The album features the film’s original songs by the post-punk band Idles, as well as the movie’s original score composed by Rob Simonsen (Deadpool & Wolverine, Ghostbusters: Afterlife, The Way Back, It Ends with Us, The Age of Adaline, (500) Days of Summer, Nerve, Foxcatcher) and performed by Idles. The soundtrack will released digitally by Pertoza/Partisan Records. As previously reported, a first song (Rabbit Run) has already been released as a digital single last month.
Aronofsky enlisted Idles to capture the energy of the 1990s New York punk scene that colors Caught Stealing. “I built Caught Stealing to be a roller coaster of fun and wanted to supercharge the film by main lining a punk sensibility,” the director said in a press statement.
Category: *editions*
Rescued after 40 years, Húsker Dú’s near-mythical homecoming set at Minneapolis’s First Avenue club (where much of Purple Rain was filmed) has been properly mixed and mastered at last.
At one stage, this performance was expected to emerge. The band had recorded the set to 24-track tape at the time, expecting to release it as a live album later in the year. But their star rose rapidly and priorities shifted – the tapes were shelved, pending a further look, and in 2011 when a house fire destroyed a huge portion of the Hüsker Dü archive, it was assumed to have burned. Thankfully the tapes have been saved and restored completely by Electrical Audio, so we can finally get to hear how the band were shaping up before ‘New Day Rising’ and ‘Flip Your Wig’…
Producer, vocalist and creative powerhouse KUČKA marks a year of her sophomore album Can You Hear Me Dreaming? with a deluxe package, featuring bonus tracks and previously unreleased remixes from Jacques Greene, Nosaj Thing, MESSIE, PESH, BUFFEE and many more.
The deluxe record expands the world of Can You Hear Me Dreaming? with a suite of sparkling remixes that steps us out of the clouds and into the club. KUČKA calls on a diverse list of artists, including rising Asian-American producer Tsu Nami, Fred Again.. collaborator MESSIE, and labelmates Nosaj Thing and Jacques Greene deliver their first remix under new collaborative moniker Verses GT. ‘I love putting out remixes because the turnaround is always so quick’ KUČKA says…
By the summer of 1971, Lee ‘Scratch’ Perry was widely recognised as Jamaica’s most creative music-maker. Since launching his career as an independent producer in 1968, his experimentations with sound and style had resulted in some of the most exciting and popular works to see issue during reggae’s formative years. Now, primarily employing one of the island’s most accomplished band, The Now Generation as his regular session crew, the sound of Perry’s output from the latter half of 1971 contrasted strongly with the more rugged style the epitomised many of his earlier productions.
Otherwise, however, his general approach to music-making remained unaltered and during this six-month period, he released…
Bruce and the E Street Band perform a 28-song set on night one in Milan. Highlights: “Atlantic City” rotates in. 2025 additions “Rainmaker,” “House of a Thousand Guitars” (performed solo acoustic), and the show-closing cover of Bob Dylan’s “Chimes of Freedom” all appear.
…Little Steven Van Zandt returned to the concert stage with Bruce Springsteen and the E Street Band on Monday, June 30, at the San Siro Stadium in Milan. Van Zandt had appendicitis surgery in San Sebastian, Spain, the rocker posted on June 23.
The E Street Band traditionally enters the stage one by one before The Boss takes the stage. In Milan, Van Zandt came out holding hands with Springsteen at the beginning of the show before the band launched into “No Surrender.”
Following the release of their sole, self-titled studio album in June 1989, Anderson Bruford Wakeman Howe embarked on an extensive and well-received world tour.
With the Chris Squire-led Yes languishing in a singerless limbo in Los Angeles, the offshoot tour was the closest fans would get to the Yes live experience throughout 1989 and early 1990.
Recorded at the Shoreline Amphitheater in Mountain View, California on September 9, 1989, An Evening of Yes Music Plus was originally broadcast on the King Biscuit Flower Hour radio show and as a pay-per-view concert film, before being commercially released in 1993 on double CD and in 1997 on the then-new DVD format.
…An Evening of Yes Music Plus does what it…
Remastered and reissued for the first time, Piano Studies 337 is a 1962-released private-press from spiritual teacher and chemist Willem Nyland, improvised on a bizarrely tuned baby grand piano after one of his weekly lectures.
In 1924, Nyland and his wife, the Hungarian-American designer, painter and illustrator Ilonka Karasz went to see notorious Greek-Armenian philosopher, mystic and composer George Gurdjieff speak on his first trip across the Atlantic. Impressed by his teachings, the Nylands began to work with Gurdjieff, hosting a group Stateside that disseminated his weekly teachings. In the mid to late ’60s though, long after Gurdjieff had passed away, Nyland broke ties with the Foundation, forming his own independent…
In 2017, Los Angeles multi-instrumentalists Jeremiah Chiu and Marta Sofia Honer traveled to the Åland Islands, an archipelago of more than 6,000 islands in the Baltic Sea between Sweden and Finland. Their ostensible purpose was to help two friends rehab an old building in the tiny municipality of Kumlinge — population 320 — and convert it into a hotel. They brought more than just construction tools; they came prepared with a collection of instruments and electronics, and as they adjusted to their surroundings, they documented their time with musical improvisations and field recordings.
They found themselves profoundly moved by the experience, and they returned two years later to perform in a 14th century church on the island.
…After five expanded scores to James Bond films in the last 18 months, La-La Land’s aim is steady as ever with a sixth: Michael Kamen’s score to 1989’s Licence to Kill, the second and final film featuring Timothy Dalton as Ian Fleming’s legendary literary spy. Dalton’s aim was to portray Bond more like the original books, with less of the fantastical gadgets and occasionally campy humor of previous installments. And Licence to Kill remains one of the series’ grittiest entries, finding 007 resigning from MI6 and enacting a personal mission of revenge after a drug lord maims his longtime CIA friend and associate Felix Leiter. (The character, who suffered a similar fate in Fleming’s Live and Let Die novel, appeared in several of the films and played bydifferent…
If the 1970s were when power pop was invented and made into one of the more exciting styles of music around, and even occasionally very popular, the ’80s were when the style permeated the music scene as it split into multiple tendrils of guitar-based pop. Following up on their excellent collection Looking for the Magic: American Power Pop in the ’70s, Grapefruit Records delivers another brilliant set of freshly scrubbed power pop tracks on I Wanna Be a Teen Again: American Power Pop, 1980-1989. On the three-disc set, one gets to listen as the classic power pop sound of the previous decade shoots off in different directions. Its chiming guitars and swirls of sound inform the paisley underground, a slicked-up version wends its way through the new wave…
Ace Records continues its quest to offer variations on a theme by exploring country interpretations of the music of Bruce Springsteen. Springsteen’s Country collect 20 covers of The Boss, some familiar (Johnny Cash’s “Johnny 99,” Steve Earle’s live take on “State Trooper”), some offbeat (a take on Tunnel of Love opener “Ain’t Got You” by Solomon Burke, the Nitty Gritty Dirt Band’s version of beloved outtake “From Small Things (Big Things One Day Come)”), and some altogether lesser known (Americana acts like Lera Lynn and The Whiskey Treaty Roadshow interpreting “Fire” and “The Rising”). The set was compiled by Sean Rowley, a well-known British DJ/presenter who happens to be one of the men on the album cover of Oasis’ (What’s the Story) Morning Glory?.
After their excellent reissue that centered on non-LP and unreleased songs recorded between 1988 and 1990 at Noise New York studio, the Silver Current label has unearthed another excellent treasure from Galaxie 500. This time it’s a live set recorded in December of 1988 at CBGB where the band was appearing on the bill with Sonic Youth, B.A.L.L., and Unsane. Taken from mixing desk recordings helmed by their long-time producer Kramer and remixed for release, the set captures the band in stunning form that goes a fair way in belying their image as slowcore somnambulists. Ripping through an eight song set made up of tracks from their first album Today, Dean Wareham‘s guitars cut through the mix like jangling bells in the verses and rip…
At the turn of the 70s, songwriters like Tony Macaulay (‘Love Grows Where My Rosemary Goes’), Cook and Greenaway (‘Something’s Gotten Hold of My Heart’), Lynsey De Paul and Barry Blue (‘Storm in a Teacup’) and John Carter (‘Beach Baby’) were bossing the singles charts and Radio 1 while more serious acts like Led Zeppelin and Pink Floyd concentrated on album sales.
Chip Shop Pop is a stellar collection of super-melodic, expertly crafted songs; it gathers two dozen of the songs that got away, all potential hits written by these Denmark Street-schooled songwriters. You might have only heard these records once or twice before, coming out of a passing kid’s transistor radio, or in the background in a cafe, or a chippie, and then…
It feels strange to be reviewing a ‘best of’ release in 2025 — and stranger still to be old enough to cover reunion releases from bands of your youth.
How We Choose to Remember It is a reminder that millennials are getting older — but more importantly, that Rilo Kiley’s songs still hold up effortlessly. Having gone their separate ways in 2013, ageing American indie-heads rejoiced at news of the band reuniting to headline the Just Like Heaven festival this summer. To mark the occasion, Rilo Kiley are releasing an eleven-track introduction to their back catalogue.
Is it needed? Of course not. But there’s something charmingly old-school about a concise snapshot of a band’s output — and no doubt a vinyl full of bangers will appeal to many.
At the tail end of 1976, with the majestic Oxygene, French composer Jean-Michel Jarre became electronic music’s crown prince, savior, and rock star all rolled into one. Overflowing with lush rhythms, tasty textures, and earworm synth melodies, it earned Jarre international fame and eventually sold some 15 million copies. Four years prior, Jarre was just a scrappy young buck finding his feet in a genre that barely existed; scarcely out of his teens, he was part of the pioneering electronic music collective Groupe de Recherches Musicales (GRM), co-founded by legendary avant-gardists Pierre Schaeffer and Pierre Henry. By the early ‘70s, Jarre had dallied in rock, classical music, pop, and radical experimentalism, and his first album reflected it all.
Pantsula dancing and kwaito go hand in hand. Both emerged from the townships of Johannesburg, and both were forces of joy and genius during desperate times. When kwaito landed on the global main stage around the turn of the millennium, star acts like TKZee, featured pantsula dancers in their hit music videos like the brilliantly upbeat “Dlala Mapantsula.”
Mahlubi “Shadow” Radebe and Zwelakhe “Malemon” Mtshali were two dancers from the township of Tembisa, in northeastern Johannesburg, who decided to transition from the shuffling and low movements of pantsula to singing over kwaito’s laidback hip-hop-meets-house swagger. But to do that, they would need to upgrade from their beat-up cassette player to an actual,…