Across “House of 70’s” and “Bye Bye Johnny Viola,” Chris Connelly moves through two charged moments in Lou Reed’s history, first inhabiting the grease and nervous glamour of 1970s New York, then tracing the colder aftermath of John Cale’s departure from The Velvet Underground.

Twelve-inch, forty-five rpm extended play records aren’t dead! And Hunter Watts should know, cuz he has produced one doozy of an example of one.

Deadlight Dance are a Wiltshire, UK-based ’80s alternative/goth duo comprised of Nick Fletcher and Tim Emery.

Inspired by a shared passion for the sights, sounds, and creative experimentation of the mid-to-late 1960s, The Crystal Teardrop brings you a unique blend of garage rock, psychedelia, and acid folk.

“Forever Remember” feels like the song Oasis forgot to release. A guitar-led indie rock anthem with Britpop swagger, atmospheric synths, warm acoustic textures and a huge, uplifting chorus built for the open road.

DEATĦ B¥ LØVE turn “In Unity” into a dark industrial tribute shaped by Wieloryb’s final work, with Inga Habiba’s voice cutting through distortion, repetition, and mechanical weight.

Soft Science keep “Fade” gentle and guitar heavy, pairing shimmering guitars with Katie Haley’s soft vocal to turn a song about fading memory into something warm, intimate, and quietly propulsive.

Nowhere Flower’s homemade music becomes a quiet form of resistance, a reminder that even in huge destruction, one person can still arrange fragments into something like hope.

The Room let “Temptation Harbour” unfold slowly, with smooth, repeated vocals moving through a story while Darren Brown’s guitar supplies the song’s clearest sense of beauty and movement.

Bishop has made an acoustic-guitar record that sits somewhere between folklore and hallucination. The eight pieces don’t rebuild a vanished America. They invent one, out of the leftovers of family history and the stubborn mystery of place.

Tiny Magnetic Pets move from airy trance and bright synth textures into two increasingly physical “Low Places” remixes, giving Astralux the rush and colour of classic electronic club music without losing the band’s melodic core.

Prolapse understood that live music is at its best when control and risk share the stage, and these recordings make that the whole point. ‘Mary Anne Hobbs sessions 17.12.97-24.03.98’ is a vivid portrait of a remarkable band that wouldn’t let its own identity harden into a cage.

SICKY turns repetition into character on “Bubblegum Party,” stacking bright hooks over a low guitar pulse while a playful revenge story gives its sweetness a sharper edge.

Then Comes Silence give “Judgement Day” a loose, wiry pulse, pairing sharp post punk hooks with a theatrical gothic video and a strangely celebratory approach to consequence.

Caulbearers’ “Brothers At The Wheel” begins in a deep, easy groove before violin, guitar, and Ruth Blake’s soaring vocal pull the track into something larger and more defiant.

This LP reissue of Lewis’ classic album from 2000 sounds every bit as good (and as modern/relevant) as one would hope!

Bandleader Stephan Thelen blends the two main strains of his work here, adding the classical sweep from his string quartet compositions to the drive of his rock songs so the movements gain a symphonic grandeur.

The band treats their influences as raw material, shaped by their vocal interplay and by letting the group’s playing decide how the songs are arranged. Chaos here isn’t something that throws the record off balance. It’s what the songs grow out of, with melody, rhythm and voice constantly trading places inside the same frame.

What makes ‘The Weight’ stick is that it doesn’t treat sadness as a style choice. The heaviness here comes from somewhere human. Under the guitars and pounding drums is the knowledge that some burdens become part of you even after you’ve learned their names.

‘Right Here, Right Now’ is about being present without being sure of anything. Winyah get that being fully alive in the moment is thrilling and disorienting at the same time, and their best songs don’t try to separate the two.

Trabants aren’t trying to prove psychedelia is still relevant. They’re having too much fun bending it into new shapes. ‘Mirage’ is colorful, playful, strange and now and then beautiful, with enough personality to make nostalgia beside the point.

Only Human is Tallulah Rendall’s seventh album: an intimate, cinematic exploration of mental health, fear, shame, belonging and resilience.

DownTown Mystic is the alter ego of American Rocker, Robert Allen, whose passion for “old school” recording borders on obsession.

Lowsunday’s “Call Silence” is pulled in two distinct directions, with Psychotribe turning its tension into dark electronic motion while Sam Rosenthal strips it back to something colder, quieter, and more exposed.

Laurent Moitrot’s “The High Life” pairs gritty blues rock swagger with an unexpectedly poignant portrait of communal life, loneliness, humour, and the possibility of starting again.

The album is about getting through, and about finding you can mourn one thing and celebrate another on the same afternoon. Breakup albums tend to curdle into self-pity and new-love albums into syrup. This one keeps both feelings going at once, which is harder than it sounds.

Concept albums have a long record of embarrassing the people who attempt them, and nearly sixty years after ‘Pepper’ and ‘Village Green’ the form invites a raised eyebrow. Driveway Ceiling clearly didn’t get the memo, and we should all be glad for it.

Wavey writes plainly about the Black experience, and that specificity is why the songs reach beyond it. The anger is aimed at something real, so people recognize it. Anyone who has sat through one indignity too many and decided it was the last will know this voice.

These songs came out of the circle around the young Slumberland Records label, where bands raised on hardcore’s urgency started sneaking sweetness into the racket. Velocity Girl had several strong songwriters, so the collection never settles into one mood.

Some reissues are just housekeeping. This one is worth the trip back.

Cusumano’s best quality is that he’s a smart writer who doesn’t use that as cover. The cynicism is real, but so is the decency underneath it, the part that still cares enough to be angry.

The album reimagines iconic ’80s hits by artists including Rick Springfield, John Mellencamp, Dire Straits, and Pat Benatar, reflecting themes of reinvention, courage, and creative renewal.

Veteran purveyor of melancholia and introspection releases saddest record of all time.

Californian-turned-Minnesotan Cassandra Cole is a Twin Cities–based singer-songwriter and performer, known for her unique blend of alternative soul rooted in raw emotion and modern edge.

Wiltshire-based independent singer-songwriter JP Oldfield’s new concept EP, Saltwater Gospel, is a six-part maritime tale of grief, vengeance, mortality and acceptance.

When it comes to artists following their muse wherever she leads, there’s no one like William Parker.

Bad Valentine are Helsinki rockers who owe a few pints to the British and American punk rock pioneers and 1970s arena rock acts, as well as the masters of 1960s pop rock.

The Wrong Man is a London-based melodic indie project.

‘III’ is incredibly refreshing because it refuses to let a short runtime limit its scale. Despite its brief running time, the record’s ambition is enormous. It’s loaded with literary nods, twisty rhythms, and hooks that stick the landing. The band even teases itself for being so clever. They seem to know that a curious mind is at its most powerful when it’s having fun.

‘Desire Path’ is an album about the paths we take through our own past, especially when the reality of what happened doesn’t match what we remember. Absolutely Yours take these questions and surround them with bright guitar playing and melodies that sound instantly familiar giving a sense of warmth and protection.

‘Very Beginning of Red Go-Cart’ documents a band learning through imitation, home recording, live performance, experimentation, and sheer enthusiasm. Thirty years later, the songs retain the exhilaration of that discovery because they were made before red go-cart had any obligation to live up to a reputation.

What lingers after the fourteen songs is not any single stylistic reference but the band’s ability to make limitation feel liberating. Los Costones do not need elaborate arrangements or immaculate surfaces. They have guitars, drums, Farfisa, voices, and a remarkable instinct for repetition.

The Drin possess a sense of humor that prevents the album’s darker ideas from becoming self-important. A title can sound ominous, ridiculous or both, and the music leaves room for that ambiguity. This is important because beneath the strange surfaces of ‘I Lost My Way For Centuries’ is a band making very deliberate decisions about rhythm, timbre and repetition.

And they are loud, though not in a blunt way. Harms uses a tuning borrowed from Elliott Smith’s whispery, close-up style and then cranks it to a level that would probably have made Smith wince. Strange as that may sound, it works, because the confession never drowns in the noise.

Vantablack is a literary splatterpunk chamber doom/drone band founded by Scottish author Chris Kelso and composer Nick Hudson and Stuart Dahlquist.

Minnesota folk band Wren + Wilde explores the tension between heartache and hope on its debut album, Serial Dreamers.

There’s something truly special about Myra Melford’s Fire and Water Quintet.

Growing up in New York, Mark Newman’s musical journey has taken him around the world several times as both sideman and singer/songwriter.

Legendary jazz and hip-hop fusionists Us3 serve up a refreshingly tasty treat with their much-anticipated 11th album, Snap, Crackle & Bop!

Hailing from the coastal town of Bexhill in East Sussex, Korda Korder have emerged as one of the UK’s most exciting dream-pop prospects.