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.
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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.
The Monmouthshire duo return with a sharper, stranger set of garage rock that balances deadpan humor against an expanding musical reach and a newfound interest in body horror.
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
The Patti Smith Group guitarist and ‘Nuggets’ compiler prepares his debut solo record for July release on Yep Roc.
