The second chapter in Gong’s legendary Radio Gnome Invisible trilogy, Angel’s Egg takes the story deeper into the surreal, otherworldly universe first introduced on Flying Teapot. Originally released in 1973, the album follows the continuing adventures of Zero the Hero and the Pot Head Pixies, expanding Daevid Allen’s visionary mythology into an even more ambitious world of flying teapots, cosmic transmissions, spiritual awakening, and playful rebellion.
Musically, Angel’s Egg pushes Gong’s unique fusion of psychedelic rock, progressive experimentation, jazz improvisation, and anarchic humour into new territory. With its hypnotic grooves, swirling synthesizers, gliding guitars, saxophone excursions, and eccentric vocal…
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Remastered from the original BYG Records tapes and cut for the first time ever at half-speed at the UK’s world-famous Stardelta Studios by Grammy Award–winning mastering engineer Lewis Hopkin, this exclusive RSD 2026 edition features a deluxe gatefold sleeve, archival artwork, and a 16-page booklet exploring the storytelling and mythology of the beloved Radio Gnome Invisible saga. Released under BYG Records – the original label that recorded the album before licensing it to Virgin – this definitive deluxe reissue delivers the best sound quality 
Philosophising about life comes naturally to Eels’ Mark Oliver Everett. On his 16th studio album, 
It’s hard not to feel disillusioned by the state of the world right now. It’s getting harder to scrape by; our algorithms are a constant whiplash between images of genocide and manmade destruction and TikTok Shop hauls that will end up in rotting landfills; and it feels like few in power are interested in helping anyone besides the rich. Why not just give up, stop caring and bury your head in the sand?
There are albums that demand your attention and others that seem to invite you to fall into them. Kingfisher, the new album from Northumbrian folk duo 
Scary movies usually end. Whatever has appeared at the window or risen from the grave is gone by the credits. The viewer always has the option to leave. Life offers no such sympathetic division. In her memoir Blue Light of the Screen, Claire Cronin wrote about the frightening images that follow us out of the cinema, finding their way into ordinary life. On 
Jonathan Personne is the solo alias of Jonathan Robert, a Montreal-based singer, songwriter, multi-instrumentalist and frontman for Sub Pop band Corridor. His fifth album under the alias is a lovely sweet of dreamy psych-pop with Jonathan largely singing in French atop his warm, lush, welcoming arrangements.
Several months after 
The last time that ominous waves of synth, the sharp clack and echo of gate reverbed drums and a pervading sense of unease like this dominated the airwaves, the 1980s had just dawned. Joy Division had come to its unfortunate end, but New Order was just getting going. The more playful, but still doomy, Depeche Mode offered up a dance beat under the sounds of annihilation. And Margeret Thatcher has just begun her project of cutting the floor out from under working people’s feet, launching a brutal austerity campaign that made life desolate for ordinary Brits.
If I Let It Quiet is the fourth album by the Salt Lake City-based singer-songwriter 
Of all the parts that make up the creative process, time and effort seem most devalued today. This applies to many expressive outlets beyond music, whether the visual arts or written journalism; even furniture making and design put little stock in the learned skill of executing a refined style of carving or decorative embellishment in an age when speedy self-assembly is force-fed to anyone looking for new homeware. And it has absolutely impacted music, with the technology of the day facilitating quick recording and release far above any thought of the subtleties that can lift a record or sequence of songs to another level of deep listening experience. And it is this very same disease of quickfire disposability that 
Being cynical, feeling a bit jaded: it’s a common condition when it comes to a genre as well established as rock. So when someone tells you about a new band doing interesting things in a grungy, punk-pop vein, it can be all too easy to roll your eyes and assume that it’s all been done before, and better. But sometimes curiosity wins out, you press play, and a song like “GirlVsHeart” hits you full in the face with crashing drums and gleefully thrashing guitar. Instantly you’re hooked and lock into a record that turns out to be a stomping joyride of youthful angst and, along the way, offers up a few surprises.
Sometimes, a new album’s opening track shows you a band picking up right where they left off. In 2024, Philly indie rockers 
Somewhere in the middle of the Bone Bame touring cycle, 10LEC6 stopped being able to work. Nicole, the singer whose voice is the entire centre of the group, was served an OQTF, the French administrative order requiring a person to leave the country. The practical result was that the band could not honour festival bookings outside France. A Paris collective built almost entirely on movement, on diaspora, on rhythms carried between continents, was pinned to one territory by paperwork. It was Nicole who then told the others the legend of 
Future modal jazz dub, heard thru a Y2K lens by legendary blowers Pharaoh Sanders & Graham Haynes, and diffused in Bill Laswell’s illbient dub style & pattern. A slept-on, cross-generational ace sure to pique interest FFO Jon Hassell to Talvin Singh, Lászlo Hortobágyi to Material.
To some extent, a person is an entity made up of the things they have experienced. The same could be said of a band, and few bands embody this idea as succinctly as Good Habits. The core songwriting duo of Bonnie Schwarz (cello, vocals) and Pete Shaw (accordion, synths) first began recording together while stranded in New Zealand during the Covid-19 pandemic.