Hannah Cohen released her third album, “Welcome Home”, the year after she and her long time partner and collaborator Sam Owens (Sam Evian) moved to the Catskills and started converting their home and barn into a recording studio and retreat. Cohen’s first album in six years, “Earthstar Mountain”, is a different kind of invitation to the life the pair have built, surrounded by beauty both natural and musical, once again produced by Owens and featuring peers such as Sufjan Stevens and Clairo.
It’s just as lush and enchanting as anything she’s put out before, but dustier and sneakily vulnerable, too, bridging the ordinary and magical, pleasure and frustration, even as they seem to breeze through it all. “The rug could get pulled out/ The heartbreak could get loud,” she reminds herself on the closer. “Better to measure it in dog years.”
What a gorgeous-sounding album this is. Hannah Cohen has created a sumptuous garden of earthly aural delights for her fourth album. The cascade of flutes and strings on “Dusty” that opens the album instantly sets the mood, conjuring rainbows and spring. (This record couldn’t have picked a better release date, as trees are in full bloom on the East Coast.) While that song is an homage to Dusty Springfield, it also brings to mind Minnie Riperton’s kaleidoscopic single “Le Fleurs” and more than holds up to the comparison. “Dusty” is a hard act to follow, but Hannah follows it with the sultry, sassy strut of “Draggin’” and “Mountain” which has serious Fleetwood Mac vibes and harmonies via Sufjan Stevens.
The wonders keep flowing from there, from sunshine pop to spectral folk, groovy soul, and even a wonderful cover of Ennio Morricone’s “Una Spiaggia” with Cohen and Catskills neighbour Clairo nailing those otherworldly vocalizations. Hannah’s partner and producer, Sam Evian, did similar magic with records by Kate Bollinger and Katie Von Schleicher and helps Cohen catch those sounds she’s chasing, and no doubt those guest contributors are cool, but “Earthstar Mountain” is Hannah’s baby all the way.
The new record from Dutch Interior. Stereogum has called the band’s music “fantastically immersive” and Paste cosigns their “recipe for a rock song that’ll stick with you long after it’s over.” Friends since childhood, the Los Angeles-based sixpiece’s new record is an an inventive blend of modern day Americana, shapeshifting indie and ultimately an inspired passion project from six lifelong friends who have made a record that sounds bigger than themselves. In the same way artists like Wilco or MJ Lenderman have turned classic song writing on its head, the album both acknowledges and breaks with tradition, and is an ultimately hopeful elegy of what it means to confront change and find beauty in a precarious world.
Five of the six members of twangy, low-key LA band Dutch Interior write and sing and their distinctive creative and actual voices keep things interesting on their pretty, contemplative third album, “Moneyball”, that also feels cohesive via a love of ’90s indie rock, alt-country and slowcore (along with those genres’ original ’60s/’70s influences). The most current day analog is probably MJ Lenderman, and while Dutch Interior don’t deliver his level of quotable couplets (few do, let’s face it), songs are memorable, nicely impressionistic and full of dreamy atmosphere.
The most apt comparison, though, is probably Acetone, the cult ’90s group whose influence, the band say, “is all over our discography.” You really feel that influence on songs like “Canada,” “Wood Knot” and “Beekeeping” which float slow like a lazy river, but also in the harmonies and layered guitars on “Fourth Street” and “Sandcastle Molds” which both kick up some dust.
Noah Kurtz might write the most immediate songs here, but contributions from Conner Reeves, Jack Nugent, Davis Stuart and Shane Barton balance things out and allow everyone to bring their A-game.
The Australian group’s third LP is via ATO Records.I, for one, have never been opposed to the prospect of a noise-rock LP summed up by its creators as a “nihilistic death march,” but the first half of 2025 has surely made a record like “Chrome Dipped” a particularly welcomed sound for a broader demographic of ears. The melodically aggressive tones of Australia’s CIVIC feel geared toward this moment of tension and frustration both here in the States and abroad, with the band’s lyrics vaguely addressing themes that conveniently match up with the conspiracy wormholes we’ve lost distant relatives to over recent years and a growing sense of AI supremacy some of us may soon be losing our livelihoods to, as well.
The band mostly speaks in abstraction when discussing the 11 songs on “Chrome Dipped”, perhaps less as songwriters carefully guarding the true meanings of their work and more so due to the fact that the snarling vocals and wailing guitars behind them (to say nothing of the “disgusting” central riff on at least one of these tracks) do plenty of talking themselves. While their overarching sense of nihilism can be found in the lyrics if you’re searching for them, it’s hard to deny that the catharsis this mood permits provides more than a bit of the muscle behind each of these doomy post-punk cuts.
Melbourne garage punks Civic look a little different than on their last album, with a new drummer and one fewer guitarist. They sound a little different too. While the snarl of earlier records remains, “ChromeDipped’s” pace is comparatively subdued, relying on moodier sounds and textures to demonstrate their ferocity. The result is an engrossing display of rumbling rock’n’roll that calls to mind great Australian punk of the past while retaining its own identity.
They haven’t abandoned the aggression of previous records entirely — limbs will continue to flail when they play thrashier songs like ‘Poison’ and ‘Fragrant Rice’ live — but the evolved sound points to a new-found versatility that makes an already great band all the more compelling.
1. “The Fool”“The Fool” is about living in an illusion or lie that supports your own selfish narrative and lifestyle patterns. You think you’re sailing, but you’re actually drowning. [It’s] a nihilistic death march about dreamers and idiots. A jangly pagan punk song meant to provoke the senses. It recalls the story of the fool and what’s behind the thousand-yard stare.
2. “Chrome Dipped”A balancing act between human emotion in a world that’s hurtling toward complete reliance on the machine.
3. “Gulls Way”Paints a picture of a rose expelling its seeds to create offspring. The garden is grown only to be tainted by a freezing storm. Your world freezes over. A farewell song to loved ones.
4. “The Hogg” Finding peace and gratitude in being out of your depth in a foreign place. The song is about staring into the abyss and seeing nothing but its pure beauty. Surface-level pleasure with sinister undertones. A porcelain dancer draped in flesh, pirouetting to the infinite beat. ‘The Hogg’ is my reality. ‘The Hogg’ is my destiny.
5. “Starting All the Dogs Off” I’m painting a picture of this character on a mission to nowhere, that’s leaving a trail of destruction behind him, but can’t deny his human emotions getting in the way. There’s a love story in there, there’s loss, there’s all this life stuff getting in the way of his journey to emotional freedom. The ending is kind of this ultimate form—it’s like the final blow. It’s about giving into who you are, and coming to that realization.
6. “Trick Pony”Being stuck in the anxious brain. Fight-or-flight in full effect. The pinnacle of disaster.
7. “Amisuss” Serendipitous events around the loss of my mother. Noticing/experiencing her spirit in a non-tangent way. It was almost like watching the transformation of her leaving her physical body behind and becoming something that still resides in and around me.
8. “Poison” Ultimately a song about a relationship/friendship becoming toxic.
9. “Fragrant Rice” The change of hand in kinship and the fear around that becoming your reality. Humanity is the rice. We are all the same. We will all have loss.
10. “Kingdom Come”“Kingdom Come” is a ballad about people who live with longterm addiction and manage a life through a chaotic and turbulent existence. Somehow functional and always on the edge of collapse, but also wanting nothing else.
11. “Swing of the Noose” Finding freedom in nihilism and embracing the demise.
“Instant Holograms On Metal Film” is the first Stereolab album in 15 years, featuring 13 new studio recordings. There’s a sophistication to the band’s gentle, thoughtful, propulsive indie pop that extends beyond frontwoman Laetitia Sadier’s French coo. It’s in Andy Ramsay’s gentle but decisive snare taps, the texture of Tim Gane’s guitar, and the webs of vintage synths that scaffold each song.
Sometimes, like on ‘Aerial Troubles’, you get so engrossed in their groove it’s jarring when it ends. Thankfully, there’s always another uber-cool synthy jam to swallow you up.
There’s a certain sense of comfort in hearing that the first new album from Stereolab in 15 years contains much of what made their back catalogue so beloved and continuously rewarding: lush jazz-pop arrangements, twisty time signatures, splashes of Marxist politics, pop-art visual aesthetics, playfully dadaist song titles and a sense of melody that prevails in spite of or perhaps even because of their litany of avant garde influences.
It’s identifiably, unmistakably a Stereolab album, reacquainting us with the groop’s playfully cerebral aesthetic, always evolving but identifiably their own, whether drifting into dreamy ambience or firing up some “Electrified Teenybop!” “The sound of Instant Holograms on Metal Film” after so much, even arriving after all this time, is enough to make you believe no time had passed at all since they brought a close to their first act—the logic of the timeline of their choosing is the only one that matters.
Played by Laetitia Sadier, Tim Gane, Andy Ramsay, Joe Watson and Xavi Muñoz, with contributions from Cooper Crain and Rob Frye of Bitchin Bajas, Ben LaMar Gay (composer/jazz multi instrumentalist), Holger Zapf (Cavern of Anti Matter), Marie Merlet (Monade) and Molly Read among others. The group will be playing live throughout 2025, with shows in Europe, North America, South America and the UK. The album follows “Not Music” released in 2010; remastered and expanded reissues of seven of their albums in 2019; and volumes 4 and 5 in the Switched On series appearing in 2021 and 2022 respectively.
The Foo Fighters ended a prolonged silence with the debut of a new song “Today’s Song.”
The first bit of new music from Dave Grohl and his colleagues since 2023’s “But Here We Are“, “Today’s Song” marks the start of a new era — one that finds DaveGrohl,Nate Mendel, Pat Smear, Rami Jaffee and Chris Shiflett forging ahead after the recent dismissal of drummer Josh Freese, who had taken over following Taylor Hawkins’ unexpected death in 2022.
This new song’s arrival is tied to the Foo Fighters’ band 30th anniversary, with 2025 marking three decades since Grohl released the self-titled album in 1995 largely recorded entirely by himself.
Accompanying the new song was a lengthy statement issued by Grohl to Foo Fighters fans addressing in part the tumult of drummer Hawkins’ passing. Also of note is his mentioning of William Goldsmith and Franz Stahl, previous members of the band who played integral roles in the band’s early years, despite maybe not getting as much attention for those contributions as they should have.
“Over the years, we’ve had moments of unbridled joy, and moments of devastating heartbreak. Moments of beautiful victory, and moments of painful defeat. We have mended broken bones and broken hearts. But we have followed this road together, with each other, for each other, no matter what. Because in life, you just can’t go it alone.
It should go without saying that without the boundless energy of William Goldsmith, the seasoned wisdom of Franz Stahl, and the thunderous wizardry of Josh Freese, this story would be incomplete, so we extend our heartfelt gratitude for the time, music, and memories that we shared with each of them over the years. Thank you, gentlemen.
And… Taylor. Your name is spoken every day, sometimes with tears, sometimes with a smile, but you are still in everything we do, everywhere we go, forever. The enormity of your beautiful soul is only rivaled by the infinite longing we feel in your absence. We all miss you beyond words. Foo Fighters will forever include Taylor Hawkins in every note that we play, until we do finally reach our destination.”
“Today’s Song,” which features artwork from Harper Grohl, one of Dave’s daughters:
Ten years ago, Citizen released “Everybody Is Going to Heaven” — a record that marked a bold turning point in their career. Following the breakout success of Youth, the band could have stayed the course. Instead, they doubled down on darker textures, heavier moods, and a fearless sense of experimentation.
Released in 2015, “Everybody Is Going to Heaven” expanded Citizen’s sound beyond their emo and post-hardcore roots, weaving in elements of grunge, and alternative rock. Tracks like “Cement” and “Stain” captured a raw, unsettled energy that explored mortality, depression, and identity with an honesty that still resonates today. It wasn’t a record built for easy listens — it was built to last.
Now, a decade later, “Everybody Is Going to Heaven” stands as a defining moment in Citizen’s evolution a record that challenged both the band and their audience, and helped shape the fearless, genre-blurring artists they’ve become. As they celebrate its 10th anniversary, Citizen remains a band deeply committed to growth, refusing to be tied to a single sound or era. “Everybody Is Going to Heaven” didn’t just mark where they were; it lit the way for everything that came next.
This 10 Year Anniversary Edition features new, gatefold packaging with updated photos, lyrics and liner notes. Disc one incldues the originial album in full and the brand new second disc features rare b-side “Nail In Your Hand,” a re-done version of “Heaviside” with artist Wisp performing vocals on the song, and seven never-before heard demo versions of songs from Citizen’s second album.
released June 27th, 2025 “Everybody is Going to Heaven” (10 Year Anniversary Edition), out now on Run For Cover Records.
London based sister and brother duo The Molotovs debut album ‘Wasted On Youth’ is a bold mix of new wave punk, indie, and garage rock showcasing the band’s raw energy and sharp songwriting Think the energy and songwriting of the Jam, the charisma of the Libertines and anthems to kick start a new generation.
Despite still being in their teens, the album explores important themes of selfempowerment, youthful determination, and the drive to enjoy life in a complicated world. With a sound rooted in rock history but fully alive in the present, the record captures the urgency and spirit of today’s youth.
Having played over five hundred gigs, The Molotovs have already shared stages with the likes of the Sex Pistols and The Libertines and been shouted out by punk legends Green Day, with The Telegraph highlighting them as one of the rising stars who could share the stage with Oasis.
‘Wasted On Youth’ is produced by Jason Perry (Don Broco, Trash Boat) and released via Marshall Records
A powerful new statement featuring some of her most intense and thought-provoking work to date.
When Laura Jane Grace questioned the right’s double standard of gender construct with the release of “Your God” by questioning whether the Almighty has a penis, she gave Rolling Stone a logical response: “If you refer to your God as He and Him, but you will not refer to a transgender person with the pronouns that are theirs…that’s just insane.” My guess is that Grace’s upcoming album with her band The Trauma Tropes, “Adventure Club“, will be equally filled with uneasy queries that offer less simple answers.
‘Adventure Club’ was recorded in Athens, Greece and made possible by a grant through the Onassis Air Program, “an artistic research, residency, and fellowship program that fosters artistic process and experimentation by bringing together creative practitioners from a variety of geographies and practices”, which Grace was awarded a fellowship through.
A powerful new statement featuring some of her most intense and thought-provoking work to date.
The album features notable performances from outside collaborators known as the Trauma Tropes, including Grace’s wife, Paris Campbell (vocals), as well as Athens-based musicians, Jacopo Fokas (bass) and Orestis Lagadinos (drums).
On standout, “Your God (God’s Dick),” Grace and Campbell belt out some of Grace’s most anthemic lyrics ever penned, with an a capella intro channeling the stadium power pop of Queen.
On “Wearing Black,” Grace critiques the corporatization of and police presence at Pride events, with her signature punk ethos and raw, unabashed outlook on full display.
The album features notable performances from outside collaborators known as the Trauma Tropes, including Grace’s wife, Paris Campbell (vocals), as well as Athens-based musicians, Jacopo Fokas (bass) and Orestis Lagadinos (drums).
On standout, “Your God (God’s Dick),” Grace and Campbell belt out some of Grace’s most anthemic lyrics ever penned, with an a capella intro channeling the stadium power pop of Queen.
On “Wearing Black,” Grace critiques the corporatization of and police presence at Pride events, with her signature punk ethos and raw, unabashed outlook on full display.
It wasn’t enough that a solo Kim Gordon, in melodic rock-out mode, had a crit-list top 10 in her 2024 album The Collective and its center piece song, “Bye Bye.” Rather than concentrate on the Family Feud–like question of what one might bring on vacation with this new re-recording, Gordon instead rips through a list of items that the Trump administration has cancelled or bankrolled, from “diversity” and “housing for the future” in one verse, to “mental health” and “victim”-hood in another.
“Justin Raisen had this idea to redo ‘Bye Bye’ starting at the end of the song. When I was thinking of lyric ideas, it occurred to me to use words taken from a site that had all the words that Trump has essentially banned, meaning any grant or piece of a project or proposal for research that includes any of those words would be immediately disregarded or “cancelled.” I guess Trump does believe in cancel culture, because he is literally trying to cancel culture.” –
Kim Gordon The words Gordon speaks in “BYE BYE 25!” have begun to disappear under Trump’s agenda.
The Alice Cooper group returns with their first new studio album in more than five decades. “The Revenge of Alice Cooper” features contributions from all five original members, including late rhythm guitarist Glen Buxton. Alice Cooper was joined in the studio by lead guitarist Michael Bruce, bassist Dennis Dunaway and drummer Neal Smith. They constructed “What Happened to You” with a riff from an old demo tape by Buxton, who died in 1997.
‘Black Mamba’ featuring the legendary Robby Krieger of The Doors is the first single from the new album and serves as a venomous introduction to the new era of Alice Cooper.
For the first time in over 50 years, Alice Cooper and the original band reunite to bring rock ‘n’ roll back from the shadows! “The Revenge of Alice Cooper” is a high-voltage journey into vintage horror and classic ’70s shock rock. Together, they’ve created an album packed with the sound, energy, and mischief that made them legendary. In a truly special moment, Glen Buxton, the band’s original guitarist who passed away in 1997, makes a posthumous appearance through unreleased recordings, seamlessly blending the past with the present.
Inspired by the iconic 1953 film The Wild One starring Marlon Brando, the track captures the same defiant spirit that once shocked middle America and defined a generation. Reuniting five decades after their rise to fame, the band channels the chaos, danger, and cool of their early days, a time when rock was feared, eyeliner was scandalous, and every show felt like a revolution. “Wild Ones” is the sound of the Alice Cooper Group with their engines roaring, still loud, still dangerous, and still not asking for permission.
This album is a celebration of friendship, nostalgia, and the sound that made Alice Cooper a rock icon. From the venomous bite of “Black Mamba” to the rebellious charge of “Wild Ones”, and the soft, haunting melodies of “See You on the Other Side”, every track feels like a lost rock ‘n’ roll classic.
