Weezer founding member and original bassist, Matt Sharp, while working on a series of “lost-albums” from the cutting room floor of his creative-life, stumbled upon a curious multi-track reel of analog tape. This mysterious reel found at the bottom of a treasure chest of other master recordings just happened to contain Weezer’s very first studio sessions.
These were the very same recordings that were responsible for earning the band a record contract for their iconic debut “Blue” album. These newly discovered sessions feature raw, vividly emotional and ecstatic versions of the band’s timeless hit songs Say It Ain’t So and Undone (The Sweater Song.) Sharp and legendary music producer Joe Chicarrelli took these recordings…
You need to be logged in to view the rest of the content. Please Log In.
Between the release of their first album 1965’s 
And true to her word, she cuts right down to the bone across the album’s 15 tracks, living and reliving her traumatic experiences with assault and misogyny, processing fragments of trauma in laboured screams and audible gasps, pursuing anyone who’ll listen.
Timeless, and yet always fresh: utterly oblivious of any wiles of the pop business, Planet Yello has been turning on its orbit for nearly fifty years, plunging us into a world where past and future are one and James Bond joins forces with the Man in the Moon, Dionysos and Philip K. Dick. “To the future, through the past,” declares Dieter Meier. With their fifteenth studio album 
At nearly 40 years old 
After an event-filled 45 years, Weird Uncle Al Jorgensen has finally decided to call it quits and to pull the plug on his main musical vehicle, 
Never Too Soon is the second album to appear under Brazilian musical icon 
An ascetic ideal put forth by Modern Love label boss Shlom Sviri led to Andy Stott making one of his most spellbinding albums, his first since 2021’s 
After Thao Nguyen made her solo debut with 2005’s Like the Linen, she reinforced her offbeat, bluesy indie folk sound with the bolder hooks, burrowing grooves, and colorful textures of her band 
Halloween and 
The Snuts’ new record Joy in Short Moments marks the Scottish band’s fourth studio album, and it follows the huge commercial success of their opening trilogy, all of which peaked in the UK Top 10. It’s easy to see why; the band are constantly catchy and often relatable.
Daughter’s Elena Tonra originally released the 2018 eponymous album Ex:Re (pronounced “ex ray” and derived from “Regarding Ex”) as a one-time outlet for feelings following a difficult breakup. The solo project’s whispery, melancholic vocals and gloomy, often eerie acoustic-electronic textures connected with certain listeners, and it became something of a cult favorite in the years to follow. Tonra eventually went back to the studio with engineer/producer Fabian Prynn and cellist Josephine Stephenson from the debut to record a follow-up. Joining them was Ben Reed (bass), Jethro Fox (electric guitar), and experimental musician Hinako Omori (synthesizers). The resulting Save As picks up where 
Radio Free Alice’s debut album What’s in Between has the most surprising of starts. It kicks off with ‘Crying with You’ which initially tinkers experimentally with sound before the fierce drum beats of Lochie Dowd and vocals of Noah Learmonth jump in and effortlessly pull the whole together. And what a whole it is. The track encapsulates everything about this Australian band who have seen a meteoric rise in the last couple of years. The vocals dance all over the track as it soars, creating such an expansive soundscape.
There are few more distinctive artists in contemporary music than 
Gidon Kremer and his Kremerata Baltica ensemble continue the longstanding relationship with ECM’s New Series on Pages of a Biography, bringing together music by Georgs Pelēcis, Andrius Žlabys and Arvo Pärt.
The templates and aesthetic he draws from on his third album are about as old as the concept of popular music itself, channelling the canyons around Los Angeles, top pickers in 1960s Nashville studios, and smoke-filled Greenwich Village folk clubs. Assisted on some tracks by co-producer Jonathan Wilson, who knows a thing or two himself about reviving the glory days of West Coast swoon, the LA-based Palestinian–American musician reaches for new levels of emotional resonance with an authority that instantly shuts down claims of derivative recycling.