Wooden Shjips’ rise to prominence from the psychedelic underground to the rock and roll overground has been a steady sojourn. With each new release, the band has found new ways of transforming heady psychedelic rock into minimalist masterpieces, bridging the gap between the woozy freeness of Les Rallizes Denudes and Crazy Horse and the simplicity of Suicide and the Velvet Underground.
Wooden Shjips, are a quartet from San Francisco heavily influenced by the experimentalism of psychedelia, classical minimalism, and garage rock excess, started as an experiment in rhythmic primitivism and group improvisation. This album’s roster brings a more structured rock approach to its performances, utilizing a traditional line-up of drums (Omar Ahsanuddin), bass (Dusty Jermier), organ (Nash Whalen), guitar (Erik “Ripley” Johnson), and vocals.
The band released two acclaimed records in 2006, beginning early in the year with a self-released 10-inch, Shrinking Moon for You. The record quickly sold out, after capturing the attention of well-regarded tastemakers, such as Tom Lax and Byron Coley, who penned rave reviews on Siltblog, and in Wire magazine, respectively. A 7-inch followed on the Sick Thirst label, and received similar praise from music bloggers, as well as from veteran scribe David Fricke in Rolling Stone.
“Wooden Shjips are from San Francisco, but the concentrated ferocity of the freakouts on their two very-underground releases—a white-label ten-inch EP (the band gave away the first 300 copies) and a clear-vinyl single (“Dance, California”)—arrives via the ’70s Germanic-guitar lunacy of Guru Guru and the confrontational repetition of VU.” —David Fricke, Rolling Stone
“..tight-wound repeato psych guitar raunch with spoony (maybe even imaginary) percussion, surprisingly Rev-like keys, and vocals buried under burning driftwood.” —Tom Lax, Siltblog
Parker Barrow, the blues-infused Southern rock band led by husband and wife duo Megan Kane (vocals) and Dylan Turner (drums), supported by the formidable Alex Bender (guitar), and band Will Tipton (Guitar), Kyle Priber (Bass), & Eric Safka (Keys), is a powerhouse group, boasting a distinctive musical style. Forged from an immediate connection, the band finds inspiration in the infamous duo of Bonnie Parker and Clyde Barrow. Kane and Turner aim to infuse their music with the iconic energy of a dynamic duo, portraying a narrative where, instead of evading the law, they are a dynamic pair in pursuit of their rock ‘n’ roll dreams.
Unleashing their full creative force, the band poured everything into their inaugural 10-track album, “Jukebox Gypsies”, released on August 11, 2023. This collection of songs chronicles the couple’s four-year journey, from a serendipitous meeting to navigating life on the road in an RV, capturing both the highs and lows. Each song serves as a reflection of their emotions and experiences, discovering a harmonious balance amid the chaos. “One of the best parts of releasing this album was getting to hear that people are connecting with our music and hearing people talk about our music the way we talk about some of our favorite bands,” Kane and Turner gushed. “It’s been an awesome ride with this record and we’re still enjoying the wave till we reach the shore and can paddle back out for round two!”
Drawing significant inspiration from The Black Crowes, The Allman Brothers Band, Tedeschi Trucks Band, and Whiskey Myers, Parker Barrow seamlessly incorporates blues into each arrangement. The band’s true brilliance emerges in their live performances, marked by lively flights and a showcase of their grounded charisma. Turner and Kane, bound by a shared vision, genuine passion, and a love for life on the road, hold their relationship in high esteem through music and faith. As kindred spirits, they eagerly anticipate continuing to create and perform together in this next chapter of life. Whether in intimate acoustic sets or impactful full-band shows, it’s clear that the couple is precisely where they should be.
Excellent musicians. Powerhouse singer, great songs, bluesy southern rock vibe. high energy performers.
Our brand new album ‘Hold The Mash’ will be available on all streaming platforms Friday, July 17th!
The 12-piece powerhouse ensemble recently released their sixth studio album, “Future Soul”, and began a six-month tour across North America. Besides winning a Grammy in 2012 for Best Blues Album, the band also garnered two nominations, as well as numerous Blues Music Awards and Americana Music Association nominations. They continue to solidify their place as one of the most dynamic acts in music today.
After lighting the fuse earlier this year with their annual New York residency at the Beacon Theatre, Tedeschi Trucks Band have a busy summer on tap. Their massive tour in support of “Future Soul” will find them playing headlining shows, plus gigs where they’ll share the stage with a number of their peers, including Alabama Shakes, Jason Isbell and the 400 Unit, Sheryl Crow and more.
The Tedeschi Trucks Band featuring guest Jason Isbell – 28th April 2026 Alpharetta Ga. This is just phenomenal and I don’t think this had ever happened exactly this way ever before which is having Jason Isbell play the second lead guitar part in “In Memory of Elizabeth Reed “ – this is we’re being in the front row makes a difference, It’s just fascinating to watch Derek both as bandmate, and as the greatest soloist of all time as he supports Jason in staying up to speed on one of the great songs in southern rock history!! Watch their subtle interaction at the end! It was noted that they never had any interaction at Sun, Sand and Soul in terms of playing with each other – that was rectified multiple times tonight !
And yes during the song, Derek breaks a string, and he just handed it off to Brandon for him to fill a bunch of time which, of course he kills it completely while Derek changes his string. This was a “one time only” kinda moment!!
Legendary rockers – comprised of Mick Jagger (82), Keith Richards (82) and Ronnie Wood (78) – are on the cusp of making their return with their 25th and final record and their first new music since 2023’s “Hackney Diamonds”.The Rolling Stones have (finally) confirmed that they will release a new studio album named “Foreign Tongues” on July 10th.
The album’s track list has yet to be revealed, but the band has released two songs from it today – the lead single “In the Stars” and the previously leaked “Cockroaches” song “Rough and Twisted.”
Rolling Stones dropped a new song under a different name – Hearing it isn’t easy
You won’t find the Stones’ new single “Rough and Twisted,” on any streaming platform, nor will you find it under the Rolling Stones’ name. Instead, the “band” that put out the song is called the Cockroaches.
The single was released on Saturday, April 11th, and is available only in vinyl form. London residents may have seen a poster with a QR code recently pop up that could be scanned in anticipation of the song by the Cockroaches, and a T-shirt could have been purchased that read, “Who the (expletive) are the Cockroaches?”
Of course, longtime fans of the Stones know that the band has called themselves the Cockroaches before when performing secret shows. The name is an ode to the group’s long-standing success. In other words, the Rolling Stones simply won’t ever go away. At least, not for a while.
“Rough and Twisted” is also being released ahead of a presumed July release date for a new Stones’ album.
The new album doesn’t have an official name yet, though, according to Louder, online rumors suggest it will be called “Foreign Tongues.” It was produced by Andrew Watt, who had produced the Rolling Stones’ previous effort “Hackney Diamonds.”
“Foreign Tongues” will be the Rolling Stones‘ 25th studio album, and the second they’ve released since the death of drummer Charlie Watts.
Watts makes what is described as a “special appearance” using material from one of his final 2021 recording sessions with the group. Paul McCartney, Steve Winwood, Robert Smith of the Cure and Chad Smith of the Red Hot Chili Peppers also make unspecified guest appearances.
“It was a very intense few weeks recording “Foreign Tongues,”Mick Jagger explained. “We had 14 great tracks and we went as fast as we could. I like the room there as it’s not too big so you can feel the passion in the room from everyone.”
“It was great to be working in London again, and to have that London vibe around us. It was a month of concentrated punch,” added Keith Richards. “To me, it’s all about the enjoyment of it. I’m blessed to be able to do this and long may it last.”
The Rolling Stones have no official plans to tour following the record, though, of course, that could change at any point. NME reports that the July album will not be the band’s last. 10 songs are already lined up for a follow-up at an unknown date in the future.
On April Fools Day, the band shared posters under their name The Cockroaches, which invited fans to scan a QR code. his release is a numbered, single-sided 12-inch white label pressing, housed in a plain white sleeve and issued in its original resealable outer sleeve with barcode sticker and numbered hype insert. Pressed by Universal Music Group / Promotone B.V., lacquer cut at Sterling Sound Nashville, and never released on streaming platforms at launch — making this the only original first-issue physical format for the track.
The code invited fans to sign up for WhatsApp updates and then sent a not-so-cryptic message, which read: “Pleased to meet you. Hope you guess my name,” in a nod to their iconic 1968 single Sympathy For The Devil.
t has since been reported that the band will release a new single entitled “Mr Charm” this Saturday (11th April), with some reports suggesting an album called “Foreign Tongues” would follow.
Rough and Twisted, the new single by Mick, Keith and Ronnie (yes that’s how I like to refer to them after Charlie’s passing) First impressions: More “Rough and noisy” actually… Heavy Chicago Blues with lots of yelling by Sir Mick (that explains the Natchez thing on The Cockroaches promo campaign, although that’s a city in Mississippi) Heavy harmonica and slide guitar. I’d say more like a B side (in the style of ‘Cook Cook Blues’, original flip-side of Rock and A Hard Place in ’89) Still takes a few more spins for some serious analysis (lol) Still a million times better than ‘Angry’.
“The Rolling Stones album has been in the can for some time now,” a source told The Sun. “A lot of it was written and recorded a while back but there has been a lot of fine-tuning to make it perfect.
“They were back in Metropolis Studios in West London last year and now it’s ready to go.”
Despite the rumours of the band dropping new music, the jury’s out as to whether they’ll make it back on the road again for a tour. The Jumping Jack Flash rockers last embarked on North American dates in 2024 to support their last album, but they’ve let to announce dates on home turf.
Despite speculation that the icons were plotting UK & European dates this year, apparently there are no big plans for a string of dates just yet. The source continued: “The guys are aware they aren’t getting any younger so some people are seeing this as a final album — but who knows with the Stones? They will be making some appearances together to promote it but there’s not going to be a tour yet.”
On 11 April The Rolling Stones will drop a new single called ‘Mr. Charm’ lifted from their new album ‘Foreign Tongues’.
The Rolling Stones set to launch new & final album, “Foreign Tongues”, in a matter of weeks.
Whenever Jack White debuted a new song live, the arrangement and lyrics would often be the final version. In the early part of his career, some songs could take years before showing up on a record, while others were played live a few times and never heard again. As he recently stated in an interview, “I’ve tried every different kind of way to write. And I never settled on one thing. It seems like the things people resonate the most with are things I do very quickly.” Here’s a collection of debuts and earliest recorded performances of songs from throughout Jack White’s live career, highlighting his approach to bringing new ideas to the stage.
From the version of “Jimmy The Exploder” performed at the White Stripes’ first ever live show in 1997, to the full-band version of “The Union Forever” and the unreleased song “One And Two” from 1999, to the live premiere of “Seven Nation Army” from the opening show of the “Elephant” tour, and the many other debuts from across Jack White’s solo career – including the impromptu version of “That’s How I’m Feeling” from 2022, and the most recent songs “G.O.D and the Broken Ribs” and “Derecho Demonico” and which were all first performed live on the No Name tour.
The epitome of a modern artist, Jana Bahrich does most things herself, no matter how painstaking – writing, producing, directing, often hand painting t-shirts the day of shows when the band have run out of merch. This has helped give her band Francis of Delirium a unique identity, with her rock confessionals breathing a new life in to the genre and her paintings creating a striking design aesthetic.
Released as she was finishing high school, 2020’s single ‘Quit Fucking Around’ was a great introduction and it remains one of her most enduring songs. Shortly after it’s release, she signed to artist-first indie Dalliance Recordings (Gia Margaret, HighSchool, lilo) and three EPs -“ All Change” (2020), “Wading” (2021), “The Funhouse” (2022) and a striking debut album – “Lighthouse” (2024) – on and Jana has Francis of Delirium flying.
While the EP’s fizzed with promise, her debut album “Lighthouse” landed its punches.
Seeking a more vulnerable and open sonic palette, she wove in pop elements to create anthems that celebrated heartbreak and love. Lead singles ‘Real Love’ and ‘First Touch’ were the first tracks she made with an outsider – working with Grammy winning producer Catherine Marks (boygenius, The Killers, Wolf Alice) – while the rest of the album was produced by Jana herself and day one collaborator Chris Hewett.
Live, Francis of Delirium are Jana (guitar and vocals), Jeff Hennico (bass) and Denis Schumacher (drums). Together, their brilliant quiet-loud dynamic and tight interplay only elevate her songs and over the last 5 years, they’ve toured across Europe and North America, playing headline shows, festivals and tours with the likes of Blondshell, Briston Maroney, The Districts, Horsegirl and Soccer Mommy. They’ve also supported The 1975, Alanis Morissette, DIIV and Wolf Alice.
Last summer saw a memorable UK tour with Bôa, the 90s band resurrected by a huge TikTok moment for their track ‘Duvet’. There was a real sense of excitement for these shows with young crowds snaking outside every venue hours before doors and bringing the sort of energy Jana thrives on, she road tested new material to an overwhelmingly positive response, giving her the impetus to go and finish album two.
An artist who seeks to connect with her listener on a deeper level, it’s no surprise then that she’s made hope and inner strength central themes on her new album, “Run, Run Pure Beauty”. Jana says the title track is “an imagining of the world after it has been destroyed by humans and technology. Thrashing against what humans have left behind, ultimately the pure beauty of nature wins out.” Wanting to bring different perspectives into her songwriting with this record – informed by both her travels and the tumultuous times we find ourselves in – she’s also brought about a progression in her sound with these new songs somehow sounding larger, with undeniable harmonies and more orchestration.
Featuring the singles ‘Little Black Dress’ and ‘It’s a Beautiful Life’, “Run, Run Pure Beauty” serves as an excavation of hope in bleak times. Produced by Jana and Chris, and mixed by Nicolas Vernhes (Deerhunter, Dirty Projectors, Silver Jews, Wild Nothing), its eleven songs of discovery, despair and perseverance ultimately serve as a mirror on its creator and is a brilliant next installment in the Francis of Delirium arc.
Joshua Burnside is a folk singer, songwriter and producer from N.Ireland. His new album, “It’s Not Going to be Okay”, will be released in March 2026
He was trying to survive. The album was born from loss, written in the quiet aftermath of his closest friend Dean Jendoubi’s passing. In that stillness, Burnside stripped everything back. Gone were the dense textures and surreal folk tales; what remained were bare, trembling songs that told the truth.
The songs are so to the point lyrically that it seems almost silly to do so but here you are.
I wrote and recorded this album after the death of my best friend Dean Jendoubi. He was an incredible person and I miss him every day. He drifted unawares into the deepest sleep, and died of a drug overdose on August 17th, 2024.
Grief has always been a big part of my music, it’s the reason I started writing songs when I was 13. And so, as I did all those years ago, I reach for the guitar, try a few chords and sing a few words and for a brief moment I feel like it’s going to be okay.
Many of the songs on this record are noticeably starker in production compared to previous albums. I didn’t want to rely on weird sounds or quirky production – I wanted the songs to stand on their own two feet, and the lyrics to be the focus. The lyrics are quite straightforward as well, sometimes the best way to say it is the simplest way.
he songs are so to the point lyrically that it seems almost silly to do so but here you are.
I wrote and recorded this album after the death of my best friend Dean Jendoubi. He was an incredible person and I miss him every day. He drifted unawares into the deepest sleep, and died of a drug overdose on August 17th, 2024.
Grief has always been a big part of my music, it’s the reason I started writing songs when I was 13. And so, as I did all those years ago, I reach for the guitar, try a few chords and sing a few words and for a brief moment I feel like it’s going to be okay.
Many of the songs on this record are noticeably starker in production compared to previous albums. I didn’t want to rely on weird sounds or quirky production – I wanted the songs to stand on their own two feet, and the lyrics to be the focus. The lyrics are quite straightforward as well, sometimes the best way to say it is the simplest way.
It’s a masterwork in capturing grief and the celebration of a life without clichés or platitudes. A work that feels vulnerable and candid, with vivid lyricism and intriguing melodic choices.
The album was recorded and mixed in my little studio at Vault Artist Studios, Belfast.
Pink Breath of Heaven is a reverie of shimmering guitars, haunting melodies, and introspective lyricism. The project of Liv Field and Rex John Shelverton, the two share a strong commitment to the feeling of a song, where it takes you, and the delicate art of using music and song writing to create a living atmosphere.
Following the release of their first single, “Blue Is the Morning,” the band quickly began to draw wider attention, leading to their addition to Little Cloud Records ahead of their debut album.
Over the following year, Pink Breath of Heaven continued shaping a sound that is distinctly their own, immersive and transportive, pulling the listener into the moment and somewhere beyond it.
With performances alongside The Dandy Warhols, LSD and the Search for God, Alison’s Halo, Ty Segall, and The Brian Jonestown Massacre, Pink Breath of Heaven has become a compelling force within San Francisco’s underground.
In late 2025, shortly after the release of their debut album “Colors Make a Sound“, the band signed with Westward, an independent LA-based label with distribution through Warner ADA, establishing momentum for the next wave of releases. released May 2nd, 2025
They are good straight-ahead, heavy shoegaze: guitars aggressive yet reverbed and tremolo-ed into oblivion, expressive vocals, lots of dreamy textures, pounding drums (it’s really worth pointing out how good the drums sound on this album; check out “See It Now”, for example), and well-structured songs. Hard to choose a fave track because it’s remarkably solid start to finish.
PBOH take all the elements of “shoegaze”, and deconstruct and recombine them into something vital and new, creating something utterly, utterly beautiful and euphoric. Impossible to listen to casually, it demands and deserves your full, closed-eyed, blissfully smiling attention.
Pink Breath of Heaven performing live at 25th Street Recording in Oakland, California, during Noise Pop 2026. Recorded February 25th, 2026.
Songs: I Feel God 00:14 Colors Make A Sound 03:53 Blue Is The Morning 09:13 The Wind Is Calling 14:19
Liv Field – Vocals, Guitar Rex Shelverton – Guitar Marco Cataruzolo – Bass Francesca Pevere – Tambo Cary LaScala – Drums
Arriving 15 years after their debut Go Tell Fire to the Mountain, the record marks a brand-new chapter for the recently reunited band. Produced by Sonic Boom, Recorded between Lisbon and Wales in 2025, “A Wave That Will Never Break” captures WU LYF sounding as vast and uncompromising as ever, it carries the scale of a sermon delivered at full volume, music that feels physical, devotional and cathartic.
Where once WU LYF embodied the restless energy of youthful defiance, they now channel something more refined, an enduring flame tempered by the humbling of time.
Their creative philosophy has evolved from reactive protest into something closer to wu wei: effortless action, flowing around systems of control rather than confronting them head-on, and in doing so, inspiring a reclamation of potential and presence.
Stripping everything back to its core doesn’t mean reverting to acoustic archetypes; music can be simple and maximalist at the same time. At least that’s what Wu Lyf are aiming for on their latest record, “A Wave That Will Never Break”,
The record has been released through their own LYF community and has been stripped away from any of the major streaming platforms. It’s bold for sure, but noble at the same time, in a big way to encourage the work to be “experienced as a whole” that fosters a genuine community amongst its fans that they say is not “simply encountered in passing”.
A brave mission statement needs an album to boot. Wu Lyf are encouraging a digital detox that will thrust the band and its fans back into a state of ignorant bliss that existed in the very best days of yesteryear. But they’ve not cashed in on a recipe of Mancunian nostalgia, which has all sorts of pitfalls. They’ve created something immersive and in keeping with modernity, while feeling wholly refreshing.
It’s maximalist in the way a great festival set is, where music and community blend under a sunlit sky or the cocoon of a parasol. The drum roll of the opening track ‘Love Your Fate’ sets that precedent, almost like a ladder that the melody can climb up before ascending into sonic utopia, far away from the world the band are rebelling against.
The heaviness of that opening track subsides, largely as part of this utopian journey they have sought to create. The textures continue on, through the lush ‘Letting Go’ and ‘The Fool’, which are arranged with nuance but almost subconsciously slip into repetitive euphoria during the chorus line. It’s here where the record converges, with one path continuing on to their natural horizon and the other subliminally thrusting back into modernity, worse yet, into Las Vegas’ Sphere.
But all of this leads to the most important song on the record, the 10-minute epic ‘Tib St. Tabernacle’. A mammoth track of this length was always going to encapsulate a record as ambitious as this, and it certainly doesn’t disappoint. The vocals sprawl like a Greek tragedy, atop a piano-driven melody that inherently creates drama that’s perfectly concluded with the excessive finish. This simply is the sound of the band letting go.
Release Date: April 10th, 2025 | Producer: Sonic Boom | Label: LYFRecordings
“The Suicide Handbook” is Ryan Adams’ most elusive and mythic recordings. The album is a raw and intimate collection of songs that captures the songwriter at his most unguarded. Recorded at the beginning of his solo career and long circulating only through bootlegs, the album has earned a legendary status among die-hard fans and fans of the Americana genre alike for its stark stripped-back beauty.
Acoustic arrangements and hushed, late-night vocals, these songs feel like private confessions set to tape. Adams leans into themes of heartbreak, isolation, and emotional vulnerability, delivering recordings that are as fragile as they are compelling. There’s an immediacy here that sets “The Suicide Handbook” apart from his studio releases. These are the original recordings in their rawest and un-touched form.
Released officially for the first time, experience the record as a cohesive piece, bringing warmth and depth to its lo-fi origins. The analogue format enhances every subtle nuance, from the quiet creak of strings to the tremble in Adams’ voice.
For longtime fans and collectors alike, “The Suicide Handbook” stands as a haunting, deeply personal snapshot of an artist laying everything bare—an essential addition to the Ryan Adams collection.
The Fat Angel Sings 