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The Tunnel of Love Express tour is marked by changes: the addition of a horn section for the first time on E Street since 1976 (save for a few dates in 1984 including August 19 and 20); the billing of Bruce Springsteen featuring the E Street Band; and where those seven musicians were positioned on stage. In retrospect, none seem material in terms of lasting impact.
Perhaps the most significant change in 1988 was Springsteen’s public embrace of adulthood and its inherent and often private complexities, explored so movingly on the tour’s namesake album, Tunnel of Love. Much of the yearning and pining romanticism found on Born to Run, Darkness on the Edge of Town, and The River gave way to starker realizations (“When you’re alone…

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Melbourne-born, Berlin-based singer-songwriter Ned Collette collaborated with some notable names on his last release, 2024’s Our Other History, including Dirty Three’s Jim White and Mick Turner, Leah Senior and The Necks’ Chris Abrahams. The collaborations continue on his new album, Mixed Light, with Senior and Abrahams once again, plus long-term band members Joe Talia (drums) and Ben Bourke (bass).
Collette is back on Melbourne label It Records, who put out 2018’s masterful Old Chestnut, after releasing Our Other History on Ryan Davis’s Sophomore Lounge. Mixed Light feels decidedly more coherent than its predecessor, moving adroitly between musical styles and coalescing into a deeply satisfying album.

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Lily Seabird’s third full-length, Lightspheres On Their Way, defies simple categorization. It’s the kind of record that breathes and moves to a rhythm all its own. It adopts a unique mythology (the idea of “lightspheres”), allows its songs to pick their own pain, and wonders and reckons in its own language and time about the deeply personal in a way that feels strikingly universal.
A warm, humming harmonium blows through opener “The Pulley,” soft-strummed guitars and Seabird’s searching voice are all that tether the skies to the ground. “Am I still allowed to pray / Even if I don’t believe anymore?” she asks on high. It’s the type of wonder that makes us poke at the stars as children; as adults, the questions have a way of following us back down…

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Since Chapter Music’s inauspicious start as the musical spinoff of a Syd Barrett fanzine, the Australian label has had a knack for curating quirky, eclectic compilations. Their Can’t Stop It! series, initially released on CD during the ‘00s, is probably the most essential various artists project, tracing the roots of their label’s rugged, Antipodean sound back to the heyday of post-punk.
Cropping up concurrently with the abstract, splatter-y stylings of New York City’s mutant disco movement and England’s Factory Records, Melbourne’s Little Band Scene was carving out a new path for Australian art music. As its name suggests, the scene operated as a collective of loosely constructed bands that…

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Thanks to Olivia Rodrigo’s wildly successful Daisy Chain Fields Music Festival last week, a new generation of fans is discovering Gen X alt-rock staples like The Breeders, Garbage, and Bikini Kill. On a much smaller scale (at least for now), Nashville’s Hannah Cole may be responsible for introducing Gen Z to the beauty of shoegaze bands like Ride and Lush.
On her debut LP, Switchbacks, she melds the swirling, fuzzed-out guitars of shoegaze and ’90s alt rock with sophisticated pop melodies that act as a Trojan horse for some powerful lyrics. The title track opens the album with screeching guitars and solid drumming, with Cole’s soft, measured voice fighting to be heard above the dissonance. The distorted, reverb-heavy guitar…

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After releasing Ax Ox, an album born out of COVID-19 pandemic isolation as well as ongoing political struggle, stargazers Gnoomes downshifted to just the married duo of Sasha Piankov and Masha Piankova, and fled their native Russia for Slovenia. They recorded their next album, Losey, primarily at their new home, though former bandmate Pasha Fedoseev recorded some drum parts back in Perm, Russia. Perhaps it isn’t much of a surprise that Losey is the most electronic album they’ve made to date, as the duo incorporate more electro influences into their already heavily rhythmic and danceable sound.
“Foreign Agent” starts out hazily enough, with a steady beat and lush, trippy guitars, then plunges into a mind-fryingly distorted heavy…

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The last few years have been a whirlwind for Glasgow’s corto.alto, aka Liam Shortall. From jamming with friends in his flat to a Mercury Prize nomination and worldwide tours, his rise as an artist in the UK jazz scene has been mesmeric.
Alongside long-term bandmates Graham Costello and Fergus McCreadie, corto.alto peaked with a few of these aforementioned accolades after releasing 2023’s Bad with Names. Now signed to the revered indie label Ninja Tune, their follow-up, SOME SMALL FORTUNE, faces more pressure than ever to meet expectations. Thankfully, Shortall lets the music do the talking.
Leading visually with its artwork collated from images from Shortall’s childhood, this collage-like approach is what binds together…

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The Mystery is an album by Australian guitarist Tommy Emmanuel that was released in 2006. The album includes the track Gameshow Rag/Cannonball Rag which was nominated for Best Country Instrumental Performance at the 49th Annual Grammy Awards. The song won Instrumental of the Year at the 2007 Country Music Awards of Australia. This album has a peace and a gentleness that emanates throughout the compositions. The song titles offer some insight: Cowboy’s Dream, The Mystery, That’s the Spirit, Footprints, Keep it Simple. The record also features one of Emmanuel’s most popular original songs Lewis & Clark, and a very beautiful instrumental arrangement of the Billy Joel classic And So It Goes. In honor of the 20th Anniversary…

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Jennifer Herrema’s Black Bananas return with Bad Bunch, the group’s first album since 2014’s Electric Brick Wall and Herrema’s first release since Royal Trux’s White Stuff (2019). Arriving via Fire Records, the album marks the long-awaited return of Herrema’s iconic vocals alongside longtime collaborators Brian McKinley and Kurt Midness.
From Royal Trux to RTX to Black Bananas, Jennifer Herrema’s work has never divided into separate phases so much as continued in motion. As Pitchfork observed, Black Bananas are an “alternate-universe RTX”, absorbing influences from synth-pop, hip-hop, French-touch house and dancehall into their own singular sound.
Originally formed over 20 years ago under the name RTX, Herrema, McKinley and Midness…

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Three years on from the last Hollow Hand album, Max Kinghorn-Mills delivers a fully harmonious union of folk and indie pop on Wish Road South, his best to date. On 2023’s Your Own Adventure, Kinghorn-Mills described the process of creating and recording as an archetype of the virtues of the DIY ethic: “About just doing everything yourself and not needing to rely on anyone. That’s the one thing I love about doing this: no one has any answers for you, you are your own boss, and it’s Your Own Adventure”.
On Wish Road South, the fourth Hollow Hand album, Kinghorn-Mills has clearly been invigorated by witnessing the creative powers of his peers, whilst collaborating with the likes of Aoife Nessa Frances, serving as the house…

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Led by songwriter Willem Smit, Amsterdam’s Personal Trainer established a versatile, visceral sound that draws from styles including introspective indie rock, piano pop, arty post-punk, Britpop, slacker rock, and more with their first two albums. For their third long-player, Smit and his band took a different approach to writing and recording, initially penning the songs on just an acoustic guitar, then later recording them live together in the studio, a first for the band. They titled the resulting 15-track album (12 songs and three short instrumentals) Human Assholes. Prior collaborator Casper van der Lans (the Homesick, Pip Blom) returned to produce.
The record opens with the horn fanfare “Marvin’s Curtain Up” before launching into…

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Guava Girl Summer is so 2025. The era of the “Chaotic Princess” is now. So reads the gospel according to Marci, whose rhinestone-crusted new album Mask Lady and Late Night Girl flicks through the glossy pages of power pop and soft rock with quips about getting baked at sunrise, chatting on the landline, falling on your knees, and making the devil cry. Co-written and produced with her TOPS bandmate David Carriere, Marta Cikojevic’s second LP reprises the disco-speckled all-or-nothingness of 2022’s eponymous debut, serving up a platter of glittery hooks and golden grooves styled with unashamedly retro trimmings.
Marci sounds like the name of the hot next-door neighbor in a John Candy film, but on this semi-autobiographical record, the Montreal…

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…Deluxe 2CD with additional 11 tracks.
God Bless the Band feels like an unexpected encounter with your younger self. Compiling tracks from across Courteeners’ career, the collection revisits a period when British indie was less a musical category than a social world, sticky floors, packed festivals, late trains home and the optimism of believing the next weekend might be the best one yet. The nostalgia here is not simply for the music, but for the atmosphere that surrounded it. That sense of time passing gives the collection its weight. Early favourites sit alongside later material, charting how Courteeners have gradually moved from the rawer energy of their beginnings towards something broader and more polished. “Modern Love” still has that…

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If there ever was a name ambient/drone artists fans hold dear to their hearts, then it would be long-standing duo that goes under the name of Windy & Carl.
The reasons for that is that the ambient/drone musical sphere has rarely had a band/artist (in this case a duo) that tries to make distinct connections to the natural world while investing a hefty dose of emotional content along the way.
Not with an official release since 2020 (Allegiance & Conviction), here the duo combine with another duo that go under the name of Optigan Conservatory, making the title of this collaborative album Windy & Carl Meet Optigan Conservatory a bit of a misnomer – the four musicians have been longtime friends. At the same time, ‘the meet’…

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Stirrings Still was Samuel Beckett’s last message in prose, completed in 1987, and first published the following year. More monologue than story, it comes from a narrator on the edge between life and what lies beyond, which might be a vast wheatfield seen in black-and-white, or might be a swirl of stumbling memories. Beckett cherished music, in particular the songs and string quartets of Franz Schubert. His writing is musical, in its meticulous phrasing, its use of repetition, and often its form. Stirrings Still is an example: a composition of interweavings and developments.
The music, created for this release by composer Trevor Bača, is no accompaniment but rather a parallel stream, heard in alternation with the words, reflecting and contemplating what they…

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Thirty-four years is a long time for a tape to sit in a drawer, but jazz history is littered with such delays, and Anthony Braxton’s discography in particular has always unspooled out of chronological order. Articulations, a duo session with guitarist James Emery recorded in Florence on June 19, 1992, finally surfaced this year on Emery’s own Bandcamp imprint, self-released and produced by Emery with Ed Petersen. The reasons behind the gap are not spelled out in the credits, and speculation serves no one — what matters is that the recording exists, and that it captures two formidable improvisers near a creative peak, as annotator Ted Panken notes in the release copy.
Emery’s connection to Braxton runs deep. Best known as a founding member of the String…

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…Recorded live at Chicago’s legendary Green Mill, Open or Close gathers compositions from all four members — saxophonist Geof Bradfield, clarinetist Ben Goldberg, pianist Myra Melford, and drummer Dana Hall — who, having crossed musical paths before in several contexts, make a remarkable debut as a group here.
Ornette Coleman’s “Open or Close” is the stunning opener, showcasing a memorable eight-note riff that gradually evolves into staccato activity resembling rhythmic shocks of vibrant color. Initially, Melford constructs melodies around that riff, with Hall’s percussive driving force as her sole support. Goldberg’s sinewy clarinet phrasing also prompts quick responses from the drummer and effective comping from…

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Sometimes a project has so much potential, so much more to give beyond its original iteration, that it seems to take on a life of its own. This is certainly the case with Spell Songs, which can trace its roots back to 2015, when the nature writer Robert Macfarlane published Landmarks, a study (or rather a celebration) of language and landscape. It was in Landmarks that Macfarlane first posited the idea of a word-horde, a lexicon of landscape-words at risk of being forgotten – and worryingly culled from children’s dictionaries – as people become increasingly estranged from nature. In 2017, Macfarlane collaborated with the illustrator Jackie Morris to create The Lost Words: A Spell Book, a stunningly produced selection of some of our most wonderful and endangered…

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