“Vitriol,” released in 2025, is Cloning’s debut full-length album, running approximately 35 minutes. The production is noted for being cleaner and more refined than previous releases, with a deeper, more immersive sound that enhances the listening experience. The album blends indie rock and pop elements, with some reviewers noting a subtle resemblance to Tame Impala, though many consider Cloning’s approach more compelling and original
The album features a mix of laid-back tracks and harder rock songs, showcasing versatility across the indie and punk rock spectrum. The addition of afemale vocalist on select tracks adds texture and lifts the overall sound. The instrumentation carries a confident, swaggering energy, reminiscent of Australian punk rock aesthetics, with lyrics delivered with intensity and presence
Critics have praised “Vitriol” for its cohesive flow and engaging quality, noting that the album feels longer than its runtime due to its immersive nature. It has been described as an easy listen with no weak tracks, making it a strong debut effort.
As Bob Dylan nears UK shores once more and a box set of his extraordinary 1976 shows emerges, MOJO digs in, and reflects on Dylan’s other ground-breaking tours, including 2026’s, with its mysterious rotating cast of guitarists.
Also in this issue: back to Amy Winehouse’s “Back To Black” 20 years on; inside Roxy Music’s “For Your Pleasure“; Hail! Hail! Chuck Berry’s rock’n’roll legacy; Queens of the Stone Age return from the brink; Fela Kuti against the world; and new roots radicals Twisted Teens!
Plus: Fontaines D.C.; Alice Cooper; Bernie Taupin; Simple Minds; Brian Epstein; Tony Iommi; Jimmy Webb; Soft Machine; Willis Alan Ramsey; Dhani Harrison; Swervedriver; neo-soul; all back to Johnny Clarke’s; and more!
This month’s covermount CD is Mystical Children: The Men And Women Of Rolling Thunder. 15 tracks by Dylan’s all-star cohorts on his landmark tours, ’75-’76. Includes: Joan Baez, Scarlet Rivera, Kinky Friedman, T Bone Burnett, David Mansfield, *AND* an exclusive track from Dylan’s upcoming 1976 live box set!!!
The new issue of MOJO is on UK newsstands from Tuesday October 13th
The Dukes of Stratosphear were the alter ego of XTC in the mid ’80s, a time when psychedelic music was seemingly confined to the dustbin of history despite slowly emerging scenes in the UK and the US. The band adopted pseudonyms in order to make music more obviously in thrall to the 60s psychedelic experiences they’d had as youths, and strangely enough, the Dukes started to sell more records than their parent band. Indeed, producer John Leckie was chosen by The Stone Roses after they’d heard his work on “25 O’Clock” and “Psonic Psunspot“, the two albums collected here.
Remixed in Dolby Atmos from the original multi-track master tapes by Steven Wilson, with the band’s approval. The collection also includes Wilson’s acclaimed 2019 stereo mixes of “25 O’Clock” and “Psonic Psunspot”, plus two additional tracks. A Blu-ray edition expands the set with Atmos, 5.1 surround, the original stereo mixes and the complete album demos in high-resolution audio.
In 2025, to commemorate 30 years since the release of his second solo album, “Teenager of the Year”, Frank Black undertook an anniversary tour of the USA and Europe which culminated in an incredible final show at the London Palladium, recorded for this release. The album “Teenager of the Year” was played in full and in sequence and was topped and tailed by five live cuts from his self-titled debut solo album. “Teenager of the Year” was referred to as “the best album Pixies never made”, and the show includes blistering live versions of many of the most loved Frank Black solo tracks including ‘Headache’,‘Calistan’, ‘Speedy Marie’ as well as ‘Los Angeles’ and ‘I Heard Ramona Sing’.
This RSD Black Friday release is a brand new unreleased live album, with exclusive new artwork, pressed on gold, green and red vinyl.
Jefferson Airplane “Takes Off” 60th Anniversary Edition celebrates the debut album from Jefferson Airplane. For the first time, the expanded edition is presented on vinyl as a 2-LP set, featuring nine bonus tracks. Originally released in August 1966, the album includes the classics “It’s No Secret” and “High Flying Bird.”
Often hailed as one of the greatest debut albums by an American band – and a crucial chapter in the story of the San Francisco music scene, Jefferson Airplane “Takes Off” in some ways is the most consistent and unencumbered of the Airplane’s studio albums: the raw sound of a new band, full of fire and energy, not having a clue what is right around the corner. Jefferson Airplane ultimately became one of the most important bands in rock history and a significant cultural force. Their music made a difference. And this is where it all began.
Jefferson Airplane “Takes Off” 60th Anniversary Edition celebrates the debut album from Jefferson Airplane. For the first time, the expanded edition is presented on vinyl as a set, featuring 9 bonus tracks. Originally released in August 1966, the album includes the classics “It’s No Secret” and “High Flying Bird.” Often hailed as one of the greatest debut albums by an American band – and a crucial chapter in the story of the San Francisco music scene, Jefferson Airplane “Takes Off” in some ways is the most consistent and unencumbered of the Airplane’s studio albums: the raw sound of a new band, full of fire and energy, not having a clue what is right around the corner. Jefferson Airplane ultimately became one of the most important bands in rock history and a significant cultural force. Their music made a difference. And this is where it all began. Previously available as a 2003 expanded CD edition, this anniversary release is now available for the first time on vinyl including alternate versions, liner notes, and rare photos, offering a deeper look at the album and the band’s early years.
Available exclusively at independent record stores for RSD Black Friday, this 2-LP set pressed on blue marble vinyl marks the expanded edition’s first appearance on vinyl.
Tracklist SIDE A 1. Blues From An Airplane 2. Let Me In 3. Bringing Me Down 4. It’s No Secret 5. Tobacco Road SIDE B 1. Come Up The Years 2. Run Around 3. Let’s Get Together 4. Don’t Slip Away 5. Chauffeur Blues 6. And I Like It SIDE C 1. Runnin’ ‘Round This World (Mono – Uncensored Single Version) 2. High Flying Bird 3. It’s Alright 4. Go To Her (Early Version) 5. Let Me In (Original Uncensored Version) 6. Run Around (Original Uncensored Version) SIDE D 1. Chauffeur Blues (Alternate Version) 2. And I Like It (Alternate Version) 3. Blues from an Airplane (Instrumental Track)
Billy Joel Tonight captures Billy’s December 5th, 1976 performance at Connecticut College, recorded for his first-ever television special. For nearly fifty years, most of the concert’s multitrack recordings remained unreleased. Now, for the first time, the show is presented in stereo, newly mixed from the original tapes. This release features the bulk of the concert from those multitrack recordings, along with performances of “I’ve Loved These Days” and “Souvenir” recorded during a December 6th production session.
Also included are “Miami 2017 (Seen The Lights Go Out On Broadway)” and “Captain Jack,” from the original 1977 TV special master. Also included with this RSD Black Friday release is an exclusive 12”x12” print. Together, all these pieces offer a newly restored document of the important era surrounding “Turnstiles“.
Introducing Turnstiles 50th Anniversary Edition, a 4CD + Blu-ray set celebrating Billy Joel’s 1976 album that features classics like “New York State of Mind,” “Summer, Highland Falls,” and “Say Goodbye to Hollywood.” This expanded set contains 67 audio tracks, including 54 never before commercially available.
Hear the previously unreleased “Oklahoma,” the audio debut of fan favourite “Handball,” four tracks from the abandoned Dee Murray/Nigel Olsson sessions and more.
Also included: the complete 1976 Billy Joel “Tonight” concert film, newly transferred and mixed for HD, unseen rehearsal and production footage, a new Dolby Atmos mix of “Turnstiles” and a 40-page booklet featuring unseen photographs and new liner notes.
The collection also includes the complete Billy Joel Tonight concert film, filmed live at Connecticut College in 1976, newly transferred, edited, and mixed for HD by Emmy-winners Steve Cohen, Brian Ruggles and Bradshaw Leigh, alongside previously unseen rehearsal and production footage. Additional features include a Dolby Atmos mix of the original “Turnstiles” album and a 40-page booklet featuring unseen photographs and new liner notes by David Fricke and Billy Joel Archive Director John Jackson.
Twenty years after its original release, “Passover” has been re-recorded and reimagined through the lens of two decades of growth – as a band, as musicians, and as people. These songs have lived many lives since 2006. Shaped across thousands of performances around the world, each track has evolved into a living, breathing organism – changing subtly night after night, year after year. These new recordings document that evolution. Working alongside producer Dave Sardy (Oasis, LCD Soundsystem, Modest Mouse), The Black Angels returned to “Passover” not to recreate it, but to fully realize what the songs have become twenty years later.
The result is a heavier, deeper, and more expansive recording: bigger riffs, richer textures, deeper low end, and a renewed sense of atmosphere and intensity that reflects the band as they exist today – while preserving every ounce of the raw power and spirit that defined the original album.
Originally written and recorded during the Iraq War, the themes and message behind “Passover” feel more urgent and relevant now than ever before. Two decades later, these songs still speak to cycles of violence, disillusionment, resistance, and humanity’s ongoing struggle against oppression – a reminder that history continues to repeat itself. This is not a nostalgia piece. It’s “Passover” transformed by twenty years of experience, perspective, and sound.
“PASSOVER XX” – out November 27th at your local record store for Record Store Day!
Twenty years after its original release, “Passover” has been re-recorded and reimagined – transformed by twenty years of experience, perspective, and over a thousand shows around the world. These songs have lived many lives since 2006, each track has evolved into a living, breathing organism – changing subtly night after night, year after year. These new recordings document “Passover” as it exists today – reshaped by twenty years of life on stage.
This RSD exclusive is presented in a deluxe gatefold jacket
Since the late ’80s, Mudhoney – the Seattle-based foursome whose muck-crusted version of rock, shot through with caustic wit and battened down by a ferocious low end – has been a high-pH tonic against the ludicrous and the insipid. Thirty years later, the world is experiencing a particularly high-water moment for both those ideals. But just in time, vocalist Mark Arm, guitarist Steve Turner, bassist Guy Maddison, and drummer Dan Peters are back with “Digital Garbage”, a barbed-wire-trimmed collection of sonic brickbats. Arm’s raw yawp and his bandmates’ long-honed chemistry make “Digital Garbage” an ideal release valve for the 2018 pressure cooker. “My sense of humor is dark, and these are dark times,” says Arm. “I suppose it’s only getting darker.”
“Digital Garbage” opens with the swaggering “Nerve Attack,” which can be heard as a nod both to modern-life anxiety and the ever-increasing threat of warfare. The album’s title comes from the outro of “Kill Yourself Live,” which segues from a revved-up Arm organ solo into a bleak look at the way notoriety goes viral. Arm says: “people really seem to find validation in the likes—and then there’s Facebook Live, where people have streamed torture and murder, or, in the case of Philando Castile, getting murdered by a cop. In the course of writing that song, I thought about how, once you put something out there online, you can’t wipe it away. It’s always going to be there—even if no one digs it up, it’s still out there floating somewhere.”
Appropriately enough, bits of recent news events float through the record: “Please Mr. Gunman,” on which Arm bellows “We’d rather die in church!” over his bandmates’ careening charge, was inspired by a TV-news bubblehead’s response to a 2017 church shooting, while the ominous refrain that opens the submerged-blues of “Next Mass Extinction” calls back to last summer’s clashes in Charlottesville.
Mudhoney’s core sound—steadily pounding drums, swamp-thing bass, squalling guitar wobble, Arm’s hazardous-chemical voice—remains on “Digital Garbage”, which the band recorded with longtime collaborator (and “DigitalGarbage” pianist) Johnny Sangster at the Seattle studio Litho. The anti-religiosity shimmy “21st Century Pharisees” builds its case with Maddison’s woozy synths, which Arm says “add a really nice touch to the proceedings.” “Digital Garbage” closes with “Oh Yeah,” a brief celebration of skateboarding, surfing, biking, and the joy provided by these escape valves. “I would’ve really just loved to write songs about just hanging out on the beach, and going on a nice vacation,” says Arm. “But, you know, that probably doesn’t make for great rock.”
Mudhoney, however, know what does make great rock—and the riffs and fury of “Digital Garbage” will stand the test of time, even if the particulars fade away. “I’ve tried to keep things somewhat universal, so that this album doesn’t just seem like of this time—hopefully some of this stuff will go away,“ Arm laughs. “You don’t want to say in the future, ‘Hey, those lyrics are still relevant. Great!’”
This new song is the fourth track from his forthcoming album “o\i” Peter Gabriel has released “Till Your Mind Is Shining”, the fourth track from his forthcoming album “o\i.”
Following on from “Been Undone”, which was released on January’s Wolf Moon, “Put The Bucket Down” which was released on February’s Snow Moon, and “What Lies Ahead” which released on March’s Worm Moon, “Till Your Mind Is Shining” arrives on the pink full moon.
New songs from “o\i” will be released on subsequent full moons, revealing the whole album at the end of the year.
Written and produced by Peter Gabriel, the Dark-Side Mix by Tchad Blake is the first version to be released.
“The song began around a chord sequence which I liked and which felt quite poppy and playful, so I just kept on playing around with it till I had something. Of all the songs that I’ve written for i/o and o\i this is probably the poppiest for me.
“It takes me back to my schooldays, in some ways, because before there was Genesis we were effectively trying to be songwriters more than musicians – pop songs or soul / R&B songs. I think this song connects me back to some of those roots and the sort of thing that I was working on then and trying to master.
“Some elements of this are a few years old, I mean pretty much most things I work on take a while to mature. I leave songs for a while and go and do something else and when I come back to them and they smell alive, I will want to complete them. I really enjoyed singing this one, particularly the end, and I think the band had a good time playing it too. You can hear some wonderful performances from all the band. It was really a fun thing to create.
“I’ve always been fascinated by explorations of consciousness and attempts to understand from where it originated, along with all the recent investigations into animal and plant sentience.
“In some ways it’s about opening up the mind and stepping inside to understand a little more of ourselves and the world we live in with the hope that we respond a little more responsibly and compassionately.”
This month’s art comes from Tatsuo Miyajima and his work ‘Warp Time with Warp Self, No.2’. Miyajima is a contemporary artist from Tokyo, Japan, who has held numerous exhibitions both in Japan and abroad. He first came to prominence in 1988 when he was invited to the Venice Biennale, in the young artist’s section, where his works using digital numerals attracted international attention. Since 1996, he has also been promoting the ‘Kaki Tree Project,’ an art project that promotes peace and the importance of life through the planting of saplings taken from a kaki tree in Nagasaki which miraculously survived the atomic bomb.
“I went to Hiroshima a few years back and talked to some of the survivors of the bomb, extraordinary women who have dedicated their lives to keeping alive their experience of the awful reality and total horror of a nuclear bomb.
“I really wanted an image that felt like a mixture of something cold and structured and informative as well as being soft and self-reflective. Tatsuo calls this piece ‘Warp Time with Warp Self, No.2’ and I love that it feels quite futuristic in one sense, with numbers and data and yet you’ve got this ‘warp self’ in the background. There’s an interaction between the human and the mechanical AI world that we’re creating, or at least that’s what it says to me. I like that, particularly in the context of where the ‘Shining Mind’ could lead you and what that is there to counter, in terms of what we’re creating in this outside world.
“On the one hand, there’s time and space and data and analysis and then on the other hand there’s this journey inside us, that I think is linked to Buddhist thought, which feels as if it belongs right in there. So, it’s that marriage between the two that I got excited about.”
Mark ‘Spike’ Stent’s Bright-Side Mix of “Till Your Mind Is Shining” will be released later in the month, on the new moon.
