With three chords and straightforward lyrics, the RAMONES embraced a stripped-down, high-energy approach that was both primal and revolutionary when it arrived in the shape of the self-titled debut album “Ramones” in 1976. They went on to influence some of the most recognizable rock, punk and metal bands of the next several decades, ranging from BLACK FLAG, NIRVANA, METALLICA, CIRCLE JERKS, WHITE ZOMBIE, PEARL JAM, and GUNS N’ ROSES, to name just a few. The mighty MOTÖRHEAD even dedicated a song to them. The RAMONES represented and essentially encapsulated the punk underground scene, they helped create from 1974 onwards. They held true to their sound and style for decades, inspiring multiple generations, and establishing…
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Music for machines does not have to be calculated or even pre-meditated. Just ask Richard Fearless, whose 
With a history that stretches back over thirty years, 
Chapter Music’s landmark collection of Australian 70s-80s post-punk, originally released in 2001, gets its first ever vinyl release!
Arriving five years after their debut EP and two years after signing with Matador Records, the appropriately titled 
In the beginning there was rhythm. And that is the driving force of the third epic edition of the 
Mother Mother has been redefining the music industry since 2005. With an unconventional approach to music and a sound like no other, the band has created their own space in this extensive industry. Adding to their already immense discography, Mother Mother’s new album, Nostalgia, hits streaming services on June 6, ready for their fans to indulge in the fresh and authentic ballads. We sat down with vocalist Ryan Guldemond to gain a true insight into Mother Mother’s latest masterpiece, Nostalgia.
In 1984, members of Crass — the revolutionary anarcho-punk band and art collective from England — self-published the leaflet You’re Already Dead to hand out at their shows. In it, they touted the merits of creating pure art instead of “consumerist products,” putting in the hard work of direct action, and fighting for a world where punk isn’t derivative, escapist, or boring. “It is our job to reclaim beauty and intelligence, dignity and truth,” the band wrote. “NOW IS THE TIME TO CONSTRUCT OUR OWN REALITY.” That year, Crass were touring behind their album Yes Sir, I Will, from which they stitched one lyric onto a huge black-and-white banner. While the band thrashed around onstage, the words burned into the eyes of the audience: “There is no authority but yourself.”
Though they were part of the same scene that gave rise to some of the most important alternative groups of their time, Boston band Salem 66 flew largely under the radar while some of their peers went on to lasting, worldwide fame. Led by songwriters Judy Grunwald and Elisabeth Kaplan, the band burned through the ‘80s, playing gigs with Flipper, the Butthole Surfers, and Dinosaur Jr. (in a version so early they were still just Dinosaur), and releasing multiple albums on Homestead, the same indie label that served as an early home to Sonic Youth and Daniel Johnston. Salem 66 disbanded in 1989, shortly before the release of their final album, and they left behind a small but bountiful catalog of minimal, jangly rock. Decades after the band faded into the ether…
Soul Jazz Records journey into early 1990s ragga, drum & bass and jungle. The album features all-time classic jungle anthems such as General Levy’s ‘Incredible’ alongside some serious Ragga heavyweight tunes like Cutty Ranks ‘Limb By Limb’ and Congo Natty’s classic re-make of Barrington Levy’s Under Me Sensi’. The renowned album tells the story of how Jungle developed out of acid house but with its roots in the UK Dancehall scene of the 1980s and comes with extensive sleevenotes, exclusive interviews and photography. // “Every one of Rumble in the Jungle’s thirteen tracks is brimming over with life and sonic thrills” and “some of this music was released in ‘91, but it sounds like it was made yesterday.” BBC MUSIC // “Soul Jazz’s string of success continues…
With their joint albums LUMINAL and LATERAL, music legend Brian Eno and conceptual artist Beatie Wolfe are releasing two projects that are as independent as they are interconnected.
The rhyming of “vicars” and “knickers” and a reference to Ingmar Bergman swiftly prove that at least one of Pulp’s idiosyncratic missions – loosely, to make existential crisis out of bedroom farce, or bedroom farce out of existential crisis – remains intact on this hearteningly fine comeback album.
Over the past two decades, Ontario-based Born Ruffians have been on a constant journey of musical evolution. From indie rock to New Wave to their current incarnation of synth pop, the band manages to show off snatches of just about every musical influence on 
With the long-running ‘80s good-times nostalgia trip now blossoming into a revival of the noisier parts of the ‘90s, it’s interesting to see the bands that either haven’t gotten their due again, or whose cred has been lost by the wayside in the 21st Century. The kids have been into Deftones and the Smashing Pumpkins again for a few years now. The Cure is back in style again, thanks to Robert Smith’s crusade for lower ticket prices, their fantastic new album, and being one of the obvious all-time greats. Shoegaze is in vogue, bringing those old My Bloody Valentine grooves into the light and causing a massive spike in vacuum sales.
When people talk or write about Chicago’s fast-rising tide of vaunted young indie rock bands, 
Featuring rare tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure. Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master tapes.
Hayden Pedigo: man, myth, master of disguise; un-picker, finger-picker, absurdist, perfectionist. The unorthodox contender for Amarillo City Council, subject of the film Kid Candidate, and creator of the acclaimed Letting Go (2021) and The Happiest Times I Ever Ignored (2023) now embarks upon the release of his new album