VIA PRESS RELEASE | WaterTower Music is proud to announce the release of The Bride! (Original Motion Picture Soundtrack), featuring original music by Academy Award®, Golden Globe®, Emmy®, two-time Grammy® and BAFTA®-winning composer Hildur Guðnadóttir, with additional contributions by Fever Ray and cast members. The soundtrack is available everywhere now via streaming platforms.

Waxwork Records proudly unveils the premiere vinyl release as a deluxe double LP, designed to reflect the film’s striking visual identity and emotional intensity. Housed in heavyweight gatefold packaging, the release is offered in two distinct variants, including an iridescent Molten edition and a Waxwork Records exclusive “Inkblot” pressing, in which deep black vinyl is threaded with smoky white veining to create a one-of-a-kind visual effect unique to each pressing. An exclusive 12″ x 12″ art print completes the package, offering collectors an immersive introduction to the film’s visual and sonic world. The release is available for preorder now at www.waxworkrecords.com.

Composer, Hildur Guðnadóttir, delivers a bold and emotionally charged score that blends orchestral grandeur with raw punk energy, capturing the film’s sweeping romance, dangerous sensuality, and unflinching humanity.

Hildur Guðnadóttir shares: “We wanted the Wedding March for The Bride! to be monstrous and intimate. Punk and classical. Romantic and roaring. All at once. A sonic rollercoaster. It was an absolute dream to record with some of my guitar heroes—to be in a punk band with them. And to have a classical orchestra playing live through thunderous amps and distortion. What a blast! Here comes The Bride!”

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VIA PRESS RELEASE | Ringo Starr has released “It’s Been Too Long,” featuring the lush vocals of Molly Tuttle and Sarah Jarosz. This is the first single from his forthcoming album Long Long Road, co-written and produced by T Bone Burnett, the 10-song album also includes collaborations with Billy Strings, Sheryl Crow, and St Vincent and is the highly anticipated follow-up to last year’s chart topping Look Up. Pre-Order HERE.

“I’m blessed to have T Bone in my life right now and working with me on these records,” Ringo stated. “After we did the last record, which I love listening to, this one just sort of happened. I like to say sometimes I make the right moves, like you can go left or right at any point, and one of the right moves was hooking up with T Bone for Look Up, and now for this one, which I’m calling Long Long Road, because I’ve been on a long long road.”

As the title implies, and like Ringo’s own journey, Long Long Road has solid roots in Country and Americana, and evolved into something broader, creating an aural mosaic of Starr’s musical legacy and influences, including Carl Perkins. “I recorded two Carl Perkins songs with The Beatles, and both T Bone and I wanted one on this record,” Ringo explained, “and he found this beautiful track I’d never heard before, ‘I Don’t See Me In Your Eyes Anymore’.”

Recorded in Nashville and Los Angeles, this record sees the return of many of the Look Up musicians including the core band (that T Bone affectionately dubs The Texans after the 1959 band Ringo played with in Liverpool) featuring Paul Franklin, David Mansfield, Dennis Crouch, Daniel Tashian, Rory Hoffman, Patrick Warren, and Colin Linden.

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Remembering Ornette Coleman, born on this date in 1930. —Ed.

Ornette Coleman is most often associated with his numerous quartets, but his Blue Note debut found him exploring the possibilities of the trio configuration. At the Golden Circle Stockholm Volume One is the first half of that journey into addition by subtraction; it not only inaugurates the highpoint of Coleman’s Blue Note run, it also stands amongst the very greatest work the trailblazing saxophonist has recorded.

The end of the 1980s was swiftly approaching, and the jury was still out on the music of Ornette Coleman. The temporary reign of compact discs was well underway, and it gradually became easier to actually hear (instead of just read about) the sounds that so divided jazz at the dawn of its most tumultuous decade. However, for my first two Coleman purchases I had to settle for cassettes. Until the CD reissues of Ornette’s Atlantic efforts began showing up in the racks (or more appropriately put, started getting listed in catalogs as being available for purchase), hearing the man’s groundbreaking early material was a struggle. Even the ‘70s fusion work with Prime Time and his ‘80s albums were difficult to locate.

What’s more, none of the meager number of older jazz heads I’d become acquainted with at that point appreciated him; when the subject arose a few were downright dismissive. And dialing the handful of jazz radio programs that my stereo tuner managed to pick up in the wee hours of the AM proved just as futile.

I’ll never forget the short but pleasant conversation I had with one of those DJs, the voice of the gent on the other end of the line informing me that he loved Coleman but had sworn off playing him due to the swarm of angry calls he’d receive in response. So deep was the animosity over a divergence from and perceived threat to the post-bop standard that nearly 30 years later merely offering it on the radio brought an influx of opprobrium via the telephone.

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There is a particular kind of courage in a man who once set dancefloors ablaze, deciding at 60 years old, to sit down at a piano and simply stop moving. Moby has never been easy to categorize—rave architect, punk misfit, vegan provocateur, accidental pop deity—and that stubbornness to defy expectation is precisely why he remains essential. Twenty-three albums in, with Play still echoing across every coffee shop and car commercial that came after it, he has earned every right to follow the silence.

Future Quiet, released February 20 via BMG, is not a surrender. It’s a deliberate act of subtraction—and in 2026, with the world screaming at full volume, that restraint is its own kind is truly radical.

Strip out the beats, the samples, the euphoric drops. What you get here is Moby alone at the keys, augmented by strings, the occasional ambient synth wash, and a handful of guest vocalists deployed like brushstrokes rather than centerpieces. The production is hushed and deliberate throughout—pianist first, composer second, electronic artist a distant third. This isn’t ambient wallpaper. It breathes differently.

“When It’s Cold I’d Like to Die,” reworked from his 1995 Everything Is Wrong and freshly unearthed by Stranger Things—opens with Jacob Lusk (of Gabriels) delivering the kind of vocal that physically relocates you. Lush orchestral strings pool beneath him like rising floodwater, and I had goosebumps before the first minute passed.

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The folks in Welsh band Los Campesinos! are smart, clever, funny, and not Welsh. I don’t know what the hell they are. What I can say is that since coming together at Cardiff University in 2006, the band—who are currently seven in number—have released scads of classics with titles like “We Throw Parties, You Throw Knives,” “Death to Los Campesinos!,” “We Are Beautiful, We Are Doomed,” and “We Are All Accelerated Readers.”

They were branded as twee, and have worked hard to escape the label by recording darker songs, but they still sound twee to me—it’s there in the vocals, and in the exuberance of their music. But out of respect to the band, I will happily say they’re not twee and punch anyone in the kisser who says they are. I guess I’ll have to start with myself.

What is undeniable is that the words matter to Los Campesinos!—these are the same people who founded a literary magazine in 2010. What is also undeniable is that their music is happy-making, no matter how dark the subject matter, for the most part because the music is exuberant and ecstatic, with just enough of an edge to let you know they’re in love with rock and roll.

Just check out “Documented Minor Emotional Breakdown #1.” Or the amped-up guitar rocker “Romance Is Boring,” which, like all of their songs, makes hay with vocals piled upon vocals (Gareth Paisey and Aleksandra Berditchevskaia handled the bulk of the singing duties until the latter left the band in 2011, but there are lots of gang vocals)—and great accents.

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VIA PRESS RELEASE | This Record Store Day, one of the most haunting and misunderstood soul albums of the 1970s returns as a limited-edition vinyl release: Changin’ Times by Ike White.

Recorded inside a California prison by a man serving a life sentence for murder, the album remains the only full-length studio release by the self-taught multi-instrumentalist. Fifty years after its original release, Changin’ Times is regarded as one of the most extraordinary and tragic albums ever made, and now returns in a special Record Store Day edition worthy of its singular legacy.

This 2026 reissue, arriving exclusively for Record Store Day on April 18, 2026, features audio cut directly from the original analog tapes by legendary mastering engineer Bernie Grundman. The release also includes brand-new liner notes by Cory Frye who sat down in conversation with the project’s music producer, Jerry Goldstein, the longtime producer of WAR and manager for Sly Stone, who first discovered White and oversaw the record’s original recording behind prison walls. Illuminating the album’s long-obscured legacy, this edition offers fans and collectors a rare opportunity to experience Changin’ Times in its fullest and most faithful form.

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Celebrating David Gilmour on his 80th birthday. —Ed.

I have a dream. It’s that someone will put out a LP of Pink Floyd’s Wish You Were Here made out of sugar and heavily laced with LSD. That way you could lick it before turning it on, and hear the damn album the way it should be heard, while you’re peaking.

It would be appropriate; has any major band ever been as associated with acid as Pink Floyd? (Yeah. The Grateful Dead, dumbo.) But not even the Dead managed to put out LPs (like 1969’s Ummagumma) that I would ONLY listen to while I was on hallucinogens, because they were unlistenable to anyone on the uninitiated side of the doors of perception. That said, I’ve since put on Ummagumma and found its first side to be bearable and its second side to be complete and unadulterated bullshit (“Several Species of Small Furry Animals” or “The Grand Vizier’s Garden Party (Entertainment),” anyone?). And while my recollections are hazy, I have come to the conclusion that the guy in the dorm who owned it was so far out there he’d only play side two while tripping balls.

The Pink Floyd story is a familiar one. The band was formed in London in 1965 by Syd Barrett, Nick Mason, Roger Waters, and Richard Wright, with David Gilmour coming aboard in 1967, destined to be the substitute for Barrett, who despite the band’s success and his status as the band’s chief songwriter was coming unhinged.

After numerous legendary on-stage fiascos involving increasingly odd behavior on the part of Barrett—he might stand in the hot stage lights, crushed ludes melting in his hair, looking off into the distance with his arms dangling down, declining to play his guitar for the entire set—the band more or less decided to not pick him up for a gig, and just like that he was gone, although his living specter (he showed up, bald and bloated, at the Wish You Were Here sessions, and his evident madness left several of his former band mates in tears) would haunt the band and indeed inspire some of their best work.

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I recently spoke with Martin Bisi, the founder of BC Studio in Gowanus, Brooklyn—one of the most storied independent recording spaces in New York history.

Martin engineered and produced records for Sonic Youth, Swans, John Zorn, Afrika Bambaataa, and countless others across the no-wave and post-punk underground. We got into Martin’s life views, the relevance of New York culture, and the perils of capitalism.

I encourage you to dive deep into Martin’s entire catalogue including his own work as an artist and find him on Instagram at @maritinbisibc to follow along with all his happenings.

Radar features discussions with artists and industry leaders who are creators and devotees of music and is produced by Dylan Hundley and The Vinyl District. Dylan Hundley is an artist and performer, and the co-creator and lead singer of Lulu Lewis and all things at Darling Black. She co-curates and hosts Salon Lulu which is a New York based multidisciplinary performance series. She is also a cast member of the iconic New York film Metropolitan.

VIA PRESS RELEASE | Hot on the heels of the Tokyo bliss and Funk Tide sets, Tokyo-based DJ Notoya delivers Tokyo Pulse a new juicy selection of Funk and Modern soul recorded in Tokyo in the ’70s and ’80s. Most tracks here are making their debut outside of Japan and the album, like its predecessors, has been designed by Manuel Sepulveda (Optigram) and is annotated by DJ Notoya. The audio has been newly mastered in Tokyo by Nippon Columbia Records and remastered for vinyl by Colorsound in Paris.

Tokyo Pulse’s lush funk selection opens with the nocturnal groove of Naomi Chiaki’s “Yoru E Isogu Hito,” recorded in 1978. The track perfectly sets the mood with its laid-back tempo and late-night atmosphere. From there, Yumi Murata’s “Ranhansha” (1979) brings a funkier touch, before the mellower funk of L-E-V-E-L’s “Bagdad No Atari Nite” signals the stylistic shift toward the early 1980s. Side one closes with GAM’s “Lake In The Forest,” an elegant reggae-inflected piece from 1980, played by several musicians from the cult Arakawa Band.

Side two opens with a leap into the late 1980s via Nami Shimada’s “Mitsumeteirunoni,” a superb mid-tempo electro-funk track. This is followed by the earthy folk-soul of Bread & Butter’s “Memory,” originally released in 1974 on Blow Up Records, and featuring a who’s who of Japanese music, including Haruomi Hosono, Ray Ohara, Tatsuo Hayashi, and Shigeru Suzuki.

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VIA PRESS RELEASE | Detroit’s legendary Westbound Records continues its partnership with Org Music to restore, reissue, and celebrate the label’s most vital recordings. Following the widely praised reissue of Funkadelic’s 1970 self-titled debut, Org Music now announces Free Your Mind And Your Ass Will Follow, arriving May 1 on LP, CD, cassette, and digital formats.

Released in July 1970 amid political unrest, cultural fragmentation, and creative upheaval in America, Free Your Mind And Your Ass Will Follow did not attempt to comfort its listeners. It confronted them. If Funkadelic’s debut introduced a new hybrid of psychedelic rock, gospel, blues, and heavy funk, this second album intensified the vision, pushing further into distortion, repetition, and spiritual confrontation.

The record’s origin story has become part of rock mythology, reportedly recorded during a single marathon session on LSD. The result was one of the most saturated and uncompromising sonic statements of its era. The album marked the official introduction of keyboardist Bernie Worrell, whose elastic harmonies and tonal experimentation would become central to the expanding P-Funk universe. Upon release, the record reached No. 92 on Billboard’s Pop chart, signaling that even its most radical impulses were finding an audience. More than five decades later, it stands as one of the boldest entries in the Westbound catalog and a defining document of Black psychedelic expression.

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Remembering Mark E. Smith, born on this day in 1957. —Ed.

The death of The Fall’s Mark E. Smith at age 60 has left me inconsolable; as a proud member of rock music’s most exclusive cult I find it hard to wrap my mind around the horrible fact that I have no more new Fall LPs to look forward to. Because the most telling thing I can say about rock’s most cantankerous, cranky, and iconoclastic artist is this: despite his age, Smith adamantly refused to rest on his laurels. He continued to produce difficult, angular, instantly recognizable, and ultimately brilliant music up until the very end.

By no means did the inimitable Mr. Smith end his days as a novelty act, reprising his greatest hits. Not that he had any greatest hits. Legendary DJ John Peel may have thought The Fall was the greatest thing since the watercress sandwich, but they never (in part because they remained a distinctly English phenomena) gained anything remotely resembling a mass following. Indeed, the title of 2004’s best-of compilation 50,000 Fall Fans Can’t Be Wrong–borrowed, of course, from Elvis Presley’s LP 50,000,000 Elvis Fans Can’t Be Wrong–is a self-mocking reference to this fact.

The first thing to be said about 50,000 Fall Fans Can’t Be Wrong–which includes both album tracks and singles from 1978 to 2003–is that there’s no way it could do the work intended. Trying to sum up The Fall in 39 songs is like trying to sum up Winston Churchill by saying he enjoyed cigars. The Fall catalogue is a sprawling beast because Mark E. Smith was a prolix artist who wasn’t happy unless he was glutting the market with studio albums, singles, EPs, live LPs, and compilations of all sorts, some of highly uneven quality but many dead brilliant. By my admittedly sloppy count The Fall released 10 records in 2005 alone. I certainly haven’t listened to everything The Fall committed to record, and I almost certainly never will. I’ll leave that to the sorts of obsessives who would otherwise be dedicating themselves full-time to trainspotting.

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VIA PRESS RELEASE | Black Metal remains a most fascinating subject, and it is therefore hardly surprising that a host of books have already been written about this harsh musical genre. One might even be justified in asking the heretical question, if the world needs another one. The answer is a resounding “yes,” because Argentinian author Matías Gallardo adds a Southern American perspective and voice to the existing canon with his book debut, Born for Burning—The History of Black Metal.

The contribution of Southern American bands spearheaded by Sarcófago among many others to the style’s evolution has all too often been overlooked. Gallardo leaves the narrow Nordic perspective behind by interviewing black metal acts, classic icons, as well as young and wild, from all over the world for a more global view. This makes Born for Burning–The History of Black Metal essential reading for everyone interested in the genre. Matías Gallardo’s Born for Burning–The History of Black Metal will be published on April 17, 2026.

Born in Argentina’s capital Buenos Aires in 1988, Matías Gallardo currently works as a journalist, graphic designer, and university teacher. He has been writing for Argentina’s leading metal magazine, Jedbangers, which was founded in 1998, since 2006. He has also contributed to webzines such as Norskmetal and No Clean Singing. Gallardo is also the host and producer of the podcast Días Negros, which is dedicated to black metal—obviously the author’s favourite style of music.

Furthermore, Gallardo has translated Tony Iommi’s autobiography Iron Man: My Journey through Heaven and Hell with Black Sabbath into the Spanish language. Born for Burning–The History of Black Metal is his first book.