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Faith-based indie artist Cydni Brionne brings vulnerability to the forefront on her new single, “bye bye!,” a soul-blues release that confronts the exhausting reality of anxiety while searching for hope beyond the noise. “bye bye!” captures the desperation of wanting to escape a turbulent mind and the emotional weight that comes with fighting an internal battle others may never see. Rather than approaching that experience from a distance, Brionne positions the song as an empathetic hand for listeners navigating their own difficult seasons. Brionne's classically trained voice is an essential part of that emotional pull. Her sound bridges traditional blues instrumentation with contemporary soul and funk, drawing inspiration from artists ranging from Stevie Wonder and Donny Hathaway to Amy Winehouse, Norah Jones, and Samm Henshaw. The result gives “bye bye!” a foundation that feels soulful and lived-in rather than overly polished. Faith sits at the center of the record, but Brionne doesn't use it to dismiss the complexity of mental and emotional struggles. Instead, she pushes against the stigma surrounding those experiences, particularly the idea that struggling or seeking help somehow reflects a failure of faith. Her message is rooted in reassurance: difficult moments don't place someone beyond God's presence or compassion. That perspective aligns with the larger purpose behind Brionne's artistry. Since debuting in 2023, she has performed with Sofar Sounds and Breaking Sound and taken the stage at the House of Blues, while focusing on building a community around listeners searching for something deeper than passive fandom. Arriving alongside an official music video on VEVO and YouTube, “bye bye!” feels like a defining introduction to what makes Brionne compelling. She doesn't pretend anxiety disappears with a simple answer. Instead, she meets listeners inside the struggle and reminds them that darkness doesn't have to mean abandonment. “bye bye!” comes from a deeply vulnerable place. Was there a specific moment when you realized the emotions surrounding anxiety needed to become a song? Yes, to start off, this song took about 5–6 months to complete. When I first began writing it in November, the lyrics were very different and weren’t as heavy. At the time, I wasn’t really connecting with them, so I decided to take a step back from the song for a while. Around late March, I decided to commit to finishing it. I scrapped the previous lyrics and felt led to be more transparent about my experience with anxiety. I wanted to simply express how it made me feel, how it kept me up at night, and the exhaustion that came from constantly fighting it, rather than trying to dress it up. When I finished the song, I was initially afraid to share it. I even considered keeping it to myself. But after sharing it with my mom and receiving encouragement and motivation from her, I found the courage to release it. I realized that people needed to hear something honest, and I wanted those who specifically struggle with mental health to know that they aren’t alone in their pain—that there is someone out there who understands. Faith is central to your artistry, but “bye bye!” also acknowledges how complicated mental and emotional struggles can be. How do you write about faith without minimizing the reality of what someone may be experiencing? It gets tricky sometimes, in all honesty. Unfortunately, society often places this expectation on Christian art to project an image of unwavering spiritual strength, when that simply isn’t the truth. I love God with all my heart, and I’m still a human being who experiences pain, sadness, anger, exhaustion, doubt, and every other complicated emotion that comes with the human experience. If God created reality and the human experience, then who are we to say that He isn’t present in those experiences with us? I believe it’s a disservice to not be honest about the struggles that life brings. It’s in those dark moments when we truly see the loving, faithful character of God, and we will rob ourselves of seeing that when we refuse to acknowledge reality. This is a sentiment I try to hold onto in my writing. It gives me the courage to continue to be honest about how painful life can be sometimes. There can still be stigma surrounding mental health within certain faith communities. What conversations do you hope “bye bye!” can help open up? As I mentioned in my previous answer, I hope “bye bye!” can start conversations about the hardships of reality while walking with Christ. Life is full of unexpected twists, turns, and difficult transitions that eventually take a toll on everyone. I want our communities to not be afraid or ashamed to admit that mental health is a very real part of life and something that needs to be discussed, especially among people of faith. Struggling with mental health shouldn’t be seen as a lack of faith. Instead, it should be seen as a normal part of the human experience and an opportunity to extend compassion and support to those in need. Your sound brings traditional blues together with contemporary soul and funk. How did you use the production and your vocal performance to reflect the emotional tension behind “bye bye!”? Producing the song was a very fun part of this experience. Working with my producer, Roderick “BassHeavy" Tillman, I believe we really captured the intensity of the emotion in the song by incorporating noticeable dynamic changes and variations in the arrangement. As a singer, I also made sure that my vocals told the story by intentionally articulating certain words and incorporating dynamic changes. The genre of the song also plays a huge part in conveying the message because it’s another way of showing the exhausting reality of dealing with anxiety while also highlighting the resilience and courage it takes to not remain in that place. You’ve said you’re more interested in cultivating a community than simply building a fanbase. What do you want that community to represent, and where does “bye bye!” fit into that larger mission? I want this community to represent a sense of safety and love. I want people to feel safe with God, safe to be themselves, and safe to tell the truth. I want people to feel loved and seen when listening to the music I write. “bye bye!” fits into this vision by unashamedly telling the truth and encouraging others to do the same, so no one feels alone or alienated in their pain. I believe this is only the beginning of establishing that foundation.

Wolves of Glendale have figured out how to make comedy rock hit like actual rock, and with their sophomore album Go to the Woods, the Los Angeles trio is pushing that formula into bigger, stranger territory. Made up of Ethan Edenburg, Eric Jackowitz, and Tom McGovern, Wolves of Glendale have built a devoted following by pairing absurdist humor with seriously sharp musicianship. Their new 15-track album, produced by Grammy-winning producer John Spiker, pulls inspiration from horror movies, social anxieties, awkward encounters, and the everyday absurdities that probably shouldn't be songs, but somehow become massive hooks in their hands. After taking their chaotic live show to stages including Bonnaroo, Lollapalooza, SXSW, and Netflix Is A Joke Festival, Wolves of Glendale are heading into their next chapter with plenty of momentum behind them. Ahead of the August 28 release of Go to the Woods, we caught up with the trio to talk about building the new record, finding the line between a great joke and a great song, working with Spiker, and why comedy rock might deserve a little more respect. Comedy rock can fall apart if either the joke or the music feels secondary. When you were making Go to the Woods, how did you know when a song was genuinely great versus just genuinely funny? I'm obviously a little biased, because I think literally every song on this record rules. But when you look at the track list, even before hearing the songs, it's pretty easy to spot at least one that's just funny for funny’s sake. There's a song called "Donkey Kong Is My Therapist" that we only recorded because we were in tears in the studio singing "Donkey Konggggg is my therapistttttt" over some grungy riff that Ethan was playing. Then at some point we were like, “You know what, we should probably just record this.” And then we did. And that song is actually as dumb as it sounds. But to answer your question, I think there's something genuinely great and funny about every single one of these songs. Our goal as a band is to make a song you could listen to without the lyrics and feel like you're listening to an incredibly well-produced modern rock song. I think we definitely accomplished that on this record. There was a moment when I first heard a coherent mix of "The History of Popcorn" and I got goosebumps. I remember thinking it was so funny that I was getting goosebumps listening to my own band's song about a fake story of Vikings accidentally inventing popcorn after beheading a king. But I think that speaks to how much time and effort we spent making these songs sound as good as possible, and writing the best arrangements we possibly could, so the music can elevate the joke every time. And vice versa. The album pulls from horror movies, social anxiety, awkward encounters, and the general absurdity of everyday life. What ridiculous real-life moment came closest to writing a song for you? The first song that comes to mind is "Chicken Parm," because there have been more than a handful of times where the three of us have been eating chicken parm somewhere, and we look up from our plates and — as if it's the first time we've ever said it to each other — all vocally agree that chicken parm is just the greatest meal of all time. Eventually one of us was like, we should probably write a song about that. And "Chicken Parm" was born. "I Finished a Book" is a close second, because personally, whenever I do finish a book, I feel like I just graduated from Harvard. I'm so bad at finishing books. So the initial joke in that song comes from a real place: doing something incredibly simple but feeling like I'm the man for pulling it off. John Spiker has worked with artists like Tenacious D and Slash. What did he bring to Go to the Woods that pushed the sound beyond what you accomplished on your debut? John was such an unbelievable part of this process. This album literally wouldn't be anything like what you're going to hear without him. He's a really unique swiss army knife of a producer and engineer, because he has a rare skill set: he's a genius behind the mixing console, able to record drums in the basement of a cabin in the woods and make it sound like a professional drum room in Los Angeles. But his instincts as a funny person are also invaluable to us as a comedy band. Having someone we can trust comedically and musically steering the ship during the recording process is something I really can't overstate. John was such an x-factor in this entire process. Anytime the three of us were unsure of where to take a joke or what instrument to add to an arrangement to help elevate it, we could always turn to John and trust that his opinion was leading us in the right direction. And John was also just supportive of following us down the silliest rabbit holes possible. Can’t believe I;m bringing this song up twice in the same interview, BUT: with "Donkey Kong Is My Therapist," when we were like, hey, let's record that, he was immediately like, “Yeah, of course we've gotta record it.” And five minutes later he had Eric’s drums ready to go and Ethan’s guitar plugged in and my mic set up. And all of a sudden we had a new track just because John said yes the entire time, when I think it could have been very easy for an average producer to say “we don’t have time, that’s too stupid, let’s keep moving”. So not only were we guided by an absolute seasoned professional, a monster engineer and producer, we were also made to feel like we could be our funniest selves and be embraced for it. In the record-making process I think comfort is number one, and John is the greatest at making incredible-sounding records in the most comfortable environment possible. You've played everything from Bonnaroo and Lollapalooza to Netflix Is a Joke Festival. Do you notice a difference between winning over a music festival crowd and a comedy crowd, and which one is harder? I wouldn't say either is harder, I just think they're different. A music festival crowd has been standing outside all day, they're there for the music, they're ready to party. So we're able to come out of the gate like Green Day or Blink, like a rock band at a festival would, and get everyone hyped up right away. We wouldn't necessarily do that at the Improv in LA. For a comedy crowd, we can spend more time between songs riffing with each other, making each other laugh, and making the room laugh because of it. Then we're able to use our musical ability in that context to wow a comedy room in a different way. The reverse is true at a festival. People expect to hear music, expect to hear a rock band play. But when we start singing about funny stuff, and when we're bantering and interacting with the crowd between songs, which can be relatively rare in a festival context, we've found that people really dig it. That's what I think is really cool about the Wolves: we're able to offer something unique in both worlds, adjust to match the energy of the room, and still give an unforgettable show no matter what. The most common thing we hear, especially in a comedy context, is "Wow, the songs are actually good!!! I can't believe you can all sing really well and the songs actually sound good!!! You could write real songs if you wanted to!!!" Comedy music has historically struggled to be taken seriously as "real music," even when the musicianship is undeniable. Do you think that perception is changing, or is being underestimated part of what makes Wolves of Glendale work? Since we formed in 2022 we’ve been on a mission to prove this exact point: that comedy music should be held to a higher standard. It can feel like an uphill battle sometimes because of preconceived notions about what comedy music is. A lot of people think it's like, a stand-up comedian playing campfire chords on a guitar or ukulele, telling jokes over a basic chord progression. Everything we're doing is a direct challenge to that stereotype. I have full faith that this generation of comedy music has the ability to remind people that comedy music is funny, but that it can and should be taken seriously, like Tenacious D and The Lonely Island did in the early 2000s. Because there are people like Kyle Gordon and OCT putting real, incredibly intentional effort into their songwriting, production, and arrangements to help elevate the joke, just like we are. That really does make me believe the perception is already changing.

Greenville, South Carolina rocker Mason Thomas steps forward with “Therapy,” the first single from his forthcoming debut album, My Shell Is Gone, arriving September 18. After years spent playing bass with Nordista Freeze, Sarah Shook and The Disarmers, Pretty Embers, and Liam Bauman, Thomas is putting his own songwriting at the center. Rooted in alternative and indie rock, “Therapy” turns an uncomfortable realization into something instantly relatable. Framed as a back-and-forth between therapist and client, the track explores a “people pleaser’s nightmare”: wanting the benefits of healing while presenting the most put-together version of yourself instead of confronting what is actually wrong. The idea comes from Thomas’ own counseling experience after losing his mother to cancer in 2019. That loss sits at the heart of My Shell Is Gone. After returning from the hospital following his mother’s death, Thomas picked up his guitar and returned to a “comfort” riff he had carried for roughly a year. That moment became the album’s title track and eventually the starting point for a much larger body of work. Across nine songs, My Shell Is Gone documents the six years that followed, including Thomas’ turbulent entrance into adulthood and the arrival of the pandemic only months after his mother’s passing. Grief and anxiety run through the record, but they are balanced by heartbreak, love, self-realization, and the gradual process of understanding who he was becoming. Thomas describes the songs as a source of solace during years when he struggled to make sense of himself. Recorded with longtime collaborator Blake Tallent and drummer Jack Foster, the album turns that personal history into Thomas’ proper introduction as a solo artist. With “Worker’s Comp” arriving August 28 ahead of the September 18 album release, “Therapy” sets the tone for a debut built around finally confronting the things Thomas once kept hidden. “Therapy” explores the instinct to present the “best” version of yourself in counseling. When did you realize that performing wellness can actually get in the way of healing? I’d have to say it took fumbling over myself (and my own story) in and outside of a couple of sessions to finally just release my pent-up honesty and frustration. My therapist at the time could relate to 1. Being a musician and 2. Losing a parent, so by the time they opened up themselves, I felt I had nowhere else to hide. Not to mention, what was the point of even being there if I wasn’t going to try and actually get better? Healing only happens when you take a brutally honest look at yourself and take the steps necessary to find your remedy. In my case, that was letting go of a certain image and instead embracing the reality of who I am. You’ve spoken about entering therapy after losing your mother. How did those early counseling sessions change the way you understood grief and yourself? The first challenge I encountered in those early sessions was coming to accept the fact that I am a very sensitive person. I mean, we’re talking about the kid who’d get so mad in competitive sports that he’d start crying… But of course, I tried my best to repress emotions and be strong. By starting to do the work in therapy, I gained a greater appreciation for that softness and became more connected to my true self. Those early sessions helped me understand the fact that grief is an ongoing process. I had experienced grief before my mom’s passing, but the particular weight of her loss really made grief feel like a looming, gargantuan monster. My therapist really helped me knock down grief to its true form, and I was then able to learn how to live in tandem with it, not the fear of it. My favorite line on the whole record comes from the second track, “Note On The Door:” “It feels like the grief never shakes off.” It encapsulates the doomy feeling that grief slaps its victims with, yet it also offers a window to the reality that it comes in waves. After years of feeling uncomfortable sharing your own songs, what finally gave you the confidence to step forward as Mason Thomas and release this music? I started to force myself up on stage. The first time I played my songs in front of anyone was at an open mic night in Savannah at Abe’s On Lincoln fall 2021. My girlfriend (now wife :) ) and I were visiting friends who lived there, and then they encouraged me to get up and sing a few! I really thought I botched it, but both my people and strangers said I did awesome, so I kept on going. I did a few solo sets in Nashville in 2022 and 2023, and then in January 2024 I did my first full band shows with a trio. I also began learning how to finish songs. For the longest time, I’d have a riff and play it for two years straight until I’d eventually stumble into a vocal melody and a basic structure. I wrote the song “My Shell Is Gone” in 2019 after seeing my mom for the last time, and took a “comfort riff” I had and made the song in 20 minutes without any critique or overthinking. That instance really broke a lot of the fake walls I had built up around myself as an artist. While I still do plenty of overthinking, as I write more and more, I lean further into that pure feeling rather than what I THINK I should be making. My obsession with artists such as David Bowie and Robert Smith over the last four or five years has certainly shifted my process for the better. “Therapy” introduces listeners to My Shell Is Gone. Why did this song feel like the right first chapter for the album? While I wrote a few of the songs on the album before “Therapy,” I feel that when it was fully written, I had an actual album on my hands. I spent a lot of time listening to the record to figure out what the singles should be. Ultimately, “Therapy” has a hookiness and punch to it that best represents what listeners will hear throughout the rest of the album. Opening the album in a therapist office also enlists a mood for the songs to come. The album traces grief, anxiety, heartbreak, love, and your entrance into adulthood. Looking back at the person who started writing these songs, what has changed most about you since then? I am way more confident in who I am than I was in 2019, 2020, or even in 2023. While I liked to be outgoing with others, I always held a bit of timidness and self-hate around everywhere I went. There was always an inkling of hope that I could be fully seen. Come to find out, my friends really care about me and who I am – I’m finally able to see my own self-worth, which is something I’m not sure I would have said even like 10 months ago. My community in my current home, Greenville, and the ones prior - Nashville and Birmingham - are my lifeblood and are absolutely the reason I can look back and see any sort of personal growth.

Latina Bohemian’s latest single “BLACK LEATHER” is an emotionally charged EDM release that dives deep into themes of inner conflict, longing, faith, and personal healing. Rather than creating a typical dance track focused purely on escapism, Bohemian uses electronic production as a backdrop for emotional reflection, encouraging listeners to confront uncomfortable feelings instead of suppressing them. Another independent release, “BLACK LEATHER” showcases clear artistic growth. Following her debut musical poem “HEALING POETRY,” Bohemian steps further into experimental territory by blending atmospheric dance production with poetic storytelling and spiritual undertones. The song explores the emotional storms people silently battle while trying to navigate trust, pain, and self-discovery. Known for her intellectual and abstract creative style, Latina Bohemian draws influence from pop, R&B/soul, abstract art, and humanity itself. That fusion gives “BLACK LEATHER” a unique identity that feels both cinematic and deeply personal. Her willingness to combine genres and ideas freely allows the record to stand apart from more formulaic electronic releases. “It’s okay to process uncomfortable feelings; there’s inspiration in grievance,” says Bohemian — a statement that perfectly captures the emotional core of the release. “BLACK LEATHER” is not just a dance track; it’s a reminder that healing often begins by facing what hurts.

Wisconsin-based hip-hop artist and producer Marcus Porter turns uncertainty into momentum on his latest single, “King of Pirates,” the first glimpse into his forthcoming project, The Path: Dreaming. Produced by longtime friend Jase Beats, “King of Pirates” draws inspiration from One Piece, using the pursuit of becoming King of the Pirates as a larger metaphor for finding purpose without having a perfect roadmap. For Porter, that idea mirrors the realities of building an independent career, where no two artists reach their destination the same way. Rather than treating uncertainty as failure, Porter makes it part of the adventure. The track revolves around trusting your individual strengths, resisting the temptation to follow someone else's blueprint, and continuing forward even when the destination isn't entirely clear. His connection between the unique abilities found throughout One Piece and an artist discovering what separates them from everyone else gives the song a personal foundation beneath its pop-culture inspiration. Porter's delivery matches that confidence. The record balances introspection with an energetic edge, particularly during its third verse, where he loosens the reins and plays with the alphabet while slipping into a more spontaneous flow. The collaboration with Jase Beats also marks a notable departure for Porter, who typically produces his own music. Their history dating back to college gives the track an added significance as the opening chapter of The Path: Dreaming. Since beginning his public music career in 2019, Porter has steadily built a catalog around perseverance, purpose, and self-discovery. He's also earned consecutive Wisconsin Area Music Industry recognition, including being named 2026 WAMI Rap Performer of the Year after previously winning for “Celebration” in 2025. With “King of Pirates,” Porter isn't pretending to have the journey figured out. That's precisely the point. It's a confident reminder that sometimes finding your own way forward is more important than having a map. “King of Pirates” uses One Piece as a metaphor for finding purpose. What was it about that story that felt so closely connected to your own journey as an independent artist? With KOP, everyone in Luffy’s crew is on their own self-discovery mission while also looking for the “One Piece,” something few people have seen, and there aren’t really instructions for how to get there. Rap feels like that for me. I’m still looking for my crew while continuing to grow, and like Luffy, I want to be the best. I don’t really care who’s in front of me, but I also want to make sure my people are good along the way. You’ve said there’s no linear path or clear map for building a career in music. What have you learned about trusting yourself when the original plan doesn’t work out? In music, there isn’t one certain route to whatever you consider success. Especially in hip-hop and rap, there’s never really been a clear-cut path. I’ve learned to go with the flow and trust my instincts in the music and art world. Shows go sideways, sessions don’t always go as planned, and life happens. I just adjust and keep moving forward, while keeping music as something that helps me do that. You typically produce your own music, but “King of Pirates” was produced by your longtime friend Jase Beats. How did giving someone else control of the production change the way you approached the record? Jase is a college friend who studied music production as I did, and we always talked about working together. He showed me some beats one day, and I grabbed a few that I liked. I knew he cared about music the way I did, so it made it easy to pick something and just vibe. I still handled all of my recording since we were in different cities, but working with him was always a no-brainer. I’ve actually got a few more songs produced by him too. The third verse finds you experimenting with flows and playing with the alphabet. How important is leaving room for spontaneity and pure fun when so much of your songwriting is rooted in deeper themes? The third verse is still rooted in the same themes, but honestly, I just wanted to rap and caught a clever flow state. Using the alphabet was something I had always wanted to do without making it feel corny. That’s why after E, I started basing the rhyme around the next letter coming and using a word that started with that letter while still tying everything back to my own experiences. “King of Pirates” is the first glimpse into The Path: Dreaming. What does this song establish about the story, sound, or mindset listeners can expect from the larger project? KOP establishes that I’m entering a new era of my music. There’s been growth in my skill set, but more than anything, it feels like a more refined version of Marcus. With The Path: Dreaming, I’m building a world that I want other people to be a part of, walk through, and feel connected to. KOP is really the first glimpse into that world and the mindset behind it.

Los Angeles songwriter and recording artist Ahhmanda is following her instincts on “RARI,” a playful new single that captures the rush of wanting someone and knowing the attraction goes both ways. Blending psychedelic rock, indie pop, and alternative influences, Ahhmanda has built her sound around curiosity, transformation, and the emotional risks that come with chasing what you want. Her 2025 EP, With Desire, explored the tension between fear and curiosity while navigating life in Los Angeles. “RARI” feels like a natural progression, trading some of that uncertainty for something more immediate, flirtatious, and confident. At its core, “RARI” is about magnetic attraction. Ahhmanda describes the track as capturing that stretch of anticipation before seeing someone again, when chemistry has already taken over, and every sense seems heightened. Rather than overcomplicating the feeling, the song embraces it. Desire builds, instincts kick in, and eventually that anticipation gives way to what Ahhmanda calls “instant relief.” There is something refreshingly uncomplicated about that approach. “RARI” isn't interested in dissecting attraction until there's nothing sexy left about it. Instead, Ahhmanda focuses on the sensory experience of wanting somebody, leaning into the excitement, tension, and willingness to go the distance when something simply feels right. Created alongside Stella Mozgawa and Pete Min, the single also reflects the collaborative spirit Ahhmanda has found within Los Angeles' music community. She credits the artists around her with continuing to inspire her own work and creative momentum. That sense of forward motion ultimately sits at the heart of “RARI.” Ahhmanda hopes listeners leave the song feeling excited enough to trust themselves, take a risk, and pursue the things that scare them just a little. With “RARI,” Ahhmanda makes desire feel less like something to second-guess and more like an invitation to move toward whatever keeps pulling you closer. “RARI” feels noticeably playful and confident. What pushed you toward exploring desire from that perspective rather than focusing on its uncertainty or complications? I think there’s nothing more attractive than being straightforward about your desires and intentions. I’ve learned that from being around people who are unapologetic about who they are and what they want, creatively and in relationships. With “RARI,” I wanted to let desire be simple, direct, and playful. You describe attraction in “RARI” as something sensory and almost instinctive. How did you translate that physical feeling of anticipation into the songwriting and overall atmosphere of the track? “Summer feels fine when you taste it off the vine” is about trusting your taste and knowing in your body if it’s a feeling you want to move toward. I’m tactile at my core, and I love a good sauna, so heat and touch make me slow down enough to be present and enjoy the sensation. I wanted the track itself to feel warm, charged, and in motion, building toward that feeling of ‘instant relief.’ You created “RARI” with Stella Mozgawa and Pete Min. What did each of them bring to the process, and was there a moment in the studio when the song really clicked into place? Stella is a brilliant producer and multi-instrumentalist. I’ve admired her work with Warpaint, her own projects, and the way she produces. She shaped my demo into a full arrangement, guided me through recording bass and vocals, and added incredible layers. Once I heard the arrangement, I could see where I wanted to take the lyrics and vocal melody. That was when the song really clicked into place for me. Pete has been an incredibly generous friend and collaborator. He engineered the drum recordings for some of the songs on my 2025 EP With Desire. With “RARI,” he understood the feeling of the song and naturally added so many fun textures, including replacing the Wurlitzer plugin from my demo with a real Roland Juno synth. He helped shape and mix the track, and there’s something special about the space he creates in his studio. Your 2025 EP With Desire explored the tension between fear and curiosity. Where does “RARI” fit into that evolution, and what does it reveal about where you are creatively now? With Desire was about finally taking the leap into making and releasing music, letting go of expectations, and following my joy. “RARI” feels like the next chapter. Right now, I feel creatively open and excited to make fun songs with artists who want to go into that curious and vulnerable space with me. You want listeners to follow their instincts and do something that scares them a little. What creative risk have you taken recently that changed the way you think about yourself as an artist? Sharing rough ideas with artists I admire has been a creative risk for me. Being kinetic is important to how I approach music now. I move toward an idea before I can overthink it, ask someone to play, and let the song reveal itself. I don’t need to know where it’s going before I begin.

Photo by Jacob Moniz Nearly 25 years into their career, Anberlin are entering one of their most significant eras yet. The alternative rock veterans return November 11 with CURRENCY, their ninth studio album and first full-length release with Matty Mullins on lead vocals. Produced by the band alongside Kellen McGregor, the record confronts heartbreak, addiction, shame, identity, and what it takes to rebuild when the things that once defined you fall apart. With first single “Neverafter” offering the first look at this evolution, CURRENCY finds Anberlin honoring their history without letting it dictate where they go next. We caught up with Anberlin to talk about bringing Mullins deeper into the creative process, revisiting unfinished material, the heavier themes behind CURRENCY, and what this new era means for a band still finding ways to evolve decades into its career. Photo by Jacob Moniz After nearly 25 years as a band, CURRENCY represents a pretty significant reset. What had to change creatively for this album to feel like a genuine new chapter rather than simply the next Anberlin record? It was a significant change in our writing simply in the sense that although we’d worked with Matty on a few singles and a re-recording of an older album, we’d never truly been in a “from the ground up” album situation together. There was a bit of a learning curve there, but we all worked together pretty seamlessly. The gravity of the situation wasn’t lost on us, with this being a bit of a make-or-break record. We decided to lean back into the sound that got us where we are as opposed to experimenting. It felt like we needed to make an album that let us embrace the roots of the band and truly “reset” with Matty to make something that we would love and our fans would recognize. This is the first full-length Anberlin album with Matty Mullins on lead vocals. How did bringing Matty fully into the process change the way you approached songwriting, arrangements, or even what you thought an Anberlin song could be? Matty comes from a band that has their process fully hammered out over years of refinement, so I didn’t envy him coming into a new situation with guys that have done the same in a completely different way. It went so smoothly that you would’ve thought we’d already done this together a hundred times. Neither of us had to change much at all. I think that’s all it comes down to: having a shared vision of what the end result will be. During the writing process, there were no egos clashing, no big dramas, just everyone communicating and working toward the same goal. Some of CURRENCY grew from previously unfinished material. Was there a song or idea that took on a completely different meaning once you revisited it in this new era of the band? The song “Ashes” started as a stripped-down acoustic song that really took full shape once we started getting Matty’s vocal in place. Once we heard it, it made perfect sense to go “full band” with it. That one in particular was a big group effort in its evolution. The album deals with what happens when the things you've built your identity around fall apart. Were there conversations or experiences within the band that made you realize this was the thread connecting these songs? I think, moreover, the underlying theme is mental health, and seeing the different ways that we treat ourselves, our relationships, and our approach to life. I think that, in part, is where the album title comes from. Currency can refer to anything leveraged in life, be it emotions, actions, thoughts, or something physical. All of those things are born out of our state of mind when we use or collect them. You’re touring with Switchfoot while releasing a record centered heavily on renewal and moving forward. When you put new songs like “Neverafter” beside material from across your catalog, what do you hear about the band you were then versus the band Anberlin is today? By far, we are encouraged. So many people have been so supportive of us continuing to do this. The reaction to new songs at this point is more than enough evidence that we made the right choice to keep going, and that what we do still has a positive impact on people. That’s what is most important to us.

Getting your music played on the radio used to feel impossible unless you had a label, a promo budget, and the right people answering emails for you. In 2026, that gatekeeping hasn’t disappeared, but it has shifted. One of the few major platforms where independent artists still have a real shot based on quality, originality, and fit is SiriusXM. SiriusXM isn’t chasing TikTok virality or Spotify algorithm hacks. They’re curating culture. And that’s exactly why artists who care about longevity, not just quick spikes, should be paying attention. Why SiriusXM Still Matters for Independent Artists SiriusXM operates differently from traditional terrestrial radio and streaming platforms. No ads every five minutes. No regional signal limits. No algorithm deciding your fate based on yesterday’s engagement. Instead, they run curated channels built around genre, mood, era, and community, many of them hosted by real humans who actually care about music. That independence matters. SiriusXM isn’t owned by a major label conglomerate, and they aren’t programming solely for chart metrics. Their hosts, DJs, and music directors still have taste, and taste is rare currency right now. For independent artists, that means your music can be heard because it belongs, not because it fits a trend cycle. Understanding How SiriusXM Accepts Music Here’s the part most artists miss: there is no single universal submission portal for SiriusXM. Submissions depend on which channel your music fits, and each channel operates semi-independently. That means strategy matters more than volume. SiriusXM channels generally fall into categories like: Indie / Alternative Hip-hop / R&B Rock / Metal Pop Electronic Americana / Folk Genre-specific specialty shows Before you submit anything, you need to identify where your music actually belongs, not where you want it to land. Where to Submit Your Music to SiriusXM 1. Direct Channel Submissions Many SiriusXM channels list contact information for music directors or show producers on their official channel pages or social platforms. These are curated inboxes, not open dumps. If you’re submitting this way: Send one song, not an album Include a private streaming link (no attachments) Add a short, human explanation of why the track fits that channel Keep it concise, no press kit trauma dumping This approach works best for artists with a clear genre lane and professional presentation. 2. SiriusXM Specialty Shows Some of SiriusXM’s most artist-friendly opportunities live within specialty shows that spotlight emerging, independent, or niche artists. These shows are often more open to discovery and less tied to industry politics. Target these if: You’re independent with no label backing Your sound is unique or genre-blending You’re not chasing radio clichés Research the hosts. Listen to the shows. Reference them intelligently in your pitch. 3. Through Your Distributor (Sometimes) Certain distributors and label services have existing relationships with SiriusXM programmers. This doesn’t guarantee placement, but it can open doors. Important reality check: If your distributor promises radio placement, be skeptical. SiriusXM still makes editorial decisions internally. Distribution helps with access, not approval. 4. Publicist or Radio Promoter A legit radio promoter can help if they already work with SiriusXM and understand the channel ecosystem. A bad one will blast your track everywhere and burn bridges you didn’t even know existed. If you go this route: Ask which specific SiriusXM channels they pitch to Ask for examples of past placements Avoid anyone guaranteeing spins What SiriusXM Actually Cares About This part is refreshing: SiriusXM programmers care about fit, quality, and intention more than follower counts. They’re listening for: Strong production and songwriting A clear sonic identity Music that complements their channel’s audience Artists who feel authentic, not manufactured They’re not impressed by: Viral numbers without substance Overly corporate press language Submitting to every channel at once Why SiriusXM’s Independence Is a Big Deal In an industry dominated by algorithms, pay-to-play models, and brand partnerships, SiriusXM’s independence gives it cultural weight. Their programming isn’t optimized for short attention spans; it’s built for listeners who actually care about music. For artists, that means: Your song isn’t fighting 100,000 others on a playlist Listeners are more engaged and loyal Airplay feels intentional, not disposable Being played on SiriusXM doesn’t just boost streams, it boosts credibility. It signals that your music passed a human filter, not a math equation. Submitting to SiriusXM isn’t about blasting links and hoping for magic. It’s about precision, patience, and respect for the ecosystem. When artists treat SiriusXM like a culture platform, not a promo shortcut, they stand out fast. In a music industry obsessed with scale, SiriusXM still values substance. And for independent artists trying to build careers instead of chasing moments, that makes all the difference.

Filipino-American recording artist, songwriter, and advocate Thomas Orlina is stepping confidently into his next chapter with “Best You’ve Ever Had,” a contemporary pop release built around attraction, self-assurance, and unapologetic energy. Written by Henry Ingraham, the single finds Orlina embracing a playful side of his artistry. There’s an immediate sense of confidence behind the record, with its polished pop direction providing a natural backdrop for his charismatic performance. Rather than overcomplicating its message, “Best You’ve Ever Had” leans into the thrill and intensity of connection, resulting in a track designed to feel fun, accessible, and distinctly Orlina. Produced by Christopher Espinoza, professionally known as YungChriisBeats, and engineered by GRAMMY-winning engineer Robert Eibach, the release represents another step forward in Orlina’s continued musical evolution. That evolution is particularly important for an artist whose career has consistently been rooted in authenticity. Beyond music, Orlina has used his platform to advocate for mental health awareness, LGBTQIA+ inclusion, and AAPI representation, while encouraging greater visibility for underrepresented communities. “Best You’ve Ever Had” allows him to bring that same commitment to self-expression into a lighter, more confident space. “This song represents a really exciting chapter for me as an artist,” Orlina shares. “I wanted to create something that feels confident, fun, and unapologetic.” With “Best You’ve Ever Had,” Thomas Orlina isn't simply introducing another single. He’s showing listeners another side of himself and making it clear that reinvention and authenticity can exist in the same space.

Alternative R&B-pop artist JAMR XZVR transforms a volatile relationship into a two-sided story on “CRASHR (95/Nightdrive Hinkmix)” and “Crash Dummy,” pairing immersive production with two opposing perspectives on heartbreak, attachment, and finally letting go. Built as counter-responses to one another, the songs pull from a real relationship while approaching its collapse from opposite sides. “CRASHR (95/Nightdrive Hinkmix)” places listeners inside a frantic nighttime drive, performed in the first person but representing the words of someone desperately trying to reach JAMR XZVR after he ended the relationship. Driving 95 mph through the night, the character ultimately “crashes” not on the road, but by arriving at his home uninvited. “Crash Dummy” flips the perspective inward. The cinematic ballad uses the imagery of a fiery car crash to process the toxicity, heartbreak, and emotional suffocation JAMR XZVR experienced within the relationship. The recurring crash-dummy metaphor becomes particularly effective, capturing the realization that loving someone can turn destructive when one person is repeatedly expected to absorb the impact. Together, the tracks showcase what makes JAMR XZVR’s approach compelling. His alternative R&B and pop foundation leaves room for hip-hop, electronica, and alternative influences, while his distinctive vocal delivery and storytelling keep the emotional tension front and center. “I crafted these songs to be openly and singularly interpreted so that each individual pulls their own meaning from the songs,” JAMR XZVR explains. “My music is meant to make your mind, feelings and emotions roam.” That cinematic world has recently expanded beyond the studio through JAMR XZVR’s partnership with men’s grooming brand Blind Barber. The collaboration included an advertising campaign, in-shop promotion, branded content, and a live two-song set filmed inside Blind Barber’s East Village lounge in New York City. A performance visual for “CRASHR (95/Nightdrive Hinkmix)” brings the track into that intimate setting, further emphasizing the moody, visual identity surrounding the release. With “CRASHR” and “Crash Dummy,” JAMR XZVR doesn’t simply revisit heartbreak. He designs an entire collision around it, giving listeners both sides of the wreckage and leaving them to decide what it means. How did the collaboration with Blind Barber first come together, and what made the partnership feel like a natural fit for you as an artist? In short… a failed partnership with a well-known clothing brand led me to Blind Barber. I won’t mention said brand’s name out of respect and discretion, but that particular alignment ended up getting pulled back at the last minute. It put me in a bad headspace because I put so much effort into pitching it and getting the conversation near the finish line, and even just before the finish line, I realized how fickle seemingly promising opportunities can be in this business. I’m still managing myself right now, so you can imagine the stress of self-managing and pursuing business endeavors with the intent to structure an ecosystem around my music and artist brand. I had this unwavering vision of me the artist and my independent label grand scam recordings™ partnering with a brand — firstly paired in mutual brand likeness by way of artist brand and brand’s product, and secondly to deliver music-focused content, and because I’m not one to let my creative instincts die I started thinking about what else made sense for me product-wise as an artist but also as an individual and how I could go about getting another conversation in motion. So, I started swiping through my contacts like a madman because I was repeatedly thinking to myself, “I HAVE TO MAKE THIS HAPPEN!” In my day-to-day, people know me to have great style and a versed, well-trained sense of fashion; before, I thought too much about who and what I actually said aloud to myself, “Oh my god! Blind Barber!” People in my personal life, strangers, industry peers, and so on always compliment me on my skin, and I do take my skincare and overall grooming regimen very seriously. A few of the fellas behind Blind Barber and I go way back, like almost a decade. I reached out to them with the pitch, we had a few exchanges over the course of a few months about what aligning would look like, they were onboard and our teams got it going. Partnering with Blind Barber made so much sense, like not a second thought in my mind, because of the rapport and history between us and also because I actively use their products, and I have been for years. The biggest thing between Blind Barber and me is our shared love for community and, most importantly, music. Blind Barber is such an iconic, one-of-a-kind staple, particularly in New York City, as it’s their birthplace and home base, but also in all the other major cities where they have set up to date. They are more than a grooming center; they are a social hub. And there are several focal points around their brand that make them commercially social to many different communities. Blind Barber is a hangout spot for musicians, artists, 9-to-5 goers, party people, businessmen, and all that. How many places do you know where you can get a cut, skin pampered, and then turn the bottom of a glass up in the back? I knew those guys understood having an idea for something and seeing it through, and that’s why I didn’t hesitate to go to them with my idea. Shout out to Blind Barber for trusting my creative vision! The campaign included a live two-song performance inside Blind Barber’s East Village lounge. How did performing in that kind of intimate, unconventional setting change the way you approached the songs? After about 2 solo trips and 4 group trips to the location with the film crew and production agency FORTY LOVE, I quickly realized that we weren’t going to have a lot of space to maneuver. The venue is actually sizable for a New York City location — but when you start talking wardrobe, cameras, film equipment, film crew, music crew, instruments, live engineer set-up, soundproofing for film, and the whole get-up — floor space gets swallowed immediately. Everything was shot in a one 12-hour shoot day. The advertisement film, the music performance visuals, and the behind-the-scenes interview. Initially, I wanted a full music spread because I love live instrumentation but we couldn’t accommodate it considering camera angles, outlets / plug-ins and how the band had to be staggered for set-up to film. Thankfully though, my friend, longtime sound engineer and music supervisor Ryan Hinkle was able to take my idea for the music and pulled together the best music crew for the arrangement. When we settled on a semi-deconstructed spread, my thought process from that point was to do renditions of whatever songs I chose. I love when artists perform songs live, and it’s slightly flipped or completely turned over for the live version — and so I wanted to do that too. Also, when I write and record my songs, I always make sure I arrange the songs strategically when it comes to vocals because I want to be confident/self-assured that I can carry the song live when/if I perform it — and a hill I will die on is the studio versions of songs being comparable to the live versions. So, I wasn’t concerned about the songs being stripped down from how the studio versions sound. All I knew was I wanted one of the songs to have a Punk / Alt Rock aesthetic, and I wanted that song to be CRASHR (95/Nightdrive). I love the original studio version, the rendition live version and whatever else I’ll get to do with that song. I’m so proud of it. Fashion, grooming, music, and nightlife all overlap heavily in culture right now. What did working with Blind Barber allow you to express about your identity beyond the music itself? On the consumer-facing front, beyond the music, working with Blind Barber solidified for me that my artist brand has commercial appeal and that how I express myself artistically indeed has positioning. But, specifically with the advertisement film, I was able to showcase my creative thought process for film and commercials as a Creative Director. Blind Barber’s team extended the trust of full creative control to me, without restrictions, which allowed me to show them my raw instincts of how I would visualize advertising their brand back to their loyal/core audience for reengagement and potentially new consumers for first-time introduction. I’m a multi-hyphenate creative from working in-house at boutique agencies, brand-side, freelance, and entrepreneurial, so I love any opportunity I get to flex that skill. Behind the scenes, beyond the music, this partnership taught me a lot about my business acumen. I have worked on many brand partnerships, brand collaborations, and creative productions for other talent rising, small, and major but this was my first time doing a project of this scale for myself and my own artist likeness from conception to completion, and having seen it through allowed me to further mold my identity as a businessman. There is expression and identity in business because how you handle said business from start to finish, how you treat collaborators, how you take care of your team, and your standard for doing business is your reputation. The way you conduct business is an expression in itself and signals a lot to people. With “CRASHR” and “Crash Dummy” telling two sides of the same relationship, how intentional was it to build a larger visual and narrative world around these releases? Oh… the larger visual and storyline around the CRASHR and Crash Dummy songs was very intentional from the moment I thought of the song title to CRASHR (95/Nightdrive); between the two, I wrote that song first. My artistic foundation is built on telling well-crafted stories, being thought-provoking, even polarizing, stirring people's emotions, but most importantly providing a listening experience to people that literally feels like they are immersed in a movie through audio. Those in my music / artistic circle hear me say that a lot — that I want my songs to sound and feel like a movie. My intention is always to craft the songs, the overarching audio, in a way that gives people something to feel, dissect, and relate back to an experience in their life. My intention with these two songs was to show that romantic heartbreak had two different rhythmic sounds, tones of voice, feelings, and perspectives on the disappointment. The lyrical and sonic creative direction around the car theme was an artistic yet suggestive way of metaphorically saying we could be going somewhere or nowhere at all. Do you see collaborations with lifestyle brands like Blind Barber becoming a bigger part of how you build the JAMR XZVR universe, and what would your dream collaboration look like next? The goal is to make the JAMR XZVR universe diverse and approach it sort of how a wealth management professional would. The music is “the currency,” the thing that attracts “the stocks” that cumulatively build the portfolio (fanbase, opportunities, and other ways to invest by way of music), with a continuously growing fanbase being the main priority. My desire for next collaborations would be revisiting a clothing design partnership with a music-focused collaboration attached (perform for runway, a live content piece to debut what I designed). I also see myself in the future collaborating with an array of brands for sound design for film, digital content, radio inserts, runway shows, or being a music supervisor for a movie or TV Show. And I have had a long desire to do sound design for video games like Tekken or Need for Speed, but I also want my songs in video games like FIFA or NBA 2K and in a horror movie — I have crafted 2 songs with horror movie placements in mind. My songs are PERPETRATR (Gunmetal Hinkmix) and gothika (glass + patron Hinkmix). Oh, and also… I am seriously targeting singing the theme song for a TV show or movie. That’s what I see next. It’s now a matter of who, what, when, and making it happen. And the people around me know if I can see it, I go get it. I don’t take no for an answer… I just move around to find who is receptive to and understands the vision.