The Fat Angel Sings

Speedy Ortiz’s Sadie Dupuis has created a paean to weird women on “1331”, her latest solo mixtape under the Sad13 moniker. Glitchy and medieval, the record is a whirlwind of JRPG chamber orchestration, cavernous organs, and programmed drums. Over thirteen brief songs (the LP clocks in at a slim, self-contained 15 minutes), Dupuis creates a haunted, futuristic universe of millennial malaise.

Three years after the most recent Speedy Ortiz record, “Rabbit Rabbit”, Dupuis returns to her side project, Sad13, for 16 delightfully cluttered minutes. “1331” sometimes comes across like indie rock’s answer to “Whack World:” Besides ultra-short songs, the two records share a capacity for quick-witted wordplay and emotional worldbuilding that elevates them beyond exercises in economy. 

On “Art Institute,” a fleet-footed, distorted game of word association, she purrs, “I want immunity to this world’s beauty so that I can rest beyond the bars of sunlight.”

On “Watermelon Manicure,” jagged, dissonant instrumentations recall an ancient, dangerous machine revving up for the first time in a long time; synths swirl around melty vocals. “People’s Loser” is all guitar and drum, a Liz Phair song on shrooms: Dupuis smirks, “The assholes elected do not do what we want. They just do loser shit” over crashing electronics. 

“1331” is the product of an overactive imagination and an anxiety diagnosis, the forbidden child of an indie rock album and a videogame soundtrack. Winking, expert, and whimsical, it leaves the listener wanting more.

Sadie Dupuis is still a hot mess—“like, infinite degrees,” to be exact. On “Six Ways,” her humblebrags surf programmed drumrolls that tick like a faulty gas stove and riffs that punch like the ones on Sleigh Bells’ debut. It’s been over a decade since the Speedy Ortiz record where Dupuis dubbed herself “caller of the shots” and “the best at being second place”; now, the cool-loser laureate fancies herself an “armchair head cheerleader.” It’s a juxtaposition that sums up Dupuis’ niche as a hardworking oddball putting her slacker vocal fry and poetry MFA to use in tongue-twisting, slice-of-life pop rock songs.

 Wishy are led by songwriters Kevin Krauter and Nina Pitchkites, and their new single “Lovesick” is absolutely awesome. The Indianapolis band are channelling the fuzzed-out college rock of the 1980s, the big-hearted indie pop of the 90s, and ladles of power pop in the chorus. Encapsulating the freedom and escape of the open road, the sheer abandonment of caring in a chaotic world, and the heart-bursting technicolour of finding love and its bittersweet ups and downs. Pouring it all into a giant chorus that’s a soaring boy-girl sing-along, carried aloft by chiming riffs, that urges a love interest to “cut the shit” is utterly impossible to resist!

This winter will see the release of Wishy’s second album “Nature’s Pill” on Winspear, and on it Pitchkites, Krauter and co. embrace the madness of the contemporary moment. The label describes the record as a “jubilant remix of the past” which manages to tackle the uncertainty and anxiety of the present while retaining their charming side.“Being in an indie band feels bizarre when the world is on fire,” as Krauter explains. “What can you do at the end of the day other than carve out some space—at the very least I have my imagination and I can invite others to join me there. At a certain point you need to say fuck it and roll with it.” 

Wishy Share Video for New Song “All the Rage”

Wishy are releasing a new album, “Nature’s Pill”, on October 2nd via Winspear. Now they have shared its second single, “All the Rage,” via a music video. Vocalist/guitarist Kevin Krauter had this to say in a press release: “Hello Lovelies and welcome to the official Wishy press blurb for the second single !!!! Yayyy the song is out we are so happy!! 🙂 Some *~Fun Facts~* about this song number 1. i wrote it after seeing artificial go and good flying birds play an awesome show major inspo 2. my roommate judah gave me some good pointers while i was writing it shoutout to him and 3. the band played all together while recording this one 🙂 ok thanx enjoy!!!”

“Nature’s Pill” is the band’s sophomore album, the follow-up to 2024’s “Triple Seven” and 2025’s “Planet Popstar” EP.

Wishy is vocalist/guitarist Nina Pitchkites, vocalist/guitarist Kevin Krauter, guitarist Dimitri Morris, bassist Mitch Collins, and drummer Conner Host. The Indianapolis shoegaze/dream-pop band recorded the album in Los Angeles with “Triple Seven” co-producer Ben Lumsdaine.

Krauter had this to say in a press release: “Being in an indie band feels bizarre when the world is on fire. What can you do at the end of the day other than carve out some space—at the very least I have my imagination and I can invite others to join me there. At a certain point you need to say fuck it and roll with it.”

Nature’s Pill” Due Out October 2nd via Winspear

The incredible Arab Strap’s new album “Half-Told Tales” will be released on Rock Action Records on 4th September 2026; arriving almost three decades to the day since the influential band’s first single was released.

The Scottish duo return with their third post-hiatus LP.

Aidan Moffat and Malcolm Middleton burrow down new routes and explore new turns on a record which remains unmistakably Arab Strap. Two years on from ‘I’m totally fine with it don’t give a fuck anymore and the pair are back on Rock Action, once again balancing moody, stripped-back instrumentals with conversational lyricism dealing in distant introspection, abstract focuses, and their typical uneasy humour.

Arab Strap’s ninth album, “Half-Told Tales“, adds another chapter to a catalogue built on emotional candour, dry humour and uneasy beauty. Following I’m totally fine with it ???? don’t give a fuck anymore ????, the duo continue to balance Aidan Moffat and Malcolm Middleton’s familiar mix of wit and darkness, moving between hushed introspection and moments of unexpected force.

Featuring the single ‘You You You’, the album stretches their sound in new directions, including what the band describe as a “disco-metal incantation that might make you dance”, without losing the atmosphere and tension that has long defined their work. Recorded with longtime collaborator Paul Savage, “Half-Told Tales” finds Arab Strap exploring new corners of their sound while remaining unmistakably themselves.

This week they shared its second single, “Glamour Magick,” via a horror-themed music video. The song makes light of the various beauty regimes people go through to look young and in the video Moffat goes through various procedures, with Middleton as the doctor’s assistant, but things take a dark twist. David Arthur directed the video, which also stars Jenny Ryan.

Moffat had this to say about the video in a press release: “‘Glamour Magick’ is about the pressure to look youthful, and how far we might go to hide our natural selves. It started with a few things I use regularly in middle age—caffeine shampoo, whitening toothpaste, eye cream etc.—and then I wondered how much further I’d be willing to go. New teeth, new hair, liposuction, eye-lifts, facial fat injections … how long until there’s nothing really left of me? It’s nothing new, of course—the end of the song mentions the Fountain of Youth and Greek goddess Hebe—and looking young has always been an inherent human desire. Time is our enemy, and we’re all spending money on trying to fight it – it’s just a question of how much we’re willing to pay.”

“We’re 30 years old this year,” says the duo in a press release. “So we decided to celebrate by doing what we enjoy most: by making new music.” “Half-Told Tales” will come out almost exactly 30 years after the release of the band’s debut single, 1996’s “The First Big Weekend.”

Middleton says of the album: “The excitement comes because me and Aidan like and hate different things. There are things in the record that individually we might not choose but that’s why I like this album so much, because it’s not the one I wanted to make. I don’t think it’s what Aidan wanted to make either, it’s this bit in the middle. It might not be 100% what we want but it’s good for the band, and it works.”

Released on 2LP,

Penelope Isles After a brief disappearance into solo records and restless touring, The Wolter siblings Jack and Lily resurface with a new recording simply titled “3”: a record drenched in salt and sun, with the tide pulling at its edges. Written on a monthlong surf trip to Lagos, Portugal, these are songs with sandy feet and sunburnt shoulders, hooks that glow and harmonies that ache. Beauty built carefully, like a perfect sandcastle on a summer holiday, only to be flattened in an instant by your auntie’s passing cruelty. There’s sweetness here, but it comes with teeth.

Penelope Isles previously shared the album’s lead single, “Thinking Seat,” via a music video.

 This week they shared its second single, “I Loved You, Robert Pattinson,” which is inspired by Lily’s love of The Odyssey actor back when he was in the Twilight films.

The new album follows 2021’s “Which Way to Happy” and the debut 2019’s “Until the Tide Creeps In”. Not only has it been five years since Penelope Isles’ last album, it’s also been three years since their last live show. In that time, the duo have been busy with solo projects—Jack with Cubzoa and Lily with My Precious Bunny (who released “A Moment in My Eyes” in May; . Jack also toured with CMAT on guitar.

“Penny Isles is such a big part of our personalities,” says Jack in a press release. “So it was about time we got back to it.”

The album features Joe Taylor on drums and was recorded live in the studio, at Black Bay Studio on the Isle of Lewis off Scotland’s northwest coast. Prior to that, the album was written on a monthlong surf trip to Lagos, Portugal.

A month ago, punk youngsters The Linda Lindas announced that they were jumping over to Reprise/Warner Records for their next chapter. The news landed alongside the release of their single “Burning Out,” their second of the year so far (if you’re including their cover of the Ramones’ cover of “California Sun”), which also happened to be the first track to be revealed from their forthcoming third album “Gotta Get Out“. With the project formally announced today, we’re also getting its second single, “Closer,” which features guest vocals from serial collaborator Hayley Williams. 

The soaring tune continues The Linda Lindas’ evolution into the type of hard-hitting pop-punk Paramore specialized in during their earliest era of moody post-hardcore. “It feels perfect that Hayley Williams was down to collaborate on this song with us,” the band shared, “because we’ve been fans of her throughout so many of her different eras—and she’s seen us grow up over the last 10 years! We’ll always be honored that we got to write and get emo with the queen of emo herself.”

The collab with the “queen of emo” arrives alongside the news that the band’s third album and debut for Reprise/Warner, “Gotta Get Out”, will drop August 28th.

Big Stir Records is deeply honoured to bring you the first full album of new music from psychedelic rock pioneers STRAWBERRY ALARM CLOCK since 1969. The new album “Where’s One?” returns the band to the pinnacle of the genre they helped to invent, with a lineup unmatched for its authenticity including five original members, and decades of performing and songwriting chemistry on display. Previewed in recent months by the hit indie singles “Monsters,” “Blow Your Mind” and “The Sky Isn’t Falling,” “Where’s One? hits record stores in a Deluxe Double LP edition and as a CD, as well as streaming on all digital platforms worldwide, on August 7th, and it’s up for pre-order/pre-save now:

STRAWBERRY ALARM CLOCK’s forthcoming album “Where’s One?” would be remarkable enough as the first collection of all-new music from the psych-rock legends since their ’60s heyday, but there’s much more to it than nostalgia. The band’s current line-up is almost certainly uniquely bonafide among their ’60s peers, featuring five members from their original run of four albums from 1967-1969: MARK STEPHEN WEITZ (keyboards), RANDY SEOL (drums/percussion), GEORGE BUNNELL (bass), GENE GUNNELS (drums/percussion). and STEVE BARTEK (guitar, flute, sitar and production, also well-known as a founding member of Oingo Boingo) plus guitarist HOWIE ANDERSON who’s been a full member since their 1986 reunion. The decades of musical chemistry are a key part of what keeps the band so compelling to fans of all ages, onstage (as evidenced by the multigenerational crowds attending the band’s live shows, often at the Whisky on LA’s Sunset Strip where it all began) and on this record. But what makes “Where’s One?” so much more than just a trip down memory lane is a sense of adventure, experimentation and ambition that few from their generation can conjure with such thrilling results.

Unquestionably, the ’60s spirit is here. You can hear it immediately in the immaculately sunny a capella harmonies of the opening track “Feel The Love,” as well as in the full record’s sparkling instrumental arrangements featuring period-perfect touches of their signature swirling organ, sunshine pop flute, electric sitar, lacerating acid rock guitar and groovy percussion. But as the needle drifts into the second track, the captivatingly ominous “Monsters” (appropriately released as the album’s first preview single last Halloween), it becomes obvious that STRAWBERRY ALARM CLOCK are here not to relive former glories but to push the psych-rock form ever forward with new ideas, fresh sounds, and unexpected reinventions. It’s a revelation driven home by the next track, a dramatic deconstruction of “Day Tripper” that lets listener know to expect the unexpected: in a world of power pop bands trying to sound like The Beatles, the Alarm Clock play The Beatles like Devo plays The Stones, here and on a delightfully skewed reading of “Within You Without You”. By the third track, “White Light” – a musically and emotionally raw journey that blends psychedelia and dream rock with intense, near-metal riffing and stunning harmonies – the restless creativity of STRAWBERRY ALARM CLOCK in 2026 is abundantly evident, aptly summed up in the opening lyrics: “Where am I going? What will I do when I get there?”

Where we’re going is deeper into the dazzling kaleidoscope of musical styles, concepts and sterling melodies that make up “Where’s One?” It’s all rooted in the band’s original brand of ’60s psych – check out the Nuggets-worthy garage bounce of “Blow Your Mind,” already a hit on the global indie airwaves earlier this year – but there are touches of many musical idioms that followed, and drew upon, Strawberry Alarm Clock’s original work. You’ll hear gorgeous chamber pop strings under the direction of in-demand orchestrator Bartek (“Since You Have Gone Away”), angular guitars recalling the postpunk and new wave years, and bright harmonies that evoke the best of ’70s AM Gold (“The Sky Isn’t Falling”). There are intricate prog rock-adjacent time signatures (“I’m Not The One,” “White Light”), Beefheart/Zappa-inflected art rock (“Primordial Soup”) and grooves worthy of ’70s funk and ’90s trip hop (“Live Water,” “Monsters”). There’s even time for a sly take on exotica in “Tahitian Gardens” before the Alarm Clock close the album, saving the trippiest for last with “Galactic Symphony – Persian Skies,” an extended psychedelic workout written by the full band together and featuring a spoken-word performance by Stephen J. Kalinich, the legendary poet laureate of the LA ’60s pop scene.

It’s all breathtakingly fresh for a band nearly sixty years into their career, playful and experimental but shot through with consummate tunefulness. What binds it together is the time-tested chemistry of the players, and a connection greater than the sum of its considerable parts, as GEORGE BUNNELL explains: “Where’s One?” was not intended as a concept album but as it turns out, I guess it is. I think it’s about family, life and love. Howie wrote ‘Since You Have Gone Away’ about his mom coming to him in a dream, and ‘I’m Not The One’ about his kids leaving the nest. Randy wrote the lyrics to ‘White Light’ about his father appearing to him in his car while driving, and ‘Live Water’ about the good fortune of meeting his wife Beverly. Mark wrote ‘Blow Your Mind’ about his girlfriend. David Glück wrote the lyrics to ‘Monsters’ about his ex who is still his best friend, and ‘Primordial Soup,’ which refers to bridging the gap between inorganic matter and biological life, human, plant, animal and otherwise. Every song is like that. The album tells our story, which is a long one, about life long relationships and life in general.”

“As for the title, “Where’s One?” Bunnell continues, “After all this time you’d think the Clock would know. That’s the great thing about music, you’re always searching for that elusive something. I love it when someone brings in an idea and we start exploring and expanding on it. We all have one thing in common, and that’s to find what a song idea can turn into. It keeps us going. We’ve found that if we are open minded, a good song will open itself up to us. This is the album we wanted to make. We’ve poured our hearts into it. As our own Steve Bartek (co-producing with Michael Stern) kept reminding us, we’re not looking for perfection… we just want a great-sounding album, but not at the risk of losing its heart and soul and sense of humour. I think we’ve accomplished that.”

Bartek himself agrees: “This album is a testament to the power of long-lasting creative relationships,  despite interruptions of time and distance. We are always searching to connect to each other as we play… and land together on ‘one,’ occasionally.” On their first new album for this century, the legendary STRAWBERRY ALARM CLOCK stick that landing like few others of their generation could. Nearly sixty years beyond “Incense And Peppermints,” it’s a true joy to hear them in peak form. 

releases August 7th, 2026

A “Portal to the Past” is a very real thing in the world of Lily Seabird. The Vermont musician began writing the song—the latest single from her upcoming album “Lightspheres on Their Way“—after waking up from a particularly transportive dream on a porch in the dizzying New Orleans swelter. The song extends the initial poem Seabird wrote into a sprawling, seven-minute ballad that almost recalls Jason Molina’s twangy slowcore. “Dwelling too much can sometimes create what feels like a portal and bring you right back to where you once were, that’s the portal to the past,” Seabird explains of the song, where she reminisces on a past relationship she once thought might last forever: “Well I said I’d give you everything, but time took it all away,” she croons before an epic instrumental outro, tailor-made for getting lost in your own past too.

Lily Seabird announced her third full length album on a prolific three year run starting with 2024’s “Alas”, then last year’s “Trash Mountain“, and now solidifying herself as an indie rock staple to be reckoned with on “Lightspheres on Their Way”. The album is out on physical formats on September 4th, , joining the likes of Sturgill Simpson in letting their music exist and breathe on physical media before unleashing it on streaming.

Along with the album announcement, Seabird released the first single off the record, the intense heartland rock ripper, “Election Day.” “What choice is there if there’s nothing left to lose?,” Seabird sings over heavy and furiously grungy riffs and solos. While Seabird says the song isn’t literally about voting, you can still hear the exhaustion and uncertainty in the droning riffs that open the track, recalling Bruce Springsteen’s “Downbound Train,” another song about people trapped by circumstances beyond their control.

“Election Day” finds Seabird at her most righteously angry, wailing through enough fuzz and feedback to make Neil Young’s in his Rust Never Sleeps era jealous. Seabird also announced she’ll be joining Black Country, New Road on a tour of the American South beginning in October.

“Portal to the Past” is from Lily Seabird’s “Lightspheres on Their Way“, out September 04th, 2026 via Lame-O Records

Last week, in the middle of Jack White’s sold-out show at the Brooklyn Paramount, a five-feet-four-inch bass player got onstage. It was his 20-year-old daughter, Scarlett White, grooving along to “Cannon,” from the White Stripes’ self-titled 1999 debut. She stayed with her dad for two more songs The White Stripes’ cover of Blind Willie Johnson’s “John the Revelator” and “Black Math,” from the garage rock duo’s 2003 classic “Elephant” — with White posting a video afterwards like a proud father.

Scarlett’s surprise appearance is just one of the many highlights of White’s current tour, which kicked off in North America in July and extends through the fall. It’s one of the best rock shows of the year, and he’s proving that at 51, he’s just getting started.

He’s Got a Killer New Album Out

White has had a career resurgence in the last couple of years, hanging out with famous fans like Olivia Rodrigo (who performed at the White Stripes’ Rock & Roll Hall of Fame induction last fall) and Geese frontman Cameron Winter, plus giving a standout performance earlier this spring on Saturday Night Live (the host, fittingly, was Jack Black).

In 2024, he released the excellent “No Name” without warning or track titles, and he followed that up last week with the equally kick-ass “Frozen Charlotte”. His set list these days usually contains highlights from both records, from “That’s How I’m Feeling” to “Derecho Demonico.” And if that wasn’t enough, a silver dancing Frozen Charlatan usually interrupts the set until White kicks him off, giving the audience a moment of light comedy. 

Just like he did last year, White is selling a limited number of tickets to students for just $20. These are available at all of his North American headlining shows, only to be purchased in-person at the venue on the day of the gig — first come, first serve, in the name of rock.

Like Phoebe Bridgers’ recent shows and upcoming Lost Tour, as well as past shows by Bob Dylan, Madonna, and comedians like Dave Chappelle and Chris Rock, White’s 2026 tour is phone-free. That means that in order to attend, your device needs to be secured in a Yondr pouch, only to be unlocked upon exiting the venue (White was actually the first artist to use Yondr). It might be annoying to not be able to check the time or send some texts out, but it makes for a much more enjoyable concert experience, where you can physically see the stage without a bunch of other people’s blaring screens in your face. 

His Set List Changes Every Night 

White’s sets are anything but predictable. He throws curveballs — take his cover of Dylan’s “Highway 61 Revisited” in Toronto on Tuesday, only his second time playing the Sixties classic since 2012 — and takes unexpected turns through his wide-ranging catalogue. He dips his toes into the music he’s made with the Raconteurs (“Steady As She Goes”) and the Dead Weather (“I Cut Like a Buffalo”). He also digs deep into his solo career, like during his second night in Brooklyn, when he played a semi-rare “Missing Pieces,” the opener of his dynamite 2012 solo debut, “Blunderbuss”. No set is the same, so you never know what you’re going to get. 

White puts a lot of thought into his shows, from his backing band (drummer Patrick Keeler, keyboardist Bobby Emmett, and Dominic Davis on bass) to his opening acts, posting photos with each group afterwards to thank them. New York rock band the Bobby Lees, for instance, played thrilling sets prior to White’s shows in Brooklyn.

He also goes out of his way to support smaller groups like Twin Temple, the L.A. duo who were recently nixed from Charley Crockett’s tour due to their Satanic imagery. As White wrote on Instagram with a playful White Stripes pun, “Twin Temple, Would you like to open my show in L.A. on September 29th at the Hollywood Palladium? Let me know. Get in front of me Satan!” In an interview with Rolling Stone, Twin Temple told us they’re trying to make that happen. “I’ve been a White Stripes fan since I was a kid,” said vocalist Alexandra James. “‘Dead Leaves and the Dirty Ground’ was the first song I learned on guitar. But we do have this date and we have to honour our commitment there. So, we’re trying to work it out.” 

Cheersquad Records & Tapes are excited to announce the next double single from multi-instrumentalist/songwriter Grace Mitchell.

Following on from the singles ‘Destroy’ and ‘Head On’, Grace releases two more tracks from her upcoming album ‘Daughter Of The King’, her first on label Cheersquad Records & Tapes.

Grace began writing the first songs for the album 5 years ago in Hollywood. After returning to Australia three years ago, the multi-instrumentalist – who plays keyboards, drums and guitar – recorded and added the final touches to ‘Daughter of the King’ last year at Melbourne’s Lily Street Studios.

Of ‘Baseball Hat’, Grace says “’Baseball Hat’ is about wishing for something more. It’s about reflecting on your life until a particular moment and realizing it isn’t enough of the dream you imagined.”

‘In The Other Room’ “is about feeling like a stranger in your own home. As time passes you become more distant from your lover until one day you wake up and notice you’ve been reduced to housemates.”

released July 17th, 2026

Words & music by Grace Mitchell

‘ LISTEN HERE

Dry Cleaning have announced a new edition of “Secret Love“, which was originally released at the beginning of 2026. Out now, this new expanded edition features three new songs that the band recorded with Cate Le Bon during the sessions: “Grass,” “I Have the Key,” and “Sliced by a Fingernail,” the latter of which was recently released as a single. This deluxe version also features new artwork from Erica Eyres, as well as videos from BULLYACHE, who choreographed visualizers for every Secret Love track at the Mandrake Hotel in London.

Vocalist Florence Shaw goes into detail on each new track, saying: “The three new songs have a lot of tenderness and vulnerability to them. They’re about feelings of love and loss but also humour that comes along with those heavy feelings.”

“‘Sliced by a Fingernail’ is about looking for places to hide; fantasies like packing yourself into the centre of a huge flower bud, but also more everyday ones like being part of the crowd at a karaoke bar.”

“‘Grass’ is about grieving for someone still alive. The lyrics use some metaphors from nature inspired by two trips, one to see the melting Rhône Glacier in Switzerland and the other to Laurissilva, the ‘living fossil’ ancient forest on the island of Madeira. Whilst it has lots of imperfections and was a bit improvised, Cate had a real affinity for the vocal performance we chose for this track.”

“The lyrics to ‘I Have The Key’ came from a feeling of sadness and helplessness at the state of the world. The genocide in Gaza had begun around the time I was writing some of the lyrics. The saxophone part wasimprovised by Bruce Lamont at the Loft studio in Chicago, and the structure and delivery of the vocal, as well as the choice of words came as a response to his playing.”

Regarding the new release, the band’s Lewis Maynard said: “As difficult as it is to choose the final tracklist, we’ve learned with previous records that songs which don’t make the album will see the light of day and sometimes even receive more attention. This is the first time we’ve released a deluxe edition, and we’re especially excited because it includes some of our favorite songs from the session.”

At the beginning of this year, Dry Cleaning released their new album, “Secret Love”. The third album from the London-based group consisting of lyricist Florence Shaw, guitarist Tom Dowse, drummer Nick Buxton,and bassist Lewis Maynard received glowing accolades across the globe.

Dry Cleaning shares an expanded version of the record, “Secret Love” (Deluxe Edition), featuring three brand-new tracks recorded during album sessions with producer Cate Le Bon last year; ‘Grass’, ‘I Have The Key’, and the recently released single, ‘Sliced by a Fingernail’. “Secret Love” (Deluxe Edition) also features alternate Erica Eyres artwork. 

“The band delivers Shaw’s postcards from the edge with music that’s appropriately ironic and mordant, but also varied and at points even kind of rousing, from the Eighties college-pop strum of ‘Blood’ to the street-rock strut of ‘The Cute Things’.” – Rolling Stone, The Best Albums of 2026 So Far

“It’s an album of unusual pleasures—the assured musicality provides the immediate hook, holding you over until you focus on the lyrics. Once that happens, Ms. Shaw’s uncanny magic takes over.”
– Wall Street Journal

“Dry Cleaning is one of those bands with the capacity to change your life.” – Paste

“A surrealist masterpiece.”