BABYMETAL return with their powerful new album METAL FORTH, a bold evolution of their genre-defying fusion of J-pop and heavy metal, including features from Poppy, Slaughter To Prevail, Tom Morello and Bloodywood. Following the conceptual depths of The Other One, METAL FORTH signals a new chapter, blending thunderous riffs, soaring vocals, and high-energy choreography. Building on their global legacy this release reaffirms BABYMETAL’s status as pioneers pushing metal into the future.

"moisturizer is the bold, second album from Wet Leg, the Isle of Wight five-piece founded by Rhian Teasdale and Hester Chambers. Joined by Ellis Durand, Henry Holmes, and Joshua Mobaraki, Wet Leg has spent the past few years on the road, evolving into a feral, electrifying live force. This new record captures that energy, delivering a sound that’s tighter, bolder, and more self-assured, yet still brimming with the same quick wit and raw, unrefined energy. Isolated in a remote house in the countryside, moisturizer was written in a creative frenzy, diving into themes of obsession and all-consuming love. While their 2022 debut earned Grammy wins and chart-topping success, moisturizer brings the bite: brash guitars, heavy beats, and a fearless devotion to feeling everything—all at once."

The Hives Forever, Forever The Hives is the band’s 7th studio LP, a razor-sharp culmination of their rupturing, signature “powder-keg” (NYT) rock n roll energy that initially captured the zeitgeist during the garage rock revival in the early 2000s. The Hives continue to reach sky-high on the new album, with the majority of it recorded in one take at Yung Lean/YEAR0001’s studio and riksmixningsverket – a studio owned by Benny Andersson of ABBA in Stockholm. The record was produced by their longtime collaborator Pelle Gunnerfeldt (Viagra Boys, Yung Lean, Elvira) as well as the band’s old tourmate Mike D of the Beastie Boys, who flew out to Sweden specifically to work on the album and hosted the band at his studio in Malibu. Josh Homme of Queens of the Stone Age consulted on the record, too.

A decade after it's release, Carrie & Lowell continues to resonate as one of Sufjan Stevens' most personal and beloved albums-"a fall-down gorgeous and emotionally devastating masterpiece" (The Guardian). To mark the anniversary, Asthmatic Kitty Records presents Carrie & Lowell - 10th Anniversary Edition, featuring seven never-before-released demos that offer a rare window into the album's creation. With updated cover art, a beautifully designed 40-page booklet and new essay reflecting on the album by Sufjan, this special edition celebrates and expands the legacy of one of his most cherished works. Arriving on May 30, 2025, this anniversary edition is a must-listen for fans and newcomers alike, inviting listeners to experience the music's evolution and reflect on the raw emotional landscapes that influenced it's creation.

Kesha’s new album, "." (Yes, it's just a period.) is an unapologetic declaration of artistic freedom and fearless authenticity. With over 3 billion streams, 10 Top 10 hits, four #1 pop radio singles, and two chart-topping albums, this two-time Grammy nominee has consistently redefined the boundaries of pop music. Now, independently releasing under her own label, Kesha Records, she’s liberated from constraints, taking complete ownership of her voice and vision. On . (PERIOD) Kesha transcends pop norms to create a raw, daring, and intensely personal sonic journey with the entire project conceived, co-produced and written by Kesha. It’s more than an album—it's a defiant act of self-expression, refusing to adhere to expectations or play it safe. Unfiltered, audacious, and vibrant, this record finds Kesha at her most powerful, turning her experiences into unapologetic art. Breaking free and fully in control, . (PERIOD) isn’t just music— it's Kesha unfiltered, fearless, with a spiked heel at the neck of pop culture.

An exclusive vinyl offering to celebrate the 'To Pimp A Butterfly' 10-year anniversary.

CLEOPATRICK’s sophomore album, FAKE MOON, is a daring leap into new territory for the Cobourg Ontario-based post-rock duo. It’s a record spanning time, influence, and sound, blending lo-fi intimacy with grand, expansive production. For Luke Gruntz and Ian Fraser, this album represents more than just a sonic shift – it’s a bold solidification of their ever-developing creative identity. “It’s the most real thing we could have made,” Luke shares. “I wanted to do something beautiful. It’s a struggle between control and surrender, individuality and belonging. It’s where we are now.” Returning refreshed from a creative breather, after the rigorous post-pandemic touring of debut LP BUMMER, the newest record on their own ‘Nowhere Special Recordings’ is a captivating collision of lo-fi grit, quiet introspection, and overt existentialism. Anchored in refusal of conformity, and captured with what can only be described as the audio equivalent to Playstation 1 graphics FAKE MOON navigates power, vulnerability, and the complexities of individual identity with both rawness and precision. Take ‘HEAT DEATH,’ a visceral opener born out of a corrupted demo session that required a painstaking, stem-by-stem rescue operation that Luke describes as “The will of a technocracy foiled by two humble men.” The song channels its own chaotic origins into a sovereign anthem of defiance, daring a universal authority to “take it from me, man.” FAKE MOON is CLEOPATRICK at their most adventurous. Look overhead and perhaps you’ll spot the orbiting influences of Radiohead’s experimental brilliance, the grounded surrealism of Dijon’s Absolutely, or the raw intimacy of favourites since highschool, Califone. “We’re just trusting our creative compass,” they say. “I actually tried to write BUMMER 2 at first – but it immediately felt as if I was putting on the costume of a 23 year old me. It wasn't coming out honest.” When it came to recording, the pair slowed the process and expanded their crew for the first time. Theyenlisted respected guitarist and multi-instrumentalist Mike Haldeman and the expertise of producer Philip Weinrobe (Adrianne Lenker/Hand Habits/Tomberlin). Hunkered down in Weinrobe’s Brooklyn studio, together they shaped the sound from an “as long as it feels good, it sounds good” approach, where the angular recordings from the pair’s instinctive style of throwing up mics and tracking on whatever device was closest formed its foundations. The lyrics on FAKE MOON are as textured and evocative as the album’s sonics, weaving narratives that feel simultaneously intimate and universal, radiating a tension between fragility and defiance, conspiracy and truth. “BAD GUY” wrestles with guilt, while “HAMMER,” written in a parked car during a Toronto heatwave, explores surrendering to authority for a fleeting sense of certainty. “SARAH” digs into the romance of collective identity, while “PLEASE” reflects on the magnetic pull of groupthink, with its robo-folk soundscape eventually degrading into a somber puddle of digital slush. The concepts and characters on FAKE MOON often manifest as something liminal and nonlinear – like snapshots of emotions or thoughts mid-process. “SOFTDRIVE” takes this even further, as the sprawling instrumental is pieced together from years of recovered demos, videos, and voice notes off a once-busted college hard drive. The result of which is a swirling audio collage that somehow possesses both the intensity of a space shuttle launch and the frictionless peace of a near earth orbit – mirroring the duality of the record itself. Nominated for Canada’s 2022 JUNO as “Breakthrough Group of the Year,” CLEOPATRICK have amassed over 100 million streams alongside multiple sell-out tours in the US, UK, and EU, performed at festivals Lollapalooza, Austin City Limits, and Reading/Leeds, and supported Royal Blood on their US tour. With FAKE MOON, the duo ventures deeper inward, crafting a record that reasserts their artistic ability while holding true to themselves. “This album is one of the clearest steps forward we’ve ever taken,” they say. “We’re immensely proud of it, and we can’t wait to share it with everyone.

D R E A M S I C L E marks the highly anticipated 4th studio album from Grammy-winning singer-songwriter Maren Morris, arriving May 9 via Columbia Records. Featuring songs written by Morris with Julia Michaels and Tobias Jesso Jr, plus production by Jack Antonoff and Greg Kurstin, this album is a deeply personal exploration of transformation, resilience, and self-discovery. As Morris describes it, “D R E A M S I C L E takes place in the aftermath of loosening my grip on my personal and professional life. Sweeping through the pits of grief, but never staying too long, and finding the joy in knowing that at my core, I’m still who I am – and that’s pretty f-ing great. D R E A M S I C L E became less about the hard lessons and more about enjoying the bumpy ride and finding people who genuinely want to be on it with you because they love you. It’s about appreciating and respecting the beauty and nuances of life while it’s happening, not after it’s too late.”  LP pressed on juice-colored vinyl.

Released in November 2000, the Tomorrow Comes Today EP returns to celebrate 25 years of Gorillaz. Pressed on 140g white and blue colour-in-colour 12” vinyl for the first time, the EP is housed in a single sleeve featuring the original cover artwork. Side 1 includes the singles Rock The House and the title track Tomorrow Comes Today, both of which later appeared on Gorillaz' self-titled debut album. Side 2 features a rare English-language version of Latin Simone alongside 12D3, completing the EP. Each vinyl is individually hand pressed, making every copy unique.

Miley is back with her highly anticipated 9th new studio album, Something Beautiful, arriving May 30. Something Beautiful features 13 new tracks written and produced by Miley and executive produced by Shawn Everett.

You settle into the worn seat of a subway car barely holding together, graffiti scrawled across its walls beneath flickering ads for bionic enhancements and synthetic upgrades. A mechanical voice crackles through the loudspeaker: “The next stop is… your tiny, stupid little worthless life.” This is Metro—a dark, gritty ride through rebellion, duality, and self-discovery… and The Blue Stones’ boldest album yet. The Blue Stones—vocalist and guitarist Tarek Jafar and drummer Justin Tessier—formed during their university days and inspired by the freedom of creating without boundaries, grew from playing small-town bars to headlining iconic venues like The Troubadour in Los Angeles, Electric Ballroom in London, and The Danforth Music Hall in Toronto. Along the way, they’ve racked up over 300 million streams, three JUNO nominations, and radio hits like Shakin’ Off the Rust, which topped Rock charts in Canada and hit #5 on U.S. Mainstream Rock. METRO – the band’s fourth full-length LP – takes that ethos even further. The album follows a protagonist navigating a dystopian subway, confronting a personified version of their darker side—a manifestation of their buried need for authenticity. “The subway is a metaphor for the conflict we all face,” says Tarek. “It’s about balancing societal expectations with your own self-serving desires.” The loudspeaker’s voice, eerie and detached, becomes the protagonist’s inner critic, a manifestation of societal pressure that feels alien yet inescapable. Tracks like “Your Master” and “Kill Box” burn with snarling defiance, fusing raw distorted guitar grooves with a devil-may-care energy. The baritone guitar, a new instrument for Jafar, lends to the album’s swaggy, groovy heaviness. This is evident on songs like “Come Apart,” where a heavy riff with beautiful simplicity meets brash, punchy drums with a swing groove feel—a combination signature to The Blue Stones. The opening lines of the chorus, “Woke up with a headache // Don’t know how I’m gonna work today”, offer a poignant take on today’s hyperconnected, chronically online world. Then there’s “Happy Cry,” a moment of catharsis and raw emotion. With its live-off-the-floor energy and soaring vocals, it bursts with triumphant release, capturing the thrill of starting over and embracing growth. The Blue Stones’ sound—a melting pot of rock, blues, hip-hop, and pop—has always set them apart. They thrive on contrasts and a controlled sense of chaos, both on record and during their awe-inspiring live shows. “We’ve always wanted our music to empower people,” says Justin. “This record is about reconnecting with your authentic self—the part of you buried under everyone else’s expectations.” With METRO, The Blue Stones deliver their most unfiltered, unapologetic work yet. Step aboard. The next stop is whatever you make it.

Forever Howlong is Black Country, New Road’s first studio release since 2022's UK #3 album Ants From Up There, which gave the band their second Top 5 UK album in 12 months alongside their Mercury Prize shortlisted debut For the first time, and follows 2023's Live at Bush Hall, an album The Guardian claimed was a “magical resurgence” in a triumphant five-star review. Now, on studio album three, the band are once again building from the ground up in yet another miraculous musical transformation.

The long-awaited new record was produced by James Ford (Fontaines D.C., Arctic Monkeys, Depeche Mode, Blur) and sees Black Country, New Road settled into a new shape in which vocal duties – and most of the song writing – is split between Tyler Hyde, Georgia Ellery, and May Kershaw. “It created a real through line for the album, having three girls singing," says Ellery. "It's definitely very different to Ants From Up There, because of the female perspective - and the music we've made also compliments that."

Forever Howlong is an ambitious, meticulously detailed record that includes everything from folk to prog via baroque pop and touches of alt-rock – with nods to everything from Joanna Newsom to Randy Newman via Fiona Apple and Janis Ian – yet all the while retaining that unmistakably unique sound that only this combination of musicians can come up with. Although hugely varied and expansive, the album also feels deeply cohesive and focused, as it takes three distinct voices and styles and seamlessly intersperses them into a new collective sound.

Mumford & Sons are back with their 5th studio album Rushmere, produced by Dave Cobb (Brandi Carlile, Jason Isbell, Sturgill Simpson). The 10 track album is a triumphant return to form, with upbeat foot-stompers Rushmere, Truth, & Caroline alongside tender ballads such as Monochrome & Where It Belongs. Available on 12" vinyl, CD & cassette via Glassnote Music.

Celebrate 50 years of RUSH with their first-ever complete career anthology. 50 tracks on 4 CDs and 7 180g LPs featuring selections from every studio, live, and deluxe reissue album. Igniting the experience are the very first two singles, “Not Fade Away” and “You Can’t Fight It,” remastered & reissued for the first time ever. The collection showcases 7 unreleased tracks, including five 1974 live selections with the non-album songs “Bad Boy” and “Garden Road,” a Vault Edition of “The Trees” with an alternate guitar solo, and the very last performance with Neil Peart in Los Angeles on August 1, 2015, of “What You’re Doing / Working Man / Garden Road.” The 104-page hardcover book features new Hugh Syme 50th anniversary artwork along with stunning new song illustrations, photos, and liner notes by renowned rock journalists David Fricke and Philip Wilding. Exclusive to this Super Deluxe are 20 lithos illustrating one song from each studio album and a second 100-page hardcover book The Fullness Of Time, a brand-new graphic novel by Fantoons storytelling a conversation by Geddy & Alex reminiscing on the trials, tribulations, and successes recording each studio album and how the band’s sound evolved with contributions from the producers and engineers the band worked with on their studio albums.

Because of their mix of hellified gangster shit and progressive compositions, I once jokingly called Clipping "Deathrow Tull." Well, it's not a joke anymore. While Clipping's last few projects have been record-long concepts like classic prog rock, their cyberpunk-infused new album Dead Channel Sky is mixtape-like, a carefully curated collection in which every track is a love letter to a possible present. It sounds crisp and classic at the same time. When something strikes us as retrospective and futuristic at the same time, it's a reminder of how slipshod our present moment truly is. Juxtaposing high-tech, corporate command-and-control systems (the "cyber") with the lo-fi, D.I.Y. underground (the "punk"), cyberpunk proper starts in 1982 and ends in 1999, from Blade Runner to The Matrix. Concurrently, hip-hop matured, went through it's Golden Era, then melted into further forms: it went from from Fab 5 Freddy to Public Enemy to Missy Elliott. While other genres flirted with it, hip-hop was fickle and fey. Rap and rock birthed mutant offspring maligned by most, and hip-hop's relations with electronica rarely fared any better.What if someone explicitly merged hip-hop and cyberpunk - those twin suns of the '80s and '90s - into one set and sound? After all, both movements are the result of hacking the haunted leftovers of a war-torn culture that's long since moved on.On Dead Channel Sky, Clipping texture-map the twin histories of hip-hop and cyberpunk onto an alternate present where Rammellzee and Bambaataa are the superheroes of old; where Cybotron and Mantronix are the reigning legends; where Egyptian Lover and Freestyle are debated endlessly, and Ultramag and Public Enemy are the undeniable forefathers; where the lost movements of 1980s and the 1990s are still happening: rave, trip-hop, hip-house, acid house, drum & bass, big beat-the detritus of a different timeline, the survivors of armed audio warfare. Clipping are no strangers to sci-fi: two of their records were nominated for Hugo Awards (one of science fiction's top literary prizes), and a novella spun-off from their music was nominated for a third. On Dead Channel Sky, Clipping's co-conspirators include everyone from the guitarist Nels Cline, to their labelmates Cartel Madras, rapper/actor Tia Nomore, and wordsmith Aesop Rock. Diggs is known for intricate lyrics and rapid-fire rapping, and the tracks that Snipes and Hutson build in the background are no less complex. All of the above serves to give us a glimpse of an adjacent possible present, where hip-hop and cyberpunk are one culture.Binary stars are often perceived as one object when viewed with the naked eye. Like those twin sun systems, it'll take some special equipment and some discerning attention to pull the stars apart on this record. As Diggs barks on the fire-starting "Change the Channel": Everything is very important!

Coheed and Cambria presents their forthcoming album, The Father of Make Believe, out via Virgin Music Group. The new full-length marks the 10th studio album from the New York band and continues the narrative of The Amory Wars / Vaxis universe, following their 2022 album, Vaxis Act II: A Window of the Waking Mind.

Caylee Hammack will release her 2nd full length album that will feature 13 new tracks including the already released songs- “The Hill” & “Breaking Dishes”. She co-wrote all the songs on the new album and has been featured on several tracks with other artists including- Ashley McBride, Miranda Lambert, and others. She has been nominated for the ACM-New Female Artist of the Year.

Grammy Award-winning singer/songwriter Jason Isbell is one of the most respected and celebrated artists of his generation. The North Alabama native possesses an incredible penchant for identifying and articulating some of the deepest, yet simplest, human emotions, and turning them into beautiful poetry through song. Isbell sings of the everyday human condition with thoughtful, heartfelt, and sometimes brutal honesty. After releasing multiple albums and touring the world with his band, the 400 Unit, Isbell will begin 2025 with a change of pace. He will hit the road on his own, performing solo this winter and early spring at historic music venues across Europe and the US. In conjunction with these much anticipated shows, Isbell will be releasing a new album featuring only his voice and an acoustic guitar, an all-mahogany 1940 Martin 0-17. These recordings further demonstrate his pure talent as a songwriter and musician. Produced by Gena Johnson and Jason Isbell, and recorded at Electric Lady Studios in NYC, ‘Foxes in the Snow’ is set to be released on March 7th.