Originally released in September 1996, ‘Coming Up’ represented the creative and commercial peak for a rejuvenated Suede… some debut indeed for new band members guitarist Richard Oakes and keyboardist Neil Codling. A UK No. 1 album which spent just shy of an entire year in the album chart, the vivid, electrifying ‘Coming Up’ spawned five UK Top 10 singles – ‘Trash’, ‘Beautiful Ones’, ‘Saturday Night’, ‘Lazy’ and ‘Filmstar’. Elsewhere, grimy glam stompers met elegiac ballads and stadium anthems… and 30 years on, ‘Coming Up’ still packs all its original punch.
For the anniversary, Coming Up has been expanded into an all-encompassing 5CD edition, in Deluxe 7”X 7” packaging. On CD1 ‘Coming Up’ has been newly mastered from the original…
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Following his acclaimed 2020 album The Red Planet, Rick Wakeman makes a triumphant and inevitable return to Mars with 
For more than four decades, 
On the cover of Furlongs is an illustration of a young man with not a whisper of a beard on his smooth chin. The hair is a W H Auden-era short back and sides with an unruly cowlick fringe. He is dressed neatly, in a shirt and tie, waistcoat or possibly sweater vest, a sketch pad and pencil in his hand. The man is framed by a pebble-dash wall and a slated windowpane from which he peers out at the world. Reflected on the glass are the green downland hills and the white chalk figure of the Long Man of Wilmington. Though that chalk has since the 1960s been augmented by concrete kerbstones to help prevent its outline from fading away, and long before had assistance from mortar and brick. Just as Avebury’s ancient stones are propped up on b-road bollard-like plinths.
Countless young men in the 1980s and ’90s doubtless dreamed of what it would be like to go out with 
There is a particular kind of light that only exists after rain has finished falling but before the sun has arrived – a grey-gold hour where the wet ground holds more colour than the sky. Space Afrika has always made records that live inside that hour. 
Leeds, England’s 
Los Angeles-based pianist, multi-instrumentalist, and producer Kiefer Shackleford has appeared on the Blue Note label twice in 2026. In July, he was part of the eponymous debut by FATHERS, a jazz quartet that also includes drummer Nate Smith, bassist CARRTOONS, and producer Kenneth Blume (aka Kenny Beats). 
Back in 2018, 
…The digital deluxe version adds 5 exclusive acoustic tracks.
When the speakers are throbbing and rattling, spitting a filthy squeal, threatening to split open-do you bolt out of the room or step closer? If you ever attend a Gilla Band show, you will know instantly which their fans prefer. Discomfort is the baseline goal for a band that weaponizes its instruments to such earsplitting magnitudes that they rarely resemble the tried tools of rock music: guitar, bass, drums. “The trick,” bassist Daniel Fox said in a recent interview with Pitchfork, “is to be louder than everyone else.” This is a wild but typical understatement from the humble Irish quartet, which also comprises vocalist Dara Kiely, guitarist Alan Duggan Borges, and drummer Adam Faulkner. Volume-blown out to extremes or dampened before a deafening blast…
Megiapa’s nutritive first album for Chicago’s International Anthem label would have made equal sense on progressive Los Angeles imprints such as Stones Throw and Brainfeeder. In a way, the Midwest native, who writes, arranges, and produces her material, is a child of the L.A. beat scene that gave rise to the likes of Georgia Anne Muldrow and Flying Lotus. Although she established herself in the Windy City while building up a considerable catalog of self-released material over the course of a decade, Megiapa has been in L.A. since 2023, allying with a host of players, many of whom joined her in the making of 
Oren Ambarchi’s 
Even some of the most obscure musical movements have their lesser-known players. One such example is the incredibly unseen group the Catburgers, a band from Edinburgh, Scotland who existed in the margins of the C-86 scene during the late ’80s, playing sparingly and recording a few times without ever officially releasing any music in their time. 
Continuing the series of archival live albums documenting German experimental rock legends Can at their mid-’70s creative peak,