“Another Country” is the fifth full-length album by Cindy, the San Francisco-based group built around the songwriting of Karina Gill.
Recorded, like all of its predecessors, in their hometown and with a consistent line-up held over from their previous record (the Swan Lake EP from 2024), it is replete with the poetry of private vistas, eavesdropped dramas and confusing winds. These are classic Cindy concerns, and yet, as always, contain new mystery and charm to somehow feel like quiet revelations each time. Another Country is both opaque in its intentions and specific in its presentation, and as such presents the kind of truth that keeps the listener on the search for answers just out of reach.
“The title of this record, Another Country, refers to the James Baldwin novel of that name. The book has a kind of drama that makes sense to me. When I look around, the obvious explanations are not enough. The miasma of feelings and ideas that is supposed to account for it all, doesn’t. Baldwin washes past that to longings that begin to explain. Cindy songs come out of the x-rays my particular brain makes out of what I see and experience.
What you hear on this record is the result of collaboration with the members of Cindy that transforms that shadowy thing into full colour, fully fleshed. Each of them, in music, is sure-footed and unblinking, and making this record together felt like, yes, yes, you see what I mean.”
RIYL: Galaxie 500, Algebra Suicide, Mazzy Star, early Low, Linda Smith, Velvet Underground
The buzz building around this lot has been incredible to watch, so we’re chuffed to be bringing you a fabulous fan package of their hotly anticipated debut album.
The fast-rising Birmingham four-piece deliver a solid set of heart-on-sleeve, emotional indie rock on the back of the powerful live shows that have already earned them a devoted following.
The restless, vagabond anxiety of their single, ’Union Station’, simmers throughout the record alongside exploring the universal reality of the post-teen life learning curve. The skyscraping ambition that overpass show here carries throughout the record, their exuberant, anthemic indie-rock core, complemented by influences as varied as The War On Drugs, Tom Petty, Slowdive and Jeff Lynne. While many debut records feature songs which have been released during a band’s rise, ‘Elsewhere, Always’ is entirely brand new material.
The Dinked Edition is superb. It’s on a snazzy colourway. It’s signed. It’s got an alternative artwork oversleeve (so you get the original artwork too). But it’s super limited. So don’t pass over this opportunity to pick one up!
For Fans of: Wunderhorse | Inhaler | Catfish & the Bottlemen | Sam Fender | Blossoms | The Strokes | Royel Otis | The Killers
“Cost of Living Adjustment” is the sort-of self-titled album from Cola, the Montreal trio of Tim Darcy (vocals/guitar), Ben Stidworthy (bass), and Evan Cartwright (percussion).
C.O.L.A. — an acronym for “Cost of Living Adjustment” is a fitting conceptual framework for the band’s third record. Why? Because C.O.L.A. considers, among other things, socialism vs. hell. It considers: rolling the dice of life. The erie and sweet pangs that nostalgia can provoke.
Following two studio LPs which earned the trio praise from Rolling Stone (Best Indie Rock Albums of 2024), Pitchfork (Best Rock Albums of 2024), Stereogum (Best Songs of 2022) and more, “Cost of Living Adjustment” is abstract, oblique, sometimes strange, whatever you want to call it.
But it is also beautiful, in the classic sense. Beautiful like a painting can be beautiful. It touches on the sublime. It is Cola, the band, at their very best.
Special 3LP Expanded Edition of Cream’s third album, ‘Wheels of Fire’, features the original 4 tracks released as ‘Wheels of Fire: Live at the Fillmore’, as well as 8 additional tracks performed at the March 1968 concerts.
Seven of the additional tracks were issued on ‘Live Cream’ in 1970 and ‘Live Cream Volume 2’ in 1972. “We’re Going Wrong” has never been officially released before.
The groundbreaking ‘Wheels Of Fire’, heard like never before! Uncover the lost tapes and newly compiled rarities collections. Available on 3LP ‘In The Studio Expanded Edition’ with 26 unreleased recordings & super limited free art card, plus 5CD ‘Super Deluxe Edition’ with 37 unreleased recordings and 24-page hardcover book.
All tracks have been newly remastered. Available on black vinyl as a Record StoreDay 2026 exclusive.
The sophomore album from Leeds’ own, Treeboy and Arc. While still keeping true to their post-punk roots, this new album sees more electronic and industrial influences. Lyrically and vocally, the album seeks solace in simplicity. Focusing on repeating themes and hooks rather than getting bogged down in complex wordplay.
With influences and inspirations coming from more electronic and industrial artists, “Goose” sees Treeboy & Arc focus more heavily on synthesizers, allowing driving and robust sequences to take centrestage.
Each guitar part now feels considered and respectful of its counterpart, the band playing with intention instead of impatience. Lyrically and vocally, the album seeks solace in simplicity. Focusing on repeating themes and hooks rather than getting bogged down in complex wordplay.”
Treeboy & Arc’s Goose sees the Leeds group step away from instinctive repetition and towards something more lean and shaped by space as much as sound with electronic and industrial influences nudging the record into colder, more mechanical territory. Synths often lead the charge and set rigid patterns that guitars respond to rather than dominate. That shift in hierarchy gives tracks a taut energy with repetition used as a structural tool. Vocally, the approach is pared back with hooks that loop and linger rather than unfolding in dense phrasing. The band sounds more measured without losing their edge here.
Peach is a four-piece post-punk band from Bristol, UK. Taking influence from early Desert Rock, Punk and Grunge ideologies. Its noisy, its angry, its honest. Due to their electrifying live shows Peach have already garnered a loyal fanbase since their debut self-titled 2023 album. They continue their empassioned onslaught with the recent release of their second album “Only Love,”
Known for their stunning live performances and spine-tingling music, Peach were quickly snapped up to share stages and tours with legends including Mclusky, Heavy Lungs, CLT DRP, LIFE, Chiyoda Ku, Skin Failure, and Every Hell, and play at festivals including Arctangent, 2000 Trees and our own Chaos Theory Fest.
“A fuzzing, propulsive ball of pissed off energy, with a soul at the centre of it all.” – Daniel P Carter (Radio 1 Rock Show)
“Ellie Godwin’s voice is just something else, a force of nature.” – Adam Walton (BBC Radio Wales/BBC Introducing/BBC Sounds)
Following a trilogy of introductory EPs, a buzzed-about tour with Alvvays, and a mountain of global acclaim since they first emerged in 2022, the Stockholm-based trio teamed up with Alex Farrar (Wednesday, Snail Mail) for their first-ever full-length record. A sun-drenched prism of Girl Scout’s guitar-driven indie rock, “Brink” refracts with a new glow from each song to the next.
Towering anthems intersecting with hushed tenderness. Nostalgia with momentary living. Doubt with joy. Forever a band of dualities, “Brink” is no exception for Girl Scout. Comprised of 13 tracks caught between apocalyptic anxiety and wistful escapism, the album captures the all-too-familiar crossroads of feeling stuck, yearning for change, and standing on the edge of something unknown
When Girl Scout were deciding on the title of their debut album, blind faith seemed to lead the Swedish indie rockers to the word ‘Brink’. “You kind of lose yourself in that process,” says drummer Per Lindberg of the album journey, as he tries to pinpoint the moment the trio – which is completed by vocalist/guitarist Emma Jansson and guitarist/bassist Kevin Hamring – realised their experiences could be encapsulated in this existentially charged word. “You don’t really know what it is until it’s done,” he adds, his bandmates bobbing their heads in agreement from their respective Zoom windows. “It kind of crept up on [us],” agrees Jansson.
Existing on the verges of uncertainty can be unnerving for some artists, but this is exactly where Girl Scout have struck gold. Since forming during the COVID-19 lockdown and releasing their debut single ‘Do You Remember Sally Moore?’ in 2022, the group have broken out beyond their Stockholm roots with their soaring guitar anthems that thrash with the spirit of their ’90s garage rock and Britpop influences. Across a trilogy of personality-filled EPs – 2023’s ‘Real Life Human Garbage’ and ‘Granny Music’, and 2024’s ‘Headache’ – they zeroed in on the angst and anguish of young adulthood with a healthy mix of panic, acceptance and good humour.
When it came to writing their first-ever full-length project, it was an opportunity for a much-needed life “catch-up”. “It’s kind of a diary for the band, and for us as individuals, and where we are in life,” shares Jansson, pensively gazing out of frame. “We were flailing a little bit in our own lives. It’s like when you’re in one of those quarter-life crises, how things are fine and then all of a sudden very not fine, and it pivots back and forth.”
Since their formation, the group have documented the awkward growing pains of being in your twenties that, despite what people may tell you, long persist after adolescence. “I don’t feel like a woman / I’m just a kid, trying to stay hid from everyone else,” Jansson confessed on the spiralling ‘Weirdo’ from their first EP. It’s a theme that’s threaded throughout all their projects, and is pulled into sharp focus once again on ‘Brink’. The members of Girl Scout, now in their early thirties, have felt the weight of their choices crashing down on them all at once. “Being at this point in life and doing music, you start to see the disconnect between people who are the same age as you, with where they are in life,” says Hamring. “It’s very different choosing to live life as a musician.”
Shortly after the release of Neil Young & the Chrome Hearts’ album “Talkin To The Trees” in June 2025, the band embarked on a 31-date tour of Europe and North America. This live album includes selections from several shows. The European dates included performances at the legendary Glastonbury Festival, London’s Hyde Park and the Montreux Jazz Festival in Switzerland.
Neil Young & The Chrome Hearts’ live album “As Time Explodes” is a landmark memento of a vital new chapter in the rock legend’s storied career. Emerging from the 2024 cancellation of his tour with Crazy Horse due to illness, The Chrome Hearts — Micah Nelson on guitar, Spooner Oldham on keyboards, Corey McCormick on bass and Anthony LoGerfo on drums — offered a powerful resurgence for Young. This double LP captures the raw, revitalized energy of the band’s 2025 “Love Earth” world tour, which saw them perform across North America and Europe. The album’s 13-track setlist is a masterful balance of deep cuts and classics. Produced by Lou Adler and The Volume Dealers (Young and Niko Bolas), “As Time Explodes” offers a sound that is both skeletal and muscular, emphasizing the intricate chemistry between Young and his collaborators.
Standout tracks include a sprawling 14-minute version of “Cortez the Killer” — which Young has praised as one of the best versions ever recorded — and the new “Big Crime“, which debuted during the tour’s Chicago soundcheck and highlights the band’s improvisational depth.
Neil Young & the Chrome Hearts are:
Neil Young (guitar, pump organ, piano and vocals) Spooner Oldham (organ and piano) Micah Nelson (guitar, Stringman and vocals) Corey McCormick (bass and vocals) Anthony LoGerfo (drums and vocals)
The 13-track album includes songs that span Young’s entire career. The record is produced by Lou Adler with the Volume Dealers – Neil Young and Niko Bolas, and associate producer Anthony LoGerfo.
“The 13th Floor Elevators’ “We Are Not Live” serves as both a historical correction and a long-overdue gift to fans of psychedelic rock. To understand its significance, one must first look back to the original 1968 album “Live”. Issued while the band was fracturing under the weight of legal troubles and Roky Erickson’s declining mental health, the 1968 record was one of the most notorious “fake” live albums in rock history.
The label, desperate for content but lacking a professional live recording, took studio outtakes, alternate versions and existing masters, then crudely overdubbed the sounds of a cheering crowd. Legend has it the audience noise was lifted from a boxing match, and the result was a sonic mess where the applause swelled at inappropriate moments, distracting from the raw, garage-psych energy of the Austin pioneers. “We Are Not Live” finally strips away that artificial veneer to reveal the music as it was meant to be heard.
By removing the intrusive crowd noise, the album functions as a “de-mixed” restoration of those 1966–1968 sessions. It transforms what was once a source of frustration for purists into a crisp, essential collection of studio performances. The tracks included represent the band at their most visceral, featuring the piercing, soulful vocals of Erickson and the rhythmic, otherworldly pulse of Tommy Hall’s electric jug — an instrument that provided the Elevators with a sonic signature unlike any of their contemporaries.
The Fat Angel Sings 