Albums: Dopamine Chamber

Fontaines D.C. the Irish band has been on everyone's lips lately due the released on his 5th., studio album "Dopamine Chamber" which was preceded by the singles "Marianne", "Tongue" and "Where Is Gone?." Following the release of their fourth studio album, Romance, in August 2024, which received critical acclaim and achieved commercial success, Fontaines D.C. embarked on the Romance tour. While touring the album in 2025, the band began working on new material.

During the writing process, the band made a conscious decision to continue the alternative rock sound of Romance, with lead vocalist and lyricist Grian Chatten noting: "One of the fundamental questions I felt like asking myself was, do we want to forget about Romance and kind of reinvent ourselves a little bit? Do like a rootsy album, take another left turn, or do we want to continue to pursue whatever this was with Romance? It felt like we had more to say in that area musically." Guitarist Carlos O'Connell elaborated: "I think [that album] was so intense in every [way]... the visuals, the production, the setlist. It wasn’t just about the music. It’s almost a bit of the identity of the band now, but I guess that’s the decision to make. Chatten wrote the lyrics to Dopamine Chamber while travelling in Vienna and Venice, describing the process as a "very short, compressed writing trip."

The band recorded the majority of the album at Decoy Studios in Suffolk with producer James Ford, who had worked with them on Romance. After the band members had recorded the music to each song, frontman Grian Chatten subsequently recorded his vocals separately with Ford at a house in Palermo, Sicily. The pair used a makeshift vocal booth created out of mattresses and cushions: "It was like two young lads having a sleepover and building a fort. It was a lot of fun making all the music surrounded by equipment at Decoy Studios in Suffolk and then doing all the vocals with kind of nothing. Palermo is such a lively place. You're surrounded by a sense of oldness that commands a certain reverence."

Fontaines D.C. have experienced a remarkable rise in popularity over the past two years. Considered now as the biggest Irish act since The Cranberries, the band has proven itself worthy of the crown with its new record Dopamine Chamber embracing a gothic, moody sound and adds a synthy, sonic twist.

Dopamine Chamber continues in the direction the band went with the ultra-successful Romance although the sound is quite differente despite sharing similar lyrics, intense, bass-heavy melodies, and steady synths as Romance, Dopamine Chamber somehow feels more mature as the band's newfound confidence. The album has a dark felling, it has some ballads, some classic post-punk rock songs, and some intense, sensual dance tracks. 

The opening track, "Six Shot Morning," falls into the third category, with resonant synths and a melody driven by the pounding rhythm. The next two tracks, "Marianne" and "Mimesis," have a similar synth-pop quality but with nice beats, electronic production, and dreamy vocals blend modern dance music with the melancholic gloom of goth punk, now the album goes into a post-punk style with "Happy For You" its opening riffs are jangly and almost psychedelic, reminiscent of Slowdive or The Stone Roses with dramatic lyrics and intense guitar parts. 

The next track, "Demolition," combines band's post-punk influences with dance-pop, the result a rhythm-driven rock tune, "Tongue" is nice despite its repetitive melody is driven by the beat, imbuing the lyrics with the gravity of spoken word with an intense blend of electronic music and rock, which makes for an exciting and intense listening experience. "Where Is Gone?" now signals a shift in the album while still maintaining the tone. Now the song features the Spaniard pop singer Rosalía, she and Chatten sing the song as a duet, and their sultry, emotional vocals complement each other well.

"Where Is Gone?" combines a Spanish guitar with Fontaines D.C.'s recognizable production style and dramatic poetic lyricism, making for a beautiful and dramatic ballad. "Japan" is a remarkable tune on the album, with a contemporary pop sound, a bright rhythmic guitar with a steady drumbeat to support Chatten's melodic vocals. The synthesizers and the subdued electric guitar riffs, paired with the sensitive lyrics, help build a dreamy, gentle sound. The final song of the album, "Intimate," comes back to the intense, electronic tone of the first tracks, you know steady drums, layered synths, and mellow guitar riffs, along with Chatten's vocals, contribute to the desperate, emotional tone of the song.

The album is an exciting record, well-produce and a serious contender for the album of the year, captures the zeitgeist of its era, a superb achievement for a band that is reaching the global stardom finally.  

 

Dopamine Chamber Track List:  

 

1. Six Shoot Morning

2. Marianne

3. Mimesis

4. Happy For You

5. Demolition

6. Tongue

7. One Man

8. Where Is Gone?

9. You Miss Me

10. Japan

11. Intimate

New Music: Circles

           

James Blunt has shared the new single "Circles" along with the music video. The song will feature on his upcoming album "Airplane Mode", which is due out in November. 'Circles' is a song inspired by the music James wanted to make when he first started out, and is about things that keep you up at night.  Speaking about his new song, James said: "'Circles' harks back to the inspiration I had for my very first album, of the music from the late 90’s and early 00s. This is what I wanted my music to sound like, and it’s who I am as a result." The music video features James driving around on a mini tractor.

Albums: A Man From The Future

 

Released on 9 October 2026, "A Man From The Future" is an electronic/orchestral album by Pet Shop Boys,  a concept album that follows the life of Alan Turing and his legacy and is a collaboration with Turing biographer Andrew Hodges. The album is credited to Tennant/Lowe/Hodges.

The duo originally wrote the songs with Hodges around 2012–2013, later performing it with the BBC Concert Orchestra at a BBC Prom in July 2014. They later decided to revise the piece to "give it more of an electronic emphasis", and Sven Helbig, the original orchestrator, suggested reworking his orchestrations in a more intimate arrangement for eight string players.

The album features string arrangements composed by Helbig and performed by the Manchester Camerata Octet. Actress Juliet Stevenson provides spoken word narration adapted from Hodges' book Alan Turing: The Enigma. Four of the eight songs additionally feature children from Manchester Grammar School choir. The title track features an excerpt from a 2009 statement made by former Prime Minister Gordon Brown acknowledging Turing's work and apologizing for the inhumane treatment he received, which is followed by the posthumous royal pardon granted by Queen Elizabeth II in 2013.

The songs recount Turing's school days and early interest in mathematics, his time at Cambridge University, his work breaking the German Enigma machine's codes during the Second World War, his role in the invention of the digital computer and his early predictions about artificial intelligence, his trial and conviction for a homosexual relationship, his death in 1954, and his legacy.

"A Man from the Future" is not a pop album, but rather a musical biography and a sonic memorial dedicated to Alan Turing—the father of modern computing and a hero of the Second World War. Structured as an avant-garde audiobook interwoven with cinematic passages, the work prioritizes historical narrative over danceable choruses.  It serves as an immersive audio monument, designed to prompt the listener to reflect on technology, institutional injustice, and the price of being ahead of one’s time.

Despite being the father of artificial intelligence—and having his cryptographic work shorten the Second World War, thereby saving fourteen million lives—Alan Turing went from being elected a Fellow of the Royal Society in 1951 to being convicted by the British government in 1952, solely due to his homosexuality. The script for this journey was not crafted within the superficial confines of a typical commercial studio. 

The album is officially credited to the trio of Tennant, Lowe, and Hodges. Indeed, the third name in the credits is Professor Andrew Hodges—Turing’s definitive biographer, whose acclaimed book "Alan Turing: The Enigma" serves as the foundational text for the entire album. The majestic voice that weaves the narrative belongs to the award-winning British actress Juliet Stevenson; her performance—at once detached yet profoundly moving—evokes both the clinical tone of documentary footage and the warmth of human compassion. On the sonic front, Neil Tennant and Chris Lowe collaborated with the renowned German composer Sven Helbig, who oversaw the production and crafted exquisite, intimate string arrangements, performed by the Manchester Camerata Octet. They are joined by the ethereal voices of the Manchester Grammar School children’s choir on four of the tracks, with additional electronic production provided by Maarten Vos. 

As a historic crowning touch, former British Prime Minister Gordon Brown himself appears, reading the moving formal apology that the government issued posthumously to Turing in 2009. The title of the album, "A Man from the Future", carries a dual, unavoidable layer of meaning. On one hand, it is a literal description of Turing: a genius who, as early as the 1940s, was already theorizing about thinking algorithms, artificial intelligence, and portable computers.  

On the other, it reflects his personal life: an openly gay man who looked forward to a tomorrow where loving freely would be considered normal. The title serves as a reminder that Great Britain destroyed a hero simply because the future he already inhabited took decades to arrive for the rest of the world. This conceptual project was not a sudden thing; it was originally conceived between 2012 and 2013 and premiered in a symphonic format at the BBC Proms at the Royal Albert Hall in July 2014. At the time, however, critics were left puzzled by the show’s restraint. 

More than a decade later—now in 2026—the duo decided to retreat and rework the piece, replacing the full orchestra with a far more electronic, synthetic, and minimalist approach. Much like they did in 2005 when they composed an alternative soundtrack for the silent film "Battleship Potemkin",  with this new projecy, they demonstrate that their creativity expands quite naturally beyond the confines of the traditional pop-chart canon.  

True to British precision, Neil Tennant and Chris Lowe conceived this release as a perfect binary equation: the first disc contains the complete work, featuring a commanding dramatic narration by Juliet Stevenson, while the second disc presents the same tracks in purely instrumental form—allowing the analog electronics and Sven Helbig’s string octet to take center stage. The track sequence is not the product of a modern, randomized algorithm, but rather follows an unyielding chronological timeline.  

The journey is divided—with surgical precision—into two complementary temporal blocks: two mathematical acts that separate the brilliance of a rising genius from the institutional darkness that would eventually extinguish his mind. It is the rise and fall of the man who designed tomorrow—told not with the cold detachment of an encyclopedia, but through the electric pulse of synthesizers and the organic, plaintive resonance of string instruments. 

This electronic odyssey begins with "Natural Wonders Every Child Should Know," an expansive, seven-minute-plus opening that introduces us to Turing’s childhood and his early fascination with biology and the geometric patterns found in nature. This is followed by "He Dreamed of Machines," in which the synthesizers begin to take on an industrial rhythm. The track captures Turing’s university years at Cambridge and his obsessive drive to design a mechanical brain capable of resolving human logic. Next comes "The Enigma," the tense heart of the first section. An electronic pulse emulates the urgency of war, while the narration details how Turing and his team cracked the secret codes of the Nazi war machine at Bletchley Park. The section concludes with "Other Ranks," a transitional piece—evocative of the music of that era—that explores the military environment, its hierarchies, and the human relationships kept hidden during the conflict. 

The second part introduces "The Memory and the Control," an experimental, minimalist track that addresses Turing’s revolutionary theoretical predictions regarding artificial intelligence and the limits of digital memory. After a brief silence, "The Trial" emerges—the album’s darkest and most harrowing passage. The music turns stern and dramatic, recounting his 1952 prosecution for "gross indecency" due to his homosexuality—a legal ordeal that led him to accept state-mandated chemical castration. As we approach the end, "Only in His Death"—a devastating elegy led by the strings of the Manchester Camerata—commemorates his tragic 1954 suicide, brought about by consuming a cyanide-laced apple. The album concludes with its title track, "A Man from the Future"—the record’s true climax.  

Blending avant-garde electronics with the actual voice of Gordon Brown offering an official apology, the track features Tennant delivering lines that link Turing’s tragedy to the algorithmic dilemmas that shape our lives today. It is certainly disorienting for an electronic pop group to swap catchy choruses for spoken-word passages. Yet, the Pet Shop Boys made the most honest choice possible.  

By opting for a "spoken word" format, the duo steps aside, ceding the spotlight to the story and acting instead as directors of a cinematic soundtrack. The tension generated throughout the record is an artistic marvel: the mathematical coldness of the synthesizers evokes Turing’s computational mind, while the classical strings introduce a human lament for the horrific institutional injustice he endured.  

Free from the constraints of radio singles or commercial ambition, this double album feels like a work of pure art. It is a dense, demanding, yet profoundly beautiful record—provided one understands that what is being heard is a historical memorial, not dance music. Ultimately, the album's instrumentation creates a stunning contrast between the artificial and the organic. On one hand, Chris Lowe's analog synthesizers, programmed sequences, and drum machines recreate the concept of a "thinking machine" through hypnotic, mathematical patterns. On the other, an eight-piece string ensemble—conceived by Sven Helbig—infuses the work with the warmth, drama, and human pathos that the historical narrative demands. Neil Tennant's vocals do not seek the prominence typical of a melodic lead singer; instead, they exist as whispers, echoes, and solemn choruses that cradle the resonant, theatrical narrative voice of Juliet Stevenson. 

Both international critics and the band's own fanbase agree that "A Man from the Future" stands as one of the most daring, restrained, and moving works in the Pet Shop Boys' 40-plus-year career. It has been met with immense respect, recognized not as a collection of chart-topping hits, but as an immersive sonic monument—a work that demands full attention and should be experienced from start to finish as a multifaceted audio adventure, rather than as a conventional pop album.  Definitely is a masterpiece of historical justice and artistic risk-taking. Pet Shop Boys have adopted the format of spoken word and neoclassical electronic music—not out of pretension, but out of absolute respect for their subject matter. By silencing commercial choruses and activating the sonar of our collective memory, they have crafted a devastating sonic testament.  In summary, they demonstrate that electronic music serves not only as a means to escape reality on a dance floor, but also as a way to rescue from oblivion the ghosts of the geniuses who built the tomorrow in which we live today.

 

A Man From The Future Track List: 

 

1. Natural Wonders Every Child Should Know

2. He Dreamed Of Machines

3. The Enigma

4. Other Ranks

5. The Memory And The Control

6. The Trial 

7. Only In His Death

8. A Man From The Future

Albums: Ever The Optimist

 

The first full-length studio release from Scottish indie pop band Trashcan Sinatras in 10 years features guest appearances by Camera Obscura's Tracyanne Campbell and Scritti Politti's Green Gartside, the album has spawned the singles "The Bitter End", ""Bad Husband", "Ever The Optimist" & "Games For The ZX Spectrum."

Despite their pace slowed more than usual, Trashcan Sinatras finally are back with "Ever the Optimist" which came as a brilliant surprise to those wondering where the band had been since the release of 2016's Wild Pendulum. This is a record made up of songs that touch on adult situations with the group's usual deftness, sometimes coming across almost bitterly melancholic, other times warmly comforting. 

The production is far more restrained than in the semi-recent past, with the band letting the songs and performances speak for themselves, basically the songs are mainly based around guitar, bass, and drums with the occasional keyboard. This approach pays off on achingly powerful songs like "A View from Nowhere," it also means that the more uptempo songs have some kick to them like the brilliant "The Associated Funk" which is a propulsive rocker with guitars that sound locked in a to-the-death duel, and the lilting "Melodramatic" has essence that only the accumulation of time can give a song and band. 

The album has ballads, fragile ballads, like the sweetly sad "Birds I Couldn't Identify," are also well served by the more stripped-down yet still full arrangements. Along with the excellent songs and performances, the band also pull off a couple of nice collaborations. "Bad Husband" features the dulcet tones of Camera Obscura's Tracyanne Campbell duetting with Reader on a rueful examination of a failed marriage, "Hold on to Today" pairs another ageless wonder, Scritti Politti's Green Gartside, with Reader on a subdued track that's both brutally honest and somehow uplifting. 

A main ingredient on the record are guests who are extremely well-chosen, not surprising for a band with touch and experience that always have deserves more. Ever the Optimist is yet another example of their under-the-radar brilliance and will repay the faith of longtime fans like a slot machine spitting out gold coin after gold coin. Thoughtful, well-constructed, and emotionally real guitar pop music doesn't get any better than this. 

The album opener "Ever The Optimist" speaks to trying to find brightness as the world around us darkens, but with the gambling metaphor running through the lyrics, it’s clear that the author here recognizes he’s likely beaten but not willing to fold just yet. Next "Games For The ZX Spectrum" has a familiar jangle that delivers the same dopamine hit as a rare sunny day in the band's Scottish home. 

"Bad Husband" has a late 70s/early 80s pop feel that reminds of another Scottish outfit; Camera Obscura. And it’s no wonder with Tracyanne Campbell singing along with Frank here. The song showcases the band stamp of blending uplifting music with dark lyrics. While listening, this one may have the unintended effect of causing a few couples to re-assess their relationship’s health. "The Bitter End", was the first single released in February this year, with harmonies that are nothing short of majestic, so easy on the ears that you may forget how difficult it is to pull this off, particularly with a band in their early 60s. Chunky guitars twang and chirp, and melodies just make your mood lift. Frank sings of love and loss.

Other remarkable tracks are "Melodramatic", sounds like a quintessential Trashcan Sinatras track, but there's a curious gem on the record with "The Associated Funk" packing with a big punch, up-tempo and vital. The arrangement is fast-paced for this band, but Frank counters by singing with a measured confidence, elongating phrases rather than filling them with words. "Rome" follows and this one is frankly mind-blowing outstanding sung by John Douglas, the symphonic, film-score-esque arrangement sits like a master’s abstract painting among the famed realists of prior centuries. This band can still surprise, and listeners should welcome such experimentation when it yields such gold. The closer, track "Learning To Love Your Ghost" is a moody piece on the topic of grief. With Frank earnestly sings "What you gonna do but survive?" really touch now with John’s sudden death, this song holds new power. The final elegiac lyrics as the song builds are especially poignant.

 

Ever The Optimist Track List:

 

1. Ever The Optimist

2. Games For The ZX Spectrum 

3. Bad Husband

4. The Bitter ENd

5. A View From Nowhere

6. Hold On To Today

7. The Associated Funk

8. Rome

9. Melodramatic

10. Birds I Couldn't Identify

11. Learning To Love Your Ghost 

Rocktrospectiva: The Breakthrough Innovative "Biophilia" Turns 15

Released on 5 October 2011 "Biophilia" was the 7th.,studio album by Icelandic singer Björk who composed it as a concept album during the 2008–2011 Icelandic financial crisis, exploring the links between nature, music and technology. Billed as the first "app album", Biophilia was a multimedia project released alongside a series of apps linking the album's themes to musicology concepts. It was followed by a series of educational workshops on four continents. The album spawned the singles "Crystalline, "Cosmonogy", "Virus" & "Moon." Another track related to the project, "Náttúra", was released as a single in 2008.

At the end of 2010, Björk confirmed she was working on a new album. In an interview published on Fréttablaðið she stated that the project was half-complete and that she hoped to tour before the end of 2011. On 6 January 2011 she started a three-day public karaoke marathon to protest the Magma Energy deal; the accompanying petition was signed by 47,000 people. The petition was welcomed by Iceland prime minister Jóhanna Sigurðardóttir.

The app Solar System, made by Touch Press, came out in January 2011, and featured a new instrumental track by Björk as an introduction. The demo track was confirmed to be a part of the upcoming Biophilia project. The details of the project were announced when the first Biophilia live show was announced for the Manchester International Festival in June 2011. Biophilia was stated to encompass music, apps, internet, installations and live shows. Biophilia was partly composed on an Apple iPad.

New musical instruments were specially developed for the album, and specially for the shows at the Manchester International Festival that took place in mid-2011 to introduce the album. The Tesla coil was used as a musical instrument on the song "Thunderbolt". A "gameleste", a mixture between a gamelan and a celesta which was programmed in order to be played remotely by a tablet computer, was also used in "Crystalline" and "Virus". A group of pendulums were put together, creating patterns with their moves, transmitting the movements of the Earth to the sound of a harp, making the song "Solstice".

For the music, Björk related the phenomenon the song describes to a musical structure or resource. For example; the song "Moon" had different musical cycles that repeat throughout the song; the song "Thunderbolt" contained arpeggios, inspired by the time between when lightning is seen and thunder is heard;  and in "Solstice", the counterpoint made reference to the movement of planets and the Earth's rotation, and the pendulums used on the song make tribute to the Foucault pendulum.

The lyrics also presented metaphors to those phenomena. "Dark Matter" features heavy gibberish since the dark matter phenomena were directly "unexplainable". "Virus" described "fatal relationships" such as the relationship between a virus and a cell, as Björk explained: "It's like I have this new neighbour that I have to sort of learn to live with"; "Solstice" presented the relation between the gravity effect on celestial bodies, comparing the Solar System to a Christmas tree; and in "Hollow", Björk took inspiration from her "ancestors and DNA, that the grounds open below you and you can feel your mother and her mother, and her mother, and her mother, and her mother 30,000 years back. So suddenly you're this kinda tunnel, or trunk of DNA… All these ghosts come up so it ended up being a Halloween song and quite gothic in a way… It's like being part of this everlasting necklace when you're just a bead on a chain and you sort of want to belong and be a part of it and it's just like a miracle."

Björk also broke the typical 4/4 time signature structure for many of the songs on Biophilia. For example, "Solstice" features 7/4 and 6/4 time signatures; "Hollow", "Crystalline" and "Moon", all feature a17/8 time signature; "Mutual Core", 5/4 time signature and "Virus", 3/4 time signature. In addition, "Dark Matter" was in free-time, it lacks a regular pulse.

The Biophilia app consists of a series of 10 separate apps, one for each song, all included in a "mother app" which contains a menu made up by a three-dimensional constellation which the user can shift, zoom and orbit by swiping their fingers to open the apps. The first time the app was opened, an introduction by David Attenborough described the application and the project itself. This introduction was also used to open the Biophilia tour residency concerts. On the up left corner, the "musical compass" icon serves as a home button to return to the menu. If the icon is touched when the user is already facing the menu, a list of the application, including two pages for "how to navigate" and "credits", would appear.

Every app was named after the corresponding song and included different options, along with a description of the song and application. This short description link to an essay written for each song by Nikki Debben. The first option in the apps was to play the app, the second was the score, in which the user can look at the composition of the song, use it as a karaoke machine as the score had no vocals in it, or turn off the music and use it as sheet music. The animation option linked to an animation of the song created by Stephen Malinowski, in which different forms of different colors, linked to a specific instrument in the song, including Björk's voice, zoom in or out depending on their intensity. The fourth option showed the lyrics of the song, which were not available in the "Dark Matter" app as it is sung in gibberish and thus has no lyrics at all. The last option was to scroll the credits, which name the people who have worked in the app. The "mother app", "Cosmogony", was the constellation that includes all the other applications, and thus contains no particular game or instrument to play. Nevertheless, it contained two other options, which were the possibility to replay the intro narrated by Attenborough and to play the song in its entirety. When the user played the song, whether they would click on the compass icon they would return to the main menu immediately. Tapping in an empty space of the constellation would also make the user return to the main screen. The apps were roughly divided into two kinds: the ones in which the user play a sort of games, and the other ones that work like a musical instrument.

Almost every song on the app was presented in early, work-in-progress versions. For example, tracks like "Thunderbolt", "Sacrifice" and "Hollow" were missing their percussion parts and beats as they were added to the songs shortly before the album's physical release when Björk decided these early versions were unsatisfactory for a traditional music album. While "Sacrifice" missed beats and was performed at a slightly lower speed, the most interesting early version of a Biophilia track is "Solstice"; the album version was recorded live during her Manchester residency but the app originally contained a demo version performed in studio. In addition to these work-in-progress versions, several of the games featured the songs with sections of music missing, to be played and manipulated by the player ("Thunderbolt" for example has the player drag their fingers across the screen to play the Tesla coil baseline).

Biophilia received positive reviews from music critics. Critical acclaim came from BBC Music's Mike Diver, who described the album as mesmerizing and an amazing, inventive and wholly unique eighth album from an artist without peer, praising both her voice as a controlled presence and her composition work: Björk has crafted sounds which are entirely hers alone. Others named the album  as "wilfully weird yet surprisingly accessible, hypnotic and beautiful if you give it time and concentration: the audio equivalent of looking through a microscope at crystals growing.  Althought others gave a negative review called a record hard to love and at times, it's hard not to conclude that the music and lyrics were devised totally separately, and then forced together in forms it's difficult to acknowledge as songs.

 

Biophilia Track List:  

 

1. Moon (music Björk, Damian Taylor)

2. Thunderbolt

3. Crystalline

4. Cosmogony

5. Dark Matter (music: Björk, Mark Bell)

6. Hollow

7. Virus

8. Sacrifice

9. Mutual Core

10. Solstice 

Primicia: Isle Of Dogs/Zoom Zoom The Little Boy

           

            

Morrissey announced a pair of single released today, each track arrive alongside a previously unreleased B-side from Mozza's latest album "Make-Up Is A Lie" album sessions. Both releases will be made available on limited edition 7” black vinyl on October 16, via Sire/ Warner Records. The previously unreleased B-sides, are "Isle of Dogs" and "Without Music The World Dies," the first one is the B-side of the single "Kerching Kerching", and the second is the b-side of the single "Zoom Zoom The Little Boy" the track was co.written by Morrissey and Gustavo Manzur.

 

New Music: Zoom Zoom The Little Boy

           

The pro-animal anthem “Zoom Zoom the Little Boy” the other track premiered by Morrissey today is backed with live favorite "Without Music The World Dies," It was originally released on March 6, 2026 as a part of his latest album "Make Up Is A Lie", it was subsequently released as a physical 7" vinyl single today. The song, written by Morrissey alongside Jesse Tobias and Mike Daly, features upbeat, catchy alternative pop-rock production that contrasts with a strong social commentary on animal welfare and vegetarianism. The video for “Zoom Zoom the Little Boy” will follow on November 13.

New Music: Kerching Kerching

           

The music Icon, Morrissey has shared his new single "Kerching Kerching" a standout track taken from his latest album "Make Up Is A Lie," the new track coincides with a highly anticipated physical drop: two new limited-edition 7-inch vinyl singles pairing the track with a coveted, previously unreleased B-side titled "Isle Of Dogs" and also "Zoom Zoom The Little Boy backed with "Without Music The World Dies", the official music video has been directed by Lewis Cater and starring actor Bill Nighy.

New Music: Koysar

            

Kings of Leon have released new single "KOYSAR", the latest single from their upcoming 10th studio album "O My Beloved". KOYSAR is an abbreviation for "Kick Off Your Shoes and Run". It draws on the band's childhood memories and the perspective they've gained as they raise families of their own. Continuing in the vein of the band's recent, more laid-back tracks, the song blends a relaxed feel with a joyful, carefree spirit, reflecting on the simple moments that shape who we become and the lessons we pass on to the next generation. The music video finds Kings of Leon enjoying a carefree day at the fair with their loved ones. It’s a joyful nod to the simple pleasures of their past, capturing the magic of keeping family traditions alive while making new memories. 

 

New Music: Japan

           

Ahead of the worldwide release of the band new album "Dopamine Chamber", Fontaines D.C. are sharing a video for album track "Japan."  Directed by BAFTA-winning filmmaker Luna Carmoon – who previously collaborated with the band, in the "Japan" video stars Angèle Metzger, Charlie Heaton and Sean Black.