Foreigner are too release an expanded version of their album “Head Games” due out on October. 30th.
The box set version of the 1979 album, which features concert staples such as the title track and “Dirty White Boy,” will include a disc of outtakes and alternative versions, as well as a newly unearthed complete concert from the Head Games tour.
The previously unreleased song “Trouble” has been remixed and released as the first taste of the “Head Games” set, with a newly added guitar solo from none other than Peter Frampton.
You can hear “Trouble” below, Originally recorded in May 1979 during the original ‘Head Games’ album sessions at Atlantic Studios in New York City, “Trouble” was recently discovered during research for the ‘Head Games Deluxe’ edition album -. This previously unreleased track has been freshly remixed & remastered, and features a newly added guest guitar appearance by longtime friend of the band, Peter Frampton.
Foreigner are currently wrapping up the last few dates of their summer co-headlining tour with Lynyrd Skynyrd.
Twenty years. Ten releases. One word: Hope. “Asha” is Elephant Stone‘s most intimate record yet — a collection born from loss and shaped by light. Named for frontman Rishi Dhir‘s late mother, the album carries its meaning in Sanskrit: hope. In a world growing darker, it arrives as a shelter. Produced, engineered, and mixed by Dhir at Sacred Sounds in Montreal, “Asha” finds the band — Dhir,Miles Dupire, Robbie MacArthur and Jason Kent — at their most emotionally direct and sonically expansive, with a guest appearance by Amy Millan on the closing track.
With a discography spanning 10 acclaimed releases, Elephant Stone remain at the forefront of the modern movement, constantly deconstructing the past to find something visceral, haunting, and undeniably human in the present.
Elephant Stone celebrates 20 years and a milestone 10th studio release with “ASHA”, their most visceral and personal project to date.
From the upcoming album “ASHA” out August 28th, 2026 Label: Elephants On Parade/Little Cloud Records
Purple mountains, empty highways, jet trails as the sun fades; Dogwood Tales paint in valley colours on their album “Every Star In Rockingham County“. Hailing from Harrisonburg, VA in the heart of Shenandoah, the band features founders and childhood friends Kyle Grim (guitar/vocals) and Ben Ryan (guitar/vocals), alongside college contemporaries Jake Golibart (drums) and Danny Gibney (bass).
With its location in its title, their new album is as much a love letter to the local DIY scene, vast farmlands, and surrounding mystical mountains as it is a portrait of present-day small-town American life. The humming electric guitars over beds of pedal steel and earnest lyricism find the album in dialogue with indie rock’s current lo-fi country romanticism — and lyrically pays homage to revered American songwriters in the footsteps of Townes Van Zandt — but ultimately takes listeners on a ride through uncharted territory.
It’s a ride through Rockingham County, through the moody valley, the tight bond of four friends coming of age in a rural Virginia town, and a digital age where loneliness is far too prevalent. Thankfully, we’ve got the stars to keep us company.
The late, great Steve Cropper had another ace up his sleeve before his tragic passing in December 2025. To anyone who knows the roots and branches of American music, the loss of The Colonel was seismic. As guitarist, songwriter, producer and engineer — not just for the iconic Stax record label but on a forest of sessions and solo releases — the Tennessee soul man was the DNA that coursed through the post-war era, his fabled right hand setting the pace of rock ’n’ roll for 60-plus years.
The legendary musician was working on this new record, and with “Watching The Tide”, he has left a beautiful gift to the world, featuring an all-star cast including Eric Clapton, Brian May, Billy Gibbons and Ronnie Wood.
The wider world assumed 2024’s star-dusted, Grammy-nominated “Friendlytown” was the full stop on this most seminal of careers. Little did we know this towering figure had one last play. “Making music was Steve’s greatest joy,” explains Jon Tiven, the acclaimed songwriter/producer who first met Cropper in the early ’70s, became a close friend and helped ignite his post-millennial solo career. “Steve was so encouraged by “Friendlytown”. He was adamant he wanted to do another record.
On their sixth record, Allah-Las embrace a fully instrumental template that oscillates with hypnotic, rhythmic textures and soft ambient currents. Wrapped in the ambiance of aquatic soundscapes, the grooves channel atmospheres where sundowns meet blurred, gauzy perceptions. With references to the likes of English electronic duo Ultramarine and The Durutti Column’s Vini Reilly, the free-wheeling pathways of “Sirenas” offers a fascinating pivot that leaves the door open for boundless transmissions . . .
“Allah-Las make music that resists easy placement. Since forming in Los Angeles in 2008, the band have steadily sidestepped trends, creating a sound rooted not in nostalgia, but in feel — instinctual, atmospheric, and often instrumental in its storytelling, even when words are present.
Their records suggest a band uninterested in spectacle, and focused instead on tone, pacing, and space. The easy friendship that blossomed when three of the four members were working at Amoeba Music has evolved into a lauded body of work grounded in storytelling and discovery. 2016’s“Calico Review” was a cinematic exploration of their hometown of Los Angeles, while 2019’s “LAHS” saw them looking farther abroad, turning their gaze outward and transmitting sound from a place not found on any map.
It’s a similar fascination with vast listening, inner and outer traveling, and collective imagining that steers their new album “Sirenas”, the band’s first fully instrumental expression
“I Must Be Dreaming” is the first new album from Alabama Shakes in more than a decade. The album expands on 2015’s album “Sound And Color’s” unfettered exploration, leaning toward a viscerally charged form of psychedelic soul. Produced by Alabama Shakes and their repeat collaborator Shawn Everett, the album came to life at Nashville’s Sound Emporium Studios and Blackbird Studio.
While the album sustains their signature intensity, its songs often wander into more lush and otherworldly terrain, revealing a more exacting command of atmosphere and space. Singer-guitarist Brittany Howard explains that the album’s title has a double meaning, reflecting both disbelief at the state of the world and recognition of its beauty.
“It’s a snapshot of what we’re living through in 2026,” says Brittany Howard of AlamabaShakes’ simmering new protest single. “I look around and wonder how we got to a place where there’s so much strain and so little support. I mean, it shouldn’t be impossible to take off work so you can bring your child to the doctor—that’s actually insane. My hope is that one day people will hear this song and say, ‘Yeah, shit was crazy back then, but we made it through.’”
From the archives of the Zuma ‘85 sessions come ‘Countryman ‘82’ and ‘Dume Room’, a small sampling of oddities and lost recordings left on the mixing room floor.
released August 1, 2025 Matt Correia / Drums, Percussion Spencer Dunham / Bass Miles Michaud / Guitar, Organ Pedrum Siadatian / Lead Guitar, Synthesizer
Recorded and produced by Allah-Las (& Jeremy Harris on “Dume Room”)
A cult musician, Jon Spencer has only released one LP as a full-fledged “solo” artist, “Spencer Sings TheHits” (In The Red) way back in 2018. This is despite the fact that all the projects he’s been involved with over the years have revolved around his charismatic figure and his performing skills as both a vocalist and guitarist.
Recorded with Chris Bittner in the studio and produced by Jon Spencer himself, the album’s lineup is a classic trio composed of Spencer with Kandall Wind (bass and vocals) and Macky Spider Bowman (drums and vocals), the formula is the consolidated one that we’ve come to know and love over the years.
“Sick of Being Sick!” is an acid blues rock and roll album that thrives on the power and acidity of the guitars, on riffs that can be reminiscent of a familiar tune, yet are always played with great effectiveness, supported by a rhythm section that proves absolutely up to the task.
Essentially, Jon Spencer is a true snake charmer, sometimes making individual notes “sound” with his guitar (Get Away, Coulda Been, Guitar Champ…), sometimes tracing sinuous electric lines (Come Along, Out of Place), the distinctly garage spirit and attitude aligns with punk (Fancy Pants) while still having a melodic nature (Get Away).
Powerful bass lines, unleashed drums, Jon Spencer does not renounce his characteristic “crooner” approach, which is as iconic as it is parodic, but absolutely effective. The album contains all short songs, eight in total, lasting less than twenty minutes.
He’s now approaching sixty, but when he stands in front of a microphone and plays guitar, he does things with an energy and a nastiness that perhaps no one else possesses.
Julia Jacklin has a new Album, Shares New Song “Get Away From Me (I Think I’ll Love You Soon)”
The Australian singer/songwriter Julia Jacklin has announced a new album, The Gem, and shared its first single, “Get Away From Me (I Think I’ll Love You Soon),” via a self-directed music video. “The Gem” is due out September 25th via 4AD Records. check out the new song, followed by the album details and her upcoming tour dates.
Julia Jacklin has become one of indie rock’s most distinctive voices, pairing a twangy Australian croon with brash, cutting lyrics. “Get Away From Me (I Think I’ll Love You Soon), the lead single from her forthcoming LP “The Gem“, finds Jacklin doing what she does best: pulling her hair out over a likely doomed love affair. It recalls 2022’s “I Was Neon,” a standout, albeit more upbeat. Backed by fuzzy guitars and a marching drumbeat, Jacklin’s husky, crackling alto sears through the tension of wanting to be held and wanting to be free. “You don’t have to be careful,” she croons, “I don’t have to be right / You don’t have to call me up, darling / If you don’t come home tonight.” A sparkly, jangly guitar solo makes for a delightful intermission amid the heartbreak Jacklin spends the rest of the song nursing.
Jacklin recently announced that she’d signed a worldwide deal with the iconic British label 4AD and also announced some 2026 and 2027 tour dates.
Jacklin produced the album with Robert Muinos and it was recorded entirely in Melbourne. In 2017 she moved to the city from Sydney. She knew hardly anyone in Melbourne and started hanging out in a pub called The Gem. Muinos, described as an old drinking buddy, is the owner of Rat Shack studios, which is above The Gem. There Jacklin teamed up with Jacob Diamond (guitar), Mimi Gilbert (bass), and Jess Elwood (drums) to record the album. Previous Jacklin albums were knocked out in a couple of weeks, but she laboured over this one for nearly a year.
“The Hardest Thing” another track from the album Premiered today by Jack Saunders on his BBC Radio 1 show, the song is accompanied by a one-shot music video directed by Danny Cohen and filmed entirely from a helicopter winding through the Melbourne city skyline.
“The Gem” felt like a metaphor for the whole process, because a lot of it did feel like digging. I felt like I was doing it almost in the dark, just trusting I was going to find something,” says Jacklin in a press release.
Of the main theme of “The Gem”, Jacklin adds: “I want to love and be loved, but I also want to be free. The tension between those two things has been the central question of my life.”
Jacklin’s last album was 2022’s “PRE PLEASURE“, released via Polyvinyl . It followed 2019’s acclaimed “Crushing” and 2016’s “Don’t Let the Kids Win“.
Jacklin is also in the band Phantastic Ferniture. They released two new songs—“Change My Mind” and “Dare to Fall in Love”—in 2025.
“Herzsprung” is GB’s most expansive work yet. Written while living in London, the Copenhagen-based songwriter and producer spent weeks cutting up copies of Metro — one of the city’s free newspapers — to form the lyrical foundation of the songs.
“Herzsprung” could so easily become leaden under the heft of all its attendant lore Gustav Berntsen appears in a widely reviled Jaguar campaign, uses the money to hole up in a studio deep in the Swedish woods). Or it could grow stiff and unyielding, lily-gilded with math rock riffs, odd time signatures, and lyrics scrapbooked together out of the pages of London’s Metro newspaper. What’s remarkable, then, is how Berntsten’s AD 93 debut just breezes by—a balancing act he’s mastered alongside many of his fellow Danish esotericists. If you’ve ever wondered what late-era Arctic Monkeys would sound like if they got really into American Football (or you’re wondering that for the first time right now) this is the album for you.
The album draws together a wide spectrum of influences; from the groove-driven fusion jazz of the 1970s to Japanese noise-rock psychedelia, anthemic grunge, and outsider pop.
“Herzsprung” by GB is a significant expansion of the artist’s sonic palette, combining collage-based arrangements with more open, melodic song structures.
The album is grounded in an unusual lyrical method, with texts created from cut-out passages of the free newspaper Metro. Musically, “Herzsprung” features densely textured, experimental guitar work and catchy, pop-leaning moments, referencing a wide spectrum from groove-oriented fusion jazz to anthemic grunge and outsider pop.
The recording and band chemistry play a major role, with parts of the record tracked live to 24-track tape in a studio in the Swedish wilderness. The album’s climax, “Shit River,” features GB backed by a full choir, emphasizing the album’s playful and immediate execution.
