When Chrissie Hynde Calls and Testament Answers

Classic lineups return, solo artists emerge, and AI starts making music—all in one week

Latest Podcasts

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New Releases

Biohazard - Divided We Fall

Biohazard, the Brooklyn hardcore legends known for fusing metal, punk, and hip-hop since the early ‘90s, return with “Divided We Fall,” their first album featuring the classic lineup in over a decade. The band shows renewed energy and political urgency, channeling their roots while addressing today’s fractured world. What works: Fans and critics praise the raw, aggressive sound and tight musicianship, calling it a powerful comeback. What doesn’t work: Some feel the lyrics can be heavy-handed and the production occasionally overwhelms the vocals.

Paz Lenchantin - Triste

Paz Lenchantin, known for her work as the bassist for Pixies and a former member of A Perfect Circle and Zwan, steps into the spotlight with her solo release “Triste.” Its intimate blend of Argentine folk influences and dreamlike, cinematic arrangements, reflect Lenchantin’s personal heritage and multi-instrumental talents. What works: Fans and critics praise the album’s haunting melodies, emotional vulnerability, and lush instrumentation. What doesn’t work: Some listeners feel the subdued pacing and introspective tone may not appeal to those seeking the edgier sound of her previous bands.

Coroner - Dissonance Theory

Swiss technical thrash legends Coroner, known for their intricate musicianship and cult classic albums like “No More Color,” return with “Dissonance Theory,” their first studio release in over three decades. The album marks a bold evolution, blending their signature razor-sharp riffs with unexpected electronic textures and progressive song structures. What works: Fans and music writers praise the band’s renewed energy and adventurous soundscapes, noting that the fusion of old-school thrash with modern elements works brilliantly; What doesn’t work: however, some feel that the experimental direction occasionally overshadows the band’s classic intensity.

Soulwax - All Systems Are Lying

Soulwax, the Belgian electronic duo known for their genre-blurring work as both a band and remixers (2manydjs), return with “All Systems Are Lying,” their first full-length album in over five years. The album is built around manipulated AI-generated voices, exploring the tension between human creativity and machine logic. What works: Fans and critics praise the album’s inventive production, infectious grooves, and the duo’s ability to make experimental ideas danceable. What doesn’t work: Some listeners feel the heavy use of synthetic vocals can be distancing, occasionally sacrificing emotional connection for conceptual ambition.

Chrissie Hynde - Duets Special

Chrissie Hynde, best known as the iconic frontwoman of The Pretenders, returns with “Duets Special,” a collection that sees her collaborating with a diverse lineup of artists from across genres. Hynde’s unexpected pairing with emerging indie voices and legendary rock veterans, creates fresh interpretations of both classic and new material. What works: Fans and critics praise the album’s adventurous spirit and the chemistry between Hynde and her guests, highlighting her ability to adapt her signature style to different musical landscapes. What doesn’t work: Some listeners feel that a few collaborations lack cohesion, occasionally overshadowing Hynde’s distinct vocal presence.

Holly Golightly - Look Like Trouble

Holly Golightly, the British garage rock and blues singer who first gained attention with Thee Headcoatees and later for her solo work and collaborations with The White Stripes, returns with “Look Like Trouble.” Golightly embraces of a raw, stripped-back production style that highlights her storytelling and vintage influences, marking her first album of original material in several years. What works: Fans and critics praise the album’s authentic, lived-in sound and Golightly’s knack for evocative, character-driven songwriting. What doesn’t work: Some listeners feel the minimal arrangements occasionally leave the songs feeling unfinished or repetitive.

The Bats - Corner Coming Up

The Bats, the beloved New Zealand indie pop veterans known for their jangly guitars and melodic storytelling since the Flying Nun era, return with “Corner Coming Up.” This release marks their first album recorded entirely in their hometown of Christchurch, capturing a renewed sense of place and community in their sound. What works: Fans and critics praise the album’s warm, cohesive production and the band’s signature blend of wistful lyricism and shimmering guitar work. What doesn’t work: Some listeners feel the album treads familiar ground, wishing for more adventurous departures from their established style.

84 Tigers - Nothing Ends

84 Tigers, featuring members of the beloved post-hardcore band Small Brown Bike, return with “Nothing Ends,” their sophomore album that sees the trio expanding their melodic sensibilities while retaining the raw energy that defined their earlier work. The band’s seamless integration of atmospheric textures and dynamic shifts, marks a bold evolution in their sound. What works: Fans and critics praise the album’s emotional depth, tight musicianship, and the band’s ability to balance intensity with melody. What doesn’t work: Some listeners feel the experimentation occasionally overshadows the straightforward hooks that made their debut so immediate.

The Orb - Buddhist Hipsters

The Orb, the pioneering ambient house duo known for their genre-blurring soundscapes since the late ‘80s, return with “Buddhist Hipsters,” a release that sees them collaborating with a new generation of electronic producers to infuse their signature style with fresh, psychedelic textures. Its seamless integration of vintage analog synths with AI-generated sound design create a meditative yet unpredictable listen. What works: Fans and critics praise the album’s inventive layering and the way it bridges classic Orb atmospheres with modern experimentalism. What doesn’t work: Some listeners feel the AI elements occasionally overshadow the human touch, making a few tracks feel less emotionally resonant.

Rhett Miller - A lifetime of riding by night

Rhett Miller, best known as the frontman of Old 97’s and a prolific solo artist, returns with “A Lifetime of Riding by Night,” his first album to fully embrace a cinematic, late-night Americana sound inspired by his years on the road. Miller collaborates with a rotating cast of indie folk musicians, bringing a fresh, layered texture to his storytelling. What works: Fans and music writers praise the album’s evocative lyrics and atmospheric production for deepening Miller’s signature style, What doesn’t work: but some feel the experimental arrangements occasionally overshadow his melodic strengths.

Warrant (UK) - The Speed Of Metal

Warrant (UK), the NWOBHM band often remembered for their cult classic “All The Kings Men,” return with The Speed Of Metal, their first new studio album in over three decades. The band decided to revisit and reimagine unreleased tracks from their early ‘80s demos, blending vintage riffs with modern production. What works: Fans and critics praise the album’s authentic energy and the band’s ability to capture the raw spirit of classic British metal. What doesn’t work: Some listeners feel the production is a bit too polished, losing some of the grit that defined their original sound.

Richard Ashcroft - Lovin’ You

Richard Ashcroft, best known as the frontman of The Verve and for his solo anthems like “A Song for the Lovers,” returns with “Lovin’ You,” marking his first original single in several years and showcasing a warmer, more soulful side inspired by classic Motown. What works: Fans and music writers praise the track’s heartfelt vocals and lush instrumentation for capturing Ashcroft’s signature emotional intensity, What doesn’t work: while some feel the song’s retro influences occasionally overshadow his distinct songwriting voice.

Pop Will Eat Itself - Delete Everything

Pop Will Eat Itself, the genre-blending UK band known for their industrial rock and electronic-infused alt-dance hits of the late ‘80s and early ‘90s, return with “Delete Everything,” their first album of new material in over a decade. The band embraces modern digital anxieties, weaving themes of online overload and information fatigue into their signature sound, while experimenting with glitchy production and unexpected melodic hooks. What works: Fans and critics praise the album’s energetic fusion of nostalgia and contemporary relevance, highlighting its sharp lyrics and inventive beats. What doesn’t work: Some listeners feel the dense production occasionally overshadows the band’s trademark wit and melodic clarity.

The Autumn Defense - Here and Nowhere

The Autumn Defense, the side project of Wilco members John Stirratt and Pat Sansone, is known for their lush, 70s-inspired pop sound. Their new release, “Here and Nowhere,” marks their first album in over a decade and features collaborations with several up-and-coming indie folk artists, adding fresh textures to their signature harmonies. What works: Fans and critics praise the album’s warm production and seamless blend of classic and modern influences. What doesn’t work: Some listeners feel the pacing lags in the middle, with a few tracks blending into each other.

Testament - Para Bellum

Testament, the legendary Bay Area thrash metal band known for their relentless energy and technical prowess since the 1980s, return with “Para Bellum,” their first album in over five years and the debut of drummer Chris Dovas. The album stands out for its fusion of classic thrash aggression with modern production and intricate songwriting, reflecting the band’s evolution while staying true to their roots. What works: Fans and critics praise the album’s powerful riffs, dynamic drumming, and the band’s ability to sound both fresh and familiar. What doesn’t work: Some listeners feel the album occasionally leans too heavily on familiar formulas, missing opportunities for more experimental moments.

Don Was & The Pan-Detroit Ensemble - Groove In The Face Of Adversity

Don Was, legendary producer and bassist known for his work with Was (Not Was) and countless classic albums, teams up with the Pan-Detroit Ensemble, a supergroup of Motor City jazz, funk, and soul veterans, for “Groove In The Face Of Adversity.” Its live-in-studio recording approach, captures spontaneous interplay and improvisation as the group channels Detroit’s resilient spirit through genre-blurring grooves. What works: fans and critics praise the infectious energy, tight musicianship, and authentic Detroit vibe. What doesn’t work: some feel the extended jams occasionally overshadow memorable hooks.

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