Snce the release of their debut studio album Do Hollywood (on 4AD) in 2016, The Lemon Twigs—the New York City rock band fronted by brothers Brian (27) and Michael D’Addario (25)—have waved the same revivalist torch as Alex Chilton and his Big Star crew, working to prove that archaic music from the ‘60s and ‘70s can still be relevant in digital world. Alongside peers like Foxygen and Drugdealer, The Lemon Twigs have explicitly documented a synchronistic blend of contemporary narrative motifs, old-school recording techniques, and flawless, consistent attitudes collaged from various crucial stages of rock ’n’ roll. After a whirlwind 2023, the D’Addarios are continuing the momentum of their own evolving vision and voice, distilling a history lesson of baroque and power pop into A Dream Is All We Know out on Captured Tracks.

Look to the East, Look to the West, the new album by Camera Obscura, is a revelation. The Tracyanne Campbell-led outfit, reuniting with producer Jari Haapalainen (Let’s Get Out of This Country, My Maudlin Career), have crafted an album that simultaneously recalls why longtime fans have ferociously loved them for decades while also being their most sophisticated effort to date. It is also the most hard-fought album of Camera Obscura’s career. Following the 2015 passing of founding keyboardist and friend Carey Lander (to whom the penultimate track “Sugar Almond” is addressed), the band went into an extended hiatus.

ietNam is the full-length debut of VietNam, released in January 2007. Mickey Madden and Jesse Carmichael of Maroon 5 helped record this album, with Madden serving as one of the executive producers. Jenny Lewis from Rilo Kiley also makes an appearance on the album.

Over the course of her career, spanning three-plus decades, Laetitia Sadier has never shied away from the hard topics, or stopped advocating for the possibility of self determination and emancipation in the face of the powers that be, conscious or unconscious. This is an essential part of the foundation she co-built with Stereolab, showcasing her spiritual, scientific and sociopolitical inquiries. She’s continued this process with Monade and under her own name and as a writer/singer/and musician whose every album acts as a report on her journey of the self through time, space and the collective.

New compilation of the Pooh Sticks hits and misses. Straight Up: Noise Pollution C88-90 is a selection of some of the most loved / despised / ignored tracks released by The Pooh Sticks on however many records it was before it all went wilfully ‘American’ sometime around dotted-line’ing for BMG mega-corp in 1991.

Hovvdy's forthcoming self-titled double album, co-produced with Andrew Sarlo (Big Thief, Bon Iver) and longtime collaborator Ben Littlejohn, is their most cohesive and ambitious record to date: The definitive Hovvdy album. Across the 19 track sequence ranging from expansive celebratory anthems to quiet acoustic meditations, Hovvdy displays deft and catchy pop songcraft with touches of indie folk and southern Americana.

On her new album, Fragile as Humans - written and recorded as her time living in the UK was coming to a close - Emily Barker turns her lyrical gaze inwards.

35th Anniversary edition of the seminal 1989 album Vini Reilly, Produced by Stephen Street (The Smiths, Blur, The Cranberries, New Order). Remastered and heavily expanded 5 disc version, featuring over 75 tracks: Disc 1. Vini Reilly album and 3 Bonus tracks [16 tracks] The original album (presented in the famous (and as to now unseen) ‘rejected’ sleeve by 8vo) remastered with bonus tracks. Disc 2. The Sporadic Recordings [28 tracks] , a limited edition CD from 1989 [SPORE 1]. ‘Womad Live’ EP plus bonus live tracks and demos [16 tracks]. An exclusive DVD, Live from Porto 1988. Bonus 1 track 3-inch mini CD - ‘I Know Very Well How I Got My Name’ a replica of the bonus addition from the original CD pressing.

When the pandemic began, and the world shut down, so did the process of creating for Iron and Wine’s Sam Beam. In its place was a domesticity that the singer hadn’t felt in a long time, and although it was filled with many rewards, making music was not one of them. Reflecting on that time, Beam notes:

Once again, Six Organs of Admittance showcases the intricate tangle of fingers on the fretboard and flash of lens flare slicing the air, as the future arcs 360 degrees around to become a part of the past as well. Oscillations in this glass bowl ripple outward eternally, but are rooted on the ground where all the creatures are moving and communing; humans too. An intimate cosmic expression, file under: rural-industrial psych, ecosystem goth.