#altpop

the trilogy sounds very cool

"This is our second new song of the trilogy", Jensyn.

Following the acclaimed release of debut single ‘Somebody Else’ earlier this month, Liverpool-based queer non-binary artist Jensyn returns with ‘Throw’, the second chapter in a trilogy of singles that marks the most ambitious and emotionally expansive work of their career to date.

Out now, ‘Throw’ is a raw, cinematic alt-rock track that draws on one of the most difficult periods of Jensyn’s life: the loss of their grandfather, and the family conflict that surrounded it.

‘Throw’ builds from intimate, quietly devastating verses into a cathartic, explosive final section that earns every decibel. Gritty guitars sit alongside atmospheric production and Jensyn’s characteristically direct vocal delivery, the arrangement shifting and expanding as the emotional stakes rise. It is a track that moves like grief itself: patient at first, then suddenly overwhelming. Matthew Humphries’ drums, piano from Niamh Mailer, and guitar from Jack O’Hanlon bring the same organic, collaborative energy that distinguished ‘Somebody Else’, with mastering again handled by James Wyatt at Sloe Flower Studios.

“This song is really personal to me. It’s about my parents: their relationship and how it’s affected me throughout my life.” - Jensyn

Written during the aftermath of their grandfather’s passing, ‘Throw’ captures the particular pain of watching two people you love grieve in incompatible ways, and of finding yourself, as Jensyn so often has, caught between them. It is a song about the invisible labour of mediation: the emotional cost of holding a family together at the precise moment it is most at risk of fracturing. That weight is present in every note.

Where ‘Somebody Else’ examined the ambiguity of romantic loss, ‘Throw’ turns that same unflinching gaze on family. Together, the two tracks establish Jensyn as a songwriter operating at a genuinely exceptional level of emotional intelligence and craft. Rooted in the queer experience and shaped by Liverpool’s close-knit musical community, their work draws natural comparisons to Phoebe Bridgers, MUNA, The Japanese House, boygenius, Joni Mitchell, Arlo Parks, and Caroline Polachek: artists who treat personal truth as the only real subject worth writing about.

The trilogy concludes with third single ‘Trust’, due 15 June 2026. Cover art for ‘Throw’ is by Sara Wolff of Sulk Photography.

Stream THROW:

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Co.LeGa presents: Digitally Modified

The dark alt-pop single turns anxiety about control systems into a detached meditation on insignificance.

Co.LeGa’s new single Digitally Modified approaches modern life with a cold stare and a sense of disbelief. Built around dark alt-pop production that recalls the tension of Fever Ray and the emotional distance of Depeche Mode, the track focuses on the idea that daily life increasingly arrives prearranged by technology, algorithms, and unseen systems. Rather than framing that reality as science fiction, Co.LeGa treats it as something ordinary and unavoidable.

The song immediately stands out for its intriguing rhythmic pattern, which gives it a shape-shifting but very catchy twist. The bass line is incredibly catchy and groove-driven, locking in perfectly with the vocals and giving the track a ’90s electro-indie feel with a contemporary edge. Later in the song, the energy ramps up as the beat takes on some crunchy saturation and additional synth elements begin to emerge.

There is almost a post-punk twist to the track, especially in terms of attitude, as some of its flow and energy feel reminiscent of icons such as Public Image Ltd. There are also traces of Kid A era Radiohead in the uneasy atmosphere, while the detached vocal delivery carries some of the emotional ambiguity associated with Björk and Lykke Li. Still, the song avoids imitation. Co.LeGa keeps the focus narrow and personal, turning broad existential ideas into something intimate.

Beneath its themes of control and social dysfunction, Digitally Modified also circles around a darker acceptance. Against the scale of the universe, human systems begin to look temporary and absurd.

ryot! presents: AWAY

The Orlando artist pushes deeper into alternative rock territory on a single about emotional distance and the slow collapse of a relationship.

Florida artist ryot! has spent the last few years shaping a sound rooted in atmosphere and emotional tension, drawing from alternative rock, trap production, and moody late-night songwriting without fully settling into one lane. On the new single AWAY, ryot! leans harder into guitars than before, opening a new chapter that feels more exposed and direct while still carrying the darker emotional weight that has defined the project so far.

The track opens with vocals and guitar, establishing a fragile tone before the percussion enters. Around the eighteen-second mark, sparse trap drums begin to build underneath the melody, gradually giving the song more momentum without disrupting its intimacy. By the time the heavier low end arrives less than a minute in, AWAY has already mapped out its emotional center. The contrast between distorted bass, restrained verses, and vulnerable vocals gives the song a push-and-pull dynamic that mirrors the instability described in the lyrics. In the second half of the song, the vocals take on a more aggressive flow at times, going for some screamed parts that add a lot of intensity.

There are clear reference points throughout the track. Fans of blackbear, Bring Me The Horizon, Dead Rituals, mgk, or Post Malone will recognize the blend of melodic hooks and genre crossover instincts. At the same time, AWAY avoids sounding overly polished or engineered for trends. The song works best in the moments where imperfections remain visible, especially in the vocal delivery, which sounds intentionally strained in places rather than cleaned into something too precise.

That sense of emotional realism sits at the center of the release. Instead of framing heartbreak through betrayal or explosive conflict, ryot! focuses on the quieter deterioration that happens when two people still care about each other but can no longer bridge the distance between them. The song captures exhaustion more than anger. Arguments fade into silence, conversations lose clarity, and affection slowly turns into emotional absence. It is less about a dramatic ending than the realization that love by itself does not always preserve a relationship.

The production reinforces that idea well. The guitars give the song an organic edge, but they never overpower the atmosphere surrounding them. Ambient textures remain threaded through the mix, helping maintain the cinematic quality ryot! has described as central to the project. Even when the chorus expands into bigger hooks and heavier instrumentation, the track still feels isolated and inward-looking rather than oversized or theatrical.

Part of what makes AWAY stand out is how transitional it feels. The single does not abandon the melodic trap and ambient influences that shaped earlier material, but it pushes them toward a more alternative rock framework that feels natural instead of abrupt. That evolution reflects the artists who have inspired ryot!, including nothing,nowhere, Bay Street (the artist often works with the band's guitarist!), and Magnolia Park, both of whom have built audiences by blending emotional songwriting with genre fluidity.

More importantly, AWAY succeeds because it never feels like an experiment for its own sake. The stylistic shift serves the emotional core of the song rather than distracting from it. ryot! approaches the material with enough restraint to keep the heavier moments grounded, allowing the quieter details to carry equal weight.

At a time when alternative music increasingly blurs into algorithm-friendly imitation, AWAY feels personal in a way that cannot be manufactured. The song understands that some of the hardest endings arrive slowly, through silence and distance instead of collapse. ryot! captures that feeling with clarity, turning private exhaustion into something immersive without overstating the emotion behind it.