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Acclaimed singer, songwriter, and producer Braison Cyrus has released his new single “As Long As You’ll Stay,” featuring backing vocals from his sister, Grammy-nominated artist Noah Cyrus, available now across all major music streaming platforms.
“As Long As You’ll Stay” radiates with upbeat warmth from its opening notes, driven by Braison’s grounded and sincere lead vocal. Noah’s harmonies add emotional depth and a rich, atmospheric undertone, elevating the track into a vibrant and modern indie-folk offering. With its memorable melodies, organic instrumentation, and tight, dynamic production, the single builds into a lively, driving groove that is both effortlessly catchy and deeply heartfelt. Blending their distinct voices, the siblings craft a nostalgic yet contemporary ballad that continues to underscore Braison’s growth as a refined performer, songwriter, and producer.
The release marks the first recorded duet between Braison and Noah and follows the momentum of his critically acclaimed September single “Know This,” featuring backing vocals from his sister and global superstar Miley Cyrus. Praised by People Magazine as “a poignant reflection on the different stages of his life,” the track signalled a new creative era for Braison, one that highlights his sharpened lyrical perspective and expanding artistic range.
“As Long As You’ll Stay” serves as the fourth offering from Braison’s forthcoming full-length album, arriving in 2026, following the summer releases “From Now On” and “Here In The Middle” featuring Sierra Lundy, as well as September’s “Know This” featuring Miley. The new project is Braison’s first full-length release since his 2021 narrative-driven psychedelic folk album Javelina and promises bold collaborations, rich storytelling, and a thoughtfully crafted sonic world. Acting as a time capsule of his creative rebirth, the album cements Braison Cyrus as an artist coming into his own – confident, intentional, and unafraid to evolve.
“As Long As You’ll Stay” from Braison Cyrus, featuring Noah Cyrus is available now on all major streaming platforms.
About Braison Cyrus:
Braison Cyrus is a Nashville-based songwriter and producer whose music blends alternative country and modern folk with quiet intensity and lyrical depth. Though raised in a musical family, he came to music on his own terms – first writing and producing for others like Noah Cyrus and Fleet Foxes. His 2018 debut single “I’ll Never Leave You” marked his first solo step, followed by 2021’s Javelina, praised as “an unexpectedly brilliant debut.” His next album arrives in 2026. Self-produced in a small Nashville studio, it features a slew of surprise contributions.
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Henry Adam Svec’s newest project, Souwesto Gothic: The Case of the Talbot Trail Boys, marks a striking expansion of his long-running fascination with place, myth, and the cultural imagination of Southwestern Ontario—known locally, thanks to the late artist Greg Curnoe, as “Souwesto.” Drawing on the legacy of Curnoe and other regionalist storytellers such as James Reaney and Eudora Welty, Svec builds his own chapter in this creative lineage through sound, narrative, and performance. The six-part scripted podcast—just under three hours in total—follows a folklorist and song collector, played by Svec, who stumbles upon a mysterious 1993 alt-country album by a forgotten band called The Talbot Trail Boys at a yard sale near St. Thomas, Ontario. What begins as a simple investigation into the record’s origins evolves into a genre-bending blend of true-crime audio, musical biography, and rural noir. Recorded on location and featuring a stacked ensemble of actors and musicians including Misha Bower, WL Altman, Jonas Bonetta, Ron Leary, Evan Brodie, Erin Brandenburg, Jenny Berkel, and Nathan Lawr, the production anchors its storytelling in meticulous sound design, original music, and a sharply rendered sense of place. “I see The Case of the Talbot Trail Boys as only season one of Souwesto Gothic,” Svec says. “I’ve got several more stories in development—each set in and around Southwestern Ontario, each a mystery only a folklorist can solve.”
The project also extends the trademark mischievousness that has defined much of Svec’s interdisciplinary career. For years, he has played with the boundaries between fact and fabrication, crafting elaborate, multimedia hoaxes that probe how stories gain credibility. In The Boy From ET, he performed as Henry Thomas—the actor from Spielberg’s classic—who had supposedly moved to Canada to pursue songwriting. In The CFL Sessions, he took on the role of a folklorist uncovering lost recordings of 1970s Canadian football players. And in Artificially Intelligent Folk Songs of Canada, he claimed to have created an A.I. capable of generating “authentic” Canadian folk music. These projects, often accompanied by albums, websites, interviews, and even a fictionalized memoir—Life Is Like Canadian Football and Other Authentic Folk Songs (Invisible Publishing, 2021)—regularly fooled audiences and media outlets alike. With Souwesto Gothic, however, Svec chooses to be more transparent about the artifice. “Pulling off a hoax is sort of like doing a magic trick,” he says. “But I imagine many magicians would get tired if everyone just thought they had natural magical abilities.” For Svec, exposing the mechanics doesn’t diminish the wonder; instead, it invites listeners deeper into the performance. And in Souwesto Gothic, that mix of music, mythmaking, and carefully crafted illusion continues to thrive.
David Keenan returns this with Modern Mythologies, an album that pushes his songwriting further into raw truth, emotional excavation and unfiltered artistic freedom. Out now, the record arrives as Keenan’s boldest creative shift yet — an unguarded portrait of a year marked by rupture, reflection, and reinvention.
Written across a period of intense personal upheaval, Modern Mythologies dissolves the barrier between the poetic and the painfully real. Keenan dives headfirst into grief, reconciliation, self-interrogation, and a renegotiation of what it means to be an artist after everything familiar has fallen away. The result is a collection that feels lived-in and scarred, but also strangely luminous — an album searching for meaning in the small, sacred details of ordinary life.
Keenan describes the project as a reckoning with the “unfolding catastrophe in the inner chamber of my life and the wider world.” His writing is urgent, unvarnished, and cinematic, reflecting an artist who refuses to retreat into metaphor when the truth hurts too much to ignore. Sonically, the record pulls from folk roots, ambient textures, poetic monologues and instinct-driven experimentation, mirroring the chaos and clarity of the period in which it was made.
Across its tracks, Modern Mythologies weaves through questions of faith, loss, ancestry, modern identity, and the paradox of finding yourself by letting go of everything you thought you were. Keenan’s voice — fragile one moment, defiant the next — anchors the album’s shifting emotional terrain.
This is not a return to form; it is a reclamation. Modern Mythologies closes one chapter and opens another, leaving Keenan standing in full creative autonomy as he steps into a new era.
“The canvas is now blank as a new chapter unfolds,” he says. With this album, he paints boldly.
Upcoming tour dates for David Keenan
Tickets avail at https://davidkeenan.com/
2025
• 6 Nov – Irish Film Institute (IFI), Dublin
Address: 6 Eustace Street, Temple Bar, Dublin 2, Ireland.
• 7 Nov – John Lee’s Bar & Venue, Tullamore
Address: Church St., Tullamore, Co. Offaly, R35 Y161, Ireland.
• 15 Nov – The Millhouse, Slane (final show of Chasing Myth tour + Hill of Tara visit)
Address: The Old Mill, Slane, Co. Meath, C15 FFK7, Ireland.
• 21 Nov – The Devonshire Arms Soho, London
Address: 17 Denman Street, Soho, London W1D 7HW, United Kingdom.
• 22 Nov – Rough Trade Denmark Street, London
Address: 24 Denmark Street, London WC2H 8NJ, United Kingdom.
• 26 Nov – Whelan’s / Spindizzy Records (Irish album launch night — live + in-store)
Address: 25 Wexford Street, Dublin 2, Ireland.
2026
• 13 Jan – Waterfront Hall, Belfast – as part of the Your Roots Are Showing / Folk In Fusion conference
Address: 2 Lanyon Place, Belfast BT1 3WH, Northern Ireland. https://www.waterfront.co.uk/what-s-on/folk-in-fusion/
Social Media | Website | IMDB
Instagram @davidkeenanmuso
TikTok @davidkeenanmuso
Facebook @davidkeenansounds
Website www.davidkeenan.com
YouTube / My Documentary trailer: https://youtu.be/FFpSg-EFnPY?si=4nYcc9ctRRJtcJ97
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Irish-born, Australia-based artist Eimhin unveils his new single “The Winding Stair”, a moving first glimpse into his upcoming project. Known for navigating the line between defiance and vulnerability, Eimhin once again delivers a piece of work that feels deeply human and unmistakably his own.
“The Winding Stair” traces the end of a relationship through the lens of a journey back to Ireland — a return to the landscapes, ghosts, and memories that shaped him. Recorded at Frying Pan Studios in Tasmania, the track opens the door to a project that explores belonging, heartbreak, and the emotional residue that places carry long after we’ve left them.
Originally shaped by punk, emo, and hardcore shows in Ireland, and inspired by artists like David Bowie and Prince, Eimhin brings an unorthodox, genre-blurring approach to his songwriting. His gender expression, stage presence, and lyrical honesty have positioned him as a powerful new voice in alternative folk — one who challenges cultural norms while retaining a softness that resonates with listeners.
Since settling in Australia, Eimhin has shared stages with Gavin James and Boo Seeka, and has performed headline shows across Europe and Japan, alongside festival and east-coast appearances. Outlets including Happy Mag, Scenestr, AMS, Unearthed, and The Partae have praised his authenticity and ability to bridge emotional storytelling with bold, fluid expression.
“The Winding Stair” marks the beginning of Eimhin’s next chapter — intimate, atmospheric, and grounded in real experience. It’s a striking reminder of why he continues to emerge as one of the most distinctive voices in modern indie and alt-folk.
This project arrives with a real sense of evolution. What changed in your creative world during the months you spent building the EP?
I’ve learned that sonic power doesn’t always come from loudness or chaos, but equally from space and intention. I’m super keen to explore that, and learning to let the mix breathe. I’ve been playing around with that concept in some of my new projects, which you’ll be seeing more of in 2026!
I’m heavily influenced by the Phrygian scale and I like to lean into that quite a bit to tell a story – it keeps the vibe dark and exotic, which I think is where the Monster Machine project is heading! All the vocals in each song can become an anthem, and I wanted to keep that side of the songs simple, so the technical production could really shine. Rage is about feeling powerful, Losing my mind is about desperation, Hopeless is about limerence, and Exalted is about devotion.
Your Friday Mix on Triple J showed another side of your artistic instincts. How did that experience feed into or reflect the world of EXALTED?
I wanted to hero as many of the artists that I’ve been absolutely loving recently, and they all play a huge role in influencing my sound – Hydraulix, Oski, Pao to name a few (bonus – they’re all Aussie!).
I want to tell the world that Monster Machine is here, and here to stay for a while.
The sonic world of EXALTED is heavy, dynamic, and atmospheric. What visual or cinematic inspirations shaped the way you approached these soundscapes?
I’m so incredibly excited to venture further into a few genres I’ve been loving recently – I want to make something high energy and fun with some melodic dubstep, and bouncy bass house. I also want to tie in my cultural roots, and draw inspiration from traditional instruments like the Chinese GuCin or flute. There’s so much more to look forward to in 2026 and I’m keen to show the world more of me.
Stream:
https://msdistro.lnk.to/EXALTED
Socials:
https://linktr.ee/monstermachine
“The Pages” is divided into chapters and feels like a musical journal — what inspired you to tell your story this way, and how did you decide what belonged in each chapter?
This came about after I finished writing all of the songs, and I was starting to piece them together.
I remember I showed my producer Julian the song “The Pages” and he said that’s the one! I didn’t think It was a hit at first, but then it became the lead single, and with that, the whole world for the album was created. A very confessional biography sort of style.
Then I just ran with that concept and designed all of the artwork and everything. The photo for the inner sleeve/inside of the album was a photo I took in Toronto on my little film camera of a wall in a cafe that is all books/pages. I didn’t know it at the time, but that photo was going to help me create the whole aesthetic for the album. Then, splitting it up into “Chapter 1 and 2” just made so much sense. Chapter 2 is a little bit deeper into the story, and each song builds more on the last, until you get to the final song, which really just wraps it all up.
You’ve described this album as your most personal work yet. Looking back on your first two albums, what has changed most about you as an artist — and as a person — since then?
Yes, most personal, and if I do say so myself, it’s my best work yet.
I’m definitely more set and confident in my sound, and I’m now not really “finding my sound” anymore. I know the kind of music I want to write and make. My first album has like 10 different genres (reggae, rock, pop, soul, vintage) but this album is really a strong folk/rock/Americana sound, that is undeniably me!
Also, I am just more confident in myself and my musical abilities. I have let go of a lot of fears around being too much or being judged for my weirdness, and I’ve simply embraced it. Now I’m posting more authentic content and being more outwardly on stage because let’s face it, people don’t remember boring. There are too many artists playing it safe. Let your freak flag fly, I say!
You’ve said these songs capture resilience and turning difficult moments into beauty. Can you share one song that was particularly cathartic or transformative to write?
“Amber” – for sure. I really tapped into something deeper there and felt like, “Damn, people are really going to hear me!”
This song captures my optimistic nature. I like to radiate genuine energy instead of getting caught up in negativity.
In creating it, I wanted people to truly hear that I won’t seep to a level of negativity and I’m not afraid to say, “Yeah, I’m happy, and bubbly, and that’s just my personality. This is me.”
You worked with Julian Bueckert, Ian Docherty, and Jim Bryson on this album. How did each producer influence the sound, and what was most exciting about those collaborations?
Yes, it was so cool to work with many different producers on this record.
It started with 3 songs with Ian that were initially intended for a different album. “To Heal” was the last song we worked on and I knew it was special enough to be part of “The Pages”.
Then I worked with Jim and we produced the Christmas song “Evergreen”. “Big Star” was a track that stuck with him, so we also recorded that one.
I was at this point where I had a bunch of songs that could form an album but wasn’t sure exactly sure about my next steps. Then Julian offered to produce the rest of the record and it all fell into place.
Each producer brought something unique to their contributions, but my songwriting really holds everything together nicely.
You’ve played over 500 shows, including NXNE and Folk Alliance International. How have these performances shaped your connection with audiences, and how have your live shows for “The Pages” so far felt different from past tours?
Performing is really sacred for me, I get to tap into my younger self, performing is something I’ve done since I was a child, so I feel very at home on stage.
“The Pages” touring era has allowed me to truly step into my power and let go of the fear of being perhaps “too much” – too dramatic, intense or passionate. I’ve finally allowed myself to be that person I always wanted to, and show people that you can be that full unafraid version of yourself.
You’ve traveled across Canada, Ireland, and Los Angeles to make music. How have those places and their music scenes influenced the writing and energy of this record?
Yes! All of these places have definitely shaped my sound.
The place to shape the most of this record however, was Nashville! I spent a few weeks there last September, I wrote “The Pages” “Big Star” “Your Muse” there, and I found this really gritty, country, Americana sound there, that also is reflected in a lot of the record, especially the guitar. I worked with Canadian/Nashville based guitarist Harry Bartlett, and his sound really came through.
Also, a lot of my time in Toronto is reflected in these songs. I wrote “Like A Rock” and “To Heal” from my little apartment in Toronto, and cried when I wrote both of them because it felt so good and powerful. The majority of the other songs were written from my little mountain home in British Columbia.
Your sound blends folk, Americana, and vintage rock with influences from Sheryl Crow to Tom Petty. How do you balance honoring those influences while staying uniquely “Maddisun”?
Those inspirations are always there in the background, and they really come out no matter what, just naturally and subconsciously, because I was raised on rock ‘n’ roll and classic sounds.
I’ve been writing since I was a child – I used to sit my relatives down and “improvise” songs when I was 7 years old, just writing from the heart.
This album feels like tapping into that again. I let my inner child kinda go wild, but I kept going back to the great musicians and songwriters I am inspired by to create structure and hooks.
You’ve landed a sync deal and brand endorsements with Aria Guitars, Godin, and Yamaha. How do partnerships like these impact your creative journey and open new doors for you?
Yes, so cool and exciting! Really it gave me a lot of recognition, to be like “yeah I make cool content, and show up authentically online, so why shouldn’t I be represented by these amazing brands” it’s so fulfilling to know they want to work with me.
If “The Pages” is the story of who you are now, where do you see the next chapter taking you — musically, personally, or even geographically?
I think I need to go away and write my next project. I’ve already started writing it.
A lot of the writing has happened with Julian too. He’s a powerhouse songwriter, and we’re creating some magic. I think my new songs will feel more lived in, more organic, maybe even more stripped back and acoustic, like lived in blue jeans…. relaxed.
I want to go to Mexico or somewhere in California and write the album. When my life is so chaotic with touring and working all the time, I have a hard time staying up on writing, so I need to escape and dedicate specific time to it.
I look forward to this time… stay tuned.
‘All Good When I’m With You’ feels like such a warm, healing song — what was the moment or inspiration that first sparked its creation?
“All Good When I’m With You” was written on my 8-string ukulele while I was reflecting on my purpose as a songwriter: to bring comfort and joy to the world. I wrote this song two years ago after I had just finished reading Mozart’s Sister, a book about Nannerl Mozart and her passion for music in a male-dominated society. I wanted this song to be easy for my audience to sing along with, while also expressing what I hope to offer through my music—joy, comfort, and resilience in the face of challenges. When the audience sings it back to me during live shows, I feel a profound sense of belonging and purpose. It reminds me why I do what I do: to share joy and connection through music.
The track blends folk roots with cinematic strings and guzheng, creating a beautiful sense of cultural fusion. How did you approach blending those sounds in a way that felt authentic to you?
I’ve always been drawn to classical and instrumental music since I was little. Honestly, instrumental music soothes me more than lyrical music. My neurodivergence (AuDHD) always keeps my brain busy and noisy, so listening to instrumental music stops me from overthinking. My producer, Louis Montgomery, helped me layer different instruments and vocal tracks in a way that creates a soothing sense of fusion that helps listeners feel comfortable enough to settle into the lyrics.
You’ve said this song captures the healing power of music and connection. What role has songwriting played in your own healing process?
I care about feelings. My mum was a hardworking single parent, and silence was usually the norm when we had dinner together after her long hours of work. Sometimes I would make silly noises just to make my mum and sister laugh and break the ice. There’s still sadness and pain from my childhood that was never mentioned or resolved. I didn’t start writing music until my late 20s, so there were many things left unsaid that I finally had a space to release through songwriting. Most of my songs come from personal experience — those are the feelings I know most deeply, and they are what I feel most genuine sharing with my listeners. I know many people carry similar emotions that need to be heard. That’s why I love the post-gig chats with my listeners, when we share our stories and realise we’re not alone.
The guzheng adds such an intimate texture to the track. What does that instrument mean to you personally, and how did it find its way into the final recording?
The addition of a Guzheng was an authentic reflection of my life journey. Growing up in Taiwan, I had always heard of the Guzheng but did not have access to one. Right now, I am living in China for my partner’s work, and I fell into some Guzheng lessons, then decided to integrate the sound into my song. While recording in Louis’s studio in Melbourne, I put a call out on social media to borrow a guzheng, and my friend told me his auntie had one. Louis and I went to her house and helped dig out an old guzheng from her shed. We took it back to the studio, tuned it up, and then captured a recording that made it onto the final mix.
You worked with producer Louis Montgomery, known for his work with SAFIA and Peking Duk. What did he bring to the sound and emotion of this song?
I went to Louis for a fresh sound for my upcoming album with some electronic elements and sound-scaping to elevate my acoustic sounds. Louis has a classical piano background as well, so he was able to add subtle keys and extra chord progression in the music to bring some surprises for listeners’ ear buds. The song sounded balanced with his specific selections of overdubbed violins and cello. I was asked to play several layers of ukulele to make the song more like a lullaby in the 2nd verse. All the parts came together so well in the end.
The video feels cozy and natural, showing moments of creativity and connection. What was it like filming that with Seán O’Gorman, and how did you want the visuals to complement the song’s message?
I told Sean that I wanted to create a warm and simple video that follows my lyrics, which is songwriting with friends and get soaked up in the sun. Having friends accompany each other is a therapy. I was able to film the video at a friend’s place, and we made some tea together. We shot the video with just one camera since Sean operates solo most of the time, so seeing him doing all his work is amazing. It was stress free, since Sean just made it so easy. We only needed three – four takes to complete the video.
You’re about to tour Taiwan with other singer-songwriters from across Asia for your ‘Between Shores’ tour. What does performing these songs in your birth country mean to you?
This tour means a lot to me since I’ve always wanted to share myself in music and reconnect with my folks in Taiwan. My mum never understood my job as an artist, and I wanted to show her how I work at my shows. Performing in Taiwan is also loaded for me. I appeared on a Taiwan talent show, ‘Super Idol’ 16 years ago, which brought me a recording contract, but also brought me fear because of public criticism due to a small percentage of negative public comments. So it’s a full-circle moment to come back home to share my music journey and stories. I want the audience to know that I’m back in Taiwan now and am confident enough to tell my story.
Your music often bridges cultures and emotions from Taiwan to Australia and beyond. How has living between those worlds shaped the stories you tell through your songs?
My upbringing is reserved since my family rarely talks about feelings. Living in Australia and understanding my partner’s family has made me realise that open communication brings people closer and gains more trust amongst each other. I value the connection that I built with people I met in Australia. I write songs about tough feelings to start my own healing.
You’ve performed everywhere from Woodford Folk Festival to Cambridge Folk Festival. How do you think your live shows have evolved alongside your songwriting?
When I first started performing publicly on the street, I never had enough confidence to call myself a musician, but I knew I had something to give the world. I see music as the channel for me to show people who I am. From playing festivals, I have gained more confidence on stage and know I see that most festival crowds love interactions with the musicians to feel the connection and to take a piece of good memory home with them. Now I love to encourage my audience more singalongs, even in Mandarin!
Looking ahead to your upcoming body of work in 2026, what can listeners expect from this next chapter in your musical journey?
2026 will be the biggest year of my music career to date. The second single of my debut album will be released in February, followed by the third single in April and the full album in May. I’ve been building towards this release for the last three years of my life and am super excited to share it with everyone. The release will be followed by gigs around Australia in the first half of the year, and gigs in Europe and abroad in the second half of the year.
Norway’s dynamic artist and songwriter Mathilde SPZ joins forces with Italian DJ and electronic music producer Ayko and emerging talent George to release their new single “Don’t Quit” on Langhewood Records, arriving on November 21st.
Mathilde SPZ is a commanding presence in the Norwegian music scene, having performed at major festivals including Øya, Stavern, Slottsfjell, Pstereo, and Findings across multiple projects. In 2024, she lit up the stage at Melodi Grand Prix, Norway’s national Eurovision finals, with her electrifying performance of “Woman Show”. With a decade of experience as one of Norway’s most sought-after live performers, Mathilde’s master’s degree in live performance sets her apart as a unique force on the club stage.
A songwriter from a young age, Mathilde began crafting pop songs at just nine years old, but her heart lies in EDM, house, and dance music. Her solo career launched in 2022, and she quickly amassed approximately 70,000 monthly Spotify listeners with over 3 million streams to date. Her previous releases have featured on influential editorial playlists such as New Music Daily (Apple Music), New Music Friday (Spotify in Denmark, Iceland, Norway, and Finland), EQUAL Norway, and “Ny Pop.” Her single “Losing Game” has also been viewed over 130,000 times on YouTube. Mathilde continues to expand her reach with collaborations across the globe, bringing her explosive energy and powerful vocals to the international club scene.
Italian producer Ayko (Francesco Dogliani) brings his signature blend of melodic techno, house, and dance music to the collaboration. Drawing inspiration from 1980s British pop, Italo disco, and 1990s rave culture, Ayko has developed a sound defined by melodic depth, rhythmic complexity, and eclectic instrumentation. Beginning his career in Turin, Italy, Ayko has performed at legendary venues including Space, Sankeys, and Privilege in Ibiza. In 2021, he founded Langhewood Records, a UK-based independent label dedicated to original electronic music, which has become a platform for his releases and a nurturing ground for emerging artists.
The collaboration is rounded out by George, an emerging electronic music artist whose deep house and melodic house sensibilities complement Mathilde’s powerful vocals and Ayko’s rich production, creating a track that promises to resonate on both festival stages and dance floors worldwide.
The release of “Don’t Quit” is accompanied by a visually striking music video created using DREAMOTICA, the generative visual language developed by Emanuele Del Fio and Viktoria Blank. Translating the song’s message of resilience into imagery, the video becomes a hypnotic fusion of light, motion, and emotion, where sound shapes color and form. Each frame is born from musical stimuli and digital artistry, achieving harmony between technology and human sensitivity. Through this collaboration, Langhewood Records and the DREAMOTICA team present a groundbreaking audiovisual experience that merges music, art, and introspection, pushing the boundaries of contemporary visual storytelling.
FVTURE Bangkok Announces ARTBAT & Nakadia for Grand Opening Night — A Landmark Moment Positioning Bangkok as Asia’s Next World-Class Music Capital
Asia turns a new page this December as FVTURE Bangkok—the region’s largest new cultural institution—officially opens its doors with a massive headline performance from global electronic heavyweights ARTBAT on December 30, 2025, joined by Thai pioneer Nakadia.
The launch of FVTURE marks a defining moment for Thailand’s creative and nightlife landscape. As the country continues its rapid rise on the global dance music map—welcoming powerhouse brands like Tomorrowland, EDC, Creamfields and Circoloco—Bangkok now steps forward with a venue built to reshape the region’s cultural identity.
More than a club, FVTURE is a next-generation creative centre: a purpose-built convergence of cutting-edge sound, art, and immersive visual technology on a scale Asia has never seen. With forward-thinking programming and world-class production, FVTURE is set to influence the future of music culture for years to come.
Opening night brings the influential UPPERGROUND label heads ARTBAT—the Ukrainian duo whose melodic, emotionally charged sound has made them one of Beatport’s top-selling artists and mainstays at major festivals and clubs worldwide. Their dynamic, high-impact performances make them the ideal act to christen FVTURE’s stage.
Completing the night is Thailand’s own Nakadia—a global ambassador for Asian electronic music and one of FVTURE’s core residents and Music Directors. With two decades representing Thailand across the world’s biggest dancefloors, she will play a crucial role in shaping the venue’s creative direction and elevating local talent on an international platform.
FVTURE comes to life after years of development by founders Victor Wang, Michele Wang, and Music Director Pablo Vas, bringing together visionary architecture and a powerful technical footprint. The venue features Asia’s first L-Acoustics L2 & L2D system—more than 40 subwoofers—and fully immersive 360° LED visual environments spanning 1,000 square metres of LED walls.
With modular staging, bespoke VIP areas, and a year-round calendar of global talent, label takeovers, and cultural showcases, FVTURE is set to become a defining hub for both regional and international audiences.
Canadian singer/songwriter Maddisun marks the October release of her new video “Big Star” with a warm, vintage edge that mirrors the spirit of her latest album, The Pages.
Co-written by Maddisun and produced by Jim Bryson, “Big Star” stands as a key moment on The Pages — her third full-length record, released digitally on October 2 following a July physical drop across vinyl, CD, and cassette. The rollout included a sold-out release show at Toronto’s Cameron House, a Vancouver support slot for PEARL, and a hometown celebration in Cranbrook.
Rooted in classic folk, rock ’n’ roll, Southern Rock and Americana, The Pages unravels like a personal diary. Across its 12 tracks — largely produced by Julian Bueckert, with contributions from Ian Docherty and Bryson — Maddisun distils stories of love, loss, growth, and self-reflection into something timeless.
“This album is truly me in every sense of the word,” Maddisun shares. “‘Big Star’ speaks to the emotional cycle artists move through while chasing the dream. I wanted the video to carry the same personal energy — so I self-produced it, starring me and my 1976 Chevy Chevette — to match the song’s vintage feel and the album’s themes.”
The release caps a whirlwind run for the Cranbrook-born artist, whose last five years have included two prior albums, more than ten singles, and over 500 live shows, including four NXNE appearances and a Folk Canada showcase at Folk Alliance International. Her travels have taken her throughout Canada, Ireland, and Los Angeles, shaping the wanderer’s spirit behind The Pages.
With the album and its new video, Maddisun reframes resilience as something gentle, atmospheric, and connective. “This album is about turning our hardest moments into beauty. I want people to hear it and feel seen, uplifted, and connected.”
The “Big Star” video is streaming now on YouTube.
The Pages is out on all platforms, with physical editions available via Maddisun’s website
For more about Maddisun, please visit MaddisunMusic.com or find her on social media:
Instagram: @MaddisunMusic
Facebook: @MaddisunMusic
TikTok: @maddisunmusic
Spotify: tinyurl.com/MaddisunSpotify
YouTube: tinyurl.com/MaddisunYouTube
Australian-Chinese DJ/producer Monster Machine is taking her bold, genre-defying sound to the next level with the release of her highly anticipated debut EP, EXALTED.
Following a string of powerful singles – Rage, Losing My Mind, and Hopeless – Monster Machine solidifies her presence in the electronic music scene with this exuberant four-track collection. The ep also features the eponymous title track, Exalted, which is a collaboration with fellow Sydney-based producer Arky Waters.
“The final track of my ep is a collaboration with Arky Waters. It’s a graduation of my sound, Restrained but cavernous.” says Monster Machine, reflecting the EP’s signature fusion of intensity and atmosphere.
With influences ranging from RL Grime and Nitepunk to Knock2, Monster Machine traverses trap, 140, and neurofunk drum & bass, creating a soundscape that is as hard-hitting as it is dynamic. Her recent Friday Mix with Kailynn Crabb on Triple J further highlights her rising profile and versatility as an artist.
EXALTED is the culmination of months of creative evolution, offering a fearless and forward-thinking statement from one of Australia’s most exciting emerging producers.
Stream:
https://msdistro.lnk.to/EXALTED
Socials:
https://linktr.ee/monstermachine
Recent Mixes:
Credits:
Co-Written & Co-produced by Penny Yang & Thomson Phan
Mixing by Monster Machine & Arky Waters
Mastering by APR Studios
Visuals by Monster Machine
Artwork by Monster Machine & Terry Truong
Over the past few months, Australian producer ZUSO has been building the anticipation for his upcoming EP with a series of collaborative releases, including Make Me Feel with Sydney producer Maver, Hurting with Melbourne artist Keelan Mak, and Erase You featuring Melbourne singer Matilda Pearl.
That EP is set for release in January, and this week ZUSO is giving us another teaser with this inspirational new single called ‘Close To Heaven’, which features the enchanting voice of Burundian/Australian artist Beckah Amani.
“Close To Heaven came along quite naturally. I wrote the original idea at the end of last year, starting with a really powerful and emotional chord progression that evolved into a euphoric afro house track. I knew it needed a vocal, and Beckah’s voice is honestly incredible. She gave the whole song another level of emotion and presence. We had a studio session together in Sydney and pretty much wrote the lyrics that day. Everything just worked so well, and we both knew we’d made something great.” ~ ZUSO
Blending emotive melodies with euphoric afro house rhythms, ‘Close To Heaven’ is a shining example of ZUSO’s ability to channel deep feeling through dancefloor-ready energy — further cementing his reputation as one of Australia’s most exciting emerging producers.
Beckah Amani has been captivating audiences with her soulful voice, poetic lyricism, and emotionally rich storytelling. She has received widespread acclaim for her ability to blend vulnerability with strength, weaving personal narratives through a unique blend of soul, R&B, and indie pop. Her collaboration with ZUSO marks an exciting step into the electronic space, showcasing the depth and versatility of her artistry.
“I had the most amazing time working on this track! When Zuso reached out and sent me the track, the first thing that jumped out at me was how euphoric and sonically expensive the production was. It made me feel like I was flying or traveling through the galaxy to get to heaven. Lyrically, I wanted to capture this imagery and euphoric mood the production made me feel. I explore how being in love feels like being close to heaven and how special and vulnerable that feeling is. My favourite lyrics in this song “‘cause i’m falling without a parachute” captures this idea so well.” ~ Beckah Amani
Stream:
https://msdistro.lnk.to/CloseToHeaven
ZUSO:
Beckah Amani:
https://linktr.ee/Beckah_Amani
Credits:
Produced by Gabriel Cuenca (aka ZUSO)
Written by Gabriel Cuenca & Beckah Amani
Mixed & Mastered by Dan Konopka
Artwork by Eclipse Visuals
Photos by Karlo Apostol