An opportunity to relive (or experience for the first time) that enthralling evening; a historic occasion that found Annie Clark, Buckley and the orchestra reimagining 19 classics, staples and rarely played deep cuts spanning the St. Vincent catalogue from 2007’s solo debut, “Marry Me”, up to 2024’s multiple-GRAMMY-winning “All Born Screaming”.
Featuring reimagined works from across her entire career, this is a chance for fans to experience an evening that Rolling Stone UK called “A glorious re-imagination,” what The Times Of London classified as “Here’s how to do a classical crossover,” and about which Far Out Magazine UK said “There are certain gigs that are always destined to be great — like St. Vincent, at the Royal Albert Hall, with an orchestra.”
’Digital Witness’ comes from ‘Live in London!’ an album capturing last year’s majestic BBC Proms performance at London’s Royal Albert Hall accompanied by the 60-piece Jules Buckley Orchestra. Available on vinyl July 10th.
Manchester, four-piece Westside Cowboy have announced their debut album, “It Goes On” on Island Records, and shared a new single, “Kick Stones (The Boys),” via a music video.
The of the album, the band say: “We wanted the music to be instant, concise, and honest to us as people today. There will be plenty of time in the future for the sprawling triple album with horns and string sections but for now, it’s young music made by some young(ish) people. We want to make songs that are lean and imperfect.”
‘It Goes On’ is the debut album from the Manchester-based four piece Westside Cowboy, produced by Loren Humphrey.
In an age of algorithms, Westside Cowboy are pure-spirited proof of the magic that can only come from human connection. Just three years on from forming in Manchester, starting a band for the fun of it without so much as a plan to even play a gig, the quartet – Jimmy Bradbury (vocals, guitar), Reuben Haycocks (vocals, guitar), Aoife Anson O’Connell (vocals, bass) and Paddy Murphy (drums) – have crafted perhaps the year’s most exciting debut by simply figuring out what feels good, and following it into the horizon.
“There’s no computer that could make “It Goes On”. No formula to creating the joyous whack of emotion that comes from these four mates pooling their ideas and watching them fly. “If you go in with a preconceived notion of what you’re doing, it’s sort of destined to fail because you’re not truly being yourself,” suggests Aoife. “So because we didn’t think we were gonna [do any of this] at the beginning, all we were thinking was: ‘What’s going to be the most enjoyable thing to play right now?’”
Aoife, Reuben and Paddy all knew each other from the Royal Northern College of Music; Jimmy and Paddy had played in a band together a few years previously. When they decided to sit in a practice room as a quartet for the first time, there was only one rule for what would follow. “We just wanted to make simple music. I think the reason there was such chemistry – and when we look back, even after two weeks we were really working well together – is because it was such a simple statement of intent,” recalls Reuben. “Any time we’d disagree on something – which was very rare – we’d just consult the original mission statement: if you’ve got too many chords in it, you’re wrong.”
A purposeful reaction against the “more abstract” styles they’d individually been dallying with before, Westside Cowboy swiftly became a place for concise, straight-hitting ideas influenced by “early rock’n’roll: Lonnie Donegan, The Beatles and The Velvet Underground,” says Paddy. Jimmy remembers spending the bulk of 2023 playing the first five songs of an Elvis Presley album on repeat. “When we started the band, people would ask who was in it and we’d be like, ‘We got this guy who works in a guitar shop, only listens to Elvis and dresses like Marty McFly – you know, that guy!’” Aoife laughs.
If these were the solid early seeds of Westside Cowboy, then the biggest thing that’s shaped them into the exploratory, melodically robust band they are now, has been their own journey. When they did start playing gigs (their first two shows were at a coffee shop, and for an animal rights charity), they found that their songs were being stretched and pushed forward in real time. Paddy notes that the true crux of “It Goes On’s” propulsive, heady opening track ‘Kick Stones (The Boys)’ is “as much about how we made it as the lyrics”.
“We loved the way it felt to play, but we thought we couldn’t record it like that or people would think we wanted to be a stadium rock band,” Aoife jokes. Instead, they translated it through their own lens, using a live recording of The Velvet Underground’s ‘What Goes On’ as their primary reference point. “We always thought, if we can pull this off it could be really fun,” Paddy grins. “Taking this mad, ‘70s rock thing but then having it played by a bunch of scrawny kids.” Since those first shows, Westside Cowboy have found themselves notching up an increasingly wild list of live milestones. Last year, they won Glastonbury’s prestigious Emerging Talent Competition, leading them to an opening slot on the televised Woodsies Stage. Since then, they’ve toured with Black Country, New Road and Geese while, later this year, they’ll play their biggest headline gigs to date, including stop offs at London’s O2 Kentish Town Forum and Manchester’s Albert Hall. Winning the Glastonbury slot, says Reuben, felt like “the first moment that we realised we really were a band”. Now, with the making of It Goes On, Westside Cowboy have underlined exactly what kind of band they want to be.
Recorded with producer Loren Humphrey (Geese, Cameron Winter, Wunderhorse) at Greenmount Studios in Leeds over a period that saw them thinking on their feet and remodelling their production into an even more directly energetic new form, there’s an urgency of feeling to “It Goes On” that could only ever really happen with a young group’s debut record. “First albums are often my favourites because you can tell there’s a point to prove. You’re firing on all cylinders because you know that this may never happen again,” says Paddy. “You’re trying to create these big feelings, but all you have with you to string it together is a pencil and a Pritt Stick.”
In a time of terrifying division and conflict, Westside Cowboy always try to focus on what unites us. Early on in the group’s life, they co-created No Band Is An Island: a Manchester-based collective putting on fundraising nights to spotlight both local artists and important issues via speakers from charities and direct action groups.I think we wanted to engage with politics in a way that felt more impactful beyond the music,” notes Aoife. In their current video for ‘Kick Stones (The Boys)’, they called upon the skills of FC United: a splinter team that started when Man United were sold to an American corporation. “They’re very community minded and they have a similar atmosphere to what we want to be,” says Reuben. “Their ethos is ‘making friends not millionaires’.”
Florida-born, Louisiana-based songwriter Thomas Dollbaum’s specific strain of heartland rock is all about place. He has the type of rich baritone that reverberates throughout a room, outlining its every identifying nook and cranny in the process. However, on his second album, he draws inspiration from the great American pastime of roaming, revisiting past relationships and old wounds like familiar haunts.
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First 100 Purchasers get a limited “Thomas Dollbaum” carpenter pencil!
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The realest-deal storyteller in indie-rock today is the Tampa-born, New Orleans-based singer/songwriter Thomas Dollbaum, and “Birds of Paradise” is his most powerful and dynamic work yet. Following up his critically acclaimed “Wellswood” (Big Legal Mess, 2022) and “Drive All Night” EP (Dear Life Records, 2025), “Birds of Paradise” is a goodbye letter to lost loved ones and former selves. These songs find Dollbaum searching for acceptance in the transient in-between places: Florida’s pine flatwoods, backroads leading to I-95, where birds fly across the water. And even though the ghosts of his alt-county predecessors Townes and Molina are definitely present, on “Birds of Paradise”, Dollbaum emerges from their shadows–waving to the past, sounding all the more like himself.
Recorded in Oxford, Mississippi over the course of a week, the record features a backing band of Josh Halper, Nick Corson, and MJ Lenderman, the latter of whom tackles drums, guitar, and backing vocals.
“Dozen Roses” is from “Birds of Paradise” by Thomas Dollbaum, out May 22nd, 2026 via Dear Life Records
Future Islands can still swell and surge, but this release turns toward something quieter and more reflective. “This is for everyone who has carried these songs with them,” Cashion explains, “from the first house parties to the rooms we’re playing today.”
Over the past 20 years Future Islands have travelled a rare arc, from promising newcomers to best-kept secret, from cult favourites to heroes of the genre. As they reach this remarkable milestone, they resist the obvious move. Instead of a ‘best-of’ compilation victory lap, Future Islands present “From A Hole In The Floor To A Fountain Of Youth”,an immediate and accessible collection — half of which has never appeared on streaming services — comprising alternate hits, rarities, and fan favourites that showcase the band’s palette and bring further colour to their uniquely universal appeal.
As the title suggests, this double-LP traces the group’s journey from humble origins toward ever-widening horizons. It has 20 songs for 20 years, from four members of the band, on four sides of vinyl. Future Islands have always been more than a viral moment; their career contains extraordinary depth and nuance, often overshadowed by louder peaks. These songs reveal a band comfortable with subtlety, grace, and emotional endurance – and they have never sounded more eternal.”
The songs were first gathered into a playlist by bass lynchpin William Cashion, who also chose the title – “I’ve always loved the imagery of that lyric,” he makes clear, “The hole in the floor is the everyday, but the fountain is the magic that happens when the life you dreamed about actually becomes the one you’re living. It’s the dream and the reality existing in the same room.” A well-known Tennessee Williams quote talks of this kind of duration – “time is the longest distance between two places.” It is time that really separates the floor from the fountain.
Coinciding with both the album and their 20th anniversary, Future Islands is also in the midst of a run of hometown shows across North Carolina (Wilmington, Carrboro, Asheville, and Greenville) and Baltimore — the ‘Fountain of Youth Tour’ — with support from friends and collaborators including Dan Deacon, Ed Schrader’s Music Beat, Lonnie Walker, and more. Tonight, they perform in Asheville at The Orange Peel.
Grateful Dead are taking it back to their early career with their latest live release.
“Fillmore Auditorium, San Francisco, CA (7/3/66)” will be released on July 3rd, on the 60th anniversary of the concert, which took place seven months after the band changed their name from the Warlocks. The performance was part of legendary promoter Bill Graham’s Independence Ball, with the band at the time made up of Jerry Garcia, Bill Kreutzmann, Phil Lesh, Ron “Pigpen” McKernan and Bob Weir.
The concert features some of the earliest known recordings of songs like “Tastebud,” “You Don’t Have To Ask” and “Cardboard Cowboy,” which the band would stop playing by the end of that summer. It also includes “Cold Rain and Snow,” which would go on to be a Dead staple.
The performance of “Cold Rain and Snow” is available now . “One of the Grateful Dead’s longest-tenured songs in their repertoire, “Cold Rain & Snow” was around from 1965 to 1995, played every year of the Dead’s performing career aside from 1968 and 1975. This was played when it was still in its peppier arrangement.” – David Lemieux
“Fillmore Auditorium, San Francisco, CA (7/3/66)”, which was previously available in 2015 as part of the 50th anniversary boxed set “30 Trips Around the Sun“, will be released digitally and as a two-CD set. It will also be released as a three-LP set, its first time ever on vinyl, limited to 6,600 copies. The vinyl release is available exclusively at Dead.net.
Yes has released the second single from their upcoming album, Aurora.“Turnaround Situation” follows “Aurora,” which came out in April.
“‘Turnaround Situation’ came from realizing that every time I ignored my conscience, life seemed to fall apart in one way or another,” singer Jon Davison said in a press release announcing the song. “I’ve taken the wrong road before. Most people have. There’s always a temporary thrill in it, but eventually it catches up with you.
“Writing this song was part confession, part redemption. Ultimately, the song is meant to capture that feeling of finally being at peace with yourself, when, by choosing the high road, you stop fighting what you know deep down is right.
“The strange thing is, the right road is usually the harder one,” he concluded. “It demands more from you. But in the end, it gives something back too: clarity, self-respect, and a kind of inner freedom. I think that’s what everyone’s really chasing underneath it all.” “Making this record was joyful, a chance to play, explore and give everything to the music,” noted guitarist Steve Howe. “It’s always been about collaboration; somebody can write a song, but until everybody puts their contribution in, it isn’t really a Yes song.
“We’re not trying to echo the past; we’re carrying the spirit of Yes forward and turning it into something new.”
“Aurora“, which will be released on June 12th, will be the 24th album by prog legends Yes. The album follows the release of “The Quest” in 2021 and “Mirror to the Sky” in 2023.
Among my favourite debuts last year came from an Australian band The Gnomes. This young band had a indelible ability to channel the seeds of punk that trickled through garage a decade prior, evoking the bands who failed to fit into the mould of dapper down Beatle-boot nice boys.
With The Kinks’ fuzz tone as their compass rose, the band’s debut was full of snarl and strum, a bounty of hooks with hidden knives. They follow up quickly with a digital EP that pushes their sound even further. With a few nods back to the debut’s rave up rippers, they also push further into a heaviness that was only hinted at before. The EP opens up with the thunder and sneer of “Thinking of Me,” a song that’s battered with bluster and ready to burst. Previous peek into the EP, “Magic Man” is in the running, already as a tune of the year. “Don’t Worry” hews closest to the record, the kind of ‘60s romper that’s always ready to tear a bit more tumultuous on stage.
Then they close out the record with a little smoke and seethe that feels like it would fit right in with the California contingent swirling around Segall / Primitive Ring / Hooveriiii. A nice hint of things to come and an essential companion to their record from last year.
Hailing from Melbourne’s bayside suburb of Frankston, The Gnomes are a teenage/early-20s four-piece delivering a feral, hook-heavy take on ‘60s beat, garage and power pop. Formed by singer-guitarist Jay Millar from a prolific Bandcamp bedroom project, the band quickly built local heat before their November 2025 self-titled debut drew international acclaim, earning 4-star reviews in Mojo, Shindig! and Vive Le Rock.
It’s “High-octane, harmony-laden jangle rock nectar…absolutely everything Oasis could have been but for the addition of a single ounce of unguarded joy.” – Classic Rock “Garage rock magic… the possibilities are endless.” – Mojo
Kate Bush, Cream – Band, a free Robert Fripp CD, R.E.M., The Specials, Boards Of Canada, ElvisCostello, Tyler Ballgame, Peter Hammill, Jim O’Rourke and more in the new Uncut Magazine. In shops Friday
Our free CD features 15 tracks of Frippertronics, collaborations and rarities from Robert Fripp’s archive — compiled by the man himself!
Inside the issue: after the imperial success of “Hounds Of Love”, Kate Bush pushes into bolder, stranger territory… collaborators and eyewitnesses revisit Cream’s explosive masterpiece… R.E.M., intimate and unseen from 1986… at home with Robert Fripp… The Specials guide us around Coventry’s hot spots… Tyler Ballgame finds redemption through music…
Plus: Elvis Costello on the making of “Shipbuilding”… post-rock polymath Jim O’Rourke on his pioneering run… Peter Hammill on Italian riots, Shirley Bassey and out-punking The Stranglers… and a new Ian Curtis exhibition unveiled…
Also featuring Boards Of Canada, Paul McCartney, Dave Mason and Beverley Martyn RIP, Beth Orton, Graham Coxon, Deep Purple, Greensleeves label art, Jeff Goldblum, Tucker Zimmerman,Horse Lords, This Heat, Big Thief, Leonard Cohen, Clem Burke, Zoh Amba and more. In shops Friday
Alela Diane is keenly aware of time passing, the unrelenting flow of seasons, the flower’s fleeting bloom — but what she cares about most deeply, is now. More than a decade into one of contemporary folk’s most quietly extraordinary careers, and emerging from her own kind of artistic winter, Alela returns rich with fruit. The Portland songwriter’s seventh album Who’s Keeping Time? came as the consequence of intuition, coincidence, and community. “I came to the end of a season last year,”
Alela shares. “My daughters had grown a bit. I no longer had babies waking me in the middle of the night. I could hear myself think again.” More and more, those thoughts circled music.
Alela Diane: Vocals, Acoustic Guitar Danny Austin-Manning: Drums Sebastian Owens: Electric Bass Luke Ydstie: Wurlitzer Sam Weber: Electric Guitar Kati Claborn: Background Vocals Anna Tivel: Violin AC Sapphire: Background Vocals
This collection draws from the neo psychedelic movement that took hold in California during the early to mid 80’s, one that melded the psychedelia, country, garage rock, avant-garde and pop of the 60’s with the DIY ethos of the then burgeoning punk scene, a hypnotic amalgamation of sound that came in staunch contrast to the blown out sonic excesses of the time.
Futurismo proudly present a celebration of the Paisley Underground scene with “Twisted Dream Machine – The Paisley Underground / California’s Psychedelic Renaissance: 1982-1986“, the next volume in their Altered Vision compilation series.
“Twisted Dream Machine” takes you on a trip from the city to the desert, as the kaleidoscope of noise drifts from the The Dream Syndicate’s Velvet Underground inspired take on Crazy Horse and TheThree O’Clock’s chiming baroque powerpop, to Rain Parade’s dreamy Beatlesesque melodies and the Bangles hook-laden Love inspired pop.
Also featured are the wondrous sounds of Green On Red, The Long Ryder’s, Game Theory, True West, Thin White Rope and others highly worth your attention. If you are not familiar with some of the bands here, you will surely question how that is possible. The Paisley Underground, if anything, encapsulated a certain musical mindset, an outlook where the past and the future would collide in the moment. This thread would bond the bands, yet each honed it’s own sound in a twisted incarnation of the seeds planted two decades earlier. Whilst the ‘scene’ did remain contained, its influence did in fact spread throughout mainstream culture as the Bangles stuck a chord into the heart of MTV, whilst Prince took inspiration from the movement in his own songwriting and the naming of Paisley Park, as well as signing The Three O’Clock to his label and writing one of the Bangles biggest hits.
As you listen to the tracks on “Twisted Dream Machine” you will be reminded that there is still music left to discover and inspire, this compilation is aimed to hopefully delight longtime fans, as well as ignite a passion for those new to the bands. The Paisley Underground was the sound of neo psychedelic rock, it was subterranean pop…in the classic sense, it was alternative rock before the term existed, a distillation of the fundamentals present at the dawn of rock ‘n’ roll, with a twist. The bands of the Paisley Underground may have been writing out of their own time, but as you listen to them in today’s context these songs should be heard as landmarks, rather than throwbacks. After all, nothing this good should stay underground.
1. The Three ‘O’ Clock – Jet Fighter, 2. The Rain Parade – Don’t Feel Bad, True West – Lucifer Sam, 4. Bangles – Going Down To Liverpool, 5. Thin White Rope – Down In The Desert, 6. Game Theory – 24 , 7. The Dream Syndicate – Definitely Clean, 8. The Long Ryders – Too Close To The Light, 9. Green On Red – Illustrated Crawling, 10. 28th Day – Pages Turn, 11. The Dream Syndicate – That’s What You Always Say, 12. The Pandoras – In And Out Of My Life (In A Day), 13. The Long Ryders – Ivory Tower, 14. The Three ‘O’ Clock – With A Cantaloupe Girlfriend, 15. Bangles – All About You, 16. The Rain Parade – Talking In My Sleep, 17. The Three ‘O’ Clock – Her Heads Revolving, 18. True West – Shot You Down, 19. Wednesday Week – If Only, 20. Thin White Rope – Exploring The Axis, 21. The Rain Parade – Mystic Green, 22. Green On Red – Lost World
The Fat Angel Sings 
