Canadian singer-songwriter Ian James Bain, a core member of Nicolette & the Nobodies and guitar player for Jeremie Albino, unveils his latest single, “Come & Gone,” a heartfelt country ballad that reflects on the struggle of trying to make a career in music while grappling with self-doubt, burnout, and the pull of nostalgia. A deeply personal track, “Come & Gone” paints a vivid picture of the uphill battle faced by independent artists, balancing romanticized dreams with the harsh realities of life on the road.
Rooted in classic country storytelling but infused with Bain’s distinctive modern edge, “Come & Gone” blends traditional form with unexpected chord changes, creating a sound that is both timeless and fresh. Lush pedal steel and warm, twangy guitars carry Bain‘s introspective lyrics, culminating in a song that feels both melancholic and reaffirming.
Ian North, the celebrated Canadian folk-rock artist, returns with a fresh and energetic instrumental single, “Malahat.” Named after the scenic highway on Vancouver Island, this driving track captures the spirit of adventure and the joy of the open road. The instrumental piece is a celebration of both the beauty of the Malahat drive and the personal journey that led to its creation.
Produced by Chris Gartner, “Malahat” takes listeners on a sonic journey that moves between soaring crescendos and subtle, intimate moments. With intricate finger-style guitar, the track builds in intensity before returning to a quiet yet reflective finish, capturing the unique ebb and flow of the Malahat highway itself.
The song’s title holds personal significance for North, whose family has deep roots in British Columbia. He explains, “The Malahat is the highway that runs down the east coast of Vancouver Island from Nanaimo to Victoria. I’ve driven it many times, and the cover image of the song is a photo I took of my daughter walking along a wall at a lookout on that very highway.”
Sydney based Alt Metal outfit Dirt City have just released their heart wrenching new single ‘Barely Human’, which premiered exclusively via The Point Music News.
The powerful new single touches on the heartache of losing a child, and how grief coupled with anger turns you into something other than human.
The band have also announced that they will playing a launch show at Burdekin Hotel on April 11 alongside Neon Sunset, NLA and The Blistered Minds.
Dirt City employ a synth-heavy, industrial-like futurism to their music rarely found in heavy rock. There are moments of ambience found beneath the drum-heavy breakdowns, thunderous riffage, and melodic vocals that give the listener moments to appreciate the true soul that makes Dirt City’s exposition of alternative metal especially captivating.
The band entered the studio in late 2024 to record a run of new singles set for release over the course of this year. The tracks were produced by Nathan Sheehy (DZ Deathrays, Birds of Tokyo) and mastered by Klaus Hill (PNAU, LDRU).
Dirt Cityrecently released their blistering single ‘Scratched’, which premiered exclusively via AAA Backstage and received positive coverage from The Point Music News, HEAVY Mag, AMNplify, Good Call Live and Metal Roos.
Dirt City are back again with ‘Barely Human’, available on all major streaming services.
“Dirt City carve out a unique space in alt-metal, infusing their heavy, drum-driven breakdowns and thunderous riffs with synth-heavy, industrial qualities. Beneath the chaos, moments of ambience shine through, adding a deeply emotive layer to their ferocious sound.”
AAA Backstage
DIRT CITY
‘BARELY HUMAN’ LAUNCH SHOW
April 11th – Burdekin Hotel, Sydney, NSW
W/ Neon Sunset + NLA + The Blistered Minds
Tickets available at www.oztix.com.au
Multi-platinum pop icon Shawn Desman and 2025 JUNO Award nominee Jamie Fine deliver pure euphoria with their steamy new single, “BODY,” out now via Wax Records. Dripping with late-night energy and undeniable chemistry, the track is a sweaty, sexy, uninhibited pop anthem destined to dominate the dancefloor.
Written and recorded in just two days, “BODY” pulses with raw energy – a track that channels the thrill of movement, the rush of letting go, and the effortless synergy between two artists at the top of their game. From the moment the beat kicks in, “BODY” demands to be played loud and felt deep, fusing pulsating beats, crisp production, and an irresistible groove.
Sydney based artist Nicholas Brown has just released his funkadelic new single and music video called Don’t Mind Me, which premiered exclusively via Scenestr.
Nicholas teamed up with Perth based ARIA-chart topping DJ Mind Electric to produce his latest banger that encourages listeners to unapologetically be their authentic selves. He will also be dropping a shimmering remix of the single that was produced by Russell Small of Freemasons (who officially remixed Kylie Minogue’s The One as well as the Bollywood remix of Kelly Rowland’s Work).
“Don’t Mind Me is a nu-disco/House track with some country/soul twinges and I hope it makes you strut and sing along to it. I hope you get busted by passers by singing the chorus in the car but keep singing anyhow.”
The single is the follow-up of recently released House anthem Strange Shadow, which was released in February. The single was recorded by legendary Sydney producer Dave Winnel (Twenty One Pilots, David Guetta, Bastille) and premiered exclusively via The AU Review. The single was aired on radio stations around the globe, with the music video securing airplay on ABC Rage.
From his early days as a boy chorister to moonlighting as a Bollywood villain in Mumbai, to cavorting with Big Ted on Play School, Nicholas has lived many musical lives — including starring in the Australian premiere of the smash hit Broadway musical Come From Away, the musical drama series In Our Blood, season 2 of Upright opposite Tim Minchin, the Asher Keddie drama series Fake and an upcoming role in Alex Proyas’s sci-fi musical R.U.R. His wild Bollywood adventure was even chronicled in ABC Conversations and in the book Growing Up Indian In Australia.
New single Don’t Mind Me is available on all major online stores and streaming services.
“There’s no doubt about it—”Strange Shadow” is a dance-floor filler. It has a lights-dimmed-low dance club feel to it which just feels sooooo good. The track was produced by Sydney’s Dave Winnel (Twenty One Pilots, David Guetta, Bastille). It’s given an exotic twist with some Bollywood influences via some sultry Indian strings and sitar.”
Bruce Baker – The AU Review
Sydney based Indie Rock outfit Garage Noise have just unleashed their highly anticipated EP ‘Daisybrain’, which premiered exclusively via AAA Backstage.
The band have also announced the Daisybrain Tour to celebrate the release.
Garage Noise combine elements of Pop Punk, Midwest Emo and Indie to create their earnest brand of Rock music. With punchy guitars, driving bass lines, powerful drums, and all tied together by heartfelt lyrics and melodies, Garage Noiseknow how to take their audience on a musical journey and leave them wanting more.
The band released their debut EP called ‘Innocent Scenes’ in 2023 that was recorded at the legendary Grove Studiosalongside Connor Massey (Deadshowws) and have since soared to great heights. They have shared the stage with the likes of Down And Out, Soso, Future Static, Ruffians and many more.
Garage Noisereleased their infectious single and music video ‘Eden’ in February, which was the first offering from their new EP. The single was premiered via The AU Review and was aired on well over 100 radio stations worldwide. After a successful run of tour dates to celebrate their single release, Garage Noise are ready to tear up stages across NSW once again for the Daisybrain Tour.
‘Daisybrain’is available on all major online stores and streaming services.
GARAGE NOISE
‘DAISYBRAIN TOUR’
Apr 3rd – WSU Kingswood Campus, Penrith, NSW
Apr 12th – Newcastle Hotel, Newcastle, NSW
Apr 18th – Lansdowne Hotel, Sydney, NSW
Apr 25th – The Vicar, Sydney, NSW
May 4th – Petersham Bowling Club, Sydney, NSW
May 7th – Hamilton Station Hotel, Newcastle, NSW
Tickets available at www.linktree.com/garage_noise
Toronto-based singer-songwriter and filmmaker pssyclwz unveils her mesmerizing new single, “odessa (she-side),” a haunting and melancholic cover of Caribou‘s original track, “Odessa.” This alternative electronic anthem brings a fresh, female perspective to the song while capturing the introspective, hypnotic mood of the original. The track showcases pssyclwz‘s ethereal vocals, which seamlessly replace some of the instrumental elements, creating a unique and intimate version of the song.
“odessa (she-side)” is inspired by pssyclwz‘s long-time wish for a female-driven take on Caribou‘s iconic song. She recalls hearing the original version over a decade ago and being drawn to the idea of a “girl version,” much like other memorable reinterpretations of popular songs from the early 2000s. The track is a labour of love and finally exists after numerous attempts to capture its perfect balance between technical mastery and emotional authenticity.
“odessa (she-side)” embodies the core themes pssyclwz frequently explores in her music—offbeat perspectives, emotional vulnerability, and the complexity of human experience. Her music is unapologetically different, offering a refreshing take on the mainstream by speaking to often overlooked emotions and experiences.
Brooklyn-based dream pop duo The Dream Eaters return with their latest single, “Program Me, I’m A Machine,” a synth-driven, hypnotic track that blends robotic detachment with eerie human emotion. Channeling elements of retro-futurism and deadpan humor, the song explores the blurred line between devotion and submission—asking whether true autonomy is ever possible in a world obsessed with control. “Program Me, I’m A Machine” is taken from the pair’s upcoming EP, The Dream Eaters Quarterly Report: Q125, out April 18, 2025.
With its pulsing beats, shimmering synths, and Elizabeth LeBaron’s mesmerizing vocals, “Program Me, I’m A Machine” evokes a sense of nostalgia while feeling distinctly modern. The track’s mechanical yet emotive delivery mirrors its thematic core: an AI-like partner programmed for compliance but perhaps harboring something more beneath the surface.
The accompanying music video, filmed at Green Lung Studios in Red Hook, Brooklyn, brings this vision to life with dynamic visuals and offbeat choreography. “Our drummer/dancer, Steve Fugitt’s dancing was particularly strong that day (when isn’t it perfect, though?), and I shimmied quite a bit myself—poor robot moves and all,” says LeBaron. “We were really feeling this one and just having a lot of fun.”
Beyond its infectious hooks and sci-fi aesthetic, “Program Me, I’m A Machine” carries a deeper message. “It feels both in the past and also in the future, but also the present?” LeBaron muses. “Almost like the desire to control women’s bodies is timeless…”
ARK IDENTITY’s new single, “Take Me To Tokyo,” is a high-energy track that captures a yearning for escape and the thrill of new experiences. Blending elements of 80s synth-pop, indie sensibilities, and modern pop, the song is an anthem for those dreaming of breaking free from the ordinary and embracing the unknown. “Take Me To Tokyo” is both a personal expression and a universal anthem of wanderlust, inviting listeners to reflect on the impulse to explore and reinvent themselves.
The song’s inspiration comes from a long-held dream between ARK IDENTITY’s Noah Mroueh and his best friend to one day visit Tokyo—a dream that has yet to be realized. The track blends that aspirational longing with the infectious energy of chasing adventure.
“Musically, it began as a droning synth idea that we jammed on with Ron Lapota, my producer. It evolved into a track about breaking away from routine, chasing something new, and embracing uncertainty,” Noah explains.
