Coming off the less-than-classic Shake It Up, the Cars decided again to change things up, this time moving from their home studio in Boston to London to record with Mutt Lange. The producer was coming off a string of sleek modern hits, most recently Def Leppard’s Pyromania, and the Cars put themselves in Lange’s capable and demanding hands. They spent six months in the studio painstakingly putting the album together, sometimes spending days getting the right bass sound or vocal take. The bandmembers were rarely in the room at the same time and instead of using live drums on the record, Lange and David Robinson put together drum tracks using samples of Robinson’s playing. This sounds a bit like the recipe for a airless, stale album,…
You need to be logged in to view the rest of the content. Please Log In.
Their first release in over 14 years, Forever, I’ve Been Being Born, finds 
Fire Records release 
As the leader, brainchild, and sole consistent member of 
After decades of working at the margins of experimental electronic music, French composer Manon Anne Gillis returns with 
A spellbinding five-CD box set 
…includes two previously unreleased songs “Leave Overjoyed” and “Something Drive”.
How does music communicate across the ages, and what can it teach about fragility, conflict, resistance and peace? In composing Non Fiction, a symphony presented by the 45-member Manchester Collective, conducted by Hugh Tieppo-Brunt with appearances from Jack Wylie and Valentina Magaletti, 
Continuing his refraction of the rave continuum into pointedly dislocated, delicately bruising sound system meditations, Low End Activist returns to Peak Oil with a second and third instalment in his Airdrop series
Since the mid-1990s, Canadian composer Richard Marsella, better known as 
The invitation is simple: spend an hour immersed in the sounds of melting glaciers, and ask if they sound like living, endangered entities. The water flows like blood; the air escapes like breath; steam leaves like sweat evaporating from a body.
1. Young Marble Giants – Final Day
There’s no magical trick to creating the perfect cover version. There are good ones and bad ones. There are plenty of bad covers of good songs, and a few good covers of bad songs, and you can never really predict which way it’s likely to go until you hear the results. The spectrum that runs between fidelity to the original and creative reinvention is not a yardstick for quality, but there are a couple of things that seem to help. Firstly, there needs to be a genuine love for the source material (it seems obvious, but this isn’t always evident). Secondly, it often helps if the one doing the covering has an excellent songwriting track record of their own. It helps, perhaps, to have a feel for the mechanics of song, a natural grasp of the link between the music and words as they appear…
Following a spell on the road this year performing with The Pogues, Glasgow-based songwriter and multi-instrumentalist 
With Taylor Swift exiting her imperial phase and the field of alt-adjacent pop being wider than it ever has been before, it’s a great time to be an up-and-coming singer-songwriter with the skills to make a name for yourself. With Swift becoming something of a critical dud over her last few albums, it’s more popular to chase the mopey guitar pop popularized by Phoebe Bridgers and her Saddest Factory label. Gracie Abrams showed that you could become a pop sensation by putting a glossy sheen on the already glossy boygenius sound. California-by-way-of-Florida songwriter