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The Necessaries came together in 1978 and in the too-brief lifespan of the band counted among their members, Ed Tomney (Rage to Live, Luka Bloom), Jesse Chamberlain (Red Crayola), Ernie Brooks (Modern Lovers), Arthur Russell (The Flying Hearts), Randy Gun (Love of Life Orchestra).
First championed by John Cale on the strength of Tomney’s songs, Cale produced their first single for Spy Records (under the I.R.S. umbrella) which was released in 1979. With the forward momentum brought about by the single, the band set about tracking demos intended for Warner Bros., but The Necessaries ultimately would sign to Seymour Stein’s Sire Records. These rough demo basic tracks lacked overdubs, mixes and any finishing touches that would have made them…

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Julian McCamman is getting a fresh start. Last summer, just a year after his band Blood released their debut studio album Loving You Backwards, the Philly-via-Austin rockers suddenly called it quits. “Blood began with a fervent need to pronounce a particular love and sensitivity with the rage filled defense I felt it deserved,” frontman Tim O’Brien wrote in their breakup announcement. “The music and performance at its best was always a call to rouse ourselves and others to the present, to heighten life for a moment, to expand the potential for a life more deeply felt outside of the show.”
But McCamman, driven by an itch to make something more personal to himself, wasn’t about stay outside of the show for long. Just a week before Loving You Backwards’…

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PVA are riotous Londoners, a trio comprised of Ella Harris, Josh Baxter and Louis Satchell, whose experimental electronica has taken (half) a chill pill for album two, No More Like This.
Known for their exhilarating sweat-drenched live sets, their sound engages the somatic. It’s a meeting of jagged danceable electronics, fleshy drones and sultry emotive vocals. The album oscillates between synth pop and club-ready beats with delectable impulsivity.
No More Like This is a rippled watery reflection of PVA’s work so far – familiar yet distorted. Their prior releases, such as their (2020) EP Toner are echoed in the group’s continued musical exploration of queerness and the body. No More Like This is intelligent but not…

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Recorded November 1957 at Van Gelder Studio, Soul Junction is an album by jazz pianist and composer Red Garland. Also featuring the legendary John Coltrane (tenor sax) and Donald Byrd (trumpet) amongst others, the album features five cuts including the Garland penned title track. This new edition of the album is released as part of the Original Jazz Classics Series on 180-gram vinyl pressed at RTI with all-analog mastering from the original tapes at Cohearent Audio and a Stoughton Tip-On Jacket.
In the early fifties, Lucky Roberts ran an after-hours club in Harlem. Lucky had been the dean of New York ragtime pianists in the early decades of the century, and had influenced James P. Johnson, Fats Waller, and Duke Ellington, among others.

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British duo Insides made their debut with 1993’s Euphoria, a sensual set of ambient pop songs filled with airy guitars, intricately crafted beats, and provocative lyrics about intimate relationships and emotional tension. The distinctive album was praised by critics and remains a favorite of dream pop aficionados, and the duo have sporadically released new recordings, including the 2021 full-length Soft Bonds.
Insides’ elusive and icy electronic pop explores the darkest, seamiest corners of love and sex – their songs capture the emptiness and hostility that surface when the afterglow fades, ugly scenes punctuated by eruptions of violence, waves of self-loathing and caresses that are cold to the touch. Singer/bassist Kirsty Yates’ vocals…

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Part of Rhino’s annual “Start Your Ear Off Right” promotion is a very welcome surprise: a remastered and expanded edition of one of the most underrated albums by British pop/rock band Squeeze.
The release of Play found Squeeze at a crossroads. After a moderately successful reunion in the mid-’80s stalled with the under-promoted Frank in 1989, the band departed longtime label A&M Records, signing with Reprise for a new decade. The ever-changing line-up was once again different, though by subtraction instead of addition: singer/songwriter/guitarists and founders Chris Difford and Glenn Tilbrook were joined only by bassist Keith Wilkinson and drummer Gilson Lavis. (Keyboardist Jools Holland, whose big band…

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Away marks Jo Passed‘s sophomore LP, but leaving it at that perhaps commits the injustice of suggesting Jo Hirabayashi is somehow new to the game. That’s far from the case: the Vancouver-born, Toronto-based multi-instrumentalist and producer holds a long and storied recording resume, beginning as far back as the late-2000s with the post-hardcore outfit SSRIs (later Sprïng) and culminating with the 2018 debut of Jo Passed on Their Prime.
As such, this album is not just the second offering of Hirabayashi’s solo discography, but also the homecoming of a veteran musician after an eight-year hiatus; sporting a new label, a new band, a new city — and, seemingly, a new lease on life. Established fans of Jo Passed will be happy…

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There’s a profound irony in Warren Zevon’s work: a songwriter fixated on mortality who left behind songs that continue to outlive him. More than twenty years after his death, Keep Me in Your Heart, a new multi-artist tribute album, suggests why that may be.
For an artist who never had much commercial success, Zevon is having a moment. Over the past year, he has been welcomed into the Rock and Roll Hall of Fame, celebrated at a high-profile tribute concert in Los Angeles, and now honored on Keep Me in Your Heart, a new multi-artist tribute album drawing from across his catalog. The attention-especially his recognition by the Hall-feels overdue, a reminder that Zevon’s reputation has always rested less on sales or radio play than…

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Naive Melodies is a bold and visionary tribute to the music of Talking Heads, reinterpreted through the lens of Black musical innovation. Curated by Drew McFadden – the creative mind behind BBE’s acclaimed Modern Love (David Bowie tribute album) – this new collection dives deep into the Afro-diasporic rhythms and experimental soul roots that helped shape Talking Heads’ unmistakable New Wave sound. Inspired by artists like Fela Kuti, Parliament, and Al Green – whose influences loomed large in the band’s rhythmic DNA – Naive Melodies shines a light on the Black music traditions that underpinned their artistry.
Far from a conventional tribute, Naive Melodies reframes the band’s catalog through the voices and visions of a new generation…

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There is a certain solace to be found in minimal music-a contemplative joy that emerges through sustained repetition and subtle variation. Solo Three, the slyly absorbing new album from Michigan-based composer and multi-instrumentalist Erik Hall, embodies that hypnotic charge while boldly reimagining a distinct selection of contemporary classical works.
Hall’s affinity for minimalism began decades ago, when as a jazz-studies drummer at the University of Michigan he first encountered Steve Reich’s Music for 18 Musicians. The piece altered his trajectory completely. Years later, amid a creative lull, he revisited that formative work by attempting a solo reconstruction. Working alone in his home studio, Hall painstakingly recreated…

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The last time we heard from The Format, the pop duo of Nate Ruess and Sam Means, the world was a much different place. The band’s previous LP arrived 20 years ago in the summer of 2006, and if anyone ever asks what that summer sounded like, The Format’s Dog Problems is a good place to start. Their youthful energy, fueled by curiosity and anxiety, was drenched in danceable melodies and sun-blenched instrumentation, creating an infectious LP of pop anthems. The bright aesthetic of the LP defines a sound that has been lost in time, carefree pop that wanders listlessly through life waiting for the next opportunity to drop its shoulders. That relaxing time, though, is far in the rearview, and pop music has changed drastically.
Much like the world around them, Ruess and…

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Like a sausage supper or a good slug of whisky, The Just Joans will keep you warm during these dark winter months. One of Scotland’s greatest indie bands, they’ve been around for two decades, and their latest LP mixes their trademark sardonic humour with a new year music cocktail of Blur, The Kinks, Elastica and The Lightning Seeds.
Led by siblings David and Katie Pope, The Just Joans’ latest album, Romantic Visions of Scotland, is about “mundane failings, bitter regrets and missed opportunities”, perfect for those January blues. There are great titles like ‘Strictly Presbyterian’, ‘Here Come the Rugby Boys’ and ‘Drinking On a Weeknight’ and whipsmart lyrics like ‘Back On the Meds’ ‘I started crying in the chip shop / Do you want salt and vinegar?’

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Johnny Delaware describes his latest record as a nomadic affair.
“I recorded it in studios in Mexico and the United States and in hotel rooms all across Latin America, and if you listen closely, you can hear bits and pieces of all those places and the people I met along the way. They’re all a part of me now.” As a result, Para Llevar is a swirl of indie rock, Americana and psychedelic folk making for a dreamy, atmospheric listen.
The co-founder of the South Carolina-based Susto, Delaware’s solo work is not a big step away from that band’s work, despite being a little more subdued. Para Llevar opens on “Jungle Full Of Ghosts,” a slightly ominous track inspired by the rain in Mexico and a little help from…

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…includes the original album and nine bonus tracks: seven previously unreleased tracks plus a 2025 remaster of “City of Refuge” and a 2025 mix of “Memphis Shakedown.”
The problem with flirting with old music styles in the digital speedway of the 21st century is the curse of revivalism, a tendency to reduce contemporary stresses and pressures to a perceived better time in the safe and distant past when things were simpler, clearer, and, well, more pure. But of course it’s always now — it’s never then or when — and musical revivalism can suffer from a kind of strictly enforced and ultimately empty artifice. A facsimile is still a facsimile — it can never, by definition, be the thing itself.
This is the dilemma for the Carolina Chocolate…

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…Sir Van Morrison releases the 51st (give or take) solo album of a stellar career spanning more than 60 years across a wide range of musical genres; and, extraordinarily, he has become even more prolific in the last 10 years since turning 70, releasing more than an album a year, culminating in an album of predominantly blues covers sprinkled with a few new songs of his own.
Morrison’s musical career began in the late 50s as he learned to play guitar and saxophone as a teenager and featured in a variety of bands before forming Them in 1963, a quasi R’n’B group that released a string of singles, including rock standards such as ‘Gloria’ and ‘Baby Please Don’t Go’. He left to go solo in 1967 after monetary disputes arising from the band’s…

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Panic! At the Disco is celebrating two decades of their career by giving fans A Fever You Can’t Sweat Out (20th Anniversary Deluxe). The 20th Anniversary Deluxe will feature remastered versions of iconic tracks like “I Write Sins Not Tragedies” and “Lying Is the Most Fun a Girl Can Have Without Taking Her Clothes Off,” along with unreleased demos and live recordings.
Discovered by Fall Out Boy’s Pete Wentz when the band members were still in their teens, Panic! At The Disco exploded onto the musical landscape with the release of A Fever You Can’t Sweat Out in the fall of 2005, which reached the upper echelons of the Billboard 200 and garnered multi-platinum success. The release’s breakout single, “I Write Sins Not Tragedies,” would become…

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The second volume in the WaJazz Japanese Jazz Spectacle series, selected by Yusuke Ogawa.
“Japanese jazz expert Yusuke Ogawa continues the WaJazz exploration with another essential collection of music that contains something uniquely Japanese — focusing this time on the King Records catalog. Featuring timeless music by Isao Suzuki, Toshiaki Yokota, Akira Miyazawa, Takeru Muraoka, Yasuaki Shimizu, Masahiko Togashi, George Otsuka, and more.
“It is my great pleasure to introduce you to the second volume of the “Japanese Jazz Spectacle” series. Following the first compilation which focused on recordings from the Nippon Columbia catalog, this time we are digging into the King Records archives.

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With Convergence, his second solo album, Swedish-born bassist Björn Meyer further develops music on the blueprint established with his recording Provenance (2017), making use of the technical potential of the bass guitar to establish striking sonorities and grained textures while also being acutely aware of the acoustic space in which his sounds emerge. In its review of Björn’s previous solo statement, London Jazz News found the bassist demonstrating “that melodic high-jinks and emotional intensity aren’t just for those who inhabit the treble stave. Meyer’s bass sings.” Here the bass player’s atmospheric explorations conjure images in the mind. His technical innovations appear expanded in a programme of songful quality. In brief it feels complete in itself…

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