Now Hear This is a monthly A&R column that provides you with exciting new sounds we discovered through the innovative new music discovery platform Groover.
Each month, you can expect a varied bouillabaisse of songs from a vast spectrum of artists from all over the globe, regardless of genre or geography.
This month, SPIN has selected 11 artists who deserve your attention, including the next-level IDM of eassae, the uplifting songwriting style of Andrea Magee, the cosmopolitan synthpop of MIDNIGHT MYSTERY CLUB, the timeless UK jangle pop of The Kind Hills, the modern indie rock of KINSALE, the electronic groove metal of Ten Ton Devil, the glacial beauty of Ones Loved, the driving, Echo-eseque Saint Clare, the dark alt-pop of Elnoir, the progressive world jazz of Floating Sheep and the widescreen country of Italy’s Cadillac Ranch.
Who knows, your next favorite act could just be a read away.
eassae
Sounds like: Melodic, tuneful IDM that blurs the lines between John Carpenter film scores and Aphex Twin style grooves.
Interview:
Describe your approach to music and how you would explain your sound to others?
I would say it’s play and experimentation. I’m not a classically trained musician. Other that a few years of piano lessons in secondary school, my music education is primarily self-directed. I have no idea of what I want a song to be when I begin a track — I just start noodling out melodies and chords on a piano VST till I have 4 to 16 bars of something I like, then I add voices — I sound- design everything from scratch, so this can sometimes take weeks. Once I have developed a sound palate and feel like I can’t cram anymore when I begin arranging. At this point I usually have 40 plus instruments to work with — I tend to compose semi-linearly, passing the melodic lines across voices. I’ve been describing my tracks as Baroque electronic music lately, as it tends to be very ornate and intricate.
How did you come up with the name of your act?
It’s just a palindrome of my initials. People often pronounce it “easy,” but I pronounce it “essay,” because my music tends to feel narrative, so I thought it was fitting.
What are some artists and albums that have informed your creative direction?
So many, but it’s funny I probably wouldn’t name many electronic acts. Yes, Bowie, the Beastie Boys, Beethoven, Dmitri Shostakovich, Danny Elfman, Nitin Sawhney, Blackalicious, Nirvana, Heart, Leonard Cohen, NIN, Plini, Prince, Smashing Pumpkins, The Roots, Aphex Twin, Squarepusher, tons of post-punk bands…I could go on forever. One of my favorite albums of all time—the music, the production, everything, is Gábor Szabó’s Dreams. Also, Portishead, Dummy, was a big one for me growing up. I don’t know if any of these really informed my direction, but they made me love music and want to make it.
What’s the most exciting thing happening in music right now?
It’s hard to say. I spend a fair amount of time on music forums and reddit sometimes. I often start my day by going through r/indieheads and listening to what’s new. I feel like I hear a lot of very competent, well produced music, but most of it seems very interested in coloring within the lines of a well-established genre. A few recent highlights for me have been Furii’s “Aphant”—a lot of late Beatles influence, or that’s what it sounds like to me—but used in a very cool way. Iglooghost was doing some very cool things a few years ago, and Maddie Ashman’s recent single is very fun. I love Plini—the “Mirage EP” is fantastic. Hedda Gamma, “Language is Our Tuning System,” is a very well put together album.
I know many complain about this, but the glut of music and the streaming model have made the more novel and interesting, harder to find. You can do it if you put the time in, and I’d like to think that I do. I guess I’d say there isn’t a most interesting thing happening in music. There are interesting musicians making great tracks, but they often fall outside of greater trends. The trends today, like I mentioned above, seem primarily concerned with past genres.
Where do you see the music world heading in the next five years?
Also hard to say, especially because of the AI thing. I personally don’t see a place for generative AI in the creation of art. My hope is that because AI will / is flooding platforms with tracks that everyone’s heard a million times, it will encourage artists to get a little stranger and not be so concerned with fitting into a predefined mold. Do I think that will actually happen? I have my hopeful and not so hopeful days. In my not hopeful days, I see music slipping even further into the status of background noise irrelevance for most people.
How is music helping you during these uncertain times?
For me music is my connection with that which, so far at least, has avoided explanation by
physicists. You could label it a form of panpsychism — I don’t know if I have strong beliefs in that direction, but I do like the idea. When I make music, it’s pure intuition — I often can’t explain to someone how I did something without going back and dissecting my session. All this to say, when I make music, the uncertainty goes away—it’s always waiting for me when finish a track, but I think that time spent in another mindset helps me keep a somewhat calm mind in uncertain times. Making music reminds me that there are still things worth doing for their own sake — and right now I think that’s more important than ever.
Andrea Magee
Sounds like: Beautiful, slow-sipping country pop in the vein of Brandi Carlile with an uplifting and positive message.
Interview:
Describe your approach to music and how you would explain your sound to others.
Music has always been my way of making sense of the world — or at least making peace with the parts I can’t make sense of. I’d describe my sound as Celtic-rooted Americana. There’s a rawness to it that comes straight from Belfast, from growing up hearing traditional Irish music in the bones of everything, but it lives in Austin now, and that city has seeped into it too. Think bodhrán drum driving underneath honest storytelling, some grit & vulnerability. I like to just keep it real and authentic.
How did you come up with the name of your act?
Honestly, it’s just my name — Andrea Magee.
We can credit my parents lol.
What are some artists and albums that have informed your creative direction?
Honestly I have taken so much from live music I have grown up around so I have to give to much to my family, my peers and all the musicians and artists I am around. They teach me so much. I am always reminded that when you are working with the best you become better and that’s how I feel about our music community in austin. Records & artists I have also been hugely inspired by are Brandi Carlile, Maggie Rogers, Foy Vance & Van Morrison. It always feels like authentic and true to them and that’s what I was aiming for with this record.
What’s the most exciting thing happening in music right now?
I genuinely love watching women reclaim space in roots and Americana music. For so long that world was dominated by a very specific archetype, and now there are so many fierce, brilliant women telling their own stories in that genre. That’s what She Rises Fest is all about — I started that festival because I wanted to build a stage specifically for that energy. When you put artists like that together in the desert in Taos, something almost spiritual happens. We are now heading into our 4th She Rises Music Festival and I am so excited for this to keep growing.
Where do you see the music world heading in the next five years?
I think the pendulum is swinging back toward authenticity and live experience. People are hungry for something real. I see more artists going deeper into community — smaller, more intimate shows, direct relationships with their listeners, music with genuine meaning behind it. The artists who survive the noise are going to be the ones with something honest to offer.
How is music helping you during these uncertain times?
Music is the one place where I don’t have to have it figured out. I can walk into a room with a bodhrán and a song about love or identity and just let it exist. With Music Helps ATX, I’ve watched music do the same thing for kids in hospitals and children’s homes — reach into places that words alone can’t get to. It reminds me every single day why I do this. Not for the streams or the algorithm. Because music is one of the few things that makes us feel less alone in whatever we’re carrying.
MIDNIGHT MYSTERY CLUB
Sounds like: Rightfully cosmopolitan synthpop that sounds like neon shimmering in a rainy puddle on the streets of a city in your mind.
Interview:
Describe your approach to music and how you would explain your sound to others.
Llavar: It’s pretty simple. It starts with the feeling and the melody, then we build around that to give it texture, layers, and movement. The sound lives somewhere between genres. It’s electronic, but it still has to have that live feel baked in. Even in the studio, we’re thinking about how it’s going to translate when it’s played out, so everything has to flow and feel connected. At the end of the day, it’s melodic, groove-driven music that’s meant to feel immersive, not just something you play once and move on from.
David: It also has to stem from something personal and honest for me. I don’t believe I can make music that continually resonates unless it’s authentic to begin with. The specific meaning might change or morph over time, but if it was birthed out of something real, it will rebloom and grow with every season of life. When I first started making music, I would mistakenly start writing with a finished product already in mind. I wasn’t following an inspiration so much as just the desire to craft something that would be good. Inevitably, I would end up hating what I made. That was a great lesson; unless the inspiration came from a real and personal place, connecting those thoughts and feelings with the music, the shelf life of the song would be short-lived for me.
How did you come up with the name of your act?
David: Back in 2015, I was getting ready to release our first single, “Keep a Beat,” through Pete Gooding’s Ibiza label, Secret Life. I didn’t have a name yet, but I had a list of potentials. One of the names I really connected with was Midnight Mystery Ride, which was a secret society of cyclists I’d seen in San Francisco, near where I grew up. They would meet up by impromptu group text and ride through the empty streets at midnight. I was working with The Shapeshifters at the time and mentioned the name to Simon Marlin, who suggested changing “Ride” to “Club,” which seemed more fitting.
What are some artists and albums that have informed your creative direction?
Llavar: Daft Punk, especially their Alive era, shapes our approach to flow, transitions, and continuous musical experiences. Earth, Wind & Fire informs that sense of live energy and rich arrangements, while Phil Collins, particularly No Jacket Required, influences the emotional breadth of songwriting. Currently, Empire of the Sun, Toro y Moi, Anoraak, and M83 are great examples of defined aesthetics and textural identity. And then there’s Sade, who has further shaped that balance between atmosphere, groove, and melody.
David: Yes, Sade for sure, especially the Stronger Than Pride album. Also, anything Philippe Zdar, of Cassius, produced. His work with artists like Phoenix, Cut Copy, and Sébastien Tellier was foundational. He was a really beautiful human, and I think of him often. I want to carry his approach to the process with me. A lot of the music we listened to as kids still comes to mind too: Prince, Michael Jackson, Tears for Fears, Teddy Pendergrass, Art of Noise, and Eurythmics. And as Llavar mentioned, there are quite a few recent artists who inspire us more from the production side, especially house artists like Leon Vynehall, Chaos in the CBD, and Kaytranada.
What’s the most exciting thing happening in music right now?
Llavar: How accessible music creation and brand building have become. You’re seeing more voices, more diversity, and more experimentation than ever before, without reliance on traditional gatekeepers. At the same time, there’s a growing demand for authenticity. With so much content available, listeners are drawn to artists who have a clear identity and a genuine point of view. That shift is opening the door for more intentional, art-focused work.
David: Totally, and I think there’s a real freedom coming to independent artists who focus on crafting a sound that’s perhaps unconventional but genuinely their own. I actually credit the fans for that. It seems like more people are hungry for something different. There’s this openness to entertaining something unfamiliar for that feeling of discovery. I don’t think there’s ever been a time when casual fans have had a broader taste in music and been more open to listening across genres. It seems less driven by fads too.
Where do you see the music world heading in the next five years?
David: I hope it’s continuing to champion artistic expression that is unique and authentic. Also, music seems to take longer to find its audience than ever before, so I hope that evolves as technology makes discovering new music less force-fed. But I relate to that; some of my favorite songs of all time had a slow burn effect on me. I didn’t fully connect on the first listen, but five or ten years later, I love them more than ever. Great music, perhaps, is often ahead of its time. That slow burn is more interesting to me than the sugary instant rush of a good song that often fades away just as fast.
Llavar: And the music world is moving toward more personalized and immersive experiences. I think you’ll see a deeper connection between music, visuals, and live performance as technology continues to bridge those elements. There may also be a stronger distinction between what is AI-driven and what is human-crafted. As more content becomes synthetic, work that feels genuinely real has the potential to stand out even more.
How is music helping you during these uncertain times?
Llavar: Music gives us a way to process without needing to put everything into words. It gives me a space to reflect, slow down, and turn what I’m feeling internally into something more tangible. It also provides a sense of stability while you’re working through it.
David: Great music has always connected to what’s happening in me internally. In troubling times or even the best of times, uncertainty is inevitable, so there’s always something therapeutic about taking those thoughts and feelings captive through music. Even songs born out of pain can find new meaning and become songs of joy over time. We’ve been making music long enough to see that happen with our own stuff. But there are certainly countless examples of artists who have written music out of their own tribulations that then became anthems of hope for generations.
The Kind Hills
Sounds like: Timeless UK jangle pop that is heavy on the Sarah Records vibes but at the same time exhibiting a distant Moldy Peaches influence.
Interview:
Describe your approach to music and how you would explain your sound to others.
Because The Kind Hills are a long-distance collaboration across several continents, the only way it really works is by not taking things too seriously, leaving egos aside, and staying open to each other’s ideas. We’re all connected through the time we spent together in Perth in the late 90s, so the music carries a natural sense of nostalgia and reflects those simpler times when life was about music, gigs, friends and having a good time. Sound-wise, it’s sunny, jangly indie pop that never takes itself too seriously. It’s always harmonious and laid-back.
How did you come up with the name of your act?
We wanted something that reflects the relaxed, organic sound we’re making and immediately puts you in a warm, calm place, away from the stress of everyday life. After a fair bit of back and forth, The Kind Hills was the one name we all agreed on, it just felt right for the music.
What are some artists and albums that have informed your creative direction?
We all come from slightly different musical backgrounds, but the main overlap is Australian bands we were listening to when we were hanging out together in the Perth suburbs. On our first album, we had some specific references in mind for certain songs. “Summer” (Beach House), “Let Youth Take Over” (BRTHR), “Volunteer” (Mac DeMarco), and “Up and Down Activity” (Lime Cordiale). Since then, we’ve moved more towards just recording whatever feels right, without consciously looking as particular artists.
We all grew up on 90s indie, which is probably the biggest influence on our melodies and overall sound. Key touchpoints would be We Have the Technology by Custard for its catchiness and humour, and Warmer Corners by The Lucksmiths for its warm, jangly honesty. Beyond that, bands like Pavement, Teenage Fanclub and Belle and Sebastian have definitely shaped how we think about music.
What’s the most exciting thing happening in music right now?
Anything made by real people and shaped by real feelings feels exciting to us these days. Genuine authenticity, not just marketing, and definitely not AI. But to be honest, there’s not as much space for music in our lives as we’d like. It’s always playing somewhere in the background, with the foreground being occupied by families, kids, jobs and all the challenges that come with it.
Anything made by real people and shaped by real feelings feels exciting to us these days. Genuine authenticity, not just marketing, and definitely not AI. But to be honest, there’s not as much space for music in our lives as we’d like. It’s always playing somewhere in the background, with the foreground taken up by families, kids, jobs and all the challenges that come with it.
Outside of writing and recording our own music, we have to admit we’re mostly listening to older records and don’t discover as many new artists as we probably should. But we’ve never really been interested in “the most exciting thing happening” anyway. We’ve always favoured the underdog, the lesser-known, slightly quirky artist.
Where do you see the music world heading in the next five years?
We’re really not sure, and to be honest, we’re probably quite glad we don’t have the time to think or worry about it too much. We’re just happy doing what we like, without feeling any real pressure, and we’d like to think the outside world doesn’t have too much of an impact on our sound. Our music exists a bit in its own bubble for us, shaped more by past experiences and memories and less by the outside world.
How is music helping you during these uncertain times?
Music can help at any time, in both the best and the worst moments. It’s always been a constant and reliable companion throughout our lives, regardless of what’s going on in the world. With the constant stream of news and noise coming through our phones, music is one of the few things that helps us slow down, switch off, and regain a bit of energy and joy.
Nothing’s ever really certain on this little speck of dust flying through the universe at millions of miles an hour. But put on some good music, and for a moment at least, everything feels alright.
KINSALE
Sounds like: Mid-period R.E.M. channeled through the modern sounds of indie rock a la The War on Drugs and M.J. Lenderman with keyboard assistance from Roger Joseph Manning Jr. of Beck and Jellyfish fame.
Interview (answers by Raymond):
Describe your approach to music and how you would explain your sound to others.
Some of us have been recording music and playing in bands together since we were teenagers. At this point, still being able to create music as friends feels like a real privilege. It’s definitely something we’ll always be passionate about.
There’s usually an idea we start with, whether it’s a piece of music, lyrics or a vocal melody, and we build it out slowly together in a room. That hasn’t really changed.
Our sound and taste have evolved in the sense that we’ve always listened to so many different kinds of music over the years, and I think that comes through in our songs as we continue to grow as songwriters. Our sound sits somewhere in rock, alternative, and folk, or anything singer/songwriter-driven and we’re always trying to incorporate different influences, whether that’s more stripped-back acoustic elements or something heavier and more atmospheric.
How did you come up with the name of your act?
KINSALE was the name of the street I (Raymond) used to live on, where the majority of our debut EP Nights & Weekends was written and partially recorded. Band names can be hard to come up with, but one day it felt like an obvious choice, and we went with it.
What are some artists and albums that have informed your creative direction?
Tom Petty’s Wildflowers is definitely a North Star album for our band, but we love anything that has that timeless quality to it like R.E.M., Wilco, Beck, The Cure, Elliott Smith, Oasis, Radiohead, and of course The Beatles. The ’90s as a decade was just such a great time in music in terms of inspiration in our lifetime, and I think that comes through in our music too. We’re always looking into new artists as well, and of course, being based in Atlanta, there’s always new music coming out of different pockets of the city that keeps things inspiring, with such a strong musical history to draw on as well.
What’s the most exciting thing happening in music right now?
There are fewer gatekeepers, and distribution is much easier now. Being able to have your music reach more people in so many different places, and hearing how they respond to it, is always exciting. Even having our songs played quite a bit on college radio recently was a real surprise, especially since it’s something we grew up listening to.
What’s old becomes new again, physical media has made a comeback, and it feels like people want something tangible again, not just everything existing digitally.
Live music will always be around, even if it continues to find new ways of existing.
Where do you see the music world heading in the next five years?
Hopefully, there will be more creative control for artists, since you don’t need a million dollars to record anymore or a label telling you what you can and can’t play. That kind of access has changed things a lot. At the same time, with how much music is being released now, it also feels like the challenge has shifted more toward actually cutting through and finding your audience.
How is music helping you during these uncertain times?
It feels like all times are uncertain in their own way, but music is one of the few things that always makes sense in the moment. Music is a grounding force that cuts through a lot of the noise and uncertainty in the world. It also lets you time travel in a way, so that’s pretty cool. It’s a reminder that things can still feel personal, human, and steady even when everything else doesn’t.
Ten Ton Devil
Sounds like: A more brutal strain of the kind of groove metal Soulfly is known for, but with an electronic bent that keeps the listener on their toes.
Interview:
Describe your approach to music and how you would explain your sound to others.
My approach is simple, to continuously make every release heavier and better than anything I’ve ever released before. I’m always trying to outdo myself. Explaining my music to others is a bit difficult, especially if they aren’t really into Metal but I would say to someone to let the name of the project sink in TEN TON DEVIL, it kinda says it all. Still kinda hard though because my music doesn’t follow any blueprint. I’m literally all over the place especially when it comes to blending genres. But if I had to sum it up… extreme metal, wicked music for wicked people.
How did you come up with the name of your act?
That’s a good question. I’ve always been good at selecting names for my projects which I think is very important for the overall image. In the past I’ve had Soul-Sick, Stereo Assassin and Cruel Twisted Smile all reaching a certain level of attention in their own right. TEN TON DEVIL came to me because it was the title of a song I released as Stereo Assassin years ago. I had a few other names before TTD but they were already taken lol, then it hit me… plagiarize myself! lol”.
What are some artists and albums that have informed your creative direction?
That’s tough because literally everything I see or hear is a song title, a lyric, a drum pattern, a riff etc etc etc. as for bands that influence me they are far and wide reaching. Everything from Godflesh to The Yardbirds but standout artists are absolute such as King Crimson, Nine Inch Nails, Every Time I Die, Candiria, Car Bomb and The Dillinger Escape Plan. Also some of the newer artists are really doing amazing stuff that really sparks my creativity such as Slay Squad, Alpha Wolf, Darknet, Code Orange and Signs of the Swarm.
What’s the most exciting thing happening in music right now?
I’m really excited with the state of Metal music and its subgenres, in particular Deathcore, slamcore and Thall. These younger artists are really redefining how heavy music can be and the proficiency of these artists is amazing. Also, I really enjoy the blending of Metal with Electronic music and its aesthetics. I’m also watching AI music, which in the hands of an already accomplished musician this can produce absolutely sick results. People complain about AI being fake music but they also said that about the drum machine in the late ’70s and early ’80s, sampling and even MIDI to a lesser extent. Look at these things now… perfectly acceptable ways of creating music.
Where do you see the music world heading in the next five years?
I see AI evolving as a true and legitimate way for accomplished artists to take music to the next level. I see it becoming much more powerful and acceptable almost as if AI is not only a powerful production and mastering tool but it will be seen as a completely different musical instrument unto itself. I also think new sub genres of Metal will be popping up and taking a more prominent role in the realm of music.
How is music helping you during these uncertain times?
Music has always been a cathartic experience for me. Whether as an artist or simply as a person who loves listening to music, my inner turmoil has always been soothed when listening to music, especially good music. As a person who struggles with lifelong addiction issues I’ve been in some very very dark places and on a number of occasions, music has saved me from my own terrible thoughts. It’s a great escape and a very strong antidepressant.
Ones Loved
Sounds like: Glacial indie rock that feels like floating along on a cloud of Sparklehorse-like production.
Interview:
Describe your approach to music and how you would explain your sound to others.
Our approach is pretty unplanned, most songs start from a simple idea or feeling, and we let things unfold naturally. Everyone brings something different to the process, and we like leaving space for each member to add their own creative mark. We’re lucky to have some very talented multi‑instrumental players in the band, which adds a lot of texture and variety, piano, cello, horns, and other layers that give the songs their cinematic feel.
The lyrics usually evolve from the original concept of the song, using lots of imagery to capture the emotion behind it. Writing lyrics is actually my least favorite part of songwriting, but I think they end up being the most important, they’re what connect the listener, like a story with the music as the soundtrack.
Our sound has baroque elements and tends to lean sad but with soul and groove, uplifting lyrics about love and loss woven through the arrangements. Sonically, we think of it as cinematic, melodic, and a little nostalgic, but still informed by the inspiring music being made right now. We’re always trying to land somewhere between universal and original — something that feels familiar in a good way, but still its own thing.
How did you come up with the name of your act?
We came up with the name Ones Loved because the project started by reconnecting with people we had worked with in the past — friends, collaborators, and family who had all been part of our lives in different ways. It felt like a natural extension of that reunion, almost like picking up a thread that had been waiting for us.
There’s also a personal layer to it: the band includes family and a couple, so “ones loved” felt like an honest reflection of who we are together. And we liked the quiet wordplay on “loved ones” — familiar but slightly shifted. It captured the spirit of the project: music shaped by the people who matter to us, past and present.
What are some artists and albums that have informed your creative direction?
Our influences lean heavily toward more current artists who balance atmosphere, emotion, and strong songwriting. Blonde Redhead has been a big influence on us — their dramatic arrangements and instrumentation really resonate with the way we approach mood and dynamics. Andy Shauf’s album Norm was a huge influence lyrically; we love a good concept record, and that one opened up a lot of ideas about storytelling.
L’Rain’s approach to sound and structure has been especially inspiring — the way she blends experimental elements with something deeply human. We’re all big fans of Tiny Ruins, especially their record *Hurtling Through*, and the collaborations on Holy Wave’s *Five of Cups* with Lorelle Meets The Obsolete and Estrella del Sol had a real impact on how we think about groove and atmosphere. We also love the band Loving — their sense of warmth and simplicity feels close to what we try to capture. And Muzz — we just love that record and wish they’d make more; it’s such a perfect mix of simplicity, space, and melody.
Even with all these modern influences, Bowie has always been a touchstone for me personally, especially in terms of vocal style. His presence is just part of my musical DNA.
What’s the most exciting thing happening in music right now?
One of the most exciting things happening in music right now is how open and collaborative it’s become. Artists are constantly crossing genres and working together in ways that feel fresh and genuine. We love seeing musicians like June McDoom and Kara Jackson bring such distinct voices and perspectives to their work — it feels like a new kind of honesty and experimentation.
We’re also inspired by artists like Sam Evian and all the bands he records and collaborates with — Blonde Redhead, Hannah Cohen, Adrienne Lenker, and others. Bob and I took a songwriting class through School of Song that was led by Sam, and we learned a lot about his approach to recording and writing. That experience really deepened our appreciation for how collaboration can shape sound and emotion.
Even newer bands like Geese show how much energy and curiosity there is in the scene, though what excites us most are the connections.
Where do you see the music world heading in the next five years?
We think the music world is heading toward even more openness and collaboration. Artists are finding new ways to connect and create across distance and genre, and that’s leading to music that feels more personal and less polished in the best way. There’s a growing appreciation for honesty and atmosphere — songs that sound lived‑in rather than perfect.
Visuals are becoming just as important as sound, and that’s something we really connect with. The visual side of music — from videos to artwork to live presentation — is becoming a deeper part of storytelling, not just decoration. It’s exciting to see artists use imagery to expand the emotional world of their songs.
Accessibility is also improving, with more platforms giving artists space to share their work directly and reach listeners without barriers. That freedom is inspiring. It feels like the next wave will be about community and individuality at the same time — people making music that reflects who they are, but also reaching out to others to build something bigger together.
How is music helping you during these uncertain times?
Music has been a grounding force for us during these uncertain times. It helps us feel centered and stay positive because it energizes us when everything else feels draining. Creating together reminds us of the love we have for each other and that special bond that happens when things are flowing. That connection has been healing and keeps us moving forward.
It’s also helping everyone — musicians and listeners — in different ways. For musicians, it’s become an outlet to filter what’s going on in the world, to turn confusion and emotion into something creative and honest. For listeners, it’s a real connection to truth through creativity, and sometimes an escape when it’s necessary. Music gives people a way to process, to breathe, and to find beauty again. It’s the one space that always feels alive, and that’s been the most important gift of all.
Saint Clare
Sounds like: A driving combination of synths and guitars with a panache reminiscent of mid-period Echo and the Bunnymen.
Interview:
Describe your approach to music and how you would explain your sound to others.
I grew up listening to what I guess we’d call dad rock today, a lot of new wave, and really vocally driven rock stuff. I’m an absolute sucker for a pop song. So everything kind of starts from that. Over the years this band has evolved quite a lot from me kind of telling everyone what to do, to a much more collaborative process with the band, and me trying to play less and less guitar along the way to let the other guys and gal shine more and carry the melody. But it really all just comes down to a love of pop songs and my weird desire to leave behind something when I die.
How did you come up with the name of your act?
I had played in a bunch of bands through my late teens and 20s and every time someone left the band, got married, had a baby, or moved it felt like the band was starting over and I kinda just got tired of that and decided to name the band after myself. I wasn’t born a Saint, or religious, that’s intentionally tongue in cheek, but the actual Saint Clare was patron saint of the poor and television and those were things that resonated with me, so the name stuck.
What are some artists and albums that have informed your creative direction?
My all-time favorite bands are: Beulah, which always made me want a horn section; Reigning Sound, which was the band that originally inspired me to pick up a guitar and bang out scrappy garage rock tunes; and The Beach Boys. That’s a pretty diverse rock lineup. I think recently the biggest inspirations on the band have been other bands that I love like The Cure, Echo & The Bunnymen and The Pixies, which are all probably a bit easier to hear as inspiration. Bands like Arcade Fire, The Clash and Faith No More — who really do whatever they want and let their vocalists be the unifying factor across songs and records — have also a big inspiration on this latest record because we wrote and recorded it over several years while the lineup was changing a fair bit, so we had to really use vocals and production techniques to tie things together as part of the final product.
What’s the most exciting thing happening in music right now?
Honestly, I think it’s that kids are back listening to guitars and rock bands. I’ve been obsessed with records from Turnstile and Fountaines DC and love seeing them draw younger crowds. I also loved seeing Wolf Parade finally get their flowers after following them for twenty years later when I’ll Believe in Anything started trending after playing in Heated Rivalry. And then you’ve got pop stars like Olivia Rodrigo bringing out Robert Smith and introducing The Cure to a whole new generation of listeners, it’s amazing. The kids are alright!
Where do you see the music world heading in the next five years?
Hard to predict the future so I’ll focus on what I’d like to see. The whole industry is so bizarre these days. I’d love to see full length records come back as an important thing, as opposed to this single culture we’ve been living in lately, where people put more focus on the end to end product rather than just the three minute song they heard in a Tik Tok. And then part of me hopes there’s a local scene revival. The big ticketing companies put on big shows, but there’s so much cool local stuff you can hear for $10-20 that is way more fun and easy to explore than buying a nose bleed seat for $200. I guess all of that is to say that I hope that as the kids get back into what was cool in the 90s, they can find a way to bring back the scene from the ’90s, too.
How is music helping you during these uncertain times?
Music has always been as much a creative outlet for me as it is a mental health and wellness practice. I had a great teacher in high school really drive home this idea that people should embrace writing about what they know, so it’s always been about catharsis to me, whether that’s writing music, playing music, or jumping around in a crowd and singing along with a band I love.
Elnoir
Sounds like: Dark alt-pop is most definitely an appropriate way to describe this entrancing music reminiscent of a combination of Lady Gaga and Garbage atop a skittering digital beat.
Interview:
Describe your approach to music and how you would explain your sound to others.
I approach music like a narrative system rather than just sound. Every track is a scene, every production choice is there to reinforce a psychological state. I’m not interested in writing songs that simply “work”, I want them to feel inevitable, like they couldn’t exist in any other form.
My recent work has evolved through a close collaboration with producer Dario Pruneddu, where we’ve been refining a shared language built on contrast and control. We focus a lot on tension, on what is held back as much as what is expressed, shaping songs that feel both intimate and cinematic.
Sonically, my world sits between cinematic pop, dark electronic textures, and trip-hop influences. It’s intimate but dramatic, sensual but confrontational. If I had to simplify it, I’d say it sounds like a film score that learned how to bleed.
How did you come up with the name of your act?
Being a Gemini drama queen, I’ve always felt like there was an alter ego living somewhere under the surface. I tried for years to name it and never quite got it right.
Then one day I misread my own damn name, Elnora instead of Eleonora. I twisted it slightly, and Elnoir came out of it. Yeah not so much poetry in this but it was too perfect to ignore it
What are some artists and albums that have informed your creative direction?
Artists like Bishop Briggs and Valerie Broussard shaped my understanding of emotional intensity in vocal performance, especially in darker pop contexts.
I’ve also been influenced by the cinematic minimalism of Massive Attack. Albums like Mezzanine taught me that silence and restraint can be more powerful than density.
On a more theatrical and conceptual level, Lady Gaga’s ARTPOP had a direct impact on my latest single “Bless His Name,” especially in how it embraces excess, symbolism, and provocation without losing structure.
More broadly, I’m drawn to projects that build a world rather than just a collection of songs.
What’s the most exciting thing happening in music right now?
The collapse of traditional gatekeeping, but not in the naive sense people talk about. It’s not that everyone has equal opportunity, it’s that artists are now forced to build their own ecosystems.
What’s interesting is the shift toward narrative-driven projects. Audiences don’t just want songs, they want context, identity, and continuity. Music is becoming closer to world-building than ever before.
Where do you see the music world heading in the next five years?
More fragmentation, but also more precision. We’ll see fewer “universal” hits and more hyper-targeted audiences. Artists who understand positioning, storytelling, and visual identity will have a significant advantage.
I think AI will put serious pressure on the current streaming model as we know it. When content becomes infinitely generatable, its perceived value shifts, and the system starts to feel unstable.
Because of that, I see live music making a strong return. Not just as promotion, but as the core experience. At least, I hope so.
How is music helping you during these uncertain times?
Music has become a form of dissent for me. It used to be much more intimate and inward-looking, almost like a private language.
In the past few years, that shifted. The more I look at the world, the more I feel a growing sense of disillusionment, and that inevitably changed the way I write.
My songs are less about processing and more about confronting. I have a voice, and I don’t see a reason not to use it.
Floating Sheep
Sounds like: Progressive, worldly modern jazz with elements of African, Turkish and Israeli rhythms and melodies to create a forward-moving groove that fans of Stones Throw Records, Khruangbin and Madlib mixtapes will appreciate.
Interview:
Describe your approach to music and how you would explain your sound to others.
We think the word Experimental is the first thing that comes to mind when trying to describe our sound. It really is the connection and interaction between the four of us that creates our sound; it’s only through experimentation that we were able to find this unique space that we create. The second thing that comes to mind is Jazz, but we feel like jazz is such a broad umbrella these days that we would refer to it more as an approach to music than a specific sound. The four of us met in jazz school, so the roots are definitely there, and it allows us to communicate in the same language, giving us that alive feeling we get from jazz.
Another way to describe our sound would be the interaction between acoustic and electronic landscapes. Ofek (our keys player) is our protagonist in the electronic realm. A classically trained pianist who transitioned to jazz, he found himself obsessed with analog synthesis. If you are picturing a “mad scientist,” you are spot on. The soundscapes that Ofek is able to produce are powerful and haunting; combined with his classical-jazz approach, he creates something that is truly alive, unique, and genuine.
When it comes to the acoustic sound of the band, we have to talk about the “elephant in the room” Bar, our Handpan Master. The first time I saw Bar play was in jazz school; I couldn’t believe my eyes and ears. The following days, I was walking around with his recordings, showing them to anyone who would listen. If you are reading this and think I’m overselling the experience, I urge you to go listen to the album. I assure you, you have never heard anyone play this instrument like him. Bar is an incredibly capable musician, so much so that sometimes it’s easy to forget how fresh and unique what he does is. A massive part of our sound comes from trying to keep what’s beautiful about this instrument and how it’s been played so far, while simultaneously trying to push what’s possible on the handpan. A track like “Lidor” takes the organic approach and puts a twist on it, while a track like “Turkish Kawabanga” really puts the handpan in a whole new light. The handpan sits in an incredible spot between a percussion and melodic instrument, and we believe there’s much more to discover.
And then there’s Yair, our drummer. Yair is the gifted one of the group, one of those kids who was born and raised with a strict, rigorous jazz education. Because of that background, today he is a rebel at heart; he constantly pushes our sound toward a more “metal” edge, striving to take us out of traditional jazz territories and into the realms of hip-hop, groove and metal whenever possible. He is a phenomenon, a force of nature that breathes life into our music
We feel like this combination of approaches and sounds brings something very fresh to the scene, and we hope it’s appreciated.
How did you come up with the name of your act?
The name Floating Sheep is a reminder to keep our minds playful and free. It’s inspired by the perspective of a child who looks at white clouds in the sky and sees them as floating sheep. For us, it represents the ability to find magic and form in the abstract.
What are some artists and albums that have informed your creative direction?
Avishai Cohen, Tigran Hamasyan, Sefi Zisling, Omri Mor, Christian Scott, and the band Apifera. A lot of them are from our local scene in Israel, and we are lucky to have them as inspiration.
What’s the most exciting thing happening in music right now?
We think what’s happening with UK Jazz In the last few years has been so refreshing and exciting. Somehow, that scene is able to go back to the roots and at the same time push jazz forward. We think it’s bringing more people into jazz than before without being apologetic about it at all, very important and very inspiring!
Where do you see the music world heading in the next five years?
Honestly, I’m very worried for this industry with all the coming disturbances of AI, but we are divided on that. A more optimistic approach is that AI will create a crave in the audience for something even realer, even more alive, even more human; that society will be mature enough to understand what art is actually about, and people will want to see the human process, human emotions, human expression, and experience. But that’s just about the industry there’s nothing to actually worry about on the artistic side. We feel like every day we find a new amazing artist. Jazz will never die.
How is music helping you during these uncertain times?
To us, music is the most beautiful of all art forms. It is able to capture the intricate notion of the fleeting moment and the endless depth of an experience. It is a lifestyle and a guide to existence. Music is an aesthetic that is shared between all things in the universe. Playing music is the selfless act of trying to make this universe prettier, even if it’s just for a moment. That chase alone is enough to help us navigate through the uncertainties of life.
Cadillac Ranch
Sounds like: American country music seen through an Italian lens, performed with Nashville authenticity from an ocean away.
Interview:
Describe your approach to music and how you would explain your sound to others.
Our approach started after many years of playing other people’s songs live. At a certain point, we felt the need to listen to our own emotions and say something that was truly ours. We still love country roots, but we’re not interested in imitation. We want to bring our own perspective to it. I’d describe our sound as modern country storytelling through a European lens, with the energy of a live band and a darker, more introspective side.
How did you come up with the name of your act?
We took the name from Cadillac Ranch in Texas. We were drawn to its strong visual identity and rebellious spirit. It felt bold, memorable, and full of personality — the kind of energy we wanted the band to have.
What are some artists and albums that have informed your creative direction?
We’ve always been inspired by artists with strong identity who really connect with listeners. Toby Keith for personality and presence, Josh Turner for voice and depth, and Luke Combs for the energy and authenticity he brings to his music. We take inspiration from any music that truly moves us, whatever the genre.
What’s the most exciting thing happening in music right now?
The most exciting thing happening in music right now is that the walls between genres are disappearing. Artists don’t have to fit into one box anymore. They can mix influences naturally and create something personal. When music connects, genre matters less and less.
Where do you see the music world heading in the next five years?
I think music will become more technological, but simplicity will become more valuable. People are surrounded by noise and endless content, so artists who communicate something clear and genuine will stand out. Live experiences will also matter even more, because they give people something real that can’t be replaced.
How is music helping you during these uncertain times?
It’s becoming harder to express what we really feel, and just as hard to truly listen to each other. Music still creates a space for both. It’s something universal that can bring together people from very different backgrounds, places, and lives. It also helps us feel less alone — sometimes a song can be a real source of comfort.
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