It’s hard to believe that Minneapolis-based blues-roots artist Charlie Parr has now released 20 albums. Parr has risen from a regional treasure influenced by Minneapolis blues greats Dave Ray, “Spider” John Koerner, and Willie Murphy to national and international status, buoyed by his signing to Smithsonian Folkways, one of the most selective imprints, six years ago.
First hailed for his blues-roots fingerpicking guitar, Parr has long since become a fully fledged troubadour with a world-weary voice, a champion of the downtrodden, perhaps best realized on this new folk opera, Rooming House. Parr plays his custom nine-string resonator guitar alongside drummer Dave King (from the recently disbanded The Bad Plus).
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It doesn’t seem two years since the last Richard Thompson album – but the man who flew furthest from Fairport Convention while Sandy Denny sadly fell to earth, still turns out quality fare. And this is his best for some while.
He’s still working his way through a Covid backlog of songs and, having then invested in a home studio, now supplies detailed demos to his band, the core of which remains bassist Taras Prodaniuk and drummer Michael Jerome. Engineer James Frazee, who’s worked with Thompson’s son Teddy, earns a co-production credit, though whether this heralds a lengthy Mitchell Froom-like partnership remains to be seen.
A brass section is employed at intervals, evoking memories of I Want to See the Bright…
The sound of a band expanding their universe – growing bigger and bolder with each record – never loses its thrill. Upon their arrival in 2017, in an era when guitar music was regularly declared to be in terminal decline, Fontaines D.C. powered on through, painting in primary colours and frontman Grian Chatten’s vivid poetry. If their first three albums, culminating in 2022’s Skínty Fía, seemed intent on rebooting indie rock, it made 2024’s Romance and their abrupt pivot into electronics all the more surprising – not least because the band also underwent a sudden 1990s visual makeover of floppy hairdos and rave colours.
It’s worth remembering that, for the members of Fontaines D.C., that decade is as distant as the 1960s were to Oasis and Blur. And so, in…
Matador Records continue its reissue series documenting key catalog titles by the iconic Texas band, The Butthole Surfers. This latest tranche brings remastered audio for piouhgd and Humpty Dumpty LSD to streaming services with vinyl to follow December 11.
piouhgd (say it “P.O.’ed.”) is the Surfers’ fifth album and was originally released in 1991. It catches the band in a moment of transition – moving from underground freakshow to unlikely “120 Minutes” mainstays. Face-melting guitars abound, as do references to comedian Gary Shandling. A cover of Donovan’s “Hurdy Gurdy Man” is demented but tuneful.
Originally released in 2002, Humpty Dumpty LSD compiles odds and ends from…
The second chapter in Gong’s legendary Radio Gnome Invisible trilogy, Angel’s Egg takes the story deeper into the surreal, otherworldly universe first introduced on Flying Teapot. Originally released in 1973, the album follows the continuing adventures of Zero the Hero and the Pot Head Pixies, expanding Daevid Allen’s visionary mythology into an even more ambitious world of flying teapots, cosmic transmissions, spiritual awakening, and playful rebellion.
Musically, Angel’s Egg pushes Gong’s unique fusion of psychedelic rock, progressive experimentation, jazz improvisation, and anarchic humour into new territory. With its hypnotic grooves, swirling synthesizers, gliding guitars, saxophone excursions, and eccentric vocal…
Remastered from the original BYG Records tapes and cut for the first time ever at half-speed at the UK’s world-famous Stardelta Studios by Grammy Award–winning mastering engineer Lewis Hopkin, this exclusive RSD 2026 edition features a deluxe gatefold sleeve, archival artwork, and a 16-page booklet exploring the storytelling and mythology of the beloved Radio Gnome Invisible saga. Released under BYG Records – the original label that recorded the album before licensing it to Virgin – this definitive deluxe reissue delivers the best sound quality Flying Teapot has ever had: a true cosmic upgrade for Gong’s mind-bending masterpiece.
Originally unleashed in 1973, Flying Teapot kicked off the eccentric Radio Gnome…
Philosophising about life comes naturally to Eels’ Mark Oliver Everett. On his 16th studio album, Cookie Happened, the starting point comes from an unlikely source: Cookie Monster and the words, “Me no cry because cookie is finished. Me smile because cookie happened.”
That mixture of sadness, acceptance and humour runs through much of the record.
Opener “Clobbered” sounds surprisingly bright and rejuvenated, all jangling guitars and catchy 60s-style pop, despite being about someone who has reached rock bottom. Rather than wallow in it, Everett finds liberation in surrender: there is nothing left to lose, so the only way is forward.
That idea returns on “Congratulations To Me”. Opening with a solemn feel…
It’s hard not to feel disillusioned by the state of the world right now. It’s getting harder to scrape by; our algorithms are a constant whiplash between images of genocide and manmade destruction and TikTok Shop hauls that will end up in rotting landfills; and it feels like few in power are interested in helping anyone besides the rich. Why not just give up, stop caring and bury your head in the sand?
Chloe Slater knows exactly how you feel. She’s made putting a voice to those frustrations her M.O. since her 2024 single ‘24 Hours’, whose viral success opened her up to a whole new audience of like-minded fans. On her debut album, Riot Youth, the former NME Cover star builds out a communal, cathartic space to air her…
There are albums that demand your attention and others that seem to invite you to fall into them. Kingfisher, the new album from Northumbrian folk duo The Brothers Gillespie, belongs firmly in the latter category.
Brothers James and Sam Gillespie have created a collection of songs built around acoustic instruments, close harmonies and recurring images of rivers, woods, birds and changing seasons. The result is music that often feels almost meditative: less a collection of individual songs than a place to spend some time.
That atmosphere is established immediately on ‘The Worlds Unfold’. Rolling, plucked guitar sits beneath slightly ethereal harmonies before fiddle and the soft crash of a cymbal gradually…
Scary movies usually end. Whatever has appeared at the window or risen from the grave is gone by the credits. The viewer always has the option to leave. Life offers no such sympathetic division. In her memoir Blue Light of the Screen, Claire Cronin wrote about the frightening images that follow us out of the cinema, finding their way into ordinary life. On The Bruise, the gap between the screen and real life is closing in. Sparse electric guitar, low strings and voices gathered around Cronin’s lead make these songs feel less like stories told after the fact than thoughts still spiraling and coalescing in the dark.
It is another tentative step forward from 2021’s Bloodless, whose private fears acquired an awful public backdrop when wildfires…
Jonathan Personne is the solo alias of Jonathan Robert, a Montreal-based singer, songwriter, multi-instrumentalist and frontman for Sub Pop band Corridor. His fifth album under the alias is a lovely sweet of dreamy psych-pop with Jonathan largely singing in French atop his warm, lush, welcoming arrangements.
Corridor bandleader Jonathan Personne’s solo record Nouveau Monde was one of the must-hear Canadian albums from 2025, and now he’s back with even more new material — Répertoire arrives via Bonsound. Marking his fifth album in seven years, Personne blends dreamy pop with yacht rock textures as he reflects on the highs and lows of being a professional musician and his ever-evolving relationship with music.
Several months after more eaze released the intimate art-pop album sentence structure in the country, the artist issued a related but much different effort, valley and structure. The album is based on live performances, and it focuses on repetition and harmonization, with the artist remarking that she’s been fascinated with ostinato since childhood. It might be easy to label this her post-minimalist album, but some of her pop influences are still present.
While the album as a whole isn’t more eaze’s most lyrical work, “i’m in the structure” is essentially an alternate version of the previous record’s “the producer,” replacing the original’s intimacy and ticking drum machine with shadowy reverb burying the vocals, distorted drum…
The last time that ominous waves of synth, the sharp clack and echo of gate reverbed drums and a pervading sense of unease like this dominated the airwaves, the 1980s had just dawned. Joy Division had come to its unfortunate end, but New Order was just getting going. The more playful, but still doomy, Depeche Mode offered up a dance beat under the sounds of annihilation. And Margeret Thatcher has just begun her project of cutting the floor out from under working people’s feet, launching a brutal austerity campaign that made life desolate for ordinary Brits.
Now, nearly 50 years later, dehumanizing forces have gained strength again. A climate gone mad threatens to roast us all in our beds while governments and corporation squeeze…
D.O. & The Bytes by Cherry Cheeks understands something that many concept records forget: a story does not need to become self-important simply because it has a plot. Across fourteen compact songs, Kyle Harms turns a tale of digital persecution, memory, identity, and resistance into a brightly colored punk-rock cartoon with enough melodic intelligence to keep its machinery running long after the joke has landed. The album follows D.O., a digital hero pursued by the sinister Reapers, whose mission is to erase his memory. That premise could easily have collapsed into novelty, but Harms gives the narrative genuine momentum, treating each song as another scene in a larger adventure while keeping the music immediate enough to work even when…
If I Let It Quiet is the fourth album by the Salt Lake City-based singer-songwriter Josaleigh Pollett, and as is expected by this point in a career that has stretched for over fifteen years, including a fruitful run of releases with producer and co-writer Jordan Watko. The latest project is an absolute treasure trove of textural, dynamic and living electronic pop music.
With every new expression of yourself comes a fresh set of challenges to face, and the new LP was born out of a stretch of separation, with Watko relocating to Japan, the duo found themselves separated by oceans, destined to transmit and create over great distances, describing it as a cross-continent collaboration.
If I Let It Quiet crackles into life with lo-fi…
Colin Stetson and Brìghde Chaimbeul make for one of those collaborations that, now that they’ve joined up, feels like it was inevitable.
It was not: Apart from living on opposite sides of the Atlantic Ocean and working within (nominally, at least) different musical traditions, both Stetson and Chaimbeul manage just fine as solo artists. All the light in the world is their first fully co-written effort.
This unlikely marriage of saxophone and Scottish smallpipes flips what you might expect from a sax-and-pipes duet: Traditional highland bagpipes could provide a drone backdrop to a soaring saxophone. (There’s some of that in Sonny Rollins’s unjustifiably little-known 1974 duet with piper Rufus Harley.)
Of all the parts that make up the creative process, time and effort seem most devalued today. This applies to many expressive outlets beyond music, whether the visual arts or written journalism; even furniture making and design put little stock in the learned skill of executing a refined style of carving or decorative embellishment in an age when speedy self-assembly is force-fed to anyone looking for new homeware. And it has absolutely impacted music, with the technology of the day facilitating quick recording and release far above any thought of the subtleties that can lift a record or sequence of songs to another level of deep listening experience. And it is this very same disease of quickfire disposability that Biita Houdei has intentionally challenged head-on…
Being cynical, feeling a bit jaded: it’s a common condition when it comes to a genre as well established as rock. So when someone tells you about a new band doing interesting things in a grungy, punk-pop vein, it can be all too easy to roll your eyes and assume that it’s all been done before, and better. But sometimes curiosity wins out, you press play, and a song like “GirlVsHeart” hits you full in the face with crashing drums and gleefully thrashing guitar. Instantly you’re hooked and lock into a record that turns out to be a stomping joyride of youthful angst and, along the way, offers up a few surprises.
This is Sugar Rush, the debut album by Swedish twenty-somethings Clutter who emerged from the Stockholm underground back in 2024…
