New Music: Tongue

           

Fontaines D.C. debuted their new single "Tongue." from their new album "Dopamine Chamber. The tune  it's a slow-rolling churn with deep head-nod trip-hop drums. Bassist Conor Deegan used tape manipulation to slow down and distort his heavy bassline, while guitarist Carlos O’Connell sampled Grian Chatten's vocals and pitched them up, turning it into a duet between Chatten and his own squeaky-voiced self, a trick that people like Prince and the Smiths have employed in the past. Video has been shot by John Angus Stewart.

New Music: Ribbon Factory

           

The Irish six-piece, Madra Salach, have released the new single “Ribbon Factory” via Island Records. The song is the band’s first new release since its debut EP, It’s a Hell of an Age, which arrived in January. The single was recorded in New York with producer Loren Humphrey, whose recent credits include Westside Cowboy’s It Goes On, as well as work with Geese and Cameron Winter. Frontman Paul Banks said the studio version grew out of the band’s evolving live arrangements. "Ribbon Factory" is a song we've been particularly excited to share. It feels like a stepping stone for us into more lively and punky arrangements. We’ve been playing it live for over a year and that’s really influenced the recording. It’s a uniquely Irish song and is wrought with anger and despair. Madra Salach, the latest breakout band to emerge from Dublin, has announced details of its highly anticipated debut studio album, "Gorta", set for release on January 15, 2027, via Island Records.

New Music: Scammer

           

The Durutti Column shares "Scammer" their new hauntingly beautiful new single taken from their  surprise return with the forthcoming album Renascent that marks their first new music in 16 years. A liminal, pastoral meditation, "Scammer" definitely pairs shimmering synth washes and chiming guitar with Vini Reilly’s free-associative vocals, a must-listen.

New Music: The Centre Of My Everything

           

Shed Seven have shared the official video for their brand new single "The Centre Of My Everything" Directed by Andy Little and taken from the band's forthcoming self-titled new album due out on January 8th next year. About the single Rick Witter has said: "That feeling when love is all there is, when two are entwined as one, when nothing else matters apart from the other, when you can’t imagine a life lived alone, when you truly think of someone as being The Centre Of My Everything."

New Music: Mr. Charm

           

The Rolling Stones have shared their brand new video for the new single "Mr. Charm" taken from the band's latest album "Foreign Tongues." Directed by Henry Scholfield, the video stars Golden Globe winner Alesander Skarsgård, the video was shot in location of Palmdale, California. The new single "Mr. Charm" is considered as one of the album's highlight cause it has the sort of singular magnetism that only the actual Stones could maintain and they keep in doing so. 

Rocktrospectiva: The Sonically And Unified "Ghost In The Machine" Turns 45

 

Released on 2 October 1981 "Ghost In The Machine" was the 4th., studio album by the English rock band the Police. The songs were recorded between January and September 1981 during sessions that took place at AIR Studios in Montserrat and Le Studio in Quebec, assisted by record producer Hugh Padgham.

 

Ghost in the Machine topped the UK Albums Chart and peaked at number two on the US Billboard 200. The album produced the highly successful singles "Every Little Thing She Does Is Magic", "Invisible Sun", and "Spirits in the Material World", with a fourth single, "Secret Journey." The album was reissued in 1983 on CD.

 

Recorded under much more relaxed circumstances than their previous albums, the band spent about six weeks working on the record in Montserrat in a calmer atmosphere. They switched producers to Hugh Padgham, who introduced a new recording method involving separate rooms; this approach worked very well and was used again for the subsequent album. 

 

The record also featured a heavy emphasis on keyboards and horns—a shift that did not please guitarist Andy Summers. He commented that he disliked the direction the group was taking, feeling that synthesizers and horns were ruining the band's raw style and making it seem as though they were merely backing the lead singer in performing his pop songs.  

 

The set opened with the great "Spirits in the Material World," featuring Summers' keyboards—which employed a reggae-like vibe that defined the track—followed by the cheerful, Caribbean-flavored "Every Little Thing She Does Is Magic," which captured the same upbeat spirit seen in its music video. In contrast, the slower, guitar-solo-heavy "Invisible Sun" had a darker tone. 

 

"Hungry for You (J'aurais Toujours Faim de Toi)" was sung in French, driven by a solid rhythm section of bass, horns, and guitars, before transitioning into the set's longest track, "Demolition Man"—a song Sting had composed at Peter O'Toole's mansion. Next came a series of horn-heavy tracks—specifically "Too Much Information," "Rehumanize Yourself," and "One World (Not Three)," alongside Copeland's "Landlord" and "Dead End Job." Regarding "Rehumanize Yourself," Sting disliked the original lyrics, so they were rewritten. 

 

The album concluded with three darker-sounding tracks—reflecting the mood of the record's opening—namely "Omegaman," "Darkness," and the single "Secret Journey." As for the album's themes, many of the lyrics were inspired by Arthur Koestler's book "The Ghost in the Machine", which also provided the album's title; interestingly, this was the band's first album to use an English title. The cover art, designed by Mick Haggerty, features sixteen segments depicting the band members' hairstyles—Summers, Sting, and Copeland, in that order.  

 

Critical reception was positive, highlighting the band's dedication and commitment more than ever before; it was hailed as their best release to date, marking a step forward as the band focused on a pop sound while setting aside their reggae-rock style. The music videos received heavy rotation on MTV, and locally, songs like "Every Little Thing She Do Is Magic" and "Spirits In The Material World" got plenty of airplay and certain tracks still remain key classics in the group's career. 

 

The Ghost In The Machine Track List:  

 

1. Spirits In The Material World

2. Every Little Thing She Do Is Magic

3. Invisible Sun

4. Hungry For You (J'aurais Toujours Faim De Toi)

5. Demolition Man

6. Too Much Information

7. Rehumanize Yourself

8. One World (Not There)

9. Omegaman

10. Secret Journey

11. Darkness 

Rocktrospectiva: The Gorgeous Danceable "Fever" Turns 25

 

Released on 1 October 1996 "Fever" was the eighth studio album by Australian singer Kylie Minogue, for the occasion, Minogue worked with writers and producers such as Cathy Dennis, Rob Davis, Richard Stannard, Julian Gallagher, TommyD, Tom Nichols, Pascal Gabriel and others to create a disco and Europop-influenced dance-pop and nu-disco record. Other musical influences of the album range from synth-pop to club music. The album produced four singles, the massive "Can't Get You Out Of My Head" peaked atop the chard of 40 countries, "In Your Eyes", "Love At First Sight" & "Come Into My World." 

Fever was well received by critics upon its release, many of whom praised its production and commercial appeal. Over the years the album has received widespread critical acclaim and has been retrospectively declared the greatest album of Minogue's career, and became Minogue's best-selling album in the country. 

In 1998, Minogue was dropped from her label Deconstruction following the poor commercial performance of her sixth studio album Impossible Princess. She instead signed on to Parlophone and released her seventh studio album Light Years. The disco and Europop-inspired album was a critical and commercial success, and was later certified four times-platinum in Minogue's native country Australia.

Soon after, Minogue began work on her eighth studio album Fever. On the album, she collaborated with producers and writers such as British singer-songwriter Cathy Dennis, who co-wrote two songs out of the three she co-produced, Rob Davis, who co-produced and co-wrote three songs, and Richard Stannard and Julian Gallagher, who co-produced and co-wrote five songs ("Love at First Sight", "In Your Eyes", "Love Affair", "Boy" and "Rendezvous at Sunset"). 

Fever was a dance-pop album, with prominent elements of 1970s-influenced disco and Europop.  Jacqueline Hodges from BBC Music wrote that the album is not "pure pop", and is rather characterized by a more adventurous dance-oriented sound. Furthermore, Jaelani Turner-Williams of Stereogum retrospectively classified the record as a nu-disco album. 

The lead single "Can't Get You Out of My Head" was a "robotic" midtempo dance and disco song. Many critics felt that various songs on the album, particularly "Come into My World", were similar to "Can't Get You Out of My Head". The title track and "Dancefloor" draw influences from synthpop and club music, respectively. "In Your Eyes" contains hints of disco and techno music. Minor influences of ambient music surface on the "atmospheric" "Fragile". Minogue's vocal delivery ranges from "sensuous" (in "More More More") to "sweet" (in "Your Love"). The latter track contains instrumentation from an acoustic guitar.

The lyrical content of Fever chiefly focused on themes of love and enjoyment, basically it was all about dancing, fucking, and having a good time".  In the song "Love at First Sight", Minogue described how she fell in love with her partner at "first sight" and how it led to good things happening for her. "Can't Get You Out of My Head" was termed a "mystery" as the singer never mentions who her object of desire in the song is. Lynskey Dorian from The Guardian suggested that Minogue refers to either "a partner, an evasive one-night stand or someone who doesn't know she exists" as her obsession. The production of "Give It to Me" contrasted with its lyrics: Minogue urges her partner to "slow down," but the beat "goes in the opposite direction and tells your body to push it a little more on the dance floor." The lyrics of "Fragile" were simple and aim directly at the "[listener's] heart". "Come into My World" was a "plea for love" as Minogue invites her partner into her life. And finally On the "Dancefloor" focused on issues like dealing with an end of a relationship, with Minogue celebrating a break-up it in the music".

On the cover, which was photographed by Vincent Peters and inspired by the cover of Grace Jones' Island Life (1985), Minogue was seen "bound by a microphone cord, literally tied to her craft" and dressed in white leotard designed by Fee Doran, under the label of Mrs Jones, and shoes made by Manolo Blahnik.

Fever received generally favourable reviews from music critics. Certain critics gave the album an extremely positive review and praised the conception and production, calling it a "perfect album of gorgeous dance music" and claiming that "there probably won't be a better album like it all year long", also praised its simple and "comfortable" composition, terming it a "mature sound from a mature artist, and one that may very well re-establish Minogue for the VH1 generation". Althought some gave a negative review by call it as a painfully precise vocals and the sound as monoton.  

Fever Track List: 

 

1. More More More

2. Love At First Sight

3. Can't Get You Out Of My Head

4. Fever  

5. Give It To Me

6. Fragile

7. Come Into My World

8. In Your Eyes  

9. Dancefloor

10. Love Affair

11. Your Love

12. Burning Up

Rocktrospectiva: The Innovative And Ambitios "Ænima" Turns 30

 

Released originally on vinyl on 17 September and on CD on 1 October 1996 "Ænima was the second studio album by the US band Tool. Produced by David Bottrill, the record marked a complete shift in the band's sound—both in concept and in its broader impact on rock music—thanks to a unique yet appealing blend of metal and alternative sounds that made it, without a doubt, a singular work in every sense of the word. The album spawned the singles "Stinkfist" and "Ænima" who were the only ones to receive music videos that saw heavy rotation on MTV (though "Stinkfist" was censored and retitled "Track #1" to avoid controversy). The videos were bizarre and innovative, featuring animated figures and distorted-looking actors. The other singles were "H" and "Forty-Six & 2."

The album marked the debut of bassist Justin Chancellor. Another interesting detail is the title "Ænima" itself; it was a combination of the Latin word "anima" (soul/spirit) and "enema"—a medical procedure involving the injection of fluids into the body via the rectum. That alone signals that the listener is in for something interesting—and indeed, they were.  

Another notable feature of the album is that several tracks are merely short pieces or interludes connecting longer songs; this pushed the total runtime to 80 minutes, stretching the limits of CD capacity. These short tracks and interludes were: "Useful Idiot," "Message to Harry Manback," "Intermission," "Die Eier von Satan," "Cesaro Summability," and finally, "(-) Ions."  

The album's themes ranged widely—covering topics such as magic rituals, religious fundamentalism, Egyptian mythology, the seven-pointed star, and "deterrent anesthesia," among others—and included a dedication to comedian Bill Hicks. To touch briefly on specific tracks: the opener, "Stinkfist," immediately sparked censorship issues—MTV, for instance, renamed it "Track #1." This was likely due to the sexual connotations of "fisting" (inserting a fist into a bodily orifice), though the band intended it as a metaphor attacking the over-stimulation to which society was subjected at the time—let alone today. 

Then there was "Eulogy," a diatribe directed at Jesus; "H," which held dual meanings—referencing an overdose Keenan experienced, though it is also said he wrote it for his son; and "Forty Six & 2," which alluded to the number of chromosomes humans are expected to possess in their next evolutionary stage. Humans currently have 46 (44+2), having evolved from a baseline of 44 (42+2); the next step in evolution would result in the total referenced in the song's title. "Message To Harry Manback" stems from a voicemail Maynard received from a roommate; it was based on a bizarre story about an Italian guy staying in their shared room—you know, the typical deadbeat who ate all the food and ran up the phone bill. They eventually realized no one actually knew him, so they kicked him out, tossing his belongings—and him—onto the street. The next day, he called back in a rage, leaving the insulting message that serves as the track's audio. 

"Hooker With A Penis" addressed an angry fan who accused the band of selling out; Maynard—who apparently used to do cocaine with this guy—explained the realities of the music market and why they made those choices. "Jimmy" dealed with Maynard's childhood in Ohio. "Die Eier Von Satan" was another oddity; it was actually a recipe for Turkish hashish cookies—made without eggs, contrary to what many people think. "Pushit" explored the concepts of temptation and the compulsion to do something one shouldn't; it revolves around the pull of temptation and the act of falling into the abyss. As the fall occurs, the song becomes heavier and more abrasive, until—once the descent is complete—Maynard whispers, "I'm somewhere I don't want to be.

" Finally, "Cesaro Summability" referred to an equation that yields an answer of infinity. And the final final three tracks: "Ænima," the album's title track, dealed with the purification of the soul; "(-) Ions," was a piece about devices that generate ions—atoms with an electric charge—where listening with headphones allowed one to feel the ions moving from one side of the brain to the other; and finally, "Third Eye," which featureed excerpts of Bill Hicks from his drug-experimentation phase. Hicks explored his darker side, and his discourse complements to Timothy Leary—the prophet of LSD—suggesting that these drugs facilitate a deeper exploration of the human being. There was also the concept of the "third eye," representing maximum stimulation of the pineal gland located in the brain; it consists of two divisions made up of 48 petals each, totaling 96—it is said that this cent.

Ænima was met with generally favorable reviews by mainstream music critics, citing the band's innovation and ambitions within the album's sound. A remarkable album that showed Tool explore the progressive rock territory previously forged by such bands as King Crimson. However, Tool were conceptually innovative with every minute detail of their art, which sets them apart from most bands.

Ænima Track List:

1. Stinkfist

2. Eulogy

3. H

4. Useful Idiot

5. Forty Six & 2

6. Message to Harry Manback

7. Hooker With A Penis

8. Intermission

9. Jimmy

10. Die Eier Von Satan

11. Pushit

12. Cesaro Summability

13. Ænima

14. (-) Ions

15. Third Eye

Rocktrospectiva: The Fierce Live Album "From The Muddy Banks Of The Wishkah" Turns 30

 

Released on 1 October, 1996, "From the Muddy Banks Of The Wishkah" was an album of live tracks recorded by Nirvana between 1989 and 1994. The record debuted at No. 1 on the Billboard 200 and earned the band their sixth platinum album in the United States. The album spawned the singles "Aneurysm" & "Drain You." It was the second album released following Kurt Cobain's death in April 1994. 

The album was compiled by Krist Novoselic, who also wrote the liner notes. Originally, Novoselic and Grohl had planned to release a live album in 1994 alongside the "MTV Unplugged in New York" as a double set titled "Verse Chorus Verse"; however, they faced certain issues while the material was compiled, therefore it was never mixed. 

The album featured various tracks in different versions. The title refers to the Wishkah River in Aberdeen, Washington. It was said that Cobain used to spend nights sleeping there—a claim he alluded to in the song "Something in the Way"—but Novoselic later debunked this, stating that sleeping there was impossible; he might have wandered the area, but nothing more.  

Curiosly, the album omits all the songs that appeared on the band's "MTV Unplugged" special—with the exception of "Polly," which appeared here in a rare 1989 version featuring electric guitars. It also avoids versions of songs previously released as B-sides or on the "Live! Tonight! Sold Out!!" video (a compilation assembled by Kurt Cobain himself and released in unfinished form in November 1994). 

Among the rarities and curiosities offered by this live compilation, three tracks stand out from the band's highly acclaimed December 3, 1989, show at the London Astoria—a performance widely praised by the British press at the time. One of these was "Imodium" (an early version of "Breed" featuring different lyrics and Chad Channing on drums). The track "Negative Creep" comes from the band's October 1991 show at Seattle's Paramount Theatre—a performance later released on DVD in 2011 as "Live at the Paramount". 

Four other tracks were taken from the legendary November 24, 1991, show at the Paradiso in the Netherlands; three come from the now-legendary mini-tour the band undertook with the Red Hot Chili Peppers and Pearl Jam in late December 1991; and "Tourette's" appears, taken from the band's 1992 Reading Festival performance. The track "Scentless Apprentice" was from the December 13, 1993, MTV show at Seattle's Pier 48. 

Capitalizing on the band's immense popularity at the time, several promotional (non-commercial) singles were released, such as "Aneurysm" (for the US and UK), "Drain You" (US), and "Lithium" (Portugal and the Netherlands). While "Smells Like Teen Spirit" was the single for France, Portugal, and Spain, Australia saw the promotion of a small box set containing promotional singles such as "Aneurysm," "Heart-Shaped Box," and "Polly." 

The album was a success, becoming the band's third consecutive release to debut at number one on the Billboard 200. Critics described the atmosphere as emotional and visceral—simultaneously furious and liberating—capturing the band in its most authentic and natural state: smashing instruments and acting with irreverence. Despite ritics often drew a comparison: if the "Unplugged" album was meant to soothe the spirit and evoke reflection, this record served as a reminder of the band at its rawest—fueled by fury, grit, and pure rock and roll. It stands, without a doubt, as one of the final testaments to the band's global significance and its role in defining the generational shift of the 1990s.

 

From The Muddy Banks Of The Wishkah Track List: 

 

1. Intro (Live at London Astoria, UK, December 3, 1989)

2. School (Live In Amsterdam at Paradiso, November 25, 1991)

3. Drain You (Live at Del Mar Fairgrounds, CA., December 28, 1991) 

4. Aneurysm (Live at Del Mar Fairgrounds, CA., Decemeber 28, 1991)

5. Smells Like Teen Spirit (Live at Del Mar Fairgrounds, CA., Decemeber 28, 1991)

6. Been A Son (Live in Amsterdan at Paradiso, November 25, 1991)

7. Lithium (Live in Amsterdam at Paradiso, November 25m 1991) 

8. Sliver (Live in Springfield, MA., November 19, 1993)

9. Spank Thru (Live in Rome, Italy, November 18, 1991)

10. Scentless Apprentice (Live In Seattle, WA, December 13, 1993)

11. Heart-Shaped Box (Live In Los Angeles, CA, December 30, 1993 

12. Milk It (Live In Seattle, WA., January 5, 1994)

13. Negative Creep (Live In Seattle, WA., October 31, 1991)

14. Polly (Live at London Astoria, UK., December 3, 1989)

15. Breed (Live at London Astoria, UK., December 3, 1989)

16. Tourette's (Live at Reading Festival., UK, August 30, 1992)

17. Blew (Live In Amsterdam at Paradiso, November 25, 1991)

Rocktrospectiva: The Accomplished "Head Carrier" Turns 10

 

Released on 30 September 2016, "Head Carrier" was the sixth studio album by the US alternative rock band the Pixies. Produced by Tom Dalgety, and recorded at RAK Studios in London, the album is the first to feature new band member Paz Lenchantin on bass guitar, who joined the band in 2014 to tour in support of its previous album, Indie Cindy. The album spawned the singles "Um Chagga Lagga", "Tenement Song", "Classic Masher", & "Bel Sprit" The album's title references a cephalophore, a saint carrying his own head, more specifically St. Denis of Paris.

 

Production began in late 2015 with producer Tom Dalgety, who replaced Gil Norton (the producer behind the band's four previous albums). This era featured Lenchantin’s full-time collaboration, as she stepped into the role vacated by Kim Deal, who had officially left the band in 2013. 

 

In fact, the new bassist is credited with the track "All I Think About Now," a song written as a tribute to Kim Deal. For many, the new album carried an air of redemption; the material was more polished and conceptual, overcoming Deal's departure and embracing new directions with the arrival of Lenchantin, they delivered a record that stood as their best effort to recapture their former glory—a modernized take on their classic sound (or a "recycling" of it, as some put it). Starting with the heavy "Um Chagga Lagga," which harkened back to the band's late-80s era—a vibe even more evident in "Bel Espirit" and—for this writer—the set's standout track, "Classic Masher," which captured the band's signature classic style. Nor were the eccentric tracks courtesy of Black Francis left out; "Baal's Back," for instance, was raw and quintessentially the band, filled with screams and frenetic sounds. "Tenement Song" was another fine example, as was "All I Think About Now"—a track that, despite its saccharine tone, served, as previously mentioned, as a farewell letter to the great Kim Deal. 

 

At the time of its released, the album was undoubtedly considered one of their most accomplished albums, featuring fresh ideas and a new sound courtesy of their new bassist. It recaptured at least some of the band's lost magic and dynamic, clearly demonstrating—even five years ago—the dedicated effort put in by every member. 

 

Head Carrier Track List: 

 

1. Head Carrier

2. Classic Masher

3. Baal's Back

4. Might As Well Be Gone

5. Oona

6. Talent

7. Tenement Song

8. Bel Spirit

9. All I Think About Now

10. Um Chagga Lagga

11. Plaster Of Paris

12. All The Saints