We Speak Music

Fringe Frontier Drop New Album ‘Criminal Hour’

Published

2 weeks ago

September 2, 2026

There is an admirable sense of purpose running through Criminal Hour, the latest album from Fringe Frontier. John Lloyd and Jerry Thomas have created a record that understands the enduring appeal of classic guitar music while embracing the textures and emotional openness of contemporary indie rock. Rather than chasing trends, the duo refine a sound built upon memorable hooks, driving rhythms and stories that unfold with cinematic detail.

From the opening moments of “Heading For,” the album establishes an engaging balance between muscular performance and lyrical vulnerability. Isolation forms the emotional starting point, yet the music itself constantly reaches outward. That instinct continues into “Think Back,” whose uplifting refrain transforms personal struggle into collective resilience. The contrast between emotional weight and melodic accessibility proves to be one of the album’s greatest strengths.

Several of the record’s finest moments revolve around place and memory. “Little Five Points” evokes faded neighbourhoods and youthful possibility with affectionate precision, while “The Lights of Edisto” ventures into more difficult emotional territory. Its exploration of addiction and recovery unfolds patiently, allowing the arrangement to mirror the uncertainty and hope contained within the lyrics. These songs reveal Lloyd’s gift for vivid storytelling without sacrificing musical momentum.

Elsewhere, Fringe Frontier demonstrate an appealing versatility. “Personal Ad” introduces humour alongside its observations on contemporary romance, its jangling guitars recalling classic alternative rock without becoming derivative. “Follow Me” injects a burst of youthful urgency, examining the endless cycle of promotion and recognition that defines modern musicianship while maintaining an infectious sense of fun.

The closing stretch is particularly satisfying. “City of Dreams” drifts through New York with quiet grace, capturing both the excitement and melancholy that accompany remembered ambitions. The title track then concludes the album with a darker atmosphere, weaving together mystery, restless energy and melodic confidence into a finale that lingers long after its final notes.

The contributions of mixer McKenzie Smith and mastering engineer Kim Rosen provide Criminal Hour with impressive sonic depth, but the true achievement lies in the songwriting itself. Fringe Frontier have produced a record that feels lived in rather than manufactured, proving once again that thoughtful lyricism and memorable guitar music remain an enduring combination.

Instagram, Spotify | PR: Danielle Holian, Decent Music PR

We Speak Music

Phoebe June Traces Love, Distance and Heartbreak on New EP ‘Kiss Me Over The Garden Gate’

Published

2 days ago

September 11, 2026

Joni Jones

For Phoebe June, some stories are easier to tell through music.

Her new EP, ‘Kiss Me Over The Garden Gate’, is an intimate collection that traces the emotional journey of a relationship from the exhilaration of falling in love to distance, uncertainty, heartbreak and, ultimately, learning to let go.

Inspired by artists including Gracie Abrams, Taylor Swift and Phoebe Bridgers, Phoebe June combines diary-like lyricism with melancholic ballads, subtle uptempo moments and an understated, emotionally honest production style.

At the centre of the project is ‘Thursday’, a bittersweet track about loving someone from a distance and holding onto the hope that the connection might survive.

Written after Phoebe left a country that held deep personal meaning, and left someone she cared about behind, the song looks back at the relationship from its beginning. Even its title is personal: the two first met on a Thursday.

The song captures the complicated feeling of walking away from something meaningful without believing that it necessarily has to be over. It’s about distance, memory and the possibility of finding your way back to someone, while recognising that hope only works when it goes both ways.

Across six tracks, the EP develops that story in sequence.

‘Everything You Are’ opens the project with the warmth of new love, while ‘Dead Sea’ explores the security of finding someone who helps you stay afloat through difficult times. As the story progresses, ‘Thursday’ introduces separation before ‘Getaway Car’ moves into the aftermath; unanswered questions, lingering attachment and the realisation that someone can profoundly affect your life while still being unhealthy for you.

‘One Day’ leaves the door open to the possibility of a future reunion, balancing hope with the understanding that some relationships may only exist in memory.

The EP closes with ‘Ophelia’, its emotional breaking point. Inspired in part by Friedrich Heyser’s painting of the same name, the track confronts the pain of feeling manipulated and unappreciated after giving everything to someone else.

The result is a project that deliberately moves from light to dark. Phoebe June considered not only the narrative but the emotional progression when sequencing the EP, allowing the brightness of its opening to gradually give way to the heartbreak of its closing moments.

Even the title reflects that feeling.

‘Kiss Me Over The Garden Gate’ takes its name from a flower, with the image of a gate separating two people becoming a metaphor for a love that remains beautiful but just out of reach. To reach over it requires effort, just as maintaining a connection across distance, uncertainty and changing circumstances does.

Ultimately, Phoebe June isn’t interested in simply documenting her own heartbreak.

She wants listeners to recognise themselves in it.

‘Kiss Me Over The Garden Gate’ is a collection about love, nostalgia, hope and regret and about what remains when something beautiful ends up on the other side of the gate.