In a refreshing departure from what seemed like a safe, by the numbers, and very on brand pop-rock, Can’t Seem to Get Anything is a solid groovy rebound for Singapore’s favourite indie rock darlings.

Just in time for Halloween, Singaporean stoner metal outfit Marijannah drops special live performance into our trick or treat baskets.

On Taiji, Benetton Lim writes some of his best bars yet – hearing how hard the track’s hook goes, you really can’t deny his intensity and conviction.

Teaming up with singer Marj, Wednesday’s Child delivers a perfectly soulful and groovy ode to holding on and unwanted goodbyes.

Your Love thrives in its garage atmospherics – a nocturnal moodpiece yearning for liminal spaces and dancefloors, waiting to return.

With Cayenne, the Sobs’ frontwoman’s pop-star fixation is no longer an undertone, but instead the M.O. The result is as they describe on their Bandcamp – clank!, bangers, huge.

The Prodigal Son is a swift burst of intensity showcasing Naedr firing on all cylinders. For a band named after the lowest point, its 74 seconds only show that the only way to go is up.

Robots largely falls short of its goal in being an enlightening inner portrait. “We are actors with an Oscar”? Maybe try the Star Awards first.

Daytona sounds like Islandeer’s victory lap. Bleed your fuzzy Valensi hearts out, Islandeer, because this race needs more of that. Daytona 500/500, here’s hoping.

"Distort everything” is slowtalk’s motto – on berpecah, the duo demonstrates their slogan to destructive effect.

Everything is a promising new entry for Kotoji - a songwriter slowly grasping the keys to classic indie-rock melancholia.

For iyer, footwork’s frameworks are a conduit for him to pay homage to his Carnatic heritage. He refracts nuggets of Tamil and Indian culture at large, via the lenses of chopped samples and experimental club.

Wovensound is an underrated project, and Sickleberry Sunsets is a strong testament to Vinod Dass’ dense competency and creativity as a musician, producer, and songwriter.

Beautiful Monsters stands on the better side when it comes to Singaporean pop singles as of late, but it only seems to be a stepping stone for J.M3, as she continues to refine her sound.

On I Feel on Top of the World, The Analog Girl melds steady disco rhythms and claps with enigmatic soundscapes and textures to compliment her reverb drenched vocals and meditative lyricism.

Wira Munir’s it’s 12:45, where are you? is a track that would fly by the radars of many but is still well worth a listen, in particular for how Munir paints his image of longing through his lyrics.

Fauxe and Shye’s collaborative effort More is powerfully melancholic yet still hopeful, a strong testament to how music can help express the feelings and thoughts that words just can’t.

George Chua’s blistering noise and abstract beatscapes come in the form of punishing, rhythmic grids on Neo Punggol – a slice of no-wave nihilism, channeled through modular synth intensity.

Overall, Bird’s Eye barely scratches the surface of what Cinnamon Persimmon is capable of despite its small flashes of brilliance and potential.

Darker Than Wax founder Kaye channels Italo Disco swagger and groove while remixing a Tamil classic onYeh Unnai Thane.