Lockstep photo by Hayden Wadell, used with permission.
Meet Lockstep: Nashville’s Heavy Doomgaze Powerhouse
Formed in 2020, Lockstep is a heavy doomgaze and shoegaze trio based in Nashville, TN. The band has built a signature sound rooted in atmosphere and weight, seamlessly moving between quiet, uneasy moments and crushing walls of noise. With each release, Lockstep has tightened their approach—cutting excess and focusing strictly on impact. (another side, 2026)
The New Album: I Know What I Saw
Lockstep’s debut full-length, I Know What I Saw, stands as their most focused and complete statement to date. The album leans into massive, slow-burning riffs and dense, layered guitars that remain engaging without letting up, locking into sections that feel both hypnotic and suffocating.
Songs stretch and build with purpose, pulling listeners deeper into the band’s world while maintaining a constant sense of tension and release. It is the clearest and most realized version of Lockstep yet.
Key Singles: “Solvent Sound,” “Dog in the House of Plenty”
Recorded By: Zack Montez at Welcome to 1979 (Nashville, TN)
Mixed By: Matt Schumacher
Mastered By: Nick Townsend
Band Lineup
Austin Rolison: Vocals, Drums
Matt Schumacher: Vocals, Guitars, Noise
Tanner Ihrie: Bass
Lockstep On Tour (with REZN)
Following the release of I Know What I Saw, Lockstep is hitting the road on a US tour supporting REZN.
Truck Violence’s new album The weathervane is my body is out now. Photo: Matthew Van Dystadt-Aguiar, used with permission.
Truck Violence Returns with Unforgiving DIY Triumph: The weathervane is my body
Canada’s Truck Violencehowls through the harsh edges of hardcore and folk, delivering a final sound that is both deeply comforting and fiercely confrontational. Their second full-length record, The weathervane is my body, is an attempt to answer—an attempt at conciliation through refusal. (another side, 2026)
It is available now, featuring the standout single and album closer, “Kindly, wash yourself.”
From Prairie Towns to City Streets
After relocating from the Alberta prairies to Montréal at just seventeen years old, guitarist and banjoist Paul Lecours and singer-poet Karsyn Henderson navigated the massive shift from rural isolation to urban intensity.
Small-town roots: The pair grew up in a town of just 600 people, graduating in a class of nine.
Early DIY spirit: By age fifteen, they were running a local studio and radio station with no industry support, no infrastructure, and no template—only the work itself and the conviction that it was worth doing.
Expanding the sound: Drawing influence from punk, shoegaze, and sludge, their distinctive identity emerged from years of experimentation. Upon arriving in Montréal, Chris Clegg (bass) and Thomas Hart (percussion) joined to build Truck Violence from the ground up.
Uncompromising, In-House Execution
The weathervane is my body is the culmination of that entire journey. The group composition, recording, mixing, and visual media were all produced completely in-house without outside intervention. Here, DIY is not an aesthetic choice or a marketing angle—it is the only honest option available.
The album serves as an expansion of the angry statement of purpose launched in their debut album, Violence, which Pitchfork hailed as “never predictable or formulaic.” Rooted in noise rock and post-hardcore traditions, the new record stands immediate, self-determined, and uncompromising.
The Vision Behind the Cover Art
Shot on film by the band on Avenue du Parc in Montréal, the album cover captures the record’s entire thesis in a single frame:
A figure perches atop a small Québécois-style house, hand-built from reclaimed materials—spine curved, legs pulled in, bare-backed against a skyline that dwarfs everything beneath it. A rural thing dropped into the grit of the city: small, out of place, and refusing to disappear. Naked and defenseless, open to every stimulus the world delivers.
The weathervane is my body, track list:
My dog would fuck the air
Jaundiced and reaching for a mother
Compelled by Christy
House caught fire
New Jesus
Your name, It’s walking
Stomach as a tower and the globules descending
Gerard, be quiet
Kindly, wash yourself
Catch Truck Violence Live
Truck Violence will be touring across North America this fall and winter.
Genghis Tron releases long-awaited new album Signal Fire. Photo: Aaron Jones, used with permission.
Genghis Tron Return to Face the Present on Signal Fire
For almost two decades, Genghis Tron bandleaders Michael Sochynsky and Hamilton Jordan have gazed into the future and imagined what the world would look like after the extinction of our species. It’s an outcome that has long troubled, but also inspired, them to steer the pioneering outfit in breaking new ground with each successive release, moving from the genre-smashing electro-grind of 2008’s Board Up the Houseto the lush, pummeling hypnosis of 2021’s Dream Weapon.(another side, 2026)
Now, with their fourth full-length album, Signal Fire—co-produced and mixed by Seth Manchester (Model/Actriz, Battles, Big Brave)—Genghis Tron awakens us from the post-apocalyptic daydreams of their previous work with a violent, and most welcome, shove.
This time, the distant-future reveries give way to an unsettling awareness of the present we’re actually living, as our circumstances grow too pressing to try and escape.
“Signal Fire envisions a Kojima-esque dystopia of endless proxy warfare, where the deluge of available information has outmoded the human ability to parse it. A world where those amoral, shameless, and cunning enough can literally reshape the reality at their whim through sheer insistence.”
— Tony Wolski, vocalist and lyricist
A Visceral Evolution
Roaring onto the scene in 2004 with a uniquely demented blend of extreme metal, synthesizer textures, and drum-machine madness, Genghis Tron are no strangers to making a forceful impression. But Signal Fire marks the first time the band—joined again by Wolski and Nick Yacyshyn (SUMAC) on drums, plus newcomer Kenny Szymanski (The Armed) on bass—has captured this level of urgency with such visceral precision.
Through their contributions to 2021’s Dream Weapon, Wolski and Yacyshyn (who joined the band in 2020, replacing former vocalist Mookie Singerman and the band’s drum machine) had already proven themselves to be indispensable to the full realization of Genghis Tron’s vision.
Refining the Craft
Twenty years into their career, having proven their ability to forge common ground between Ministry and Aphex Twin, between Brutal Truth and Boards Of Canada, and between Cluster and Converge, ugly-beautiful new genre hybrids from Genghis Tron no longer come as a surprise.
What’s remarkable, however, is how Sochynsky and Jordan have taken a project that started in 2004 as a dorm-room genre-pastiche experiment, “a chaotic, wild amalgamation of all our favorite stuff, literally slammed together,” says Jordan, and refined their songwriting craft to deliver a sound that is unmistakably their own.
Sochynsky and Jordan acknowledge that their approach to songwriting is, at its core, the same it has always been: trading ideas, whether on synths, programmed beats, or guitars. The crucial difference? Genghis Tron now sounds like an actual band.
On Signal Fire, Genghis Tron has never sounded more unhinged, more alive, and more free to continue upending everyone’s expectations in service of making compelling music.
Emma Ruth Rundle debuts ‘Enough’ video/single. Photo: Mason Rose, used with permission.
Emma Ruth Rundle Announces New Album These Killing Times, Drops Scathing Single “Enough”
Multi-instrumentalist, songwriter, poet, and multidisciplinary artist Emma Ruth Rundle has officially announced her sixth full-length studio album, These Killing Times, set for release on September 18 via her own imprint, Errant Child. (another side, 2026)
Alongside the announcement, Rundle debuted the cutting lead single, “Enough.”
“Enough” showcases Rundle’s signature ability to fuse gentleness with intensity. Opening with a hypnotic drum rhythm courtesy of Jess Gowrie (Chelsea Wolfe), the track is driven by a deep-toned acoustic guitar riff that offers a deceptive sense of calm.
As Rundle’s voice enters, a distinct note of optimism swells during the increasingly impassioned choruses, ultimately building to a crushing heaviness featuring a tormented saxophone performance by Patrick Shiroishi. It is a track that offers comfort, even as its underlying message proves scathing.
“‘Enough’ is inspired by ‘The Man Who Sold The World’—and in a retelling of the story of Elijah, we imagine him as an Elon Musk-type figure. We ask: is not the whole world enough? We ask the many gods to unleash vengeance and carry this man away into the angry sky, piece by piece.
This song is a reflection of the times we live in and is a vision for the dispensation of the billionaire class. The world belongs to all beings.” — Emma Ruth Rundle
The Music Video
Conceived by Rundle in collaboration with artists Mason Rose, Blake Armstrong, and Mitch Wells, the accompanying music video for “Enough” showcases a stark gothic theatricality.
Evoking an atmosphere as if Nosferatu had landed in the world of legendary puppeteer Jim Henson—a major visual influence for the record—the video depicts Rundle haunted by a creature known as “The Companion.” The dark, romantic visuals are further heightened by a series of frames reminiscent of classic stop-motion animation.
About These Killing Times
Electrifying, emotional, and charged with anti-patriarchal feminist rage, These Killing Times arrives as a reactive anthology, bristling, full of life, and rooted in resistance. Pre-Order/Pre-Save here.
While the new record possesses a spirit of defiance, it retains the tenderness, rawness, and vulnerability that resonated with so many on her globally acclaimed 2021 album, Engine of Hell.
These Killing Times marks a return to a full-band setup, creating a sonically powerful accompaniment to Rundle’s more direct vocal style. The album’s instrumentation is brighter and more urgent than ever before, featuring an impressive lineup of collaborators:
Jess Gowrie (Chelsea Wolfe, Mrs. Piss) – Drums
Troy Zeigler – Percussion / Collaboration
Patrick Shiroishi – Saxophone
Nick Reinhart (Tera Melos)
Gina Gleason (Baroness)
Marissa Nadler
Lukas Frank (Storefront Church)
Amelia Baker (Cinder Well)
Longtime collaborator Sonny Diperri (My Bloody Valentine, Trent Reznor), who has worked with Rundle across multiple releases over the last decade, returned to record the album.
Community Over Isolation
Written as Rundle watched from afar the devastating effects of climate disasters unfold in early 2025, she reflected on the root causes of global catastrophes and made a conscious choice to lean toward hope. Where outside forces tempted her toward isolation, she reached outward to create a project that acknowledges pain while offering community and resilience in response.
“I wanted to feel fortified by friendships and to be in community with other musicians—to make something that pushed back against the isolation,” Rundle shares.
These Killing Times confronts questions of intention, systemic capitalism, the rise of Christian nationalism, and political discourse. Yet running alongside the anguish is love—acting as a balm, a tonic, and a means of escape.
Outside of her music discography, Rundle continues her work as an established visual artist and author, following the 2025 release of her debut poetry collection, The Bella Vista (Unnamed Press).
Fall Tour Dates Announced
Emma Ruth Rundle will hit the road this autumn for a full-band headlining tour across North America in support of These Killing Times, kicking off in November. Cinder Well will support all headlining dates.
The headlining run follows Rundle’s solo support tour alongside All Them Witches throughout October.
These Killing Times track list: 1 – Powerless 2 – God’s Picture 3 – Anvil 4 – Catherine Wheel 5 – Don’t Delay Heaven 6 – Enough 7 – Human Kindness 8 – Oceans of Time
‘Comes In Waves’ is Carly Simon’s first album of original songs since 2008. Photo: Sally Taylor, used with permission.
Carly Simon Announces First Album of Original Songs Since 2008: ‘Comes In Waves’
Legendary singer-songwriter Carly Simon is officially returning with Comes In Waves, her first album of original material since 2008. Set to arrive on August 14, the 12-track album was written and recorded primarily at her Martha’s Vineyard home, bringing together a body of work that feels both deeply personal and quietly expansive. (Miller PR, 2026)
Six decades after her solo debut, Simon’s voice remains unmistakable: emotionally precise, literate, and unguarded. Rather than looking back with simple nostalgia, Comes In Waves is anchored in clarity, exploring the complex emotional terrain of love, memory, family, and self-reckoning.
Serving as the album’s opening track and lead single, “Howl” captures the emotional depth Simon continues to explore. Co-written and produced with platinum- and gold-certified producer David Spencer, the track pairs Simon’s signature vocals with a lyric that moves from the sting of betrayal toward the peace of forgiveness.
Speaking on the inspiration behind the single, Simon shares:
“‘Howl’ lives in that space between betrayal and forgiveness, where anger has to be voiced before it can be released. It’s about letting the frustration out so it doesn’t sit and simmer. The song begins in anger, but it moves toward forgiveness, and speaks to any situation where trust has been broken.”
Themes of Healing and “Slowly”
The album’s title is drawn from “Slowly,” a song centered on patience, return, and emotional renewal. In the track, feelings rise and recede like the tide—a concept that serves as the emotional anchor for the entire record. Across these 12 tracks, love, grief, anger, memory, and healing all arrive in waves, moving with their own natural force and timing.
Rather than trying to recreate her past hits, Comes In Waves continues the honest, vulnerable conversation Simon has shared with her audience for decades.
A Close Circle of Collaborators
This record was brought to life alongside a tight-knit circle of family, friends, and longtime creative partners:
John Forté: Features on the album posthumously, following his passing earlier this year.
Ben Taylor (Son): Contributed throughout the project as a singer, musician, producer, and songwriter.
Sally Taylor (Daughter): Contributed vocals and created the single’s cover artwork.
Comes In Waves track list
Howl
Maybe I Never Loved You
Peaches
Love Has No Ending
Mother Of Pearl
Slowly
Four In The Morning
The More I Look For You
Love The Way I Do
The Father Daughter Dance
Share the End
Do It Anyway
About Carly Simon
For those who need a quick refresher on the incredible legacy of this trailblazing artist:
A Trailblazing Career: Emerging in the early 1970s, Carly Simon helped redefine pop music as an intimate, emotionally intelligent form of storytelling.
The EGOT-Adjacent Legend: Her catalog includes generation-defining hits like “You’re So Vain,”“Anticipation,” and “Let the River Run.” The latter earned her an Academy Award, a Golden Globe, and a Grammy, making her the first female artist to win all three as both a performer and composer.
Accolades: Simon is a five-time Grammy winner (with 19 additional nominations) and an inductee into both the Rock & Roll Hall of Fame and the Songwriters Hall of Fame.
Austin’s Rickshaw Billie’s Burger Patrol. Photo: Chris Wilson, used with permission.
New Music: Rickshaw Billie’s Burger Patrol Drop Melodic Sludge-Bomb “The Disappearing Man”
Austin’s favorite “doom wop” and heavy metal trio, Rickshaw Billie’s Burger Patrol, is back with a brand new single: “The Disappearing Man.” (US/THEM Group, 2026)
The track comes as a fresh taste of their highly anticipated forthcoming album, CA$H GRAB. Formed in 2017 by Boston-area transplants Leo Lydon (lead vocals/guitar) and Sean St. Germain (drums), alongside Georgia native Aaron Metzdorf (bass/backing vocals), the band has spent years perfecting a wildly unique sonic lane.
With “The Disappearing Man,” they showcase an absolute mastery of heavy, hook-filled riffs and rhythms couched in an earworm melody that would make Green Album-era Weezer jealous.
Loud, Lean, and Relentlessly Catchy
The new single doubles down on the band’s signature blend of crushing riffs and off-kilter melody. It’s loud, lean, and balancing sludgy heaviness with an infectious groove that refuses to let go.
Beneath the wall of fuzz lies an undeniable melodic instinct, proving the band can deliver massive hooks without sacrificing an ounce of raw power. It’s a confident preview of an album that promises to push their self-proclaimed “big dumb riffs” philosophy even further. If this single is any indication, CA$H GRAB is shaping up to be their strongest release yet.
The Album Update: While CA$H GRAB is still in production—with official release details dropping at a later date—you can already stream the phenomenal run of singles leading up to it: “The Disappearing Man,”“Bough Down,” and “Peaches.”
Catch Them on the Road
RBBP just wrapped up a massive, highly successful 6-week headlining tour across North America, packing out rooms with multiple sold-out shows alongside fellow Austin punk-metal trio American Sharks.
If you missed that run, you’re in luck. The band recently announced they will be hitting the road again for Fall 2026 supporting the legendary Death From Above 1979.
Check out the full list of live dates below and secure your spots early!
Rickshaw Billie’s Burger Patrol: 2026 US Tour Dates
09/05 Cookeville, TN – Muddy Roots Music Festival 10/01 Sacramento, CA – Ace of Spades * 10/02 Berkeley, CA – UC Theater * 10/03 Monterey, CA – Golden State Theatre * 10/04 San Luis Obispo, CA – Fremont Theater * 10/06 Ventura, CA – Ventura Music Hall * 10/08 Los Angeles, CA – The Belasco * 10/09 Santa Ana, CA – The Observatory OC * 10/10 San Diego, CA – The Observatory San Diego * 10/11 Tempe, AZ – The Marquee * 10/13 Denver, CO – Gothic Theatre *
A.A. Williams’ new album Solstice is out now. Photo: another side, used with permission.
Cinematic Darkness & Radiant Renewal: A.A. Williams Releases ‘Solstice’
A.A. Williams steps into a new era. Out now via RPM, Solsticearrives as Williams’ most powerful and poetic work to date, an album shaped by extremes of light and darkness, weight and fragility, devastation and renewal. (another side, 2026)
Thunderous highs, intimate lows, and vivid emotional shifts unfold across a record that feels both deeply personal and cinematic in scale.
A Sonic World of Extremes
Long celebrated for her haunting vocals, immersive dynamics, and striking emotional clarity, Williams expands her sonic world with an album that moves like a ritual through changing seasons.
The Instrumentation: Guitars churn like gathering weather, while strings glow with a fragile warmth.
The Vocals: Her voice unfolds seamlessly from restrained intimacy into a commanding emotional force.
Solstice captures A.A. Williams at a major creative turning point. Inspired by years of global touring, acclaimed collaborations, and genre-defying reinterpretations, the album finds her fully embracing both vulnerability and power.
Balancing crushing heaviness with moments of startling beauty, Solstice invites listeners into a world where silence can feel as immense as sound itself. It’s intimate, dramatic, and quietly radiant; music for endings, beginnings, and the long road between the two.
About A.A. Williams
Making her debut live appearance at the prestigious Roadburn Festival in the Netherlands off the back of a self-titled EP, A.A. Williams has since toured across the globe with heavyweights like:
Cult of Luna
Explosions in the Sky
Russian Circles
Sleep Token
The Sisters of Mercy
Alongside these massive support slots, she has established herself as a formidable headline artist, including a landmark show at the iconic Queen Elizabeth Hall inside London’s Southbank Centre.
A Track Record of Critical Acclaim
Her standout festival appearances have dovetailed with two widely acclaimed album releases: 2020’s Forever Blue and 2022’s As The Moon Rests. Both records placed Williams at the forefront of a wave of artists taking textured, epic, and folk-rooted heavy music into progressive new directions. A live BBC session at the legendary Maida Vale Studios further bolstered her credentials.
Pushing Boundaries & Companion Pieces
Never one to rest on her laurels, Williams has continuously released innovative companion projects, including:
“Exit In Darkness”: A collaborative single with Japanese post-rock titans MONO.
Songs From Isolation (2020): A solo covers collection recorded during the pandemic lockdown that drew praise from icons like The Cure’s Robert Smith and Smashing Pumpkins’ Billy Corgan.
arco (2021): Perhaps her most impressive feat, where the multi-instrumentalist drew on her classical training to completely rework her debut EP from rock instrumentation into a stunning string ensemble.
Solstice is out now via RPM. Stream or purchase the album here.
New album Speculative Fiction out July 3 via Smoking Room. Photo: another side
Track Premiere: Smirk Shares Melancholic New Single & Video “Abide” Ahead of New Album
Smirk has released the melancholic single and video “Abide” ahead of his highly anticipated new album, Speculative Fiction, due out July 3 on Smoking Room. Pre-order/pre-save here. (another side, 2026)
The indie-leaning track feels like a lost B-side from Surfer Rosa-era Pixies mixed with the twang of Gun Club and a solo straight out of the J Mascis playbook. Lyrically, the track slides right into the album’s overarching theme: abandoning longstanding ties for a fresh start and a new future on the horizon.
“‘Abide’ is based on an old British hymn that I reworked to be about the looming end of a long friendship. It’s about that slow drift where nothing really happens, but you can feel it fading and you aren’t trying to fix it.” — Nick Vicario, Smirk Mastermind
Unrest in the Suburbs: Facing the Past
Growing old sucks, but there comes a point in life when it becomes a necessity to ignore the pull to constantly wild out.
“When this band started in LA, it was a crazy time in my life,” Vicario admits. “I was crashing cars, doing drugs—I was doing horrible things and destroying my life.”
On Speculative Fiction, Vicario deals with a new twist on an age-old theme for punk rock: unrest in the suburbs. Instead of youthful rebellion, this version of unrest deals with looking back on past indiscretions and dealing with their repercussions—the disruption of the old life, settling into the new, and the reflection that comes with it. These thoughtful lyrics and themes, when paired with Vicario’s guitar-pop confection, make for a unique juxtaposition.
“When I was writing ‘Speculative Fiction’, a lot of that dealt with the ‘old me’ and some of the crazy life choices I made while abusing substances. So while the record is partially about the ‘old me,’ it’s also very much about putting them in my current world and the new set of problems that come from that.”
From Portland Hardcore to Solo Vision
Vicario has a deep history with punk rock. Growing up in Portland, Oregon, in the early 2000s, he was ingrained in the legendary scene that birthed Poison Idea and Wipers. He began playing in bands at an early age, hobnobbing with members of Tragedy and Criminal Damage in cover bands and even on the gridiron. At just 12 years old, his first band, The Diskords, were the toast of the Maximum Rock ‘n’ Roll illuminati, leading to several releases and having The Exploding Hearts take them under their wing.
His musical journey spans an impressive array of genres and projects:
Hardcore & Indie Pop: Playing in hardcore bands like Cower eventually led him to the indie pop outfit Wild Ones, who released two records across eight years (the latter landing on Topshelf Records).
Collaborations & Touring: Stints with Public Eye, Cemento, Crisis Man, and others, alongside touring with Surfer Blood and Dreamdecay.
The Birth of Smirk: Vicario eventually decided to focus his energies on his solo project, Smirk, dropping a self-titled album in 2021 and Material in 2022.
A New Sonic Blueprint
On Speculative Fiction, Vicario is restarting both personally and musically. Smirk is slowing things down, taking a more measured, power-pop approach that strays away from the speedy punk marking earlier releases. The result is decidedly more mid-paced, reflecting the works of Big Star and The Paul Collins Beat as much as early Stiff Records releases, all filtered through the DIY spirit of Guided by Voices.
Written entirely by Vicario, Speculative Fiction is Smirk’s third full-length album. To round out the record, he called upon a stellar cast of old friends and live bandmates, including:
Ross Farrar (Ceremony)
Max Smadja (RIXE)
Ryan Mangione-Smith (Advertisement)
Current members of Smirk’s live lineup (who play in Hotline TNT, Poison Ruin, and Pardoner)
Production Credits
Recording: Mainly recorded in Vicario’s home studio, with additional tracks captured by Ian Rose at Daisy Chain Studios in Brooklyn.
Mixing: Handled for the bulk of the record by Andy Oswald.
Life Imitates Art
With Speculative Fiction, life imitates art. Smirk slows things down, retools, and gets meticulous—making deliberate decisions with respect to songwriting, approach, and collaboration to execute a new vision.
The final result is a refined, focused, and less chaotic approach to punk with an eye on pop-sensibility. It perfectly mirrors Vicario’s new lifestyle: outside of the fast lane and behind a white picket fence.
Smirk’s new album Speculative Fiction arrives July 3 via Smoking Room. Stream the new single “Abide” now.
Speculative Fiction tracklist:
01 – Greetings 02 – Victimry 03 – Cheap Greed 04 – Going Off To Die 05 – Sistine Junk 06 – Dog Years 07 – I Shall Be Released 08 – Perfect World 09 – Abide 10 – Ritual Torture 11 – Interlude 12 – Shit Song 13 – Crime Pays
Tiffany Young celebrates 10 years as a solo artist. Photo: Pacific Music Group, used with permission.
K-Pop Icon Tiffany Young Drops New Single “Summer’s Not Over” & Announces Global 360 Partnership
HONG KONG – Global icon Tiffany Young officially marks a major milestone in her career with the release of her new single, “Summer’s Not Over,”out now worldwide. (Miller PR, 2026)
The track arrives as Tiffany celebrates the 10th anniversary of her solo debut and offers the first glimpse into her highly anticipated upcoming full-length album.
Photo: Pacific Music Group
A New Era with Pacific Music Group
The track also signals Tiffany’s first release under Pacific Music Group (PMG) and its flagship label, Pacific Records, following her landmark global 360 partnership with the company. As the flagship artist leading PMG’s Korean expansion, Tiffany’s return represents both a personal achievement and a pivotal strategic moment for the rapidly growing entertainment powerhouse.
Best known as a member of Girls’ Generation, one of the most influential groups in global pop history, Tiffany Young has spent over a decade shaping the global reach and evolution of K-pop. Now, 10 years into her solo career, she steps confidently into a new era defined by:
Creative independence
Global vision
Artistic growth
The Sound of “Summer’s Not Over”
“Summer’s Not Over” perfectly embodies her evolution. Built on warm synths and polished electronic production, the mid-tempo pop track captures the feeling of a love that feels like home—where time slows, joy lingers, and moments stretch endlessly.
The song beautifully blends nostalgia with forward momentum, mirroring Tiffany’s own journey as an artist celebrating her past while stepping boldly into the future.
With this release, Tiffany sets the tone for a defining chapter, one that celebrates her journey while embracing bold new directions. The single also carries a deeply personal message of love for her fans around the world, while sparking curiosity about the exciting direction her artistry will take next.
Meet the Artist & The Label
About Tiffany Young
Born in Los Angeles, Tiffany Young moved to Seoul alone at just 15 to pursue her dream of becoming a performer, ultimately debuting as a member of the legendary K-pop group Girls’ Generation.
As one of the most influential girl groups in pop history, the group has achieved:
16 No. 1 singles
1.8 Billion+ YouTube views
120+ awards worldwide
15 album releases
After years of global tours and millions of records sold, Tiffany launched a highly successful solo career, debuting at No. 5 on the Billboard Next Big Sound chart and earning the Best Solo Breakout award at the iHeartRadio Music Awards. Now entering a new chapter with Pacific Music Group, Tiffany is gearing up for a major year with new music, global collaborations, and exciting projects on the horizon.
About Pacific Music Group
Pacific Music Group is a next-generation music company founded by industry heavyweights NE-YO, Sonu Nigam, MC Jin, and Jonathan Serbin. Headquartered in Hong Kong with a Pan-Asian presence, the company is committed to developing global careers from Asia and fostering cultural exchange between East and West. The label supports emerging and established artists through world-class production, strategic promotion, and mentorship from industry icons.
Maya de Vitry offers rhythms of time, love, & self-acceptance in self-produced 5th studio album. Photo: Ethan Jodziewicz, used with permission.
Maya de Vitry Announces Fifth Studio Album ‘All My Faith’ & Summer/Fall Tour
Energized by the spontaneity of live performance and a revelatory pursuit of truth in her lyric writing, Maya de Vitry returns with her fifth full-length album, All My Faith. Prioritizing presence and grit over studio polish, she sounds joyously at home in the alt-country and indie-folk realms. (Dreamspider Publicity, 2026)
Recorded and mixed by 5-time Grammy Award-winning engineer Sean Sullivan and self-produced by de Vitry, All My Faith is a buoyant gathering of songs brought to life by a cast of her closest confidantes and collaborators.
Release Date:All My Faith will be released on de Vitry’s own Mad Maker Studio label on July 24 and it’s available for pre-order.
Capturing the Magic in Real Time
From canyons to kitchens, from cold lakes to highway truck stops, the songs form a vibrant collage of joy, sorrow, and gut-wrenching honesty. Whether spinning an inspirational tale about hungover bachelorettes at the Nashville airport or exploring the prison of our own adaptations, de Vitry brings a grounded confidence and quiet charisma rooted in her belief in the power of song to change us.
All My Faith consists of 10 original songs written by Maya over the last year. Forgoing the technology often used to “perfect” studio recordings, de Vitry chose instead to fully trust the moment-to-moment musical conversations of the players and singers gathered around her.
A Commitment to No Edits
“When the band realized that I was planning to do no edits whatsoever on these tracks, the level of commitment from everyone just soared. It was a really exciting atmosphere in the studio,” de Vitry recalls.
True to her vision, everything you hear on this record was captured in real time and recorded over three days at The Tractor Shed in Goodlettsville, TN, from November 23 to 25, 2025.
The All-Star Studio Lineup
To bring this raw energy to life, de Vitry assembled an incredible crew of musicians:
A profound connection to nature runs throughout the record, not as a passing metaphor, but as an elemental and transformative force shaping both her voice as a songwriter and her orientation as an artist. At its heart, the album reflects on the ways human beings choose to care for one another in myriad forms and on the generative healing and wisdom that emerge from our relationships with each other and with the natural world. There’s also a common thread running through this record of being willing to name the painful and difficult parts of human relationships.
First Single: “Confidence of the Sun”
With her armor fading and her fire burning from within, “Confidence of the Sun” is bold and bright. It is the album’s first single and is one of several songs on All My Faith that Maya wrote at Blue Rock Artist Ranch & Studio in Wimberley, Texas, where she had been gifted a weeklong songwriting residency in April 2025.
Catch Maya de Vitry on Tour
Maya continues to tour in North America and Europe, whether solo, with her band, as part of other projects, or supporting artists like The Wood Brothers, Aoife O’Donovan, John Craigie, and Mighty Poplar. Tour dates are available online.
More About Maya de Vitry
Originally from the green rolling hills of Lancaster, PA, Maya de Vitry is a Nashville-based fiddler-turned-songwriter whose music blurs the lines of folk, indie rock, and Americana.
Her earliest years in the music industry are represented by the 4 full-length albums and 2 EPs with the roots-Americana trio The Stray Birds, with whom she toured year-round for 7 years throughout the USA, Canada, and Europe.
After this formative chapter, she launched her solo career with her 2019 album Adaptations, earning praise from Rolling Stone Country, NPR Music, and No Depression. Since then, she has released three more full-length albums—How to Break a Fall (2020), Violet Light (2022), and The Only Moment (2024)—and an EP, Infinite (2023).
When she is not on the road, she works as a record producer for other artists within her musical circle (Joel Timmons, Shelby Means, Hannah Delynn). Maya’s songs have also been recorded by The Milk Carton Kids, Nicholas Jamerson, Lindsay Lou, Steve Poltz, and Bronwyn Keith-Hynes.
The result is music that is, quite literally, the intoxicating sound of faith in action, a bandleader fully trusting in her life experiences, her craft, her collaborators, and the moment. It captures the exact presence she has been cultivating in her live shows, and hearing it magnified on record is its own revelation.
SA Examiner 