus Roness.

The album opens with the hypnotic “My Congratulations,” featuring a choir, sitar, and a hidden backwards reference to the album title. Psychedelic highlights like “Birds” sit comfortably alongside infectious rockers such as “Trigger Finger” and the lead single “Lovebombs,” while emotional standouts including “It’s All” and the epic “Wives’ Tale” showcase Roness’ range as both a songwriter and performer.

Tracks like “Rubber Soul,” “Savior,” and “No Lie” blend irresistible hooks with vintage rock swagger, while the high-octane “Eyeliner” delivers one of the album’s most exhilarating moments. Roness’ favorite track, “I’ll Have Fun,” captures the warmth and vocal richness of classic pop, and the vulnerable closing song “Satisfied” provides a powerful and heartfelt finale that leaves listeners wanting to start the record all over again.

Produced by Brian Collins, Will Turpin, and Caleb Heiple, Rock ‘N’ Roll Hit Parade features a talented team of musicians and collaborators who bring Roness’ vision to life with warmth, authenticity, and explosive energy.

Album Credits

Atticus Roness: Chief Songwriter, Lead Vocals, Guitars, Keyboards, Xylophone
Brian Collins: Producer, Mixing Engineer, Harmonica
Will Turpin: Producer, Bass, Keyboards, Percussion
Caleb Heiple: Producer, Vocals
Jonathan Beckner: Engineer
Steve Rawls: Mastering Engineer
Stephen Grubb: Drums, Percussion
Radley Fenimore: Bass
Aidan McGehee: Creative Director
Photo credits: Matthew Fain (album cover), Garrett Cardoso, Rayna Sklar, Zayne Isom, Lane Bickett

Find Atticus Roness: Website

For more information, please contact: Danielle Holian | danielle.holian@decentmusicpr.com 

LISTEN HERE | MEDIA ASSETS

Dutch alternative indie rock band After Eight release their debut EP, The Reach, a five-song exploration of vulnerability, longing, love, and the things that can break us

Dutch alternative indie rock band After Eight are set to introduce themselves with their debut EP, The Reach. Written over the course of two years and recorded at Raiko Records with Stijn Donders, the five-track release captures the band’s ability to move between heavy, energetic rock and quieter, more fragile moments.

After Eight began in early 2023, when guitarist Jelle van der Sar was preparing to leave his childhood home. He and vocalist and guitarist Sonja Wilhart decided to mark the occasion with a garage concert. They performed mostly covers alongside two original songs. The audience reaction to those originals quickly convinced the musicians that there was something worth pursuing.

Drummer Joram van Noort joined the band in March 2023, reconnecting with Sonja after the two had made music together as teenagers. Not long afterwards, the band decided to focus exclusively on original material.

With this shift in vision, After Eight began searching for a bassist to expand their live sound and met Sako Milikian. When the search for an additional guitarist began, Sako suggested his former bandmate Tim Grootscholten. Tim joined as lead guitarist, completing the lineup that would define After Eight’s current sound.

Today, After Eight consists of Sonja Wilhart on vocals and guitar, Jelle van der Sar on rhythm guitar, Joram van Noort on drums and backing vocals, Sako Milikian on bass guitar, and Tim Grootscholten on lead guitar. Together, the five musicians have developed a polished and carefully considered live sound that combines their varied musical backgrounds.

The band’s music draws from indie rock, alternative rock, and folk rock, with elements of experimental rock, shoegaze, and post punk. Their influences range from Radiohead, Mother Mother, Nothing But Thieves, Deftones, Arctic Monkeys, Geese, Royal Blood, Big Thief, and Black Country, New Road to countless ideas discovered beyond the boundaries of rock and folk.

Much of After Eight’s songwriting begins with Sonja, whether it is a lyric, an idea, or a feeling. From there, songs develop collectively during band sessions, often taking unexpected turns along the way. A bridge might shift direction, or an arrangement might create a moment that catches the listener off guard. The result is music that can be loud and intense one moment, then intimate and vulnerable the next.

“The Reach is about the experiences that make us human,” says the band. “The pain of running away, the complexity of loving, the choices we make, and the feeling of longing for something while being afraid of it at the same time. The things that touch you most are also the things most capable of breaking you. The Reach finds beauty in that vulnerability. It’s loud where it needs to be, but fragile where it has to be.”

The EP opens with “Dress And A Veil,” a song about imagining a future with a partner, only to discover that the future you built in your head will never happen. It explores the anger and grief that come with letting go of that imagined life.

“Blinded” explores the comfort of a warm and uncomplicated connection with a good person, alongside the realization that they are not the person you are meant to be with.

On “All By Myself (So Quiet),” After Eight explores the desire for connection, warmth, and comfort, while confronting the fear of both loneliness and intimacy. The song lives in the tension between wanting someone close and finding safety in your own company.

“Running Just To Hide” turns towards escapism, capturing the instinct to run from the things that feel impossible to face.

The EP closes with “The Medicine You Take,” a song about choosing someone else’s wellbeing even when it conflicts with your own desires. It also explores the fear that expressions of love may not be sincere and the lingering anxiety that, eventually, everything could return to the way it was before.

For After Eight, The Reach represents the culmination of two years of writing, recording, and developing their sound. What began as a spontaneous garage concert has grown into a five-piece band with an ambitious and distinctive approach to alternative rock.

After Eight make music for people who want something they can scream or sing along to in the car, dance to in their living room, or listen to late at night with a glass of wine. The Reach invites listeners into that space, where intensity and vulnerability can exist side by side.

Tracklist

1. Dress And A Veil

2. Blinded

3. All By Myself (So Quiet)

4. Running Just To Hide

5. The Medicine You Take

Artist Bio

After Eight is an alternative indie rock band from the Netherlands. Loud and energetic at times, quiet and moody at others, the band combines indie rock, alternative rock, and folk rock with touches of experimental rock, shoegaze, and post punk. The band consists of Sonja Wilhart (vocals and guitar), Jelle van der Sar (rhythm guitar), Joram van Noort (drums and vocals), Sako Milikian (bass guitar), and Tim Grootscholten (lead guitar). With each member bringing a different set of musical influences, After Eight creates an authentic, experimental, yet accessible sound that moves between heavy and fragile.

Genre: Indie rock, alternative rock, folk rock
Additional influences: Experimental rock, shoegaze, post punk
Debut EP: The Reach
Recorded at: Raiko Records
Produced and recorded with: Stijn Donders

Find After Eight:

Spotify: After Eight on Spotify
YouTube: After Eight on YouTube
Instagram: @aftereightband on Instagram
TikTok: @aftereightband on TikTok
Website: aftereightofficial.com

PR: Danielle Holian, danielle.holian@decentmusicpr.com 

LISTEN HERE | MEDIA ASSETS

Award-winning Dutch composer, guitarist and producer Guy Renardeau, known as The Blues Guy, presents The Blues Guy & The SHADES OF BLUE: Colours in Your Mind, a seven-song contemporary blues album bringing together an international cast of acclaimed vocalists and musicians.

Spanning seven tracks and 26 minutes and 51 seconds, The Blues Guy & The SHADES OF BLUE explores pain, love, resilience, ambition and self-expression through a modern blues sound shaped by rock, Jazz, soul, R&B, ambient music and cinematic composition. 

At the heart of the project is Guy Renardeau, a Dutch music virtuoso based in Los Angeles whose career crosses the worlds of blues, rock, film and television composition. A headliner at the international Jimi Hendrix Music Festival, Renardeau has served as lead guitarist and songwriter for the Gothic rock band Lemming and Guy Renardeau Stream and has performed alongside artists including DJ Kypski, Jimmy Grego of Lenny Kravitz and Scott Henderson, Hans Dulfer, Omar Dykes, Snowy White and Ten of Gotcha.

Renardeau’s work has received recognition from numerous international music and film organizations, including the Hollywood Music in Media Awards, Hollywood Independent Music Awards, Clouzine Music Awards, International Sound and Film Crystal Pine, American Music Awards, Hollywood Songwriting Contest, FilmHaus Berlin, Lonely Wolf, Europe Movie Music Awards, Independent Filmmakers Showcase, Maverick Movie Awards, Global Music Awards, Toronto International Film Festival, Emmy Award recognition, Worldfest-Houston International Film Festival, EIMA Awards and World Entertainment Awards.

A GRAMMY®-voting member, BAFTA and European Film Academy jury member, and World Soundtrack Awards Academy voting member, Renardeau brings his cinematic approach to songwriting and production to Colours in Your Mind. The album was produced, engineered and largely performed by Renardeau at Apollo Recording & Film Studio.

The Blues Guy & The SHADES OF BLUE is defined by its international collaboration, with each song introducing a distinct voice and perspective.

Award-winning singer-songwriter Glenda Benevides contributes two powerful performances, “Addicted to the Pain” and “Love on My Mind.” Known for a commanding voice rooted in blues and soul, Benevides combines emotionally charged storytelling with lyrics exploring life, love, personal experience, empowerment and unity.

American award-winning singer-songwriter Class Vee appears on “Nonsense” and “Beautiful Words.” Her energetic and versatile style blends contemporary pop and R&B influences with a touch of nostalgia, creating a personal and charismatic presence across both tracks.

On “Harmonica Blues,” Renardeau is joined by Polish harmonica virtuoso Łukasz “Wiśnia” Wiśniewski. Founder and frontman of Kraków Street Band and Hard Times, as well as the Łukasz Wiśniewski Trio, Wiśniewski is recognized for his stage charisma, emotional performances and exceptional command of the harmonica. His career began professionally in 2005 after winning first prize at the Bydgoszcz Harmonica Meeting, Poland’s major harmonica festival. He has twice been nominated for the prestigious Polish Fryderyk Awards and is an experienced harmonica educator and JDR Harmonicas endorser.

Canadian singer, songwriter and actor Melody McArthur, also known as Kristen McArthur, contributes the lyrics to “Heartache’s on Me.” A multi-award-winning artist from Northern Alberta, McArthur is known for powerful, emotionally driven performances across music and theatre. She was formerly the lead in the touring musical Bear Grease, including its 2025 off-Broadway debut in New York, and is scheduled to star in the world premiere of Rose at Canada’s National Arts Centre in 2026.

Los Angeles-based Dutch-Indonesian soulwriter KIA Knoester brings alternative R&B and soul influences to “Watch Me Work.” Her work has earned recognition including the John Lennon Songwriting Contest and Howard Rosen Promotion Talent Search, while her R&B collaboration “Together” with Adam Wilson won Best R&B/Soul at the Hollywood Independent Music Awards. Her songwriting has been praised for its honesty and emotional resonance, and she has also contributed to a Grammy-nominated album.

Together, these artists create an album that moves beyond traditional blues conventions while retaining the genre’s emotional core.

The album opens with “Addicted to the Pain,” featuring Glenda Benevides, before moving into the sharp and contemporary “Nonsense” with Class Vee. “Harmonica Blues” places the spotlight on Łukasz Wiśniewski’s harmonica playing, while Melody McArthur brings a deeply emotional perspective to “Heartache’s on Me.”

KIA Knoester delivers “Watch Me Work,” followed by Class Vee’s second contribution, “Beautiful Words.” The album closes with Benevides on “Love on My Mind,” completing a musical journey through vulnerability, strength, relationships and personal expression.

Across all seven tracks, Renardeau provides the compositions and instrumental performances, creating a unified musical foundation beneath the individual artists’ distinctive voices.

Album Tracklist

1. Addicted to the Pain featuring Glenda Benevides
   Lyrics/Vocals: Glenda Benevides
   Composition/All Instruments: Guy Renardeau
2. Nonsense featuring Class Vee
   Lyrics/Vocals: Class Vee
   Composition/All Instruments: Guy Renardeau
3. Harmonica Blues featuring Łukasz “Wiśnia” Wiśniewski
   Composition/All Instruments: Guy Renardeau
   Blues Harp: Łukasz Wiśniewski
4. Heartache’s on Me featuring Melody McArthur
   Lyrics: Melody McArthur aka Kristen McArthur
   Composition/All Instruments: Guy Renardeau
5. Watch Me Work featuring KIA
   Lyrics/Vocals: KIA Knoester
   Composition/All Instruments: Guy Renardeau
6. Beautiful Words featuring Class Vee
   Lyrics/Vocals: Class Vee
   Composition/All Instruments: Guy Renardeau
7. Love on My Mind featuring Glenda Benevides
   Lyrics/Vocals: Glenda Benevides
   Composition/All Instruments: Guy Renardeau

The Blues Guy & The SHADES OF BLUE was produced and engineered by Guy Renardeau at Apollo Recording & Film Studio.

Producer, Mixer & Mastering Engineer: Robert McGilpin, BMC Music
Poster: Gene Williams
Vocal Engineering: Gene Williams, Mindspawn Mastering
Class Vee Vocal Recordings: Eric Maldonado, Paris Recording Studios

The album represents Renardeau’s continuing commitment to bringing together artists from different backgrounds and musical traditions, using contemporary production to explore the enduring emotional language of the blues.

Spotify, LinkedIn, SoundCloud, IMDB, Website

For more information, please contact: Danielle Holian | danielle.holian@decentmusicpr.com 

LISTEN HERE | MEDIA ASSETS

Dutch singer-songwriter Lily Franc announces debut EP The Fitting Room, a coming-of-age record about identity, expectation and self-acceptance

Rising Dutch singer-songwriter Lily Franc will release her debut EP, The Fitting Room, a six-track collection of interconnected character studies exploring the complex journey into adulthood. Blending indie pop, country pop and folk influences with touches of Broadway, funk and her signature violin arrangements, the 21-year-old artist delivers a deeply personal record that speaks to anyone navigating the space between who they have been and who they are becoming.

At the heart of The Fitting Room is a simple but powerful metaphor. A fitting room is not just a place to try on clothes. It is where we stand alone with ourselves, questioning what truly fits and what no longer belongs. Across six songs, Lily examines the expectations we inherit about success, love, relationships and identity, inviting listeners to consider which versions of themselves they are finally ready to leave behind.

“The fitting room isn’t somewhere you stay,” says Lily. “It’s the place where you decide what you’re taking with you when you leave. Every song explores someone letting go of something that no longer fits, whether that’s an expectation, a relationship, a fantasy or a version of themselves.”

The EP opens with burnt out gifted kids club, an empathetic portrait of a young woman whose identity has become inseparable from achievement. fun sponge combines playful funk influences with sharp observations about the pressure to appear emotionally detached. under the weather reflects on unresolved heartbreak and the emotional distance required to truly move forward. old leather jacket transforms what begins as a story of unrequited love into one of acceptance and self-worth. soldier explores emotional equality in relationships and the importance of supporting one another without losing yourself. Closing track for old times sake offers the emotional resolution of the record, recognising that nostalgia can be honoured without allowing it to define the future.

Throughout the EP, Lily approaches every character with empathy rather than judgement. There are no villains, only people carrying expectations, insecurities and experiences they may not yet understand themselves.

Lily Franc has quickly established herself as one of the Netherlands’ most promising emerging singer-songwriters. She studied at the Young Pop Academy at the Conservatorium of Amsterdam, won first prize in the music category at Kunstbende Overijssel in 2023 and participated in Metropool’s Songmidse talent development programme in 2025. For the 2026 to 2027 academic year, she was awarded the Universal Voice Institute’s fully funded study place, an honour presented to just one singer each year.

A classically trained violinist since the age of five, Lily has won multiple awards before turning her focus to songwriting at sixteen. Today, the violin remains an unmistakable part of her sound, woven throughout every production as a musical signature.

Spotify listener data shows strong crossover with fans of Taylor Swift, while listeners have also drawn comparisons with Olivia Rodrigo, Dolly Parton, Carole King, Gracie Abrams and Joni Mitchell. Yet The Fitting Room firmly establishes Lily Franc’s own artistic voice: thoughtful, emotionally honest and unafraid to ask difficult questions about growing up.

Rather than asking “Who am I becoming?”, The Fitting Room poses a different question: “Who do I no longer have to pretend to be?”

About Lily Franc

Lily Franc is a Dutch singer-songwriter whose music blends indie pop, country pop and folk influences with cinematic violin arrangements and lyrical storytelling. Her songs explore vulnerability, resilience and hope through relatable narratives and memorable melodies. With a growing audience and recognition from leading music institutions, Lily is emerging as one of the most compelling new voices in Dutch pop.

FIND LILY FRANC: INSTAGRAM, TIKTOK, SPOTIFY

For more information, please contact: Danielle Holian | danielle.holian@decentmusicpr.com 

LISTEN HERE | MEDIA ASSETS

Acclaimed songwriter continues his exploration of the personal and political with two cinematic new releases blending jazz traditions, orchestral arrangements, and incisive social commentary.

Following the critical success of his debut EP Sunshine Goldmine, award-winning singer-songwriter Miles Jenson returns with two ambitious new singles, “Against My Best Interests” and “North Star,” both orchestrally arranged and produced by Vincent Ott. The releases further establish Jenson’s reputation as a fearless artist whose work occupies the space where intimate confession and social examination collide.

Drawing inspiration from artists such as James Blake, Donny Hathaway, and Otis Redding, Jenson continues to forge a genre-defying sound informed as much by the soul traditions of Stax Records as the adventurous artistry of Radiohead and Fiona Apple. The two new singles expand his sonic palette through lush orchestration and jazz-influenced songwriting while confronting themes of self-sabotage, class consciousness, racism, and collective disillusionment.

“Against My Best Interests” finds Jenson turning inward. Inspired by Chet Baker and Billie Holiday’s iconic interpretations of the jazz standard “Everything Happens to Me,” the song explores the uncomfortable middle ground between self-improvement and self-destruction. Built around classic jazz structures and sophisticated modulations, the track examines the reality that growth rarely arrives free of contradiction.

“Jazz music has an inherently bittersweet throughline that readily offers itself to exploring topics like self-sabotage,” says Jenson. “I was thinking about how self-improvement, at least in my case, doesn’t always exist without the vestiges of a vice riding shotgun. I may be generating a net positive, but that doesn’t mean I’m not simultaneously engaging in destructive behavior. The grey area between blossoming and imploding is where most of us actually live.”

The result is a composition that pairs romantic, sunlit melodies with darker emotional undercurrents, embodying the tension at the heart of its subject matter.

By contrast, “North Star” directs its gaze outward. Written while Jenson was in Austin, Texas, amid national conversations surrounding political extremism, immigration, and trans rights, the song interrogates the relationship between class inequality and racial division in America. Looking out over downtown Austin beneath half-mast American flags, Jenson found himself reflecting on how economic insecurity and systemic deprivation are often redirected into fear, resentment, and bigotry.

“At the root of hate is fear,” Jenson explains. “American fear is born from resource deprivation that informs a scarcity mindset, while capitalist mythology tells us that meritocracy will solve everything. North Star is about the intersection of white supremacy and classism—the promise of a better tomorrow that keeps moving further away while people are encouraged to blame their neighbors instead of the systems that exploit them.”

The song presents a stark portrait of a society fractured by misinformation and manufactured divisions, while ultimately calling attention to the common struggles that unite working people across lines of race and identity.

The two singles arrive on the heels of growing recognition for Jenson’s work. His debut EP, Sunshine Goldmine, produced by Grammy-winning duo King Garbage, known for collaborations with Jon Batiste, The Weeknd, and Leon Bridges, earned widespread praise for its theatrical soul, immersive production, and unflinching exploration of racism, classism, addiction, obsession, and personal transformation. The EP’s title track was awarded Best Indie Song of 2025 at the Indie Boulevard Music Awards and helped secure coverage from outlets including Tinnitist, Music Mecca, York Calling, Raised By Cassettes, Onstage Magazine, and V13.

Jenson’s artistic journey has been equally unconventional. After achieving sobriety and signing a record deal in Atlanta, he ultimately left the label in pursuit of greater creative freedom, relocating to Los Angeles and independently refining his distinctive sound. A bold cold call to producer King Garbage eventually led to a creative partnership and the creation of Sunshine Goldmine.

Now, with “Against My Best Interests” and “North Star,” Jenson opens a new chapter—one that embraces orchestral jazz influences while remaining grounded in the emotional honesty and social consciousness that have become his hallmark.

“I want someone to hear my music and say, ‘I’ve always struggled to name that feeling, and now it has a name,’” says Jenson. “That’s what it’s always been about for me. There’s something deeply comforting about hearing your experience articulated in a song.”

Both singles were orchestrally arranged and produced by Vincent Ott. Jenson is also currently at work on his debut full-length album with King Garbage.

About Miles Jenson

Miles Jenson is a Los Angeles-based singer-songwriter whose music combines soul, jazz, orchestral pop, and alternative influences into a cinematic and deeply personal sound. His acclaimed debut EP, Sunshine Goldmine, produced by Grammy-winning duo King Garbage, earned recognition for its fearless engagement with themes including addiction, identity, classism, racism, and self-evolution. With a growing national profile and a reputation for emotionally incisive songwriting, Jenson continues to challenge genre conventions while creating music that gives voice to complex, often unnamed emotions.

Instagram, Spotify

PR: Danielle Holian, danielle.holian@decentmusicpr.com 

LISTEN HERE | MEDIA ASSETS

Swedish artist, songwriter, producer, dancer and storyteller Lovisa Altin reimagines the classic “The End of the World” as the opening chapter of an ambitious musical universe.

Swedish artist Lovisa Altin introduces the beginning of her larger artistic story with “The End of the World,” a cinematic pop interpretation of the iconic song written by Arthur Kent and Sylvia Dee. Produced by Stefan Storm and Lovisa Altin, the release establishes the imaginative world that will shape her journey through music, storytelling, dance and visual expression.

“The End of the World” follows Lovisa through a dark, grey dystopian world where she feels trapped and knows she needs to escape. One day, while walking home from work, she notices a mysterious bright light breaking through the grey surroundings. Following the light leads her to a magical spaceship, one that can take her anywhere she wishes.

The spaceship becomes more than a means of escape. It becomes the gateway to Lovisa’s larger story.

Through the spaceship, Lovisa can travel between different universes, with each new album representing a new world, musical genre and chapter of her continuing adventure. “The End of the World” therefore serves as both a song and an introduction to the concept behind her artistry, where every project can have its own sound, visual identity and story while remaining connected to one larger narrative.

At its heart, the release explores the feeling of being trapped somewhere you do not belong and the desire to find a place where you can finally feel free. While its setting is dystopian and mysterious, the story ultimately becomes one of hope, imagination and the courage to search for something brighter.

Lovisa Altin is a Swedish artist, songwriter, music producer, dancer and storyteller who has been singing, creating and imagining stories for as long as she can remember. Even as a young child, she would invent stories for her teddy bears, revealing an imagination that would later become central to her artistic identity.

Her love of performing developed early. While travelling with her family, Lovisa found opportunities to sing on stages in countries including Italy and Bulgaria. In 2015, she appeared on the Swedish television music programme “Supershowen,” where she had the opportunity to sing and perform.

At around 14 years old, Lovisa released her first song, “Go Your Own Way,” beginning her journey as a recording artist. In 2020, she released “Phoenix,” a song that helped introduce her music to a wider audience and marked another important stage in her development.

Since then, Lovisa has continued to develop as both an artist and producer, experimenting with different sounds and transforming her ideas into complete songs and creative worlds.

Rather than limiting herself to one musical style, Lovisa sees each project as an opportunity to explore another side of her imagination. Her broader sound can be described as cinematic pop and genre-fluid music, drawing from pop, rock, country, disco, musical theatre and experimental production. Each album is designed to exist within its own universe and musical identity.

Lovisa’s artistic vision is inspired by artists who have transformed music into something larger than sound. The theatricality and genre-crossing ambition of Queen and David Bowie, the combination of music, dance, fashion and performance associated with Lady Gaga, and the cinematic world-building of artists such as Janelle Monáe and Melanie Martinez all resonate with her approach.

She also draws inspiration from legendary vocalists such as Whitney Houston, particularly through her appreciation for powerful and emotionally expressive singing.

With “The End of the World,” these influences become part of a concept that is uniquely Lovisa’s. Music, production, dance, performance and storytelling come together to create an experience designed to take listeners somewhere beyond the everyday.

For Lovisa, artistry is not simply about releasing individual songs. It is about building worlds that listeners can enter, explore and experience alongside her.

“The End of the World” is the first step through the door.

The music of Lovisa Altin marks the beginning of a journey through different universes, sounds and stories. With “The End of the World,” that journey begins in a grey world, with a mysterious light in the distance and a spaceship waiting to take her somewhere new.

Find Lovisa Altin: Instagram, Spotify

For more information, please contact: Danielle Holian | danielle.holian@decentmusicpr.com 

LISTEN HERE | MEDIA ASSETS

X&ND (they/them) is a funk and soul revivalist based in NYC, waking up the dance floor with the power of unadulterated joy and groove through the viral funk and disco movement known as WHO’S DANCING?

This campaign will focus on X&ND’s new album, WHO’S DANCING?, as well as the rapidly growing WHO’S DANCING? live events. I am beyond excited about the opportunity to push this release and the movement surrounding it.

X&ND shares: “WHO’S DANCING? is a rally cry of liberation, joy, expression, and autonomy. As an album and a movement, it serves as a response to stale nightlife, and a home for everyone that embodies the funk. As much fun as I had creating the album, living the album with the community that surrounds the movement has given a unique purpose, enjoyment, and freedom to my artistry. It feels like home. Funk is back. Disco is back. WHO’S DANCING?”

Consistently selling out local favorites like Friends & Lovers, Elsewhere, and legacy venues like DROM, X&ND’s no-phone live funk dance parties have become a destination for people craving genuine connection and collective joy. The Tampa-born artist is an undeniable force of joy and funk, blending pop sensibilities with disco grooves and creating a community that is finally getting its craving satisfied for an artist who prioritizes connection over clout.

Quietly gaining the attention of artists including Jojo, Hayley Williams, and Rama Duwaji, X&ND is building something that feels both nostalgic and entirely of the moment. Armed with basslines that punch straight to the chest and a horn section that could jumpstart a heart, X&ND and their band, The Liberation, build spaces where anonymity and rhythm meet.

WHO’S DANCING? is an urgent, celebratory invitation to put down the screen, look at the person next to you, and lose yourself in the collective sweat of a room moving to a singular groove. For anyone who thought the sweaty, unfiltered magic of classic funk and disco was a relic of the past, X&ND and The Liberation are proof that it is alive, loud, and happening right now on an NYC dance floor.

Accomplishments

• 8 consecutive sold-out events averaging 300-650 attendees
• Over 2,800 tickets sold
• Album release partnership with TIDAL that made the event free for the community during Pride Weekend
• A continued commitment to making nightlife more accessible and affordable, reflecting the core ethos of X&ND and WHO’S DANCING?

Album Credits

The album was written entirely by X&ND and produced solely with Nico Scali (RAGEFLOWER, Loretta), a longtime collaborator based in Sydney, Australia.

The album was created entirely over Zoom across a 14-hour time difference, utilizing Audiomovers plugins for lossless audio.

Mixed by Nico Mendoza (Boy Soda, Pania) and mastered by Chris Gehringer (Rihanna, Dua Lipa, Rosalía).

Creative direction by Jason Denison and X&ND.

Photo Credits

Creative Director: Jason Denison
Photos: Jason Denison
Makeup: Ashleigh Stewart
Styling: X&ND and Ashleigh Stewart

Tracklist

1. NEED THE FUNK
2. FUNK IS BACK (interlude)
3. LOSE TRACK OF TIME
4. SERVE
5. THE TRUTH
6. SWEAT
7. midnight in paris
8. you got it on
9. on the floor
10. more than a little
11. LOOSEN UP
12. FREAK
13. SWITCH
14. GET IT

Instagram, TikTok, Spotify, Website

For more information, please contact: Danielle Holian | danielle.holian@decentmusicpr.com 

A Bold Debut Where Folk, Art Rock and Urban Memory Collide

LISTEN HERE | DOWNLOAD ALBUM | CD BOOKLET | MEDIA ASSETS

Elizabeth Perran introduces February, a remarkable debut LP that establishes her as an artist with a singular voice, a strong literary sensibility and an adventurous approach to composition and arrangement.

Far from offering an easy introduction, February asks the listener to step fully into its world. Across nine tracks, Perran explores loneliness, ageing, memory, identity and survival through songs that feel cinematic, intimate and often unsettling. The album moves through nocturnal city streets, underground trains, isolated rooms and fractured memories, creating a landscape where beauty and decay exist side by side.

The title comes from “Reeds”, one of the album’s central compositions, and February proves an apt metaphor for the record as a whole. It is a month defined by endurance, suspended between the severity of winter and the promise of spring. That same tension runs throughout Perran’s songwriting. Her characters rarely receive simple resolution. Instead, they continue forward, carrying the weight of what has happened to them.

Musically, February draws from a broad and unconventional palette. The intimacy of British folk sits alongside elements of art rock, experimental music and orchestral songwriting. Warm analogue synthesizer textures recur throughout the album, creating a unifying thread beneath Perran’s often stark narratives. Piano, acoustic and electric guitar, Mellotron, woodwinds, saxophone and unusual rhythmic textures are deployed with considerable care, while Perran’s distinctive vocal presence gives the songs their emotional focus. Her performances are direct and assured, knowing when to push a line forward and when to leave space around it.

Perran’s songwriting is particularly striking for its observational quality. Rather than explaining the emotional lives of her characters, she allows details, images and fragments of memory to do the work. The result is writing that feels both literary and deeply human, with moments of vulnerability often presented without sentimentality.

Perran’s vocal performance gives the songs an equally distinctive presence. Her delivery can be direct and commanding, but also restrained when the material calls for it, allowing the emotional weight of the writing to remain at the centre. Across the album, the performances feel assured and unforced, with the voice and instrumentation working together to create a sound that is intimate, atmospheric and quietly powerful.

Among the album’s defining moments is “Old Woman Against the Winter.” Built around piano and Mellotron, the song portrays an elderly woman confronting loss, ageing and the disappearance of those around her. Its music carries a tension between fragility and defiance, mirroring a protagonist who refuses to surrender her sense of identity. The track stands as one of the album’s most powerful musical and lyrical achievements.

“Peregrine Man” offers another high point. Its restrained woodwind arrangement and unexpected harmonic movement create an atmosphere that feels almost timeless. At the centre of the song is an enigmatic figure who leaves a lasting mark on the narrator. Perran’s vocal performance is notably unadorned, allowing the emotional force of the song to emerge through the writing and arrangement.

Elsewhere, “I Remember Rain” establishes the album’s uncompromising tone from its opening moments, while “Sell Me an Old Man” demonstrates Perran’s ability to portray another human life with remarkable economy and empathy. “Reeds” serves as a crucial emotional and compositional turning point, bringing together sparse piano, electric guitar, keyboards and saxophone in an arrangement that embraces tension rather than smoothing it away.

The atmospheric “Summer” breaks from conventional song structure, functioning more like a tone poem, while “Dark, Dark, Dark” takes the album into its most unsettling territory. Its repetitive vocal patterns and layered harmonies create an almost ritualistic intensity, contrasting memories of a vanished past with stark images of urban deterioration.

“On the East Side Again” provides a more immediate and melodic moment before the album returns to darker territory. The closing track, “Pillars and Tile,” brings the record to a deliberately unresolved conclusion, combining unusual harmonic movement with imagery of machinery, trains, shadows and the city waking at dawn.

Tracklisting

1. I Remember Rain
2. Sell Me an Old Man
3. Reeds
4. Summer
5. Old Woman Against the Winter
6. Dark, Dark, Dark
7. Peregrine Man
8. Pillars and Tile
9. On the East Side Again (Full Version)
10. Summer (Full Version)

February is an ambitious and distinctive debut that refuses to conform to the expectations of contemporary singer-songwriter music. Perran’s compositions are harmonically adventurous, her arrangements are imaginative and her lyrics possess an unusual combination of precision and emotional restraint.

With this debut, Elizabeth Perran arrives not simply as a promising new songwriter, but as an artist with a clearly defined musical world of her own.

Spotify, Instagram, Website

For more information, please contact: Danielle Holian | danielle.holian@decentmusicpr.com 

LISTEN HERE | WATCH HERE | MEDIA ASSETS

Photo Credit: Ellie Patterson

Brooklyn-based, Budapest-born itinerant songwriter Atticus Kane shares ‘Love Me Not’, the latest single lifted from his album News From Delphi. A fast-paced, rocking song, ‘Love Me Not’ turns a deeply personal experience of immigration and belonging into a meditation on the contradictions of American identity.

Atticus Kane embodies analog love in an unjust world, writing songs that move between intimate experience and wider social uncertainty. On ‘Love Me Not’, that tension began with something as mundane as a robocall.

“The inspiration for ‘Love Me Not’ came from a string of robocalls I was getting from a Florida politician running on a harsh anti-immigrant platform. I used to live in Miami so I must still be on a list.”

As an immigrant himself, Kane found the calls difficult to reconcile with the mythology of America as a cultural melting pot built by generations of immigrants. That contradiction became the starting point for the song, which considers the increasingly charged question of who gets to qualify as a “real American.”

“The push and pull is where the ‘love me, love me not’ concept came from,” Kane explains. “I am proud to be an American immigrant, and I believe that if you love something you have to be honest and critical about its flaws. After all, dissent is the highest form of patriotism.”

Rather than offering an easy political statement, ‘Love Me Not’ sits inside that contradiction. Its lyrics capture the uneasy relationship between affection and disillusionment, where “loving you is like a crime” while somehow still managing to “cure me with what makes me ill.”

The song reflects the uncertainty of trying to love a place while confronting its failures, and the hope that criticism can be an act of commitment rather than rejection.

“I want to be part of the fight that ensures America continues to aspire to be a more perfect union where anyone regardless of their background, religion, or class, can realize their full potential.”

With influences and touchstones including Courtney Barnett, Sam Fender and Declan McKenna, Kane’s work occupies a space between indie rock, alternative pop, and indie singer-songwriter traditions. His songs are grounded in lived experience but never confined to it, using the personal as a way into larger questions of identity, belonging, politics, love, and what it means to believe in something imperfect.

Atticus Kane has gained support from the likes of Fame Magazine, Backseat Mafia, and Dancing About Architecture, adding another chapter to the story of News From Delphi and his ongoing exploration of what it means to make human, analogue music in an increasingly disconnected world.

‘Love Me Not’ is taken from News From Delphi by Atticus Kane.

Find Atticus Kane: Instagram, Spotify, Website

For more information, please contact: Danielle Holian | danielle.holian@decentmusicpr.com 

LISTEN HERE | DOWNLOAD ALBUM | MEDIA ASSETS

Australian alternative funk-rock and psychedelic outfit Scizzorman resurface with a seven-track trip through funk, glam, psychedelia, stoner rock and beyond.

After a post-pandemic hiatus and a lingering case of writer’s block, Australia’s Scizzorman are back with their bold new concept album, HOW TO GET YOUR LIFE RIGHT WITH WHAT’S LEFT.

Forming in late 2024, the songs emerged as a strange and colourful collection of observations, anecdotes and existential detours, all striving to find meaning in an increasingly dystopian world. Clocking in at just over 30 minutes, the seven-track album wastes little time taking the listener somewhere unexpected.

At the centre of Scizzorman’s melting pot is drummer and vocalist Terry J Vinci, whose outrageous lyrics collide with the slick, smooth bass of Cody Robson and the vibrant guitar and synthesizer work of Stewart Herbertson. Their distinct vocal parts add another layer to a sound that refuses to sit comfortably inside any single genre.

Heavy psychedelia meets glam pop, stoner rock, swamp blues, trip ambience and retro funk, with the band’s musical trajectory constantly shifting before somehow bringing everything together in half an hour. The album’s astonishing mix was shaped by seasoned sound engineer Adrian Vinci.

With influences spanning Red Hot Chili Peppers, Frank Zappa, Arctic Monkeys, Talking Heads, David Bowie, The Beatles, The Dandy Warhols and Jimi Hendrix, Scizzorman have created something distinctly their own. HOW TO GET YOUR LIFE RIGHT WITH WHAT’S LEFT is short, very sweet, and designed to dislodge the present tense.

From one track to the next, Scizzorman invite listeners to embrace the unpredictable, question the obvious and perhaps discover a few new values along the way.

TRACKLIST

1. The Lesser-known (Pts 1-3)
2. The Next Gen Is Broken
3. Narcissistic Nymphs Of The New Age
4. Cavalcades
5. The Great Unknown
6. Mystical Yeast
7. Get With The Program

Find Scizzorman: Instagram, Facebook, X, Spotify

For more information, please contact: Danielle Holian | danielle.holian@decentmusicpr.com 

Previous Press Support via Decent Music PR: The Other Side Reviews, Rolling Hype, Music Crowns, Urbansita Magazine, The Alternative Gig Guide, Music Times, Spinex, WeSpeakMedia2, melodrift music blog, iHOUSEu, FLEX Music Blog, Curious For Music, IGNITE Music Magazine