Rock 'n' Roll Times
lunes, enero 19, 2026
New Music: Where's My Phone
domingo, enero 18, 2026
New Music: 2005
viernes, enero 16, 2026
New Music: Not Today
jueves, enero 15, 2026
News: Kim Gordon Announces New Album
About the album, Kim explained: "We wanted the songs to be short. We wanted to do it really fast. It's more focused, and maybe more confident. I always kind of work off of rhythms, and I knew I wanted it to be even more beat-oriented than the last one. Justin really gets my voice and my lyrics and he understands how I work – that came forth even more on this record."
Kim is also releasing a new single "Not Today" and said about: I started singing in a way I hadn't sung in a long time. This other voice came out." Below tracklisting.
Play Me Tracklist:
miércoles, enero 14, 2026
New Music: Slumber Party
martes, enero 13, 2026
Rocktrospectiva: The Slicker And Succesful "Different Light" Turns 40
The Bangles transformed from a critically acclaimed but little-known group to one of the biggest bands on the planet. It took place on the album Different Light, which took the quartet to the stratospherehe of pop music, but before that, at least originally, the band featured more of a raw, rocking sound. Their 1984 debut album All Over The Place contained nine originals out of 11 songs on the record, including five songs that were written solely by bassist Vicki Peterson. Peterson shared vocals pretty evenly with Susannah Hoffs. Sound-wise, they hearkened back to 60s garage rock and power pop on the album.
A confluence of events helped change their sound and commercial prospects. First, Prince took a shine to them, and he offered them a song called "Manic Monday" that was pretty much ready to heat and serve. That song featured a softer, more pop-friendly tone than the first record. In addition to that, the band's writers just didn't have as many original songs in the hopper that seemed single-worthy. Producer David Kahne saw the opportunity to take advantage of the anticipated burst of popularity. He commissioned some other songs that seemed perfect for mid-80s pop radio. Kahne also took the playing out of the band's hands on these tracks, heavily relying on session instrumentalists to fill out the sound
The Bangles also struck gold on MTV with a series of increasingly popular videos. It's understandable that The Bangles might not have loved the cover songs being chosen as the key singles. But they deserve credit for putting their stamp on them in undeniable fashion. Susannah Hoffs, who became the unofficial voice of the group because of her prominence on the big hits, deserved a lot of credit for that. Indeed this was the beginning of the end for the band, cause the media's focus on her would cause problems for the band down the line.
Hoffs injected sultriness into the narrator's harried tale in "Manic Monday". She captures the pathos in Jules Shear's lovely character sketch "If She Knew What She Wants". And she runs wild with the final verse of the novelty "Walk Like An Egyptian". But Hoffs' leads wouldn't have proven quite so effective without the gorgeous harmony vocals provided by the other members of the band Vicki Peterson, her drummer sister Debbi Peterson, and bassist Michael Steele. The album tracks might not pop like the singles, but they’ve got heart and style. Steele's solo lead on the downcast "Following" stands out from that pack. Their hearts might have belonged to a different musical era. But Different Light proved that The Bangles were right on time.
domingo, enero 11, 2026
New Music: Blue Monday
Matt Berninger releases his cover of New Order's 1983 classic "Blue Monday" to all streaming platforms after an exclusive Amazon Music run last September. The National frontman has been including the song in his live sets during his 2025 tour supporting his second solo album, "Get Sunk", and New Order has long been one of his favourite bands. Berninger's version strips away the driving electronic beats of the original, replacing them with live instrumentation that centres his distinctive baritone voice. Recorded at Knobworld in Los Angeles with the same musicians from "Get Sunk": Sean O'Brien on electric guitar and production, Garret Lang on bass, Julia Laws on synthesizers and backing vocals, and Sterling Laws on drums and percussion. Jannick Frampton assisted with recording.
Rocktrospectiva: The Satisfying "Valhalla Dancehall" Turns 15
Possible the greatest achievement of Brighton's British Sea Power is to have something approximating a stable, modest, and a normal career. Viewed fondly by the music press but never hyped to the heavens, making accessible music but clearly unburdened by the desire to write a hit, eccentric but never preposterous, their three previous albums proper have each scored strong reviews and incrementally higher chart positions and fourth set Valhalla Dancehall seemed profoundly unlikely to buck that trend.
Mixing the sort of luminescently sinister ballads that have stood the band in good stead throughout their career with chaotic, colourful smears of guitar rock, this was an album that neither treaded water nor reinvented the wheel. Instead, it saw the band continued their stately, unruffled progress. On tracks like "Who's in Control?", "Georgie Ray" and "Living is So Easy" the band warped the music to match the words; stormy, elastic squalls of incandescent sound that lack the hooky polish of the band's early material, yet seethe and churn with greater force.
Valhalla Dancehall’s opening track, "Who's in Control," retained most of the previous record’s intensity and landed somewhere between the Clash and Arcade Fire. But the song, as it turns out, was something of a red herring: it’s not so much that this record was a radical change in sound from the last one, more that it's kind of stylistically all over the place. There were some tracks that wouldn't have sounded at all out of place on Rock Music, but there were also nods to the revved-up punk of their 2003 debut and more hushed balladeering than any of their previous work.
Even when British Sea Power blowed their sound up to stadium proportions, this album did not feel forced. The way the hazy production blends softens the overdriven guitars on some of the louder tracks on Valhalla can make a lot of these songs run together, but there’s no denying that "Georgie Bay" and "Observe the Skies" there were fine pieces of songwriting. It was the ballads, however, that truly shone here. The gorgeous "Luna" showcases Yan's airy, breathy voice, which, as it turns out, is more well-suited to the ballads than the rockers. The standout track is "Living is So Easy," a likeable pastiche of mid-'80s Cure and mid-'90s U2.
The early part of the record succeeded largely because it doesn't stick with one sound for too long, but too many mid-tempo tracks towards the end—including the unnecessarily 11-minutes-long "Once More Now"—made the record feel longer than it is, which was a shame, because an album with this many winners shouldn't feel like a chore to listen to.
For many, the diversity in sound worked to British Sea Power's advantage, but it also left the album feeling weirdly unsatisfying. It’s not that any of this is bad—quite the opposite, actually—but this record doesn't feel as complete as their others.
viernes, enero 09, 2026
New Music: Always The Same
New Music: Designed To Lose


