The Detroit band’s seventh album arrives September 25 via Domino, produced by Dave Fridmann and introduced with an endorsement from Iggy Pop.
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The Detroit band’s seventh album arrives September 25 via Domino, produced by Dave Fridmann and introduced with an endorsement from Iggy Pop.
Written after anti-EDL protests in Newcastle, the track pairs Cooper Robson’s spoken word with Stan Woodward’s bass line, aiming for unity in a fractured moment.
The Durham band’s fifth album, recorded fully analog by Matt Talbott, sinks into a world of Flannery O’Connor grotesquerie and Cormac McCarthy fatalism without offering easy escape.
The third single from *This Mirror Weighs a Ton* adds strings and woodwinds to the band’s familiar brooding post-punk, marking a deliberate expansion of their sound.
Stranded and out of favor, John Lydon found a route back through a hip-hop lifeline and a producer willing to rebuild his sound. The resulting single, rooted in apartheid and interrogation manuals, reset his trajectory.
Culled from 16 performances and mastered at Abbey Road, the set includes two previously unreleased shows and the only known recording of “Ceremony.”
The Vancouver band’s debut album, co-written by bassist Gabe Jacob Ferman before his death in January, stands as a stark, unaltered tribute to a late member’s artistry.
The London band’s first single since 2022 combines drum and bass textures with post-punk force, digging into cycles of personal and political error.
The 1990s band’s catalog receives a careful archival treatment, surfacing material that has remained largely outside digital circulation.
The Hull band trade frantic post-punk for slide guitars, disco beats, and jangle pop—leaving listeners to piece together a record shaped by a coast-to-coast journey.
