Cinema Music Group and Killphonic Records have released the new Neil Young tribute album “Heart of Gold: The Songs of Neil Young, Vol. 1”. Featured on the 14-track compilation is Fiona Apple’s cover of Young’s 1972song “Heart of Gold.” from his album “Harvest“.
Apple co-produced her “Heart of Gold” cover with Dave Palmer. The track features Palmer on piano, Reggie Hamilton on bass, and Joey Waronker on drums.
Proceeds from the compilation featuring many different artists “Heart of Gold: The Songs of Neil Young, Vol. 1” will benefit the Bridge School, the Hillsborough, California, organization that Neil Young’s late ex-wife, Pegi Young co-founded to aid children with physical and speech impairments. A second volume of Heart of Gold: The Songs of Neil Young is also forthcoming.
Performing in front of a crowd is fun, but there’s not much to celebrate about the loneliness that creeps up during the lulls of being on tour. Sunflower Bean debuted their new single “Nothing Romantic,” which captures those feelings of dread after being away from the stage and on your own.
Sunflower Bean have shared their new single ‘Nothing Romantic’, taken from their upcoming fourth album ‘Mortal Primetime’.
“‘Nothing Romantic’ is about rejecting the myth of the tortured artist—realizing that the joys of creativity don’t have to come from the lows of misery,” the band explain. “The video mirrors this journey, capturing our lives as touring musicians in between nightmarish performances. From green rooms to lost highways, we travel from town to town, feeling alive only in the escape of our show. There’s tension between the connection and solitude; on stage, we’re together, sharing our music with others but later isolation and the price of our sacrifices creep in.”
The band — comprising vocalist Julia Cumming, guitarist Nick Kivlen, and drummer Olive Faber — said in a statement. The Sophia Feuer and Tyler Macri-directed video captures the band walking away from some masked villains that haunt and attack the trio during the performances.
The new single is set to be featured on their upcoming album, “Mortal Primetime“, which arrives April 25th. They led the album with the single “Champagne Taste.” The upcoming album follows their EP “Shake”, which dropped in September.
“You get to decide what your prime is, and you fight for it,” Cumming said of the album. “This is ours, and that can’t be taken away by circumstance. We can’t take it away from each other. This moment, where we are now, is what we’ve always fought for.”
“Different Talking”, the sixth and, so far, best album by NYC indie-rock four-piece Frankie Cosmos, seems to exist across time and space, as we all kind of do. It’s a collection of fragments and memories, remembered places, and reinterpreted feelings that adds up to a lucent, humming whole: a sturdy, worldly indie-rock record about aging and the passage of time that nonetheless manages to feel sharply current. Frankie Cosmos’ lead singer, guitarist, and songwriter Greta Kline has long been heralded as one of contemporary indie music’s most deft and most necessary writers, but on “Different Talking“, her lyrics soften out slightly, the wry cynicism that defined recent records now giving way to an acknowledgment of the awesome, and necessary, fallibility of the human brain and heart.
To classify “Different Talking” as a return to form, or at least a return to the lush directness of earlier Frankie Cosmos records, would be rude but also wholly incorrect: as “Different Talking” makes clear, you can never return to the comfort and bravery of your early twenties, but that person always kind of lives inside you, no matter how much you change.
“Different Talking” is about finding that person, honouring them, and learning from them. “A lot of the album is about being grown up and figuring out how to know yourself – like, ‘What is moving on?’” says Kline. “How do we move on when we’re addicted to a cycle of haunting our own past? Writing songs is just the way through that.”
From the upcoming album ‘Different Talking’, out June 27th on Sub Pop Records.
2CD / Blu-Ray video release of this special concert staged at the Roundhouse in London on 21st January 2007 to celebrate the life and music of Traffic co-founder and acclaimed solo artist Jim Capaldi. Aside from his work with Steve Winwood and Chris Wood in Traffic, (a band inducted into the Rock & Roll Hall of Fame in 2004), Jim also worked with many other artists and was a successful solo performer in his own right.
A wonderful house band was joined by a stellar line-up of musicians to perform their favourite Traffic and Jim Capaldi songs including Steve Winwood, Paul Weller, Pete Townshend, Joe Walsh, Yusef / Cat Stevens, Gary Moore, Bill Wyman, Jon Lord, Dennis Locorriere, Simon Kirke and many others who performed to a full house.
Originally issued in 2007, this new Esoteric Recordings edition gathers together the concert recordings on two CDs and a multi-region Blu-ray video of the concert film, issued in this format for the first time, in a clam shell box set.
‘Dear Mr Fantasy – A Celebration for Jim Capaldi’ is the ultimate document of this wonderful night of music.
Pink Floyd have released their performance of “One Of These Days” from their 1972 Pompeii concert film, which arrives in cinemas in a fully restored format on April 24th. Retitled Pink Floyd at Pompeii – MCMLXXII, it’s been digitally remastered in 4K from the original 35mm footage. With enhanced audio by Steven Wilson, it’s described as the definitive version of the production.
“The film documents what Pink Floyd did before they became giants of the album charts on both sides of the Atlantic,” producers say. “Set in the hauntingly beautiful ruins of the ancient Roman Amphitheatre in Pompeii, Italy, this unique and immersive film captures Pink Floyd performing an intimate concert without an audience.
“It features the vital “Echoes”, “A Saucerful of Secrets” and “One Of These Days”. The breathtaking visuals of the amphitheatre, captured both day and night, amplify the magic of the performance. Additionally, the film includes rare behind-the-scenes footage of the band beginning work on “The Dark Side of the Moon” at Abbey Road Studios.”
Wilson comments: “Ever since my dad brainwashed me as a kid by playing “The Dark Side of the Moon” on repeat, Pink Floyd has been my favourite band. I first saw “Pompeii” from a grainy print at a local cinema. It made an incredible impression on me with its untethered and exploratory rock music made by four musicians that seemed to epitomise the notion of intellectual cool.
“It was an honour to remix the soundtrack to accompany Lana Topham’s incredible restoration of the film, which looks like it could have been filmed yesterday.”
The “grungegaze” pioneers entirely meet the moment on their first album in 10 years. The Doylestown Pennsylvania band once known as Daylight officially stepped away in 2016, after touring their album, “Ours is Chrome“, saying they wanted to pursue “things in our own personal lives.” For instance, bassist Joe Kane has been working as a carpenter since the break. But the band still popped up for one-offs here and there, to say nothing of co-guitarist/vocalists Taylor Madison and Jake Clarke starting the still-active offshoot Webbed Wing together. But now, Superheaven are really back, with an eponymousalbum like the rockers are who they’ve always been on their first studio album in a decade.
In the decade since Superheaven last released an album, they’ve become massively influential and bigger than ever. Their mix of post-hardcore, grunge, and shoegaze paved the way for what’s now often called “grungegaze,” and the TikTok-driven success of their especially shoegazy 2013 deep cut “Youngest Daughter” helped bring in a whole new generation of Superheaven fans.
With their self-titled comeback album, they totally meet the moment with an album that picks up where they left off and fits right in with the current scene of punk-informed, guitar-based, underground rock music that Superheaven themselves helped pave the way for.
Sometimes there’s a reverence among musicians that doesn’t always translate to press cycles or playlists. It’s quieter, more instinctive more about a kind of shared fluency. That’s what comes through on Snail Mail’s new cover of “Two Legs,” a song by This Is Lorelei’s Nate Amos. The original version is twitchy, endearing, and faintly self-sabotaging: part electro-folk, part mid-2000s college-radio static, like a folk song filtered through a broken laptop fan. Snail Mail (Lindsey Jordan), leans into the song’s nervous system. She’s always had a gift for sounding slightly inconvenienced by her own emotions, and on “Two Legs” she turns that skill into something closer to alchemy. Her voice—cool, precise, and just a little bruised around the edges—slips into the song like it’s always lived there.
She pulls the melody into focus without sanding down its strangeness, a sort of reverse-remastering that retains the feel of the original while adding Jordan’s own personality to the mix. Amos has said that Jordan was the first person he thought of when the idea of a deluxe edition came up, and you can hear why. They’re operating on similar frequencies: allergic to over-polish, fluent in the performance of awkwardness, and devastating when they decide to commit to a melody—and commit they do
Sunflower Bean is gearing up to release their new album “Primetime” due this Friday, and ahead of it, they’ve put out the best single of this cycle so far: “There’s a Part I Can’t Get Back.” it’s a bright pop song with gut-punching, heart-breaking lyrics. On this track, Julia Cumming opens up about the lingering trauma of being groomed at a young age. Sometimes, the best revenge is making sure those who’ve hurt you can’t escape their actions—in this case, it’s by way of an ultra-catchy chorus: “There’s a part I can’t get back / You stole it from me / There’s a bag I can’t unpack / It’s always with me / If I die before I wake I pray the Lord lets me get even first / I do, I do.”
The band’s move from New York City to Los Angeles seems to have left its mark in the making of this track, too, as Cumming’s vocal delivery and melodic flourishes echo California icon Jenny Lewis.
From a career in advertising to editing fiction for The New Yorker to founding the beloved indie-rock group the National, Matt Berninger has never been rooted in a single notion of identity, something that was surely only exacerbated after being launched into the role of a lifetime: critically acclaimed rock star.
Now, on the second single from his upcoming solo album “Get Sunk”“Breaking Into Acting,” following the phenomenal, more rollicking “Bonnet of Pins”.
A strangely tender, quietly devastating duet about the artifice of feeling. It’s not a dramatic song, but it is full of drama Matt Berninger has teamed up with Meg Duffy, aka Hand Habits, for his new single ‘Breaking Into Acting’.
Lifted from the National frontman’s forthcoming album “Get Sunk”, the acoustic track gently confronts performativity as the pair sing, “Your mouth is always full of blood packets/ You’re breaking into acting/ I completely understand.” Berninger had this to say about it: “Sometimes you have to fake forgiveness before you can actually forgive.”
Check out the song’s Hopper Mills-directed video .
“Get Sunk” is set to arrive on May 30th. It was led by ‘Bonnet of Pins’,
If anyone can find the silver lining in moments of despair through her songwriting, it’s Lana Del Rey. Following last week’s release of “Henry, come on”—the lead single from her forthcoming, still-untitled country album (which has already undergone two title changes “Lasso” and “The Right Person Will Stay” still to be decided ) Lana Del Rey has gifted us another excellent track. While “Henry, come on” leaned into classic Lana territory with a country twist, featuring a confrontation with a former lover, nods to blue jeans, and her trademark wistful coos “Bluebird” allows her voice to take the spotlight. Set against a tender, acoustic guitar-led melody, accented with harmonica, piano, and soaring synths, Del Rey pleads with the titular bird not to share her fate, urging it to “fly away for the both of us.”
Much of Del Rey’s best songwriting is rooted in her real experiences, leaving fans breadcrumbs of her elusive personal life. “Bluebird” is no exception. On the day of the song’s release, she revealed on Instagram that she had written it “a long time ago,” inspired by a fateful moment. She was getting ready to reconnect with an old flame when a bird crashed into her bedroom window. To her, it was a sign—one that urged her to break free from the toxic cycle of that doomed romance.
In May 2025, Lana Del Rey will release her 10th studio album “The Right Person Will Stay”, confirmed back in November alongside the announcement of her UK & Ireland Stadium Tour. Originally called “Lasso” when Del Rey first mentioned the plans for a new album in September 2024, the album will be a country record influenced by her earlier songs “Ride” and “Video Games”, and her covers of “StandBy Your Man” and “Take Me Home, Country Roads”.
This change of genres indicate an entirely new direction for Lana Del Rey, who has previously been labelled an alt-pop artist. However, she hedged that the sound of the album will not be a “heavy departure” from her previous albums, but would be a “classic country, American, or Southern Gothic production”.
Tickets for her stadium tour in 2025 are currently sold out,
The Fat Angel Sings 