{"title":"Forthcoming Releases","description":"","products":[{"product_id":"sunn-o-sunn-o","title":"SUNN O))) - SUNN O)))","description":"\u003cp\u003eExpected Release\u003c\/p\u003e\n\u003cp\u003eFor nearly 30 years, SUNN O))) – Stephen O’Malley and Greg Anderson – have pushed the boundaries of heavy music, straddling the worlds of the avant-garde and rock to forge a style instantly recognisable as their own. Now, SUNN O))) return with their first album of new material since 2019’s acclaimed Pyroclasts. Their tenth album – their debut for Sub Pop – demonstrates the duo’s mastery of time and space, light and dark, and their willingness to evolve their unmistakable sound into bold new forms.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe eponymously titled SUNN O))) was tracked at Bear Creek Studios, Woodinville, Washington with Brad Wood (HuM, Tar, Sunny Day Real Estate, Liz Phair). 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But on this album O’Malley and Anderson found fresh possibilities in the primal territory of the duo format, performing all the instrumentation themselves. “What’s been happening with our performances over the last couple years with the two of us and no other collaborators has been really fresh and exciting,” says Anderson.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe compositions on SUNN O))) are expansive and panoramic yet finely detailed, reflecting the arboreal setting in which they were recorded. Amidst howling feedback and glacial crunch, one finds surprisingly delicate moments: a field recording of water trickles beneath, piano interludes lend a hushed, solemn feel. All while the duo attains fresh heights of telepathic intensity as they shape music that breathes the bracing, earthy air of the Pacific Northwest.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eFraming the album visually are two paintings by the late American artist Mark Rothko. Liner notes are by award-winning British writer Robert Macfarlane, famed for his works concerning landscape and the relationship between humanity and nature. 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If you'd like to attend, just pop a note in with your pre-order.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eDespite a whirlwind 2025, which included supports with \u003c\/span\u003e\u003cstrong\u003eThe Sex Pistols\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cstrong\u003eThe Undertones\u003c\/strong\u003e\u003cspan\u003e, selling out headline shows across the UK and Europe, \u003c\/span\u003e\u003cstrong\u003eGlastonbury\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cstrong\u003e2000trees\u003c\/strong\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cstrong\u003eDownload Festival\u003c\/strong\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cstrong\u003eLily\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e(guitar and vocals) and \u003c\/span\u003e\u003cstrong\u003eLewis\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003e(drums) somehow managed to find the time to write and record 11 tracks of their most politically charged, hard-hitting music to date.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWith producer \u003c\/span\u003e\u003cstrong\u003eDan Weller\u003c\/strong\u003e\u003cspan\u003e at the helm, \u003c\/span\u003e\u003cem\u003eBusiness\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003cspan\u003eis a modern punk classic. Fan favourites like 'So Modern' (Keep Up)' are captured with all the energy and scuzziness from the band's live show, and title track 'Business' goes hard, taking taking aim at the challenges found within today's music industry.\u003c\/span\u003e\u003c\/p\u003e","brand":"The Meffs","offers":[{"title":"CD","offer_id":45737768124602,"sku":"FRCD1579","price":11.99,"currency_code":"GBP","in_stock":true},{"title":"LP","offer_id":45737768157370,"sku":"FRLP1579","price":24.0,"currency_code":"GBP","in_stock":true},{"title":"Indies instores exclusive CD","offer_id":45737768190138,"sku":"FRCD1579Y","price":11.99,"currency_code":"GBP","in_stock":true},{"title":"Indies instores exclusive yellow\/black splatter LP","offer_id":45737768222906,"sku":"FRLP1549YKS","price":29.99,"currency_code":"GBP","in_stock":true},{"title":"KiTalbum","offer_id":45737768255674,"sku":"FRKIT1579","price":21.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0535\/1453\/5098\/files\/Meffs_SK_Asset.png?v=1775038166"},{"product_id":"the-strokes-reality-awaits","title":"The Strokes - Reality Awaits","description":"\u003cp\u003eExpected Release \u003cstrong\u003e24th July\u003c\/strong\u003e 2026\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eNew music from The Strokes arrives now, beginning with a new song,  “Going Shopping” released today. 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Her latest record, Picking Petals, is the culmination of that hard graft and bold vision — an album rooted in her Scottish upbringing and shaped by the creative community she has built around her in Glasgow and beyond, featuring collaborations with Lauren Mayberry of CHVRCHES and Abigail Morris of The Last Dinner Party.\u003c\/p\u003e\n\u003cp\u003eLucia’s debut, Burning Castles, was streamlined and statuesque, built on metronomic beats and synth-led pop. The intention behind Picking Petals sharpened into focus in the face of this. This time, it was crucial to capture the essence of Lucia \u0026amp; The Best Boys’ live shows— loud and electric. In recent years, Fairfull has shared bills with a new wave of women in alternative music: joining Wolf Alice on their Blue Weekend tour in 2022 and, more recently, opening for the aforementioned The Last Dinner Party. 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Since 2020’s Fall to Pieces, Tricky has released music under several different guises, including the collaborative project Lonely Guest, the Fifteen Days project with producer Mike Theis under the name Theis Thaws, and last year’s joint record Out The Way with Marta, al via his own label, False Idols. Yet returning to an album under his own name took on a different shape. \u003c\/p\u003e\n\u003cp\u003e“In my mind it was another side project” he explains. But after hearing the material, his manager Alan McGee felt the songs clearly belonged to a Tricky record.\u003c\/p\u003e\n\u003cp\u003eRecorded between Tricky’s home in France and sessions in Bristol, the album draws strongly on the musical community that shaped him. Central to its sound is the voice of Bristol singer Mitch Sanders, whose soulful falsetto runs through much of the record. 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With its Top Five-placing 2024 follow-up Where’s My Utopia?, the band - vocalist James Smith, bassist Ryan Needham, guitarist Sam Shipstone and drummer Jay Russell - blasted both of those conceits apart, creating a musically-exploratory and diverse record that worked to unpick and examine the very notion of ambition and fulfilment; of 'what happens next’.\u003c\/p\u003e\n\u003cp\u003eThe journey of Smith’s lyrics across each of their albums, Shipstone muses, has always been quite Faustian: “It’s someone who’s seeking a goal, and then makes a pact with the devil to get the goods they want, but when they get them they’re corrupted so they get the rewards but also this bitterness too.” “And how does Faust end?” questions Needham. “Oh, not well…” If this sounds like a macabre place to root the objectively excellent third album from one of the country’s most celebrated bands of the last decade, then it’s also crucial to understanding Yard Act’s newest - and best - record yet, You’re Gonna Need A Little Music. 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Led (as always) by songwriter and natural historian Jonathan Meiburg, The New World’s nine immersive songs find the group farther afield than ever, and in \u003c\/span\u003e\u003cspan\u003erare company: along with Meiburg’s fellow Shearwaters Emily Lee and Dan Duszynski, the album’s supporting cast includes instrumental wizard Shahzad Ismaily, saxophonist and clarinetist Doug Wieselman, qanunist Farouz Zriek, guitarist Leo Abrahams, ngonist Mamadou Kouyate, percussionists Mahamadou Tounkara and Moctar Kouyate (of Ngoni Ba), and unclassifiable drummer Thor Harris. (There’s even a surprise visit from a certain L. Anderson.) That might sound like a lot of passengers, but they’re all ideal company for a headlong journey through joy, confusion, reverence and defiance, with Meiburg’s voice as a graceful yet elusive guide. Both spare and ornate, The New World is absorbing in a way few albums are; it’s hard not to listen to the end once you drop in.\u003c\/span\u003e\u003c\/p\u003e","brand":"Shearwater","offers":[{"title":"CD","offer_id":45845492334778,"sku":"PLBR003CD","price":11.99,"currency_code":"GBP","in_stock":true},{"title":"LP","offer_id":45845492367546,"sku":"PLBR003LP","price":28.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0535\/1453\/5098\/files\/Shearwater-TheNewWorld.jpg?v=1778690168"},{"product_id":"mystery-jets-a-hole-to-see-the-sky-through","title":"Mystery Jets - A Hole To See The Sky Through","description":"\u003cp\u003eExpected Release 21st August 2026\u003c\/p\u003e\n\u003cp\u003eMystery Jets return with ‘A Hole To See The Sky Through’, a conceptually rich new album that acts as the inward-facing counterpart to ‘Curve of the Earth’, shifting focus from vast external landscapes to the intimate ways we perceive and process the world. 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We shoot for homogeneity - if it sounds good and its component parts can't be pulled out, we’ve matched the job description,” they say of finding balance in their desire to ‘pull the rug’ musically whenever listeners least expect it.\u003c\/p\u003e\n\u003cp\u003eMuch like the typo in their name, now proudly worn by the band as a badge of honour, the result is an album of happy accidents that truly embody their audiences’ visceral knee-jerk reactions. The cut-out windows of an eighties protocomputer punch card that line the sleeve offer a portal into Formal Sppeedwear’s universe.\u003c\/p\u003e\n\u003cp\u003eAfter signing with melodic in 2023, the trio’s now sold out 2024 debut EP - a self-titled, self-produced 12” sample of elastic bass arrangements, leaping guitar motifs and sparse, un-assuming percussive work - picked up notable fans at BBC 6 Music and helped to secure shows around the country with the likes of Fat Dog, Preoccupations, Warmduscher and Divorce. A legion of listeners grew, barraging Instagram DMs curious to unearth the mystery behind their idiosyncratic, off-kilter lyrics – usually a product of Beck’s phonetically-associated wordplay.\u003c\/p\u003e\n\u003cp\u003eProlific in their output, the band diligently produced Punch Card themselves with mastering from Paul D. Millar (Slug Bug). Led by a preference for sonic variety, they even discarded three tracks not belonging on the record; not because they didn’t fit - but because they did. Through their boomerang voice notes and a sense of telepathy that only college friends bonded by Neu! and Yellow Magic Orchestra could possess, they explain; “There’s definitely a subconscious level to what we do but it’s always driven by what works sonically. 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Linking up across the record’s twelve tracks with producer Ali Chant (PJ Harvey, Perfume Genius, Yard Act), Baby You’re A Winner showcases a real levelling up for Grandmas House: more layered and involved than their trio of previous EPs - Grandmas House (2021), Who Am I (2023), Anything For You (2025) - with a greater focus on the use of vocals and harmonies to embolden the meticulously crafted arrangements.\u003c\/p\u003e\n\u003cp\u003eIt’s the sound of the quartet - Yasmin Berndt (guitar, vocals), Poppy Dodgson (vocal, drums), Zoë Zinsmeister (bass, vocals) and Polly Jessett (guitar) - bringing a greater sense of nuance and space to their music, while deploying myriad genres to maximum effect. From the righteous, elasticated rock of recent single ‘DOG’ to the syncopated post-punk and brass blasts of ‘Dance’ and on to the chamber folk ambiance of closer ‘Spring’, Baby You’re A Winner is the most authentic, realised portrait of Grandmas House to date.\u003c\/p\u003e\n\u003cp\u003eThe songs here navigate a precarious balancing act between sadness and catharsis, ultimately landing in a place of salvation - the product of the band’s tight-knit friendship, this album is their gift to the world, born from a period of grief and hardship but emerging from the other side with profound love and strength. It’s a testament that even when the odds are against you, anyone can be a winner.\u003c\/p\u003e\n\u003cp\u003e“We wrote this album about the existential crisis of going through life,” explain the band. “It’s about love and infatuation but also about grief and loneliness. 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Stories of family and friends, tales from past and present. All drawn from Kevin Rowland’s life, each an individual jewel, threaded together with love. Songs begun three decades ago sit alongside those written in the last year. A vivid depiction of Rowland's Irish immigrant childhood [‘My Life in England Pt 1’]; a moving letter to his grandchildren [‘You’re Alright’]; a wistful moment at the start of a love affair [‘I Want To Be Holding You Next Christmas’]; a pin-perfect portrait of time spent with a dying parent [‘Once A Man, Twice A Child’]; the difficulties of relationships when you're older [‘Old Love’]. All deeply personal, all true, all here; the full human span of relationships, family and intimate emotion.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eThe theme of this album - Kevin's ninth, Dexys' seventh - gradually emerged as the songs progressed. \"I don’t remember when it happened, but I just thought, 'Hang on, these are all love songs, of different kinds',” he says. \"I knew then: Call it LOVE.\" These are love songs, but not of the usual pop style. Not will-she-won't-she romance, but something more emotional and all-encompassing. Those small moments that illustrate a rollercoaster sweep. \"Everyone came at this project with love,\" he says. To tell a lifetime of different loves. 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But this is a Dexys Midnight Runners album, the group of players where Kevin began his music career, and where he works best. So his lyrics are explored and highlighted, lifted to greater heights by the songwriting and creativity of long-time collaborators Sean Read, Mike Timothy and Jim Paterson. There are strings, too, arranged by Brian Irving, originally from Belfast.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan\u003eFellow Belfast man, DJ and musician David Holmes, is the album's producer. Holmes had long wanted to work with Kevin and Dexys: “They were the first act I was ever truly obsessed with, the first I saw live”. David's older sister bought him a Walkman when he was 11, and his first cassette was Searching For the Young Soul Rebels. 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Formed in the youth clubs of London, Mercury Prize and BRIT Award-winners Femi Koleoso, TJ Koleoso, Joe Armon-Jones, James Mollison and Ife Ogunjobi have now spent over a decade making jazz joyful, urgent and undeniable. On Here Because Of Hope, they push that vision further than ever, asking a simple but profound question: why does so much Black music born out of pain sound so joyful? Their answer is hope: the belief, carried across generations and oceans, that something better is possible. 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Over six albums, May has built a wildly diverse discography spanning 17 years. He has typically worked alone, assembling perfect pop gems on his laptop, playing nearly every instrument himself. But when he began preparations for his new album, May’s tried and true process suddenly felt stale.\u003c\/p\u003e\n\u003cp\u003eThe Big One brings together both the scrappy DIY ethos of Elephant 6 Collective and early The Magnetic Fields with May’s lifelong affinity for the great ’70s singer-songwriters like Harry Nilsson and Ram-era Paul McCartney. The songs balance a clear-eyed view of the world with a cautious optimism, looking at the everyday experiences of disappointment and heartbreak with a sense of possibility for the good that may still come. Things might seem bleak, May tells us, but that doesn’t mean we can’t be thankful for our brief time here on Planet Earth.\u003c\/p\u003e\n\u003cp\u003eThe title track is the beating heart of the record. Over a steady drumbeat, piano, and accordion, a melancholy May sings, “The big one’s coming, the big one’s on its way,” promising disaster. But May won’t wallow in the misery: “Thank the Lord for all my friends\/We can make it ’til the end\/No we can’t stop now\/Who knows? Tomorrow it \u003cbr\u003eall could turn around.” For May, hope comes in the form of others. It’s with this joyful melancholy Dent May draws in the world. Everything might be ending, the planet could be careening off into chaos, but tonight there’s a party down the block and you’re invited. 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Raw, bruised, and unflinchingly self-aware, their first full-length release captures the emotional fallout of love, guilt, shame, and self-destruction with a clarity that feels almost confrontational. The record captures a band documenting themselves in real time, preserving every fracture, ugly thought and moment of collapse without compromise.\u003c\/p\u003e\n\u003cp\u003eBlending grunge intensity, shoegaze textures and confessional songwriting, the record draws on the charged candour of artists including Led Zeppelin, Sun Kil Moon and Smashing Pumpkins, while carrying the lyrical directness and storytelling instinct of artists like Radiohead. 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Now signed to Ninja Tune, the multi-instrumentalist producer, composer and performer announces “SOME SMALL FORTUNE”, which finds Shortall at his most expansive and unpredictably exciting, working with his widest range of features to date, collaborating with the likes of Mick Jenkins, Vector, anaiis, Oscar Jerome, Jacob Alon (Brit Award winner), BINA., Terra Kin and Eriff alongside his longtime Glaswegian band, drummer Graham Costello, Mercury Prize nominated Fergus McCreadie and saxophonist Mateusz Sobieski to produce an electronic, classical, pop and indie-influenced record that extends far beyond the confines of its meticulous making.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eIt’s been an intense but rewarding few years for Shortall and his corto.alto project (the stage name a nod to his Irish-Spanish heritage, translating as “short.tall” in Spanish). The release of his debut album ‘Bad With Names’ saw him nominated for the 2024 Mercury Music Prize – alongside fellow Scot and now label-mate Barry Can’t Swim and the likes of Charli xcx, Ghetts, Beth Gibbons (Portishead), Nia Archives, CMAT and more – and saw him booked to play hundreds of shows across the world, including high-profile festival performances and a sold-out UK tour that featured his own personally curated 2000-capacity “Made In Glasgow” mini-festival at the city’s legendary Barrowlands Ballroom venue.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe music he makes as corto.alto \u003c\/span\u003e\u003cspan\u003eis\u003c\/span\u003e\u003cspan\u003e never easily categorised. It leans as much on his formal studies at the prestigious Royal Conservatoire of Scotland, as on his time spent as part of the burgeoning and fertile music scene in Glasgow; incorporating an eclectic mix of influences that draw as much on his affinity with club-culture and all its forms of Electronic Music, or to his love of classic Hip-Hop, Soul and Funk. His 2024 album ‘30\/108’ saw him freely blend genre, tempo and instrumentation across 30 tracks – one released each day of the month, drawn from a pool of 108 demos and accompanied by live performance videos – showcasing his flair for fast-thinking creativity, innovation and improvisation over a more rigid studio approach. Exploring the fertile ground between live instrumentation and electronic productions and sound design is also a cornerstone of corto.alto’s blistering live shows that – along with handling bass, synth, trombone and effects – sees him turn band-leader, amongst his crew of hyper-talented musicians; all close friends and frequent collaborators.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIt’s this fresh outlook and a hunger to subvert expectations that sets Shortall apart, winning him a new generation of music fans unbeholden to any one scene, alongside champions across radio and media like Gilles Peterson, Sian Eleri, Jamz Supernova, Deb Grant, KCRW and many more\u003c\/span\u003e\u003cspan\u003e.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e“If Hiatus Kaiyote and Masters At Work had a child, corto.alto would be it - the future is now!” GILLES PETERSON\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eDinked Edition 423\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli dir=\"ltr\"\u003e\n\u003cp dir=\"ltr\" role=\"presentation\"\u003e\u003cstrong\u003eYellow Pearl vinyl\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli dir=\"ltr\" style=\"font-weight: bold;\"\u003e\n\u003cp dir=\"ltr\" role=\"presentation\"\u003e\u003cstrong\u003ecorto.alto hand designed slipmat\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli dir=\"ltr\" style=\"font-weight: bold;\"\u003e\n\u003cp dir=\"ltr\" role=\"presentation\"\u003e\u003cstrong\u003e60 x 60cm foldout poster \/ lyric insert\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli dir=\"ltr\" style=\"font-weight: bold;\"\u003e\n\u003cp dir=\"ltr\" role=\"presentation\"\u003e\u003cstrong\u003eScreen printed PVC outer sleeve\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli dir=\"ltr\" style=\"font-weight: bold;\"\u003e\n\u003cp dir=\"ltr\" role=\"presentation\"\u003e\u003cstrong\u003eLimited pressing of 400\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e","brand":"corto.alto","offers":[{"title":"CD","offer_id":46043996324026,"sku":"ZENCD325","price":10.99,"currency_code":"GBP","in_stock":true},{"title":"LP","offer_id":46043996356794,"sku":"ZEN325","price":25.0,"currency_code":"GBP","in_stock":true},{"title":"Dinked Edition LP","offer_id":46043996389562,"sku":"ZEN325D","price":27.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0535\/1453\/5098\/files\/ZENDNL325_PACKSHOT.png?v=1782209354"},{"product_id":"this-is-lorelei-the-singer-in-my-band","title":"This Is Lorelei - The Singer In My Band","description":"\u003cp\u003eExpected Release 11th September 2026\u003c\/p\u003e\n\u003cp\u003eThe last few years have been transformative for Nate Amos. Between delivering breakout records both as a solo artist — under his This Is Lorelei moniker — and with his band Water From Your Eyes, sold out shows across multiple continents, to seeing some of today’s most influential artists cover his songs, the ascending songwriter has found his stride. As the first This Is Lorelei album for Matador Records, The Singer in My Band takes the building blocks of the Great American Songbook and twists those elemental pieces into new shapes, at once both strangely familiar and endearingly offbeat in Amos’ signature style.\u003c\/p\u003e\n\u003cp\u003eWritten while touring the globe in support of releases from both his bands, The Singer in My Band arrives as the first true “road record” in Amos’ discography. “The ideas incubated while daydreaming in the car without access to any instruments,” he recalls, “so instead of being home and writing on the guitar or a computer, they developed slowly and subconsciously, existing as a sort of intangible thing while looking out the van window.”\u003c\/p\u003e\n\u003cp\u003e2024’s Box for Buddy, Box for Star was Amos’ first attempt at an intentionally written full-length solo album, tackling newfound sobriety through a roving tongue-in-cheek take on musical personas, all strained through Amos’ genre-agnostic lens. 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And how do you make forever count? These are the preoccupations at the heart of The Big Moon’s buoyant yet beautifully bittersweet fourth album, Forever.\u003cbr\u003e \u003cbr\u003eFour years on from last LP Here Is Everything – and a further eight since frontwoman Juliette Jackson first laid the foundations for the band – the London-formed four-piece find themselves in a very different, if similarly challenging, headspace. Where that record was conceived in the context of COVID and found Jackson processing the life-altering experience of new motherhood, Forever examines what’s left when you’ve already checked off many of the major milestones, and is tempered by a first-hand understanding of life’s fragility.\u003cbr\u003e \u003cbr\u003eThe truth is, the past couple of years have been a big readjustment for Jackson. In 2024, she was diagnosed with a cholesteatoma – a benign but destructive cyst inside the eardrum which has to be removed with surgery. 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Having perfected their chemistry across two prior albums, hundreds of shows, and an ever-expanding universe of bands affiliated with London’s Gob Nation Collective (The TSG, Sniffany \u0026amp; The Nits, Spike, and Garden Centre), the London-based Celtic jangle boyband — Williams (vocals, guitar, keyboards, bass), Dan Lucas (guitar), Taylor Stewart (drums), and Max Warren (bass) — push themselves further into the shimmering heart of virtuosic indie rock. They’re joined by frequent collaborators Lan McArdle (vocals), George Nicholls (guitar), and Rachel Kenedy (keyboards), all of whom have orbited various Tubs-adjacent efforts dating back to Joanna Gruesome, but the secret to Hard Life’s lushness is the addition of fiddle player Chris Haigh, an instructor and session musician who left an indelible mark on British pop on Steps’ “5, 6, 7, 8.”\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eMirroring Williams’ use of trilling on vocal melodies, Haigh’s fiddle shades the vocalist’s rueful croon like a bruise. On “Stoop to Me,” the folkiest, jangliest pop song on the album, Haigh’s licks complement Williams at his most self-deprecating, the lopsided smile of a guy trying not to let on how wounded he is in unrequited love. On album opener and title track “Hard Life,” it’s the sweetness of the ascending fiddle lines in the mix that weds the harshness of Williams’ lyrics to The Tubs’ fist-pumping anthemics.\u003cbr\u003eThe hard line Williams takes here and elsewhere on Hard Life further troubles one’s idea of a Tubs song. The persona familiar to listeners of Cotton Crown and Dead Meat — to quote Williams, “navel gazing about romantic abjection, London squalor, and the indignities of grief and OCD” — is still present, but so too is a second voice, steelier and more experienced. “The second persona doesn’t have much time for the first,” Williams explains, “often haranguing him for his self-indulgence and immaturity; sometimes fairly, sometimes unfairly.”\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eOn Hard Life, these voices argue, pester one another, merge into each other, and break apart, sometimes over the course of a single song. 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It is the band’s sixth full-length record, and the first to feature the band’s Max Grunhard as producer since 2019’s Doko Mien. Following their Hot Chip-produced breakthrough Electricity (2022) and the darker, clubbier inflection of the Ross Orton-produced Pull the Rope (2024),\u003cbr\u003eChopping Mountain feels like it was pulled directly from the hearts and experiences of the Eno Williams and Grunhard-led band.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWilliams, as always, is a siren — a once-in-a-generation frontwoman whose call, both to the dancefloor and for a better tomorrow, is impossible to resist. How she does it is a mystery. Take a song like “Return to Sender,” for instance. 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The dub-inflected, breakbeat heavy soul that stirs to life beneath them — an entirely new sound for a band that has mastered blending a seemingly endless array of sounds — came naturally. “It’s about finding calm in a world that is trying to tear us down,” Williams and Grunhard explain. “Once we established that direction, the song seemed to write itself.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThis is, at its core, the spirit of Chopping Mountain. Against the backdrop of a dispiriting world, Ibibio Sound Machine remain hopeful, seekers of consciousness and connection. 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