Twenty years is a long time for any band to stay standing, let alone one that built its name on horror imagery, blast beats, and a frontman who has spent two decades refusing to soften his edges for anyone. Motionless in White hit that milestone in 2026, and instead of marking it with a quiet […]
Two albums in and Yard Act from LEEDS (Yorkshire, Yorkshire, Yorkshire) had built a reputation on sharp-tongued character studies and post-punk wit that felt laser-assembled rather than lived-in. The Overload was sketched out before the band had fully formed. Where’s My Utopia? was cobbled together across tour buses and hotel rooms. Good records, both. But
After 10 years away, Sungazer arrives as both a comeback statement and a reset button for The Temper Trap. Rather than trying to recreate the widescreen indie anthem era that made them famous back in the late 2000s, the band leans into expansion—blending their guitar-driven identity with electronic production, breakbeats, and a noticeably more introspective
I personally think that The Rolling Stones have always been at their best when they’re hungry, when there’s something to prove. After six decades of doing this, you’d think that hunger would fade to a comfortable simmer. Nope, with Foreign Tongues out July 10, Mick Jagger, Keith Richards, and Ronnie Wood have delivered something unexpected:
I’ll be honest, when Temples announced they were moving away from their signature neo-psychedelia sound, I raised a brow. The Kettering lads built their whole reputation on dusty, reverb-drenched guitar work and sprawling synth arrangements. But their fifth album BLISS, released June 26th via V2 Records, isn’t a betrayal of what came before. It’s more
I Built You A Tower Review: Ben Gibbard walked into John Congleton’s Los Angeles studio with a specific kind of exhaustion. For two years he’d been playing 40 minute sets of songs from 2003, then walking off stage and playing another 40 minute set under a different band name, all while his marriage was falling
Dirty Blonde review: When Bebe Rexha walked away from Warner Records in January 2026, it felt like the end of something. Instead, it turned out to be the beginning. With Dirty Blonde, released June 12 through Empire Distribution, she’s delivered what might be the most honest project of her career. This is Bebe finally doing
Dinner Party review: You walk into a room and it smells like expensive candles and guitar strings. That’s what listening to Niall Horan’s fourth album feels like. Dinner Party arrives on June 5th as a project that feels deliberately crafted for people who’ve grown tired of pop music feeling like a spreadsheet, all metrics and
Iceman review: It’s been nearly three years since Drake dropped a solo album, which let’s face it, for him is basically a lifetime. That gap which is technically the longest stretch of his career, is doing something weird to the narrative. Iceman is out now and it carries weight that most albums just don’t have
Your Favorite Toy Review: The last time I felt Foo Fighters this wound up was probably somewhere around 2011. There is a feverish energy running through Your Favorite Toy and it is refreshing to hear a proper rock and roll record in 2026. The album clocks in at just over half an hour. Ten tracks.
Florescence Review: Three singles in, and it’s become impossible to ignore: Maisie Peters has crafted something unexpectedly mature here. Florescence, arriving May 15, feels like the work of someone who’s decided to trade in the sharp, protective wit that defined her early career for something far more vulnerable. At 25, she’s embraced an acoustic warmth
Sweat Review: There’s a peculiar thing that happens when you’ve been in the public eye as long as Melanie C has. You start splitting yourself into versions. The pop star version, the introspective songwriter version, the version who got hurt and had to heal in public through a memoir. Then, sometime around 2018, another version
Long Long Road Review: At 85, Ringo Starr has gone country in a way that feels completely natural. His latest album, Long Long Road, out April 24, 2026, picks up right where his previous country venture left off. It’s his second project working with producer T Bone Burnett, and honestly, this one feels like the
Your Favorite Toy Review: The Foo Fighters have never been a band that takes the safe route. After everything they’ve endured in the past few years, that principle has become almost defiant. Your Favorite Toy arrives on April 24th as their twelfth record and possibly their most uncompromising work yet, a lean, loud, deliberately messy
Cruel World review: I’ve been thinking a lot about what happened to Holly Humberstone between her debut and now. Back with Paint My Bedroom Black, she was burning with restless energy, writing in hotel rooms and tour buses, trying to prove something to everyone. You could feel the exhaustion in the grooves. Now, with Cruel
THIS MUSIC MAY CONTAIN HOPE review: RAYE’s “THIS MUSIC MAY CONTAIN HOPE.” lands firmly as a statement. Seventeen tracks. Seventy one minutes. Four seasons mapped out across a double vinyl record. A journey that starts with a woman stumbling home from a bar in the autumn rain and ends somewhere warm and golden and hard
The Way I Am review: Luke Combs’ sixth studio album The Way I Am out March 20, 2026 is his most ambitious release to date: 22 tracks produced by Combs alongside longtime collaborators Chip Matthews and Jonathan Singleton, released via Sony Music Nashville and Seven Ridges Records. With three radio singles already charting, a fan-engagement
Arirang Review: After nearly four years apart for mandatory military service, BTS will release ARIRANG on March 20, 2026, their first new studio album since BE in 2020. Named after Korea’s most sacred folk song, the 14-track record arrives with more pre-orders than almost anything in recent memory, a Netflix live concert at Seoul’s Gwanghwamun
Kiss All the Time. Disco, Occasionally Review: Harry Styles’ fourth studio album Kiss All the Time. Disco, Occasionally. already feels like the most daring creative leap of his career. A synthesizer soaked, house inflected dance record born from a year living in Berlin and a near obsession with LCD Soundsystem, it arrives after almost four
The Mountain review: There is a moment near the end of The Mountain where everything goes quiet. Not silent, exactly, but stripped back to something essential: a flute, a gentle hand on the drum, Damon Albarn singing as though nobody is listening. It is the kind of moment that makes you feel like you have
