Fleetwood Mac’s 1982 album Mirage demands reconsideration on this deluxe reissue.

A little over a year ago, Marching Church were one of the most unforgiving, scathing, and totally unhinged bands on the planet.

There’s something unexpectedly and welcomingly familiar in Luke Roberts’ music. Like coming home or a favorite chair, Roberts’ Sunlit Cross is comfortable and soothing, something to appreciate, embrace, and sink into.

Oh yeah you Stranger Things fanatics, if you’re finding it hard to let go of that special summertime escapism and have already completed your second cycle through the sensation, here’s something to hold you over a little until season two.

“Whiteout,” the first track from Warpaint‘s new album, starts with a simple bass-and-snare drumbeat, gradually adding a persistent guitar arpeggio, then cymbals, bass, and vocals.

Judging by the title of this album and the great lyrics of the title song (which celebrate a life of solitude), one might think that Chrissie Hynde recorded Alone all on her own.

Parlophone’s latest David Bowie reissue box set has already grabbed some attention for including The Gouster, a rare 1974 album that Bowie later scrapped and remixed as Young Americans. But Who Can I Be Now? has much more going for it, especially for die hard Bowie fans, as a snapshot of Bowie’s brief but eclectic “plastic soul” era.

British-born, Nashville-based soul singer Jamie Lidell has never been afraid of experimenting with a multitude of instruments or genres; throughout his career he’s leapt deftly from R&B to funk to electronica, confidently finding his footing after every stylistic departure.

Before Katie Crutchfield (vocals/guitar) started her solo project Waxahatchee in 2011 and her twin sister Allison Crutchfield (drums) joined the now also defunct and much-missed Swearin’ around the same time, they were both in P.S. Eliot, a band formed in their hometown of Birmingham, Alabama.