Supergroups have a history of not being particularly super, but Tomora are different. This alliance between the Norwegian electro singer Aurora and Tom Rowlands, of the 1990s dance-floor maximalists The Chemical Brothers, is a mesmerising melding of two minds unified by a love for stomping choruses and banging rave beats. They put the mega in megaduo – to the point of overcoming that clunky portmanteau name (which is also, apparently, Japanese for a “friendly companion on earth”).
Stomping and banging truly are the words. Their debut album, which follows on from several guest turns by Aurora on Chemical Brothers records, is a glittering juggernaut where everything is supersized. This is hardly out of character…
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The many-time Brit Award nominee Jessie Ware has cemented her status as a modern-day disco queen — from the turning point that was her fourth studio album, 2020’s 
There aren’t many artists releasing two new albums per year, and even fewer doing that within three months. If you’re already a fan of blue-eyed soul man Marc Broussard, these two discs arriving close together is a surprise gift. Even though 
Blues? Maybe, in atmospheric terms. But not in the 12-bar, blues-rock or Delta blues sense. Or most other senses. The album title is a play on Miles Davis’ end-of-’60s LP Bitches Brew which, at that point, was his most overt nod to the dynamics of rock music. Nonetheless, Bitches Blues doesn’t obviously use the 1969 set as a point from which to jump. But the reference sets up the first studio album from Hedvig Mollestad Weejuns – the latter word a slang reference to the trio’s Norwegian identity – as non-conformist, carving-out their own musical character; albeit just within the limits of the outer edges of jazz.
Despite its sound owing much to late-‘90s alternative – and that it’s coming two years on from her initial breakthrough – there’s something so beautifully ‘now’ about Little Miss Sunshine, this debut full-length from 
‘No Time for Poetry (Easy Listening Edition)’ is a reimagined instrumental version of the 2025 album ‘No Time for Poetry’ by the Oakland-based duo The Saxophones. This edition replaces the original vocals with saxophone, bass clarinet, and alto flute lines to create a smooth, “easy listening” experience.
In the heart of Tunisia lies a giant salt lake called Chott El Djerid, or “Lagoon of the Land of Palms”. Measuring 160 miles across, the lake has been the subject of numerous works of art, most famously Star Wars, where it was used as a filming location in A New Hope.
On Friday, March 20 as new 
The very first release on Frontier Records in March 1980 was an EP by Pasadena’s Flyboys – a power pop/punk band that began in 1977 with singer/songwriter John Curry and Jim “Trash” Decker from The Crowd (and tangentially, Jay from The Simpletones, who would later sign to Posh Boy). Flyboys gigged all over the Southland, paying their dues opening for every national and local punk band from Huntington Beach to Hollywood. They were anything but typical punks with their day-glo clothes, Cuban heels, and maddeningly catchy songs. Infectious hooks and John Curry’s bleached-blonde pompadour were the band’s trademarks.
Featuring new member Simon House on synths and violin, and following the departure of Robert Calvert and electronic effects man Dik Mik, 
Hearing a classic R&B song like “Money (That’s What I Want)” originally by Barrett Strong in 1959, the Beatles in 1963 & quirky in 1979 by the Flying Lizards, it’s amazing to hear a bluesy rendition in 1960 by blues-great John Lee Hooker (1912-2001). But here it is. Hooker’s voice is the attraction, with its deep tones & dark storytelling manner. “Come and See About Me” is nearly a whisper, but with John’s presence, it resonates as a tune he could sing personally to you if you’re wearing headphones.
When deary, the dreampop three-piece composed of Ben Easton (guitar), Dottie Cockram (vocals, guitar) and Harry Catchpole (drums), named their debut album 
Few modern blues artists collaborate as naturally and as successfully as harmonica master Bob Corritore. With 
In overseeing 
The satisfyin’ soul-pop group from the UK Mamas Gun are poised to follow up Cure The Jones with another collection that recalls what was great about American R&B in 60s and 70s. 
For years, Cactus Lee has quietly built a singular body of work, playing honky-tonks around Austin while releasing records at a steady, self-driven pace.
The Pacific north-west of the USA has been called home by many giants of the blues, rock, and grunge scenes, but alongside these, there’s long been a fertile seam of indie folk and alt-country music. Fleet Foxes and Brandi Carlile hail from Seattle, and from Portland, there’s The Delines, The Decemberists and The Dandy Warhols, while in recent years you might spot Jerry Joseph or Patterson Hood in the local deli. Vegans and cyclists are welcome in this city, proud of its reputation for being weird. Some twenty years ago, this attracted several musicians from Anchorage, Alaska, who each separately found their way to Oregon before coming together as