Music

from Mysterious Phonk: The Chronicles of SpaceGhostPurrp

from Neō Wax Bloom

from New Wounds

from Terminals

from Isengrind, Natural Snow Buildings, & TwinSisterMoon – The Snowbringer Cult, one of the greatest albums ever made, but do not put it on the aux publicly (for your own safety)

from Autechre Guitar, which is very impressive to me (if posting it on this site five or six times didn’t give it away)

The growing Aadam Jacobs Collection is an internet treasure trove for music lovers, especially for fans of indie and punk rock during the 1980s through the early 2000s, when the scene blossomed and became mainstream. The collection features early-in-their-career performances from alternative and experimental artists like R.E.M., The Cure, The Pixies, The Replacements, Depeche Mode, Stereolab, Sonic Youth and Björk.

Manowar founder and (former) guitarist, Ross "The Boss" Friedman, has died at the age of 72

‘I’m of an era, really, where nobody ever got old,” says Pete Tong with a smile. Certainly not in the rave scene. “When you start, you never think you’re going to be doing it for that long. But then, equally, you don’t think it’s going to only be for, like, two years or 10 years. You just don’t think about it.” The dawn of dance music in the 80s was far too exciting to worry about when the party might end – and there is no sign it is about to. Tong is still presenting his BBC Radio 1 dance music show 35 years later, as well as running a record label. Last year, he says, he had more gigs than he has for ages.

Brother by Red Vox, released 30 January 2026

Now a Grammy got in the right hands. Yungblud’s performance was brilliant, a high moment for his career.

The murder of Alex Pretti was horrifically shocking, all the more so as we are still reeling from the images of the murder of Renee Good. That these crimes can be committed in broad daylight, on camera and yet no one is held accountable only adds to the injustice.

From today’s “wait, he’s still relevant?” file:

Emerging stars are starting to critique Trump’s immigration crackdown – defying the genre’s legacy of conservatism

Since its publication a year ago, Liz Pelly’s Mood Machine: The Rise of Spotify and the Costs of the Perfect Playlist has become the go-to resource for anyone who cares about the meaning and worth of music in the streaming era. It’s a damning critique of the industry’s biggest streaming player, Spotify, that lays out how the company’s crass practices have served to turn music—our most visceral art form—into a background concern while devaluing it in a very literal sense, too. Through deep reporting and an unwavering ethical framework, Pelly took Spotify to task. As the book became a national bestseller, the streamer’s continued misdeeds were put under a microscope throughout 2025, leading to a steady drumbeat of negative press and many artists leaving the platform in disgust.

There has been a noticeable uptick this year in the number of bloggers encouraging their readers to quit Spotify. This makes sense, as there are plenty good reasons to quit Spotify (ranging from its failure to pay artists fairly to its CEO’s reprehensible decision to invest in an AI military startup). What I don’t get, though, is why so many bloggers are promoting supposedly “better” streaming alternatives instead of encouraging us to consider leaving music subscription services behind entirely.

FINALLY FULL SONG RELEASED! FUCK YEAH!