Originally released in March 1969, From Genesis To Revelation marked the beginning of an extraordinary journey, the first chapter in the story of a band that would go on to achieve immense success and lasting acclaim. These new editions offer the most comprehensive and revealing presentation of the album to date, revisiting this vital early work with fresh perspective and unprecedented depth.
At the heart of all formats is a powerful new stereo mix by Stephen W Tayler, created with a renewed focus on the band’s performances and with less emphasis on the orchestral elements that shaped the original release. The result is both revelatory and immersive, bringing new clarity and immediacy to the album while preserving…
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The mid-20th century was a period of dramatic social upheaval across the Caribbean, especially for the islands of Aruba, Curaçao, and Sint Maarten. Claimed by the Dutch in colonial times, this area became a hub for the slave trade, and following abolition it gradually receded into a sleepy cultural backwater. But an influx of outsiders—first oil companies, then later waves of tourists and migrants—opened the area to the outside world, sparking cultural mixing and a new spirit of political self-determination that led to events like the 1969 Curaçao uprising.
Antiyano Progresivo: Musical Experiments from the Former Dutch Caribbean, 1968-1986 offers a snapshot of this cultural revolution, as local musicians blended homegrown…
I Should Have Stayed Dead: The Death and Life of Allen Lowe is the three-disc soundtrack to a documentary film about the life, career, skills, death and rebirth of saxophonist, multi-instrumentalist and writer. Lowe, a cancer survivor, endured 25 operations post remission. The film, produced by Jonathan Scheuer, discusses Lowe’s compositional and playing approaches, and offers performance clips, Lowe’s surgeries and recovery, and offers interviews with his surgeon and music historian Greil Marcus. This three-disc, 55-track package contains recordings between 2025 and 2026, and music between the 1990s and early 2000’s. Lowe’s ensemble includes bassist Colson Jimenez and drummer Ethan Kogan; his range of occasionbal collaborators…
After creating something more down to earth with HUMANiSE, a vocal-heavy art-pop album featuring two choirs and multiple guests, Australian DJ and producer HAAi heads back to the club with companion piece DIGITiSE. The two records are essentially different sides of the same coin, as both approach the subject of being human in a digital world. They’re both highly collaborative efforts, with previous guests like James Massiah and Kaiden Ford returning, while others such as Echonomist, Skybreak, and Colombian children’s choir Cantoalegre make debut appearances on a HAAi release. HAAi placed a greater emphasis on creating tracks she could play in her DJ sets, yet HUMANiSE still has a distinct flow as a complete listening experience.
The Smashing Times do one thing and they do it really well; make catchy, jangling guitar pop that sounds like it was recorded in the bottom of a well. Inspired by other fidelity challenged bands like Guided by Voices, Television Personalities, and Times New Viking, they add some freshness to the bloodline. Their 2019 debut cassette EP Come Along with Me is full of hooky, heart-felt pop tunes that sacrifice crisp, clear sound in favor of immediacy, but don’t submerge the singing and playing in so much clatter that the emotions are blunted. Much of the album has the autumnal wistfulness of the Byrds at their most elegiac, only recorded on a beat box instead of a state-of-the-art studio. All seven songs on the record all dig deeply into this mood…
…Originally self-released in 2023 as an ultra-limited cassette run of about 50 copies, the album received a wider official reissue on vinyl, CD, and digital formats on September 4, 2026 via Perennial and K Records.
Sharp Pins‘ Mod Mayday 23 is a cute concept; the band’s Kai Slater picks his favorite tracks from the Mods Mayday ’79 collection, which was recorded in at a live 1979 concert featuring the cream of the U.K mod revival crop. Bands like Squire, Secret Affair, the Merton Parkas, and Small Hours were all formed in the wake of the Jam’s ascendance and followed a similar path of pairing the hopped-up R&B sounds of the original mod scene with the feisty aggression of punk. Slater captures the intensity and hookiness of…
The eponymously titled second Blue Note album from South African saxophonist and bandleader Linda Sikhakhane is his fifth overall and follows 2024’s masterful iLadi. The first two, 2017’s Two Sides, One Mirror, and 2020’s An Open Dialogue (Live in New York), were independently issued, while 2022’s Isambulo appeared from Ropeadope. The saxophonist performs with American pianist Cameron Campbell, bassist brother Conway Campbell, Jr. and South African drummer/New York City transplant Kabelo Mokhatla. The rhythm section has been playing together in a trio, In Exile, since attending the Manhattan School of Music together. L I N D A was produced by mentor and collaborator Nduduzo Makhathini. Sikhakhane also features guests including…
Edge Conditions stands apart from anything else Jeremiah Chiu has released, either as a solo artist, in the free-funk improv group SML, or as a duo with regular collaborator Marta Sofia Honer.
Though still rooted in synthesizer-based improvisations and experiments, the album is often far more rhythmic and danceable than Chiu’s other work. While the influence of ’80s post-disco and electro is present, more than anything, the album feels like a glorious flashback to the era when groups like Tortoise were making groove-heavy, jazzy music blending rock instrumentation with electronics, and acts such as Mouse on Mars and Schneider TM were creating abstract yet brightly melodic and playful electronic music, with everything further cross-pollinated…
Koen Holtkamp is a master of creating spacious sonic environments, both with his long-running instrumental duo Mountains, on many collaborative works, and with solo albums of electro-acoustic beauty. With Nightlife, Holtkamp centers his compositions around modular synth patches he designed to mirror the plucked sounds of stringed instruments (often looking especially to the sounds of chordophone instruments like the kora or the harp), and invites interplay from drummer Greg Fox and sax/flute player Matt Bauder on many of the pieces. As with so much of Holtkamp’s body of work, the sounds here are slow moving and thoughtful, built on subtlety and gradual evolution. Informed in part by a relocation from urban Brooklyn to the relatively woodsy…
Margo Cilker describes her third album, Little White Cross, as a concept record whose premise is “essentially that she got really sad and went to Texas”. That’s a bit of an overstatement. Several of the songs are bleak. Cilker addresses the personal costs of violence, the loneliness of grief, and what happens when love does not just work out, and other somber topics. Yet her performance has a hopeful edge. She sings as a witness, not a victim. Six of the ten tracks are covers and four are originals, but they fit together thematically. Her friend and songwriter Christy Hays wrote the title cut. The “Little White Cross” referred to is one of those homemade memorials on the side of the road devoted to someone who died in a car crash. The lyrics celebrate that the plastic…
Two decades have passed in the land of Gnod, yet the psychic travelogue only becomes more enthralling as it goes on. And whilst this band has flourished via dauntless conviction, hive-mind magic and a fierce and uncompromising spirit, one ingredient has served as a crucial fuel for the fire – the monolithic singularity of the riff.
This second chapter of Gnod’s sort-of-anniversary trilogy also originates in the same six day sessions as the first, at Hellfire studios near Dublin with producer Spud Murphy. Yet the focus this time is on the transcendental heaviness and repetition that the band have often used as a primary fulcrum of their approach. This volume captures the sound of strings flayed, throats shredded, skins punished by the organic chemistry of this…
…features two brand new songs, alongside “New Desire,” as well as a rework with John Glacier and remixes from various artists including Jacques Greene, Nosaj Thing, Lil Silva and Oscar Farrell.
Arlo Parks has long made a home in vulnerability and poetic lyricism, and on Ambiguous Desire, she doubles down on that instinct with confidence. The album is full of psychedelic textures, punchy basslines, and dreamy vocals that blur together into something hypnotic but anthemic.
While the coherence of the record sometimes lends itself to monotony, the darker sonic undercurrent, coupled with a newly found more intricate and explorative sonority, has a sensation of quiet and dreamlike absorption.
Across the whole record, Parks’ vocals are…
Following Pigments and Quiet in a World Full of Noise, two ethereal and affecting collaborations with Spencer Zahn, Dawn Richard picks up the thread from the preceding New Breed and Second Line with the largely danceable Creole Culture. “A Creole Culture Intro,” filled with animated and exultant wordplay, a banging Machinedrum beat, and support from bounce queen Big Freedia, signifies Richard’s return to all-conquering dancefloor mode. The way the track enters with the rhythm section of modern fusion band Katalyst — leader Greg Paul’s thumping drums and rattling percussion, plus Brandon Cordoba’s combination of grooving electric piano and Jan Hammer-like synthesizer wriggles — makes it known that the album won’t be a mere rehash.
Over the years, Imperial Teen’s brand of high-sass, joyfully brash power pop has kept rolling on without losing any of its potency. The group began in the ‘90s as an outlet for the more melodic tendencies of songwriters Roddy Bottum and Lynn Perko-Truell to contrast the aggressive sounds of their other bands Faith No More and Sister Double Happiness, and over time they grew into an identity of their own.
Their seventh studio album All Over You arrives as part of an established pattern at this phase of Imperial Teen’s lifespan, one where the band- members all live in separate cities and don’t get together often, but put together a new album in intervals of six or seven years, checking in on where they’re at personally, as a group,…
Los Angeles garage punk rockers Death Valley Girls have always mixed elements of irreverence, revolution, and compassion in their music, but their 6th album, Welcome to Earth, is an especially community-minded one. It follows the loss of bandleader Bonnie Bloomgarden’s home and belongings in the Southern California wildfires of early 2025, which she escaped thanks to a ride and a place to stay from her landlord, an offer she accepted while leaving even her phone and her car behind. Although they can sometimes be hard to discern on the noisy, group-sung LP, some of the collaborators here include former member Laura Kelsey, fellow garage punker Seth Bogart (Hunx & His Punx), Grammy-nominated jazz vocalist Gretchen Parlato, and a children’s chorus.
BODEGA have spent the past decade being filed under post-punk and art rock, a label that made sense when the Brooklyn band made wiry, rhythm-heavy records that seemed to have one eye on Talking Heads, Devo, and the artier corners of punk. With All Inside Aquarium, BODEGA have turned toward straight-ahead rock.
The guitars are bigger, the melodies are more prominent, and the performances have a looseness that makes this feel like a genuine change of direction for the band.
The album opens with Ben Howzie fronting the titular track and immediately signals that this isn’t the same sound found on past albums like Endless Scroll or Our Brand Could be Yr Life. The track features a slightly hazy, guitar-driven…
The Lone Star State is a hell of a long way from the City of Angels. Anyone familiar with U.S. geography knows this, but no one understands the lengths of that journey quite like Jess Williamson. Not only does the born Texan walk the line between country and indie, she literally splits time between a tiny town in West Texas and her adopted home of Los Angeles. Williamson was feeling stuck between these two stations when she struck gold on her last album, Time Ain’t Accidental. A Mile South of Heaven navigates the same emotional terrain from a slightly different direction. It’s still rewarding but requires more than a little patience for less in return.
Arriving back at the crossroads Williamson reached on Time Ain’t Accidental, “Goodbye to…
Anytime is a good time for a new John Prine album. Found Dogs was released initially in April in a limited edition run of 2,000 LPs for Record Store Day. ‘Found Dogs’ celebrates the 30th anniversary of Prine’s ‘Lost Dogs & Mixed Blessings’ and includes alternate takes, demos, and five unheard original songs gathered from recording sessions from that time.
This album opens with an alternate version of “Ain’t Hurtin’ Nobody,” a swaying, New Orleans shuffle riding atop striding boogie-woogie piano with Prine’s growling baritone testifying to a live-and-let-live philosophy inherent in the rock and roll life. Circling fingerpicking lie beneath Prine’s tender vocals on the spacious and atmospheric “All the Way with You (Acoustic Version).”
