UNHINGED is Sophie Gault’s third album after Delusions of Grandeur (2022) and 2024’s Baltic Street Hotel. The title comes from her own view of herself: “I’m unhinged and a little bit crazy”, and this gives some idea of the energy of the record. It is rather traditional female-fronted country-rock, but done with such verve and brightness that it really wins you over and puts a smile on your face. And it doesn’t do any harm that Gault has a great country voice.
She has written five of the ten tracks here, but the first track is a rollicking Buck Owens cover, ‘Love’s Gonna Live Here’, with slide guitar and country licks, that improves on the original. This staple of her live set is a great start to the record. Following is ‘Pocket Change’, with a bit of a twang in…
Category: rock
The Neal Morse Band’s fifth studio album L.I.F.T. is nilled as a record that “stands toe to toe” with the group’s rated 2016 LP The Similitude Of A Dream. It’s another virtuosic concept album that continues the NMB’s tradition of spiritually-themed storytelling.
“There’s an arc to it, but I suppose it’s really about belonging,” Morse tells Prog of the follow-up to 2021’s Innocence & Danger. “You start out feeling like you belong with your parents, then you break from them and you might not feel like you really belong in the world. It talks about reaching for God or a higher power or however you want to put it, and God bringing us back to wholeness.”
Asked what the letters in the new album’s title stand for, Morse says it’s open…
Many bands take time to find what they entered into the industry for: fun and freedom. What began as a hobby may lose its enjoyability once it becomes a full-time commitment, with the introduction of strict deadlines and outside involvement.
With Liverpool alt act STONE, this is where they ended up coming to during the run of their debut record Fear Life For A Lifetime; an outstanding album but one they were always going to look to improve upon. In the following years, with big changes leading to bigger challenges, they would work towards a more independent and representative collection of hits. Enter Autonomy.
As the title is to be believed, this is a record that STONE have made with more of their own…
The newest release from Buffalo, NY instrumental jamband, Organ Fairchild, continues their tripped-out grooves mixed with smooth flowing vibes that lovers of their live shows have come to cherish. BOOM! is a sweet collection that takes the listener on a journey with the band, knowing that the tracks will shift and morph when the group enters their natural habitat, the stage.
For this studio effort, Organ Fairchild (Joe Bellanti- organ and keyboards, Corey Kertzie- drums and percussion, and Dave Ruch- guitar) worked with Justin Guip (Hot Tuna, Levon Helm), who recorded, mixed, and co-produced, and Alan Evans (Soulive), who mastered the record.
Opener “Westside Bowl” mixes smooth lounge-ready sounds with chicken scratchy guitar…
The Sheepdogs have now been in an amazing groove of producing upbeat, West Coast-leaning blues-rock for over twenty years. Their trademark sound manages to embrace the paradox of being both nostalgic and contemporary. Keep Out of the Storm fits in perfectly to their catalogue: it feels both familiar yet fresh. It’s a great listen. The songs are plainspoken, melodic, emotionally direct and more concerned with feeling authentic than being literary. Where there’s grit, there’s also an underlying optimism.
The album begins with Nobody But You, a song about romantic commitment, two people simply being, no plan, just mutual dependence. The expression of love is simple and affecting: “Every time I see your face / I get a smile that I can’t…
Motorpsycho has always been of the opinion that the most interesting stuff happens in any art form before it is formatted and settled. In rock music, this phenomenon peaked in and around 1970, and it is in this period that the best heavy music was made, simply because the rules weren’t set, there were no tropes yet, and there were no clichés to fall back on. The Gaia II Space Corps is an album of tunes that don’t quite sound like heavy metal or hard rock, but clearly is reaching for some of the same qualities. It is post-psychedelic, pre-metal music, and is probably as close to making a true blue ‘classic hard rock’ album Motorpsycho ever will come.
The Gaia II Space Corps is a short, concise, catchy and exciting album, continuing…
First released in October 1974, the album was a conceptual piece based upon the theme of a travelling circus and was recorded at Chipping Norton Studios in England. The studio had been the location of the recording of the band’s previous album ‘Remember The Future’, issued in 1973. For Down to Earth the band opted for a more direct approach to their music and sessions saw contributions from a horn section and legendary vocalist P.P. Arnold.
By the time ‘Down to Earth’ was released in Europe, ‘Remember The Future’ had become a top twenty US hit and the band travelled to the States to embark on a successful tour. A second US visit followed in the spring of 1975 to promote ‘Down to Earth’. The band enjoyed huge success…
This Philadelphia band’s quickened in the pores & bones with jangly guitars, narrative lyrics, & juiced by some psychedelic spice. Nice contrasts. The new album was produced by Brian McTear (electric guitar/bgv) & Amy Morrissey (bgv) at Minor Street Recordings in Philly. Ten songs hang beside the Mirror In The Hallway with the band’s collective effort of original music & Drew Harris’ lyrics (lead vocals/electric & acoustic guitars/harmonica).
This second full-length indie album took 3 years to complete because they wanted it to be ambitious & perfect. Aside from the many topics that are touched upon, it’s basically about self-examination through a fine mix of roots rock, shimmering notes & rhythm, some folksiness, a fluid blend of nostalgia & new beginnings.
…Sourced from the original master tapes, Mobile Fidelity’s numbered-edition hybrid SACD presents the 1978 effort on what is the definitive-sounding digital version of the Rock & Roll Hall of Famers’ biggest-selling record.
With Tom Johnston gone from the lineup because of health problems, this is where the “new” Doobie Brothers really make their debut, with a richly soulful sound throughout and emphasis on horns and Michael McDonald’s piano more than on Patrick Simmons’ or Jeff Baxter’s guitars. Not that they were absent entirely, or weren’t sometimes right up front in the mix, as the rocking, slashing “Don’t Stop to Watch the Wheels” and the bluegrass-influenced “Steamer Lane Breakdown” demonstrate. But given the keyboards,…
This latest salvo from the PDX cosmic outfit is a continuous rush, its multi-guitar onslaught striving towards anthemic, psychedelic motion, its giant drum (a marching band’s bass drum turned onto its side) pounding in ritual, magic exultation. You can still experience the spreading, unbound serenity of past releases — “Walker’s Dead Birds” is, at its center, full of stillness and awe — but, in general, these cuts move. “New Imposition of Light,” is a stirring vortex of 1960s gnostic rock.
…So yes, exciting, excessive, over-the-top and wildly entertaining , all that applies to Abronia’s latest album. There are, as before, nods to the Americana tradition, most particularly in the pedal steel that opens “Mirrored Ends of Light.” However, this music is way more…
The complete 19-track collection combining both installments of Yungblud’s album ‘Idols’, which adds 6 brand new songs and a re-imagined version of the GRAMMY® nominated single “Zombie” with The Smashing Pumpkins to the tracks released June 2025.
Since emerging in the late 2010s, the British yelper Yungblud — a.k.a. Doncaster, England-born Dominic Harrison — has become an anti-pop hero. His songs channeled the angst and agitation of youth into frenetic mini-anthems that musically reflected the on-shuffle mentality of the 21st century. Yungblud’s voice — a piercing yelp that exists somewhere between Gerard Way’s wail and Brian Molko’s sneer — slotted him in the alt-rock world, but his aspirations seemed…
Berlin’s experimental trio Zahn returns with their most electrifying work yet. A lush fusion of heaviness, electronics, and hallucinatory color. Monolithic grooves meet synthetic shimmer. Purpur breathes tension and danger, pulsing with depth and density.
Known for their intense, driving sound that echoes the relentless march of a world on the edge, the trio Zahn Chris Breuer, Nic Stockmann and Felix Gebhard are deepening their sonic exploration with a record that is simultaneously more electronic and more rock-infused than their acclaimed predecessors.
Recorded once again in Gyhum with recording engineer Peter Voigtmann (ex–The Ocean, Death By Gong, Heads.), Purpur follows in the footsteps…
Formed in the 1980s, IQ is comprised of Martin Orford, Paul Cook, Mike Holmes, Peter Nicholls, and John Jowitt. This prolific band has released 14 albums, beginning with 1983’s Tales From the Lush Attic. They followed two years later with The Wake and Living Proof was also released in 1995. The next year saw the group release Nine in a Pond Is Here and Nomzamo came out in 1987. It was two years before they would release another disc, Are You Sitting Comfortably? and after another two years, IQ released J’ai Pollette D’arnu. 1993 saw the release of Ever and it would be three years this time until the world would see another album by IQ, Forever Live, released both in standard form and as a box set. The following year the group released Subterranea and Seven Stories Into ’98…
Welcome to the Civilised World drags the dusty 1960s desert sound into the modern age- a hazy, sun-cracked journey through Americana and psych. Ghostwoman prove that guitar bands still have plenty of noise left to make.
A title to take with a pinch of salt, Ghostwoman make music that does not sound like music made by a band from the 21st century world. Their sound has echoes of the American frontier, the sort of sound you could only imagine coming from a desert state. Despite this, Canadian born Evan Uschenko and Belgian Ille van Dessel have paired together on the back of an Antwerp jam session and have released a number of gorgeous psyche albums fit for the modern urban cowboy. Previous releases have had a garage-rock feel, an obvious…
…New Year’s Eve 1993, Live at Worcester Centrum captures what was then the biggest headlining concert of the band’s career, and the first in a long line of elaborate NYE shows to come.
Phish had played four New Year’s Eve shows before, but none like this. As the band wrapped the second of three sets with “You Enjoy Myself”, Trey Anastasio, Jon Fishman, Page McConnell, and Mike Gordon put on wetsuits during the vocal jam. This complemented the aquarium stage set the band used for its four-night New Year’s run through D.C., New Haven, Portland, and Worcester.
To start set three, underwater sound effects accompanied the band as the members “dived” into the aquarium setup and climbed into the giant clam, which snapped shut on them.
Combining elements of jam bands and electronic dance rock, Lotus was formed by brothers Jesse Miller (bass/sampler) and Luke Miller (guitar/keyboards), Steve Clemens (drums), Chuck Morris (percussion), and Mike Rempel (guitar) while they were attending Goshen College in Indiana in 1999.
Rise of the Anglerfish explores a dichotomy between light and dark blending live guitar, bass, drums, and keys with warped samples, modular synths, and electronic beats. The result is a wide array of colors and styles unique to Lotus.
As bassist and producer Jesse Miller explained in a statement, the record reflects a dynamic creative period. “We’ve been working on these compositions and recordings for the last two years…