R.E.M. At The BBC opens a deep vault and tells the story of a band that grew up on the airwaves and, in many ways, helped redefine them. Across eight CDs and a DVD in its most expansive form, this retrospective captures R.E.M. in motion, from scrappy college-radio insurgents to one of the most commanding live acts of their era, all framed through a three-decade relationship with the BBC.
For longtime fans, the appeal is obvious. For newcomers, it plays like a masterclass in evolution.
The in-studio material alone traces a fascinating arc. A 1998 John Peel Session finds the band still restless and sharp, while later stops on Drivetimeand Mark and Lard in 2003 show a group fully at ease in its own skin. By the time of the 2008 Radio 1 Live Lounge appearance, R.E.M. sound relaxed but locked in, proving that even in their later years, they could strip songs down and make them feel immediate again. newrelease
locates the avant-pop sweet spot - ⭐️⭐️⭐️⭐️ Mojo experimental Londoners hone sprawl into melodic brightness - 9/10 Uncut a quiet, melancholic wonder - The Quietus a pure and unashamed blast of drone-pop heaven - Moonbuilding full of droney, dreamy indie rock - Brooklyn Vegan welcomes the art-school kids, stoners, and indie pop sentimentalists alike - All Music beautifully crafted and light - Is This Music
London quartet The Leaf Library return with their fourth studio album After The Rain, Strange Seeds (out on 20 March via Fika), a luminous collection of pastoral indiepop, drawing inspiration from suburban isolation, unreliable memories and the surreality of the weather. Their most immediate and melodic work to date, the richly evocative songs brim with chiming guitars, buzzing organs and warm, dulcet strings, evoking Yo La Tengo’s more contemplative moments, The Clientele’s autumnal jangle pop and early Stereolab’s motorik melodicism.
Jay Hammond Wants You to Think About What You've Tried to Do
There's a specific kind of musician who resists the pull of genre entirely — not out of contrarianism, but because the music simply won't cooperate. Jay Hammond, the Durham-based songwriter behind Trippers and Askers, is that kind of musician. His forthcoming album Tried to Do's, due May 2026, doesn't so much blend folk, jazz, and indie rock as it lets them bleed into each other until the borders stop mattering.
Hammond came up in Jackson, Tennessee, took guitar lessons from a guy who toured with Carl Perkins, got deep into jazz, then got derailed — productively — by the Brooklyn indie scene of the mid-aughts. Dirty Projectors. Phosphorescent. Thurston Moore. The kind of shows that make you rethink what an instrument is supposed to do.
Tried to Do's is a grief record, though Hammond bristles at tidy summaries. The title lifts from something Nikki Giovanni used to say — never published, just spoken — about the value of the attempt over the outcome. The album moves cyclically, opening and closing on arrangements of the same traditional piece, designed so that if it looped forever, you might not notice.
One song, Remembering, is, in Hammond's words, a couples therapy song. He says it plainly, without apology. That directness is the point.
A release tour hits Asheville, Durham, and up the East Coast through New York, with UK dates to follow. His Bandcamp goes deeper if you're willing.
Montreal’s sixteen-year-old punk trio General Chaos come out swinging with “Busted,” the first advance single from their upcoming second LP Can’t Please ’Em All, out May 8 on Stomp Records. Fast, hook-heavy, and built on tight downstrokes and a chant-ready chorus, “Busted” lands somewhere between Rancid’s street-level punch, Descendents’ urgency, early Green Day’s snap, and the political edge of Propagandhi. It is two-to-three-minute burner territory with bass pushed forward, drums locked in, and guitars kept lean and direct. Lyrically, the track captures the tension between independence and consequence. “Don’t wanna get caught but I got busted / Speak the words on my mind not gonna get silenced.” It is about saying what you mean, taking the hit, and moving anyway. No polish. No irony layer. Just clarity and pace.
ifitbeyourwill Podcast sits down with Adam Morrow of Sister Ray Davies — a shoegaze duo based in the legendary music town of Muscle Shoals, Alabama. They dig into the making of their debut record Holy Island, the duo's deep love of ambient and post-punk sounds, and an upcoming remix EP dropping April 20, 2026. Plus, a track from Holy Island closes out the episode. Essential listening for fans of atmospheric, genre-defying music.
Another Country is the fifth full-length album by Cindy, the San Francisco-based group built around the songwriting of Karina Gill. Recorded, like all of its predecessors, in their hometown and for the first time with a consistent line-up held over from their previous record (the Swan Lake EP from 2024), and is replete with the poetry of private vistas, eavesdropped dramas and confusing winds
A couple of years ago we decided we wanted to write a song together, so I went over to his house with my guitar and computer. I was playing him songs that I was working on and when he heard this one, he perked up and ran inside to grab his pen and notebook. Hours later we finished the song and even made a demo. So many beautiful contributions from these friends that made the song better than I could have imagined: Brad Armstrong, Mike Mogis, Macey Taylor, Ben Brodin, Nate Walcott, Tiffany Osborn, Hannah Murray, and Paul Cartwright.”
Conor Oberst added, “Writing this song was a full circle moment. We’ve made so much music together over the years, it was just like going home.”
“Sorry I Was Yours” follows the release of “Never Thought I’d Feel New” and the album’s title track, which have been covered by Billboard, BrooklynVegan, Music Connection and more. In late 2025, she released a cover of Counting Crows’ “Colorblind” featuring Dashboard Confessional that was covered by BrooklynVegan, Stereogum and many more.
The ten songs that comprise Story’s End began as quiet demos in Taylor’s home studio, but it was personal upheaval — an irrevocable fracture in both her marriage and a close friendship — that gave her the urgency to finish the record. “I think I needed to make something beautiful as things fell apart around me,” she says.
The project ultimately took shape at ARC Studios in Omaha with producer Ben Brodin (First Aid Kit, Bright Eyes), alongside Mike Mogis and longtime collaborator Brad Armstrong. Joined by a close-knit circle of musicians and friends including Conor Oberst, Nik Freitas, Mike Bloom, and Sally Dworsky, Taylor built a record that feels both intimate and expansive.The shimmering, panoramic strings across the album were arranged and recorded by Nate Walcott (Bright Eyes, First Aid Kit) at 64 Sound Studios in Los Angeles with Pierre DeReeder (Rilo Kiley).
Our new album is a collection of love songs in which we turned our melancholia into soft melodic pop songs and wis out now via Enigmatic Brunch Records. Through our midwestern lens we try to summon the sound of the Monkees if they were chosen over the Velvet Underground to be Warhol's Factory band. We like Harry Nilsson, John Andrews, and Chris Cohen a lot!
Total Fucking Darkness is the off kilter musical triumvirate of the illustrious; Torquil Campbell (Stars) on vocals, Stephen Ramsay (Young Galaxy) and Tom McFall (U2/REM/Bloc Party) on production.
The 4-piece blend the energy of The Fall, Wire, and The Monochrome Set with modern themes, a melange which is showcased across 6 tracks which express their individuality whilst coming together as an exhilarating whole. The brooding guitars of ‘London, Out There’ mark the bands turn into a more reflective and introspective sound, whereas taut, sparky EP opener ‘Oversight’ covers darkwave elements akin to Nick Cave, or Molchat Doma.
There's a version of music-making that doesn't care about the algorithm. No release schedule optimized for Spotify editorial. No singles engineered to hook in three seconds. The Flip Phones — Lindsay and Ryan, a married couple turned band — make music on their own clock, and it shows in the best possible way. Their new EP, Spinning Adrift, is the document of that philosophy.
Two People, One Sound
Lindsay brings a classical background and a journalist's precision with language. Ryan traces his listening from 60s pop through Britpop. You can hear both at once: melodic instinct that feels inherited, lyrics that feel reported. What they've built is an acoustic-led sound held up by harmonies, melodica, and a stubborn commitment to writing songs that say something specific.
Where the Songs Come From
A guitar fragment. A notebook line. Something half-remembered and left to sit longer than it probably should have. Spinning Adrift spans years of accumulation — pandemic-era writing, older material that finally found its shape. Some drafts, they explain, deserve time to ripen. In 2025, that reads almost like a radical act.
The Room the Record Was Made In
A trusted producer who drums. A bassist who colors the edges. A visual artist whose cover art feels inevitable. The studio process favored flow over speed — including a deliberate decision to close on the record's darkest note. It doesn't surrender hope. But it doesn't lie about where the light is, either.
The Deeper Aim
The dream of a TV or film sync is real and spoken out loud. So is something harder to quantify: songs that outlast the week they're released. Fewer. More considered. Built to last longer than a social post.
After the conversation, we close with Where The Space Falls Away. Stay for it.
Follow the show, share it with someone who misses when music felt like it had somewhere to be, and leave a review if you have two minutes.
Holy Island is a rare debut. Thoughtful, melodic and full of intent without ever becoming heavy handed. The lads have built something that feels as if it has always existed. You sense the fun they had making it and the meaning they found inside it. I really struggled to find musical parallels to help you understand who they are and the noise they make. I can only think of the Beachy Head project for a couple of the songs. Other than that, this is very much its own thing and if you let it, it might very well become yours too. SSClub
Shark River finds Rauchwerk embracing vulnerability with a collection of songs that explore loneliness, heartbreak, and the comforting but ultimately doomed escapism of life on the road. Skillful production and backing vocals from his bandmates Conti and Samia drench the LP in a sepia-toned indie glow, complete with the occasional pedal steel, but Rauchwerk’s vocals betray his fondness for emo-leaning folk luminaries like Bright Eyes and the Mountain Goats. Sometimes, his singing feels more or less like melodic speaking, a friend telling you about a hard day over a couple of beers; other times, you can feel his panic as he shouts into the microphone. On Shark River, Rauchwerk finds himself grappling with the splintered friendships, shattered relationships, and stagnating uncertainty produced by a life in constant motion.
“I think it’s an exploration of the projections that get cast onto girls and women to embody the highest moral standard, the picture of perfect angels,” muses Brigitte of the title-track. “And it’s about the receptive position of the impressionable child, the way messaging leaves deep imprints on how they experience the world. Maybe it’s also a kind of call to reclaim, for them to take their brains and bodies back and determine for themselves what they believe in.”
“Common Holly is anything but a common artist who is unafraid to push the boundaries of her creativity.”. - Chorus.fm
“Lulling piano and doubled vocals give "Aegean blue" a dreamlike quality, with faint woodwind trills padding out its gentle percussive pulse.” - Exclaim!
“Beautifully accomplished, there’s a devastating edge to her voice, with every word stamping itself on the listener” - CLASH
“blends soft folk with evocative imagery” - Psychedelic Baby
