Category: rock


Digging even deeper into a personal archive of home-recorded tapes from another time, If You Wanna Laugh, You Gotta Cry Sometimes is the third volume of previously unreleased songs from the already obscure Georgia singer/songwriter Robert Lester Folsom. In the mid-’70s, when Folsom was just out of his teens, he self-released the studio album Music and Dreams. For decades, the psychedelic soft rock of Music and Dreams served as Folsom’s only public output, and its combination of quality, mystery, and rarity eventually made it a collector’s item. Folsom’s archive of demos, unreleased solo tracks, and tunes made with friends on his reel-to-reel four-track has proved just as interesting as the strange moods of Music and Dreams, and If You…

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Continuing the sonic universe they first unveiled on 2022’s Antimai, Sunya finds the band leaning into synth textures and tightly wound grooves, drawing as heavily from jazz and funk as from progressive rock.
Clarion Call Media sent over these details: Moving further into the world they began shaping on 2022’s Antimai, Sunya finds the band leaning into synth textures and tightly wound grooves, pulling from jazz and funk as much as progressive rock. The scope is still ambitious, but the lens has shifted.
Where Antimai spoke from the collective voice of a city, Sunya is personal. The songs follow a single perspective stepping beyond the walls for the first time, confronting both the physical…

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…“Legendary Edition” of the band’s self-titled debut offers the remastered original album (featuring tracks like “Mama Kin,” “Movin’ Out” and the eventual smash hit “Dream On”) alongside a new remix of the album, overseen in 2024 by Steven Tyler and Joe Perry with producer/engineer Zakk Cervini and producer Steve Berkowitz, plus a further 17 unreleased tracks including studio outtakes and a vintage live performance in the band’s hometown.
…The quintet – singer Steven Tyler, lead guitarist Joe Perry, rhythm guitarist Brad Whitford, bassist Tom Hamilton and drummer Joey Kramer – had been playing together since 1970 – even sharing a home together on Boston’s Commonwealth Avenue – and were famously signed to…

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Once upon a time, albums of cover versions were something of a “go to” (along with hastily assembled live records or compilations with one or two new tracks) when an artist’s creative juices were running a bit dry. In recent times though, these stop-gaps seem to have been replaced with the remix album – because who really wants to give away all that lovely publishing income?
However, it seems that the covers album might be making something of a comeback in 2026. Already this year, the Damned have put out Not Like Everybody Else and even Willie Nelson has released Last Leaf on the Tree.
The latest to join this trend is the Dandy Warhols, who have even appropriated the title of David Bowie’s own covers album from 1973.

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Zappa Records is rolling out its first archival release of 2026, and in doing so, is belatedly celebrating the 50th anniversary of one of Frank Zappa’s landmark releases. Bongo Fury, The Mothers of Invention’s 1975 collaboration with fellow iconoclast Don Van Vliet a.k.a. Captain Beefheart, is notable not only as the final original album to be released by Zappa and The Mothers but also as a transitional album featuring band members George Duke, Tom and Bruce Fowler, and Napoleon Murphy Brock alongside newer recruits such as Terry Bozzio and Denny Walley. Zappa was coming off a purple patch that saw his music reaching a new level of success (including the Gold-certified albums Over-Nite Sensation and apostrophe (‘), the latter of which reached the U.S. top ten)…

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While The Stooges had a few obvious points of influence — the swagger of the early Rolling Stones, the horny pound of the Troggs, the fuzztone sneer of a thousand teenage garage bands, and the Velvet Underground’s experimental eagerness to leap into the void — they didn’t really sound like anyone else around when their first album hit the streets in 1969. It’s hard to say if Ron Asheton, Scott Asheton, Dave Alexander, and the man then known as Iggy Stooge were capable of making anything more sophisticated than this, but if they were, they weren’t letting on, and the best moments of this record document the blithering inarticulate fury of the post-adolescent id. Ron Asheton’s guitar runs (fortified with bracing use of fuzztone and wah-wah) are so brutal and concise…

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Asia are back and roaring in their new, exhilarating line-up! Recorded live on the first of three unforgettable nights at Trading Boundaries in Sussex, in April 2025, this release captures the band performing their iconic 1982 debut album “ASIA” in full, along with a selection of their greatest hits.
Featuring Geoff Downes (keys), Virgil Donati (drums – ex-Planet X), John Mitchell (guitars – Arena, It Bites etc.) and the astonishing Harry Whitley (on bass and vocals), this fresh incarnation of Asia brings both reverence for the classics and a thrilling new energy to the stage. The setlist includes fan favourites like “Heat Of The Moment”, “Only Time Will Tell”, “Sole Survivor”, “One Step Closer” and “Time Again”, alongside video-era…

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Last year White Reaper released their latest full-length, Only Slightly Empty. Now the band has released a deluxe version, Only Slightly Expanded, featuring previously unheard b-sides, including “Need,” “Mold,” and “No Counter.”
It took more than getting dropped by their label and losing the rhythm section to put a damper on White Reaper. Their 2025 album Only Slightly Empty has all the elements on board that have made all their other releases such a delight. Listed in order of increasing importance: crisp and clean production, guitars that split the difference between hard rock thunder and power pop chime, charming dude-next-door vocals, and huge hooks. It’s all here and all working perfectly well as the band – now down to a trio – crank through…

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Bright Spirit marks the third instalment in a trilogy that began with The Universe Also Collapses (2019) and continued with Unending Ascending (2023). Recorded with long-time collaborator Frank Byng in his South London studio, Bright Spirit sees Gong at their experimental best, more adventurous and more open to the dream than ever.
And dreams are central here. Not just as lyrical imagery, but as a way of thinking – where psychedelia, love, and the thin membrane between worlds feed into the music. The opener, ‘Dream Of Mine’, unfurls like a transmission from the in-between, its mid-section blooming into harmonies and an angular melody that feels like a key turning in a long-awaited lock. Frontman Kavus Torabi describes it as a moment everything…

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Emerging out of the Pacific Northwest in 2021 and later relocating to Joshua Tree, California, This Lonesome Paradise is as much a living, breathing product of its hallucinatory high-desert environment as its reverb-rattled noir-Americana is a direct reflection of it. With the new Death Motels, the quartet has taken the next step into the boundless cinematic landscape that’s been teased in its previous work.
…Musically, Death Motels is relentless. Ferocious guitars slash through the silence like blades, low-end bass churns like a storm beneath the earth, and Ray Béchard’s voice hovers somewhere between incantation and confession. Jordin Bordeaux’s spectral voice and Mellotron textures conjure an atmosphere that feels both…

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When Chicago five-piece Brigitte Calls Me Baby released their debut album in 2024, they offered up an alluring mix of yearning new wave and heartbroken retro-rock made all the more evocative by lead singer Wes Leavins’ towering vocals, which split the difference between Elvis Presley (whom Leavins has portrayed on-stage) and Morrissey (who himself was influenced by Presley and “the U.K. Elvis,” Billy Fury).
On the follow-up, Irreversible, Leavins and band lean fully into the lush, pining sound of ’80s New Romantics while leaving Elvis behind but bringing along a strong Smiths sensibility. While the Morrissey comparisons are inevitable this time around, Brigitte Calls Me Baby put their own soaring, lovesick twist on influences…

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It’s unfair to say that Fleetwood Mac had no pop pretensions prior to the addition of Lindsey Buckingham and Stevie Nicks to the lineup in 1975. When they were led by Bob Welch they often flirted with pop, even recording the first version of the unabashedly smooth and sappy “Sentimental Lady,” which would later be one of the defining soft rock hits of the late ’70s. Still, there’s no denying that 1975’s Fleetwood Mac represents not just the rebirth of the band, but in effect a second debut for the group — the introduction of a band that would dominate the sound of American and British mainstream pop for the next seven years. In fact, in retrospect, it’s rather stunning how thoroughly Buckingham and Nicks, who had previously recorded as a duo and were…

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The Outfit present a career defining new album, Preservers of the Pearl, asserting themselves as messengers of the new wave of underground rock and roll, pushing the movement forward alongside fellow trailblazers Mystery Lights, Sheer Mag, Shadow Show, Uni Boys…
Everything has been leading here. Daniel Romano shifts from his position as sole writer, opening the floor to Outfit stalwarts Ian Romano and Carson McHone, and welcoming into the fold longtime friend and legendary Canadian rock-n-roller, Tommy Major. The band is functioning as a true collective – multiple voices and perspectives – all serving one creative pulse. The result is both a new beginning and a homecoming, a complete and fearless statement.

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…feature the original album remastered by Sean Magee at Abbey Road Studios, a new mix by the band’s longtime collaborator Terry Brown, and remixed and expanded edition of the live album and video Grace Under Pressure Tour.
Following the release of Signals in 1982, Rush’s 10th album would find them continuing to experiment with electronic sounds, even incorporating elements of ska in their progressive melange. For the first time since their debut, the Canadian trio elected to work with another producer/engineer than longtime collaborator Terry Brown, though they parted amicably; Peter Henderson, best known for his work on Supertramp’s Breakfast in America, produced Grace alongside the band. The group spent…

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A band founded sixty years ago during the same emergent British psychedelic art-rock scene that brought the world Pink Floyd is still putting out new music. Soft Machine’s Thirteen refers to this being their 13th studio release, the third since they resumed making records under the Soft Machine moniker after a thirty-seven year lull.
Soft Machine’s last new release arrived three years earlier; the Other Doors quartet still boasted two members from the mid-70s lineup and a third from that era appearing on two tracks. In the interim, long-time drummer John Marshall passed and bassist Roy Babbington’s phase-out became complete. Guitarist John Etheridge remains the last link to the classic era while keyboardist/saxophonist/flautist Theo Travis…

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… and the boisterous brothers are back. No, not that pair from Manchester, but Chris and Rich Robinson, with a follow-up to 2024’s Happiness Bastards. Labelled “The Most Rock ‘n’ Roll Rock ‘n’ Roll Band in the World” by the Melody Maker, it’s not difficult to guess what’s on offer with this latest release, A Pound Of Feathers.
Profane Prophecy starts off with a transplanted Rolling Stones groove and cowbell. There’s lots of energy, handclaps and foot stomping aplenty and even a dog imitation at one point. Exhilaratingly fun and a good opening choice. Cruel Streak, which follows, keeps up the pace. It’s an up-tempo rocking blues (what else?) with nicely juddering staccato drums and a key shift which gives it extra bite.

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