Margaret Glaspy is releasing a new album, I Am Both, on August 7th via ATO. Now she has shared her second single, “That Rose,” as well as a live performance video for the song.
Glaspy had this to say about the song in a press release: “Songwriting feels like running down a mountain for me. There are lots of snap decisions to be made so that you don’t break your legs. This song felt like that to make. Once I started it just kept picking up pace and I had to bob and weave so as not to fuck it up. It had a life and a mind of its own.”
Previously Glaspy had shared “I Am Both’s” first single, “Michigan,” as well as a live performance video for the song. “I Am Both” follows Glaspy’s 2023 album, “Echo the Diamond” as well as her 2024 EP, “The Sun Doesn’t Think“, and her 2025 EP, “The Golden Heart Protector“.
Joe Henry (Aimee Mann, Joan Baez) produced “I Am Both”. Glaspy wrote the album longhand and on a typewriter.
“I wrote the title track a while ago; the story is based on a female character that I look up to deeply—a woman who contains multitudes while seeing reality very clearly,” says Glaspy. “It can feel safer to try to fit myself into a category, but I find that embracing my own complexity is much healthier for me.”
She adds: “When I started writing for this record I had a goal of getting my practice back – to walk the walk in terms of how I envision myself as a songwriter. At first it was really hard to break that addiction to social media, but after a while something shifted. It felt like I’d gotten back to original thought instead of being under the influence of so many outside opinions. It was life-changing.”
In Ensenada, Mexico, where the Pacific horizon cuts a clean, unwavering line, Holy Wave recorded their latest full-length, “i’m DADA“, a record that feels both expansive and newly concentrated for the subterranean pop four-piece. Stepping outside the United States was less a retreat than a shift in perspective, creating distance to recognize a new sound that had been slowly taking shape among them. “i’m DADA” quickly revealed its character: more propulsive, more candid, and their most structurally deliberate work to date.
Working alongside experimental duo Lorelle Meets the Obsolete at their studio El Derrumbe the sessions folded community into the album, though its emotional core had already formed over months of pre-production. Half of Holy Wave is Mexican, with roots in the El Paso border region, so recording in Ensenada felt intuitive and relaxed. Joo Ashworth, mixing engineer and longtime friend, provided a pivotal presence helping crystallize the album’s rhythmic language and subtly expanding the band’s sound. The songs began reflecting conversations about fatherhood and partnership, breakups and estrangement, the queasy acceleration of AI, and what it means to remain present and principled while the world lurches unpredictably forward.
This tension is not announced but absorbed into the music. Holy Wave stretches their familiar sense of woozy atmosphere into something leaner and more direct. There are more loops and samples woven throughout than before, grooves that feel constructed, cyclical, hypnotic. Some tracks drift toward dub’s elastic spaciousness; others pulse with cinematic downtempo gravity. There is a fresh sense of momentum throughout the record, rhythms that pull forward, dream-saturated textures, sheets of fuzz, and softly suspended vocals.
“dewey’s dirge” unfolds patiently: hazy guitars bloom, a softened motorik pulse moving steadily beneath. The vocals remain submerged, widening rather than exploding. It feels expansive and reflective, a comedown hymn that trades drama for immersion. “i’m DADA,” by contrast, locks into a lean, circular groove. A tight drum figure, rubbery bassline, and clipped guitar phrase repeat until they begin to feel animate. Lyrically, the song circles the complicated devotion of fatherhood, written in a brief pocket of rare solitude for a parent: Always loving (Try to do what’s right) / Always learning (There’s never enough time). “s33.u.in/HAL” plays like a transmission caught midair, faintly mechanical, immersive without ever fully resolving, capturing the album’s central sensation: the act of trying to communicate clearly through static.
If earlier Holy Wave records often felt defined by their sense of drift, i’m DADA feels newly grounded. The album doesn’t abandon immersion; it disciplines it. Grooves settle, repetitions accrue weight, and the music is composed and unshaken amongst its heavier themes. What emerges is not reinvention but a sharpening, with Holy Wave sounding less like a band drifting through atmosphere and more like one deliberately shaping it amongst the chaos.
the Austin psych-rockers’ latest album of the same name, out this Friday via Suicide Squeeze.
Gilla Band are happy to share their first new music in nearly four years, the new single “Giraffe” is released by Rough Trade Records. The hugely original and influential Dublin four piece will also be touring the UK / Europe at the start of 2027.
After dropping their first new song in three years in May, Gilla Band have confirmed there’s more where that came from. “Giraffe” is the first new music from Gilla Band in nearly 4 years and to mark this the band are releasing a very limited 7” picture disc.
For over ten years now, the Dublin quartet — vocalist Dara Kiely, guitarist Alan Duggan Borges, bassist Daniel Fox, and drummer Adam Faulkner — have been redefining what you could loosely call “rock music” in the 21st century, influencing a wide swath of similarly forward-thinking guitar acts along the way.
The band perfected a vision that wasn’t quite post-punk, wasn’t quite noise-rock, wasn’t quite anything besides an idiosyncratic, ground-breaking hybrid that could only come from the four of them – “Giraffe” is their bold new offering.
They also shared a new track, “Placeholder,” alongside a dreamlike, colour-saturated music video directed by Cuan Roche.
“Pugnello” is entirely produced by the quartet, and mixed by Fox. In a press statement, Kiely noted that “Placeholder” is a reflection on his childhood creature comforts, from Big Brother to the Power Rangers. (“I remember I was at some sort of Christian summer camp when I was about six and was asked what I want to be when I grow up. I said ‘a Power Ranger,’” Kiely says. “I was laughed at and was told the shocking truth that they didn’t exist and it is not a profession worth pursuing. I’ve never forgiven them for that.”)
Gilla Band released their last album, “Most Normal”, in 2022. They’ve stayed relatively under the radar since then, save for the 2023 loosie “Sports Day.” The group will support “Pugnello” starting this fall and all the way through 2027 on a North American and European tour.
Alabama Shakes have announced details of their first album in more than a decade – “I Must Be Dreaming“, which is released on August 28th via Island Records.
“I Must Be Dreaming” was written by Brittany Howard, Heath Fogg, and Zac Cockrell after the band reunited in late 2024 and recorded in Nashville at Sound Emporium Studios and Blackbird Studio.
Speaking about the album title, Howard says, “There’s a double meaning to it. It could be saying, ‘I must be dreaming, because the world is so fucking crazy right now.’ But it could also mean, ‘I must be dreaming, because the world is so incredibly beautiful.’ Both those things can be true at once.”
The album announcement arrives alongside the announcement of the new single “I Feel Hope Coming”, which is released on Friday, July 10th. The track follows the acclaimed singles “Another Life” and “American Dream“. Recorded in Nashville at Sound Emporium Studios and Blackbird Studios, “I Must Be Dreaming” was produced by Alabama Shakes alongside Shawn Everett. The six-time Grammy winner engineered and mixed “Sound & Color”. Sonicly and thematically, the Brittany Howard-fronted group are said in press materials to “lean into a richly textured, psychedelic soul sound while exploring love, mortality, human connection, and the increasingly surreal contradictions of modern life.”
Howard and bandmates bassist Zac Cockrell and guitarist Heath Fogg reunited in December 2024 after a six-year hiatus. Alabama Shakes toured in 2025 and released the single “Another Life,” their first new original music in 10 years. .
Alabama Shakes detailed “I Must Be Dreaming”, their third studio album and first in over a decade. The long-awaited follow-up to 2015’s “Sound & Color” is due out on August 28
Sharp Pins is the lo-fi noise pop project of Chicago musician Kai Slater, also of post-punk band Lifeguard. Drawing on touchstones from the Beatles to Guided by Voices, Slater’s songwriting most recently took shape on 2025 album Balloon Balloon Balloon.
“The soundtrack to my 18th summer riding a Chinese Taotao 50cc scooter around Taqueria Moran and four tracking my Sta-Prest-Dreams. I thought it would be cool to record a bunch of songs that never really got recorded in a semi-more-thought-out-way. Recorded on a Tascam Porta One in the old concrete Stulogulo with an imaginary band of Men in Green Striped Trousers. The original Sharp Pins garagepopspew sound in all of its crustiness and yelping…I think I dubbed like 50 of these. Now my teenage dream is yours.”..
Sharp Pins is the super solid lo-fi pop project of talented Chicago musician Kai Slater of Lifeguard and Dwaal Troupe. This was a covers album, but man this is still great. The original Mod Mayday ’79 is great, and I’m so glad I found out about it through this, and Kai’s renditions complete the Mod revival aesthetic by making them sound like they actually came straight out of the 60s.
This album is amazing from beginning to end. RIYL: Kinks, early Who, The Wave Pictures, Guided by Voices
Indie-folk songstress, Isabel Rumble, crafts intimate, earth-rooted songs that speak directly to the heart. Hailing from a walnut farm in the southern valleys of NSW, Australia, her music draws on the folk-music-rich community that nurtured her childhood. She weaves warm acoustic textures, poetic storytelling, and a “voice like honey” (ABC Country) to create listening spaces that captivate and heal.
October 2025 saw the release of Isabel’s second full-length album, “Hold Everything Lightly“, followed by a nationwide Australian tour. The album has had extensive national and international radio play, online features, and been warmly received across the country in intimate candlelit listening rooms and iconic full-band venues alike.
Her Folk Alliance Australia–nominated debut album “Bird Be Brave” (2023) and 2024 EP “Water Wings” led to tours across Australia, Europe, and the UK, and major festivals including Port Fairy Folk Festival. The music has taken her to unique spaces from house concerts in India to mountaintop venues in the Austrian Alps.
In 2026 Isabel is touring “Hold Everything Lightly” to the UK, Ireland and Europe alongside Australian dates and festival appearances.
U2 have a new song “Street of Dreams” produced by Jacknife Lee and previews U2’s next as-yet-untitled album.
Lee boasts co-producing credits on 2004’s “How to Dismantle an Atomic Bomb”, U2’s stand-alone 2007 song “The Saints Are Coming” with Green Day and 2017’s “Songs of Experience”. He later served as musical director on frontman Bono’s “Stories of Surrender” theater tour in 2022-23.
The two EPs arrived around religious holidays, first on Ash Wednesday with February’s Days of Ash and then on Easter with April’s Easter Lily. U2’s last recent all-new album was “Songs of Experience“, followed by 2023’s “Songs of Surrender”, which reimagined older material.
The video shoot, atop a school bus with graffiti by Mexican artist Chavis Mármol, was only drummer Larry Mullen’s second major appearance since neck surgery forced him to miss their 2023-2024 Las Vegas residency, U2:UV Achtung Baby Live at Sphere. “I ignored my symptoms over a few years and just pushed through,” Mullen said. “Turns out, I’m not invincible – and when you don’t listen to your body, the consequences are inevitable.”
Mullen was also on stage in May 2025 when U2 was honored at the Ivor Novello Awards in London. He’d been temporarily replaced by Bram van den Berg in Las Vegas.
“Street of Dreams” is U2’s first new single since 2023’s non-album “Atomic City,” although they’ve issued a pair of EPs in the meantime. U2 have also released a short clip from the video back in May after shooting wrapped in Mexico City, along with a sample lyric.
Nation of Language is sharing a striking new cover of Bruce Springsteen’s Tunnel of Love album track “Tougher Than the Rest.” The song will also be available on a limited-edition 7” single (of 1000 copies). Nation of Language’s Ian Richard Devaney offers this on the track: “Like any good New Jersey resident I grew up listening to Springsteen, but this song somehow slipped by me during that formative era. I was really only exposed to it within the last few years, and it’s followed me around since then.
I can remember finishing a particularly emotional show somewhere deep in last year’s tour, and our sound engineer Skinny started playing it as our exit music. It caught me so hard that I stayed there, just offstage, and listened to the rest of the song blasting, mixed with the sounds of all of the people milling about the venue.
When we ultimately endeavored that we might try doing our own version of the song we luckily had a Yamaha CS-80 at our disposal, the same synth model which featured pretty heavily across the Tunnel of Love sessions back in ’87. Knowing we were working with some of the same textures as the original made it a little less daunting to cover Bruce.”
Gurriers (@gurriersband) have shared their explosive new dance-punk single “Party Lines,” the second track from their sophomore album “Nobody’s Coming To Save You“, releasing September 25th via Play It Again Sam.
Produced by Mark Bowen (IDLES) and Loren Humphrey, the track uses high-energy guitar arrangements to critique political hypocrisy regarding global conflict. Coming off a massive support show with Kneecap, the band is set for a busy summer of festivals before hitting the road for an extensive UK and European headline tour this autumn, with stops at London’s Electric Brixton and Dublin’s Vicar Street.
When Dublin’s Gurriers 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 LP2 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.
From the rattling tension of the title track’s opening moments that then give way to a cacophonous, cathartic climax, “Nobody’s Coming To Save You” takes this spirit of the sweaty basement venue and turns it stadium-sized. It’s not just loud, but dynamic. ‘Shades’ takes shards of industrial, angular guitar and sends them into a gnarly hardcore chorus, while ‘Drones’ is a true pressure-cranking slow build with a drop destined to decimate every mosh pit they travel through. On ‘Pins’, they explore a looser, more melodic swagger that comes on like a grunge/ trip-hop hybrid, whereas ‘Party Lines’ is pure insatiable dance-punk hedonism. If the band’s MO was to find a way to make the record “slap you in the face”, then consider yourself smacked.
With “Nobody’s Coming To Save You”, Gurriers have sent their ambitions sky-high and come out swinging.
Jagger recently launched the Rolling Stones’s 25th album declaring, “The thing about this record is, the Stones are a rock band that also has the capacity to do ballads, country music or dance music. So we don’t get stuck in one kind of style.” The same could be said of numerous bands, but what the singer was probably driving at was that the Stones have always been able to do all this while sounding utterly like themselves. Nobody else has been able to assemble their quintessentially just-shaky Jenga tower of sound, which often sounds like it could fall to pieces at any moment but somehow never does.
They have certainly also made their share of albums that sounded like they’d been phoned in from the cricket, but “Foreign Tongues” continues the creative renaissance that began with 2023’s “Hackney Diamonds“, which at the time was their first album of original songs in 18 years. Once again, producer and occasional musician Andrew Watt captures the rejuvenated band’s joy of playing in a room together – and, as guitarist Keith Richards put it recently, kicks their asses when needed. Perhaps drummer Charlie Watts’ death five years ago has sharpened the founding pair’s awareness that their band may not last much longer, so they may as well go down blazing and have fun while they do so.
“Rough and Twisted” is certainly a mightily raucous opening stomp, which references their early love of Chicago blues (“All I drank was Muddy Waters”). Similarly, almost 60 years after Jagger claimed to have been “baaawwnn in a crossfire hurricane” in “Jumping Jack Flash“, the singer leans into blues mythology again (“I was standing there when the lightning struck”) for “In the Stars”, a song which both acknowledges his good fortune and yells against the dying of the light: “Do you wanna dance until the roof caves in? / Yeah, and the guitars scream and the choir still sings.”
“Jealous Lover” shifts the mood for a slinky disco number in the mould of “Miss You” or “EmotionalRescue”, but “Foreign Tongues” isn’t nostalgic or a retread. It’s a thoroughly modern-sounding, occasionally political record that has the band confronting the world around them and their remaining time within it. Decades after “Street Fighting Man” and “Gimme Shelter” captured turmoil in the late 1960s, several songs speak truth to power, especially in the US.
‘Jealous Lover’. It’s the latest fantastic example of the Stones’ effortless ability to switch between styles, as they glide from the pop-rock dynamism of ‘In The Stars’ to this soulful groove featuring a captivating falsetto lead vocal by Mick Jagger.
Eloquent guitar detail by Keith Richards and Ronnie Wood is further enhanced by the redoubtable rhythm section of Darryl Jones on bass and Steve Jordan on drums and percussion, as well as the Stones’ longtime friend Steve Winwood on Rhodes and organ. ‘Jealous Lover’ continues the band’s lifelong love affair with R&B, as Mick delivers a “hands off” message to an over-inquisitive partner with such whip-smart lyrics as “You pray like a mantis, you’re emerald green”
“Lady Liberty don’t look so good when there’s a tear in her gown,” Jagger sings in “Ringing Hollow“, a sublime honky tonk ballad. In “Covered in You”, he wakes up “sick and tired of all these autocrats / You know, they seem to be breeding like a swarm of dirty rats with their missiles on parade”, while the punkier “Mr Charm” rails against “mad mogul Mr Musk” and those whose sole goal is making money.
Not that the notoriously financially savvy Mr Jagger is short of a few pennies to rub together himself, obviously, but in fairness, at (gulp) 82, the man sounds more energised and enthused than he has in years. He relishes lines such as the terrific “Divine Intervention’s” “dystopian values are too hot to handle” and “when they try to arrest you, I’ll come to your rescue”, then dusts off his harmonica skills for a sprightly romp through Amy Winehouse’s “You Know I’m No Good“.
The band’s 1960s contemporary Steve Winwood is an inspired choice on organ and there are star-studded cameo appearances from Paul McCartney, the Cure’s Robert Smith, Red Hot Chili Peppers drummer Chad Smith and, bizarrely, Bruno Mars on cowbell. As per “Hackney Diamonds”, Watts drums from beyond the grave, this time on the fatalistic driving rocker “Hit Me in the Head”, recorded in 2021, and accordingly another song about going out with a bang.
The playful racket is offset by beautifully tender moments. Jagger cues up Ronnie Wood for a gut-wrenching guitar solo in “Back in Your Life” “and “human riff” Richards allows a glimpse behind his wildman image with a truly touching, vulnerable vocal in “Some of Us (“are on our knees”)“.
“Foreign Tongues” doesn’t match the holy run of albums that began with 1968’s “Beggars Banquet“, or later triumph “Some Girls“, but at their ages it’s remarkable – and paired with “Hackney Diamonds”, this is comfortably their best material in decades.
