The seamlessly cool producer/artist John Glacier, who released one of our favorite albums last year, is back with her second single of the year. “Lights,” the follow-up to this summer’s “Bond Girl,” finds Glacier relishing a life of luxury.
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Johnny Blue Skies & The Dark Clouds entered the stage to the sound of a heavy descending guitar riff like something out of a doom metal track. Then the disco ball turned on, and Sturgill Simpson started playing a smoky blues guitar solo over jazz chords. The introduction then resolved in the funky syncopated groove of “Venus,” which was soon graced by the hearty twang of Simpson’s voice, country to the bone. The sequence worked well as an overture for a night when Simpson and his band would roam all over the stylistic map.
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If it wasn’t already obvious based on lead single “Texas,” Austin Band To Watch Font have completely transformed their sound for sophomore album American Bully XL. Whereas Font’s debut Strange Burden could loosely be described as dance-punk, I compared “Texas” to fellow Austin band Hovvdy’s gauzy indie-pop. Now comes a second single, which pushes further into new sonic territory.
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In Endless Awe & Agony, the long-awaited debut album from the Australian hyperpop artist daine, is finally coming out next month, and we’ve already posted their singles “PQC,” “Love Love (Love Love),” and the aldn collab “I Used To Kill,” as well as their cover of Martin Solveig and Dragonette’s “Hello.” Their new single “Wishing Well” doesn’t sound much like the others. It’s a gentle ballad full of country-adjacent acoustic instrumentation, but it still has the sheen of intentional artificiality all over it. It’s pretty, and it’s also interesting. Listen below.
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You can tell from his stage name alone that Thundercat is exactly the type of artist to lend his music to some late 20th century pop cultural nostalgia. He’s done just that today, following up this year’s album Distracted with a new Sonic The Hedgehog tie-in.
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Aerosmith aren’t quite done yet. Maybe they should be done, what with the still-pending sexual assault lawsuit against Steven Tyler and all. After the band postponed their farewell tour a bunch of times, they canceled it in 2024, announcing that they were retiring from the road. Last year, they released their first new music in 12 years, and it was an EP with Yungblud. Their Disney World rollercoaster is now a Muppets rollercoaster. But despite all those signs from the universe, Aerosmith have evidently decided that they’ve got at least two live shows left in them.
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Lorenzo Senni is back. The electronic producer has announced his first new album in six years, All Ages, set for release on Warp next month. It features Xiu Xiu’s Jamie Stewart on one track, and on the opener, Senni brings in two of the biggest names in American skateboarding.
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St. Vincent was at Paris Fashion Week on Monday to provide a live soundtrack for Gabriela Hearst’s spring 2027 collection, which was inspired by Afghan women’s textile traditions. Annie Clark’s stripped down four-song set in the courtyard of the Petit Palais included three of her own tunes — it was bracketed by MASSEDUCTION singles “New York” and “Los Ageless” and featured “Violent Times” from 2024’s All Born Screaming — but most notably, she covered the Yeah Yeah Yeahs.
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It’s been years since we’ve checked in with Scottish composer and electronic musician Anna Meredith. In recent years she’s released all kinds of projects including the bumper car sound installation Bumps Per Minute: 18 Studies For Dodgems, a collaboration with the string quartet Ligeti Quartet called Nuc, and soundtracks for the movies The End We Start From and Thursday. More recently, she scored Wicker, a Sundance fantasy comedy starring Olivia Colman and Alexander Skarsgård, set for release Oct. 23 in the United States.
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