…reissue add eight bonus tracks, including five previously unreleased songs, two demos, and one “single mix.”
“I was working, tried my hardest,” Ryan DeRobertis, aka Skylar Spence, sings on Prom King’s disco-tinged ode to self-love “Can’t You See”. “Slowed some music down and called myself an artist.”
The lyric is a recognizable jab at the musician’s own past, a career built on choppy dance remixes of pop songs labeled as “experimental” or “vaporwave,” collected and stacked up like bricks in a well-supported corner of Bandcamp.
But now DeRobertis has made moves to ground himself. He signed to Carpark Records, ditched his previous corporation-provoking moniker, Saint Pepsi, and started singing himself instead…
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In 2023, the UK producer Sammy Virji experienced his first real flash of success. During his viral DJ set at the DJ Mag office, he mixed around 50 garage and bassline tracks in a little over an hour. The raucous set, which, at the time of writing, sits at 2.3 million views, captures the quintessence of Virji’s appeal. As he spun everything from grime VIPs to Ewan McVicar remixes, each track somehow felt bigger than the last. But nothing was more climactic than the moment Flowdan emerged from the crowd, gripping the mic. As the grime MC yelled out the popular hook of the Virji-produced “Shella Verse” — “Pull up dat! Pull up dat!” — Virji, face plastered with his trademark wide and toothy smile, looked like he couldn’t believe how well everything was going.
Imagine being in a coma in 2014 and then waking from it today. The world you arrive in is inarguably not the same one you left. Things are darker, dirtier. The pandemic and global political instability has left the cultural landscape a belligerent, maladjusted wasteland.
As if cosmically enacted, every handful of years Neko Case breaks to the surface with a new album and reminds listeners that she is one of our greatest living songwriters – perpetually becoming more fearless and adventurous. This has been true throughout her more than twenty-five-year career, during which her ferocious indie-rock and country-noir sound has swelled and shrunk to fit the mood, but the walloping impact of the universes she creates has never wavered. Listening to Case’s music will teach you about this world-human nature’s cruelty, perseverance and terrifying beauty, but the natural world as well – the moon and the stars, bees, lions and magpies. Should you encounter a wayward soul who has never heard her music, you might respond…
A deluxe 4-CD box set bringing together the seminal Columbia recordings of Terry Riley. A landmark reissue from one of the most pivotal figures in 20th-century music. 
On their last two albums, 
Sometimes at night, when mark william lewis is feeling overwhelmed, he visits the banks of the Thames River and skips rocks across its surface. “Each stone,” he says, “is another thought sent spinning into the water.” It’s a potent ritual, one you can almost hear in the songwriter’s opaque, introspective guitar ballads. In a dusky baritone, he offers meditations on heartbreak, connection, and the heavy burden of living. Half-thoughts and fractured images flit through his delicate songs; elusive truths flash out for a moment, then disappear into the black.
Nashville-by-way-of-Arkansas musician Drew Pulliam hinted at his potential with his 2023 EP.
This is 
For over 20 years, Hayden Desser has been making music on his own terms and on his own schedule. The three-time JUNO nominee has produced, engineered and mixed most of his records at home, creating a world of his own, exploring themes ranging from love lost and found to bear maulings and home invasions.
One for the Road is the title of a new album by the artist Passenger (Mike Rosenberg), featuring songs from the musical The Unlikely Pilgrimage of Harold Fry. Adapted by Rachel Joyce from her best-selling novel, The Unlikely Pilgrimage of Harold Fry features music and lyrics by Passenger (aka Mike Rosenberg), whose chart-topping hit Let Her Go became a global sensation. The production is directed by Katy Rudd.
Not to be confused with the Scottish twee pop outfit with the same name, this 
Does it annoy you that people today find electronic voices ugly?” Björk asks Mikä Vainio, hanging out in his studio in the 1997 BBC TV documentary Modern Minimalists. “It’s a pity that many people just cannot in a way relate with them,” ponders the Finnish musician. “Some of them are ugly for me as well, but quite many are interesting and beautiful as well.”
“I never will stop grieving.” When Leith Ross sings the first line of their sophomore album I Can See the Future, it isn’t angry or defeated or pleading. Instead, it’s calm, quietly accepting grief as an unavoidable part of the human condition that sticks itself to all corners of life and never gets unstuck. On “Grieving,” the Winnipeg-based indie singer-songwriter puts a country-folk spirit to a common feeling that is often difficult to describe; to mourn things that haven’t happened yet alongside the things that have: “I think I’ll love after I’m dead / And I’ll grieve while I’m alive.”
Running with Scissors immediately cuts through the gauzy chiffon of the glossed-over sound that 
When Milo Goes to College landed in 1982, it didn’t just mark the debut of the Descendents, it redrew the lines of American punk. While the hardcore scene of the time often leaned into aggression, nihilism, and politics, the Descendents broke the mold by writing songs about coffee, boredom, awkward crushes, and suburban frustration. The album’s title alone, a nod to singer Milo Aukerman leaving the band to study biochemistry, set the tone: here was punk that was funny, self-aware, and profoundly human. After decades of having their early discography being held by their original label, SST Records, Descendents have regained the rights to their first four albums. The band is now reissuing remastered versions on ORG Music, starting with their seminal debut.
One of the most successful independent albums of all time,