You probably don’t need me to tell you that Lady Gaga has a new album coming out next week. So I won’t. Instead, I’ll tell you about these other deserving options. We’re far from the shallow now:
Tristan Armstrong
The Lonely Avenue
THE EDITED PRESS RELEASE: “Tristan Armstrong is one of thoseæ ‘they don’t write ‘em like that anymore’ artists. For the past several years, the Toronto singer-songwriter has been following in the footsteps of Pete Townshend, Alex Chilton, Matthew Sweet, Redd Kross and other power-pop icons in establishing his own melody-driven, guitar-focused corner of the universe. Armstrong has captured it all on his debut solo album The Lonely Avenue, nine songs that rock with the combined swagger of every Dazed And Confused cast member, and roll with the sleekness of a ’72 Cutlass Supreme. Meticulously produced by Armstrong himself — with assistance by John Dinsmore (Sarah Harmer, Elliott Brood, Kathleen Edwards) — The Lonely Avenue is a testament to how the right alchemy leads to stunning results. Tristan explains, “The process of writing and recording The Lonely Avenue began during the pandemic, and for me the songs reflect a period of growing up. Some of the themes touch on forgiveness and enjoying the slower pace of domestic life, but I also feel it’s important that my songs include a sense of imagination. I once heard someone say there are two things that should never get in the way of writing a good song – grammatical rules, and the truth. So, in those terms, I feel this collection of songs is somewhat eclectic. But mainly it’s a reflection of what I value these days, both musically and in life.”
Cassels
Tracked In Mud
THE EDITED PRESS RELEASE: “Tracked In Mud comes three years after London duo Cassels’ critically acclaimed album A Gut Feeling. Close to burnout from heavy touring, the brothers Beck returned to their Harringay warehouse practice space. Jim, tired of his last record’s overtures at pop culture, got very into Converge. New songs came: Heavy, and weird. Gone are the sharp-tongued character sketches, replaced with a heady cocktail of philosophy and body horror. Ditched, too, are the flirtations with mid-aughts indie-rock and electro. On Tracked in Mud, we’re treated to something bigger. Wilder. More… elemental. This is a record about humanity’s disconnection from nature, after all. When the time was right, the Becks brought in Alex Petersen – aka Nyquist Noise, aka avant-rock demiurge Vincent Vocoder Voice – to produce the new record, for the first time since their debut EP. After two weeks of isolation, the three emerged with Tracked In Mud: A soundtrack to life in the final days of an arrogant, technocratic hellscape.”
Change Of Heart
In The Wreckage
THE EDITED PRESS RELEASE: “When asked to name Canada’s most influential bands, musicians and critics alike invariably single out Change Of Heart. The Toronto institution formed by singer-guitarist Ian Blurton and bassist-lyricist Rob Taylor in 1982 — when both were barely into their teens — quickly established itself within the nascent Canadian independent music scene, transcending their post-punk roots through a combination of psychedelic and experimental influences that pre-dated the alt-rock revolution of the 1990s. With Taylor’s departure from Change Of Heart following the 1992 masterpiece Smile, the band continued to evolve with various lineups until 1998, when Blurton quietly shut things down and charted a new course for himself. But now, the classic core roster consisting of Blurton, Taylor, keyboardist Bernard Maiezza and drummer John Richardson is back — with contributions from every other past band member — on In The Wreckage, an album that re-affirms Change Of Heart’s rightful place near the top of Canada’s rock ’n’ roll hierarchy.”
Chase Petra
Lullabies for Dogs
THE EDITED PRESS RELEASE: “Chase Petra’s music has always been about growth: Growing up, growing out, growing tired of what others expect of you. On their sophomore album, Lullabies For Dogs, the Long Beach trio once again elevates the existential questions that pepper life’s long, unpredictable journey. The followup to 2018’s Liminal, Lullabies for Dogs alternates timeless melodicism (the somber Two Nights In New York and hypnotic acoustic-based Icarus) and tireless energy (Centrifugal Force and Bread And Circus, which crash with the unpredictability of early Panic! At the Disco) — establishing singer-guitarist Hunter Allen, drummer Evan Schaid and bassist Brooke Dickson as one of the emo scene’s most adroit acts.”
The Death Wheelers
The Ecstasy Of Möld
THE EDITED PRESS RELEASE: “Back with their musky, technicolor splatter scuzz, The Death Wheelers don’t dare ease the throttle on their drive to create soundtracks to what would be the world’s greatest fictional bikesploitation and gore film fest. These Quebec zombie grease goons manage to evoke the sticky floor and stale popcorn smell of an old rundown midnight movie theater with every stroke of a barre chord and bludgeoned snare drum. Theirs is a sound that does Herschell Gordon Lewis, Roger Corman and Russ Meyer proud. Whereas their previous albums evoked the buzzsaw surf riffs of Davie Allen, Dick Dale and The Cramps, with the thunderous groove of Motörhead, their fourth album finds these troglodytes veering hard into classic ’80s heavy metal while still maintaining the compelling urgency of Italian gore gods Goblin. It’s heavier, nastier, more driving and… dosed with pure backwoods möld.”
Divorce
Drive To Goldenhammer
THE EDITED PRESS RELEASE: “For Nottingham quartet Divorce, home is a feeling. Initially meeting as teenagers through the city’s close-knit DIY scene, the band — Tiger Cohen-Towell (vocals, bass), Felix Mackenzie-Barrow (vocals, guitar), Adam Peter Smith (guitar, synth) and Kasper Sandstrøm (drums) — came together as Divorce in mid-2021, releasing a slew of genre-defiant singles that quickly caught the attention of tastemakers the world over. Sonically rich and lyrically open-hearted, Drive to Goldenhammer sees Divorce assemble a shelter for themselves amid the chaos and leave the front door open to everyone. This album pays homage to seeking place and home; one of the great human levellers. Much of life feels at odds with this particular need. And to Goldenhammer; you are a reason to keep driving. We will find you again and again!”
Frog Eyes
The Open Up
THE EDITED PRESS RELEASE: “The Open Up is cult-rock band Frog Eyes’ second album since reforming in 2021, and their 10th record in a bewildering and inspired catalogue. Formed at the turn of the century, brushing shoulders with fellow travellers/beloved songwriters and musicians, beloved but never in the dead epicentre of a scene or a marketable, commodified era, this record bursts with a joyful fealty to songs, to albums, to playing the song you want to hear with the people you want to play with in a space that lifts it all up. Huffy-puffy rock ’n’ roll, open-ended mid-tempo dreaminess, sad and soft love songs: It’s an emotional and spatial journey, and meant to be experienced as an album. Electric guitar, piano-like synthesizer, frantic and frenetic drums and melodic bass fill up the corners and create a foundational support for the words, spit-sung into a special German tube microphone and shuttled out to a Studer tape machine to create the syllabic echoes, and the sounds as they converge in the centre of your speakers make us think of 1995 emo, at times, in its chord structures, a remnant/echo of a youth playing in that specific genre, post-punk in its wired up tautness and Fall-like square edges, weird blues, baby-bad-boy goth rock, and then, in its final third, a spacious rise-up that revels in more open modalities.”
HotWax
Hot Shock
THE EDITED PRESS RELEASE: “HotWax are a band set on experiencing life at its most intense. In the past two years, the Hastings-via-Brighton trio — Tallulah Sim-Savage (vocals, guitar), Lola Sam (bass) and Alfie Sayers (drums) — have toured the world over, clocking up over 150 dates, including shows with Royal Blood and Frank Carter, and major festival appearances. Out of all this comes debut album Hot Shock, a record of adrenaline-jolted anthems about abandoning fear and leaping boldly towards the future. The band recorded songs live in front of a crowd at London’s RAK Studios — perfectly capturing the distinct, dizzying explosion of colour and energy of a HotWax show. The band worked with an all-female production team — Catherine Marks (Boygenius, Wolf Alice) and Steph Marziano (Hayley Williams, Let’s Eat Grandma) — as well as additional recording with Stella Mozgawa of Warpaint in Joshua Tree. These songs were made to be played to a crowd, loud and with abandon. But there’s also a beating pulse of vulnerability underscoring the album. It’s an honest, moving sentiment sure to propel HotWax towards becoming the U.K.’s next big crossover rock act — and beyond.”
Sierra Hull
A Tip Toe High Wire
THE EDITED PRESS RELEASE: “Sierra Hull is a virtuoso mandolinist, a two-time Grammy nomee, and a groundbreaking songwriter. Recognized for her acclaimed albums 25 Trips (2020) and Weighted Mind (2016), she’s also a six-time IBMA Mandolin Player of the Year — the first woman to ever receive this honor. A pioneer in acoustic music, Hull has performed on iconic stages like Carnegie Hall, The Grand Ole Opry, and The White House. Her artistry has earned praise and collaboration with legends like Alison Krauss, Béla Fleck, Dolly Parton, Brandi Carlile and Billy Strings. Hailing from Byrdstown, Tennessee, Hull’s innovative sound is deeply rooted in bluegrass yet continually pushes boundaries. Now, with Tip Toe High Wire, her fourth studio album, Hull steps into a new chapter of independence. Fully embracing creative freedom, Hull takes complete control of the studio and focuses on songwriting. “Coming off a long-term record deal, I wanted to make some music without too many outside voices,” Hull explains. “When you look at how much I’ve toured and how busy my world has been, it was important for me to just get settled — to make sure the time I released it felt like the right moment.”
Ill Quentin
Q+
THE EDITED PRESS RELEASE: “Welcome to the vibrant world of Ill Quentin, a groundbreaking artist who embodies the spirit and heart of trap Argentino. With a talent that transcends genres, Ill Quentin has carved a niche in the music industry as a singer, songwriter, and producer. His unique blend of rhythmic storytelling and compelling melodies has made waves far beyond his native Argentina. Known for his innovative approach to music, he has released critically acclaimed tracks that not only engage listeners but also challenge the boundaries of contemporary sound. Ill Quentin’s impact on the music industry has been profound. From his celebrated vinyl releases to his dynamic performances, he has become a pivotal figure in the scene, pushing for authenticity and emotional resonance in every note. Vinyl collectors treasure his works not just for their musical brilliance but also for their exquisite packaging and limited editions that elevate the physical experience of music. As we journey through ill quentin’s life and career, you’ll discover how his artistry continues to inspire a new generation of musicians and vinyl enthusiasts alike.”
Jason Isbell
Foxes In The Snow
THE EDITED PRESS RELEASE: “Foxes In The Snow is Jason Isbell’s first entirely solo acoustic album, set for release on his own Southeastern Records. Foxes In The Snow was recorded in New York City at the famed Electric Lady Studios in October 2024. Recorded entirely on the same all-mahogany 1940 Martin 0-17 acoustic guitar, and in the span of just five days, the album captures an artist at the peak of their powers; the virtuosic guitar playing and commanding vocal delivery on this collection is some of the most impressive of an already remarkable recording career. Isbell is one of the most highly lauded songwriters of his generation, and this stripped back, bare-bones format puts his immense talent for evocative storytelling and the complete mastery of his craft on full display.”
Kin’Gongolo Kiniata
Kiniata
THE EDITED PRESS RELEASE: “Kin’Gongolo Kiniata are a vital new voice of Congolese music, upending lyrical traditions and offering a potent and thrilling new take on Kinshasa-born rumba, with handcrafted percussion from found street objects providing the band’s rhythmical power. Their debut album Kiniata is a call for peace, social justice and dignity for the Congolese people. Emerging from Kinshasa’s music scene, Kin’Gongolo Kiniata made their mark in 2023 with the release of their first EP Moto. The album Kiniata is an ode to resourcefulness and creativity, values deeply rooted in the daily life of Kinshasa’s youth. With songs evoking perseverance and hope, Kin’Gongolo Kiniata has captivated audiences beyond Congolese borders, performing on international festival stages and receiving praise for their ability to turn raw urban sounds into an intense and authentic sonic experience. Kiniata is not just an album but a true declaration of intent. Kin’Gongolo Kiniata embodies a musical revival in Central Africa, blending tradition and modernity, and demonstrating that even the most modest tools can be used to create something great.”
