Category: rock


Just Once brings together a fascinating collection of rare live recordings spanning the years 1982 to 2017, documenting songs that The Fuzztones performed only once on stage. More than just an archival release, the album offers a unique glimpse into the band’s early New York years, when they were building their reputation in legendary venues such as CBGB, The Dive and Irving Plaza – places that have long since disappeared but remain an important part of the city’s underground rock history.
Led by frontman Rudi Protrudi, and featuring musicians including organist Deb O’Nair and guitarist Elan Portnoy, The Fuzztones developed a distinctive musical identity rooted in the raw energy of 1960s garage rock, psychedelic…

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Slightly All The Time Recordings 1970-1974 is a new CD box set featuring English rock band Soft Machine.
This comprehensive anthology features 14 CDs and three blu-rays and covers the first half of the 1970s and the five albums (‘Third’, ‘Fourth’, ‘Fifth’, ‘Six’ and ‘Seven’) they recorded for CBS with each one newly remastered from the original quarter-inch tapes. In addition, it includes all of their existing BBC sessions (half of which are unreleased) and a generous selection of rare and previously unavailable concert recordings from Europe (UK/France/Switzerland).
Compiler Mark Powell has unearthed an entirely different set of recordings of their ‘Fifth’ album, as well as over 6 hours…

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Sax and drums and Rock ’n’ Roll. In a moderately unexpected turn of events Australian demolition duo Party Dozen find themselves a decade in, arriving at their fifth album with no sign of slowing down. 21 Bum Salute is a fine distillation of their special blend of honkin’ skronkin’ chaos, a rattling half hour of fizzing, restless, motion. They contend it is their best yet and they may well be right. It’s a raucous good time.
‘Special Unit’ rolls in on a building crescendo and wastes little time in setting the scene, uptempo swinging drums, gibbering vocals and honking sax. The relentless, distorted, groove of ‘Euro Stomper’ gathers layers of twisting sound until it reaches a delirious level of blow-out. ‘Mad Rooter’ is an unstoppable strutter…

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There is something reassuring about a band reaching its fifth album and deciding that, rather than reinventing itself, it might be worth remembering what made it exciting in the first place. After the glossy dystopian theatrics of 2023’s Dead Club City, Nothing But Thieves returns with Stray Dogs, trading conceptual ambition for five musicians making considerable noise and apparently enjoying themselves enormously. Unfortunately, the results are rather less adventurous than intended.
The Essex quintet has always occupied an interesting position in British rock: too ambitious to be dismissed as conventional arena rock, yet occasionally too enamored of enormous choruses to venture far beyond it. At their best,…

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Sweden’s Cult of Luna have been creating their engaging take on post-metal for 25 years and show no sign of slowing down or stagnating. This was a concern of main man Johannes Persson when they set about making their tenth studio album In the Shadow of Your Shadow.
…Supported once more by Daniel Berglund’s spotless recording and a finely toned mix from mainstay Magnus Lindberg, Cult of Luna don’t sound tired or sorely in need of reinvention. Rather, remarkably, after 28 years, their core muscles are strong as ever. The title track is a massive flex of post-hardcore’s aggression on the emotional scale of post-rock. Of course, as a post-metal band, the weight primary vocalist and lyricist Johannes Persson carries is all mental.

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Silver Lake, California. Hipster suburb of East LA, preferred haunt of artists and bohemians, and fertile ground for a burgeoning independent scene: gentle souls bringing folk, soft rock, chamber pop and psychedelia together to create meticulously crafted yet beautifully balmy music that captures the ache of the human condition in universally relatable terms. But just what decade are we in? Because the mid-2020s in this happening ’hood are sounding a lot like the early 1970s.
As Sylvie, musician and producer Ben Schwab collapses the years which separate Jackson Browne, Beck, Elliott Smith and onetime bandmate Sam Burton, living up to the easy listening cosmic country vibe of the Matthews Southern Comfort song from which he took his outfit’s name.

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Rock and Roll Over’s 50th anniversary is celebrated with a comprehensive Super Deluxe Edition boxset showcasing a 4CD and Blu-ray Audio experience including 130 total tracks with 100 tracks & mixes previously unreleased.
The original 1976 album mix is newly remastered from the original stereo analog tapes on CD 1 by Bernie Grundman, who mastered all audio.
CD 2 offers up a brand-new album stereo mix by the original producer Eddie Kramer giving the album a more modern rock sound utilizing Kramer’s 50 years of engineering prowess since first delivering the album.
22 unreleased demos, outtakes and alternate mixes have been unearthed on CD 3 including 9 Gene Simmons demos…

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‘It’s Me’ is a delicious slice of Seventies AM radio – a sunlit melody with a tad of wistfulness – that opens the 21st album of serial Ivor Novello winner, Gilbert O’Sullivan.
Andy Wright returns as producer, extending a partnership that yielded Driven (2022) and Songbook (2024).
Recorded at London’s Eastcote Studios with O’Sullivan’s trusted ensemble, the album’s 13 songs were captured in just five days, each introduced at the piano and worked into shape over a few rehearsals before the tape rolled. Lead single ‘Growing Old Disgracefully’ is stellar orchestral pop, which landed wonderfully during Gilbert’s stellar recent 3Arena performance.
The O’Sullivan songbook boasts many…

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Over the course of three previous albums, a documentary film and brief but influential performance on hit cable show Ted Lasso, UK one-man band Cam Cole’s music has dug into a gnarly, ragged, combination of tough, unvarnished, gut bucket blues inspired by a combination of the Stooges (if they hadn’t slept for a week) and name-your-favorite-Delta-bluesman here.
But like the color cover on this fourth release (others were stark black and white images and ominous line drawings), Cole has shifted his focus. Perhaps he felt there was nothing more to be said he could in that format, or maybe he was ready to change. Regardless, Lost in Creation, finds the grizzled artist polishing his roaring, aggressive guitar/drums/vocals musicality…

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…features the original album alongside rarities, instrumentals, previously unheard songwriting demos, rehearsals, and live sessions.
October 1972: with Roxy Music’s first 45 ‘Virginia Plain’ still airborne, Bryan Ferry, wearing gold-trimmed black silk pyjamas, was convalescing from a tonsillectomy. “I may never sing again,” he said, drily. “But I can’t promise anything.”
Ferry’s voice was musical Marmite, shivering and trembling like a lounge singer from Mars. Expressive to the point of caricature, it stretched the bounds of believability to such an extent that some questioned its sincerity. There were similar misgivings over Roxy’s trailblazing, wildly eclectic music. “Style over substance,” grumbled rock TV host Bob Harris earlier that year.

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…contains 51 newly-mixed audio tracks, including 27 unreleased, live, extended, and previously unheard tracks.
“Welcome to one of the best origin stories in rock’n’roll: the long march from genesis to liftoff of Tom Petty and the Heartbreakers,” trumpets MOJO writer David Fricke’s essay in the beautifully illustrated and informative ‘zine-style guide that accompanies Origins’ 50-plus tracks and Blu-ray of the band’s BBC Old Grey Whistle Test performance. But the actual story is less a glory-bound forward march than a stop-start of slow-downs, double-backs and dead ends before a serendipitous reset. Save for the first two Tom Petty and the Heartbreakers albums not just in toto but with several tracks re-edited to run precious…

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…features the original album newly remastered, a brand-new remix of the album from the original stems by longtime collaborator Cameron Webb, studio rehearsals and outtakes from the 1985 sessions, and the complete BBC Radio 1 Friday Rock Show session from 1986.
Motörhead were always a band whose truest home was the stage, and for much of their career their studio albums felt like snapshots of a live assault rather than carefully sculpted statements.
Orgasmatron is the exception that proves the rule. Released in the summer of 1986, it arrived after three years without a studio album, a bruising legal war with their former label and a line-up upheaval that had torn up the classic power-trio blueprint. Lemmy was by then the last man…

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The greatest trick the Twisted Teens ever pulled was making you think they were a garage rock band. Sure, on its scabrous surface, the New Orleans group boasts the genre’s essential qualities: no-budget production; deliciously distorted riffs that suggest pawn-shop guitars with rusted strings; and a lead singer who howls like he’s nursing a killer sore throat and has run out of lozenges. But the world was hardly lacking for good-time garage rockers before Twisted Teens came along, so how does a group that was virtually unknown a year ago now find itself signed to Sub Pop’s roster, playing big rooms with the Breeders, and getting covered by Jeff Tweedy?
You can’t discount the band’s cross-generational appeal. Millennials might see…

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…The 10th album from the Tennessee rock veterans is distinctly different to its 2024 predecessor Can We Please Have Fun. While that album saw frontman Caleb Followill and co throw caution to the wind and embrace a feel-good sound, this sees them showcase their most vulnerable, stripped-back sound to date.
Originally, the record was set to carry the same larger-than-life approach that took Kings of Leon to headlining arenas and topping festival bills for years now. However, following the band having to scrap their tour earlier this year due to the singer breaking his foot, the band ultimately decided to go back to the drawing board and use the downtime to tackle some heavier subject matter that they previously pushed to one side.

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…Limited Edition features an additional 47 minute bonus CD of music not included on the album.
Like an alternate soundtrack to Kaneto Shindo’s 1964 Japanese horror classic Onibaba, Steven Wilson’s solo work has always taken listeners on a roller-coaster ride through a variety of themes, dating back to 2008’s Insurgentes. From inner turmoil and serial killers to ghost stories, isolation, the brutal truths of fanaticism, online shopping addiction, the search for life’s inner truth, and journeys through the cosmos, Wilson has never been an artist who allows listeners to predict what comes next.
Whether you embrace his music or find yourself struggling to connect with it, Wilson has always been willing to take risks, challenge…

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Dave’s Picks Volume 60 contains the two previously unreleased complete concerts recorded on April 13 and 14, 1984 at the Hampton Coliseum in Hampton, Virginia on 4 discs, and was recorded by a reportedly “super-dialed-in” Dan Healy and mastered to HDCD by Jeffrey Norman at Mockingbird Mastering. In his “seaside chat” about the album, David Lemeiux, the namesake and overseer of the series, says he couldn’t believe they were at number 60. He calls the two shows “magnificent”, noting that one of the “Morning Dews” from the two was one of the best he had heard from the band’s 1980s performances. He also says that the second show is “really interesting”, as the set begins with “Scarlet Begonias” segueing into “Fire on…

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British guitarist Ray Russell has enjoyed a prolific career that is now in its seventh decade. From the late 1960s through the early ’70s he led electric jazz ensembles on a series of iconic jazz fusion albums. He also spent decades as a composer, arranger, and producer on hundreds of sound library sessions, and was a session and touring musician for top-shelf artists including Tina Turner, Cat Stevens, Heaven 17, and Robert Plant.
Russell’s Dangerous Bends is his third album for Cuneiform. Early in 2026 he joined guitarist Nathan Moore and drummer Eddie Prevost on Stacked. On this eight-track set, Russell captures his quintet playing (mostly) live in the studio. He shares the frontline with saxophonist Tim Whitehead, while alternating bassists…

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Weezer founding member and original bassist, Matt Sharp, while working on a series of “lost-albums” from the cutting room floor of his creative-life, stumbled upon a curious multi-track reel of analog tape. This mysterious reel found at the bottom of a treasure chest of other master recordings just happened to contain Weezer’s very first studio sessions.
These were the very same recordings that were responsible for earning the band a record contract for their iconic debut “Blue” album. These newly discovered sessions feature raw, vividly emotional and ecstatic versions of the band’s timeless hit songs Say It Ain’t So and Undone (The Sweater Song.) Sharp and legendary music producer Joe Chicarrelli took these recordings…

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