With no musical background and without ever having performed in public, Zelmani rose to the top of the charts with her debut album. In spite of being known as very shy, she soon reached an audience all over Europe and Asia with her tender singer/songwriter country. Zelmani got her first guitar at the age of 14 and was taught some chords by her father. She learned to write songs, and almost ten years later, sent a few tapes to various record companies. Sony replied first and brought her together with producer and guitarist Lars Halapi, known for having worked with Ulf Lundell and Bo Kaspers Orkester. But the very close collaboration with Zelmani, where Halapi had total control over the arrangements, was perhaps his most successful. He gave her self-titled debut a flavor of early Van Morrison, but it was Zelmani who had written all the songs and whose clear and fragile voice gave them an air of honesty.

The 20th full-length album from of Montreal finds the band revisiting sounds from their early years, while still pushing artistic boundaries with their iconic style of pop & indie rock. Celebrated for their unique and prolific output, frontperson and primary songwriter/multi-instrumentalist Kevin Barnes recorded the album at Brooklyn's Honey Jar studios with audio engineer, Drew Vandenberg (Faye Webster, Toro y Moi), with basic tracking done live to a 16-track tape machine with Barnes' longtime live band. 'I wanted to capture a quick moment together and to make on-the-fly, spontaneous creative decisions', says Barnes. 'It felt very liberating and exhilarating to have to start and finish an album in a month's time'.

Stop Making Fans is a brilliant, genre-blurring studio album by the acclaimed Austrian electronic producer and multi-instrumentalist Bernhard Fleischmann, released in 2018 under the legendary indie-electronic imprint Morr Music. Spanning over an hour of intricate soundscapes, the record masterfully captures Fleischmann's signature blend of organic instrumentation, warm analog synth textures, and micro-glitch electronic percussion. The tracking arrangement showcases a beautiful evolution from quiet, introspective ambient passages into driving, beat-oriented indie-pop rhythms and minimalist leftfield electronics. From the clever nod of We've Heard The Talking Heads Talking to the sprawling, hypnotic layers of the title track and the atmospheric depth of Endless Stunner, the album balances melancholic weight with playful rhythmic exploration. Exceptionally produced and deeply textured, this album stands as an essential milestone for dedicated aficionados of contemporary electronica, IDM, and avant-garde indietronica.

"Good Days" is a delightfully whimsical, uplifting masterclass in Indie-Pop, Chamber Pop, and Twee-Pop. Lenka effortlessly revives the bright, hook-filled acoustic template that made her a global alternative pop icon. Built around a bouncy, swinging piano chord progression, handclaps, and a cheerful horn section, the track is a celebration of resilience, hope, and looking forward to better times.

Over the past twenty years Future Islands have travelled a rare arc, from promising newcomers to best-kept secret, from cult favourites to heroes of the genre. As they reach this remarkable milestone, they resist the obvious move. Instead of a ‘best-of’ compilation victory lap, Future Islands present From a Hole in the Floor to a Fountain of Youth - an immediate and accessible collection – half of which has never appeared on streaming services – comprising alternate hits, rarities, and fan favourites that showcase the band’s palette and bring further colour to their uniquely universal appeal.

Bleachers return with their latest album everyone for ten minutes, continuing the project’s evolution under the direction of acclaimed singer, songwriter, musician, and producer Jack Antonoff, an eleven-time Grammy Award winner. Over the past decade, Bleachers have cultivated a passionate global fanbase, celebrated for high-energy live performances and a strong sense of connection with their audience. Their previous self-titled fourth studio album marked a major milestone for the band, highlighted by a sold-out Madison Square Garden performance and widespread critical recognition, further solidifying their place in modern pop rock.