“The day has arrived, our sixth full-length album ‘What They Grow In The Garden’ is officially out in the world! This record is an examination of the hive mind. It’s a surreal and absurdist exploration of what it means to be human and live in a system designed to exploit our perceived weaknesses by means of capitalism. We hope listeners will consider both the shadow and the light of the archetypes we use to tell this story, and ultimately take away an invitation for self-liberation amidst the flickers of seemingly inescapable dread.
The permeating blue light of the external world persists, and yet it is still possible to find your freedom and identify your core truths if you go within. May your existential crisis be activated and eased. We also want to give a Massive thank you to all of the incredible people that collaborated with us on this music and creative direction. We are so fortunate to be surrounded by so much talent and we love making magic with others.
And, WE LOVE OUR FANS!!! We are blessed to have you and have been loving meeting so many of you on the road.
Leah Wellbaum · Guitar, Vocals, Will Gorin · Drums, Percussion, Bass, Piano on “Dissolve The Delusion”, “Dystopian Cemetery”, “What A Night” and “Hearst Castle” by Willy Beaman Violin on “Absolute Power” by Allie Stamler
Palace return with their most open-hearted collection yet, “Ox.” Palace’s fifth album, “Ox,” finds beauty and wisdom in the most human of revelations watching a child encounter music for the first time, feeling overcome by gratitude, or sensing that the possibilities ahead are endless
The album arrives as Palace continue to thrive as an independent act. What began in 2016 as Palace Presents, a monthly takeover at The George Tavern in London, has evolved into a worldwide community. This their fifth album “Ox” arrives entirely on the band’s own terms, marking a new era of independence shaped by the freedom to write songs for no one else but themselves. There’s a world of beauty and excitement to be found here: An instinctual, openhearted response from a band to their changing lives, channelling their signature dreamlike textures into songs that feel more alive with emotion than ever before.
Recorded in Deptford with longtime producer Adam Jaffrey, “Ox,” in drummer Matt Hodges’ words, has “a lightness and a momentum to it.” Across 10 warm, sprawling songs, the album embraces a more instinctive and organic approach, drawing inspiration from The Band, Townes Van Zandt, Edward Hopper’s hushed Americana and life on tour.
Following last year’s “Greyhound” EP, “Ox” places renewed emphasis on dynamics and space, with highlights including lead single “Kid”, an affirmation of love written about longing for one’s child while on the road and six-minute opus “Brown Bread.”
This autumn, the band will embark on a major North American run, following a sold-out homecoming show at London’s iconic Somerset House this summer.
When Frank Zappa And The Mothers Of Invention’s “Freak Out!” arrived in the summer of 1966, it represented a seismic shift in what a rock album could be. Released by Verve Records on June 27th, 1966, as one of the first double albums in rock history — and virtually unprecedented as a debut release — Zappa and The Mothers rejected the prevailing conventions of the three-minute pop single, instead crafting an ambitious work that blended doo-wop, rhythm and blues, orchestral music, free jazz, tape manipulation, and biting social satire into a cohesive artistic statement.
In fitting celebration of 60 years of “Freak Out!”, a newly expanded 60th anniversary edition will be released in a Super Deluxe Edition that features 105 tracks in total, many of which have never been released.
The complete vault mixes from a demo session recorded October 1965 have been compiled here for the first time for the 60th Anniversary box set. “I’m Not Satisfied” is one of the newly discovered tracks.
Produced by Zappa Vaultmeister Joe Travers, this new, expanded collection contains Travers’ digital transfers and John Polito’s 2026 mastering of the core album’s 15 tracks, along with the rediscovered 1966 pre-master mix, the retrieved and restored 1966 mono mix, Fillmore Auditorium tapes mainly culled from a trio of live 1966 dates, original Mothers 1966 rehearsals, original Mothers demos, mono vocal reference mixes, and a truly special three-track “Freak Out!” late-night jam session outtake collage.
The Yummy Fur’s first album of new material in over 25 years is seductive and ambiguous; a fast-paced flip through scenes from art, myth, life and fantasy; a witty whole made from glittering scraps. The band’s original incarnation — fronted by singer, songwriter and guitarist John McKeown from 1992 to 1999 — morphed from making quick-hit cartoon-art songs to Eno and John Cale-influenced creepers, populated by characters from McKeown’s life in Glasgow and the films, books and poetry that he lived a parallel life through.
Yummy Fur’s brand new single ‘Wanda’ is out now A miniature portrait study, the song folds together the life of filmmaker Barbara Loden with the protagonist of her singular 1970 feature ‘Wanda’ – a meditation on identity, dislocation and escape.
The accompanying film, shot in part on Super 8 by Roberta Cumbianchera, stars fellow Argentinian actress Daniela Aita. Drifting between Hollywood Boulevard and the faded fairgrounds of Raymond Chandler’s Santa Monica, its luminous imagery mirrors the song’s spectral pull.
“Everybody Talks About The Weather” delights in using every past iteration of the band as potent collage material: a melee of sounds and ideas existing at once, revealing themselves then dipping back into hiding.
Their upbeat single ‘Headphones’. A jogger’s delight of a song musing on life’s reckonings, Carrie Fisher and tinnitus – all written outside a tanning salon in Ayr! In short… The Yummy Fur at their most spry and disarming, classic territory.
“Everybody Talks About The Weather” is seductive, ambiguous and exhilarating; a fast-paced flip through scenes from art, myth, life and fantasy; a witty whole made from glittering scraps. “Everybody Talks About The Weather” boasts ten tracks as condensed and vital as their best work, with a new clarity of sound that ushers ambiguities to come into the light.
The bands first single ‘Unity Over Europe’, a bruising stomp of song, lyrically playing host to three Mitford sisters amidst allusions to V2 rockets, Pynchon and a Bacon triptych. All this could be laboured in lesser hands, but cultural verbosity is second nature to The Yummy Fur, who transform all this source material into songs that are weird, sexy, funny and absurd. Meaning is not happily understood or flattened.
The Yummy Fur’s new album ‘Everybody Talks About the Weather’, out September 24th on Upset The Rhythm.
Legendary guitarist Robin Trower is about to release his new album “Shine“. Ask him to explain his late-period creative burst and the legendary British guitarist can only shrug: “I think you’ve either got to keep pushing — or give up.” Now 81 years of age, with a mythology that spans from the clubs of Swinging London to Procol Harum, through 1974’s gold-selling “Bridge Of Sighs” and onward into a vital post-millennial solo catalogue, the veteran bluesman’s place amongst the all-time greats is beyond doubt. Yet while his ’60s peers have long softened into greatest-hits autopilot, this restless artist still starts each morning the same way: Stood in his workroom with a battle-scarred signature Strat, hunting down the magic note that will spark his next song.
“Then I’ll wake up in the middle of the night,” he smiles, “with a line for the lyric.” Kicking off the sessions at his favoured Studio 91 in Newbury — then moving to engineer Sam Winfield’s new facility The Pines to fix the holes — Trower’s thumbprint is all over a powerful, intimate new album where molten guitar solos drive songs urging us to meet the modern world head-on. “I agree with people that it’s a very dark time. But I don’t want to make gloomy music. I think that most of these songs are positive.
Debut single ‘Live Your Time’ taken from Robin’s 2026 album ‘Shine’ released on September 25th.
Tom Morello returns with his first solo rock album, “Everyone Gets Everything They Want“. Produced by Tyler Smyth, Carl Restivo, Zakk Cervini,Dan Carey and Sam Nelson Harris, it features guest appearances from Serj Tankian, Kneecap and Beartooth. Morello’s son Roman Morello co-wrote five tracks, contributing guitar riffs and solos. Morello is a Grammy-winning, Harvard-educated, Rock And Roll and Metal Hall of Fame-inducted artist, songwriter, and activist living proof of the transformative power of rock ‘n’ roll.
Known for his innovative guitar work and socially conscious songwriting, Morello rose to prominence as a founding member of Rage Against The Machine and Audioslave — two groundbreaking bands responsible for multiple Grammy Awards and more than 30 million albums sold worldwide.
My first-ever solo rock album, “Everyone Gets Everything They Want” arrives September 25th,
When Dublin’sGurriers released 2024 debut album “Come And See“, they underlined their status as a visceral, unignorable new voice in the thriving Irish punk scene. Since then they have carved out a steadily escalating reputation for bone-rattling, mosh-ready live shows. “Come And See” pushed their lyrical chops and curious, socially exploratory outlook to the fore too, platforming songs about digital angst and IRL terror in the modern world.
The quintet’s superb second album might be called “Nobody’s Coming To Save You“, then, but it could easily be subtitled ‘harder, better, faster, stronger’. Recorded at Donegal’s Attica Studios and Holy Mountain Studios in London with producers Mark Bowen of Idles and Loren Humphrey (Geese, Cameron Winter), alongside engineer Chris Fullard (Idles, Sunn O))) and world-renowned mixer John Congleton (St. Vincent, Modest Mouse, Swans), the crack team that readily assembled for album number two speaks volumes of its quality from the off.
This is Gurriers taking all the musical chemistry and smart, interrogational worldview that made them great in the first place, and souping it up to the next level.
“A reckoning,” Mary Gauthier writes on the outer sleeve to her new album, “can be personal, political, or spiritual. These songs inhabit all three realms at once.” Yes. Yes, they do. Mary’s most celebrated songs “I Drink”, “Mercy Now”, “Drag Queens in Limousines” are confessional stories, closely observed, clear-eyed and compassionate. She sings with the unmistakable languor of her native Louisiana, writes with the bluntness of Boston, where she was once a restauranteur, and rewrites with the fierce precision of Nashville, her home for many years.
Her 2018 release, “Rifles & Rosary Beads“, co-written with wounded Iraq war veterans, received a Grammy nomination for Best Folk Album, and an Americana Music Association nomination for Album Of The Year.
“Reckoning” is a dense, carefully nuanced, profoundly complex text, though all nine songs are presented as directly as possible: Mary’s voice, her guitar, bits of harmonica. Folk music, of a kind, but not a broadside. Nothing so easy as that. Topical songs with a long view, because she’s seen and lived too much of it.”
distributed by Soundly Music Released on: 2026-07-10
Greta Van Fleet has released a new single “Tear It Down,” ahead of the band’s fifth studio album, “Palace for the People” due October 9th via Republic Records. The track follows previously released songs “Play Your Games” and “Saw You Stand.”
“Tear It Down” pairs a prominent guitar riff with lyrics centered on uncertainty and rebuilding. Frontman Josh Kiszka sings, “I’m searching for answers in the shifting clouds. What do we do when it gets too loud?” before the chorus turns to the refrain, “Build it up, then you tear it down.”
“Palace for the People” was written in a remote cabin in Tennessee and recorded there in spring 2026, with Greta Van Fleet and Mike Elizondo co-producing. Elizondo’s credits include work with Turnstile, Eminem and Fiona Apple. According to the group, the record explores themes including human connection, resilience and transcendence. Discussing the title, Kiszka linked it to a London performance, saying, “We played the ‘Palace of the People’ in London, and our music is a Palace forthe People.” He added that the group set out to make a record encompassing “adventure, passion, brutality, beauty, sex, and imagination.” Guitarist Jake Kiszka described it as a rock and roll record “at its core” while also calling it “a very modern record.”
Greta Van Fleet formed in Frankenmuth, Michigan, and has been active since 2012. The lineup features Josh Kiszka on vocals, Jake Kiszka on guitar, Sam Kiszka on bass and keyboards, and Daniel Wagner on drums. The Grammy Award-winning group has released multiple platinum-selling records and toured internationally in arenas and stadiums. “Palace for the People” marks the band’s first collaboration with Elizondo as producer.
After ‘Pet Sounds,’ Brian Wilson made a move toward minimalism on The Beach Boys follow-up album ‘Smiley Smile,’ released on September 18th, 1967.
Libraries have been written about the abandoned “Smile” sessions, and the resultant compromise release “Smiley Smile”. However this does nothing to alter how bizarre and intriguing of a follow-up to “Pet Sounds” this record is. One minute you get exquisite triumphs like “Wonderful,” with its weaving and inventive melody. The next you get what sounds like Brian Wilson inventing Muppet Show numbers / Animal Collective. But if you want a warts-and-all recreation of the Beach Boys story as it actually happened, rather than as it was reissued/rerecorded, this is essential nonetheless. Oh and there’s some song called “Good Vibrations” on this too.
By the summer of 1967, The Beach Boys had racked up enough chart-busters to keep them forever lodged among the top hit-makers of the decade. This didn’t come from repeating familiar formulas, but by moving past earlier trends, including surfing, hot-rodding, go-go dancing, and appropriating Phil Spector’s Wall Of Sound as their own. In 1966, The Beach Boys went beyond the latter by spreading out their soundscapes, bringing that type of rock’n’roll into the realm of contemporary soundtrack work by Henry Mancini, Elmer Bernstein, and John Barry for the “Pet Sounds“album.
Group songwriter and producer Brian Wilson then attempted a more light-hearted approach for Smile, an album that was to be released in 1967, but instead would sit on the shelf for over 40 years, to eventually become The Beach Boys’ first Grammy-winning project as a box set.
The grandiose productions of both “Pet Sounds” and “Smile” began to seem extraneous to Brian Wilson at the time, and despite the lead single, “Good Vibrations,” being the biggest hit in the band’s oeuvre, Wilson left its production ethic behind and moved toward minimalism in order to finish what would become the follow up to “Pet Sounds“, entitled “Smiley Smile”, on September 18th, 1967.
A number of factors led Brian Wilson away from the big production sound of his last four albums, but the primary one seems to have been the temporary “theft” of the “Good Vibrations” master tape from storage at the Columbia studios, where the vocals had been finished. To resolve such problems, Wilson began to build a studio right inside his Bel Air home in California.
The Beach Boys’ publicist at the time was Derek Taylor, the famed English provocateur who had created “The Beatles’ breakthrough ad campaigns during 1963-64. He described the situation succinctly in a story for World Countdown News, one of the early underground papers that began to show up during 1967:
The Beach Boys were able to restructure the attitude and atmosphere at recording sessions and remove the problem of availability of commercial studios, building their own track studio in the Spanish house. The plan worked. Within days of building the studio and using very few of ‘Heroes And Villains’ and “Smile” tracks already recorded, Wilson and The Beach Boys could see their new single taking shape. The emotional effect of having their own studio at home was startling. By July , the album [re-named “Smiley Smile” had been passed to Capitol Records for pressing, and ‘Heroes and Villains’ was on the air.”
The “effect” Taylor spoke of, was reflected immediately in a Hit Parader review of “Smiley Smile”. “The Beach Boys’ long-long-long-awaited album has at last been released, minus many of the incredible tracks like ‘The Elements’ and ‘Surf’s Up’ that had made it a legend in the music business.” What was left was “a collection of deft, cute vocal exercises with probably more a cappella harmony on any album since the fall of the singing group era in the late 50s”.
The latter comment highlights where Brian Wilson had once again been ahead of the curve. In curtailing the masterwork that was “Smile”, Wilson also preceded The Beatles’ ‘Get Back’ sessions, TheRolling Stones “Beggars Banquet“, Bob Dylan’s ” John Wesley Harding“, The Band “Music From TheBig Pink” and The Mothers Of Invention’s “Crusin’ With Ruben & the Jets”: all back-to-basics efforts which pulled the plug on over-amplified acid rock in 1968. By the end of 1967, The Beach Boys would release another minimalist effort, “Wild Honey” with its unpretentious hit single “Darlin.’
Well over a decade later, Pete Townsend of The Who mentioned “Smiley Smile’s” influence in the notes of his demos album “Scoop”, released in 1983. Lindsey Buckingham of Fleetwood Mac has gone on record many times about the album’s influence on “Tusk”, noting the fade of “Wind Chimes” in particular as unparalleled in rock. Even during its own time, “Vegetables” was immediately covered by Laughing Gravy in 1967 (crediting “Song from the album “Smiley Smile” on their own 45), while alt-rock acts from the 90s onwards have sung the album’s praises, among them Apples In Stereo, Olivia Tremor Control, The High Llamas, Velvet Crush, The Flaming Lips, Mercury Rev, Super Furry Animals, Weezer, and many others. Best of all, “Smiley Smile“set the table for the last of the 60s BrianWilson-era Beach Boy albums, “Friends” and “Sunflower.”
