Joshua Burnside’s “The Last Armchair” opens with a brutal intimacy: “Oh, The last armchair you ever sat on / Before you overdosed / Is the one I sit in every morning / To eat my egg and toast;” the Belfast songwriter revealing how grief strips away every carefully constructed illusion of adulthood, that beneath mortgages and responsibilities we’re all still waiting for reassurance.

Hen Ogledd’s third album, DISCOMBOBULATED, is fresh, weird, pranksterish, passionate and downright uncategorisable as we have come to expect. Their blend of freaky electronic folk-rock, politically charged psych-pop and modernist compositional techniques is elusive, bewildering and brilliant—music that seems to invent new colours. Admirably anti-bigotry, anti-corporate, anti-corruption. Their most consistent, relevant and boundary-pushing record yet.

Lemoncello reveal their new single “Meet Me Halfway”, their first new music since last year’s self-titled debut. Written in a clifftop cabin overlooking the Skellig Islands and later recorded with co-producer Ruth O’Mahony-Brady, the six-minute track explores modern disconnection through sparse guitar, voice, and distant strings—a quietly persuasive meditation on vulnerability and connection.

The Notwist have shared “Projectors,” a new single from one of 2026’s most anticipated albums, News from Planet Zombie (March 13th via Morr Music). The track offsets burbling electronics against country-tinged songwriting, featuring guests Enid Valu, Haruka Yoshizawa, Chris Xiao, and Mathias Götz. The band describes the lyrics as “written as if Rutger Hauer could sing them in Blade Runner.”

Gabriel Kahane and Roomful of Teeth have announced Elevator Songs, due April 3. The collaborative album centres on an interdimensional hotel where time and space dissolve. Lead single Speaking In Tongues—with a video by Robert Edridge-Waks—showcases the ensemble’s signature vocal work, building to a bone-shattering climax. Scored for eight voices, the album offers fizzy hooks and bold production.

Pedal steel player Barry Walker Jr. teams with drummer Rob Smith and bassist Jason Willmon for Paleo Sol, a luminous Thrill Jockey release built on space and texture. Walker’s steel guides rather than dominates, creating conversational interplay across tracks like the buoyant Leaving Lower Big Basin and the hypnotic twelve-minute Sentient Lithosphere. Confident, inviting, and impeccably produced, this is collaborative instrumental music at its finest.

Cat Clyde shares “Man’s World,” the second single from her March 13th album Mud Blood Bone via Concord Records. The track confronts patriarchal frustrations with unflinching honesty, and includes the lyric, “I can’t express my woman self/Without a shield across my chest”. Watch the new music video now.

With stream-of-consciousness lyrics and a viscerally raw video, Tōth’s new single “Thoughts Are Like Clouds” is an ode to meditation that balances deadly serious spiritual practice with self-aware humour. The track climaxes with an explosive plea over driving drums and clanking pianos, while the Brooklyn-shot video captures magical accidents, such as chalk dust floating in slow motion.

Kevin Morby announces Little Wide Open, out May 15th via Dead Oceans, with lead single Javelin featuring Amelia Meath. The accompanying video stars Morby and comedian Caleb Hearon on an ATV through Missouri backroads, capturing the restless motion at the album’s heart. Produced by Aaron Dessner, the album completes a trilogy exploring middle America with Morby’s most personal songwriting yet.

Tenderness shares “Day of Atonement”, a hypnotic indie-folk track featuring Deep Throat Choir, ahead of debut album True (March 13th via Amorphous Sounds). The impressionistic song explores care, codependency and addiction through layers of drones, pedal steel and ethereal vocals. Born from lockdown grief, True examines modern love and loss through both digital screens and natural landscapes.

Spencer Cullum has shared ‘Look at the Moon,’ a new single featuring Erin Rae, ahead of his album Coin Collection 3 (out March 27th via Full Time Hobby). Written as a tribute to his wife and her Nashville bookshop, the track circles around a quiet mantra—”Days might feel gloom / Look at the moon”—finding beauty in the patient work of building something meaningful together.

Matt Kivel’s eighth album, Escape from L.A., is his most autobiographical offering—a nine-year labor of love weaving personal memories with cultural touchstones. Like Dylan’s Blood On The Tracks, it plays with time and perspective. From the gentle shuffle of Santa Monica to the ominous throb of Tidal Wave, Kivel has crafted a widescreen reflection on home, memory, and place.