…early bird vinyl pressing (limited to 400) comes with a bonus CD, the “dronus disc,” a standalone drone piece the band want played simultaneously with the album itself.
On their 2026 album do you love the color of the sky? the intrepid shoegaze explorers Dummy continue to alter their template and come ever closer to fully integrating the Avant Garde and dreamy pop instincts that are their guiding tenets. Their previous album Free Energy saw them adding new age and experimentally soft sounds to the mix, here they strip them away and go for a more direct, if still at times challenging, approach. Pairing cloudy drifts of lush shoegaze guitar with thrumming drum & bass-inspired rhythms on many tracks, the overall feel of the record…
Category: indie-rock
Punk supergroup Fake Names return with Punk Ruins, their third studio album, out on Epitaph Records. Bringing together five architects of punk and hardcore, Fake Names channel decades of experience into a sound that feels immediate, electric, and entirely their own.Built on the collision of ’70s UK punk, classic hardcore, and guitar-driven power-rock, Punk Ruins finds the band pushing their chemistry further than ever-balancing sharp melodic instincts with explosive guitars, driving rhythms, and the restless energy that defines great punk rock.
A rare collaboration between five influential musicians whose combined history spans decades of underground and alternative music. The Band Fake Names features an all-star…
There is an authenticity to the music of South Carolina’s Winyah that can’t be faked.
Much like The Strokes were distinctly a New York band and their music reflected the city they grew up in, Winyah’s indie rock has a breeziness and small-town sentimentality that feels of its time and place. The songs, especially on their sophomore effort, Right Here, Right Now, capture a restlessness that comes from driving around the same dusty roads and hanging out in backyards on summer nights.
The record opens with “The Ignition,” a two-minute instrumental that starts with the sound of rain and then slowly builds before guitar and drums kick in for the final third, constructing an impressive soundscape to start…
In the early ‘90s, Corin Tucker and Tracy Sawyer were living in Olympia, Washington, barely out of high school and finding themselves in the very heart of the just-forming riot grrrl scene. Inspired by the feminist politics and exciting rethinking of what punk rock was capable of that defined the riot grrrl movement, the duo formed Heavens to Betsy, an emotionally furious and musically raw group consisting of Sawyer on a spartan drum kit and Tucker on guitar and vocals.
From 1991-1994 Heavens to Betsy performed and recorded steadily, disbanding after releasing multiple singles and a sole album, with both parties quickly forming new bands (Heavens to Betsy was Tucker’s first band before co-founding the wildly popular and influential…
The 2LP set pairs the original album with a specially curated collection of B-sides, showcasing the depth and creativity surrounding the 1977 era. Highlights include “Day Of The Triffids,” “Luther Ingo’s Star Cruiser,” “Astra Conversations with Toulouse Lautrec,” “Cantina Band,” “5am Eternal,” “Gimme Some Truth,” “Sneaker,” “T Rex,” and more – essential tracks that cemented Ash’s reputation as one of the most exciting bands of their time. Pressed on green & black InkPlosion vinyl in gatefold jacket.
CD1 features the original album – 12 tracks of high-voltage power-pop that still sound as urgent and melodic as ever (from the adrenaline rush of “Lose Control,” to the widescreen closer, “Darkside Lightside”), plus 4 new tracks…
The guitars gather like a thundercloud, buzzing with electricity, threaded through with the sweet smirk of melody. On their fifth full-length, the loud but tuneful San Francisco outfit known as Pardoner attempts the same balance of hard and soft/heartfelt and sarcastic as Hüsker Dü, Pavement, Teenage Fanclub, and Ovlov.
Bandcamp Daily called Came Down Different, “their sharpest, most enjoyable record yet, and one that feels refreshingly smart-ass, even for a group as seemingly dedicated to mocking their own existence as Pardoner.” It’s hard to decipher lyrics since both vocalists, Max Freeland and Trey Flanigan, are singing against a deafening assault of guitars/bass and drums, however, Target Practice feels a bit more earnest, a bit less…
Exclusively reissued on CD for the first time in over twenty years, presented in Deluxe 7” sized packaging with 2CDs featuring the album newly mastered, plus a comprehensive selection of the best of the original era remixes. Also features brand new sleeve notes written by author Kevin Sampson, The Farm’s former manager.
To celebrate National Album Day and the 2026 theme of ‘Icons’, Demon Records are proud to present the reissue of the Number One debut album from The Farm featuring the Top 10 singles ‘All Together Now’ and ‘Groovy Train’ on it’s 35th anniversary. The Farm had long been flying the flag for terrace chic, anthemic street poetry, training shoes and street fashion for many years since the mid 1980s, before the music press…
Brighton folk-rockers Levellers have been one of Britain’s most enduring and best-loved bands for nearly 40 years. And part of that incredible success has been built on the timeless anthems that comprised their platinum-selling, second album Levelling the Land, which celebrates its 35th anniversary in 2026.
Recorded at Ridge Farm studios in Surrey over the summer of 1991, it was produced by Al Scott, who was charged with translating the band’s incendiary live performances into something more refined within the recording environment. Featuring the huge hit singles ‘One Way’, ‘15 Years’ and ‘Far From Home’, Levelling The Land redefined the UK’s musical landscape providing the soundtrack for a society fed up with the twin…
What hits first about Manchester Orchestra’s debut, I’m Like a Virgin Losing a Child, is how fully formed it already sounds. Recorded independently and driven by instinct, it captures the push and pull between Southern gospel tones, fuzzed-out guitars and the emotional candour that would come to define the band. From the swell of Wolves at Night to the fragile calm of Sleeper 1972, the record moves between hush and full-volume release with real purpose. Andy Hull writes with striking honesty, taking on spirituality, romance, identity and mortality with the urgency of someone living every word. For its 20th anniversary, Manchester Orchestra revisit I’m Like a Virgin Losing a Child in a deluxe reissue with all-new packaging, plus a full second disc of reimagined versions.
The sound of a band expanding their universe – growing bigger and bolder with each record – never loses its thrill. Upon their arrival in 2017, in an era when guitar music was regularly declared to be in terminal decline, Fontaines D.C. powered on through, painting in primary colours and frontman Grian Chatten’s vivid poetry. If their first three albums, culminating in 2022’s Skínty Fía, seemed intent on rebooting indie rock, it made 2024’s Romance and their abrupt pivot into electronics all the more surprising – not least because the band also underwent a sudden 1990s visual makeover of floppy hairdos and rave colours.
It’s worth remembering that, for the members of Fontaines D.C., that decade is as distant as the 1960s were to Oasis and Blur. And so, in…
Philosophising about life comes naturally to Eels’ Mark Oliver Everett. On his 16th studio album, Cookie Happened, the starting point comes from an unlikely source: Cookie Monster and the words, “Me no cry because cookie is finished. Me smile because cookie happened.”
That mixture of sadness, acceptance and humour runs through much of the record.
Opener “Clobbered” sounds surprisingly bright and rejuvenated, all jangling guitars and catchy 60s-style pop, despite being about someone who has reached rock bottom. Rather than wallow in it, Everett finds liberation in surrender: there is nothing left to lose, so the only way is forward.
That idea returns on “Congratulations To Me”. Opening with a solemn feel…
Jonathan Personne is the solo alias of Jonathan Robert, a Montreal-based singer, songwriter, multi-instrumentalist and frontman for Sub Pop band Corridor. His fifth album under the alias is a lovely sweet of dreamy psych-pop with Jonathan largely singing in French atop his warm, lush, welcoming arrangements.
Corridor bandleader Jonathan Personne’s solo record Nouveau Monde was one of the must-hear Canadian albums from 2025, and now he’s back with even more new material — Répertoire arrives via Bonsound. Marking his fifth album in seven years, Personne blends dreamy pop with yacht rock textures as he reflects on the highs and lows of being a professional musician and his ever-evolving relationship with music.
Being cynical, feeling a bit jaded: it’s a common condition when it comes to a genre as well established as rock. So when someone tells you about a new band doing interesting things in a grungy, punk-pop vein, it can be all too easy to roll your eyes and assume that it’s all been done before, and better. But sometimes curiosity wins out, you press play, and a song like “GirlVsHeart” hits you full in the face with crashing drums and gleefully thrashing guitar. Instantly you’re hooked and lock into a record that turns out to be a stomping joyride of youthful angst and, along the way, offers up a few surprises.
This is Sugar Rush, the debut album by Swedish twenty-somethings Clutter who emerged from the Stockholm underground back in 2024…
Sometimes, a new album’s opening track shows you a band picking up right where they left off. In 2024, Philly indie rockers Queen of Jeans shared All Again, a record that showed frontwoman Miri Devora caught in a codependent loop with a withholding partner, closing with her admitting that, given the chance, she’d go right back. Under a minute into All Again’s follow-up, hard/SWEET, Devora swears she’s done and, in the same breath, begs the avoidant object of her affection to “come over one more time.”
hard/SWEET oscillates between romance and rejection, tormented and enraptured by a love for another person that comes at the expense of loving oneself. To capture that tension, Queen of Jeans got back in the studio with All Again…
Have you ever watched a band perform and known, without a doubt, that they were on the cusp of becoming far, far bigger than they are in the moment you’re seeing them? If you’re a regular concertgoer, you’ve known the feeling of watching bands perform that will never outgrow their enclosures, and you’ve also known what it feels like when one is about to have a growth spurt. In 2025, a year and a half after the release of We’re Starting to Look Like Each Other, the debut album of Atlanta emo-folk duo hey, nothing, they performed at Salt Lake City’s Kilby Block Party. Despite sharing a time slot with indie-rock legends Built to Spill, the teenage duo Tyler Mabry and Harlow Philips delivered a performance that put the minds of anyone who skipped out…
Everyone Says Hi return with their second album Funny Cos It’s True — a hook-heavy, groove-forward alt record that expands on the momentum of their acclaimed self-titled debut. The title says it all: the songs are candid, personal, and lived-in — delivered with lead singer and songwriter Nick Hodgson’s sharp humour and a big-chorus instinct.
Funny Cos It’s True is eleven tracks of intoxicating indie-pop.
Following their acclaimed self-titled debut album in 2024, the record sees the band firmly stepping into their sound. Layered with a hazy retro sound, while sounding distinctly new, the album sees the band rediscover and reinvent a classic sound with a heavy dose of infectiously anthemic choruses and a knack for lustrous songcraft.
There’s a charming spit-and-sawdust quality to Linda’s Head, the new album from Helen. It’s easy to catch incidental parts of the recording process that studio polish might otherwise have erased, like clashing frequencies, room sound, and messy reverb tails. Songs often open with the fading end of the preceding number, as if the album were one warts-‘n’-all live set haphazardly divided into ten. And yet a finely wrought songcraft lurks just below the surface.
Linda’s Head is the second album by Helen, a trio from the Pacific Northwest comprising Liz Harris (also known as Grouper, the by-now legendary experimental folk artist), Scott Simmons, and Jed Bindeman. This album builds on the sounds first explored on their 2015 debut, The Original Faces.
The Smashing Times do one thing and they do it really well; make catchy, jangling guitar pop that sounds like it was recorded in the bottom of a well. Inspired by other fidelity challenged bands like Guided by Voices, Television Personalities, and Times New Viking, they add some freshness to the bloodline. Their 2019 debut cassette EP Come Along with Me is full of hooky, heart-felt pop tunes that sacrifice crisp, clear sound in favor of immediacy, but don’t submerge the singing and playing in so much clatter that the emotions are blunted. Much of the album has the autumnal wistfulness of the Byrds at their most elegiac, only recorded on a beat box instead of a state-of-the-art studio. All seven songs on the record all dig deeply into this mood…
