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San Francisco power trio chokecherry is a band that exists squarely within the modern moment. In previous times, you’d meet band members at school, work or possibly through ragged weather-stained notes on the local guitar shop bulletin board. Coincidentally, these were the same way you’d meet romantic partners.
Chokecherry are a symbol of the increasing efficiency of modern existence, in that they met on Hinge. Guitarist Izzie Clark and bassist E. Scarlett Levinson met on the dating app in 2022 but never went on any dates, opting to start a band instead. Ripe Fruit Rots and Falls is the first full-length consequence of that decision.
The band’s sound lives within the loosely defined boundaries of alt rock, but beyond that they…

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Thomas Raggi, the razor-sharp guitarist powering Italian rock firestarter Måneskin, is fully ablaze on his explosive debut album Masquerade. The eight-track collection packs seven riotous originals, rounded out by a high-voltage take on Dead or Alive’s ‘You Spin Me Round (Like a Record)’.
Brimming with rock ’n’ roll swagger and magnetic musical alchemy, Thomas has pulled together an all-star cast – Tom Morello (who was at the helm of production and the album’s creative course), Beck, Nic Cester, Alex Kapranos, Kasabian‘s Serge Pizzorno, former Guns N’ Roses member Matt Sorum, The Struts frontman Luke Spiller and more to join him for a riotous celebration of pure guitar heroism.
The album’s genesis springs purely from…

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Recorded live in Spain during Loreena McKennitt’s summer 2024 tour of Europe, Live in Madrid is an audio vérité soundboard recording of a complete 20-song show from that tour, captured in stereo directly from the mixing desk located in the venue front-of-house. Other than the mastering and editing work needed in order for us to offer the listeners an optimum listening experience, this album comes as close as you can get to the live performance as it sounded at the “Noches del Botánico” festival on that balmy Mediterranean night.
Live In Madrid contains the entirety of 1994’s The Mask and Mirror performed in sequence, plus over an hour of fan favourites drawn from across the range of Loreena’s catalogue of studio recordings.

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…two audio CDs of “This Is What You Wanted” Live In Mexico City & bonus track edition of the studio album “Never Let Me Go” with “Shout”.
An intimate exploration of Placebo’s evolution, charting their journey through lyrics and songs that delve into the human experience.
Placebo’s second feature-length documentary called This Search for Meaning. This intimate and enlightening film explores the ideas that inhabit the lyrics and subject matter of Placebo’s songs, whilst charting their evolution as a group and as human beings. It is a fearless, truthful and forthright exploration of the creative process and the rock ‘n’ roll lifestyle, along with its inevitable consequences.
Since emerging from obscurity in the 1990s with provocative songs such as “Nancy Boy” and “Bruise Pristine”, Placebo forged a decidedly unfashionable path through the brazenly macho ‘Britpop’ scene to explore subjects such as the body politic and the continued erosion of our human rights…

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…featuring four bonus tracks.
On this, their 10th album, the melodious Mancunians started at the drum kit and built from there. This is no bad thing. The overall effect is wide-ranging, surprising and altogether more uplifting than either the delicious despairing Giants of All Sizes (2019) or gentle, soulful Flying Dream 1 (2021).
We kick off with “Things I’ve Been Telling Myself for Years”, (for instance, “Of course I’ll live to 96 and fix the welfare state”) a self-deprecating piece of analysis that packs in the influences without ever being derivative. As Garvey puts it, “We referenced The Meters, Beastie Boys, Sly and Family Stone, Jimi Hendrix, Arctics, Queens of the Stone Age, Bolan, Tom Waits, Public Enemy and…

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The new Jason Isbell album, Foxes in the Snow, offers an opportunity to appreciate his considerable gifts as a singer, songwriter, and guitarist in a fresh way. It’s his first solo acoustic album and his first that he recorded in New York — in just five days no less at Electric Lady Studios in the West Village.
In February, Isbell played two sold-out shows at the Beacon Theatre, blending the new material with fan favorites from his years with The 400 Unit and the Drive-By Truckers. Each night ended with a carefully chosen cover: a haunting rendition of Bon Iver’s “Best/Rest” on Friday and a tender take on John Prine’s “Storm Windows” on Saturday.
A few days later, during a conversation with WFUV radio, Isbell opened up about the making of the album and the beautiful old guitar that…

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For the first time on vinyl, a lost gem of 90’s garage punk for the darkly inclined. Recorded in 1997 by Greg Talenfeld (Jon Spencer Blues Explosion, Pavement, The Walkmen) and never released before, The Night Has Eyes is a hidden treasure unearthed from the fertile end-of-the-century NYC underground scene.
In Ally Pankiw’s recent documentary, Lilith Fair: Building a Mystery, we’re reminded that Sarah McLachlan’s all-women tour once found itself in the crosshairs of televangelist Jerry Falwell, who condemned Lilith’s proto-feminist folkloric inspiration-and, by extension, the festival’s pro-choice/queer-positive mandate-as a paragon of demonic depravity. If the charges seemed absurd at the time, they’re absolutely hilarious…

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Multi-instrumentalist Chris Franck and DJ and producer Patrick Forge have been making music under the moniker Da Lata for a good quarter-century now. In all that time, the gist of the project has remained largely consistent: Da Lata‘s music is warm, soulful, and made, more or less, in collaboration with (or at least inspired by) artists working with musical styles that have emerged from African-Brazilian interchanges.
It’s a comfortable niche for Da Lata, which has done an admirable job of making music that holds up pretty well over the decades, even with heavy lounge and jazz-fusion vibes. Now, a full 25 years after the debut of Songs from the Tin, the new album Edge of Blue continues the group’s steady stream of appealing tropical grooves.

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Martian Sunset is the latest album from American vibraphonist and composer Bill Ware, who, over a three-decade career, has carved his path across a variety of ensembles including The Jazz Passengers, Groove Collective, the trio Vibes, and Rez Abbasi’s Acoustic Quartet. The ten original compositions were written anew — though initially conceived as part of his pandemic-triggered 1k Song Project — for The Club Bird All-Stars, the long-running vehicle for his prolific creativity, formed in 1993 after a three-month engagement at the beloved Japanese venue Club Bird. The group’s new iteration features adventurous guitarist Rez Abbasi, seasoned bassist Jay Anderson, and unsung drummer Taru Alexander, with pianist Matt King remaining in the lineup.

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The saxophonist Pharoah Sanders was often described as an enigma of jazz, once famously characterized as “a mad wind screeching through the root-cellars of Hell.” That “mad wind” is absent on Love Is Here: The Complete Paris 1975 ORTF Recordings, but the enigma remains. This pivotal album captures Sanders stretching out, away from his Impulse! Records contract, exploring a sound that moves beyond late-stage John Coltrane and places a greater emphasis on tone, melody, and lyrical expression.
Recorded live at Maison de la Radio’s Studio 104 in Paris on November 17, 1975, this set is a crucial document that bridges the gap between his turbulent free-jazz explorations and the meditative tranquility of his later work.

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This all-Ravel recording by the Nash Ensemble was the final project of Amelia Freedman’s extraordinary 60 years as artistic director, and it’s a fitting farewell to the group’s much-missed founder, who died in July.
It includes all three larger chamber works plus the composer’s own two-piano arrangement of his orchestral masterpiece ‘La Valse’: Alasdair Beatson and Simon Crawford-Phillips are a polished team in this, sounding wonderfully louche early on and then dispatching fistfuls of notes and long glissandos with seeming ease, all while catching the music’s increasingly sinister nature.
The 1905 ‘Introduction and Allegro’ was a commission from a harp manufacturer, intended to make their instrument sound good – which…

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Is there anything Marc-André Hamelin can’t do? In a recording career that now spans nearly four decades, the Canadian pianist has handled everything from Mozart sonatas to presentations of Ives, Ornstein, Feldman, and Rzewski. He has championed lesser-known names like Alkan, Henselt, and Medtner, and even offered a full-length album of his own compositions.
His latest release, Found Objects / Sound Objects, showcases his immense range. Hamelin performs works by seven composers, from John Cage to Frank Zappa to himself. Some of it is impressively difficult – the arrangement of Zappa’s ‘Ruth is Sleeping’ was originally made for two pianists, not one – but he has it all comfortably under his fingers. The virtuosity is…

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Isobel Waller-Bridge has had a highly eclectic career to date. Primarily it’s involved being a film and television composer, working on her sister Phoebe’s smash Fleabag, Autumn De Wilde’s update of Emma and the acclaimed dark comedy Sweetpea. One of the things underpinning these projects across a range of disparate genres is the breadth of Isobel’s score, suiting both period works, epics and intimate character-driven projects.
This range is apparent on her sophomore record, solo project Objects from the seven-minute opener “Pillow”. It has a cinematic quality to it, easy to picture as part of a score, hauntingly beautiful but never feeling its length, full of depth. “Glass” feels like something from a horror film, with background noise and effects at its epicentre;…

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With his tenth Spotted Peccary release Along the Coppermine Ridge, Rudy Adrian reminds us once again of his remarkable tone painting abilities. A scan of its eleven track titles and those of the album titles preceding it also show the New Zealand-born producer to be an ambient artist who fervently embraces the associative potential titling offers. Eschewing abstraction, Adrian gives his pieces titles that trigger strong visualizations, the latest recording’s “Alpine Tarn,” “Serpentine River,” and “Autumn Snow” three examples. Albums preceding the new one, Reflections on a Moonlit Lake and Beyond the Sleepy Hills, likewise evoke clear images and highlight another aspect of his music, its deep connection to nature. There have been times when Adrian’s…

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Featuring 25 B-sides & 2 bonus tracks from the period 1972 – 1977. Tracks include ‘Born To Boogie (single mix)’, ‘Cadilac’, ‘Life’s An Elevator’, ‘Tame My Tiger’ and ‘Thunderwing’.
Following the Q4 2024 ‘Bolan Boogie’ definitive hits package, Demon Records are thrilled to present a companion piece in the form of ‘Bolan B-Sides’, a brand-new collection of B-sides and bonus tracks from T. Rex’s hit-packed 1972-1977 period.
Before Marc Bolan’s untimely passing in 1977, T. Rex were a cultural phenomenon that defined a generation. The fervour even earned its own name: “Trextasy,” a frenzy not seen since the height of Beatlemania. Hidden away on the flips to some of the band’s era-defining singles, were some of Bolan’s most captivating musical moments.

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…Remastered by Mark Beazley.
‘Will’ might have been released in 2001, but it’s not anywhere near as well known as Grinning Cat. That might simply be because up until that point, Susumu Yokota‘s dancefloor material had been supplied via Tokyo’s Sublime imprint, who released the epochal ‘1998’ and ‘1999’. Having become disillusioned with Japan’s club scene, Yokota handled ‘Will’ himself, putting on Skintone and although it made sense sonically – the release is considered an ode to his loose-limbed Skintone nights in Tokyo – it’s one of his more obscure collections. Listening now, it sounds at times like a speeded up, fattened version of ‘Grinning Cat’, all rickety drum breaks and piano loops. It’s almost like Yokota is challenging himself…

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The infectious energy and bombastic grooves of jazz/soul drummer/band leader Makaya McCraven are channelled into the most focused and cohesive overall recording of his career so far on Universal Beings. That the sound quality is more pristine than previous releases certainly helps — it’s no easy feat to get this kind of clarity on a live recording — but it’s the songs themselves that feel the most honed.
While the music is clearly rooted in jazz, the influences on this ensemble’s sound are vast and worldly, if not measurably universal. With “Black Lion,” McCraven and company tap into the deep pocket and simple repetitive hooks of hip-hop, while allowing room for jazzy flourishes filled with subtle nuance to sub in for the absent vocals. Elsewhere, surprisingly baroque violin…

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After an eight-year lay-off from the recording studio, the Smithereens released two albums in 2007. However, it doesn’t bode well for their creative process that the first of those albums was comprised entirely of Beatles covers, and the second was a Christmas disc.
However, Christmas with the Smithereens at least features three original tunes (which is three more than Meet the Smithereens!), and as rock & roll Christmas albums go, this is good fun and admirably eclectic. The Smithereens are pretty broad-minded when it comes to what constitutes a Yuletide melody, given the presence of “Christmas,” a not especially seasonal tune from the Who’s Tommy, and they dig up the Beatles rarity “Christmas Time Is Here Again,” as well as…

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