…Deluxe 2CD with additional 11 tracks.
God Bless the Band feels like an unexpected encounter with your younger self. Compiling tracks from across Courteeners’ career, the collection revisits a period when British indie was less a musical category than a social world, sticky floors, packed festivals, late trains home and the optimism of believing the next weekend might be the best one yet. The nostalgia here is not simply for the music, but for the atmosphere that surrounded it. That sense of time passing gives the collection its weight. Early favourites sit alongside later material, charting how Courteeners have gradually moved from the rawer energy of their beginnings towards something broader and more polished. “Modern Love” still has that…
Category: indie-rock
After releasing the album We Disappear in 2016, post-pop-punk band The Thermals more or less did exactly that. Frontman Hutch Harris broke up the band he had begun in 2002, when he assembled musicians to learn songs he had already recorded by himself. Now, 10 years after what was to be their final album, The Thermals are releasing a new record, Under Crushing Rain.
For Harris, writing and recording are the true artistic expressions of being in a band. Even though he has released three albums as a solo artist (Only Water in 2019, SUCK UP ALL THE OXYGEN in 2022, and Not Everyone is Loved in 2024), he found that he missed writing and recording as The Thermals. Though, strictly speaking, there’s still no band, as such.
Six years after finding themselves unexpectedly at a crossroads, Kasabian arrive at their third act with a fresh sense of direction and a renewed appetite for experimentation. Act III draws deep from Kasabian’s back catalogue without getting stuck in it, retaining the familiar while allowing the band to explore some new territory. As the third act following The Alchemist’s Euphoria and Happenings, it brings the curtain down on what Serge Pizzorno calls “a bloody opera” – six years that have ultimately led to this record.
The band’s ninth studio album has the distorted basslines, huge riffs and trademark swagger you’d expect, but also makes room for psychedelic textures and influences that take them somewhere less familiar. The tracklisting…
While Asher White‘s musical output is a little difficult to catalog after a decade as a prolific Bandcamp releaser, Love Aggregates is the follow-up — not counting her cover of Jessica Pratt‘s eponymous debut — to her critical breakthrough and Joyful Noise label debut, 8 Tips for Full Catastrophe Living. (It’s her 18th album by most counts.) A breakup album by someone with an aversion to cliché, it’s a surprisingly (bitter)sweet, optimistic-sounding one, especially given that White, 25 at the time of its announcement, has confessed that it was her first time writing an album while deeply upset. One of the conspicuous effects of this circumstance, however, is toned-down production compared to the mercurial 8 Tips. Having said that, only the acoustic…
Arab Strap were full of middle-aged malaise from day one, at least spiritually. Now, 30 years on they’ve grown into the curmudgeons they were always destined to be, but their ninth album is just as funny and insightful as ever, as the grinding minutiae of life’s banality is contrasted with touching messages of hope and contentment.
Many of these songs are more or less an inventory of gripes on a given theme: internet slop, physical decrepitude, the manosphere etc. All backed with varied arrangements, like the no-wave skronk of ‘Dollar Park’, the old-school thrash finale on ‘You You You’ or the industrial jazz-rock bombast of ‘I Get Noise’. It’s a rich musical abyss for Aidan Moffat to shout into.
But while the one-liners and pop culture…
Longtime shoegaze fans and followers surely have certain sound combinations in their minds that they would love to hear, and one such a combination would probably involve My Bloody Valentine and Slowdive with a touch of Lilys to boot. And such a ‘dream’ combination’ might just have been recorded by San Diego’s Sparkler, a duo of Chris and Tron and a revolving set of guests who all seem to love and cherish MBV’s Loveless and Slowdive’s Pygmalion above anything else.
Of course, such adoration can go two ways – turn out to be a second-rate copy of the originals, or an inspired set of sounds that tries to build more where the sources of inspiration left off.
Luckily for Sparkler, Chris, Tron and their guests are able to come with an interesting take…
Kelley Stoltz is an American songwriter, multi-instrumentalist, and DIY innovator whose career stretches back to the late 1990s, when he began self-recording lush, psych‑tinged pop and garage rock in his San Francisco home studio.
…He’s a master craftsman and Beatles-esque sonic architect who never gets lost in the weeds. His songs bounce and groove with garage band light-hearted-ness. And he’s been at it forever, longer, even than Taylor Swift, without any discernable drop in quality. All of which brings us to If You Don’t Know Me, Buy Now. This 19th full-length is as good as anything from his stellar Sub Pop run (Below the Branches, Circular Sounds, To Dreamers). If it’s not quite as stunning as Antique Glow, well, hardly anything is;…
Really Good Time’s debut album Affirmations is a tale of squashed expectations and failed dreams. Sizzling with punk influences and genre-bending songwriting, Affirmations is the agenda of an angry generation, and an exquisite contribution to the exciting landscape that is the Irish music scene. The Dublin trio, made up of Wastefellow (vocals, guitar), Ado Tornado (drums), and Jacque le Coque (bass), have established themselves as one of the sharpest acts to come out of Ireland, offering a unique combination of powerful riffs, black humor, and explosive live performances that have landed the band on the same stage as Franz Ferdinand, The Murder Capital, and Gurriers.
With this first album, Really Good Time reflect on the communal nihilism and disillusion…
Cherry Red previously anthologized shoegaze and dream pop with the expansive multi-disc sets Still in a Dream: A Story of Shoegaze 1988-1995 and Cherry Stars Collide: Dream Pop, Shoegaze & Ethereal Rock 1986-1995, neither of which included anything by My Bloody Valentine, presumably due to licensing restrictions.
In both cases, the compilations started near the beginning of when the genres were beginning to crystallize, then firmly stopped in the mid-’90s, after the music press stopped giving shoegaze attention, and most of the genre’s big names either disappeared or changed their sound. With We Are the Beautiful: Two Decades of Shoegaze 1991-2011, the compilers start right when shoegaze’s definitive releases were…
Exactly 30 years after Soul Asylum’s legendary 1993 MTV Unplugged session – recorded at the height of the band’s fame – the Minneapolis alt-rockers returned to their hometown to once again strip things down and go acoustic.
The performance captured that night wasn’t a song-for-song recreation of their early-’90s set, but it was very much conceived in the same spirit: an intimate, unvarnished look at a band and a songbook now carrying three more decades of history.
Three years later, the band is giving the album, MPLS Unplugged, captured from that Minneapolis show, a proper release. Frontman and rhythm guitarist Dave Pirner is the sole remaining member from the Grave Dancers Union era of…
Most people will know Laurie Vincent as one half of punk duo Soft Play. In that (largely) boisterous band, he plays guitar while singer and drummer Isaac Holman vents his frustrations about life in a simultaneously aggressive and vulnerable way to devastating effect. With Big Truck – completed by drummer Sam Coppins (formerly of Lady Bird), guitarist Asa Thallon and keyboardist Justin Myles – Vincent steps up to the microphone to do the same, albeit in a very different way.
Big Truck is a more avant-garde and experimental project than Soft Play. It combines gentle spoken word observations with more aggressive emotional spitballing, all tied together by the band’s genre-defying melodies. There are flourishes of jazz here, as well as some punk, post-punk…
How do you celebrate your 10th anniversary as a rock ‘n’ roll band in 2026? For Toronto psychedelic garage rockers Wine Lips, they decided to do what they do best: try to make sense of the last decade in a lean 13-track collection with plenty of fuzz, double time, sardonic lyricism and a well-placed “Woo!” as needed.
TV Dinner is perhaps the most straightforward rock record from Wine Lips to date. It wastes little time — all but one song clock in at three-and-a-half minutes or less — and strips back many of the trippy effects and dressings that characterized their past offerings.
The record’s highlights contain all the high-octane thrills that have spilled over into countless mosh pits. Opener “Cut It” pairs the band’s…
Emerging from Baltimore’s incredibly energetic hardcore scene, TURNSTILE have always displayed a penchant for eclecticism. Last year’s album NEVER ENOUGH epitomised their magpie-like eye for glittering sonics, exploding their hardcore palette into something that could be blissfully melodic and crushingly intense all within the same song. Very much an international breakout moment, the band toast 12 months of NEVER ENOUGH with VERSIONS, a staggering broad selection of re-workings which serves to illustrate the ongoing impact of the parent record.
As a collection, VERSIONS is led by the highs: Porches re-crafts the title song into a spectral slice of after-hours introspection; Blood Orange transforms ‘LIGHT DESIGN’ into a zero…
…remastered by legendary audio engineer Howie Weinberg and includes 12 previously unreleased tracks. This bonus material compiles B-sides, outtakes, and raw demos from the original recording era.
A smaller, simpler affair than his breakout album, Sha Sha, Ben Kweller’s On My Way strips away the polished alt-rock production and emphasizes the singer/songwriter side of his music. There’s nothing here as immediately infectious as the Sha Sha singles “Wasted and Ready” and “Commerce TX” were, and overall it’s a more subdued album. However, this somewhat more mature approach is contrasted and balanced by Kweller’s voice, which still sounds charmingly, vulnerably adolescent as he ventures further into his twenties.
The discourse surrounding the Linda Lindas is more telling about the state of the music industry than of the band’s actual music.
It’s impossible to ignore the cultural criticism associated with the quartet of Lucia and Mila de la Garza, Eloise Wong and Bela Salazar, who rose to fame on the back of a 2021 viral video of them performing a song entitled “Racist, Sexist Boy” at the Los Angeles Public Library. Take one quick Google search and hordes of comments calling the Linda Lindas “nepo babies” or “industry plants” will immediately become apparent.
While people have been quick to blow the whistle on nepo babies lately, one can’t help but notice such labels are disproportionately wielded against women, especially racialized women.
Ty Segall has a new album because it’s been a whole year since the last one, and Segall doesn’t seem at ease until he can hit a studio and record all of the ideas floating around his mind. The prolific artist has released 18 studio albums, plus three collaborative albums and several projects with other bands over just 18 years.
Despite the constant output and frequent changes in bandmates, Segall has been remarkably consistent in churning out top-notch garage rock. Chrome continues that success with one of his heaviest albums to date.
For this album, Segall reunites with The Freedom Band, made up of guitarist Emmett Kelly, bassist Mikal Cronin, drummer Evan Burrows, and Ben Boye on keyboards and piano.