Evan Dando has been promising a new Lemonheads album for a while now, and now it’s officially announced: “Love Chant”, their first album of original material since 2006’s self-titled release, will be out in October via Fire Records.
Full details have not been shared but Evan says, “I’m really excited about our new record “Love Chant” coming out on FIRERecords. I have a feeling people are really gonna enjoy it. It was made with Love, Fire and Chanting. It will be out fall 2025. We will be peppering the airwaves with singles from May 14th onwards.”
Following a decade-long partnership with Fire Records – one that’s unearthed a treasure trove of unreleased gems – the arcane adventure continues. “Love Chant” is the long-awaited new chapter.
The Lemonheads have shared ‘Deep End’, a rugged rock jam that features J Mascis on guitar, former Lemonhead member Juliana Hatfield, and Australian singer-songwriter Tom Morgan of Smudge. Its flipside is a cover of Townes Van Zandt’s ‘Sad Cinderella’, sung by Evan Dando and Nashville singer-songwriter Erin Rae as a duet.
Ahead of it’s release, The Lemonheads head back to Australia and NZ this May for a special tour ‘It’s A Shame About Come On Feel’ where they’ll perform both ‘It’s a Shame About Ray’ and ‘Come On Feel the Lemonheads’ in their entirety. Fans can also expect an exclusive preview of new material.
Nation of Language – the Brooklyn-based trio made up of Ian Richard Devaney, Aidan Noell, and Alex MacKay – have signed to Sub Pop. Along with the news, they’ve shared a video for the luminous new single ‘Inept Apollo’. Discussing the new song and video, Devanaey said in a press release:
Work is a respite from pain. Whether it’s a paying job or just the thing you pour yourself into, having a direction to move in, finding a flow state, it can move focus away from the heaviness of the heart. So after life’s losses, in moments of despair, we resolve time and time again to dive headfirst into the work as best we can. But the artistic process also tends to be when imposter syndrome rears its ugly head – when I find my inner monologue spiraling: ‘this is the best coping mechanism I have at my disposal and I’m not even qualified to be doing it.’
Accompanying the song is a killer music video by our friend and brother John MacKay: it is an homage to creative pursuits, and in some ways came to represent the feeling of living in a city as an artist. The video feels like walking through an old warehouse in Brooklyn, full of practice spaces and studios, each room occupied by artists striving to express and understand themselves and their place in the world. No matter how bizarre the act may seem or how much self-doubt or pain runs through the mind of the creator, the beautiful thing is the striving and continuing on, rather than the final product or any notion of “success.” The power of creation belongs to all of us; requires the approval of none.
Nation of Language’s most recent album was 2023’s “Strange Disciple“.
Our new album “The Clearing” out 29th August. Produced by the incredible Greg Kurstin. The first single “Bloom Baby Bloom” is out now.
Wolf Alice have announced a new album, “The Clearing“. The follow-up to 2021’s “Blue Weekend” is slated to arrive on August 29th via RCA Records. The British alt-rock outfit recorded the new LP in Los Angeles with producer Greg Kurstin. Along with the announcement, they’ve shared the thrilling, piano-led ‘Bloom Baby Bloom’. Check out its accompanying video, directed by Colin Solal Cardo.
“I wanted a rock song, to focus on the performance element of a rock song and sing like Axl Rose, but to be singing a song about being a woman,” lead singer Ellie Rowsell said of ‘Bloom Baby Bloom’. She added, “I’ve used the guitar as a shield in the past, playing it has perhaps been some way to reject the ‘girl singer in band’ trope, but I wanted to focus on my voice as a rock instrument so it’s been freeing to put the guitar down and reach a point where I don’t feel like I need to prove that I’m a musician.”
Deradoorian (Decisive Pink, Dirty Projectors) returns with a new album “Ready for Heaven”, dealing with heaven and earth, damnation and salvation. It is a classic forty-minute set of inquisitive pop songs, blessed with a lightness of touch and a sharp focus that can’t help but charm the listener. It conjures up some last, faint afterglow of the old belief that an electronic, programmed beat can smash itself – and you – into another, more egalitarian consciousness
It is a remarkable fact that this bold and open-hearted record is made by one person, working alone. Repeatedly reworking the songs until they were complete is a painstaking process that generated an energy and space where Angel Deradoorian could indulge in the arcana of her artform. “I love the production more than the songwriting. […] In fact, I don’t even feel like a songwriter at times, I feel like someone who is just inspired by so much music. And I want to try it all out! Like Lizzy Mercier Descloux, Mingus, or ESG and Silver Apples, or making weird krautrock and industrial music. I love dub, and Sly and Robbie. I love the productions of those records and the collective energies released by their creators in the studio. It’s just a weird thing to do it by yourself!”
Engaging with past musical glories helps deal with a major theme of this album; the awful nature of the world around us. Deradoorian: “This album is partly about watching humanity erode. It’s about mental struggle, and it’s avowedly anti-capitalist. I mean; would we have all these identity labels we have to live by, if we didn’t live in a capitalist world?”
A lot of the lyrical content deals with the struggle to be a human being in the modern world, and the determination to keep on keeping on. But even when a darker mood informs a track, as with ‘Hell Island’ or ‘Digital Gravestone’, there are arrangements that seduce and hooks that ensnare.
We are dealing with a world where there is too much chaos to cut through and where human connections are burnt dry. “Ready for Heaven” is an avowedly human response to the world we find ourselves in, and Deradoorian uses every ounce of her reserves of wit and knowledge to create a source of comfort and solace for the listener.
William Morris rejected the idea that technological change automatically meant progress. “I believe,” he wrote, “the multiplication of machinery will just multiply machinery.” His beliefs that a fairer society could be achieved through engaging with the arts echoes throughout Deradoorian’s (Decisive Pink, Dirty Projectors) new album “Ready For Heaven” set for release on May 9th via Fire Records.
Deradoorian releases new single ‘Any Other World’ with its short sung melody line nestled against a beautifully melancholic chord progression that artful uses repetition and enunciation to make an emotional point. There’s something of Patrick Cowley’s glazed, mesmeric synths at play in the mix here.
‘Any Other World’ nestles against a beautiful melancholic chord progression with an artful use of repetition and enunciation to make an emotional point. There’s something of Patrick Cowley’s glazed, mesmeric synths at play in the mix here adding to the bassline.
A lot of the lyrical content deals with the struggle to be a human being in the modern world, and the determination to keep on keeping on: “This album is partly about watching humanity erode. It’s about mental struggle, and it’s avowedly anti-capitalist. I mean; would we have all these identity labels we have to live by, if we didn’t live in a capitalist world?” Deradoorian ‘Ready for Heaven’ is an avowedly human response to the world we find ourselves in, and Deradoorian uses every ounce of her reserves of wit and knowledge to create a source of comfort and solace for the listener.
It is a classic forty-minute set of inquisitive pop songs, blessed with a lightness of touch and a sharp focus that can’t help but charm the listener. It conjures up some last, faint afterglow of the old belief that an electronic, programmed beat can smash itself – and you – into another, more egalitarian consciousness.
Triathalon — the New York-based trio of Adam Intrator, Chad Chilton and Hunter Jayne— announces its new album “Funeral Music”, out May 16th on Lex Records, and presents the lead single/video, “RIP.”“Funeral Music”, is the band’s fifth album, began taking shape when the band imagined what they’d like played during their memorials. Continuously referencing “play this at my funeral” throughout writing and recording, the album became a realization of this concept. Lead single “RIP” is a 90s-influenced rock track inspired by artists like Pixies, Deftones, and Nirvana. Adam Intrator says, “The aim for ‘RIP’ was to kickstart feelings on what it felt like to listen to a late 90s rock song for the first time as a kid in your parents car in the backseat and asking to hear it louder. ‘RIP’ has a double meaning; it’s about both dying and being reborn.”
Born out of a period of heartbreak, growing pains, and self discovery, “Funeral Music” showcases a darker, more vulnerable side of the band. With a more minimal approach, every element within the album is highlighted, from cleaner guitar tones, to live-tracked drums, to first-take vocals mixed with singular piano playing and experimental production.
“Funeral Music” not only reflects the band’s sonic shift but also reinvents the overall dynamics between their sound, energy and workflow. These songs were written, demoed, recorded and mixed in various places, bedrooms, studios and houses over the course of two years and is the band’s strongest and most cohesive work to date.
released May 16th, 2025
All Songs Written by Triathalon Performed by Adam Intrator, Hunter Jayne and Chad Chilton
Spill Tab were highlighted as a band to watch back in 2021; several years and EPs later, the Korean-French singer-songwriter has dropped her debut album, “Angie”. Working with collaborators including David Marinelli, Solomonophonic, Wyatt and Austin and John DeBold, her playful versatility continues to shine through. “I love this collection of songs so deeply,” Claire Chicha shared, “they feel more honest than anything I’ve created in a long time, and I’m so proud of the hundreds (thousands??) of hours that were spent writing, producing, chipping away at vocals, tightening up harmonies, re-writing bass lines, deleting entire sections, coming up with completely new ones, with all the the insane collaborators that worked on this project. It’s really special to hear all these experiences on love and loss, rejection and passion, walking away and holding on too tight, all coexisting together in one place: a cumulation of these last few years of my life.”
Listen on
released May 16th, 2025 Spill tab Inc. under exclusive licence to Because Music
Philadelphia band Friendship have released a new album, Caveman Wakes Up, their second for MergeRecords. The record – bleary, somber, and diaristically evocative – started taking shape in the summer of 2023; frontman Dan Wriggins had just left the Iowa Writers’ Workshop, and the breakdown of a relationship led him to crash for several weeks at Jake Lenderman and Wednesday’s Karly Hartzman’s home in North Carolina. Joined by guitarist Peter Gill, drummer Michael Cormier-O’Leary, and bassist JonSamuels, Wriggins returned to Philly to lay down the album in five days with engineer Jeff Ziegler (Mary Lattimore, War on Drugs).
He tracked vocals with engineer Bradford Kreiger, while organ, violin (Jason Calhoun), and flute (Adelyn Strei) were recorded by Lucas Knapp in a West Philadelphia church. The singles ‘All Over the World’ and ‘Resident Evil’ arrived ahead of the release.
An album for sleeping and waking, walking and driving, hunting and fishing, for loitering outside a roadhouse on the haunted tundra. Okay in elevators, not great for dinner. On “Caveman Wakes Up”, Friendship’s second album for Merge Records, the band’s historically capacious definition of country music grows wider still. Shambolic guitars are offset by flute pads, bleary poetry is set against a Motown rhythm section, a song about Jerry Garcia and First Lady Betty Ford fades out with a drum solo, like if Talk Talk came from a dingy Philadelphia basement and was fronted by James Tate. Songwriter Dan Wriggins’ ragged baritone cuts through eleven murky, swirling country-rock songs with profound lyrical substance and sincerity. Like an alarm clock incorporated into the edge of a dream, “Caveman Wakes Up” belongs equally to the conscious and subconscious mind, fraught with background, steeped in reference and experimentation, delivered casually and as a dire warning, dedicated, above all, to music’s creative soul.
“Caveman Wakes Up” is out May 16th on Merge Records
Peter Gill: guitar, synth, vibraphone, vox Michael Cormier-O’Leary: drums, percussion, piano, organ, synth, vibraphone, drum machine, string and woodwind arrangement Jon Samuels: bass, synth Dan Wriggins: vox, guitar
Adelyn Strei: flute, clarinet Jason Calhoun: violin
As his Land of Hope and Dreams Tour began at the Co-op Live in Manchester England, today, Bruce Springsteen shared a political message that he had undoubtedly been thinking about for months. (This was his first show with the E Street Band since November.)
Bruce Springsteen had some harsh words for the American president during his 2025 tour launch in Manchester, England.
After taking the stage and welcoming fans, he introduced the show’s opening song, “Land of Hope and Dreams,” by saying: “The mighty E Street Band is here tonight to call upon the righteous power of art, of music, of rock ‘n roll, in dangerous times. In my home — the America I love, the America I’ve written about, that has been a beacon of hope and liberty for 250 years — is currently in the hands of a corrupt, incompetent …”
This next word or phrase was inaudible because the crowd was cheering so loudly. Springsteen – who has never been shy about offering his political views – received thunderous applause for his opening remarks.
Springsteen continued, “Tonight, we ask all who believe in democracy and the best of our American spirit to rise with us, raise your voices against authoritarianism, and let freedom ring!”
Later in the set, Springsteen again took the opportunity to rage against the Trump administration. “There’s some very weird, strange, and dangerous shit going on out there,” the rocker said prior to performing “My City of Ruins.” “In America, they are persecuting people for using their right to free speech and voicing their dissent. This is happening now. In America, the richest men are taking satisfaction in abandoning the world’s poorest children to sickness and death. This is happening now.”
“And in my country, they are taking sadistic pleasure in the pain that they inflict on loyal American workers,” Springsteen continued. “They are rolling back historic civil rights legislation that led to a more just and moral society. They are abandoning our great allies and siding with dictators against those struggling for their freedom.”
The show also included the live debut of “Rainmaker,” a song about a con man from Springsteen’s 2020“Letter to You” album. He dedicated the song, which includes lines such as “Rainmaker says white’s black and black’s white/Says night’s day and day’s night,” to “our dear leader.”
In this song, Springsteen also changed the line, “they don’t care or understand what it really takes for the sky to open up the land,” to “they don’t care or understand how easy it is to let freedom slip through your hands.”
Springsteen’s Manchester performance featured an array of tunes from throughout his iconic career. There were timeless hits – like “Born to Run,” “Darkness of the Edge of Town” and “Thunder Road”
The Boss closed the night with his cover of Bob Dylan’s “Chimes of Freedom,” performed for the first time since 1988.
“Land of Hope and Dreams” “Death to My Hometown” “Lonesome Day” “My Love Will Not Let You Down” “Rainmaker” “Darkness on the Edge of Town” “The Promised Land” “Hungry Heart” “My Hometown” “Youngstown” “Murder Incorporated” “Long Walk Home” “House of a Thousand Guitars” “My City of Ruins” “Letter to You”
Because The Night Human Touch Wrecking Ball The Rising Badlands Thunder Road Born In The USA Born to Run Bobby Jean Dancing in the Dark Tenth Avenue Freeze-Out Chimes Of Freedom
Unearthed for the first time in 40 years, here is the Full concert featuring The Style Council live at Goldiggers, Chippenham, filmed for the BBC’s Sight & Sound In Concert on 5th March 1984. The setlist includes the pre-show ‘warm up’ song and two encore tunes as well as the full version of “Hanging On To A Memory“, none of which were broadcast by the BBC at the time.
The bootleg arrived from Rough Trade. Always disappointing that they dont spend any time on the sleeve or the photos used (1983 & 1986) for a 1984 gig. No idea how many were pressed but for now no one in the UK is selling it anymore …. To officially release something from the BBC is eye watering and i’m sure Universal have been keeping tabs on the popularity of this.
It is listed as a limited edition release on red vinyl via the Outsider record label, with pre-orders just going live on the Rough Trade website. The setlist is down as the tracks played for the show, along with the pre-show ‘warm up’ song and two encore tunes.
Setlist : 01 My Ever Changing Moods (pre show ‘warm up’) 02 Meeting Over Yonder 03 My Ever Changing Moods 04 Speak Like A Child 05 The Whole Point Of No Return 06 Le Depart 07 Paris Match 08 Party Chambers 09 Money Go Round 10 Headstart For Happiness 11 Hanging Onto A Memory 12 Dropping Bombs On The Whitehouse (Encore) 13 Long Hot Summer (Encore)
New Jersey-based Indie-rock pioneers, the Feelies, are releasing their eighth album, “Rewind”, A nine track collection of studio recorded covers from throughout the band’s history. “Rewind”, is being released by Bar/None Records on June 20th on 12” LP vinyl, CD, digital download, and streaming services. The first single released is “Dancing Barefoot”/”Barstool Blues.
While the Feelies have put out six albums of original songs over the years they are well known for slipping into cover songs especially in their long extended encores. “Rewind” compiles some of their favourite songs from The Beatles, Neil Young, Bob Dylan, The Doors and more
The Fat Angel Sings 