Another week, another chance to dive headfirst into the depths of New Music Friday.
It’s a week of contrasts – big, open-hearted pop sitting next to left-field experiments, with a strong undercurrent of artists either resetting or doubling down.
There’s heartbreak done right, comebacks that actually matter, and a few quieter cuts that linger longer than expected. We may have over shared – but these are all worth your time.
MUNA – Dancing On The Wall
Sleek, rhythm-driven indie pop that still keeps its emotional core intact. MUNA continue refining their sound – polished, but never distant.
Lykke Li – The Afterparty
A quiet sense of closure hangs over this one. Sparse, restrained, and emotionally controlled. It doesn’t reach for drama — which is exactly why it lands.
Aldous Harding – Train On The Island
Still entirely in her own lane. Unpredictable, restrained, and not interested in immediacy. It unfolds slowly — and rewards patience.
The Lemon Twigs – Look For Your Mind!
Bright and referential with tighter than tight harmonies, playful arrangements, and a clear love of 70s pop. It’s committed, and that’s what sells it.
Broken Social Scene – Remember the Humans
Expansive without losing focus. Multiple voices, layered textures, but still cohesive. It leans a little into nostalgia, but it certainly does not get stuck there.
Sam Fischer – A Heart Doesn’t Hurt Itself
Fischer leans fully into vulnerability, landing one of his most open performances yet. It’s a classic heartbreak ballad on paper, but elevated by restraint and vocal control.
Zinoleesky – Nostalgia
There’s a lightness here that does a lot of work. Blending amapiano and street pop, ‘Nostalgia’ feels reflective without dragging. Zinoleesky keeps things smooth and emotionally tuned-in, letting the groove carry the weight.
Dustin O’Halloran – Fragile N.1
You might know the name from Sofia Coppola’s Marie Antoinette soundtrack – his latest work – Fragile N.1 is a quiet standout. Delicate piano, no excess. It feels suspended in time – minimal, reflective, and completely focused on tone.
Angus & Julia Stone – Karaoke Bar
Familiar territory, but slightly loosened. ‘Karaoke Bar’ keeps their signature intimacy intact while opening into something more fluid. It drifts in a way that feels intentional – reflective, a little restless, but still anchored by their chemistry.
Teenage Joans – Coming Up From Hell
Louder, sharper, and less polite. This is Teenage Joans pushing into heavier ground, where the energy is controlled but messy in the right way – a reset that actually feels like one.
Girl Is The New Boy – Adelaide
Marcus Whale – Extra Life
Marcus Whale shifts the lens inward on ‘Extra Life’ – the footwork pulse is restless, the vocals feel half-there, almost evaporating. Whale has nailed the act of performance tension, unpredictability, and that strange pull between artist and crowd.
T Breezy – Traction
T Breezy’s Traction feels like movement in every sense. Sonically, it stretches his usual rap lane with input from Tasman Keith, Dro Carey and Air Max ’97, but never loses focus. Each track hits a different angle – confidence, reflection, experimentation – without overcomplicating it.
South Summit – HEARTLESS
Built quickly, and it shows – in a good way. ‘HEARTLESS’ balances heartbreak and lift without overthinking either. It’s tight, direct, and lets the core idea breathe instead of dressing it up.
Chanel Beads – Song for the Messenger
Hazy and slightly off-centre. The track leans into uncertainty, never fully resolving its tension. That unease becomes the hook — textured, introspective, and deliberately unsettled.
Jamaica Moana – TUGGAWAR (Songs With Strings)
Ring a ding ting – a rework that adds depth without losing bite. The strings bring contrast and space, sharpening the impact rather than softening it. Still confrontational – just more dimensional.
aleksiah – Good On Paper (EP)
Diaristic pop that doesn’t clean itself up. It’s sharp, messy, and self-aware, unpacking insecurity and identity without softening the edges. The newer tracks add bite, giving the EP a stronger throughline than a simple collection of singles.
Lenka – Good Days
Signature Lenka – light, but not empty. ‘Good Days’ sits between optimism and realism, carried by Lenka’s melodic clarity. It’s simple in structure, and the sentiment lands.
Tkay Maidza – Pressed
Clean, high-energy, and built for movement and feeling the bass in your chest. Afrobeat and house elements fold into her sound naturally, while her delivery keeps it grounded and sharp.
Headwreck – Raindrops
Heavy, direct, and to the point. It leans into metalcore intensity in all the right ways – without overcomplicating things – impact over polish.
MNOV – Here
Minimal but loaded. ‘Here’ leans into space and stillness, letting gentle textures carry the emotion. There’s confidence in how little it does — and that restraint gives it weight.
SEZ – Old Friends
An easy, nostalgic indie-pop debut that doesn’t overreach. Warm harmonies, simple structure, and a clear emotional thread. It’s not trying to reinvent anything — just doing it well.
Black Veil Brides – Vindicate
Big, theatrical, and fully committed. No reinvention here – just a band doubling down on scale and identity. Built for arenas, and it knows it.
Social Distortion – Born To Kill
A return that sticks close to the source. Gritty, familiar, but slightly more reflective. The inclusion of ‘Wicked Game’ adds an unexpected shift in tone.
Sunk Loto – Dead Shadows
A comeback that actually lands. Big, deliberate, and aware of its own weight. It pulls from their legacy without sounding stuck in it.
Liliana de la Rosa – Glass Skin
Dark-pop with restraint. Atmospheric and cinematic, but never overworked. The mood carries everything.
Jake Whittaker – In My Blood (EP)
Rooted in country storytelling, but with a modern edge. It’s straightforward and effective — built on songwriting, not production tricks.
Check out Happy’s Mixtape for more new music.
‘ The preceding article may include information circulated by third parties ’
‘ Some details of this article were extracted from the following source happymag.tv ’
