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Ever had a completely terrible day while everyone you meet cheerfully greets you with an energetic and increasingly unnerving “Happy Friday”?

A Project Called Love knows the feeling.

Instead of giving in to the chaos, “Happy Friday” turns frustration, absurdity, and everyday misery into a loud, resilient celebration of making your own fortune. Inspired in part by the dark humor and restless spirit of The Smiths, the new single transforms a bad day into a reason to keep going, crank up the volume, and kick the grime of the world where it hurts.

“Happy Friday” began with a single acoustic guitar and grew organically from there. Written and lyricized by Jay Hope, the track came fully to life in the studio, where the arrangement was developed in real time rather than meticulously planned in advance. Jay wrote the bass and drum parts during the recording sessions, allowing the song to retain the immediacy, spontaneity, and raw energy of its origins.

The result is a driving, infectious track that combines acoustic textures with indie pop sensibilities, while maintaining the unpredictable genre-blending approach that has become central to A Project Called Love.

Drummer Dennis Aubele delivers a powerhouse performance that anchors the track and pushes its momentum forward. Jay Hope and producer Julian Schneid then added another unmistakably human element to the recording: real-life handclaps captured directly into the mix.

The spontaneous studio chemistry behind those claps was captured on camera. Fans can look forward to an upcoming behind-the-scenes video featuring Jay, Julian, and Dennis recording the track together.

Your Fridays are about to get a whole lot louder.

“Happy Friday” Credits:

Songwriting and Lyrics: Jay Hope
Vocals, Guitar and Bass: Jay Hope
Drums: Dennis Aubele
Production: Julian Schneid

About A Project Called Love:

Traveling between Cologne, Germany, and Venice, California, A Project Called Love is a genre-bending musical project built around one simple idea: love knows no genre boundaries.

Born from Jay Hope’s childhood roots in punk and grunge, A Project Called Love brings together the raw attitude of Nirvana and The Pixies with the infectious melodies of Sublime, Oasis, and Sufjan Stevens. Jay handles songwriting, vocals, guitar, and bass, working alongside drummer Dennis Aubele and producer Julian Schneid to bring the project to life.

The project’s sound draws from a broad musical universe, blending grunge, punk, and hardcore with reggae and ska grooves, indie pop hooks, classic rock depth, and electronic experimentation. Influences range from Nirvana, Sublime, and Bad Religion to The Smiths, The Beatles, The Doors, Miles Davis, The Prodigy, and Refused.

Rather than following a single formula, A Project Called Love treats genre boundaries as suggestions. Every song is given the freedom to develop its own identity, sound, and emotional space.

“Smack Dab In The Middle” blends reggae and grunge, combining the rhythmic grit of Nirvana with the laid-back energy of Sublime.

“So Sublime” experiments with ska, reggae, grunge, and blues, drawing inspiration from Nirvana, Sublime, and The Doors.

“Cold Ashes” delivers alternative rock and indie pop with the quirky, distorted punch associated with The Pixies and Weezer.

“Chance Encounter” combines acoustic indie pop and alternative rock, echoing the organic warmth of Oasis and the stripped-back character of Nirvana’s Unplugged era.

“Chicago” is a high-energy collision of ska and grunge inspired by The Mighty Mighty Bosstones and Nirvana.

“Happy Friday” continues A Project Called Love’s musical evolution, leaning further into indie pop and acoustic textures while maintaining the project’s raw, unpredictable character.

Its lyrics draw inspiration from The Smiths, while the song’s sonic palette evokes elements of The Smiths, The Shins, The Beatles, and acoustic-era Nirvana.

It is a song for the days that go completely wrong, the people who keep telling you it is Friday, and anyone who decides that sometimes the best response to chaos is simply to turn up the music and keep moving.

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

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Six songs. Six genre realities. One resurrection story.

Queer, autistic singer-songwriter, producer, and multidisciplinary artist Candi Carpenter (they/them) is set to release their new alt-rock EP, Reincarnation, this September. A genre-blurring musical and visual project about deconstructing toxic religion, identity, sexuality, healing, and the strange beauty of being alive, Reincarnation finds Carpenter shedding old versions of themself and stepping into something entirely new.

Carpenter has already lived many lives. A former gospel prodigy raised in a Christian Missionary Alliance pastor’s family, they grew up performing in churches across the Midwest with their family’s gospel band, The Carpenter’s (no, not the famous Carpenters). After dropping out of high school and moving to Nashville, Carpenter toured with Grand Ole Opry legends, landed a Billboard country single, and eventually made their own Grand Ole Opry debut.

Now, Carpenter is transforming that history into something altogether different.

Dolly Parton has called Carpenter “one of the greatest singer-songwriters I’ve ever heard, bar none,” while Brandi Carlile, Carpenter’s one-time producer and collaborator, has praised their extraordinary voice and storytelling. Rolling Stone described Carpenter as “a devastatingly direct singer with… an axe to grind,” and To The Point Music declared them “one of those once-in-a-lifetime talents.” Carpenter has performed on BBC 2, Good Morning Britain, TLC, NBC, and other major networks, while amassing hundreds of millions of views across social media.

Following their 2024 alt-pop debut Demonology, which fans have embraced as an indie cult classic, Carpenter returns with Reincarnation, a six-track project that pushes their music, filmmaking, acting, and world-building into stranger and darker territory.

“Every day, about one percent of your body dies,” Carpenter explains. “Most of what dies regenerates. In one lifetime, we are many different people: different timelines, different outcomes, alternate realities. I believe in reincarnation because I’m a different person every single day.”

The EP is also a deeply personal response to Carpenter’s experience growing up evangelical and the process of rebuilding a sense of self after leaving that world behind. Reincarnation explores what it means to be “born again” in a secular sense, asking who Carpenter might have become if they had never been taught to fear the parts of themself that now inspire their art.

“I make art to peel myself back, like the bananas and apples rotting on my kitchen counter,” Carpenter says. “This EP was my chance to try on the genres I wasn’t allowed to explore growing up in the church.”

Built on an indie budget, Reincarnation expands beyond music into an ambitious visual short film. Each of the EP’s six songs has its own music video, with every chapter connecting to the next to create one cohesive, presently-apocalyptic rock opera.

Carpenter and their friends constructed a trash dump inside a warehouse and filmed the project over the course of a week. Set in a zombie-filled garbage world, the film uses deliberately blunt symbolism and a shifting visual palette to create what Carpenter calls a “filthy rainbow.”

Each song represents a different side of Carpenter and a different genre reality, with the six tracks moving through themes of mortality, capitalism, fear, simulation, sexuality, religion, and rebellion.

The project also features rock icon Jane Wiedlin of The Go-Go’s, who appears in the short film and describes Carpenter as “a voraciously creative person, a one-of-a-kind treasure, and a musical/lyrical magician.”

“Their new short film, REINCARNATION, is relentlessly original and thought-provoking,” Wiedlin adds. “Candi is the real deal. The brightest dark star I’ve ever met.”

For Carpenter, the process was as much about healing as it was about making art.

“This project gave me the chance not only to challenge myself musically but also to grow as a director, actor, and world-builder,” they say. “I wanted this EP to help me heal the parts of myself that were still secretly bruised. Reincarnation was a massive undertaking, but the concept actually worked. I’m releasing this project as a completely different person than whoever I was when I started it.”

Reincarnation opens with its title track, an existential meditation on the constantly changing nature of identity. “I’m not the same person I was last month,” Carpenter says. “I’m not the same person I was last year. I believe in reincarnation because I’m a different person every single day.”

“Little Freak” turns its attention toward capitalism and disposability, imagining love as the one force worth being consumed by. “If something is going to use me up, let it be love,” Carpenter says. “When they throw me away, I want to be your garbage.”

“The Fear of Being Human Remains” confronts the terror of consciousness itself. Death is not Carpenter’s greatest fear. Existing inside a body, trapped within the limits of human experience, is far more frightening.

“Inside the Simulation” questions reality through the lens of Carpenter’s evangelical upbringing, where death once carried the terrifying possibility of eternal punishment. Against that fear, the song offers love as perhaps the only thing that feels real.

“Biblically Accurate Angel” explores sexuality, shame, and the experience of being taught to demonize what might actually be sacred. Carpenter’s vision of an angel becomes a metaphor for encountering beauty that religious doctrine once taught them to fear.

Closing the EP, “American God” is Carpenter at their most confrontational, rejecting systems that demand obedience and reduce people to roles they never agreed to play. It ends with a declaration of self-determination: “I am my own church.”

Together, the songs form a resurrection story about leaving behind inherited beliefs, confronting the wreckage, and choosing what gets rebuilt.

This fall, Carpenter will take Reincarnation on a co-headlining cross-country tour with fellow indie powerhouse Moselle, beginning with an all-star EP release show in Nashville on September 12.

Audiences can expect deconstructed church, a cinematic live experience, and a crowd singing along to every word.

“I want my shows to be a safe space for people who are looking for the community we lost when we found ourselves,” Carpenter says. “My hope is that everyone goes home feeling less alone.”

Candi Carpenter has already lived many lives: gospel prodigy, Opry prodigal child, Billboard country artist, alt-rock shapeshifter, dissenting ex-vangelical prophet. With Reincarnation, they are not returning to who they were.

They are becoming someone else.

Again.

After earning praise from outlets including Rolling Stone, Billboard Magazine, Forbes, Broadway World, American Songwriter, Carpenter enters their most audacious era yet with Reincarnation, a wildly inventive collision of alt-rock, theatricality, and spiritual deconstruction that proves their singular voice is only getting harder to contain.

Find Candi Carpenter: Website, TikTok, Instagram, Facebook, YouTube, Threads, Spotify, Apple Music, Amazon Music, SoundCloud, Pandora, TIDAL

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

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Montreal-based indie rock singer-songwriter Scott Cook announces the release of his new album, Guy Fawkes Day, 1947.

Blending indie rock, indie folk and singer-songwriter traditions with a jazz-tinged sense of harmony, Guy Fawkes Day, 1947 brings together the many musical influences that have shaped Cook as an artist. His approach draws from a wide-ranging musical palette, including the work of David Bowie, Peter Gabriel and Pink Floyd, while maintaining a distinctly personal and contemporary voice.

Across seven tracks, Cook explores the everyday world through direct, thoughtful songwriting. His lyrics offer casual commentary on the people, circumstances and moments that surround him, capturing ideas and emotions as they exist in the present. The result is an album grounded in simplicity, honesty and a desire to get to the heart of whatever mood or subject inspires each song.

“I want my songs to give me something to think about and, in turn, to give others something to think about, too.”

The album’s seven tracks are:

1. The Author
2. Might Never Learn
3. Hook on a Paper Wall
4. The Pin in My Grenade
5. Doppelganger
6. No Bones
7. Good Things

All music and lyrics were composed by Scott Cook, copyright 2026.

Cook performs guitar and vocals throughout the album, joined by Kenny Bibace on guitar, Paul Shrofel on keyboards, Frank Lozano on saxophone, Julia Jones on vocals, David Watts on upright bass and Rich Irwin on drums.

Guy Fawkes Day, 1947 was mixed by Dave Traina at Freq Shop Studios and mastered by Brock McFarlane at CPS Mastering. Cook also designed the album cover.

About Scott Cook

Scott Cook is an indie rock singer-songwriter based in Montreal, Canada. His music combines a jazz-tinged harmonic sensibility with elements drawn from the diverse musical traditions he has encountered throughout his life.

For Cook, songwriting is rooted in the present. His songs are a reflection of what is happening around him now, with an emphasis on simplicity, honesty and saying what needs to be said. Once a song is finished, however, he looks back at the circumstances that inspired it, allowing the music to become a reflection of who he was, who he is and how he has developed as a musician and songwriter.

With Guy Fawkes Day, 1947, Cook continues that process of observation and reflection, creating songs that are personal without being insular and immediate while leaving room for listeners to find their own meaning.

Genre: Indie Rock, Indie Folk, Singer-Songwriter
Influences: David Bowie, Peter Gabriel, Pink Floyd

Album Credits

Scott Cook: Guitar, vocals
Kenny Bibace: Guitar
Paul Shrofel: Keyboards
Frank Lozano: Saxophone
Julia Jones: Vocals
David Watts: Upright bass
Rich Irwin: Drums

Mixed by: Dave Traina at Freq Shop Studios
Mastered by: Brock McFarlane at CPS Mastering
Album cover design: Scott Cook

Instagram, Spotify, YouTube, Website

Photo Credits: All photos included with this press release were taken by @landothalost, except for Scott Cook_Live BW.jpeg, which was photographed by Sharon Cheema.

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

LISTEN HERE | MEDIA ASSETS

Calcutta-born, Madrid-based singer-songwriter, multi-instrumentalist, and producer weyvir announces his forthcoming single, “Streets of Love, Pt. 1,” arriving September 9. Blending indie rock, alternative pop, power pop, and surf rock, the track captures the restless feeling of being unable to let go of someone when you think you should.

Written nearly eight years ago while weyvir was still in high school, “Streets of Love, Pt. 1” began with its chorus, inspired by heartbreak and the frustration of carrying feelings that could never quite be said out loud. From there, weyvir built the rest of the song around that initial idea, creating a story that has followed him from his teenage years into his life in Madrid.

“I haven’t ever been able to give up on this song since I wrote it, and I’m finally giving it the ending it deserves.”

That idea of rejecting destiny runs through “Streets of Love, Pt. 1.” Rather than framing love as something predetermined, weyvir looks at the choices, missed opportunities, and unresolved feelings that bring two people together. The result is a song that feels both nostalgic and immediate, pairing picturesque pop-rock melodies with the emotional honesty that has become central to his work.

Sonically, the track draws from a wide range of influences. The chorus was initially inspired by Band of Horses’ “The Funeral,” while the beat takes cues from The Wonders’ “That Thing You Do.” Elements of the Beach Boys, Supergrass and Arctic Monkeys also helped shape the track’s melodic and rhythmic character, resulting in a bright, driving indie rock song that carries the weight of a much more complicated story underneath.

“Streets of Love, Pt. 1” follows weyvir’s recent single “just gotta let u know,” which blends bossa nova with grunge, pop punk, and UK garage. Across his releases, weyvir continues to explore the space between alternative rock and magnetic pop, creating songs that feel like late-night letters you never quite manage to send.

With over 25,000 streams across his solo output and collaborations surpassing 1 million streams, weyvir has steadily built a presence through both his solo work and live performances. He cut his teeth in the DIY circuit around Syracuse University before settling in Madrid, where he continues to develop his distinctive blend of rock songwriting and pop sensibility. He has shared stages with artists including Rebecca Black and performed with acts such as Picture Us Tiny. Outside of his solo project, weyvir also fronts rock band Hard Fuse on vocals and bass.

“Streets of Love, Pt. 1” arrives September 9, marking the release of a song that has spent almost a decade evolving alongside its writer. What began as a teenage heartbreak song has become something more reflective: a reminder that sometimes the songs we cannot leave behind are the ones still waiting for us to finish their story.

Artist Bio: weyvir (Calcutta-born, Madrid-based) crafts alternative rock tinged with magnetic pop aesthetics and atmosphere that feels like a late-night letter you’ll never send. A singer-songwriter, multi-instrumentalist, and producer who’s been chasing sound since the age of eight, he cut his teeth in the DIY circuit around Syracuse University before settling in Madrid. His solo output has already crossed 25k streams, with various collaborations pushing past 1 million. He has shared stages with acts such as Rebecca Black and performed with acts such as Picture Us Tiny. Vir also fronts the rock band Hard Fuse on vocals and bass. His recent single, “just gotta let u know,” combines bossa-nova with elements of grunge, pop punk, and UK garage resulting in a collection of songs that deliver relentless honesty and picturesque pop rock that dominate the room.

Notes To Editors: 

Artist: weyvir
Release Date: September 9, 2026
Genres: Indie Rock, Alternative Pop/Rock, Power Pop, Surf Rock

Music and Lyrics: Vir Batra
Vocals, Guitar, Bass: weyvir
Backup Vocals: Vega Velázquez
Producer: Dani Marx
Drums: José Bruno

FFO: Supergrass, The Wonders, Arctic Monkeys, Beach Boys

Special thanks: Vanshaj Nandrajog, Siddhant Raman, and Ernesto Castillo, who contributed to the first iteration of the song.

Instagram, TikTok, Spotify

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

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Genre: Alt-pop, neo-soul
For fans of: Alanis Morissette, Tori Amos, Sara Bareilles

Nashville-born alt-pop and neo-soul artist Talon David announces ‘Villain’, the first half of a fairy-tale themed double album, arriving September 6.

Written, produced, arranged, engineered, and performed by David, ‘Villain’ is a fiery exploration of what it means to be cast as the bad guy in someone else’s story. Fueled by assertive grooves, sharp lyrics, powerful vocal arrangements, and an eclectic cast of musicians, the album finds David leaning into the more aggressive side of her sound while refusing to apologize for taking up space.

The concept for ‘Villain’ began with ‘Make Me the Villain’, written after David was scapegoated by music industry promoters for standing up for herself and fellow artists. What began as an angry response became the catalyst for an entire body of work.

After moving from Nashville to the UK in 2022 without knowing anyone or having an established support system, David spent the following years navigating a new country, a new chapter of her life, and plenty of personal and artistic character development. Along the way, she began noticing a recurring theme: being framed as the villain by people whose jealousy, influence, expectations, or beliefs conflicted with her simply being herself.

‘Villain’ turns that experience into a theatrical, genre-bending collection of songs. Across eleven tracks, David explores rage, grief, loneliness, awkward encounters, fake friendships, breakups, existential crises, and ultimately, the freedom that comes from refusing to live according to someone else’s narrative.

“Sometimes being the villain in someone else’s story is simply the price of refusing to play the role they wrote for you.”

The album moves freely between alternative rock, neo-soul, funk, house, pop-rock, retro R&B, reggae-pop, and dark pop. Its sonic unpredictability reflects David’s broader approach to songwriting. Drawing on her background as an actress and audiobook narrator, including work on Bridgerton, Neal Morse’s progressive rock operas, and more than 150 recorded books, she approaches each release like a manuscript, creating layered, themed worlds that are allowed to be dramatic, funny, vulnerable, and ultimately uplifting.

David’s musical upbringing was equally eclectic. Raised by two professional performers who were tired of playing country covers, she grew up surrounded by classic rock, Motown, 2000s pop, and Broadway cast recordings. She gravitated toward the piano early on, writing her own melodies and developing a musical voice that has remained difficult to confine to a single genre.

At seventeen, David won a nationwide GRAMMY Foundation songwriting contest for her song ‘Deep Snow’, earning her an invitation to attend the 2017 GRAMMY Awards. She went on to pursue a music degree before the global pandemic pushed her further into learning the technical side of her craft. In 2020, she released her first commercial project, Talon, like the Claw. Since then, she has released three albums, three EPs, and numerous singles, remaining the sole writer, producer, and audio engineer behind her catalog.

‘Villain’ continues that tradition of complete creative control while bringing in a group of musicians who help David build its expansive sound. Contributors include Stacey David on guitar, Pablo Arruda, Itaiguara Brandão, Bruno Migliari, and André Vasconcellos on bass, and Christiano Galvão, Fernando Moreno, and Bruno Werner on drums.

The album’s ten tracks each represent a different chapter in the villain’s story:

‘Make Me the Villain’ is the origin story. A slow-burning alternative rock eruption born from David’s frustration at being scapegoated by exploitative figures in the music industry. Inspired by classic rock and featuring Stacey David’s guitar work and Bruno Werner’s stadium-ready rhythms, the track establishes the album’s central question: what happens when you stop being afraid of being misunderstood?

‘Inner Banshee’ is the restless power. Written during the summer of 2025 while David was living in London and grieving her grandmother’s death, this house and neo-soul track captures the desperate need to create, perform, and scream into the void. It became a musical lifeline during a period of existential uncertainty.

‘Ghosted’ is the wake-up call. A funky, James Brown-inspired response to the frustration of being ignored by collaborators and coworkers. Packed with layers of background vocals, the track embraces the realization that sometimes the most efficient way to get something done is to do it yourself.

‘Awkward’ is the run-in. A pop-rock confidence booster about the uniquely uncomfortable experience of unexpectedly encountering someone you’ve only been on a couple of dates with. What are the rules? How should you act? And has the other person already cast you as the villain?

‘Hero Is a-Slitherin’’ is the personality. Inspired by David’s own Hogwarts House result after moving to the UK, this dark pop and alt-pop track challenges the stereotypes attached to Slytherin and the assumption that an outward label can reveal what is in someone’s heart. The accompanying music video was filmed entirely by David in London and Nashville.

‘Where Goodness Grows’ is the escape. Written in response to the exhaustion of news cycles and social media outrage, this slower-burning alt-pop track imagines escaping civilization altogether. With dystopian undertones and a pulsing groove, it asks what happens when the world’s best-laid plans begin to collapse.

‘I Wish You Well’ is the break-up. Drawing on the influence of early Mariah Carey, this retro R&B and pop/R&B track explores the difficult decision to end a relationship that does not have the foundation for a lifelong commitment. Sometimes playing the villain is the kinder choice when the alternative is a lifetime of hurt.

‘Mosaic (All of You)’ is the loneliness. The album’s most vulnerable moment. With no fiction or exaggeration in its lyrics, the piano-led ballad explores David’s experience of feeling like the villain in other people’s relationships while longing to have one of her own. It builds from quiet vulnerability into a devastating vocal climax.

‘Neverland’ is the cautionary tale. A haunting neo-soul and alt-pop track built around the chords of ‘Human Nature’. David explores her complicated impressions of Michael Jackson, another artist whose public story has been defined by the question of villainy. Stacey David contributes 12-string guitar, while shimmering vocal arrangements give the song an almost dreamlike quality.

‘Better Friend’ is the frenemies. A playful response to the fake friends and strategic competitors David has encountered throughout more than a decade in entertainment. Island percussion and carefree energy turn the track into a confident shrug at people who disguise competitiveness as friendship.

‘Last of My Kind’ is the triumph. An exaggerated, unseriously serious answer to everyone who lives in a world of endless “what ifs.” Combining retro influences with David’s trademark spunk, the album closes with a declaration of confidence, encouraging listeners to stop worrying, trust themselves, and dance anyway.

With ‘Villain’, Talon David transforms personal conflict into something theatrical, energetic, and unexpectedly joyful. Rather than running from the villain label, she turns it into a character, a concept, and ultimately a source of creative freedom.

David has previously received support from outlets including Wonderland and EARMILK, adding another chapter to the story of ‘Villain’.

Credits:
Talon David: vocals, piano, writer, arranger, producer, engineer
Stacey David: guitar
Pablo Arruda: bass on ‘The Better Friend’
Itaiguara Brandão: bass on ‘Where Goodness Grows’
Christiano Galvão: drums on ‘Last of My Kind’
Bruno Migliari: bass on ‘Ghosted’
Fernando Moreno: drums on ‘Hero Is a-Slitherin’’ and ‘I Wish You Well’
André Vasconcellos: bass on ‘Last of My Kind’ and ‘Inner Banshee’
Bruno Werner: drums on ‘Make Me the Villain’ and ‘Where Goodness Grows’

Find Talon David: Instagram, Spotify, Website

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

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 

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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