After four years of work, we’re thrilled to announce that our new album, The New World, will be released worldwide on July 31st. It’s a globe-spanning adventure for your ears, made with the wildest ensemble we’ve ever assembled.
To whet your appetite, we’re releasing two tracks today: the grand “Daydream Unbeliever,” and the ethereal “More and More.” They were recorded in Dripping Springs, Brooklyn, London, and Berlin by Dan Duszynski, with additional engineering by Leo Abrahams and Boris Wilsdorf, and mixed by Danny Reisch.
“Daydream Unbeliever”, from the upcoming album “The New World”, out July 31st
Four years ago, The band Ought broke up. This was heart breaking for me personally, as someone who’s been obsessed with “Sun Coming Down” for years. But Cola, the trio Tim Darcy and Ben Stidworthy have been running with drummer Evan Cartwright since 2022, is a pretty damn good mollifier. It’s a somewhat different proposition than Ought—still post-punk, but tighter, sparer, rough edges a little smoothed down—and “Cost of Living Adjustment”, their third record, might be my favourite of theirs yet.
The album is technically self-titled: Cola, C-O-L-A, which the record’s full title turns into an acronym referring to the wage adjustments workers are nominally owed when inflation rises. As concepts go, it suits Darcy’s songwriting perfectly; he’s always had a political streak, but here it comes attached to a very of-the-moment kind of gallows humour that couldn’t fit him better.
The music is the loosest and noisiest Cola have sounded yet, more willing to let the seams show, but never losing that quality of feeling entirely deliberate—every choice made on purpose, every piece exactly where it belongs.
From Cola’s new album “Cost of Living Adjustment” out May 8th on Fire Talk
Father John Misty has returned with a new song called ‘The Payoff’. It follows January’s ‘The Old Law’, and it’s noisy and grandiose in all the right ways. Josh Tillman co-produced the song with Drew Erickson, who’s recently done beautiful work with Lana Del Rey and Mitski.
The new single, “The Payoff,” this week. It’s out now on Sub Pop. There’s no official word if it’s a single from a forthcoming new album or EP or just a standalone track. Father John Misty is on tour this summer.
The song could be about a politician or administration conning their base voters while convincing them everything is actually going okay, when it’s clearly not. Or perhaps, with the cover art depicting what appears to be a military graveyard, it’s sung from the perspective of an official trying to justify a war. “Why bother getting pissed off when there’s / There’s nothing you can do,” Tillman sings as the song crescendos.
Michael Harris mixed and engineered the track at Fivestar Studios in Topanga, CA.
His last LP, “Mahashmashana“,
In 2024 Father John Misty also released a best of album, “Greatish Hits: I Followed My Dreams and My Dreams Said to Crawl“. His studio album prior to that was 2022’s “Chloë and The Next 20th Century”.
“Something Worth Waiting For” arrives as the follow-up to Friko’s exciting debut, “Where we’ve been, Where we go from here“, as well as all of the hype that record drummed up for the Chicago up-and-comers in the indie scene. It also arrives as the first effort written as a full band, as the duo of frontman Niko Kapetan and drummer Bailey Minzenberger officially expanded to include guitarist Korgan Robb and bassist David Fuller.
The result is a more cohesive, realized collection of Friko’s guitar-driven, emotional anthems. Full of charmingly human production and killer hooks that expose Friko’s beating heart, “Something Worth Waiting For” is almost too easy to love.
With their second album, the Chicago band sheds their tough noise-pop exterior to reveal a more delicate sound—and emotional truisms to match—as they grow more confident.
Friko have shed their tough noise-pop exterior to reveal a bolder sound along with the more delicate emotional truisms that come with youthful idealism’s exposure to a more kaleidoscopic world view. Hunkering down into the sweet reminiscences of transitory experiences, the recordgrapples to paint a living sonic portrait of the band, with jittery rhythms meeting cathartic lyrical passages that deepen their songs’ colorful themes of solace and release. Early single “Choo Choo” explodes with frenetic energy as Niko Kapetan’s anxieties pull at the edges of his vocal range like a canvas fitted to the perfect frame.
The title track sits close to the angsty millennial indie-folk moment defined by Neutral Milk Hotel and The Shins, only it feels distinctly modern—sharp, swift, and emblematic of the extravagant atmospherics that suddenly become within reach once a band has erupted into a swarming global presence. “Seven Degrees” even echoes The Beatles’ late-career stardom, bolstering a lush premonition for the path which lays ahead.
For their second record, Burlington act Robber Robber aimed to get a little weird with it, maybe even a little uncomfortable. Their promising 2024 debut, Wild Guess, already showed the band had a knack for compelling, combustible soundscapes and off-kilter, hypnotic grooves. With Two Wheels Move the Soul“, they fully lean into their most instinctual impulses.
“Two Wheels Move the Soul”, for all of its controlled chaos and sounds that are “defined by a couple pieces of extremely cheap gear that [Robber Robber] value highly,” manages to hold itself together with a warped but consistent internal logic. Some tracks pummel you with repetition and distorted tones, others revel in contradiction, and at least one originates from a structural idea that made the band chuckle. And yet, they all contribute to the record’s overall attitude and impact, ultimately resulting in some of our favourite indie rock tunes of the year so far.
Their promising 2024 debut, “Wild Guess“, had established the band’s knack for compelling, combustible soundscapes and off-kilter, hypnotic grooves. Now, on “Two Wheels Move the Soul”, the band fully leans into their most instinctual impulses, resulting in one of the most impressive indie albums of the year so far.
“We tried to challenge ourselves and make songs that excite us, often starting with ideas that push our comfort zones,” . “When making decisions, we try to steer towards things that make us laugh (out of humour or joy) or make us uncomfortable or make us feel something as opposed to just checking some sort of other box that we’ve imposed on ourselves.”
That outlook was initially previewed via a handful of killer singles, manifesting in the saturated wake-up call that is the opening title track, the ever-mutating instrumental and detached vocals of “Watch for Infection,” and the moody, melodic, methodical “Pieces.” Deeper album cuts only serve to prove that the formula has yet to be exhausted, with tunes like “Avalanche Sound Effect” or “It’s Perfect Out Here in the Sun” being every bit as creative and ear-grabbing.
Robber Robber’s new album, “Two Wheels Move the Soul“, out April 3rd on Fire Talk
In the latest issue of MOJO, we have an exclusive in-depth sit-down with Paul McCartney, where he divulges the full story of his extraordinary new album, “The Boys Of Dungeon Lane”, and dives into key moments in his musical and emotional past: The Beatles, Wings, meeting Dolly Parton, and more. Also in this issue: Eagles at their height; New Order air their linen; Rickie Lee Jones revisits “Pirates”; ’80s King Crimson resurrected; Can’s Irmin Schmidt opens up; Soul Train’s TV revolution. Plus: The Spencer Davis Group; Throwing Muses; Taj Mahal; Cream; Motörhead; The Lemon Twigs; unseen Bob Dylan; Northern Soul; Gang Of Four; Peter Frampton; Shoes; Yes; Dave Mason, and more.
Plus! This month’s covermount CD is Can & Irmin SchmidtReplay 1968-2026, featuring fifteen gems and rarities from the Can vault compiled by Irmin Schmidt exclusively for MOJO!
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!!
The Fat Angel Sings 