The Atlanta-rooted trio keep an electric tenor ukulele at the centre and let the wear of connection show without losing the signal.
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The Atlanta-rooted trio keep an electric tenor ukulele at the centre and let the wear of connection show without losing the signal.
Lizzie Killian’s Raleigh project returns with a one-off single recorded alongside PUP collaborator Dave Schiffman and co-written with Bat Boy’s Hannah Eagle.
The Connecticut trio’s new album for Ernest Jenning works within a deliberately compressed frame — ten tracks, twenty minutes, steeped in ’60s pop-art and proto-punk información.
A 1992 show in Canada left the Dwarves frontman bleeding onstage, inches from his jugular. He finished the set anyway. Blag Dahlia recalls the incident and the band’s path to Sub Pop.
The Karlsruhe band keep their raw alternative edge while letting unexpected brass and unsparing lyrics carry both personal fracture and political analysis. We talk about idols, visibility, and the choice to keep the hooks sharp.
The eighth solo album from the former White Stripes frontman arrives as a dense, relentless 13-track barrage, channeling disorder through cannonade blues and coiled wordplay.
The newest preview from Segall’s forthcoming Drag City double-drop swaps classic-rock harmonies for a darker, riff-driven charge.
The Patti Smith Group guitarist and *Nuggets* curator steps out with a record that folds country, garage rock, and psychedelic energy into a single, personal statement.
The Danish band trades complex arrangements for garage rock immediacy on For Love of Grace & the Hereafter, a record that sounds like the work of people who finally stopped trying so hard.
The Melbourne band ended a six-year silence with a self-released album that sharpens their oblique brand of rock ‘n’ roll.
