It’s always interesting to see where the next Imaginational Anthem compilation will take us, and this fourteenth addition (in time for Tompkins Square’s twentieth anniversary) has hopped us over to one of the traditional music hubs of the world to show us some of the instrumental guitar talent operating in Ireland.
Cian Nugent has his hand on the curating tiller and has chosen nine other tracks to sandwich his own little number, the lovely ‘I am Asleep and do not Wake Me’, a traditional Irish tune that he learned from a harp arrangement. As you would expect from Cian, the playing here on solo acoustic is finely nuanced and unshowy, with a couple of softly audible knocks on the body giving the sound an intimate feel.
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Deep Country is an anthology-like collection by Bruiser and Bicycle. Spanning across 15 songs the band shows a rich appreciation for disparate styles of music, with notes of jangle pop, art rock, tin pan alley, americana, and progressive folk.
…While their sophomore album, 2023’s Holy Red Wagon, stuck its toe over the hour line by a single minute, their third LP saunters in sound and runtime, clocking in at just shy of 75 minutes. The Albany quartet rummage through a bin of acoustic instruments and vocal tricks to indulge in the art of low-key merrymaking until you lose track of time alongside them.
Bandleaders and multi-instrumentalists Keegan Graziane and Nicholas Whittemore, bassist Zahra Houacine, and drummer Joe Taurone…
In a recent thought piece on The A.V. Club, Josh Modell ruminated on the dilemma of bands touring endlessly around the hits that made them famous, even as they continue to record new material (or not). He rightfully noted everyone from The Pixies to Van Halen for their habits of living in the past on stage, writing, “I wonder if there’s not a bit of shame in strict nostalgia. Sure, Frank Black has made plenty of new music since the Pixies started playing again, but it hasn’t reached anywhere near the same audience. What does a once-and-maybe-current great songwriter do?”
This is the same question that’s dogged Chris Difford and Glenn Tilbrook of Squeeze for five years. The British duo formed one of the most evocative songwriting partnerships…
Pianist Horace Silver leads his mid-’60s quintet through a combustible, hard swinging evening on the superb 2025 archival recording Silver in Seattle: Live at the Penthouse. Recorded by KING-FM radio host and engineer Jim Wilke, the concert was one of many Wilke captured for later broadcast on his show. Thankfully, he saved the tapes, and they are presented here in a vivid restored quality. Joining Silver on tour was his then-main quintet featuring trumpeter Woody Shaw, tenor saxophonist Joe Henderson, bassist Teddy Smith, and drummer Roger Humphries. Taking into consideration the minor line-up shifts in Silver’s group from 1964 to 1966, including Shaw taking over for Carmell Jones and Smith being replaced by Bob Cranshaw in studio, this is essentially…
The fourth album by pianist Fergus McCreadie‘s trio is titled after a Gaelic word referring to a homemade shelter of stone and earth that protects shepherds during the summer pasturing season. Here, it’s an extended metaphor for the intimate cottage in Lochmaddy, in North Uist, in the Scottish Outer Hebrides where the band ferried from their Isle of Skye homes to record this set in five days with producer Laura Jurd.
Since releasing 2021’s Cairn, the trio — with bassist Dave Bowden and drummer Stephen Henderson — has delivered a nearly trademark sound that draws equally on contemporary jazz, spectral post-bop, and Scottish folk traditions. The later nature-themed outings — 2022’s Forest Floor and 2024’s Stream — further integrated…
“I don’t wanna go where I can’t feel a thing,” pines Just Mustard frontwoman Katie Ball on ‘Dreamer’, the intricate and skittering track at the heart of the forever-rising Irish indie kids’ third album. “I just wanna make it feel good.”
From their shoegaze-leaning lowkey 2018 debut ‘Wednesday’ to the more industrial yet kaleidoscopic breakthrough-threatening 2022 follow-up ‘Heart Under’, the Dundalk five-piece have traded in a genre haze that lands somewhere around ‘noise rock’ but always dabbles in darkness. This time, they’re looking for something more.
Always a gut-punch hidden in an enigma, they’ve found fans in and support slots with their globe-conquering countrymen Fontaines D.C. and gothfathers themselves The Cure…
Legendary and iconic are two terms that may be overused in the music world, but these and other superlatives have been earned by Dion DiMucci – better known to rock and roll fans simply as Dion.
With a career that has spanned eight decades, Blues Rock Review is thrilled to report that Dion is still vibrant, strong and making great records. He had 39 Top 40 hits in the late 1950s and early 1960s, and to those who may believe he disappeared, we have to say, ‘You haven’t been paying attention.’ Throughout the 1970s and 1980s, Dion explored folk, blues, and gospel, earning a Grammy nomination in 1985 and an induction into the Rock and Roll Hall of Fame in 1989. Between the mid-2000s and 2024, Dion released seven top blues albums (3 of these at No. 1).
Setting the tenor for his career as a world music pioneer, Yusef Lateef mingles Islamic sounds with jazz aesthetic on this, his first album. After touring with Dizzy Gillespie, he went on to release this hard-bop masterpiece in 1957, backed by bassist Ernest Farrow (Alice Coltrane’s sibling) and trombonist Curtis Fuller. Here, Lateef plays everything from tenor saxophone to the lute-like rabat (on the mercurial meditation, “Morning”) and the flute-like argol (on the bright, punctuated sonic excursion, “Metaphor”). Ultimately, his mingling of East and West feels as intriguing as it is effortless. Upon its release, DownBeat praised that “Almost without exception the tracks give a feeling of warmth, a mood of relaxation, and good feeling, an uncomplicated emotional propulsion.”
Twenty years ago, Joe Westerlund moved to North Carolina with DeYarmond Edison, the pre-Bon Iver project with Justin Vernon that evolved into Megafaun. Then he became one of the region’s most prized drummers, playing with prominent acts like Mount Moriah, Jake Xerxes Fussell, and Sylvan Esso. But while he was dissolving his creeping, cellular sense of time in song-forward ensembles, there was an experimental composer waiting to come out. The first rip in the chrysalis set loose Grandma Sparrow, a capering performance-art alter ego that fused shades of Syd Barrett and Frank Zappa in psychedelic children’s music. Audacious and eccentric, it was an id explosion that served to propel Westerlund downstage, clearing the decks for a more grounded…
“Ike piano,” an instrumental highlight from Forever, is tasteful, pretty, and elegant. This is not where you expect to find Bassvictim. Henry ‘Ike’ Clateman is most at home behind the decks, detonating 808s and cheap-synthed dubstep in London basement clubs. Here, he’s steeping a piano in delay and letting tiny shoals of melody do their thing. Vocalist Maria Manow should be on stage, striking vape-flavored fervor into the hearts of sweaty moshpits. Now she’s letting amorphous, doe-eyed cello melodies float away like abandoned balloons at a birthday party.
All of this from a group who once wrote a banger about a G-string, the figureheads of London’s buzzy experimental scene who reportedly aren’t allowed back at Berghain ever again.
Lê Almeida’s improvisational indie rock troupe Oruã had been making fine records for years before their debut for K, 2025’s Slacker. In fact, their earlier work impressed Built to Spill’s Doug Martsch so much that he asked most of Oruã to join his group and together they made one of the best BTS albums, 2022’s When the Wind Forgets Your Name. Slacker gives the uninitiated plenty of clues why Martsch was so enamored; the album is made up of long songs that unspool at languid paces and are just barely moored by swirling guitar lines, hazy melodies, and a crack rhythm section that pushes and pulls on the underpinnings like it was so much taffy. Almeida sings in a similar drawl too, delivering the words in a plaintive fashion that gives the proceedings some added…
…includes two new covers and two French-language versions of standout tracks from the original album.
Rarely are there albums as openly vulnerable and sparse as Clara Mann’s Rift. Jessica Pratt’s Here in the Pitch comes to mind for its intimacy, but that latest LP still has an underlying gloss.
Mann’s record is rawer, every minuscule movement picked up by the microphones. Along with her unique vocals and songwriting, these sounds allow the listener to develop a connection with Mann to better understand the hard times she’s gone through. The Franco-British singer-songwriter characterizes her music as “almost folk,” because even though her music is rooted in the tradition, additional unconventional choices separate…
Celebrating the 40th anniversary of Clannad’s 1985 album, Macalla (meaning “Echo” in Irish) and newly remastered by Phil Kinrade at Air Studios. This ninth studio album became their first international success and marked a significant point in the band’s career, showcasing a blend of their traditional Irish folk roots with a more mainstream, pop-influenced sound.
Building on the momentum from previous successes like “Theme from Harry’s Game” (1982), which gained international attention and was even used by U2 as concert outro music, and their award-winning soundtrack for the TV series “Robin of Sherwood” (released as the album Legend in 1984), Clannad was poised for a breakthrough in markets like America.
After years of obscurity, Pulp shot to stardom in Britain with 1994’s His ‘n’ Hers. By the time Different Class was released at the end of October 1995, the band, particularly lead singer Jarvis Cocker, were genuine British superstars, with two number two singles and a triumphant last-minute performance at Glastonbury under their belts, as well as one tabloid scandal.
On the heels of such excitement, anticipation for Different Class ran high, and not only does it deliver, it blows away all their previous albums, including the fine His ‘n’ Hers. Pulp don’t stray from their signature formula at all — it’s still grandly theatrical, synth-spiked pop with new wave and disco flourishes, but they have mastered it here. Not only are the melodies and…
Jeremy Allen White becomes the Boss in biopic Springsteen: Deliver Me from Nowhere. Directed by Scott Cooper and based on the book of the same name by Warren Zanes, the film charts Bruce Springsteen’s personal and professional struggles during the creation of his 1982 album ‘Nebraska’. Other cast members in the film include Jeremy Strong, Paul Walter Hauser, Stephen Graham, Odessa Young, Gaby Hoffmann, Marc Maron and David Krumholtz.
The film’s score is by Jeremiah Fraites, who is best known as a co-founder of The Lumineers. He recently provided the score for this year’s film adaptation of Stephen King’s The Long Walk.
Columbia Records will release a separate soundtrack featuring the songs from…
…The box set collects the two albums the band recorded for Atlantic Records during their peak commercial period: ‘Spend the Night’ (2002) and ‘Gold Medal’ (2004). The third disc is a collection of bonus tracks, B-sides, acoustic versions, and live performances.
So said the publicity at the time of its release, this despite these four girls being, “Every mother’s nightmare, every school boy’s dream,” according to Spin magazine. Spin also reckoned they were, “The coolest band in America,” whereas Kerrang! recognised their, “Grimy, glorious rock ‘n’ roll… dripping star power and packing irresistible pop-rock.”
Taking inspiration from the punky pop rock of the Ramones and The Runaways, mixed with..
Over a winding run that began in the late ’90s but traces back even further, Boston-area psych band Major Stars have honed their own unique and specific vision of psychedelic rock. It’s a sound that at times echoes the ragged power of the Bay Area acid rockers of the ’60s, but also nods to the influence of outsider artistry, and stands apart from any obvious influence with the band’s intricate triple-guitar arrangements.
More Colors of Sound follows 2019’s Roots of Confusion, Seeds of Joy, and once again showcases both Major Stars’ high-output guitar intensity and their mystifying psychedelic songwriting style. The album is made up of eight songs, pared down from a double album’s worth of material. This is the second album with vocalist…
…Born and raised in Toronto’s East End, singer-songwriter Jerry Leger has built up a remarkable body of work over the last two decades, culminating in fourteen studio albums that have seen collaborations with americana icons such as Cowboy Junkies’ Michael Timmins and Grammy winner Mark Howard.
Earlier this year, Leger released a solo album entitled Lucky Streak: Latent Lounge, Live from the Hanger, produced by Timmins at his studio, ‘The Hanger’ in Toronto, where he revisited a selection of his back catalogue and gave them a more modern feel. This time around, he is reunited with his band and, taking advantage of a short break whilst touring Europe, stopped off at Cologne’s historic Maarweg Studio to…
