Lana Del Rey Releases New Single “White Feather Hawk Tail Deer Hunter”

LANA DEL REY RELEASES NEW SINGLE “WHITE FEATHER HAWK TAIL DEER HUNTER” STREAM

…   Today – Tuesday, February 17, 2026 - Lana Del Rey releases her new single, “White Feather Hawk Tail Deer Hunter.” The single is out now via Interscope Records.   LISTEN TO “WHITE FEATHER HAWK TAIL DEER HUNTER” HERE   “White Feather Hawk Tail Deer Hunter” was written by Lana Del Rey along with her sister Chuck Grant, her brother-in-law Jason Pickens, and her husband Jeremy Dufrene. The single was produced by Lana Del Rey and her long-time collaborator Jack Antonoff, and features co-production and strings by Drew Erickson. The single features mixing by both Dean Reid and Laura Sisk.   In an Instagram story posted on Saturday, February 7th, Lana Del Rey announced her new album is set for release in approximately three months. More news to follow on this soon.

Death Lens Share New Single “Drown”

Death Lens Share New Single “Drown”

New Album ‘What’s Left Now?’  Out April 24

On Tour With Drug Church & White Reaper This Spring

Death Lens by Derek Pearlman

“An uplifting release that chooses positivity amongst chaos and, despite the odds, journeys the desire to thrive in a deteriorating world, all while making sure there’s no one left behind to come along for the ride.” – Remezcla

“ ‘Cold World’ features catchy riffs and an authentic punk attitude that's both nostalgic and refreshing. It’s an earnest homage to the garage rock scene, packed with tracks that demand to be played loud.” – Knotfest

“Whether or not they want to be lumped in with the current rise in popularity of hardcore as a genre, the punk influence in their music doesn’t go unnoticed — Death Lens make explicit effort to weave social and political activism into their lyrics and live shows.” - AltPress 

Today, Death Lens share their latest single “Drown,” a nervy glimpse into their upcoming album What’s Left Now? out on April 24 via Epitaph. Blending elements of indie-rock, hardcore, old-school punk, and modern post-punk, the East Los Angeles crew has crafted a signature style that’s both chunky and refined. Producer Zach Tuch (Knocked Loose, Touché Amoré, Movements) nailed the band's vision: riotous as their live shows, but with enough dynamic breadth to emphasize their evolved nuances. Of the song, frontman Bryan Torres comments:

“The world keeps moving while I spin in circles of my own design. ‘Drown’ is my frustration of being trapped in my own loop, seeing the world pass by and knowing I’m the reason I can’t catch up. An ode to stagnation and a fear of being forgotten.”

Listen to “Drown” HERE

Death Lens might be the perfect punk band for the moment: four working class, multicultural musicians from Southern California who write stage-dive anthems for the oppressed, wielding a message of resilience and a sound of sweat-soaked celebration that appeals to outsiders of all stripes. What’s Left Now?, their first album since 2024’s Cold World and their second for Epitaph Records, is their’ most fully-realized record yet: crunchy, urgent, melancholy, raging, and so goddamn easy to headbang along to.

What’s Left Now? is the product of two tumultuous years for Death Lens, both as people and as bandmates. The year Cold World dropped the band toured for nine long months, honing their craft as live performers and increasing their fanbase tenfold. However, all of that time on the road stress-tested the band as an interpersonal unit, and Death Lens ended up shedding two members from the subsequent growing pains. Ultimately, they bounced back stronger than ever, gaining guitar virtuoso Ernie Gutierrez into the core lineup of frontman Bryan Torres, guitarist Jhon Reyes, and drummer Tony Rangel. Now, Death Lens are closer as friends and more musically in-sync than they’ve ever been, and What’s Left Now? is a testament to their glow-up.

“Every time we feel like we’re gonna implode, we end up expanding,” Torres exclaims. “We thrive on stress and the energy of anxiety.”

What’s Left Now? is an honest record by a band who’ve always cut the bullshit. Growing up in lower-income homes 20 miles east of Los Angeles, Death Lens’ members weren’t afforded the privilege to effortlessly ascend in the music scene. They’ve had to grind for every opportunity they’ve gotten, and they continue to write music for people just like them. “Our messaging is towards those who always feel like they don’t have a voice,” Torres explains.

Their new record includes songs about first breakups (“Am I A Drug To You?”) and learning to be genuinely, uncomfortably true to yourself (“Out of My Skin”), but also tracks about trials that are far more challenging to conquer. “Saints in the Panic Room” speaks to a present-day nightmare that Death Lens’ own families and communities are facing on U.S. soil. “I’m talking about the ICE raids, things close to home,” Torres says. “Immigrant families who don’t have papers. These are the struggles that we talk about every day.”

What’s Left Now? captures that dichotomy with creativity and candor. A fist-pumping punk-rock escape, and a hard dose of reality. Because for Death Lens, one doesn’t exist without the other.

Death Lens ‘What’s Left Now?’ Tracklisting
1.    Monolith
2.    Power
3.    Out Of My Skin
4.    Waiting to Know (feat. Militarie Gun)
5.    Drown
6.    Am I A Drug To You?
7.    Saints In the Panic Room
8.    Off The Edge
9.    Useless
10.    Last Call
11.    Pulling Teeth
12.    Debt Collector

Death Lens Tour Dates
w/ Drug Church & White Reaper
March 14 – Chicago, IL – Concord Music Hall
March 15 – Madison, WI – Majestic Theater
March 16 – Minneapolis, MN – Fine Line
March 18 – St. Louis, MO – Delmar Hall
March 19 – Lawrence, KS – The Bottleneck
March 20 – Denver, CO – Summit Music Hall
March 23 – Seattle, WA – Neumos
March 24 – Porland, OR – Aladdin Theatre
March 25 – Boise, ID – Treefort Music Fest*
March 27 – San Francisco, CA – August Hall
March 28 – Los Angeles, CA – The Fonda Theatre
March 29 – San Diego, CA – The Observatory North Park
March 31 – Las Vegas, NV – Area15 Portal
April 1 – Phoenix, AZ – Walter Studios
April 3 – Dallas, TX – Ferris Wheelers
April 4 – Austin, TX – Mohawk

*Festival play

Niia covers Chet Baker for new single, "I Get Along Without You Very Well," out now

NIIA  GOTH JAZZ PRINCESS RELEASES NEW STRIPPED-BACK SINGLE “I GET ALONG WITHOUT YOU VERY WELL (EXCEPT SOMETIMES)”    A HEARTACHING RENDITION OF CHET BAKER’S 1954 BREAKUP BALLAD + VULNERABLE VIDEO DIRECTED BY AVERY WHELESS  LISTEN HERE | WATCH HERE

TOUR KICKS OFF THIS WEEK IN DC AND BOSTON, WITH MORE STOPS IN PHILADELPHIA, PORTLAND, AND BLUE NOTE NYC ON FEBRUARY 23 + BLUE NOTE LA ON MARCH 1  GET TICKETS HERE

LISTEN: FIFTH STUDIO ALBUM V  BRIDGES THE GAP BETWEEN TRADITION AND REINVENTION, CO-PRODUCED BY SPENCER ZAHN AND LAWRENCE ROTHMAN   WATCH: “F***ING HAPPY” MUSIC VIDEO PAYS HOMAGE TO FIONA APPLE’S ICONIC “CRIMINAL”

Best New Albums - Long List (Pop) NPR MUSIC “Niia's V ends up becoming one of our most adored and go-to albums of 2025.” GOLDMINE MAGAZINE   “[Niia’s] music is rooted in the type of jazz structure that gives us sultry Sade vibes.”  KCRW “Musically, Niia is a shape-shifting protean with songs that confess, declare and share a variety of moods, passions and secrets.” ALL ABOUT JAZZ “...an otherworldly feel, landing it somewhere between the heady world of Stereolab and the atmospheric jazz of Nala Sinephro.” FLOOD

Alabaster DePlume announces new EP

ALABASTER DEPLUME ANNOUNCES NEW EP DEAR CHILDREN OF OUR CHILDREN, I KNEW: EPILOGUE OUT DIGITALLY MAY 5 AVAILABLE ON RECORD STORE DAY EXCLUSIVE VINYL LP APRIL 18

Photo by Chris Almeida PRAISE FOR ALABASTER DEPLUME & A BLADE BECAUSE A BLADE IS WHOLE “An album of fighting songs with healing sounds.” The Quietus “Some of Fairbairn’s most powerful work to date." now then “Alabaster DePlume is unlike any artist of today.” Glide  “It’s a rare gift to make an instrument speak, rarer to make it communicate such a vital truth…” Pitchfork "Stunning...you can’t argue with DePlume’s outstanding melodies." The Guardian

Today, London-based saxophonist, singer, songwriter, activist, orator, and poet-philosopher Alabaster DePlume announces a new EP of instrumentals, Dear Children of Our Children, I Knew: Epilogue, out May 5 via International Anthem. The collection’s lead single “It's Only Now Once (Elbit Systems Windowpane)” is available on all digital music platforms today. Listen to lead single “It's Only Now Once (Elbit Systems Windowpane)” and preorder Dear Children of Our Children, I Knew: Epilogue here. DePlume recorded Dear Children during the middle of his March 2025 US tour, after weeks of playing shows with bassist Shahzad Ismaily and drummer Tcheser Holmes, performing music from his critically acclaimed album A Blade Because A Blade Is Whole (released March 2025). The trio’s onstage rapport was so immediate and strong that, on an off day in Brooklyn, DePlume chose to capture that connection, recording this collection of instrumental pieces shaped by the experience of performing, sharing, and improvising off the music of A Blade for audiences across the US. Dear Children of Our Children, I Knew: Epilogue is also available on a Record Store Day exclusive vinyl LP, out April 18 (Record Store Day), that also contains DePlume’s 2024 EP Cremisan: Prologue to A Blade. More info about the Dear Children of Our Children / Cremisan vinyl LP via Record Store Day here. The two EPs contained on the vinyl release serve as bookends (literally a “prologue” and “epilogue) for A Blade Because A Blade Is Whole; and as with almost everything that DePlume has put forth in recent years, the connection of both works to Palestine is deep. The Cremisan EP itself was recorded in Palestine. Dear Children incorporates field recordings and samples of children playing and of normal life in the West Bank, and its cover art depicts wheatpaste posters of a drawing made by a 13-year-old boy from Gaza (used with permission). The inscription on the cover art says, in Arabic, “Dedicated to the mother of the martyr/witness Obaida Ahmed al-Qiram. May you rest in peace. From your student, the artist, Hasan Jawad Abudayyeh.” Dear Children of Our Children, I Knew: Epilogue is out May 5, presave it here. TRACKLIST Bringing Up The Nakba I Play A Role In It And I Know It's Only Now Once (Elbit Systems Windowpane) Glass What Did The Child Say / Facing Reality CREDITS Recorded at Figure 8 Recording, Brooklyn. Produced by Alabaster DePlume in Total Refreshment Centre, London. Alabaster DePlume - saxophones, sampler, synths, guitars Shahzad Ismaily - bass Tcheser Holmes - drums Engineered by Tyler Hicks. Mixed by Dave Vettraino. Mastered by David Allen. Samples by Mai Mai Mai, Marta in Brooklyn and Aladdien in Bethlehem. Drawing by Hassan Jawad Abudeia. Installation and cover photo by Rich Jones. LIVE DATES Wednesday Feb 18 - Bee-Flat Bern, Switzerland - tickets Thursday Feb 19 - Moods Zurich, Switzerland - tickets Stay connected with Alabaster DePlume: Website | Instagram | Bandcamp | Facebook | Twitter Stay connected with International Anthem: 23 Profile | Website | Facebook | Instagram | YouTube

Andy Shauf's Foxwarren Shares Dan The Automator Remix of "Strange", Listen Now

ANDY SHAUF’S FOXWARREN UNVEILS
“STRANGE (DAN THE AUTOMATOR REMIX)”
LISTEN HERE

Andy Shauf’s Foxwarren is releasing yet another compelling track remix from their latest album ‘2’ today in collaboration with legendary San Francisco producer and composer Dan The Automator. Listen to their new rendition of “Strange” below.

Listen to “Strange (Dan The Automator Remix)”: https://youtu.be/wg9qePJbmZM

A member of Handsome Boy Modeling School and Deltron3030, producer of Gorillaz’ debut album and a contributor to dozens of film and television scores, Dan The Automator brings his hazy, intergalactic-inspired West Coast hip hop sensibilities to this catchy rendition.

"It was a pleasure to work on the Foxwarren remix,” said Dan The Automator of their collaboration. “It (the track) just made sense to me and I hope that comes through in the final mix."

Last month Foxwarren shared electronic avant-pop artist Helado Negro’s warmly pulsing remix of their song “Yvonne”. Listen to it HERE. Describing his approach to the song, Negro explained: “I wanted to create a sense of wistful dancing—a mellow bump of bouncing bass, subtle dissonance from the rearranging of the strings, and asymmetrical shapes in the phrases. A smoke screen of soft reverbs and hard-to-hold chords. Andy’s voice has a texture of its own, a beautiful landscape from a distance, and is full of delightful surprises as you listen closer.”  

‘2’ became an uncanny revelation for Foxwarren, a rock band allowing itself to be sampled in order to become something else. They warped and pushed the florid folk-rock of their past until it evolved into a song cycle about the vagaries of love, where voices sampled from the past commingled with songs that sparkled with the power of their collective imagination in the present. It is a fun and surprising record, where boundaries between genre and song are constantly blurred. 

By himself, Shauf has already had a stellar career; his reputation built not only by the sweetness of his melodies and sharpness of his words but also his inability to rest with past success. Foxwarren, especially here, is a crucial part of that ongoing process, but ‘2’ represents something even more significant—five friends now nearing the end of their second decade making music together, pushing against what they’ve learned how to do to venture somewhere new. It is the sound of friends who trust each other, cutting themselves loose from their past and their preconceptions to have some fun with a sampler and the very idea of songs. 

Foxwarren + Dan The Automator

Foxwarren Online:
Facebook | X | Bandcamp | ANTI-

British indie exports THE K's prime their U.S. onslaught with four shows at New Colossus Fest in March

PREPARE FOR THEIR U.S. CLOSE-UP Announce Four Shows at NYC's New Colossus Fest March 4,5,6,and 7   THE K's Photo credit: Geoff Owens  FEBRUARY 17, 2026 [New York, NY] -- “We've always dreamed of playing New York City, so to actually be bringing our music over is a huge moment for us,” says singer Jamie Boyle of UK’s most exciting new export THE K’S about their upcoming shows at New Colossus Festival. Taking place from March 3rd to the 8th, the festival will host four opportunities to see the band perform live. “New Colossus is such a great opportunity for bands like us to come over and play in front of new people,” he says. “The lineup is class, with loads of great artists from all over, and it's especially cool to see so many UK bands getting the chance to come over. Opportunities like this don't come around often, so we're really grateful to be part of it and can't wait to get stuck in!” Their inaugural trip to NYC, The K’s are ready to explore and garner new Stateside fans. “We've heard so much about the city and its music scene over the years but never had the chance to experience it ourselves,” he says. “It feels mad that it's finally happening. It's the first time in NYC for all of us too, which makes it even more exciting!” THE K'S AT NYC'S NEW COLOSSUS FEST March 4            Baker’s Falls (7:30pm) March 5            Silver Linings Lounge (10:30pm) March 6            Piano’s (4:15pm) March 7            Nublu (9:15pm) Riding on a crest of massive critical acclaim, The K’s have backed up their plaudits with an incredible surge of fan support and chart positions. Their second album Pretty On The Internet came roaring out of the gate with so much momentum that it debuted on the UK’s album charts at #1, beating an astronomically streaming and rejuvenated Oasis into the #2 position while selling 10,000 more copies. Coupled with rapturous singles “Breakdown In My Bedroom,” “Gravestone,” “The Bends (Here We Go Again),” and “Helen, Oh I,” the album poised the band on a stunning upwards trajectory that has the U.S. in its sights. "The Bends (Here We Go Again)" Link/Embed: https://youtu.be/Ed0V_C5lO7Q?si=eerQdAY7mNgokF_S Inspired by The Jam, The Clash, Jimi Hendrix and Chuck Berry among others, The K’s brand of indie British rock recalls the majesty of Britpop’s ‘90s heyday while embracing a raw and unflinching immediacy. Taped Magazine praised, “with Pretty on the Internet, The K’s have solidified themselves as one of the greatest indie rock bands of this generation.” Sound of Violence hails that the album is “striking proof that The K’s are not simply good indie hitmakers, but a band capable of real artistic ambition,” while Indie Is Not A Genre agrees, “this is the type of ‘anthemic indie rock’ the world is looking for.” The K’s performance at London's SxSW in 2025 garnered the attention of Rolling Stone who proclaimed that they are “all the rage in the U.K. and now ready to take over America.” But all the hoopla surrounding the band hasn’t taken away their sense of wonder. “We're buzzing to get out in front of a completely new audience on the other side of the world,” Jamie says, especially excited about the upcoming NYC shows. “We're just excited to explore the city, see the sights, eat some unreal food, and take it all in. It's such an iconic place, so we want to experience as much of it as we can while we're there.” Produced by Jim Lowe (Stereophonics, Taylor Swift, Dandy Warhols) and mixed by Pete Hutchings (Royal Blood, Panic at the Disco, Foals, Adele, Florence & the Machine), Pretty On The Internet launched the band with loads of sold out shows including a 3,700-capacity ‘homecoming’ at Manchester’s O2 Victoria Warehouse, as well as pivotal festival bookings  at Glastonbury, Leeds, Reading and Isle of Wight Festivals, Camp Bestival, Kendal Calling. Beyond the plaudits and awards, beyond the radio play across BBC Radio 1, BBC 6 Music, Radio X and Absolute Radio and beyond the close to 4 million streams per month is the connection to a battalion of fans, many who have been there the whole journey. With Pretty On The Internet in the rear view mirror, Jamie is looking forward to what 2026 will bring. "We've got loads in the works this year—new music, more shows, and some big things we're really excited about," he replies. Headlining three outdoor UK shows this summer including Castlefield Bow in Manchester (capacity: 9,000), Piece Hall in Yorkshire (capacity: 6,000) and Mouth of the Tyne Festival in Newcastle (capacity: 4,000), the band will also be supporting Kasabian at Finsbury Park in London (capacity between 45,000-50,000). But for right now, Jamie is focusing on the four upcoming intimate dates. “We've spent years playing shows across the UK and Europe and really finding our sound, so it feels like the right time to take it further,” explains Jamie. "These NYC shows feel like the start of something for us in the U.S., so hopefully it's the first of many trips over. We just want to get in front of as many people as possible and show them what we're about. Keep an eye out for new releases soon, and if you're around, come down to a show and say hello! Give us the chance and we'll do the rest!" Pretty On The Internet was released by LAB Records. The K’s are Jamie Boyle (vocals/guitar), Ryan Breslin (guitar/keyboards), Dexter Baker (bass) and Nathan Peers (drums). "Breakdown In My Bedroom" Link/Embed: https://youtu.be/xce3H1X-VEc?si=01y2XWLzhTkI-Gdo Pretty on the Internet Tracklisting Before I Hit The Floor Ray Poison Breakdown In My Bedroom The Bends (Here We Go Again) Helen, Oh I Picking Up The Pieces Me and Your Sister 33 Heads Sold It, Own It Running Away Now Gravestone Perfect Haunting