The second single of 2026 from Josh Tillman is a fuzzed-out, ELO-indebted track co-produced with Drew Erickson, following January’s “The Old Law.”
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The second single of 2026 from Josh Tillman is a fuzzed-out, ELO-indebted track co-produced with Drew Erickson, following January’s “The Old Law.”
On “Punching the Flowers,” Death Cab for Cutie return with a song that feels wiry, compressed, and quietly brutal, turning emotional inertia into a piece of indie rock that moves with real pressure. Released on April 27 as the second single from I Built You A Tower, the track suggests a record more interested in …
A new feature revisits the label’s chaotic founding and spotlights records that never got the attention they deserved.
Rise Up, Sing Out brings Fonda, Patti Smith, and Rufus Wainwright together for a free streaming event on June 14, with watch parties across the country.
The Guatemalan musician returns with a record that deepens his inquiry into Maya identity, threading ancient tradition through the everyday pulse of barrio sound.
The North London songwriter opens her account with a track about leaving things behind, produced by Hugo M. Hardy.
The Texas songwriter shifts to Lost Highway Records for a 13-track record about stillness, geography, and the pull of rural life.
Fifteen years after its official release on XL Recordings, Jai Paul’s “BTSTU” remains a touchstone for texture, restraint and emotional architecture in electronic music. We examine its precise cultural footprint and the lessons it still holds for makers.
The Richmond solo project adds two new fuzz-pop cuts to a growing catalog, marking James Goodson’s first output of 2026 just as he prepares to open for Sleaford Mods.
On their fourteenth album, The Black Keys turn to a set of covers and, in the process, recover something more valuable than novelty: touch, weight, and the friction that once made their music feel alive
Rombo Music Discovery
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