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.
Rod Stewart’s “Alternate Atlantic Crossing” serves as a fascinating sonic time capsule, peeling back the polished layers of one of the most pivotal albums in rock. When the original “Atlantic Crossing” was released in 1975, it was a total transformation of Stewart’s identity. Having left the boozy, loose camaraderie of Faces and the foggy shores of Britain for the sun-drenched studios of Muscle Shoals and Los Angeles, Stewart was aiming for a global, soulful sophistication.
This version offers a rare glimpse into the laboratory where that new sound was forged, stripping away the radio-ready sheen to reveal the raw, rhythmic nerves of the recording sessions. Produced by the legendary Tom Dowd, the sessions were famous for their “Fast Side” and “Slow Side” structure, a dichotomy that defined Stewart’s career between raucous rock and tender balladry. In these alternate takes, that divide feels even more visceral.
The fast tracks crackle with an uninhibited energy. Meanwhile, the alternate versions of the slow tracks provide an intimate, almost voyeuristic experience. These are some of the most famous melodies in the Great American and British Songbooks, and hearing them in a less-than-final state highlights the vulnerability in Stewart’s signature rasp.
“Bruce Springsteen & The E Street Band: Live From Asbury Park 2024 is more than just another entry in the band’s exhaustive live archive; it is a profound homecoming that closes a 50-year circle. Recorded during their headlining set at theSea.Hear.Now Festival on September 15th, 2024, the album captures a performance that felt less like a standard tour stop and more like a spiritual reclamation of the boardwalk that birthed the Springsteen legend.
For three hours, the band played to over 35,000 fans on the very sand where Bruce once wandered as a busker and a young dreamer, delivering a setlist that leaned heavily into the local mythology of his early career. What makes this live recording particularly essential is its thematic focus. While recent tours have centered on meditations on mortality and the power of memory, the Asbury Park set was a vibrant celebration of origins. The album opens with a sequence that feels like a time capsule unearthed, featuring rare performances of tracks from “Greetings From Asbury Park, N.J”. and “The Wild, the Innocent & the E Street Shuffle”. Hearing “Does This Bus Stop at 82nd Street?” and “Growin’ Up” played within sight of the Stone Pony and the ghost of Madam Marie’s gives the music a visceral, atmospheric weight that studio recordings can’t replicate. “4th of July, Asbury Park (Sandy)” serves as a bittersweet postcard from a bygone era and remains the definitive anthem of the Jersey Shore.
Box Set Of x5 LP Vinyl – Available for the first time on vinyl, hear Bruce Springsteen’s electrifying homecoming performance in Asbury Park at the 2024 Sea.Hear.Now Festival. Spanning over three hours of powerhouse performances in front of 35,000 people, this 5LP set features Springsteen at his dynamic best, backed by the legendary E Street Band. Spanning Springsteen’s iconic catalogue, this record includes hits such as “Thunder Road” and “Dancing in the Dark,” plus songs that Springsteen wrote just down the road from this stage, including “Blinded By The Light” and “Growin’ Up.”
Son Volt’s “Sound Signal Serenades” offers a potent return to the elemental alt-country strengths that have defined Jay Farrar’s career since the dissolution of Uncle Tupelo. The record is anchored by Farrar’s unmistakable, unvarnished baritone, which serves as a steady guide through a landscape of restless guitars and melodic clarity.
The songwriting on “Sound Signal Serenades” avoids nostalgia for its own sake, instead opting for a forward motion that balances personal memory with broader themes of history and endurance. Sonically, the album moves fluidly between stripped-down acoustic intimacy and high-energy, full-band drives, blending folk-rock and electric grit with the confidence of a band that fully understands its own identity.”
Son Volt’s latest album, “Sound Signal Serenades“, is released as a Record Store Day exclusive. Featuring twelve originals, Son Volt’s return to the elemental strengths that have long defined their sound-restless guitars, melodic clarity, and songs rooted in the lived experience of American landscapes. Anchored by Jay Farrar’s steady, unvarnished voice, the record balances reflection and resolve, drawing lines between personal memory and the wider currents of history, change, and endurance.
The songs move fluidly between stripped-down intimacy and full-band drive, blending folk-rock, country, and electric grit with the confidence of a band that knows exactly who they are. There’s a sense of forward motion throughout the album-never nostalgic for it’s own sake, but deeply aware of where it’s been. Lyrically, Farrar explores themes of connection, resilience, and place, finding meaning in both the ordinary and the unsettled. This album stands as another chapter in Son Volt’s enduring catalogue: honest, grounded, and quietly powerful, reaffirming their role as one of America’s most consistent and thoughtful rock bands.
Limited to 3,000 copies and pressed on sky blue opaque vinyl.
Sonic Youth’s “Diamond Seas” represents a monumental return for a band that had redefined the boundaries of guitar music decades prior. While the group’s legacy was firmly cemented in the noise-rock pantheon, this project arrived not merely as a nostalgia trip but as a complex, avant-garde reimagining of one of their most transcendent compositions. The release serves as a “plunderphonic” orchestration of “The Diamond Sea”, the sprawling epic that originally anchored their 1995 album “Washing Machine“.
By enlisting the expertise of composer and digital pioneer John Oswald — the visionary behind the landmark Grayfolded project Sonic Youth managed to transform their history into a singular, continuous sonic tapestry. At the heart of “Diamond Seas” is an ambitious technical and artistic feat: the seamless weaving together of 32 distinct live performances of the title track recorded during the band’s peak experimental era of 1995 and 1996. Oswald treats the band’s live improvisations as raw material, layering Thurston Moore’s cascading leads, Lee Ranaldo’s bell-like harmonics, Kim Gordon’s propulsive bass and Steve Shelley’s rhythmic foundation into a dense, orchestral wall of sound. The result is a recording that feels both familiar and entirely alien, capturing the collective intuition of a band that operated at a near-telepathic level.
This release has 32 live performances of Sonic Youth’s “The Diamond Sea” plunderphoniclly orchestrated by John Oswald (of Grateful Dead “Grayfolded” fame) – providing two distinctly new experiences of the classic track from “Washing Machine“.
Side A features 1995 performances exclusively while side B spotlights only 1996 performances.
Each side clocks in at precisely 20:44. A sonic experience that will spin dry your ears!
Side 1: Diamond Seas 1995 Side 2: Diamond Seas 1996
Nonesuch Records releases a vinyl EP from Robert Plant this Record Store Day, “Saving Grace: All That Glitters..”.
The record follows his recent critically acclaimed album, Saving Grace; both feature singer Suzi Dian, and a band of musicians from the English countryside that Plant calls home. The EP’s four tracks, recently recorded especially for RSD, explore the folk and Americana songs that Plant and the band love: the traditional tunes “The Blackest Crow” and “Two Coats,” arranged by Robert Plant and Saving Grace, as well as Gillian Welch’s “Orphan Girl” and Bert Jansch’s “Poison.”
“Robert Plant And Saving Grace’s EP All That Glitters… follows their critically acclaimed album “Saving Grace”, including a band of musicians from the English countryside that Plant calls home. The EP’s four tracks explore the folk and Americana songs that Plant and the band love:
The traditional tunes “The Blackest Crow” and “Two Coats“, arranged by Plant and Saving Grace, as well as Gillian Welch’s “Orphan Girl” and Bert Jansch’s “Poison”. Saving Grace is what Plant calls “a songbook of the lost and found.” Its genesis was during lockdown, when Plant’s customary wandering was all but forbidden. It was in the English countryside that he connected closely to this diverse group of musicians who had a shared lean towards his corners of evocative song.
The Fat Angel Sings 