VIA PRESS RELEASE | For more than four decades, Osaka, Japan’s legendary pop-punk trio Shonen Knife has remained one of the most beloved and influential underground rock bands in the world.

Formed in 1981 by sisters Naoko and Atsuko, the band built an international cult following through their infectious mix of punk rock energy, sugary pop melodies, and lyrics celebrating everyday joys like candy, animals, food, and fun. Inspired equally by ’60s girl groups, classic punk, and the Ramones, Shonen Knife created a sound entirely their own—bright, joyful, loud, and irresistibly catchy.

Over the years, the band earned admiration from artists across generations, including Nirvana, Sonic Youth, and Redd Kross. Kurt Cobain famously championed Shonen Knife in the early 1990s, helping introduce them to a massive international audience during the alternative rock explosion. Since then, the band has toured relentlessly around the globe, performing everywhere from intimate clubs to major festivals including Lollapalooza, The All Tomorrow’s Parties, and Riot Fest.

Now in 2026, Shonen Knife return with one of the most exciting releases of their storied career: Let’s Knife Re-Cut, a vibrant reimagining of their breakthrough 1992 album Let’s Knife. To be released July 10, 2026 through Good Charamel Records, the album revisits the songs that introduced the band to much of the Western world while infusing them with decades of live performance experience and renewed punk-pop power.

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Remembering Bobby Darin, born on this day in 1936. —Ed.

Although quite far afield from our current pop charts, Bobby Darin and Johnny Mercer were once thoroughly of the commercial mainstream. However, their full-length collaboration, originally released on Atco in 1961, finds the pair in a nostalgic and jocular mood. Loaded with older tunes and a theatrical, at times vaudevillian rapport, Two of a Kind succeeds through expert delivery, obvious mutual respect, the bulls-eye backing of Billy May and His Orchestra, and the production expertise of Ahmet Ertegun. 

Waxing autobiographical as a record reviewer can be a dangerous move (though rock scribes have often successfully flouted the “rule” against it), but in considering Two of a Kind’s saturation of personality it feels appropriate to plunge deep into the realm of the first-person. And so; allow me to confess that pre-rock pop vocalizing in the big band mode has never been my favorite scene, and has in fact persistently nagged around the edges of blind spot.

There are of course exceptions, most of them jazzy and female, but the flat fact is I’ve never been that enthusiastic over Bing. Or Sinatra. Or Bennett. Or Dean (sorry, Nick Tosches). Or Torme. Though I do like Louis Prima, especially with Keely Smith (that better, Nick?) And hey, as relevant to this piece, I’ve long been fond of Bobby Darin.

Due to his early hits, Darin is sometimes pegged as a rock ‘n’ roll-era figure who broadened his horizons upon youth music’s decade-closing stumbling block, but he was actually a singer-songwriter, and a solid one at that; “Splish Splash” was reportedly co-written on a dare, and “Dream Lover” stands up as a likable example of ’50s teen pop crooning.

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VIA PRESS RELEASE | Varèse Sarabande and Craft Recordings announce the return of Danny Elfman’s celebrated scores for Pee-wee’s Big Adventure (1985) and Back to School (1986) on new color vinyl editions. Recreating the original double-feature vinyl presentation, the release revives a fan-favorite Danny Elfman double bill on a single-LP package.

The collection features Pee-wee’s Big Adventure on side A—the first collaboration between Elfman and director Tim Burton, and the launch of one of cinema’s most celebrated composer/director partnerships—and Elfman’s score for the rowdy ’80s comedy classic Back to School on side B. The release follows the 40th anniversary of Pee-wee’s Big Adventure last year, while Back to School celebrates the milestone in 2026. In addition to the “Rocket Red” variant, Barnes & Noble will offer an exclusive “Tequila Dance Green” vinyl, while VareseSarabande.com will carry a striking exclusive “Rebel Splatter” vinyl. These new pressings arrive June 26 and are available for pre-order now.

Actor Paul Reubens created Pee-wee Herman while performing with the Groundlings in the late 1970s, later transforming the character into a stage show and an HBO show in 1981, eventually leading to the 1985 feature film Pee-wee’s Big Adventure. Directed by Tim Burton in his feature film debut, the film follows Pee-wee on his wildly eclectic cross-country search for his stolen bike, the Red Rocket. Oingo Boingo frontman Danny Elfman was brought in to compose the score, and a dream pairing between filmmaker (Burton) and composer (Elfman) was born.

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VIA PRESS RELEASE | Wewantsounds is delighted to present the first official reissue of the highly sought-after 1979 classic, Summer-Time Love Song by The Milky Way.

Originally released on the Seven Seas label in Japan and produced by the legendary Makoto Matsushita—the visionary behind the cult album First Light—the album is a premier example of the sophisticated sound that defined the era. Featuring the cream of Japanese musicians, including Yasuaki Shimizu, the record offers a superb mix of AOR, jazz fusion, funk, and bossa nova. Remastered for vinyl by Colorsound Studio, this deluxe reissue features the original artwork, an OBI strip, and a 4p booklet with a new introduction by Paul Bowler.​​

Wewantsounds continues its Japanese reissue program with the first official international release of one of the most sought-after City Pop albums out of Japan, the 1979 classic Summer-Time Love Song by The Milky Way. Originally released on the Seven Seas label, the album was produced by Makoto Matsushita with Kazuo Nobuta, representing a peak of the sophisticated studio craft that defined the late-’70s Japanese transition into high-fidelity AOR and Jazz-Fusion. ​

The album serves as a vital precursor to Matsushita’s own 1981 cult masterpiece First Light. Here, he and Nobuta lead the cream of Japanese session musicians—including the renowned Yasuaki Shimizu—through a superb mix of AOR, funk, and Brazilian music. From the sun-drenched bossa nova rhythms of the Jobim classic “Wave” to a sophisticated rendition of Boz Scaggs’ classic “Harbor Lights,” finishing with the dreamy rhythms of “Endless Summer,” the record is a masterclass in elegant funky arrangements and relaxed harmonies. ​

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Lovers of bespoke, limited edition, audiophile reissues are living in a golden age as new audiophile reissue series continue to be launched. One that debuted recently is the Vinylphyle series. In this roundup, three of the initial releases in the series will be covered. They are The Velvet Underground & Nico from The Velvet Underground, originally released in March of 1967 on Verve Records; Northern Lights-Southern Cross from The Band, originally released in November of 1975 on Capitol Records, and Exodus from Bob Marley & The Wailers, originally released in 1977 on Island Records.

The Velvet Underground & Nico by The Velvet Underground may not be considered an audiophile recording. Still, it’s easily one of the most influential albums of all time, with its influence felt more overtly years after the album’s release. While Lou Reed is often the member of the group most talked about, and who would have a long and highly regarded career, all of the members here (which also includes John Cale, Sterling Morrison, Moe Tucker, and Nico) contributed in key ways.

Cale was Reed’s primary collaborator at various points in their career and an innovative musician. Tucker was more influential as one of the few female drummers in music at that time. Morrison’s contributions were more subtle. Nico, although she adds a sophisticated European glamour to the group, offers a stark contrast to some of the darker, dissonant music here, with her lovely lead vocals on “Femme Fatale,” “All Tomorrow’s Parties,” and “I’ll Be Your Mirror.”

These three tracks work perfectly with the album’s opening number, “Sunday Morning,” proving that, amidst the dissonant decadent squalor of such songs as “I’m Waiting for the Man,” “Heroin,” and “Venus in Furs,” there are some beautiful and softer tracks at the heart of this album.

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I recently spoke with Linda Perry, frontwoman of 4 Non Blondes and one of the most prolific songwriters and producers of the past three decades.

After “What’s Up?” became an era-defining hit in 1993, Linda stepped behind the boards and wrote and produced some of the biggest songs in pop music: Christina Aguilera’s “Beautiful,” Pink’s “Get the Party Started,” Alicia Keys’ “Superwoman,” plus work with Dolly Parton, Adele, Miley Cyrus, Celine Dion, Ariana Grande, Joan Jett, and Courtney Love. She was inducted into the Songwriters Hall of Fame in 2015, and made history in 2019 as the first solo woman nominated in the Grammy’s Producer of the Year category in fifteen years.

Now, Linda is stepping back to the front. Her first solo album in over 25 years, Let It Die Here, was released May 8, 2026 via Kill Rock Stars/670 Records. The 17-track record is a raw, cinematic reckoning with grief, family, and survival, written and recorded alongside the making of her new documentary of the same name.

Linda Perry: Let It Die Here, directed by Don Hardy, premiered at the Tribeca Film Festival and is rolling out theatrically through Mercury Studios and Evan Saxon Productions: New York was on May 8, Los Angeles today, May 13, with screenings continuing through May and June in San Francisco, Palm Springs, San Diego, Denver, and London, with many featuring live Q&As and acoustic performances from Linda.

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Primitive Ring is a new Los Angeles-based power trio that features Bert Hoover on bass and vocals, Charles Moothart on guitar and vocals, and Jon Modaff on drums. The three share solid backgrounds in prior bands (more info below) but are kicking it into high heavy rock gear with their self-titled full-length debut, which comes out May 15 on vinyl and digital through In the Red Records. The album’s 11 songs are a fuzzy, psych-tinged, hard-rocking good time.

Along with Primitive Ring, Bert Hoover’s credits include Cab 20, GROOP, Mind Meld, Jesus Sons, and Hooveriii. Charles Moothart has contributed to Fuzz, the Ty Segall Band, GØGGS, The Preverts, Charlie & the Moonhearts, and CFM. Jon Modaff has taken part in Sweet Country Meat Boys, Frankie and the Witch Fingers, GROOP, and Hooveriii.

This supergroup-ish joining of forces commenced in 2024 and the following year the band cut four 45s beginning with “In the Ground” b/w “Golden in Your Eyes” on Greenway Records, followed by “Poisonous Gift” b/w “TV City” on In the Red, then “Luck” b/w “I’ve Been Waiting For You” via The Reverberation Appreciation Society, and finally “Rolling Greed” b/w “Cocaine Man” on Fuzz Club.

These are all worthy efforts that establish the extended pummeling of this full-length set, which finds Primitive Ring ramping it up a few tangible notches, as opener “Fire and Brimstone” swaggers with an almost glam punk feel. “The Last Gold Mine” extends this heavy groove and then “Lies from the Other Side” picks up the pace and solidifies the power trio stature with an utter torcher.

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VIA PRESS RELEASE | 2026 marks the 40 years of Truthdare Doubledare, the second studio album from UK synth outfit Bronski Beat.

Four decades on, London Records revisit the album with its first-ever reissue, presented across a range of formats including digital, limited edition purple LP, picture disc LP, 1CD and expanded 3CD. Fully remastered, the release also unearths rare and previously unreleased studio sessions and live recordings. The 40th Anniversary editions of Truthdare Doubledare will be released July 3 and are available to pre-order HERE.

New remixes include a striking rework of “Hit That Perfect Beat” from Doncaster-born, London-based DJ I. JORDAN. Injecting the original track with euphoric synth lines, complex arpeggios and a driving vocal hook, the rework is built for the modern dance floor whilst respecting the original’s important roots.

The album emerged during a period of transformation for Bronski Beat. Following the departure of founding frontman Jimmy Somerville, Steve Bronski and Larry Steinbachek enlisted friend of the band John Jøn Foster to take up the helm as lead vocalist. What began as informal studio collaborations soon culminated in the creation of the album’s first single (and era-defining smash) “Hit That Perfect Beat.”

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Remembering Ian Dury, born on this date in 1942. —Ed.

You have to wonder how this album came to be called Laughter. The sessions that produced it were stressful and marked by discord; Chaz Jenkel was gone and personalities clashed. Ian Dury, who was juggling addictions at the time, was, by all accounts, almost impossible to work with. The subject matter is often dark, and very dark at that. So why the incongruous title? Said England’s most foul-mouthed polio victim matter of factly at a later date: “I called it Laughter to cheer myself up.”

That said, I have this to say about 1980’s Laughter; it never fails to make me laugh. Which is to say Laughter isn’t such an ironic title after all. Even at his most lugubrious Dury–who was, and will likely always remain, England’s most lovable vulgarian–cheers me up, and that’s a rare gift. Down in the mouth Dury may have been, but he hadn’t lost his cheek, and he still managed to produce an album chockfull of dance friendly grooves and happy-making pub rock sing-alongs.

So what if “Uncoolohol” is a dark ode to the perils of alcoholism; I spent plenty an alcoholic night cheerfully slurring along to its rousing chorus while falling down drunk. Laughter is not unlike one of the later Beatles albums; John and Paul may well have hated one another’s guts, but you’d never know it listening to the music.

I have my favorites on Laughter. LP opener “Sueperman’s Big Sister” (that’s no typo) is all swing, strings, and vocal bluster–a funky dance floor raver that will simply sweep you off your feet. “Dance of the Crackpots” comes at you in a rush; Dury can hardly get the words out of his mouth fast enough. Harmonica and some great tap dancing by Will Gaines transform Dury into a mad square dance caller; he name drops Thelonious Monk and Rosemary Clooney, and utters the Inspirational verse: “Being daft is a therapy craft/Which sharpens up your wits.” “(Take Your Elbow Out of the Soup) You’re Sitting on the Chicken” is sheer joy to the ears, what with its mental nursery rhyme lyrics (“The mouse runs up your leg/It’s one o’clock in China”) and chorus you simply have to join in on.

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The New York City-based outfit Suss has been extant for roughly a decade, starting as a quintet before trimming down to a trio lineup that’s remained in place since. Specializing in ambient country (their chosen descriptor) across a series of highly regarded full-length releases, their latest album is Counting Sunsets, its ten pieces offering exquisite, sunbaked, drifting resonances on LP, CD, and digital available May 15 through their label Northern Spy. This richly textured recording captures a band with an unusually heightened aptitude for cohesiveness honing a sound that’s organic and contemporary while lacking in clichés.

Suss is currently Jonathan Gregg on pedal steel and dobro, Bob Holmes on mandolin, baritone guitar, acoustic guitar, harmonica, violin, and keyboards, and Pat Irwin on electric guitars, National guitar, eBow, harmonium, keyboards, melodica, and loops. William Garrett departed the band in 2020, and Gary Leib passed away in 2021.

The two main elements in the style that this group has been steadily refining since debuting with Ghost Box back in 2018 are easy to recognize and absorb. The band can move with an exquisite graduality, reverberating with a calmness that fits pretty comfortably into the atmospheric, indeed ambient scheme of things, but without an overreliance on standard formal maneuvers.

On the other side of the equation, Suss’ country bona fides are rooted in the instrumentation listed above, but the playing is strengthened by a steadfast avoidance of hackneyed Americana-isms. By steering clear of excessive twang as a shortcut to mood infusion, the band is able to conjure up environments that are legitimately transportive.

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