beabadoobee takes a louder, more direct route on Pylon, her fourth studio album. Written while touring behind This Is How Tomorrow Moves, the record draws on grunge, midwest emo and ’90s radio rock, pushing her songwriting into more forceful territory.
Created with collaborators including Hayley Williams, Brendan Yates, Chino Moreno and Evan Stephens Hall, Pylon brings a rawer edge to Beatrice Laus’ melodic alternative pop. The Philippines-born, London-raised artist has built a major following through three albums and five EPs, with This Is How Tomorrow Moves reaching number one in the UK.
Beabadoobee has shared “Switchblade,” the second single from her forthcoming LP “Pylon” following last month’s “Sun Has Set.” During the new track’s pre-chorus, the artist born Beatrice Laus sings, “Do you start the fight or take the flight? / Is it wrong or right to try to?”
As for the new album, Laus shared: “Pylon” is about accepting that negative feelings are going to come back, accepting the insecurity and feeling confused. It’s all a necessary part of growing and knowing yourself better. You have to go through all that shit, I have to write about it.”
The songwriter’s fourth album will arrive on September 18th via Dirty Hit/Interscope.
These days, so long as the artist doesn’t despise their record label, it’s close to a contractual obligation to celebrate an album’s 30th anniversary and Edsel have done exactly that with Suede‘s 1996 long-player “Coming Up2, a record that, on the face of it, doesn’t need reissuing.
Suede initially distanced themselves from the Britpop pack before appearing to realize, “If you can’t beat ‘em, join ‘em.” Indeed, the group ditched the romanticized squalor and gothic intensity of their first two records and instead aimed straight for the jugular with the kind of super-sized pop hooks that had made their fiercest rivals superstars.
“Coming Up” spawned five consecutive Top 10 hits in the UK, including the David Bowie-esque stompers “Trash,” “Beautiful Ones,” and the beautifully melancholic ballad “Saturday Night,” suggesting the acrimonious departure of founding guitarist Bernard Butler had been a commercial blessing in disguise.
The great value 2CD+DVD deluxe edition from 2011 seemed definitive, with its collection of demos, B-sides and video content, although the so-so packaging let it down a bit and there was the odd omission, such as the Neil Codling-penned flip-side, ‘Digging A Hole’.
The 30th anniversary 5CD+DVD set offered a better presentation, filled the odd gap, found more demos, but didn’t entirely supersede its predecessor. For example, the band decided to amicably separate “Coming Up” from a few songs that originally bridged the second and third albums and that had been included on the earlier reissue. These include ‘Together’ – the first fruit of the Brett Anderson/Richard Oakes writing partnership – and B-sides ‘Asda Town’ and ‘Bentswood Boys’.
Despite having been written a few years earlier and being paired with “Dog Man Star” singles, these songs, in theory, have more in common with the 1996 album, since Bernard Butler was not involved in the creation of any of them. But it seems they aren’t considered close enough to “Coming Up“, and therefore reside in a Suede ‘No Man’s Land’ lying betwixt and between the two albums. No recent Suede deluxe edition has been willing to offer them refuge!.
Perhaps wisely, for this new, 30th anniversary treatment of “Coming Up”,Edsel have gone back to basics. Those B-sides are ludicrously strong. In many ways, they tell the full story of the beginnings of the post-Bernard Butler era, in a way that the album, alone, can not.
“Coming Up” was a big commercial success, a self-designed “fizzy, brash, pop record”, in the words of Brett Anderson. It certainly delivered success, with five UK top ten hit singles, but while later singles such as ‘Lazy’ and ‘Filmstar’ did the business , they were arguably a tad one-dimensional and lacked some depth evident in the best of Suede. This is where the B-sides widen the scope and offer a broader picture.
Consider the first single, ‘Trash’. The ‘extra tracks’ for that release across the two UK CD singles were ‘Europe Is Our Playground’, ‘Have You Ever Been This Low?’, ‘Another No One’ and ‘Every MondayMorning Comes’. All superb – I would take any of those above ‘Lazy’. ‘Beautiful Ones’ offered more of the same – four great songs, including ‘Young Men’ with its memorable opening line: “Tony only reads Asian Babes”. Perhaps I’d allow that by the fourth of fifth single the quality was starting to dip somewhat, but nevertheless, delivering this quantity and quality of extra material was a remarkable achievement.
Putting all the studio recordings together and just forgetting about everything else is an astute move on the part of the record company and is a true and concise representation of what Suede were up to at the height of Britpop.
None of this means that any self-respecting Suedehead needs this new edition, but for the more casual fan you might call it the ‘Goldilocks’ edition. Not too big, not too small – just right.
“Coming Up” is reissued as a 30th anniversarySuede’s era-defining third album celebrates its 30th anniversary this year with a series of special anniversary editions. Released on 25th September.
Originally released in 1996, Coming Up debuted at No. 1 in the UK and spent almost a year in the album charts. It introduced Richard Oakes and Neil Codling to the band and featured five Top 10 singles: Available formats include:
• Deluxe 5CD Edition featuring the remastered original album, Steven Wilson’s new 2026 mix, B-sides, Coming Up At The BBC and new sleeve notes.
•Digital Edition featuring remastered original album, Steven Wilson’s new 2026 mix, B-sides, Coming Up At The BBC, plus Steven Wilson instrumental mixes of the original album. Steven Wilson Atmos mixes will also be available via Apple’s Spatial Audio.
• Limited Edition Blu-ray Super Deluxe Edition featuring the remastered album, Steven Wilson’s 2026 mix, Dolby Atmos and 5.1 mixes, instrumentals, restored music videos and bonus tracks.
• Super Deluxe Edition Vinyl featuring Steven Wilson’s new 2026 mix with exclusive artwork by Paul Khera. 5CD edition, in deluxe 7”X 7” packaging with new master, a Steven Wilson alternate mix, bonus tracks and B-sides and a cover of the Robert Wyatt / Elvis Costello classic ‘Shipbuilding’, plus ‘Coming Up At The BBC’, which recreates the original running order of the album in the form of the corporation’s Radio 1 Sessions and Reading Festival broadcasts from 1996 and 1997.
• Half-Speed Master Vinyl, mastered from the original tapes and cut at half speed.
• Limited Edition Blended Colour Vinyl, mastered from the original tapes.
Original “Coming Up” designer Howard Wakefield has returned to restore Nick Knight and Peter Saville’s iconic artwork across the anniversary editions.
Also available is the 30th Anniversary Edition of “Trash”, a strictly limited 45rpm 12″ EP on lilac vinyl, bringing together the original CD1 and CD2 releases for the first time. Featuring fan favourites including Europe Is Our Playground, Another No One and Every Monday Morning Comes, it is the first in a series of anniversary 12″ EPs, with “Beautiful Ones”, “Saturday Night, Lazy” and “Filmstar” to follow. Released on 14 August.
Beck’s new album “Ride Lonesome” is coming out this fall. The musicians from my original touring and recording band that I recorded “Sea Change,” “Morning Phase” and “Mutations” with — Smokey Hormel, Joey Waronker, Justin Meldal-Johnsen, Roger Joseph Manning, and Jason Falkner— reconvened with me at my favorite studio (Room B at United Studios in Hollywood). We had Nigel Godrich, who worked on “Sea Change” and “Mutations” with us mixing all the songs. It had been a decade since we went in the studio and recorded “Morning Phase.” This time It felt like the playing and the chemistry had evolved and deepened— a sound that’s come together over the decades of working together.
While we were revisiting a musical and physical place, it also felt like we were finding new sounds and emotional textures along the way.
I met Sierra five years ago on a dance floor in Nashville. She taught an LA boy how to two step. Then she got on stage with the house band to sing a few tunes. A local leaned in my ear and said you gotta hear this girl, she’s the real deal. And she was. Been a long time coming to sing together. I think it might’ve beat the original version of this tune.
“Ride Lonesome (feat. Sierra Ferrell)” by Beck
Ride Lonesome, Beck’s new album, will be released September 18th via Capitol Records,
The Liverpool indie veterans Echo & The Bunnymen will release what will be their thirteenth studio album via BMG Records on September 18th.
The album, will be the follow-up to 2014’s “Meteorites”, features the late Blondie drummer Clem Burke – who passed away, aged 70, in April 2025 – on 10 of its 11 tracks.
In a statement accompanying the album news, the band say, “The mighty, legendary Clem Burke – longtime friend of Mac [frontman Ian McCulloch] – was integral to the making of the album, and heartbreakingly passed away during its completion… love you Clem X”
As a preview, the release of the record is preceded today, July 16th, by the release of its first single, “Brussels Is Haunted”.
The lyrics to the first verse of the single run:
“Here comes Plastique and Bert Bertrand We danced at The Classic all night long Enchanté Belgique et Le Place Grande We drank Rum and cassis and beer blonde”
Echo & The Bunnymen’s 13th album, “Apples For Isaac”, is set for release in September
Northern California quintet Soft Science returns with “Sand”, their fifth album, due out on Shelflife Records (US) and Spinout Nuggets (UK). Building on the band’s signature blend of dream pop, post-punk, and darkwave, “Sand” feels both intimate and expansive—an album rooted in melody, atmosphere, and emotional depth. Across ten songs, the band balances its established sound with a renewed sense of movement and urgency, creating a record that is immersive, dynamic, and unmistakably Soft Science. Lyrically, “Sand” explores impermanence—how love, memory, and identity shift under pressure—and what it means to keep choosing connection in a world with no guarantees.
Soft Science is comprised of longtime collaborators Katie Haley (lead vocals and percussion), brothers Matt (lead guitar) and Ross Levine (guitar and backing vocals), partners Tony Cale (drums) and Becky Cale (bass and backing vocals), and Hans Munz (atmospheric electronics). With ethereal vocals, twin 12-string guitars, bass, drums, and synthesizers, the band layers luminous melodies, celestial harmonies, and propulsive rhythms into lush, transportive songs. As KEXP has showcased and critics have noted, Soft Science pairs a bright melodic sensibility with a melancholy undertow, creating music that is both immediate and deeply atmospheric.
Earlier Soft Science releases include the LPs “Lines” (2023), Maps (2018), “Detour” (2013), and “Highs and Lows” (2011), along with singles including a split 7” with The Luxembourg Signal (2015), and covers of The House of Love’s ‘I Don’t Know Why I Love You’ and Northern Picture Library’s ‘Paris’ (both 2018). The band’s recordings have earned critical acclaim and led to performances at New York Popfest, Paris Popfest, and The Big Takeover’s 35th Anniversary show, sessions with WFMU, KEXP, and Part-Time Punks, and festivals across the U.S. and the Iberian Peninsula. More recently, the band appeared at Shellraiser and Tremolo Fest in 2024, followed by Dreamgaze PDX in 2025.
With “Sand”, Soft Science continues its sonic evolution, pushing deeper into the noisier edges of dream pop while retaining the band’s gift for hooks, texture, and emotional resonance. As Dagger ‘Zine wrote of the band’s recent work, “Pop hooks bump up against heaving waves of sonic swirl and it all shimmers and shines in all the right places,” a fitting description of a group that keeps expanding its sound without losing its melodic core.
Soft Science’s track “Spinning” from their LP “Sand”.
A sweeping, guitar-driven road trip that recalls and reinvigorates the alt rock and slowcore of the 90s and early aughts, “Mount Zero”, the debut LP from Swapmeet, marks the moment the Australian four-piece come into their own. Following their dreamy 2024 debut EP “Oxalis”, “Mount Zero” arrives on the heels of the band’s signing to LA-based label Winspear, after stirring up buzz throughout Australia, taking home awards for Best Release and Best Song (“Ceiling Fan”) at the South Australian Music Awards and earning the title of ‘Best Emerging Artist’ at SXSW Sydney. Mingling airy sweetness with jagged surrealism, “Mount Zero” transmutes so many of the regrets and uncertainties of young adulthood into a burgeoning, newfound confidence.
Though the members of Swapmeet often begin their songs by writing individually, the tracks on “Mount Zero” ended up circling common themes: first loves, first heartbreaks, first embarrassments, first disasters. As they’ve done since their earliest days as a band, Swapmeet traded instruments throughout “Mount Zero” and shared production duties as a foursome, developing their sound by layering dozens (sometimes hundreds) of tracks within each song, then carefully removing elements until the production took a clear shape.
The result is a record where Swapmeet bottle up the tooth-gritting intensity of feeling yourself change at the cellular level under reality’s unyielding pressures. It’s a tribute to all the lives that can never be lived, all the paths that will never be followed–and an ode to the one that lies just ahead, too.
releases July 17, 2026
Written, performed, recorded, produced and engineered by Maxwell Elphick, Josh Doherty, VenusO’Broin, Jack Medlyn
It’s the songs. A lot of indie bands these days are filtering ’90s alt-rock inspo through the lens of Alex G-era Bandcamp, but Swapmeet have the tunes to set them apart from the pack. The Adelaide quartet’s 24-year-old members share songwriting duties and often switch instruments, running the gamut from whispery beauty to explosive abrasion without ever losing the identity they’ve honed since first joining forces as teens. After signing with the reliably great Los Angeles indie label Winspear, they’ve spent half a year rolling out their new debut album “Mount Zero”, and each subsequent single has further affirmed their mastery of the form.
“I Know!” is the first track from Swapmeet’s forthcoming album ‘Mount Zero’ out July 17th, 2026 via Winspear.
“Oxalis” is a collection of songs written by Swapmeet over the span of 3 years. The band’s debut EP highlights the emotions of the band as individuals and as a group since forming in early 2021. The five songs delve into feelings of hopelessness, fear, love, content, and grief. “Oxalis” has been an ever-changing assembly of songs whittled down from Swapmeets‘ live set, best representing where the band is currently at and where they started. All songs were recorded and mixed by the members of Swapmeet.
Yumi Zouma are a transatlantic band without borders, with members based in New Zealand, Australia, New York and the UK. They’ve always excelled in bedroom pop that surfs the genres, “NoLove Lost To Kindness” is a band record and their most honest, urgent, varied album yet. Lead single ‘Bashville on the Sugar,’ marked a significant evolution for the band, infusing their signature melodic heart into a new sense of buoyancy and raw glory, with fleet-footed guitar licks and nimble basslines propelling in concert with skittering drum beats, and led by a thrilling melodic forward motion. It finds them balancing urgency and melody in a track shaped by movement—both literal and emotional.
Weaving in MTA field recordings to reflect the pulse of public transport. ‘Blister‘ finds the band throwing off the introspective sound of previous releases and channelling raw energy and embracing reckless abandon, embracing a sound inspired by ‘Song 2′, ”Connection’, ‘Kool Thing’. “Why you gotta do me like that?!” sings Christine Simpson in a moment of do not f#ck with me attitude, as she scratches at a painful patch of skin, yet it’s smothered in utterly catchy refrains, giant chiming riffs and bouncing along on shuddering cymbal crashes.
‘While the album marks a rockier direction in large portions, there are still dreamy bedroom pop moments that hint at their previous work; the ambient and intoxicating ” Chicago 2am’ offers that variation, whilst the ironically titled’95’ has the wistful pulse and cinematic backdrops of 70s or 80s FM music, a muted moment more akin to something you might find on a film soundtrack.
‘Drag’ finds Yumi Zouma stepping into even heavier sonic territory. The track layers grunge-inspired guitars, industrial synth textures, and glitching arpeggios over a slow-building structure that erupts into a massive, cathartic chorus. Beneath the haze, choirs lurk under distortion, heightening the cinematic drama. Lyrically, the song traces frontwoman Christie Simpson’s journey of self-discovery following an ADHD diagnosis, balancing grief for lost time with the relief of acceptance. The result is both a farewell to struggle and a bold embrace of a new chapter.
There’s a special kind of magic that happens when a songwriter who has spent years midwifing other artists’ visions finally turns their focus on themselves. LA lyricist Morgan Nagler’s fingerprints grace everything from Phoebe Bridgers‘ Grammy-nominated ‘Kyoto’ to collaborations with Kim Deal, HAIM, and Margo Price. Now, she steps out from the writing room with a debut solo album, “I’ve Got Nothing to Lose, and I’m Losing It”, ready to put her own name up there with all those she’s previously worked with.“Your happiness is a cloud / You can see it, but it don’t land,” she sings on ‘Cradle the Pain’, encapsulating that tightrope walk between optimism and melancholy. Its opening salvo of fuzzed-out guitars and slacker hooks quickly establishes Nagler’s capacity for wrapping up existential dread in flooringly seductive melodies.
From there, the album is deliberately varied while giving clues to all the influences she’s had elsewhere. It ping-pongs between the country stomp of ‘Grassoline’ (a spin drift ode to cannabis that could sit comfortably on a Margo Price record) and the stark vulnerability of closer ‘Heartbreak City,’ where Nagler’s voice, sweet and plaintive, navigates a landscape of broken dreams, ice cube beds and candle wax sunlight: “I’m not scared of dying, just living my worst fears.” .What’s truly remarkable about “I’ve Got Nothing to Lose, and I’m Losing It” is how it synthesises two decades of creative experience into something that feels utterly fresh and inspirational. Nagler’s years in the trenches of DIY music, fronting Whispertown and Supermoon, financing her own tours, and dealing with the grind of the industry give a genuine sense of lightness and perspective that elevates these songs beyond the cathartic.
On ‘Hurt,’ she says it plainly and with disarming directness: “You don’t know love if you don’t know hurt.”“Mine is the story of somebody who decided to never stop,” Nagler says.
“I’ve Got Nothing to Lose, and I’m Losing It”is proof that that kind of persistence pays off. Equal parts breakup record, existential reckoning, and late-blooming coming-of-age story, Nagler balances melancholy with wit, turning life’s chaos into surprisingly warm and playful indie rock.
The title Little Miss Sunshine of Eaves Wilder’s debut album is a nod to the contradictions at the heart of her work. At the same time, her previous songs touched on dreamy and riot grrrl influences, but she refuses to be boxed in on her awesome first record. Co-produced with Andy Savours (My Bloody Valentine, The Killers, The Horrors, Black Country, New Road, Sorry) across the album, she embodies a “bigness” that subverts her sometimes “sweet” persona; this isn’t about commercial scale but emotional and elemental magnitude and song writing vision. A bigger, bolder sound, but also music and words that would make her feeltectonic – like a hurricane, a mountain, or the sun.
Wilder’s voice is like a storm cloud, emotive yet heavy and ethereal all at once. Powerful lead single ‘Hurricane Girl’ – was a storm-lit statement of intent that opens a window to Wilder’s expansive new world. Building from acoustic strums layered with Wilder’s intimate vocals embodying sweetness and strength, into a swaggering rock chorus inspired by early Pearl Jam that’s bristling with confidence, chunky guitar hooks and bursting into a cathartic chorus.
‘Everybody Talks’, finds Eaves at her most confessional, unapologetic, and witty, growing from a doleful, intimate and vivid depiction of being overwhelmed by the noise of live music and the audience, into a crushing crescendo of widescreen guitars that are laced with echoes of the likes of Slowdive, and an earworm-as-repeated refrain screamed to the heavens in frustration.
Both intensely personal and yet universal, it’s a sonic assault on the senses that mirrors the trauma and intrusion Wilder feels from sensory overload. ‘The Great Plains’ is a country flecked cracker with big-hearted choruses that yearns for escape. She may be full of sunshine at times, but she is full of contradictions and frustrations too, it’s natural for a young woman and artist existing in a chaotic world to harness them, carve them into her art, sounding fully in her own power.
The Fat Angel Sings 