Any artist is welcome to send us a track via freshonthenet.co.uk anytime between Monday lunchtime and Wednesday evening (or when we receive 200 submissions, whichever is sooner) - and all our moderators, including Tom Robinson, will listen to every track. This is our full inbox from the week beginning Mon 13th October 2025: from Friday afternoon you'll be able to hear our shortlist and pick your favourites on this week's Listening Post which will appear at freshonthenet.co.uk/batch585

If a track you submitted does not appear in this list, it’s probably because another of your tracks appeared in our Fresh Faves or on the BBC Music Introducing Mixtape during the last three months — we ask that artists featured on either wait three months before resubmitting to give others a chance. 

We also don’t accept short previews or SoundCloud Go tracks that can only be heard as 30 second previews, and tracks made private after submission, which cannot be included in playlists. You will be able to resubmit the track in future. Tracks (and remixes of tracks) that have been previously submitted, and tracks from banned artists will also be removed.

Christmas songs and the like are also not eligible for the Listening Post, although we will collect these into a playlist that will be published on 24 December.

Full Inbox: Batch 585

X.16 Indie Folk Roadtrip

Under The Static

Ace Up My Sleeve

Working On My Tan

Paper Teeth

Good Days'll Come

Big Blue House

Alex Radice - How Lucky We've Been
Lyrics & song meaning in description | Indie Folk Central, discover the best new indie folk: https://ifc.sbmt.to

Song meaning: This song is about the fear of a love not lasting. Finding someone new and falling for them, knowing some day it will end but still holding out hope that maybe this one will last forever.

Lyrics
How lucky we've been
To feel once again

And I know it's a lot to ask
But how long can we make it last?

And my love, if I'm honest with you
I'm not the best that you'll do

But take me for all that I am
And we'll find this moment again

Discover more 🎧

Alex Radice - How Lucky We've Been

Time

Luke White - Define Love

Rhumba Club today releases his new album HONCHO, a forty–minute, through composed queer odyssey that resists neat narratives and commercial polish.
“I wanted HONCHO to reflect an authentic queer experience: messy, uncertain, sometimes ravenous, other times despairing,” Rhumba Club explains. “It charts a journey many queer people will recognise: escape, naivety, reality checks, learning the codes, and emerging tougher, though perhaps with something lost along the way. This is my queer odyssey, not the polished narrative pop culture often prefers, but unvarnished.”

Heavily influenced by Patrick Cowley and the vintage aesthetics of gay magazines, HONCHO situates itself proudly within a queer lineage while refusing to flatten into two dimensions. Its unsettling synths, candid lyrics, and refusal to package queerness into something “digestible” mark the true formation of Rhumba Club’s artistic identity. “For years, I’ve struggled to fit into a commercial box: not gay enough, too queer, too emotional, too retro,” he reflects. “Where I’ve landed is simple: the gatekeepers are wrong. That very combination of emotionality and queer musical tropes is what makes Rhumba Club unique.”  
Rhumba Club is proof that with artistic conviction, drive, and talent, it’s possible to carve a non-traditional path in the music industry. Having caught the attention of both Patrick Wolf — who features on the lead single ANIMAL/LOVER — and acclaimed Czech filmmaker David Ondříček, who includes “Talk Me Into It” and Falle himself in the climactic scenes of his upcoming film, Rhumba Club continues to attract some of the most distinctive and compelling creatives — a testament to the vibrant community he’s building around himself.

HONCHO is as much a critique as it is a celebration. It reckons with app-based yearning, dubious massages, relentless body counts, and depression, while never losing sight of the joy and fun threaded through queer culture. Co-produced and mixed by Mikko Gordon, the album closes with a guest appearance from Patrick Wolf, underscoring its proud embrace of queer community and lineage.
Dedicated to Patrick Cowley, Patrick Wolf, and Benjamin Canares, HONCHO is best experienced in one sitting, uninterrupted, from first note to last. “Do it the old-fashioned way,” Rhumba Club says. “Put on your best headphones, grab a beverage, and go full HONCHO.”

Baby, Don't Say You Love Me (feat. Juno Francis)

"Home Ain’t on the Map"is not just an instrumental piece it is a meditation on the very idea of what "home"means.
In a world where borders, belonging, and roots are constantly shifting, Max Marginal expresses through two guitars a universal truth: *home is not always a place you can point to on a map.
The rhythm guitar embodies the road, the journey, the passage of time  steady, persistent, always moving forward.
The melodic guitar, on the other hand, represents "the inner voice" searching, questioning, sometimes colliding with silence. Together, they weave a dialogue without words, like two souls wandering in search of a place that is not physical but "emotional and spiritual".
Through this composition, Max Marginal explores:
he **loneliness** of those who cannot find their place,
the **displacement** of those who live far from their homeland,
but also the **freedom** of building a home out of fleeting moments, emotions, and invisible bonds.
"Home Ain’t on the Map" questions the very essence of exile: what if home is not a destination, but a feeling? What if true refuge lies not in the land beneath our feet, but in "the music itself "?
By removing words, Max Marginal allows the listener to own the journey. Each person can project their memories, wanderings, and hopes into the vibrating strings. It is both an escape and a return — an invitation to get lost in order to be found.

Home Ain’t on the Map

Tidal Wave is about that flood of emotion when you let yourself feel fully, even if it crashes in all at once. The temporary drowning that can lead to clarity.
This project came together as I let go, as I let the wave take me where it needed to. I was trying to be honest, learning not to hide from what hurts.
Written, produced & mixed entirely by me. 

Drive Me Home

Little King is September's release in our attempt to release a track a month for a year. The sun's gone in and the leaves are turning. Is this reflected in the music - probably not, but it has some other early Autumnal feelings going on. Sit back, get your Autumn knitwear on, stick a log on the fire and enjoy. FREE DOWNLOAD from Bandcamp (follow 'Buy' Link)

Little King

Give the robot your face (Radio edit)

Highrise

I have looked at this traditional English folk song through a modern lens, blending a timeless melody with contemporary production. This track opens a dialogue between past and present - where ancient voices echo through modern soundscapes, and tradition finds new life in today’s sonic world.

The Cuckoo (Revisited)

Instrumental piano and clarinet, crossing over classical/film music. Beautiful, passionate and emotional.

Surrender To Love

Working backwards from Woody since '97.

'Pushing the boundaries of folk' The Line of Best Fit

The Cuckoo (Revisited)

Thomas Bull