For the new remastered edition, 5 bonus tracks have been added: Spampinato’s “Trouble in the Henhouse,” Donn Adams’ “Dry Up and Blow Away,” and Terry’s “Electric Train” are all derived from the ‘Workshop’ sessions. These are augmented by a lively alternate version of “RC Cola and a Moon Pie” plus an updated take of “Get That Gasoline Blues.”
Originally titled Age of Aquariums, Workshop was the last album from one of the pre-classic lineups of NRBQ. This incarnation incorporated the talents of bandleader Terry Adams (keyboard/coronet/trumpet), Joey Spampinato (bass/guitar/sax/vocals), Al Anderson (guitar/vocals), and, in his final studio appearance with the band, Tom Staley (drums). Although they had been performing with an evolving makeshift horn section…
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Snow Patrol’s Eyes Open album is receiving a special deluxe reissue for its 20th anniversary.
Eyes Open, originally released in April 2006, marks Snow Patrol’s fourth album. It features six singles, including “Hands Open,” “Set the Fire to the Third Bar,” “Open Your Eyes,” “Shut Your Eyes,” as well as the Top 10 hits “You’re All I Have” and “Chasing Cars.” The LP was the best-selling album in the UK at the time of its release, selling over one million copies. It also hit No. 9 on Billboard’s Top Rock Albums chart and is certified 8x Platinum.
“Chasing Cars,” the alternative rock band’s most iconic and biggest single to date, peaked at No. 6 on the UK Singles Chart and No. 5 on the Billboard Hot 100. The tune also earned nominations for Best Rock Song at the 2007 Grammy Awards…
All the Beauty is Pete Yorn’s new album, arriving via Shelly Records. The 11-song release marks his third full-length collaboration with Jackson Phillips of Day Wave, continuing a creative partnership that has shaped Yorn’s recent run of records.
Built around Yorn’s signature mix of alternative rock and melodic indie songwriting, the album expands on the breezy, guitar-driven sound the pair established on Caretakers and Hawaii. The title track, released ahead of the album, sets the tone with a focus on staying present and recognizing moments of beauty in everyday life.
The record was produced by Jackson Phillips and Pete Yorn, with Phillips also handling engineering and mixing. Across its 11 tracks, All the Beauty balances understated arrangements…
Produced once again by GRAMMY® Award-winner Rich Costey (Vampire Weekend, Foo Fighters, Death Cab for Cutie) at Vermont’s bucolic Guilford Sound – the same studio where The Revivalists and Costey previously collaborated on 2023’s life-affirming fifth album, Pour It Out Into the Night – Get It Honest sees a veteran band enabled by hard-fought experience and boundless solidarity to strike a new path forward. Having embraced multiple musical personalities on previous records, the 12-track collection evinces a blessed cohesion, as if The Revivalists have finally found how they truly want to sound, at least for right now.
With seven of its eight members now fathers, Get It Honest is unquestionably a grown-folks record, built on songs about cutting yourself…
When Emerson, Lake & Palmer conceived the idea of releasing a live album at the end of the ‘70’s it was intended to be, in true prog rock style, a grandiose double LP type affair. However, the band’s dissolution in 1979 meant that Atlantic Records slimmed down the band’s original vision into a single set under the moniker In Concert. When reissued in 1993, that album was restored in all its double disc glory with much of the omitted music included. Titled Works Live, it was more in tune with what the band envisioned, and that vision has finally been realised with this updated version from BMG. Refreshed with upscaled packaging and liner notes, along with a crisper sound, this issue elevates Works Live to its rightful place as a key release in the ELP canon.
On 23rd December 1977 a unique concert took place at Queens Hall, Barnstaple that has justifiably earned a special place in the history of Hawkwind.
Billed on posters as being an appearance by Dave Brock’s Sonic Assassins, the band featured Hawkwind members Dave Brock and Robert Calvert, along with future members Harvey Bainbridge (bass), Martin Griffin (drums) and keyboard player Paul Hayles.
Intended as a Brock and Calvert side project, the concert was recorded and featured early renditions of tracks such as ‘Freefall’ and ‘Death Trap’, along with a classic improvised piece later titled ‘Over The Top’ which showed Robert Calvert at his improvisational lyrical best. The performance would later be seen as sowing…
The 21-track expanded edition includes the remastered original album and 10 “Live and Intimate” recordings from a special session captured at Capitol Studios.
Actually, the title of the Goo Goo Dolls’ 8th album can be taken somewhat literally: Let Love In is a welcoming collection of songs that eschews some of the darker currents roiling under the surface of their previous effort, 2002’s Gutterflower. Not that Gutterflower sounded bleak — it was clean and glossy, so much so that it would be easy to listen to it once and assume that there wasn’t much there. Such assumptions also come to mind after the first listen for 2006’s Let Love In, but unlike its predecessor, there isn’t much to dig into here; what you hear upon that first listen is…
Sydney’s Body Type — Sophie McComish, Annabel Blackman, Georgia Wilkinson-Derums, and Cecil Coleman — are a band who clearly don’t believe in hanging about. Two early EPs preceded their sparkling debut album, Everything Is Dangerous But Nothing’s Surprising, in May 2022, then, before anyone had quite caught their breath, Expired Candy turned up just over a year later in June 2023. Since then, though, the quartet have taken some time out, focusing on life and various side projects, which meant the wait for album number three, Tally, has stretched to a whole three years. By Body Type’s own hyperactive standards, that’s practically a My Bloody Valentine-sized gap.
But it’s been worth the wait. Tally is an album that fizzes with ideas, bristling with sly wit…
The Strokes’ stock is pretty high in 2026, definitely higher than it was in 2016, and maybe even 2006. This year marks the 25th anniversary of their classic debut, Is This It? Their recent tour, the band’s first in 20 years, saw them light up a multigenerational audience of young olds and old youngs. Their standing isn’t only based on nostalgia either: Though the last Strokes album, 2020’s The New Abnormal, got a little lost in the Covid malaise, its standout hit, “The Adults Are Talking,” has as many Spotify streams as “Last Nite.” Meanwhile, the biggest indie band around, Geese, is undeniably post-post-Strokes, even if the band members were still in their strollers back when Julian, Albert, Fab, Nick, and Nikolai owned the night. Not a bad legacy to keep rolling into…
What an extraordinary band are the Punch Brothers, a bunch of conspicuously talented musicians whose six albums never fail to delight and stimulate as they push the boundaries of acoustic music to what you think would be beyond breaking point. It’s been said that they’ve taken “bluegrass to its next evolutionary stage, drawing equal inspiration from the brain and the heart”.
Virtuosos all, The Unsung Adventures of Punch Brothers marks the debut of fiddler Brittany Haas with the band which, in addition to Chris Thiele, includes Chris Eldridge on guitar, Paul Kowert on bass, and Noam Pikelny on banjo. A sought-after session and touring musician whose credits include US TV host Steve Martin’s bluegrass band, Haas managed to pursue her youthful…
Robyn Hitchcock has spent nearly six decades as a singer-songwriter and raconteur, thrilling fans with his wry, whimsical and often surreal view of the world. Now in his seventies, he returns with his 25th solo album, The Confuser, and it does not disappoint. Recorded in his adopted hometown of Nashville, Tennessee, the album features an excellent supporting cast, including Jeremy Fetzer on guitars, Todd Bolden on bass, and Eric Slick on drums and percussion. It was recorded by Brad Jones and includes guest appearances from Gillian Welch and Hitchcock’s former Soft Boys bandmate Kimberly Rew.
“When I decompose I will be part of everything,” announces Robyn Hitchcock on ‘I Am This Thing’, marvelling at the fragile wonder…
Bristling with virtuosity and detail, Katarahi, marks the second duo release by pianists Satoko Fujii and Myra Melford, two artists with a tremendous capacity for invention and improvised storytelling. The title, a Japanese word meaning a heart-to-heart conversation between intimate friends, could hardly better reflect their work here, as they enjoy an equal share of the music-making. Neither is busier nor more commanding than the other. Instead, they integrate their ideas seamlessly, creating textures, motions, and atmospheres that speak directly to their identities as musicians. The pieces on this album were recorded live at Jazzfestival Leibnitz in 2024.
Melford’s “Interlude I” balances volatility and pacification, relying on prepared piano and a four-note motif that continually reshapes…
Any hiker knows that walking the main trail is—pardon the mixed metaphor — barely the tip of the iceberg. (Or perhaps scratching the surface? Is that better?) Regardless, the more fascinating and picturesque the journey, the more it merits repeat visits to find variations on whatever side trails and shortcuts there are to discover. And so, after taking us on their most rich folky excursion to date with The Shieling (2025), it seems that Fergus McCreadie and friends had still not shown us nearly everything their beloved Scottish landscape has to offer. Little surprise that such a fruitful session had another share of ideas that could not all fit on the album proper.
Whatever you might call their blend of snappy jazz and woodsy folk, its organic growth is…
Understanding the universe begins with listening rather than seeing. Listening to the stars as much as to our unconscious mind. This is the idea around which both Jeffrey Zablotny’s film and Jana Irmert‘s soundtrack revolve.
The documentary follows the journey of neutrinos through three subterranean observatories – SNOLAB in Canada, Super-Kamiokande in Japan and IceCube beneath the Antarctic ice. Throughout the film, the narrator repeatedly returns to acts of listening: “We are listening for a whisper.” “Listening through stone, ice and water.” The scientists descend deep beneath the Earth’s surface because, as the film explains, “the surface of the Earth is full of interference.” Only underground, protected from the overwhelming…
New Orleans funk and R&B legend Cyril Neville has released Don’t Wait Til I’m Gone, his first solo album in several years. Produced by trumpeter/ vocalist Shamarr Allen, the album features a wide-ranging cast of New Orleans musicians, including members of the Hot 8 Brass Band, guitarist Leo Nocentelli, saxophonist Donald Harrison, keyboardist Ivan Neville and Kermit Ruffins. The title track is a collaboration between Cyril and his brother Aaron Neville, who co-wrote the song with Michael Goods and contributes vocals.
Allen played a major role in shaping the record, co-writing many of the songs and arranging much of the horn work. One standout track, “Lemonade,” incorporates the second line energy of the Hot 8 Brass Band and was written…
You have to hand it to Chris “CR” Gennone when it comes to naming his bands; consistency is at the fore. He loves the moniker CR so much so that he’s recorded five albums as CR and the Degenerates, then with a few lineup changes, it was CR and the Nones in 2019, and now we have the third album from CR & the White Lights.
Having listened to their previous release, The Ghosts Are Coming Home, which is a truly magnificent album, the quality of writing and musicianship hasn’t slipped one iota on this new one. This is a really solid collection bringing to mind the best qualities of Neil Young and Wilco, that spotlights Gennone’s wonderfully soulful and effective vocals and some superb driving hooks, demonstrating his musicianship…
If not for Scary Stories To Tell in the Dark — Alvin Schwartz’s infamous anthology series of folk stories that have haunted grade school book fairs for decades — The Garden as we know them might not exist. Ever since twin brothers Fletcher and Wyatt Shears began releasing their brand of sun-bleached, goofball punk rock in the early 2010s, they’ve cited the book’s influence on their work with Biblical reverence and referenced its nightmare-inducing illustrations in the cover art of side projects. The true parallel, however, is structural: Where Schwartz’s writing was succinct and vernacular, so too is the twins’ output across The Garden’s six studio albums and various EPs (and sprawling network of alter egos).
In recent years, the typical Shears song has…
Remember when SST records ruled the independent rock scene in the late ’80s, early ’90s and when those sounds created by the bands like The Meat Puppets, where everything sounded like it was going to fall apart any second, but never did, creating effervescent-sounding jams somewhere between elastic folk and spaced-out jazz?
If you do, rejoice, as Philadelphia’s Jeffrey Alexander & The Heavy Lidders are back again with their latest (umpteenth) offering Liquid Donnon. If you are yet to get to such a sound, listening to this one, you will not only go for that sound, but will revive your Grateful Dead collection (if you have one, if not, make one) as well as the vast set of offerings Alexander and his crew have on offer. Here, Alexander and his Lidders go…
Abnormal Conditions’ is the fifth album by upstate New York roots rockers Frank Migliorelli and the Dirt Nappers, and it is an absolute corker.
It blends rock, soul, folk and even sixties pop in a wonderfully ‘live’ feeling record. With two members of Springsteen’s backing band in Soozie Tyrell and Lisa Lowell helping out, the pedigree of the band is unquestionable.
In his mid-sixties, Migliorelli has had a long and varied artistic career. He has been a computer and video game developer, written children’s music and worked in educational media and been a creative director at a design firm. He has also found time to produce blues and soul music before returning to writing and performing, which he has been doing for the past ten years.
If there were a collective appreciation of dramatic album intros of the year, then Babylon, the latest offering from The Huntress and the Holder of Hands, would definitely be a big part of the conversation. Like a film where the opening shot is a post-apocalyptic barren landscape, smoke from a recently grounded fighter jet still billows, fragments of civilisation lie broken and motionless, nature fights back amid scattered rubble, and, above, a clear blue sky appears impossibly tranquil and unattainable. Then heaving into view comes a solitary human frame, still very much alive but lost, lonely and desperate among the overwhelming destruction that surrounds. That very place, or at least a personalised assimilation of it, is where this album drops us with…