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UK/NZ hip-hop artist Tru:FRAZ unveils a brutally honest collection of stories, confessions, chaos and self-reflection

Tru:FRAZ has released his debut album, Sesh Fiend Confession Tape, a raw and unapologetic collection of stories drawn from one of the most chaotic chapters of his life.

Rooted in UK underground hip-hop but refusing to stay inside any particular box, Tru:FRAZ combines storytelling, dark humour and brutally honest lyricism to explore partying, addiction, relationships, grief, self-destruction, mental battles and everything in between.

The album is presented as a collection of confessions rather than a polished retrospective. Across 16 tracks, Tru:FRAZ documents the highs, lows, ridiculous moments and darker realities of a period that shaped him both personally and creatively.

“There are a few versions of me that tend to show up along the way. Fraser’s the human underneath it all. Fraz is the artist who picks the madness apart and turns it into art. And Frazzle… well, he’s normally the culprit who makes the material interesting in the first place.”

That relationship between Fraser, Fraz and Frazzle sits at the heart of Sesh Fiend Confession Tape. The result is a project that can move from serious introspection to absurd humour without losing its sense of honesty.

Born and raised in England before moving to New Zealand, Tru:FRAZ describes himself simply as an “English Kiwi”. His music reflects that dual identity, combining the influence of the UK underground scene with experiences gathered during his years in Aotearoa.

His early musical influences ranged from Oasis and alternative rock to Eminem, Biggie and Wu-Tang, before he discovered the UK underground hip-hop scene through artists and groups including The Four Owls, Task Force, Split Prophets and Contact Play.

His move to New Zealand was partly driven by a desire for self-discovery and to learn more about his father’s roots. His father passed away in a motorbike accident when Tru:FRAZ was seven.

One of his final memories of him remains vivid.

“One of my last memories of him was watching him do the Haka at a wedding and split his trousers halfway through. Of course he carried on.”

Those memories, along with experiences from later life, feed into the themes explored throughout the album.

Sesh Fiend Confession Tape is also dedicated to Chloe, known to friends as Sploosh, whose influence played an important role in Tru:FRAZ beginning his music journey.

“She left a spark in me. This album was something I needed to make for myself, but I dedicate it to her. See you on the other side.”

Rather than attempting to explain every part of that story, Tru:FRAZ lets the music speak for itself.

The album campaign will centre around “MAD”, the project’s most recent creation and focus track. Tru:FRAZ has already created a full music video for the track and has a substantial collection of fresh footage and visuals to support the release.

Elsewhere on the project, “Where U Been?” holds particular significance as Tru:FRAZ’s first official single and his first experience properly editing a music video. The video brought together footage from Queenstown, New Zealand, beneath the M40 near Uxbridge and the cliffs of Portugal.

For playlist pitching, “Letter To My Soul” will receive particular attention. The unreleased track captures one of the project’s most personal moments, with Tru:FRAZ describing the final verse as a section that genuinely gave him “goosebumps” while writing it.

His own personal favourite, however, is “Stress”.

The Sesh Fiend Confession Tape tracklist is:

1. Confessions (prod. MANUEL)
2. Where U Been? (prod. Hidden Stash)
3. 27 Club (prod. MANUEL)
4. Benzodiazefraz (prod. MANUEL)
5. 3AM (prod. Daga)
6. Devils Advocate (prod. 3AM)
7. Window Sill (prod. 3AM)
8. Painting Pictures (prod. Lethal Needle)
9. Flowers (prod. DUX)
10. Bluff (prod. MANUEL)
11. Self Medicate (prod. Lethal Needle)
12. Letter To My Soul (prod. Balance Cooper)
13. Stress (prod. Lethal Needle)
14. Down (prod. Lethal Needle)
15. Fraser’s Eulogy
16. MAD (prod. MANUEL)

The project was written by Tru:FRAZ, with mixing and mastering handled by DUX. Production comes from MANUEL, Lethal Needle, DUX, 3AM, Balance Cooper, Daga and Hidden Stash.

Trying to find balance is a recurring theme throughout the Tru:FRAZ story.

“I’ve been saying ‘detox to retox’ for most of my Sesh Fiend era, which probably sums up the chaos pretty well. Always trying to find balance.”

That phrase sits alongside another idea that has stayed with him for years:

“Everybody’s hiding something. I think we’re all just looking for someone we can show it to.”

Together, those ideas capture much of what Sesh Fiend Confession Tape is about. Confession, vulnerability, self-destruction, humour and the things people keep beneath the surface.

For Tru:FRAZ, completing the album is an achievement in itself.

Five years into his current musical journey, Sesh Fiend Confession Tape represents the transformation of a difficult and chaotic period into a body of work he can be proud of.

“The biggest achievement for me personally has been getting this album finished and turning what was a pretty mad period of my life into an actual body of work that I’m proud of. Five years deep, but somehow I feel like I’m only just getting started.”

Following his move back to the UK from New Zealand at the end of 2025, Tru:FRAZ has been rebuilding his foundations in the UK, establishing a new home and setting up the Couch Records HQ again. He is also preparing to study Music Production & Sound Engineering at Point Blank Music School.

The next chapter will see him working increasingly closely with his Couch family.

An EP with his brother NO M!ND is in development, with a more experimental and gritty sound expected. Tru:FRAZ also has plans with Naphtali to form a rap duo and create a collaborative project built around alter egos and character-driven storytelling.

Beyond music, he is looking to reconnect with event promotion. During his time in Queenstown, he helped run Dubs In The Dungeon with his Deep Web crew, hosting nights featuring hip-hop, drum and bass, jungle and 140 music alongside local New Zealand talent.

While Sesh Fiend Confession Tape is heavily focused on documenting the past, Tru:FRAZ sees it as the beginning rather than the conclusion.

Future projects will place even greater emphasis on lyricism, perspective and storytelling, with the aim of painting pictures through his own lens while continuing to experiment with different sounds and characters.

There is also plenty more unreleased material waiting in the archive.

For now, Sesh Fiend Confession Tape opens the door.

This is Chapter 1.

Credits:
Artist / Writer: Tru:FRAZ
Mixing & Mastering: DUX (@ProdByDux)
Producers: MANUEL, Lethal Needle, DUX, 3AM, Balance Cooper, Daga & Hidden Stash

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

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“The personal story is the root. The dandelion is the metaphor. The otherworldly being is the storytelling vessel.”

Sophierce returns with “Senescence,” an ethereal and hypnotic electronic single that explores identity, validation, materiality and the quiet freedom that comes from letting go of the versions of ourselves we create for other people.

Written and produced entirely by Sophierce, “Senescence” transforms an intensely personal process into an otherworldly story. The track begins with the artist confronting how much of her life had become shaped by performance: different versions of herself created to feel liked, accepted and validated by others.

Those performances extended beyond personality. Perfection, agreeableness, material possessions, status and the image attached to them all became part of the equation. Over time, maintaining those versions of herself became exhausting.

“Senescence” emerges from the decision to stop constantly editing herself for acceptance. Instead, Sophierce began allowing herself to be more authentic, even when that meant being less perfect, less agreeable in a performative sense, or simply less easy for everyone to like.

That shift opened the door to something more meaningful. Genuine laughter replaced forced connection. Conversations became more thought-provoking. Relationships became increasingly rooted in shared values, curiosity, growth and happiness rather than approval.

The process also changed Sophierce’s relationship with material things. She still appreciates beauty, but she began questioning the source of that attraction. Does an object, place or experience hold personal meaning, or does its perceived value primarily come from branding, status or the social message attached to it?

For Sophierce, understanding that distinction created a new kind of freedom. Beauty could still be enjoyed without allowing superficiality to determine identity or relationships.

The title refers to the process of allowing a constructed version of the self to complete its purpose and eventually fall away.

At the center of the song is the image of a dandelion.

A yellow dandelion eventually undergoes senescence before transforming into the familiar white seed head that can release its seeds into the wind. Its first form cannot remain perfectly intact if it is going to disperse. It has to change. It becomes fragile, loosens its hold and lets go.

What initially appears to be deterioration is also a necessary condition for freedom.

Senescence, in the context of a dandelion, is the stage where the yellow flower begins to wither and dry out before transforming into a white, wispy seed head that can disperse into the wind. In the song, that process became a metaphor for shedding a version of yourself that no longer feels true, so something freer can emerge.

The dandelion therefore becomes a metaphor for the self. Sometimes the form we have built is not something that needs to be preserved. Sometimes it needs to loosen so that something new can move freely.

While the emotional root of “Senescence” is deeply personal, Sophierce expands the story through the perspective of an otherworldly being observing humanity from a distance.

This perspective creates space to question the habits, systems and values that people often accept without examining. What do humans actually value? Why are status and material symbols so powerful? How much of identity is genuine, and how much is constructed in response to external expectations?

Through surreal storytelling and electronic production, Sophierce turns those questions into an immersive world that feels simultaneously intimate and unfamiliar.

“Senescence” is dance-driven without losing its introspective core. Its ethereal textures and hypnotic atmosphere create a space where personal reflection and movement can exist together.

About Sophierce

Sophierce is an American-Brazilian artist, songwriter and producer based in the UK who writes and produces all of her own music.

Working through electronic production, surreal storytelling and visual world-building, Sophierce transforms intimate experiences into songs that move between introspection, dance music and the unfamiliar.

Her catalog includes Safehouse, Thistle, Honesty’s Depth, All Patterns Oscillate and the Assume Nothing EP. All Patterns Oscillate includes “Apostrophe,” while “Connectivity” appears on Assume Nothing.

With “Senescence,” Sophierce expands her evolving artistic world through themes of perception, materiality, larger systems, language, nature and the freedom that comes from shedding a form that no longer feels true.

At its heart, “Senescence” is a song about release.

It is about recognizing when a version of yourself has served its purpose, allowing it to become fragile, and trusting what happens when you finally let it go.

Release Date: September 25, 2026
Length: 4:10
Genres: Indie Electronic / Electronica / Alternative Dance
Written and Produced by: Sophierce
Mixed and Mastered by: John Seals

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

Yorkshire-based singer-songwriter Kier returns with new single ‘Twenty Something’, marking the beginning of a new chapter in her sound as she leans further into intimate singer-songwriter pop while retaining the storytelling roots that have shaped her music so far.

Inspired by the uncertainty, pressure and humour of your twenties, ‘Twenty Something’ captures the strange in-between feeling of watching everyone around you seemingly move forward while you are still trying to work out where you fit.

It is a song for anyone who thought adulthood would feel more certain than it actually does. Honest, conversational and self-aware, ‘Twenty Something’ balances relatable storytelling with a polished pop sound that makes it just as much a bop as it is a reflection on growing up.

For Kier, the single represents a natural evolution rather than a complete departure from her previous work. Having established herself within the UK country and Americana scene, her latest material moves further towards the singer-songwriter and alternative pop influences that have always sat beneath her music.

“I think your twenties are sold to you as this exciting time where everything starts falling into place, but for a lot of us it feels like the polar opposite. Everyone seems to be reaching different milestones at different times, and it becomes really easy to feel like you’re falling behind. ‘Twenty Something’ came from wanting to write about that honestly.” – Kier

ARTIST BIO

The release follows three years of independent growth for Kier, including appearances at Tramlines Festival and C2C London, support slots with artists including Lucy Spraggan, and previous support from BBC Radio 1.

Her debut album, ‘Welcome To The Strange Life’, landed Kier in the Top Three on iTunes alongside Hozier and Sam Fender, introducing an artist with storytelling at the heart of her music.

Across 2025 alone, Kier performed more than 80 live shows, continuing to grow her audience through touring, festivals and support appearances while working on her second studio album between Camden and Newark.

Now, with ‘Twenty Something’, Kier begins the next phase of her music with a sound that feels more personal, more exposed and increasingly infectious.

The single is the second release from her forthcoming record, offering another glimpse into Kier’s evolving sound ahead of the album’s official announcement in early 2027.

CREDITS

Written & Performed by: Kier Burke
Produced by: Jack Trouble & Wayne Proctor
Guitars: Ash Wilson
Bass: Steve Amadeo
Piano: Matt Daly
BVs: Oli Brown
Drums: Wayne Proctor
Synths, Percussion & Electronic Drum Programming: Jack Trouble
Mixed & Mastered by: Wayne Proctor at House Of Tone Mix Suite
Drums Recorded by: Andy Banfield at Superfly Studios
Guitars, Bass & Vocals Recorded by: Wayne Proctor at House Of Tone Mix Suite
Piano Recorded by: Matt Daly at Rawson Street Studios

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

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Dublin-born artist Lily McMahon is carving out her own space within soulful pop, bringing together elements of pop, soul, jazz, R&B and indie to create music that feels both timeless and deeply personal.

Her latest single, ‘Not a Want’, is an intimate and heartfelt reflection on love, vulnerability and breaking away from patterns shaped by past relationships. Written about her boyfriend Angelo, the song captures the moment Lily realised that a healthy relationship could challenge everything she had previously come to expect from love.

“When I met Angelo, I was at a stage in my life where I was used to dealing with toxic men,” Lily explains. “I had built up this expectation that I would have to deal with that kind of behaviour forever. Meeting him made me realise that I was willing to change the habits and toxic patterns that past relationships had taught me.”

At the heart of the song is the idea that Angelo is not simply someone Lily wants in her life, but someone she genuinely needs. ‘Not a Want’ explores that distinction through raw lyricism and a soulful, emotionally charged vocal performance.

The song began with Angelo Presta, who wrote the piano introduction that immediately resonated with Lily.

“Angelo had written the piano introduction and I felt a connection to it as soon as he played it for me,” Lily says. “The rest is history.”

Musically, ‘Not a Want’ showcases Lily’s ability to move between vulnerability and strength, combining a stripped-back piano foundation with warm instrumentation and her distinctive soulful delivery. The track reflects an artist who is unafraid to be emotionally open, while continuing to develop a sound that draws from a diverse range of influences.

Lily’s music is rooted in self-love, vulnerability and human connection. Drawing inspiration from artists such as Imelda May, Billie Eilish and Amy Winehouse, she has been described as sounding like “their child”, a comparison that reflects her ability to combine intimate songwriting with a soulful and unmistakably personal vocal style.

Rather than simply creating music to be heard, Lily aims to create songs that listeners can feel themselves within. ‘Not a Want’ is a celebration of finding love that feels safe, recognising unhealthy patterns and having the courage to grow beyond them.

‘Not a Want’ Credits

Lyrics: Lily McMahon

Producer: Angelo Presta

Guitar: Angelo Presta

Bass: Ernest Sirins

Drums: Liam Berry

Mixing & Mastering: Angelo Presta

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

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PHOTO CREDITS: A’lon Raw

Genre-fluid artist, spiritual alchemist, and tech pioneer returns with a transformative new album arriving September 25, 2026

Equal parts storyteller, spiritual alchemist, and creative technologist, LATASHÁ returns with OUT HERE, her first full-length album since 2017’s Teen Nite at Empire. Arriving September 25, 2026, the album marks a defining new chapter for an artist who has spent the last decade moving fluidly between music, technology, spirituality, performance, and community building.

Born Latasha Alcindor in Flatbush, Brooklyn, LATASHÁ grew from the city’s underground scene into a genre-fluid artist whose work refuses easy categorization. Rooted in her Afro-Latina heritage and Haitian spiritual lineage, she blends rap, electronic music, house, soul, club music, and performance into a sound that is as expansive as her vision.

Her journey began with projects including B(LA)K and Teen Nite at Empire, where sharp boom-bap lyricism collided with soul, electronic textures, and performance art. Her magnetic live presence led to performances opening for artists including Kanye West, Big Sean, and Q-Tip, while her music has reached wider audiences through placements such as “Who I Am” on Netflix’s Self Made: Inspired by the Life of Madam C.J. Walker.

But music has always been only one part of LATASHÁ’s creative universe.

As an early innovator in Web3 and creative technology, she pioneered new models for artists to take ownership of their work and build alternative economies around their creativity. She made history by tokenizing her music videos on Zora, later serving as the platform’s Head of Community Programming. She also founded TOPIA, a community and educational initiative created to help underrepresented creators navigate Web3 and pursue greater economic sovereignty.

Her work at the intersection of art, technology, and culture has earned recognition from outlets including TIME, Forbes, Vice, TechCrunch, HuffPost, nft now, and Sotheby’s. In 2025, she won a Hollywood Independent Music Award for Producer/Production, further recognizing the breadth of her creative practice.

Now, with OUT HERE, LATASHÁ brings that entire evolution back to the music.

OUT HERE is an album about moving from exhaustion into possibility, from burnout into breakthrough, and from searching for power into remembering that the power was already there.

At the center of the album is TASHI, LATASHÁ’s higher-consciousness alter ego. TASHI serves as guide, reflection, and tethered dimensions throughout the project, encouraging LATASHÁ to recognize herself as an alchemist capable of transforming her reality, integrating her shadow, and consciously shaping her life.

The album opens with a soundbite capturing LATASHÁ at a moment of profound exhaustion. She is crying, frustrated, depressed, and asking a higher source for the strength to continue. What follows is a conversation with another version of herself, one who reminds her of what remains possible.

“That power is to be an alchemist. Taking the step in defining my personal alchemy through experiments with sound, lyric, collaboration and selves. Knowing that even in a container of frustrated patience, the thoughts of transformation ripples into motion, creating new existences and devotions. The work is always on purpose.”

TASHI is not presented as a separate being. She is the part of LATASHÁ that already knows what is possible.

As the album progresses, the distance between LATASHÁ and TASHI begins to disappear.

By its conclusion, OUT HERE arrives at a simple realization: this is not a story about becoming powerful. It is about remembering that the power was already there.

Sonically, OUT HERE represents a significant evolution from LATASHÁ’s Brooklyn roots into a world of heavy electronic production, house rhythms, club music, and experimental beat construction.

The album moves between ancestral house rhythms and heavy 808s, boom-bap drums and electronic soul, Jersey Club energy and expansive rap production. Across nine tracks, LATASHÁ explores surrender, vulnerability, feminine energy, spiritual sovereignty, abundance, resilience, and unapologetic presence.

The album’s singles “WAVE” and “PPNE” offer two distinct entry points into this new era. “WAVE” captures the moment when burnout gives way to creative breakthrough, pairing rugged drums and electronic soul with LATASHÁ’s unmistakable lyrical precision. “PPNE” moves from a hypnotic house spell into raw 808-driven hip-hop, reframing feminine energy as an unstoppable force.

Elsewhere, “CHAOS” embraces unpredictability and radical self-determination, while “LOVE COME FIND ME” explores vulnerability and emotional openness without sacrificing self-worth. “MORE OUTTA LIFE” becomes an anthem for abundance and higher standards, and “BLSSD” transforms gratitude and ancestral protection into explosive Jersey Club energy.

The album closes with “ALCHEMIST”, an expansive electronic and rap composition that distills the project’s central philosophy: life’s pressure can become creative gold.

TRACKLIST

1. INTRO
   An atmospheric spoken-word opening that establishes the spiritual portal of the album and introduces its themes of presence and transformation.
   
2. PPNE
   A house and 808 hip-hop fusion that transforms feminine energy into a force of reclamation and power.
   
3. CHAOS
   An uptempo collision of rap and electronica embracing unpredictability, decisive action, and complete ownership of one’s narrative.
   
4. LOVE COME FIND ME
   Electro-R&B and melodic hip-hop meet in a heart-centered exploration of vulnerability, openness, and self-worth.
   
5. MORE OUTTA LIFE
   An uncompromising hip-hop, dancehall, and club anthem about abundance, raised standards, and refusing to settle.
   
6. WAVE
   Boom-bap and electronic soul collide on a feel-good, hard-drummed track capturing the transition from burnout to breakthrough.
   
7. BLSSD
   An explosive Jersey Club celebration of gratitude, ancestral protection, resilience, and elevated energy.
   
8. WHO I AM (Remix)
   A high-octane club reimagining of LATASHÁ’s empowering single, pushing its themes of self-awareness and personal evolution even further.
   
9. ALCHEMIST
   An expansive electronic and rap finale that transforms pressure into creative gold and absolute autonomy.

For LATASHÁ, OUT HERE is more than a return to music. It is the latest expression of an artist whose career has consistently challenged the boundaries between disciplines.

From Brooklyn’s underground rap scene to international conversations around Web3, from performance art to technology leadership, LATASHÁ has built a career around radical self-authorship. Her work asks what happens when an artist stops waiting for permission and begins designing the world around their own creative realities.

That philosophy is now at the center of OUT HERE.

With TASHI as her guide and her TASH55 ecosystem as a broader creative framework, LATASHÁ steps fully into the driver’s seat. Collaboration remains central to the process, but the vision is unmistakably hers.

OUT HERE is the sound of an artist returning to herself, transforming what came before, and refusing to shrink the possibilities of what comes next.

LATASHÁ’s OUT HERE arrives September 25, 2026.

ABOUT LATASHÁ

LATASHÁ is a sonic worldbuilder, spiritual alchemist, and technology pioneer born and raised in Flatbush, Brooklyn. Drawing from her Afro-Latina heritage and Haitian spiritual lineage, she creates across rap, electronica, house, alternative dance, club music, and performance art.

Her career spans underground hip-hop, major live stages, film and television syncs, Web3 innovation, community building, and creative technology. She has opened for artists including Kanye West, Big Sean, and Q-Tip, and her music has appeared in Netflix’s Self Made: Inspired by the Life of Madam C.J. Walker.

As a Web3 pioneer, LATASHÁ became an early artist to tokenize music videos on Zora and went on to serve as the platform’s Head of Community Programming. She founded TOPIA to help underrepresented creators access new models of creative and economic sovereignty.

Her work has been featured by TIME, Forbes, Vice, TechCrunch, HuffPost, nft now, Sotheby’s, Okayplayer, Brooklyn Vegan, Wonderland Magazine, Stereofox, and other international outlets. In 2025, she received a Hollywood Independent Music Award for Producer/Production.

OUT HERE, arriving September 25, 2026, marks her first full-length album since 2017’s Teen Nite at Empire and represents the next evolution of her artistic and spiritual practice.

Official Website: callmelatasha.com

Spotify: LATASHÁ on Spotify

Apple Music: LATASHÁ on Apple Music

SoundCloud: LATASHÁ on SoundCloud

YouTube: LATASHÁ on YouTube

Instagram: @callmelatasha

TikTok: @callmelatasha

X (Twitter): LATASHÁ on X

Facebook: LATASHÁ on Facebook

Linktree: linktr.ee/callmelatasha

Laylo (Fan Updates): laylo.com/callmelatasha

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

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Five-track release captures the spontaneity, intimacy, and spirit of a live jazz session beneath London’s historic Jack Solomons Club

Canadian jazz-rooted vocalist and songwriter Heather Ferguson announces the release of her new five-track live EP, Jammin’ Under Jack, a vibrant collection recorded at Piano Bar Soho in London, directly beneath the historic Jack Solomons Club. Recorded in just four hours on a summer afternoon, the EP captures the immediacy, intimacy, and creative risk-taking that define a true jazz jam session.

With Jammin’ Under Jack, Ferguson brings together sophisticated interpretations, original songwriting, and a deep respect for jazz tradition. The five-track release moves effortlessly between romantic ballads, gospel-inflected grooves, reinvented standards, and moments of hard-driving improvisation. The result is an intimate portrait of an artist embracing the spontaneity of live performance and the chemistry that emerges when musicians create together in real time.

The EP was recorded “old school,” with Ferguson and the musicians performing together in a single room and recording live off the floor. There were no layers of studio construction separating the performers from one another. Instead, the recording preserves the natural interaction, energy, and instinct of the session, allowing the character of the room and the musicians to become part of the music.

Recorded in a basement beneath one of Soho’s most storied musical locations, Jammin’ Under Jack is also shaped by the atmosphere and history surrounding the session. Inspired by London’s underground music scene and the layered history of the venue, Ferguson has created a release that feels warm, immediate, and alive. Across its five tracks and 24 minutes and 54 seconds, the EP documents a creative meeting of artists, place, and instinct.

The tracklist features “North Star,” “Never, Never, Never,” “Save Your Love for Me,” “North Star (Alternate),” and “Charade.” Together, the songs showcase Ferguson’s ability to move between personal expression and classic jazz vocabulary while maintaining a distinctive artistic voice.

Ferguson’s musical journey has continued to flourish in mid-life, shaped by lived experience, discipline, and a deep commitment to her craft. Her growing catalogue includes two full-length albums and a series of stand-alone singles that have connected with listeners around the world. Grounded in jazz tradition while remaining distinctly her own, her work combines thoughtful interpretation with personal storytelling.

Jammin’ Under Jack marks another step in an ambitious and evolving artistic trajectory. Ferguson is currently developing a third album of primarily original material with her Victoria-based band, scheduled for 2027. A new project focused on the music of Duke Ellington is also planned for 2028.

Following the EP release, Ferguson will bring her music to audiences across British Columbia, with upcoming performances at Hotel Rialto in Victoria on October 20, Central Saanich Church in Saanichton on January 24, and The Coda in Victoria on April 9. She will continue building momentum with live performances into 2027, including a return to The Coda on November 6, 2026, with additional dates to be announced. Looking beyond Canada, Ferguson and her band are also exploring opportunities to perform in the UK. While no UK dates have been confirmed at this stage, interest from UK venues and promoters could open the door to a short run of shows in spring 2027, with additional performances added as opportunities arise.

Jammin’ Under Jack is a release for listeners who value the connection between performer and audience, the unpredictability of live music, and the timeless language of jazz. It offers a snapshot of Heather Ferguson in her element, creating music in the moment and allowing the room, the musicians, and the songs to speak for themselves.

Genre: Vocal Jazz / Jazz Standard / Adult Contemporary
Format: Five-track live EP
Running Time: 24 minutes, 54 seconds
Recording Location: Piano Bar Soho, London, beneath the historic Jack Solomons Club
Recording Style: Live off the floor, with musicians performing together in one room

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

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Joe Osgood & The Fathers of Light announce the release of their new album, Songs From the Sun, arriving September 18. Bringing together expansive indie rock, atmospheric Americana and melodic songwriting, the album showcases heartfelt lyricism, cinematic arrangements and driving, guitar-led rock.

Led by singer-songwriter Joe Osgood, The Fathers of Light draw comparisons to artists including The War on Drugs, Future Islands and The Verve, while creating a sound that is distinctly their own. Across his career, Joe Osgood has shared stages in support of artists including Badly Drawn Boy and The Faces, building a reputation for an energetic live presence that carries through into the new record.

Songs From the Sun is a collaborative album, with a rotating cast of accomplished musicians adding depth and character across its 11 tracks. Soaring guitars, driving rhythms and reflective lyricism come together to create a record that feels both expansive and intimate, moving between full-throttle rock anthems, atmospheric reflections and melodic ballads.

Founding member and guitarist Graham Prior brings a distinctive guitar voice to the album. Prior has performed at London’s Royal Albert Hall alongside Kenney Jones, Paul Weller and Pete Townshend. Drums are also provided by Mantu, founding member of pioneering collective Transglobal Underground, renowned for their genre-defying fusion of global sounds and electronic rhythms.

The album opens with “All You Good People,” a massive, guitar-driven anthem that was written spontaneously by Joe during a 10-minute band rehearsal. “Never Believers,” a long-standing live favourite, is reimagined as a stomping full-band track, while “Electric Rooms” delivers sleek, driving rock inspired by a chance encounter at Notting Hill’s Electric House.

Elsewhere, “Moonlight” brings a haunting and atmospheric mood, written by Joe Osgood during a soul-searching trip overlooking the Indian Ocean. “Hey Lady,” co-written with Tim O’Riordan, offers a poignant take on love and separation, while “Make You Dance” transforms two separate musical ideas into a high-impact live favourite.

The album also features a gritty, high-energy interpretation of Empire of the Sun’s electronic anthem “We Are The People,” alongside the raw, hedonistic energy of “Amsterdam,” a sprawling melodic ballad in “Where Is The Love,” and the uplifting “Streets of Love,” which explores overcoming dark times and the enduring power of love.

Closing the record, “Looking Through The Window” delivers a driving, stadium-ready finale propelled by Graham Prior’s soaring guitar work.

Recorded and mixed at Eastcote Studios by George Murphy, with “Moonlight” and “Make You Dance” mixed by Ruadhri Cushnan and mastering by Jamie Brown, Songs From the Sun captures the chemistry and creative freedom at the heart of Joe Osgood & The Fathers of Light.

With its combination of expansive arrangements, memorable melodies and emotionally direct songwriting, Songs From the Sun marks another step forward for the project, creating music that feels both timeless and forward-looking.

Songs From the Sun Track Listing

1. All You Good People
2. Never Believers
3. Electric Rooms
4. Moonlight
5. Hey Lady
6. We Are The People
7. Make You Dance
8. Amsterdam
9. Where Is The Love
10. Streets of Love
11. Looking Through The Window

Album Credits

Joe Osgood & The Fathers of Light
Songs From the Sun

All songs written by Joe Osgood, except:

“We Are The People” by Empire of the Sun
“Hey Lady” by Joe Osgood / Tim O’Riordan
“Make You Dance” by Joe Osgood / Chris Jenkin

Vocals & Guitars: Joe Osgood
Lead Guitars: Graham Prior
Bass Guitar: Sam Bunting
Drums: Mantu on “All You Good People,” “Where Is The Love,” “Streets of Love,” “We Are The People” and “Amsterdam”
Drums: Dean McCormick on “Moonlight,” “Never Believers,” “Hey Lady,” “Electric Rooms,” “Looking Through The Window” and “Make You Dance”

Recorded & Mixed: George Murphy, Eastcote Studios
Additional Mixing: Ruadhri Cushnan on “Moonlight” and “Make You Dance”
Mastered: Jamie Brown

Digital Album Artwork: Rob Shinn

About Joe Osgood & The Fathers of Light

Joe Osgood & The Fathers of Light blend expansive indie rock, atmospheric Americana and melodic songwriting. Led by singer-songwriter Joe Osgood, the project is built around heartfelt songwriting, cinematic arrangements and an energetic live presence.

Drawing comparisons to The War on Drugs, Future Islands and The Verve, the band brings together a rotating cast of accomplished musicians to create a rich and immersive sound. Throughout his career, Osgood has shared stages supporting artists including Badly Drawn Boy and The Faces.

With Songs From the Sun, Joe Osgood & The Fathers of Light continue to carve out a sound that is both timeless and forward-looking.

Instagram, YouTube, Spotify, Website

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

LISTEN HERE | DOWNLOAD SONG | MEDIA ASSETS

Strascha is set to release her latest single, “Hack,” on September 18th, delivering a chaotic, high-energy collision of industrial pop, alternative pop, pop rock and unapologetic attitude.

Drawing inspiration from artists including Ashnikko, Cobrah, Addison Rae, Charli xcx, Poppy and Grimes, Strascha creates music that embraces the messier sides of being human and transforms difficult emotions into something bold, playful and empowering.

“Hack” was born during a songwriting camp at Sound Ninja Collective in Sofia, Bulgaria, at a particularly difficult point in Strascha’s life. She was processing the end of an important friendship while attempting to balance what felt like thousands of other responsibilities. Sad, angry, overwhelmed and generally not in a good state of mind, she nearly skipped the songwriting session altogether.

On the way to the studio that day, Strascha was sitting on the tram actively considering cancelling her participation in the camp. Instead, she showed up, and “Hack” was born.

“I took all of those negative emotions that I was feeling and I channeled them into the song,” Strascha says.

The track came together at remarkable speed. Strascha entered the session with a clear idea of the sound she wanted, while producer Isaak Enchev quickly transformed that vision into a production. Guitarist Alexander Hristov, whom Strascha met for the first time during the session, contributed the song’s climactic guitar solo, recording it in a single take.

Strascha also recorded her vocals in one take before adding doubles. Within a maximum of six hours, the song was essentially finished.

The final touch came unexpectedly when renowned Bulgarian mix engineer Dimitar Ganchev happened to pass through Sound Ninja that same day. After hearing the track, he suggested adding more noise to the low end through the cymbals. Although the suggestion initially seemed unusual given how loud the track already was, the addition immediately transformed the mix, giving “Hack” the final sense of polish it needed.

For Strascha, the song has remained special ever since.

“Hack became my favorite song from the moment that I wrote it, and I think it still is definitely in my all time favorite songs I’ve written.”

The name Strascha comes from the Bulgarian word strah, meaning “fear.” For Strascha, the name represents a philosophy that sits at the heart of both her music and her creative identity.

Rather than avoiding uncomfortable emotions, Strascha sees them as a source of creative potential. Fear, sadness, insecurity, anger, envy and jealousy are not emotions to be hidden or suppressed. They can be transformed into music, art, humor, beauty and optimism.

“Strascha is basically my way of making friends with fear instead of running away from it.”

That approach is reflected throughout “Hack.” The song takes the emotional chaos surrounding a painful period and turns it into something loud, energetic and alive.

Strascha’s musical world draws from pop, R&B, hip-hop, soul, hyperpop and jazz, with an ambition to eventually explore almost every genre imaginable. She is equally at home making music in her living room, creating beats, performing live or enthusiastically “yapping” in practically every available format.

At its core, Strascha’s project is about feeling everything fully and finding a way to turn it into something.

“Hack” arrives September 18th.

Release Credits

Artist: Strascha

Song: “Hack”

Songwriter: Strascha

Producer: Isaak Enchev

Guitars: Alexander Hristov

Genre: Industrial pop, alternative pop, pop rock, pop

Similar artists: Ashnikko, Cobrah, Addison Rae, Charli xcx, Poppy, Grimes, Slayyyter

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

LISTEN HERE | MEDIA ASSETS

Swiss atmospheric black metal, doom and blackgaze project Wazzara unveil Arbor, their fourth release and first full-length album in five years.

After a decade of existence, Wazzara return with Arbor, a full-length album forged from an alloy of darkness, weight and ethereal beauty. Interweaving elements of Atmospheric Black Metal, Doom and Blackgaze, the album marks a new chapter for the Swiss band while remaining rooted in the hypnotic and untamed sound that has defined their journey.

Arbor is dedicated to those who do not fear tasting the untamed fruit. Its songs whisper of an ancient force, buried but never broken, of voices once quieted that now rise again.

The album features seven songs, all written between 2023 and 2025, with one exception. zessa (reborn) is a re-interpretation of the original version released on Wazzara’s 2019 debut EP, zessa. Having evolved through years of live performances, the song gradually developed an additional persona. zessa (reborn) captures that transformation and documents the version that emerged through years of being performed on stage.

For Arbor, Wazzara worked closely with Romanian musician and producer Andrei Jumuga, known for his work with Dordeduh, Ordinul Negru, Blutrina and others. Jumuga returned as session drummer, having previously performed on Wazzara’s 2021 album CYCLES, while also taking on production duties and weaving his distinctive musical touch into the songs.

The band once again consulted Andy Roscyk for the mixes, drawing on his signature approach to create the album’s expansive and powerful sonic landscape.

Mastering was handled by Martin Korth, whose extensive experience and exceptional ear have contributed to recordings by artists including Björk, Vashti Bunyan and UNKLE.

Vocals, bass and guitars were recorded during summer 2025 at Wazzara’s home studios in Switzerland. Drums were recorded during the same summer at Consonance Studio in Timișoara, Romania.

TRACKLIST

1. 9 Confines
2. Hollow
3. Her Ashes Down The River
4. Indigo Sleep
5. Dandelion
6. Nova
7. Oceans
8. Zessa (Reborn)

WAZZARA STUDIO LINE-UP ON ARBOR

Vocals: Barbara Brawand
Guitars: Tom Kuzmic & Mäsi Stettler
Bass: George Necola
Drums: Andrei Jumugă

WAZZARA LIVE LINE-UP

Vocals: Barbara Brawand
Guitars: Tom Kuzmic & Nick Müller
Bass: George Necola
Drums: Nik Naumann

ABOUT WAZZARA

Wazzara was created in 2015 as the solo project of Swiss singer and composer Barbara Brawand. The project’s first release, the 2019 EP zessa, paved the way for everything that followed.

In 2020, George Necola joined the project as co-composer and producer, bringing his own musical voice to Wazzara’s evolving sound. Over time, a full live line-up took shape, allowing the project to expand beyond its origins as a solo endeavour.

For a decade, Wazzara have been creating untamed, hypnotizing and captivating sound experiences, drawing listeners into a world where darkness and beauty exist side by side.

With Arbor, Wazzara continue to explore that territory while reaching deeper into the roots of their sound.

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

LISTEN HERE | DOWNLOAD SONG | MEDIA ASSETS

London avant-pop artist, composer, vocalist and producer Lolli Wren returns with ‘are we alright?’, a dark, cinematic exploration of existential dread, hyper-connectivity and the psychological cost of modern life.

London artist Lolli Wren unveils her latest single, ‘are we alright?’, an ambitious piece of avant-pop that plunges headfirst into the unease of living in an increasingly connected yet increasingly isolated world.

Blending experimental pop, progressive pop and art pop with an unmistakably cinematic sensibility, ‘are we alright?’ explores the psychological weight of doomscrolling, urban isolation and the relentless pressures of late-stage capitalism. Rather than offering easy answers, Lolli uses the track as a reaching hand towards anyone who has found themselves asking the same question.

“I was feeling so heavy witnessing the ubiquitous existential dread of so many of us being trapped in a cycle of doomscrolling and urban isolation,” says Lolli Wren. “This is a way for me to indirectly reach out to my fellow humans that might be feeling this too, to hopefully make people feel seen.”

The track draws particular inspiration from the 1988 cult science fiction film They Live, whose stark depiction of a hidden dystopia helped shape the world surrounding the song. That influence feeds into Lolli’s wider approach to music, where sound, character, storytelling and visual world-building are deeply intertwined.

Musically, ‘are we alright?’ showcases the extraordinary vocal ability that has made Lolli Wren a distinctive presence both as an artist and as a vocal scientist. With a vocal range spanning more than four octaves, Lolli employs an extensive palette of vocal techniques, from distortion and agility to intricate layered arrangements, using her voice not simply as an instrument but as a storytelling device.

All backing vocals on the track were written and performed by Lolli herself, with Eduardo Moreira serving as producer and main instrumentalist. Mixing and mastering were handled by Barry O’Connell.

Lolli Wren has spent years developing a reputation for pushing the boundaries of the human voice. In 2021, she gained worldwide attention as a voice scientist known for her ability to replicate the vocal techniques of hundreds of well-known artists. Under her “Fairy Voice Mother” persona, she has amassed more than 375,000 YouTube subscribers and 51 million views, with her analysis videos publicly shared by artists including Shakira and Ren.

Alongside her work as a vocal analyst, Lolli has established herself as a compelling recording artist in her own right. Her debut album, To Build A Sea, was released in November 2024 and has since surpassed 500,000 Spotify streams. Its character-led, concept-driven music videos have cultivated a dedicated following, with Lolli’s work also finding an enthusiastic audience among music reaction channels.

Storytelling sits at the heart of Lolli’s artistic identity. Drawing inspiration from artists including Björk, Stromae, Queen, Sleep Token, Kate Bush and Jeff Buckley, she creates elaborate vocal worlds that can incorporate choral and operatic arrangements, often performing every part herself.

‘are we alright?’ continues that journey into darker territory. It is a song about the strange contradiction of contemporary existence: being constantly connected while feeling profoundly alone.

The question in the title is deliberately simple. The answer is anything but.

About Lolli Wren

Lolli Wren is a London-based artist, composer, vocalist and producer working across avant-pop, experimental pop, progressive pop and art pop. Known for her extraordinary vocal range, cinematic storytelling and genre-defying approach to music, Lolli combines intricate vocal arrangements with ambitious conceptual worlds.

Her work as “The Fairy Voice Mother” has earned her a global audience of more than 375,000 YouTube subscribers and 51 million views. Her debut album To Build A Sea was released in November 2024.

Lolli lives between London, Porto and Edinburgh and speaks Portuguese fluently.

‘are we alright?’ Credits

Written, performed and all backing vocals: Lolli Wren
Producer and main instrumentalist: Eduardo Moreira
Mixing and mastering: Barry O’Connell

Genre: Avant-Pop | Experimental Pop | Progressive Pop | Art Pop

Mood: Dystopian | Cinematic | Mind-Bending | Dark

All photos were taken by Carolina Remaerd

Find Lolli Wren on social media: @lolliwren (& @thefairyvoicemother)

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