Sunflower Bean singer and bassist Julia Cumming blooms into her pop self with 2026’s gorgeously realized Julia. Her solo debut, the album captures both a personal and creative transition for Cumming who wrote many of the songs over a two-year period, traveling between her childhood home in N.Y.C. and living rooms in Los Angeles where she worked closely with bassist, guitarist, and producer Brian Robert Jones and producer/engineer Chris Coady.
During the same time, she was busy with Sunflower Bean, releasing both 2023’s Headful of Sugar and 2025’s Mortal Primetime; albums that found the indie trio expanding their sound, balancing edgier alt-rock leanings with Cumming’s love for the lyrical, ’60s and ’70s AM pop she…
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There’s no two ways about it – in terms of inventive, kaleidoscopic music, there’s few groups that get close to The Junipers. From 2008’s ‘Cut Your Key’, they burst onto the scene marrying the sounds of the deep-cut psychedelic 45s from your collection, to the joyful pop of Wings-era McCartney, Gilbert O’Sullivan and Emitt Rhodes, with the toytown symphonies of Curt Boettcher, Brian Wilson and Mark Wirtz.
Without all the fuss of fanfare, their albums wouldn’t so much get released, but rather, emerge from whatever multicoloured world The Junipers reside when they’re hatching up new music. People will tell you they’re just some good blokes from Leicester – but when these records appear, it feels more like they’re hanging…
Right now, this dour world needs a heavy “feel good” dose of Angélique Kidjo’s infectious joy, her get-up-and-dance attitude, and her ability to bridge cultures. The Benin (West Africa) artist that the former Newport Jazz Festival Artistic Director, Christian McBride, described as an entertainer tantamount to James Brown and Prince, gives it her all on this double album, HOPE!!
This is an album loaded with high-profile guests making a big statement, and it doesn’t matter that some songs are not sung in English. Genre is as fluid as a Kidjo performance. AfroBeat, Afro-pop, and highlife meet American R&B and jazz like congenial, like-minded strangers shaking hands or sharing a warm embrace.
Few, if any, can bring the unbridled joy that…
With every successive album she makes, Carla dal Forno‘s songwriting becomes clearer, more upfront, and more emotionally direct. She actually intended her fourth solo effort to be more abstract, perhaps closer to the mystery-shrouded experimental work of her earlier group F ingers, but as she was writing the songs, she found that they only made sense when she wrote about her emotional experiences in plain language. Her recording environment also helped shape the directness of the songs. Instead of living in a busy city, she had relocated to a small country town which offered stillness and solitude, making it easier to reflect on her life situations and focus on the truth. That said, even though Confession lays deeply guarded feelings bare,…
YES revisit their 2019 4 song mini-album From A Page with this expanded 15-track double album, featuring the original 4 songs alongside alternate takes & demos of songs written during these sessions, many of which would appear on the band’s subsequent album Fly From Here.
In 2010, after a last-minute show in Zacatecas, Mexico, the band (Chris Squire, Steve Howe, Alan White, Benoit David & Oliver Wakeman) met up in Phoenix, Arizona to begin writing for the next YES album. This two week session would bear fruit to the 4 released songs in addition to “Into the Storm”, “Hour of Need” & “The Man You Always Wanted Me To Be”, all of which would appear on the Fly From Here album featuring Geoff Downes after Wakeman departed during the recording sessions.
“Few contemporary jazz-influenced singers manage to sound so intensely like themselves while drawing on such a variety of genres, languages, and cultural backstories as the Albania-born vocalist Elina Duni,” The Guardian has noted, and Reaching for the Moon once again casts a wide net. It’s Duni’s third recording with UK guitarist Rob Luft, and where Lost Ships and A Time to Remember featured their co-led quartet, the core duo come to the fore here, in a programme that begins with Irving Berlin’s title song and ends with Ornette Coleman’s “Lonely Woman”. Along the way we hear Duni and Luft originals, traditional music from Kosovo, a lullaby penned by Persian singer Mahsa Vahdat, a ballad from Italian singer-songwriter Pino Daniele, French composer…
On her sophomore album, Pearla explores themes of love and its ability to contain and dissolve, to stretch and collapse time, and to bridge the spaces between the real and the surreal. While Pearla was concerned with the mysteries of the external world in her debut (aptly described by Pitchfork as “a detective of uncertainty”), this collection is an intimate look at the interior, the relational, and the capacity and bounds of the heart and mind.
Song Room finds Pearla in a tug-of-war between the inner and outer worlds, creating moments of tension that are at times raw and exposing, and at others cosmic and harmonious.
In “Good Dog,” she pivots her fear of losing herself in another person toward the stable accuracy of the moon: “If I become whoever…
Graceland Way, the newest release from harpist-singer-songwriter Mikaela Davis, finds the artist luxuriating in the Los Angeles sunshine, delivering a modern Laurel Canyon pop-rock style, influenced by the famous location’s late 70’s heyday.
Working with longtime collaborators bassist Dan Horne and guitarist John Lee Shannon, the trio co-wrote and co-produced the album. Davis lets her vocals shine, putting her harp playing in the background as the trio brings in various guests to flesh out the record’s sound and scope.
The opening “(Looking Through) Rose Colored Glasses” is a straight-ahead pop-rocker with pedal steel from Kurt G. Johnson, as the song bops along in a Tom Petty-inspired fashion. The tune delivers a backward looped break…
White Fence has been many things since the project first oozed out of songwriter Tim Presley’s mind in the early 2010s. It existed as crumpled lo-fi renderings of Presley’s psychedelic pop songs on the earliest albums, sometimes dissolving into sound collages or bizarre excursions into experimental home-recording techniques. It was cleaned up for later albums, tucking the sonic strangeness into more formalized production but remaining stylistically and subjectively out-there on outings like the synth-drenched 2019 album I Have to Feed Larry’s Hawk.
Orange is the first White Fence album since 2019, and it represents some of the most straightforward tunes in the band’s winding catalog, with analog production and backing…
Angelo De Augustine returns with his fifth album, Angel in Plainclothes — a deeply felt rendering of his multi-year journey of healing and renewal. The first single is a standout psychedelic country piece, “Mirror Mirror,” and offers the first look at Angelo’s multi-year healing journey and the renewal that followed.
“Usually when I make music, I’ll sit down with one instrument and write the song,” states Angelo. “In ‘Mirror Mirror,’ I didn’t stick to this principle and was messing around with the tape machine’s varispeed function—seeing what would happen if I slowed down what I’d recorded on the bowed psaltery, creating an unusual droning noise. The song came from experimenting with layering sound in a very free way and watching…
There’s an air of celebratory nostalgia around Metric at the moment. Last year, the Canadian quartet played their 2009 album Fantasies in full on tour and that seems to have lit a bit of a creative spark. The band’s 10th studio album, Romanticize the Dive, sees them reunited with Fantasies producer Gavin Brown, and even saw them return to the legendary Electric Lady studios in New York. From the outset, Romanticize the Dive seems like a return to Metric’s roots. While there was much to enjoy on Formentera and its 2023 sequel, you did sometimes long for that intoxicating spark to be lit again.
Opening track ‘Victim of Luck’ immediately seems to recreate that energy with a chiming guitar riff from Jimmy Shaw, while lead singer…
Official 5CD box set featuring all of the surviving British radio and television appearances by the legendary Strawbs between 1966 and 1984.
The roots of Strawbs go back to 1963 when Dave Cousins and Tony Hooper founded the bluegrass duo The Strawberry Hill Boys. The first Strawbs’ album was issued in May 1969 and saw the band embark on a wonderful career which produced a series of classic albums. Dave Cousins was the visionary, gifted musician and songwriter at the helm of many line-ups of the band which at various times featured such notable members as Ron Chesterman, Tony Hooper, Rick Wakeman, Richard Hudson, John Ford, Blue Weaver, Dave Lambert, Chas Cronk, Rod Coombes, and John Hawken. Cousins’ musical vision…
Halfway to the Stars gathers all the recordings made by Jack and his band The Cuicoland Express between 2001 and 2003. Includes the albums ‘Shadows In The Air’, ‘More Jack Than God’ and the double album ‘Live at The Milky Way’, recorded at The Melkweg in Amsterdam in October 2001, along with the concert video ‘Live at The Canterbury Fayre’, recorded in 2002.
‘Shadows In The Air’ was Jack’s acclaimed 12th studio album and saw him reunited with Eric Clapton on re-recordings of two Cream classics, ‘Sunshine Of Your Love’ and ‘White Room’, along with other notable guests including Dr. John and Gary Moore.
‘More Jack Than God’ was his next studio album and featured new material…
Newly remastered 4CD box set by Peter Hammill featuring his first four studio albums issued on his own label, Fie! Records, between 1992 and 1996. Peter Hammill first came to prominence as the founding member and voice of the legendary progressive rock group Van der Graaf Generator.
Alongside his work with Van der Graaf Generator, Peter Hammill has enjoyed a long career as an innovative and ground-breaking solo artist. In 1992 he established his own label, Fie!, to handle his solo work, beginning with the release of the acclaimed ‘Fireships’ that year. A more introspective work, the album was labelled in the original liner notes as “Number 1 in the BeCalm series” and received much critical praise thanks to songs such as ‘I Will Find You’, ‘Curtains’ and ‘Gaia’.
Lowell George may well be the most underrated and underappreciated figure in the history of rock ’n’ roll. As a writer, guitarist, singer, and producer, his influence spanned genres—rock, R&B, country, blues, and the adventurous rhythms of West Coast jazz—and seemed to know no bounds.
Born and raised in Hollywood, California, George mastered multiple instruments at an early age. His prodigious talent soon caught the attention of Frank Zappa, leading to a stint with The Mothers of Invention. In 1969, after parting ways with Zappa, George formed Little Feat. With Zappa’s support, the band secured a deal with Warner Bros. Records and quickly became a musicians’ band, revered for its originality and virtuosity. Alongside George were standout players…
Coming on twenty into their run as one of Austin’s most consistently inventive rock bands, White Denim’s 13 feels less like a reset and more like a snapshot of everything they’ve learned how to do and how comfortably they can shift between those ideas. The band has always pulled from a wide range of influences, but here that approach is pushed even further. It’s a dense, groove-focused record that draws on rock, funk, soul, country, and more. The result is a record that moves quickly, sometimes abruptly, but rarely loses its footing.
“(God Created) Lock and Key” sets that tone early. The song shifts through a few different sections without warning, moving from tight, controlled guitar lines into looser, more unstable passages. It feels deliberate rather than chaotic…
Even the most manufactured pop stars are given the option to reinvent themselves.
Gia Margaret, however, really had no say over the circumstances that led to her breakthrough. The Chicago native started fast as a slowcore singer-songwriter who blew away South By Southwest. Then, somewhere around 2019, after coming down with laryngitis, she lost her voice. While the injury lingered, she went viral by turning herself into, of all things, an ambient artist. Now, at 38 years old, Margaret can finally sing again. Her new album occasionally falls flat, but Singing still hits plenty of high notes.
Margaret was never the type of singer to show off. On her first full-length, she sang softly and discreetly, coaxing meaning from each syllable.
In the process of burgeoning Chicago duo Friko (singer/songwriter/guitarist Niko Kapetan and drummer Bailey Minzenberger) playing out in support of their electric debut LP — including a 2025 tour with the Flaming Lips and Modest Mouse — they added guitarist Korgan Robb and bassist David Fuller to their official lineup. This four-piece version of Friko then headed to Los Angeles to record their sophomore album with Grammy-winning producer John Congleton (St. Vincent, Sleater-Kinney, Mogwai). While the band had been very hands-on in all aspects of preparing their debut, including co-producing, Congleton asked the now road-tested Friko to just “do their thing” and let him do the rest. The resulting Something Worth Waiting For is, if anything,…
Since their beginnings, indie folk duo the Milk Carton Kids have been associated with a hushed, melancholy brand of song as well as with effortless guitar technique, with both Kenneth Pattengale and rhythm guitarist Joey Ryan playing vintage 1950s-model Martin and Gibson guitars, respectively. With their fourth studio album, All the Things That I Did and All the Things That I Didn’t Do (2017), they recorded with a backing band for the first time, before returning to the duo model. Since then, however, they’ve toyed with instrumentation, and their seventh LP, Lost Cause Lover Fool, finds them incorporating banjo, mandolin, bass, and/or percussion on some tracks for subtle texture shifts on an album guided by the theme of transformation. At the same time,…
The last Foo Fighters album, 2023’s But Here We Are, was a profound act of public grieving, the band’s first music since the tragic death of beloved drummer Taylor Hawkins only a year earlier. “Someone said I’ll never see your face again/Part of me just can’t believe it’s true,” Dave Grohl sang on the LP’s determined anthem “Under You.” For a band whose three-decade run has always been marked by how uncannily well-adjusted they seem, seeing them power through such a major loss in real time made for what was arguably the most emotionally intense listen in their discography. That is, until now. The band’s 12th album, Your Favorite Toy, is the next chapter in that story of fighting through grief and looking forward. Yet where its predecessor often had a reflective…