The band, Clari Freeman-Taylor (vocals, guitar, cello, viola, violin), Saya Barbaglia (bass, viola, violin, backing vocals) and David Addison (drums), built “Blood” around a spiralling guitar figure from Freeman-Taylor, with Addison and Barbaglia weaving rhythmic and melodic counterpoints around it. The song is drawn from Freeman-Taylor’s experience of newfound love. Barbaglia says: “I know Clari so well that I could feel the change within her; this vocal could have only been recorded in that moment.”
Mary in the Junkyard’s highly anticipated debut album release! is bursting with creativity and experimentation, it is the perfect reflection of the band and one of the most enticing British debut albums in recent memory: a blend of dark fables, intricate melodies and moments of revelation. An original work that is a world in itself and an expression of true creativity.
Produced by Oli Bayston (Everything is Recorded, Olivia Dean), Ben Baptie (The Strokes, Young Fathers, Little Simz)
The artwork takes us on the journey of Clari in a past life as a sailor, welcoming us into the lore of the album.
‘One of 2026’s most fascinating indie debuts’ – Rolling Stone The Debut Album “Role Model Hermit” Arrives 3rd July
For fans of PJ Harvey, Slint, Wednesday and Dry Cleaning.
Wolf Alice have shared “Gospel Oak”, the first of three previously unreleased tracks from the sessions for their 2025 number one album “The Clearing”, ahead of a physical 7” release on August 21st, the album’s first anniversary. “Hammond Song” and “Hit The Sky” will follow digitally over the coming weeks before all three land on 7” vinyl.
Of the tracks, the band say: “These are a few songs we made during “The Clearing” that didn’t make it on the final record, but are ones we love very much, including a cover with two of our fave singers Julia Cumming and Bria Salmena. We’re happy to have found a home for them for you to hear. Enjoy.”
“Gospel Oak” takes its name from an area of North London near Finsbury Park. Frontwoman Ellie Rowsell has said the track was inspired by folk songs and the kind of songs learned at school. All three tracks are expected to feature in the band’s set this weekend.
The release comes ahead of Wolf Alice’s homecoming show at Finsbury Park this Sunday, with support from The Last Dinner Party, Lykke Li, Rachel Chinouriri, Keo and Florence Road.
Music video by Wolf Alice performing “Gospel Oak” (Official Lyric Video).(C) 2026 Columbia Records, a division of Sony Music Entertainment UK Limited, and RCA Records, a division of Sony Music Entertainment, under exclusive license from Wolf Alice.
The indie and alternative/noise rock group return with their sixth album since reforming.
Spurred on to revisit early approaches after guitarist-frontman J. Mascis rediscovered an old Mesa Boogie tube amp used to record their debut LP, the trio tap into powerful and direct riffing, raw discordance, and energetic performances on their noisiest, speediest work in a good while.
Dinosaur Jr. return with their sixth studio album since reforming, recorded in focused bursts over a year at Amherst’s Bisquiteen Studio. Once again, J Mascis, Lou Barlow and Murph lock into the unmistakable chemistry that has made the band one of alternative rock’s most enduring forces.
Inspired by the rediscovery of the Mesa Boogie amp used on their debut, Mascis taps into a familiar rawness, filling the album with towering guitars, melodic hooks and explosive dynamics. Even its quieter moments eventually erupt into walls of fuzz and distortion, while Barlow’s two contributions balance infectious melodies with pointed lyrical bite. Packed with huge riffs and the trio’s trademark interplay, “There Near” is another powerful entry in Dinosaur Jr.‘s remarkable second act.
On LP, CD, and pink clear vinyl with a limited-edition signed print.
Originally released in 1970, “Cricklewood Green” arrived at a moment when Ten Years After were riding a wave of international success following their explosive performance at Woodstock. Led by the lightning-fast guitar work of Alvin Lee, the band had quickly evolved from a traditional blues outfit into one of the most exciting and commercially viable acts of the late ’60s British rock scene. This album reflects that transition, combining their Chicago blues roots with heavier rock, boogie rhythms, and early progressive influences.
Recorded at a time when studio experimentation was becoming central to rock music, “CricklewoodGreen” shows the band expanding beyond their live reputation into more layered and exploratory territory. The hit single “Love Like a Man” became a defining track of the era, earning chart success and cementing the group’s reputation on both sides of the Atlantic.
Newly remastered at Air Mastering, this reissue restores the album’s original power and nuance. In addition to the album is a newly mixed performance by Charlie Russell of their second set at the Fillmore East on Friday 27th February 1970 on disc two, the sheer power of the band is on full display. On the CD are a selection of rarities with the standout being a newly discovered “Cricklewood Jam” demo, recorded during the album’s sessions and never heard until now..
At the centre of the package are newly written liner notes by Nigel Williamson, with interviews with bandmembers and previously unseen photographs and rare ephemera.
The 2026 Deluxe Edition features the original album remastered, previously unreleased 1970 Filmore East Concert newly mixed by Charlie Russell, brand new liner notes and unseen photography
The band have revealed to NME that they were behind a quiet LP drop in record shops this month, saying they’re trying to keep things “interesting” and “engaging for the fans” with their stripped-back latest project, inspired by ’70s Zambian music, Brooke Combe and more
The Coral have spoken about quietly releasing their surprise new album ‘388’ in record stores nearly a fortnight ago, ahead of officially sharing the project today (May 21st). Read on for more on how the “raw” collection came about, and listen to lead single ‘Let The Music Play’.
Copies of the LP appeared in independent vinyl shops across the UK completely unannounced. While it was clearly by The Coral, the band hadn’t commented on social media or anywhere else about the record, or confirmed they were behind the 11 new songs.
Now, the five-piece have broken their silence giving reason why they wanted to surprise fans with a new full-length effort – three years on from releasing both ‘Sea Of Mirrors’ and ‘Holy Joe’s Coral Island Medicine Show’ on the same day in 2023. It comes as ‘388’ arrives to the wider world via online streaming platforms and in high street music stockists nationwide.
“Releasing an album this way keeps us interested and keeps the fans interested too,” said frontman James Skelly of the initial low-key drop. “The idea was to release it how records used to be released: people can just have it for a couple of weeks, and it isn’t explained to anyone.”
Keyboardist Nick Power added: “Half the idea was that people would see it and think that, because we hadn’t announced anything, that ‘388’ might be a bootleg. We wanted people to wonder: ‘What is this?’ Not saying anything about it since it’s been out has been the hardest aspect.”
Skelly joked: “I felt a bit snide not reacting when people are tagging me in posts saying how much they love it.”
‘388’ was inspired by the nostalgia for The Coral’s beginnings as teenagers, as documented in the 2024 book The Making Of The Debut Album about their 2002 self-titled album and a documentary about the band’s history, 2025’s “Dreaming Of You”.
“Watching our documentary reminded me of how lyrically direct some of our early songs were,” Skelly said. “We needed to get back to that. I’d skirt around lyrics about love, when I shouldn’t. I’m trying to get the message across now as directly and emotionally as possible.”
James Skelly: Thanks! ‘388’ is our 13th album. If you’re not massive by your 13th record, you might as well try to be interesting. Hopefully, releasing an album like this is engaging for the fans. It’s not really for anyone else; it’s for the fans who have stuck by us. We released multiple versions of our album ‘Coral Island’, so it’s nice to do something simple as a contrast: one vinyl LP, that’s it.”
Skelly: “‘Sea Of Mirrors’ was a big, orchestral record. That record needed to be presented more, but ‘388’ doesn’t need a big fanfare. We felt everything we do needs simplifying, as everything – music, films – has got over-complicated.
“We’ve tried to get back to basics. The sound and the way this has been released is the simplest it can be.”
Nick Power: “There’s nothing sophisticated on this album, and that’s by design. Songs on the radio now, you can hear how everyone has been to the same songwriters.
“It’s harder now to strip music back to the bare bones. You’ve got to commit to making your music raw, because the instinct is to fix things and make it better. It’s more of a discipline to strip it right back and not fuck with it afterwards.”
Skelly: “We made this in a way that you can’t fuck with it. We’re all in the room together, playing on top of each other, so that you can’t really change anything. If you try to turn the bass up, it’ll also turn the drums up. Why do another take when it sounds good already?
Recorded to an original 1970’s Tascam 388 tape recorder and employing a ‘warts and all’ policy of retaining the essentially human, profoundly analogue sounds within the studio, mistakes included, the album was revealed with focus on the album opener, “Let The Music Play”, With a continued sense of introspection and focus on their roots, the release of a new video for “Leave It In The Past” finds the band performing amongst the bargains of Birkenhead Market in the company of director, James Slater.
Singer and songwriter, James Skelly, says of the location choice: “Ian and I used to live above a pub in Charing Cross, Birkenhead and wander round the market at weekends. It was a magical place to us. The atmosphere of the place, and the characters you still find there, reflect the ethos of ‘388’. It’s simultaneously of today and another time entirely.”
What comes after the big milestones? “Forever” finds The Big Moon reckoning with that question, writing toward a future that isn’t guaranteed but still worth believing in. Following frontwoman JulietteJackson’s hearing loss in 2024, the band pivot from doubt to possibility, imagining a happier place and writing their way toward it.
Recorded at Bam Bam Studios with co-producer Sam Cohen, the result is direct, melodic alt-pop built on big choruses and genuine optimism. It’s a record about choosing hope—even when it has to be fought for.
We cannot wait to share this record and new phase of big mooning with you! The first song ‘Gravity’ is out now.
Also we’ll be going on tour and playing our biggest shows ever in the UK. Tickets are released on Friday 3rd July at 10AM. Pre-order ‘Forever’ from our online store to gain access to an exclusive presale.
When Dublin’s Gurriers released 2024 debut album “Come And See”, they underlined their status as a visceral, unignorable new voice in the thriving Irish punk scene.
Since then they have carved out a steadily escalating reputation for bone-rattling, mosh-ready live shows. “Come And See” pushed their lyrical chops and curious, socially-exploratory outlook to the fore too, platforming songs about digital angst and IRL terror in the modern world. In fact, the band – Dan Hoff ( vocals), Ben O’Neill (guitar), Mark MacCormack (guitar) and Pierce O’Callaghan (drums) – had been toiling away since January 2020 on their pandemic-affected but brilliantly ambitious new project. Early singles ‘Approachable’ and ‘Boy’ set out this stall, on music full of cathartic anger and fizzing energy.
The quintet’s superb second album might be called “Nobody’s Coming To Save You”, then, but it could easily be subtitled ‘harder, better, faster, stronger’. This is Gurriers taking all the musical chemistry and smart, interrogational worldview that made them great in the first place, and souping it up to the next level.
With “Nobody’s Coming To Save You”, Gurriers have sent their ambitions sky-high and come out swinging.
“The Irish quintet channelling their anger into fiery punk” – Rolling Stone
With the new record, Gurriers lean into the same charm, sharp dynamics and epic production that first put them on the map, and enhance things further with new pounding rhythms and lyrics that strike a balance between frustration with determination.
Frontman Dan Hoff and co. share the first taste of the LP in the form of the title track, which gradually grows and develops, until it reaches its fierce climax.
“It’s a song that feels hopeless on its first listen, but if you look at it more deeply it’s a call to action, no one is going to rise up if everyone expects someone else to do it. We all have to do our part in creating the change,” the band shared.
It also captures the same motifs of protest, resistance and personal reflection that the Irish band have become recognised for, and the initially bleak feel seems to evolve into a collective call to action with each listen.
(Live on KEXP)
Songs: Des Goblin 00:28 Approachable 05:05 Top Of The Bill 09:01 Nothing Happens Twice 14:02
Gurriers are Dan Hoff – Vocals Pierce Callaghan – Drums Charlie McCarthy – Bass, Backing Vocals Mark MacCormack – Guitar Ben O’Neill – Guitar, Backing Vocals
Feeble Little Horse is naturally delighted to present their third full-length LP, “Bitknot“
The album was written, arranged, produced, and recorded by Sebastian Kinsler, Lydia Slocum, and Jake Kelley across their respective homes in Pittsburgh, Pennsylvania. A spirited investigation into the unnatural space created between human nature and a culture of convenience, a synthesis of dirt and digital, “bitknot” by feeble little horse creates a language wherein one can re-imbue a sanctity of interdependence away from consumptive “self-sufficiency” and materialism.
Slocum’s meandering introspection playfully harmonizes against Kinsler’s hooks, walls of noise, a supercharged car battery’s worth of synths and samples dropped in the ocean of their guitar-driven songwriting framework. Meanwhile, some of Kelley’s most laser-focused drums to date create a sonic chimera that is as likely to be found nascently developing in the early aughts as some unknown, chromatic future.
Unlike songs like ‘Dancing in the Club’ and ‘Cataract Time’, ‘This Is Real’ makes a dissociative trip sound like a blast – in the literal sense, at least. “Put the heater to the–” Lydia Slocum sings before the – nu metal? death metal? neither tag quite conveys the disruptive wall of distortion – guitars complete the sentence for her: max. The Pittsburgh four-piece’s first new music in two years showcases a band not so much harnessing the contrast between hypnotic contradiction and dynamic intensity as erasing the difference. They’re the kind to drill the point home, but not without a twist or two; they’ll let out an indecipherable scream, but not without a real confession. “I got my anger off my chest but/ We’ll never be the same again,” Slocum ultimately sings, hushed and human. It’s a good thing, you venture.
In 2025, Frankie and the Witch Fingers unleashed “Trash Classic” a snarling, feral mutation of their earlier sound, packed with proto-punk venom, angular melodies, and decaying electro textures. The album charted in Billboard’s Top 10 Alternative Album Sales and the UK Official Charts’ Top 10 Rock Album Sales.
Now, 2026’s expanded “Trash Classic Deluxe” crawls deeper into the pile. LP 1 features the full original album, while LP 2 digs through the trash heap of unreleased demos, outtakes, experiments, and fragments from the album’s creation. Remixed and sequenced by the band as a standalone listening experience, LP 2 documents the band’s process and includes liner notes detailing the record’s evolution.
Expanded artwork by Jordan Warren includes a new cover, gatefold, inner sleeves, obi strip, and foil-numbered jackets, all containing two limited-edition “Smog City” dual-colour vinyl LPs.
The Philadelphia-based rock ’n’ roll outfit Low Cut Connie come out swinging in more ways than one on their new albumLivin In The USA.”I made this record because I am disgusted to see our country descend into an authoritarian hell a moral vacuum a place where art does not lead the cultural conversation,” says bandleader Adam Weiner. “I made this album to say fuck you to this regime to the brutality and inhumanity of our political and tech leaders. They are assholes with no class, taste, morality or art in their bodies.
I made this record because I refuse to let these motherfuckers steal our art and steal our joy. Music with soul communicates on a level that no algorithm or tech bro or artificial intelligence or political machinery can ever understand or contain. Rock n roll is a table flipping artform It’s time to flip the table again.”
The Fat Angel Sings 