With a history that stretches back over thirty years, Comet Gain have cemented their status as an indie rock institution. Unlike most groups who reach that status, they have absolutely no interest in standing still or repeating themselves. One way they keep things moving is by working with a different producer on each album.
This time around they team with Sean Read, a longtime sidekick of both Kevin Rowland and Edwyn Collins. He and the group decided to make Letters to Ordinary Outsiders the lushest, most musically complex album the band has released. To their usual core of guitar, bass, drums, and keys, they add horns, synths, electric piano, backwards guitars, and in a fun nod to Dexys Midnight Runners, many songs that are…
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A deluxe edition of Status Quo’s first concert album will pair the original album – never a favorite of the band’s leader – with the full, newly-remixed shows that it was assembled from.
Hooks so infectious they rot on impact. 
Chapter Music’s landmark collection of Australian 70s-80s post-punk, originally released in 2001, gets its first ever vinyl release!
Arriving five years after their debut EP and two years after signing with Matador Records, the appropriately titled 
In the beginning there was rhythm. And that is the driving force of the third epic edition of the 
Mother Mother has been redefining the music industry since 2005. With an unconventional approach to music and a sound like no other, the band has created their own space in this extensive industry. Adding to their already immense discography, Mother Mother’s new album, Nostalgia, hits streaming services on June 6, ready for their fans to indulge in the fresh and authentic ballads. We sat down with vocalist Ryan Guldemond to gain a true insight into Mother Mother’s latest masterpiece, Nostalgia.
In 1984, members of Crass — the revolutionary anarcho-punk band and art collective from England — self-published the leaflet You’re Already Dead to hand out at their shows. In it, they touted the merits of creating pure art instead of “consumerist products,” putting in the hard work of direct action, and fighting for a world where punk isn’t derivative, escapist, or boring. “It is our job to reclaim beauty and intelligence, dignity and truth,” the band wrote. “NOW IS THE TIME TO CONSTRUCT OUR OWN REALITY.” That year, Crass were touring behind their album Yes Sir, I Will, from which they stitched one lyric onto a huge black-and-white banner. While the band thrashed around onstage, the words burned into the eyes of the audience: “There is no authority but yourself.”
With Still Shakin’, 
Though they were part of the same scene that gave rise to some of the most important alternative groups of their time, Boston band Salem 66 flew largely under the radar while some of their peers went on to lasting, worldwide fame. Led by songwriters Judy Grunwald and Elisabeth Kaplan, the band burned through the ‘80s, playing gigs with Flipper, the Butthole Surfers, and Dinosaur Jr. (in a version so early they were still just Dinosaur), and releasing multiple albums on Homestead, the same indie label that served as an early home to Sonic Youth and Daniel Johnston. Salem 66 disbanded in 1989, shortly before the release of their final album, and they left behind a small but bountiful catalog of minimal, jangly rock. Decades after the band faded into the ether…
Are you gonna do it without the fez on? 1976’s The Royal Scam, Steely Dan’s fifth album, is returning on June 6 in a variety of formats to conclude the band’s reissue campaign which began in November 2022 with Can’t Buy a Thrill. Like the past titles in this series encompassing the Dan’s ABC/MCA discography, The Royal Scam reissued on 180-gram vinyl from Geffen/UMe while an audiophile-aimed UHQR 45 RPM, 200-gram vinyl edition and a hybrid stereo SACD (playable on all CD players) will arrive from Analogue Productions. All formats have been newly remastered; Bernie Grundman has mastered the UHQR and SACD iterations from the original tapes while Joe Nino-Hernes at Sterling Sound handles the standard 180-gram LP. The latter has been sourced…
Eli Paperboy Reed is celebrating 20 years of making soulful music with the re-release of his very first album, 
Soul Jazz Records journey into early 1990s ragga, drum & bass and jungle. The album features all-time classic jungle anthems such as General Levy’s ‘Incredible’ alongside some serious Ragga heavyweight tunes like Cutty Ranks ‘Limb By Limb’ and Congo Natty’s classic re-make of Barrington Levy’s Under Me Sensi’. The renowned album tells the story of how Jungle developed out of acid house but with its roots in the UK Dancehall scene of the 1980s and comes with extensive sleevenotes, exclusive interviews and photography. // “Every one of Rumble in the Jungle’s thirteen tracks is brimming over with life and sonic thrills” and “some of this music was released in ‘91, but it sounds like it was made yesterday.” BBC MUSIC // “Soul Jazz’s string of success continues…
With their joint albums LUMINAL and LATERAL, music legend Brian Eno and conceptual artist Beatie Wolfe are releasing two projects that are as independent as they are interconnected.
Like the best of poets and storytellers, Mary Chapin Carpenter spins expansive webs of beauty, longing, and emotional depth. On each of the songs on her new album, 
The genre-bending Los Angeles-area band War is celebrating the 50th anniversary of its hit 1975 album Why Can’t We Be Friends? with a special Collector’s Edition reissue.
The rhyming of “vicars” and “knickers” and a reference to Ingmar Bergman swiftly prove that at least one of Pulp’s idiosyncratic missions – loosely, to make existential crisis out of bedroom farce, or bedroom farce out of existential crisis – remains intact on this hearteningly fine comeback album.
Over the past two decades, Ontario-based Born Ruffians have been on a constant journey of musical evolution. From indie rock to New Wave to their current incarnation of synth pop, the band manages to show off snatches of just about every musical influence on