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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Find Lovisa Altin: Instagram, Spotify

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

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

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

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

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

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

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

Accomplishments

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

Album Credits

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

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

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

Creative direction by Jason Denison and X&ND.

Photo Credits

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

Tracklist

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

Instagram, TikTok, Spotify, Website

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

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

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

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

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

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

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

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

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

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

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

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

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

Tracklisting

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

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

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

Spotify, Instagram, Website

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

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Photo Credit: Ellie Patterson

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

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

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

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

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

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

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

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

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

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

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

Find Atticus Kane: Instagram, Spotify, Website

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

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

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

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

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

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

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

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

TRACKLIST

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

Find Scizzorman: Instagram, Facebook, X, Spotify

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

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

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UK duo Max Macready return with their new single ‘The Hunt’, arriving August 13, followed by an ambitious, cinematic music video on August 27. Blending darkwave, synthwave, electronic and post-punk influences with the atmosphere of a lost science fiction future, ‘The Hunt’ explores pursuit, mixed signals and the uneasy space between connection and fantasy.

Max Macready describe their sound as a musical transmission from a lost future, where analogue technology, neon-lit spaceports and pulsing synthesizers converge. Their music draws on the progressive ambition of Yes and Rush, the rhythmic energy of The Police and the cinematic textures of John Carpenter, alongside influences including Gary Numan, Nine Inch Nails, Jean-Michel Jarre and Vangelis.

At the heart of ‘The Hunt’ is the pursuit of something that may ultimately be unattainable. The track examines the thrill of the chase from both sides, reflecting on time invested, crossing worlds, starting over and the familiar patterns of knowing better, yet doing it anyway.

The song also looks towards the increasingly complicated nature of modern communication. Is a perceived connection really there, or is it simply an idea, an invitation imagined into existence? ‘The Hunt’ sits within that uncertainty, becoming a song about defiance and awareness in the face of mixed signals that may or may not be real. Beneath its sci-fi surface is a reflection on contemporary communication and the increasingly manipulative race for technological dominance and influence.

Musically, the track came together quickly. The composition and arrangement remained largely unchanged throughout the recording of the guitars and vocals, while the lyrics were written afterwards. Despite this, the track had carried the working title ‘The Hunt’ from the beginning. The vocals were recorded at approximately 3am one morning in London, before the noise of traffic and delivery mopeds outside became too loud.

The accompanying video expands the world introduced by Max Macready’s debut visual, ‘Holding Pattern’, which was conceived as a fuzzy holographic transmission or test signal sent across the void.

For ‘The Hunt’, the duo wanted to move beyond the idea of receiving a transmission and instead establish a tangible world in which their characters are physically present. The video follows them across distances and unfamiliar environments, travelling between locations that could belong to science fiction cinema or an alternate future built from obsolete analogue technology.

John Carpenter’s visual language remains a key influence, particularly his exploratory travelling camera movements. Shot using a Lumix S1RII with anamorphic lenses, a Steadicam and drone camera, the video was filmed on location across Cornwall and at RAE Bedford, including ‘Cornish Mars’, Gwithian Beach, Goonhilly Earthstation and the now-derelict air tunnel control room at RAE Bedford.

The control room became a particularly important setting. Its abandoned, otherworldly architecture provided the perfect environment for the video’s central computer interface and mainframe, which carries echoes of the antagonistic machines found in early 1980s science fiction cinema. Small LED lights and carefully chosen props were used to bring additional texture to the location.

The visual effects were deliberately restrained. No AI was used in the production of the video. Instead, Max Macready focused on capturing distinctive moments in camera and finding real-world locations that could convincingly evoke the imagined landscapes of their universe. Some 3D visual effects were subsequently used for elements including a twin-moon sky, parked rocket craft and the removal of unwanted signage.

The result is a video rooted in the tactile, cinematic qualities of analogue science fiction, created for anyone who has ever romanticised obsolete media formats, imagined dystopian futures through 1980s cinema, or wondered what might be waiting on the other side of a signal sent into the void.

Max Macready is a musical transmission from somewhere that perhaps never existed.

The duo consists of Max Macready, who handles bass, synthesisers and composition, and Kurt Precinct, who drives guitars and textures into orbit, while also contributing vocals and co-authoring the narrative. Together, they inhabit a retro-future universe where their songs exist as cassette-tape broadcasts echoing through deep space, beamed outward from forgotten consoles and travelling as radio waves in search of a listener.

With ‘The Hunt’, that transmission becomes something more physical. The signal has crossed the void. The question is whether anyone, or anything, is listening.

Artist Bio:

Max Macready is a musical transmission from a lost future – where analogue tech, neon-lit spaceports, and pulsing synths converge. Hailing from the UK, the duo crafts a sound rooted in synthwave/darkwave, electronic, and post-punk, pulling deep influence from the progressive ambition of Yes and Rush, the rhythmic energy of The Police, and the cinematic textures of John Carpenter. Max Macready handles bass, synthesisers, and composition — building sonic landscapes that feel both vintage and otherworldly. ​Kurt Precinct drives guitars and textures into orbit, sometimes stepping to the mic or co-authoring the narrative. Together, they form a band that exists both in our world and in another: a retro-future universe where their songs exist as cassette-tape broadcasts echoing through deep space. Their music is meant to feel like something your character in a sci-fi film would find – beamed outward into the void, spinning in a forgotten console, or drifting through space as radio waves seeking a listener, waiting for someone – or something – to listen.

Instagram, Spotify, YouTube

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

A Nine-Song tarot reading from Uncertainty and Collapse to Renewal, Healing and Chosen Human Connection

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Fate Envoy announces the release of The Tower, the Hudson Valley alternative/indie-rock band’s nine-song debut album. Released independently through CD Baby, The Tower is a guitar-driven concept record built around the Major Arcana of the Tarot, tracing a descent through uncertainty, upheaval, isolation, and transformation before arriving at healing and chosen human connection.

Across 35 minutes and 49 seconds, The Tower moves like a Tarot reading. Urgent guitars and cathartic vocals pull from the nervy drive of The Strokes and Arctic Monkeys, the atmospheric depth of Radiohead, and the heaviness of System of a Down, while the songs move between pop-punk immediacy, indie-rock momentum, atmospheric alternative rock, and brooding, mystical hard rock.

What makes the album’s concept distinctive is that the Tarot was not imposed on the songs from the beginning. Much of the material had already been written when band members Eric Anderson and Ari Bayvertyan began laying out the Major Arcana and discovered that nine particular archetypes corresponded remarkably closely with the emotional meaning and sequence of the existing songs. Rather than writing songs to fit predetermined cards, Fate Envoy found a Tarot reading hidden inside the music.

“The Tower became an esoteric unveiling,” the band explains. “The structure was discovered within the material rather than imposed upon it.”

The album opens with “Unforeseen Circumstances,” corresponding to The Moon, and its atmosphere of uncertainty and disorientation. From there, “Lightning” takes on The Hanged Man, exploring suspension and altered perspective, while “Sonny’s Party” embodies The Fool’s reckless leap into experience.

“Grandfather” confronts ancestry, memory, and reckoning through Judgement. The title track, “The Tower,” marks the record’s central rupture, where established structures collapse and hidden truths are exposed. “War Is Hell” takes the role of Death, not as literal annihilation but as the necessary ending of what can no longer continue.

After that collapse, “I Can Barely Talk” retreats into the solitude of The Hermit. “A Moment In Eternity” turns toward The Star, drawing on the restorative power of nature and the cosmos. Finally, “This Dance” closes the album with The Lovers, presented not as idealized romance but as a conscious decision to remain vulnerable, human, and connected after everything else has been stripped away.

The album’s central movement is therefore not simply destruction. It is what comes after.

“The Tower is about what earns survival when familiar but unsustainable structures collapse,” says the band. “It is rock as descent and return, made for anyone who has broken down and come back changed.”

The album’s concept extends beyond the music through The Reading, a 42-page companion document released alongside The Tower. The Reading contains an essay dedicated to each Tarot card, close analysis of the lyrics, and a closing rite for every song. Each track also receives its own unique Tarot card, conceptualised and art-directed by Anderson with original symbolism designed to deepen the listener’s engagement with the album’s progression.

The visual world of The Tower carries the same philosophy. The album cover, created by Anderson’s sister-in-law Ali Selinger, an elementary education art teacher in New York City, depicts characters from all nine Tarot cards interacting with one another in a style inspired by the original Rider-Waite Tarot decks.

Behind the album is a distinctly Hudson Valley story. Fate Envoy is composed of Eric Anderson (vocals, guitar), Ari Bayvertyan (vocals, guitar), Andres Ellis (drums), and Ian Ogana (bass, audio engineering). Anderson, Bayvertyan, and Ellis have played together since early 2021, with most of the material for The Tower written by 2023. Anderson and Bayvertyan wrote the songs and lyrics, while Ellis developed the drum parts and Ogana contributed bass, mixing, and mastering.

The band’s development is also closely connected to Anderson’s work as a high school history teacher and guitar instructor. Anderson runs a school Guitar Club that has played a major role in the band’s growth, with Ogana having originally been one of his students and a member of the club. Fate Envoy opened for Guitar Club concerts four times between 2022 and 2024.

In Spring 2025, Anderson and Bayvertyan built The Forge, the band’s own recording studio, by hand. As the final takes were completed, Ogana mixed and mastered The Tower throughout early 2026.

The result is a debut album that treats alternative rock as both music and inquiry. The Tarot is not decoration or aesthetic costume. It provides a framework for examining crisis, inherited patterns, destruction, solitude, renewal, and the difficult choice to reconnect with other people.

Even the band’s name reflects that purpose. “Fate” suggests the hidden pattern that becomes visible through experience, while an “envoy” is someone who carries a message forward.

With The Tower, Fate Envoy carries that message through nine songs: break down, look deeper, and choose what comes next.

The Tower Tracklist

1. Unforeseen Circumstances
2. Lightning
3. Sonny’s Party
4. Grandfather
5. The Tower
6. War Is Hell
7. I Can Barely Talk
8. A Moment In Eternity
9. This Dance

About Fate Envoy

Fate Envoy is an alternative/indie-rock band from Highland, New York, in the Hudson Valley. Comprised of Eric Anderson, Ari Bayvertyan, Andres Ellis, and Ian Ogana, the band combines urgent guitars and cathartic vocals with influences ranging from The Strokes, Arctic Monkeys, Radiohead, System of a Down, and Interpol. Their debut album, The Tower, uses the Major Arcana of the Tarot as a discovered narrative structure for a story of crisis, transformation, and chosen human connection.

Fate Envoy members:
Eric Anderson, vocals/guitar
Ari Bayvertyan, vocals/guitar
Andres Ellis, drums
Ian Ogana, bass/audio engineer

Release credits belong solely to the four members above.

Find Fate Envoy: Instagram, Facebook, Spotify

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

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New Jersey alternative rock band delivers an unapologetic soundtrack for surviving the apocalypse with riffs, rebellion, and dark humour.

New Jersey alternative rock band Red Head Redemption returns with their explosive new EP, Sunny With A Chance Of Fallout, arriving on August 7, 2026. Following the release of their latest single, “Armageddon Beach Party,” the four-track project captures the surreal experience of trying to build a meaningful life while the world feels like it’s falling apart.

Blending crunchy guitar riffs, driving drums, sharp songwriting, and fearless vocals, Red Head Redemption has carved out a sound they call “End of the World Rock.” Drawing inspiration from artists like The Pretty Reckless, Joan Jett, Avril Lavigne, and Veruca Salt, the band channels decades of rock attitude into something fresh, loud, and undeniably current.

Sunny With A Chance Of Fallout was born from the contradictions of modern life. Wake up, go to work, scroll through headlines about political instability, environmental decline, and corporate overreach, then somehow keep chasing your dreams anyway. The EP speaks to anyone caught between existential dread and the determination to live life on their own terms.

“We wanted to capture that feeling of looking around at everything happening in the world and thinking, ‘Well… I still have one life to live,'” says the band. “The songs embrace the chaos without giving up on having fun, making art, and finding connection.”

The EP opens with a message from “Nile Tech Industries,” a satirical advertisement set in the band’s fictional universe, where a corporation with the slogan “We Own Everything” promotes gas mask coupon codes during an active fallout warning. The concept introduces a recurring storyline that will continue through upcoming music videos.

Lead single “Armageddon Beach Party” blends biting social commentary with infectious hooks, imagining a generation accepting the rise of technofascism while watching the world burn from the shoreline. “Race Against Time” explores the anxiety of wondering whether you’re truly living authentically before time runs out. “Jolene” delivers a surf rock twist that proves love, rebellion, and romance still matter, even when everything else feels like it’s collapsing.

Produced by Doug Gallo, the EP showcases the band’s dynamic chemistry and uncompromising vision.

Sunny With A Chance Of Fallout Credits

Songwriters:

• Kim Modica (vocals, lyrics)
• Chris Reith (lead guitar)
• Bryan Carroll (drums)
• Ken Rapsas (bass, harmony vocals)
• Phil Curtis (rhythm guitar)

With three releases now available across streaming platforms and a growing reputation for energetic performances, Red Head Redemption continues to establish themselves as one of New Jersey’s most exciting alternative rock acts. Sunny With A Chance Of Fallout is both a cathartic release and a rallying cry for anyone trying to find joy, purpose, and community in uncertain times.

About Red Head Redemption

Red Head Redemption is an unapologetic alternative rock band from New Jersey. Loud, bold, and built to keep crowds moving, the band combines hard-hitting riffs, punchy rhythms, and charismatic vocals to create their signature “End of the World Rock.” Their music balances razor-sharp social commentary with unforgettable hooks, proving that even in the darkest moments, rock and roll remains a reason to keep going.

Find Red Head Redemption: Instagram, YouTube, Spotify, Website

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

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With the release of her evocative new single “The Intangible Man,” songwriter and artist Melody Briar deepens the emotional narrative of her forthcoming debut album, Green Aventurine, offering listeners a poignant meditation on grief, remembrance, and the fragile nature of human legacy.

Blending sweeping string arrangements, textured acoustic guitar, and atmospheric production, “The Intangible Man” expands Briar’s sonic palette while remaining rooted in the intimate songwriting and emotional honesty that define her work. The result is a cinematic and dreamlike composition that captures the complex transformation that occurs after loss; when a loved one gradually shifts from a living presence into memory, story, and myth.

At its core, “The Intangible Man” explores the unsettling experience of preserving someone whose existence once felt tangible and immeasurably alive. Through vivid personal imagery and broader reflections on time, identity, and remembrance, Briar examines how grief reshapes our relationship with the people we have lost. The song moves between moments of quiet intimacy and emotional expansiveness, creating a soundscape that feels both deeply personal and universally resonant.

“The Intangible Man” serves as another revealing chapter in Green Aventurine, a full-length project that navigates themes of grief, love, memory, vulnerability, and impermanence. Throughout the album, Briar confronts difficult emotional terrain with remarkable sincerity, transforming personal experiences into songs that invite listeners into their own processes of reflection and healing.

Musically, the single draws from the atmospheric sensibilities of contemporary alternative and indie-pop artists while maintaining a distinct voice of its own. Fans of Phoebe Bridgers, Lana Del Rey, Caroline Polachek, and The Cranberries will find familiar emotional depth and cinematic scope, yet Briar’s songwriting remains singular in its ability to merge classical influences with modern alternative production.

A classically trained musician whose foundation was built through years of studying piano, voice, and classical repertoire, Melody Briar approaches songwriting with a deep sensitivity to composition, storytelling, and emotional expression. Following a period of profound personal loss, she began writing original music as a means of processing grief and transformation. What emerged was a body of work characterized by lyrical vulnerability, nuanced emotional landscapes, and a commitment to exploring experiences that are often difficult to articulate.

At the center of Briar’s creative process is the piano; the instrument through which each song begins and the foundation upon which her artistic voice continues to evolve. Her music creates space for conversations surrounding death, guilt, love, memory, and healing, offering listeners a sense of connection through shared human experience.

With “The Intangible Man,” Melody Briar delivers one of her most emotionally layered and sonically immersive works to date, providing a powerful glimpse into the world of Green Aventurine and further establishing herself as an emerging voice in contemporary alternative songwriting.

Single Information

Title: The Intangible Man
Artist: Melody Briar
Release Date: August 7
Genres: Alternative, Indie Pop, Indie Rock, Singer/Songwriter

Credits

Written by: Melody Briar
Vocals: Melody Briar
Piano: Melody Briar
Cello: Aaron Stokes
Violin: Jimmy Drancsak
Acoustic Guitar: Kirk Schoenherr
Producer: Michael Banks
Recording Engineer: Michael Banks
Mixing Engineer: Michael Banks
Assistant Mixing Engineer: Nuno Roque
Mastering Engineer: Patricia Sullivan

About Melody Briar

Melody Briar is a songwriter whose musical roots stem from a lifelong study of piano, voice, and classical music. Her work is distinguished by emotionally nuanced songwriting, lyrical storytelling, and an enduring commitment to authentic expression. Inspired by personal experiences of grief, love, and transformation, Briar creates music that bridges intimate reflection and universal emotion. Through atmospheric production and deeply personal narratives, she explores themes of memory, vulnerability, mortality, and healing, inviting listeners into spaces of empathy, contemplation, and connection.

Find Melody Briar: Instagram, TikTok, Twitter, SoundCloud, Bandcamp, YouTube

FOR MORE INFORMATION PLEASE CONTACT: Danielle Holian | danielle.holian@decentmusicpr.com 

LISTEN HERE | DOWNLOAD SONG | MEDIA ASSETS

Independent artist Neona Ray returns with “Those Two Blue Eyes,” a powerful new single that marks the beginning of a defining new chapter in her musical journey. Produced by George Harris, the release introduces a more focused alternative pop sound built around rhythmic guitars, hip hop inspired drums, and subtle nods to 1980s influences, while retaining the emotional honesty that has become Neona’s trademark.

Known for pairing infectious production with deeply personal storytelling, Neona writes songs that explore identity, self-worth, healing, and personal growth. Rather than dwelling in darkness, her music transforms vulnerability into something uplifting, relatable, and empowering. Fans of Halsey, K.Flay, CHVRCHES, MARINA, and Rina Sawayama will recognise the blend of introspective lyricism and bold pop production, while listeners have also compared her vocal style to Lana Del Rey.

“Those Two Blue Eyes” tells the story of recognising unhealthy relationship patterns after a lifetime of people pleasing. Instead of focusing on one individual, the song reflects the experience of constantly giving more than you receive and learning that kindness does not require self-sacrifice.

“It is the moment a people pleaser discovers that sensitivity deserves protection,” says Neona. “Sweetness and strength can exist behind the same eyes.”

One of the song’s defining lyrics, “dark voodoo magic is what you will find,” captures the feeling of discovering healthy boundaries for the first time. For someone who has spent years believing they always had to accommodate others, learning to stand up for themselves can feel almost supernatural.

Like many of Neona’s songs, most of the lyrics arrived while driving. Once the music established the emotional atmosphere, the words followed naturally, creating one of her most personal releases to date.

Neona’s path into music has been anything but conventional.

Born in Germany and now based in Houston, she spent her teenage years attending international boarding schools before studying Mathematics at Royal Holloway, University of London, followed by a master’s degree in Applied and Computational Mathematics at Rice University. Music was never part of the original plan.

Everything changed after Hurricane Harvey devastated her Houston home in 2017. Displaced from her home and navigating the emotional aftermath of the disaster, Neona began writing poetry as a way of processing trauma. That creative outlet soon evolved into songwriting after she connected online with British musician Mick Matthews, who introduced her to recording, production, and the songwriting process.

What began as personal healing gradually became a full-time independent music career.

Today, Neona records vocals from her own home studio, creates vocal arrangements, manages distribution and royalty registrations, oversees artwork and marketing, and directs every aspect of her independent releases. Following years of vocal coaching and recovery from a vocal nodule that temporarily left her permanently hoarse, she has developed a strong technical foundation that continues to shape her performances.

Her artistic philosophy, “tiny person, huge emotions,” runs throughout both her music and visual identity. Bright colours, oversized earrings, symbolic wristbands inspired by Wonder Woman’s cuffs, and emotionally honest songwriting reflect her belief that sensitivity is a strength rather than a weakness.

That authenticity has helped Neona build a growing international audience. She now reaches more than 50,000 monthly listeners on Spotify, while her collaboration “Umbaway” has surpassed 143,000 streams. Listeners from around the world, including Brazil where “How Are You” gained unexpected traction on Deezer, have embraced music that encourages resilience without losing hope.

With “Those Two Blue Eyes,” Neona believes she has found the clearest expression yet of the direction she wants to pursue.

“This song feels like the beginning of something much bigger,” she says. “I hope it reaches anyone who has ever felt overlooked, underestimated, or taken for granted. There is strength inside you, even if you haven’t discovered it yet.”

The single will be supported by Meta conversion advertising, playlist campaigns, social media promotion, and Neona’s first formal press campaign. A music video is also planned.

Currently completing the Juilliard Extension Songwriting Certificate, Neona continues refining both her songwriting and artistic identity while preparing future releases. Her long-term vision includes intimate live performances in Houston and beyond, connecting with growing audiences in Brazil and Tokyo, expanding into artist merchandise, and one day performing with a full orchestra.

For Neona Ray, music began as survival. Today, it has become a mission to help others feel seen, understood, and stronger than they realised.

Instagram, Facebook, Generic, Spotify, Apple Music, Soundcloud, Amazon Music, YouTube, YouTube Music

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