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From open mics to wide-open horizons: Brian Jin's Horizons finds divinity in strange places — Hawaiian-cowboy-ukulele-jazz, dream-born Lennon cameos, and Gospel-soaked mandolin meditations — while Alexei Shishkin's Good Times captures a surrealist four-day escape built on automatism and zero blueprints. Solid Blood's Western Sun delivers math-y, dreamy, emotive post-rock indie, and SMIC's The Upside (Of Losing Everything) leaves the noise behind for something quieter, heavier, and built to stick around. Jack Hayter's Sucky Tart offers world-beaten balladry — "Tom Waits and mates running amok in a second hand music shop" — while l'anarchiste heureux's Le Pneu Libre drifts through a poetic, rediscovered France where a flat tire becomes a meditation on freedom.
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