Pye Corner Audio, aka UK synth stylist Martin Jenkins, has announced “More Songs About The Sun” which will be out June 19th via Sonic Cathedral. The album features four songs co-written by Andy Bell of Ride and Oasis, including this first single.
“‘Cycle’ is probably the most direct ‘pop’ song that I’ve written,” says Jenkins. “I wanted the whole record to be awash with distortion and saturation, but not in a blown-out guitar amp kind of way. Almost every element has been subject to some form of saturation. The musical influences are all the usual suspects – Stereolab, Spacemen 3, Harmonia, Cluster, Suicide,” reveals Martin. “But I think that this album wears them in a much more direct way. For some reason I was a little more wary of that on Let’s Emerge!.”
The first single from the new Pye Corner Audio album ‘More Songs About The Sun’, which is released on June 19th, 2026.
Andy Bell – additional guitars on ‘Euphoria’, ‘Analogue Dreams’, ‘Cycle’ and ‘As We Begin’ Hannah R – vocal on ‘My Shimmer’ Ian Rankin – spoken word and lyrics on ‘The Breath Of Now’
Thrum announce ‘Rifferama’ reissued & reimagined along with new UK tour dates
The long-awaited reissue and remaster of “Rifferama” by the acclaimed debut album by Glasgow indie trailblazers Thrum, is set for release this June 26th on Fire Records, celebrating one of the most revered cult records of the 1990s UK guitar scene
Originally released to critical acclaim, “Rifferama” captured a moment when melody, distortion and emotional urgency collided to create something timeless. Now newly remastered from the original recordings, the album returns with enhanced depth and clarity, reaffirming its reputation as a lost classic of the era.
Fronted by the unmistakable voice of Monica Queen (also known for her work with Belle and Sebastian and Snow Patrol), Thrum’s sound blended shimmering pop hooks with driving, fuzz-laden riffs. Alongside Johnny Smillie’s distinctive guitar work, the band forged a sonic identity that stood proudly alongside the era’s most influential alternative acts.
The reissue follows renewed interest in the album, including a recent feature in the Glasgow Herald newspaper, where journalist Russell Blackstock hailed “Rifferama” as a “classic album” and revisited its enduring impact on Scotland’s musical landscape.
Speaking about the reissue, the band said: “Rifferama” was made in a blur of noise, instinct and belief. Hearing it remastered has been emotional — it sounds like we always hoped it would. We can’t wait to play these songs again and celebrate them properly.”
The long-awaited reissue and remaster of “Rifferama” by the acclaimed debut album by Glasgow indie trailblazers Thrum, is set for release this June 26th
Kristin Hersh has shared a new song ahead of the first stop on a US tour with her trio Throwing Muses, which kicks off at NYC’s Cabinet of Wonders this weekend. Shadowy and atmospheric, “Sundial” is the first taste of a new Hersh solo record – her 12th overall – to be announced later this year on Fire Records.
The cello from last year’s Throwing Muses album “Moonlight Concessions” is back in a big way on “Sundial”, which Hersh describes as a song about the physical and emotional alignments that can form, and remain, between musicians when they play.
Writing in a press release she says: “Musicians’ heartbeats align right before they start a song together. Real musicians, anyway… This is a measurable phenomenon, but no one has measured how long our hearts keep beating together. A long time, I think.”
“Sometimes I’ll miss someone so suddenly, like a lightning strike. If they’re a fellow musician, this is usually triggered by musical moments; certain tempos and keys. A person’s sound story… is an intense, rainstorm-dark and sunshine-bright orientation, like telling time with a sundial. It doesn’t leave you.”
“Sundial” · Kristin Hersh released through Fire Records
Meg Remy has covered a remarkable amount of ground with her U.S. Girls project over the past 20 years, from droning lo-fi to high-concept disco and smooth soul—yet it wasn’t until last year’s festival debut of Grace Glowicki’s sci-fi sex comedy Dead Lover that she’d dipped her toes into the realm of film scores. Rather than approaching the gig conventionally, Remy explained that the score came together from various “scraps” of sound pulled from the public domain and even U.S. Girls’ scrappy early discography, which she then “collaged” with the assistance of Glowicki and Remy’s recent songwriting partner Jack Lawrence (of The Raconteurs fame).
Among these scraps, though, the soundtrack centerpiece “You’ve Got Everything – But a Smile” is a fully intact original U.S. Girls single gliding on warm synths and Remy’s soothing vocals. As Remy shares with us, the backbone of the track came from one of Lawrence’s recordings that she happened to be tinkering with when she was brought onboard to soundtrack Dead Lovers.
“One day, I was listening to the lyrics for the song and realized that they fit well with the subject matter of Dead Lover,” she says. “My instinct told me to send it to Grace. So I did, and she loved it. The song and its heartbreaking synth melody ended up becoming the glue of the score. This outcome never could have been engineered or achieved by other means; it was pure synergy.”
Los Angeles six-piece The Sophs just released their phenomenal debut full-length, “Goldstar“, a thrilling, anachronistic piece of art that defies both time and genre. Its unhinged, folk-tinged rock ’n’ roll hedonism exists in both the past and the present, and is both self-aware and sincere. A wide-ranging existential crisis put to tape, it sees the band—frontman Ethan Ramon, keyboard player Sam Yuh, electric guitarist Austin Parker Jones, acoustic guitarist Seth Smades, drummer Devin Russ, and bassist Cole Bobbitt—immerse themselves wholeheartedly in the world their music creates in a way that’s very rare.
Incredibly, the band got signed to the prestigious and trailblazing record label Rough Trade after Ramon emailed the band’s demos to label head Geoff Travis. They’re surely not the first band to do so, but they may well be one of the first to do so successfully. But then, Travis surely heard the ineffably special quality that weaves its way through the bones of the record’s 10 songs.
Each one sounds like something you already recognize, yet which also feels completely new. The result is a cohesive album that sounds like a favorite record of your youth that you never listened to until now.
The Los Angeles six-piece The Sophs have ridden a wave of notoriety ever since signing to Rough Trade Records on the strength of their demos – which they cold-emailed to lableheads Geoff Travis and Jeannette Lee before they ever even played a show. Following last year’s releases of stand-alone singles ‘I’m Your Fiend’, ‘Sweat’, and ‘Death in the Family’ and worldwide touring, the band are ready to unleash their debut album “Goldstar”.
Rough Trade heard the sort of creativity and variety — and “don’t expect me to act pretty” sentiment — that could get The Sophs a slot on nearly any stage. At any moment, The Sophs are entering pop-punk; blazing through funk; talk-singing to the audience. Their enthusiasm for every iteration is evident, and Ramon’s rich, full voice deftly nestles into endless categories, utterly chameleonic.
“We never try to be as versatile as we end up being,” Ramon said. “Goldstar” has a Delta Blues-style song; it has a ZZ Top-inspired tune. To some degree, The Sophs see song creation like pop art: they’re focused on the idea of reproducing something over and over again until it’s meaningless. “I want to steal and plagiarize and borrow,” Ramon explains.
Most of The Sophs’ songs don’t let the listener relax — mostly because you never know what’s coming next. The band has a passion for sudden and complete destruction, for playing with the tension between pulled-back silence and total explosion. That’s where you hear The Sophs members’ as they really are: explosively positive, happy, collaborative. Think of the “degenerative posturing” instead as a “jester’s privilege.” When they’re playing together in a room, you see nothing like the character they’re putting forward. Instead, you feel a bombastic, thrilling energy that underlies the sextet’s creative power.
There’s a time and a place for subtlety, and mclusky have never felt the need to go there. The improbably enduring Welsh noise-rock band has always staked their lyricism on the kind of brash, sardonic bite that got them minimized as “clever” or “irreverent” in early-2000s music press. But it was never just for show: You can’t go a few tracks on the group’s breakout 2002 LP mclusky “Do Dallas” without them applying that brazen song writing to critiques of corporate rock sponsorships or hypercompetitive scene posturing.
Mclusky are a band who were a band, weren’t a band, then are a band again. they formed in the late nineties and unformed, for the first time, in 2005, after three albums, opinions of which can be found on the internet.
So what is a band to do with their long-awaited comeback when they’ve always been saying the quiet part loud? mclusky’s answer: say it even louder. Inevitably armed with more than a mere return LP (2025’s “The World Is Still Here and So Are We)” could say, the three-piece are back once more with a six-song postscript. Lest you mistake “I Sure Am Getting Sick of This Bowling Alley” as pithy sass factory—its title not the band’s first invocation of this setting—guitarist/vocalist Andy “Falco” Falkous dispels that notion less than two minutes in with an uneasy couplet: “No one gets me like you do / Not even kids in body bags.”
As an EP, “Bowling Alley” is an exercise in miniature in how far mclusky can render wry humour into startling clarity. The banal evil of cushy computer jobs, depletion of natural resources, and nostalgia as toxic stagnation are all very real targets at which the band takes aim, but they attack them as if chucking tomatoes that hide pipe bombs. Of course, this being a mclusky record, the distortion-heavy riffs are too big and rousing to take too seriously, with tracks such as “As a Dad” and “Spock Culture” staying bouncy enough to keep the listener in on the joke. Even when the group takes on a relative whisper on closer “That Was My Brain on Elves,” they keep it lined with dry punchlines: “I understood, finally, that animals have feelings / But not in a way they can monetize.”
Most exhilarating of all, though, is “Fan Learning Difficulties.” Initially lumbering, the track truly comes to life when it suddenly lurches at its midpoint, sprinting headfirst into harried freefall. What sears deepest is the line Falkous sneers at the start of the simmer: “Americans think that they live in America.” Whether about fan entitlement or Americentricism on a larger scale (or both), there’s no question about it being a condemnatory sentiment as loud as any of mclusky’s compositions. Subtlety was never their strong suit, anyhow.
their mini-album, “i sure am getting sick of this bowling alley,” out march 20th (digital) / may 1 (vinyl).
The release all hardcore Devo fans have been waiting for, “Art Devo” is a vital collection housing unheard and obscure mind blowers sourced directly from the vaults of The De-Evolution Band
Futurismo proudly present the release all hardcore Devo fans have been waiting for: “Art Devo 1973-1977”, a lovingly packaged box set housing rare, unheard and obscure mind blowers sourced directly from the vaults of The De-Evolution Band. This anthology takes you from the bands initial conception in Akron, Ohio to the moment before the world woke up, in a collection of sonic and visual art that captures Devo at the dawn of industrial death.
Art Devo showcases the mesmerizing evolution of a band on the brink of discovery, mining irony, wit and dark humour from the madness of a distorted modern world still coming to terms with aftermath of a collapsed economy and the Vietnam war. From 1973-1977 Devo would transform from an art project, pop art in the literal sense, into the group David Bowie would declare “the band of the future”. Here you will find the audio mutations of a band at the edge of greatness, initial concepts that gave birth to a new aesthetic that continually challenged preconceptions about music, art, performance, culture, composition and consumption…it was also the birth of Booji Boy. While the songs here may not be fully grown, raw even, these are the seeds of subversion that kickstarted Devo’s fifty year legacy.
3LP – Spanning 3 LP’s and a 7”, this collection draws purely from that integral early history, garnered from unearthed basement recordings, original demo tapes, unfinished montages and rare live audio, all taken from the bands personal archive. The music is set against rare imagery, photos and personal artwork, with liners penned directly from the hands of founding members Jerry Casale and Mark Mothersbaugh and packaged in a gold foiled archive box containing separate art cards, to evoke a pseudo auction house art catalogue. Did we mention one of the images is also Scratch ‘N’ Sniff!
This is a one-time only, strictly limited edition box set, never to be remade, showcasing why Devo was, and is still is, one of the most important bands in American history. De-evolution is real. The art of Devo is real. Here is the evidence.
The set has a tracklist that has been curated by the band, housed in a gold foiled archive box, and contain a set of double sided art cards – including a Scratch ‘N’ Sniff image. Plus liner notes by Mark Mothersbaugh and Gerald V Casale.
Judas Priest has announced a 50th Anniversary reissue of their second album, “Sad Wings of Destiny”.
The British heavy metal legends shared the news to celebrate and commemorate the record, which was originally released (Mar. 23rd) in 1976, “Sad Wings of Destiny” was a defining moment for us as a band. It’s where we really began to shape the sound and identity that would carry through everything we’ve done since,” the group said in a press release. “To see it recognized 50 years on—and to have it presented in new editions—is incredibly meaningful.”
The upcoming “Sad Wings of Destiny” reissue is currently in production and will come out on Exciter Records. A specific release date hasn’t been announced yet, but it’s being overseen by the band’s longtime producer, Tom Allom, who also helmed a similar revamp of 1974’s “Rocka Rolla” that was released in 2024 by the same label.
As they did for “Rocka Rolla“, the “Sad Wings” project will include newly remixed and remastered editions of the record, alongside audiophile-quality pressings of the original album.
“The special editions focus on creating truly definitive versions of “Sad Wings of Destiny“, returning to the original multitrack and master tapes,” the press release details. “Developed in collaboration with Judas Priest, these editions deliver a new level of sonic depth, clarity, and fidelity.”
You might be forgiven, on first listen, for believing this is an early Black Sabbath song, with Halford sounding a little too much like Ozzy Osbourne in places. But Priest are definitely on their way with their second album, and “Victim of Changes,” clocking in at a less than eight minutes, demonstrates their early taste for ponderous but powerful rock epics. Also worth mentioning is “Dreamer Deceiver” from the same album, which is almost equal in stature. The riffs had arrived!
Both Allom and his engineer, Luie Stylianou, expressed excitement about the work that was already in progress to clean up “Sad Wings” for a future reissue.
“I think that one’s going to be a real step forward in terms of the band’s development. Obviously, we know the transition they made moving to “Sad Wings of Destiny,” Stylianou said. “We were a little bit unsure as to whether there would be as significant a change [going back to the master tapes].”
“But having kind of gone through the same process, mixing it on the board, and now to have it in Pro Tools and to be digging in, it’s quite significant,” he added. “It’s taken us by surprise what was lurking on those multitracks.”
As vocalist Rob Halford outlined during a separate conversation in 2024, both Rocka Rolla and Sad Wings of Destiny are important mile markers in the Judas Priest story.
“They’re the starting point. I tell you what is amazing, is the vastness between the two records. “Rocka Rolla” and then “Sad Wings of Destiny,” he marvelled. “[That second album] seems like it’s coming 20 years later, the way that the band suddenly [evolved], after that first experience in a professional studio with a producer and all of the components that you need to make a great record. That’s the first time we’d made an album.”
“It’s the same with any band. I’m not sure if the feelings are still the same, but we were banging into things, going, ‘What is that and how does that work?’ ‘What happens if you press this button?’ All of that curiosity that I think is important for bands to have in the recording sense,” he explained. “It was profound for us with “Rocka Rolla“. We learned very, very quickly, what to do in the studio. The difference between “Rocka Rolla” — and the writing, from [that album] to “Sad Wings“, is absolutely vast. They are important albums. This is the birth of heavy metal more than anything else.”
“Rocka Rolla” and “Sad Wings of Destiny” were isolated and somewhat lost pieces of Judas Priest history for decades leading up to 2022. That year, it was revealed that Gull Records, the label that had originally released both albums, had made a deal to sell the masters and publishing rights to ReachMusic and Exciter Records in partnership with Judas Priest.
Understandably, Halford and the members of the group were elated, as they shared plans to remix and reissue both albums, with Allom supervising the process. “I’m just thrilled … because it just goes to show you when you get an expert involved in a project, it’s likely that you have a second chance,” Halford said in 2024. “And I think that Tom Allom is giving us a second chance here.”
Released in 1976, “Sad Wings of Destiny” marked a defining moment for Judas Priest — where power, melody, and precision came together to help shape the future of heavy metal.
Featuring timeless tracks like “Victim of Changes,” “The Ripper,” and “Tyrant,” the album showed the world what Priest was truly capable of.
Paul McCartney has confirmed his 27th studio album, and the title recalls days of old. “The Boys of Dungeon Lane” references a winding road several miles from his childhood home that delivered the young bird-watching McCartney to the banks of the Mersey River.
The new Andrew Watt-produced LP is due on May 29; preordering is already underway. McCartney’s resonant advance single “Days We Left Behind” a website was already up and running at theboysofdungeonlane.com. Teaser posters with “The Boys of Dungeon Lane” and “L24” had also popped up. (L24 is the postcode for Speke, the London suburb where McCartney lived as a youngster that’s also home to the title roadway.)
“This is very much a memory song for me,” he said in an official statement. “The album title, “The Boys of Dungeon Lane”, comes from a lyric in this track. I was thinking just that, about the days I left behind and I do often wonder if I’m just writing about the past but then I think how can you write about anything else?”
The “Boys of Dungeon Lane” were first mentioned during a verse from “In Liverpool,” one of some 25 demos under consideration for 1993’s Off the Ground. Producer Julian Mendelsohn passed on “In Liverpool,” which included the line: “Walking with the boys of Dungeon Lane, aimlessly towards a muddy shore.”
McCartney returned to the song – and Dungeon Lane – during 2008’s Liverpool Sound concert at Anfield Stadium. “This is where my love of the country came from,” he said in Barry Miles’ biography Many Years From Now. “I was always able to take my bike and in five minutes I’d be in quite deep countryside.”
The Dandy Warhols return with “Pin Ups”, a sprawling, shape-shifting collection of covers that pays homage to the songs and artists that helped define their sound – and their story. The album (out March 20, 2026 via Beat The World Records / Little Cloud Records) stitches together rare cuts, tribute contributions, B-sides, and long-shelved recordings into a cohesive, freewheeling journey – one that feels as much like a mixtape of obsessions as it does a proper studio album.
Inspired by David Bowie’s 1973 album of the same name, “Pin Ups” reimagines songs by The Cure, Gang of Four, The Clash, Bob Dylan, The Beatles, The Runaways, The Byrds, The Damned, and more. It’s both a tribute and a transformation: a lovingly assembled set of reinterpretations spanning decades, genres, and influences, filtered through the band’s unmistakable psychedelic cool.
Alongside the album release, the band unveils one of the album’s most electrifying moments: “Goo Goo Muck.” Originally made infamous by The Cramps, The Dandy Warhols’ version leans all the way into its shadowy energy – surf guitar dripping in reverb, equal parts camp and hypnotic groove. “When we started recording this, it must’ve been in the mid-teens,” recalls Courtney Taylor-Taylor. “We thought we were going to cover the original version by The Gaylads but when Pete [Holmström] started playing the spooky Duane Eddy guitar, we realized that, nope, we’re covering The Cramps.” The result is a track that feels unearthed from some dimly lit, smoke-filled corner of rock history – familiar, but warped just enough to feel newly-dangerous. It’s a perfect encapsulation of “Pin Ups” as a whole: reverent without being precious, playful without losing bite.
“Pin Ups” arrives on the heels of a prolific and creatively charged period for the band. Following the release of their critically acclaimed album “Rockmaker” (2024) – featuring collabs with Slash, Frank Black, and Debbie Harry – and its companion remix project “Rock ReMaker” (2025), The Dandy Warhols have continued to push their sonic boundaries, including a powerful return to the stage alongside The Oregon Symphony.
With “Pin Ups”, the band turns their attention backward – not to dwell, but to celebrate, reinterpret, and reframe the songs that shaped them. The result is a record that feels both deeply personal and wildly expansive: a love letter to influence itself.
The Dandy Warhols are Courtney Taylor-Taylor (vocals, guitar), Peter G. Holmström (guitar, keyboards), Zia McCabe (keyboard, bass, percussion), and Brent DeBoer (drums, backing vocals). “Pin Ups” is available on vinyl, CD, and digital formats now via Beat The World Records / Little Cloud Records.
The Fat Angel Sings 