VIA PRESS RELEASE | Third Man Records is proud to announce the definitive anthology from groundbreaking power pop pioneers The Nerves. Released in commemoration of the 50th anniversary of the Los Angeles-based trio’s self-titled 1976 EP and only official release of their all-too-brief lifespan, The Nerves–Best Collection gathers 66 glorious minutes of studio, live, and demo recordings, compiled in close association with surviving members Paul Collins and Peter Case along with the late Jack Lee’s daughter Cynthia.

Unlike previous anthologies that often relied on secondary copies or rips from vinyl and CDs, Third Man located The Nerves’ original source recordings, now newly mastered or remastered by Warren Defever at Third Man Mastering in Detroit, especially for this release. As a result, The Nerves–Best Collection features the definitive versions of these tracks as they were originally intended, many of which have not been heard since the day they were recorded.

Highlights include Case’s chiming classic “When You Find Out”—later reimagined by Case with The Plimsouls and covered by such artists as Graham Coxon and Peter Bjorn and John—premiering today at all DSPs and streaming services alongside an official music video featuring rare archival footage streaming now on YouTube.

The Nerves–Best Collection arrives digitally via TMR and on CD and limited-edition 2xLP colored vinyl, both with exclusive new liner notes by Peter Case, on Friday, October 23. Pre-orders/pre-saves are available now.

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VIA PRESS RELEASE | It’s a rare thing for an artist to dedicate an entire record to his wife. Love Songs for Leah dropped August 15, the anniversary of Neil and Leah’s first date, a week-long extravaganza that somehow included a wedding, a funeral, and a road trip in a Mustang convertible to Atlantic City to catch a Bob Dylan concert.

The album that followed is just as unpredictable. This is no greeting-card collection, it’s the intimate longing to know and be known fully by your partner, set to country rock, folk rock, power pop, Americana, and alt-country. The mix tape of a marriage, featuring songs of domestic bliss, sorry-the-fight-was-my-fault songs, and wooing songs. “When You Love Somebody” rides a Traveling Wilburys-worthy chorus and drops a sly nod to Stephen Stills’ “Love the One You’re With” along the way. It was a finalist for Song of the Year as voted by Lenny Kravitz, Dave Grohl,, and Steven Tyler.

There’s a high-energy arena-sized cover of The Pogues’ “Love You Til the End.” And the whole thing closes with a tender take on Andrew Gold’s “Thank You for Being a Friend,” the song Leah sang to Neil in her vows at their Central Park wedding.

“This record has breakup songs, barstool confessions, and a Golden Girls cover. I wrote it for Leah, but my hope is that anyone who’s ever been in love, or blown it, hears their story too.” Love Songs for Leah is the whole messy, magnificent story, not just the honeymoon, but the jokes, the arguments, the make-ups, and the decision, every single day, to choose each other all over again.

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Seu Jorge’s celebrated musical career transcends the borders of his home country, Brazil. Yet, oddly enough, more people might know him better from his film career.

Jorge has appeared in more than 20 films since 2002, including the critically acclaimed City of God. He is even better known for his role in the 2004 Wes Anderson film The Life Aquatic with Steve Zissou. He also appeared as a cowboy in another Anderson film, the more recently released Asteroid City from 2023.

Along with his considerable musical contribution in 2005 to The Life Aquatic with Steve Zissou, covering in acoustic Brazilian fashion and singing in Portuguese, songs written by David Bowie, as the character Pelé dos Santos, he has released six other studio albums since 2003, and after an eleven-year wait, has recently released what has to be considered his best and maybe even most accessible album to date.

Jorge is quite a talent, and his fans have been hoping for a new album for some time, but it’s hard to believe anyone thought he would make an album this extraordinary. Jorge has always been able to add a certain contemporary edge to his primarily Brazilian roots sound, and that is part of the secret to his success and crossover appeal.

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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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Across two EPs, Londoner Elanor Moss established herself as a solid tunesmith with a strong voice that allowed her to put those songs across. Her debut full-length, freshly out via Merge Records, delivers a considerable jump in quality with a vivid dive into a folk zone that’s classically Brit, and in a manner that’s utterly unaffected. Moss brings it naturally. The Knife, The Needle is out now on vinyl (clear purple wave), compact disc, and digital.

In 2022, Elanor Moss released her first EP, “Citrus,” a 5-song effort that’s still available on 10-inch vinyl. It’s a gentle, thoroughly likable affair that fits into the indie-folk scheme, but with a few production touches (e.g., low-key electronic atmospheres and accents) that place the set pretty firmly in the 21st century. Also, a few of the songs travel to the border of singer-songwriter territory, and that’s alright.

In 2023, Moss followed up “Citrus” with a 4-song effort, “Cosmic,” which is still available on 10-inch vinyl, as well. The tracks broaden her sonic palette as the indie-folk focus is maintained. Horns have a more prominent role, and drums enter the frame for the first time. “Catholic” is an outright melodic rocker that throws back (at least) to the ’90s. It would’ve blown them away at the Lilith Fair and likely grabbed some slots in mainstream radio rotation.

As Moss has intensified the emotional weight of her songs, an increase that’s partly lyrical but also (and essential to The Knife, The Needle’s success) expressed through a blossoming vocal expressiveness that’s sweet and tender but with subtle heft, she has additionally tightened the stylistic iris onto a warmly appealing and note-perfect (yet gloriously not overworked) rendering of gal-voiced Brit folk.

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NOBLESVILLE, IN | If you were anywhere near Ruoff Music Center when TLC and Salt-N-Pepa brought their co-headlining tour to Noblesville with En Vogue, you may have temporarily been transported back to the ‘90s.

The crowd really leaned into it. Bright colors, overalls, bucket hats, and enough ‘90s fashion to remind you that not everything from that decade needed to come back. En Vogue kicked things off and sounded fantastic, and then Salt-N-Pepa and TLC basically spent the rest of the night reminding us just how many songs we still know every single word to.

TLC especially brought back a funny memory for me. Years ago, my cousin and I got stuck at a complete standstill in construction traffic for over an hour. This was back when cars had CD players, and your choices were whatever CDs you brought or the radio. We were blasting TLC so loudly that the people in the car next to us rolled down their window and asked if we’d keep playing it so they could listen too. So naturally, we provided free roadside entertainment until traffic started moving again.

And that’s really what this whole night felt like, one giant shared memory. TLC and Salt-N-Pepa were a perfect co-headlining combination, En Vogue was the icing on the very ‘90s cake, and the crowd was there for all of it.

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VIA PRESS RELEASE | UMe celebrates the 40th anniversary of Pretty in Pink, the beloved 1986 film from Writer/Executive Producer John Hughes with a limited-edition reissue of its iconic soundtrack, available August 28.

As essential as the film itself, the music captures the story’s emotional truth—freezing moments in time with the vivid clarity of memories that linger for decades. Film soundtracks hold a rare power to shape identity, influencing who we are, where we belong, and the social experiences that define youth. Few filmmakers understood the coming-of-age experience quite like John Hughes, and Pretty in Pink stands as one of his most enduring cultural touchstones.

Anchored by era-defining songs including The Psychedelic Furs’ Top 5 title track “Pretty in Pink,” OMD’s iconic “If You Leave,” The Smiths’ “Please, Please, Please Let Me Get What I Want,” and Echo & The Bunnymen’s sweeping anthem “Bring on the Dancing Horses,” and INXS fan-favorite deep-cut, “Do Wot You Do,” the Pretty in Pink soundtrack became a defining voice of its time—shaping mood, identity, and belonging in ways few films ever achieve.

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VIA PRESS RELEASE | Brighton folk-rockers Levellers have been one of Britain’s most enduring and best-loved bands for nearly 40 years. And part of that incredible success has been built on the timeless anthems that comprised their platinum-selling, second album Levelling The Land, which celebrates its 35th anniversary in 2026.

Recorded at Ridge Farm studios in Surrey over the summer of 1991, it was produced by Al Scott, who was charged with translating the band’s incendiary live performances into something more refined within the recording environment. Featuring the huge hit singles “One Way,” “15 Years,” and “Far From Home,” i redefined the UK’s musical landscape providing the soundtrack for a society fed up with the twin evils of Thatcherite politics, and the post-’80’s pre-grunge musical wasteland.

Released just a couple of months later, the album also included fan favourites that have grown in stature over the years such as “The Game,” ” Liberty Song,” “The Riverflow,” “Boatman,” and the incendiary “Battle Of The Beanfield.” Its enormous commercial success is testament to both the strength of the band’s songwriting and performance, and Al Scott’s superb production skills. However, both parties knew that the album didn’t truly capture the power of Levellers live.

As founding member and fiddle player Jon Sevink reveals, “We had 24 tracks of analogue tape to work with and we used them all. But music in the early 1990s was bound by technology. We were told by the record company that too much bass would overload people’s tiny TV and car speakers, making them fart and rattle. Subsequently low frequencies were removed from the EQ which we felt left a slightly disappointing listening experience, particularly when compared to modern recording.

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Celebrating Elvis Costello on his 72nd birthday. —Ed.

The early Elvis Costello was the very personification of the angry young man. He may have looked like a twerp, but he had a chip on his shoulder the size of blues harmonica guy John Popper. He was perpetually peeved, was Costello, in the fashion of 1966 Bob Dylan, and like Dylan he could—and did—spew vitriol inspired enough to scald. Listening to his debut LP, 1977’s My Aim Is True, it’s as clear as day he’d just as soon see you paralyzed. So forget about the Buddy Holly glasses and the gap between his two front teeth and all the rest of it—musically, the man was a walking, talking third rail.

Costello (aka Declan Patrick MacManus) was born in 1954, just in time to ride the first waves of punk and new wave. He worked office jobs (they’ll always make you angry) while simultaneously looking for a record label. Stiff Records anted up, and Costello recorded My Aim Is True. Just how angry was he?

There was the iconic moment on Saturday Night Live when he stopped the band during a song opening to replace it with “Radio Radio”—an attack on the media that SNL executives had expressly forbidden him to play. This moment alone increased his snottiness factor, which sold him records, which may or may not have been calculated. He said later, in an imagined interview I had with him, “I was never really pissed. I wanted to be James Taylor. But there already was a James Taylor. You can’t have two James Taylors. The world would be destroyed by fire and rain.”

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17-string bassist Zach Layton, drummer Hamir Atwal, and pianist Phyllis Chen are Enneads, a Hudson Valley-based outfit that is honing a dark and roiling slow dive into tense, occasionally abstract atmospheres that Layton has described as “doom jazz.” Their eponymous debut captures this black-clad experimentalism quite well. It’s out on vinyl, compact disc, and digital August 28 through the Birdwatcher label.

First off, this debut set was crafted by Enneads over a two-year period, a span that’s reflected in the finished work. A fair amount of experimental music leans toward inspired instantaneousness in execution, but the seven pieces that shape this album were clearly built over time.

Heaviness is a major component in the scheme, both auditory and thematically. The trio (the album) is named after the writings of Plotinus, the Greek philosopher credited with founding Neoplatonism, and a guiding improvisational principle for Enneads is the Pythagorean concept, credited to philosopher Boethius, that harmony is “number made audible.”

If the above leaves an impression of dryness, or possibly just a challenging or forbidding experience, that’s not accurate. While heavy, the pieces here aren’t designed to put the listener’s nerves through the wringer. Of course, everybody’s built differently, but the doomy quality Layton and his mates conjure isn’t stressful. To the contrary, the vibe is almost seductive.

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AUSTIN, TX | It was 105 degrees on the walk to the Moody Center, and when I got back to my car hours later, it was still 100 degrees inside. None of that mattered. People were already gathered outside in the sun, waiting on one thing: a legend was about to take the stage.

Carlos Santana has been part of my musical life since I was nine years old. My older sister’s record collection was my library, and one day she came home with Abraxas. What came out of those speakers was unlike anything I’d heard. I grew up on a dairy farm northwest of Houston, and “Black Magic Woman” and “Oye Como Va” felt like a bridge to somewhere else—other people, other places, another way of experiencing the world. I wanted to go there.

So, walking into the pit for the Austin stop of Santana’s Oneness Tour 2026 was more than a shoot. It was a chance to stand in front of someone who has given as much to humanitarian work as to music. Through the Milagro Foundation, he has backed arts, education, and health programs for underserved kids since 1998—respect to you, Mr. Santana.

The first thing I saw when the lights came up was Santana himself, and it was almost dreamlike. The second thing I noticed was the drummer. And holy hell, could she play. I didn’t realize until the next day that she was Cindy Blackman Santana, his wife. Packing up later, I overheard a young guy telling his friends what a badass the drummer was. He was right.

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VIA PRESS RELEASE | GRAMMY® Award-winning, multiplatinum singer, songwriter, and producer Nelly Furtado celebrates the 20th anniversary of her landmark third studio album, Loose, with the release of the 20th Anniversary Deluxe Edition on September 4.

Available as a 2LP color vinyl and an expanded digital edition across all streaming platforms, the collection celebrates one of the defining pop albums of the 2000s with previously unreleased music, rare session recordings, and new interpretations of fan favorites. Additionally, 300 copies of the 2LP red and white vinyl will include a new lithograph of the original album artwork personally signed by Nelly. Pre-order/pre-save HERE.

Originally released on June 7, 2006, Loose marked a defining creative evolution for Furtado. Produced alongside Timbaland, the album fused pop, R&B, electro, Latin, house, new wave, folk, and reggaeton into a fearless, genre-blurring sound that reshaped mainstream pop. Featuring the global hits “Promiscuous” featuring Timbaland, “Maneater,” and “Say It Right,” Loose debuted at No. 1 on the Billboard 200, has sold more than 10 million copies worldwide, and earned 3x Platinum certification in the United States.

The album produced three of Furtado’s biggest career-defining singles. “Promiscuous” reached No. 1 on the Billboard Hot 100, earned 7x Platinum certification from the RIAA, and has since surpassed 2 billion Spotify streams. Billboard Canada recently recalled, “The track instantly became a standout, going on to become one of the album’s biggest hits and a key pillar in shaping Furtado’s career.”

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