Iconic UK indie band Flowered Up, seen as London’s answer to Happy Mondays and The Stone Roses, reissue their debut album ‘A Life With Brian’ (from 1991) via London Records. The reissue follows a BFI documentary on the video of ‘Weekender’ and it’s legendary status in UK club culture of the time. The album remastering was overseen by Flowered Up keyboard player Tim Dorney.

Torchbearers of the Southern California band sound, Local Natives first drew attention in 2009 when their debut album, Gorilla manor, grabbed fans with its vibrant mix of kinetic, complex rhythms and soaring harmonies. The album drew praise for its enthusiastic balance of post-punk urgency and evocative lyricism. In 2013, the group expanded upon that sound, exploring a darker, more introspective aesthetic on their follow-up, Hummingbird (produced by Aaron Dessner of The National). Their third album, Sunlit Youth, arrived in the summer of 2016 via Infectious and Loma Vista Recordings. Its globe trotting writing process found the group experimenting with production techniques and expanding their palette of entrustments. The classic studio setting is juxtaposed on Local Natives’ fourth full-length, Violet Street [Loma Vista Recordings] with modern production and visuals to form a timeless album. The band’s signature soaring 3-part harmonies are augmented by loops of tape, physically spliced and transformed by hand, the result of experimenting in the studio with producer Shawn Everett (Alabama Shakes, Kacey Musgraves, The War On Drugs). The band's fifth project Time Will Wait For No One [Loma Vista Recordings] serves as a harmonious return to their roots. Their sixth album, But I'll Wait For You, is a companion piece to the album prior to it. Local Natives are Kelcey Ayer, Nik Ewing, Matthew Frazier, Ryan Hahn, and Taylor Rice.

Cloud Nothings Announce New Album Final Summer. The Cleveland band’s new album arrives April 19 on Pure Noise.

Pioneering Brit-pop band known both for its stylish sound and vocalist Jarvis Cocker's lyrical obsessions (sexual foibles, working-class misfits). Collection includes: His 'N' Hers (1994); Different Class (1995); This Is Hardcore (1998); We Love Life (2001).

Marking 40 years of The Jesus And Mary Chain, Glasgow Eyes was recorded at Mogwai’s Castle of Doom studio in Glasgow, where Jim and William continued the creative process that resulted in their previous album, 2017’s Damage and Joy, becoming their highest charting album in over twenty years. What emerged is a record that finds one of the UK’s most influential groups embracing a productive second chapter, their maelstrom of melody, feedback and controlled chaos now informed more audibly by their love for Suicide and Kraftwerk and a fresh appreciation of the less disciplined attitudes found in jazz.

“20 Jahre, 100 Lieder - das sind 5 pro Jahr… damit kommt man nicht ins Guinness-Buch, aber irgendwie schon klar”
Was MONTREAL hier auf ihrem neuen Album singen, beschreibt die Band ganz gut:
Bloß die eigene Nase nicht allzu ernst nehmen, Ball lieber mal etwas flacher halten.
Dabei gibt es dafür eigentlich keinen Grund - und das zeigt vor allem ihr neues Studioalbum “Am Achteck nichts Neues” (VÖ 12.04.2024) noch eindrucksvoller als die sieben Vorgänger. MONTREAL gibt es nun schon seit 20 Jahren: Yonas, Hirsch und Max Power sind alte Schulfreunde und haben bereits als Teenager ihre erste Band gegründet - und an dieser Formation hat sich bis heute nichts geändert. Als alles immer ernster wurde und die Aufnahmen zum Debüt-Album anstanden, fehlte eigentlich nur eins: Geld. Um also die Finanzierung des ersten Albums irgendwie zu stemmen, jobbten die drei oft auf jenen Bierwagen, die der lechzende Volksmund liebevoll und geometrisch korrekt “Achteck” nennt.

Two CD set containing BBC Sessions and concert recordings handpicked by the Scottish singer/songwriter himself. Cole and his Commotions' debut album, Rattlesnakes (1984), rightly won the singer/songwriter a coveted place in the NME's Top 100 albums of all time. It established him as one of the most articulate and acute songwriters of the Post-Punk era. The follow up, Easy Pieces spent nine weeks in the UK charts, peaking at #9. In 1990, the Commotions disbanded after their third album and Lloyd relocated to New York to release a series of critically acclaimed solo releases. This 25 track collection features exclusive versions of both his solo and Commotions material with Cole providing sleeve notes of his recollections for the recordings.

Deluxe three CD edition. 20th Anniversary Edition of Manic Street Preachers' seventh studio album 'Lifeblood'. Features many remastered tracks, b-sides, demos and outtakes, new liner notes by John Harris and unseen pictures by Mitch Ikeda. Also included is two brand new remixes of the lead track '1985' by Steven Wilson (Porcupine Tree) and sometime collaborator Welsh artist Gwenno. Described by Nicky Wire as "our most estranged album of all" the record came at a time when the band were reflecting on what they had become and what they could be. The band looked to the music they had liked when they were young for inspiration, New Order circa 'Low Life', Prefab Sprout 'Steve McQueen', Thomas Dolby 'The Flat Earth', early Simple Minds, and the kind of cerebral electronic pop that dominated the early-to-mid 1980s. Wire said at the time "The main lyrical themes are death and solitude and ghosts. Being haunted by history and being haunted by your own past." James Dean Bradfield commented "I loved making Lifeblood, because it was interesting. I loved chasing these other versions of what we were trying to do."

John Mayer found stardom the old-fashioned way. After building a live following in his adopted hometown of Atlanta, he took his solo acoustic act to Austin's annual South by Southwest festival, where he was signed by the Columbia subsidiary Aware, a label responsible for such college festival fare as Hootie & the Blowfish, Train, and Vertical Horizon. His second album, Room for Squares, eventually became a monster hit behind the single "No Such Thing," and Mayer expanded his live following nationwide, scoring especially big numbers with college coeds eager to trade in their Dave Matthews crushes for a younger, more charismatic model.

Ohio Players is the twelfth studio album by American rock duo the Black Keys. It was released on April 5, 2024, by Easy Eye Sound and Nonesuch Records. The album currently has a Metacritic score of 76 indicating "generally favorable" reviews. Rolling Stone stated the presence of guest musicians such as Beck and Noel Gallagher made Ohio Players "one of their best LPs". Several reviews positively noted the Black Keys' ability to reinvent their sound while remaining in touch with their garage rock and blues roots. A positive review from Pitchfork called the album "lively, fresh and colorful." A mixed review from Slant Magazine felt the guest musicians caused The Black Keys to be lost in their own album, and criticized the song "Beautiful People (Stay High)" for sounding as if it was AI generated and trying hard to appeal to "lifestyle brands".

My Morning Jacket A cheval entre indie-rock et country alternative, My Morning Jacket, formation américaine originaire du Kentucky, mêle sonorités rurales americana aux assauts d'une guitare et d'une batterie parfois teintés de textures héritées du mouvement Shoegazing. Avec sa voix plaintive à la Neil Young et armé d'un solide sens poétique, Jim James mène le groupe qui commence à générer un buzz dès son second effort, At Dawn avant de s'imposer à un public plus large avec It Still Moves en 2003 et de livrer l'un des disques les plus remarqués de la décennie avec Z en 2005, et son single "Off the Record".

Mixing well-read indie rock with joyful, Afro-pop-inspired melodies and rhythms, Vampire Weekend grew from one of the first bands to be championed by music bloggers into a chart-topping, Grammy Award-winning act that helped define the sound of indie music in the late 2000s and 2010s. After establishing the foundations of their bright, intricate style with 2008's Vampire Weekend, the band soon became hugely successful; they're the first indie rock act to have two consecutive albums (2010's Contra and 2013's Modern Vampires of the City) enter the Billboard 200 at number one. With each release, Vampire Weekend's music grew more diverse, incorporating ska, hip-hop, and '80s pop influences that nevertheless complemented their signature style. Similarly, the band weathered the loss of founding member Rostam Batmanglij to deliver some of their most polished and ambitious work with 2019's Father of the Bride, their third chart-topper.

THIS MONTH’S COVERMOUNT CD is Jet Powered Pop: 15 tracks of Macca-adjacent powerpop excitement, featuring The dB's, XTC, Brendon Benson, The Lemon Twigs, Teenage Fanclub, Nada Surf and more!

Only God Was Above Us is the upcoming fifth studio album by American indie rock band Vampire Weekend, set for release on April 5, 2024, through Columbia Records. It marks the third collaboration between the band and their longtime producer Ariel Rechtshaid. It is also the first album recorded by the band as a trio of vocalist-guitarist Ezra Koenig, bassist Chris Baio and drummer Chris Tomson after the 2016 departure of keyboardist Rostam Batmanglij; 2019's Father of the Bride, the first post-Batmanglij Vampire Weekend album, was created and promoted by Koenig as a solo project with Baio and Tomson only involved for the album's tours.

Stereolab took an unprecedented two years between 1997's Dots & Loops and 1999's Cobra and Phases Group Play Voltage in the Milky Night, as they tended to personal matters. During those two years, Stereolab's brand of sophisticated, experimental post-rock didn't evolve too much, even as colleagues like Tortoise, Jim O'Rourke, and the High Llamas tried other things. Since each Stereolab album offered a significant progression from the next, it would have been fair to assume that when they returned, it would be with a leap forward, especially since Tortoise's John McEntire and O'Rourke were co-producers. Perhaps that's the reason that the album feels slightly disappointing. The group has absorbed McEntire's jazz-fusion leanings – "Fuses" kicks off the album in compelling, free-jazz style – and the music continually bears O'Rourke's attention to detail, but it winds up sounding like O'Hagan's increasing tendency of making music that's simply sound for sound's sake.