There’s something wonderfully old school about the hype that has propelled RIP Magic’s career thus far. Total frenzy. Whether it’s the Mascara Bar residency sold out on word of mouth alone (before the release of a note of music), tours with Fcukers and Tame Impala, or the Tyler, The Creator and James Murphy stamps of approval on their fuzzy, buzzy demos, RIP Magic’s entire existence has felt like an exciting secret that everybody’s in on.
Achieving some of these landmarks in a two-year lifespan would be an elusive, almost impossible challenge for most bands, but for RIP Magic, it’s been as easy as 1,2,3.
Although their rise has been rapid, RIP Magic didn’t spring up out of nowhere. This is not a psy-op. Repeat: not a psy-op. This project…
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Apocalypse takes many forms on Sigil, the second record from 
During the pandemic, Spanish DJ and producer Oriol Riverola, aka John Talabot, found himself feeling lost. Beyond losing his primary source of income as his tour schedule evaporated, the complete lack of dance floors also left him feeling creatively strained.
…Like many of the pioneers who would go on to inspire the genre, 
…newly remastered and include five bonus tracks: rare single edits, alternate versions, and legendary electronic remixes from the archives.
Sometimes there’s music that makes you feel like you’ve been listening to it your whole life. It immediately gets under your skin and stays in your head forever. Even when an artist is new, their songs might sound as iconic to you as, say, J Mascis or Jason Pierce’s stuff. 
For anybody still convinced that Geese’s explosion in popularity was a fully botted psy-op rather than the natural byproduct of present-day digital marketing in a culture starved for new rock’n’roll saviors (and, you know, an album that’s actually good), allow me to offer 
The cliffsides of Big Sur, California are rugged, romantic, and seemingly endless. The shimmering coastline stretches both outward and upward, as the rocks the waves crash against hold the roots of the redwood trees, some of the tallest and most ancient in the world.
Brixton’s The Windmill is easily the most discussed music venue of the decade. Its 150-capacity room nurtured an eccentric art rock community, birthing now-renowned acts Black Country, New Road, Black Midi and the Last Dinner Party. It sparked a wave of jazzy, multi-instrumentalist musicians worldwide, from English Teacher (Leeds) to Geese (New York) to Hesse Kassel (Santiago, Chile).
Songs for Sinners is drummer and producer Moses Boyd’s first album in six years, one he’s been thinking about since he was 16. Boyd’s project explores the tensions of spiritual faith and doubt as human forces capable of comforting, dividing, unsettling, and restoring balance via a highly individual meld of contemporary jazz, modern gospel, Caribbean rhythms, and soundsystem culture with individual voices, a choir, and deft musicianship over a dozen tracks.
Cold War Kids have released 
Weezer founding member and original bassist, Matt Sharp, while working on a series of “lost-albums” from the cutting room floor of his creative-life, stumbled upon a curious multi-track reel of analog tape. This mysterious reel found at the bottom of a treasure chest of other master recordings just happened to contain Weezer’s very first studio sessions.
And true to her word, she cuts right down to the bone across the album’s 15 tracks, living and reliving her traumatic experiences with assault and misogyny, processing fragments of trauma in laboured screams and audible gasps, pursuing anyone who’ll listen.
Timeless, and yet always fresh: utterly oblivious of any wiles of the pop business, Planet Yello has been turning on its orbit for nearly fifty years, plunging us into a world where past and future are one and James Bond joins forces with the Man in the Moon, Dionysos and Philip K. Dick. “To the future, through the past,” declares Dieter Meier. With their fifteenth studio album 
At nearly 40 years old 
After an event-filled 45 years, Weird Uncle Al Jorgensen has finally decided to call it quits and to pull the plug on his main musical vehicle, 
An ascetic ideal put forth by Modern Love label boss Shlom Sviri led to Andy Stott making one of his most spellbinding albums, his first since 2021’s 
After Thao Nguyen made her solo debut with 2005’s Like the Linen, she reinforced her offbeat, bluesy indie folk sound with the bolder hooks, burrowing grooves, and colorful textures of her band