Music

Tune in to Glacer FM for Unsigned and Independent Music from Around the World

Tune in to Glacer FM for Unsigned and Independent Music from Around the World

If you are always on the lookout for new artists and good music, Glacer FM is the perfect radio station for you. With an online radio broadcast allowing an even bigger audience, people can tune in to Glacer FM all over the world and discover incredible new music that you will love. A global internet radio station focused on unsigned and independent music, Glacer FM is aimed at music lovers and upcoming musicians worldwide. Radio listeners can enjoy the music and find something new at Glacer FM with a wide variety of styles and genres played to suit everyone. Not only does Glacer FM offer a brilliant radio station, the website provides even more standout features to keep listeners entertained all day. Features include: 4 Unique Channels Glacer FM hosts 4 different channels to suit the styles of all listeners, whether you prefer a wide mix of genres or a specific channel for hip-hop and R&B, rock and country or underground showcasing the best from independent and unsigned artists. Glacer Mix – offers a wide variety of music genres including Pop, Alternative, Jazz, Classical, Dance, Reggae and House as well as hosting interviews and shows from cultures around the world.

Revisiting Bosko Baker’s ‘Business for the Business Man’

Revisiting Bosko Baker’s ‘Business for the Business Man’

Bosko Baker has built a career around keeping things moving. Whether he’s writing, recording, or heading out for another run of shows, music seems to work best for him when it exists beyond the studio. “Business for the Business Man” offers another chance to revisit that world. Originally appearing on Baker’s 2024 album Mr. Brown & Mr. Blue Volume One, the track isn’t his latest release, but it remains part of a wider catalog shaped by storytelling, roots-driven songwriting, and an artist who has spent years developing his music in front of real audiences. With no detailed press notes explaining the exact meaning behind “Business for the Business Man,” it makes more sense to let the song sit within that wider picture rather than forcing an interpretation onto it. The track belongs to an album that represents one chapter in a career that has rarely stood still for long. Touring, in particular, has become a constant. Baker regularly takes his music on the road, whether that means playing locally, traveling across the United States or heading over to the UK. That consistency has allowed the songs to develop a life beyond their recorded versions, emphasizing the kind of direct connection

Leo Niño Showcases His Genre-Blending Sound Across ‘Mexican Summer’

Leo Niño Showcases His Genre-Blending Sound Across ‘Mexican Summer’

With Mexican Summer, Leo Niño isn’t introducing himself through just one sound. The Mexican-American artist uses the album to bring together psychedelic alternative rock, indie, shoegaze, and flashes of Latin influence, creating a debut project that feels varied without losing the identity running through it. Behind Leo Niño is 24-year-old songwriter and multi-instrumentalist Wyatt Reichart. Now based in Asheville, North Carolina, Reichart primarily builds his music around guitar and vocals, while also playing drums and piano. His influences span genres and eras, and that open-minded approach is evident throughout Mexican Summer. Tracks like “Selective Hearing,” “What I Seem To Be,” and “Swan Dive” are particularly strong examples of the wider world Leo Niño is creating. Rather than relying on one obvious formula, the album gives its songs room to develop their own personalities. “Selective Hearing” opens up another side of Leo Niño’s alternative sound, while “What I Seem To Be” continues the journey through the record. Later, “Swan Dive” adds another piece to the album before its closing stretch. Without needing every song to tell the same story or occupy the same musical space, they help Mexican Summer feel like a full project rather than simply a collection of singles.

Lauren Cassidy Turns Self-Trust Into Indie-Pop Confidence on ‘Two Things’

Lauren Cassidy Turns Self-Trust Into Indie-Pop Confidence on ‘Two Things’

Lauren Cassidy knows that two completely opposite feelings can exist at the same time. You can love somebody and know you need to leave them. You can miss what you had while understanding that going back isn’t right. And sometimes, moving forward doesn’t require pretending the past meant nothing. That complicated middle ground sits behind “Two Things,” but for Cassidy, the song also feels like part of a much bigger period of moving forward. The 27-year-old indie-pop artist grew up in New York before making Utah her home, bringing years of songwriting and performance experience into a project that has increasingly become about connection. Her background stretches back to musical theatre and writing songs as a teenager, eventually developing into the artist and online community she has built today. That community has become a significant part of Cassidy’s story. With an audience of more than 450,000 across social media and over 2,000 members within her Healing Garden community, her music exists alongside a space built around honesty, growth, and finding other people who understand what you’re going through. “Two Things” fits naturally into that world. The song was inspired by something Cassidy encountered through therapy: the idea that two things

Why Big Cade's Music Feels Different in an Era of Disposable Hip Hop

Why Big Cade’s Music Feels Different in an Era of Disposable Hip Hop

Spend enough time listening to new hip hop releases and a pattern starts to emerge. The production changes. The slang evolves. The trends come and go. Yet much of it begins to sound interchangeable. Then an artist like Big Cade comes along. The rapper from Tuscaloosa, Alabama, is not trying to reinvent Southern hip hop. He is doing something that may be even harder. He is reminding listeners why honesty still matters. His latest single, “Fall Out,” is not built around internet moments or catchy one-liners designed for short clips. Instead, it tackles something everyone eventually faces. The realization that growth sometimes requires leaving people, places, and habits behind. It is a subject that does not need exaggeration because life has already written the script. Music That Comes From Experience There is a noticeable difference between artists who have something to say and artists who simply have something to release. Big Cade belongs in the first group. His writing rarely feels manufactured. Instead, it carries the weight of someone documenting his own journey while inviting listeners to reflect on theirs. That is probably why his music resonates with people navigating change, responsibility, and personal growth. There is no attempt to

Two Storms, One Stage: The Perfect Storm and Eleyet McConnell Earn Josie Music Awards Recognition

Two Storms, One Stage: The Perfect Storm and Eleyet McConnell Earn Josie Music Awards Recognition

By: Jordan Blake Independent music has always belonged to artists willing to create without waiting for permission. That spirit runs through the work of The Perfect Storm and Eleyet McConnell, two rising acts whose recent Josie Music Awards nominations recognize careers built through persistence, musical chemistry, and an unmistakable sense of identity. Although the two groups occupy different corners of the rock landscape, they share an important quality: neither sounds assembled by committee. Their music reflects lived experience, strong personalities, and the kind of artistic confidence that develops when musicians trust their instincts. The Perfect Storm has turned that confidence into a remarkably successful chapter with its debut album, Maiden Voyage. The record’s title is appropriate, not because the band sounds tentative, but because it captures musicians embarking on a new journey together. Rather than treating the album as a cautious introduction, The Perfect Storm arrived with the conviction of an established act. The group’s sound pulls from classic rock, Americana, country, and melodic pop without settling permanently into any one category. That flexibility gives Maiden Voyage its personality. The songs feel familiar enough to invite listeners inside, yet distinctive enough to establish the band’s own musical character. At the

Nirvana Named 2026 MTV Video Vanguard Award Recipient

Nirvana Named 2026 MTV Video Vanguard Award Recipient

Nirvana will receive MTV’s Michael Jackson Video Vanguard Award at the 2026 MTV Video Music Awards on Sept. 27. The honor recognizes the band’s contribution to music-video culture, including influential videos for songs such as “Smells Like Teen Spirit,” “Come as You Are,” “In Bloom” and “Heart-Shaped Box.” Key Takeaways Nirvana will receive MTV’s Michael Jackson Video Vanguard Award at the 2026 MTV Video Music Awards. The ceremony is scheduled to air live on CBS on Sept. 27, with a simulcast on MTV and streaming on Paramount+. MTV announced the honor on Sept. 9, the anniversary of Nirvana’s 1992 VMAs performance. Nirvana released music videos for songs including “Smells Like Teen Spirit,” “Come as You Are,” “In Bloom” and “Heart-Shaped Box.” The Video Vanguard Award recognizes artists for contributions to music-video innovation and visual music culture. Nirvana Receives MTV’s 2026 Video Vanguard Honor The Nirvana Video Vanguard Award will be presented at this year’s MTV Video Music Awards, giving the band recognition for its work in music videos and its contribution to visual music culture. MTV announced the honor on Sept. 9 ahead of the ceremony scheduled for Sept. 27. The award is formally known as the Michael Jackson Video

Ben Jarrell and The Night Sights Are Finding Their Audience With ‘Wanna Get Out of Here’ and ‘Rebecca’

Ben Jarrell and The Night Sights Are Finding Their Audience With ‘Wanna Get Out of Here’ and ‘Rebecca’

Ben Jarrell and The Night Sights have always had a knack for turning characters, bad decisions, and real-life experiences into songs. Now, it looks like more listeners are finding their way into those stories. The Nashville Southern rock trio have been building momentum around recent releases “Wanna Get Out of Here” and “Rebecca,” two very different tracks that continue to show the personality behind their songwriting. “Wanna Get Out of Here” has already passed 10,000 Spotify streams, following the success of the previous release “Trucker and the UFO,” which now sits above 21,000. Inspired by hot rods, questionable choices, and a guitar lick the band knew they wanted to build around, “Wanna Get Out of Here” embraces the more carefree side of their music. It’s a song about two people living slightly outside the expectations of small-town society and having a good time doing it. Humor and reckless abandon drive the story, giving the band plenty of room to lean into the lively Southern rock sound behind it. “Rebecca” shows what happens when the mood changes. Now surpassing 3,000 streams, the track was inspired by watching a fellow musician make one damaging decision after another. The result is a much

Skreigh Is Building His Own Corner of the Underground With ‘WDGAF!’

Skreigh Is Building His Own Corner of the Underground With ‘WDGAF!’

For Skreigh, making music has never been about fitting comfortably into one genre. Punk, metal, hip-hop, and industrial sounds all collide within his world, and at 20 years old, the Milwaukee-area artist is already building an identity that feels bigger than any individual release. Since beginning the project in 2021, Skreigh has developed a sound sitting somewhere between trap metal, punk rap, dark trap, and alternative hip-hop. Distorted production, heavy drums, and everything from rapid-fire delivery to screamed, raspy, and melodic vocals give him plenty of room to move between aggression and vulnerability. His latest single “WDGAF!” feels right at home within that world. It’s an explosive track built to create a reaction. The hook is immediate and confrontational, giving listeners something to shout along to, while the verses reveal a more complex emotional picture beneath. Racing thoughts, isolation, and frustration sit behind all that confidence, allowing the track to be cathartic without pretending those feelings simply disappear. That combination has become an important part of Skreigh’s identity. Anger isn’t treated purely as something destructive. Instead, difficult emotions become fuel. Skreigh isn’t interested in simply releasing songs and hoping one sticks. His wider ambition is to create a community around

Harry Kappen Challenges the Performance of Virtue on “Good Samaritans”

Harry Kappen Challenges the Performance of Virtue on “Good Samaritans”

By: William Ellis Harry Kappen’s “Good Samaritans” begins with a sales pitch. “Buy this dream, and you’ll be whole,” he sings, distilling the promise that sustains both advertising and social media: the idea that identity is a product, happiness is a performance, and fulfillment remains one more purchase away. It is a familiar lie, but Kappen is less interested in exposing its falseness than in asking what it has done to our understanding of goodness. Taken from his album After the Crossing, “Good Samaritans” is an energetic rock song that contrasts public displays of perfection with private acts of compassion. Its villains are not corrupt politicians or faceless corporations, although both haunt the system Kappen describes. His immediate target is the culture of presentation, the “plastic smiles,” “golden sunsets,” “sculpted skies,” and carefully filtered emotions that transform daily life into a continuing advertisement for the self. The song is suspicious of spectacle, yet it uses the scale and momentum of rock to make its argument. That tension works in Kappen’s favor. Rock music has always depended on exaggerated personalities, heroic poses, and the fantasy that a performer might embody some freedom unavailable to the audience. Kappen opens with “superheroes,” only

Pam Ross Turns Up the Heat on “Lost in Heaven”

Pam Ross Turns Up the Heat on “Lost in Heaven”

By Wade Harrison Pam Ross does not waste time easing into “Lost in Heaven.” From the opening lines, the volume is already rising, the temperature is climbing, and somebody in faded jeans has started dancing. The September 11th release drops the listener into the middle of a charged encounter, bypassing introductions and heading straight toward the dangerous part of the evening. That immediacy is central to the song’s appeal. “Lost in Heaven” is not a ballad about yearning from across a crowded room. It is a full-bodied country-rock number about what happens after the glances have been exchanged and both people understand where the night is going. Ross sings with the confidence of someone who has stopped pretending not to notice the attraction. “You get me hotter than a day in late June,” she declares, using the kind of plainspoken comparison that has powered country songs since long before Nashville began concerning itself with market categories. It works because Ross does not decorate it. The line comes across as an involuntary confession, something said in the moment before good judgment has a chance to interfere. The setting is classic country music territory: a private place hidden by the pines, stars

Davis & The Love Set the Stage for ‘Songs We Wrote About You’

Davis & The Love Set the Stage for ‘Songs We Wrote About You’

For Davis & The Love, the next chapter is already starting to take shape. With years of performing, an established catalog, and new music arriving, the band is building towards Songs We Wrote About You, an upcoming album that puts relationships and connection at the heart of their feel-good sound. Blending pop, soul, and funk, Davis & The Love have developed a style that thrives on personality. Their music is polished enough to sit comfortably within modern pop, but underneath it is the energy of a band that has spent years learning how to play together and connect with a crowd. That experience has translated into a growing audience beyond the stage, too. “Stay the Night” has surpassed 85,000 Spotify streams, while tracks including “I Need You,” “Get Out My Life” and “Centerfold” have continued to build momentum across their catalog. Now, attention is turning towards what comes next. Recent single “Mine” offers one glimpse into Songs We Wrote About You. Built around the excitement of finding someone who suddenly feels worth fighting for, the track leans into the brighter side of relationships. Soulful vocals, an anthemic chorus, and upbeat production turn that feeling into something made to be sung

Under Auburn Skies Bring Years of Metalcore Experience to 'Diminisher of Hope'

Under Auburn Skies Bring Years of Metalcore Experience to ‘Diminisher of Hope’

Nearly ten years into their journey, Under Auburn Skies aren’t approaching Diminisher of Hope like a band still trying to figure out who they are. The Denver melodic metalcore outfit has spent years developing their sound through recording, writing, and, importantly, playing alongside some serious names within the heavier music scene. With influences that place them comfortably alongside bands like Polaris, Invent Animate, Make Them Suffer, ERRA, and Phinehas, Under Auburn Skies balance melody with the intensity expected of modern metalcore. That experience sits behind Diminisher of Hope, a six-track record that gives listeners a concentrated introduction to the band. Beginning with the short “First Blood,” the album quickly moves into “World-Eater” before making its way through “The Pale King,” “Gravemind,” and “Dathomir,” eventually closing with “Final Sin.” “The Pale King” and “Final Sin” arrived ahead of the release as the record’s two singles, but the full record shows the heavier world Under Auburn Skies have spent years building. Their history goes well beyond the studio. Over the last decade, the band has opened for All That Remains, Born of Osiris, Norma Jean, Darkest Hour, Like Moths to Flames, Entheos, VCTMS and Phinehas, giving them plenty of opportunities to sharpen

Drawing the Line: Novai Turns Pain Into Resolve on “I Won’t Let U Hurt Me”

Drawing the Line: Novai Turns Pain Into Resolve on “I Won’t Let U Hurt Me”

By Daniel Mercer The title of Novai’s “I Won’t Let U Hurt Me” contains its most important word before the song even begins: “let.” This isn’t simply a breakup song accusing someone of cruelty. Nor is it another streamlined empowerment anthem in which heartbreak conveniently disappears once the chorus arrives. Written by Michael Stover, “I Won’t Let U Hurt Me” is concerned with something more complicated: the moment when suffering becomes a choice the wounded person realizes she can refuse. Novai begins with the facts. “You made me cry / Every time I trusted you,” she sings, quickly establishing a cycle of faith, deception and disappointment. There’s little abstraction in Stover’s lyric. The language is conversational and deliberately plain, reflecting the clarity that can arrive when someone has spent too long rationalizing what should have been obvious. Then pain itself becomes instructive: it tells her “it’s time to go.” That reversal gives the song its underlying momentum. Hurt is no longer merely something inflicted upon the narrator; it has become information. The very emotion that kept her trapped has begun directing her toward freedom. The chorus makes the decision explicit. Novai promises herself that she won’t be hurt “anymore,” repeating

Eddy Mann’s “We Are” Finds an Unexpected Rhythm for an Ancient Message

Eddy Mann’s “We Are” Finds an Unexpected Rhythm for an Ancient Message

By Nathaniel Cross The Book of Revelation has probably inspired more fear than any other chapter of Scripture. It is the biblical book people turn to when the world feels as though it is spinning off its axis, and its visions have fueled centuries of end-times predictions, theological arguments, apocalyptic movies, and more than a few heavy-metal albums. Eddy Mann hears something different. On his single “We Are,” from the album The Unveiling, the veteran Christian singer-songwriter and minister approaches Revelation not as a warning siren but as an invitation to worship. Inspired by Revelation 4:8b and 4:11, the song finds its foundation in the heavenly scene where creation gathers around the throne and declares the holiness and worthiness of God. Mann takes that enormous vision and makes it intimate. “Holy, holy, holy,” he sings, invoking words that have echoed through Christian worship for generations. But the most revealing moment arrives with the song’s central declaration: “We are Your will / We are Your desire / We are Your pleasure.” Those lines are uncomplicated. Their implications aren’t. At the center of “We Are” is an idea about human identity: existence isn’t accidental. Humanity has purpose, and that purpose is collective.

From 1986 to 2026: How Michael Stosic Reimagined the Album That Changed His Life

From 1986 to 2026: How Michael Stosic Reimagined the Album That Changed His Life

When singer-songwriter Michael Stosic recorded his album “Brand New Love” in 1986, he tried something new. His self-titled first album, which he recorded four years earlier, was a collection of blue-eyed soul songs that explored the highs and lows of romantic love. While the album would come to be considered an AOR masterpiece decades later, it wasn’t widely acclaimed at the time of its release. With his second album, Stosic made a shift to contemporary Christian music. “Brand New Love” was focused on inspiring people to experience a deeper love through a life of faith. And it enjoyed immediate success, which changed Stosic’s life. “Things happened very quickly after ‘Brand New Love’ was released,” Stosic recalls. “Within six months, my life went from radio interviews to concerts to song competitions to the KCMS People’s Choice Awards. Ultimately, it led to an invitation to appear on live TV on the Trinity Broadcasting Network and the honor of being selected as one of the top new Christian artists by Praise Ministries in Los Angeles.” Stosic says he was blessed by the recognition given to “Brand New Love,” which made him feel like the effort he put into writing and recording was well-placed.