From the very first note, Modern Woman make it clear they play by their own rules, fusing post-punk grit with bold, experimental flair. Their debut EP, Dogs Fighting in My Dream (2021), hinted at brilliance, and their 2023 stream-of-consciousness single “Achtung” cemented it. You might have wondered whether that brilliance could carry over to a full album. By this point, the Sprechgesang bubble was in danger of bursting, clogged with pugnacious, shouty, puce-faced blokes in sweaty vests, while artists like Dry Cleaning often seemed to overstretch the concept, trapping themselves in a miasma of spoken-word ennui. Modern Woman, however, are no one-trick pony. On their debut album, Johnny’s Dreamworld, frontwoman Sophie Harris’ delivery brims with sharp…
Latest Entries »
Toadies’ eighth studio album continues the band’s throwback alt-rock sound and stays true to the raw, aggressive roots of their early work. The Charmer was one of the last albums produced by the late Steve Albini, with whom the band had always wanted to work. As is typical with Albini albums, The Charmer has a no-frills sound and an uncompromising intensity. It was recorded in an analog style, as a live band with minimal overdubs, to capture the band’s aggressive live sound. For the most part, it works.
Most of the album was written during the COVID lockdown, and for the first time ever, Toadies went into the studio with completed songs. The material has that familiar Toadies feel – aggressive punk-rock energy paired with classic-rock riffs…
Treasury box-set contains six solo albums by Bill, recorded across a fifty-year span, beginning 1974. Each of the first six discs contains bonus material such as 7-inch and 12-inch single mixes, plus demo recordings, while the final disc features 12 new demo recordings of songs that Bill has written in that time, but never released – until now.
The first two discs contain the albums Monkey Grip (from 1974) and Stone Alone (1976), both originally issued on Rolling Stones Records, and made with a staggering line-up of musical friends including Lowell George, Dr John, Joe Walsh, Van Morrison, the Pointer Sisters, Danny Kortchmar, Dallas Taylor, Leon Russell, Bob Welch and Nicky Hopkins. The eponymous Bill Wyman album from 1981 was home to the Top 40 singles…
They tell you not to judge a book by its cover, but what if that cover tells you what it is? In the concrete poem that adorns the vinyl sleeve of Ben Vida’s Oblivion Seekers, three lines pretty much summarise what to expect: “Muttering ambient language / cutting into the past / with the future spilling out around us”. Because that’s just what you get across the album’s four protracted, slackened tracks, where duologues of spoken word paint an abstract, absurd picture of living, communicating and feeling, broken up into poetic fragments set to music.
But before I scare you off, let me first say: this is a beautiful album, and that, it seems, is part of the point. Oblivion Seekers continues Vida’s move to a more analogue way of thinking…
…these songs resonate as loudly as when they were first created” – MOJO
When they were young, members of Cabaret Voltaire used to walk up to strangers at bus stops in Sheffield and spray them with sounds from reel-to-reel tape recorders. They wanted to liven up everyday life in a Northern industrial town, and observe what would happened when people were jolted out of familiar habits. This pranksterism sticks in the memory, not just because it speaks to the DIY graft that’s part of Cabs’ origin story, but because spending hours splicing sounds onto tape and then blasting them out for a few seconds touches upon a question lurking over the live performance of electronic music as whole: if all the work takes place in the studio…
In 2012 he recorded several solo albums and began touring as a solo artist in Europe and the USA with his own band. Martin’s approach to live performances has seen him perform as an acoustic trio with Dan Crisp (vocals, guitar) and Alan Thomson (bass, guitar) and as an electric band with Terl Bryant also joining on drums, with both incarnations meeting with praise from both fans and critics.
This new album features a wonderful performance by Martin’s acoustic band recorded on 19 April 2025 at The Center For The Arts, Homer, New York and a marvellous set by his electric band recorded at the Woodstock Forever Festival in Germany in August 2024. Both performances feature Martin’s solo work and Jethro Tull classics.
Continuing the acclaimed series of UFO reissues, The Wild, The Willing & The Innocent returns in a stunning 2026 remastered deluxe edition.
Originally released in 1981, this pivotal album captures the band at a creative high point, blending soaring melodies, powerful performances, and Phil Mogg’s unmistakable voice.
Newly remastered from the original tape transfers, the album now sounds more dynamic and detailed than ever, reaffirming its place as one of UFO’s most accomplished works.
This deluxe edition also includes a brand-new mix of the previously unreleased Live at the Hammersmith Odeon, recorded on 29th January 1981, by Brian Kehew, offering an electrifying snapshot of UFO’s energy on stage.
…“Embers Edition” features instrumental versions of all album tracks.
“I knew a girl who wrote ‘Silent All These Years’,” spits Tori Amos with startling venom, as ‘Shush’, the stentorian opener to her 18th album grinds to a close. “Where is she?” It’s a good question, since the Tori Amos who wrote ‘Silent All These Years’ all those years ago is in her sixties now and there are those who still favour its parent album, 1992’s magical Little Earthquakes.
So, yes, a good question, but not an entirely fair one and Amos is clearly irked by it. She’s moved on of course, but by the closing ’23 Peaks’, she’s admitting, “I need your help to change me back/Back into the woman I want to be”.
She remains a woman with a distinctive voice…
Arcade Fire’s Open Your Heart or Die Trying, released for Record Store Day 2026, is a cinematic and ambient reimagining of their 2025 studio album Pink Elephant. Produced as a “score to an unmade film,” this experimental project strips away the band’s traditional indie-rock anthems in favor of meditative, synth-heavy soundscapes.
The centerpiece is the sprawling 8-minute “Director’s Cut” of the title track, which sets a vaporous tone for a record focused on atmosphere and hypnotic loops. While critics remain divided on its necessity, the album serves as a deep-dive companion piece for fans, leaning fully into the quiet, restrained creative direction the band established during their collaborations with Daniel Lanois.
Ana Roxanne‘s second Kranky release is far more personal and emotionally direct than her previous recordings. While her earlier records could easily be categorized as ambient or perhaps new age, and had a certain element of playfulness along with their meditative qualities, Poem 1 is stark and unobscured, doing nothing to disguise Roxanne’s heartbreak and vulnerability. Nevertheless, her music is still highly hypnotic, and the arrangements draw the listener in and make it easier to focus on her lyrics.
On brief opener “The Age of Innocence,” she expresses the desire to travel and find home over glacial synths and mournful strings. The piano-based “Berceuse in A-flat Minor, Op. 45” is so intimate that it sounds like…
After releasing two albums of eclectic and textured lo-fi indie rock under the solo project handle youbet, Nick Llobet found a musical kindred spirit in fellow Brooklynite Micah Prussack (Trace Mountains) and invited her into the lineup.
Produced by prior youbet collaborator Katie von Schleicher (Frankie Cosmos, Market), their first album as a duo, youbet, is even more heterogeneous, adding disgruntled punk, damaged folk-rock, and more to the project’s shape-shifting palette. Although there are no direct tributes to these on the album, the band even namechecked influences as far-flung as flamenco and Bernard Herrmann’s score for Vertigo. They open the record with the buzzy, laid-back slacker rock of “Ground Kiss,” a distortion-punctuated…
Although the band have experienced a complete turnover in backing personnel since their 2018 debut, San Franciso’s Cindy have stayed remarkably loyal to their distinctive sound thanks to leader Karina Gill’s devotion to a haunted, melancholy vibe constructed around simple guitar progressions, detached vocals, and a slowcore sensibility. Featuring a lineup that’s been steady since 2024 and that includes members of Now, Violent Change, and Children Maybe Later, the project’s fifth album, Another Country, adds to this legacy, where, more specifically, emotionally numbing neglect, dingy reverb, tragedy, and slightly out-of-tune guitars evoke the incorporeal ghosts of girl groups, sad teen idols, and Nico.
With a title that seems to revel in these…
…includes the original 13 tracks plus four brand-new songs and three remixes.
Tremor, the latest album from producer and songwriter Daniel Avery, shakes you up in the best way possible. You don’t so much listen to it as enter it — a slow-motion descent into a room where shoegaze guitars shimmer against industrial reverb and the ghosts of warehouse nights still twitch in the corners. It’s music for the afterglow: that hour when the club’s over, the street’s quiet, and you’re walking home with the bass still vibrating in your bones.
“Rapture in Blue” hovers somewhere between the club and the clouds. LA-based artist Cecile Believe breathes through the haze — her voice registers more temperature than lyric — while…
Yu Su’s spidery path across the globe has shaped her work at every step. First there was the humid downtempo she started making in the mid-2010s in Vancouver, inspired by the house music of that city’s legion of stoners and terminal chillers. As the fog lifted over the next few years, you could hear hints of her Chinese upbringing in tracks like “Little Birds, Moonbath,” with its shimmering textures and pentatonic melodies. Su’s debut album, Yellow River Blue, made the connection explicit, inspired by a tour across her home country playing the music she first discovered and developed in Canada. A breakthrough in popularity led to bigger rooms and bigger tunes, Ibiza gigs (and cooking residencies), and an eventual move to London; her DJ sets gradually took a slightly…
Blarf is the name actor/comedian Eric Andre sometimes uses when making music, and his absurdist and confrontational style of comedy can’t help but work its way into his sounds. Blarf has taken many forms over the years, beginning as a Zappa-inspired band with Andre and some college friends, but eventually turning into the disorienting samples and beats of the 2019 album Cease & Deist. Film Scores for Films That Don’t Exist is disorienting in a different, more subtle way. The eight tracks here are exactly what the title suggests; cinematic scores tracked with a full orchestra and mostly very much in the tradition of theatrical soundtracks. Andre worked with esteemed soundtrack artist Prateek Rajagopal on these recordings, tracked in…
Guy Clark’s debut, Old No. 1, did not sell many records upon its original release in 1975. However, over time the album has earned a reputation as a masterpiece that has inspired a zillion songwriters since. The list of notables influenced by Clark and this LP includes a host of prominent singer-songwriters, including Rodney Crowell, Steve Earle, Lyle Lovett, Nanci Griffith, and Vince Gill. They have all proudly paid tribute to Clark in song and story. Fifty years later, Truly Handmade Records, an independent record label and imprint established by Guy Clark LLC, has released Old No. 1: Revisited. It’s a track-by-track tribute to the original, featuring some of the best young(er) musicians working in the Americana and alternative country fields today, such as Margo Price,…
Throughout their career, Halsey has been lots of different things to different people.
She was the blue-haired 19-year-old singing about her Brooklyn boyfriend and lilac skies (‘Badlands’); the 23-year-old offering an elaborately stylised ‘Romeo and Juliet’ concept album (‘Hopeless Fountain Kingdom’); the 25-year-old navigating the blurring lines between Halsey, the art, and Ashley, the artist (Manic); then the 27-year-old delving into a Westwood-clad, Nine Inch Nails-produced world of rock and childbirth (‘If I Can’t Have Love, I Want Power’).
Her fifth record, The Great Impersonator, carries the imprint of those versions of her. Perhaps because it also took a step closer to ‘Ashley’, there are several links to ‘Manic’ in particular:…
They Came Like Swallows – Seven Requiems for the Children of Gaza is the first significant collaboration from two luminaries of alternative music; Thurston Moore, best known for his time at the helm of noise rock legends Sonic Youth and Bonner Kramer (known for many years simply as Kramer), whose reverb-heavy production served as an additional instrument on pivotal albums from Galaxie 500, Low, Daniel Johnston, and many, many more. Both musicians have long histories of collaboration and prolific output tied to no single style of expression, so the possibilities for an album of sounds conjured up by Moore and Kramer are limitless, and They Came Like Swallows takes on tones of mourning, outrage, and hope with its seven expansive pieces.