Delivering a mix of rock, soul, melody, punk, and a dash of classic psychedelic sensibilities, The Flavor That Kills released their edgy, genre-fluid album Thunderbird Lodge

Punk-funk band Def Nettle release kinetic new single ‘The Party’ on Friday April 24th 2026, alongside a remix version by GLOK – aka Andy Bell (Ride, Oasis).

While Gifts paid tribute to Duke Ellington’s co-composer Billy Strayhorn, Transcend salutes the man himself, with a similar blend of challenging originals and Ellington classics.

The unique intensities of OOIOO and Lightning Bolt make for a well-paired split LP from two of Thrill Jockey’s most enduring acts.

What emerges is not a conventional city portrait but a layered acoustic map of San Antonio as it is remembered, mythologized, and continuously reinterpreted. Capps does not attempt to simplify this complexity; he amplifies it, allowing contradiction, humor, devotion, and noise to coexist without resolution.

‘Under My Umbrella’ succeeds because it treats emotional complexity as a landscape worth mapping in detail. Miss Grit does not present clarity as a destination but as a fleeting state, one that must be continually renegotiated. In doing so, the album becomes a quiet act of defiance against the pressure to appear resolved.

‘Making Colors’ does not present improvisation as a display of virtuosity, but as a method of inquiry. It asks how sound can be organized without predetermined structure; how three distinct voices can converge without losing their individuality.

‘Dawn Club’ operates as a study in subtle transformation, where shifts in tone and texture carry as much significance as melody or rhythm. Rather than presenting a series of discrete compositions, Osmium House offers a continuous environment, one that invites immersion without demanding resolution.

By revisiting these neglected seeds, David J has cultivated a bloom that is both striking and profound. ‘Tracks From the Attic Revisited’ is a rare instance where the dialogue between an artist and their past results in a future that feels both inevitable and essential.

Rather than resolving the album’s thematic threads, it holds them in suspension, allowing ecological and temporal motifs to coexist without closure.

‘Shop Talk’ does not seek to overwhelm; it persuades through focus, leaving an impression that lingers not because it demands it, but because it earns it.

Hailing from Olympia, Washington, Storm Boy is a post-hardcore collective born where punk urgency collides with sweat-soaked joy. The project combines guitarist/vocalist Chas Roberts, drummer Jeremy Anderson, guitarist/vocalist Charli Beaumont, and bassist Kuba Bednarek — each one bringing their own momentum, muscle, and push to the room. The result is a Pixies meets Fucked Up at a Chuck Ragan hosted birthday party for Ian MacKaye…basically — it’s big.

Paula Boggs Band blends Americana and jazz. With a “Seattle-Brewed Soulgrass” sound, the band has performed across the US and British Columbia since 2008 and released its first album, “Buddha State of Mind” in 2010. 2022’s studio album “Janus.” The band released “Live at Sweetwater Music Hall” in 2024 and just released their 5th studio album, “Sumatra,”in March 2026. Paula Boggs Band is sponsored by Deering Banjo Company, Breedlove Guitars, Radial Engineering, and is an Ear Trumpet Labs Ambassador.

Mt. Kili, the brainchild of Asheville, North Carolina singer-songwriter Rick Sichta, has carved out a distinctive space in the contemporary folk landscape with a sound that defies easy categorization. Drawing from his transformative backpacking experiences through China, Tibet, and his trek to Mt. Everest — experiences that inspired the project’s evocative name—Sichta creates music that resonates with heartfelt authenticity and universal emotional depth.

Minneapolis-based indie rock band THE LONG HONEYMOON has been filling venues and exciting fans for more than 3 years with their high-energy shows, featuring original songs with their signature multi-part harmonies, deft arrangements and tight grooves. It’s members, veterans of a variety of beloved Twin Cities’ bands (The Humbugs, Lee Rude, Atomic Flea, The Bazillions, Charlie Bucket, and The Radio Spares), combine a deep love of classic pop-rock with a modern sound and joyous spirit.

Based in Houston, Texas, A.G. McIntosh is a singer-songwriter who collaborated with Kris Klein (of Squad Five-O fame) and pianist Jon Davis for his latest release, “Better Than the Last”. The single delves into the artist’s journey into fatherhood and introspection. The song reflects on past mistakes and the desire to become a better person. With a stripped-down style and punk-influenced vocals, the track stands out for its emotional depth and pro-family message. This single is a foretaste of the forthcoming 6-song EP to be released in the fall of 2026.

There’s a kind of exhaustion that just sits there and doesn’t leave. “Against the Waves” comes out of that. Not a protest song. Just pressure. Political tension in the background, getting older, things not resolving. Still pushing through it. It opens on a simple 80s leaning line, then widens into something heavier. The chorus feels like distant horns through fog. Vocals are layered and blurred, more about weight than clarity, before everything pulls into a final crescendo.

Bliss Abyss is throwing its self-titled album out there, as shoegazing bends are carried by power-pop and post-punk tunefulness, with head designer Peter Wallner leading the way.

Floating Sheep is a fresh ensemble bringing new, vibrant, and cutting-edge jazz to the stage. The group performs original compositions influenced by contemporary global music trends—blending ceremonial sounds and electronic textures, all rooted in the pure art of live performance and improvisation. At the forefront of their sound is an instrument rarely seen in the genre: a set of Handpans. The unique sonic texture of the handpan leads the ensemble’s identity.

It’s not simply a matter of writing straight jazz melodies and ornamenting them with buzzes, thuds, clanks, and other noises – the nine songs captured here incorporate the clamor.

Darling Black is a minimal wave / synth pop solo project created by artist & community builder, Dylan Hundley. Dylan is also the lead singer of NY based Lulu Lewis, the host of Radar on The Vinyl District featuring conversations with musical artists & leaders, and the curator of Salon Lulu which is a monthly multi-disciplinary music & art series held at various locations in NYC & Brooklyn.

Island Ghosts, the sophomore album from Toronto bassist, composer, and bandleader Alex Lakusta, arrives April 17, 2026 on release guru. Written for a six-piece ensemble, it blends modern jazz detail, post-rock scale, fusion edge, and electronic warmth into a memory-soaked, cinematic arc. Led by melodic, narrative basslines and patient, widescreen arrangements, Island Ghosts extends the promise of 2022’s Transmit Slow into a cohesive, emotionally precise world.

Tabitha Zu originally released “On Reality” on 26 October 1992 (TLF 003, 12” only). The single captured the band at their full force – a driving, energetic and magnetic track that translated their compelling and exciting live energy onto vinyl. Now, over three decades later, “On Reality” is finally being released across all major digital platforms – bringing this long-unavailable recording to a new audience while reconnecting longtime listeners with a vital moment in the band’s history.

As the final single released ahead of the full album Signals in the Dark, “Please Don’t Make Me Come Back From the Moon” finds E.G. Phillips suspended in orbit — broadcasting from a place of distance, quiet clarity, and deliberate withdrawal. Atmospheric, moody, and gently surreal, the track unfolds like a remote transmission, wrapped in waves of static and radio interference that blur the line between signal and silence

‘Rare And Deadly’ ultimately stands as a study in creative flux, a reminder that the most compelling work often exists just outside the boundaries of completion.

Throughout ‘lustre & shine’, Golden BooTs resist the pull of overt statement, instead allowing meaning to accumulate through texture, repetition, and subtle variation. What emerges is a record that values nuance over declaration, inviting close attention while maintaining an unforced, unassuming presence.

The guitars and synths, handled by members whose identities blur into the project’s shared ethos, rarely function in isolation, instead forming a shifting surface over which the rhythm section exerts quiet authority. That foundation allows Diver’s voice to move freely, delivering observations that are at once detached and incisive.

What ultimately distinguishes ‘RIGHTEOUS LIGHT’ is its ability to condense a wide range of ideas into a tightly controlled framework. D.Sablu and collaborators avoid the temptation to overextend, instead focusing on how much can be communicated within clear limits.

Choncy approach punk not as a fixed tradition but as an open question, one that ‘Trademark’ refuses to answer definitively. By dismantling the idea of a singular voice or style, the band arrives at something more fluid, more elusive, and ultimately more compelling.

Taken together, ‘The Closet Tapes Vol. 1’ and ‘The Closet Tapes Vol. 2’ resist the conventional expectations of an archival release. Rather than consolidating a past body of work into a definitive statement, they present a living archive, one that acknowledges the provisional nature of creation and the value of preserving ideas in their most immediate form.

What ultimately defines ‘Hoggar’ is its sense of purpose. It is a work that acknowledges its own lineage while quietly extending it, ensuring that the music remains not only relevant, but alive.

Trujillo’s work here situates itself within contemporary jazz discourse not by expanding its vocabulary in abstract terms, but by reasserting the importance of collective presence, real-time decision-making, and the porous boundary between composition and improvisation.

‘The Ledge’ sustains its focus through interaction rather than assertion, offering a model of trio performance defined by attentiveness, restraint, and shared authorship.

Dan Moore is a keyboard player, composer and producer based in Bristol, UK. He is releasing his debut solo release, Kielder Water Music, on 6th March 2025. Kielder Water Music is a musical exploration of the Kielder Water reservoir in Northumberland, the site of a controversial redevelopment plan dating back to the 1960s.

Skin on Fire is the debut solo EP from France-born, Oxford, UK-based singer-songwriter Camille Baziadoly. The EP features Camille’s 2024 single “Skin on Fire” and follows her acclaimed 2025 collaborative album Fifteen, which saw her working with Oxford producer The Filthy Honey. Skin on Fire EP is a collection of five tracks written by Camille and produced by fast-rising UK producer Sebastian Reynolds.

Margaret Hermant is a Belgian violinist, harpist, producer and composer based in Brussels, Belgium. Well known as founder member of the globally renowned new music ensemble Echo Collective, Margaret’s debut solo album, Freedom, will be released on the Neue Meister label on 17th April 2026. Freedom follows a series of soundtrack films that Margaret has composed including 2025’s scores for films A la Cara and Mallorca Confidencial.

“After Renee Nicole Good’s murder by ICE agent Jonathan Ross here in Minneapolis on January 7, 2026, I began writing songs that more explicitly address the situation we’re in. I find the ‘protest song’ challenging, as it requires a directness that I tend to avoid in my songwriting. This is my third serious attempt as of late and the one with the most rousing, energizing chorus of the bunch. I am so moved and inspired by the bravery, intelligence, and steadfastness of my fellow Minnesotans in the Twin Cities who, against the odds, are acting tirelessly on behalf of our most vulnerable community members. This song is for them.” – Sumanth Gopinath, The Gated Community.

Untold River is the evolving solo project shaped by time spent between Manchester, Seattle and *San Luis Obispo*—three places that continue to inform both the sound and spirit of the music. Each city has left its mark not only in atmosphere, but through the collaborators encountered along the way. This latest song, self-produced, however, is very much about Manchester.

A second chunk of curator/producer Zev Feldman’s Record Store Day releases constitute a trio of veterans at the top of their game.

Lady Nade – one of the UK’s most loved and distinctive voices – returns with ‘Bloom’, the final single before her eagerly anticipated album ‘Identity’, set for release this summer.

On Friday 13 March, the Belgian band ru·is released their debut single adreamwithinadream. The song is a composition built around the eponymous poem by Edgar Allan Poe. What begins as a grounded singer-songwriter piece slowly unfolds into a cosmic death waltz – somewhere between folk noir and a hazy fever dream.

In an era dominated by singles and soundbites, the record encourages listeners to slow down and engage with its full emotional and tonal range, moving fluidly between reflection, humor, and seriousness. Although not originally conceived as a concept album, the songs reveal a strong sense of unity when heard in sequence. That cohesion led Roensch to imagine the album being played in a favorite dive bar, one that values interesting music and attentive listening, which ultimately inspired the album’s title.

Merwulf is a Portland-based art punk trio balancing tension and humor, built around distorted bass, driving drums, and unusual keyboard textures. “The Mountain Lion” is one of the band’s most emotionally direct songs to date. Written about the death of a parent, it starts sparse and assertive before building into a full-band crescendo that hits like a wave, then recedes into quiet.

Sha-La Music announces the release of the On E Street Remix EP by US Roots Rocker DownTown Mystic on April 3. The EP features the Rock’n‘Roll Hall of Fame rhythm section from Bruce Springsteen’s legendary E Street Band: drummer “Mighty” Max Weinberg & bassist Garry Tallent.

Lamentations features six tracks, including the singles “Milogather Parts 1 & 2” and “Sin Again”. Elsewhere the EP moves from the acoustic folk ramble of “Water Buffalo” to the off-beat groove of “Green Veil” before closing with “Bells Palsy,” a stomping track inspired by frontman Caleb’s brief experience with the facial paralysis syndrome.

For Record Store Day (and a week later on CD), a veritable tidal wave of releases have washed over us, including this fine quartet by jazz pianists of different visions.

Danny Django, hailing from Colorado Springs, is an indie alternative rock artist who is making waves with his sixth studio album, The Peach Orchard Field. With a passion for storytelling through music, Danny has captivated audiences across the United States with his unique sound. Having written and recorded all the songs in his basement studio, Danny brings a raw and authentic energy to his music that resonates with listeners.

Mixed and produced by Darryll McFadyen (Belle & Sebastian, Simple Minds) with Montreal-based studio musician Marcelo Effori stepping in for the drumming. Kevin Franco penned the lyrics and made all of the other sounds you hear on this track

Sungaze is examining nostalgia without rose-colored glasses. “I’m No Longer Afraid of Heights”, the alternative band’s fullest exploration of Midwest emo to date, is a poetic track that juxtaposes the warmth of childhood memory with the stagnation of adulthood left unlived. The single and climactic music video arrive on April 10, with the album to follow on May 22.

Eddie Cohn, a talented artist hailing from Los Angeles, has brought together a powerhouse of musicians for his latest release. Collaborating with LA-based musicians Jake Reed and Sean Hurley, as well as Brett Farkas, Phil Peterson, and Kevin Penner, Cohn has crafted a unique sound that blends acoustic and electric elements seamlessly. With a nod to influences such as Soundgarden, Nirvana, Tom Petty, and Beck, Cohn’s music delivers a punchy yet emotionally resonant listening experience.